Melbourne Symphony Orchestra Chorus 50th Anniversary Concert Wednesday 7 October at 8pm Elisabeth Murdoch Hall, Melbourne Recital Centre WHAT’S ON OCTOBER – DECEMBER 2015

AN AMERICAN IN PARIS TCHAIKOVSKY AND GRIEG SIBELIUS’ FINLANDIA Friday 30 October Friday 13 November Thursday 19 November Saturday 14 November Friday 20 November Gershwin’s An American in Paris evokes a journey through the Asher Fisch conducts three Yan Pascal Tortelier celebrates the bustling streets of the French masterworks that defined the 150th anniversary of two Nordic capital, punctuated by taxi horns Romantic era. Tchaikovsky’s masters. Sibelius’ majestic Finlandia and a bluesy trumpet solo. Also stirring Romeo and Juliet is followed is balanced against Nielsen’s spirited featured in this program is by Grieg’s poignant Piano Concerto Violin Concerto. Also featured in this Ravel’s Piano Concerto in G and and the high-voltage intensity program is Sibelius’ Symphony No.5 Saint-Saëns’ Symphony No.3 Organ. of Tchaikovsky’s Fourth Symphony. and tone poem The Swan of Tuonela.

BRAHMS AND TCHAIKOVSKY MESSIAH CHRISTMAS CAROLS Thursday 26 November Saturday 5 December Saturday 12 December Friday 27 November Sunday 6 December Sunday 13 December Saturday 28 November Join conductor Bramwell Tovey, Bramwell Tovey joins the MSO Divertimento, Bartók’s dark take the MSO Chorus and renowned as conductor, pianist and host on the Baroque, kick-starts this international soloists for one of in this celebration of the great night of European festivities. the MSO’s most beloved Christmas musical traditions of Christmas, Brahms’ Violin Concerto delivers traditions, Handel’s Messiah. from famous orchestral works and a fiery, gypsy-inspired rondo and favourite Christmas songs to the Tchaikovsky’s Serenade for Strings most beloved of Yuletide carols. pays homage to Mozart.

2 REPERTOIRE Melbourne Symphony Orchestra and Chorus Benjamin Northey conductor Warren Trevelyan-Jones guest chorus master Sara Macliver soprano Fiona Campbell mezzo-soprano Henry Choo tenor Christopher Richardson bass Stanford Magnificat in B flat Twist How Shall We Sing in a Strange Land? Brahms Warum ist das Licht gegeben dem Mühseligen? — Interval — Mozart Requiem

This concert has a duration of approximately 1 hour and 50 minutes including one 20 minute interval. This concert will be broadcast and streamed live around Australia on ABC Classic FM.

3 WELCOME

One of the great joys of my music making here is the opportunity to work regularly with the Melbourne Symphony Orchestra Chorus. This splendid ensemble has now reached an important milestone: its fiftieth birthday. To celebrate this happy event, the chorus, under guest chorus master Warren Trevelyan-Jones, will be alone in the spotlight for the first half of tonight’s programme. You will hear three works; Charles Villiers Stanford’s glorious double-choir Magnificat, a setting of Psalm 137 by Australian-born composer Joe Twist, and one of the greatest of all Brahms’s German motets, Warum ist das Licht gegeben dem Mühseligen. After the interval, our wonderful singers will be joined by the orchestra, soloists and Associate Conductor Benjamin Northey for a performance of Mozart’s Requiem, one of his profoundest works, which, alas, remained unfinished at the time of his tragically early death. I send most affectionate greetings and congratulations to my friends, the ladies and gentlemen of the MSO Chorus. I know that this will be a special evening and that the magnificent legacy of the first fifty years harbingers an even more remarkable future!

Sir Andrew Davis Chief Conductor MSO

The Melbourne Symphony Orchestra acknowledges the Traditional Owners of the Land on which we perform – The Kulin Nation – and would like to pay our respects to their Elders and Community both past and present.

4 MELBOURNE SYMPHONY ORCHESTRA

With a reputation for excellence, versatility and innovation, the Melbourne Symphony Orchestra is Australia’s oldest orchestra, established in 1906. The Orchestra currently performs live to more than 200,000 people annually, in concerts ranging from subscription performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl. Sir Andrew Davis gave his inaugural concerts as Chief Conductor of the MSO in April 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists including Bryn Terfel, Emanuel Ax and Truls Mørk, the release of recordings of music by Richard Strauss, Charles Ives, Percy Grainger and Eugene Goossens, a 2014 European Festivals tour, and a multi-year cycle of Mahler’s Symphonies. The MSO also works each season with Principal Guest Conductor Diego Matheuz, Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus. Recent guest conductors to the MSO have included Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. The Orchestra has also collaborated with non-classical musicians including Burt Bacharach, Ben Folds, Nick Cave, Sting and Tim Minchin. The MSO reaches an even larger audience through its regular concert broadcasts on ABC Classic FM, also streamed online, and through recordings on Chandos and ABC Classics. The MSO’s Education and Community Engagement initiatives deliver innovative and engaging programs to audiences of all ages, including MSO Learn, an educational iPhone and iPad app designed to teach children about the inner workings of an orchestra.

The Melbourne Symphony Orchestra is funded principally by the Australian Government through the Australia Council, its arts funding and advisory body, and is generously supported by the Victorian Government through Creative Victoria, Department of Economic Development, Jobs, Transport and Resources. The MSO is also funded by the City of Melbourne, its Principal Partner, Emirates, corporate sponsors and individual donors, trusts and foundations.

5 BENJAMIN NORTHEY WARREN TREVELYAN-JONES CONDUCTOR GUEST CHORUS MASTER

Since returning to Australia from Europe in 2006, Warren Trevelyan-Jones was born in the United Benjamin Northey has rapidly emerged as one of the Kingdom, and began his singing career as a Choral nation’s leading musical figures. Since 2011, he has held Scholar and Lay Clerk in Exeter Cathedral Choir. In the position of Patricia Riordan Associate Conductor 1993, he became a Lay Clerk in Winchester Cathedral Chair of the Melbourne Symphony Orchestra. In Choir, combining freelance singing with work in Music 2015, he became Chief Conductor of the Christchurch Therapy. In 1999 he was appointed Lay Vicar in the Symphony Orchestra. Choir of Westminster Abbey, London, where he sang for over eight years. During his time at Westminster His engagements this year include returns to all the Abbey, the Choir recorded a series of CDs for major Australian orchestras, Hong Kong Philharmonic, Hyperion, toured internationally and sang at many New Zealand Symphony Orchestra and Turandot for state occasions, most notably at the funeral of Opera Australia. Queen Elizabeth The Queen Mother. Benjamin studied with John Hopkins at the In 2001, Warren co-founded the group Ensemble University of Melbourne Conservatorium of Music and Plus Ultra, which has performed extensively and then with Jorma Panula and Leif Segerstam at Finland’s recorded numerous CDs, including a series of ten CDs prestigious Sibelius Academy in 2002. Internationally, for Deutsche Grammophon Archiv, which won the he has appeared with the London Philharmonic Gramophone Early Music Award. In 2008, Warren Orchestra, Mozarteum Orchestra Salzburg, Hong was appointed Head of Music at St James’ Church in Kong Philharmonic, National Symphony Orchestra of Sydney, and Director of Sydney-based ensemble The Colombia, New Zealand Symphony Orchestra, Auckland Parsons Affayre, as well as co-founding The Consort Philharmonia and the Southbank Sinfonia of London. of Melbourne. In Australia, Benjamin has made his mark through Warren has been a regular member of many leading his many critically acclaimed appearances as a guest early music ensembles in Britain and Europe, including conductor with all the Australian state symphony Vocalconsort Berlin, The Gabrieli Consort, Taverner orchestras as well as opera productions including L’elisir Consort, Collegium Vocale Gent and La Chapelle d’amore, The Tales of Hoffmann and La sonnambula for Royale of Paris. He has also performed with The State Opera of South Australia, and Don Giovanni and Sixteen and The Tallis Scholars. Così fan tutte for Opera Australia. Recordings include several orchestral releases for ABC Classics with the Melbourne, Sydney, Tasmanian, Adelaide and West Australian Symphony Orchestras. Benjamin is an Honorary Fellow of the University of Melbourne Conservatorium where he is also a lecturer in conducting.

6 SARA MACLIVER FIONA CAMPBELL SOPRANO MEZZO-SOPRANO

Sara Macliver is one of Australia’s most popular and Fiona Campbell is one of Australia’s most versatile versatile artists, and is regarded as one of the leading and beloved classical singers – winner of the national exponents of Baroque repertoire. Limelight Award for Best Solo Performance 2011, vocal winner of the ABC Young Performer of the Year Award Sara is a regular performer with all the Australian and the ASC Opera Awards. symphony orchestras, the Perth, Melbourne and Sydney Festivals, Pinchgut Opera, the Australian Chamber Fiona sings regularly as a principal artist with Orchestra, the Australian Brandenburg Orchestra, ensembles including Australian Chamber Orchestra, Musica Viva, as well as internationally. Australian Brandenburg Orchestra, the Sydney, Melbourne, Tasmanian and West Australian Symphony Sara records for ABC Classics with more than Orchestras, the Australia Ensemble, Australian String 35 CDs and many awards to her credit. Quartet, and with Opera Australia, Opera Queensland, In 2015 Sara sings Idaspe in the southern hemisphere West Australian Opera and Pinchgut Opera. premiere of Vivaldi’s Bajazet for Pinchgut Opera, Career highlights include several concerts with Haydn’s Creation with the Hong Kong Philharmonic José Carreras in Japan and Korea, and touring with Orchestra, Dido & Aeneas and her own recital renowned international soprano Barbara Bonney, for the inaugural Brisbane Baroque Festival, for making her debut at Suntory Hall in Tokyo and commemorations of the centenary of the Gallipoli Cadogan Hall in London. Landing, and in works such as St John Passion, Judas Maccabeus and Brahms’ Requiem amongst many others. Fiona has recorded many recitals and national broadcasts including her solo album Love & Loss, Next year, Sara will sing with the Auckland, Baroque Duets, Classic 100 Opera, Mozart’s Idomeneo, Tasmanian and West Australian Symphony Orchestras, Vivaldi’s Juditha triumphans, Early French Cantatas and Melbourne Chamber Orchestra, the Australian String Just Classics 2 (ABC Classics). Quartet, the Australian Haydn Ensemble, and the Australia Ensemble, amongst others. In 2015, Fiona appears as soloist with the Sydney Symphony, Melbourne Symphony, Auckland Sara has been awarded an honorary doctorate from Philharmonia and sings major roles in The Barber the University of Western Australia in recognition of of Seville, The Marriage of Figaro and Faust for West her services. Australian Opera.

7 HENRY CHOO CHRISTOPHER RICHARDSON TENOR BASS

One of Australia’s finest lyric coloratura tenors, Henry Sydney-based Christopher Richardson studied Choo, achieved an Associate Diploma in Voice under pianoforte at the Tasmanian Conservatorium of the tutelage of Noel Ancell OAM and furthered his Music before changing his major to classical voice, vocal and operatic studies at Melba Conservatorium of graduating with a Bachelor of Music in Classical Vocal Music and Australian National Academy of Music. He is Performance in 2003. Since graduating, Christopher has an alumnus of both the Young Artist Program of Opera continued to study with Jane Edwards, Glenn Winslade, Queensland and the Moffatt Oxenbould Young Artist voice coach Sharolyn Kimmorley and attended the Development Program of Opera Australia. Lisa Gasteen National Opera School in Brisbane. He has also been the recipient of the Royal Melbourne He made his career debut in the role of Ernesto in Philharmonic Aria Award. Don Pasquale for Opera Queensland, and his principal debut with Opera Australia as Italian Singer in Der Christopher’s performance highlights include Rosenkavalier. Other roles for Opera Australia include Haydn’s Creation and Handel’s Alexander Balus with Nemorino (L’elisir d’amore), Gérald (Lakmé), Nadir the Canberra Choral Society; Handel’s Messiah with St (The Pearl Fishers), Tamino (The Magic Flute), Don Andrew’s Cathedral Choir Sydney, the Allegri Ensemble Ottavio (Don Giovanni), Ferrando (Così fan tutte), and in ‘Sing Along Messiah’ with the Tasmanian Count Almaviva (The Barber of Seville), and Lysander Symphony Orchestra; Abandon (Handel arr. Crabb) (A Midsummer Night’s Dream). with Opera Queensland and DanceNorth in Townsville and Brisbane; Mozart’s Requiem and Solemn Vespers Henry’s concert performances include with the Hong of the Confessor with Royal Melbourne Philharmonic Kong Philharmonic Orchestra, Auckland Philharmonia Choir; appearances with Melbourne’s Arcko Symphonic Orchestra, Orchestra Wellington, Melbourne, Sydney, Project and Syzygy Ensemble and his debut last year Queensland and Tasmanian Symphony Orchestras, with Pinchgut Opera as Thoas in Iphigénie en Tauride. Orchestra Victoria, Australian Youth Orchestra, The Australia Ensemble, the Australian Army Band, the This year Christopher’s engagements will include Three Chinese Tenors and the Three Australian Tenors. his debut with Melbourne Symphony Orchestra in Beethoven’s Choral Fantasy, a return to Canberra Choral This year’s performances include Lord Riccardo Society in the title role of Hercules (Handel), The Creation Percy (Anna Bolena for OperaBox), Roberto for Festival of Voices in Hobart, and Fauré’s Requiem (Maria Stuarda for Melbourne Opera), Prince Ramiro with Royal Melbourne Philharmonic Society. (La Cenerentola for CitiOpera), as well as concerts with the Queensland and Melbourne Symphony Orchestras and Christchurch Symphony Orchestra.

8 MELBOURNE SYMPHONY ORCHESTRA CHORUS

The Melbourne Symphony Orchestra Chorus has built Soprano Christina McCowan Rosemary McKelvie an international reputation for the highest standards Philippa Allen Helen MacLean and for bold artistic planning. Known as the Melbourne Naomi Hyndman Siobhan Ormandy Chorale until 2008, it has since then been integrated Julie Arblaster Sharmila Periakarpan with the Melbourne Symphony Orchestra and this year Carolyn Archibald Alison Ralph Aviva Barazani celebrates its 50th anniversary. Kerry Roulston Eva Butcher Annie Runnells The Chorus sings with the finest conductors, Jessica Chan Rosemary Saunders including Sir Andrew Davis, Edward Gardner, Mark Thea Christie Helen Staindl Wigglesworth, Bernard Labadie, Stephen Layton, Veryan Croggon Libby Timcke Samantha Davies Vladimir Ashkenazy, Masaaki Suzuki and Manfred Jenny Vallins Laura Fahey Honeck. Recent highlights include Britten’s War Emma Warburton Requiem, Kancheli’s Styx, Brett Dean’s The Last Days of Rita Fitzgerald Socrates, Elgar’s The Dream of Gerontius, Rachmaninov’s Catherine Folley Tenor Susan Fone The Bells, and Wagner’s The Flying Dutchman. James Allen Carolyn Francis Tony Barnett Camilla Gorman The Chorus is committed to developing and Steve Burnett Karina Gough performing new Australian and international choral John Cleghorn Jillian Graham repertoire. Commissions include Brett Dean’s Katz Alexander Davie Karling Hamil und Spatz (commissioned with the Swedish Radio James Dipnall Juliana Hassett Choir), Ross Edwards’ Mountain Chant (commissioned Huw Ynyr Evans Penny Huggett Marcel Favilla with Cantillation), Paul Stanhope’s Exile Lamentations Jasmine Hulme Simon Goldman (commissioned with Sydney Chamber Choir and Tania Jacobs Lyndon Horsburgh London’s Elysian Singers), and Gabriel Jackson’s To Gwen Kennelly Wayne Kinrade the Field of Stars (commissioned with the Netherlands Judith McFarlane Dominic McKenna Chamber Choir and Stockholm’s St Jacob’s Chamber Ruth McIntosh Simon Milton Lynne Muir Choir). The Chorus has also premiered works by many Michael Mobach Caitlin Noble composers including James MacMillan, Arvo Pärt, Jean-Francois Ravat Susie Novella Hans Werner Henze, Alfred Schnittke, Gavin Bryars, Daniel Riley Susannah Polya Valentyn Silvestrov, Arturs Maskats, Thierry Machuel Malcolm Sinclair Jodie Paxton Pēteris Vasks, and others. Tim Wright Natalie Reid The Chorus has made critically acclaimed recordings Jo Robin Bass Jodi Samartgis for Chandos and for ABC Classics. It has performed Maurice Amor Lynda Smerdon across Brazil and at the Cultura Inglese Festival in Richard Bolitho Elizabeth Stephens Sao Paolo, in Kuala Lumpur with the Malaysian Denny Chandra Elizabeth Tindall Roger Dargaville Philharmonic Orchestra, with The Australian Ballet, Eloise Verbeek Phil Elphinstone Sydney Symphony Orchestra, West Australian Beth Ylvisaker Gerard Evans Symphony Orchestra, Barbra Streisand, at the Tara Zamin Melbourne International Arts Festival, at the 2011 AFL Michael Gough Grand Final, and the Sydney Olympic Arts Festival. Alto Andrew Ham Andrew Hibbard Aleksandra Acker John Howard Ruth Anderson Daniel House Catherine Bickell Jemly Kalangie Cecilia Björkegren Benjamin Leske Kate Bramley Gary Levey Jane Brodie Alastair McKean Elize Brozgul Andrew Murrell Alexandra Chubaty Vern O’Hara Elin-Maria Evangelista Edward Ounapuu Jill Giese Douglas Proctor Debbie Griffiths Matthew Toulmin Alexandra Hadji Foon Wong Ros Harbison Allan Yap Sue Hawley Maciek Zielinski Jennifer Henry Kristine Hensel Repetiteur Helen Nikolas Tom Griffiths 9 CHARLES VILLIERS STANFORD Magnificat in B flat for double choir, Op.164 (1852–1924) Warren Trevelyan-Jones conductor Melbourne Symphony Orchestra Chorus

So famous in his day that his Irish Symphony (No.3) Magnificat anima mea My soul doth magnify was selected for the inaugural concert of Amsterdam’s Dominum, the Lord. Royal Concertgebouw Orchestra, Sir Charles Villiers et exsultavit spiritus and my spirit hath rejoiced Stanford did much to revitalise British music at the meus in Deo salutari meo, in God my saviour, end of the 19th century, particularly in his capacity as quia respexit humilitatem for he hath regarded professor at both Cambridge and the Royal College of ancillae suae. the lowliness of his Music, where his pupils included Holst and Vaughan handmaiden. Williams. His stature as a composer owes much to his work in Anglican church music. Ecce enim ex hoc For behold from henceforth beatam me dicent omnes all people shall call me The Magnificat is one of the oldest Christian hymns. generationes, blessed, Its text comes from a passage in the Gospel of Luke quia fecit mihi magna, for he that is mighty hath (Luke 1:46–55) where the Virgin Mary visits her cousin Elizabeth, who is pregnant with John the Baptist. When qui potens est, magnified me, Elizabeth praises Mary’s faith, Mary sings what is now et sanctum nomen eius, and holy is his name, known as the Magnificat in response. et misericordia eius a and his mercy is on them Is there significance in the date of Stanford’s progenie in progenies that fear him, Magnificat for double choir (completed September timentibus eum. throughout all generations. 1918) and its text, so full of promise? We know that Fecit potentiam in He hath shewed strength Stanford was deeply affected by World War I. Several brachio suo, with his arm, of his students enlisted. While his son, Guy, served dispersit superbos mente he hath scattered the proud at the Somme but developed appendicitis and never cordis sui; in the imagination served again, others were not so lucky. Arthur Bliss was of their hearts; wounded, E.J. Moeran suffered a head injury, Ernest Farrar was killed at Epéhy Ronssoy… deposuit potentes de sede he hath put down the mighty from their seat, This Magnificat was also meant to be a peace et exaltavit humiles; and hath exalted the offering to Stanford’s estranged friend Hubert Parry, humble; but Parry died before it could be published. Stanford added an inscription: ‘This work, which death esurientes implevit bonis he hath filled the hungry prevented me from giving Charles Hubert Hastings with good things, Parry in life, I dedicate to his name in grief. C.V.S.’. et divites dimisit inanes. and the rich he hath sent empty away. Stanford adopted traditional elements of motet style in this a cappella work but combined them with the Suscepit Israel puerum He, remembering his more florid 18th-century counterpoint style of Bach. suum, recordatus mercy, hath holpen his The vigorous opening and closing sections seem to misericordiae suae, servant Israel, echo Bach’s own Magnificat. sicut locutus est ad patres as he promised to our nostros, forefathers, G.K. Williams © 2015 Abraham et semini eius Abraham and his seed This piece was first performed by the Melbourne Chorale in saecula. for ever. Ensemble in 2006 as part of their Cathedral Series. Gloria Patri, et Filio, Glory be to the Father, et Spiritui Sancto. and to the Son, and to the Holy Ghost. Sicut erat in principio, As it was in the beginning, et nunc, et semper, is now, and ever shall be, et in saecula saeculorum. world without end. Amen. Amen.

10 JOSEPH TWIST How Shall We Sing in a Strange Land? (BORN 1982) Warren Trevelyan-Jones conductor Melbourne Symphony Orchestra Chorus

Brisbane-born Joe Twist is a versatile composer who Quomodo cantabimus How shall we sing works across many genres. 2015 releases include canticum Domini in the Lord’s song in a the CDs Dancing with Somebody and the Melbourne terra aliena. strange land? Symphony Orchestra’s Wiggles Meet the Orchestra. Forthcoming premieres include a work for Trinity Look up, my people, College, Cambridge and Victorian Opera’s The Grumpiest The dawn is breaking Boy in the World. The world is waking To a bright new day He writes: When none defame us How Shall We Sing in a Strange Land? reflects the No restriction tame us cultural diversity, contradictions and mixed history Nor colour shame us of postcolonial Australia through the juxtaposition of Nor sneer dismay. sacred and secular texts. The use of Psalm 137, and in Now brood no more particular the line ‘How shall we sing the Lord’s song On the years behind you in a strange land?’, is not intended as a traditional The hope assigned you expression of faith, but rather an exploration of some of Shall the past replace the diversity, dissonance and paradox of the Australian When a juster justice experience. It is intended to represent, in part, the Grown wise and stronger arbitrary and displaced situation of Western religion Points the bone no longer in modern Australia. At a darker race. Just as the Jews, who were exiled in Babylon, So long we waited were a long way from the Christians of Rome or Bound and frustrated Constantinople, so too are the values of the British Till hate be hated cathedral or country church remote from an ancient And caste deposed land with its own Aboriginal spirituality. In trying to Now light shall guide us ‘tame’ this new land, the imported ‘Old World’ culture No goal denied us has had a heavy impact. With reference to this outcome, And all doors open the composition juxtaposes the Psalm’s text with That long were closed. A Song of Hope, by Kath Walker/Oodgeroo Noonuccal, a poem that also expresses a sense of cultural and See plain the promise historical alienation, in this case with respect to the Dark freedom-lover! struggle to maintain Aboriginal culture in modern Night’s nearly over Australia. This work aims to contribute to the ongoing And though long the climb development of an authentic Australian voice and an New rights will greet us authentic Australian culture. In the beginning, ‘How New mateship meet us shall we sing the Lord’s song in a strange land?’ is the And joy complete us narrative of the transported English culture. By the end, In our new Dream Time. the refrain has become, metaphorically: ‘How shall we To our fathers’ fathers sing an Australian song in a strange land?’. Ultimately, The pain, the sorrow; as expressed in Noonuccal’s poetry, How Shall We To our children’s children Sing in a Strange Land? is intended to express a sense the glad tomorrow. of optimism through reconciliation between these contrasting heritages. Words from: How Shall We Sing in a Strange Land? was ‘A Song of Hope’ by Oodgeroo of the tribe Noonuccal commissioned by the Australia Council for the From My People, 4th edition, National Youth Choir of Australia in 2011 and first John Wiley & Sons Australia 2008 performed in 2012. reproduced by permission of the publisher, and Psalm 137:4. Joe Twist © 2015 This is the first performance of this work by the Melbourne Symphony Orchestra Chorus.

11 JOHANNES BRAHMS Warum ist das Licht gegeben dem Mühseligen? (1833–1897) Motet, Op.74 No.1

Warren Trevelyan-Jones conductor Melbourne Symphony Orchestra Chorus

Renowned as a symphonist, Brahms also produced Warum ist das Licht Wherefore is light given an abundance of choral music. This motet was written gegeben dem Mühseligen, to him that is in misery, in 1877 at Pörtschach on Austria’s Wörthersee lake, und das Leben den and life unto the bitter where Brahms would also write his Symphony No.2 betrübten Herzen? in soul? that summer. Warum? Why? Brahms claimed there were ‘so many melodies flying Die des Todes warten und Which long for death but it about [Pörtschach] that you must be careful not to tread kommt nicht, cometh not, on any’. This motet, however, inhabits a quite different und grüben ihn wohl aus and dig for it more than for world to the Symphony which more directly reflects dem Verborgenen; hid treasures; Pörtschach’s congenial surroundings. die sich fast freuen which rejoice exceedingly Brahms chose the text himself from Luther’s versions und sind fröhlich, and are glad, of Job, Lamentations, James and the Nunc dimittis dass sie das Grab when they can find (‘depart in peace’). The text from James: ‘Behold, we bekommen. the grave. count them happy which endure’ probably summarises the motet’s philosophy. Warum? Why? The work is at once contrapuntally ‘correct’ and chromatically Romantic. The first ‘movement’ is Und dem Manne, dess Weg Why is light given to a man structured around the word Warum (why?), asked four verborgen ist, whose way is hid, times. A turn to the major partway through underlines und Gott vor ihm denselben and whom God hath Brahms’ own belief in being happy to ‘achieve the bedecket? hedged in? grave’. The second section (‘Let us lift up our heart…’) Warum? Why? uses music from the Benedictus of a Missa canonica [Job 3:20-23] Brahms abandoned in 1862. The First Soprano melody in the third section (‘Behold, we count them happy which endure’) hails from the abandoned mass’s Dona Lasset uns unser Herz Let us lift up our heart nobis pacem. The final section sees the chorus back in samt den Händen aufheben with our hands four parts (from six in the main body of the work) and zu Gott im Himmel. unto the God in the heavens. takes the form of a strict chorale harmonisation for [Lamentations 3:41] the parting message. There were once arguments over the Bach-like finish Siehe, wir preisen selig, die Behold, we count them happy to this motet. Was Brahms paying tribute to the master erduldet haben. which endure. of Leipzig or asserting himself as Bach’s heir? Annoyed Die Geduld Hiob habt ihr Ye have heard of the patience by the controversy, Brahms considered removing the gehöret, of Job, work’s dedication to Bach scholar Philipp Spitta. In the end, he let it stand. und das Ende des Herrn and have seen the end of habt ihr gesehen; the Lord; G.K. Williams © 2015 denn der Herr ist that the Lord is very pitiful, This work was first performed by the Melbourne Chorale barmherzig und ein and of tender mercy. Ensemble in 2002 as part of its 2002 tour of Brazil. Erbarmer. [James 5:11]

Mit Fried und Freud ich In peace and joy I fahr dahin now depart, in Gottes Willen, at God’s disposing, getrost ist mir mein Herz for full of comfort is und Sinn, my heart, sanft und stille. soft reposing. Wie Gott mir verheissen hat, So the Lord hath promis’d me. der Tod ist mir Schlaf and death is by a slumber. worden. [Martin Luther]

12 WOLFGANG AMADEUS MOZART Requiem Mass, K.626 (1756–1791) [Completed by Franz Süssmayr]

Benjamin Northey conductor Sara Macliver soprano Fiona Campbell mezzo-soprano Henry Choo tenor Christopher Richardson bass Melbourne Symphony Orchestra Chorus

Haydn said that Mozart’s fame would be secure if he had experience of Mozart’s youth and maturity fused, in written nothing but the Requiem, but it is a problematical the urgency of death’s imminence, into a testament of work which Mozart did not live to complete and whose church music ‘as transcendental’, writes Karl Geiringer, origins are surrounded by mystery. Mozart, mortally ‘as it is human, as out of terror and guilt it leads us ill and agitated while composing it, chose the key of D gently towards peace and salvation’. minor: one associated with tragic drama in some of his The manuscript of the Requiem shows that Mozart greatest works, as in Don Giovanni; and with tenderness had completed the Introitus and Kyrie in full score. Other and pathos, as in the Piano Concerto in D minor. The sections are half-finished, vocal parts written in full, terrifying drive of the Dies irae; the powerful rhythmic instrumental parts sometimes complete, sometimes only bite of the Rex tremendae, with its contrasting ‘Salva me’; sketched. These are: the Sequence as far as bar eight of the furious Confutatis – all these are painted with the the Lacrimosa, the Domine Jesu Christe, and the Hostias. dramatic intensity of a composer who believed he was There is no proof of any Mozart in the ending of the writing his own Requiem. The messenger in grey who Lacrimosa, the Sanctus, Benedictus and Agnus Dei. had delivered a commission from an anonymous patron had become in Mozart’s mind an emissary of death. We Mozart’s widow was naturally anxious to collect the now know that he was a servant of Count Walsegg zu composition fee, and after other musicians had declined Stuppach, who liked to pass off music by professional the task of completion she gave it to Franz Xavier composers as his own. Süssmayr, a pupil of Mozart’s who had assisted him with the Requiem. We do not know what sketches Süssmayr Mozart’s Requiem contains also music of great may have had to work from, partly because Constanze tenderness and consolation. In a letter of April 1787 Mozart was keen to conceal the role of other hands in Mozart almost seemed to welcome death as a friend, the finished Requiem. It seems unlikely, on the basis of but resignation with mild protests is probably closer to Süssmayr’s original compositions, that he could have Mozart’s real feelings. The best evidence is in the score. composed such a movement as the Benedictus unaided. It Mozart’s instrumentation reflects the two facets of the is not known whether the repetition of the Kyrie fugue music: fierce, with trumpets and drums in the sterner for the ‘Cum sanctis tuis’ was his idea or Mozart’s. sections, but coloured elsewhere by the mild, liquid tones of basset horns. The chief criticisms of Süssmayr’s completion concern the instrumentation and the filling-out of Mozart’s Requiem is a kind of summation of inner parts. Some of the part-writing and distribution its models and counterparts in the music of his is inept; above all, scoring the entire work for the same contemporaries and predecessors. Haydn’s admiration instrumental palette is monotonous and often heavy. was surely a tribute to the Requiem’s successful uniting The trombones are used in inappropriate places and of different styles and forms. Like Mozart’s unfinished with a lack of restraint, but the tenor trombone solo Great Mass in C minor, K427, his Requiem is a cantata in the Tuba mirum is undoubtedly Mozart’s. The extent mass in the sense that the Sequence (Dies irae) is divided of Süssmayr’s contribution has always been a matter up into separate choral and solo ensemble movements. of controversy, and scholars incline to the view that it In the earlier Mass, each movement was developed was less than used to be thought. Nevertheless, Mozart’s on a massive scale, whether in enormous fugues or Requiem is with us in a form partly determined by in Italianate chamber music arias – so much so that Süssmayr, and in that form it has remained one of Mozart may have abandoned it precisely because he his best-loved works. Classical scholar H.C. Robbins felt the result lacked stylistic unity. However in the Landon has illuminatingly compared the Requiem to a Requiem, choral and solo movements are brought into great building which we know was not completed as its balance with each other, and the solo writing has lost all designer intended, but which to change would destroy a traces of virtuosity for its own sake. view dear and close to us. In many respects the Requiem is backward-looking, © David Garrett with Baroque elements, revealing the impact of Bach and Handel. The use of Gregorian melodies was The Melbourne Symphony Orchestra first performed Mozart’s common in Austrian masses and occurs in a strikingly Requiem on 6 March 1956 with conductor Bernard Heinze similar way in a Requiem by Michael Haydn (brother of and soloists Glenda Raymond, Anne Levin, Max Worthley, Joseph) which Mozart heard in Salzburg 20 years before. Robert Payne, and the Melbourne University Choral Society. Michael Haydn’s work resembles Mozart’s in content The MSO’s most recent performance took place in 2013 under and scoring: like Mozart, the younger Haydn banishes Edward Gardner. The soloists were Elena Xanthoudakis, flutes, oboes and horns, and uses the three trombones Sally-Anne Russell, Andrew Staples and Matthew Rose, with characteristic of Salzburg church music. So the musical the Melbourne Symphony Orchestra Chorus.

13 WOLFGANG AMADEUS MOZART Requiem Mass, K.626 (1756–1791) [Completed by Franz Süssmayr]

Introit (Chorus and soprano solo) Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and may light perpetual shine upon them. Te decet hymnus Deus in Sion, To you, O God, praise is given in Zion, et tibi reddetur votum in Jerusalem. and prayer shall go up to you in Jerusalem. Exaudi orationem meam, Give ear to my supplication, ad te omnis caro veniet. to you shall all flesh come. Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and may light perpetual shine upon them. Kyrie (Chorus) Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us. Sequence: Dies irae (Chorus) Dies irae, dies illa, The Day of Wrath, that day Solvet saeclum in favilla, shall dissolve the world in ashes, Teste David cum Sibylla, as David and the Sibyl testify. Quantus tremor est futurus, What trembling shall there be Quando judex est venturus, when the Judge shall come Cuncta stricte discussurus! who shall thresh out all thoroughly! Tuba mirum (Solo quartet) Tuba mirum spargens sonum The trumpet, scattering a wondrous Per sepulcra regionum, sound through the tombs of all lands, Coget omnes ante thronum. shall drive all unto the throne. Mors stupebit et natura Death and nature shall be astounded Cum resurget creatura when all creation shall rise again Judicanti responsura. to answer the judge. Liber scriptus proferetur A written book shall be brought forth In quo totum continetur in which shall be contained all Unde mundus judicetur. for which the world shall be judged. Judex ergo cum sedebit And therefore when the Judge shall sit, Quidquid latet apparebit: whatsoever is hidden shall be manifest: Nil inultum remanebit. and nothing shall remain unavenged. Quid sum miser tunc dicturus, What shall I say in my misery? Quem patronum rogaturus, Whom shall I ask to be my advocate, Cum vix justus sit securus? When scarcely the righteous may be without fear? Rex tremendae (Chorus) Rex tremendae majestatis, King of awful majesty, Qui salvandos salvas gratis; you who freely save the redeemed; Salva me, fons pietatis. save me, O Fount of Pity.

14 WOLFGANG AMADEUS MOZART Requiem Mass, K.626 (1756–1791) [Completed by Franz Süssmayr]

Recordare (Solo quartet) Recordare, Jesu pie, Remember, merciful Jesus, Quod sum causa tuae viae that I am the reason for your journey, Ne me perdas illa die. let me not be lost on that day. Quaerens me sedisti lassus Seeking me, you sat weary. Redemisti crucem passus; You redeemed me, suffering the Cross: Tantus labor non sit cassus. let not such labour have been in vain. Juste judex ultionis, O just Judge of Vengeance, Donum fac remissionis give the gift of redemption Ante diem rationis. before the day of reckoning. Ingemisco tamquam reus: I groan as one guilty; Culpa rubet vultus meus. my face blushes at my sin. Supplicanti parce, Deus. Spare the supplicant, O God. Qui Mariam absolvisti You who absolved Mary Et latronem exaudisti, and heard the prayer of the thief, Mihi quoque spem dedisti. you have also given hope to me. Preces meae non sunt dignae, My prayers are not worthy, Sed tu, bonus, fac benigne, but you, O good one, show mercy, Ne perenni cremer igne. lest I burn in everlasting fire. Inter oves locum praesta Give me a place among the sheep, Et ab haedis me sequestra, and separate me from the goats, Statuens in parte dextra. setting me on the right hand. Confutatis (Chorus) Confutatis maledictis, When the damned are confounded Flammis acribus addictis, and consigned to sharp flames, voca me cum benedictis. call me with the blessed. Oro supplex et acclinis, I pray, kneeling in supplication, Cor contritum quasi cinis, a heart as contrite as ashes, Gere curam mei finis. take my ending into your care. Larimosa (Chorus) Lacrimosa dies illa That day is one of weeping Qua resurget ex favilla on which shall rise again from the ashes Judicandus homo reus. guilty humankind, to be judged. Huic ergo parce, Deus. Therefore spare this one, O God. Pie Jesu Domine: Merciful Lord Jesus: Dona eis requiem. Amen. Grant them rest. Amen. Offertorium Domine Jesu Christe (Chorus and solo quartet) Domine Jesu Christe, Rex gloriae, libera animas O Lord Jesus Christ, King of glory, omnium fidelium deliver the souls of all the departed faithful defunctorum de poenis inferni, from the torments of Hell,

15 WOLFGANG AMADEUS MOZART Requiem Mass, K.626 (1756–1791) [Completed by Franz Süssmayr]

et de profundo lacu; and from the deep pit; libera eas de ore leonis, deliver them from the mouth of the lion; ne absorbeat eas Tartarus, that Hell may not swallow them up, ne cadant in obscurum. and that they may not fall into darkness. Sed signifer sanctus Michael But may the holy standard-bearer Michael repraesentet eas in lucem sanctam. bring them into the holy light; Quam olim Abrahae promisisti, which thou didst promise of old to Abraham et semini ejus. and his seed. Hostias (Chorus) Hostias et preces tibi, Domine, We offer unto you, O Lord, laudis offerimus. sacrifices and prayers of praise. Tu suscipe pro animabus illis, Receive them on behalf of those souls quarum hodie memoriam facimus. whom we commemorate today. Fac eas, Domine, Make them, O Lord, de morte transire ad vitam. to cross over from death to life, Quam olim Abrahae promisisti, as once you promised to Abraham et semini ejus. and his seed. Sanctus (Chorus) Sanctus, sanctus, sanctus, Holy, holy, holy, Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. Benedictus (Solo quartet and chorus) Benedictus qui venit in nomine Domini. Blessed is the one who comes in the name of the Lord. Hosanna in excelsis. Hosanna in the highest. Agnus Dei (Chorus) Agnus Dei Lamb of God, qui tollis peccata mundi; you who take away the sins of the world, dona eis requiem sempiternam. give them eternal rest. Communio (Soprano solo and chorus) Lux aeterna luceat eis Domine, Let everlasting light shine on them, cum sanctis tuis in aeternum O Lord, with your saints for ever: quia pius es. for you are good. Requiem aeternam dona eis Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and let light perpetual shine upon them, Cum sanctis tuis in aeternum: with your saints forever; quia pius es. for you are good.

16 ORCHESTRA Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

First Violins Violas Flutes Horns Dale Barltrop Christopher Moore Prudence Davis Zora Slokar Concertmaster Principal Principal Flute Chair - Principal Eoin Andersen Christopher Cartlidge Anonymous Geoff Lierse Concertmaster Acting Associate Principal Wendy Clarke Associate Principal Sophie Rowell Lauren Brigden Associate Principal Saul Lewis Associate Concertmaster Katharine Brockman Sarah Beggs Principal Third Gabrielle Halloran Peter Edwards Piccolo Jenna Breen Assistant Principal Trevor Jones Abbey Edlin Fiona Sargeant Andrew Macleod Kirsty Bremner Trinette McClimont Cindy Watkin Principal MSO Friends Chair Caleb Wright Trumpets Sarah Curro Oboes Ceridwen Davies* Geoffrey Payne Peter Fellin Isabel Morse* Jeffrey Crellin Principal Deborah Goodall Principal Lorraine Hook Cellos Shane Hooton Thomas Hutchinson Kirstin Kenny Associate Principal David Berlin Associate Principal Ji Won Kim MS Newman Family Principal William Evans Ann Blackburn Eleanor Mancini Cello Chair Julie Payne Mark Mogilevski Rachael Tobin Cor Anglais Michelle Ruffolo Trombones Associate Principal Kathryn Taylor Michael Pisani Brett Kelly Oksana Thompson* Nicholas Bochner Principal Principal Assistant Principal Clarinets Jonathan Ramsay*^ Second Violins Miranda Brockman Matthew Tomkins Rohan de Korte David Thomas Bass Trombone Principal The Gross Foundation Principal Keith Johnson Mike Szabo Second Violin Chair Sarah Morse Philip Arkinstall Principal Robert Macindoe Angela Sargeant Associate Principal Associate Principal Michelle Wood Craig Hill Tuba Timothy Buzbee Monica Curro Double Basses Bass Clarinet Assistant Principal Principal Steve Reeves Jon Craven Mary Allison Principal Principal Timpani Isin Cakmakcioglu Andrew Moon Christine Turpin Freya Franzen Associate Principal Bassoons Principal Cong Gu Jack Schiller Andrew Hall Sylvia Hosking Principal Percussion Francesca Hiew Assistant Principal Robert Clarke Rachel Homburg Damien Eckersley Elise Millman Principal Christine Johnson Benjamin Hanlon Associate Principal Isy Wasserman Suzanne Lee Natasha Thomas John Arcaro Philippa West Stephen Newton Robert Cossom Contrabassoon Patrick Wong Harp Roger Young Brock Imison Principal Yinuo Mu Principal Organ Donald Nicolson*

*Guest musician ^Courtesy of Tasmanian Symphony Orchestra

17 MANAGEMENT

Board Artistic Marketing Development Michael Ullmer Ronald Vermeulen Alice Wilkinson Leith Brooke Chairman Director of Artistic Planning Director of Marketing Director of Development Andrew Dyer Andrew Pogson Jennifer Poller Jessica Frean Danny Gorog Special Projects Manager Marketing Manager MSO Foundation Manager André Gremillet Laura Holian Megan Sloley Ben Lee Margaret Jackson AC Artistic Coordinator Marketing Manager Donor and Government Brett Kelly Helena Balazs Ali Webb Relations Manager David Krasnostein Chorus Manager PR Manager Arturs Ezergailis David Li Donor and Patron Coordinator Ann Peacock Stephen McAllan Kate Eichler Helen Silver AO Artist Liaison Publicity and Online Engagement Judy Turner Kee Wong Coordinator Major Gifts Manager Education and Company Secretary Kieran Clarke Justine Knapp Community Engagement Digital Manager Major Gifts Coordinator Oliver Carton Bronwyn Lobb Chelsie Jones Michelle Monaghan Executive Director of Education and Front of House Supervisor Corporate Development Manager Community Engagement André Gremillet James Rewell Managing Director Lucy Bardoel Graphic Designer Education and Community Chloe Schnell Catrin Harris Engagement Coordinator Executive Assistant Assistant Marketing Manager Lucy Rash Clare Douglas Human Resources Pizzicato Effect Coordinator Marketing Coordinator Miranda Crawley Operations Claire Hayes Director of Human Resources Ticket and Database Manager Gabrielle Waters Business Director of Operations Paul Congdon Box Office Supervisor Francie Doolan Angela Bristow Chief Financial Officer Orchestra Manager Angela Ballin Customer Service Coordinator Raelene King James Foster Personnel Manager Operations Manager Leonie Woolnough James Poole Financial Controller Production Coordinator Phil Noone Alastair McKean Accountant Orchestra Librarian Nathalia Andries Kathryn O’Brien Accountant Assistant Librarian Grace Gao Michael Stevens Finance Officer Assistant Orchestra Manager Suzanne Dembo Lucy Rash Strategic Communications and Operations Coordinator Business Processes Manager

18 SUPPORTERS

Artist Chair Benefactors Impresario Patrons Suzanne Kirkham Mrs W Peart Vivien and Graham Knowles Ruth and Ralph Renard Harold Mitchell AC Chief $20,000+ Elizabeth Kraus in memory of Tom and Elizabeth Conductor Chair Michael Aquilina Bryan Hobbs Romanowski Patricia Riordan Associate Perri Cutten and Jo Daniell Dr Elizabeth A Lewis AM Max and Jill Schultz Conductor Chair Susan Fry and Don Fry AO Peter Lovell Diana and Brian Snape AM Joy Selby Smith Orchestral Margaret Jackson AC The Cuming Bequest Mr Tam Vu and Leadership Chair John McKay and Lois McKay Mr and Mrs D R Meagher Dr Cherilyn Tillman Elizabeth Proust AO Wayne and Penny Morgan William and Jenny Ullmer Marc Besen AC and Eva Besen Rae Rothfield AO International Guest Chair Marie Morton FRSA Bert and Ila Vanrenen Maestro Patrons Dr Paul Nisselle AM Barbara and Donald Weir MSO Friends Chair Lady Potter AC Brian and Helena Worsfold $10,000+ The Gross Foundation Stephen Shanasy Anonymous (14) Principal Second Violin Chair John and Mary Barlow Gai and David Taylor Player Patrons $1,000+ MS Newman Family Principal Kaye and David Birks The Hon. Michael Watt QC and Cello Chair Paul and Wendy Carter Cecilie Hall Anita and Graham Anderson, Mitchell Chipman Anonymous (5) Christine and Mark Armour, Principal Flute Chair – Jan and Peter Clark Arnold Bloch Leibler, Marlyn Anonymous Sir Andrew and Associate Patrons and Peter Bancroft OAM, $2,500+ Program Benefactors Lady Gianna Davis Adrienne Basser, Prof Weston Andrew and Theresa Dyer Dandolo Partners Bate and Janice Bate, Timothy Meet The Orchestra Future Kids Pty Ltd Will and Dorothy Bailey and Margaret Best, David and Made possible by The Ullmer Robert & Jan Green Bequest Helen Blackwell, Bill Bowness, Family Foundation Lou Hamon OAM Barbara Bell in memory of Michael F Boyt, M Ward East meets West David Krasnostein and Elsa Bell Breheny, Suzie Brown, Jill and Supported by the Pat Stragalinos Mrs S Bignell Christopher Buckley, Lynne Li Family Trust Mr Greig Gailey and Stephen and Caroline Brain Burgess, Dr Lynda Campbell, Dr Geraldine Lazarus The Pizzicato Effect Mr John Brockman OAM and Sir Roderick Carnegie AC, Mimie MacLaren (Anonymous) Mrs Pat Brockman Andrew and Pamela Crockett, Matsarol Foundation Leith and Mike Brooke Natasha Davies, Pat and Bruce MSO UPBEAT Ian and Jeannie Paterson Rhonda Burchmore Davis, Merrowyn Deacon, Supported by Onbass Foundation Bill and Sandra Burdett Sandra Dent, Dominic and Betty Amsden AO DSJ Glenn Sedgwick Oliver Carton Natalie Dirupo, Marie Dowling, MSO CONNECT Maria Solà, in memory of John and Lyn Coppock John and Anne Duncan, Kay Supported by Jason Yeap OAM Malcolm Douglas Miss Ann Darby in memory of Ehrenberg, Gabrielle Eisen, Drs G & G Stephenson. Leslie J. Darby Vivien and Jack Fajgenbaum, Benefactor Patrons In honour of the great Mary and Frederick Grant Fisher and Helen Bird, $50,000+ Romanian musicians George Davidson AM Barry Fradkin OAM and Enescu and Dinu Lipatti Dr Pam Fradkin, David Frenkiel Betty Amsden AO DSJ Peter and Leila Doyle Lyn Williams AM and Esther Frenkiel OAM, Philip Bacon AM Lisa Dwyer and Dr Ian Dickson Kee Wong and Wai Tang Carrillo and Ziyin Gantner, Marc Besen AC and Jane Edmanson OAM Jason Yeap OAM David Gibbs and Susie O’Neill, Eva Besen AO Dr Helen M Ferguson Anonymous (1) Merwyn and Greta Goldblatt, John and Jenny Brukner Mr Bill Fleming Dina and Ron Goldschlager, Rachel and the Principal Patrons Colin Golvan QC and George Golvan QC and Hon. Alan Goldberg AO QC Dr Deborah Golvan $5,000+ Naomi Golvan, Charles and The Gross Foundation Susan and Gary Hearst Cornelia Goode, Dr Marged David and Angela Li Lino and Di Bresciani OAM Gillian and Michael Hund Goode, Louise Gourlay OAM, Annette Maluish Linda Britten Rosemary and James Jacoby Ginette and André Gremillet, Harold Mitchell AC David and Emma Capponi John and Joan Jones Max Gulbin, Dr Sandra Hacker MS Newman Family Tim and Lyn Edward Kloeden Foundation AO and Mr Ian Kennedy AM, Roslyn Packer AO John and Diana Frew Sylvia Lavelle Jean Hadges, Paula Hansky Mrs Margaret S Ross AM and Danny Gorog and Ann and George Littlewood OAM and Jack Hansky AM, Dr Ian Ross Lindy Susskind H E McKenzie Tilda and Brian Haughney, Joy Selby Smith Nereda Hanlon and Allan and Evelyn McLaren Henkell Family Fund, Penelope Ullmer Family Foundation Michael Hanlon AM Don and Anne Meadows Hartmut and Ruth Hofmann Ann Peacock with Andrew and Hughes, Dr Alastair Jackson, Jenny and Peter Hordern Woody Kroger Stuart Jennings, George and Jenkins Family Foundation Sue and Barry Peake Grace Kass, Irene Kearsey,

19 SUPPORTERS

Ilma Kelson Music Foundation, The Mahler Syndicate Conductor’s Circle The MSO relies on your Dr Anne Kennedy, Bryan David and Kaye Birks, John Current Conductor’s ongoing philanthropic Lawrence, Lew Foundation, and Jenny Brukner, Mary and Circle Members support to sustain access, Norman Lewis in memory Frederick Davidson AM, Tim Jenny Anderson, G C Bawden artists, education, of Dr Phyllis Lewis, Dr and Lyn Edward, John and and L de Kievit, Lesley Bawden, community engagement Anne Lierse, Violet and Jeff Diana Frew, Louis Hamon Joyce Bown, Mrs Jenny Loewenstein, The Hon Ian and more.We invite our OAM, Francis and Robyn Brukner and the late Mr John Macphee AO and Mrs Julie supporters to get close to Hofmann, The Hon Dr Barry Brukner, Ken Bullen, Luci and Mcphee, Elizabeth H Loftus, the MSO through a range Jones AC, Dr Paul Nisselle Ron Chambers, Sandra Dent, Vivienne Hadj and Rosemary of special events and AM, Maria Solà in memory Lyn Edward, Alan Egan JP, Madden, Dr Julianne Bayliss, supporter newsletter of Malcolm Douglas, The Hon Gunta Eglite, Louis Hamon In memory of Leigh Masel, Michael Watt QC and Cecilie OAM, Carol Hay, Tony Howe, The Full Score. John and Margaret Mason, In Hall, Anonymous (1) Audrey M Jenkins, John and honour of Norma and Lloyd The MSO welcomes your Joan Jones, George and Grace Rees, Ruth Maxwell, Trevor support at any level. MSO Roses Kass, Mrs Sylvia Lavelle, and Moyra McAllister, David Donations of $2 and Founding Rose Pauline and David Lawton, Menzies, Ian Morrey, Laurence over are tax deductible, Jenny Brukner Lorraine Meldrum, Cameron O’Keefe and Christopher Mowat, Laurence O’Keefe and supporters are James, Graham and Christine Roses and Christopher James, Rosia recognised as follows: Peirson, Andrew Penn and Mary Barlow, Linda Britten, Pasteur, Elizabeth Proust $1,000 (Player), Kallie Blauhorn, Kerryn Wendy Carter, Annette AO, Penny Rawlins, Joan P $2,500 (Associate), Pratchett, Peter Priest, Eli Maluish, Lois McKay, Pat Robinson, Neil Roussac, Anne $5,000 (Principal), Raskin, Peter and Carolyn Stragalinos, Jenny Ullmer, Roussac-Hoyne, Jennifer Rendit, S M Richards AM and $10,000 (Maestro), Shepherd, Drs Gabriela and M R Richards, Dr Rosemary Rosebuds $20,000 (Impresario), George Stephenson, Pamela Ayton and Dr Sam Ricketson, Maggie Best, Penny Barlow, $50,000 (Benefactor). Swansson, Lillian Tarry, Dr Joan P Robinson, Doug and Leith Brooke, Lynne Damman, Cherilyn Tillman, Mr and Mrs The MSO Conductor’s Elisabeth Scott, Jeffrey Sher, Francie Doolan, Lyn Edward, R P Trebilcock, Michael Ullmer, Dr Sam Smorgon AO and Penny Hutchinson, Elizabeth Circle is our bequest Ila Vanrenen, Mr Tam Vu, Mrs Minnie Smorgon, John A Lewis AM, Sophie Rowell, program for members Marian and Terry Wills Cooke, So, Dr Norman and Dr Sue Dr Cherilyn Tillman who have notified of a Mark Young, Anonymous (22) Sonenberg, Dr Michael Soon, Foundations and Trusts planned gift in their Will. Pauline Speedy, State Music The MSO gratefully The Annie Danks Trust Enquiries: Camp, Dr Peter Strickland, acknowledges the Geoff and Judy Steinicke, Mrs Collier Charitable Fund Ph: +61 (3) 9626 1248 Creative Partnerships Australia support received from Suzy and Dr Mark Suss, Pamela Email: philanthropy@ Swansson, Tennis Cares- Crown Resorts Foundation and the Estates of: the Packer Family Foundation mso.com.au Tennis Australia, Frank Tisher Angela Beagley, Gwen Hunt, The Cybec Foundation OAM and Dr Miriam Tisher, Pauline Marie Johnston, C P The Harold Mitchell Foundation Margaret Tritsch, Judy Turner Kemp, Peter Forbes MacLaren, Helen Macpherson Smith Trust and Neil Adam, P & E Turner, Prof Andrew McCredie, Miss Ivor Ronald Evans Foundation, Mary Vallentine AO, The Sheila Scotter AM MBE, Molly managed by Equity Trustees Hon. Rosemary Varty, Leon Stephens, Jean Tweedie, Herta Limited and Mr Russell Brown and Sandra Velik, Elizabeth and Fred B Vogel, Dorothy Wood Wagner, Sue Walker AM, Elaine Linnell/Hughes Trust, Walters OAM and Gregory managed by Perpetual Honorary Appointments The Marian and EH Flack Trust Walters, Edward and Paddy Mrs Elizabeth Chernov The Perpetual Foundation – White, Janet Whiting and Phil Education and Community Alan (AGL) Shaw Endowment, Lukies, Nic and Ann Willcock, Engagement Patron Marian and Terry Wills Cooke, managed by Perpetual Sir Elton John CBE Pamela F Wilson, Joanne Wolff, The Pratt Foundation Life Member Peter and Susan Yates, Mark The Robert Salzer Foundation Young, Panch Das and Laurel The Schapper Family The Honourable Young-Das, YMF Australia, Foundation Alan Goldberg AO QC Anonymous (5) The Scobie and Claire Life Member Mackinnon Trust Geoffrey Rush AC Ambassador

20 SUPPORTERS

MAESTRO PARTNERS OFFICIAL CAR PARTNER

ASSOCIATE PARTNERS

SUPPORTING PARTNERS

3L ALLIANCE GOLDEN AGE GROUP ELENBERG FRASER KABO LAWYERS FEATURE ALPHA INVESTMENT LINDA BRITTEN FUTURE KIDS NAOMI MILGROM FOUNDATION VICTORIA WHITELAW UAG + SJB

GOVERNMENT PARTNERS MEDIA PARTNER

21 Do you love to sing? Have you always wanted to be a member of a chorus? Here is your chance to sing with amazing conductors, like Sir Andrew Davis, and perform with the MSO! The Melbourne Symphony Orchestra Chorus are always welcoming new singers. If you would like to audition, please visit our website mso.com.au/chorus for more information.

mso.com.au/chorus

22 MSO on tour: Music & Culture in Bendigo

Thursday 15 and Friday 16 You’ll also have the opportunity October 2015 to see MSO first-hand as it merges learning and entertainment with Join us for two days in the thriving a concert for local school children, regional city of Bendigo, as the MSO fostering a lifelong love and prepares to perform for the first appreciation of music. time in the wonderful new venue – Be quick, places are limited to the Ulumbarra Theatre. 16 people. By day we will show you some of For an information package Bendigo’s finest heritage attractions, please call 03 9626 1249 or email art galleries and local gourmet [email protected] fare; in the evening experience a backstage tour of the new theatre before enjoying the MSO perform Mozart’s Violin Concerto No.5 with Eoin Andersen.

Spring comes to Summerlea

Sunday 25 October 2015 Ticket price of $200 includes: 12pm–3pm – Performances by MSO Chorus ‘Summerlea’, Flinders amid tranquil garden surrounds, Private garden of Perri Cutten and Jo Daniell – Al fresco long table lunch, featuring local produce and wines, Gourmet al fresco lunch, local wines – Self-guided tour and exploration and heavenly songs amidst a tranquil of landscaped designer gardens, coastal garden – MSO’s annual fundraising event for the MSO Chorus – Opportunity to meet and chat to is sure be a very special afternoon. MSO Chorus members and hosts Perri Cutten and Jo Daniell. Join designer Perri Cutten and photographer Jo Daniell at their Proceeds will help us raise vital funds breathtaking property at Flinders on for the MSO Chorus. the Mornington Peninsula for a day of Hurry, places are strictly limited! choral performances, gourmet lunch To secure your booking, or for further and garden tours. information call 03 9929 9600

23 Visit new worlds with our inflight entertainment Explore a world of heroes and villains, star-crossed lovers or monsters from another time. From Hollywood to Bollywood and more, choose from up to 2,000 channels of award-winning inflight entertainment. Principal Partner of the Melbourne Symphony Orchestra.

emirates.com/au

Fly Emirates and enjoy an exclusive 10% subscriber discount*

*Exclusive 10% discount across all classes valid for Melbourne Symphony Orchestra subscriber and patron online bookings, and their companions when travelling together. To book, visit mso.com.au/support-us/our-partners/emirates/emirates-offer for your password to redeem online discount via emirates.com/au/mso. Offer applies to Emirates operated services on permitted routes originating from Melbourne, and excludes flights operated by partner airlines. Discount applies to the fare component only and excludes taxes, surcharges and levies. Bookings can only be made up to 11 months in advance. Offer valid for sale on or before 31 December 2015, subject to availability at time of booking and may be subject to change and withdrawn without notice. Visit emirates.com/au/mso for full terms and conditions.