PLAYS SCHUMANN 3

18–21 AUGUST 2017

CONCERT PROGRAM ON SALE NOW!

SEASON 2018

GREAT PASSIONS

Featuring Anne-Sophie Mutter | Maxim Vengerov Thomas Hampson | Eva-Maria Westbroek

mso.com.au

Image Michelle Wood, cello Anne-Sophie Mutter supported by Mr Marc Besen AC and Mrs Eva Besen AO Melbourne Symphony Orchestra Johannes Fritzsch conductor Li-Wei Qin cello

Dvořák Cello Concerto

INTERVAL Trojahn Cinque sogni per Eusebius Schumann Symphony No.3 Rhenish

Running time: 2 hours, In consideration of your fellow patrons, including 20-minute interval the MSO thanks you for dimming the lighting on your mobile phone. Please note, Saturday’s pre-concert talk by MSO violinist, Monica Curro The MSO acknowledge the Traditional will be recorded for podcast by Owners of the land on which we are 3MBS Fine Music Melbourne. performing. We pay our respects to their Elders, past and present, and the Elders from other communities who may be in attendance.

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3 MELBOURNE SYMPHONY ORCHESTRA Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s oldest professional orchestra. Chief Conductor Sir has been at the helm of MSO since 2013. Engaging more than 2.5 million people each year, and as a truly global LI-WEI QIN orchestra, the MSO collaborates with CELLO guest artists and arts organisations from across the world. An exclusive Universal Music China Artist, Li-Wei Qin has appeared all over the world as a soloist and chamber musician. After being awarded the Silver Medal at the 11th Tchaikovsky International Competition, Li-Wei won the First Prize in the prestigious 2001 Naumburg Competition in New York. ‘A superbly stylish, raptly intuitive performer’ (Gramophone Magazine, January 2015) was the description JOHANNES FRIZTSCH of the cellist’s Elgar and Walton CONDUCTOR concertos recording with the London Philharmonic Orchestra. In 2015/2016, Johannes Fritzsch conducted the Queensland, Sydney, During the 17/18 season, Li-Wei West Australian, Adelaide and Tasmanian makes his debut with the London Symphony Orchestras, led performances Symphony Orchestra and the Russian of La traviata and Madama Butterfly Philharmonic Orchestra and also for Opera Queensland and Luisa Miller, appears with the Melbourne Symphony Il barbiere di Siviglia and Der fliegende Orchestra and China National Holländer for Hamburg Oper. In 2017, he Symphony Orchestra (North American conducts Die Entführung aus dem Serail tour). Other engagements include a and Madama Butterfly for Hamburg Oper return to the Finnish Radio Orchestra, and makes major appearances with the WASO and ASO, China Philharmonic Melbourne, Queensland and Tasmanian and Auckland Philharmonia Orchestras. Symphony Orchestras. He has recordings on Universal Music/ Mo. Fritzsch recently held the position Decca with Singapore Symphony, of Chief Conductor of the Grazer Oper on Sony Classical with the Shanghai and Grazer Philharmonisches Orchester, Symphony, and ABC Classics with Austria; from 2008-2014, he was Chief the London Philharmonic. Li-Wei Conductor of the Queensland Symphony plays a 1780 Joseph Guadagnini cello, Orchestra and was recently appointed generously loaned by Dr and Mrs Conductor Laureate. Wilson Goh. Image courtesy Dong Wang 4 PROGRAM NOTES

ANTONÍN DVOŘÁK no more about writing such a piece (1841–1904) until many years later, though he did orchestrate the four-hand piano piece Cello Concerto in B minor, B.191 Klid (Silent Woods) and the Rondo Op.104 B.171 Op.94 (originally for cello and Allegro piano) with solo parts for Wihan. Adagio ma non troppo Allegro moderato In 1894 Dvořák was living in New York, having accepted the invitation Li-Wei Qin cello of Jeannette Thurber to head the National Conservatory of Music Brahms was impressed. ‘If only I’d that she had founded there in 1885. known,’ he said, ‘that one could write a In March 1894, Dvořák attended cello concerto like that, I’d have written a performance by Victor Herbert one long ago!’ And he wasn’t just of his Second Cello Concerto. The being polite. Brahms had recognised Irish-born American composer and Dvořák’s talents early on, ensuring cellist is now best remembered for that the young composer received shows like Naughty Marietta and from the Imperial Government in Babes in Toyland, but his concerto, Vienna the Austrian State Stipendium, modelled on Saint-Saëns’ first, made an annual grant, for five years, and a huge impact on Dvořák, who re- persuading his own publisher, Simrock examined the idea of such a work of Berlin, to publish Dvořák’s music. for Wihan. The work was sketched But Brahms’ admiration aside, the between 8 November 1894 and New composition of what Dvořák scholar Year’s Day, and Dvořák completed John Clapham has called simply ‘the the full score early in February. greatest of all cello concertos’ was no Much to Dvořák’s annoyance, the first easy matter. In fact, it was his second performance of the concerto was attempt at the medium – the first, in not given by its dedicatee, Wihan. A major, was composed in 1865, but The London Philharmonic Society, appears only to have been written who premiered it at the Queen’s out in a cello and piano score. This Hall in March 1896, mistakenly work was rediscovered by the German believed Wihan to be unavailable, composer Günther Raphael in 1929. and engaged Leo Stern. Despite He made an orchestral version at Dvořák’s embarrassment, Stern must the time, as did Jarmil Burghauser in have delivered the goods, as Dvořák 1977, but the versions are significantly engaged him for the subsequent New different. That Dvořák left the work York, Prague and Vienna premieres unorchestrated suggests that he of the work. Wihan did, however, was dissatisfied with this first effort. perform the work often, and insisted Despite the urgings of his friend, the on making some ‘improvements’ to cellist Hanuš Wihan, Dvořák thought

5 PROGRAM NOTES

Dvořák’s score so that the cello part was sketching the slow movement at would be more virtuosic. Wihan also the time. The outer sections of this insisted on interpolating a cadenza movement are calm and serene, but in the third movement, which the Dvořák expresses his distress in an composer vehemently opposed. For impassioned gesture that ushers in an some reason Simrock was on the point emotionally unstable central section of publishing the work with Wihan’s in G minor, based on his song Kéž amendments, and only a stiff letter duch můj sám (Leave me alone) which from Dvořák persuaded the publisher was one of Josefina’s favourites. to leave out the cadenza. Brahms, Josefina died in the spring of incidentally, had by this time taken 1895, and Dvořák, by this time on the job of correcting the proofs of back in Bohemia, made significant Dvořák’s music before publication, alterations to the concluding coda to save the time of sending them of the third movement, adding some to and from the United States. 60 bars of music. The movement Despite being an ‘American’ work, the begins almost ominously with concerto is much more a reflection contrasting lyrical writing for the of Dvořák’s nostalgia for his native soloist. Dvořák’s additions to the Bohemia, and perhaps for the movement, and his determination composer’s father who died in 1894. not to diffuse its emotional power As scholar Robert Battey has noted, with a cadenza, allowed him, as ‘two characteristic Bohemian traits Battey notes, to revisit ‘not only the can be found throughout the work, first movement’s main theme, but namely pentatonic [‘black note’] scales also a hidden reference to Josefina’s and an aab phrase pattern, where a song in the slow movement. Thus, melody begins with a repeated phrase the concerto becomes something followed by a two bar ‘answer’.’ The of a shrine, or memorial.’ work is full of some of Dvořák’s most Gordon Kerry, Symphony Australia © 2004 inspired moments, such as the heroic The first performance of this concerto by the Melbourne first theme in the first movement, Symphony Orchestra took place on 3 June 1950 with and the complementary melody conductor and soloist Edmund Kurtz. The Orchestra’s most recent performance was in November for horn which adds immeasurably 2016 with Andrew Litton and Alban Gerhardt. to its Romantic ambience. The Bohemian connection became even stronger and more personal when Dvořák, working on the piece in December 1894, heard that his sister- in-law Josefina (with whom he had been in love during their youth) was seriously, perhaps mortally ill. Dvořák

6 MANFRED TROJAHN sogni per Eusebius, a principle lives on (born 1949) which Schumann invented: that of the sharply-contoured musical short form Cinque sogni per Eusebius which he featured in his conception of (Five Dreams for Eusebius) a “characteristic music” in precise form. Andante The first of the pieces, Andante, comes Vivace to life in the combination of the smallest, Molto adagio heterogenous elements and short tempo Moderato, leggiero developments at measured walking pace, Allegro assai whilst the second, Vivace, is characterised by a major break: out of a violent Harking back to the Romantic-era genre development of the tempo, the action of the character piece (a short work suddenly changes completely into a designed to evoke a specific mood), Moderato cantabile. The third piece is an German composer Manfred Trojahn’s expansively structured Adagio with great Cinque sogni per Eusebius is a homage intensification, whilst the fourth remains to Robert Schumann, or rather, to delicate throughout, with a melodic his literary and musical alter ego, the development: movement which at the reflective and dreamy Eusebius who, end leads to a steadily moving. In the last together with his counterpart Florestan movement, in a swirling three-eight time, (who represented Schumann’s more larger opposites are again juxtaposed. spirited side), inhabited the composer’s critical writings and piano cycles. The orchestra is scored for double woodwind, therefore corresponding “Dream is a romantic theme”, says with the early 19th century orchestra, Manfred Trojahn, “which doesn’t mean but with instrumental doublings (not that I could identify myself with the common then) such as contrabass rapturous-idealistic posture of the trombone and alto flute. With these, early Schumann. With Schumann I Trojahn produces a characteristic cannot find the irony that I feel in the idiom, such as when, in the opening late romanticism of a part of the Vivace “the moving motifs or Thomas Mann, which is closer to are overhung by a dark shading of low- my rather disturbed and distanced pitched alternating instruments, which view of the world. However, I have produce a quite soft carpet of sound in sympathy for Schumann’s outlook and the second part, which is rhythmically his E.T.A. Hoffmann-esque searching.” very divided.” Rapid signal-like calls Therefore it’s a memorial to the from the four horns create a mood full of composer who last worked in quotations which has many pre-echoes, Düsseldorf, but without explicit a “brief vocabulary” which evokes a musical references. And yet, in the natural landscape rich in allusions. five short orchestral pieces which Adapted from a note © Marie Luise Maintz Trojahn has composed with Cinque This is the first performance of the work by the MSO. 7 PROGRAM NOTES

ROBERT SCHUMANN premiered by Mendelssohn in (1810–1856) Leipzig in 1841. Vienna’s especially cold reception to the symphony in Symphony No.3 in E flat, Op.97 Rhenish November 1846, along with Leipzig’s Lebhaft (Lively) tepid response to his Symphony Scherzo (Sehr mässig Very moderately) No.2 that same month, bitterly Nicht schnell (Not fast) disappointed both Robert and Clara. Feierlich (Ceremonially) Lebhaft (Lively) Still Robert persevered. The Schumanns had not been especially As a young composer, Robert happy in Dresden and in 1850 Schumann wrote music chiefly on an embraced their move to the Rhineland, intimate scale. His love for Clara Wieck, delighting in what they found. Late in whom he married after a bitter legal September 1850, they took a Sunday battle with her father (teacher to them boat excursion on the Rhine from both), greatly nurtured his creative life. Düsseldorf to Cologne, a city ‘which Robert came forth with an astonishing enchanted us instantly’, Clara wrote in wealth of Lieder and song cycles; these, her diary. The new symphony, begun and his highly imaginative piano works, earlier that month, was finished by place him among the most revered December and received its premiere Romantic composers. The depth of his in Düsseldorf, with the composer lyricism, however, sought larger means , the following February. of expression. Clara, a celebrated The opening movement of Schumann’s concert pianist and a composer in Symphony No.3, marked Lebhaft her own right, earnestly encouraged (Lively), is immediately expansive Robert in this direction, believing ‘his in spirit. Despite the development’s music is all orchestral in feeling.’ introspective moments, an An early attempt at symphonic overriding exuberance prevails. composition, premiered during Robert’s An amiable, rounded melody in the low student days, led him to lament, ‘I strings and bassoons sets the second- consider this art so difficult that it movement Scherzo rowing through will take long years’ study to give me deep water in triple-metre motion, certainty and self-control.’ Schumann with a lighter contrasting second also noted the undeniable originality theme of scattered droplet-figures of Berlioz’s Symphonie fantastique and interwoven above it. An eloquent, rejoiced in Schubert’s Great C major sombre Trio of winds and brass ensues, Symphony, whose rediscovery and first encouraging the return of the initial performance he helped bring about. theme in increasingly bolder guises. His first completed symphony, the The third-movement intermezzo Spring Symphony in B flat, was radiates soulful warmth and

8 contentment as the symphony’s encouraged efforts to achieve greater centrepiece, which Schumann transparency in the performance indicated as Nicht schnell (Not fast), of early Romantic orchestral works. allowing the woodwind (prominently, This has helped to develop a more the clarinet) to bloom in gentle, enlightened understanding of graceful passages. As in the slow Schumann’s orchestration; though to movement of Schumann’s later Piano this day, conductors occasionally take Concerto, the contrasting theme judicious liberties with the scores, (initially in the bassoons and divided often to lighten textures so that low strings, joined by the horns) instrumental voices (and Schumann’s sings from the depths of the heart. ideas) may be heard more clearly. Dark, sustained, contrapuntally © Samuel C. Dixon ascending lines, first in the low brass, The MSO first performed this symphony on 10-11 September 1952 under conductor Juan José Castro, and most recently intone the austere, Feierlich (Solemn) in March 2001 with . fourth movement. Motivic repetition over slow-moving minor chords builds sonorities layer upon layer, summoning the awesome majesty of Cologne Cathedral, which greatly impressed the Schumanns on their visit. The buoyant fifth movement instantly restores the earlier Lebhaft optimism of E flat, gaining energy and momentum, and accelerating to a triumphant conclusion. Schumann’s symphonies have drawn their detractors over the years. The German conductor Felix Weingartner (1863-1942) wrote rather disparagingly of the Rhenish, judging its themes as essentially pianistic (therefore inadequately short for symphonic development), criticising its orchestration as thick and awkward, and prescribing ‘corrections’ to the score. Attitudes of this nature lingered through much of the 20th century. More recent scholarship and the period-instrument movement have

9 MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis SECOND VIOLINS CELLOS Chief Conductor Matthew Tomkins David Berlin Benjamin Northey Principal Principal Associate Conductor The Gross Foundation# MS Newman Family# Tianyi Lu Robert Macindoe Rachael Tobin Cybec Assistant Conductor Associate Principal Associate Principal Monica Curro Nicholas Bochner Conductor Laureate (1974-2006) Assistant Principal Assistant Principal Danny Gorog and Miranda Brockman # Lindy Susskind Geelong Friends FIRST VIOLINS Mary Allison of the MSO# Dale Barltrop Isin Cakmakcioglu Rohan de Korte Concertmaster # Freya Franzen Andrew Dudgeon Eoin Andersen Anonymous# Keith Johnson Concertmaster Cong Gu Sarah Morse Sophie Rowell Associate Concertmaster Andrew Hall Angela Sargeant # The Ullmer Family Foundation# Andrew and Judy Rogers Michelle Wood # John Marcus Rachel Homburg Andrew and Theresa Dyer Principal Isy Wasserman Peter Edwards Philippa West DOUBLE BASSES Assistant Principal Patrick Wong Steve Reeves Kirsty Bremner Roger Young Principal Sarah Curro Jacqueline Edwards* Andrew Moon Michael Aquilina# Associate Principal Michael Loftus-Hills* Peter Fellin Sylvia Hosking Assistant Principal Deborah Goodall VIOLAS Lorraine Hook Damien Eckersley Christopher Moore Benjamin Hanlon Kirstin Kenny Principal Ji Won Kim Di Jameson# Suzanne Lee Eleanor Mancini Fiona Sargeant Stephen Newton Sophie Galaise and David and Helen Moses# Associate Principal Clarence Fraser# Mark Mogilevski Lauren Brigden Michelle Ruffolo Katharine Brockman FLUTES Kathryn Taylor Christopher Cartlidge Prudence Davis Michael Aquilina# Michael Aquilina# Principal Oksana Thompson* Anthony Chataway Anonymous# Gabrielle Halloran Wendy Clarke Trevor Jones Associate Principal Cindy Watkin Sarah Beggs Elizabeth Woolnough PICCOLO Caleb Wright Andrew Macleod Principal

10 OBOES TRUMPETS MSO BOARD Jeffrey Crellin Geoffrey Payne Chairman Principal Principal Michael Ullmer Thomas Hutchinson Shane Hooton Associate Principal Associate Principal Managing Director Ann Blackburn William Evans Sophie Galaise The Rosemary Norman Daniel Henderson* Foundation# Board Members Andrew Dyer TROMBONES COR ANGLAIS Danny Gorog Brett Kelly Michael Pisani Principal Margaret Jackson AC Principal Richard Shirley Brett Kelly David Krasnostein CLARINETS BASS TROMBONE David Li David Thomas Mike Szabo Hyon-Ju Newman Principal Principal Helen Silver AO Philip Arkinstall Associate Principal TUBA Company Secretary Craig Hill Timothy Buzbee Oliver Carton Principal BASS CLARINET Jon Craven TIMPANI Principal Tony Bedewi^*

BASSOONS PERCUSSION Jack Schiller Robert Clarke Principal Principal Elise Millman John Arcaro Associate Principal Robert Cossom Natasha Thomas

HARP CONTRABASSOON Yinuo Mu Brock Imison Principal Principal

HORNS # Position supported by Valentin Eschmann* * Guest Musician Guest Principal ^ Courtesy of London Saul Lewis Symphony Orchestra Principal Third Jenna Breen Abbey Edlin Nereda Hanlon and Michael Hanlon AM# Trinette McClimont

11 SUPPORTERS

MSO PATRON MSO Audience Access VIRTUOSO PRINCIPAL The Honourable Linda Crown Resorts PATRONS $50,000+ PATRONS $5,000+ Dessau AC, Governor Foundation Di Jameson ◊ Christine and of Victoria Packer Family David Krasnostein and Mark Armour Foundation Pat Stragalinos John and Mary Barlow ARTIST CHAIR MSO Education Mr Ren Xiao Jian and Stephen and BENEFACTORS supported by Mrs Li Quian Caroline Brain Joy Selby Smith Mrs Margaret Ross Harold Mitchell AC Prof Ian Brighthope Orchestral Leadership AM and Kim Williams AM Linda Britten Chair Dr Ian Ross David and Emma MSO International IMPRESARIO Capponi The Cybec Foundation PATRONS $20,000+ Wendy Dimmick Cybec Assistant Touring supported by ◊ Andrew Dudgeon ◊ Conductor Chair Harold Mitchell AC Michael Aquilina The John and Jennifer Andrew and Theresa MSO Regional Touring ◊ The Ullmer Family Brukner Foundation Dyer Creative Victoria Foundation Perri Cutten and Mr Bill Fleming The Robert Salzer Associate Jo Daniell John and Diana Frew Foundation Concertmaster Chair Mary and Frederick Susan Fry and Don Anonymous The Pizzicato Effect Davidson AM Fry AO Principal Flute Chair Collier Charitable Fund Rachel and the late Sophie Galaise and The Marian and E.H. Clarence Fraser ◊ The Gross Foundation Hon. Alan Goldberg Flack Trust AO QC Geelong Friends of the Principal Second Violin Schapper Family MSO ◊ Chair Hilary Hall, in memory Foundation of Wilma Collie Jennifer Gorog Di Jameson Scobie and Claire Margaret Jackson AC HMA Foundation Principal Viola Chair Mackinnon Trust Mimie MacLaren Louis Hamon OAM MS Newman Family Supported by the John and Lois McKay Nereda Hanlon and ◊ Foundation Hume City Council’s Michael Hanlon AM Principal Cello Chair Community Grants MAESTRO PATRONS Hans and Petra Henkell Program $10,000+ Francis and Robyn Marc Besen AC and Eva (Anonymous) Hofmann Kaye and David Birks Besen AO Hartmut and Ruth Sidney Myer Free Mitchell Chipman 2018 Soloist in Hofmann Concerts Sir Andrew and Residence Chair Jack Hogan Supported by the Lady Davis Doug Hooley PROGRAM Myer Foundation Danny Gorog and Lindy Jenny and Peter BENEFACTORS and the University of Susskind ◊ Hordern Melbourne Robert & Jan Green Dr Alastair Jackson Cybec 21st Century Suzanne Kirkham D & CS Kipen on behalf Australian Composers CHAIRMAN’S The Cuming Bequest of Israel Kipen Program CIRCLE $100,000+ Ian and Jeannie Paterson Dr Elizabeth A Lewis AM The Cybec Foundation Marc Besen AC and Eva Lady Potter AC CMRI ◊ Peter Lovell Cybec Young Besen AO Elizabeth Proust AO Lesley McMullin Composer in John Gandel AC and Rae Rothfield Foundation Residence made Pauline Gandel Glenn Sedgwick Mr and Mrs D R Meagher possible by The Gross Foundation ◊ Helen Silver AO and David and Helen Moses ◊ The Cybec Foundation David and Angela Li Harrison Young Dr Paul Nisselle AM MS Newman Family Maria Solà East Meets West The Rosemary Norman Foundation ◊ Profs. G & G supported Foundation ◊ Anthony Pratt ◊ Stephenson, in honour by the Li Family Trust Ken Ong, in memory of The Pratt Foundation of the great Romanian Lin Ong Meet The Orchestra Joy Selby Smith musicians George Bruce Parncutt and made possible by Ullmer Family Enescu and Robin Campbell The Ullmer Family Foundation ◊ Gai and David Taylor Jim and Fran Pfeiffer Foundation Anonymous (1) Juliet Tootell Pzena Investment Alice Vaughan Charitable Fund Kee Wong and Wai Tang Andrew and Judy Jason Yeap OAM Rogers ◊

12 Max and Jill Schultz Bryan Lawrence Brockman OAM and Norman Lewis, Stephen Shanasy Ann and George Mrs Pat Brockman in memory of Mr Tam Vu and Dr Littlewood Dr John Brookes Dr Phyllis Lewis Cherilyn Tillman ◊ H E McKenzie Suzie and Harvey Gaelle Lindrea The Hon. Michael Watt Allan and Evelyn Brown Dr Anne Lierse QC and Cecilie Hall McLaren Jill and Christopher Andrew Lockwood Lyn Williams AM Don and Anne Buckley Violet and Jeff Anonymous (1) Meadows Bill and Sandra Burdett Loewenstein Marie Morton FRSA Peter Caldwell Elizabeth H Loftus ASSOCIATE Annabel and Rupert Joe Cordone Chris and Anna Long PATRONS $2,500+ Myer AO Andrew and The Hon. Ian Macphee Dandolo Partners Ann Peacock with Pamela Crockett AO and Mrs Julie Will and Dorothy Bailey Andrew and Woody Pat and Bruce Davis Macphee Bequest Kroger Dominic and Natalie Vivienne Hadj and Barbara Bell, in memory Sue and Barry Peake Dirupo Rosemary Madden of Elsa Bell Mrs W Peart Marie Dowling Eleanor and Phillip Bill Bowness Graham and Christine John and Anne Duncan Mancini Lynne Burgess Peirson Ruth Eggleston Dr Julianne Bayliss Oliver Carton Julie Reid Kay Ehrenberg In memory of Leigh John and Lyn Coppock Ruth and Ralph Renard Jaan Enden Masel Miss Ann Darby, S M Richards AM and Amy and Simon Feiglin John and Margaret in memory of M R Richards Grant Fisher and Mason Leslie J. Darby Tom and Elizabeth Helen Bird Ruth Maxwell Natasha Davies, for the Romanowski Barry Fradkin OAM and Jenny McGregor AM Trikojus Education Fund Jeffrey Sher QC and Dr Pam Fradkin and Peter Allen Merrowyn Deacon Diana Sher OAM Applebay Pty Ltd Glenda McNaught Beryl Dean Diana and Brian Snape David Frenkiel and Wayne and Penny Sandra Dent AM Esther Frenkiel OAM Morgan Peter and Leila Doyle Dr Norman and David Gibbs and Ian Morrey and Lisa Dwyer and Dr Sue Sonenberg Susie O'Neill Geoffrey Minter Dr Ian Dickson Geoff and Judy Merwyn and Greta JB Hi-Fi Ltd Jane Edmanson OAM Steinicke Goldblatt Patricia Nilsson Tim and Lyn Edward William and Jenny George Golvan QC and Laurence O'Keefe and Dr Helen M Ferguson Ullmer Naomi Golvan Christopher James Mr Peter Gallagher and Elisabeth Wagner Dr Marged Goode Alan and Dorothy Dr Karen Morley Brian and Helena Max Gulbin Pattison Leon Goldman Worsfold Dr Sandra Hacker AO Margaret Plant Dina and Ron Peter and Susan Yates and Mr Ian Kennedy AM Kerryn Pratchett Goldschlager Anonymous (8) Jean Hadges Peter Priest Colin Golvan QC and Michael and Treena Quarin Dr Deborah Golvan PLAYER PATRONS Susie Hamson Eli Raskin Louise Gourlay OAM $1,000+ Paula Hansky OAM Raspin Family Trust Peter and Lyndsey David and Cindy Abbey Merv Keehn and Bobbie Renard Hawkins ◊ Christa Abdallah Sue Harlow Peter and Carolyn Rendit Susan and Gary Hearst Dr Sally Adams Tilda and Brian Dr Rosemary Ayton and Colin Heggen, in Mary Armour Haughney Dr Sam Ricketson memory of Marjorie Arnold Bloch Leibler Penelope Hughes Joan P Robinson Drysdale Heggen Philip Bacon AM Basil and Rita Jenkins Cathy and Peter Rogers Rosemary and James Marlyn and Peter Stuart Jennings Doug and Elisabeth Scott Jacoby Bancroft OAM Dorothy Karpin Martin and Susan Shirley Jenkins Family Adrienne Basser Brett Kelly and Dr Sam Smorgon AO and Foundation Prof Weston Bate and Cindy Watkin Mrs Minnie Smorgon C W Johnston Family Janice Bate Dr Anne Kennedy John So John Jones Janet H Bell Julie and Simon Kessel Dr Michael Soon George and Grace Kass David Blackwell Kerry Landman Lady Southey AC Irene Kearsey and M J Anne Bowden William and Jennifer Steinicke Ridley Michael F Boyt Magdalena Leadston Dr Peter Strickland Kloeden Foundation The Late Mr John Andrew Lee Pamela Swansson

13 SUPPORTERS

Jenny Tatchell Alan (AGL) Shaw Ila Vanrenen The MSO relies Frank Tisher OAM and Endowment, managed The Hon. Rosemary Varty Dr Miriam Tisher by Perpetual Mr Tam Vu on your ongoing P and E Turner Telematics Trust Marian and philanthropic support The Hon. Rosemary Varty Terry Wills Cooke to sustain our Leon and Sandra Velik CONDUCTOR’S Mark Young artists, and support Sue Walker AM CIRCLE Anonymous (24) access, education, Elaine Walters OAM Jenny Anderson community and Gregory Walters David Angelovich The MSO gratefully engagement and Edward and Paddy White G C Bawden and acknowledges the more. We invite our Nic and Ann Willcock L de Kievit support received from suporters to get close Marian and Lesley Bawden the estates of to the MSO through Terry Wills Cooke Joyce Bown Angela Beagley a range of special Lorraine Woolley Mrs Jenny Brukner Neilma Gantner events. Panch Das and and the late Mr John Gwen Hunt Laurel Young-Das Brukner Audrey Jenkins The MSO welcomes Anonymous (21) Ken Bullen Pauline Marie Johnston your support at any Luci and Ron Chambers C P Kemp level. Donations THE MAHLER Beryl Dean Peter Forbes MacLaren of $2 and over are SYNDICATE Sandra Dent Joan Winsome Maslen tax deductible, David and Kaye Birks Lyn Edward Lorraine Maxine and supporters are Mary and Frederick Alan Egan JP Meldrum recognised as follows: Davidson AM Gunta Eglite Prof Andrew McCredie $1,000+ Tim and Lyn Edward Marguerite Garnon- Miss Sheila Scotter AM (Player) John and Diana Frew Williams MBE Francis and Robyn Louis Hamon OAM Marion A I H M Spence $2,500+ Hofmann Carol Hay Molly Stephens (Associate) The Hon. Dr Barry Tony Howe Jean Tweedie $5,000+ Jones AC Laurence O'Keefe and Herta and Fred B Vogel (Principal) Dr Paul Nisselle AM Christopher James Dorothy Wood Maria Solà Audrey M Jenkins $10,000+ The Hon. Michael Watt John and Joan Jones HONORARY (Maestro) QC and Cecilie Hall George and Grace Kass APPOINTMENTS $20,000+ Mrs Sylvia Lavelle Sir Elton John CBE (Impresario) TRUSTS AND Pauline and David Life Member FOUNDATIONS Lawton $50,000+ The Hon. Alan (Virtuoso) Ken and Asle Chilton Cameron Mowat Goldberg AO QC Trust, managed by Rosia Pasteur $100,000+ Life Member Perpetual Elizabeth Proust AO (Chairman’s Circle) Collier Charitable Fund Penny Rawlins Geoffrey Rush AC Crown Resorts Joan P Robinson Ambassador The MSO Conductor’s Foundation and Neil Roussac The Late John Circle is our bequest the Packer Family Anne Roussac-Hoyne Brockman OAM program for members Foundation Fred and Patricia Life Member who have notified of a The Cybec Foundation Russell planned gift in their Will. Ila Vanrenen The Marian and E.H. Suzette Sherazee Michael Ryan and Life Member Flack Trust ENQUIRIES Wendy Mead Gandel Philanthropy Phone Ann and Andrew Serpell Linnell/Hughes Trust, ◊ Signifies Adopt an MSO (03) 8646 1551 managed by Perpetual Jennifer Shepherd Musician supporter The Scobie and Claire Profs. Gabriela and Email Mackinnon Trust George Stephenson philanthropy@ Pamela Swansson The Harold Mitchell mso.com.au Foundation Lillian Tarry The Myer Foundation Dr Cherilyn Tillman The Pratt Foundation Mr and Mrs R P The Robert Salzer Trebilcock Foundation Michael Ullmer

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