SIR | ANNE-SOPHIE MUTTER MID-SEASON GALA

23 JUNE 2018

CONCERT PROGRAM Melbourne Symphony Orchestra Sir Andrew Davis conductor Anne-Sophie Mutter violin, Soloist in Residence* Stacey Alleaume soprano Jeremy Kleeman bass-baritone

Stravinsky The Fairy’s Kiss: Divertimento Tchaikovsky Violin Concerto

INTERVAL

Williams Markings Nielsen Symphony No.3 Sinfonia Espansiva

*Supported by Mr Marc Besen AC and Mrs Eva Besen AO

Running time: Two hours and 30 minutes, including a 20-minute interval

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2 MELBOURNE SYMPHONY SIR ANDREW DAVIS ORCHESTRA CONDUCTOR

Established in 1906, the Melbourne Chief Conductor of the Melbourne Symphony Orchestra (MSO) is an Symphony Orchestra, Sir Andrew arts leader and Australia’s longest- Davis is also Music Director and running professional orchestra. Chief Principal Conductor of the Lyric Opera Conductor Sir Andrew Davis has of Chicago. He is Conductor Laureate been at the helm of MSO since 2013. of both the BBC Symphony Orchestra Engaging more than 4 million people and the Toronto Symphony, where he each year, the MSO reaches diverse has also been named interim Artistic audiences through live performances, Director until 2020. recordings, TV and radio broadcasts In a career spanning more than and live streaming. 40 years he has conducted virtually The MSO works with Associate all the world’s major orchestras Conductor Benjamin Northey and and opera companies, and at the Cybec Assistant Conductor Tianyi Lu, major festivals. Recent highlights as well as with such eminent recent have included Die Walküre in a new guest conductors as Tan Dun, John production at Chicago Lyric. Adams, Jakub Hrůša and Jukka-Pekka Sir Andrew’s many CDs include Messiah Saraste. It also collaborates with non- nominated for a 2018 GRAMMY® classical musicians such as Elton John, Award, Bliss’ The Beatitudes, and a Nick Cave and Flight Facilities. recording with the Bergen Philharmonic of Vaughan Williams’ Job/Symphony No.9 nominated for a 2018 BBC Music Magazine Award. With the MSO he has just released a third recording in the ongoing series, featuring the Alpine Symphony and Till Eulenspiegel.

3 ANNE-SOPHIE MUTTER STACEY ALLEAUME VIOLIN SOPRANO

Anne-Sophie Mutter is a four- Praised for her voice of remarkable time GRAMMY® Award winner. beauty, warmth, character and Contemporary composers such expression, Australian-Mauritian Soprano as Krzysztof Penderecki, Sofia Stacey Alleaume is embarking on a Gubaidulina, Wolfgang Rihm and promising and exciting operatic career. John Williams have all composed for In 2016, she received the Dame Joan her. She premiered Sir André Previn’s Sutherland Scholarship for outstanding The Fifth Season at Carnegie Hall in Australian operatic talent and became a March 2018. Future performances member of the Moffatt Oxenbould Young include a recital of Mozart, Brahms and Artist Program at Opera Australia. In her Franck sonatas with Daniel Barenboim first season with the company, Alleaume and performances of Beethoven, performed as Micaëla in Carmen, Unsuk Chin (a world premiere) and Flower Maiden 1 in Parsifal and Violetta John Williams’ Markings at Berlin’s Valery in La Traviata. In the current Philharmonie. season, Alleaume returns to Australia as Valencienne in The Merry Widow, Micaëla Anne-Sophie Mutter dedicates herself in Carmen, Fiorilla in Il Turco in Italia and to numerous benefit projects and, Violetta. She will also cover the role of since 2011, has regularly shared the Gilda in Rigoletto. stage with The Mutter Virtuosi, an ensemble formed from former and Stacey Alleaume joined the Performance current scholarship-holders of the Program at The Opera Studio Melbourne Anne-Sophie Mutter Foundation. Her in 2010. Since then, the soprano’s artistic latest disc is a recording of Schubert’s development has been supported by Trout Quintet with Daniil Trifonov, numerous awards and accolades. In Maximilian Hornung, Hwayoon Lee 2011, Alleaume received grants from and Roman Patkoló. the PPCA Performers’ Trust Foundation and Opus 50 Charitable Trust. She was The MSO is thrilled to host Anne- awarded the Dame Nellie Melba Opera Sophie as 2018 Soloist in Residence. Trust Scholarship in 2010 and was honoured again in 2012 with the Melba Opera Trust’s Amelia Joscelyne Reserve Scholarship and the Ruskin Family Opera Award.

4 JEREMY KLEEMAN BASS-BARITONE

A graduate of Victorian Opera’s Developing Artist Program and of Melbourne Conservatorium of Music, Jeremy Kleeman has also been a Melba Opera Trust Scholar, the recipient of the Dame Heather Begg Award and has received both Helpmann and Green Room Award nominations. Jeremy has performed with Opera Australia (title role, The Marriage of Figaro), Victorian Opera (The Cunning Little Vixen), State Opera of South Australia (Cloudstreet), Sydney Chamber Opera (The Rape of Lucretia), Pinchgut Opera (The Coronation of Poppea), Brisbane Baroque (Faramondo), Musica Viva (Voyage to the Moon), Royal Melbourne Philharmonic Society, Consort of Melbourne, Melbourne Bach Choir and the Canberra International Music Festival. Jeremy’s 2018 engagements include Walter Furst in William Tell and Albert in The Magic Pudding (Victorian Opera), and Collatinus in The Rape of Lucretia at Dark MoFo, Hobart, Nielson Symphony No.3 with Melbourne Symphony Orchestra, Opera by the Lakes and Second Elder (Susanna) for Handel In The Theatre, Canberra.

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Leonard Bernstein by Paul de Hueck, Courtesy of the Leonard Bernstein Office

6 PROGRAM NOTES Diaghilev was mounting his lavish production of The Sleeping Beauty at London’s Alhambra Theatre, Stravinsky IGOR STRAVINSKY declared, in a letter to the Times, (1882-1971) that Sleeping Beauty was ‘the most The Fairy’s Kiss: Divertimento convincing example of Tchaikovsky’s great creative power’. He arranged two Sinfonia numbers for the London production, Swiss Dances and Waltz and his affection for this music is still Scherzo apparent in the 1963 rehearsal of Pas de deux the ‘Bluebird pas de deux’ included on CBS’s complete set of Stravinsky Stravinsky first established his Conducts recordings. Rubinstein gave reputation in the West through his Stravinsky free rein to choose both association with Sergei Diaghilev’s the subject matter and scenario of the legendary Ballets Russes, for whom ballet. He fashioned a storyline from he composed the ballets which have Hans Christian Andersen’s tale The Ice remained his most popular works – Maiden, and decided to base his work The Firebird (1910), Petrushka (1911) on a selection of Tchaikovsky’s non- and The Rite of Spring (1913). orchestral pieces – mostly piano and vocal works. Towards the end of 1927, the dancer Ida Rubinstein, who was planning The scenario is intended to be taken to establish a dance company of as an allegory of Tchaikovsky’s her own, approached Stravinsky’s creative life. A child, separated from publishers to enquire whether she his mother, is found and kissed by a might include his new ballet Apollon Fairy, then taken away to be looked musagète in her repertoire. She was after by villagers. At a village fête told that the European rights rested some 18 years later, the young man with Diaghilev, so she submitted to is celebrating with his fiancée when Stravinsky two ideas for new works, the Fairy, disguised as a gypsy, enters one of which he liked immediately. and tells the young man his future, This was to compose a score inspired promising good fortune. The young by the music of Tchaikovsky who had man and his fiancée dance by a mill, been a childhood idol. but when the fiancée goes away to put on her bridal dress, the Fairy appears, Stravinsky cherished memories of and lures the young man away with Tchaikovsky, pointed out to him by her. She bestows her fatal kiss on the his father Feodor at the Mariinsky young man, and encloses him forever Theatre during the 50th anniversary in the land of Eternal Dwelling. production of Ruslan and Ludmila in 1893, two weeks before Tchaikovsky Stravinsky chose about half of the died. But Stravinsky’s lifelong regard complete ballet for inclusion in the for Tchaikovsky was founded on a four-movement Divertimento. In the great love for his music. In 1921, when Sinfonia, the Fairy kisses the child and

7 disappears; Swiss Dances and Waltz what may be called ‘aboriginal’ Russian is the village fair and the young man’s and Ukrainian folk material in The Rite betrothal. The Fairy leads the young of Spring. In the 1920s, as Stravinsky man to his fiancée, playing round began to pare down his style and games with her friends, in the Scherzo, subscribe to the values of Classicism, and the young couple dance together he also began to align himself with the in the Pas de deux. more cosmopolitan strand of Russian culture, and he dedicated the short one- It could be said that the scenario act opera Mavra (1921) to the ‘trinity’ of reveals some ambivalence towards Glinka, Pushkin and Tchaikovsky. In The Tchaikovsky’s art. The Fairy who Fairy’s Kiss, Stravinsky’s expression of bestows the kiss turns out to be malign. love for an honoured predecessor, there Lawrence Morton has suggested that, is a curious and moving warmth. in Stravinsky’s mind, the fatal kiss planted on Tchaikovsky represented In one sense, however, The Fairy’s ‘the vulgarity of his symphonic climaxes Kiss did signify a rupture. Diaghilev and his boring sequences’. Morton was furious that one of his protégés further points out that the aspect of should have been associated with Tchaikovsky’s music most altered by such an inferior undertaking as the Stravinsky is melody, the element most Ida Rubinstein Company, and the first people would argue was Tchaikovsky’s performance at the Paris Opera on real strength. But who could be 27 November 1928 could be considered confident in completely accepting the the end of their relationship. modernist Morton’s view of Stravinsky’s dissatisfaction with Tchaikovsky’s style? Gordon Kalton Williams Symphony Australia © 1998/2005 This work is the product of a deep The Melbourne Symphony Orchestra first immersion in an earlier countryman’s performed this work on 28 November 1961 during Stravinsky’s visit to Australia, under the art. Tchaikovsky’s voice may sound, direction of Robert Craft. The Orchestra most from a rewrought version of his song recently performed it on 15-17 November 2007 with Markus Stenz. Tant triste, tant douce to a cadential figure from the Fifth Symphony, to a mere whiff of None but the Lonely PETER ILYICH TCHAIKOVSKY Heart, another of Tchaikovsky’s songs, (1840-1893) but the chugging rhythms, the precise Violin Concerto in D, Op.35 articulations, the orchestration, ‘the syntax, idiom, accent, craft’ – there Allegro moderato – Moderato assai is not a bar that is not pure Stravinsky. Canzonetta (Andante) It has been claimed that a certain Finale (Allegro vivacissimo) spirit went out of Stravinsky’s music Anne-Sophie Mutter violin once he severed links finally with his homeland. The popular early ballets are It was the winter of 1877, and imbued with the spirit of Russia, and Tchaikovsky was in love. He wrote Richard Taruskin has shown how deeply to his brother Modest about the Stravinsky absorbed and transmuted ‘unimaginable force’ of the passion

8 that had developed; its object was patron, Nadezhda von Meck, to point a young violinist and student at the out that one could only depict such Moscow Conservatorium, Josef Kotek. states in retrospect. In any event, it Kotek was a devoted and affectionate seems likely that, apart from honouring but platonic friend to Tchaikovsky, but a promise to Kotek, Tchaikovsky found soon became besotted with a fellow the conventions of the violin concerto (female) student. The composer’s offered a way of writing a large-scale ardour cooled quickly, and within work without the personal investment three weeks of discovering Kotek’s of the opera and symphony. new relationship, Tchaikovsky had Like the great concertos of Beethoven, made his fateful proposal to Antonina Brahms, Mendelssohn and Sibelius, Milyukova, a former Conservatorium Tchaikovsky’s is in three substantial student who had fallen in love with him. movements. The first develops two They married two months later, and as characteristic themes within a tracery the depth of their cultural and personal of brilliant virtuoso writing for the violin, differences quickly became clear, and like Mendelssohn, Tchaikovsky Tchaikovsky left his wife two months places the solo cadenza before the after that. recapitulation of the opening material. Kotek and Tchaikovsky remained As in the slow movement of the Fourth friends, however, and the Violin Symphony, the central Canzonetta Concerto seems to have grown out works its magic by the deceptively of a promise that the composer made simple repetition of its material. The to write a piece for one of Kotek’s work concludes with a bravura, ‘Slavic’ upcoming concerts. While Kotek Finale which is interrupted only by a was not, ultimately, the dedicatee or motif for solo oboe which for one writer first performer of the work, he was recalls, nostalgically, a moment in the of enormous help to Tchaikovsky in ‘Letter Scene’ from Onegin (which playing through sections of the piece itself parallels the relationship between as the composer finished them. Tchaikovsky and Antonina). After leaving his wife, Tchaikovsky, The work was initially dedicated to the accompanied by one or other of his virtuoso Leopold Auer, who thought brothers (and at one point Kotek it far too difficult and refused to play himself), travelled extensively in it. In 1881 Adolf Brodsky gave the Western Europe. Tchaikovsky worked premiere in Vienna, where that city’s on the Violin Concerto in Switzerland most feared critic, Eduard Hanslick, in early 1878, not long after completing tore the piece to shreds: the Fourth Symphony and the opera The violin is no longer played; it is Eugene Onegin. Commentators are pulled, torn, drubbed…We see plainly generally agreed that both of those the savage vulgar faces, we hear works reflect Tchaikovsky’s emotional curses, we smell vodka…Tchaikovsky’s reactions to the traumatic events of Violin Concerto gives us for the first his marriage, though the composer time the notion that there can be himself was careful, in a letter to his music that stinks to the ear.

9 Hanslick, like many a music critic, Anne-Sophie Mutter has commissioned made a bad call; Tchaikovsky had leading composers such as Sofia written one of the best-loved works Gubaidulina, Wolfgang Rihm, and Sir of the concerto repertoire. André Previn (who, according to New Music USA, remembers Williams from Gordon Kerry © 2003 their days playing for a ballroom dance The Melbourne Symphony Orchestra first school ‘on La Brea Avenue’). Mutter performed this concerto on 21 May 1938 with conductor George Szell and soloist wanted Williams to write a piece for Lionel Lawson. The Orchestra’s most recent her because, as she said in a 2017 performance was on 28 February 2017, with Benjamin Northey and Maxim Vengerov. Boston Globe interview: ‘He just understands how to write for instruments…how to put instruments JOHN WILLIAMS into the best possible position to soar…’ (Born 1932) Markings was premiered on 16 July Markings for solo violin, strings and harp 2017 at Tanglewood, Massachusetts, summer home of the Boston Symphony, Anne-Sophie Mutter violin whose Pops orchestra Williams has conducted for nearly 40 years. Mutter It may seem strange to begin a was soloist; conductor, Andris Nelsons. program note by pointing out that John Williams is the most Oscar®-nominated Williams has written many tuneful violin living person (his score to Star Wars: solos in his films, but Markings is atonal. Episode VIII – The Last Jedi being the David Robertson, chief conductor of most recent nomination). But Williams the Sydney Symphony Orchestra, has is also arguably the the world’s most commented on the way Williams ‘puts famous composer for orchestra an atmosphere in place…we begin – reaching all age groups. Last wondering about what kind of story September I saw the Hollywood Bowl will be told.’ He adds, ‘What really (capacity 17,500) packed with young impresses me in the piece is the way people waiting with their lightsabers to that small intervals, notes that are very hear the music of an 85-year-old man. close together, evoke a kind of intimacy As a film composer, Williams ranges that is then constantly being pulled from banjo/harmonica music for Arthur apart. It almost feels like something Penn’s movie The Missouri Breaks to very personal comes under wide public the ‘bebop’ of Catch Me If You Can, scrutiny…’ directed by Steven Spielberg. But Markings begins ‘hushed but warmly’. Williams has also, during his career, The violin sound is sonorous (but created concert works, including, in ‘reflective’), emphasising the g-string, 1976, a violin concerto recorded by Gil before ranging more widely. The soloist Shaham. (Incidentally, there are many expounds song-like music over a slow musicians who enjoy Williams’ film tread before the music enters a dance- music as music, without reference to like phase (harp now joining), which is the films.) then pulled back for a cadenza before a short coda (the lyrical song again,

10 ascending into the violin’s highest modest salary, he also received a small range). What is this music about? Does state pension, buying time out from Markings refer to the detailed attention private teaching to devote instead to to attack and declamation? Never mind, composition. In 1902 he conducted the the music speaks to us directly and premieres of his first opera, Saul and leaves us curious for more. David, and his Second Symphony (‘The four temperaments’). The comic opera Gordon Kalton Williams © 2018 Maskarade (1906) was his first popular This is the first performance of Markings success. A tone poem Saga-Dream by the Melbourne Symphony Orchestra. (1908), drawing on Icelandic folklore, was a notable musical precursor to the CARL NIELSEN Third Symphony, completed early in (1865-1931) 1911, and the Violin Concerto, written later that same year. Nielsen conducted Symphony No.3, Op.27, Sinfonia the Copenhagen premieres of both espansiva (1910-11) symphony and concerto early in 1912, and Allegro espansivo a subsequent Amsterdam performance of Andante pastorale the symphony with the Concertgebouw Orchestra earned a warm reception that Allegretto un poco contributed to it becoming his first real Finale (Allegro) European success. Stacey Alleaume soprano What Nielsen once described as ‘unison jerks’, the symphony’s stuttering first Jeremy Kleeman bass-baritone chords set off an ‘expansive’ Allegro Nielsen was born and schooled in a small ‘meant as a gust of energy and life- rural town on the central Danish island affirmation blown out into the wide of Funen, and after a brief unhappy stint world’. The main melodic thread of as a grocer’s apprentice, in 1879 aged the first movement – indeed, much 14, enlisted as a brass player in a military of the entire symphony – seems to band in the region’s nearby capital, exist in a perpetual modal hinterland Odense. In 1884, he won a place in Niels teetering uneasily between major Gade’s conservatory in Copenhagen, and minor, lending the music both where for the three years his chief its internal energy, and an audible studies were violin and music theory, instability, against which it constantly and in 1888 he returned briefly to strives for some sort of resolution. The Odense to conduct the premiere of themes themselves are caught up in a his official ‘opus 1’, a suite for strings. process of ongoing transformation. The He joined the Royal Theatre orchestra arching, waltz-like main tune (which in 1889, serving as rank-and-file came to Nielsen while he was riding second violinist for 16 years under on a Copenhagen tram) can reappear Johan Svendsen, whom he ultimately so altered in shape that, by rights, it succeeded as second conductor in should be virtually unrecognisable, and 1908. From 1901, in addition to his yet somehow remains indelibly itself. In the opening part, one searing tutti

11 succeeds another in hyper-energised in which ‘both evil and good are succession, more than once avoiding manifested without any real settling resolution by merely fading away. of the issue’. Its beginning and ending Contrasting quieter episodes offer are deceptively demure, and its core, a more closely focused interplay of characterised by a combination of orchestral colours and fugue-like skittish energy subverted by a restless counterpoints. An audible landmark, rhythmic undertow, remains too just past the movement’s halfway conflicted, and insufficiently carefree, mark, is a big, brassy reworking of to keep up much pretence to being the theme as a sort of circus calliope a conventional scherzo. Its mood of tune. Into the home stretch, the partially thwarted dynamism anyway toe-tapping waltz rhythm becomes throws into even greater relief the irresistible. Yet the ending is curiously ensuing finale – Nielsen called it a off-centre, the final chord more a ‘hymn to work’ – that not only reveals colon than a full-stop, sidestepping the composer himself restored to full any anticipated resolution. health and resolve, but once again also alive to the ‘activity and ability Nielsen intended the first movement’s manifested on all sides around us’. expression of ‘strong tension (espansiva)’ The unassuming march-like theme to be ‘completely eliminated in the (he described it as ‘healthy-popular’) second by idyllic calm’. A sense of probably reminded many of the work’s ‘peace in nature’ pervades, despite what early Danish audiences of Nielsen’s best he described as the ‘ambivalent mood known song setting Jens vejmand (Jens between major and minor’ in which the roadbuilder), and, even as invested the movement begins and ends, and later with a certain unavoidable the more elegiac mood of the central grandeur, the tune persists, to its episode. When male and female human very last reprise, speaking the simple, voices enter with a wordless vocalise straightforward language of the folk. ‘it is only to underscore the mood one could imagine in paradise before the © Graeme Skinner, 2018 fall of our first parents, Adam and The first Australian performance of this work was Eve’. Representing one of the most given by the Melbourne Symphony Orchestra sublime moments in his creative life, on 28 September 1985 under conductor , with vocal soloists Felicity Lott and Roger this movement was played at Nielsen’s Lemke. The MSO most recently performed it in funeral in 1931. July 1994 with Hugh Wolff and soloists Amanda Colliver and Roger Howell. Having put the final touches to this idyllic vision in July 1910, Nielsen was plunged back into harsh reality by one of his frequent bouts of depression and creative inertia, and it wasn’t until autumn that he was able to press ahead with the third movement. Perhaps reflecting his lingering malaise at the time, he later described it as music

12 Beethoven and Brahms Joshua Weilerstein conductor Jayson Gillham piano

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13 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# Anthony Pratt# Robert Macindoe Rachael Tobin Tianyi Lu Associate Principal Associate Principal Cybec Assistant Conductor Monica Curro Nicholas Bochner Hiroyuki Iwaki Assistant Principal Assistant Principal Conductor Laureate Danny Gorog and Lindy (1974–2006) # Miranda Brockman Susskind Geelong Friends of the MSO# FIRST VIOLINS Mary Allison Rohan de Korte # Dale Barltrop Isin Cakmakcioglu Andrew Dudgeon Concertmaster Freya Franzen Keith Johnson # Sophie Rowell Anonymous Sarah Morse Concertmaster Zoe Freisberg Angela Sargeant The Ullmer Family Foundation# Cong Gu Michelle Wood Peter Edwards Andrew Hall Andrew and Theresa Dyer# Assistant Principal Andrew and Judy Rogers# John McKay and Lois McKay# Rachel Atkinson* Isy Wasserman Kirsty Bremner DOUBLE BASSES Sarah Curro Philippa West Michael Aquilina# Patrick Wong Steve Reeves Principal Peter Fellin Roger Young Deborah Goodall Andrew Moon Jacqueline Edwards* Associate Principal Lorraine Hook VIOLAS Sylvia Hosking Anne-Marie Johnson Assistant Principal Kirstin Kenny Christopher Moore Principal Damien Eckersley Ji Won Kim Di Jameson# Benjamin Hanlon Eleanor Mancini Fiona Sargeant Suzanne Lee Mark Mogilevski Associate Principal Stephen Newton Michelle Ruffolo Lauren Brigden Sophie Galaise and Clarence Kathryn Taylor Mr Tam Vu and Dr Cherilyn Fraser# # Michael Aquilina# Tillman Robert Nairn* Amy Brookman* Katharine Brockman Vivian Siyuan Qu* Madeleine Jevons* Christopher Cartlidge # FLUTES Michael Loftus-Hills* Michael Aquilina Susannah Ng* Anthony Chataway Prudence Davis Dr Elizabeth E Lewis AM# Oksana Thompson* Principal Gabrielle Halloran Anonymous# Nicholas Waters* Trevor Jones Wendy Clarke Associate Principal Cindy Watkin Sarah Beggs Elizabeth Woolnough Caleb Wright PICCOLO Lisa Grosman* Andrew Macleod Helen Ireland* Principal 14 Sophie Kesoglidis* OBOES Alexander Morton* MSO BOARD Jeffrey Crellin Rachel Shaw*‡ Chairman Principal TRUMPETS Michael Ullmer Thomas Hutchinson Associate Principal Geoffrey Payne* Managing Director Guest Principal Ann Blackburn Sophie Galaise The Rosemary Norman Shane Hooton Foundation# Associate Principal Board Members William Evans COR ANGLAIS Andrew Dyer Rosie Turner Danny Gorog Michael Pisani Principal TROMBONES Margaret Jackson AC David Krasnostein Rachel Curkpatrick* Brett Kelly Principal David Li CLARINETS Richard Shirley Hyon-Ju Newman David Thomas Tim and Lyn Edward# Helen Silver AO Principal Mike Szabo Philip Arkinstall Principal Bass Trombone Company Secretary Associate Principal Oliver Carton Craig Hill TUBA BASS CLARINET Timothy Buzbee Principal Jon Craven David J. Saltzman* Principal TIMPANI** BASSOONS Christopher Lane Jack Schiller Principal PERCUSSION Elise Millman Robert Clarke Associate Principal Principal Natasha Thomas John Arcaro # CONTRABASSOON Tim and Lyn Edward Robert Cossom Brock Imison Principal HARP Colin Forbes-Abrams* Yinuo Mu HORNS Principal Ben Jacks*† Guest Principal # Position supported by Saul Lewis * Guest Musician Principal Third † Courtesy of Sydney Symphony Ian Wildsmith* Orchestra Guest Principal Third ‡ Courtesy of Orchestra Victoria Abbey Edlin ** Timpani Chair position supported Nereda Hanlon and Michael by Lady Potter AC CMRI Hanlon AM# Trinette McClimont 15 Supporters

MSO PATRON PROGRAM BENEFACTORS The Honourable Linda Dessau AC, Cybec 21st Century Australian Composers Governor of Victoria Program The Cybec Foundation East Meets West Supported by the Li Family Trust CHAIRMAN’S CIRCLE Meet The Orchestra Made possible by The Ullmer Family Foundation Marc Besen AC and Eva Besen AO MSO Audience Access Crown Resorts The Gross Foundation Foundation, Packer Family Foundation Harold Mitchell Foundation MSO Building Capacity Gandel Philanthropy David and Angela Li (Director of Philanthropy) Harold Mitchell AC MSO Education Supported by Mrs Margaret Ross MS Newman Family Foundation AM and Dr Ian Ross Lady Potter AC CMRI MSO International Touring Supported by Harold Joy Selby Smith Mitchell AC The Cybec Foundation MSO Regional Touring Creative Victoria, The Pratt Foundation Freemasons Foundation Victoria, The Robert The Ullmer Family Foundation Salzer Foundation, Anonymous Anonymous (1) The Pizzicato Effect (Anonymous), Collier Charitable Fund, The Marian and E.H. Flack Trust, ARTIST CHAIR Scobie and Claire Mackinnon Trust, Supported by the Hume City Council’s Community Grants BENEFACTORS Program Associate Conductor Chair Sidney Myer Free Concerts Supported by the Benjamin Northey Myer Foundation and the University of Melbourne Anthony Pratt Orchestral Leadership Joy Selby Smith PLATINUM PATRONS Cybec Assistant Conductor Chair $100,000+ Tianyi Lu Marc Besen AC and Eva Besen AO The Cybec Foundation John Gandel AC and Pauline Gandel Associate Concertmaster Chair The Gross Foundation Sophie Rowell David and Angela Li The Ullmer Family Foundation MS Newman Family Foundation 2018 Soloist in Residence Chair Anthony Pratt Anne-Sophie Mutter The Pratt Foundation Marc Besen AC and Eva Besen AO Lady Potter AC CMRI Young Composer in Residence Joy Selby Smith Ade Vincent Ullmer Family Foundation The Cybec Foundation Anonymous (1)

VIRTUOSO PATRONS $50,000+ Di Jameson David Krasnostein and Pat Stragalinos Harold Mitchell AC Kim Williams AM

16 IMPRESARIO PATRONS Andrew Dudgeon AM Andrew and Theresa Dyer $20,000+ Mr Bill Fleming Michael Aquilina John and Diana Frew The John and Jennifer Brukner Foundation Susan Fry and Don Fry AO Mary and Frederick Davidson AM Sophie Galaise and Clarence Fraser Margaret Jackson AC Geelong Friends of the MSO Andrew Johnston R Goldberg and Family Mimie MacLaren Jennifer Gorog John and Lois McKay HMA Foundation Maria Solà Louis Hamon OAM Nereda Hanlon and Michael Hanlon AM MAESTRO PATRONS Hans and Petra Henkell $10,000+ Hartmut and Ruth Hofmann Doug Hooley Kaye and David Birks Jenny and Peter Hordern Mitchell Chipman Dr Alastair Jackson Tim and Lyn Edward Rosemary and James Jacoby Danny Gorog and Lindy Susskind Dr Elizabeth A Lewis AM Robert & Jan Green Norman Lewis, in memory of Dr Phyllis Lewis Hilary Hall, in memory of Wilma Collie Peter Lovell The Hogan Family Foundation Lesley McMullin Foundation International Music and Arts Foundation Mr Douglas and Mrs Rosemary Meagher Suzanne Kirkham Marie Morton FRSA The Cuming Bequest Dr Paul Nisselle AM Gordan Moffat AM The Rosemary Norman Foundation Ian and Jeannie Paterson Ken Ong, in memory of Lin Ong Elizabeth Proust AO Bruce Parncutt AO Xijian Ren and Qian Li Jim and Fran Pfeiffer Glenn Sedgwick Pzena Investment Charitable Fund Helen Silver AO and Harrison Young Andrew and Judy Rogers Gai and David Taylor Rae Rothfield Juliet Tootell Max and Jill Schultz Alice Vaughan Jeffrey Sher QC and Diana Sher OAM Harry and Michelle Wong Profs. G & G Stephenson, in honour of the great Jason Yeap OAM Romanian musicians George Enescu and Dinu Lipatti Tasco Petroleum PRINCIPAL PATRONS Mr Tam Vu and Dr Cherilyn Tillman $5,000+ The Hon. Michael Watt QC and Cecilie Hall Christine and Mark Armour Lyn Williams AM John and Mary Barlow Anonymous (2) Barbara Bell, in memory of Elsa Bell Stephen and Caroline Brain Prof Ian Brighthope David and Emma Capponi May and James Chen Wendy Dimmick

17 ASSOCIATE PATRONS PLAYER PATRONS $1,000+ $2,500+ David and Cindy Abbey Dandolo Partners Christa Abdallah Will and Dorothy Bailey Bequest Dr Sally Adams David Blackwell OAM Mary Armour Anne Bowden Dr Rosemary Ayton and Dr Sam Ricketson Julia and Jim Breen Marlyn and Peter Bancroft OAM Lynne Burgess Adrienne Basser Oliver Carton Janice Bate and the Late Prof Weston Bate John and Lyn Coppock Janet Bell Ann Darby, in memory of Leslie J. Darby Michael F Boyt Natasha Davies, for the Trikojus Education Fund Patricia Brockman Merrowyn Deacon Dr John Brookes Sandra Dent Stuart Brown Peter and Leila Doyle Suzie Brown OAM and Harvey Brown Duxton Vineyards Roger and Col Buckle Lisa Dwyer and Dr Ian Dickson Jill and Christopher Buckley Jane Edmanson OAM Shane Buggle Jaan Enden John Carroll Dr Helen M Ferguson Andrew and Pamela Crockett Mr Peter Gallagher and Dr Karen Morley Panch Das and Laurel Yound-Das Dina and Ron Goldschlager Beryl Dean Leon Goldman Rick and Sue Deering Colin Golvan AM QC and Dr Deborah Golvan Dominic and Natalie Dirupo Louise Gourlay OAM John and Anne Duncan Susan and Gary Hearst Valerie Falconer and the Rayner Family in memory of Keith Falconer Colin Heggen, in memory of Marjorie Drysdale Heggen Grant Fisher and Helen Bird Jenkins Family Foundation Barry Fradkin OAM and Dr Pam Fradkin John Jones Applebay Pty Ltd George and Grace Kass David Frenkiel and Esther Frenkiel OAM Irene Kearsey and M J Ridley David Gibbs and Susie O’Neill The Ilma Kelson Music Foundation Merwyn and Greta Goldblatt Bryan Lawrence George Golvan QC and Naomi Golvan John and Margaret Mason Dr Marged Goode H E McKenzie Prof Denise Grocke AO Allan and Evelyn McLaren Max Gulbin Sue and Barry Peake Dr Sandra Hacker AO and Mr Ian Kennedy AM Mrs W Peart Jean Hadges Graham and Christine Peirson Michael and Susie Hamson Julie and Ian Reid Paula Hansky OAM Peter and Carolyn Rendit Merv Keehn & Sue Harlow S M Richards AM and M R Richards Tilda and Brian Haughney Tom and Elizabeth Romanowski Anna and John Holdsworth Diana and Brian Snape AM Penelope Hughes Peter J Stirling Basil and Rita Jenkins Anonymous (8) Dorothy Karpin Brett Kelly and Cindy Watkin Dr Anne Kennedy Julie and Simon Kessel Kerry Landman

18 Diedrie Lazarus THE MAHLER SYNDICATE William and Magdalena Leadston Gaelle Lindrea David and Kaye Birks Dr Susan Linton Mary and Frederick Davidson AM Andrew Lockwood Tim and Lyn Edward Elizabeth H Loftus John and Diana Frew Chris and Anna Long Francis and Robyn Hofmann The Hon Ian Macphee AO and Mrs Julie Macphee The Hon Dr Barry Jones AC Eleanor & Phillip Mancini Dr Paul Nisselle AM In memory of Leigh Masel Maria Solà Ruth Maxwell The Hon Michael Watt QC and Cecilie Hall Don and Anne Meadows Ian Morrey and Geoffrey Minter TRUSTS AND new U Mildura FOUNDATIONS Patricia Nilsson Collier Charitable Fund Laurence O’Keefe and Christopher James Crown Resorts Foundation and Alan and Dorothy Pattison the Packer Family Foundation Kerryn Pratchett The Cybec Foundation Peter Priest The Marian and E.H. Flack Trust Treena Quarin Freemasons Foundation Victoria Eli Raskin Gandel Philanthropy Raspin Family Trust The International Music and Arts Foundation Joan P Robinson The Scobie and Claire Mackinnon Trust Cathy and Peter Rogers The Harold Mitchell Foundation Martin and Susan Shirley The Sidney Myer MSO Trust Fund Penny Shore The Pratt Foundation Dr Sam Smorgon AO and Mrs Minnie Smorgon The Robert Salzer Foundation Dr Norman and Dr Sue Sonenberg Telematics Trust Dr Michael Soon Anonymous Lady Southey AC Geoff and Judy Steinicke Jennifer Steinicke Dr Peter Strickland Pamela Swansson Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher David Valentine Mary Valentine The Hon. Rosemary Varty Leon and Sandra Velik David and Yazni Venner Sue Walker AM Elaine Walters OAM and Gregory Walters Edward and Paddy White Nic and Ann Willcock Marian and Terry Wills Cooke Lorraine Woolley Richard Ye Anonymous (21)

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CONDUCTOR’S CIRCLE The MSO gratefully acknowledges the support of the following Estates: Current Conductor’s Circle Members Angela Beagley Jenny Anderson Neilma Gantner David Angelovich The Hon Dr Alan Goldberg AO QC G C Bawden and L de Kievit Lesley Bawden Gwen Hunt Joyce Bown Audrey Jenkins Mrs Jenny Brukner and the late Mr John Brukner Joan Jones Ken Bullen Pauline Marie Johnston Peter A Caldwell Joan Jones Luci and Ron Chambers C P Kemp Beryl Dean Peter Forbes MacLaren Sandra Dent Lyn Edward Joan Winsome Maslen Alan Egan JP Lorraine Maxine Meldrum Gunta Eglite Prof Andrew McCredie Mr Derek Grantham Miss Sheila Scotter AM MBE Marguerite Garnon-Williams Marion A I H M Spence Drs Clem Gruen and Rhyl Wade Molly Stephens Louis Hamon OAM Jennifer May Teague Carol Hay Tony Howe Jean Tweedie Laurence O’Keefe and Christopher James Herta and Fred B Vogel Audrey M Jenkins Dorothy Wood John Jones George and Grace Kass Mrs Sylvia Lavelle The MSO relies on your ongoing philanthropic support to sustain Pauline and David Lawton our artists, and support access, Cameron Mowat education, community engagement Rosia Pasteur and more. We invite our suporters Elizabeth Proust AO to get close to the MSO through a Penny Rawlins range of special events. Joan P Robinson The MSO welcomes your support at Neil Roussac any level. Donations of $2 and over Anne Roussac-Hoyne are tax deductible, and supporters Suzette Sherazee are recognised as follows: Michael Ryan and Wendy Mead $1,000+ (Player) Anne Kieni-Serpell and Andrew Serpell $2,500+ (Associate) Jennifer Shepherd $5,000+ (Principal) Profs. Gabriela and George Stephenson Pamela Swansson $10,000+ (Maestro) Lillian Tarry $20,000+ (Impresario) Dr Cherilyn Tillman $50,000+ (Virtuoso) Mr and Mrs R P Trebilcock $100,000+ (Platinum) Michael Ullmer The MSO Conductor’s Circle Ila Vanrenen is our bequest program for members The Hon. Rosemary Varty who have notified Mr Tam Vu of a planned gift in their Will. Marian and Terry Wills Cooke Enquiries Mark Young P (03) 8646 1551 Anonymous (26) E [email protected]

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Honorary Appointments

Marc Besen AC and THE MSO HONOURS THE MEMORY OF Eva Besen AO John Brockman OAM Life Members Life Member Sir Elton John CBE The Honourable Life Member Alan Goldberg AO QC Lady Potter AC CMRI Life Member Life Member Ila Vanrenen Geoffrey Rush AC Life Member Ambassador

Honouring Mr Marc Besen AC and Mrs Eva Besen AO, Melbourne Symphony Orchestra Life Members Sixty-nine years ago, Marc Besen finally found the perfect moment to propose to girlfriend Eva – after a wonderful ABC Symphony Orchestra concert, as the MSO was known back then. It worked and Marc and Eva have been happily married – and attending MSO performances ever since. While known across Melbourne for their retail businesses, including shopping centres and the women’s fashion store Sussan, today Marc and Eva are recognised primarily for their philanthropy. In 1996 they established the Besen Family Foundation, through which they support a number of organisations in the areas of arts and culture, health and welfare and Jewish causes. In 2003 they also confirmed their commitment to the visual arts by building the TarraWarra Art Museum, the first privately funded public art gallery in Australia – a gift to the people of this nation. Tonight we honour their extraordinary support of Melbourne Symphony Orchestra over the years by recognising them as our newest MSO Life Members. Not only have they been instrumental in the MSO’s international touring plans as major supporters of our 2014 European Tour, but they are also help bring the stars of the classical world to Melbourne. Through their funding of the International Artist Chair, Mr Besen said they hope to bring a younger audience to the concert hall to experience the excitement of music performed by the best. Thanks to the Besens, the MSO can perform with artists of such calibre as Anne-Sophie Mutter, Maxim Vengerov and Christian Tetzlaff at concerts like this evening’s Mid-Season Gala. Thank you, Marc and Eva, for your truly outstanding contribution to Melbourne Symphony Orchestra and to music in Melbourne. ‘We are the music makers, and we are the dreamers of dreams.'

– Arthur O’Shaughnessy

Come dream with us by adopting your own MSO musician!

Support the music and the orchestra you love while getting to know your favourite player. Honour their talent, artistry and life-long commitment to music, and become part of the MSO family.

Adopt Principal Harp, Yinuo Mu, or any of our wonderful musicians today. PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

Quest Southbank The CEO Institute Ernst & Young Bows for Strings

TRUSTS AND FOUNDATIONS

The Scobie and Claire Mackinnon Trust, Sidney Myer MSO Trust Fund The Gross Foundation, Li Family Trust, MS Newman Family Foundation, The Ullmer Family Foundation

MEDIA AND BROADCAST PARTNERS