Tchaikovsky’s Concerto No.1

Monash Series Saturday Matinees Great Classics on Monday Friday 7 August at 8pm Saturday 8 August at 2pm Monday 10 August at 6.30pm Robert Blackwood Hall Arts Centre Melbourne Arts Centre Melbourne Monash University, Clayton Hamer Hall Hamer Hall

PRINCIPAL PARTNER What’s On Welcome to August — October Tchaikovsky’s Piano Concerto No.1 MELBOURNE ORCHESTRA

It is with particular delight that I With a reputation for excellence, Mark Wigglesworth, Markus Stenz welcome back to the MSO Vasily versatility and innovation, the and Simone Young. The Orchestra Petrenko, Chief Conductor of the Melbourne Symphony Orchestra has also collaborated with non- Royal Philharmonic, who, is Australia’s oldest orchestra, classical musicians including Burt in nine years, has transformed that established in 1906. The Orchestra Bacharach, Ben Folds, Nick Cave, orchestra into one of the finest in currently performs live to more Sting and Tim Minchin. Europe, with a handsome roster than 200,000 people annually, in The MSO reaches an even larger of recordings to match. From concerts ranging from subscription audience through its regular concert September, the St. Petersburg- performances at its home, Hamer broadcasts on ABC Classic FM, MOZART’S PIANO AN EVENING WITH PICTURES AT AN EXHIBITION born Petrenko takes up another Hall at Arts Centre Melbourne, to its CONCERTO No.17 RENÉE FLEMING also streamed online, and through MUSSORGSKY, LISZT, REGER important appointment, Chief annual free concerts at Melbourne’s recordings on Chandos and ABC Friday 28 August Thursday 3 September Friday 11 September Conductor of the European Union largest outdoor venue, the Sidney Classics. The MSO’s Education Saturday 29 August Saturday 5 September Youth Orchestra. Myer Music Bowl. Featuring works inspired by art: and Community Engagement Monday 31 August Famed for her magnetic Reger’s Four Tone Poems after In this program, Petrenko conducts Sir Andrew Davis gave his inaugural initiatives deliver innovative and The irrepressible overture to Rossini’s performances and sheer beauty of Arnold Böcklin and Mussorgsky’s three important Russian works. concerts as Chief Conductor of the engaging programs to audiences La gazza ladra is set alongside works tone, celebrated American soprano Pictures at an Exhibition. Liszt’s It begins with Rimsky-Korsakov’s MSO in April 2013, having made his of all ages, including MSO Learn, an by Mozart and Messiaen, and the Renée Fleming joins the MSO and Piano Concerto No.1 makes for a tribute to the Iberian peninsula, debut with the Orchestra in 2009. educational iPhone and iPad app lush melodies of Brahms’ Symphony Sir Andrew Davis for two Melbourne- breathtaking interlude. Capriccio espagnol, followed by Highlights of his tenure have included designed to teach children about No.3. Featuring the French pianist exclusive orchestral concerts. Tchaikovsky’s fiendishly difficult collaborations with artists including the inner workings of an orchestra. Jean-Efflam Bavouzet. Presented by MSO and Piano Concerto No.1. The soloist is Bryn Terfel, Emanuel Ax and Truls The Melbourne Symphony Orchestra Arts Centre Melbourne Macedonian pianist Simon Trpčeski, Mørk, the release of recordings is funded principally by the Australian who records frequently with of music by Percy Grainger and Venue Partner Government through the Australia Petrenko. Then, to commemorate Eugene Goossens, a 2014 European Council, its arts funding and Alexander Scriabin’s centenary, his Festivals tour, and a multi-year cycle advisory body, and is generously mysteriously profound Symphony of Mahler’s . supported by the Victorian No.3, The Divine Poem — a work The MSO also works each season Government through Creative which, as one commentator wrote, with Principal Guest Conductor Victoria, Department of Economic transformed Scriabin from a good Diego Matheuz, Associate Development, Jobs, Transport and composer into a great one. I hope Conductor Benjamin Northey and Resources. The MSO is also funded you enjoy this concert. the Melbourne Symphony Orchestra by the City of Melbourne, its Principal Chorus. Recent guest conductors Partner, Emirates, corporate sponsors to the MSO have included Thomas and individual donors, trusts and Adès, John Adams, Tan Dun, foundations. André Gremillet , Jakub Hrůša, Managing Director

MOZART’S SYMPHONY No.40 SCHEHERAZADE AN AMERICAN IN PARIS Thursday 17 September Thursday 1 October Friday 30 October Friday 18 September Friday 2 October Gershwin’s An American in Paris Saturday 19 September Monday 5 October evokes a journey through the Monday 21 September Under the baton of Jakub Hrůša, bustling streets of the French capital, Featuring MSO Concertmaster the overture to Smetana’s comic punctuated by taxi horns and a Eoin Andersen, works by Stravinsky opera The Bartered Bride opens a bluesy trumpet solo. Also featured are balanced by Mozart’s final dazzling night of music. Dvořák’s in this program is Ravel’s Piano Violin Concerto and the Violin Concerto is followed by Concerto in G and Saint-Saëns unmistakeable melancholic Rimsky-Korsakov’s Scheherazade, Symphony No.3 Organ. strains of Symphony No.40. a vivid orchestral work inspired by the tales of the Arabian Nights.

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TCHAIKOVSKY’S PIANO CONCERTO No.1 3 ABOUT THE ARTISTS

Melbourne Symphony Vasily Petrenko Simon Trpčeski Orchestra conductor piano

Vasily Petrenko Vasily Petrenko started his music Simon Trpčeski is a frequent conductor education at the St. Petersburg soloist with the London Symphony Simon Trpčeski Capella Boys Music School, and Orchestra, City of Birmingham piano went on to study at the St. Petersburg Symphony Orchestra, Philharmonia Conservatory. Following his success Orchestra, Hallé Orchestra, and — in a number of international the Royal Liverpool and London RIMSKY-KORSAKOV competitions, he was Philharmonic Orchestras. In addition Capriccio espagnol appointed Chief Conductor of to extensive engagements in TCHAIKOVSKY the St. Petersburg State Academic Europe and North America, he has Piano Concerto No.1 Symphony Orchestra from 2004 performed with the Seoul and Hong — to 2007. He served as Principal Kong Philharmonic Orchestras, the Conductor of the National Youth and Melbourne Symphony Interval 20 minutes Orchestra of Great Britain from Orchestras and the New Zealand — 2009 to 2013. Symphony Orchestra. SCRIABIN ABOUT THE MUSIC Symphony No.3 The Divine Poem The 2013/14 season marked his This season sees him return to the Los first as Chief Conductor of the Oslo Angeles Philharmonic, Netherlands — Philharmonic Orchestra, alongside Radio Philharmonic Orchestra, Nikolai Rimsky-Korsakov This concert has a duration of which he maintains positions as Berlin and North German Radio (1844–1908) approximately 2 hours including one Chief Conductor of the Royal Symphony Orchestras, Russian 20 minute interval Liverpool Philharmonic Orchestra National Orchestra, St. Petersburg Capriccio espagnol, Op.34 It is a curious feature of cultural he decided to emulate Glinka in Monday night’s performance will be and Principal Guest Conductor of Philharmonic Orchestra, Strasbourg history that Spain, which had a great making Spanish music the basis of Alborada recorded for delayed broadcast on the . Philharmonic Orchestra, Ulster musical heritage in the Renaissance, a composition of his own. It was to ABC Classic FM. Variations and folk music of striking vitality, be a study in virtuoso orchestration, Highlights of this season and beyond Orchestra, Orchestre de la Suisse Alborada virtually disappeared from the in which, the composer insisted, the include debut performances with Romande, and Iceland Symphony musical map for more than two instrumental colouring was ‘the very the Israel Philharmonic and Frankfurt Orchestra. This season he continues Scene and Gypsy Song centuries. It was left to ‘foreign’ essence of the composition, not its Radio Symphony Orchestras, and his partnership with cellist Daniel Fandango asturiano composers resident in Spain to mere dressing-up’. return visits to the Berlin Radio Müller-Schott in concerts at the provide the ‘Spanish’ music: the Symphony Orchestra, Netherlands Concertgebouw, Wigmore Hall and The Capriccio espagnol was one Italians Domenico Scarlatti and Luigi Radio Philharmonic Orchestra, in Bilbao, Spain. of Rimsky-Korsakov’s greatest Boccherini being the most famous London Philharmonic Orchestra, Simon Trpčeski was born in the successes. The rehearsals were among them. Orchestre Philharmonique de Radio Republic of Macedonia. His first interrupted many times by the France, Accademia Nazionale di recording – featuring works by In the 19th century, Romanticism applause of the musicians. In five Santa Cecilia, Chicago Symphony Tchaikovsky, Scriabin, Stravinsky and attracted to Spain the traveller in sections played without pause, it is Pre-Concert Talks Orchestra, Los Angeles Philharmonic Prokofiev – received Gramophone search of the picturesque. Whether unified by the Alborada, or morning and San Francisco Symphony. awards for both Editor’s Choice and visiting Spain or merely travelling song, which is treated to five 7pm Friday 7 August Debut Album. in the mind, Romantic composers variations, followed by the theme Foyer, Robert Blackwood Hall made popular a certain musical heard in a completely different 1pm Saturday 8 August view of Spain, drawing on the scoring. A series of cadenzas for solo Stalls Foyer, Hamer Hall superficial features of rhythm, colour instruments form the Scene, which and expression in Spanish folk music leads to the passionately elaborated Warren Lenthall will present a talk – often urban street music. This is melody of the Gypsy Song, followed on the artists and works featured what Gilbert Chase has termed the by the orgy of the Fandango. At the in the program. ‘Spanish idiom’. Its notable purveyors climax the dance adopts the theme included Bizet in Carmen and Lalo in of the Alborada for a conclusion of Post-Concert Conversation his Symphonie espagnole. wild abandon. Russian composers had also been 8.30pm Monday 10 August David Garrett © 1988 fascinated by Spain, beginning Stalls Foyer, Hamer Hall with Glinka. While in Spain he was The Melbourne Symphony Orchestra first performed this work on 24 September Join MSO Director of Artistic enraptured by the dancing, singing Planning Ronald Vermeulen for 1940 under conductor Harold Beck, and guitar playing, which he wrote and most recently in June 2006 with a post-concert conversation into several compositions, including Kees Bakels. with tonight’s artists. Jota aragonesa (Spanish Overture No.1). Rimsky-Korsakov, a great master of brilliant orchestral colour, heard Glinka’s piece at one of the first orchestral concerts he attended, and was dazzled by it. Later he cruised the Mediterranean as a naval officer, and later still, in 1887,

4 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT TCHAIKOVSKY’S PIANO CONCERTO No.1 5 ABOUT THE MUSIC

Peter Ilyich Tchaikovsky (1840–1893)

Piano Concerto No.1 in was first realised in a performance Tchaikovsky follows in the style of the B flat minor, Op.23 in Moscow by Sergei Taneev later newly formed nationalist group of that year, following an apparently composers – the so-called kuchka Allegro non troppo e molto maestoso – mediocre performance by Gustav or ‘Mighty Handful’ – by using a Allegro con spirito Kross in St Petersburg. Of Taneev, the Ukrainian folksong, ‘Oy, kryatshe, Andantino semplice – Prestissimo – composer noted that he ‘could not kryatshe’. Andantino semplice wish to hear a better performance’, The simple theme that opens Allegro con fuoco and he was touched that his the second movement typifies Moscow student had dedicated Simon Trpčeski piano Tchaikovsky’s innate gift for melody, himself to mastering the work. the solo flute conjuring folk-like If it was fortuitous that Tchaikovsky And ‘mastery’ is what is required affinities. A central section – originally succeeded at his first attempt, here of pianists. It had been to marked Allegro vivace assai but writing perhaps the ‘greatest piano Anton Rubinstein’s younger brother, later escalated to Prestissimo, no concerto of all time’, then it is Nikolai – equally as gifted by all doubt capitalising on the concerto’s remarkable that he simultaneously accounts – that Tchaikovsky had virtuosic appeal – briefly quotes a created a new Russian genre. turned within days of the score’s café waltz, Il faut s’amuser, danser Excepting the earlier examples by completion, seeking advice about et rire, well-known to the composer’s his teacher, Anton Rubinstein (of piano composition that only a circle of friends. And it is to another whose works critics noted a lack professional could offer. Instead, Ukrainian folksong, ‘Vïdy, vïdy, Aria Klein — of ‘Russianness’), Tchaikovsky’s and quite notoriously, he savaged Ivan’ku’, that Tchaikovsky turns for First Piano Concerto established a the composition, devastating the principal theme of the finale, model renowned for drama and its composer with comments its dance-like cross-rhythms again inspired by MSO Connect lyricism, marked by extraordinary suggesting that, in all, only a few evoking national character. The virtuosity. Such attributes can be pages could be salvaged and that broadly lyrical melody that contrasts noted in later compositions by the remainder should be discarded. with this material twice succeeds in Rachmaninov, Medtner, Scriabin There has been speculation ever holding back the momentum, before and Prokofiev, to name just a few. since over the reason for Rubinstein’s the concerto arrives at a seemingly MSO Connect is a donor- What is your favourite piece the synchronicity of the bowing and The relative lateness in establishing reaction – ranging from jealousy to inevitable conclusion: a forceful supported secondary school to perform? the lovely sound that I hope to one a Russian concerto genre was a a tempestuous personality – but the octave cadenza traverses the entire partnership program and audience day achieve. result of the Europe-leaning tastes I especially love the works of Bartók, defiant young composer remained keyboard, and moves headlong development initiative, which of the Imperial court, art-music especially Bear Dance and other true to his word, publishing the work into an apotheosised statement of provides subsidised group ticket What impact has this being an imported commodity until European folk dance type pieces. exactly as it stood. In any event, the movement’s lyrical theme. With packages to Melbourne Symphony experience had on you and the middle of the 19th century. In Nikolai Rubinstein was soon to recant the pianist indefatigably leading the Orchestra concerts and special Did you choose to be part of your musical ability? Russian music, as in other disciplines, his position: as well as conducting entire orchestra with fortissimo treble access to the expertise of MSO MSO Connect? If yes, why? It has definitely made me want to the distinctive characteristics of the the first Moscow performance chords, it is a famous and satisfying musicians. keep on practicing so that I can land and its people were yet to be with Taneev, he performed it often ending. (And for more than a few of All of the students who are involved sound just as wonderful or even be fully explored. It was not until Anton as soloist in the years before his the composers who followed, one It offers a meaningful, two-way in the Orchestra at Mount Scopus in another musical group when I Rubinstein created a music school in early death. that proved irresistible to copy!) interaction between secondary had the opportunity to be a part St Petersburg in the 1860s that native students and our musicians. In of the MSO Connect program, finish high school. composers were able to receive With hindsight, it might have been Scott Davie © 2011/2013 2015, seven secondary schools and being a leader of this group professional training, and it was a over the demanding solo part that participated in this initiative. of musicians, I had the pleasure Besides music, what are some Rubinstein voiced concerns, or about The Melbourne Symphony Orchestra first young Tchaikovsky who achieved performed this Concerto on 30 August of being able to participate in this other hobbies you have? sections where piano textures might We spoke to participating the title of ‘free artist’ in its first 1939 at a Celebrity Orchestral Concert program. I think it is very important Most of my hobbies include things in be lost beneath the orchestration. student, Aria Klein, from Mount graduating year. with and pianist Edward for younger musicians to see the the arts, I love discovering new and Similarly, it could have been about Scopus Memorial College about Goll. Nikolai Demidenko was the soloist in other end of all of their practice interesting foreign instruments as well Written over six weeks late in 1874, structural matters that are still difficult her experience and how it has the MSO’s most recent performance of and how amazing each of us can as singing. I also love the visual arts the concerto is not Tchaikovsky’s only to explain today, chief of which is inspired her. the work, in August 2013 with conductor become even if it isn’t our chosen as well including both painting and youthful work to find a permanent the famous melody that begins the Diego Matheuz. place in the repertoire – Romeo How old are you? profession. I also think it is amazing to sketching. concerto but which, inexplicably, see ‘uncultured’ teenagers enjoy a and Juliet (1869, later revised) and never returns. (A melody which, 17 night of highly professional musicians In one word, describe what Swan Lake (1876) are distinguished furthermore, is technically in the performing famous concertos. being involved in this program inclusions – but it was the first to ‘wrong’ key.) In this opening What instrument do you play? meant to you. receive an international premiere. passage, Tchaikovsky eventually Violin What has been the most valuable The dedicatee of the concerto, relented to advice, replacing the ‘Ear-opening’. and meaningful aspects of MSO Hans von Bülow, performed the work lightweight arpeggios that had When did you start learning Connect to you personally? in Boston, Massachusetts in 1875 to previously accompanied the soaring your musical instrument? To find out how you can contribute, positive reviews, yet one wonders melody with the now-famous I have really enjoyed simply please call Ben Lee on (03) 9626 1248 or When I was five I picked up the if the small band, consisting of only double-octave chords (revised watching the members of the MSO email [email protected] violin but only started proper lessons four first violins, were a match for version, 1889). In terms of structure, it playing their respective instruments at seven and haven’t really put it the music’s potential. (A critic noted is the brisk, dotted theme that quietly as I really value listening to such down since. Connect Partners that, after a missed entry of the follows which is the real first subject wonderful playing as well as seeing trombones in the first movement, in this sonata-form movement. And each instrumentalist performing von Bülow cried out ‘the brass may here, as if to indicate to the world in their own way. As a violinist, I go to hell!’) Rather, it is likely that the ethnic authenticity of his music, especially love watching the strings the potential of the new concerto and am constantly mesmerised by

6 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT TCHAIKOVSKY’S PIANO CONCERTO No.1 7 Find your ABOUT THE MUSIC work-life groove From laid back to more upbeat, you’ll find a range of Alexander Scriabin inspirations in our Business Class. Get in tune with the (1872–1915) business of living. Principal Partner of the Melbourne Symphony Orchestra. Symphony No.3 in C minor, words penned by the composer: throughout the four movements. Op.43, The Divine Poem ‘Praise to art, for ever praise’. He Three of these are stated in the was, in other words, completely in Prologue: Lento short Lento Prologue, and then are accord with the ‘art for art’s sake’ treated in a kind of sonata design in Struggles: Allegro ideology of the ‘World of Art’ group. the following movements. The titles Delights: Lento In the years before the First of these, like those of the roughly Divine Play: Allegro Symphony, Scriabin had been contemporary Heldenleben of — working on, but abandoned, , tell us all we need In 1898 a group of aspiring Russian another symphonic piece which was to know, except perhaps that artists called the ‘World of Art’ only published as the Symphonic Scriabin – like Messiaen later in the Poem in D minor some decades century – experienced sound as launched a magazine of that title. EMI0258_Musician_176x121_V3.indd 1 1/13/14 5:30 PM Its colophon, designed by Léon after his death. This work, however, colour. ‘Struggles’ (in C minor – a Bakst, depicts a brooding eagle provided some of the thematic ‘red’ key) moves between strenuous, in front of a crescent moon, material for The Divine Poem on occasionally baleful music and surrounded by stars. Bakst explained which he worked in the summer of gleaming textures, such as the that ‘the “World of Art” is above all 1902, such as the magisterial unisons radiant passage with solo trumpet earthly things, above the stars, there of the opening prologue. in its last moments, which offer an ( it reigns proud, secret and lonely as At this time Scriabin’s aesthetic image of hope. ‘Delights’ in whitish- on a snowy peak.’ The journal was philosophy was shaped by Greek blue E major) offers more delicate truly interdisciplinary, discussing the mythology and the works of Vladimir textures, often featuring woodwind visual arts (especially art nouveau), Solovyov, a philosopher, mystic and satiny string writing occasionally Russian and French Symbolist poets and self-proclaimed prophet who punctuated by passages of birdsong such as Blok and Mallarmé, religion, claimed to have had three visions and fuller tutti episodes whose philosophy and music, beginning of Sophia, Divine Wisdom. Scriabin melodies rise inexorably. After the with that of Alexander Scriabin. came to think of himself as a prophet struggles and delights, Scriabin closes with a balletic ‘Divine Play’ which From 1888 Scriabin had been a and told an associate that The Divine Poem, completed in 1904 and concludes with an overwhelming PARTNERING brilliant, if incorrigibly lazy student at apotheosis in C major. the Moscow Conservatory where premiered in Paris the following year, he was groomed for a career as a would be ‘the first proclamation of The symphony is conventional in WITH THE MSO concert pianist (along with his direct my new doctrine’. design but uses harmony that shows contemporary Rachmaninov). He The medium is, to coin a phrase, Scriabin moving towards a freedom AT VICTORIA had been composing since he was the message and the ‘doctrine’ is from tonal gravity which would a child and in 1892 gave a concert untranslatably expressed in music in create music of ecstatic, unresolved HARBOUR of his own piano music which led to which we can still hear the influence eroticism. Sadly he died before publication and the first of a series of Wagner and various Russian realising his dream: like Bakst’s eagle, of concert tours abroad. At the end forebears such as Tchaikovsky and he would create an apocalyptic of the decade, when his music was Rimsky-Korsakov. This hasn’t stopped event of light and music on a peak in featured in the World of Art, Scriabin a descriptive ‘program’ (written, as the Himalayas which would bring this world to an end and usher in a new It takes a place to create a community, As a Maestro partner, we aim to collaborate was recognised as a great virtuoso musicologist Manfred Kelkel points and a community to create a place. with the MSO to create meaningful connections with a professorship at the Moscow out, in 1908 by Scriabin’s lover universe. with people through performances, to shape Conservatory, and the composer of Tatiana de Schlözer) being attached Gordon Kerry © 2010 Every day Lendlease creates places that o er a major Piano Concerto, Op.20 and to the work, so that it is seen to be some of the best things in life. Imaginative design, great places in Victoria. a significant body of music for solo about the division of the Ego into The Melbourne Symphony Orchestra’s only previous performance of this work exceptional quality, luxury features and inspired piano. In 1899 he composed his First Man-God and Slave-Man, with took place on 12 March 1977 under Symphony, a six-movement work locations. Places for people. pseudo-Wagnerian labels attached conductor . www.lendlease.com which closes with a choral hymn to to the various themes that recur

8 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT 9 MELBOURNE SYMPHONY ORCHESTRA THANKS TO OUR WONDERFUL MSO SUPPORTERS

Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Diego Matheuz Principal Guest Conductor The MSO relies on your ongoing philanthropic support to sustain access, artists, education, community Benjamin Northey Patricia Riordan Associate Conductor Chair engagement and more. We invite our supporters to get close to the MSO through a range of special events and supporter newsletter The Full Score. FIRST VIOLINS Cong Gu Miranda Brockman COR ANGLAIS TRUMPETS Dale Barltrop Andrew Hall Rohan de Korte Michael Pisani Geoffrey Payne The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are Concertmaster Francesca Hiew Keith Johnson Principal Principal recognised as follows: $100 (Friend), $1,000 (Player), $2,500 (Associate), $5,000 (Principal), $10,000 (Maestro), Eoin Andersen Rachel Homburg Sarah Morse Shane Hooton CLARINETS $20,000 (Impresario), $50,000 (Benefactor) Concertmaster Christine Johnson Angela Sargeant Associate Principal David Thomas Sophie Rowell Isy Wasserman Michelle Wood William Evans Principal The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will. Associate Concertmaster Philippa West Kalina Krusteva-Theaker* Julie Payne Philip Arkinstall Peter Edwards Patrick Wong Bruno Siketa* Enquiries: Ph +61 (03) 9626 1248 Email: [email protected] DOUBLE BASSES Associate Principal Assistant Principal Roger Young Steve Reeves Craig Hill TROMBONES This honour roll is correct at time of printing. Kirsty Bremner Aaron Barnden* Principal Brett Kelly MSO Friends Chair Amy Brookman* BASS CLARINET Andrew Moon Principal Sarah Curro Clare Miller* Jon Craven Associate Principal David Bremner* ARTIST CHAIR BENEFACTORS Future Kids Pty Ltd Mr John Brockman OAM and Peter Fellin Susannah Ng* Principal Sylvia Hosking Guest Principal Mrs Pat Brockman Deborah Goodall Lynette Rayner* Harold Mitchell AC Robert & Jan Green Assistant Principal BASSOONS Kieran Conrau* Lorraine Hook Chief Conductor Chair Lou Hamon OAM Leith and Mike Brooke VIOLAS Damien Eckersley Jack Schiller Kirstin Kenny BASS TROMBONE Patricia Riordan Margaret Jackson AC Rhonda Burchmore Christopher Moore Benjamin Hanlon Principal Ji Won Kim Mike Szabo Associate Conductor Chair Bill and Sandra Burdett Principal Suzanne Lee Lyndon Watts* Konfir Kabo and Monica Lim Eleanor Mancini Principal Joy Selby Smith Christopher Cartlidge Stephen Newton Guest Principal Mr Greig Gailey and Dr Geraldine Lazarus Oliver Carton Mark Mogilevski Orchestral Leadership Chair Acting Associate Young-Hee Chan* Elise Millman TUBA Norman and Betty Lees John and Lyn Coppock Michelle Ruffolo Principal Emma Sullivan* Associate Principal Timothy Buzbee Marc Besen AC and Eva Besen AO Matsoral Foundation Miss Ann Darby in memory of Leslie J. Darby Kathryn Taylor International Guest Chair Lauren Brigden Natasha Thomas Principal Mimie MacLaren Mary and Frederick Davidson AM Rebecca Adler* FLUTES Katharine Brockman MSO Friends Chair Edward Antonov* Prudence Davis CONTRABASSOON TIMPANI Ian and Jeannie Paterson Peter and Leila Doyle Simon Collins The Gross Foundation Jacqueline Edwards* Principal Flute Chair - Brock Imison Christine Turpin Onbass Foundation Lisa Dwyer and Dr Ian Dickson Gabrielle Halloran Principal Second Violin Chair Madeleine Jevons* Anonymous Principal Principal Glenn Sedgwick Jane Edmanson OAM Trevor Jones MS Newman Family Robert John* Wendy Clarke Fiona Sargeant HORNS PERCUSSION Maria Solà, in memory of Malcolm Douglas Dr Helen M Ferguson Associate Principal Principal Cello Chair SECOND VIOLINS Cindy Watkin Zora Slokar Robert Clarke Drs G & G Stephenson. In honour of the Mr Bill Fleming Sarah Beggs Principal Flute Chair – Anonymous Matthew Tomkins Caleb Wright Principal Principal great Romanian musicians George Enescu Colin Golvan QC and Dr Deborah Golvan The Gross Foundation Douglas Coghill* PICCOLO Geoff Lierse John Arcaro PROGRAM BENEFACTORS and Dinu Lipatti Michael and Susie Hamson Associate Principal Robert Cossom Principal Second Sophie Kesoglidis* Andrew Macleod Meet The Music Lyn Williams AM Susan and Gary Hearst Violin Chair Isabel Morse* Principal Saul Lewis Leah Scholes* Made possible by The Ullmer Family Kee Wong and Wai Tang Gillian and Michael Hund Robert Macindoe Principal Third Greg Sully* Foundation CELLOS OBOES Jason Yeap OAM Associate Principal Jenna Breen Rosemary and James Jacoby David Berlin Jeffrey Crellin HARP East meets West Anonymous (1) Monica Curro Abbey Edlin John and Joan Jones MS Newman Family Principal Yinuo Mu Supported by the Li Family Trust Assistant Principal Trinette McClimont Connie and Craig Kimberley Principal Cello Chair David Papp* Principal The Pizzicato Effect (Anonymous) PRINCIPAL PATRONS $5,000+ Mary Allison † Deborah Hart* Kloeden Foundation Rachael Tobin Guest Principal Alannah Guthrie-Jones* MSO UPBEAT Lino and Di Bresciani OAM Isin Cakmakcioglu Anton Schroeder* Associate Principal Ann Blackburn Supported by Betty Amsden AO DSJ Linda Britten Sylvia Lavelle Freya Franzen Rachel Shaw* Nicholas Bochner Rachel Curkpatrick* *Guest musician MSO CONNECT David and Emma Capponi Ann and George Littlewood Robert Shirley* † Assistant Principal Courtesy of Sydney Supported by Jason Yeap OAM Tim and Lyn Edward H.E. McKenzie Symphony Orchestra MANAGEMENT John and Diana Frew Allan and Evelyn McLaren BENEFACTOR PATRONS $50,000+ Danny Gorog and Lindy Susskind Don and Anne Meadows Betty Amsden AO DSJ BOARD BUSINESS EDUCATION AND MARKETING DEVELOPMENT Nereda Hanlon and Michael Hanlon AM Ann Peacock with Andrew and Harold Mitchell AC Francie Doolan COMMUNITY Alice Wilkinson Leith Brooke Philip Bacon AM Hartmut and Ruth Hofmann Woody Kroger Chairman Chief Financial Officer ENGAGEMENT Director of Marketing Director of Development Marc Besen AC and Eva Besen AO Jenny and Peter Hordern Sue and Barry Peake André Gremillet Raelene King Bronwyn Lobb Jennifer Poller Jessica Frean Jennifer Brukner Managing Director Personnel Manager Director of Education Marketing Manager MSO Foundation Jenkins Family Foundation Mrs W Peart Rachel and Hon. Alan Goldberg AO QC Michael Ullmer Leonie Woolnough and Community Megan Sloley Manager Suzanne Kirkham Ruth and Ralph Renard The Gross Foundation Deputy Chair Financial Controller Engagement Marketing Manager Ben Lee Vivien and Graham Knowles Tom and Elizabeth Romanowski David and Angela Li Andrew Dyer Phil Noone Lucy Bardoel Ali Webb Donor and Government David Krasnostein and Pat Stragalinos Max and Jill Schultz Danny Gorog Accountant Education and PR Manager Relations Manager Annette Maluish Elizabeth Kraus in memory of Bryan Hobbs Diana and Brian Snape AM Margaret Jackson AC Nathalia Andries Community Engagement Kate Eichler Arturs Ezergailis Harold Mitchell AC Dr Elizabeth A Lewis AM Mr Tam Vu and Dr Cherilyn Tillman Brett Kelly Finance Officer Coordinator Publicity and Online Donor and Patron MS Newman Family Peter Lovell William and Jenny Ullmer David Krasnostein Suzanne Dembo Lucy Rash Engagement Coordinator Coordinator Roslyn Packer AO David Li Strategic Pizzicato Effect Kieran Clarke Judy Turner The Cuming Bequest Bert and Ila Vanrenen Mrs Margaret S Ross AM and Dr Ian Ross Ann Peacock Communications and Coordinator Digital Manager Major Gifts Manager Mr and Mrs D R Meagher Brian and Helena Worsfold Helen Silver AO Business Processes Nina Dubecki Justine Knapp Joy Selby Smith Anonymous (12) OPERATIONS Wayne and Penny Morgan Kee Wong Manager Front of House Supervisor Major Gifts Coordinator Ullmer Family Foundation Gabrielle Waters Marie Morton FRSA PLAYER PATRONS $1,000+ James Rewell Michelle Monaghan COMPANY ARTISTIC Director of Operations IMPRESARIO PATRONS $20,000+ Anita and Graham Anderson, Christine Graphic Designer Corporate Development Dr Paul Nisselle AM SECRETARY Ronald Vermeulen Angela Bristow Michael Aquilina and Mark Armour, Arnold Bloch Leibler, Chloe Schnell Manager Lady Potter AC Oliver Carton Director of Artistic Orchestra Manager Marlyn and Peter Bancroft OAM, Adrienne Marketing Coordinator James Ralston Perri Cutten and Jo Daniell Stephen Shanasy Planning James Foster Basser, Prof Weston Bate and Janice Bate, EXECUTIVE Claire Hayes Corporate Development Susan Fry and Don Fry AO Gai and David Taylor Andrew Pogson Operations Manager Timothy and Margaret Best, David and André Gremillet Ticket and Database and Events Coordinator John McKay and Lois McKay Special Projects Manager James Poole the Hon. Michael Watt QC and Cecilie Hall Helen Blackwell, Bill Bowness, Michael F Managing Director Manager Laura Holian Production Coordinator Elizabeth Proust AO Barbara and Donald Weir Boyt, M Ward Breheny, Susie Brown, Jill and Catrin Harris Paul Congdon Artistic Coordinator Alastair McKean Rae Rothfield Anonymous (4) Christopher Buckley, Dr Lynda Campbell, Executive Assistant Box Office Supervisor Helena Balazs Orchestra Librarian Sir Roderick Carnegie AC, Andrew and Jennifer Broadhurst MAESTRO PATRONS $10,000+ ASSOCIATE PATRONS $2,500+ HUMAN RESOURCES Chorus Coordinator Kathryn O’Brien Pamela Crockett, Natasha Davies, Pat Ticketing Coordinator Miranda Crawley Assistant Librarian John and Mary Barlow Dandolo Partners and Bruce Davis, Merrowyn Deacon, Angela Ballin Director of Human Michael Stevens Kaye and David Birks Pierce Armstrong Foundation Sandra Dent, Dominic and Natalie Dirupo, Customer Service Resources Assistant Orchestra Paul and Wendy Carter Will and Dorothy Bailey Bequest Marie Dowling, John and Anne Duncan, Coordinator Manager Kay Ehrenberg, Gabrielle Eisen, Vivien Chelsie Jones Mitchell Chipman Barbara Bell in memory of Elsa Bell Stephen McAllan and Jack Fajgenbaum, Grant Fisher and Customer Service Officer Jan and Peter Clark Peter Biggs CNZM and Mary Biggs Artist Liaison Helen Bird, Barry Fradkin OAM and Dr Pam Sir Andrew and Lady Gianna Davis Mrs S Bignell Lucy Rash Fradkin, David Gibbs and Susie O’Neill, Operations Coordinator Andrew and Theresa Dyer Stephen and Caroline Brain

10 TCHAIKOVSKY’S PIANO CONCERTO No.1 11 THANKS TO OUR WONDERFUL MSO SUPPORTERS

Merwyn and Greta Goldblatt, Dina and Wills Cooke, Pamela F Wilson, Joanne Wolff, CONDUCTOR’S CIRCLE Ron Goldschlager, Golvan QC and Naomi Peter and Susan Yates, Mark Young, Panch Jenny Anderson, GC Bawden and de Kievik, Golvan, Charles and Cornelia Goode, Das and Laurel Young-Das, YMF Australia, Lesley Bawden, Joyce Bown, Mrs Jenny Dr Marged Goode, Louise Gourlay OAM, Anonymous (17) Brukner and the late Mr John Brukner, Ken Ginette and André Gremillet, Max Gulbin, Bullen, Luci and Ron Chambers, Sandra THE MAHLER SYNDICATE Dr Sandra Hacker AO and Mr Ian Kennedy Dent, Lyn Edward, Alan Egan JP, Gunta David and Kaye Birks, Jennifer Brukner, AM, Jean Hadges, Paula Hansky OAM and Eglite, Louis Hamon OAM, Tony Howe, Mary and Frederick Davidson AM, Tim and Jack Hansky AM, Tilda and Brian Haughney, Audrey M Jenkins, John and Joan Jones, Lyn Edward, John and Diana Frew, Louis Henkell Family Fund, Penelope Hughes, Dr George and Grace Kass, Mrs Sylvia Lavelle, Hamon OAM, The Hon Dr Barry Jones AC, Alastair Jackson, Stuart Jennings, George Pauline and David Lawton, Lorraine Dr Paul Nisselle AM, Maria Solà in memory of and Grace Kass, Irene Kearsey, Ilma Kelson Meldrum, Cameron Mowat, Laurence Malcolm Douglas, The Hon Michael Watt QC Music Foundation, Dr Anne Kennedy, Lew O’Keefe and Christopher James, Rosia and Cecilie Hall, Anonymous (1) Foundation, Norman Lewis in memory of Dr Pasteur, Elizabeth Proust AO, Penny Rawlins, Phyllis Lewis, Dr Anne Lierse, Violet and Jeff MSO ROSES Joan P Robinson, Neil Roussac, Anne Loewenstein, The Hon Ian Macphee AO Founding Rose: Jennifer Brukner Roussac-Hoyne, Jennifer Shepherd, Drs and Mrs Julie Mcphee, Elizabeth H Loftus, Roses: Mary Barlow, Linda Britten, Wendy Gabriela and George Stephenson, Pamela Vivienne Hadj and Rosemary Madden, Dr Carter, Annette Maluish, Lois McKay, Pat Swansson, Lillian Tarry, Dr Cherilyn Tillman, Mr Julianne Bayliss, In memory of Leigh Masel, Stragalinos, Jenny Ullmer. Rosebuds: Leith and Mrs R P Trebilcock, Michael Ullmer, Ila John and Margaret Mason, In honour of Brooke, Lynne Damman, Francie Doolan, Vanrenen, Mr Tam Vu, Marian and Terry Wills Norma and Lloyd Rees, Trevor and Moyra Lyn Edward, Elizabeth A Lewis AM, Sophie Cooke, Mark Young, Anonymous (21) McAllister, David Menzies, Ian Morrey, Rowell, Dr Cherilyn Tillman THE MSO GRATEFULLY ACKNOWLEDGES THE The Novy Family, Laurence O’Keefe and FOUNDATIONS AND TRUSTS SUPPORT RECEIVED FROM THE ESTATES OF: Christopher James, Graham and Christine Angela Beagley, Gwen Hunt, Pauline Peirson, Andrew Penn and Kallie Blauhorn, The Annie Danks Trust Marie Johnston, C P Kemp, Peter Forbes Kerryn Pratchett, Peter Priest, Jiaxing Collier Charitable Fund MacLaren, Prof Andrew McCredie, Miss Qin, Eli Raskin, Peter and Carolyn Rendit, Creative Partnerships Australia Sheila Scotter AM MBE, Molly Stephens, S M Richards AM and M R Richards, Dr Crown Resorts Foundation and the Packer Jean Tweedie, Herta and Fred B Vogel, Rosemary Ayton and Dr Sam Ricketson, Family Foundation Dorothy Wood Joan P Robinson, Doug and Elizabeth Scott, The Cybec Foundation Jeffrey Sher, Dr Sam Smorgon AO and Mrs HONORARY APPOINTMENTS The Harold Mitchell Foundation Minnie Smorgon, John So, Dr Norman and Mrs Elizabeth Chernov Helen Macpherson Smith Trust Dr Sue Sonenberg, Dr Michael Soon, Pauline Education and Community Speedy, State Music Camp, Geoff and Judy Ivor Ronald Evans Foundation, managed by Engagement Patron Equity Trustees Limited and Mr Russell Brown Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Sir Elton John CBE Swansson, Frank Tisher OAM and Dr Miriam Linnell/Hughes Trust, managed by Perpetual Life Member Tisher, Margaret Tritsch, Judy Turner and Neil The Marian and EH Flack Trust The Honourable Alan Goldberg AO QC Adam, P & E Turner, Mary Vallentine AO, The The Perpetual Foundation – Alan (AGL) Life Member Hon. Rosemary Varty, Leon and Sandra Velik, Shaw Endowment, managed by Perpetual Geoffrey Rush AC Sue Walker AM, Elaine Walters OAM and The Pratt Foundation Ambassador Gregory Walters, Edward and Paddy White, The Robert Salzer Foundation Janet Whiting and Phil Lukies, Nic and Ann Willcock, Marian and Terry The Schapper Family Foundation The Scobie and Claire Mackinnon Trust

PRINCIPAL PARTNER

MAESTRO PARTNERS OFFICIAL CAR PARTNER

ASSOCIATE PARTNERS

SUPPORTING PARTNERS

3L Alliance Feature Alpha Investment Golden Age Group Naomi Milgrom Foundation Elenberg Fraser (a unit of the Tong Eng Group) Kabo Lawyers PwC Fed Square Future Kids Linda Britten UAG + SJB Flowers Vasette Universal

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