Beethoven, Mozart & Copland

Melbourne Town Hall Series Friday 31 July at 7.30pm Melbourne Town Hall

PRINCIPAL PARTNER What’s On August — September

TCHAIKOVSKY’S RACHMANINOV’S THIRD MOZART’S PIANO CONCERTO No.1 Thursday 20 August PIANO CONCERTO No.17 Friday 7 August Friday 21 August Friday 28 August Saturday 8 August Saturday 22 August Saturday 29 August Monday 10 August Russian-American pianist Monday 31 August The very epitome of Romantic Kirill Gerstein displays his mastery The irrepressible overture to music, Tchaikovsky’s Piano of the formidable ‘Rach 3’, Rossini’s La gazza ladra is set Concerto No.1 is performed conducted by Sir Andrew Davis, alongside works by Mozart and by Simon Trpčeski, appearing alongside Rimsky-Korsakov’s Messiaen, and the lush melodies alongside Rimsky‑Korsakov’s Dubinushka and Strauss’ of Brahms’ Symphony No.3. Capriccio espagnol and autobiographical tone poem, Featuring the French pianist Scriabin’s Third Symphony. Ein Heldenleben. Jean-Efflam Bavouzet.

AN EVENING WITH MUSSORGSKY & LISZT MOZART’S SYMPHONY No.40 RENÉE FLEMING Friday 11 September Thursday 17 September Thursday 3 September Featuring works inspired by art: Friday 18 September Saturday 5 September Reger’s Four Tone Poems after Saturday 19 September Famed for her magnetic Arnold Böcklin and Mussorgsky’s Monday 21 September performances and sheer beauty of Pictures at an Exhibition. Liszt’s Mozart’s compact concerto in D tone, celebrated American soprano Piano Concerto No.1 makes for a – led by MSO Concertmaster Renée Fleming joins the MSO and breathtaking interlude. Eoin Andersen – is balanced by Sir Andrew Davis for two Melbourne- Mozart’s Violin Concerto, a youthful exclusive orchestral concerts. work of matchless elegance.

Presented by MSO and Arts Centre Melbourne

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MELBOURNE SYMPHONY ORCHESTRA

Welcome to this concert in the With a reputation for excellence, Mark Wigglesworth, Markus Stenz mellow historic grandeur of the versatility and innovation, the and Simone Young. The Orchestra Melbourne Town Hall. The MSO Melbourne Symphony Orchestra has also collaborated with non- has performed many times in is Australia’s oldest orchestra, classical musicians including Burt this gracious venue, and the hall established in 1906. The Orchestra Bacharach, Ben Folds, Nick Cave, continues to resound vibrantly in currently performs live to more Sting and Tim Minchin. the orchestra’s heritage. than 200,000 people annually, in The MSO reaches an even larger Tonight’s program, conducted concerts ranging from subscription audience through its regular concert by Matthew Coorey, features performances at its home, Hamer broadcasts on ABC Classic FM, landmark works by three Hall at Arts Centre Melbourne, to its also streamed online, and through composers: the suite from annual free concerts at Melbourne’s recordings on Chandos and ABC Aaron Copland’s evergreen largest outdoor venue, the Sidney Classics. The MSO’s Education Appalachian Spring, written in Myer Music Bowl. and Community Engagement 1942 for choreographer and Sir Andrew Davis gave his inaugural initiatives deliver innovative and dancer Martha Graham (it was concerts as Chief Conductor of the engaging programs to audiences nearly titled Ballet for Martha); MSO in April 2013, having made his of all ages, including MSO Learn, an Mozart’s darkly romantic Piano debut with the Orchestra in 2009. educational iPhone and iPad app Concerto No.20 in D minor, Highlights of his tenure have included designed to teach children about with soloist Ian Munro; and collaborations with artists including the inner workings of an orchestra. Beethoven’s majestic Symphony Bryn Terfel, Emanuel Ax and Truls The Melbourne Symphony Orchestra No.7, or ’the apotheosis of the Mørk, the release of recordings is funded principally by the Australian dance’, as it is sometimes known. of music by Percy Grainger and Government through the Australia If one thing binds tonight’s Eugene Goossens, a 2014 European Council, its arts funding and program, it is popularity and Festivals tour, and a multi-year cycle advisory body, and is generously durability; all of these works have of Mahler’s Symphonies. supported by the Victorian never been out of the repertoire. The MSO also works each season Government through Creative But it is heartening to think that with Principal Guest Conductor Victoria, Department of Economic somewhere, every time they are Diego Matheuz, Associate Development, Jobs, Transport and played, someone is hearing the Conductor Benjamin Northey and Resources. The MSO is also funded music for the first time. I hope you the Melbourne Symphony Orchestra by the City of Melbourne, its Principal enjoy tonight’s concert. 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. Charles Dutoit, Jakub Hrůša, André Gremillet Managing Director

BEETHOVEN, MOZART & COPLAND 3 ABOUT THE ARTISTS

Melbourne Symphony Matthew Coorey Ian Munro Orchestra conductor piano

Matthew Coorey Matthew Coorey began his career Ian Munro is one of Australia’s conductor as the Royal Liverpool Philharmonic most distinguished and awarded Ian Munro Orchestra’s Conductor in Residence. musicians, with a career that has piano Important early debuts with the taken him to thirty countries in Europe, Asia, North America and — London Philharmonic Orchestra, Sydney Symphony Orchestra, the Australasia. As a composer, Ian is COPLAND the only Australian to have been Appalachian Spring: Suite Philharmonia, the Hallé and the London Mozart Players all resulted awarded the Premier Grand Prix at MOZART in re-invitations. Recent highlights the Queen Elisabeth Competition for Piano Concerto No.20 include concerts with the BBC Composers in 2003, and in 2011 he — Orchestras, the Bournemouth, was Featured Composer for Musica Viva Australia. Interval 20 minutes Melbourne and London Symphony — Orchestras and at the BBC Proms, After completing his early training BEETHOVEN as well as return engagements with in Melbourne with Roy Shepherd, Symphony No.7 the City of Birmingham Symphony Ian furthered his studies in Vienna, Orchestra, the Stuttgart Radio London and Italy with Noretta — Orchestra, New Zealand Symphony Conci, Guido Agosti and Michele This concert runs for a duration of Orchestra, the National Youth Campanella, launching his approximately two hours including Orchestra of Great Britain, Palestine international career in the UK. He has an interval of 20 minutes. National Orchestra, the Philharmonia performed with leading orchestras and the RLPO. throughout the UK, Poland, Italy, Matthew was invited to the Portugal, Russia, USA, China, New Tanglewood Music Festival by Seiji Zealand, Belgium, Switzerland and Ozawa where also he worked with Uzbekistan, and with all the state orchestras in Australia in over sixty Pre-Concert Recital Jorma Panula who became his principal teacher. For two years, piano concerti. 6.30pm Friday 31 July Matthew studied under Sir Mark Elder Ian has recorded for ABC Classics, Melbourne Town Hall at the Royal Northern College of Hyperion, Cala, Naxos, Marco Ticket-holders are invited to Music. He was a finalist in the Maazel Polo, Tall Poppies and the UK label attend a free pre-concert recital Competition, a fellow of the Allianz Warehouse as both soloist and by Dr Calvin Bowman, on the International Academy and a prize- chamber musician. Recent discs Melbourne Town Hall grand organ. winner at the Solti Competition. He include the collected music by has collaborated with artists such as Tasmanian composer Katherine Sarah Chang, Freddy Kempff, Steven Parker, and Elena Kats-Chernin’s Osborne, Yevgeny Sudbin and Pieter Piano Concerto commissioned Wispelwey, and has recorded for for Ian Munro by the Sydney Classic FM and Naxos Records. Symphony Orchestra. A widely Matthew began his musical career experienced chamber musician, as a horn-player and after studying Ian joined the acclaimed Australia at the Sydney Conservatorium he Ensemble in Sydney in 2000, for performed regularly with many which he has also composed Australian orchestras. and arranged several works. Matthew recently conducted a concert commemorating 100 years since the Gallipoli Campaign in Istanbul.

4 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT ABOUT THE MUSIC

Aaron Copland (1900 –1990)

Appalachian Spring: a great deal to do with bringing 6. Very slow (as at first). Transition Suite for orchestra my name before a larger public,’ scenes reminiscent of the — recalled Copland in later years, introduction. Aaron Copland’s Appalachian and his orchestration of the Shaker 7. Calm and flowing. Scenes of Spring suite originated in a ballet hymn ‘Simple Gifts’, heard towards daily activity for the Bride and he wrote for the choreographer the end of the suite, has become a her Farmer-husband. There Martha Graham. Graham had secondary American anthem. are five variations on a Shaker already choreographed Copland’s In 1944, Copland extracted a theme. The theme, sung by a Piano Variations (Dithyramb, 1931) concert suite from the ballet, which solo clarinet, was taken from a when, in 1942, arts patron Elizabeth he orchestrated the following collection of Shaker melodies Sprague Coolidge commissioned her year. He trimmed 15 minutes of compiled by Edward D. Andrews, to produce three new ballets, and what was primarily choreographic and published under the title The Copland was chosen to write music material, and expanded the original Gift to be Simple. The melody I for one of them. Appalachian Spring 13-member chamber ensemble. borrowed and used almost literally premiered in Washington in October The suite is constructed in eight is called ‘Simple Gifts’. 1944 and its score won the Pulitzer sections, played without interruption. 8. Moderato – Coda. The Bride takes Prize for Music the following year. Copland’s printed analysis for the her place among her neighbors. Appalachian Spring is one of those suite’s New York premiere, given by At the end the couple are left works which defines the American the New York Philharmonic under ‘quiet and strong in their new spirit in music. The title, mistaken by Artur Rodzinski on 4 October 1945, house’. Muted strings intone a many as an allusion to the season, enables a concert audience to hushed, prayer-like passage. We is taken from a line in a Hart Crane retain an impression of the broader hear a last echo of the principal poem and refers to a spring of water features of the original ballet: theme sung by a flute and solo in the Appalachian Mountains. The 1. Very slowly. Introduction of the violin. The close is reminiscent of scenario concerns preparations for characters, one by one, in a the opening music. a wedding in the Pennsylvania hill suffused light. country in the early 1800s. Gordon Kalton Williams © 2015 2. Fast. Sudden burst of unison strings The keynote of the whole enterprise in A major arpeggios starts the The Melbourne Symphony Orchestra first performed the suite from the ballet was ‘simplicity’. Graham’s unique action. A sentiment both elated in March 1967 under conductor Moshe choreographic style – spare and and religious gives the keynote to Atzmon, and on 19–21 March 1978 restrained – determined much of the this scene. under the direction of the composer. expressive content of the ballet. Set 3. Moderato. Duo for the Bride The Orchestra most recently performed designer Isamu Noguchi noted that and her Intended – scene of the orchestral version of the suite in June Graham was ‘in a sense influenced tenderness and passion. 2006, with Kees Bakels conducting. by Shaker furniture, but it is also the culmination of Martha’s interest in 4. Quite fast. The Revivalist and his American themes and in the puritan flock. Folksy feelings – suggestions American tradition’. With the benefit of square dances and country of hindsight, we can tell that much fiddlers. of Graham’s aesthetic was in accord 5. Still faster. Solo dance of the Bride with Copland’s own compositional – presentiment of motherhood. inclinations, which we associate Extremes of joy and fear and now with the typical American wonder. sound. ‘Appalachian Spring had

BEETHOVEN, MOZART & COPLAND 5 ABOUT THE MUSIC

Wolfgang Amadeus Mozart (1756 –1791)

Piano Concerto No.20 expression. One respect in which out the tune clearly allows’. The in D minor, K466 this work could be admitted to be return to the rondo theme is made Beethovenian is that the strife and in a transition of great breadth, like Allegro passion persist until the change of a horseman reining in his steed. Romanze mood in the last bars of the Rondo. This violent contrast within the Rondo (Allegro assai) The first 15 bars of this concerto movement would make no sense, as Charles Rosen points out, if the Ian Munro piano express the character of the whole of the first movement: throbbing, slow movement was isolated from — the others. The furies of the first The first of the two piano concertos syncopated strings underlined by gruff bass triplets, rhythmic instability movement have taken up the fight for which Mozart chose the minor again. mode is one of his most often heard pushed as far as the Classical style works, and one of his most admired. would allow. Instead of turning The last movement is one of Mozart’s Even in the 19th century, when to develop lighter material in the few minor-key rondos, but its turn much of his music was in eclipse, this major key, this exposition retraces its to the major key towards the end, concerto was played and regarded steps to the mood of the opening, playing with more cheerful material, as representing the ‘daemonic’ through orchestral tuttis of a violence has provoked some disappointment Mozart. Beethoven played it and unprecedented in Mozart’s work. from those who would judge wrote cadenzas for it (Ian Munro The piano’s first entry, in free this concerto by non-Mozartian will play his own cadenzas in this recitative, is very moving – like the aesthetic standards. The rocket-like evening’s performance). In 1839 voice of one against the many, and theme with which the piano begins Schumann singled out this concerto: this principle of opposition is much and the sustained violence of the ‘Our younger master will certainly exploited throughout. With piano first orchestral tutti are of a piece not forget how the older ones would added to orchestra, the sustained with the first movement, and the suddenly emerge with something and graded acceleration begins conciliatory character of the ending, magnificent – Mozart’s Concerto in D which gives this concerto much of besides being memorably jaunty minor, Beethoven’s in G.’ The stormy its excitement. Alfred Einstein has and good-humoured, is perhaps drama of the work can hardly fail written suggestively of the pianissimo best considered as a restoring of to make an impression of great, but conclusion to the movement that it 18th-century balance, a desire to controlled, emotion and power. is ‘as if the furies had simply become leave the audience with a friendly impression. This concerto is not incontestably tired out and had lain down to rest, better than the nine others Mozart still grumbling, and ready at any time David Garrett © 2001 to take up the fight again…’ wrote in 1784 and 1785, but it is The Melbourne Symphony Orchestra first distinguished from them by the The slow movement begins performed this work in 1939 with pianist intensity of its subjective approach. in complete contrast, in an Artur Schnabel and conductor George It has often been hailed as being like unexpected key (B flat major), Szell, and most recently in 2010 with Beethoven, a form of praise which fresh and poised. It proceeds Howard Shelley as director/soloist. tends to obscure its special qualities as a spacious rondo, but as the and their sources. As familiarity has second episode begins, is startlingly grown with the music of Mozart, transformed. A raging Presto in G Haydn and their predecessors, we minor begins in breathless triplets, have come to see that the late which should be played, according 18th century had its own deep vein to a letter of Mozart’s father Leopold, of Storm and Stress, of passionate ‘as swiftly as the possibility of bringing

6 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT Ludwig van Beethoven (1770 –1827)

Symphony No.7 in A, Op.92 That Beethoven might have been Resonances of an idealised Teplitz drunk, deaf, or daft when he military band and Beethoven’s Poco sostenuto – Vivace composed it were all possibilities egalitarian spirit can be heard Allegretto reportedly considered by his especially in the minor-key Allegretto, Presto – Trio – Presto – Trio – Presto colleagues. Weber is supposed to whose simple, solemn tune and Allegro con brio have said ‘ripe for the madhouse’, straightforward treatment struck such — and another wondered later a popular chord that it was regularly Five years after the premieres of whether ‘in the last period, he excerpted by real bands for use the Fifth and Sixth Symphonies, succumbed to a kind of insanity, that as a funeral march. He introduces Beethoven introduced the Seventh, his assertive contrasts, vehement another disarmingly simple tune together with ‘battle symphony’ expressiveness, and sheer insistence, in the middle of the scherzo’s trio, Wellington’s Victory, Op.91, on 8 rankle so?’. according to one of Beethoven’s December 1813. The occasion was Beethoven composed the Seventh clerical friends, borrowed from a a concert in Vienna’s University during two high summers – sketching hymn traditionally sung by pilgrims to Hall to raise money for Austrian it in 1811 and finishing it in 1812 – the shrine at Mariazell. soldiers recently wounded helping while visiting a succession of Czech During the Second World War, the to expel Napoleon’s army from health resorts. In August 1812, he Seventh was one of the Beethoven Germany. Beethoven wrote an reported to his pupil, Archduke works enlisted to help boost open letter of thanks to eminent Rudolph: ‘In Teplitz I heard the patriotic fervour here in Australia. colleagues who generously military band play four times a day – The MSO’s then chief conductor, condescended to play under the only musical report to offer you. Bernard Heinze, also conducted his direction, including Hummel, Otherwise, I spent a good deal of performances and radio broadcasts Meyerbeer, Spohr, and Salieri: time with Goethe.’ of it with other orchestras around It was a rare assembly of first-class Goethe wrote to his wife that he had the country as part of a nationwide musicians, each impelled not only seldom met a ‘more focused, fervent Beethoven Festival. Reaching Perth by craft but also patriotic fervor artist’, though to a musical friend he in winter 1944, its effect on audience to benefit the Fatherland, without added: ‘But he is completely morale was electric, as the West concern for rank or precedence uncontrollable … although because Australian reviewer noted: ‘Even … Had I not composed the music of his loss of hearing he can be the desolate anti-climax of a late myself, I would have been as happy excused, and pitied. As it is, he is bus, and frigid lower extremities, as Mr. Hummel to take my place at naturally laconic, doubly so because was mitigated by the persistence in the drum! of his misfortune.’ Meanwhile, one’s pulse and brain of the finale. Professor Heinze had whirled his The third last symphony is a kind Beethoven boasted he gave his forces up-to-time through these of mirror image of the Third. The senior a lesson in egalitarianism. tremendous Olympian transports, Napoleonic Third is spacious and Strolling through the spa gardens, ending … on a note of high heroic (in E flat, a minor third above they saw a crowd form as the exhilaration.’ C), the Seventh (in A major, a imperial family walked by. Goethe, minor third below C) all energy and by far the more eminent of the pair Graeme Skinner © 2014 bluster, animated by sheer rhythmic and a seasoned courtier, removed The Melbourne Symphony was the first of propulsion. Wagner labelled it ‘the his hat and was ignored. But the Australian state symphony orchestras apotheosis of the dance’, though Beethoven, ‘hat firmly on my head … to perform Beethoven’s Seventh Symphony, so intense is Beethoven’s focus on pushed through the crowd, Archduke on 7 May 1938 under Georg Szell. The distinctive rhythms that it often leaves Rudolph doffed his hat, and the Orchestra most recently performed it in conventional dance far behind. Empress herself came to greet me’. May 2015 with Matthias Pintscher.

BEETHOVEN, MOZART & COPLAND 7 MSO Education Week 2015

Over 15,000 Victorians embraced Over 2,500 individuals from schools an exciting line up of music-making experiencing barriers were able programs during the Melbourne to attend the Meet the Orchestra Symphony Orchestra’s fifth annual concert thanks to the Orchestra’s Education Week which took place annual Sponsor Schools excursion in early June. package and Arts Centre Running across six days, the popular Melbourne’s First Call Fund. mini-festival featured 12 concerts Building on this access initiative was attracting people of all ages to an exciting new venture with ABC Hamer Hall and Melbourne Town Hall. Splash which streamed the Meet the Hosting the varied program was Orchestra concert to schools across internationally acclaimed music the country, with over 200 schools educator Paul Rissmann, who watching the live stream. described Education Week as MSO Managing Director André ‘making the Orchestra accessible Gremillet said this live stream was to absolutely everyone’. Joining a great opportunity to broaden Rissmann in the week-long event audience reach and highlight the Primary school student was Associate Conductor Benjamin importance of classical music in participates at MSO Meet Northey and Chief Conductor education. the Orchestra performance Sir Andrew Davis. at Arts Centre Melbourne, The Meet the Orchestra learning Hamer Hall In his first role in Education Week, resource program and footage Sir Andrew Davis led an orchestra of the concert can be viewed at comprising MSO musicians and 50 splash.abc.net.au/livestream/- community musicians in the very /l/1869205/meet-the-orchestra- special Symphony in a Day concert. live-stream-, providing access for teachers and students to MSO education for years to come.

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EMI0310_MSO_176x121_v4.indd 1 8/05/14 3:52 PM 8 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT MELBOURNE SYMPHONY ORCHESTRA

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

FIRST VIOLINS Isin Cakmakcioglu Nicholas Bochner Ann Blackburn TRUMPETS Dale Barltrop Freya Franzen Assistant Principal Rachel Curkpatrick* Geoffrey Payne Concertmaster Cong Gu Miranda Brockman Principal COR ANGLAIS Eoin Andersen Andrew Hall Rohan de Korte Shane Hooton Michael Pisani Concertmaster Francesca Hiew Keith Johnson Associate Principal Principal Sophie Rowell Rachel Homburg Sarah Morse William Evans Associate Concertmaster Christine Johnson Angela Sargeant CLARINETS Julie Payne Rebecca Chan* Isy Wasserman Michelle Wood David Thomas TROMBONES Guest Associate Philippa West Jarrad Mathie* Principal Brett Kelly Concertmaster Patrick Wong Philip Arkinstall DOUBLE BASSES Principal Peter Edwards Roger Young Associate Principal Steve Reeves Jessica Buzbee* Assistant Principal Clare Miller* Craig Hill Principal Kirsty Bremner BASS TROMBONE VIOLAS Andrew Moon BASS CLARINET MSO Friends Chair Mike Szabo Christopher Moore Associate Principal Jon Craven Sarah Curro Principal Principal Sylvia Hosking Principal Peter Fellin Julia Joyce* Assistant Principal TUBA Deborah Goodall BASSOONS Guest Principal Damien Eckersley Timothy Buzbee Lorraine Hook Jack Schiller Christopher Cartlidge Benjamin Hanlon Principal Kirstin Kenny Principal Acting Associate Suzanne Lee Ji Won Kim Elise Millman TIMPANI Principal Stephen Newton Eleanor Mancini Associate Principal Christine Turpin Lauren Brigden Young-Hee Chan* Mark Mogilevski Natasha Thomas Principal Katharine Brockman Bonita Williams* Michelle Ruffolo Simon Collins CONTRABASSOON PERCUSSION Kathryn Taylor FLUTES Gabrielle Halloran Brock Imison Robert Clarke Rebecca Adler* Prudence Davis Trevor Jones Principal Principal Jo Beaumont* Principal Flute Chair – Fiona Sargeant John Arcaro Jacqueline Edwards* Anonymous HORNS Cindy Watkin Robert Cossom Wendy Clarke Zora Slokar SECOND VIOLINS Caleb Wright Associate Principal Principal HARP Matthew Tomkins Ceridwen Davies* Sarah Beggs Geoff Lierse Yinuo Mu The Gross Foundation Isabel Morse* Associate Principal Principal Principal Second Violin PICCOLO CELLOS Saul Lewis Chair Andrew Macleod PIANO David Berlin Principal Third Robert Macindoe Principal Louisa Breen* MS Newman Family Jenna Breen Associate Principal Principal Cello Chair OBOES Abbey Edlin Monica Curro *Guest musician Rachael Tobin Jeffrey Crellin Trinette McClimont Assistant Principal Associate Principal Principal Mary Allison

MANAGEMENT

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

BEETHOVEN, MOZART & COPLAND 9 THANKS TO OUR WONDERFUL MSO SUPPORTERS

The MSO relies on your ongoing philanthropic support to sustain access, artists, education, community 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. The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $100 (Friend), $1,000 (Player), $2,500 (Associate), $5,000 (Principal), $10,000 (Maestro), $20,000 (Impresario), $50,000 (Benefactor) The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will. Enquiries: Ph +61 (03) 9626 1248 Email: [email protected] This honour roll is correct at time of printing.

ARTIST CHAIR BENEFACTORS Robert & Jan Green Mr John Brockman OAM and Harold Mitchell AC Lou Hamon OAM Mrs Pat Brockman Chief Conductor Chair Margaret Jackson AC Leith Brooke Patricia Riordan Konfir Kabo and Monica Lim Rhonda Burchmore Associate Conductor Chair Mr Greig Gailey and Dr Geraldine Lazarus Bill and Sandra Burdett Joy Selby Smith Norman and Betty Lees Oliver Carton Orchestral Leadership Chair Mimie MacLaren John and Lyn Coppock Marc Besen AC and Eva Besen AO Ian and Jeannie Paterson Miss Ann Darby in memory of Leslie J. Darby International Guest Chair Onbass Foundation Mary and Frederick Davidson AM MSO Friends Chair Peter and Natalie Schiavello Lauraine Diggins and Michael Blanche The Gross Foundation Peter and Leila Doyle Principal Second Violin Chair Glenn Sedgwick Lisa Dwyer and Dr Ian Dickson MS Newman Family Maria Solà, in memory of Malcolm Douglas Principal Cello Chair Drs G & G Stephenson. In honour of the Dr Helen M Ferguson Principal Flute Chair – Anonymous great Romanian musicians George Enescu Mr Bill Fleming and Dinu Lipati Colin Golvan QC and Dr Deborah Golvan PROGRAM BENEFACTORS Lyn Williams AM Michael and Susie Hamson Meet The Music Kee Wong and Wai Tang Susan and Gary Hearst Made possible by The Ullmer Family Jason Yeap OAM Gillian and Michael Hund Foundation Anonymous (1) Rosemary and James Jacoby East meets West John and Joan Jones Supported by the Li Family Trust PRINCIPAL PATRONS $5,000+ Connie and Craig Kimberley The Pizzicato Effect (Anonymous) Lino and Di Bresciani OAM Sylvia Lavelle MSO UPBEAT David and Emma Capponi Supported by Betty Amsden AO DSJ Paul Carter and Jennifer Bingham Ann and George Littlewood MSO CONNECT Tim and Lyn Edward H.E. McKenzie Supported by Jason Yeap OAM John and Diana Frew Allan and Evelyn McLaren Jill and Robert Grogan Don and Anne Meadows BENEFACTOR PATRONS $50,000+ Nereda Hanlon and Michael Hanlon AM Bruce Parncutt and Robin Campbell Betty Amsden AO DSJ Hartmut and Ruth Hofmann Ann Peacock with Andrew and Phillip Bacon AM Jenny and Peter Hordern Woody Kroger Marc Besen AC and Eva Besen AO Jenkins Family Foundation Sue and Barry Peake Jennifer Brukner Vivien and Graham Knowles Mrs W Peart Rachel and Hon. Alan Goldberg AO QC David Krasnostein and Pat Stragalinos Ruth and Ralph Renard The Gross Foundation Elizabeth Kraus in memory of Bryan Hobbs Max and Jill Schultz David and Angela Li Dr Geraldine Lazarus and Mr Greg Gailey Diana and Brian Snape AM Annette Maluish Dr Elizabeth A Lewis AM Mr Tam Vu and Dr Cherilyn Tillman Harold Mitchell AC Peter Lovell William and Jenny Ullmer MS Newman Family The Cuming Bequest Bert and Ila Vanrenen Roslyn Packer AO Mr and Mrs D R Meagher Brian and Helena Worsfold Mrs Margaret S Ross AM and Dr Ian Ross Wayne and Penny Morgan Anonymous (11) Joy Selby Smith Marie Morton FRSA PLAYER PATRONS $1,000+ Ullmer Family Foundation Dr Paul Nisselle AM Anita and Graham Anderson, Christine and IMPRESARIO PATRONS $20,000+ Lady Potter AC Mark Armour, Arnold Bloch Leibler, Marlyn and Peter Bancroft OAM, Adrienne Basser, Perri Cutten and Jo Daniell Stephen Shanasy Susan Fry and Don Fry AO Prof Weston Bate and Janice Bate, David Gai and David Taylor and Helen Blackwell, Bill Bowness, Michael F John McKay and Lois McKay the Hon. Michael Watt QC and Cecilie Hall Boyt, M Ward Breheny, Susie Brown, Jill and Elizabeth Proust AO Barbara and Donald Weir Christopher Buckley, Dr Lynda Campbell, Rae Rothfield Anonymous (4) Sir Roderick Carnegie AC, Andrew and Inés Scotland Pamela Crockett, Natasha Davies, Pat and ASSOCIATE PATRONS $2,500+ Bruce Davis, Merrowyn Deacon, Sandra MAESTRO PATRONS $10,000+ Dr Bronte Adams Dent, Dominic and Natalie Dirupo, John Michael Aquilina Pierce Armstrong Foundation and Anne Duncan, Jane Edmanson OAM, John and Mary Barlow Will and Dorothy Bailey Bequest Kay Ehrenberg, Gabrielle Eisen, Vivien and Kaye and David Birks Barbara Bell in memory of Elsa Bell Jack Fajgenbaum, Grant Fisher and Helen Bird, Mr William J Forrest AM, Barry Fradkin Mitchell Chipman Peter Biggs CNZM and Mary Biggs Jan and Peter Clark OAM and Dr Pam Fradkin, David Gibbs and Mrs S Bignell Susie O’Neill, Merwyn and Greta Goldblatt, Andrew and Theresa Dyer Stephen and Caroline Brain George Golvan QC and Naomi Golvan, Future Kids Pty Ltd

10 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT THANKS TO OUR WONDERFUL MSO SUPPORTERS

Charles and Cornelia Goode, Dr Marged Wills Cooke, Pamela F Wilson, Joanne Wolff, The Schapper Family Foundation Goode, Danny Gorog and Lindy Susskind, Peter and Susan Yates, Mark Young, Panch The Scobie and Claire Mackinnon Trust Louise Gourlay OAM, Ginette and André Das and Laurel Young-Das, YMF Australia, Gremillet, Dr Sandra Hacker AO and Mr Anonymous (18) CONDUCTOR’S CIRCLE Ian Kennedy AM, Jean Hadges, Paula Jenny Anderson, Lesley Bawden THE MAHLER SYNDICATE Hansky OAM and Jack Hansky AM, Tilda Joyce Bown, Mrs Jenny Brukner and the David and Kaye Birks, Jennifer Brukner, and Brian Haughney, Henkell Family Fund, late Mr John Brukner, Ken Bullen, Luci and Mary and Frederick Davidson AM, Tim and Penelope Hughes, Dr Alastair Jackson, Stuart Ron Chambers, Sandra Dent, Lyn Edward, Lyn Edward, John and Diana Frew, Louis Jennings, George and Grace Kass, Irene Alan Egan JP, Louis Hamon OAM, Tony Hamon OAM, The Hon Dr Barry Jones AC, Kearsey, Ilma Kelson Music Foundation, Dr Howe, Audrey M Jenkins, John and Joan Dr Paul Nisselle AM, Maria Solà in memory of Anne Kennedy, Lew Foundation, Norman Jones, Mrs Sylvia Lavelle, Cameron Mowat, Malcolm Douglas, The Hon Michael Watt QC Lewis in memory of Dr Phyllis Lewis, Dr Laurence O’Keefe and Christopher James, and Cecilie Hall, Anonymous (1) Anne Lierse, Violet and Jeff Loewenstein, Elizabeth Proust AO, Penny Rawlins, Joan The Hon Ian Macphee AO and Mrs Julie MSO ROSES P Robinson, Neil Roussac, Anne Roussac- Mcphee, Elizabeth H Loftus, Vivienne Hadj Roses: Mary Barlow, Jennifer Brukner, Hoyne, Jennifer Shepherd, Drs Gabriela and and Rosemary Madden, In memory of Annette Maluish, Pat Stragalinos, Jenny George Stephenson, Pamela Swansson, Leigh Masel, John and Margaret Mason, In Ullmer. Rosebuds: Leith Brooke, Lynne Lillian Tarry, Dr Cherilyn Tillman, Mr and Mrs honour of Norma and Lloyd Rees, Trevor and Damman, Francie Doolan, Lyn Edward, R P Trebilcock, Michael Ullmer, Ila Vanrenen, Moyra McAllister, David Menzies, John and Dr Elizabeth A Lewis AM, Dr Cherilyn Tillman Mr Tam Vu, Marian and Terry Wills Cooke, Isobel Morgan, Ian Morrey, The Novy Family, Mark Young, Anonymous (19) FOUNDATIONS AND TRUSTS Laurence O’Keefe and Christopher James, THE MSO GRATEFULLY ACKNOWLEDGES THE The Annie Danks Trust Graham and Christine Peirson, Andrew SUPPORT RECEIVED FROM THE ESTATES OF: Penn and Kallie Blauhorn, Kerryn Pratchett, Collier Charitable Fund Angela Beagley, Gwen Hunt, Pauline Peter Priest, Jiaxing Qin, Eli Raskin, Peter Creative Partnerships Australia Marie Johnston, C P Kemp, Peter Forbes and Carolyn Rendit, S M Richards AM and Crown Resorts Foundation and the Packer MacLaren, Prof Andrew McCredie, Miss M R Richards, Dr Rosemary Ayton and Dr Family Foundation Sheila Scotter AM MBE, Molly Stephens, Sam Ricketson, Joan P Robinson, Tom and The Cybec Foundation Jean Tweedie, Herta and Fred B Vogel, Elizabeth Romanowski, Jeffrey Sher, Dr Sam The Harold Mitchell Foundation Dorothy Wood Smorgon AO and Mrs Minnie Smorgon, Dr Helen Macpherson Smith Trust Norman and Dr Sue Sonenberg, Dr Michael HONORARY APPOINTMENTS Soon, Pauline Speedy, State Music Camp, Ivor Ronald Evans Foundation, managed by Mrs Elizabeth Chernov Geoff and Judy Steinicke, Mrs Suzy and Dr Equity Trustees Limited and Mr Russell Brown Education and Community Engagement Mark Suss, Pamela Swansson, Dr Adrian Ken & Asle Chilton Trust, managed by Patron Thomas, Frank Tisher OAM and Dr Miriam Perpetual Sir Elton John CBE Tisher, Margaret Tritsch, Judy Turner and Linnell/Hughes Trust, managed by Perpetual Life Member Neil Adam, P & E Turner, Mary Vallentine The Marian and EH Flack Trust The Honourable Alan Goldberg AO QC AO, The Hon. Rosemary Varty, Leon and The Perpetual Foundation – Alan (AGL) Life Member Sandra Velik, Sue Walker AM, Elaine Walters Shaw Endowment, managed by Perpetual Geoffrey Rush AC OAM and Gregory Walters, Edward and The Pratt Foundation Ambassador Paddy White, Janet Whiting and Phil Lukies, Nic and Ann Willcock, Marian and Terry The Robert Salzer Foundation

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

GOVERNMENT PARTNERS MEDIA PARTNER Benjamin Northey conductor Hoang Pham piano

MUSSORGSKY & LISZT

This striking concert features two compositions inspired by works of art: Reger’s Four Tone Poems after Arnold Böcklin draws on the Swiss master-painter’s works, while Mussorgsky’s Pictures at an Exhibition presents an art gallery tour in musical form. Liszt’s showpiece makes for a breathtaking interlude.

11 September at 7.30pm Melbourne Town Hall

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