CONCERT PROGRAM

An American in Paris

Friday 30 October at 7.30pm Melbourne Town Hall WHAT’S ON NOVEMBER 2015 – FEBRUARY 2016

TCHAIKOVSKY AND GRIEG SIBELIUS’ FINLANDIA BRAHMS AND TCHAIKOVSKY Friday 13 November Thursday 19 November Thursday 26 November Saturday 14 November Friday 20 November Friday 27 November Saturday 28 November Asher Fisch conducts three Yan Pascal Tortelier celebrates the masterworks that defined the 150th anniversary of two Nordic Divertimento, Bartók’s dark take Romantic era. Tchaikovsky’s masters. Sibelius’ majestic Finlandia on the Baroque, kick-starts this stirring Romeo and Juliet is followed is balanced against Nielsen’s spirited night of European festivities. by Grieg’s poignant Piano Concerto Violin Concerto. Also featured in Brahms’ Violin Concerto delivers and the high-voltage intensity this program is Sibelius’ Symphony a fiery, gypsy-inspired rondo and of Tchaikovsky’s Fourth Symphony. No.5 and tone poem The Swan of Tchaikovsky’s Serenade for Strings Tuonela. pays homage to Mozart.

MESSIAH CHRISTMAS CAROLS HITCHCOCK AND HERRMANN Saturday 5 December Saturday 12 December Friday 5 February Sunday 6 December Sunday 13 December Saturday 6 February Join conductor Bramwell Tovey, Bramwell Tovey joins the MSO Immerse yourself in scenes from the MSO Chorus and renowned as conductor, pianist and host Alfred Hitchcock’s classic films on international soloists for one of in this celebration of the great the big screen and hear Bernard the MSO’s most beloved Christmas musical traditions of Christmas, Herrmann’s astonishing scores in traditions, Handel’s Messiah. from famous orchestral works and 3D – performed live by the MSO. favourite Christmas songs to the most beloved of Yuletide carols.

2 ARTISTS Melbourne Symphony Orchestra Nicholas Milton conductor David Fung piano Calvin Bowman organ

REPERTOIRE Gershwin An American in Paris Ravel Piano Concerto in G — Interval — Saint-Saëns Symphony No.3 Organ

This concert has a duration of approximately 2 hours Pre-Concert Recital including one 20 minute interval. 6:30pm Friday 30 October, Melbourne Town Hall This performance will be recorded for broadcast on Ticket-holders are invited to attend a free pre-concert ABC Classic FM on Wednesday 4 November at 1pm. recital by Dr Calvin Bowman, on the Melbourne Town Hall grand organ.

3 WELCOME

One of the cultural treasures of this great city is the Melbourne Town Hall organ. The sound of this majestic instrument perfectly complements the burnished grandeur of the hall itself. Tonight it will be put through its paces by Calvin Bowman in one of the greatest showpieces for organ: Saint-Saens’ Symphony No.3, universally known (unsurprisingly!) as the Organ Symphony. The composer himself remarked of this powerful work (which truly may be said to ‘pull out all the stops’) ‘I gave everything to it I was able to give.’ The program, conducted by Nicholas Milton, also includes Ravel’s infectious, jazz- inspired Piano Concerto in G with David Fung, and the evening begins in flamboyant style with George Gershwin’s American in Paris. There’s a lot to enjoy!

Sir Chief Conductor

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

4 MELBOURNE SYMPHONY ORCHESTRA

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

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

5 NICHOLAS MILTON DAVID FUNG CONDUCTOR PIANO

Australian-born conductor Nicholas Milton has David Fung has appeared as guest soloist with all established an outstanding reputation for his charismatic the major orchestras in his native Australia, and stage presence and thrilling interpretations of an internationally with orchestras including the Israel extensive repertoire spanning both concert and opera. Camerata Jerusalem, Israel Philharmonic Orchestra, Los Angeles Chamber Orchestra, National Orchestra In September 2014, Nicholas was named of Belgium, Royal Chamber Orchestra of Wallonia, General Music Director and Chief Conductor of the San Diego Symphony, San Francisco Symphony and State Opera House (Saarländisches Staatstheater) in the Xiamen Philharmonic Orchestra. He is a frequent Saarbrücken, Germany. guest artist of concert series and festivals throughout Appointed as one of the youngest-ever the world. As Artistic Director of the Bari International concertmasters of a major Australian orchestra, Music Festival in Italy, his innovative programming Nicholas enjoyed a distinguished career as a violinist has led to sold-out performances in the Auditorium and chamber musician before dedicating himself Diocesano La Vallisa, one of the oldest churches and exclusively to conducting. Now based in Europe, he most prestigious cultural venues in the city. is a regular guest at several leading opera houses. His debut album with Yarlung Records includes In 2015, he conducts Tosca for Liszt’s Sonata in B minor and Les jeux d’eaux à la Villa at the Opera House, performances of Die d’Este, and Ravel’s Jeux d’eau and La valse. His second Fledermaus in Stuttgart, The Tales of Hoffmann in Berlin album, Evening Conversations, features a solo recital of – as well as return engagements with the Stuttgarter intimate works by composers ranging from Mozart to Philharmoniker, Dortmunder Philharmoniker, Orchestra Tan Dun. della Svizzera Italiana, Philharmonisches Orchester David Fung garnered international attention as a Freiburg and the Melbourne Symphony Orchestra. prize winner of the Queen Elisabeth Competition in Nicholas served as General Music Director of the Brussels and the Arthur Rubinstein International Piano Jena Philharmonic Orchestra from 2004 until 2010. Master Competition in Tel Aviv. He was the winner of Since 2001, he has been Chief Conductor of the the 2002 ABC Symphony Australia Young Performer Willoughby Symphony Orchestra, and since 2007, of the Year Award. Chief Conductor and Artistic Director of the Canberra Symphony Orchestra. He will continue to serve as Chief Conductor of the Innviertler Symphonie Orchester of Austria until 2017.

6 CALVIN BOWMAN ORGAN

An accomplished organist, Dr Calvin Bowman has presented the complete Bach organ works twice in public, once in 1995 and then again in 2009 for the Melbourne Festival when he performed them in a single seventeen hour sitting. For the latter feat he was nominated for a Helpmann Award for Best Individual Classical Music Performance. Calvin has also premiered major keyboard works by Philip Glass, , Ross Edwards, , and Andrew Schultz, and appeared as keyboard soloist with many Australian orchestras including the Melbourne, Adelaide, West Australian and Tasmanian Symphony Orchestras, and . As a composer, Calvin has been awarded an Australia Council Fellowship and continues to be commissioned widely. His works have been conducted and performed by musicians such as Sir Neville Marriner, Sebastian Lang-Lessing, Brad Cohen, Emma Matthews, Jacqueline Porter, Greta Bradman and Sara Macliver; recorded for Deutsche Grammophon and ABC Classics; and played by the Orchestre Philharmonique de Monte Carlo as well as by Australian orchestras. His most recent significant work, The Magic Pudding – The Opera, was commissioned by Victorian Opera and first performed in 2013. Calvin was the first Australian to graduate with a Doctor of Musical Arts degree from Yale University with the assistance of a Fulbright scholarship.

7 GEORGE GERSHWIN An American in Paris (1898–1937)

A Parisian in America, Maurice Ravel was much A violin cadenza leads into what Gershwin described impressed by George Gershwin’s performance of the to Musical America as: Rhapsody in Blue at a New York party in his honour in a rich blues … Our American friend, perhaps after strolling early 1928. Gershwin is said to have asked Ravel for into a café and having a couple of drinks, has succumbed to lessons – actually, Gershwin seems to have made a habit a spasm of homesickness. The harmony here is both more of dazzling established composers and then asking for intense and simpler than in the preceding pages. This blues lessons; possibly, the inevitable polite refusal became rises to a climax, followed by a coda in which the spirit of a badge of honour – but Ravel famously told him he the music returns to the vivacity and bubbling exuberance should be ‘a first-rate Gershwin rather than a second- of the opening part with its impression of Paris. rate Ravel’. © Gordon Kerry 2014 Gershwin and his brother Ira spent three months in Paris shortly after this, warmly welcomed by The Melbourne Symphony Orchestra first performed An Ravel among others; Ravel would pay Gershwin the American in Paris on 3 November 1960 under conductor compliment of imitation in his G major Piano Concerto Henry Krips, and most recently at the 2014 Myer Free the following year. On an earlier visit Gershwin Concert with Benjamin Northey. dashed off a piece that he noted was ‘very Parisienne’. During and after his 1928 visit, and in response to a commission from Walter Damrosch of the New York Philharmonic, he returned to this fragment, elaborating it into An American in Paris, a ‘rhapsodic ballet’ which ‘depicts the impression of an American visitor in Paris, as he strolls about the city and listens to various street noises and absorbs the French atmosphere’. (The score provides the climactic finale to the 1951 MGM film An American in Paris, a ballet in which characters played by Gene Kelly and Leslie Caron declare their love against a backdrop of famous French paintings.) Gershwin was no ‘untutored genius’; while working as a successful song-writer, between 1915 and 1921 he had been taking lessons in ‘classical’ harmony and counterpoint, and while works such as Rhapsody in Blue were indeed orchestrated by others, Gershwin was at pains to note that the orchestration of An American in Paris was all his own work. (In fact, the published version was slightly revised by Frank Campbell- Watson.) In an interview with Musical America that he gave while composing the piece, Gershwin noted that ‘the opening part will be developed in typical French style, in the manner of Debussy and the Six, though all the themes are original’, a clear signal that he rightly considered himself a peer of his Parisian art-music contemporaries. The piece is, broadly speaking, in ternary form with a final coda. The opening ‘gay’ section, which refers to the maxixe, a fashionable Brazilian dance, depicts Paris’ bustle through the repetition of short rhythmic cells, including those produced by taxi-horns (of which Gershwin purchased several for the New York Philharmonic’s premiere of the work), which add a knockabout air to the score. The first section is also notable for its deft use of tuned percussion.

8 MAURICE RAVEL Piano Concerto in G (1875–1937) Allegramente Adagio assai Presto

David Fung piano

It is scarcely surprising that Ravel wrote two of the ‘Divertissement’. In any case, it became a true concerto greatest piano concertos of the 20th century. He was, after in which fun, self-parody and exquisite beauty all play all, a concert pianist himself, as well as a composer of the their part; but there is a ‘brittleness’ in the concerto’s highest calibre for solo piano, and arguably the greatest high spirits, not to mention a pervasive and ‘in-spite-of- orchestrator of his generation. What was unexpected, itself’ sadness to the slow movement. however, was that he took so long to get around to the It begins, appropriately enough, with a crack-of-the- task, only writing the Piano Concerto for the Left Hand whip and it barely stops racing during the entirety of and the Piano Concerto in G simultaneously at the end its first movement. Scored with virtuosic dexterity and of his career. Prior to those two masterpieces from the lightness, the jazzy rhythm drives on through spiky early 1930s, the closest he ever came to the form was an arpeggios in the piano, a piccolo solo, tremolos and aborted Rhapsody (or Suite) for piano and orchestra based pizzicati in the strings, and a trumpet solo. Even the harp on Basque folk melodies in 1914. takes the spotlight, while a mixture of broad, lurching, During the 1920s, however, Ravel turned hip. Always Gershwinesque themes (some sounding like they’ve had given to a degree of dandyism, he began frequenting the one martini too many) dominates the middle section. late-night jazz clubs then springing up all over Paris. Despite the wealth of invention, the sense of direction This influence is most clearly observable in the G major and purpose never falters, and before breath can be Piano Concerto. The idea for the opening theme came to drawn, the movement hurtles to its abrupt conclusion. him in 1927 as he was travelling by train from Oxford The sublime Adagio was modelled on the equivalent to London. He then lifted themes from his old Basque movement in Mozart’s Clarinet Quintet. Writing Rhapsody and reworked them into a more distinctively painstakingly, two bars at a time, Ravel agonised over modern idiom. this movement for many months, confessing later that Perhaps the biggest impetus of all came in 1928 when, it ‘almost killed him’. Its prevailing mood is that of a while on a concert tour in America, Ravel encountered nocturne, and the piano’s achingly beautiful main theme Gershwin’s Rhapsody in Blue and met the composer. In seems almost hesitant, yet somehow inexorable and this work, which so successfully merges jazz idioms with assured. After the main theme is completed, the middle classical orchestral structures, Ravel found inspiration section becomes more agitated and tonally ambiguous. for his own concerto. His admiration for Rhapsody in Blue Following some strident, stifling chords, the main melody is obvious in the first movement of his concerto, where is once more ‘released’, in the woodwind with the piano the themes worked over in the middle section have a weaving arabesques and delicate arpeggios around it. distinctly Gershwinesque feel. Ravel originally intended Finally, amidst trills on the piano, this most astonishing to perform the solo part of the concerto himself (which of slow movements draws to a close. (Interestingly, on may explain why it is written with so much more of a the recording which Ravel made with Marguerite Long, jazz feel than the Left Hand Concerto written for Paul he conducts the slow movement at a considerably faster Wittgenstein), but in the end his ailing health prevented tempo than that indicated in the score!) him from doing so. Instead, the concerto was premiered Ravel told Marguerite Long that he was going to end by Marguerite Long at the Salle Pleyel in 1932, with Ravel the concerto on those piano trills, but in fact he added a himself conducting. She was to become an indefatigable finale in which the frenetic pace of the opening movement champion of the work, and she and Ravel recorded it is actually exceeded. Supposedly a rondo (although at this soon after the premiere. pace it’s not easy to tell), it is filled with jazz sounds and For all its hipness, there is no mistaking that this dazzling piano effects. In the wink of an eye it presents is a ‘classical’ concerto in the strict, Mozartian sense of percussive flourishes, trombone glissandi and brief the term. According to Ravel: snatches of big band imitations from brass and woodwind, before racing on to its sudden but emphatic end. Planning the two concertos simultaneously was an interesting experience. The one in which I shall appear as Martin Buzacott the interpreter is a concerto in the true sense of the word: © Symphony Australia I mean that it is written very much in the same spirit as The first performance of Ravel’s Piano Concerto in G by the those of Mozart and Saint-Saëns. The music of a concerto Melbourne Symphony Orchestra took place on 16 October should, in my opinion, be lighthearted and brilliant, and 1954 with conductor Eugene Goossens and soloist Natasha not aim at profundity or dramatic effects. Litvin. The Orchestra’s most recent performance was in July Indeed so keen was Ravel to keep the concerto from 2012 with and Jean-Efflam Bavouzet. self-indulgent solemnity that he considered calling it a

9 CAMILLE SAINT-SAËNS Symphony No.3 in C minor, Op.78 (‘Organ’ Symphony) (1835–1921) Adagio – Allegro moderato – Poco adagio Allegro moderato – Presto – Maestoso – Allegro

Calvin Bowman organ

In 1887 Charles Gounod heard the Parisian premiere of The opening Adagio is deliberately vague in direction, Saint-Saëns’ ‘Symphony No. 3 in C minor, with Organ containing almost inconsequential motifs that, as we and Two Pianos’ and famously gushed, ‘There goes the have noted, become transformed in the course of the French Beethoven.’ Hyperbole, of course, but the work work. The static nature of the introduction enhances has remained hugely popular ever since. The reasons the release of energy in the Allegro moderato whose for its continued currency are easy to find: Saint-Saëns febrile theme begins with the same notes as the believed that ‘the time has come for the symphony to plainchant for the Dies irae. Saint-Saëns had, after all, benefit by the progress of modern instrumentation’ and been trained as a church musician and taught at the his orchestration is masterly, with a dramatic range of Ecole Niedermeyer, a school whose founder was an sounds from the diaphanous to the massive. The ‘Organ’ authority on how ‘modern harmony is submitted to Symphony is, moreover, replete with memorable tunes the form of the ancient modes’. This fast music, and intricate counterpoint, traversing an emotional however, seems to peter out, subsiding into the landscape from deepest melancholy to sheer joy. beautifully sombre and emotionally searching Poco adagio. It is here that the organ makes an appearance, It was commissioned and first performed under the providing a velvet backdrop for the questing second composer’s baton by the London Philharmonic Society theme of the movement. in 1886. During the composition Saint-Saëns’ old friend Liszt visited him and admired the score; sadly, Liszt Part II opens with a turbulent scherzo punctuated died weeks before the premiere, inspiring Saint-Saëns by timpani. It too builds in sound and fury but to dedicate the symphony to his memory. Liszt had mysteriously winds down to a quiet, simple texture been a great mentor ever since 1857 when, hearing built on another chant-like motif. Only now does Saint-Saëns improvising at the organ of the Madeleine Saint-Saëns unleash the full power of the organ. church, he had declared the young Frenchman to A shattering C major chord opens onto a world of be ‘the finest organist in the world’. Saint-Saëns for sparkling piano figurations, chorale melodies and an his part fought for the due recognition of the older overpoweringly joyful final peroration. man as composer as well as pianist, leading Debussy Gordon Kerry © 2009 grudgingly to admit, ‘We are indebted to him for having recognised the tumultuous genius of Liszt.’ The Melbourne Symphony Orchestra first performed Saint-Saëns’ Organ Symphony on 11 August 1965 under Perhaps, though, there is more than just hyperbole to conductor , and most recently in the Beethoven comparison. Like many a symphony of October 2009 with . Beethoven’s, especially the Fifth, the ‘Organ’ Symphony begins in darkness and turbulence and only toward the end does it reach the bright affirmation of C major. And like Beethoven in the Fifth, Saint-Saëns is remarkably economical with his thematic material: it is possible to trace almost all those melodies back to the motifs heard in the work’s introduction and the opening of the following Allegro moderato. How the composer elaborates these into such a contrasting abundance of melodies is by the principle of thematic transformation developed by Liszt. In his program note for the first performance, Saint-Saëns wrote that ‘this symphony is divided into two parts. Nevertheless, it embraces in principle the four traditional movements, but the first is altered in its development to serve as the introduction to the Poco adagio, and the scherzo is connected by the same process to the finale.’ In other words, the four movements are grouped in pairs, with the main dramatic weight carried by the second of each.

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

First Violins Violas Flutes Jenna Breen Abbey Edlin Dale Barltrop Christopher Moore Prudence Davis Trinette McClimont Concertmaster Principal Principal Flute Chair - Eoin Andersen Fiona Sargeant Anonymous Trumpets Concertmaster Associate Principal Wendy Clarke Geoffrey Payne Sophie Rowell Lauren Brigden Associate Principal Principal Associate Concertmaster Katharine Brockman Sarah Beggs Shane Hooton Andrew Beer† Christoper Cartlidge Associate Principal Gabrielle Halloran Piccolo Guest Associate Concertmaster William Evans Trevor Jones Andrew Macleod Peter Edwards Julie Payne Cindy Watkin Principal Assistant Principal Caleb Wright Trombones Kirsty Bremner Merewyn Bramble* Oboes Brett Kelly MSO Friends Chair Anthony Chataway* Jeffrey Crellin Principal Sarah Curro William Clark* Principal Jonathon Ramsay*^ Peter Fellin Ceridwen Davies* Thomas Hutchinson Deborah Goodall Beth Hemming* Associate Principal Bass Trombone Lorraine Hook Isabel Morse* Ann Blackburn Kirstin Kenny Catherine Turnbull* Mike Szabo Rachel Curkpatrick* Principal Ji Won Kim Cellos Eleanor Mancini Cor Anglais Tuba Mark Mogilevski David Berlin Michael Pisani Michelle Ruffolo MS Newman Family Principal Timothy Buzbee Principal Kathryn Taylor Cello Chair Principal Jacqueline Edwards* Rachael Tobin Clarinets Timpani Robert John* Associate Principal David Thomas Oksana Thompson* Christine Turpin Nicholas Bochner Principal Principal Second Violins Assistant Principal Philip Arkinstall Percussion Matthew Tomkins Miranda Brockman Associate Principal The Gross Foundation Principal Rohan de Korte Craig Hill Robert Clarke Second Violin Chair Keith Johnson Alex Morris* Principal Sarah Morse Robert Macindoe John Arcaro Angela Sargeant Bass Clarinet Associate Principal Robert Cossom Michelle Wood Jon Craven Timothy Hook* Monica Curro Molly Kadarauch* Principal Evan Pritchard* Assistant Principal Zoe Wallace* Bassoons Harp Mary Allison Double Basses Isin Cakmakcioglu Jack Schiller Yinuo Mu Freya Franzen Steve Reeves Principal Principal Cong Gu Principal Tahnee van Herk*^ Andrew Hall Celeste Andrew Moon Guest Principal Francesca Hiew Associate Principal Louisa Breen* Rachel Homburg Elise Millman Sylvia Hosking Christine Johnson Associate Principal Piano Assistant Principal Isy Wasserman Natasha Thomas Leigh Harrold* Damien Eckersley Philippa West Donald Nicolson* Patrick Wong Benjamin Hanlon Contrabassoon Roger Young Suzanne Lee Brock Imison Saxophone Stephen Newton Aaron Barnden* Principal Stuart Byrne* Stuart Riley* Madeleine Jevons* Luke Carbon* Emma Sullivan* Horns Tom Martin* Bonita Williams* Geoff Lierse Associate Principal *Guest musician Saul Lewis ^Courtesy of Tasmanian Symphony Orchestra Principal Third †Courtesy of Auckland Philharmonia Orchestra

11 MANAGEMENT

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

12 SUPPORTERS

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

13 SUPPORTERS

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

14 SUPPORTERS

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15 Master the art of me-time Relax to music and smooth sips of Hennessy Paradis, or a good story and a glass of Dom Perignon. Savour every indulgence in our First Class Private Suites. Principal Partner of the Melbourne Symphony Orchestra.

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