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Home , Elena Nikolaidi, Thomas Hampson

THOMAS HAMPSON SINGS MAHLER

7 JUNE 2018 Arts Centre Melbourne, Hamer Hall

8 JUNE 2018 Costa Hall, Geelong

CONCERT PROGRAM Melbourne Symphony Orchestra Andrea Molino conductor Thomas Hampson

Mahler Totenfeier Mahler Lieder eines fahrenden Gesellen INTERVAL Messiaen Le Tombeau Resplendissant R. Strauss Tod und Verklärung

Pre-Concert conversation Join us for a pre-concert conversation with Matthew Lorenzen inside Hamer Hall (Thursday) and Costa Hall (Friday) from 6.15pm.

Running time: 2 hours, including a 20-minute interval

In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone. The MSO acknowledge the Traditional Owners of the land on which we are performing. We pay our respects to their Elders, past and present, and the Elders from mso.com.au other communities who may be in attendance. (03) 9929 9600

2 MELBOURNE SYMPHONY ANDREA MOLINO ORCHESTRA CONDUCTOR

Established in 1906, the Melbourne Andrea Molino recently conducted Symphony Orchestra (MSO) is an Shostakovich’s The Nose and arts leader and Australia’s longest- Szymanowski’s for running professional orchestra. Chief Australia. At home in 20th century Conductor Sir Andrew Davis has and 21st century repertoire, he has been at the helm of MSO since 2013. also conducted Verdi’s Rigoletto, Il Engaging more than 4 million people Trovatore, and La Traviata as well as each year, the MSO reaches diverse works by Rossini, Mozart, Haydn and audiences through live performances, . He opened La Fenice’s recordings, TV and radio broadcasts 2010 concert season in Venice with the and live streaming. world premiere of Maderna’s Requiem (which he has also recorded). He has The MSO works with Associate conducted world premiere productions Conductor Benjamin Northey and such as Mosca’s Signor Goldoni. Cybec Assistant Conductor Tianyi Lu, as well as with such eminent recent Andrea has conducted the Brussels guest conductors as Tan Dun, John Philharmonic, Dresden Symphony Adams, Jakub Hrůša and Jukka-Pekka (with the project aghet, dedicated to Saraste. It also collaborates with non- the 100th anniversary of the Armenian classical musicians such as Elton John, genocide), and the BBC Scottish Nick Cave and Flight Facilities. Symphony Orchestras. As a composer, his main interest is innovative, multimedia-oriented music theatre.

3 THOMAS HAMPSON BARITONE

Thomas Hampson’s honours include France’s Commandeur dans l’Ordre des Arts et des Lettres, induction into Gramophone’s Hall of Fame and a Living Legend Award from the . Having appeared in the world’s major houses, Thomas Hampson has a repertoire of over 80 roles. His discography comprises more than 170 albums. Recently he has appeared at the State Opera reprising a signature-role, Verdi’s and given concerts in Stuttgart, Cologne, Budapest, Baden- Baden, Paris and Lisbon. Thomas also gave the Russian premiere in Moscow of ’s song-cycle Letters from Lincoln, written specially for him, and conducted music from Bernstein’s . Through the Hampsong Foundation (founded 2003), he employs the art of song to promote intercultural dialogue and understanding.

4 PROGRAM NOTES life, our hearts are gripped by a voice of awe-inspiring solemnity, which we seldom or never hear above the deafening traffic of mundane affairs. (1860-1911) It opens with the same dramatic Totenfeier gesture. One theme, which strides through the stormy texture, often ‘If this is music, then I know nothing as a trumpet call, returns in the finale of music,’ said Hans von Bülow, to depict the resurrection of the the legendary conductor, when, in dead. The second subject, as in the 1891, Mahler played through a long more familiar version, is a limpid and symphonic poem entitled Todtenfeier lyrical theme. The movement is long (funeral rites) to him at the piano. and structurally complex, with the Todtenfeier, to give it its original (and allusion to the Dies irae plainchant deliberately archaic) spelling, was warning of the Last Judgement still conceived as a sequel to the First in evidence during the development. Symphony, on which Mahler was still Occasionally Totenfeier shows seams working when he conceived of the that are more skilfully disguised in new piece. Like Beethoven’s Eroica the final version. Mahler calls for a and numerous works by Richard standard late-Romantic orchestra Strauss, the First Symphony was for Totenfeier – large, but still much intended as the musical portrait of smaller than that required for the a hero. Composed in 1888, Totenfeier Symphony: here, along with the was to be the hero’s funeral rites; it is regular string band, he restricts himself almost inevitable that the movement to triple, not quadruple winds, and a should be in C minor, like the Funeral regular complement of brass, including March in Beethoven’s Symphony. only four horns, three trumpets and Totenfeier sought, as Mahler later trombones, tuba, a single harp, put it, to ask: ‘Why did you live, why no organ and a modest percussion suffer? Is it all nothing but a huge, section of only one timpanist and two terrible joke?’ The original version of percussionists. Totenfeier is an only very slightly shorter The enormous tonal palette to which version of what would become the we are now accustomed is thus a little first movement of the Symphony No.2, restricted, but Mahler nevertheless the ‘Resurrection’, so Mahler’s note manages a considerable variety of for an early performance of the whole colours, and, indeed, his orchestration symphony is germane to this version: here, as everywhere, is as notable We are standing beside the coffin of for its kaleidoscope of delicate effects a man beloved. For the last time his as for its monumental ones, such as life, his battles, his sufferings and the crashing chords that seem to his purpose pass before the mind’s threaten total collapse later in the eye. And now, at this deeply stirring movement. One may miss moments moment, when we are released from of sheer volume – for instance, the the paltry distractions of everyday later enhancement provided by the

5 tam-tam when the opening gesture Mahler (the music and chorus director at is reprised halfway through the piece the time) appears twice in the Director’s – and there is a moment before the Register of Fines. The first time was for final recapitulation of the opening ‘…the most annoying habit of walking where the energy trails off in a way very noisily on the heels of his boots that Mahler has overcome in the later during rehearsals and performances’. version. Nonetheless, Totenfeier’s The second offence involved causing range of mood asks those searching female members of the company to questions, and reflects Mahler’s break out in ‘peals of laughter’ during remark that ‘You are battered to the conversation with them. earth with clubs and lifted to the It is tempting to suppose that one heights on angels’ wings’. of those giggling female singers Mahler was for a time stuck with was Johanna Richter, a blue-eyed Totenfeier, and even when he resolved coloratura soprano with whom Mahler to make it the first movement of a was completely besotted. It is unclear symphony. It was only with von Bülow’s when or at whose instigation their death and burial in 1894 that the idea relationship soured. Some of his letters of a choral finale celebrating the imply he had tried to break things off; Resurrection would come to him. but when the young composer turned to his music, the tone is of a jilted lover. © Gordon Kerry 2018 He wrote to a friend: The Melbourne Symphony Orchestra gave the first Australian performance of Totenfeier, under Karl I have composed a song cycle, Anton Rickenbacher on 10 February 1988. This is the Orchestra’s only performance since then. presently of six songs [later four], dedicated to her. She has not seen them. What could they tell her GUSTAV MAHLER beyond what she already knows? (1860-1911) I will enclose [to you] the last song, Lieder eines fahrenden Gesellen although the inadequate words Songs of a Wayfarer cannot say even a small part. The songs are a sequence, in which a Wenn mein Schatz Hochzeit macht wayfaring journeyman, who has had (On my sweetheart’s wedding day) a great sorrow, goes out into the Ging heut’ Morgen über’s Feld world and wanders aimlessly… (I went out this morning into the fields) The term ‘journeyman’ (Gesellen in Ich hab’ ein glühend Messer German) is not frequently heard these (I have a red-hot knife) days. Technically, it is someone who Die zwei blauen Augen has completed their apprenticeship but (The two blue eyes) is not self-employed, perhaps requiring further practical experience before The head of the opera house at Kassel being admitted to a professional in the early 1880s was Wilhelm Treiber, organisation. Mahler’s title, which a former army officer who ran the could be literally translated as Songs company on military lines. Gustav of a Travelling Journeyman, therefore

6 already implies a certain pathos: certain instruments in mind. Mahler someone looking for work, for a home; orchestrated the work probably in the someone who has left their master summer of 1896, shortly before its and not found another. Gesell can also official premiere. mean ‘companion’, lending an ironic The opening motif of On my touch to this solitary subject. Sweetheart’s Wedding Day possibly Mahler was reiterating a principal reflects the composer’s Moravian recurring theme of 19th-century heritage in its folk-like character. German Lieder: the world-weary (A similar phrase is heard in the third solo traveller, roaming unloved and movement of the First Symphony.) unmissed. Many of the great song The singer, although melancholy, still cycles (Schubert’s Die Winterreise and notices the beauty of the birds and Die schöne Müllerin, to name two) have flowers, but can only think of them a similar protagonist, disappointed in in terms of what is lost. love. It’s also remarkable how often The second song has a similar idea: the these characters, as well as Mahler’s wayfarer responds to the heartening wayfarer, find consolation under a tree. sounds of the finch and the bluebells Mahler chose to write his own poetry, merely by way of comparison with his rather than (as others had done before own situation. The central musical idea him) selecting some of the famous of this song, outlined in the opening works on this topic by Goethe, Heine phrase ‘Ging heut’ Morgen über’s Feld’ or Schiller, all of whom would have (I went out this morning into the fields), been considered a little old-fashioned later provided a musical starting point by this time anyway. In doing so, the for the First Symphony. The sorrowful, young composer paralleled Richard resigned coda is an ideal transition, Wagner, whom he idolised and who elegantly bridging the gap between spent most of his artistic life searching the joyous opening of the second song for the ‘totally unified artwork’. Mahler and the almost shocking violence of was less confident of his ‘inadequate the third. words’ than of his music. He worried I have a Red-Hot Knife moves the they might be perceived as naïve or protagonist beyond gentle sorrow and even trite. into extremes of torment, marked most What he in fact produced was a four- obviously by the repeated plaint ‘O weh!’ movement song cycle, equivalent and the energy of the orchestration. in scale and form to a miniature Trembling strings and winds keep the symphony. Indeed, echoes of certain emotional level high even when the phrases in Songs of a Wayfarer can dynamic is low. A calm moment in C be found in Mahler’s Symphony No.1. major is only a warning pause before The earliest autograph, for voice and the storm breaks loose again. piano, is from 1884 but written above One of the most famous elements of the score are the words ‘for a deep Mahler’s Symphony No.1 is a funeral voice with orchestral accompaniment’, march, often known as a minor-key which suggests he always had

7 version of Frère Jacques; it contrasts to reflect his unfashionable theological with a G major section. The Two Blue meditations, yet was the revered Eyes presages this contrasting section, teacher of generations of composers in a portion of the song which begins ‘Auf as diverse as Stockhausen, Pierre der Strasse’ (By the road). Overwhelming Boulez, Iannis Xenakis through to sadness eventually gets the better of this the much feted (and much younger) gentle tune, twisting it back into a minor George Benjamin; he went ‘back to key, leaving the audience to wonder if nature’ and explored birdsong to create the journeyman has indeed found restful a music anything but faux-naif; his sleep – or death. religion presented no impediment to representing erotic love as a reflection Katherine Kemp Symphony Australia © 1998 of divine love in works like the The Melbourne Symphony Orchestra first Turangalîla-symphonie. performed Mahler’s Songs of a Wayfarer on 25 October 1958 with conductor Kurt Woess The convergence of divine and erotic and mezzo-soprano Elena Nikolaidi, and most love was hard-won for Messiaen recently in September 1986 with Hiroyuki Iwaki and Margreta Elkins. though. In works from the 1930s there is still a more traditionally ascetic sense of the opposition of spirit and OLIVIER MESSIAEN flesh. In the ‘combat between death (1908-1992) and life’, to borrow another Messiaen Le Tombeau resplendissant (The title, mystical union comes only with resplendent tomb) the denial of the flesh and passion. Vif – modéré – presque lent – vif – lent Le Tombeau resplendissant dates from 1931 and reflects this, as seen Late in life Messiaen offered this much- in Messiaen’s preface to the work: quoted defence of his life’s work: My youth is dead: I am its executioner. The first idea that I wished to Anger bounding, anger overflowing! express…is the existence of the truths Anger like a spurt of blood, anger like of the Catholic faith. This is the main a hammer blow! A circle at the throat, aspect of my work, the most noble, hands full of rage, a face of cold hate! without doubt the most useful, the Despair and weeping! most valid. My youth passed within a music of It is an extremely medieval aesthetic, flowers. I had in view an enchanted but the fact that Messiaen’s whole stairway. On it shone the plumage of output stems from his religious the bluebird of illusions. The melody of conviction creates some wonderful the atmosphere rose up, joyously sad. paradoxes. One of the towering figures My youth is dead: I am its of the 20th century’s music, he dutifully executioner. Where, fury, are you played the organ at weekly services in leading me? Why, trees, do you gleam a Parisian church for some 60 years, through the night? Advance, retreat, yet published only one short piece for hold out your arms! A sea swells at specifically liturgical use. He developed my ears! And it cracks, spins, dances, an intensely personal musical idiom shouts, yells: the void enters into me!

8 What is this resplendent tomb? It is drilled into him by his father, horn the tomb of my youth, it is my heart. player and composer Franz Strauss. Lit by the flame forever surging, lit by Following Liszt, Strauss explored the blinding clarity of an inner voice: frankly descriptive music in his Aus ‘Come unto me, all ye that labour Italien, and embarked on a series of and are heavy laden, and I will give symphonic poems such as Don Juan you rest. Blessed are the meek: for and , in which his music they shall inherit the earth. Blessed embodied the events and characters are they that mourn: for they shall be in literary works of Lenau and comforted. Blessed are the pure in Shakespeare respectively. In these and heart: for they shall see God.’ following works in the genre Strauss The verbal rhetoric is matched honed a musical idiom that enabled musically by implacably energetic him to write music of great scenic and music, challenged and gradually psychological immediacy in the great superseded by the final extended, series of that he began, with meditative slow section in E major for Guntram, at around the time of Tod und muted strings. The work is an image of Verklärung. But he did so by modifying the theological processes of purgation, the ‘symphonic’ principles of thematic illumination and finally, union. contrast, key relationships and motivic development that had sustained both © Gordon Kerry Brahms’ symphonies and the ‘endless This is the first performance of this work by the Melbourne Symphony Orchestra. melody’ of Wagner. The program, or narrative structure, RICHARD STRAUSS of Tod und Verklärung was Strauss’ (1864-1949) own. He explained to a friend that the work depicts ‘the dying hours of a man Tod und Verklärung (Death and who had striven towards the highest Transfiguration), Op.24 idealistic aims, maybe indeed those of an artist’. First, we hear the man’s On his deathbed, Strauss famously ‘irregular breathing’ and heartbeat, remarked to his daughter-in-law that softly sounded in strings and timpani. he ‘heard so much music’. She offered The harp introduces two motifs, a him manuscript paper but he replied dipping melody from high on the flute that he had ‘composed it 60 years and a rising chromatic figure from before in Tod und Verklärung. This is the oboe, perhaps representing the just like that.’ In 1888, however, Strauss man regaining consciousness. The was 24 years old and in perfect health. breathing music returns, followed by His career was beginning to take wing, a melody, consisting of a rising octave and as a relatively recent convert to and stepwise descent, which presages the ideals of the ‘New German’ school the music’s later depiction of the man’s of music – represented by Liszt, memories of childhood and youth. Wagner and their followers – Strauss largely abandoned the classicising, The immobile opening section is Brahmsian aesthetic which had been shattered by music of sudden agony

9 that introduces a new urgent theme Ideal can only be ‘gloriously achieved and reaches a forceful climax. There in everlasting space’; such a thing follows a series of reminiscences, with ‘could not be achieved here below’. development of some of the themes Like poets who have fallen silent heard in the opening section. It’s not throughout the ages when asked to put hard to imagine the dying the ineffable into words, Strauss’ music man remembering childhood, love, points the way, and produces a work of physical vigour; but increasingly great beauty as it does so. a baleful syncopated figure, based In one of his last major utterances, on the irregular breathing of the start, ‘Im Abendrot’ (At dusk) from the Four seeks to interrupt these reveries. The Last Songs, Strauss quotes the ‘Ideal’ suffering man refuses to bow to the theme when the singer, watching the pain, insisting on the ‘memory’ themes unbearably beautiful sunset with her in the face of the assault of pain. He partner of many years, asks, ‘Is this, is rewarded by three statements of perhaps, death?’ the theme representing the Ideal: a simple upward-moving major melody © Gordon Kerry 2014 brightened by the harmonic step from The Melbourne Symphony Orchestra first the tonic to a major chord one degree performed this work on 23 August 1941 under conductor Edgar Bainton, and most recently in higher. The third statement combines November 2012 with Tadaaki Otaka. with one of the heroic themes from earlier, but even here at what would be the climax of a symphonic movement, the resolution is withheld and the music sinks back to earth. The fast agonised music returns; brutal rhythms and a sudden upward rush of string and woodwind figures tell us that the man has died. From the depths of the orchestra, the tam-tam (the only percussion in this score) sounds softly. The music, based on the ‘childhood’ theme, very gradually billows like cloud, finally reaching a stratospheric high G in the violins. The final coda is an ecstatic rhapsody on the ‘Ideal’ motif, passing through different keys and colours. Unlike its first appearances, the motif here reaches a climax, but then gradually fades away. Strauss has been criticised for failing to depict this blissful moment convincingly, but he himself fully understood that the

10 TEXT

GUSTAV MAHLER Lieder eines fahrenden Gesellen (Songs of a Wayfarer)

1. Wenn mein Schatz Hochzeit macht On my sweetheart’s wedding day Wenn mein Schatz Hochzeit macht, On my sweetheart’s wedding day, Fröhliche Hochzeit macht, joyful wedding day, Hab’ ich meinen traurigen Tag! it will be a sad day for me! Geh’ ich in mein Kämmerlein, I will go to my little room, Dunkles Kämmerlein, my dark little room Weine, wein’ um meinen Schatz, and weep for my sweetheart, Um meinen lieben Schatz! my dear sweetheart! Blümlein blau! Blümlein blau! Little blue flower! Little blue flower! Verdorre nicht! Verdorre nicht! Do not fade! Do not fade! Vöglein süss, Vöglein süss, Sweet little bird, sweet little bird, Du singst auf grüner Heide! you sing on the green heath. Ach, wie ist die Welt so schön! Ah! How beautiful the world is! Ziküth! Ziküth! La-la! La-la! Singet nicht! Blühet nicht! Do not sing! Do not bloom! Lenz ist ja vorbei! Spring is over and gone! Alles Singen ist nun aus. All singing is now over. Des Abends, wenn ich schlafen geh’ At evening, when I go to sleep, Denk’ ich an mein Leide. I think of my sorrow! An mein Leide! Of my sorrow!

2. Ging heut’ Morgen über's Feld I went out this morning into the fields Ging heut morgen übers Feld, I went out this morning into the fields, Tau noch auf den Gräsern hing; the dew was still hanging on the grass, Sprach zu mir der lust’ge Fink: the happy finch said to me: ‘Ei du! Gelt? Guten Morgen! Ei gelt? ‘Hey, you! Good morning! Yes, you! Du! Wird’s nicht eine schöne Welt? Right! Isn’t it a beautiful world? Zink! Zink! Schön und flink! Chirrup! Chirrup! Lovely and lively! Wie mir doch die Welt gefällt!’ How I love the world!’ Auch die Glockenblum’ am Feld Even the bluebells in the field Hat mir lustig, guter Ding’, merrily and with good spirits Mit den Glöckchen, klinge, kling, ring out to me with their little bells, klinge, kling, ting, ting, ting, Ihren Morgengruss geschellt: their morning greeting: ‘Wird’s nicht eine schöne Welt? ‘Isn’t it a beautiful world? Kling, kling! Schönes Ding! Ting, ting! What a lovely thing! Wie mir doch die Welt gefällt! How I love the world! Heia!’ Hey-ho!’ Please turn your page quietly

11 Und da fing im Sonnenschein And then in the sunshine, Gleich die Welt zu funkeln an; the world began to sparkle; Alles Ton und Farbe gewann everything took on sound and colour Im Sonnenschein! in the sunshine! Blum’ und Vogel, gross und klein! Flowers and birds, great and small! ‘Guten Tag, ist’s nicht eine schöne Welt? ‘Good morning! Isn’t this a beautiful world? Ei du, gelt! Schöne Welt!’ Hey! You! It’s a lovely world!’ Nun fängt auch mein Glück wohl an? Now will my happiness also begin? Nein, nein, das ich mein’, No, no, that happiness Mir nimmer blühen kann! can never bloom for me!

3. Ich hab’ ein glühend Messer I have a red-hot knife Ich hab’ ein glühend Messer, I have a red-hot knife, Ein Messer in meiner Brust, A knife in my chest, O weh! O weh! Das schneid’t so tief Ah, pain! Ah, pain! It cuts so deep In jede Freud’ und jede Lust, through every joy and pleasure. So tief, so tief! So deep, so deep. Ach, was ist das für ein böser Gast! Alas, what an evil guest! Nimmer hält er Ruh’, It is never still, Nimmer hält er Rast, it never rests, Nicht bei Tag, nicht bei Nacht not by day, not by night Wenn ich schlief! when I sleep. O weh! O weh! Oh, woe! Oh, woe! Wenn ich in dem Himmel seh’, When I look up at the sky, Seh’ ich zwei blaue Augen steh’n. I see there two blue eyes. O weh! O weh! Oh woe! Oh, woe! Wenn ich im gelben Felde geh’, When I go through the golden fields Seh’ ich von Fern das blonde Haar I see from far away blond hair Im Winde weh’n. rippling in the wind. O weh! O weh! Oh, woe! Oh, woe! Wenn ich aus dem Traum auffahr’ When I wake up from a dream Und höre klingen ihr silbern Lachen, and hear the ringing of her silver laughter, O weh! O weh! Oh, woe! Oh, woe! Ich wollt’, ich läg auf der schwarzen Bahr’, I wish I were lying on a blackened bier, Könnt’ nimmer, nimmer die Augen and could never ever open my eyes aufmachen! again!

4. Die zwei blauen Augen The two blue eyes Die zwei blauen Augen von meinem The two blue eyes of my Schatz, sweetheart Die haben mich in die weite Welt geschickt. have sent me out into the world. Da musst ich Abschied nehmen I must take my leave Vom allerliebsten Platz! of the place I love more than anywhere! O Augen blau, O blue eyes, Warum habt ihr mich angeblickt? Why did you ever look at me? Nun hab’ ich ewig Leid und Grämen! Now I have only eternal grief and pain!

12 Ich bin ausgegangen in stiller Nacht I went out in the still night, In stiller Nacht wohl über die dunkle Heide. in the still night across the dark heath. Hat mir Niemand Ade gesagt, No one said farewell to me, Ade, Ade! farewell, farewell! Mein Gesell’ war Lieb’ und Leide! Love and Sorrow were my companions! Auf der Strasse steht ein Lindenbaum, By the road stands a linden tree, Da hab’ ich zum ersten Mal im Schlaf and there for the first time I slept geruht! peacefully. Unter dem Lindenbaum, Under the linden tree, Der hat seine Blüten über mich geschneit, whose blossoms snowed gently down on me, Da wusst’ ich nicht, wie das Leben tut, I no longer knew what life was like, War alles, alles wieder gut! everything, everything was good again! Alles! Alles! Everything! Everything! Lieb’ und Leid! Love and pain Und Welt und Traum! and world and dream!

13 MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis SECOND VIOLINS CELLOS Chief Conductor Matthew Tomkins David Berlin Benjamin Northey Principal Principal Associate Conductor The Gross Foundation# MS Newman Family# Anthony Pratt# Robert Macindoe Rachael Tobin Tianyi Lu Associate Principal Associate Principal Assistant Conductor The Cybec Foundation# Monica Curro Nicholas Bochner Assistant Principal Assistant Principal Hiroyuki Iwaki Danny Gorog and Lindy Conductor Laureate # Miranda Brockman Susskind # (1974–2006) Geelong Friends of the MSO Mary Allison Rohan de Korte FIRST VIOLINS Isin Cakmakcioglu Andrew Dudgeon# Dale Barltrop Freya Franzen Keith Johnson # Concertmaster Anonymous Sarah Morse Sophie Rowell Zoe Freisberg Angela Sargeant Concertmaster Cong Gu Maria Sola# The Ullmer Family Foundation# Andrew Hall Peter Edwards Michelle Wood Andrew and Judy Rogers# Andrew and Theresa Dyer# Assistant Principal John McKay and Lois McKay# Isy Wasserman Sharon Grigoryan^* Kirsty Bremner Philippa West DOUBLE BASSES Sarah Curro Patrick Wong Steve Reeves Michael Aquilina# Roger Young Principal Peter Fellin Jacqueline Edwards* Deborah Goodall Andrew Moon Associate Principal Lorraine Hook VIOLAS Sylvia Hosking Anne-Marie Johnson Christopher Moore Assistant Principal Kirstin Kenny Principal Di Jameson# Damien Eckersley Ji Won Kim Fiona Sargeant Benjamin Hanlon Eleanor Mancini Associate Principal Suzanne Lee Mark Mogilevski Lauren Brigden Stephen Newton Michelle Ruffolo Mr Tam Vu and Dr Cherilyn Sophie Galaise and Clarence Kathryn Taylor Tillman# Fraser# Michael Aquilina# Katharine Brockman Emma Sullivan* Amy Brookman* Christopher Cartlidge Axel Ruge* Michael Loftus-Hills* Michael Aquilina# Anthony Chataway FLUTES Dr Elizabeth E Lewis AM# Prudence Davis Gabrielle Halloran Principal Maria Sola# Anonymous# Trevor Jones Wendy Clarke Associate Principal Cindy Watkin Sarah Beggs Elizabeth Woolnough Caleb Wright PICCOLO Matthew Laing* Andrew Macleod Principal 14 OBOES TRUMPETS MSO BOARD Jeffrey Crellin Shane Hooton Chairman Principal Associate Principal Michael Ullmer Thomas Hutchinson Tristan Rebien* Associate Principal Guest Associate Principal Managing Director Ann Blackburn William Evans Sophie Galaise The Rosemary Norman Rosie Turner Foundation# Board Members TROMBONES COR ANGLAIS Andrew Dyer Brett Kelly Danny Gorog Michael Pisani Principal Principal Margaret Jackson AC Richard Shirley Di Jameson CLARINETS Mike Szabo David Krasnostein David Thomas Principal Bass Trombone David Li Principal TUBA Hyon-Ju Newman Philip Arkinstall Associate Principal Timothy Buzbee Glenn Sedgwick Craig Hill Principal Helen Silver AO David J. Saltzman* BASS CLARINET Company Secretary TIMPANI** Oliver Carton Jon Craven Principal Christopher Lane

BASSOONS PERCUSSION Jack Schiller Robert Clarke Principal Principal Elise Millman John Arcaro Associate Principal Tim and Lyn Edward# Natasha Thomas Robert Cossom Evan Pritchard* CONTRABASSOON Greg Sully* Brock Imison Principal HARP HORNS Yinuo Mu Principal David Evans*† Guest Principal Bronwyn Wallis* # Position supported by Saul Lewis * Guest Musician Principal Third ^ Courtesy of Australian String Abbey Edlin Quartet Nereda Hanlon and Michael Hanlon AM# † Courtesy of West Australian Symphony Orchestra Trinette McClimont ‡ Courtesy of Orchestra Victoria Alexander Morton* ** Timpani Chair position Rachel Shaw*‡ supported by Lady Potter AC Ian Wildsmith* 15 Supporters

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

16 VIRTUOSO PATRONS PRINCIPAL PATRONS $50,000+ $5,000+ Di Jameson Christine and Mark Armour David Krasnostein and Pat Stragalinos John and Mary Barlow Harold Mitchell AC Barbara Bell, in memory of Elsa Bell Kim Williams AM Stephen and Caroline Brain Prof Ian Brighthope IMPRESARIO PATRONS David and Emma Capponi May and James Chen $20,000+ Wendy Dimmick Michael Aquilina Andrew Dudgeon AM The John and Jennifer Brukner Foundation Andrew and Theresa Dyer Mary and Frederick Davidson AM Tim and Lyn Edward Rachel and the late Hon. Alan Goldberg AO QC Mr Bill Fleming Margaret Jackson AC John and Diana Frew Andrew Johnston Susan Fry and Don Fry AO Mimie MacLaren Sophie Galaise and Clarence Fraser John and Lois McKay Geelong Friends of the MSO Jennifer Gorog MAESTRO PATRONS HMA Foundation $10,000+ Louis Hamon OAM Hans and Petra Henkell Kaye and David Birks Hartmut and Ruth Hofmann Mitchell Chipman Doug Hooley Sir Andrew and Lady Davis Jenny and Peter Hordern Danny Gorog and Lindy Susskind Dr Alastair Jackson Robert & Jan Green Dr Elizabeth A Lewis AM Hilary Hall, in memory of Wilma Collie Norman Lewis, in memory of Dr Phyllis Lewis Nereda Hanlon and Michael Hanlon AM Peter Lovell The Hogan Family Foundation Lesley McMullin Foundation International Music and Arts Foundation Mr Douglas and Mrs Rosemary Meagher Suzanne Kirkham Dr Paul Nisselle AM The Cuming Bequest The Rosemary Norman Foundation Ian and Jeannie Paterson Ken Ong, in memory of Lin Ong Lady Potter AC CMRI Bruce Parncutt AO Elizabeth Proust AO Jim and Fran Pfeiffer Xijian Ren and Qian Li Pzena Investment Charitable Fund Glenn Sedgwick Andrew and Judy Rogers Helen Silver AO and Harrison Young Rae Rothfield Maria Solà Max and Jill Schultz Profs. G & G Stephenson, in honour of the great Mr Tam Vu and Dr Cherilyn Tillman Romanian musicians George Enescu and Dinu The Hon. Michael Watt QC and Cecilie Hall Lipatti Lyn Williams AM Gai and David Taylor Anonymous (2) Juliet Tootell Alice Vaughan Harry and Michelle Wong Jason Yeap OAM

17 ASSOCIATE PATRONS Diana and Brian Snape AM Dr Norman and Dr Sue Sonenberg $2,500+ Geoff and Judy Steinicke Dandolo Partners Elisabeth Wagner Will and Dorothy Bailey Bequest Brian and Helena Worsfold David Blackwell OAM Peter and Susan Yates Anne Bowden Anonymous (8) Bill Bowness Julia and Jim Breen PLAYER PATRONS $1,000+ Lynne Burgess Oliver Carton David and Cindy Abbey John and Lyn Coppock Christa Abdallah Ann Darby, in memory of Leslie J. Darby Dr Sally Adams Natasha Davies, for the Trikojus Education Fund Mary Armour Merrowyn Deacon Arnold Bloch Leibler Sandra Dent Philip Bacon AM Peter and Leila Doyle Marlyn and Peter Bancroft OAM Lisa Dwyer and Dr Ian Dickson Adrienne Basser Duxton Vineyards Prof Weston Bate and Janice Bate Jane Edmanson OAM Janet Bell Dr Helen M Ferguson Michael F Boyt Mr Peter Gallagher and Dr Karen Morley Patricia Brockman Dina and Ron Goldschlager Dr John Brookes Louise Gourlay OAM Suzie Brown OAM andHarvey Brown Peter and Lyndsey Hawkins Roger and Col Buckle Susan and Gary Hearst Jill and Christopher Buckley Colin Heggen, in memory Shane Buggle of Marjorie Drysdale Heggen Bill and Sandra Burdett Rosemary and James Jacoby Peter Caldwell Jenkins Family Foundation Joe Cordone C W Johnston Family Andrew and Pamela Crockett John Jones Beryl Dean George and Grace Kass Rick and Sue Deering Irene Kearsey and M J Ridley Dominic and Natalie Dirupo The Ilma Kelson Music Foundation Marie Dowling Kloeden Foundation John and Anne Duncan Bryan Lawrence Kay Ehrenberg Ann and George Littlewood Jaan Enden John and Margaret Mason Valerie Falconer and the Rayner Family H E McKenzie in memory of Keith Falconer Allan and Evelyn McLaren Amy & Simon Feiglin Don and Anne Meadows Grant Fisher and Helen Bird Marie Morton FRSA Barry Fradkin OAM and Dr Pam Fradkin Annabel and Rupert Myer AO Applebay Pty Ltd Sue and Barry Peake David Frenkiel and Esther Frenkiel OAM Mrs W Peart David Gibbs and Susie O’Neill Graham and Christine Peirson Merwyn and Greta Goldblatt Julie and Ian Reid Colin Golvan QC and Dr Deborah Golvan Ruth and Ralph Renard George Golvan QC and Naomi Golvan S M Richards AM and M R Richards Dr Marged Goode Tom and Elizabeth Romanowski Prof Denise Grocke AO Jeffrey Sher QC and Diana Sher OAM Max Gulbin

18 Dr Sandra Hacker AO and Mr Ian Kennedy AM Lady Southey AC Jean Hadges Jennifer Steinicke Michael and Susie Hamson Dr Peter Strickland Paula Hansky OAM Pamela Swansson Merv Keehn & Sue Harlow Jenny Tatchell Tilda and Brian Haughney Frank Tisher OAM and Dr Miriam Tisher Anna and John Holdsworth The Hon. Rosemary Varty Penelope Hughes Leon and Sandra Velik Basil and Rita Jenkins Sue Walker AM Stuart Jennings Elaine Walters OAM and Gregory Walters Dorothy Karpin Edward and Paddy White Brett Kelly and Cindy Watkin Nic and Ann Willcock Dr Anne Kennedy Marian and Terry Wills Cooke Julie and Simon Kessel Lorraine Woolley Kerry Landman Richard Ye William and Magdalena Leadston Panch Das and Laurel Young-Das Andrew Lee Anonymous (21) Dr Anne Lierse Gaelle Lindrea THE MAHLER SYNDICATE Andrew Lockwood David and Kaye Birks Violet and Jeff Loewenstein Mary and Frederick Davidson AM Elizabeth H Loftus Tim and Lyn Edward Chris and Anna Long John and Diana Frew The Hon Ian Macphee AO and Mrs Julie Macphee Francis and Robyn Hofmann Eleanor & Phillip Mancini The Hon Dr Barry Jones AC Dr Julianne Bayliss Dr Paul Nisselle AM In memory of Leigh Masel Maria Solà Ruth Maxwell The Hon Michael Watt QC and Cecilie Hall Jenny McGregor AM and Peter Allen Glenda McNaught Ian Morrey and Geoffrey Minter TRUSTS AND Patricia Nilsson FOUNDATIONS Laurence O’Keefe and Christopher James Collier Charitable Fund Alan and Dorothy Pattison Crown Resorts Foundation and Margaret Plant the Packer Family Foundation Kerryn Pratchett The Cybec Foundation Peter Priest The Marian and E.H. Flack Trust Treena Quarin Freemasons Foundation Victoria Eli Raskin Gandel Philanthropy Raspin Family Trust The Scobie and Claire Mackinnon Trust Bobbie Renard The Harold Mitchell Foundation Peter and Carolyn Rendit The Myer Foundation Dr Rosemary Ayton and Dr Sam Ricketson The Pratt Foundation Joan P Robinson The Robert Salzer Foundation Cathy and Peter Rogers Telematics Trust Doug and Elisabeth Scott Martin and Susan Shirley Penny Shore Dr Sam Smorgon AO and Mrs Minnie Smorgon John So Dr Michael Soon

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

20 Honorary Appointments

Sir Elton John CBE Life Member Lady Potter AC CMRI Life Member Geoffrey Rush AC Ambassador

THE MSO HONOURS THE MEMORY OF John Brockman OAM Life Member The Honourable Alan Goldberg AO QC Life Member Ila Vanrenen Life Member

21 ‘We are the music makers, and we are the dreamers of dreams.'

– Arthur O’Shaughnessy

Come dream with us by adopting your own MSO musician!

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

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

22 PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

MELBOURNE CONSERVATORIUM OF MUSIC

SUPPORTING PARTNERS

Quest Southbank The CEO Institute Ernst & Young Bows for Strings

TRUSTS AND FOUNDATIONS

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

MEDIA AND BROADCAST PARTNERS