MAHLER 9 16, 17 & 19 MARCH 2018

CONCERT PROGRAM MELBOURNE SYMPHONY ORCHESTRA

Aspiring to the sublime: Mahler 9 And in ceasing, we lose it all. But in letting go, we have gained everything.’ ‘Wohin ich geh'? Ich geh', ich wand're in die Berge. Ich suche Ruhe für mein einsam Herz.’ Almost at the end of MSO’s Mahler cycle (Where do I go? I go, I wander in the of Symphonies, the Ninth aspires to the mountains. I seek peace for my lonely heart.) sublime, and to what lies beyond.

Mahler’s Ninth Symphony continues where Ronald Vermeulen Der Abschied, the last movement from his Director of Artistic Planning Lied von der Erde, ends. A similar feeling of farewell and resignation permeates most of this Symphony. Is it a coincidence that the first movement opens with a motif that For further listening we recommend: alludes to Beethoven’s Sonata No.26 On 7–8 June, conductor Andrea Molino Les Adieux? Beethoven wrote the word will lead the MSO in a Mahler rarity: the ‘Le-be-wohl’ (Farewell) above the three tone poem Totenfeier. This work became Melbourne Symphony Orchestra descending chords that Mahler quotes the basis for the first movement of in his Symphony. Mahler’s Second Symphony. But even after Sir Andrew Davis conductor The two middle movements are an the Symphony’s premiere, Mahler kept emotional rollercoaster, with an angelic performing Totenfeier as a separate piece. trumpet melody in the Rondo Burlesque In the same concert, Mahler-baritone par pointing at the sublime serenity of the excellence, will perform Mahler Symphony No.9 Adagio that concludes the Symphony. the Songs of a Wayfarer.

The last page of the Ninth is the most There are many good recordings of the visionary in all of Mahler’s oeuvre. Here, the Ninth Symphony. I wouldn’t want to be music becomes silence and this silence is without the insights of , deafening. As , the great who conducted the world premiere – Mahlerian, whose anniversary we celebrate and his recording comes with an this year, wrote: ‘...the strands of sound interview and rehearsal fragments (Sony), disintegrate. We hold on to them, hovering Leonard Bernstein’s performance from between hope and submission… We cling the Amsterdam Concertgebouw, or to them as they dematerialise; we are ’s deeply human holding two – then one. One, and suddenly interpretation from Chicago (both Deutsche none. For a petrifying moment there is only Grammophon). For an excellent, more silence. Then again, a strand, a broken recent, version, look at the DVD of the strand, two strands, one... none. We are half Luzern Festival Orchestra conducted by in love with easeful death... now more than on Accentus. ever seems it rich to die, to cease upon the midnight with no pain...

Running time 1 hour and 30 minutes, there will be no interval during this concert In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone. The MSO acknowledge the Traditional Owners of the land on which we are performing. We pay our respects to their mso.com.au Elders, past and present, and the Elders from other communities who may be in attendance. 3 MELBOURNE SYMPHONY MEET THE CONDUCTOR PROGRAM NOTES ORCHESTRA GUSTAV MAHLER As time went on and the strains of life (1860-1911) showed no signs of abating, Mahler emerged into a curious mixture of despair Symphony No.9 in D and elation. ‘I have lived through so much in the last year and a half, that I can hardly Andante comodo talk about it,’ he wrote to his conducting Im Tempo eines gemächlichen Ländlers. disciple Bruno Walter in 1909. ‘How should Etwas täppisch und sehr derb (In the tempo I attempt to describe so appalling a crisis! of a leisurely Ländler. Rather clumsy and I see everything in a new light – feel so very coarse). much alive, and the habit of being alive is Rondo-Burleske (Allegro assai) sweeter than ever. I should not be surprised Established in 1906, the Melbourne SIR ANDREW DAVIS Sehr trotzig (Very defiant) at times if suddenly I should notice that I had Symphony Orchestra (MSO) is an arts leader a new body (like Faust in the last scene)!’ and Australia’s longest-running professional Adagio Chief Conductor of the Melbourne orchestra. Chief Conductor Sir Andrew The wild mood swings continued and while Symphony Orchestra, Sir Andrew Davis Davis has been at the helm of MSO since At the end of Mahler’s Sixth Symphony, Mahler completed his Seventh and then is also Music Director and Principal 2013. Engaging more than 3 million people completed in 1904, three mighty hammer Eighth Symphonies, he and Alma began to Conductor of the Lyric Opera of Chicago. each year, the MSO reaches a variety of blows thunder down, a symbol of fate so go their separate ways, she into the arms He is Conductor Laureate of both the audiences through live performances, terrifying that Mahler himself removed of other lovers, he into consultations with BBC Symphony Orchestra and the Toronto recordings, TV and radio broadcasts and one of them from the revised score of psychotherapists including, most famously, Symphony, where he has also been named live streaming. 1906. But perhaps it was too late and the an encounter with Sigmund Freud in 1910. interim Artistic Director until 2020. gods had been tempted once too often. Sir Andrew Davis gave his inaugural Although their love endured until the end, In a career spanning more than 40 years In the following year, 1907, Mahler himself concerts as the MSO’s Chief Conductor in their new mutual directions meant that he has conducted virtually all the world’s suffered his own triple disaster. His beloved 2013. The MSO also works with Associate Alma and Mahler began to spend their major orchestras and opera companies four-year-old daughter, Maria, died from Conductor Benjamin Northey and Assistant summers apart. In 1909, Alma deposited Sir Andrew’s many CDs include a Messiah scarlet fever, Mahler himself was sacked Conductor Tianyi Lu, as well as with such Mahler at his composing hut near Toblach nominated for a 2018 Grammy, Bliss’ from the State Opera where he had eminent recent guest conductors as Tan and continued on herself to Levico, where The Beatitudes, and a recording with the served with distinction for ten years, and Dun, John Adams, Jakub Hrůša and Jukka- she sought treatment for her ongoing Bergen Philharmonic of Vaughan Williams’ he was diagnosed with a terminal heart Pekka Saraste. It has also collaborated with nervous condition. Mahler’s own state of Job/Symphony No.9 nominated for a 2018 condition. Not surprisingly, especially non-classical musicians including Sir Elton mind was euphoric to the point of delusion. BBC Music Magazine Award. With the MSO given the poor state of his general health, John, Nick Cave and Armand van Helden. ‘I feel marvellous here!’ he wrote to her. Mahler collapsed into a psychological he has just released a third recording in the ‘To be able to sit working by the open heap, ‘as a tree is felled’. ongoing Richard Strauss series, featuring window, and breathing the air, the trees the Alpine Symphony and Till Eulenspiegel. The stress on him and his family became and flowers all the time – this is a delight intolerable. As the ailing Mahler sought to I have never known till now. I see now how rebuild his career in New York, commuting perverse my life in summer has always been. back and forth annually across the Atlantic I feel myself getting better every minute.’ so that his longstanding routine of summer composition in Europe could continue, his wife, Alma, suffered a nervous breakdown of her own.

4 5 Less than two years later, Mahler was dead. But by the time 1909 rolled around, Sometimes in this majestic symphony instrumentation is modest, requiring Mahler’s ‘dark night of the soul’, as Deryck Mahler was going ‘gentle into that good little more than a normal large orchestra Despite his bravura, Mahler knew all Cooke has described the mood of his night’ – but sometimes he wasn’t. such as many of his contemporaries might along that the end was near. He could final years, meant that his superstitions have used. feel his weak heart faltering, its erratic Again as if aware of his mortality, Mahler were no longer sufficient to prevent him beat leaving him faint and shaky. He worked on the symphony in great haste, Throughout his career, Mahler effectively from naming this work in D as his Ninth felt uncharacteristically superstitious, writing to Bruno Walter, ‘I wrote the score rewrote the rule book of symphonic Symphony. Apparently seeing the end sometimes with good reason. In the last quite rapidly, in maddening haste…as a composition, and never more so than drawing near, he had little option but summer of Mahler’s life, while he sat result, the score is probably indecipherable here in the Ninth Symphony. Its sequence to acknowledge the likelihood of fate, composing in the hut at Toblach, for for strangers’ eyes.’ He told Walter that he of movements and disposition of keys although he did make a point of not instance, a giant eagle swooped into the hoped he would live until the winter so that are virtually unprecedented. The slow showing the score to Walter – the latter, room, terrifying the . Eventually he could prepare a clean copy of the score. movements form the outer pillars, framing who had heard so much about it, would the eagle fled, but no sooner had it done so the grotesque, even nightmarish quicker only see it after the composer’s death. Mahler was spared. By April 1910 he had than a crow emerged from under Mahler’s movements in the middle. The opening completed the ‘proper’ copy of the score. sofa, it too flying back out the window. And as it turned out, Mahler’s Ninth movement is in D major/minor, the But he would never conduct it himself: Mahler’s sanctuary of composition had Symphony did indeed become his last, middle two are in C major and A minor the premiere was given by Walter in Vienna been invaded by what he saw as the black the elaborate draft for the Tenth that respectively, while the massive finale only in June 1912, more than a year after harbingers of death, just as Van Gogh had followed in the final year of his life avoids all precedent by dropping a half-step Mahler’s death. depicted in his final painting. A simple, notwithstanding. All the evidence suggests from the nominal tonic of the symphony as unnerving act of nature perhaps, but after that Mahler knew it would be his last, Many years later, the first three movements a whole to D flat major, eventually dying the invasion of the birds Mahler would for the mood of farewell is everywhere of that original ‘indecipherable’ manuscript into utter, desolate silence. never complete another composition, in the Ninth Symphony. By implication turned up in the possession of its greatest It was not, of course, the only time that nor hear his Ninth Symphony performed. it’s there in the painfully elegiac mood admirer, the composer Alban Berg. Mahler would end with a slow movement. of the slow outer movements, and it’s He, more than anyone besides Walter Mahler hadn’t wanted to write a Ninth As early as 1896 he employed such a device there more explicitly too through the (who was still conducting it in 1961), Symphony at all, or at least he had never to devastating emotional effect in his self-conscious, deliberate references to became a champion of the work which wanted to name one as his Ninth. Too Third Symphony. Nor was it the only time Beethoven’s Lebewohl (Farewell) Sonata. he described as ‘the most glorious that many of his idols, including Beethoven, that a funereal quality would pervade the And throughout the original manuscript [Mahler] ever wrote. It expresses an Schubert and Bruckner, had died after outer movements of his symphonies, as score, there are the interjections of a dying extraordinary love of this earth, for Nature; completing nine such works. So the work the funeral march which opens the Fifth man: ‘O youth! Lost! O love! Vanished!’ the longing to live on it in peace, to enjoy it which was effectively his Ninth Symphony Symphony attests. Mahler wrote in one part of the first completely, to the very heart of one’s being, Mahler renamed Das Lied von der Erde, movement. ‘Farewell! Farewell!’ appears before death comes, as irresistibly it does.’ But for all of its disparate, convention- and pointedly referred to it as a ‘song- in another. In the best possible way, it’s like breaking ingredients, in one way the symphony’. Arnold Schoenberg, who was There are clear spiritual and emotional the symphony of an old man looking back, Ninth remains a remarkably coherent perhaps second only to Bruno Walter as connections between the Ninth Symphony but Mahler was not yet 50 when symphony in the Classical sense, sustained Mahler’s closest professional confidant in and Das Lied von der Erde. Walter he completed it. as it is by its extraordinary unanimity of his final years, said in a memorial speech in himself commented that the title of the mood. The overall picture is one of the 1912 that ‘the Ninth is a limit. He who wants Even so, its 80-minute duration is not song cycle’s final canto, Der Abschied world caught as if in a dying glimpse – its to go beyond it must pass away…Those all filled with sentiment and nostalgia. (Farewell), could equally have served as beauty, its joy, its horror and ugliness, its who have written a Ninth stood too near There is anger and defiance too. In the final the heading for the later symphony. compassion and cruelty all captured within to the hereafter.’ published version of the score, for instance, But like the First, Fifth, Sixth and Seventh the one frame and held up to examination the apocalyptic intention is inscribed in the works in the Mahler symphonic canon, as the light fades. While there is anger in markings: ‘With ire’, ‘With greatest force’, the Ninth is a purely instrumental this inevitable, inexorable farewell, there is ‘Like a solemn funeral procession’. piece. And by Mahler’s standards its also, abidingly, a most poignant sadness.

6 7 ‘The whole movement is based on a This is particularly the case in the second Strauss and Reicha before Mahler had In its solemnity, humanity and structural premonition of death, which constantly movement, which the great theorist tried their hands at comic ‘burlesques’, mastery one finds the very essence of recurs,’ Alban Berg wrote of the mighty Theodor Adorno described as a Totentanz but neither did so with the telling effect Mahler’s art – and of his life, which was opening Andante comodo which sets the or ‘Dance of Death’. As in the Fourth found here in this musical phantasmagoria. for him one and the same thing. There mood and ambition of the Ninth Symphony. Symphony, the violins here become Again in this third movement, there is a is a continual ebb and flow of intensity, ‘The tenderest passages are followed by ‘death’s fiddles’, their tone strained and sense almost of derision as the woes of heightening as the climaxes are reached, tremendous climaxes, like new eruptions twisted, their dance-like motives more the world are recalled and re-examined. dissipating as a momentary digression is of a volcano.’ sinister than engaging. (This movement has often been compared made, but always, constantly, with the with the Drinking Song of the Earth’s Sorrow main matter coming back in a new guise, And yet it all begins so simply, so Mahler didn’t know what to call this from Das Lied von der Erde.) moving onward, but also moving toward beautifully, with the sighing three-note unnerving movement. He toyed for a nothingness as it does so. figure of farewell, perhaps deriving from while with ‘Scherzo’ and then replaced Agitation becomes manifest as the Beethoven but made here unmistakeably it with ‘Menuetto infinito’ but neither contrapuntal textures develop with It is a majestic, painful journey, from the Mahler’s own, not least because of its survived through the early drafts. Nor did alarming complexity. But this is no glorious reference to Beethoven’s Lebewohl audibly faltering heartbeat. There are the description of ‘Freund Hein’ (‘Friend academic exercise or mere demonstration Sonata at the opening, through that fateful in fact two main themes in this first Hein’ – a folk name for Death) who is not an of technical skill. The structure falls apart series of almost unbearable last-word movement, but they are developed so ‘evil, terrifying god, but a friendly leader, continually – and at one memorable climaxes, and on through the strings organically and on such a grand scale fiddling his flock into the hereafter’. Such moment is interrupted by a solemn chorale toward the inevitable conclusion in that the precepts of sonata form become an innocent program would scarcely do – as the pieces of life which the themes complete silence. irrelevant as an analytical tool. Over the justice to the macabre undercurrent in this imitate constantly fail to deliver a complete There is death in this, and its apprehension course of more than half an hour it develops crucial passage of the symphony as a whole whole. Only a compositional genius who is so urgent, so immediate, as to make what one of its first commentators, Paul – and by this stage of his career Mahler was also a philosophical giant could bring Mahler – and his listeners alike – reaffirm, Bekker, described as a ‘rhapsodically free had largely abandoned the programmatic it off. Fortunately Mahler was both, and, and perhaps even fall in love with life all structure’. If there is a mortar which binds elements which had caused him so much as the latter parts of this intense movement over again. For in the end, we all face the this massive edifice together it is perhaps grief in his earlier works. demonstrate, a self-mocker to boot. same fate. the simple harp notes F#-A-B-A which, What this second movement is, however, And then there comes the finale. Just 16 after a brief, reflective exchange on cellos Martin Buzacott © 2002 is a series of ländler-like dances in different pages long in a score of more than 180 and horns, set the movement on its course The Melbourne Symphony Orchestra first performed tempi: Mahler’s own tortured version of the pages, it nevertheless is huge in duration this symphony on 18 November 1953 under the direction and recur at key points. There are plenty apotheosis of the dance. Simple at first, and emotional power, its tempo so slow of Ricardo Castro, and most recently in July 2009 with of rests for peace – acceptance even, of Ilan Volkov. they develop striking harmonic complexity (ending Adagissimo) that it takes more than a kind unprecedented in Mahler’s earlier as they proceed, ending up as typically 25 minutes to perform. While Mahler had work – but the passion continually surges Mahlerian dances-gone-sour. There is composed several comparable Adagios, forth in the minor-key inflections of the mockery, there is irony, and yet at the most notably in the Third and Fourth second thematic group and the harsh same time there is nostalgia and a guilty Symphonies, its sense of finality makes it blasts of trumpet chords. It is a symphony sentimentality, like a flash of life itself. perhaps the finest single movement which in itself, and beyond it there are still three Mahler ever composed. movements to go. While he might have had trouble naming his second movement, Mahler had no such Mahler himself said that the Ninth problems with the third, which he called Symphony, while very different in itself, a Rondo-Burleske. out of all his symphonies was nevertheless most closely linked to the spirit of his Fourth.

8 9 MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Monica Curro CELLOS PICCOLO HORNS TIMPANI Chief Conductor Assistant Principal ∆ Danny Gorog and David Berlin Andrew Macleod Grzegorz Curyla* Adam Jeffrey Benjamin Northey Principal # Lindy Susskind # Principal Guest Principal Lady Potter AC CMRI Associate Conductor MS Newman Family# Anthony Pratt # Mary Allison OBOES Saul Lewis Rachael Tobin Principal Third PERCUSSION Tianyi Lu Isin Cakmakcioglu Associate Principal Jeffrey Crellin Cybec Assistant Conductor Abbey Edlin Robert Clarke Freya Franzen Nicholas Bochner Principal Nereda Hanlon and # Principal Hiroyuki Iwaki Anonymous Assistant Principal Thomas Hutchinson Michael Hanlon AM# Conductor Laureate John Arcaro Zoe Freisberg Miranda Brockman Associate Principal (1974-2006) Trinette McClimont Tim and Lyn Edward# Cong Gu Geelong Friends of the MSO# Ann Blackburn Rebecca Luton* Robert Cossom Rohan de Korte The Rosemary Norman FIRST VIOLINS Andrew Hall # # Foundation Alexander Morton* Brent Miller* Andrew and Judy Rogers# Andrew Dudgeon Dale Barltrop Isy Wasserman Keith Johnson Concertmaster COR ANGLAIS TRUMPETS HARP Philippa West Sarah Morse Sophie Rowell Geoffrey Payne* Angela Sargeant Michael Pisani Yinuo Mu Concertmaster Patrick Wong Principal Guest Principal Principal The Ullmer Family Foundation# Michelle Wood Roger Young Shane Hooton Bronwyn Wallis* Andrew and Theresa Dyer# Peter Edwards Michael Loftus-Hills* CLARINETS Associate Principal Assistant Principal Yelian He* William Evans David Thomas Kirsty Bremner VIOLAS Principal Rosie Turner MSO BOARD Sarah Curro DOUBLE BASSES Christopher Moore Philip Arkinstall Michael Aquilina# Chairman Principal Steve Reeves Associate Principal TROMBONES Peter Fellin # Principal Michael Ullmer Di Jameson Craig Hill Brett Kelly Andrew Moon Deborah Goodall Fiona Sargeant Mitchell Jones* Principal Managing Director Associate Principal Lorraine Hook Associate Principal Richard Shirley Sophie Galaise Sylvia Hosking Anne-Marie Johnson Lauren Brigden BASS CLARINET Assistant Principal Mike Szabo Mr Tam Vu and Principal Bass Trombone Board Members Kirstin Kenny Jon Craven Dr Cherilyn Tillman Damien Eckersley Andrew Dyer Ji Won Kim Principal Katharine Brockman Benjamin Hanlon TUBA Danny Gorog Eleanor Mancini Christopher Cartlidge Suzanne Lee BASSOONS Timothy Buzbee Margaret Jackson AC Mark Mogilevski Michael Aquilina# Stephen Newton Principal Di Jameson Michelle Ruffolo Jack Schiller Anthony Chataway Sophie Galaise and † # Principal Scott Watson* David Krasnostein Kathryn Taylor Gabrielle Halloran Clarence Fraser Michael Aquilina# Alexander Arai-Swale* Elise Millman David Li Trevor Jones Associate Principal Aaron Barnden* Esther Toh* Hyon-Ju Newman Cindy Watkin Natasha Thomas º Glenn Sedgwick Francesca Hiew* Elizabeth Woolnough FLUTES Helen Silver AO Jennen Ngiau-Keng* Caleb Wright CONTRABASSOON Oksana Thompson* Merewyn Bramble* Prudence Davis Company Secretary Principal Brock Imison William Clark* # Principal Oliver Carton SECOND VIOLINS Anonymous Justin Julian* Wendy Clarke Matthew Tomkins Matthew Laing* Associate Principal # Position supported by Principal * Guest Musician # Isabel Morse* Sarah Beggs The Gross Foundation † Courtesy of University of Kansas Robert Macindoe Paula Rae* º Courtesy of Australian String Quartet Associate Principal ∆ Courtesy of Malaysian Philharmonic Orchestra

10 11 SUPPORTERS

MSO PATRON MAESTRO Andrew and ASSOCIATE Allan and Evelyn Bill and Sandra Burdett Dr Anne Kennedy John So PATRONS $10,000+ Theresa Dyer PATRONS $2,500+ McLaren Peter Caldwell Julie and Simon Kessel Dr Michael Soon The Honourable Linda Tim and Lyn Edward Don and Anne Joe Cordone Kerry Landman Lady Southey AC Dessau AC, Governor Kaye and David Birks Dandolo Partners Mr Bill Fleming Meadows Andrew and William and Jennifer Steinicke of Victoria Mitchell Chipman Will and Dorothy John and Diana Frew Marie Morton FRSA Pamela Crockett Magdalena Leadston Dr Peter Strickland Sir Andrew and Bailey Bequest Susan Fry and Annabel and Rupert Beryl Dean Andrew Lee Pamela Swansson PLATINUM PATRONS Lady Davis Anne Bowden Don Fry AO Myer AO Dominic and Dr Anne Lierse Jenny Tatchell $100,000+ Danny Gorog and Bill Bowness Sophie Galaise and Sue and Barry Peake Natalie Dirupo Gaelle Lindrea Frank Tisher OAM and Lindy Susskind Lynne Burgess Marc Besen AC and Clarence Fraser Mrs W Peart Marie Dowling Andrew Lockwood Dr Miriam Tisher Robert & Jan Green Oliver Carton Eva Besen AO Geelong Friends Graham and John and Anne Duncan Violet and Jeff The Hon. Rosemary Hilary Hall, in memory John and Lyn Coppock John Gandel AC and of the MSO Christine Peirson Kay Ehrenberg Loewenstein Varty of Wilma Collie Miss Ann Darby, Pauline Gandel Jennifer Gorog Ruth and Ralph Renard Jaan Enden Elizabeth H Loftus Leon and Sandra Velik Nereda Hanlon and in memory of The Gross Foundation HMA Foundation S M Richards AM and Valerie Falconer and Chris and Anna Long Sue Walker AM Michael Hanlon AM Leslie J. Darby David and Angela Li Louis Hamon OAM M R Richards the Rayner Family The Hon Ian Macphee Elaine Walters OAM Suzanne Kirkham Natasha Davies, MS Newman Family Hans and Petra Henkell Tom and Elizabeth in memory of AO and Mrs Julie and Gregory Walters The Cuming Bequest for the Trikojus Foundation Hartmut and Ruth Romanowski Keith Falconer Macphee Edward and Ian and Education Fund Anthony Pratt Hofmann Jeffrey Sher QC and Amy & Simon Feiglin Eleanor and Paddy White Jeannie Paterson Merrowyn Deacon The Pratt Foundation Jack Hogan Diana Sher OAM Grant Fisher and Phillip Mancini Nic and Ann Willcock Lady Potter AC CMRI Sandra Dent Joy Selby Smith Doug Hooley Diana and Helen Bird Dr Julianne Bayliss Marian and Elizabeth Proust AO Peter and Leila Doyle Ullmer Family Jenny and Brian Snape AM Barry Fradkin OAM In memory of Terry Wills Cooke Xijian Ren and Qian Li Lisa Dwyer and Foundation Peter Hordern Dr Norman and and Dr Pam Fradkin Leigh Masel Lorraine Woolley Glenn Sedgwick Dr Ian Dickson Anonymous (1) Dr Alastair Jackson Dr Sue Sonenberg Applebay Pty Ltd Ruth Maxwell Richard Ye Helen Silver AO and Jane Edmanson OAM Dr Elizabeth A Lewis Geoff and Judy David Frenkiel and Jenny McGregor AM Panch Das and Harrison Young Dr Helen M Ferguson VIRTUOSO AM Steinicke Esther Frenkiel OAM and Peter Allen Laurel Young-Das Maria Solà Mr Peter Gallagher and PATRONS $50,000+ Norman Lewis Elisabeth Wagner David Gibbs and Glenda McNaught Anonymous (20) Profs. G & G Dr Karen Morley in memory of Brian and Susie O'Neill Ian Morrey and Di Jameson Stephenson, in honour Dina and Ron Dr Phyllis Lewis Helena Worsfold Merwyn and Geoffrey Minter TRUSTS AND David Krasnostein and of the great Romanian Goldschlager Peter Lovell Peter and Susan Yates Greta Goldblatt Patricia Nilsson FOUNDATIONS Pat Stragalinos musicians George Louise Gourlay OAM Lesley McMullin Anonymous (8) Colin Golvan QC and Laurence O'Keefe and Harold Mitchell AC Enescu and Peter and Collier Charitable Foundation Dr Deborah Golvan Christopher James Kim Williams AM Dinu Lipatti Lyndsey Hawkins Fund Mr Douglas and Mrs PLAYER PATRONS George Golvan QC Alan and Gai and David Taylor Susan and Gary Hearst Crown Resorts Rosemary Meagher $1,000+ and Naomi Golvan Dorothy Pattison IMPRESARIO Juliet Tootell Colin Heggen, in Foundation and David and Dr Marged Goode Margaret Plant PATRONS $20,000+ Alice Vaughan memory of Marjorie David and Cindy the Packer Family Helen Moses Prof Denise Grocke AO Kerryn Pratchett Harry and Drysdale Heggen Abbey Foundation Michael Aquilina Dr Paul Nisselle AM Max Gulbin Peter Priest Michelle Wong Rosemary and Christa Abdallah The Cybec Foundation The John and Jennifer The Rosemary Dr Sandra Hacker AO Treena Quarin Jason Yeap OAM James Jacoby Dr Sally Adams The Marian and Brukner Foundation Norman Foundation and Mr Ian Kennedy Eli Raskin Anonymous (1) Jenkins Family Mary Armour E.H. Flack Trust Mary and Frederick Ken Ong, in memory AM Raspin Family Trust Foundation Arnold Bloch Leibler Freemasons Davidson AM of Lin Ong Jean Hadges Bobbie Renard PRINCIPAL C W Johnston Family Philip Bacon AM Foundation Victoria Rachel and the late Bruce Parncutt AO Michael and Peter and PATRONS $5,000+ John Jones Marlyn and Peter Gandel Philanthropy Hon. Alan Goldberg Jim and Fran Pfeiffer Susie Hamson Carolyn Rendit George and Bancroft OAM The Scobie and Claire AO QC Christine and Mark Pzena Investment Paula Hansky OAM Dr Rosemary Ayton Grace Kass Adrienne Basser Mackinnon Trust Margaret Jackson AC Armour Charitable Fund Merv Keehn and and Dr Sam Ricketson Irene Kearsey and M Prof Weston Bate and The Harold Mitchell Andrew Johnston John and Mary Barlow Andrew and Sue Harlow Joan P Robinson J Ridley Janice Bate Foundation Mimie MacLaren Barbara Bell, in Judy Rogers Tilda and Brian Cathy and The Ilma Kelson Janet Bell The Pratt Foundation John and Lois McKay memory of Elsa Bell Rae Rothfield Haughney Peter Rogers Music Foundation David Blackwell OAM The Robert Salzer Stephen and Max and Jill Schultz Anna and John Doug and Kloeden Foundation Michael F Boyt Foundation Caroline Brain Mr Tam Vu and Holdsworth Elisabeth Scott Bryan Lawrence Patricia Brockman Sidney Myer MSO Prof Ian Brighthope Dr Cherilyn Tillman Penelope Hughes Martin and Ann and George Dr John Brookes Trust Fund David and The Hon. Michael Watt Basil and Rita Jenkins Susan Shirley Littlewood Suzie Brown OAM and Telematics Trust Emma Capponi QC and Cecilie Hall Stuart Jennings Penny Shore John and Harvey Brown International Music May and James Chen Lyn Williams AM Dorothy Karpin Dr Sam Smorgon Margaret Mason Roger and Col Buckle and Art Foundation Wendy Dimmick Anonymous (2) Brett Kelly and AO and Mrs Minnie H E McKenzie Jill and Christopher Andrew Dudgeon AM Cindy Watkin Smorgon Buckley

12 13 'We are the music makers, and we are the dreamers of dreams.'

– Arthur O'Shaughnessy

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Jun Märkl conductor 14 BENEFACTORS

ARTIST CHAIR ADOPT A Viola MSO Audience HONORARY Audrey M Jenkins Michael Ullmer The MSO gratefully BENEFACTORS MUSICIAN CHAIRS Chris Cartlidge Access APPOINTMENTS John Jones Ila Vanrenen acknowledges Michael Aquilina Crown Resorts George and The Hon. the support of the Associate Principal Second John Brockman Foundation Grace Kass Rosemary Varty following Estates: Conductor Chair Violin Chair Cello OAM* Packer Family Mrs Sylvia Lavelle Mr Tam Vu Benjamin Northey Matthew Tomkins Miranda Brockman Life Member Angela Beagley Geelong Friends Foundation Pauline and Marian and Terry Neilma Gantner Anthony Pratt The Gross Foundation The Honourable Alan of the MSO MSO Building David Lawton Wills Cooke Gwen Hunt Orchestral Principal Viola Chair Goldberg AO QC* Capacity Cameron Mowat Mark Young Audrey Jenkins Leadership Chair Chris Moore Cello Gandel Philanthropy Life Member Rosia Pasteur Anonymous (24) Rohan de Korte Joan Jones Joy Selby Smith Di Jameson (Director of Sir Elton John CBE Elizabeth Proust AO Andrew Dudgeon AM Pauline Marie Cybec Assistant Principal Cello Chair Philanthropy) Life Member Penny Rawlins THE MAHLER Johnston Cello MSO Education Joan P Robinson SYNDICATE Conductor Chair David Berlin Lady Potter AC CMRI Joan Jones Michelle Wood Supported by Neil Roussac Tianyi Lu MS Newman Family Life Member David and Kaye Birks C P Kemp Andrew and Mrs Margaret Ross AM Anne Roussac-Hoyne The Cybec Foundation Foundation Mary and Frederick Peter Forbes MacLaren Theresa Dyer and Dr Ian Ross Ila Vanrenen* Suzette Sherazee Associate Principal Flute Chair Davidson AM Joan Winsome Maslen MSO International Life Member Michael Ryan and Concertmaster Chair Prudence Davis Double Bass Tim and Lyn Edward Lorraine Maxine Touring Wendy Mead Sophie Rowell Anonymous Stephen Newton Geoffrey Rush AC John and Diana Frew Meldrum Harold Mitchell AC Anne Kieni-Serpell and The Ullmer Family Sophie Galaise and Ambassador Francis and Prof Andrew McCredie Principal MSO Regional Andrew Serpell Foundation Clarence Fraser Robyn Hofmann Miss Sheila Scotter Timpani Chair Touring CONDUCTOR’S Jennifer Shepherd Oboe The Hon Dr Barry AM MBE 2018 Soloist in Lady Potter AC CMRI Creative Victoria CIRCLE Profs. Gabriela and Ann Blackburn Jones AC Marion A I H M Spence Residence Chair Associate Principal Freemasons George Stephenson The Rosemary Current Conductor’s Dr Paul Nisselle AM Molly Stephens Anne-Sophie Mutter Second Violin Foundation Victoria Pamela Swansson Norman Foundation Circle Members Maria Solà Jennifer May Teague Marc Besen AC and The Robert Salzer Lillian Tarry Monica Curro The Hon Michael Watt Jean Tweedie Eva Besen AO French Horn Foundation Jenny Anderson Dr Cherilyn Tillman Danny Gorog and QC and Cecilie Hall Herta and Fred B Vogel Abbey Edlin David Angelovich Cybec Young Lindy Susskind The Pizzicato Effect Mr and Mrs R P Dorothy Wood Nereda Hanlon and Anonymous G C Bawden and Trebilcock Composer in First Violin Michael Hanlon AM Collier Charitable Fund L de Kievit Residence Sarah Curro The Marian and E.H. Lesley Bawden Ade Vincent Michael Aquilina Percussion The Cybec Foundation John Arcaro Flack Trust Joyce Bown First Violin Tim and Lyn Edward Schapper Family Mrs Jenny Brukner CHAIRMAN’S Kathryn Taylor Foundation and the late The MSO relies on your ongoing philanthropic support CIRCLE Michael Aquilina PROGRAM Scobie and Claire Mr John Brukner to sustain our artists, and support access, education, Marc Besen AC and Second Violin BENEFACTORS Mackinnon Trust Ken Bullen community engagement and more. We invite our suporters Eva Besen AO Freya Franzen Supported by the Peter A Caldwell to get close to the MSO through a range of special events. Cybec 21st Century The Gross Foundation Anonymous Hume City Council’s Luci and Ron Australian Harold Mitchell Community Grants Chambers The MSO welcomes your support at any level. Donations of Second Violin Program Foundation Program Beryl Dean $2 and over are tax deductible, and supporters are recognised Andrew Hall The Cybec Foundation David and Angela Li Sidney Myer Free Sandra Dent as follows: Andrew and East Meets West Harold Mitchell AC Concerts Lyn Edward Judy Rogers Supported by the Li $1,000+ (Player) $20,000+ (Impresario) MS Newman Family Supported by the Alan Egan JP Viola Family Trust $2,500+ (Associate) $50,000+ (Virtuoso) Foundation late Sidney Myer Gunta Eglite Lauren Brigden Meet The Orchestra Lady Potter AC CMRI and the University Mr Derek Grantham $5,000+ (Principal) $100,000+ (Platinum) Mr Tam Vu and Made possible by Joy Selby Smith of Melbourne Marguerite $10,000+ (Maestro) Dr Cherilyn Tillman The Ullmer Family The Cybec Foundation Garnon-Williams Foundation The MSO Conductor’s Circle is our bequest program for The Pratt Foundation Drs L C Gruen and members who have notified of a planned gift in their Will. The Ullmer Family R W Wade Louis Hamon OAM Foundation Enquiries | P (03) 8646 1551 | E [email protected] Anonymous (1) Carol Hay Tony Howe Laurence O'Keefe and Christopher James ◊ Signifies Adopt an MSO Musician supporter

16 17 SUPPORSUTEPRPSORS UTPEPRORS TERS

Yes! I want to make a difference PRINCIPALP RINCIPARTNERPALPRINCI PARTNERPAL PARTNER to the community by supporting the MSO’s Month of Giving.

Name

Address

GOVERNMENTGOVERNMENT PARTNERSGOVERNMENT PARTNERS PARTNERS

Phone

Enclosed is my contribution of: $50 $100 $150 Other PREMIER PPARTNERSREMIER PREMIERARTNERS PARTNERS VENUE PARTNERVENUE PARTNERVENUE PARTNER

CREDIT CARD WE ARE THE SOUND OF OUR CITY. VISA Mastercard AMEX

Please charge in full $ or MAJOR PARTNERSMAJOR PMARTNERSAJOR PARTNERS EDUCATIONEDU PARTNERSCATIONEDU PCARTNERSATION PARTNERS Please charge monthly instalments of Show $ (number of payments per year) your love Cardholder SUPPORTINGSUP PPORTINGARTNERSSUPPORTING PARTNERS PARTNERS Card number for MSO.

Expiry At over 100 years old, the MSO has been around for nearly as long as Melbourne. We want to continue to be here for you, Signature and all of Melbourne, year after year, season after season. Quest SoutQhbauenstk S ouQthubaesnt kS outhbank Ernst & YoEunrnsg t & YoEurnnsgt &B oYwsou nfogr SBtrionwsgs for SBtriowsng sfor Strings (If you prefer to charge by phone, please contact Garry Stocks on 8646 1551) TRUSTS ANDTRU FSOUNTS ANDTRUDATIONS SFTSOUN ANDDATIONS FOUNDATIONS CHEQUE ENCLOSED (payable to Melbourne Symphony Orchestra Pty Ltd)

EFT TO NAB ACCOUNT MSO Fund BSB 083 004 Account 89 393 2381 (include your name and 'Month of Giving' in payment description)

ONLINE at mso.com.au/give Donate today mso.com.au/give I am interested in leaving a legacy of e Scobie aned S Cclaiobrie aMnea dSc cCkiolainbinreoe an Mn Tdaru cCkislait,n rnSidneyeo Mn Tacruki Myersnt,n Sidneyon MSO Tru sMyer t,Trust Sidney MSO Fund Myer Trust MSO Fund Trust Fund wonderful music for years to come: I have made a gift to the MSO in my Will I would consider including the MSO in MEDIA ANMDED BRIOAA ADNMCDEDAS BRITAO P AANDRTDC ASNEBRTRO SAPADRTCASNETR PSARTNERS my Will and would like more information

PLEASE RETURN TO MSO’s Month of Giving GPO Box 9994 Melbourne VIC 3001 All gifts over $2 are fully tax-deductible 18 19 19 19