TCHAIKOVSKY 5

13, 14 & 16 APRIL 2018

CONCERT PROGRAM MELBOURNE SYMPHONY MUHAI TANG ORCHESTRA CONDUCTOR

Established in 1906, the Melbourne Muhai Tang is currently Chief Conductor Melbourne Symphony Orchestra Symphony Orchestra (MSO) is an arts and Artistic Director of the Tianjin Opera leader and Australia’s longest-running and Orchestra, and Artistic Director of Muhai Tang conductor professional orchestra. Chief Conductor the Philharmonic and Zhenjiang James Ehnes Sir Andrew Davis has been at the helm Symphony Orchestras in China. of MSO since 2013. Engaging more than He has held Principal Conductor positions 3 million people each year, the MSO with orchestras such as the Royal Brahms Tragic Overture reaches a variety of audiences through live Philharmonic Orchestra of Flanders and performances, recordings, TV and radio China National Symphony Orchestra. Kernis Violin Concerto* broadcasts and live streaming. He was Chief Conductor of the Finnish *MSO co-commission and Australian premiere The MSO also works with Associate National Opera. While Principal Conductor Conductor Benjamin Northey and Assistant of the he won a Conductor Tianyi Lu, as well as with such Grammy for his recording with them and INTERVAL eminent recent guest conductors as Sharon Isbin of the guitar concertos of , , Jakub Hrůša Tan Dun and Christopher Rouse. and Jukka-Pekka Saraste. It has also Muahi was Principal Conductor of Tchaikovsky Symphony No.5 collaborated with non-classical musicians the Queensland Symphony Orchestra, including Elton John, Nick Cave and 1991 to 2001. Other orchestras he has Flight Facilities. conducted since include the Berlin Philharmonic, Leipzig Gewandhaus Orchestra, Orchestre de Paris, and San Francisco Symphony Orchestra.

Running time 2 hours, including 20 minute interval In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone. The MSO acknowledges 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 other communities who may be in attendance.

mso.com.au 3 MEET THE ARTIST PROGRAM NOTES

JOHANNES BRAHMS In a loose sonata form, with three main In 2007 I unexpectedly heard from the (1833-1897) subjects, the Overture justifies its ‘Tragic’ BBC in London asking me to write a recital title from the outset with its arresting piece for a violinist whose playing I wasn't Tragic Overture, Op.81 opening chords, strident main theme, familiar with. Once supplied with some and continued use throughout of hammer recordings it was clear he was a great In 1880, Brahms spent the summer in the blows to underscore the drama. Some have (young) master at the instrument, and I resort town of Ischl, where Vienna’s rich likened it to a mini-symphony, particularly unhesitatingly agreed. Out of that came my and famous usually repaired in the warmer in a middle passage where the horns play first collaboration with James Ehnes, Two months to enjoy the rural scenery, the local a distinctively Brahmsian call of longing Movements (with Bells), a piece that he has spa, and the opportunity to rub shoulders over shimmering string chords, and in its now played many times and recorded, and with holidaying royalty. But Brahms had characteristically turbulent returns of the from him followed the enthusiastic request JAMES EHNES work to do, needing to write an orchestral VIOLIN main themes and emphatic coda. to write a concerto. Making (playing, piece, the light-hearted Academic Festival writing, and listening to) music is indeed One of Brahms’ very few purely orchestral James Ehnes has appeared with orchestras Overture based on student songs, as thanks a journey, often coming when you least works outside his four symphonies, it was such as the Boston Symphony, London for an Honorary Doctorate soon to be expect it, and this one leads directly to now premiered by the Vienna Philharmonic Symphony, Deutsches Symphonie- conferred on him by Breslau University. and this big new Violin Concerto. Orchester Berlin and NHK Symphony under Hans Richter in December 1880. But during the same summer he also In several performances early in the The back story - I played the violin (not Orchestra, Tokyo, and with conductors composed a very different companion such as Vladimir Ashkenazy, Marin Alsop, following year – some conducted by so well) from the time I was 10-15 but gave it piece, some of it based on sketches Brahms himself – it appears to have baffled up to focus on the piano and composing. Sir Andrew Davis, and David Robertson. dating back to the 1860s, and which he its audiences and didn’t gain immediate But I’ve retained a great love of writing for James maintains a busy recital schedule. had trouble naming. ‘You may include a acceptance. But Brahms enjoyed it enough strings and their singing quality, and many of In 2016, he undertook a cross-Canada dramatic or tragic or Tragedy Overture in to make various piano transcriptions of my major pieces over the years are for strings. recital tour for his 40th birthday. He is your program for January 6,’ he wrote to it that he played with Clara Schumann Since 2009 I’ve had the good fortune currently Artistic Director of the Seattle the Breslau concert organisers. ‘I cannot and other friends, another indication to write a whole batch of concertos Society. His recordings find a proper title for it.’ that this avowedly ‘tragic’ work had been for various wonderful players and reflect a repertoire ranging from Adams Eventually he settled on Tragic Overture, composed, as he himself to Bach. Recent live performances combinations – cello, , flute, trumpet, but no one could say exactly what, if any, Martin Buzacott © 2012 have included the World and American chamber orchestra, piano, with one for the ‘tragic’ programmatic elements were. The Melbourne Symphony Orchestra first performed horn upcoming. I’ve tried to make them all Premieres of ’s Violin Some thought it might bear hallmarks Brahms’ Tragic Overture on 10 and 12 November 1945 Concerto. He is the Concerto’s exclusive conducted by Joseph Post, and most recently on different, and keep their forms, content and of incidental music originally intended 5-7 June 2014 with Olari Elts. expression fresh for me and for listeners. soloist until 2021. for an abandoned stage production of James made his orchestral solo debut with Goethe’s Faust. Others pointed toward This newest work for James Ehnes is the Orchestre symphonique de Montréal Brahms’ fascination with Shakespeare, still formed out of the essential three movement at 13. He plays the ‘Marsick’ Stradivarius others suggested that the juxtaposition of AARON JAY KERNIS form that many bedrock concertos of the (born 1960) of 1715. comedy and tragedy in the Greek theatre past are built: 1) the largest, most searching arguments first, followed by the 2) shorter, tradition had inspired a ‘Tragic Overture’ Violin Concerto slower lyrical utterance, and ending with to accompany a ‘Festival’ one. For his part, Chaconne the even shorter 3) fast, zippy, often all Brahms would say was that ‘I could not Ballad hairraisingly difficult closer. refuse my melancholy nature the pleasure Toccatini of writing a Tragic Overture as well [as the MSO co-commission and Australian premiere But here there is much that differs from Academic Festival Overture]. One laughs, the past. the other weeps.’ James Ehnes violin

4 5 The first movement is Chaconne, and Zweden; and the Melbourne Symphony 1888 symphony, the Fifth’s main theme passionate intensity. It may well be comes distantly from the Baroque form of and Sir Andrew Davis. does lend itself to a musical personification significant that he crafted the tune out a set of variations over a repeated series © Aaron Jay Kernis 2017 of grim fate (in its minor form) and of of snippets of a Tuscan folksong, called of chords. This is the most dramatically beneficent providence (in its major form), La Pimpinella, that he heard in Florence charged and changeable movement, with and a journey from the first to the second is in 1877, sung by (as he noted) a ‘positively the opening downward melody/chord a plausible program, if not for the opening beautiful’ young (male) street-singer. progression in the violin being the basis of PETER ILYICH TCHAIKOVSKY movement (which ends in the minor), then Certainly significant, the waltz tune also all that follows. This theme is constantly (1840-1893) for the whole work. audibly echoes the rhythm of the preceding varied in character and colour over the movement’s soulful horn theme, of which Symphony No.5 in E minor, Op.64 The main theme (played at the outset entire movement, and returns in its original, it is essentially a faster, lighter reworking. by solo clarinet) also pays homage to most dramatic statement at its end. Andante – Allegro con anima The same rhythm also reappears in the the man Tchaikovsky called ‘the father Andante cantabile, con alcuna licenza sinuously exotic subsidiary tune introduced Ballad is the songful, jazz/French-tinged of Russian music’, Mikhail Glinka. He Valse (Allegro moderato) by the bassoon. But only once does the lyrical middle movement, with an angular, borrowed the germinal first eight-note Andante maestoso – Allegro vivace motto itself intrude on this pleasant reverie, wrenching center. The language of Two phrase from Glinka’s opera A Life for the from clarinets and bassoons, right at the Movements (with Bells) returns here with Czar, where it opens the second half of After completing his Fourth Symphony movement’s close. hints of the blues and the influence of the a melody sung in succession by all three (1877), Tchaikovsky wrote to his former harmony of composer Olivier Messiaen, principal characters in the first act trio. The motto returns fully, in major mode, as pupil Sergey Taneyev: ‘I should be sorry an idol of mine. But Tchaikovsky develops Glinka’s melodic a solemn march, introducing the fourth if symphonies that mean nothing should fragment (first sung to the words ‘Do not movement, sumptuously scored with all Finally, the energy of Toccatini closes flow from my pen.’ He insisted that the turn to sorrow’) into an entirely new motto the playing down low in unison with the piece. A Toccata is a virtuoso, fast Fourth definitely followed a ‘program’, even theme whose subliminal transformations the cellos, passing next to the woodwinds, “touch-piece” from the Baroque. I thought though, like Beethoven’s Fifth Symphony and literal reprises bind the symphony’s before trumpets and kettledrum signal this would be a tiny or teeny toccata, and on which he had partly modelled the four movements together. The first the imminent Allegro vivace. Tchaikovsky the idea of creating a new martini – the work, it could not be expressed in words. transformation is into the dance-like theme energises the motto’s second, falling-scale Toccatini (I’ll suggest it to the management Circumstantial evidence suggests that of the Allegro con anima announced by element to create a new minor-key theme for this premiere week) helped get me Tchaikovsky’s own Fifth Symphony, clarinet and bassoon. that launches further transformations through the post-U.S. election torpor. This composed in summer 1888, likewise could and combinations of germinal fragments, is a not-atypical Kernis-ian mashup – bits not ‘mean nothing’, and even if a precise The horn melody in the second movement underpinned by the quick tick-tock of of jazz, hints of Stravinsky/Messaien, meaning will probably never emerge, is one of the most beautiful in all of bassoons, kettledrums and basses, machine-music, wild virtuoso strings of Tchaikovsky did leave clues as to the Tchaikovsky’s music. He actually scribbled plateauing out on a brilliantly shrill notes all over the violin give James ever direction of his thoughts. on a sketch of this melody (in French): ‘I majorkey woodwind chorus. Winding down more chances to show his mettle – its love you, my love!’ But it is more than just Fate and providence were certainly on and then up again through more furious showcases his great ability to shape many a love theme; it, too, is subtly related to his mind, having in mid-1887 spent two returns of the minor-key theme, a massive thousands of notes with flair and joy. the motto (of the motto’s first eight notes, distressing months at the bedside of a climax builds, breaking back into the now it is a varied reworking of the last five). The Concerto is dedicated to James Ehnes, dying friend. Later in his sketchbook almost unbearably splendid march, the This connection is made explicit when the with great admiration and friendship, and he verbally outlined a first movement motto’s apotheosis capped at the last undisguised motto returns, portentously was generously commissioned by four whose slow introduction began with ‘total possible moment by a trumpet reprise of with trumpets and kettledrums, just before splendid Orchestras and Music Directors submission to fate’, followed by an allegro the first movement’s allegro theme. the reprise of the love theme. that introduced ‘murmurs, doubts, laments, for James Ehnes: the Toronto Symphony © Graeme Skinner 2014 reproaches’ before considering succumbing and Peter Oundjian; Seattle Symphony and Tchaikovsky called the third movement a The Melbourne Symphony Orchestra first performed this Ludovic Morlot with the generous support to ‘the embrace of faith’. He described ‘waltz’, a modestly understated example symphony on 9 May 1942 under the baton of Sir Bernard of the Norma and Don Stone Fund for New this as ‘a wonderful program, if only it compared with his great ballet waltzes, but Heinze, and most recently at the Sidney Myer Free Concert on 20 February 2016 with Joshua Weilerstein. Music; the Dallas Symphony and Jaap Van can be fulfilled’. Although no irrefutable one whose easy mood makes it a perfect evidence links this plan directly with the structural foil to the slow movement’s

6 7 MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis SECOND VIOLINS CELLOS OBOES HORNS TIMPANI Chief Conductor Matthew Tomkins David Berlin Jeffrey Crellin Malcolm Stewart*⁰ Tony Bedewi*+ Benjamin Northey Principal Principal Principal Guest Principal Lady Potter AC CMRI# Associate Conductor The Gross Foundation# MS Newman Family# Anthony Pratt # Thomas Hutchinson Saul Lewis Robert Macindoe Rachael Tobin Associate Principal Principal Third PERCUSSION Tianyi Lu Associate Principal Associate Principal Ann Blackburn Abbey Edlin Cybec Assistant Conductor Robert Clarke Monica Curro Nicholas Bochner The Rosemary Norman Nereda Hanlon and Principal Hiroyuki Iwaki Assistant Principal Assistant Principal Foundation# Michael Hanlon AM# Conductor Laureate John Arcaro Danny Gorog and Miranda Brockman Trinette McClimont (1974-2006) # Tim and Lyn Edward# Lindy Susskind Geelong Friends of the MSO# COR ANGLAIS Alexander Morton* Robert Cossom Mary Allison FIRST VIOLINS Rohan de Korte Michael Pisani # Ian Wildsmith* Isin Cakmakcioglu Andrew Dudgeon Principal Dale Barltrop HARP Freya Franzen Keith Johnson Concertmaster TRUMPETS Anonymous# Sarah Morse CLARINETS Yinuo Mu Sophie Rowell Shane Hooton Principal Zoe Freisberg Concertmaster Angela Sargeant David Thomas Associate Principal # Cong Gu The Ullmer Family Foundation Michelle Wood Principal Tristan Rebien* PIANO/CELESTE # Natsuko Yoshimoto*^ Andrew Hall Andrew and Theresa Dyer Philip Arkinstall Guest Associate Principal # Louisa Breen* Guest Concertmaster Andrew and Judy Rogers Rachel Atkinson* Associate Principal William Evans Peter Edwards Isy Wasserman Zoe Knighton* Craig Hill Rosie Turner Assistant Principal Philippa West MSO BOARD John McKay and Lois McKay# BASS CLARINET Patrick Wong DOUBLE BASSES TROMBONES Chairman Kirsty Bremner Michael Ullmer Roger Young Steve Reeves Jon Craven Brett Kelly Sarah Curro Madeleine Jevons* Principal Principal Principal Michael Aquilina# Managing Director Andrew Moon Ashley Carter* Peter Fellin BASSOONS Sophie Galaise Associate Principal Guest Associate Principal Deborah Goodall Sylvia Hosking Jack Schiller Christopher Moore Richard Shirley Board Members Lorraine Hook Assistant Principal Principal Principal Mike Szabo Andrew Dyer Anne-Marie Johnson # Damien Eckersley Elise Millman Di Jameson Principal Bass Trombone Danny Gorog Kirstin Kenny Benjamin Hanlon Associate Principal Fiona Sargeant Margaret Jackson AC Ji Won Kim Associate Principal Suzanne Lee Natasha Thomas TUBA Di Jameson Eleanor Mancini Lauren Brigden Stephen Newton Timothy Buzbee Mr Tam Vu and CONTRABASSOON David Krasnostein Mark Mogilevski Sophie Galaise and Principal Dr Cherilyn Tillman # Clarence Fraser Brock Imison † David Li Michelle Ruffolo Scott Watson* Katharine Brockman Shannon Birchall* Principal Hyon-Ju Newman Kathryn Taylor # Christopher Cartlidge Glenn Sedgwick Michael Aquilina # Michael Aquilina FLUTES Helen Silver AO Tiffany Cheng* Anthony Chataway Prudence Davis Nicholas Waters* Gabrielle Halloran Principal Company Secretary # Trevor Jones Anonymous Oliver Carton Cindy Watkin Wendy Clarke Associate Principal Elizabeth Woolnough Sarah Beggs # Position supported by Caleb Wright * Guest Musician Isabel Morse* ^ Courtesy of Adelaide Symphony Orchestra PICCOLO † Courtesy of University of Kansas + Courtesy of London Symphony Orchestra Andrew Macleod ⁰ Courtesy of Queensland Symphony Orchestra Principal

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12 13 David Frenkiel and Esther Frenkiel OAM Dr Michael Soon Cello David Gibbs and Susie O'Neill Lady Southey AC CHAIRMAN’S CIRCLE Miranda Brockman Merwyn and Greta Goldblatt Jennifer Steinicke Marc Besen AC and Eva Besen AO Geelong Friends of the MSO Colin Golvan QC and Dr Deborah Golvan Dr Peter Strickland The Gross Foundation Cello George Golvan QC and Naomi Golvan Pamela Swansson Harold Mitchell Foundation Rohan de Korte Dr Marged Goode Jenny Tatchell David and Angela Li Andrew Dudgeon AM Prof Denise Grocke AO Frank Tisher OAM and Dr Miriam Tisher Harold Mitchell AC Cello Max Gulbin The Hon. Rosemary Varty MS Newman Family Foundation Michelle Wood Dr Sandra Hacker AO and Mr Ian Kennedy AM Leon and Sandra Velik Lady Potter AC CMRI Andrew and Theresa Dyer Jean Hadges Sue Walker AM Joy Selby Smith Michael and Susie Hamson Elaine Walters OAM and Gregory Walters The Cybec Foundation Double Bass Paula Hansky OAM Edward and The Pratt Foundation Stephen Newton Merv Keehn and Sue Harlow Paddy White The Ullmer Family Foundation Sophie Galaise and Clarence Fraser Tilda and Brian Haughney Nic and Ann Willcock Anonymous (1) Oboe Anna and John Holdsworth Marian and Ann Blackburn Penelope Hughes Terry Wills Cooke ADOPT A MUSICIAN The Rosemary Norman Foundation Basil and Rita Jenkins Lorraine Woolley French Horn Stuart Jennings Richard Ye CHAIRS Abbey Edlin Dorothy Karpin Panch Das and Principal Second Nereda Hanlon and Michael Hanlon AM Brett Kelly and Laurel Young-Das Violin Chair Percussion Cindy Watkin Anonymous (21) Matthew Tomkins John Arcaro Dr Anne Kennedy The Gross Foundation Tim and Lyn Edward Julie and Simon Kessel Principal Viola Chair Kerry Landman TRUSTS AND Chris Moore William and Magdalena Leadston FOUNDATIONS Di Jameson PROGRAM BENEFACTORS Andrew Lee Collier Charitable Fund Principal Cello Chair Cybec 21st Century Australian Composers Dr Anne Lierse Crown Resorts Foundation and the Packer David Berlin Program The Cybec Foundation Gaelle Lindrea Family Foundation MS Newman Family Foundation East Meets West Supported by the Li Family Trust Andrew Lockwood The Cybec Foundation Violet and Jeff Loewenstein The Marian and E.H. Flack Trust Principal Flute Chair Meet The Orchestra Made possible by The Elizabeth H Loftus Freemasons Foundation Victoria Prudence Davis Ullmer Family Foundation Chris and Anna Long Gandel Philanthropy Anonymous MSO Audience Access Crown Resorts The Hon Ian Macphee AO and Mrs Julie Macphee The Harold Mitchell Foundation Principal Timpani Chair Foundation, Packer Family Foundation Eleanor and Phillip Mancini The Pratt Foundation Lady Potter AC CMRI MSO Building Capacity Gandel Philanthropy Dr Julianne Bayliss The Robert Salzer Foundation Associate Principal Second Violin (Director of Philanthropy) In memory of Leigh Masel Sidney Myer MSO Trust Fund Monica Curro Ruth Maxwell MSO Education Supported by Mrs Margaret Telematics Trust Danny Gorog and Lindy Susskind Jenny McGregor AM and Peter Allen Ross AM and Dr Ian Ross International Music and Art Foundation Glenda McNaught Assistant Principal First Violin MSO International Touring Harold Mitchell AC Peter Edwards Ian Morrey and Geoffrey Minter MSO Regional Touring Creative Victoria, John McKay and Lois McKay Patricia Nilsson ARTIST CHAIR Freemasons Foundation Victoria, The Robert Laurence O'Keefe and Christopher James BENEFACTORS First Violin Salzer Foundation Alan and Dorothy Pattison Sarah Curro The Pizzicato Effect Anonymous, Collier Margaret Plant Associate Conductor Chair Michael Aquilina Charitable Fund, The Marian and E.H. Flack Trust, Kerryn Pratchett Benjamin Northey First Violin Schapper Family Foundation, Scobie and Claire Peter Priest Anthony Pratt Kathryn Taylor Mackinnon Trust, Supported by the Hume City Treena Quarin Orchestral Leadership Chair Michael Aquilina Council’s Community Grants Program Eli Raskin Joy Selby Smith Second Violin Raspin Family Trust Sidney Myer Free Concerts Supported by the late Cybec Assistant Conductor Chair Freya Franzen Bobbie Renard Sidney Myer and the University of Melbourne Tianyi Lu Anonymous Peter and Carolyn Rendit The Cybec Foundation Dr Rosemary Ayton and Dr Sam Ricketson Second Violin THE MAHLER SYNDICATE Joan P Robinson Associate Concertmaster Chair Andrew Hall Cathy and Peter Rogers Sophie Rowell Andrew and Judy Rogers David and Kaye Birks Doug and Elisabeth Scott The Ullmer Family Foundation Viola Mary and Frederick Davidson AM Tim and Lyn Edward Martin and Susan Shirley 2018 Soloist in Residence Chair Lauren Brigden John and Diana Frew Penny Shore Anne-Sophie Mutter Mr Tam Vu and Dr Cherilyn Tillman Francis and Robyn Hofmann Dr Sam Smorgon AO and Mrs Minnie Smorgon Marc Besen AC and Eva Besen AO Viola John So The Hon Dr Barry Jones AC Cybec Young Composer in Residence Chris Cartlidge Dr Paul Nisselle AM Ade Vincent Michael Aquilina Maria Solà The Cybec Foundation The Hon Michael Watt QC and Cecilie Hall 14 15 CONDUCTOR’S CIRCLE The MSO gratefully acknowledges the support of the following Estates: Current Conductor’s Circle Members Honorary Angela Beagley Jenny Anderson Neilma Gantner David Angelovich Appointments The Hon Dr Alan Goldberg AO QC G C Bawden and L de Kievit Gwen Hunt Lesley Bawden Audrey Jenkins Joyce Bown Sir Elton John CBE Joan Jones Mrs Jenny Brukner and the late Mr John Brukner Pauline Marie Johnston Life Member Ken Bullen Joan Jones Peter A Caldwell C P Kemp Luci and Ron Chambers Lady Potter AC CMRI Peter Forbes MacLaren Beryl Dean Joan Winsome Maslen Life Member Sandra Dent Lorraine Maxine Meldrum Lyn Edward Prof Andrew McCredie Geoffrey Rush AC Alan Egan JP Miss Sheila Scotter AM MBE Gunta Eglite Ambassador Marion A I H M Spence Mr Derek Grantham Molly Stephens Marguerite Garnon-Williams Jennifer May Teague Drs L C Gruen & R W Wade THE MSO HONOURS THE MEMORY OF Jean Tweedie Louis Hamon OAM Herta and Fred B Vogel Carol Hay John Brockman OAM Dorothy Wood Tony Howe Life Member Laurence O'Keefe and Christopher James Audrey M Jenkins John Jones The MSO relies on your ongoing The Honourable George and Grace Kass philanthropic support to Alan Goldberg AO QC Mrs Sylvia Lavelle sustain our artists, and support Pauline and David Lawton access, education, community Life Member Cameron Mowat engagement and more. We Rosia Pasteur invite our suporters to get close Ila Vanrenen Elizabeth Proust AO to the MSO through a range of Life Member Penny Rawlins special events. Joan P Robinson Neil Roussac The MSO welcomes your Anne Roussac-Hoyne support at any level. Donations Suzette Sherazee of $2 and over are tax Michael Ryan and Wendy Mead deductible, and supporters Anne Kieni-Serpell and Andrew Serpell are recognised as follows: Jennifer Shepherd Profs. Gabriela and George Stephenson $1,000+ (Player) Pamela Swansson $2,500+ (Associate) Lillian Tarry Dr Cherilyn Tillman $5,000+ (Principal) Mr and Mrs R P Trebilcock $10,000+ (Maestro) Michael Ullmer $20,000+ (Impresario) Ila Vanrenen The Hon. Rosemary Varty $50,000+ (Virtuoso) Mr Tam Vu $100,000+ (Platinum) Marian and Terry Wills Cooke Mark Young The MSO Conductor’s Circle Anonymous (26) is our bequest program for members who have notified of a planned gift in their Will. Enquiries P (03) 8646 1551 E [email protected]

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