MELBOURNE RECITAL CENTRE PRESENTS 1

MEASHA BRUEGGERGOSMAN WITH IAN MUNRO WEDNESDAY 21 MARCH 2018

GREAT PERFORMERS CONCERT SERIES 2018 2

‘Everything she sings is radiated by an instinctive musicality, breadth of phrasing and generosity of spirit: here is someone evidently singing for love not money and she has the gift of making the music glow.’ THE TELEGRAPH UK SOPRANO

MEASHA BRUEGGERGOSMAN CANADA

IAN MUNRO PIANO AUSTRALIA

WEDNESDAY 21 MARCH 2018, 7.30PM Elisabeth Murdoch Hall

6.45PM Free pre-concert talk with Andrea Katz

DURATION One hour & 50-minutes including a 20-minute interval

This concert is being recorded by ABC Classic FM for a deferred broadcast. Melbourne Recital Centre acknowledges the people of the Kulin nation on whose land this concert is being presented.

SERIES PARTNER PEFC Certified This product is from sustainably LEGAL FRIENDS OF managed forests and controlled sources. MELBOURNE RECITAL CENTRE www.pfc.org 4 MEASHA BRUEGGERGOSMAN L’indifférent Asie Shéhérazade MAURICE RAVEL (1899-1963) Cinq mélodiespopulaires greques (1875-1937) MAURICE RAVEL La flûte enchantée Hôtel ( Voyage àParis ( C’est ainsiquetu es( Violon (from Tout gai! Chanson descueilleusesdelentisques Quel galant m’est comparable Là-bas, vers l’église Chanson delamariée

Banalités

Fiançailles pourrire

Banalités

)

Métamorphoses

S107) PROGRAM

, S101) , S121)

INTERVAL Chévere Cinco CancionesNegras (1912-2002) Rheinlegendchen Des KnabenWunderhorn (1860-1911) GUSTAV MAHLER Amor George Surprise Cabaret Songs–selection (b. 1938) Punto dehabanera Cuba dentro deunpiano Wer hatdiesLiedleinerdacht Wo dieschönenTrompeten blasen Verlor’ne Müh’! The SongofBlackMax Toothbrush Time The Total Stranger intheGarden Canto negro Canción decunapara dormiraunnegrito

20-minutes

–selection

GREAT PERFORMERS 2018 5

(A Francis Poulenc Francis -surrealist bent, -surrealist as early as 1917, as early Fiançailles pour rire Fiançailles symboliste Rapsodie nègre Rapsodie her castle in Hungary for God knows how how God knows in Hungary for her castle works such his works The bulk off. taking first was when his career from dates however, of his music in this genre, working with the when he began 1935, after The basis. a regular Bernac on Pierre baritone of the work to drawn repeatedly was composer of the poets certain Guillaume Apollinaire Eluard, among them Paul de Louise and particularly Aragon, and Louis her set Vilmorin. Poulenc and piano soprano for betrothal) light-hearted turn my thoughts often more ‘so that I could de Vilmorin, imprisoned in Louise towards lentisques’ reflects the songs’ origins on the origins the songs’ reflects lentisques’ mastic gathering island of Chios, as the women man. young beautiful sing of an unattainably of abandon The cycle ends with the joyous gai!’ ‘Tout contemporary, younger Ravel’s who Six, as Les known group one of the was beyond a kind little in common had relatively from partly neo-classicism formed of arch in and partly of Stravinsky their admiration Poulenc the music of Debussy. to reaction with writing melodies, or art-songs, began at peace. In ‘Quel galant’ the suitor, festooned festooned the suitor, In ‘Quel galant’ at peace. asks his lady who can sword, and in pistols him. ‘Chanson des cueilleuses de to compare Maurice Maurice Ravel would would Ravel ABOUT THE MUSIC ABOUT Pictures at an Exhibition Pictures and two wordsmiths with whom he wordsmiths and two calls his ‘pretty partridge’ to wake so they can so they can wake to partridge’ his ‘pretty calls the evokes gently l’église’ vers ‘Là-bas, marry. lie of the dead the bravest where churchyard In ‘Chanson de la mariée’ (later renamed Le Le renamed (later In ‘Chanson de la mariée’ ardent de la mariée) the bridegroom’s Réveil as he morning calm sounds through voice subsequently replaced three of the originals three subsequently replaced in 1906. premiered and the new set Armenians, then both Christian nations within Armenians, then both Christian nations within make to Ravel – and asked Empire the Ottoman songs, translated five to piano accompaniments Ravel French. into Greek from Calvocoressi by so superbly orchestrate). In 1904 musicologist musicologist In 1904 so superbly orchestrate). on the ‘songs of lecture Aubry to Pierre was and – namely the Greeks peoples’ oppressed France in 1877, and his particular passion was was passion and his particular in 1877, France Russian music, especially that of Mussorgsky (whose the years before World War I. One of these, I. One of these, World War before the years Michel-Dimitri the critic and musicologist in parents Greek born to was Calvocoressi and attended performances of new en works performances and attended were masse. Among the members Ravel in works on significant collaborate would of like-minded young men formed a club men formed young of like-minded They argued des Apaches. the Société called in the arts and philosophy about new trends As the 20th century dawned in Paris a number dawned in Paris As the 20th century MEASHA BRUEGGERGOSMAN

long’ during 1939. (Vilmorin had made one of In 1889 the 14-year-old Maurice Ravel had had several ill-advised marriages, this time to a two defining musical experiences: he heard Hungarian count.). The fifth song of the cycle, Javanese gamelan music at Paris’ Exposition ‘Violon’ likens the instrument and its player Universelle, and he heard Rimsky-Korsakov to a mismatched, but loving couple (‘with conducting his own Capriccio espagnol. Like his unrecognized accents’), in music of vaguely near contemporary, Debussy, Ravel would use Baroque dotted rhythms that supports a long ‘oriental’ features in a number of later works; he vocal line. would also assimilate the Russian composer’s 6 brilliant orchestration. In 1903, Ravel composed Bernac, Poulenc reported, who was ‘envious his song cycle Shéhérazade to poems by Tristan of these melodies - Fiançailles pour rire, which Klingsor (the hyper-Wagnerian pseudonym of were impossible for him to sing, solicited some Arthur Leclère, who was also a member of the masculine poems from the poetess’ and Vilmorin Apaches). Two years earlier he had produced obliged with the Métamorphoses, set to music his Shéhérazade Overture, inevitably inviting in 1943. With improvised–sounding prelude (unflattering) comparison with Rimsky- and postlude, the second song, ‘This is how Korsakov’s tone poem of the same name; the you are’ is suffused with nostalgia, as the singer song cycle (originally for piano but very soon reconstructs in detail a woman he knew from orchestrated) responds with great intensity to memories of her hair, shadow and whispers. the imagery of Klingsor’s three poems. These are, not surprisingly, ‘Wagnerian’ in their The 1940 Banalités sets six poems by Apollinaire. mixture of eroticism and death, especially in In his quirky waltz setting of the fifth song, the first song, ‘Asie’. An ‘oriental’ melody sets ‘Voyage à Paris’, Poulenc embodies Apollinaire’s off the singer’s yearning to see the mystic east, love of Paris and consequent contempt for underpinned by the rhythm of a ship, which anywhere else. In ‘Hôtel,’ however, the poet, still sails ‘like an immense night-bird’. She visits half asleep, just wants to sit in his hotel room, Damascus, Persia, India and China in a series of smoking as the sun comes up. Poulenc responds evocative episodes, reaching a powerful climax with music of extreme inaction. as she contemplates seeing ‘death from love or hate’. In a quiet epilogue she imagines returning home to tell her many stories. GREAT PERFORMERS 2018 7 (a country cousin of the cousin (a country Ländler , but the sounds of martial music – the solider lying in the green grass house of the grass solider lying in the green a dialogue song in which a girl tries to attract attract a dialogue song in which a girl tries to proposing by attention her boyfriend’s her increasing to activities. In contrast various curt. ever more becomes the boy desperation, of the set, ‘Wo die masterpiece the Arguably is also a dialogue, blasen’, schönen Trompeten at night and her a girl woken between here of the is a reminder outside. There lover Ländler in the distance. heard are trumpets beautiful helps us music, as much as the text, Mahler’s is a ghost of a that the boy realise to come ‘Rheinlegendchen’ tells an enigmatic story of tells ‘Rheinlegendchen’ who throws missing his beloved, the reaper, a fish by it is eaten where the river his ring in to table. the king’s to and taken that is caught the and recognises is there lover The reaper’s its owner. to it back take to ring and is allowed a folky the story establishing by Mahler tells of atmosphere key changes but dramatically rhythms, waltz) half of the text. the second and mood for Müh’!’, ‘Verlor’ne Ländler rhythms permeate Mahler’s first four symphonies, and three were were and three symphonies, four first Mahler’s elements in Symphonies as vocal incorporated 2, 3 and 4. . (The Youth’s (The Youth’s had been Daphnis et Chloë Daphnis et Das klagende Gustav Mahler Gustav Des Knaben Wunderhorn , his first major work on graduating from from graduating on work major , his first bulk of the work was done between 1892 and done between was bulk of the work in 1901. Many of the melodies 1898 and revised thematic elements in important become would the Vienna Conservatory. Soon he returned Soon he returned the Vienna Conservatory. 15 poems in all; the and set the collection to 1880s but the the late from songs date earliest the style and subject of the poems, and the in tales fairy Grimms’ related Lied the early 19th century, and its combination of and its combination 19th century, the early simple language in clear, told tales fantastical of German literature the reform crucial to was Mahler imitated of Goethe. the likes by pursued Magic Horn). The poetry had been collected and Magic Horn). The poetry had been collected writers by edited) published (and extensively Arnim in and Achim von Clemens Brentano As early as 1881 As early of German folk the collection by inspired poetry, language’, but his or her desire is thwarted by by is thwarted but his or her desire language’, languid indifference. man’s the young young man who, as Michael Puri notes, is as Michael Puri notes, man who, young the ‘Danse in music similar to represented that depicts Daphnis in légère’ unknown ‘charming the youth’s hears The poet whom the melody of the flute, ‘now languid, ‘now flute, whom the melody of the in the her lover; from is a message flighty’ now androgynous sees a beautiful the singer third, The singer of the second song is a servant, for of the second The singer MEASHA BRUEGGERGOSMAN

battlefield. In ‘Wer hat dies Liedlein erdacht’ Unlike Alberti or Luján, Nicolás Guillén (1902- an innkeeper’s daughter lives on the green 1989) was Cuban, and of Afro-Caribbean meadow in the mountains, yearning for her heritage. His Chévere is a more dangerous lover. Or so say three geese... character than the Creole girl, as he flashes his knife. We hear some of the danger in Such slightly surreal touches can be found in the chords that open and close the song, some of the poetry that Catalan composer but overall it is remarkably spare, the vocal Xavier Montsalvatge chose for his Cinco declamation sharing arabesques with the 8 canciones negras. Montsalvatge was prolific in piano. Montsalvatge’s greatest hit is probably most genres, but, a little like , the following lullaby, to a text by Uruguayan was cursed by the early success of one piece poet Idelfonso Pereda Valdés (1899-1996). Over – these songs, which date from 1945-6 and a gentle bass, built on habanera rhythm, the evoke various aspects of life among Afro- mother sings to her little son that in sleep he is Caribbean people. The first song – a kind of ‘no longer a slave’ but that his master wants to scena in its formal expansiveness – sets a poem buy him the smart uniform of a groom. by Spanish poet, Rafael Alberti (1902-1999), whose left-wing sympathies saw him spend Sleep is banished in the final song, to another much of his life in exile in Argentina. It suggests, poem of Guillén’s in which a riotously in a succession of dreamlike images, the slow unfettered ‘black man’ sings and dances, drinks destruction of traditional life by the forces of and tumbles. Montsalvatge responds to the capital, specifically that of U.S. companies. verse, with its repetitions, and exclamations in Poet Néstor Luján y Fernández (1922-1995) was Yoruba, with an ostinato in additive rhythm in a fellow Catalan, and like Montsalvatge was the left hand of the piano and punctuating high associated with the political magazine, Destino. chords from the right. The ‘Punto de habanera’, though, is a gently erotic description of a Creole girl dressed in William Bolcom’s frequent collaborator, Arnold white crinoline, to whom Montsalvatge gives a Weinstein (1927-2005), notes that the composer sensuous dance rhythm. played in vaudeville shows before studying with Darius Milhaud (like Poulenc, one of Les Six) and Olivier Messiaen and that ‘he never lost his GREAT PERFORMERS 2018 9 FRANCIS POULENC MAURICE RAVEL

© Gordon Kerry© Gordon 2018 music composer, Kerry is an Australian Gordon and music critic. music writer administrator, fluid ‘George’ is genuinely tragic, and ‘Amor’ is and ‘Amor’ tragic, is genuinely fluid ‘George’ verygenuinely funny. subtle parody such as the Gerwshinny tone to such as the Gerwshinny to tone subtle parody account with its ambivalent Time’ ‘Toothbrush Weill in Kurt or the nods to hook-up, of a casual The story of gender- ‘The Song of Black Max’. ‘Surprise!’ or the wonderful twist in ‘The Total Total twist in ‘The or the wonderful ‘Surprise!’ exactly writes Bolcom in the Garden’. Stranger for enough music as needed, with an ear with his wife, singer Joan Morris. Each is a Joan singer with his wife, expressing of modern life, drama self-contained of colour ‘too-high’ the slightly hysterical, Between 1963 and 1996, Bolcom composed composed 1963 and 1996, Bolcom Between perform to texts, Weinstein’s songs, to cabaret provide a more ‘American’ music for Weinstein’s Weinstein’s music for ‘American’ a more provide and they than he himself could, words and shows on a series of collaborated stories. American on quintessentially based work, initially using twelve-note serial method. serial method. work, using twelve-note initially and Weinstein Milhaud who brought It was would thinking that the latter together, Bolcom lowbrow soul’ despite a body of ‘high-brow’ a body of ‘high-brow’ soul’ despite lowbrow THE TEXTS MEASHA BRUEGGERGOSMAN

Ravel: Cinq mélodies populaires grecques

Chanson de la mariée The Song to the Bride Réveille-toi, réveille-toi, perdrix mignonne, Awake, awake, my darling partridge, Ouvre au matin tes ailes. Open to the morning your wings. Trois grains de beauté, Three beauty marks; mon cœur en est brûlé! my heart is on fire!

Vois le ruban d’or que je t’apporte, See the ribbon of gold that I bring 10 Pour le nouer autour de tes cheveux. To tie round your hair. Si tu veux, ma belle, viens nous marier! If you want, my beauty, we shall marry! Dans nos deux familles, tous sont alliés! In our two families, everyone is related!

Là-bas, vers l’église Yonder by the Church Là-bas, vers l’église, Yonder, by the church, Vers l’église Ayio Sidéro, By the church of Ayio Sidero, L’église, ô Vierge sainte, The church, o blessed Virgin, L’église Ayio Costanndino, The church of Ayio Costanndino, Se sont réunis, There are gathered, Rassemblés en nombre infini, Assembled in numbers infinite, Du monde, ô Vierge sainte, The world’s, o blessed Virgin, Du monde tous les plus braves! All the world’s most decent folk!

Quel galant m’est comparable What Gallant Compares with Me? Quel galant m’est comparable, What gallant compares with me, D’entre ceux qu’on voit passer? Among those one sees passing by? Dis, dame Vassiliki? Tell me, lady Vassiliki!

Vois, pendus à ma ceinture, See, hanging on my belt, pistolets et sabre aigu... My pistols and my curved sword. Et c’est toi que j’aime! And it is you whom I love! GREAT PERFORMERS 2018 11

That I have known you well. you known That I have Text by Louise de Vilmorin Louise by Text Are You That is How flesh, mingled with soul, Your hair, Entangled time, through running foot Your which spreads shadow Your at my temples, And murmurs portrait, your that is There, are, you That is how you it for write to And I want So that, night having come, believe say and can You Tra la la, la la la! Tra Emily Ezust © by Translation: Mélodies - selections Poulenc: Violin accents unknown with Couple in love me please The violin and its player groans these tense Ah! I love of discomfort. On the rope on the hung ropes the strings To born the time when the Laws are At shaped, The heart, strawberry fruit. as an unknown to love itself Offers joy of my soul and heart, joy ardently, whom I love you than an angel. handsome more are you appear, O when you so sweet, angel our eyes, Before blond angel, a fine, Like under the bright sun, sigh! Alas! all of our poor hearts Everyone is Joyous! Everyone joyous! is joyous, which dance, tireli, legs, Beautiful dancing! even the dishes are legs; Beautiful The Song of the Girls Collecting Mastic Collecting of the Girls The Song of my soul, O joy of my heart, joy me, to is so dear which treasure

Tu puisses croire et dire, et puisses croire Tu connue. bien Que je t’ai Eluard Paul by Poem Voilà, c’est ton portrait, ton c’est Voilà, es, tu ainsi que C’est l’écrire te Et je veux que la nuit venue, Pour Ton pied courant le temps, le pied courant Ton qui s’étend ombre Ton ma tempe, à Et murmure C’est ainsi que tu es ainsi que tu C’est mêlée, d’âme chair, Ta emmêlée, Chevelure Le coeur, enforme de fraise, enforme coeur, Le fruit inconnu. comme un à l’amour S’offre de Vilmorin Louise by Text Sur la corde de malaises. Sur la corde des pendus sur les cordes accords Aux se taissent Lois ou les A l’heure Couple amoureux aux accents méconnus aux accents Couple amoureux son joueur me plaisent violon et Le gémissements tendus ces Ah! j’aime Text: Michel-Dimitri Calvocoressi Text: Mélodies - selections Poulenc: Violon Belle jambe, tireli, qui danse; Belle jambe, tireli, danse, Belle jambe, la vaisselle la la la la... Tra Hélas ! tous nos pauvres cœurs soupirent! cœurs nos pauvres Hélas ! tous gai! Tout gai! gai! gai, Ha, tout Tout Devant nos yeux, nos Devant Comme un bel ange blond, Sous le clair soleil, Tu es plus beau qu’un ange. Tu parais, tu Ô lorsque Ange si doux Trésor qui m’est si cher ; qui m’est Trésor du cœur, et Joie de l’âme ardemment, que j’aime Toi Chanson des cueilleuses de lentisques de des cueilleuses Chanson âme, Ô joie de mon coeur, Joie de mon Voyage à Paris Going to Paris Ah! la charmante chose Ah, how delightful it is Quitter un pays morose to leave a dismal place Pour Paris and head for Paris! Paris joli Beautiful Paris, Qu’un jour dût créer l’Amour. which one day Love had to create!

Text: Guillaume Apollinaire Translation: © 2001 by Peter Low MEASHA BRUEGGERGOSMAN Hôtel Hotel Ma chambre a la forme d’une cage, My room has the form of a cage. Le soleil passe son bras par la fenêtre. The sun reaches its arm in through the window. Mais moi qui veux fumer pour faire des mirages But I want to smoke and make shapes in the air, J’allume au feu du jour ma cigarette. and so I light my cigarette on the sun’s fire. Je ne veux pas travailler - je veux fumer. I don’t want to work, I want to smoke. Text: Guillaume Apollinaire Translation: © 2001 by Peter Low

Ravel: Shéhérazade Shéhérazade Asie Asia Asie, Asie, Asie. Asia, Asia, Asia, Vieux pays merveilleux des contes de nourrice Old marvelous land from childhood tales Où dort la fantaisie comme une impératrice Where fantasy sleeps like an empress En sa forêt tout emplie de mystère. In her forest filled with mystery. 12 Asie, Asia, Je voudrais m’en aller avec la goëlette I wish to go away with the boat Qui se berce ce soir dans le port Cradled this evening in the port Mystérieuse et solitaire Mysterious and solitary Et qui déploie enfin ses voiles violettes And that finally deploys her violet sails Comme un immense oiseau de nuit dans le ciel d’or. Like an enormous night-bird in the golden sky. Je voudrais m’en aller vers des îles de fleurs I wish to go away, toward the isles of flowers, En écoutant chanter la mer perverse Listening to the perverse sea sing Sur un vieux rythme ensorceleur. Over an old, bewitching rhythm. Je voudrais voir Damas et les villes de Perse I wish to see Damascus and the cities of Persia, Avec les minarets légers dans l’air. With their light minarets in the air; Je voudrais voir de beaux turbans de soie I wish to see beautiful silk turbans Sur des visages noirs aux dents claires; On dark faces with bright teeth; Je voudrais voir des yeux sombres d’amour I wish to see eyes dark with love Et des prunelles brillantes de joie And pupils shining with joy En des peaux jaunes comme des oranges; In skin yellowed like oranges; Je voudrais voir des vêtements de velours I wish to see velvet robes Et des habits à longues franges. And clothes with long fringes. Je voudrais voir des calumets entre des bouches I wish to see pipes in mouths Tout entourées de barbe blanche; Surrounded by white beards; Je voudrais voir d’âpres marchands aux regards I wish to see harsh merchants with cross-eyed louches, gazes, GREAT PERFORMERS 2018 13

From the flute toward my cheek toward the flute From kiss. a mysterious Like The Enchanted Flute The Enchanted sleeps, and my master The shade is sweet silk bonnet, a conical Wearing beard. nose in his white With his long yellow again But I, I waken outside And hear pour forth The song of a flute sadness and joy. turns By and frivolous languorous turns A song by plays, lover Which my dear the window. by And when I approach away steals note me that each It seems to orchard; assassins, see smiling I wish to neck who cuts an innocent The executioner blade. curved Oriental With his great and queens; see paupers I wish to and blood; see roses I wish to or even by love by caused see death I wish to hate. later And then returning, and curious the dreaming my story to Tell cup my old Arab Sinbad, like Raising, my lips time to time to From with art. . . . my tale interrupt To Grants life, or death, according to their desire. to according or death, life, Grants and then and India, see Persia, I wish to China, mandarins under their umbrellas, The pot-bellied with dainty hands, And the princesses men who quarrel And the literary beauty; poetryOver and over palace, in the enchanted linger I wish to traveler a foreign And like countrysides, painted at leisure Contemplate in fir frames, On fabrics in the middle of an standing With a person Asia cont. and viziers And judges, their crooked of single movement Who with a finger

Comme un mystérieux baiser. Comme un mystérieux Et quand je m’approche de la croisée Et quand je m’approche s’envole Il me semble que chaque note ma joue vers De la flûte Tour à tour la tristesse ou la joie. la tristesse à tour Tour ou frivole langoureux à tour Un air tour chéri joue, Que mon amoureux Mais moi, je suis éveillée encor Mais moi, je suis éveillée au dehors Et j’écoute où s’épanche Une chanson de flûte L’ombre est douce et mon maître dort mon maître et est douce L’ombre conique de soie d’un bonnet Coiffé Et son long nez jaune en sa barbe blanche. Pour interrompre le conte avec art... avec le conte interrompre Pour enchantée flûte La En élevant comme Sindbad ma vieille tasse Sindbad ma vieille tasse comme En élevant arabe mes lèvres jusqu’à en temps De temps Je voudrais voir mourir d’amour ou bien de mourir d’amour voir Je voudrais haine. plus tard revenir Et puis m’en curieux de rêves aux mon aventure Narrer Avec son grand sabre courbé d’Orient. courbé sabre son grand Avec reines; des et des pauvres voir Je voudrais du sang; et des roses voir Je voudrais Avec un personnage au milieu d’un verger; au milieu d’un un personnage Avec des assassins souriant voir Je voudrais d’innocent un cou qui coupe Du bourreau Et comme un voyageur étranger un voyageur Et comme peints à loisir des paysages Contempler de sapin cadres en des Sur des étoffes Et les princesses aux mains fines, aux Et les princesses qui se querellent Et les lettrés sur la beauté; Sur la poésie et au palais enchanté m’attarder Je voudrais Je voudrais voir la Perse, et l’Inde, et puis la l’Inde, et et la Perse, voir Je voudrais Chine, sous les ombrelles, mandarins ventrus Les Qui du seul mouvement de leur doigt qui se mouvement Qui du seul penche de leur désir. mort au gré vie ou Accordent Asie cont. des vizirs et Et des cadis, L’indifférent The Indifferent One Tes yeux sont doux comme ceux d’une fille, Your eyes are soft, like those of a girl, Jeune étranger, Young stranger, Et la courbe fine And the fine curve De ton beau visage de duvet ombragé Of your handsome face with shadowed down

MEASHA BRUEGGERGOSMAN Est plus séduisante encor de ligne. Is more seductive still. Ta lèvre chante sur le pas de ma porte Your lip sings, on the step of my door, Une langue inconnue et charmante A tongue unknown and charming Comme une musique fausse. Like dissonant music. Entre! Et que mon vin te réconforte... Enter! And let my wine comfort you. . . . Mais non, tu passes But no, you pass by Et de mon seuil je te vois t’éloigner And from my door I watch you depart, Me faisant un dernier geste avec grâce Making a last graceful gesture to me, Et la hanche légèrement ployée Your hip lightly bent Par ta démarche féminine et lasse... In your feminine and weary gait. . . . Text: Arthur Justin Léon Leclère Translation: © 2005 by Ahmed E. Ismail

Des Knaben Wunderhorn Des Knaben Wunderhorn Rheinlegendchen Rhine Legend Bald gras ich am Neckar, bald gras ich am Rhein; Now I reap by the Neckar, now I reap by the Rhine; 14 Bald hab’ ich ein Schätzel, bald bin ich allein! Now I have a sweetheart, now I am alone! Was hilft mir das Grasen, wenn d’ Sichel nicht What use is my reaping if the sickle doesn’t cut? schneid’t! What use is a sweetheart if she won’t stay? Was hilft mir ein Schätzel, wenn’s bei mir nicht bleibt. So if I am to reap by the Neckar and by the Rhine, So soll ich denn grasen am Neckar, am Rhein, then I’ll throw in my golden ring. So werf ich mein goldenes Ringlein hinein. It will flow with the Neckar and the Rhine, Es fließet im Neckar und fließet im Rhein, And float right down into the deep sea. Soll schwimmen hinunter ins Meer tief hinein. Und schwimmt es, das Ringlein, so frißt es ein And as it floats, the little ring, a fish will eat it! Fisch! The fish will eventually come to the King’s table! Das Fischlein tät kommen auf’s König sein Tisch! The king will ask whose ring it is, Der König tät fragen, wem’s Ringlein sollt sein? and my sweetheart will say: ‘The ring belongs Da tät mein Schatz sagen: das Ringlein g’hört to me.’ mein. My sweetheart will hurry up hill and downhill, Mein Schätzlein tät springen bergauf und and bring me back my ring! bergein, ‘You can reap by the Neckar, and reap by the Tät mir wiedrum bringen das Goldringlein mein! Rhine Kannst grasen am Neckar, kannst grasen am if you will always throw your ring in for me!’ Rhein, Wirf du mir nur immer dein Ringlein hinein! GREAT PERFORMERS 2018 15

I don’t want it! I don’t want He Silly lassie, nibble anything! Nothing! to I don’t want She my heart? you Ah, shall I give think of me? always so you’ll laddie, it! Dear Take it, you! I beg Take He Silly lassie, Laddie, let’s go out! go Laddie, let’s look at our lambs? To Shall we? laddie! Come, dear you! Come, I beg He Silly lassie, with you! go I won’t She nibble? maybe a bit to want You pocket! out of my something yourself Fetch laddie! it, dear Fetch you! it, I bet Fetch Laddie Let’s Go Out! Let’s Laddie She

Närrisches Dinterle, ich mag es holt nit! Nimm’s! Lieb’s Büberle! Lieb’s Nimm’s! ich bitt’! Nimm’s, Er Sie Gelt, dir schenke!? ich soll mein Herz Immer willst an mich gedenke!? Er Närrisches Dinterle, dir holt nit! ich nasch’ Hol’, lieb’s Büberle, lieb’s Hol’, ich bitt’! hol’, Sie nasche? Willst vielleicht ä bissel aus meiner Tasch’! Hol’ dir was Er Närrisches Dinterle, ich geh dir holt nit! Wollen wir? Unsere Lämmer besehe? Lämmer Unsere wir? Wollen Büberle, lieb’s Komm’, ich bitt’! komm’, Verlor’ne Müh’! Verlor’ne Sie gehe! außre Büble, wir wollen MEASHA BRUEGGERGOSMAN

Wo die schönen Trompeten blasen Where the beautiful trumpets blow Wer ist denn draußen und wer klopfet an, Who is then outside, and who is knocking, Der mich so leise, so leise wecken kann? Who can so softly, softly waken me? Das ist der Herzallerliebste dein, It is your darling, Steh auf und laß mich zu dir ein! Arise and let me come in to you!

Was soll ich hier nun länger stehn? Why should I stand here any longer? 16 Ich seh die Morgenröt aufgehn, I see the dawn arrive, Die Morgenröt, zwei helle Stern, The dawn, two bright stars, Bei meinem Schatz, da wär ich gern, With my darling would I gladly be, bei meiner Herzallerliebsten. With my heart’s most beloved!

Das Mädchen stand auf und ließ ihn ein; The maiden arose and let him in; Sie heißt ihn auch wilkommen sein. She welcomed him as well: Willkommen, lieber Knabe mein, Welcome, my beloved boy, So lang hast du gestanden! You have stood outside so long!

Sie reicht ihm auch die schneeweiße Hand. She reached to him her snow-white hand. Von ferne sang die Nachtigall From afar a nightingale sang; Das Mädchen fing zu weinen an. The maiden began to weep.

Ach weine nicht, du Liebste mein, Oh, do not cry, my darling, Aufs Jahr sollst du mein eigen sein. Next year you shall be my own! Mein Eigen sollst du werden gewiß, My own shall you certainly be, Wie’s keine sonst auf Erden ist. As no one else on earth is. O Lieb auf grüner Erden. O Love on the green earth!

Ich zieh in Krieg auf grüner Heid, I go to war on the green heath, Die grüne Heide, die ist so weit. The green heath that is so broad! Allwo dort die schönen Trompeten blasen, It is there where the beautiful trumpets blow, Da ist mein Haus, von grünem Rasen. There is my house of green grass! GREAT PERFORMERS 2018 17

Translation: © by Emily Ezust © by Translation: Your dark brown eyes dark brown Your me. wounded have mouth rosy Your healthy. hearts makes wise, youth It makes life, to brings the dead the ill.’ to health gives little song then? Who has thought up this pretty geese three by water the over brought It was - and one white grey - two sing the little song, cannot and if you you! they will whistle it for a lovely, darling girl looks out of the window. darling girl a lovely, there: She does not live of the innkeeper, she is the daughter meadow. on the green and she lives her have And he who would find a thousand thalers, would swear to have but he would wine again have never to property. her father’s have to is sore! ‘My heart again! it well make Come, my treasure, Who thought up this little song? Who thought up this little in a high-up house, on the mountain, Up there

Und wer das Liedlein nicht singen kann, Und wer sie es pfeifen. Dem wollen Arnim & Clemens Brentano Achim von Text: Wer hat denn das schöne Liedlein erdacht? hat denn das schöne Wer gebracht, Wasser Gäns übers drei Es haben’s und eine weiße; graue Zwei Macht Jugend verständig, lebendig, Macht Tote gesund.’ Macht Kranke Dein rosiger Mund Dein rosiger gesund. Macht Herzen ‘Mein Herze ist wund, ‘Mein Herze gesund! mach’s Schätzel komm Äuglein, Dein schwarzbraune Die haben mich vertwundt! Nie mehr zu Wein zu gehen, zu Wein Nie mehr zu verzehren. Gut Des Vaters Und wer das Mädel haben will, Und wer finden Taler Muß tausend Und muß sich auch verschwören, Es ist nicht dort daheime, Es ist des Wirts sein Töchterlein, auf grüner Heide. Es wohnt Wer hat dies Liedlein erdacht Wer Haus, Dort oben in dem hohen heraus, Mädel lieb’s fein’s ein Da guckt Montsalvatge: Cinco Canciones Negras

Cuba dentro de un piano Cuba inside a piano Cuando mi madre llevaba un sorbete de fresa por When my mother wore a strawberry ice for a hat MEASHA BRUEGGERGOSMAN sombrero y el humo de los barcos aún era humo and the smoke from the boats was still Havana de habanero. smoke.

Mulata vueltabajera … Mulata from Vuelta Abajo … Cádiz se adormecía entre fandangos y Cadiz was falling asleep to fandango and habaneras habanera y un lorito al piano quería hacer de tenor. and a little parrot at the piano tried to sing tenor. … dime dónde está la flor que el hombre tanto … tell me, where is the flower that a man can venera. really respect.

Mi tío Antonio volvía con su aire My uncle Anthony would come home in his de insurrecto. rebellious way.

La Cabaña y el Príncipe sonaban por los patios The Cabaña and El Príncipe resounded in the del Puerto. patios of the port.

18 (Ya no brilla la Perla azul del mar de las Antillas. (But the blue pearl of the Carribean shines no Ya se apagó, se nos ha muerto.) more. Extinguished. For us no more.) Me encontré con la bella Trinidad … I met beautiful Trinidad … Cuba se había perdido y ahora era verdad. Cuba was lost, this time it was true.

Era verdad, True no era mentira. and not a lie.

Un cañonero huido llegó cantándolo A gunner on the run arrived, sang Cuban songs en guajira. about it all.

La Habana ya se perdió. Havana was lost Tuvo la culpa el dinero … and money was to blame … Calló, The gunner went silent, cayó el cañonero. and fell. Pero después, pero ¡ah! después But later, ah, later fue cuando al SÍ they changed SÍ lo hicieron YES. to YES. Text: Rafael Alberti (1902-1999) Richard Stokes & Jacqueline Cockburn © 2013 GREAT PERFORMERS 2018 19

the flesh of his evil black woman. © 2013 Cockburn & Jacqueline Stokes Richard Translation: How white! How Cockburn © 2013 & Jacqueline Stokes Richard Translation: Cool thrust The dandy of the knife a knife: himself becomes of the moon, he cuts slices on him; but the moon is fading of shadow, he cuts slices on him, is fading but the shadow of song, he cuts slices him; on but the song is fading cuts up and then he cuts up, In your body this evening In your the sound of opening dahlias. dwells girl, do not complain, Young ripe body your brocade, sleeps in fresh quivers waist your whip, as a as proud every fragrant skin is gloriously inch of your and lemon trees. with orange at you look The sailors their eyes on you. and feast by girl goes The Creole crinoline. in her white Habanera Point Habanera by girl goes The Creole crinoline. in her white white! How skirt! crepe of your spray The billowing at her! look Sailors, in the moonlight gleaming She passes her skin. which darkens girl, do not complain, Young tonight only for do I wish the water suddenly escape not to skirt.the prison of your

Text: Nicolás Guillén (1902-1989) Nicolás Text: mas el canto se le acaba; mas el canto que pica pica y entonces mala. de su negra carne pica tajadas de sombra, tajadas pica se le acaba; mas la sombra de canto, tajadas pica se vuelve él mismo navaja: se vuelve de luna, tajadas pica mas la luna se le acaba; Text: Néstor Luján y Fernández (1922-1995) y Fernández Luján Néstor Text: Chévere del navajazo, Chévere La niña criolla pasa La su miriñaque blanco. con ¡Qué blanco! a limonal y a naranjo. miran te marineros Los quedan mirando. y se te Tu cintura vibra fina vibra cintura Tu de un látigo, la nobleza con piel huele alegre tu toda rumor de abrirse de dalia. rumor de abrirse quejes, Niña, no te está fruta cuerpo de tu brocado. dormido en fresco que no se escape de pronto de que no se escape falda, de tu de la cárcel tarde esta cuerpo encierra tu Niña, no te quejes, Niña, no te tarde. solo por esta tan mandar al agua Quisiera ¡marineros, contempladla! ¡marineros, de lunas mojadita Va mulata. su piel que le hacen con su miriñaque blanco. con ¡Qué blanco! espuma; de tu Hola crespón Punto de habanera Punto pasa niña criolla La MEASHA BRUEGGERGOSMAN

Canción de cuna para dormir a un negrito Lullaby to sleep a black boy Ninghe, ninghe, ninghe, Lullay, lullay, lullay, tan chiquitito, tiny little child, el negrito little black boy, que no quiere dormir. who won’t go to sleep.

Cabeza de coco, Head like a coconut, 20 grano de café, head like a coffee bean, con lindas motitas, with pretty freckles con ojos grandotes and wide eyes como dos ventanas like two windows que miran al mar. looking out to sea.

Cierra los ojitos, Close your tiny eyes, negrito asustado; frightened little boy, el mandinga blanco or the white devil te puede comer. will eat you up. ¡Ya no eres esclavo! You’re no longer a slave!

Y si duermes mucho, And if you sleep soundly, el señor de casa the master of the house promete comprar promises to buy traje con botones a suit with buttons para ser un ‘groom’. to make you a ‘groom’.

Ninghe, ninghe, ninghe, Lullay, lullay, lullay, duérmete, negrito, sleep, little black boy, cabeza de coco, head like a coconut, grano de café. head like a coffee bean. Text: Ildefonso Pereda Valdés (1899-1996) Translation: Richard Stokes & Jacqueline Cockburn © 2013 GREAT PERFORMERS 2018 21

aé. yambó, aé. bam, bam, Bam, bam, of the black man who tumbles; bam drum of the black man, wow, tumbling! the black man’s how wow, yambambé! yambó, Yamba, © 2013 Cockburn & Jacqueline Stokes Richard Translation: Yambambó, yambambé! Yambambó, is ringing, solongo The congo black man is ringing; the black man, the real the Songo from solongo congo on one foot. is dancing the yambó Mamatomba, cuserembá. serembe drunk, The black man sings and gets drunk and sings, the black man gets away. the black man sings and goes Acuememe serembó, Black Song

¡Yamba, yambó, yambambé! yambó, ¡Yamba, Guillén (1902-1989) Nicolás Text: tamba del negro que tumba; del negro tamba caramba, del negro, tamba tumba: que el negro caramba, yambó, aé; tamba, tamba, tamba, Tamba, Acuememe serembó, aé; El negro canta y se ajuma, y se canta El negro y canta, se ajuma el negro va. y se canta el negro Mamatomba, cuserembá. serembe repica el negro bien negro; negro el repica solongo del Songo congo pie. un sobre baila yambó Canto Negro Canto yambambé! ¡Yambambó, solongo, congo el Repica MEASHA BRUEGGERGOSMAN

Cabaret Songs – selection The Total Stranger in the Garden Text Arnold Weinstein Sitting across the table In the garden of our garden apartment Surprise I stared at the paper my husband was reading Surprise! Her twenty-fifth year at the office! And I said to him: They threw her a surprise party! ‘You’re a stranger Surprise! Surprise! Surprise! A total stranger And were they surprised Always have been when she tried to drink iodine 22 Always will be from the paper cup at the water cooler Sitting there of cool spring water. Hiding there Behind that printed mask. Stop reading, stop reading me out of house and home Must I ask ‘till my mouth fills up with foam? You total stranger You stranger, you!’ Then he lower ed the paper And I saw it was not my husband But a total stranger A total stranger who said to me: ‘I am a kind of hobo of space trying to find a mask to erase the mask behind the face.’ GREAT PERFORMERS 2018 23

So glad you understand. So glad you And ...’ say did you the way, By again? Nine tonight then. See you time! Toothbrush Waiting for the wonderful moment of his leaving. moment the wonderful for Waiting time, time, toothbrush toothbrush At time. and toothbrush a.m. again Ten be alone, sad to it’s I know be alone, to so bad It’s known Still I should’ve be alone. be glad to That I’d known! I should’ve known, I should’ve up the phone and picked Never should have him. called uhm ... uh, listen, ‘Hey, uh ... to, got Uh, I’ve too? go gotta Oh, you Emerges three eggs all for himself. all for eggs three Emerges out of bed; stood if I’d be ahead I’d Oh, how grieving sit here I wouldn’t

debris Now he advances on my kitchen, he advances Now every shelf he raids Now and puddles and pots and pans the Till from Perusing all my pills, Perusing reviewing all my ills, me. like out smelling And he comes time. my bathroom, round crashing he’s Now my degree, reading he’s Now It’s toothbrush time, toothbrush It’s time. and toothbrush a.m. again Ten nine it seemed O.K. Last night at half past But in the light of day not so fine at toothbrush Toothbrush Time Toothbrush The Song of Black Max And there were looks for sale MEASHA BRUEGGERGOSMAN He was always dressed in black The art of the smile -- Long black jacket, broad black hat (Only certain people walked that mystery mile: Sometimes a cape Artists, charlatans, vaudevillians And as thin, and as thin as rubber tape: Men of mathematics, acrobatics and civilians) Black Max There was knitting-needle music From a lady organ-grinder He would raise that big black hat With all her sons behind her To the big shots of the town Marco, Vito, Benno Who raised their hats right back (Was he strong! Though he walked like a Never knew they were bowing to woman) Black Max And Carlo, who was five He must be still alive! I’m talking about night in Rotterdam When the right night people of all the town Ah, poor Marco had the syph, and if Would find what they could You didn’t take the terrible cure those days 24 In the night neighborhood of You went crazy and died and he did Black Max And at the coffin Before they closed the lid There were women in the windows Who raised his lid? With bodies for sale Black Max! Dressed in curls like little girls In little dollhouse jails I was climbing on the train When the women walked the street One day going far away With the beds upon their backs To the good old U.S.A Who was lifting up his brim to them? When I heard some music Black Max! Underneath the tracks Standing there beneath the bridge Long black jacket, broad black hat Playing the harmonica, one hand free To lift that hat to me: Black Max Black Max Black Max GREAT PERFORMERS 2018 25

jury gave him what for! him what jury gave of desist his hand and instead raised The judge and cease, my hand and took the stand, to Judgie came whispered, Amor!’ Amor, Amor, ‘Amor, day, into turning Night was alone away. I walked again.) (Never see that town door the churchhouse But as I passed ‘Amen’ of singing Instead Amor, Amor, singing, ‘Amor, The choir was Amor!’ He shouted, ‘Amor, Amor, Amor!’ Amor, ‘Amor, He shouted, that way. it went town All over Everybodyoff the day. took was good how understood philosophers Even the good so good! I looked ‘cuz less. taking The poor stoped needing more. The rich stopped and ‘yes’, of saying ‘no’ Instead ‘Amor!’ Both looking at me shouted cut short. was in town My stay court. to I as dragged and the the peace said I disturbed The judge Amor the traffic in all fault the policeman’s It wasn’t roar when he saw me he of shouting ‘Halt!’ Instead shouted, Amor.’ Amor, Amor, ‘Amor, the by icecreams man (free the icecream Even score) one look at pecan of shouting butter Instead me,

Get yourself a drink! yourself Get Oh, call him Georgia, hon him Georgia, Oh, call a drink yourself Get hon me Georgia, call can You In the coffin white Which was a virgin was George Because The funeral was at the cocktail hour at the cocktail was The funeral it that way like would We knew George and pins brocade, on the beads, fell Tears Of ‘Un bel dì vedremo’ stranger this particular Which he sang for Navy States in the United Who was With a knife beside an apple pie he’d had placed George baked him in the middle And stabbed One fine day a stranger In a suit of navy blue life George’s Took George said, ‘Stay, but you gotta keep quiet keep gotta but you said, ‘Stay, George after While I sing, and then a minute me Georgia.’ And call And in the chocolate milk and gin And in the chocolate and pins brocade, And on the beads, his open door happened through When strangers Through the door he never the locked Through a drink.’ yourselves And said, ‘Get And sang out loud the cognac in fell Till tears In our part of town In our part and pins brocade, In beads, happened in He sang if you ‘Oh, call me Georgia, hon me Georgia, ‘Oh, call a drink.’ yourselves Get And sang the best soprano George say used to My friend George ABOUT THE ARTISTS MEASHA BRUEGGERGOSMAN

Motivated and hungry for new experiences, Ms. Brueggergosman’s highlights on the stage include Giulietta and Antonia Les contes d’Hoffmann, Elettra in Idomeneo, Madame Lidoine in Dialogues des Carmélites, Jenny in Weill’s Mahagonny, Emilia Marty in Věc Makropulos, Hannah in Miroslav Srnka’s Make No Noise and Sister Rose in Jake Heggie’s Dead Man Walking. On the concert platform her appearances include the Boston Symphony 26 Orchestra, New York Philharmonic Orchestra, Cleveland and the New World Orchestras, San Francisco and London Symphony Orchestras with conductors such as Barenboim, Sir , Dudamel, Harding, David Robertson, Tilson Thomas and Welser-Möst.

Measha began her career predominantly committed to the art of the song recital and has presented innovative programs at Carnegie Hall, Washington’s Kennedy Center, London’s , both the Konzerthaus and Musikverein in Vienna, Madrid’s Teatro Real, as well as at the Schwarzenberg, Edinburgh, Verbier and Bergen Festivals with celebrated collaborative pianists Justus Zeyen, Roger Vignoles, Julius Drake and Simon Lepper. Her first recording for Deutsche Grammophone, Surprise, includes works by Schoenberg, Satie and Bolcom and is one of the most highly regarded debut albums of recent years. Her subsequent disc Night and Dreams, which GREAT PERFORMERS 2018 27 and Australia Ensemble respectively. and Australia Munro by the Sydney Symphony Orchestra. the Sydney Symphony Orchestra. by Munro Ian has seasons concert During the last few Mozart, Munro, Ravel, by concerti performed toured Kats-Chernin, and Edwards, Gershwin Switzerland, Russia, Belgium, Italy, the U.K., to and Australia and throughout Uzbekistan chamber music and in recitals, New Zealand in demand Increasingly performances. concerto Composer for Featured he was as a composer, and song concerto in 2011. His flute Viva Musica in their premieres receive birds’ cycle ‘Three 2016 with the Melbourne Symphony Orchestra Elsewhere, he has performed with orchestras with orchestras he has performed Elsewhere, Russia, the U.S.A., Portugal, Italy, in Poland, and all the major orchestras China, New Zealand A widely 60 piano concerti. in over in Australia chamber musician, Ian joined the experienced Ensemble in Sydney in 2000. Australia acclaimed ABC Classics, CDs for Ian has recorded Poppies Tall Polo, Marco Hyperion, Cala, Naxos, discs Recent label Warehouse. and the U.K. composer Tasmanian music by the collected by and the piano concerto Katharine Parker Ian for Elena Kats-Chernin, commissioned where he has performed with the Royal with the Royal he has performed where Philharmonia, English Philharmonic Orchestra, Players, Mozart London Chamber Orchestra, Symphony BBC Scottish Orchestra, BBC Concert BBC. the widely for and broadcast Orchestra

has emerged over recent years years recent over has emerged of Alfred Cortot, and furthered his studies in his studies Cortot, and furthered of Alfred Conci, with Noretta and Italy Vienna, London his and Michele Campanella, Guido Agosti in the U.K., began career international After completing his early training in Melbourne early training his completing After a pupil Shepherd, of Roy under the guidance da Motta) and the U.K., where his second prize prize his second where and the U.K., da Motta) in Piano Competition International at the Leeds profile. his international 1987 established Australian and follows on from multiple prizes multiple prizes on from and follows Australian in Spain piano competitions in international (Vianna (Busoni), Portugal (Maria Canals), Italy America and Australasia. His award in 2003 His award and Australasia. America Prix at the Queen Elisabeth Grand of Premier composers for Competition International an (Belgium) is a unique achievement for as one of Australia’s most distinguished and most as one of Australia’s that has musicians, with a career awarded Asia, North in Europe, 30 countries him to taken international charities. international Ian Munro champions the education and involvement and involvement champions the education honorary and holds several of new audiences titles with and ambassadorial doctorates Wesendonk Lieder with Franz Welser-Möst Welser-Möst Franz Wesendonk Lieder with her a earned and the Brueggergosman nomination. Measha Grammy features songs by Mozart, Brahms, Strauss, Strauss, Brahms, Mozart, songs by features won and Fauré Duparc Schubert, Debussy, of the and her recording awards several INSPIRED GIVING

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AO AO AC AC & OAM AC AM &

QC

AO & AO

OAM AM AM Georgette Toohey Christine Rodan & Erskine Rodan Campbell Rose & Mrs Margaret S Ross Dr Ian C Ross Kim & Graham Sherry Prof Richard Smallwood & Mrs Carol Smallwood Peter J Stirling & Kane Kimberley Lady Marigold Southey Stirling Larkin, AustralianStandfirst° Li° Snowe Simon & Jodie Madden Susan & Peter Mahler Peter & Ruth McMullin Peter B Murdoch MurdochHelen Shelley & Euan Murdoch Susan M Renouf M Susan List of patrons at February 2018. 14 Felicity Teague REACHING BEYOND THE CENTRE VALLENTINE MARY LIMITLESS STAGE FUND ($20,000+) Naomi Milgrom Kim Williams ($10,000+) The Late Betty Amsden Lady Marigold Southey ($4000+) Kathryn Greiner Peter & Ruth McMullin ($25 0 0+) Lady Primrose Potter ($1000+) Hordern Peter & Jenny The Ullmer Family Foundation Janet Whiting Phil Lukies Igor Zambelli ($5 0 0+)

AO AM

& AO & AC

AC

* & & & AM

AO QC AM AO

AM & & & Eva Besen AM AM MBE AO AM AC QC AO

AC Libby Cousins Libby Julie Anne Cox & Laurie Cox Nance Grant HarrisIan The Hon Justice Michelle Gordon & The Hon Kenneth M Hayne Prof David Penington Dr Sonay Penington Penny Howard Geoff & Jan Phillips Rowlands Shelley Thomas* Laura The Ullmer Family Foundation Mary Vallentine ($5 0 0+) Basser Russell Dr Brian & Esther Benjamin Marc Besen Ann Bryce Sir Rodrick Carnegie McGlashan Eve Adrian Collette SlatteryRachel Jim Cousins In memory of Beryl Hooley Dr Garry Joslin & Prof Dimity Reed Liane Kemp* Sally MacIndoe Annette Maluish Justice Jane Matthews McCormac* Leslie Norene Message Consultants Australia Dr Richard Mills Rosemary O’Connor* Tim Orton & Barbara Dennis James Ostroburski & Ostroburski Leo Peter Jopling Dr Sam Mandeng George & Laila Embelton Evans° Joshua Margaret Farren-Price & Prof Ronald Farren-Price HadgesJean Robert HetzelDr Rosemary & David Houseman John Howie Dr Linsey Howie Hutchinson Penny Robert & Jan Green Wines* Heathcote Prof Andrea Hull & AO AM &

OAM

& & OAM QC

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& & AM

AM AO

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Melbourne Recital Centre acknowledges the generous support of its business partners, philanthropic supporters and patrons.

Founding Patron The Late Dame Elisabeth Murdoch ac dbe

Board Members Kathryn Fagg, Chair Joseph Corponi Margaret Farren-Price Peter Bartlett The Hon Mary Delahunty Eda Ritchie am Stephen Carpenter Paul Donnelly Margaret Taylor

Founding Benefactors Principal Government Partner The Kantor Family Helen Macpherson Smith Trust The Calvert-Jones Family Robert Salzer Foundation Lyn Williams am The Hugh Williamson Foundation

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ETHEL HERMAN CHARITABLE TRUST

ENCORE BEQUEST PROGRAM Providing sustained support for all aspects of the Centre’s artistic program through its Public Fund.

Anonymous (3) Ken Bullen Prof Dimity Reed AM The Late Betty Amsden AO Jim Cousins AO & Libby Cousins The Estate of Beverley Shelton & Martin Jenny Anderson Dr Garry Joslin Schönthal Barbara Blackman Janette McLellan Mary Vallentine AO Jennifer Brukner Elizabeth O’Keeffe MELBOURNE RECITAL CENTRE PRESENTS

‘A lone figure on a completely empty stage, Ehnes required nothing but his performance with which to captivate the audience.’ THE AGE

JAMES EHNES CANADA

Grammy winning violinist James Ehnes returns to Melbourne Recital Centre in a program exploring the solo works of J.S. Bach. MONDAY 9 APRIL, 7.30PM Elisabeth Murdoch Hall

J.S. BACH Violin Partita No.3 in E, BWV1006 J.S. BACH Violin Sonata No.3 in C, BWV1005 J.S. BACH Violin Partita No.2 in D minor, BWV1004

TO BOOK VISIT MELBOURNERECITAL.COM.AU | 03 9699 3333 MEASHA BRUEGGERGOSMAN

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CNR SOUTHBANK BLVD & PRINCIPAL GOVERNMENT PARTNER STURT ST, SOUTHBANK, VICTORIA

MELBOURNERECITAL.COM.AU