HOLST’S

30 AUGUST & 1 SEPTEMBER 2018 Arts Centre Melbourne, Hamer Hall

31 AUGUST 2018 Costa Hall, Geelong

CONCERT PROGRAM Melbourne Symphony Orchestra Sir Andrew Davis conductor Ladies of the MSO Chorus Warren Trevelyan-Jones chorus master

Vine* Symphony No.8 The Enchanted Loom WORLD PREMIERE AND MSO COMMISSION INTERVAL Holst The Planets

*Composer in Residence

Pre-concert talk Join us for a pre-concert talk with former MSO Librarian Alistair McKean from the stage. Thursday 6.15pm, Friday 6.30pm, Saturday 12.45pm.

Saturday’s concert will be recorded by ABC Classics for possible release.

Running time: One hour and 45 minutes, including a 20-minute interval.

In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.

The MSO acknowledges the Traditional Owners of the land on which it is performing. MSO pays its respects to their Elders, past and present, and the Elders from other mso.com.au communities who may be in attendance. (03) 9929 9600

2 MELBOURNE SYMPHONY SIR ANDREW DAVIS ORCHESTRA CONDUCTOR

Established in 1906, the Melbourne Chief Conductor of the Melbourne Symphony Orchestra (MSO) is an Symphony Orchestra, Sir Andrew arts leader and Australia’s oldest Davis is also Music Director and professional orchestra. Chief Principal Conductor of the Lyric Opera Conductor Sir Andrew Davis has of Chicago. He is Conductor Laureate been at the helm of MSO since 2013. of both the BBC Symphony Orchestra Engaging more than 4 million people and the Toronto Symphony, where he each year, the MSO reaches diverse has also been named interim Artistic audiences through live performances, Director until 2020. recordings, TV and radio broadcasts In a career spanning more than and live streaming. Its international 40 years he has conducted virtually audiences include China, where MSO all the world’s major orchestras has performed in 2012, 2016 and and opera companies, and at the most recently in May 2018, Europe major festivals. Recent highlights (2014) and Indonesia, where in 2017 have included Die Walküre in a new it performed at the UNESCO World production at Chicago Lyric. Heritage Site, Prambanan Temple. Sir Andrew’s many CDs include The MSO performs a variety of Messiah nominated for a 2018 concerts ranging from symphonic Grammy, Bliss’ The Beatitudes, performances at its home, Hamer Hall and a recording with the Bergen at Arts Centre Melbourne, to its annual Philharmonic of Vaughan Williams’ free concerts at Melbourne’s largest Job/Symphony No.9 nominated for outdoor venue, the Sidney Myer Music a 2018 BBC Music Magazine Award. Bowl. The MSO also delivers innovative With the MSO he has just released and engaging programs and digital a third recording in the ongoing tools to audiences of all ages through Richard Strauss series, featuring the its Education and Outreach initiatives. Alpine Symphony and Till Eulenspiegel.

3 MELBOURNE SYMPHONY WARREN TREVELYAN-JONES ORCHESTRA CHORUS CHORUS MASTER

For more than 50 years the Melbourne Warren Trevelyan-Jones is the Head Symphony Orchestra Chorus has been of Music at St James’, King Street the unstinting voice of the Orchestra’s in Sydney and is regarded as one of choral repertoire. The MSO Chorus the leading choral conductors and sings with the finest conductors choir trainers in Australia. Warren has including Sir Andrew Davis, Edward had an extensive singing career as a Gardner, Mark Wigglesworth, Bernard soloist and ensemble singer in Europe, Labadie, Vladimir Ashkenazy and including nine years in the Choir of Manfred Honeck, and is committed Westminster Abbey, and regular work to developing and performing new with the Gabrieli Consort, Collegium Australian and international choral Vocale (Ghent), the Taverner Consort, repertoire. The Kings Consort, Dunedin Consort, The Sixteen and the Tallis Scholars. Commissions include Brett Dean’s Katz und Spatz, Ross Edwards’ Mountain Warren is also Director of the Parsons Chant, and Paul Stanhope’s Exile Affayre, Founder and Co-Director of Lamentations. Recordings by the MSO The Consort of Melbourne and, in 2001 Chorus have received critical acclaim. with Dr Michael Noone, founded the It has performed across Brazil and Gramophone award-winning group at the Cultura Inglese Festival in Sao Ensemble Plus Ultra. Warren is also a Paolo, with The Australian Ballet, qualified music therapist. Sydney Symphony Orchestra, at the AFL Grand Final and at Anzac Day commemorative ceremonies.

4 MELBOURNE SYMPHONY ORCHESTRA CHORUS

CHORUS MASTER ALTO Warren Trevelyan-Jones Cecilia Björkegren Kate Bramley REPETITEUR Serena Carmel Tom Griffiths Nicola Eveleigh SOPRANO Lisa Faulks Julie Arblaster Jill Giese Aviva Barazani Ros Harbison Anne-Marie Brownhill Sue Hawley Eva Butcher Kristine Hensel Jessica Chan Sara Kogan-Lazarus Ella Dann-Limon Helen MacLean Michele De Courcy Rosemary McKelvie Rita Fitzgerald Stephanie Mitchell Emma Hamley Nicole Paterson Penny Huggett Annie Runnalls Tania Jacobs Lisa Savige Anna Kidman Julienne Seal Clancye Milne Tiffany Pang Natalie Reid Janelle Richardson Mhairi Riddet Natalia Salazar Chiara Stebbing Elizabeth Tindall Fabienne Vandenburie Tara Zamin

5 PROGRAM NOTES A few pounds of fatty tissue floating inside our skull commences its daily task of re-creating our sense of place CARL VINE in the universe, weaving perception (born 1954) into recognisable structure. Symphony No.8 The Enchanted Loom* ii. the social fabric i. the loom awakens Viewing society as a fabric woven of ii. the social fabric contrasting ingredients is especially apt iii. sheer invention from the perspective of an enchanted iv. euphoria loom. Although aspects of our social role derive from external factors like v. imagining infinity genetics and historical accident, our ultimate sense of belonging is produced The term Enchanted Loom was coined by our minds. Happiness is unlikely in the 1930’s by British neuroscientist without acceptance by and usefulness Sir Charles Sherrington to depict the within a community. function of the human brain as it weaves together our personal impression of iii. sheer invention the outside world and constructs, from The source of creativity is endlessly raw sensory data, our internal sense of fascinating. I am drawn to Oliver Sacks’ location, identity, and “mind”. At that studies in hallucination suggesting that time biological systems were analysed unexpected images and unprecedented increasingly in terms of mechanical concepts are a natural byproduct of function. This poetic reference to the random brain cell activity, possibly Jacquard loom, the most sophisticated even influenced by the geometry and machine of the early 19th century, topography of the brain. Even if brains reflects only certain aspects of brain are weaving machines they can still function, yet it has resonated with surprise us. generations of neurologists since then. iv. euphoria This symphony conjures five imagined Euphoric states serve many useful states of brain function. biological functions. They are i. the loom awakens generated entirely within the brainpan In his book “Man on his Nature” and delivered to our sensory systems, Sherrington imagines a brain emerging often without prompting, as reward or from sleep. enticement, or both. “The brain is waking and with it the mind v. imagining infinity is returning. It is as if the Milky Way One of the most astonishing feats of entered upon some cosmic dance. Swiftly our brains is the ability to conceptualise the head mass becomes an enchanted and picture as concrete entities the loom where millions of flashing shuttles very boundaries of the universe. We weave a dissolving pattern… a shifting have to accept that our personal harmony of sub-patterns.” identity is manufactured by these

6 lumps of grey tissue floating inside – forgetting about Russell and Darth our heads, but the fact that they are and all that – and to remind ourselves simultaneously able to contemplate that this was very radical music for its the edges of infinity is truly awesome. time. Moreover, we should note that it is atypical of its composer. An artist of © Carl Vine, June 2018 great integrity, Holst refused to imitate *World Premiere and MSO Commission the piece to ensure his own status, so that we sadly hear little of his other work, even though much of it is of the (1874-1934) same quality as The Planets. The Planets, Op.32 Holst, like his great friend Vaughan Mars, the Bringer of War Williams, was of a generation educated Venus, the Bringer of Peace at London’s Royal College of Music which rejuvenated British music Mercury, the Winged Messenger through the study of Tudor music and Jupiter, the Bringer of Jollity the collection of folksong. The young Saturn, the Bringer of Old Age Holst was at first a Wagnerian, and his Uranus, the Magician early works show this influence in their opulence and richly chromatic harmony. Neptune, the Mystic After some years as a professional trombonist – playing on occasion The Planets is one of the most under that master orchestrator Richard influential musical works of the Strauss – Holst decided in 1903 to 20th century. Russell Crowe and his devote himself to composition. In cohorts in Gladiator seemed that bit practice, though, this meant beginning more craggily determined thanks to his career as an outstanding teacher at a score that reminded us of Mars. At St Paul’s Girls School, Morley College, the opening of Uranus, you could be and later the RCM. In the first decade forgiven for expecting Darth Vader of the century he also became drawn to rip off his headgear and reveal to eastern mysticism, particularly that the clown beneath. At the close of of Hinduism, which led, indirectly, Neptune, Holst invents the fade-out. to his development of a much leaner The iridescent opening of Jupiter harmonic style. foreshadows the work of John Adams, and for many years Anglicans have Planned in 1913 and composed between sung its big central tune as the patriotic 1914 and 1917, the seven movements of hymn, I vow to thee my country. The Planets are less about depicting large balls of gas and rock than about As a repository of orchestral special each planet’s astrological significance. effects and memorable tunes, the piece Given the outbreak of the First World has certainly earned its pop status, but War at the time, it is hard not to see its very popularity and the imitations Mars as grimly prophetic of the carnage it has spawned have disadvantaged it of the first high-tech war. Where a and its composer. We need to make an composer like Mahler uses military effort to hear the work with fresh ears

7 music for an ambiguously thrilling Curiously, too, it doesn’t reach a full effect, Holst takes pains to make his close: what should be the second-last music simply inhuman: the opening chord sets off an echo the shimmering three-note theme traces the tritone, an sounds of the opening. The tune does, unstable interval often called ‘the devil however, stride through tumultuous last in music’. The relentlessly repeated pages of the movement. rhythm, or ostinato, is no simple march, If Jupiter’s big tune was a reminder having five beats to a bar. The harmony that joy is fleeting, Saturn makes this is bitonal, that is, it superimposes very clear in its portentous, death- chords of two different keys to give ward tread and ever more disturbing it its sense of unrelieved dissonance, brass chords. Uranus, however, casts especially at the shattering climax. a spell (after ripping off the Darth Venus, the Bringer of Peace of course Vader mask) in music as innocent as offers a complete contrast: the The Sorcerer’s Apprentice. Taking his orchestration is sweet and languorous cue from Debussy’s Sirènes, Holst and the harmony, while still frequently imbues Neptune with the mystery of bitonal, uses chords which avoid direct wordless, offstage female voices. With clashes of adjacent notes, creating its translucent scoring and the hypnotic subtle voluptuousness. Framed by use of repeated chord patterns, the slow sections, the piece moves work ends as perhaps no other had through a slightly faster section before, fading imperceptibly into night and a contrasting animato. and silence.

Mercury on the other hand is rather Gordon Kerry © 2003 like a symphonic scherzo: short, fast The Melbourne Symphony Orchestra first and orchestrated with the utmost performed The Planets on 25 August 1939 delicacy. At the heart of the suite, under the direction of Sir Malcolm Sargent. The Orchestra’s most recent performance, with the Jupiter is an orchestral tour de force. Women of the Melbourne Symphony Orchestra The glittering fast music with which Chorus, took place on 21 October 2016 with conductor Benjamin Northey. it opens is busy but crystal clear; its theme, like that of Mars, is based on a three-note motive, but here it is completely and solidly diatonic. The Planets was first planned during a holiday in Spain, so we shouldn’t be surprised to hear certain Iberian sounds and rhythms in the dance music which follows. This is interrupted by a fanfare of repeated chords, which ushers in the quiet statement of the celebrated maestoso theme. The quintessentially British tune may seem out of place in a celebration of the Bringer of Jollity – it is hardly thigh-slappingly funny.

8 9 PHILLIP SAMETZ EXAMINES THE NATURE OF HOLST’S COMET

For Max Bruch, it was his first violin places), he had been writing music for concerto; for Litolff his Scherzo; for more than 20 years. But nobody hearing Humperdinck Hansel and Gretel. For his first published orchestral work, the Holst, it was The Planets. All four Suite de ballet of 1899, would imagine composers are known to the general that Holst was its composer: it sounds public almost solely because they more like an amalgam of Sullivan and wrote these pieces. Grieg, albeit a skilful and sometimes beautiful one. The overnight success of The Planets astonished Holst, who had written it Within the next few years Holst’s slowly, over a period of years, out of interests – musical, literary and spiritual a personal interest in the character – would expand rapidly. He was an of each planet. He was a naturally artist for whom non-musical stimuli shy and reserved man, the last person meant as much to the nature of his who would wish to write a ‘hit’, in work as did musical ones. The opulence the manner of a Richard Strauss. The of The Mystic Trumpeter (1904), for celebrity which The Planets brought soprano and orchestra, derives from with it was anathema to the composer. the combination of two of his early ‘It made me realise the truth of “Woe influences, the poet Walt Whitman to you when all men speak well of and Wagner. There are, though, some you,”’ he told a friend. Still, fame had striking glimpses of the later Holst, its amusing moments, as when one particularly the hushed serenity of the admirer wrote to him: ‘Dear Sir, As opening, which prefigures the colour you have painted The Planets in music, and texture of the Venus movement in could you do the eight [sic] wives of The Planets. Henry VIII?’ In A Somerset Rhapsody (1906) he In the context of his complete output, explores his recent discovery of the problem is not that The Planets English folksong, which he was able reveals all the elements of Holst’s to transmute with astonishing results musical personality in one work, but in his first completely individual work, rather that we glimpse aspects of his the opera (1908), one of the most musical personality in this piece that startling and original pieces to have are seen in comparatively panoramic been written in Britain. Taken from an fashion in many others. episode in the Mahabharata, it has a cast of three, an orchestra of twelve By the time the work received its and a small off-stage female chorus first complete public performance in who vocalise on a single vowel. There 1920, Holst was a vastly experienced is hardly any scenery. A note in the musician. A teacher and performer score says that the work ‘is intended (he had played trombone on Brighton for performance in the open air, or else Pier, in opera orchestras, and in Wurm’s in a small building’. For the first few White Viennese Band, among other

10 minutes the voices of the two main in these and other respects, ‘Holst is characters are heard unaccompanied, Britten’s most immediate ancestor in and when, at the passage beginning English music.’ Holst, incidentally, would ‘It is Maya!’, the character Satyavan later learn Greek in order to translate is accompanied by wordless chorus passages from the apocryphal Acts of holding a suspended ‘pedal’ chord, we St John for his Hymn of Jesus (1917). realise we are in the presence of a vivid The Planets brings the language of and unique imagination. But, as Gerald many of these pieces together: the Abraham wrote later, ‘no opera could climax of Sāvitri finds an echo in more austerely discard everything that Saturn, the gossamer texture of the appeals to an audience.’ Indeed Holst Hymn to the Waters (from Group 3 was rarely interested in ‘appealing’. He of the Rig Veda hymns) finds an was interested in working his passions orchestral equivalent in Mercury, into his music. In 1926 he wrote to his and so on. Mercury then served as friend Vaughan Williams: the basis for much of Holst’s 1921 ‘I still believe in the Hindu doctrine of ballet score The Lure, which is in Dharma, which is one’s path in life. If places a more spirited working-out of one is lucky enough…to have a clearly the tunes he had created several years appointed path to which one comes before. Similarly, the final moments naturally…one ought to try and stick to of Neptune inform the , it. And…to believe in doing so without again based on Whitman, of 1919. worrying about the “fruits of action”, But in two important respects The that is, success or otherwise.’ Planets is atypical of Holst’s work. Sāvitri arose out of Holst’s reading It is for a large orchestra, and is quite of Hindu literature and philosophy in long (around 50 minutes). Most of translation. He once told his daughter Holst’s music is short, and is written Imogen: ‘Never learn anything until not for small forces. In the pieces written knowing it becomes a positive nuisance after The Planets, the forces tended to you,’ and eventually he learned to get smaller and the textures sparer, Sanskrit at London’s School of Oriental as he became interested in English Languages. He became fluent enough madrigal composers and in the absolute to translate from it and, in addition to possibilities of counterpoint. As early Sāvitri, he immediately began writing as 1916, in the Four Songs for Voice and four sets of Choral Hymns from the Rig Violin, he creates a complete world of Veda (1908-12), which contain some of feeling on the smallest scale. Egdon his most innovative choral writing. The Heath (1927), although written for third set, for female voices and harp, conventional orchestral forces, is one cannot have been far from Britten’s of the quietest, most poised orchestral mind when he wrote his Ceremony of pieces ever written, and rises above Carols. Similarly, the impact of Sāvitri piano only in two short sections. Even on the composer who was to create the in the Moorside Suite (1928), written term ‘chamber opera’ must have been for a major British brass band contest, profound. Roger Covell has noted that, Holst spends much of his time exploring

11 quieter sonorities. The work’s second None of Holst’s pieces offers a complete movement, in particular, sounds like view of his interests and musical style, a chamber work. but, from Sāvitri onwards, they are all Holst nonetheless. His integrity as In any case, the length of The Planets an artist was immense, and it is this is somewhat deceptive, disguising admirable resoluteness of purpose that as it does seven short character shines through so clearly in all his best pieces. Holst was painfully aware that music. It is time for audiences who enjoy sustaining large forms was not one of The Planets to look at his music through his gifts, and his one genuinely ‘big’ the right end of the telescope. piece is his (1924), an intense and resourceful setting Phillip Sametz © 1997 of Keats’ poems, including the Ode on a Grecian Urn, in four substantial movements. He did not write a really long work after that.

12 Artist’s impression

Melbourne’s new waterfront elite The architectural and lifestyle benchmark for Melbourne’s reinvigorated wharf precinct. No.1 Collins Wharf sets the tone for privileged waterfront living. Exceptionally designed apartments and terrace homes with dual harbour and river aspects.

Final Stages Now Selling - Display Suite Open Call today for a private appointment 03 8610 4800 Or visit our Victoria Harbour Sales & Leasing Centre 892 Collins St, Docklands Open times: 8:30am -5:30pm Monday - Friday 10:00am - 4:00pm Saturday By appointment Sunday onecollinswharf.com

The information contained in this advertisement was correct at time of publication. Individual apartment features may vary and are subject to change. The developer reserves the right to make changes without notice. Prospective purchasers should rely on their own enquiries. Images are artists’ impressions and are indicative only. MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Monica Curro Nicholas Bochner Chief Conductor Assistant Principal Assistant Principal Danny Gorog and Lindy Benjamin Northey # Miranda Brockman Associate Conductor Susskind Geelong Friends of the MSO# # Anthony Pratt Mary Allison Rohan de Korte Tianyi Lu Isin Cakmakcioglu Andrew Dudgeon# Cybec Assistant Conductor Freya Franzen Keith Johnson Hiroyuki Iwaki Cong Gu Sarah Morse Conductor Laureate (1974–2006) Andrew Hall Angela Sargeant # Isy Wasserman Maria Sola FIRST VIOLINS Philippa West Michelle Wood Andrew and Theresa Dyer# Dale Barltrop Patrick Wong Concertmaster Zoe Knighton* Roger Young Sophie Rowell Concertmaster Aaron Barnden* DOUBLE BASSES # The Ullmer Family Foundation Michael Loftus-Hills* Steve Reeves Peter Edwards Principal VIOLAS Assistant Principal Andrew Moon John McKay and Lois McKay# Christopher Moore Principal Associate Principal Kirsty Bremner # Di Jameson Sylvia Hosking Sarah Curro Fiona Sargeant Assistant Principal Michael Aquilina# Associate Principal Damien Eckersley Peter Fellin Lauren Brigden Benjamin Hanlon Deborah Goodall Mr Tam Vu and Dr Cherilyn # Suzanne Lee Lorraine Hook Tillman Katharine Brockman Stephen Newton Anne-Marie Johnson Sophie Galaise and Clarence Kirstin Kenny Christopher Cartlidge Fraser# Michael Aquilina# Ji Won Kim Robert Nairn* Anthony Chataway Eleanor Mancini Dr Elizabeth E Lewis AM# Vivian Siyuan Qu* Chisholm & Gamon# Esther Toh* Mark Mogilevski Gabrielle Halloran Maria Sola# Michelle Ruffolo FLUTES Trevor Jones Kathryn Taylor Prudence Davis Michael Aquilina# Cindy Watkin Principal Amy Brookman* Elizabeth Woolnough Anonymous# Tiffany Cheng* Caleb Wright Wendy Clarke Associate Principal Nicholas Waters* William Clark* Sarah Beggs SECOND VIOLINS CELLOS PICCOLO Matthew Tomkins David Berlin Principal Principal Andrew Macleod # The Gross Foundation# MS Newman Family Principal Robert Macindoe Rachael Tobin Associate Principal Associate Principal

14 OBOES Abbey Edlin ORGAN Nereda Hanlon and Michael Jeffrey Crellin Hanlon AM# Calvin Bowman* Principal Trinette McClimont CELESTE Thomas Hutchinson Josiah Kop* Associate Principal Louisa Breen* Ann Blackburn Alexander Morton* The Rosemary Norman Phoebe Smithies* # Foundation # Position supported by TRUMPETS Rachel Curkpatrick* * Guest Musician Annabelle Farid* Geoffrey Payne* ** Timpani Chair position (Bass Oboe) Guest Principal supported by Lady Potter Shane Hooton AC CMRI COR ANGLAIS Associate Principal † Courtesy of Queensland Michael Pisani William Evans Symphony Orchestra Principal Rosie Turner # CLARINETS John and Diana Frew David Thomas TROMBONES Principal Brett Kelly Philip Arkinstall Principal Associate Principal Richard Shirley Craig Hill Tim and Lyn Edward# BASS CLARINET Mike Szabo Principal Bass Trombone Jon Craven MSO BOARD Principal TUBA Chairman BASSOONS Timothy Buzbee Principal Michael Ullmer Jack Schiller Matthew Van Emmerik* Managing Director Principal (Euphonium) Elise Millman Sophie Galaise ** Associate Principal TIMPANI Board Members Lyndon Watts* Christine Turpin* Guest Associate Principal Andrew Dyer Natasha Thomas PERCUSSION Danny Gorog Robert Clarke Margaret Jackson AC CONTRABASSOON Principal Di Jameson Brock Imison John Arcaro David Krasnostein Principal # Tim and Lyn Edward David Li Robert Cossom HORNS Hyon-Ju Newman Timothy Hook* Malcolm Stewart*† Glenn Sedgwick Guest Principal HARP Helen Silver AO Saul Lewis Yinuo Mu Acting Associate Principal Company Secretary Principal Ian Wildsmith* Oliver Carton Megan Reeve* Guest Principal Third

15 Supporters

MSO PATRON PROGRAM BENEFACTORS The Honourable Linda Dessau AC, Cybec 21st Century Australian Composers Governor of Victoria Program The Cybec Foundation East Meets West Supported by the Li Family Trust CHAIRMAN’S CIRCLE Meet The Orchestra Made possible by The Ullmer Family Foundation Marc Besen AC and Eva Besen AO MSO Audience Access Crown Resorts Foundation, Gandel Philanthropy Packer Family Foundation The Gross Foundation MSO Building Capacity Gandel Philanthropy Harold Mitchell Foundation (Director of Philanthropy) David and Angela Li MSO Education Supported by Mrs Margaret Ross Harold Mitchell AC AM and Dr Ian Ross MS Newman Family Foundation MSO International Touring Supported by Harold Mitchell AC Lady Potter AC CMRI MSO Regional Touring Creative Victoria, Joy Selby Smith Freemasons Foundation Victoria, The Robert Salzer The Cybec Foundation Foundation, Anonymous The Pratt Foundation The Pizzicato Effect (Anonymous), Collier The Ullmer Family Foundation Charitable Fund, The Marian and E.H. Flack Trust, Anonymous (1) Scobie and Claire Mackinnon Trust, Supported by the Hume City Council’s Community Grants Program Sidney Myer Free Concerts Supported by the ARTIST CHAIR Myer Foundation and the University of Melbourne BENEFACTORS Associate Conductor Chair PLATINUM PATRONS Benjamin Northey Anthony Pratt $100,000+ Orchestral Leadership Marc Besen AC and Eva Besen AO Joy Selby Smith John Gandel AC and Pauline Gandel Cybec Assistant Conductor Chair The Gross Foundation Tianyi Lu David and Angela Li The Cybec Foundation MS Newman Family Foundation Associate Concertmaster Chair Anthony Pratt Sophie Rowell The Ullmer Family Foundation The Pratt Foundation 2018 Soloist in Residence Chair Lady Potter AC CMRI Anne-Sophie Mutter Joy Selby Smith Marc Besen AC and Eva Besen AO Ullmer Family Foundation Young Composer in Residence Anonymous (1) Ade Vincent The Cybec Foundation VIRTUOSO PATRONS $50,000+ Di Jameson David Krasnostein and Pat Stragalinos Harold Mitchell AC Kim Williams AM

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

17 ASSOCIATE PATRONS Frank Tisher OAM and Dr Miriam Tisher $2,500+ Anonymous (8) Dandolo Partners PLAYER PATRONS $1,000+ Will and Dorothy Bailey Bequest David Blackwell OAM David and Cindy Abbey Anne Bowden Christa Abdallah Julia and Jim Breen Dr Sally Adams Lynne Burgess Mary Armour Oliver Carton Dr Rosemary Ayton and Dr Sam Ricketson Ann Darby, in memory of Leslie J. Darby Marlyn and Peter Bancroft OAM Natasha Davies, for the Trikojus Education Fund Adrienne Basser Merrowyn Deacon Janice Bate and the Late Prof Weston Bate Sandra Dent Janet H Bell Peter and Leila Doyle John and Sally Bourne Duxton Vineyards Michael F Boyt Lisa Dwyer and Dr Ian Dickson Patricia Brockman Jaan Enden Dr John Brookes Dr Helen M Ferguson Stuart Brown Mr Peter Gallagher and Dr Karen Morley Suzie Brown OAM and Harvey Brown Dina and Ron Goldschlager Roger and Col Buckle Leon Goldman Jill and Christopher Buckley Colin Golvan AM QC and Dr Deborah Golvan Shane Buggle Louise Gourlay OAM John Carroll Susan and Gary Hearst Andrew Crockett AM and Pamela Crockett Colin Heggen, in memory of Marjorie Drysdale Panch Das and Laurel Young-Das Heggen Beryl Dean Jenkins Family Foundation Rick and Sue Deering John Jones Dominic and Natalie Dirupo George and Grace Kass John and Anne Duncan Irene Kearsey and M J Ridley Jane Edmanson OAM The Ilma Kelson Music Foundation Valerie Falconer and the Rayner Family in memory Bryan Lawrence of Keith Falconer John and Margaret Mason Grant Fisher and Helen Bird H E McKenzie Elizabeth Foster Allan and Evelyn McLaren Barry Fradkin OAM and Dr Pam Fradkin Alan and Dorothy Pattison Applebay Pty Ltd Sue and Barry Peake David Frenkiel and Esther Frenkiel OAM Mrs W Peart David Gibbs and Susie O’Neill Graham and Christine Peirson Merwyn and Greta Goldblatt Julie and Ian Reid George Golvan QC and Naomi Golvan Ralph and Ruth Renard Dr Marged Goode Peter and Carolyn Rendit Prof Denise Grocke AO S M Richards AM and M R Richards Max Gulbin Tom and Elizabeth Romanowski Dr Sandra Hacker AO and Mr Ian Kennedy AM Diana and Brian Snape AM Jean Hadges Peter J Stirling Michael and Susie Hamson Jenny Tatchell Paula Hansky OAM

18 Merv Keehn & Sue Harlow Ann and Larry Turner Tilda and Brian Haughney David Valentine Anna and John Holdsworth Mary Valentine AO Penelope Hughes The Hon. Rosemary Varty Basil and Rita Jenkins Leon and Sandra Velik Dorothy Karpin David and Yazni Venner Brett Kelly and Cindy Watkin Sue Walker AM Dr Anne Kennedy Elaine Walters OAM and Gregory Walters Julie and Simon Kessel Edward and Paddy White Kerry Landman Nic and Ann Willcock Diedrie Lazarus Marian and Terry Wills Cooke William and Magdalena Leadston Lorraine Woolley Dr Anne Lierse Richard Ye Gaelle Lindrea Anonymous (21) Dr Susan Linton Andrew Lockwood THE MAHLER SYNDICATE Elizabeth H Loftus David and Kaye Birks Chris and Anna Long Mary and Frederick Davidson AM The Hon Ian Macphee AO and Mrs Julie Macphee Tim and Lyn Edward Eleanor & Phillip Mancini John and Diana Frew In memory of Leigh Masel Francis and Robyn Hofmann Ruth Maxwell The Hon Dr Barry Jones AC Don and Anne Meadows Dr Paul Nisselle AM Ian Morrey and Geoffrey Minter Maria Solà new U Mildura The Hon Michael Watt QC and Cecilie Hall Wayne and Penny Morgan Patricia Nilsson TRUSTS AND Laurence O’Keefe and Christopher James FOUNDATIONS Kerryn Pratchett Collier Charitable Fund Peter Priest Crown Resorts Foundation and the Packer Family Treena Quarin Foundation Eli Raskin The Cybec Foundation Raspin Family Trust The Marian and E.H. Flack Trust Joan P Robinson Freemasons Foundation Victoria Cathy and Peter Rogers Gandel Philanthropy Andrew and Judy Rogers The International Music and Arts Foundation Peter Rose and Christopher Menz The Scobie and Claire Mackinnon Trust Martin and Susan Shirley The Harold Mitchell Foundation Penny Shore The Sidney Myer MSO Trust Fund Dr Sam Smorgon AO and Mrs Minnie Smorgon The Pratt Foundation Dr Norman and Dr Sue Sonenberg The Robert Salzer Foundation Dr Michael Soon Telematics Trust Lady Southey AC Anonymous Geoff and Judy Steinicke Jennifer Steinicke Dr Peter Strickland Pamela Swansson

19 CONDUCTOR’S CIRCLE Mr Tam Vu Marian and Terry Wills Cooke Current Conductor’s Circle Members Mark Young Jenny Anderson Anonymous (26) David Angelovich The MSO gratefully acknowledges the support G C Bawden and L de Kievit of the following Estates: Lesley Bawden Angela Beagley Joyce Bown Neilma Gantner Mrs Jenny Brukner and the late Mr John Brukner The Hon Dr Alan Goldberg AO QC Ken Bullen Gwen Hunt Peter A Caldwell Audrey Jenkins Luci and Ron Chambers Joan Jones Beryl Dean Pauline Marie Johnston Sandra Dent Joan Jones Lyn Edward C P Kemp Alan Egan JP Peter Forbes MacLaren Gunta Eglite Joan Winsome Maslen Mr Derek Grantham Lorraine Maxine Meldrum Marguerite Garnon-Williams Prof Andrew McCredie Drs Clem Gruen and Rhyl Wade Miss Sheila Scotter AM MBE Louis Hamon OAM Marion A I H M Spence Carol Hay Molly Stephens Tony Howe Jennifer May Teague Laurence O’Keefe and Christopher James Jean Tweedie Audrey M Jenkins Herta and Fred B Vogel John Jones Dorothy Wood George and Grace Kass Mrs Sylvia Lavelle Pauline and David Lawton Cameron Mowat David Orr Rosia Pasteur Elizabeth Proust AO Penny Rawlins Joan P Robinson Neil Roussac Anne Roussac-Hoyne Suzette Sherazee Michael Ryan and Wendy Mead Anne Kieni-Serpell and Andrew Serpell Jennifer Shepherd Profs. Gabriela and George Stephenson Pamela Swansson Lillian Tarry Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Michael Ullmer Ila Vanrenen The Hon. Rosemary Varty

20 The MSO relies on your Honorary ongoing philanthropic support to sustain our Appointments artists, and support access, education, community engagement Marc Besen AC and and more. We invite our Eva Besen AO suporters to get close to Life Members the MSO through a range of special events. John Gandel AC and The MSO welcomes your Pauline Gandel support at any level. Donations of Life Members $2 and over are tax deductible, and supporters are recognised as follows: Sir Elton John CBE $1,000+ (Player) Life Member $2,500+ (Associate) Lady Potter AC CMRI $5,000+ (Principal) Life Member $10,000+ (Maestro) $20,000+ (Impresario) Mrs Jeanne Pratt AC $50,000+ (Virtuoso) Life Member $100,000+ (Platinum) Geoffrey Rush AC The MSO Conductor’s Circle is our bequest program for Ambassador members who have notified of a planned gift in their Will. THE MSO HONOURS Enquiries THE MEMORY OF P (03) 8646 1551 E [email protected] John Brockman OAM Life Member The Honourable Alan Goldberg AO QC Life Member Ila Vanrenen Life Member ‘We are the music makers, and we are the dreamers of dreams.'

– Arthur O’Shaughnessy

Come dream with us by adopting your own MSO musician!

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

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

Government Partners

Premier Partners Venue Partner

Major Partners Education Partners

Supporting Partners

Quest Southbank The CEO Institute Ernst & Young Bows for Strings The Observership Program

Trusts And Foundations

Sidney Myer MSO Trust Fund, The Gross Foundation, MS Newman Family Foundation, The Ullmer Family Foundation, Erica Foundation Pty Ltd

Media And Broadcast Partners