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Home , Classic Brit Awards, Georges Tzipine, Hiroyuki Iwaki, Markus Stenz

LAST NIGHT OF 25 MARCH 2018

CONCERT PROGRAM Symphony Orchestra MELBOURNE SYMPHONY SIR ORCHESTRA Sir Andrew Davis conductor Measha Brueggergosman soprano David Jones drum kit Melbourne Symphony Orchestra Chorus Warren Trevelyan-Jones chorus master violin Tianyi Lu conductor

Established in 1906, the Melbourne Chief Conductor of the Melbourne Symphony Orchestra (MSO) is an arts leader Symphony Orchestra, Sir Andrew Davis and ’s longest-running professional is also Music Director and Principal Elgar Cockaigne orchestra. Chief Conductor Sir Andrew Conductor of the Lyric Opera of Chicago. Ravel Tzigane Davis has been at the helm of MSO since He is Conductor Laureate of both the BBC 2013. Engaging more than 3 million people Symphony Orchestra and the Toronto Duparc Selection of Orchestral songs each year, the MSO reaches a variety of Symphony, where he has also been named audiences through live performances, interim Artistic Director until 2020. INTERVAL recordings, TV and radio broadcasts and live In a career spanning more than 40 years he streaming. has conducted virtually all the world’s major Vine V Sir Andrew Davis gave his inaugural orchestras and opera companies, and at the Chindamo Concerto for Drums and Orchestra* concerts as the MSO’s Chief Conductor in major festivals. 2013. The MSO also works with Associate * Sir Andrew’s many CDs include a Messiah MSO commission and World Premiere Conductor Benjamin Northey and Assistant nominated for a 2018 Grammy, a recording Conductor Tianyi Lu, as well as with such Elgar Pomp and Circumstance March No.1 of Strauss with the MSO, Bliss’s The eminent recent guest conductors as Tan Beatitudes, and a recording with the Wood Fantasia on British Sea Songs Dun, , Jakub Hrůša and Jukka- Bergen Philharmonic of Vaughan Williams’ Pekka Saraste. It has also collaborated with Arne Rule, Britannia! Job/Symphony No.9 nominated for a 2018 non-classical musicians including Elton BBC Music Magazine Award. Parry Jerusalem John, Nick Cave and Flight Facilities. With the MSO he has just released a third recording in the ongoing series, featuring the Alpine Symphony and Till Eulenspiegel.

Running time 2 hours 10 minutes, including 20 minute interval In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone. The MSO acknowledge the Traditional Owners of the land on which we are performing. We pay our respects to their Elders, past and present, and the Elders from other communities who may be in attendance.

mso.com.au 3 MEET THE ARTISTS

Courtesy B Ealovega

TIANYI LU TASMIN LITTLE DAVID JONES MEASHA BRUEGGERGOSMAN CONDUCTOR VIOLIN DRUM KIT SOPRANO

Dynamic young conductor, Tianyi Lu has Tasmin Little has performed in prestigious David Jones is often described as one of Canadian soprano Measha received praise from across the world venues such as Carnegie Hall, the the most innovative and musical drummers Brueggergosman embraces a broad array of for her poetic and dramatic Concertgebouw, Barbican Centre and in the world, renowned for his virtuoso solo performance platforms and musical styles. even with the most challenging of Suntory Hall. Her career encompasses performances. Committed to innovative programming, she repertoire. Joining the MSO in mid-2017 performances, masterclasses, workshops has given song recitals at venues including Over 49 years, David has performed as the Orchestra's Assistant Conductor, and community outreach work. Carnegie Hall, as well as festivals such as and recorded with great Australian and (a position kindly supported by the Cybec Edinburgh, Verbier and Bergen. In concert Already this year she has appeared as International musicians and orchestras. Foundation) Tianyi will continue to further she has worked with such conductors as soloist and in recital around the UK. He is at home in every musical genre, her abilities throughout her two year , and Recordings include Elgar’s Violin Concerto from complex arranged music to free intensive residency. In 2018, Tianyi will Sir Andrew Davis. Recent opera highlights with Sir Andrew Davis and the Royal improvisation. An enthusiastic educator introduce audiences to world premiere include the Spanish premiere of Jake National Scottish Orchestra (Critic’s Choice he is Honorary Senior Fellow at the works, conducting Mills’ Island Signal Heggie's Dead Man Walking. Award in 2011’s Classic ) and, VCA-MCM. Island Song. recently, Szymanowski and Karłowicz Her recording of Wagner’s Wesendonck- Since 1984, David has integrated his Tianyi is also a Dudamel Fellow with concertos with the BBC Symphony lieder with Franz Welser-Möst and meditation practice into his music-making. the Los Angeles Philharmonic, Principal Orchestra and Edward Gardner. the Cleveland Orchestra earned a With his partner Carmen Warrington, he Conductor of the St. Woolos Players, Grammy nomination. Offstage, Measha Tasmin Little has premiered many has created guided meditation CDs for and regularly guest conducts orchestras Brueggergosman is a leading advocate contemporary works. Her awards include ABC Music. In 2006, composer around the United Kingdom and New for music education and has just released a Gramophone Award for Audience Toshi Watanabe composed a piece for Zealand. She will be conducting the her memoir Something is Always on Fire. Innovation for her outreach program, David called Essay for Drumkit and Small Royal Concertgebouw Orchestra later Exploring her African heritage, Songs The Naked Violin. She is an Officer of Orchestra, which premiered in . this year in a conducting masterclass of Freedom, a film, 4-part TV series, the Order of the British Empire (OBE). with Daniele Gatti. In 2010, David was awarded the interactive website and mobile application She plays a 1757 Guadagnini violin. prestigious Melbourne Prize for Music. has also been released.

davidjonesdrums.com

4 5 PROGRAM NOTES

EDWARD ELGAR And yet for all that, the Cockaigne Overture (1857-1934) remains one of Elgar’s sunniest pieces. He described it in a letter to Hans Richter Cockaigne: Overture, Op.40 as ‘honest, healthy, humorous and strong (In London Town) but not vulgar…extremely cheerful like a miserable unsuccessful man ought to write’; From the turn of the 20th century onwards, and in a letter to Jaeger (‘Nimrod’ of the radical social change began to make Enigma Variations) he called it ‘cheerful and its presence felt in the imaginations of Londony – stout and steaky’. European composers. In Britain, as the British Empire began to crumble and as He said that the idea for a descriptive MELBOURNE SYMPHONY WARREN TREVELYAN-JONES political developments in Europe pointed piece about London occurred to him ‘one ORCHESTRA CHORUS MSO CHORUS MASTER toward the end of an era, composers (who dark day in the Guildhall: looking at the could not rely on television to do it for memorials of the city’s great past and them) set out to document the sights and knowing well the history of its unending For more than 50 years the Melbourne Warren Trevelyan-Jones is the Head of sounds of their national capital as they charity, I seemed to hear far away in Symphony Orchestra Chorus has been Music at St James’, King Street in Sydney had known it. Elgar began the trend with the dim roof a theme, an echo of some the unstinting voice of the Orchestra’s and is regarded as one of the leading choral his Cockaigne Overture in 1901, and in the noble melody’. That ‘noble melody’ now choral repertoire. The MSO Chorus sings conductors and choir trainers in Australia. decades which followed, Vaughan Williams forms the second theme of the Cockaigne with the finest conductors including Sir Warren has had an extensive singing wrote his London Symphony, Overture, with its characteristic marking of Andrew Davis, Edward Gardner, Mark career as a soloist and ensemble singer in composed Hammersmith, John Ireland ‘nobilmente’ (nobly) above it in the score. Wigglesworth, Bernard Labadie, Vladimir Europe, including nine years in the Choir of offered his London Overture and Eric Ashkenazy and Westminster Abbey, and regular work with ‘Cockaigne’ is an archaic, humorous Coates completed two London Suites. the Gabrieli Consort, Collegium Vocale term for London – the modern word Manfred Honeck, and is committed to (Ghent), the Taverner Consort, The Kings In Elgar’s case, the composition of the ‘cockney’ derives from it – but so as to developing and performing new Australian Consort, Dunedin Consort, Cockaigne Overture (which is not an avoid any confusion Elgar provided the and international choral repertoire. and the Tallis Scholars. ‘overture’ as such, but a freestanding tone subtitle ‘In London Town’. While not being Commissions include ’s Katz poem) was written not just in response to programmatic in the strict Straussian sense, Warren is also Director of the Parsons und Spatz, Ross Edwards’ Mountain Chant, the passing of an era, but also, in some the overture nevertheless conjures up the Affayre, Founder and Co-Director of The and Paul Stanhope’s Exile Lamentations. sense, the passing of Elgar’s career! sights and sounds of turn-of-the-century Consort of Melbourne and, in 2001 with Recordings by the MSO Chorus have Written in February and March of 1901 London, including the quiet squares, the Dr Michael Noone, founded the Gramophone received critical acclaim. The Chorus after the notorious failure of The Dream chirpy street-vendors and the processions award-winning group Ensemble Plus Ultra. has performed across Brazil and at the of Gerontius premiere, Elgar at the time of military and brass bands. Warren is also a qualified music therapist. Cultura Inglese Festival in Sao Paolo, with of its composition professed himself Each passage is marked by its distinctive The Australian Ballet, Sydney Symphony to be suicidal. orchestration, with passages where bells Orchestra, at the AFL Grand Final and at While his contemporaries attested that chime, woodwinds snatch pointillistic Anzac Day commemorative ceremonies. Elgar was at times guilty of excessive figures, cornets add an edge of brashness, self-dramatisation, there can be no doubt and a solo horn against accompanying that he was genuinely devastated by the strings provides an element of romance negative response to his great Oratorio. and nostalgia. All of these themes merge seamlessly, one into another, giving the He was also in desperate financial trouble work a broad impressionistic unity rather and he protested in letters (perhaps a little than a strict classical development. melodramatically) that he might have to become a tradesman to make ends meet.

6 7 From its quiet but busy and bustling for voice and piano. He had orchestrated is given first in a static diaphanous texture, Duparc, however, brings to bear all of the opening theme, to the triumphant return eight of them, as he believed (or so he and, at the end, with a sense that the eroticism of Wagner’s musical language to of the ‘nobilmente’ second subject at the told Chausson) that he had never learned journey has begun. indicate the increasingly impatient passion end of the work, the Cockaigne Overture to write properly for piano. He lived in of the poet-lover. The orchestration is L’invitation au voyage looks forward to has never failed to please audiences. It rural and Switzerland, painting and rich and gorgeous, the harmony lush and an ideal world, where La vie antérieure was premiered by the Royal Philharmonic drawing the landscape until he began to go chromatic, and the piece’s postlude, with looks back to one. Composed in 1884, it is Society at the Queen’s Hall, London, in blind; by 1906 he regarded his blindness as its Tristanesque atmosphere, leaves little to Duparc’s last surviving song. The poem is June 1901 with the composer conducting, God’s reminder to ‘live a more interior life’. the imagination. in that most classical of forms, the sonnet. and after meeting immediate success it The first edition of Les Fleurs du mal The speaker recalls another landscape; © Gordon Kerry 2018 was performed again at the Three Choirs (the perhaps wisely substituted title for drenched in the light of the sun and sea, The Melbourne Symphony Orchestra first performed these Festival in Gloucester in the September songs on 21 September 1985 with Felicity Lott under the the original Les Lesbiennes) by Charles with a building of immense porticoes and of that year. baton of . The songs performed were La vie Baudelaire (1821-1867) appeared in 1857 columns, it reminds us of Claude Lorrain’s antérieure, L’invitation au voyage and Phidylé. La manoir Martin Buzacott © Symphony Australia and led to Baudelaire’s being charged paintings. Attended by nude slaves and de Rosemondeans and L’invitation au voyage was most recently performed on 22 September 1999, conducted The Melbourne Symphony Orchestra first performed with outraging public decency. It may wanting for nothing, the poet nonetheless by . Elgar’s Cockaigne Overture on 21 August 1939 under the baton of conductor Sir Malcolm Sargent, and seem curious that the devout Duparc was suffers. Memory is represented at first most recently on 7 May 1999, conducted by so taken with this poet and his work, but by a regular repeated ostinato under the Jonathan Grieves-Smith. in fact Baudelaire, too, lived an almost verse, but images of music and light begin MAURICE RAVEL exclusively interior life – he is said to to animate it. The climax offers a shining (1875–1937) have died a virgin. Moreover, despite the vision, again, of luxurious calm, while HENRI DUPARC Tzigane – Concert Rhapsody sometimes ‘shocking’ nature of his themes the poet’s suffering is heard in throbbing (1848-1933) and imagery, Baudelaire was essentially syncopated rhythms toward the end. Tasmin Little violin L’invitation au voyage (Charles Baudelaire) a classical poet, though both artists were Tianyi Lu conductor Robert de Bonnières (1850-1905), a less La vie antérieure (Charles Baudelaire) deeply conscious of, and reactive to, controversial figure than Baudelaire, is Tzigane means ‘gypsy’ and the music to Le manoir de Rosamonde (Robert de Wagner’s work. associated as a poet mainly with the which Ravel gave this title is ‘a virtuoso Bonnières) Duparc set two poems from Les Fleurs composer Vincent d’Indy. Le manoir de piece in the style of a Hungarian Rhapsody’. Phidylé (Leconte de Lisle) du mal. Dedicated to his wife, L’invitation Rosamonde has something of the Gothic In 1922 Ravel heard the Hungarian violinist Measha Bruggergosman soprano au voyage dates from 1870. The poet, tale to it: having been ‘bitten’ by love, likened Jelly d’Aranyi play his Duo sonata for violin addressing a girl as ‘child and sister’ (but to a dog, the poet rides endlessly through and cello at a London soirée. Afterwards Duparc, like his friend and colleague Ernest meaning ‘lover’), imagines a land that is various landscapes looking for the object she entertained Ravel by playing him a Chausson, was destined for a career in the the image of her, with low-setting suns of his desire. The Schumannesque horsey string of Hungarian gypsy melodies in a law, but kept up the study of composition and changeable skies. Suggesting the rhythms, in Duparc’s 1879 setting, give way recital that lasted until the early hours of with César Franck. He had some success ships nearby riding at anchor, Duparc’s as the poet addresses the reader, where the the morning. Two years later he told her with the 1875 symphonic poem Lénore, music is a gentle barcarolle, with rippling music becomes more frankly Wagnerian in about the piece he was writing ‘especially inspired by Gottfried Bürger’s hugely accompaniment periodically punctuated its depiction of unrequited love. for you… the Tzigane must be a piece of influential ‘Gothic’ ballad of 1773, in which by deep tolling like distant waves breaking. great virtuosity, full of brilliant effects, Phidylé, dedicated to Chausson, sets a young girl is carried off by a mysterious Duparc responds to Baudelaire’s imagery, provided it is possible to perform them, four verses from Charles-Marie-René horseman, in punishment for arguing with which stresses the effects of light, with which I’m not always sure of’. When Jelly Leconte de Lisle’s poem. Encouraged by God, and made to join her lover in his grave. effects of extreme delicacy such as d’Aranyi gave Tzigane its first performance, Baudelaire, Leconte de Lisle (1818-1894) the glinting percussion at the end, and in London later that year, in the version led the neoclassical Parnassian movement. Intensely self-critical and beset by moments of swelling power as on the with piano, Ravel is reported to have told ‘Phidylé’ offers conventional imagery of the physical and mental health issues, Duparc second verse’s climax on the word lumière!. her afterwards that if he’d known she could beloved falling asleep in an idyllic Arcadian abandoned composition at the age of 36, The refrain-like final couplet, with its master the difficulties so well he would summer landscape. and destroyed almost all but some 17 songs promise of luxury, serenity and pleasure, have made it even harder!

8 9 Yet Jelly d’Aranyi may have had only two orchestral version of Tzigane Ravel finds a dance and theatre, electronic music and JOE CHINDAMO days to master the piece, which found its substitute in the colours of harp, celesta, numerous chamber works. Although (born 1961) place on the program almost by accident. and the string section playing pizzicato primarily a composer of modern ‘classical’ Concerto for Drums and Orchestra She was to have included Ravel’s Sonata and with harmonics. Probably Ravel, with music he has undertaken tasks as diverse as MSO Commission and World Premiere. for violin and piano in the London concert, the luthéal, had been trying to make the arranging the Australian National Anthem but Ravel had suspended work on it, and folk-band imitation of the accompaniment and writing music for the Closing Ceremony David Jones drum kit Tzigane was the substitute, completed sound more Hungarian. Ravel had of the Olympic Games (Atlanta, 1996). in some hurry. This may give a practical ‘unbounded enthusiasm’ for Bartók’s work In the hierarchy of dangerous musical Born in Perth, he studied piano with Stephen reason why almost half the piece is for in collecting traditional folk melodies, but ideas, the challenge of composing and Dornan and composition with John Exton at violin alone. his parodistic pastiche of Hungarian gypsy realising a concerto for drum kit, for me the University of Western Australia. Moving music makes no attempt at ethnographic stands at the pinnacle. In Tzigane Ravel set himself the kind of to Sydney in 1975, he worked as a freelance authenticity, and probably owes more to challenge he loved – to make a musical pianist and composer with a wide range of There are several reasons for this. Firstly, the gypsy fiddlers Ravel heard in Paris cafés virtue of extreme technical difficulties. ensembles, theatre and dance companies the drum soloist can never be called upon and cabarets. He asked his publisher to send him a copy over the following decades. to play any melodic themes or consequent of Liszt’s Hungarian Rhapsodies for piano, Tzigane is a series of free variations, as melodic developments or variations. In a Since 2000 he has been the Artistic to refresh his memory, and his friend the if improvised, but falling broadly into drum kit concerto, unlike, for example, a Director of Musica Viva Australia, the violinist Hélène Jourdan-Morhange to bring the ‘csárdás’ structure of the Hungarian percussion concerto once the composer’s largest chamber music entrepreneur in the her copy of Paganini’s Caprices for solo Rhapsody as brought to the concert hall resources for rhythmic permutations have world. His recent compositions include violin. Both these composers represented by Liszt: a slow introduction, lassù, where been exhausted (at least for a period), Five Hallucinations commissioned by the the ne plus ultra of virtuosity on their the minor key seeks a certain pathos, then there is no melodic instrument, like a Chicago and Sydney symphony orchestras, instruments, and Ravel outdid them. a sometimes wild fast section, a friss. The marimba or vibraphone, waiting to save Wonders for Sydney Philharmonia Choirs, The technical feats Ravel asks of the fast section begins with a theme based on the day with a tune. Our Sons for the Australian Chamber violinist in the long opening unaccompanied the interval of a fifth which recalls Bartók. Orchestra and Concerto for Orchestra for Secondly, there are often inescapable section include playing in high positions The modal musical language of both the the West Australian Symphony Orchestra. associations attached to the instrument. on the G string, octaves, multiple stops, slow and fast sections is an imitation of the He is currently working on a new Symphony For many, the mere presence of a drum kit tremolos, arpeggios, glissandos. Harmonics Hungarian gypsy style, but Tzigane is above – his eighth – for the MSO. within an orchestral setting is as much an and left-hand pizzicato are saved for after all a successful experiment in stretching indicator of the music one will not hear, the entrance of the piano. violin virtuosity to its limits. The composer writes: as of what one will. Historical precedence The piano – or rather the piano-luthéal, David Garrett © 2004/2006 I have always wanted to title a work dictates that drums will always be as Ravel had intended and which was The Melbourne Symphony Orchestra first performed using a single letter. The ‘V’ of this title drums, and any work which incorporates Ravel’s Tzigane on 26 & 27 June 1963 with conductor refers to the Roman numeral, and hence the kit seems to invite past musical used in the Paris premiere – became and soloist Tibor Varga, and most recently an orchestra in the second version of on 21 October 1982 with Edith Peinemann and David Bollard. to the five-minute duration of this little preconceptions to the party. orchestral fanfare. Five minutes of music, the piece, premiered by d’Aranyi in the Such were the (often drum-centric) even for orchestra, doesn’t seem to Concerts Colonne in Paris in 1924. attempts in the 1970s to wed jazz, CARL VINE warrant a much longer title, nor, for that The luthéal was an attachment to the classical and rock, presumably to produce (born 1954) matter, a longer program note. piano, patented in 1919, which enabled a sum greater than the parts. To my MSO's 2018 Composer in Residence it to imitate the plucked and hammered Carl Vine © 2003 mind, this sometimes unholy matrimony sounds of the harpsichord, the guitar, V The only previous performance of this work by the only succeeded in creating an awkward and the Hungarian cimbalom. Ravel used Melbourne Symphony Orchestra took place on 8 February 2006 with conductor Nicholas Milton. meeting of comfort zones (otherwise it in his opera L’Enfant et les sortilèges as Carl Vine is one of Australia’s best known known as cross-genre). well as in this piece. By 1924, however, and most often performed composers, with a this anticipation of the prepared piano catalogue now including seven symphonies, was already almost obsolete, and in the eleven concertos, music for film, television,

10 11 It is little wonder that the number of drum EDWARD ELGAR SIR HENRY WOOD the Anglo-Saxon king Alfred the Great concerti in existence can be counted on (1857-1934) (1869-1944) – a subject that fitted perfectly with the fingers of one hand. Indeed, I know Frederick’s political ambitions. Pomp and Circumstance, Op.3g, Fantasia on British Sea Songs of only one other (also composed for David March No.1 The Melbourne Symphony Orchestra first performed Rule, Jones). Being a great believer that limiting Britannia! on 16 April 2016 and most recently on 25 March Sir Henry Wood, who was permanent one’s resources is a key to creativity, 2017, both under the baton of Sir Andrew Davis. conductor of the Proms concerts from I initially took the lateral view of drawing Of his Pomp and Circumstance marches their foundation in 1895 until his death, my inspiration from what I was not going Elgar commented: composed his Fantasia on British Sea SIR CHARLES HUBERT PARRY to do. Coupled with a profound desire to I did not see why the ordinary quick Songs for a 1905 concert commemorating (1848-1918) dispel all such preconceptions, I concerned march should not be treated on a large the centenary of the Battle of Trafalgar. myself first and foremost with writing a Jerusalem (William Blake) scale in the way that the waltz, the He included it in the final concert of the serious work for orchestra, only gradually old-fashioned slow march and even the following year’s Proms, establishing the edging the spotlight towards the soloist - London’s Royal College of Music was polka have been treated by the great Last Night tradition. The maritime songs in an extraordinary musician, who happens to founded in 1882 under Edward VII (then composers; yet all marches on the Wood’s medley are of diverse origin, from play the drums. In fact, David’s banquet of Prince of Wales) with the aim of creating symphonic scale are so slow that people the traditional sailor’s Jack’s the talents is such that he provided inspiration a national music school similar to the can’t march to them. I have some of Lad to ‘See, the conquering hero comes’, for new means of compositional expression, established conservatories of Europe. An the soldier instinct in me and so I have from Handel’s oratorio Judas Maccabaeus. such as his use of the singing bowl in important name in the renaissance of British written two marches of which, so far from Not to mention, of course, Thomas Arne’s the 3rd movement. For nearly 3 minutes music at the turn of the last century, Hubert being ashamed, I am proud. anthem to British naval power, Rule, Britannia! he meditates on an A note, allowing me Parry succeeded Sir George Grove as head as the finale. to create a cascade of harmonies in the Elgar went on to write another three, of the RCM where his students included strings, all of which contain A as a common however it is March No.1 that is the best- © Symphony Australia , Gustav Holst denominator- analogous to producing the known of the series. Written in 1901 during The MSO’s first performed Fantasia on British Sea on and Frank Bridge. Steeped in the English the Boer War, the tune proved so popular 16 April 2016 and most recently on 25 March 2017, both effect of visually perceiving an object from under the baton of Sir Andrew Davis. choral tradition, he is chiefly remembered myriad perspectives. at its first London performance that Sir for his coronation anthem I was glad and Henry Wood had to play it three times of course, Jerusalem, his 1916 setting of Throughout the work there is much ‘merely to restore order’. Elgar knew he THOMAS ARNE Blake’s famous poem. interplay and dialogue between each had a tune that would ‘knock ‘em flat’, and (1710-1778) The Melbourne Symphony Orchestra first performed section and the soloist. But the underlying apparently Edward VII agreed: according Jerusalem on 16 April 2016 and most recently on 25 March quality is a governing narrative of a to the composer, it was the King who first Rule, Britannia! (James Thompson) 2017, both under the baton of Sir Andrew Davis. journey taken in tandem by David and the suggested that the trio section of March Arr. Sir Malcolm Sargent (1895-1967) orchestra. To refer to David Jones as one No.1 would make a great song. A.C. Benson’s Measha Bruggergosman soprano of the best drummers in the world is to words were added the following year when diminish him somewhat. He is a unique and Elgar recycled the tune as the finale of his When in 1740 Frederick, Prince of Wales rare creative force who offers inspiration to Coronation Ode, and as Land of Hope and commissioned a new musical drama to all those who share his moment in history. Glory gained a life of its own, a secondary celebrate his infant daughter’s birthday, It is an honour to compose this concerto British national anthem was born. he turned not to Handel (London’s foremost for him in this first and very important © Symphony Australia composer and creator of Zadok the Priest commission for the wonderful Melbourne The Melbourne Symphony Orchestra first performed Pomp for the coronation of his father, George Symphony Orchestra. and Circumstance, Op.3g, March No.1 on 9 May 1940 with II) but to Handel’s rival in the theatre, Antal Doráti, and most recently on 25 March 2017 under Thomas Arne. Rule, Britannia! formed part ©Joe Chindamo 2018 the baton of Sir Andrew Davis. of the finale of Arne’s masque honouring

12 13 TEXTS

L’invitation au voyage Invitation to the journey La vie antérieure A former life (Charles Baudelaire, 1821 - 1867) (Charles Baudelaire, 1821 - 1867)

Mon enfant, ma soeur, My child, my sister, J’ai longtemps habité sous For a long time I lived Songe à la douceur Imagine how sweet it would be de vastes portiques beneath vast porticoes D’aller là-bas vivre ensemble! To go away, yonder, to live together! Que les soleils marins teignaient Tinted with a thousand Aimer à loisir, To love at our leisure, de mille feux, fires by ocean suns, Aimer et mourir To love and die Et que leurs grands piliers, Whose great pillars, Au pays qui te ressemble! In a land which so resembles you! droits et majestueux, straight and majestic, Les soleils mouillés The watery suns Rendaient pareils, le soir, Made them look, in the evening, De ces ciels brouillés Of those unsettled skies aux grottes basaltiques. like basalt caves. Pour mon ésprit ont les charmes For me possess Les houles, en roulant les The swells, rolling the reflections Si mystérieux The mysterious charms images des cieux, of the skies above, De tes traîtres yeux, Of your treacherous eyes, Mêlaient d’une façon Solemnly and Brillant à travers leurs larmes. shining through their tears. solennelle et mystique mystically mingled Là, tout n’est qu’ordre et beauté, There, all is harmony and beauty, Les tout-puissants accords The almighty chords Luxe, calme et volupté. sumptuousness, calm and pleasure. de leur riche musique of their rich music Vois sur ces canaux See how on those canals Aux couleurs du couchant With the colours of sunset Dormir ces vaisseaux the ships are sleeping reflété par mes yeux. reflected in my eyes. Dont l’humeur est vagabonde; Ships, whose nature is to roam. C’est là que j’ai vécu dans It is there that I lived in C’est pour assouvir It is to satisfy les voluptés calmes, sensuous calm, Ton moindre désir your slightest desire Au milieu de l’azur, In the midst of azure skies, Qu’ils viennent du bout du monde. that they come from the ends of the earth. des vagues, des splendeurs waves, splendours Les soleils couchants Each night the setting sun Et des esclaves nus, And naked slaves, drenched in scent, Revêtent les champs, clothes the fields, tout imprégnés d’odeurs, Who fanned my brow with palm fronds, Les canaux, la ville entière, the canals, the whole town D’hyacinthe et d’or; in hyacinth and gold. Qui me rafraîchissaient And whose only task was Le monde s’endort The world falls asleep le front avec des palmes, to further deepen Dans une chaude lumière. Bathed in a warm light. Et don’t l’unique soin était d’approfondir The sorrowful secret which Là, tout n’est qu’ordre et beauté, There, all is harmony and beauty, Le secret douloureux qui me faisait languir. made me languish. Luxe, calme et volupté. sumptuousness, calm and pleasure.

14 15 TEXTS RULE, BRITANNIA!

Le manoir de Rosemonde Rosamonde’s manor Text James Thomson SOLO (Robert de Bonnières, 1850 - 1905) Solo Measha Brueggergosman The Muses still, with freedom found, With its sudden, voracious tooth, Shall to thy happy coasts repair, De sa dent soudaine et vorace, Love, like a dog, has bitten me… SOLO Comme un chien l’amour m’a mordu… Go, follow the drops of my blood When Britain first, at heaven’s command, Blest isle, with matchless beauty crowned, En suivant mon sang répandu, and you’ll be able to trace my path. Arose from out the azure main, And manly hearts to guard the fair. Va, tu pourras suivre ma trace. Take a thoroughbred horse This was the charter of the land, ALL Prends un cheval de bonne race, Head out, and follow my arduous route, And guardian angels sang this strain. Rule, Britannia!… Pars, et suis mon chemin ardu, over uneven ground or overgrown paths ALL Fondrière ou sentier perdu, if the journey does not exhaust you. Rule, Britannia! Si la course ne te harasse! When you pass by where I have passed Britannia, rule the waves. JERUSALEM En passant par où j’ai passé you will see that, alone and wounded, Britons never, never, never shall be slaves. Tu verras que seul et blessé I traversed this sad world SOLO Music Hubert Parry (1848-1918) J’ai parcouru ce triste monde, and thus would I die, The nations not so blest as thee, Words William Blake (1757-1827) Et qu’ainsi je m’en fus mourir far, far away, without ever finding Must in their turns to tyrants fall, And did those feet in ancient time Bien loin, bien loin, sans découvrir the blue manor of Rosamonde. While thou shall flourish great and free, Walk upon England’s mountains green? Le bleu manoir de Rosemonde. The dread and envy of them all. And was the Holy Lamb of God ALL On England’s pleasant pastures seen? Phidylé Phidylé Rule, Britannia! … (Leconte de Lisle, 1818 - 1894) And did the Countenance Divine SOLO Shine forth upon our clouded hills? L’herbe est molle au sommeil The grass is soft for sleeping Still more majestic shalt thou rise, And was Jerusalem builded here sous les frais peupliers, beneath the cool poplars More dreadful from each foreign stroke, Among these dark Satanic mills? Aux pentes des sources moussues, On the slopes with the mossy springs, As the loud blast that tears the skies, Bring me my bow of burning gold! Qui dans les prés en fleur That in abundantly Serves but to root thy native oak. germant par mille issues, flowering meadows Bring me my arrows of desire! Se perdent sous les noirs halliers. Disappear under dark bushes. ALL Bring me my spear! O clouds, unfold! Rule, Britannia! … Bring me my chariot of fire! Repose, ô Phidylé! Midi sur les feuillages Rest, O Phidylé! The midday sun on the leaves Rayonne et t’invite au sommeil. shimmers, and invites you to sleep. SOLO I will not cease from mental fight Par le trèfle et le thym, seules, en plein soleil, By the clover and thyme, alone, in the sun, Thee haughty tyrants ne’er shall tame, Nor shall my sword sleep in my hand Chantent les abeilles volages. The fickle bees hum. All their attempts to bend thee down, Till we have built Jerusalem Will but arouse thy generous flame, In England’s green and pleasant land! Un chaud parfum circule au A warm fragrance wafts around But work their woe and thy renown. détour des sentiers; the winding paths, La rouge fleur des blés s’incline; The red bloom of the cornfield droops, ALL Et les oiseaux, rasant de l’aile la colline, And the birds, their wings skimming the hillsides, Rule, Britannia! … Cherchent l’ombre des églantiers. Seek the shade of the brier. SOLO Mais, quand l’Astre, But when the sun, set low on its To thee belongs the rural reign, incliné sur sa courbe éclatante, brilliant curve, Thy cities shall with commerce shine, Verra ses ardeurs s’apaiser, Sees its heat subside, All thine shall be the subject main, Que ton plus beau sourire et ton Let your most beautiful And every shore it circles thine. meilleur baiser smile and finest kiss ALL Me récompensent de l’attente! Reward me for waiting! Rule, Britannia! …

Translations © Symphony Australia 16 17 MELBOURNE SYMPHONY ORCHESTRA

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

18 19 CHORUS

Tom Griffiths ALTO BASS Repetiteur Catherine Bickell Maurice Amor

SOPRANO Cecilia Björkegren Alexandras Bartaska Kate Bramley Richard Bolitho Aviva Barazani Alexandra Cameron Paul Alexander Chantler Eva Butcher Katharine Daley Roger Dargaville Rita Fitzgerald Nicola Eveleigh Andrew Hibbard Catherine Folley Debbie Griffiths Joseph Hie Susan Fone Ros Harbison Evan Lawson Carolyn Francis Sue Hawley Alexander Owens Camilla Gorman Sara Kogan-Lazarus Stephen Pyk Emma Hamley Joy Lukman Nick Sharman Penny Huggett Helen MacLean Liam Straughan Naomi Hyndman Lucy McFarlane Matthew Toulmin Anna Kidman Rosemary McKelvie Tom Turnbull Clancye Milne Nicole Paterson Catriona Nguyen- Robertson Mair Roberts Susie Novella Helen Rommelaar Karin Otto Kerry Roulston Tiffany Pang Annie Runnalls Jodie Paxton Katherine Samarzia Tanja Redl Lisa Savige Natalie Reid Helen Staindl Mhairi Riddet Libby Timcke Jo Robin Katarina Van Der Linden Natalia Salazar Emma Warburton Anne-Sophie Mutter Jillian Samuels TENOR Freja Soininen MID-SEASON GALA Chiara Stebbing James Allen Elizabeth Tindall Alexandra Amerides Witness the superstar violinist in her first ever Fabienne Tony Barnett Melbourne performance! Vandenburie Steve Burnett Tara Zamin Peter Campbell Sir Andrew Davis conductor Peter Clay Tchaikovsky Violin Concerto James Dipnall David Henley SATURDAY 23 JUNE | 7.30pm Wayne Kinrade Arts Centre Melbourne, Hamer Hall Michael Mobach Asher Reichman Tim Wright mso.com.au

Anne-Sophie Mutter supported by Mr Marc Besen AC and Mrs Eva Besen AO 20 21 SUPPORTERS

MSO PATRON East Meets West IMPRESARIO PATRONS PRINCIPAL PATRONS Lyn Williams AM S M Richards AM and Supported by the Li Family Trust $20,000+ $5,000+ Anonymous (2) M R Richards The Honourable Linda Dessau Meet The Orchestra Tom and Elizabeth Romanowski AC, Governor of Victoria Michael Aquilina ◊ ◊ Christine and Made possible by The Ullmer ASSOCIATE PATRONS Jeffrey Sher QC and The John and Jennifer Mark Armour Family Foundation $2,500+ Diana Sher OAM ARTIST CHAIR Brukner Foundation John and Mary Barlow MSO Audience Access Diana and Brian Snape AM BENEFACTORS Mary and Frederick Barbara Bell, Dandolo Partners Crown Resorts Foundation Dr Norman and Davidson AM in memory of Elsa Bell Will and Dorothy Associate Packer Family Foundation Dr Sue Sonenberg Rachel and the late Hon. Stephen and Caroline Brain Bailey Bequest Conductor Chair MSO Education Geoff and Judy Steinicke Alan Goldberg AO QC Prof Ian Brighthope Anne Bowden Benjamin Northey Supported by Mrs Margaret Elisabeth Wagner Margaret Jackson AC David and Emma Capponi Bill Bowness Anthony Pratt Ross AM and Dr Ian Ross Brian and Helena Worsfold Andrew Johnston May and James Chen Lynne Burgess MSO International Touring Peter and Susan Yates Orchestral Leadership Chair Mimie MacLaren Wendy Dimmick Oliver Carton Harold Mitchell AC Anonymous (8) Joy Selby Smith John and Lois McKay Andrew Dudgeon AM ◊ John and Lyn Coppock MSO Regional Touring Cybec Assistant Andrew and Theresa Dyer ◊ Miss Ann Darby, in memory of Creative Victoria PLAYER PATRONS $1,000+ Conductor Chair MAESTRO PATRONS Tim and Lyn Edward ◊ Leslie J. Darby Freemasons Foundation Victoria Tianyi Lu $10,000+ Mr Bill Fleming Natasha Davies, for the Trikojus David and Cindy Abbey The Robert Salzer Foundation The Cybec Foundation John and Diana Frew Education Fund Christa Abdallah The Pizzicato Effect Kaye and David Birks Susan Fry and Don Fry AO Merrowyn Deacon Dr Sally Adams Associate Anonymous Mitchell Chipman Sophie Galaise and Sandra Dent Mary Armour Concertmaster Chair Collier Charitable Fund Sir Andrew and Lady Davis Clarence Fraser ◊ Peter and Leila Doyle Arnold Bloch Leibler Sophie Rowell The Marian and E.H. Flack Trust Danny Gorog and Geelong Friends of the MSO ◊ Lisa Dwyer and Dr Ian Dickson Philip Bacon AM The Ullmer Family Foundation Schapper Family Foundation Lindy Susskind ◊ Jennifer Gorog Jane Edmanson OAM Marlyn and Scobie and Claire Robert & Jan Green Principal Flute Chair HMA Foundation Dr Helen M Ferguson Peter Bancroft OAM Mackinnon Trust Hilary Hall, in memory Anonymous Louis Hamon OAM Mr Peter Gallagher and Adrienne Basser Supported by the Hume City of Wilma Collie Principal Second Violin Chair Hans and Petra Henkell Dr Karen Morley Prof Weston Bate and Council’s Community Nereda Hanlon and The Gross Foundation Hartmut and Ruth Hofmann Dina and Ron Goldschlager Janice Bate Grants Program Michael Hanlon AM ◊ Jack Hogan Louise Gourlay OAM Janet Bell Principal Viola Chair Sidney Myer Free Concerts Suzanne Kirkham Doug Hooley Peter and Lyndsey Hawkins ◊ David Blackwell OAM Di Jameson Supported by the late Sidney The Cuming Bequest Jenny and Peter Hordern Susan and Gary Hearst Anne Bowden Myer and the University Ian and Jeannie Paterson Principal Cello Chair Dr Alastair Jackson Colin Heggen, in memory of Michael F Boyt of Melbourne Lady Potter AC CMRI ◊ MS Newman Family Foundation Dr Elizabeth A Lewis AM Marjorie Drysdale Heggen Patricia Brockman Elizabeth Proust AO 2018 Soloist in Norman Lewis, in memory of Rosemary and James Jacoby Dr John Brookes PLATINUM PATRONS Xijian Ren and Qian Li Residence Chair Dr Phyllis Lewis Jenkins Family Foundation Suzie Brown OAM and $100,000+ Glenn Sedgwick Marc Besen AC and Peter Lovell C W Johnston Family Harvey Brown Helen Silver AO and Eva Besen AO Marc Besen AC and Lesley McMullin Foundation John Jones Roger and Col Buckle Harrison Young Eva Besen AO Mr Douglas and George and Grace Kass Jill and Christopher Buckley Maria Solà PROGRAM BENEFACTORS John Gandel AC and Mrs Rosemary Meagher Irene Kearsey and M J Ridley Bill and Sandra Burdett Profs. G & G Stephenson, in Pauline Gandel David and Helen Moses The Ilma Kelson Peter Caldwell Cybec 21st Century Australian honour of the great Romanian The Gross Foundation ◊ Dr Paul Nisselle AM Music Foundation Joe Cordone Composers Program musicians George Enescu and David and Angela Li The Rosemary Kloeden Foundation Andrew and Pamela Crockett The Cybec Foundation Dinu Lipatti MS Newman Family Foundation ◊ Norman Foundation ◊ Bryan Lawrence Beryl Dean Cybec Young Composer Gai and David Taylor Anthony Pratt ◊ Ken Ong, in memory of Lin Ong Ann and George Littlewood Dominic and Natalie Dirupo in Residence Juliet Tootell The Pratt Foundation Bruce Parncutt AO John and Margaret Mason Marie Dowling Made possible by Alice Vaughan Joy Selby Smith Jim and Fran Pfeiffer H E McKenzie John and Anne Duncan The Cybec Foundation Harry and Ullmer Family Foundation ◊ Pzena Investment Allan and Evelyn McLaren Kay Ehrenberg Michelle Wong Anonymous (1) Charitable Fund Don and Anne Meadows Jaan Enden Jason Yeap OAM Andrew and Judy Rogers ◊ Marie Morton FRSA Valerie Falconer and the Anonymous (1) VIRTUOSO PATRONS Rae Rothfield Annabel and Rupert Myer AO Rayner Family in memory of $50,000+ Max and Jill Schultz Sue and Barry Peake Keith Falconer Mrs W Peart Amy & Simon Feiglin Di Jameson Mr Tam Vu and ◊ Graham and Christine Peirson Grant Fisher and Helen Bird David Krasnostein and Pat Dr Cherilyn Tillman Ruth and Ralph Renard Stragalinos The Hon. Michael Watt QC Harold Mitchell AC and Cecilie Hall Kim Williams AM

22 23 SUPPORTERS

Yes! I want to make a difference Barry Fradkin OAM and Alan and Dorothy Pattison TRUSTS AND to the community by supporting Dr Pam Fradkin Margaret Plant FOUNDATIONS the MSO’s Month of Giving. Applebay Pty Ltd Kerryn Pratchett Collier Charitable Fund David Frenkiel and Peter Priest Name Crown Resorts Foundation and Esther Frenkiel OAM Treena Quarin the Packer Family Foundation Address David Gibbs and Susie O'Neill Eli Raskin The Cybec Foundation Merwyn and Greta Goldblatt Raspin Family Trust The Marian and E.H. Flack Trust Colin Golvan QC and Bobbie Renard Freemasons Foundation Dr Deborah Golvan Peter and Carolyn Rendit Victoria George Golvan QC and Dr Rosemary Ayton and Gandel Philanthropy Phone Naomi Golvan Dr Sam Ricketson The Scobie and Claire Dr Marged Goode Joan P Robinson Mackinnon Trust Enclosed is my contribution of: Prof Denise Grocke AO Cathy and Peter Rogers The Harold Mitchell Foundation $50 $100 $150 Max Gulbin Doug and Elisabeth Scott The Myer Foundation Other Dr Sandra Hacker AO and Martin and Susan Shirley The Pratt Foundation Mr Ian Kennedy AM Dr Sam Smorgon AO and Mrs WE ARE THE SOUND OF OUR CITY. The Robert Salzer Foundation CREDIT CARD Jean Hadges Minnie Smorgon Telematics Trust Michael and John So VISA Mastercard AMEX Susie Hamson Dr Michael Soon THE CONDUCTOR'S Please charge in full Paula Hansky OAM Lady Southey AC CIRCLE Merv Keehn and Sue Harlow Jennifer Steinicke $ or Tilda and Brian Haughney Dr Peter Strickland Current Conductor’s Show Please charge monthly instalments of Anna and John Holdsworth Pamela Swansson Circle Members $ Penelope Hughes Jenny Tatchell Jenny Anderson (number of payments per year) Basil and Rita Jenkins Frank Tisher OAM and David Angelovich Stuart Jennings Dr Miriam Tisher G C Bawden and L de Kievit your love Cardholder Dorothy Karpin The Hon. Rosemary Varty Lesley Bawden Brett Kelly and Cindy Watkin Leon and Sandra Velik Joyce Bown Dr Anne Kennedy Sue Walker AM Mrs Jenny Brukner Julie and Simon Kessel Elaine Walters OAM and and the late Mr John Brukner for MSO. Card number Kerry Landman Gregory Walters Ken Bullen William and Edward and Paddy White Peter A Caldwell At over 100 years old, the MSO has been around for nearly Magdalena Leadston Nic and Ann Willcock Luci and Ron Chambers Expiry as long as Melbourne. We want to continue to be here for you, Andrew Lee Marian and Terry Wills Cooke Beryl Dean and all of Melbourne, year after year, season after season. Signature Dr Anne Lierse Lorraine Woolley Sandra Dent Lyn Edward (If you prefer to charge by phone, please contact Gaelle Lindrea Richard Ye Garry Stocks on 8646 1551) Andrew Lockwood Panch Das and Alan Egan JP Violet and Jeff Loewenstein Laurel Young-Das Gunta Eglite CHEQUE ENCLOSED (payable to Melbourne Symphony Orchestra Pty Ltd) Elizabeth H Loftus Anonymous (20) Mr Derek Grantham Chris and Anna Long Marguerite EFT TO NAB ACCOUNT Garnon-Williams The Hon Ian Macphee AO and THE MAHLER SYNDICATE MSO Fund Mrs Julie Macphee Louis Hamon OAM David and Kaye Birks BSB 083 004 Account 89 393 2381 Eleanor and Phillip Mancini Carol Hay (include your name and 'Month of Giving' Mary and Frederick Dr Julianne Bayliss Tony Howe in payment description) Davidson AM In memory of Leigh Masel Laurence O'Keefe and Donate today Tim and Lyn Edward ONLINE at mso.com.au/give Ruth Maxwell Christopher James John and Diana Frew Jenny McGregor AM and Audrey M Jenkins mso.com.au/give Francis and Robyn Hofmann I am interested in leaving a legacy of Peter Allen John Jones The Hon Dr Barry Jones AC wonderful music for years to come: Glenda McNaught George and Dr Paul Nisselle AM I have made a gift to the MSO in my Will Ian Morrey and Geoffrey Minter Grace Kass Maria Solà Patricia Nilsson Mrs Sylvia Lavelle I would consider including the MSO in The Hon Michael Watt QC and Laurence O'Keefe and Pauline and David Lawton my Will and would like more information Cecilie Hall Christopher James Cameron Mowat PLEASE RETURN TO MSO’s Month of Giving GPO Box 9994 Melbourne VIC 3001 24 25 All gifts over $2 are fully tax-deductible SUPPORTERS SUPPORSUTEPRPSORS UTPEPRORS TERS

PRINCIPALP RINCIPARTNERPALPRINCI PARTNERPAL PARTNER Rosia Pasteur The MSO gratefully HONORARY Elizabeth Proust AO acknowledges the support APPOINTMENTS Penny Rawlins of the following Estates: Sir Elton John CBE Joan P Robinson Angela Beagley Life Member Neil Roussac Neilma Gantner Anne Roussac-Hoyne Lady Potter AC CMRI Gwen Hunt Suzette Sherazee Life Member Audrey Jenkins GOVERNMENTGOVERNMENT PARTNERSGOVERNMENT PARTNERS PARTNERS Michael Ryan and Wendy Mead Geoffrey Rush AC Pauline Marie Johnston Anne Kieni-Serpell and Ambassador Joan Jones Andrew Serpell C P Kemp The MSO honours Jennifer Shepherd Peter Forbes MacLaren the memory of: Profs. Gabriela and Joan Winsome Maslen John Brockman OAM George Stephenson Lorraine Maxine Meldrum Life Member PREMIER PPARTNERSREMIER PREMIERARTNERS PARTNERS VENUE PARTNERVENUE PARTNERVENUE PARTNER Pamela Swansson Prof Andrew McCredie The Honourable Alan Goldberg Lillian Tarry Miss Sheila Scotter AM MBE AO QC Dr Cherilyn Tillman Marion A I H M Spence Life Member Mr and Mrs R P Trebilcock Molly Stephens Michael Ullmer Ila Vanrenen Jennifer May Teague Ila Vanrenen Life Member Jean Tweedie The Hon. Rosemary Varty MAJOR PARTNERSMAJOR PMARTNERSAJOR PARTNERS EDUCATIONEDU PARTNERSCATIONEDU PCARTNERSATION PARTNERS Herta and Fred B Vogel Mr Tam Vu Dorothy Wood Marian and Terry Wills Cooke Mark Young Anonymous (24)

SUPPORTINGSUP PPORTINGARTNERSSUPPORTING PARTNERS PARTNERS

The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our suporters to get close to the MSO through a range of special events. The MSO welcomes your support at any level. Donations of $2 and over are tax Quest SoutQhbauenstk S ouQthubaesnt kS outhbank Ernst & YoEunrnsg t & YoEurnnsgt &B oYwsou nfogr SBtrionwsgs for SBtriowsng sfor Strings deductible, and supporters are recognised as follows: $1,000+ (Player) TRUSTS ANDTRU FSOUNTS ANDTRUDATIONS SFTSOUN ANDDATIONS FOUNDATIONS $2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario) $50,000+ (Virtuoso) $100,000+ (Platinum)

The MSO Conductor’s Circle is our bequest program for members who have e Scobie aned S Cclaiobrie aMnea dSc cCkiolainbinreoe an Mn Tdaru cCkislait,n rnSidneyeo Mn Tacruki Myersnt,n Sidneyon MSO Tru sMyer t,Trust Sidney MSO Fund Myer Trust MSO Fund Trust Fund notified of a planned gift in their Will. Enquiries | P (03) 8646 1551 | E [email protected] MEDIA ANMDED BRIOAA ADNMCDEDAS BRITAO P AANDRTDC ASNEBRTRO SAPADRTCASNETR PSARTNERS

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