POWERCOR REGIONAL TOURING THE SYMPHONY IN CONCERT AROUND VICTORIA

Tuesday 9 October at 8pm The Capital – Bendigo’s Performing Arts Centre Wednesday 10 October at 8pm Eastbank Centre, Shepparton Thursday 11 October at 8pm Albury Entertainment Centre

Benjamin Northey conductor Michael Bertoncello trombone

Respighi Ancient Airs and Dances: Suite No.3 Rota Trombone Concerto INTERVAL 20 MINUTES Tchaikovsky Symphony No.4

Benjamin Northey will give the pre-concert talk at 7pm

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2 WELCOME

Powercor is proud of its long association with the MSO, one of the world’s leading symphony . We have been a major sponsor and partner of the Orchestra for more than 15 years, focusing our sponsorship on the Regional Touring program for the past decade together. Recently, the MSO and Powercor Australia jointly received a prestigious Australia Business Arts Foundation (AbaF) award in recognition of their shared dedication to regional Victoria. The award reflects the ongoing commitment of both companies to provide access to cultural activities of the highest standard to regional Victoria. As Victoria’s largest electricity distributor, supplying regional and rural centres in central and western Victoria (including greater Geelong), and Melbourne’s outer western suburbs, our involvement in the MSO’s Regional Touring Program is a valuable opportunity to contribute to the communities we serve. It is a privilege to be able to help bring the Orchestra and its music to communities whose location may limit their access to the fine music heard regularly in Melbourne. As the audiences who have experienced these events will attest, the intimacy and warmth of smaller concerts in regional venues is in some respects even more rewarding than the grandeur of Hamer Hall. My best wishes for your enjoyment of tonight’s concert under the direction of Benjamin Northey. Following two Italian works in the first half, the program takes us to Russia for Tchaikovsky’s mighty Fourth Symphony.

Shane Breheny Chief Executive Officer Powercor Australia Ltd

CONCERT INFORMATION This concert has a duration of approximately two hours. Concerts by the Melbourne Symphony Orchestra are broadcast around Australia throughout the year on ABC Classic FM (on analogue and digital radio), and streamed on the network’s website. Please turn off your mobile phone and all other electronic devices before the performance commences. If you do not need your printed program after the concert, we encourage you to return it to the program stands located in the foyer. Melbourne Symphony Orchestra programs can be read on-line or downloaded up to a week before each concert. For more Kathryn Taylor – First Violin information, visit mso.com.au 3 ABOUT THE MUSIC

Respighi is an intriguing figure in Scored for only, the 20th-century music and perhaps a third set is based on works written whose time has only now in the 16th and 17th centuries. (1879–1936) arrived. Like Vaughan Williams Respighi first encountered them Ancient Airs and Dances: in England, the Italian-born, in a variety of scholarly editions Suite No.3 Russian- and German-educated prepared by the Italian musicologist I Italiana Respighi’s compositional influences Oscar Chilesotti in the late 19th II Arie di corte virtually bypassed the Romantic century and he orchestrated them III and Classical periods altogether. so as to preserve their melodic IV Passacaglia As Schoenberg, Berg and Webern and harmonic character, while pushed the musical gestures of making them more gratifying to late Romanticism into the austere modern ears. The work opens realms of 12 tones, and Stravinsky with a charming Italiana by an rediscovered ‘pure’ Classicism, anonymous 16th-century composer. Respighi went his own quiet way in A medley of songs by Jean-Baptiste his native Bologna, writing highly Besard (1567–1625) forms the distinctive works influenced by the second movement. A Siciliana with medieval modes, Gregorian chant, a seductive rhythm forms the third 16th- and 17th-century lute music, movement, while the finale is the and madrigals. most ‘modern’ of the airs and dances: it’s a Passacaglia written by Respighi’s major orchestral works Lodovico Roncalli in 1692! have never lacked an appreciative audience, nor great conductors such Adapted from a note by as Toscanini and von Karajan to Martin Buzacott © 1998 champion their cause, but they have The Melbourne Symphony Orchestra first always tended to be underrated performed the third set of Ancient Airs and by critics. The misunderstanding Dances in June 1951 with Alceo Galliera, and critical neglect seem to stem and most recently in June 2002 with from the fact that Respighi was John Harding. an ‘ancient’ in a ‘modern’ world. Perhaps now that the ‘pre-Classical’, often modal works of modern such as Górecki, Pärt and Tavener are top of the pops, Respighi’s music, which shares so many of the same attributes, is finding a wider audience. Respighi composed three sets of Ancient Airs and Dances, dating from 1917, 1924 and 1932 respectively, and in the same year in which that third set appeared, he, along with nine other Italian composers, issued a compositional manifesto which noted in part: ‘We are against art which cannot and does not have any human content and desires to be merely a mechanical demonstration and a cerebral puzzle...’ In arguing that old musical forms return to fashion in cycles, Respighi attacked the value of the supposed ‘innovations’ embodied in atonal music. The third set of Ancient Airs and Dances sought to prove the point. 4 ABOUT THE MUSIC

Italian cinema is unthinkable It is an unashamedly neo-classical without Nino Rota. In 1942 he piece of modest dimensions: Nino Rota began composing scores for its three movements play for (1911–1979) the Lux Film Company, and a 15 minutes or so, and the scoring Trombone Concerto in C decade later began his ongoing is for a small orchestra of single partnership with Federico Fellini. flute and oboe, pairs of clarinets, I Allegro giusto II Lento, ben ritmato In addition to some 16 scores bassoons and horns, timpani III Allegro moderato for Fellini, including those for and strings. 8½, Satyricon, La strada and Michael Bertoncello trombone The first movement sets up a Casanova, Rota provided music for jaunty pulse with short angular cinematic milestones like Luchino motifs passed between soloist Visconti’s The Leopard, Francis Ford and orchestra. Rota scrupulously Coppola’s The Godfather franchise allows the trombone to sound and numerous films of Franco without undue force – the ‘call and Zeffirelli includingRomeo and response’ pattern that is common Juliet. He also worked with major in this work, and the size of the directors from France, Japan, orchestra, work in the service of Russia and the United Kingdom. clarity rather than bombast. This is Rota was recognised as a prodigy not to say that that Rota does not on at the age of 12 when his oratorio occasion command some rhetorical L’infanzia di San Giovanni Battista force, and there are passages in the received its premiere in his native movement’s development section . He studied at the Milan that recall Janácˇek. Conservatory and the Santa The slow movement begins quietly Cecilia Academy in Rome before as a slow march, dominated by spending two years at the Curtis Italianate dotted rhythms, and Institute in the USA. He returned builds through a series of triplet to Italy in 1932 and produced arpeggios for the soloist to a kind several works of as of climax, followed by a more well as two symphonies. His work emphatic restatement of dotted was well received, but after the war rhythmic material. The orchestral Rota was too easily pigeonholed writing in much of the movement as a traditionalist, ignored by the is of great delicacy, but again, Rota developing avant-garde. His career displays a great sense of mastery of in film started at this time, but we tension and release. should note that from 1942 Rota also composed a series of major The final movement provides and orchestral works, strong contrast to the restrained and became director of the Bari anguish of the previous one. Conservatory. The soloist states a perky theme against repeated wind chords, The Trombone Concerto was which is then answered by an composed in 1966, roughly optimistic theme for strings. As in contemporaneous with Rota’s the first movement, short motifs scores for Zeffirelli’sThe Taming of from the soloist are answered by the Shrew and Romeo and Juliet, and tutti. A reflective central section was first performed at the Milan features triplet figurations over Conservatory with Bruno Ferrari static chords, but a fanfare and the as soloist. opening theme inject new energy. Gordon Kerry © 2012 This is the first performance of Rota’s Trombone Concerto by any of the former ABC orchestras.

INTERVAL 20 minutes

5 ABOUT THE MUSIC

You know the old story. In None of which is to say that 1877, Tchaikovsky received a the Fourth Symphony is not Peter Ilyich declaration of love from Antonina ‘about’ serious emotional Tchaikovsky Milyukova, who threatened and psychological states, (1840–1893) suicide if Tchaikovsky refused nor that the experience of a Symphony No.4 in F minor, to marry her. The composer, disastrous marriage didn’t Op.36 hoping to save Antonina and affect Tchaikovsky’s emotional cure his homosexuality, accepted equilibrium. Nadezhda von I Andante sostenuto – Moderato con anima the proposal, but within minutes Meck, his patron, wrote to him of – Moderato assai, quasi of being married realised that the work’s ‘profound, terrifying Andante – Allegro vivo he had made a terrible mistake. despair’. The composer insisted in II Andantino in modo di Within two months he had his correspondence with Meck that canzona attempted suicide himself before ‘where words finish, music begins’ III Scherzo (Pizzicato ostinato) fleeing Moscow; Antonina quickly and that a program explaining – Allegro IV Finale (Allegro con fuoco) descended into madness and the meaning of the music Tchaikovsky poured his anguish would necessarily be imprecise. into his Fourth Symphony and the Nonetheless he did offer a kind Eugene Onegin. of map of the work’s emotional journey (never dreaming that it Thanks to musicologist Alexander would be published), saying: Poznansky, we can now see this well-known scenario for the load The main idea...is expressive of the of rubbish that it is. The composer idea of fate, that ominous power seems at no time to have been which prevents the success of our anguished by his sexuality and search for happiness. This power his decision to marry Antonina hangs constantly over our heads, stemmed from other causes, like Damocles’ sword. There is no not least of which that she was alternative but to submit to fate. shortly to inherit a respectable The theme of ‘fate’ is the powerful sum of money. Later, Tchaikovsky brass fanfare which opens the first admitted that his treatment of movement, and which returns at Antonina had been inexcusable, climactic moments in this and and supported her financially; the last movement. Contrasting she scrupulously avoided making with this is a conventional pair of any public criticism of him, even ‘subjects’ or thematic groupings. after his death. Tchaikovsky’s The first, markedmoderato , correspondence makes clear that is characterised by a waltz their incompatibility was the result tempo kept on its toes by cross- of ‘cultural differences’ rather rhythm; the second, according than sexual horror. to Tchaikovsky, represents the world of dreams into which we are tempted to escape. Scholar Leon Botstein has argued that Tchaikovsky’s use of repetition in the course of this movement is emblematic of the obsessive state of mind that the music depicts. But fate keeps obtruding (undermining the principles of sonata design) and eventually disperses the imagery of dreams.

6 ABOUT THE MUSIC

In the second movement, both words and setting are significant. Tchaikovsky again uses seemingly The birch tree is solitary, and it is the literal repetition of the thematic image of a woman…The crowd that material, but as Botstein gathers is of unmarried women who notes, ‘despite repetition, the perform a round dance and then throw background and foreground their wreaths into the stream. Those changes’ as different dialogues whose wreaths float on the surface of the between theme and countermelody water will marry; those whose wreaths are explored. sink will not. The Scherzo has been interpreted Tchaikovsky’s view of Antonina as the reassertion of reality. Its was clearly not unsympathetic, celebrated pizzicato-dominated despite the baleful intrusion of string writing has an implacable the Fate music. Interpretation character, but it also serves to of this symphony has inevitably provide a bridge between the been compromised by the fatuous introspection of the second rehashing of ‘biographical’ movement and the extrovert details, making it a document nature of the Finale. The of hysteria. However, we should composer’s explanation for the remember that the ‘profound, Finale’s festive nature was: ‘If terrifying despair’ of this work is you find no cause for joy within created by an artist in full control yourself, look for it in others. Look, of his technical resources. they know how to enjoy themselves, Abridged from a note by giving themselves up to undivided Gordon Kerry © 2002 feelings of pleasure.’ This has obscured an important aspect of The Melbourne Symphony Orchestra gave the Finale – Tchaikovsky’s quote the first complete Australian performance of this work on 20 August 1938 with Malcolm of an actual folk-tune, In the field Sargent. The Orchestra most recently a little birch tree stood. As Roland performed the work in June 2011 with John Wiley notes in the New Grove Ludovic Morlot. Dictionary of Music and Musicians:

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A Daimler Brand We are the sum of We are the sum of many perfect parts. many perfect parts. When we come together When we come together in perfect harmony, in perfect harmony, the results will move you the results will move you in a way you’ve never in a way you’ve never been moved before. been moved before. Our passion for excellence Our passion for excellence WE BELIEVE IN gives us the impetus gives us the impetus THE POWER OF to innovate. to innovate. TOGETHER. Our versatility allows Our versatility allows BY COMBINING us to surprise. us to surprise. OUR PASSION We proudly invite you We proudly invite you AND SKILLS to take a seat to take a seat WITH THAT OF and enjoy what we do best. and enjoy what we do best. OUR CLIENTS, WE CAN ACHIEVE AMAZING THINGS.

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8 ABOUT THE artists

Benjamin Northey Michael Bertoncello conductor trombone Benjamin Northey holds the Melbourne A member of the Melbourne Symphony Orchestra Symphony Orchestra’s Patricia Riordan Associate since 2005, Michael Bertoncello has previously held Conductor Chair. Principal Trombone positions with the Shanghai Radio Broadcasting Symphony Orchestra, Auckland Since returning to Australia from in 2006, Philharmonia and the Tonhalle Orchestra Zurich. Benjamin Northey has rapidly emerged as one of the In 2011 he joined the Australian World Orchestra nation’s leading musical figures. as Principal Trombone, and performed as didjeridu A graduate of the and the soloist in the Orchestra’s performance of Sculthorpe’s in , he has appeared with Earth Cry at the Opera House. the London Philharmonic Orchestra, Salzburg He is in demand as a recitalist, soloist, chamber Mozarteum Orchestra, Hong Kong Philharmonic, musician and clinician, and has travelled extensively Southbank Sinfonia, and the New Zealand and throughout Australia, New Zealand, Germany, Christchurch Symphony orchestras. He has France, Switzerland, the USA, China, Singapore and collaborated with artists such as , Alban Hong Kong, giving classes and recitals at institutions Gerhardt, Marc-André Hamelin, Arnaldo Cohen, and including the and Chicago’s the Silver-Garburg Duo, among others. Northwestern University. In Australia he has appeared with all the state He has performed as soloist with the Melbourne, symphony orchestras and with (Don West Australian and Tasmanian Symphony orchestras, Giovanni, Così fan tutte) and State Opera of South Mulhouse Symphony Orchestra (France), and Australia (The Elixir of Love, The Tales of Hoffmann, La the Tonhalle Orchestra Zurich, with whom he sonnambula). He made his debut with the Melbourne recorded the trombone concertos of Wagenseil and Symphony Orchestra in 2003 and was appointed Ferdinand David. Associate Conductor in 2011. His recordings include award-winning CD releases for ABC Classics with the He has performed with German Brass and is a Melbourne, Sydney, Tasmanian, Adelaide and West founding member of the Australian Brass Quintet. Australian Symphony orchestras. He co-founded the Melbourne International Festival of Brass and currently directs the Melbourne Summer His teachers have included , Low Brass Intensive. He was previously Lecturer in Jorma Panula, and . In Brass at the University of Melbourne and currently 2009, he was selected as one of three participants teaches at ANAM, in addition to holding the position worldwide to the prestigious International of Lecturer in Brass at the University of Tasmania. Conductors’ Academy of the Allianz Cultural Foundation, during which he conducted the Michael Bertoncello began his studies with Ian Philharmonia and London Philharmonic orchestras Perry at the Victorian College of the Arts and in under the mentorship of conductors Vladimir 1997 moved to the US to join the Civic Orchestra Jurowski and Christoph von Dohnányi. of Chicago, studying with Michael Mulcahy. He completed his Masters of Music Performance at the Benjamin Northey’s awards include the 2010 University of Melbourne in 2008. Melbourne Prize Outstanding Musicians Award, Memorial Award, Nelly Apt Scholarship, Symphony Australia Young Conductor of the Year in 2001, and the 2007 Limelight Magazine 9 Best Newcomer Award. melbourne symphony orchestra and management

MELBOURNE SYMPHONY ORCHESTRA Sir Chief Conductor Designate Tadaaki Otaka Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST VIOLINS SECOND VIOLINS CELLOS FLUTES BASSOONS TROMBONES Peter Edwards Matthew Tomkins David Berlin Prudence Davis Jack Schiller* Kenneth Assistant Principal Principal Principal Principal Guest Associate McClimont Principal Associate Principal Kirsty Bremner Christine Johnson Miranda Brockman Sarah Beggs MSO Friends Chair Isy Wasserman Angela Sargeant Taryn Richards* Chloe Turner* Robert Collins* Francesca Hiew* Joan Evans* Sarah Curro Jenny Khafagi* Virginia Kable* OBOES HORNS BASS TROMBONE Lerida Delbridge Shelley Heath* Anne Martonyi Jeffrey Crellin Geoff Lierse Charles MacInnes* Ingrid Homburg* DOUBLE BASSES Kathryn Taylor Principal Associate Principal Jesre Stenson* Andrew Moon TUBA Kirsty Greig* Annabelle Badcock* Saul Lewis Associate Principal Tim Buzbee JiWon Lee* VIOLAS Principal 3rd Elena Phatak* Damien Eckersley CLARINETS Principal Christopher Rachel Silver Oksana Benjamin Hanlon Philip Arkinstall Cartlidge Jenna Breen* TIMPANI Thompson* Stephen Newton Associate Principal Principal Christine Turpin Robin Henry* TRUMPETS Simon Collins Principal Shane Hooton Justin Williams Associate Principal PERCUSSION Caleb Wright Sophie Kesoglidis* William Evans John Arcaro Simon Oswell* Robert Cossom *Guest musician

MANAGEMENT

Board Business Artistic Operations Marketing Box Office Harold Mitchell AC Nerolie Grant Huw Humphreys Lou Oppenheim Merri Hagan Claire Hayes Chairman Acting Chief Financial Director, Director of Operations Director of Marketing Box Office Manager Officer Artistic Planning Dr Bronte Adams Angela Chilcott Joanna Krezel Paul Clutterbuck Peter Biggs Raelene King Andrew Pogson Assistant Orchestra Marketing Manager Senior Subscriptions Hon. Alan Personnel Manager Assistant Artistic Manager Officer Phillip Sametz Goldberg AO QC Administrator Kaanji Skandakumar Paul Freeman Communications Scott Campbell Ann Peacock Accountant Anna Melville Production Manager Manager Subscriptions Officer Jennifer Kanis Artistic Coordinator Alastair McKean Nathalia Andries James Poole Alison Macqueen Development Michael Ullmer Finance Officer Bronwyn Lobb Production Coordinator Publicist Kee Wong Education Manager Cameron Mowat Dale Bradbury Kerstin Schulenburg Simon Wilson Director of Development Company Project Manager – Jonathan Artist Liaison Interactive Marketing Tessitura Grieves-Smith Manager Jessica Frean Secretary Alastair McKean Chorus Master Philanthropy Manager Oliver Carton Orchestra Librarian Nina Dubecki Helena Balazs Front of House Jennifer Tighe Kathryn O’Brien Executive Chorus Coordinator Supervisor Sponsorship and Assistant Librarian Events Manager Wayne Box Lucy Bardoel Jennifer Poller Michael Stevens Acting Chief Executive Education Assistant Marketing Coordinator Arturs Ezergailis Operations Assistant Officer Development Officer Lara Polley Julia Bryndzia Assistant Marketing Rosemary Shaw Executive Assistant Coordinator Development Coordinator Eileen Nesbitt CRM Coordinator Stella Barber 10 Consultant Historian THE DONORS

The Company proudly acknowledges the support of our ARTIST CHAIR BENEFACTORS Harold Mitchell AC Concertmaster Chair benefactors, patrons and bequestors, trusts, foundations and Patricia Riordan Associate Conductor Chair sponsors in helping to realise our vision to be recognised as Elisabeth Murdoch Principal Clarinet Chair Joy Selby Smith Orchestral Development Chair Australia’s leading symphony orchestra. Thank you! MSO Friends Chair

MSO EDUCATION AND OUTREACH PATRON Mrs Elizabeth Chernov

IMPRESARIO PATRONS MAESTRO PATRONS TRUSTS AND FOUNDATIONS John McKay and Lois McKay M P Chipman Pratt Foundation Bevelly and Harold Mitchell AC Andrew and Theresa Dyer Cybec Foundation Dame Elisabeth Murdoch AC, DBE Tim and Lyn Edward Erica Foundation Inés Scotland Rachel and Hon. Alan Goldberg AO QC The Alan (AGL) Shaw Endowment, Tom Jacob managed by Perpetual Ilma Kelson Music Foundation Scanlon Foundation Mimie MacLaren The Schapper Family Foundation Onbass Foundation Ivor Ronald Evans Foundation, as Elizabeth Proust AO administered by Mr Russell Brown and The Ullmer Family Endowment Equity Trustees Lyn Williams AM The Phyllis Connor Memorial Trust, as Anonymous (3) administered by Equity Trustees Limited

PRINCIPAL PATRONS Barbara and Donald Weir KSJ Susie O’Neill, Merwyn and Greta Goldblatt, Christine and Mark Armour Joanne Wolff Colin Golvan SC, George H Golvan QC, Dr Kaye and David Birks Brian and Helena Worsfold Marged Goode, Jean Hadges, Stuart and Sue Jennifer Brukner Anonymous (2) Hamilton, Tilda and Brian Haughney, Julian The Cuming Bequest and Gisela Heinze, Hans and Petra Henkell, Dominic and Natalie Dirupo THE CONDUCTOR’S CIRCLE Dr Alastair Jackson, Stuart Jennings, John and Joan Jones, Vivien and Graham Susan Fry and Don Fry AO Jenny Anderson Knowles, Dr Elizabeth A Lewis AM, Norman Mr Greig Gailey and Dr Geraldine Lazarus Joyce Bown Lewis in memory of Dr Phyllis Lewis, Dr Jill and Robert Grogan Ken Bullen Anne Lierse, Violet and Jeff Loewenstein, Louis Hamon OAM Luci and Ron Chambers Christopher and Anna Long, Vivienne Hadj Nereda Hanlon and Michael Hanlon AM Sandra Dent and Rosemary Madden, Sandra and Leigh Hartmut and Ruth Hofmann Lyn Edward Masel, Trevor and Moyra McAllister, Allan Peter and Jenny Hordern Alan Egan JP and Evelyn McLaren, Dr Gabriele Medley Norman and Betty Lees Louis Hamon OAM AM, John and Isobel Morgan, Ian Morrey, Mr and Mrs D R Meagher Tony Howe The Novy Family, Laurence O’Keefe and Wayne and Penny Morgan John and Joan Jones Christopher James, John and Betty Pizzey, Ian and Jeannie Paterson C P Kemp Lady Potter AC, Peter Priest, Jiaxing Qin, Mrs Margaret S Ross AM and Dr Ian C Ross Elizabeth Proust AO Dr Sam Ricketson, Hugh T Rogers AM, Maria Sola and Malcolm Douglas Penny Rawlins Tom and Elizabeth Romanowski, Delina Kee Wong and Wai Tang Joan P Robinson Schembri-Hardy, Max and Jill Schultz, David Anonymous (1) Molly Stephens Shavin QC, Chris and Jacci Simpson, Gary Pamela Swansson ASSOCIATE PATRONS Singer and Geoffrey A Smith, Dr Robert Dr Cherliyn Tillman Sloane and Denise Sloane, Dr Sam Smorgon Dr Bronte Adams Mr and Mrs R P Trebilcock AO and Mrs Minnie Smorgon, Geoff and Will and Dorothy Bailey Bequest Michael Ullmer Judy Steinicke, Mrs Suzy and Dr Mark Peter and Mary Biggs Mr Tam Vu Suss, Prof Seong-Seng Tan and Jisun Lim, Mrs S Bignell Marian and Terry Wills Cooke Margaret Tritsch, Mrs Barbara Tucker, P and David and Emma Capponi Mark Young E Turner, Mary Vallentine AO, The Hon. Paul Carter Anonymous (15) Rosemary Varty, Wah Yeo AM, Sue Walker John and Lyn Coppock AM, Pat and John Webb, Erna Werner and Peter and Leila Doyle We gratefully acknowledge support received Neil Werner OAM, Nic and Ann Willcock, Lisa Dwyer and Dr Ian Dickson from the Estates of Gwen Hunt, Peter Forbes Marian and Terry Wills Cooke, Ruth Wisniak Dr Helen M Ferguson MacLaren, Prof Andrew McCredie, Jean OAM and Dr John Miller AO, Peter and Robert and Jan Green Tweedie, Herta and Fred B Vogel Susan Yates, Mark Young, Anonymous (9) John and Agita Haddad Susan and Gary Hearst PLAYER PATRONS Gillian and Michael Hund Marlyn and Peter Bancroft OAM, Dr Peter Lovell Julianne Bayliss, Mr Marc Besen AO and Jan Minchin Mrs Eva Besen AO, Stephen and Caroline Marie Morton Brain, M Ward Breheny, Mr John Brockman Dr Paul Nisselle AM OAM and Mrs Pat Brockman, Jill and Ann Peacock with Andrew and Christopher Buckley, Bill and Sandra Patrons make annual contributions of Woody Kroger Burdett, Dr Lynda Campbell, Jan and Peter $1,000 (Player), $2,500 (Associate), $5,000 Rae Rothfield Clark, Judith M Connelly, Ann Darby in (Principal), $10,000 (Maestro), $20,000 Craig and Jennifer Semple memory of Leslie J. Darby, Panch Das and Impresario or more. The MSO Conductor’s Gai and David Taylor Laurel Young-Das, Mary and Frederick Circle recognises notified Bequestors. All Mr Tam Vu and Dr Cherilyn Tillman Davidson, Pat and Bruce Davis, Sandra Dent, donors are recognised on our website. Bert and Ila Vanrenen John and Anne Duncan, William J Forrest Inquiries: T 03 9626 1107 The Hon. Michael Watt QC and Cecilie Hall AM, Joanna Foulkes, David I Gibbs and [email protected] 11