CONCERT PROGRAM

Sir Andrew Davis Conducts Mahler 6

Thursday 30 June at 8pm Friday 1 July at 8pm Saturday 2 July at 8pm Arts Centre Melbourne, Arts Centre Melbourne, Arts Centre Melbourne, Hamer Hall Hamer Hall Hamer Hall Presented by Emirates Presented by Emirates Presented by BMW WHAT’S ON JULY – AUGUST 2016

CIRQUE DE LA SYMPHONIE SHAKESPEARE CLASSICS BEETHOVEN’S FIFTH Friday 15 July Thursday 21 July Friday 29 July Saturday 16 July Friday 22 July Saturday 30 July A host of international circus 2016 marks the 400th anniversary Three classic masterpieces on the performers – including aerial flyers, of the death of William one program with MSO Associate acrobats, contortionists, dancers, Shakespeare. This commemorative Conductor Benjamin Northey — jugglers, balancers, and strongmen concert, conducted by Alexander but which is the greatest? Weber’s – join the MSO in this dazzling Shelley, presents Bard-related works dark and mystical overture to display. Inspired by classical by four composers: Mendelssohn, his opera Der Freischütz? Bruch’s masterpieces, the performers bring Korngold, Walton and Richard glorious evergreen Violin Concerto? their acrobatic and illusory skills to Strauss. Mozart’s Piano Concerto Or Beethoven’s Symphony No.5? new and exciting levels. No.27 completes the program. Cast your vote, please.

ELGAR, BACH, PUCCINI MENDELSSOHN'S TOGNETTI AND AND DVOŘÁK ITALIAN SYMPHONY THE LARK ASCENDING Thursday 4 August Thursday 11 August Friday 19 August Friday 5 August Friday 12 August Saturday 20 August Saturday 6 August Saturday 13 August Monday 22 August James Ehnes returns to the MSO Viva Italia! The voices and sounds Richard Tognetti returns to the as director and soloist in famous of Italy as interpreted by two MSO, under Chief Conductor Sir pieces for strings by Elgar, J.S. non Italian composers: Elgar’s Andrew Davis, to perform two very Bach and Dvořák. The program sun-drenched (Alassio) different works: the Partita for Violin also includes a rare Puccini work, and Mendelssohn’s gloriously and Orchestra, by Lutosławski, his brief and beautiful Crisantemi enthusiastic Symphony No.4 and Vaughan Williams’ soaring, (Chrysanthemums) for string Italian. In the middle, Richard summery The Lark Ascending. orchestra. Strauss’ early Violin Concerto, with soloist James Ehnes.

2 ARTISTS Melbourne Symphony Orchestra Sir Andrew Davis conductor Jonathan Biss piano

REPERTOIRE Mozart Piano Concerto No.21 — Interval — Mahler Symphony No.6

This concert has a duration of approximately 2 hours Pre-Concert Talk and 10 minutes, including a 20 minute interval. 7pm Thursday 30 June, Stalls Foyer, Hamer Hall 7pm Friday 1 July, Stalls Foyer, Hamer Hall This performance will be recorded for future 7pm Saturday 2 July, Stalls Foyer, Hamer Hall broadcast on ABC Classic FM. MSO Director of Artistic Planning Ronald Vermeulen Visit mso.com.au/broadcast for more information will present a talk on the artists and works featured in about upcoming concert broadcasts. the program. Series Presenters

3 MELBOURNE SYMPHONY ORCHESTRA

The Melbourne Symphony Orchestra (MSO) was established in 1906 and is Australia’s oldest orchestra. It currently performs live to more than 250,000 people annually, in concerts ranging from subscription performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl. The Orchestra also delivers innovative and engaging programs to audiences of all ages through its Education and Outreach initiatives. Sir Andrew Davis gave his inaugural concerts as the MSO’s Chief Conductor in 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists such as Bryn Terfel, Emanuel Ax, Truls Mørk and Renée Fleming, and the Orchestra’s European Tour in 2014 which included appearances at the Edinburgh Festival, the Amsterdam Concertgebouw, the Mecklenburg-Vorpommern Festival and Copenhagen’s Tivoli Concert Hall. Further current and future highlights with Sir Andrew Davis include a complete cycle of the Mahler symphonies. Sir Andrew will maintain the role of Chief Conductor until the end of 2019. The MSO also works with Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus, as well as with such eminent recent guest conductors as Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, and Simone Young. It has also collaborated with non-classical musicians including Burt Bacharach, Nick Cave, Sting, Tim Minchin, Ben Folds, DJ Jeff Mills and Flight Facilities. The Melbourne Symphony Orchestra reaches a wider audience through regular radio broadcasts, recordings and CD releases, including a Strauss cycle on ABC Classics which includes Four Last Songs, Don Juan and Also sprach Zarathustra, as well as and Four Symphonic Interludes from Intermezzo, both led by Sir Andrew Davis. On the Chandos label the MSO has recently released Berlioz’ Harold en Italie with James Ehnes and music by Charles Ives which includes Symphonies Nos. 1 and 2, as well as a range of orchestral works including Three Places in New England, again led by Sir Andrew Davis.

The Melbourne Symphony Orchestra is funded principally by the Australian Government through the Australia Council, its arts funding and advisory body, and is generously supported by the Victorian Government through Creative Victoria, Department of Economic Development, Jobs, Transport and Resources. The MSO is also funded by the City of Melbourne, its Principal Partner, Emirates, corporate sponsors and individual donors, trusts and foundations. The Melbourne Symphony Orchestra acknowledges the Traditional Owners of the Land on which we perform – The Kulin Nation – and would like to pay our respects to their Elders and Community both past and present.

4 SIR ANDREW DAVIS JONATHAN BISS CONDUCTOR PIANO

Sir Andrew Davis is Music Director and Principal Jonathan Biss began piano studies at the age of six. Conductor of the and Chief At 20, he made his New York Philharmonic debut Conductor of the Melbourne Symphony Orchestra. under Kurt Masur. He is currently on the faculty at In a career spanning over 40 years, he has been the his alma mater, the Curtis Institute in Philadelphia. musical and artistic leader at several of the world’s Biss’ appearances so far this year have included most distinguished opera and symphonic institutions, concerts at the Concertgebouw, Amsterdam and including the BBC Symphony Orchestra (1991-2004), London’s Wigmore Hall. In 2015, he released the Glyndebourne Festival Opera (1988-2000), and the fourth volume of a nine-disc recording of Beethoven’s Toronto Symphony Orchestra (1975-1988). He recently complete piano sonatas. received the honorary title of Conductor Emeritus from the Royal Liverpool Philharmonic Orchestra. Biss is an advocate for new music. He has premiered works by Kirchner, Spratlan, Ludwig and Rands, and, One of today’s most recognised and acclaimed in Saint-Paul last November, premiered a concerto by conductors, Sir Andrew has conducted virtually Timo Andres, the first of five new works inspired by all the world’s major orchestras, opera companies, Beethoven’s piano concertos. and festivals. This year he celebrates his 40-year association with the Toronto Symphony, and aside from Promoting music beyond the concert hall, in 2013 performances with the Melbourne Symphony, he will Biss partnered with the Curtis Institute and Coursera conduct the BBC Symphony Orchestra at , to offer a Massive Open Online Course (MOOC) Philharmonia Orchestra at the Three Choirs Festival, to a virtual classroom of 51,000 students. His first and the Scottish Chamber Orchestra at the Edinburgh Amazon Kindle Single, Beethoven’s Shadow, was the International Festival. first-ever Single written by a classical musician and spent many weeks on the Kindle Singles bestseller Born in 1944 in Hertfordshire, England, Sir Andrew list opposite works by major commercial fiction studied at King’s College, Cambridge, where he was writers. His honours include the Leonard Bernstein an organ scholar before taking up . His Award at the 2005 Schleswig-Holstein Festival. wide-ranging repertoire encompasses the Baroque to He was the first American chosen to participate contemporary, and his vast conducting credits span the in the BBC’s New Generation Artist program. symphonic, operatic and choral worlds. Sir Andrew was made a Commander of the British Empire in 1992, and a Knight Bachelor in 1999.

5 Photo by Peter Tarasiuk

6 A work that speaks with great humanity

This August, Sir Andrew Davis will conduct Beethoven’s most visionary and spiritual work, the Missa solemnis, for the first time in his career. Here, he reflects on the work and the complexities behind it.

It took Beethoven four years to complete the Beethoven’s predecessors, albeit with a more disturbing Missa solemnis (it received its premiere in 1824) and feel to the central section, but the extraordinary he viewed it as the most important work of his life. outburst at the beginning of the Gloria and the sheer Though based in form, and to a certain extent in energy of its progress have a vividness that takes one’s manner, on the classical models of Haydn and Mozart, breath away. it is imbued with the new spirit of the Enlightenment The Credo is notable for the way that the composer and its values of freedom and questioning, which led glosses over the more impersonal sections of the Mass inevitably to the conundrum of the position of God in text – the belief in the Catholic Church for instance – this brave new world. but dwells with great emotion on Christ’s suffering, Was Beethoven religious? He certainly had an death and resurrection. aversion to ritual and dogma and almost certainly felt Beethoven wrote at the head of the final Agnus Dei his relationship to the divine to be highly personal. ‘A prayer for inner and outer peace’ and the way that Though this view is typical of the Reformation, the the pastoral tone of the Dona Nobis Pacem setting is movement had reached a point at the beginning of interrupted by a crazy fugue from the orchestra and the the nineteenth century that would have horrified violent military sounds of trumpets and drums Luther. There is no question in my mind that a demonstrates, I believe, that this great musical and spiritual immensity and splendour are amongst humanistic visionary was not convinced that his prayer the overwhelming impressions left by a powerful would be answered. performance of this work, but equally important and, one might say, fighting against this is the sense of Man’s So the piece ends with a question. But what a place in the picture. Simple, unquestioning faith is no journey we have had in looking for answers! longer enough. I know that all the performers in these It is for these reasons, not to mention the great upcoming concerts are deeply committed to the technical challenges that face both singers and finest realisation of this master-piece. I hope instrumentalists, that I, along with a good many to conduct it many times in the future! eminent conductors both past and present, have waited Sir Andrew Davis will be joined by four international long to climb the mighty peaks of this great work. soloists, along with the Melbourne Symphony Orchestra and The dual character I have spoken of is illustrated Chorus, for the Missa Solemnis on 26 and 27 August at immediately by the contrast between the first two Arts Centre Melbourne, Hamer Hall. movements: the Kyrie harks back to the formal tone of

7 WOLFGANG AMADEUS MOZART Piano Concerto No.21 in C, K467 (1756–1791) Allegro maestoso Andante Allegro vivace assai

Jonathan Biss piano

This concerto is one of six Mozart completed between doubt whether there are any mistakes, as the copyist February 1785 and December 1786, during which has checked it. Several passages do not harmonise time he also wrote The Marriage of Figaro. They were unless one hears all the instruments playing together.’ composed for a series of subscription concerts intended The slow movement in F induces its rapture by the to raise money and consolidate Mozart’s position with magic of its atmosphere, with the piano as one voice the Viennese public, both as performer and composer. among many in a lapping, throbbing texture of muted He finished the Concerto in C on 9 March 1785, only a strings and long-breathed winds. The piano here is a month after the Concerto in D minor, and apparently singer, as though Mozart was dreaming at the keyboard played it at a concert in the Royal Imperial National of an aria where the limitations of the human voice Court Theatre the next day. were overcome. This is Alfred Einstein’s insight, and It is an interesting comment on changing attitudes Girdlestone adds that this is the most beautiful of what to Mozart that this concerto, the antithesis of the he calls Mozart’s ‘dream Andantes’ (which include those stormy, even demonic D minor concerto, K466 (often of the Violin Concerto K216 and Symphony No.34). admired, wrongheadedly, for showing a ‘Beethovenish’ Many writers on Mozart confess themselves a Mozart), should have joined, perhaps even surpassed, little disappointed with the Rondo which concludes its immediate predecessor in popularity. This is not the concerto – finding in it little that is searching or just because a tantalisingly truncated part of the slow exquisite. Doesn’t this show the instinctive soundness movement was used in the soundtrack of the film Elvira of Mozart’s judgment? How better to refresh the ear Madigan, though that no doubt helped. One would almost surfeited with beauty and intensity than with prefer to think that greater familiarity and sympathy this playful banter, full of irregularities and witty with Mozart had led to the realisation that his music is interplay between piano and wind instruments, not not necessarily at its richest and most impressive when to mention the revelling in powers of execution with it breathes the accents of Romantic pathos. Anyone who which Mozart must have lifted his audience to its feet? loves the operas The Marriage of Figaro or Così fan tutte should love this concerto. It is like a dialogue between © David Garrett two partners, piano and orchestra, speaking different The Melbourne Symphony Orchestra first performed this languages but to the same purpose: heroic or mock concerto on 5 August 1958 with Rafael Kubelik and soloist heroic, coruscating and massive by turns in the first Gordon Watson, and most recently on 16 May 2008 with movement; a dream of beauty speaking of a passion Alexander Briger and Amir Farid. freed from earthly trammels in the second; a comic opera scene with a quicksilver leading character in the third. The march theme which opens the concerto (so simple: just the notes of the common chord), is charmingly described by Cuthbert Girdlestone in his book on Mozart’s piano concertos as a tiptoed march, in stockinged feet. The tempo indication maestoso (majestically) may not be Mozart’s, but it correctly identifies the breadth which is soon proclaimed by the full orchestra. The elaborately prepared entry of the soloist, who is eventually called in by repeated invitations from solo wind instruments, sets the tone for the movement – the piano’s material seems concerned to be as different as possible from that of the tutti. Every time the opening march is stated, the piano branches off into quite different excursions. The piano part is of a virtuosity at least equal to anything in Mozart’s concertos thus far, and comparable with that of the very different D minor concerto. But the orchestra is a very full partner – indeed Mozart’s father, Leopold, commented after reading the parts, ‘The concerto is astonishingly difficult, but I very much

8 GUSTAV MAHLER Symphony No.6 in A minor (1860–1911) Allegro energico, ma non troppo. Heftig, aber markig Andante moderato Scherzo: Wuchtig Finale. Allegro moderato – Allegro energico

Mahler’s first four symphonies mine his many song- third before allegedly swapping them back. The Andante settings of folk poetry from the collection Des Knaben represents a complete contrast with both the Scherzo and Wunderhorn, and three of them contain significant vocal the finale, and its thematic reference to the Songs on the elements. His three central symphonies are all works of Death of Children may give some credence to the theory ‘absolute’ as against programmatic music. Nevertheless, that the scherzo dealt with Mahler’s family life. But his Fifth, Sixth and Seventh Symphonies derive some the tone is hardly tragic. Rather, with its horn calls and of their thematic material from two sets of songs to reminiscence of the cowbells it is poignant and romantic. poetry by Friedrich Rückert (1788-1866): the song-cycle The Scherzo, too, has an insistent rhythm to begin with Kindertotenlieder (Songs on the death of children) and five (which may have prompted Mahler to delay it). There is songs (which do not constitute a cycle) which include the much Mahlerian irony in this movement, both in the dry masterpieces ‘Ich bin der Welt abhanden gekommen’ (I clattering of the xylophone and what Kennedy calls the have lost touch with the world) and ‘Um Mitternacht’ (At ‘delicate pastiche Haydn’. midnight). The finale is one of Mahler’s largest and most complex For all its epic scale, the Sixth is the work, as Mahler structures, and it bears the weight of the symphony put it, of ‘an old-fashioned composer’ in that it is cast in as a whole, recalling material from earlier in the work. a traditional four-movement design. From the outset, Its introductory section contains material that will be though, its tone – which led to the occasional use, even in developed as the movement unfolds, particularly the Mahler’s time, of the nickname Tragic – is unambiguous. impassioned melody heard first high in the violins. A fully scored A major chord, underpinned by an The movement depicts a nightmarish world, where the obsessive rhythmic motif from the timpani, fades, and Allegro energico strains towards climactic release, only as it fades, changes to the minor mode. This is music to be brutally interrupted on three occasions. Mahler which will end in darkness. The movement begins as a originally included a sickening thud ‘like an axe-stroke’ march, though as scholar Michael Kennedy points out, it at each of these points, but later omitted the third out is not the triumphant approach of spring as in the Third of superstition. Theodor Adorno wrote that in Mahler Symphony, or the doom-laden funeral march of the Fifth. ‘happiness flourishes on the brink of catastrophe’. Mahler It is ‘modern music [that] marches in with this sinister himself said that the movement describes ‘the hero on tramping start’. The movement’s starkly contrasting whom falls three blows of fate, the last of which fells second subject is a lyrical tune which rises and falls him as a tree is felled’. The piece ends in dissolution. largely by step. In her memoirs, Alma Mahler describes how, when Mahler began work on the piece on their Abridged from a note by Gordon Kerry © 2006 summer vacation in 1903, ‘after he had drafted the first The Melbourne Symphony Orchestra first performed movement, he came down from [his study] to tell me Mahler’s Sixth Symphony on 7 March 1972 under John he had tried to express me in a theme’. Its contour and Hopkins, and most recently on 14-17 July 2006 with mood certainly relate to any number of Romantic love- Mark Wigglesworth. themes. The yearning lyricism provides a perfect foil for the implacable march with which the movement begins – ‘change and conflict are the secret of effective music’, as Mahler said. Another unique aspect of this work is the celebrated evocation of alpine scenery first heard towards the end of the movement. This striking sound world was said by Mahler to represent the ‘last earthly sounds heard from the valley below by the departing spirit on the mountain top’. He noted that ‘the cowbells should be played with discretion – so as to produce a realistic impression of a grazing herd of cattle, coming from a distance…’ Mahler never quite resolved the issue of the order of the two central movements. Originally the Scherzo, which Alma insisted depicted the ‘tottering’ of their children at play before the intrusion of tragedy, followed the first movement, but Mahler tried it out with the Andante second (as it is performed in this concert) and Scherzo

9 EDUCATION WEEK PHOTO DIARY Music Making Adventures

Over 11,000 children, parents and teachers filled Hamer Hall in May, for our mini-festival of music making activities that gave audiences the chance to dive into the heart of the Orchestra and learn more about classical music. Directed by internationally acclaimed music educator Paul Rissmann and MSO’s Associate Conductor Benjamin Northey, this is what they got up to…

Photography by Daniel Aulsebrook

10 11 SUPPORTERS

Artist Chair Benefactors Impresario Patrons Vivien and Graham Knowles Ann Peacock with Andrew and Dr Elizabeth A Lewis AM Woody Kroger Harold Mitchell AC Chief $20,000+ Peter Lovell Sue and Barry Peake Conductor Chair Michael Aquilina Annette Maluish Mrs W Peart Patricia Riordan Associate Perri Cutten and Jo Daniell Matsarol Foundation Pzena Investment Charitable Conductor Chair Margaret Jackson AC Mr and Mrs D R Meagher Fund Joy Selby Smith Orchestral Mimie MacLaren Wayne and Penny Morgan Ruth and Ralph Renard Leadership Chair John McKay and Lois McKay Marie Morton FRSA S M Richards AM and M R The Gross Foundation Principal Maestro Patrons Dr Paul Nisselle AM Richards James and Frances Pfeiffer Tom and Elizabeth Second Violin Chair $10,000+ Lady Potter AC Romanowski Sophie Rowell, The Ullmer John and Mary Barlow Stephen Shanasy Max and Jill Schultz Family Foundation Associate Kaye and David Birks Gai and David Taylor Jeffrey Sher Concertmaster Chair Paul and Wendy Carter The Hon. Michael Watt QC Diana and Brian Snape AM MS Newman Family Mitchell Chipman and Cecilie Hall Geoff and Judy Steinicke Principal Cello Chair Jan and Peter Clark Jason Yeap OAM Mr Tam Vu and Dr Cherilyn Principal Flute Chair – Sir Andrew and Lady Davis Anonymous (6) Tillman Anonymous Future Kids Pty Ltd William and Jenny Ullmer Gandel Philanthropy Associate Patrons Bert and Ila Vanrenen Program Benefactors Robert & Jan Green $2,500+ Kate and Blaise Vinot In memory of Wilma Collie Barbara and Donald Weir Meet The Orchestra Dandolo Partners David Krasnostein and Brian and Helena Worsfold Made possible by The Ullmer Will and Dorothy Bailey Pat Stragalinos Anonymous (12) Family Foundation Bequest Mr Greig Gailey and Barbara Bell in memory East meets West Player Patrons $1,000+ Dr Geraldine Lazarus of Elsa Bell Supported by the The Cuming Bequest Mrs S Bignell Anita and Graham Anderson, Li Family Trust Ian and Jeannie Paterson Bill Bowness Christine and Mark Armour, The Pizzicato Effect Onbass Foundation Stephen and Caroline Brain Arnold Bloch Leibler, Marlyn (Anonymous) Elizabeth Proust AO Leith and Mike Brooke and Peter Bancroft OAM, Rae Rothfield MSO Education Bill and Sandra Burdett Adrienne Basser, Prof Weston Glenn Sedgwick Supported by Mrs Margaret Oliver Carton Bate and Janice Bate, Dr Maria Solà, in memory of Ross AM and Dr Ian Ross John and Lyn Coppock Julianne Bayliss, Timothy Malcolm Douglas Miss Ann Darby in memory of and Margaret Best, David MSO UPBEAT Drs G & G Stephenson. In Leslie J. Darby and Helen Blackwell, Michael Supported by honour of the great Romanian Mary and Frederick Davidson F Boyt, Philip and Vivien Betty Amsden AO DSJ musicians George Enescu and AM Brass Charitable Foundation, MSO CONNECT Dinu Lipatti Natasha Davies M Ward Breheny, Lino and Supported by Jason Yeap OAM Lyn Williams AM Peter and Leila Doyle Di Bresciani OAM, Mr John Kee Wong and Wai Tang Lisa Dwyer and Dr Ian Dickson Brockman OAM and Mrs Pat Benefactor Patrons Anonymous (1) Jane Edmanson OAM Brockman, Suzie Brown, Jill $50,000+ Dr Helen M Ferguson and Christopher Buckley, Lynne Burgess, Dr Lynda Campbell, Betty Amsden AO DSJ Principal Patrons Mr Bill Fleming Andrew and Pamela Crockett, Philip Bacon AM Mr Peter Gallagher and $5,000+ Jennifer Cunich, Pat and Bruce Marc Besen AC and Dr Karen Morley Davis, Merrowyn Deacon, Eva Besen AO Linda Britten Colin Golvan QC and Sandra Dent, Dominic and John and Jenny Brukner David and Emma Capponi Dr Deborah Golvan Natalie Dirupo, Marie Dowling, Rachel and the Tim and Lyn Edward Charles and Cornelia Goode John and Anne Duncan, Kay Hon. Alan Goldberg AO QC John and Diana Frew Susan and Gary Hearst Ehrenberg, Gabrielle Eisen, The Gross Foundation Susan Fry and Don Fry AO Colin Heggen in memory of Vivien and Jack Fajgenbaum, David and Angela Li Danny Gorog and Marjorie Heggen Grant Fisher and Helen Bird, Harold Mitchell AC Lindy Susskind Gillian and Michael Hund Barry Fradkin OAM and Dr MS Newman Family Lou Hamon OAM Rosemary and James Jacoby Pam Fradkin, Applebay Pty Joy Selby Smith Nereda Hanlon and John and Joan Jones Ltd, David Frenkiel and Esther Ullmer Family Foundation Michael Hanlon AM Kloeden Foundation Frenkiel OAM, Carrillo and Anonymous (1) Hans and Petra Henkell Sylvia Lavelle Hartmut and Ruth Hofmann H E McKenzie Ziyin Gantner, David Gibbs HMA Foundation Allan and Evelyn McLaren and Susie O’Neill, Merwyn Jenny and Peter Hordern Don and Anne Meadows and Greta Goldblatt, Dina and Jenkins Family Foundation Andrew and Sarah Newbold Ron Goldschlager, George Suzanne Kirkham Golvan QC and Naomi Golvan,

12 SUPPORTERS

Dr Marged Goode, Philip Edward and Paddy White, Conductor’s Circle The MSO relies on your and Raie Goodwach, Louise Janet Whiting and Phil Lukies, Current Conductor’s ongoing philanthropic Gourlay OAM, Ginette and Nic and Ann Willcock, Marian Circle Members support to sustain André Gremillet, Max Gulbin, and Terry Wills Cooke, Pamela Jenny Anderson, David access, artists, education, Dr Sandra Hacker AO and Mr F Wilson, Joanne Wolff, Angelovich, G C Bawden and community engagement Ian Kennedy AM, Jean Hadges, Peter and Susan Yates, Mark L de Kievit, Lesley Bawden, Paula Hansky OAM, Tilda Young, Panch Das and Laurel and more. We invite our Joyce Bown, Mrs Jenny supporters to get close to and Brian Haughney, Julian Young-Das, YMF Australia, Brukner and the late Mr John and Gisela Heinze, Penelope Anonymous (17) Brukner, Ken Bullen, Luci and the MSO through a range Hughes, Dr Alastair Jackson, Ron Chambers, Sandra Dent, of special events and Basil and Rita Jenkins, Stuart The Mahler Syndicate Lyn Edward, Alan Egan JP, supporter newsletter Jennings, George and Grace David and Kaye Birks, John Gunta Eglite, Louis Hamon The Full Score. Kass, Irene Kearsey, Brett and Jenny Brukner, Mary and OAM, Carol Hay, Tony Howe, Kelly and Cindy Watkin, Ilma Frederick Davidson AM, Tim Audrey M Jenkins, John and The MSO welcomes your Kelson Music Foundation, Dr and Lyn Edward, John and Joan Jones, George and Grace support at any level. Anne Kennedy, George and Diana Frew, Francis and Robyn Kass, Mrs Sylvia Lavelle, Donations of $2 and over Patricia Kline, Bryan Lawrence, Hofmann, The Hon Dr Barry Pauline and David Lawton, are tax deductible, and William and Magdalena Jones AC, Dr Paul Nisselle Lorraine Meldrum, Cameron supporters are recognised Mowat, Laurence O’Keefe Leadston, Norman Lewis in AM, Maria Solà in memory and Christopher James, Rosia as follows: memory of Dr Phyllis Lewis, of Malcolm Douglas, The Hon Pasteur, Elizabeth Proust $1,000 (Player), Dr Anne Lierse, Ann and Michael Watt QC and Cecilie AO, Penny Rawlins, Joan P $2,500 (Associate), George Littlewood, Violet Hall, Anonymous (1) Robinson, Neil Roussac, Anne $5,000 (Principal), and Jeff Loewenstein, The Roussac-Hoyne, Jennifer Hon Ian Macphee AO and MSO Roses $10,000 (Maestro), Shepherd, Drs Gabriela and $20,000 (Impresario), Mrs Julie Macphee, Elizabeth Founding Rose George Stephenson, Pamela H Loftus, Vivienne Hadj Jenny Brukner Swansson, Lillian Tarry, Dr $50,000 (Benefactor). and Rosemary Madden, In Roses Cherilyn Tillman, Mr and Mrs The MSO Conductor’s memory of Leigh Masel, Mary Barlow, Linda Britten, R P Trebilcock, Michael Ullmer, John and Margaret Mason, In Ila Vanrenen, Mr Tam Vu, Circle is our bequest Wendy Carter, Annette program for members honour of Norma and Lloyd Maluish, Lois McKay, Pat Marian and Terry Wills Cooke, who have notified of a Rees, Ruth Maxwell, Trevor Stragalinos, Jenny Ullmer Mark Young, Anonymous (23) and Moyra McAllister, David planned gift in their Will. Rosebuds Menzies, Ian Morrey, Laurence The MSO gratefully O’Keefe and Christopher Maggie Best, Penny Barlow, acknowledges the Enquiries: James, Graham and Christine Leith Brooke, Lynne Damman, support received from Ph: +61 (3) 9626 1248 Francie Doolan, Lyn Edward, Peirson, Margaret Plant, the Estates of: Email: philanthropy@ Kerryn Pratchett, Peter Priest, Penny Hutchinson, Elizabeth Angela Beagley, Gwen Hunt, mso.com.au Eli Raskin, Bobbie Renard, A Lewis AM, Sophie Rowell, Pauline Marie Johnston, C P Peter and Carolyn Rendit, Dr Dr Cherilyn Tillman Kemp, Peter Forbes MacLaren, Rosemary Ayton and Dr Sam Foundations and Trusts Prof Andrew McCredie, Miss Ricketson, Joan P Robinson, Sheila Scotter AM MBE, Molly Creative Partnerships Australia Zelda Rosenbaum OAM, Antler Stephens, Jean Tweedie, Herta Ltd, Doug and Elisabeth Scott, Crown Resorts Foundation and and Fred B Vogel, Dorothy Dr Sam Smorgon AO and the Packer Family Foundation Wood Mrs Minnie Smorgon, John The Cybec Foundation So, Dr Norman and Dr Sue The Harold Mitchell Foundation Honorary Appointments Sonenberg, Dr Michael Soon, Ivor Ronald Evans Foundation, Mrs Elizabeth Chernov Pauline Speedy, State Music managed by Equity Trustees Education and Community Camp, Dr Peter Strickland, Limited Engagement Patron The Marian and EH Flack Trust Mrs Suzy and Dr Mark Suss, Sir Elton John CBE The Perpetual Foundation – Pamela Swansson, Tennis Cares Life Member - Tennis Australia, Frank Tisher Alan (AGL) Shaw Endowment, The Honourable OAM and Dr Miriam Tisher, managed by Perpetual Alan Goldberg AO QC Margaret Tritsch, Judy Turner The Pratt Foundation Life Member and Neil Adam, P & E Turner, The Robert Salzer Foundation Mary Vallentine AO, The Hon. The Schapper Family Geoffrey Rush AC Rosemary Varty, Leon and Foundation Ambassador Sandra Velik, Elizabeth Wagner, The Scobie and Claire John Brockman AO Sue Walker AM, Elaine Walters Mackinnon Trust Life Member OAM and Gregory Walters,

13 ORCHESTRA

First Violins Violas Piccolo Trumpets Dale Barltrop Christopher Moore Andrew Macleod Geoffrey Payne Concertmaster Principal Principal Principal Eoin Andersen Fiona Sargeant Oboes Shane Hooton Concertmaster Associate Principal Associate Principal Jeffrey Crellin Sophie Rowell Lauren Brigden William Evans Principal The Ullmer Family Foundation Katharine Brockman Julie Payne Associate Concertmaster Chair Christopher Cartlidge Thomas Hutchinson Rob Maltessi* Associate Principal Andrew Beer*† Gabrielle Halloran Rainer Saville* Guest Principal Trevor Jones Ann Blackburn Cindy Watkin Emmanuel Cassimatis* Trombones Peter Edwards Caleb Wright Brett Kelly Assistant Principal Lisa Grosman* Cor Anglais Principal Kirsty Bremner Michael Pisani Iain Faragher* Sarah Curro Cellos Principal Benjamin Lovell-Greene* Peter Fellin David Berlin Deborah Goodall MS Newman Family Clarinets Bass Trombone Lorraine Hook Principal Cello Chair David Thomas Mike Szabo Kirstin Kenny Rachael Tobin Principal Principal Ji Won Kim Associate Principal Philip Arkinstall Eleanor Mancini Associate Principal Tuba Mark Mogilevski Nicholas Bochner ‡ Timothy Buzbee Michelle Ruffolo Assistant Principal Matthew Larson* Principal Kathryn Taylor Miranda Brockman Craig Hill Robert John* Rohan de Korte Bass Clarinet Timpani Oksana Thompson* Keith Johnson Sarah Morse Jon Craven Christine Turpin Second Violins Angela Sargeant Principal Principal Matthew Tomkins Michelle Wood Bassoons Percussion The Gross Foundation Jack Bailey* Jack Schiller Robert Clarke Principal Second Violin Chair Zoe Knighton* Principal Principal Robert Macindoe Double Basses Elise Millman John Arcaro Associate Principal Steve Reeves Associate Principal Robert Cossom Monica Curro Principal Natasha Thomas Shanie Klas* Assistant Principal Andrew Moon Colin Forbes-Abrams* Leah Scholes* Mary Allison Associate Principal Harp Isin Cakmakcioglu Contrabassoon Sylvia Hosking Freya Franzen Yinuo Mu Assistant Principal Brock Imison Cong Gu Principal Principal Damien Eckersley Andrew Hall Yi-Yun Loei* Benjamin Hanlon Francesca Hiew Horns Guest Principal Suzanne Lee Rachel Homburg Grzegorz Curyla*‡ Stephen Newton Melina van Leeuwin* Christine Johnson Guest Principal Isy Wasserman Young-Hee Chan* Geoff Lierse Celeste Philippa West Flutes Associate Principal Leigh Harold* Patrick Wong Roger Young Prudence Davis Saul Lewis Principal Flute Chair - Principal Third Anonymous * Guest Musician Jenna Breen † Courtesy of Auckland Wendy Clarke Abbey Edlin Philharmonic Orchestra Associate Principal Trinette McClimont ‡ Courtesy of Malaysian Philharmonic Orchestra Sarah Beggs Robert Shirley* Julia Brooke*≠ ≠ Courtesy of West Australian Paula Rae* Symphony Orchestra Katie Zagorski Anton Schroeder* Philip Wilson*

BOARD

Chairman Board Members Company Secretary Michael Ullmer Andrew Dyer David Krasnostein Oliver Carton Danny Gorog David Li Margaret Jackson AC Helen Silver AO Brett Kelly Kee Wong

14 SUPPORTERS

MAESTRO PARTNERS OFFICIAL CAR PARTNER

ASSOCIATE PARTNERS

SUPPORTING PARTNERS Linda Britten Fitzroys Naomi Milgrom Foundation Alpha Feature Investment

Hardy Amies Red Emperor Beautiful Flowers

GOVERNMENT PARTNERS MEDIA PARTNERS

15 Master the art of me-time Relax to music and smooth sips of Hennessy Paradis, or a good story and a glass of Dom Perignon. Savour every indulgence in our First Class Private Suites. Principal Partner of the Melbourne Symphony Orchestra.

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