CONCERT PROGRAM

Bach Suites

Thursday 28 April at 8pm Friday 29 April at 8pm Saturday 30 April at 2pm Arts Centre Melbourne, Costa Hall, Arts Centre Melbourne, Hamer Hall Geelong Hamer Hall Presented by Emirates WHAT’S ON MAY – JUNE 2016

METROPOLIS NEW BRAHMS’ FOURTH PROKOFIEV’S ROMEO MUSIC FESTIVAL SYMPHONY AND JULIET Saturday 14 May Friday 27 May Friday 3 June Wednesday 18 May Saturday 28 May Saturday 4 June Saturday 21 May Monday 6 June German conductor Christoph The 2016 Metropolis New Music König directs a program of three Diego Matheuz returns with this Festival is especially metropolitan in masterpieces. Ravel’s Le tombeau program of three Russian classics, content and spirit. Its theme, Music de Couperin is followed by Bartók’s including Rachmaninov’s beloved of the City, will examine all facets rarely performed Viola Concerto Piano Concerto No.2, with Korean of city life, through time, place and with British virtuoso Lawrence pianist Joyce Yang, and Mussorgsky’s history. The director of Metropolis Power. Brahms’ Symphony No.4 ominous Night on Bald Mountain. 2016 is dynamic American conductor, completes the program. It concludes with excerpts from pianist and composer Robert Spano. Prokofiev’s ingenious and complex ballet score Romeo and Juliet.

MENDELSSOHN’S RACHMANINOV’S GLUZMAN PLAYS BRAHMS VIOLIN CONCERTO PAGANINI RHAPSODY Friday 24 June Thursday 9 June Thursday 16 June Saturday 25 June Friday 10 June Friday 17 June Monday 27 June Saturday 11 June Music of three distinct ages and The mighty challenges of the MSO Concertmaster Eoin styles – Haydn’s Symphony No.6, Le Brahms Violin Concerto are tackled Andersen directs the Orchestra in matin, is followed by Rachmaninov’s by Ukrainian-born Israeli virtuoso, Stravinsky’s Suite from Pulcinella famous Rhapsody on a Theme of Vadim Gluzman, making his debut and ’s arrangement of Till Paganini, with the spectacular with the MSO. It is preceded by Eulenspiegel’s Merry Pranks. Also on French pianist Jean-Efflam Bavouzet. another powerful work, orchestral the program is Strauss’ Serenade for Then, a work Sir excerpts from Berlioz’s dramatic Winds and Mendelssohn’s evergreen believes is one of the greatest of the symphony, Romeo and Juliet. This Violin Concerto. 20th century – Ives’ Symphony No.4. program also features the world premiere of Australian composer James Ledger’s Hollow Kings.

2 ARTISTS Melbourne Symphony Orchestra Paul Goodwin conductor Prudence Davis flute

REPERTOIRE Haydn Symphony No.49 ‘La Passione’ Bach, J.S. Orchestral Suite No.2 — Interval — Bach, J.S. Orchestral Suite No.3 Haydn Symphony No.92 ‘Oxford’

This concert has a duration of approximately Pre-Concert Talk 2 hours, including a 20-minute interval. 7pm Thursday 28 April, Stalls Foyer, Hamer Hall 7pm Friday 29 April, Costa Hall, Geelong This performance will be recorded for future 1pm Saturday 30 April, Stalls Foyer, Hamer Hall broadcast on ABC Classic FM. MSO Director of Artistic Planning Ronald Vermeulen Series Presenter will present a talk on the artists and works featured in Master Series Thursday the program.

3 MELBOURNE SYMPHONY ORCHESTRA

The Melbourne Symphony Orchestra (MSO) was established in 1906 and is ’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, Markus Stenz and . 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, which include recent discs of Strauss’ Four Last Songs, Don Juan and Also sprach Zarathustra with Sir Andrew Davis and Erin Wall on ABC Classics. On the Chandos label the MSO has recently released Berlioz’ Harold en Italie with James Ehnes and Ives’ Symphonies Nos. 1 and 2, both 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 PAUL GOODWIN PRUDENCE DAVIS CONDUCTOR FLUTE

Artistic Director and Principal Conductor of the Prudence (Prue) Davis has held the position of Principal Carmel Bach Festival in California, Paul Goodwin is Flute with the Melbourne Symphony Orchestra since one of Britain’s most versatile conductors, renowned 1980. Growing up in Melbourne, Prue studied flute at for historically informed interpretations of music of the Victorian College of the Arts with Peter Edge, and all periods, an interest in contemporary music and later in Switzerland with Aurèle Nicolet. innovative programming. She has performed with the Australia Ensemble, the He has conducted orchestras such as the BBC Australian Chamber Orchestra and is also a founding Philharmonic, Hallé Orchestra, , member of the Australian Chamber Soloists and the Royal Stockholm Philharmonic, and several German Melbourne Chamber Orchestra (formerly Australia Pro orchestras. His opera repertoire includes Iphigénie en Arte). She tours regularly for Musica Viva and in 1989 Tauride, The Rape of Lucretia, Orlando (including for toured Australia with the visiting Reger Trio from Opera Australia), and other Handel operas. West Germany. As Associate Conductor of the Academy of Ancient Prue has appeared as a soloist in North and South Music, he made recordings of Schütz choral music, America, Paris, Bonn, The Hague, Brussels, Berlin Mozart’s singspiel and two discs of music by and Kuala Lumpur as well as on many occasions with . Tavener is one of several contemporary the MSO. In January 1993 she undertook a solo tour composers he has commissioned. Paul was Principal of Japan where she performed with the Orchestra Guest Conductor of the English Chamber Orchestra Ensemble Kanazawa and gave chamber music concerts for six years, collaborating with artists such as Kiri and masterclasses. Te Kanawa, , Maria João Pires, Mstislav Prue’s first flute was a Christmas present under the Rostropovich and Magdalena Kožená. tree, along with a copy of ‘A Tune a Day for Flute’. She Paul’s dedication to educational projects has led him fell in love with the sound as soon as she played it: to work with various youth orchestras, including those ‘There is something about the immediacy of the sound, of the Royal College and , the beauty of it being right from your breath that London. In 2007, he was awarded the Handel Honorary makes it feel as if it is a natural extension of yourself Prize of the City of Halle (Saale) in recognition of his and your musical voice’. services to performances of works by George Frederic On Bach’s Orchestral Suite No.2, Prue has this Handel. to say: ‘This Suite is iconic. Especially because of the Polonaise and Badinierie which will be instantly recognisable, but before we get to them there is so much music beforehand. Bach has written a playful interplay between the flute and the ensemble in order to emphasise where the main moments of important melodic interest are. It can feel quite overwhelming to be playing unison with the violins but it does make the contrast quite noticeable when the flute has the melody to itself, emerging from the thicker texture to float above the strings.’

5 Sir Andrew Davis’ highly anticipated return to Here, the Orchestra and Chorus perform Vaughan Melbourne delighted critics, with The Australian Williams’ Serenade to Music. This was followed by praising him for the ‘technically audacious and Tchaikovsky’s Violin Concerto, performed by violin stylistically eclectic program that built steadily superstar Ray Chen, and Strauss’ An Alpine Symphony. 10 – 12 MARCH 2016 in emotional intensity.’ Visit mso.com.au/alpineblog to see the full gallery and read the reviews.

Photo by Daniel Aulsebrook

6 7 JOSEPH HAYDN Symphony No.49 in F minor Hob.I:49 ‘La Passione’ (1732–1809) Adagio Allegro di molto Menuet e Trio Finale (Presto)

The designation La Passione suggests some special The opening Adagio is the biggest movement, and purpose, presumably related to Holy Week. The title, arguably the spiritual core of the symphony. Yet, unlike however, is unauthentic, and there is no evidence some of Haydn’s earlier ‘church sonata’ symphonies, La of any such intent either within the music or in any Passione maintains its emotional and spiritual force, extramusical documentation. Even if the title was without tailing off, through four equally inspired current during the composer’s lifetime, as is possible, movements. The wildly leaping melody of the second there is no knowing whether he approved it. movement is swept forward on an irresistible tide in the bass. The minuet is dogged, subdued, beginning What can be said with certainty is that this was the not with Haydn’s customary springy upbeat but on a last, and undoubtedly the greatest, of seven symphonies mechanical, hang-dog downbeat. The finale is a flight Haydn composed in the archaic ‘church sonata’ form, from relentless nightmare, not destined for glory in with a slow opening movement. While the ‘church imposing cadences at the end but simply thankful to sonata’ symphonies have no overtly religious intent, get there. they are essentially solemn works or, as in the present case, bleak, tense and often anguished. Written in La Passione lacks none of the sureness of touch 1768, the third summer of the fabulous Eszterháza occasionally missing from Haydn’s other Sturm und castle raised by Haydn’s princely employer on former Drang music. The composer is, as Haydn authority swamplands in Hungary, La Passione is an early but H.C. Robbins Landon puts it, ‘passing through the eye archetypal product of the composer’s so-called Sturm of the storm’ (a storm effectively created by himself). und Drang (Storm and Stress) period, the designation That experience was to prove crucial in the long-term of which characterises the passionate and emotional development of his own music and the music of his intensity of some of the music that flowed from successors. Haydn’s pen between about 1766 and 1773. Sturm und © Anthony Cane Drang in Haydn’s symphonies share with the church sonata form a widespread use of minor or remote keys, The Melbourne Symphony Orchestra first performed this frequent polyphonic and contrapuntal textures, dynamic symphony on 24 and 26 June 1950, under conductor Charles contrasts, and spare, unadorned instrumentation. The Groves, and most recently on 22 March 2012 under Kolja Sturm und Drang symphonies are often tragic, sombre, Blacher. even violent. Among a series of unlikely key signatures, the choice for La Passione of F minor, a key Haydn reserved for just a few works, reflects a rare and special occasion. He casts every movement of the present work in the home key, providing a smidgin of relief only in the central trio section of the minuet, where a contrasting tonality in the major is virtually unavoidable. Spiritually and emotionally, therefore, the mood is dark throughout, shifting from deepest gloom to the almost hysterical energy of desperation.

8 (1685–1750)

Orchestral Suite No.2 in B minor, BWV 1067 Orchestral Suite No.3 in D, BWV 1068 for 3 trumpets for flute, strings and continuo and timpani, 2 , strings and continuo Rondeau Polonaise – Double Ouverture Bourrée Sarabande Menuet Air Gigue Bourée I – II Badinerie Gavotte I – II Prudence Davis flute

Very little is known about the origins of Bach’s four Suite No.2 is scored for a single flute and strings, orchestral suites. For many years, it was commonly and the fact that the flute – for which there is much believed that they dated from his time at Cöthen (1717- brilliant writing – is the only non-stringed instrument 1723), largely because Bach’s situation there was so gives it great prominence. It creates almost the effect of ideal for the composition of instrumental music: Prince a concerto. Leopold of Cöthen was a great music lover, but also a The surviving parts of Suite No.3 show that it was Calvinist, so there was little call for church music and conceived for a double orchestra: two groups of four certainly no requirement for Bach to produce a new instrumental parts each. One consists of three trumpets cantata every few weeks, as would be the case when he and kettledrums, the other of two violins, violas and moved to Leipzig. But more recent studies have come to continuo. The two oboes play in unison with the the conclusion that the orchestral suites were actually violins throughout; there is a theory that they were an written in Leipzig, or at least heavily revised there. afterthought, added to give the strings more bite. The Despite the heavy workload associated with his Air in this suite took on a life of its own after becoming position as Kantor of the Thomasschule and Musical famous in a lush Romantic arrangement for solo violin Director for the whole of Leipzig, in 1729 Bach took on and keyboard (the Air on the G String, arranged by the responsibility of directing the Collegium Musicum, Wilhelmj). a voluntary association of professional musicians and © Symphony Australia university students which gave regular weekly public concerts. The Collegium Musicum performed on Friday The first performance of Bach’s Orchestral Suite No.2 by evenings at the coffee-house of Gottfried Zimmermann; the Melbourne Symphony Orchestra took place on 11 April in summer, the concerts took place outdoors in his 1945 under conductor John Farnsworth Hall. The MSO garden outside the city walls. No programs survive to most recently performed it on 25 October 1973 with Rudolf tell us what repertoire would have been performed, Barshai. but there are performing parts which indicate that the The first complete performance of Orchestral Suite No.3 by orchestral suites were among the works presented. the Melbourne Symphony Orchestra took place on 19 April One origin of Bach’s suites lay in the ‘French’ suite 1952 under conductor Juan José Castro. The MSO most (allemande – courante – sarabande – gigue, with recently performed it on 26 November 1997 with Graham optional dances such as the gavotte, minuet, rigaudon Abbott. and bourrée sandwiched between sarabande and gigue). Bach, however, called his orchestral suites Ouvertüren, which referred to a ‘French’ overture followed by a set of dances. The ouverture as standardised by Lully in his operas consisted of a slow, often majestic introduction, followed by a fast fugal section, then a return of the slow opening. Suites for orchestral performance arose in France when the most popular dance numbers from an opera were performed away from the stage; this was Bach’s model.

9 JOSEPH HAYDN Symphony No.92 in G Hob.I:92 ‘Oxford’ (1732–1809) Adagio – Allegro spiritoso Adagio Minuet and Trio (Allegretto) Presto

The Oxford Symphony is one of Haydn’s greatest works The slow movement is built around a series of and derives its subtitle from its performance at Oxford repetitions and variations on the eight-bar opening in July 1791 on the occasion of the composer’s admission melody on the strings. A series of loud chords lead to the honorary degree of Doctor of Music. It was not to the striking middle section which incorporates composed for that occasion, however, but was one of trumpets and drums in a powerful and unexpected three symphonies (Nos 90, 91 and 92) written two years dramatic turn. The principal theme returns on the earlier at the request of the young Claude-François- , accompanied by strings and horn, leading to an Marie Rigoley, the Count d’Ogny, in Paris. It was the extended, nostalgic coda. same Count who, as a backer of the aristocratic Concert The minuet begins with the full orchestra stating the de la Loge Olympique, had instigated the commission boisterous theme. The trio is built around a distinctively that resulted in Haydn’s six famous and hugely syncopated horn and bassoon motif punctuated by successful Paris symphonies (Nos 82-87). pizzicato strings, before the return of the first section. When Haydn made his first visit to England The finale represents Haydn at his merriest, with the in January 1791 he carried manuscript copies of strings announcing the main theme before it is taken Symphonies Nos 90 and 92. In July, he was invited up first by the bassoons and then the lower strings. The to conduct three celebratory concerts on successive second theme also appears in the strings, with the flute nights in the imposing Sheldonian Theatre (designed answering. Both themes are then put through a series by Sir Christopher Wren) at Oxford during his doctoral of virtuosic variations, demonstrating just why Haydn festivities. The Symphony No.92 was performed in is so often described as the master of the symphonic the second concert on Thursday 7 July, the evening finale. before the ceremony in which Haydn actually received his degree. There is a stillness in the short Adagio © Anthony Cane introduction to the first movement of the Oxford The Melbourne Symphony Orchestra first performed Symphony, broken only by a chromatically wandering Haydn’s Oxford Symphony on 12 and 13 September 1956 solo cello. These brief introductory cameos are typical under conductor Kurt Woess, and most recently on 28 of Haydn’s late symphonies, and as Haydn scholar H.C. January 1979 with Leonard Dommett. Robbins Landon points out, when the main Allegro subject of the Oxford Symphony appears, it is only four bars long and not in the home key of G major. Nevertheless, Haydn develops his opening movement from this fragmentary theme.

10 From Star Wars to Romeo and Juliet to Crazy Creatures, MSO Education Week is for the young, and the young at heart.

Join the Orchestra from 3 - 7 May for a fun-filled Children aged 0-5 will have the chance to play with adventure during MSO Education Week – a mini festival MSO musicians during Jams for Juniors: Carnival of that introduces the wonderful world of classical music the Animals, as children aged 3-7 are taken on a wacky to people of all ages. adventure during Classic Kids: Crazy Creatures, with school-aged children able to meet a host of audacious Internationally acclaimed music educator Paul characters during Meet the Orchestra: Bamboozled. Rissmann will direct the week, joining forces with MSO’s Associate Conductor Benjamin Northey to take The MSO will also present Symphony in a Day, audiences on a journey into the heart of the Orchestra. a side-by-side initiative that provides community musicians with the opportunity to perform alongside Education Week will kick off with a big, bold and their MSO counterpart, conducted by Benjamin fun concert that showcases the sheer aural spectacle of Northey. a large-scale orchestra performing some of the greatest musical giants – John Adams, and Visit mso.com.au/edweek to find out more and to John Williams to name a few. An Adventurer’s Guide purchase tickets. to the Orchestra will feature the Star Wars theme and excerpts from Prokofiev’s Romeo and Juliet, and is the perfect experience for anyone interested in learning about classical music.

11 SUPPORTERS

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

12 SUPPORTERS

Mr Ian Kennedy AM, Jean Peter and Susan Yates, Mark Conductor’s Circle The MSO relies on your Hadges, Paula Hansky OAM Young, Panch Das and Laurel Current Conductor’s ongoing philanthropic and Jack Hansky AM, Tilda Young-Das, YMF Australia, Circle Members support to sustain access, and Brian Haughney, Julian Anonymous (17) Jenny Anderson, David artists, education, and Gisela Heinze, Penelope Angelovich, G C Bawden and community engagement Hughes, Dr Alastair Jackson, The Mahler Syndicate L de Kievit, Lesley Bawden, Basil and Rita Jenkins, Stuart David and Kaye Birks, John and more.We invite our Joyce Bown, Mrs Jenny Jennings, George and Grace and Jenny Brukner, Mary and supporters to get close to Brukner and the late Mr John Kass, Irene Kearsey, Brett Kelly Frederick Davidson AM, Tim the MSO through a range Brukner, Ken Bullen, Luci and and Cindy Watkin, Ilma Kelson and Lyn Edward, John and of special events and Ron Chambers, Sandra Dent, Music Foundation, Dr Anne Diana Frew, Francis and Robyn supporter newsletter Lyn Edward, Alan Egan JP, Kennedy, Bryan Lawrence, Hofmann, The Hon Dr Barry Gunta Eglite, Louis Hamon The Full Score. William and Magdalena, Jones AC, Dr Paul Nisselle AM, OAM, Carol Hay, Tony Howe, The MSO welcomes your Leadston, Norman Lewis in Maria Solà in memory of Audrey M Jenkins, John and memory of Dr Phyllis Lewis, Malcolm Douglas, The Hon support at any level. Joan Jones, George and Grace Dr Anne Lierse, Ann and Michael Watt QC and Cecilie Donations of $2 and Kass, Mrs Sylvia Lavelle, George Littlewood, Violet Hall, Anonymous (1) over are tax deductible, Pauline and David Lawton, and Jeff Loewenstein, The and supporters are Lorraine Meldrum, Cameron Hon Ian Macphee AO and MSO Roses recognised as follows: Mowat, Laurence O’Keefe Mrs Julie Mcphee, Elizabeth Founding Rose and Christopher James, Rosia $100 (Friend), H Loftus, Vivienne Hadj and Jenny Brukner Pasteur, Elizabeth Proust $1,000 (Player), Rosemary Madden, In memory Roses AO, Penny Rawlins, Joan P $2,500 (Associate), of Leigh Masel, John and Mary Barlow, Linda Britten, Robinson, Neil Roussac, Anne $5,000 (Principal), Margaret Mason, In honour Wendy Carter, Annette Roussac-Hoyne, Jennifer $10,000 (Maestro), of Norma and Lloyd Rees, Maluish, Lois McKay, Pat Shepherd, Drs Gabriela and Ruth Maxwell, Trevor and $20,000 (Impresario), Stragalinos, Jenny Ullmer, George Stephenson, Pamela Moyra McAllister, David $50,000 (Benefactor). Rosebuds Swansson, Lillian Tarry, Dr Menzies, Ian Morrey, Laurence Cherilyn Tillman, Mr and Mrs The MSO Conductor’s O’Keefe and Christopher Maggie Best, Penny Barlow, R P Trebilcock, Circle is our bequest James, Graham and Christine Leith Brooke, Lynne Damman, Michael Ullmer, Ila Vanrenen, program for members Peirson, Margaret Plant, Francie Doolan, Lyn Edward, Mr Tam Vu, Marian and Terry Kerryn Pratchett, Peter Priest, Penny Hutchinson, Elizabeth who have notified of a Wills Cooke, Mark Young, Eli Raskin, Bobbie Renard, A Lewis AM, Sophie Rowell, planned gift in their Will. Dr Cherilyn Tillman Anonymous (23) Peter and Carolyn Rendit, Dr Enquiries to Rosemary Ayton and Dr Sam The MSO gratefully Foundations and Trusts Justine Knapp: Ricketson, Joan P Robinson, acknowledges the Zelda Rosenbaum OAM, Antler Ph: +61 (3) 9626 1249 The A.L. Lane Foundation support received from Ltd, Doug and Elisabeth Scott, The Annie Danks Trust the Estates of: Email: philanthropy@ Dr Sam Smorgon AO and Collier Charitable Fund mso.com.au Mrs Minnie Smorgon, John Creative Partnerships Australia Angela Beagley, Gwen Hunt, So, Dr Norman and Dr Sue Crown Resorts Foundation and Pauline Marie Johnston, C P Sonenberg, Dr Michael Soon, the Packer Family Foundation Kemp, Peter Forbes MacLaren, Pauline Speedy, State Music The Cybec Foundation Prof Andrew McCredie, Miss Camp, Dr Peter Strickland, Mrs The Harold Mitchell Foundation Sheila Scotter AM MBE, Molly Suzy and Dr Mark Suss, Pamela Helen Macpherson Smith Trust Stephens, Jean Tweedie, Herta Swansson, Tennis Cares- Ivor Ronald Evans Foundation, and Fred B Vogel, Dorothy Wood Tennis Australia, Frank Tisher managed by Equity Trustees Honorary Appointments OAM and Dr Miriam Tisher, Limited Margaret Tritsch, Judy Turner The Marian and EH Flack Trust Mrs Elizabeth Chernov and Neil Adam, P & E Turner, The Perpetual Foundation – Education and Community Mary Vallentine AO, The Alan (AGL) Shaw Endowment, Engagement Patron Hon. Rosemary Varty, Leon managed by Perpetual Sir Elton John CBE and Sandra Velik, Elizabeth The Pratt Foundation Life Member Wagner, Sue Walker AM, Elaine The Robert Salzer Foundation The Honourable Walters OAM and Gregory The Schapper Family Alan Goldberg AO QC Walters, Edward and Paddy Foundation Life Member White, Janet Whiting and Phil The Scobie and Claire Lukies, Nic and Ann Willcock, Mackinnon Trust Geoffrey Rush AC Marian and Terry Wills Cooke, Ambassador Pamela F Wilson, Joanne Wolff,

13 ORCHESTRA *Guest musician

First Violins Violas Flutes Horns Dale Barltrop Christopher Moore Prudence Davis Geoff Lierse Concertmaster Principal Principal Flute Chair - Associate Principal Eoin Andersen Fiona Sargeant Anonymous Saul Lewis Concertmaster Associate Principal Wendy Clarke Principal Third Sophie Rowell Lauren Brigden Associate Principal Jenna Breen The Ullmer Family Foundation Katharine Brockman Sarah Beggs Abbey Edlin Associate Concertmaster Chair Christopher Cartlidge Trinette McClimont Piccolo Rebecca Chan* Gabrielle Halloran Robert Shirley* Guest Principal Trevor Jones Andrew Macleod Cindy Watkin Principal Trumpets Peter Edwards Caleb Wright Geoffrey Payne Assistant Principal Ceridwen Davies* Oboes Principal Kirsty Bremner Jeffrey Crellin Shane Hooton Sarah Curro Cellos Principal Associate Principal Peter Fellin David Berlin Thomas Hutchinson William Evans Deborah Goodall MS Newman Family Associate Principal Julie Payne Lorraine Hook Principal Cello Chair Kirstin Kenny Ann Blackburn Rachael Tobin Trombones Ji Won Kim Associate Principal Cor Anglais Eleanor Mancini Brett Kelly Mark Mogilevski Nicholas Bochner Michael Pisani Principal Michelle Ruffolo Assistant Principal Principal Iain Faragher* Kathryn Taylor Miranda Brockman Clarinets Bass Trombone Robert John* Rohan de Korte Oksana Thompson* Keith Johnson David Thomas Mike Szabo Sarah Morse Principal Principal Second Violins Angela Sargeant Philip Arkinstall Tuba Matthew Tomkins Michelle Wood Associate Principal Timothy Buzbee The Gross Foundation Craig Hill Double Basses Principal Principal Second Violin Chair Steve Reeves Bass Clarinet Robert Macindoe Principal Timpani Associate Principal Jon Craven Andrew Moon Principal Christine Turpin Monica Curro Associate Principal Principal Assistant Principal Bassoons Sylvia Hosking Percussion Mary Allison Assistant Principal Jack Schiller Isin Cakmakcioglu Principal Robert Clarke Freya Franzen Damien Eckersley Principal Benjamin Hanlon Elise Millman Cong Gu John Arcaro Suzanne Lee Associate Principal Andrew Hall Robert Cossom Francesca Hiew Stephen Newton Natasha Thomas Harp Rachel Homburg Contrabassoon Christine Johnson Yinuo Mu Brock Imison Isy Wasserman Principal Philippa West Principal Patrick Wong Harpsichord Roger Young Donald Nicolson* Aaron Barnden*

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

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

Brahms’ Fourth Conductor Christoph König and violist Lawrence Power, star in this intriguing repertoire featuring Ravel’s Le tombeau de Couperin, Bart�k’s Viola Concerto and Brahms’ Symphony No.4. 28 May Arts Centre Melbourne, Hamer Hall.

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Complimentary Chauffeur-drive service* w Fine dining on demand w World-class service

*Complimentary Chauffeur-drive service available for First Class and Business Class, excluding Trans-Tasman services and codeshare flights operated by Qantas to Southeast Asia. Mileage restrictions apply. For full terms and conditions visit emirates.com/au. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.

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