SYMpHOnY OrcHESTra prESEnTS

in aSSOciaTiOn wiTH THE

fEbrUarY 2013 wednesday 13 Saturday 16 wednesday 20 Saturday 23 aLL cOncErTS STarT aT 7pM gaTES OpEn frOM 4pM MSO.cOM.aU conditions of entry & all other information available online bring a picnic! twitter.com/melbsymphony facebook.com/melbournesymphony emirates.com/au

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is enshrined in these Sidney Myer Free Concerts. The year ahead brings many opportunities for the kind of two-way engagement exemplified by the Bowl concerts. We’re preparing for our third open-house Education Week at the Melbourne Town Hall in June; and we continuously look for new ways to inspire the people of Victoria through performances, jams, recordings and broadcasts. Head over to the MSO marquee near gate 1 to find out how you This breadth of achievement speaks can get involved with your Orchestra of a commitment by the Orchestra throughout the year, or connect with us on Facebook and Twitter. Since joining the Melbourne Symphony to reach out to the richly diverse Orchestra late last year, I have been community it serves. I know from experience that the Sidney hugely impressed at the range of the In our annual welter of activity, the Myer Music Bowl is one of the world’s Orchestra’s activities. In December, Myer Bowl season has special meaning. great outdoor venues for music. I hope for example, the musicians moved Thanks to the far-sighted generosity you enjoy your Orchestra, and the effortlessly from performances of of Sidney Myer, these events allow us wonderful conductors and soloists, Handel’s Messiah with the MSO Chorus to present to you great music from performing sublime music for you in to a festive collaboration with Human the orchestral literature in a beautiful these events. Nature. And in just a few weeks’ time, outdoor setting – all for free. As a Best wishes a concert featuring composer Tan Dun recently arrived French Canadian, I conducting his music for Crouching Tiger, have come to appreciate the significant Hidden Dragon and the other films in the summer rituals in this city – the Martial Arts trilogy precedes a series of Boxing Day test and the Australian performances of Mozart’s Requiem. Open particularly – but a special part André Gremillet of Melbourne’s summer time soul Managing Director

Partnering in a great legacy

Sidney Myer was not only one of Australia’s most visionary business figures and entrepreneurs, but also one of the most generous individuals of his time. In 1932 he generously established a trust fund at the University of Melbourne to provide a permanent series of free open-air concerts of orchestral music for the public of Melbourne. Originally given under the direction of the University of Melbourne’s Ormond Professor of Music, today the concerts are given by the Melbourne Symphony Orchestra.

unimelb.edu.au 4 CRICOS No: 00116K welcome

Sidney Myer loved music, particularly In 1959, the Sidney Myer Charity Trust outdoor performances. By creating the presented a remarkable gift to the Sidney Myer Free Concerts he wanted people of Victoria – the Sidney Myer the people of Melbourne to enjoy his Music Bowl. passion for classical music.In 1929 Sidney Myer was a great Victorian, a and 1930, with his gift, the Melbourne dedicated philanthropist and a lover Symphony Orchestra was able to of classical music. All those attributes provide six free concerts to the public. come together in the Melbourne These concerts were held in the Symphony Orchestra’s annual Sidney Royal Botanic Gardens until they Myer Free Concerts series, one of moved to their natural home at “The Sidney Myer’s many legacies that Bowl” in 1959. The acoustics of “The continue to this day. Bowl” help to deliver a great musical Sidney Myer The 2013 series will take audiences on experience, and Melbourne’s late a journey across the ages and around summer offers the changing colours Ours is a city that cherishes arts and the globe. It will feature music by to autumn, warm, long nights and the culture and this summer Melbournians Beethoven and Mozart, alongside calm of the city’s most noted outdoor will again have the chance to enjoy works by Hollywood composer John performance venue. some of our finest artists. Williams and Melbourne’s own Sidney Myer’s legacy lives on through Brenton Broadstock. One of our most popular free musical the philanthropic work of the Sidney events is back with the return of the These Free Concerts have become Myer Fund. Indeed, in 1999 the Melbourne Symphony Orchestra’s an iconic event of summer in Sidney Myer Fund, with the Victorian summer concert program at the Sidney Melbourne. Fittingly, the final concert Government, carefully renovated Myer Music Bowl. on 23 February coincides with the “The Bowl” to ensure its long-term inaugural White Night Melbourne The MSO has graced this popular future. Victorians, Australians and event, which will see the city come venue for more than 50 years and each visitors to our country have enjoyed alive with cultural events from dusk year more than 40,000 enjoy its world- quintessential summer experiences, until dawn. It will be a great way class performances. This series truly including the iconic Carols by to kick off this new major event for is a must-see event in Melbourne’s Candlelight on Christmas Eve. Victoria, and I encourage you to stay summer calendar. The Sidney Myer story is part of the on and explore our city in a new light The City of Melbourne has a long and story of the City of Melbourne and the throughout that night. distinguished association with the State of Victoria. Born in Russia in The Victorian Government is a proud MSO. We were a major supporter of 1878, he arrived in Australia in 1899. supporter of the MSO, and we share its 2007 European tour and, through His career as a draper with his brother its commitment to ensuring that all an innovative funding initiative, Elcon in the goldfields in central Victorians have the opportunity to helped the orchestra present its Secret Victoria is a story of the success of experience the Orchestra’s world- Symphony late night events in 2012. the migrant community of the time. class performances. Whether you’re A successful small store in Bendigo Community involvement has been a a regular or a first timer, enjoy the led to the purchase of his first store in recent highlight of the Orchestra’s music, this quintessential Melbourne Melbourne in 1911. By the time of his Bowl programs and this year is no setting and the great gift that is the death in 1934, this business enterprise exception. On 16 February, the MSO Sidney Myer Free Concert series. had grown considerably and continues Jams will encourage the audience to thrive across Australia today. to make music before the main Likewise, his renowned philanthropic performance, while The Air Force work left its mark on the City. Band will perform before the final concert on 23 February. This year’s concerts offer the finest of symphonic music for all in Melbourne I invite you to enjoy the magical to enjoy. On behalf of the Trustees of Ted Baillieu MLA summer sounds of the MSO in the the Sidney Myer Fund, we invite you Premier and Minister for the Arts wonderful surrounds of the Sidney to enjoy the music and your nights at Myer Music Bowl. “The Bowl”.

Robert Doyle Lord Mayor Sid Myer AM Chairman, The Sidney Myer Fund

5 1

- AinArs RubiK,is conductor Alexey Yemtsov piano Latvian conductor Aina¯rs Rubik,is Alexey Yemtsov has appeared with came to international attention as the Melbourne, Sydney, Queensland, Melbourne Symphony Orchestra winner of the Third International West Australian and Tasmanian - Gustav Mahler Conducting Symphony orchestras, with conductors AinArs RubiK,is conductor Competition in 2010. The following such as Vladimir Ashkenazy, Mark Alexey Yemtsov piano year he received the Nestlé and Elder, Lawrence Foster, Vladimir Salzburg Festival Young Conductors Verbitsky and . He is a Award and in 2012 he became Music regular soloist for the Canberra and Dvorˇák Czech Suite Director and Chief Conductor of Willoughby Symphony orchestras, as Bartók Piano Concerto No.3 Novosibirsk State Academic Opera and well as the Australian Youth Orchestra, INTERVAL 25 MINUTES Ballet Theatre. with whom he toured China in 2010. He has also performed with the Recent engagements include Tchaikovsky Symphony No.4 Auckland Philharmonia Orchestra, I the Hong Kong, Brussels and Pomeriggi Musicali di Milano, Kiev Poznan´ Philharmonic orchestras, Camerata and the Ukraine National The concert will conclude at the Edinburgh Festival with the Symphony Orchestra. He regularly approximately 9pm and will Bamberg Symphony, the Lockenhaus gives recitals for festivals and concert be hosted by ABC Classic FM Chamber Music Festival and an series throughout Australia, and presenter Julia Lester acclaimed performance with the collaborates with chamber ensembles Gustav Mahler Youth Orchestra such as the Seraphim Trio and the at the Salzburg Festival. Other Sydney Symphony Chamber Players. orchestras he has conducted include the Gulbenkian Orchestra, Born in the Ukraine, Alexey Yemtsov Kremerata Baltica, Hamburg was awarded consecutive scholarships Symphony, Budapest Philharmonic, to undertake tertiary studies in Duisburg Philharmonic, Estonian Australia, including a Master of Music National Symphony, Royal Liverpool at the Sydney Conservatorium of Philharmonic, Bournemouth Music. In 1995 he won First Prize in Symphony, Northern Sinfonia, the Prokofiev Piano Competition, and Toronto Symphony, and the National performed for former US President Bill Arts Centre Orchestra Ottawa. His Clinton. He has performed in London, schedule at Novosibirsk includes Tel Aviv and Jerusalem and toured Eugene Onegin, La bohème, La traviata extensively throughout China, Japan, and Carmen, as well as concert Russia, the Ukraine, Australasia and performances of Verdi’s Requiem. the United States. He was a major prize-winner of the Pozzoli and Born in Riga, Rubikis pursued , UNISA (University of South Africa) postgraduate studies in orchestral International Piano Competitions in conducting with Andris Vecumnieks, 2004 and 2008 respectively. and also participated in master classes with Mariss Jansons and Zsolt Nagy.

6 I have been receiving a lot of pleasure for Using only oboes, bassoons, horns and several years past from the work of Anton strings in the first movement, Dvorˇák Dvorˇák of Prague...Dvorˇák has written all nevertheless creates luminous and kinds of things, operas (Czech), symphonies, spacious textures; these, perhaps in a quartets, piano pieces. He is certainly a very nod to Beethoven’s Pastoral Symphony, talented fellow. And incidentally, poor! I beg gradually gather force through the you to consider that! iteration of simple modal melodic cells against immobile high notes (pedal- Simrock was duly impressed with points or drones), with a short passage the young composer’s work and of ornate counterpoint to close. The commissioned a set of Slavonic Dances Polka alternates D minor and F major for piano duo. These, as Simrock passages, often, unusually, in groups had expected, were an instant hit, of nine (rather than eight) bars; the and again in their orchestral version. D major Trio section with its fiddle Simrock made a huge profit, and melody is a moment of unalloyed joy. Dvorˇák’s reputation spread rapidly in The third movement, a minuet, moves Europe, such that by 1879 his ‘Slavonic’ ˇ from the pastoral to the ballroom, and Antonín Dvorák String Quartet had been premiered includes flutes and clarinets. (1841–1904) by the ensemble led by the great Joseph Joachim, and had The winds, joined by cor anglais, have commissioned the work we now know extended solos and ornate polyphony Czech Suite, B93 as his Sixth Symphony. in the lilting Romance. Only in the finale does Dvorˇák’s use the full forces I Praeludium (Pastorale): allegro The works of this period are Dvorˇák’s at his disposal, adding the weight of most explicitly ‘Czech’, partly moderato trumpets and timpani to one of his as Simrock was banking on the II Polka: allegretto grazioso favourite dances, the furiant. Here the metropolitan taste for ethnic music III Minuett (Sousedská): allegro fast, three-to-a-bar metre is offset that had made Brahms’ Hungarian by cross-rhythms, ambiguities of giusto Dances such a success. But it wasn’t, of minor/major harmony and passages IV Romanza: andante con moto course, all songs his mother taught of Brahmsian counterpoint before an him, and Dvorˇák’s technical craft V Finale (Furiant): presto emphatic close. achieves an effortless sophistication at this time as well, as heard in the Gordon Kerry © 2012 In 1877 Brahms, who had been symphony and quartet, and in the The only previous performances of this work involved in granting state stipends to strangely under-appreciated Czech by the Melbourne Symphony Orchestra took young composers, wrote to his Berlin Suite, composed early in 1879 and place in August 1977 under the direction of publisher, Simrock saying: premiered in Prague in May that year. David Zinman.

7 ABOUT THE MUSIC

Béla Bartók (1881–1945)

Concerto No.3 for piano and orchestra I Allegretto II Adagio religioso III Allegro vivace

Alexey Yemtsov piano

In 1945 the Musical Times ran an obituary of Béla Bartók, saying that his death Bartók and his wife Ditta in New York at the end of September deprives 20th-century music of one of its Much of Bartók’s music, particularly The first movement begins with a greatest masters. In depth and range his later works, shows a fondness for long-breathed melody given out by influence can be compared only with that symmetrical or ‘arch’ forms, and the piano, reminiscent of the folk of Schoenberg and Stravinsky, but it was viewing his output as a whole it is melodies that Bartók assiduously more secret than theirs and far less apparent. tempting to see it the same way; collected in the rural regions of Bartók’s music has never become widely the late works often evoke the same Hungary and various former Yugoslav or thoroughly known; it has never been a worlds as his early music in their republics, and the orchestration has battle-cry; which has at least saved it from seemingly simple and highly lyrical a finely etched lucidity. Beethoven the grosser forms of misunderstanding. manners, contrasting with the more is evoked explicitly in the extended Bartók and his wife Ditta had taken acerbic and rhythmically complex second movement – the marking refuge from Nazism in the United middle period pieces. The late Concerto ‘religioso’ and the formal scheme of States in 1940. His New York agent for Orchestra goes so far as to quote the work relate to the ‘Holy song of had promised him great opportunities Bartók’s early opera, Bluebeard’s Castle. thanksgiving to the godhead from a as a performer, composer and convalescent’ from Beethoven’s String The Third Piano Concerto is the ethnomusicologist, but most of Quartet Op.132. The finale dances to last piece that Bartók completed, these, sadly, failed to materialise, the uninhibited rhythms of folk music, but despite being written in the full and Bartók, for whatever reason, insisting that life goes on. knowledge of his having leukemia turned down a number of teaching it sounds nothing like the last work Abridged from an annotation by positions. The Bartóks’ financial of a dying man. Written for Ditta to Gordon Kerry © 2003 situation was precarious, and matters perform, its relative simplicity reflects, became much worse when Béla’s The first complete performance of this work in part, the fact that she was not the health suddenly worsened in 1942. He by a former ABC orchestra was given by the virtuoso that her husband had been. made what was to be his last public Melbourne Symphony in September 1950, Seen in the context of other works with conductor Otto Klemperer and pianist concert appearance in January 1943, from this period – the Concerto for György Sándor. The Orchestra’s most recent performing the Concerto for Two Orchestra and the unfinished Viola performances were with Jaap van Zweden and Pianos and Percussion (which he had Concerto, for instance – the work is a Paavali Jumppanen in May 2004. transcribed from the more familiar document of the resilience of a human Sonata for Two Pianos and Percussion) spirit, and in that respect might be with Ditta as the other piano soloist. compared with late Beethoven. INTERVAL 25 MINUTES The American Society of Composers, Authors and Publishers paid for Bartók’s medical expenses, and he was able to spend three summers recuperating in upstate New York and at a sanatorium in North Carolina where he wrote a number of his late masterpieces.

8 ABOUT THE MUSIC

Peter Ilyich Tchaikovsky (1840–1893)

Symphony No.4 in F minor, Op.36 I Andante sostenuto – Moderato con anima – Moderato assai, quasi Andante – Allegro vivo II Andantino in modo di canzona III Scherzo (Pizzicato ostinato) – Allegro IV Finale (Allegro con fuoco)

You know the old story. In 1877, Tchaikovsky received a declaration of love from Antonina Milyukova, who threatened suicide if Tchaikovsky refused to marry her. The composer, hoping to save Antonina and cure his homosexuality, accepted the proposal, but within minutes of being married realised that he had made a terrible mistake. Within two months Tchaikovsky with Antonina Milyukova, he had attempted suicide himself to whom he was married briefly in 1877. before fleeing Moscow; Antonina quickly descended into madness and marriage didn’t affect Tchaikovsky’s by a waltz tempo kept on its toes by Tchaikovsky poured his anguish into emotional equilibrium. Nadezhda cross-rhythm; the second, according his Fourth Symphony and the opera von Meck, his patron, wrote to him to Tchaikovsky, represents the world Eugene Onegin. of the work’s ‘profound, terrifying of dreams into which we are tempted Thanks to musicologist Alexander despair’. The composer insisted in his to escape. Scholar Leon Botstein Poznansky, we can now see this correspondence with Meck that ‘where has argued that Tchaikovsky’s use well-known scenario for the load of words finish, music begins’ and that of repetition in the course of this rubbish that it is. The composer seems a program explaining the meaning movement is emblematic of the at no time to have been anguished of the music would necessarily be obsessive state of mind that the music by his sexuality and his decision to imprecise. Nonetheless he did offer a depicts. But fate keeps obtruding marry Antonina stemmed from other kind of map of the work’s emotional (undermining the principles of sonata causes, not least of which that she was journey (never dreaming that it would design) and eventually disperses the shortly to inherit a respectable sum of be published), saying: imagery of dreams. money. Later, Tchaikovsky admitted the main idea...is expressive of the idea of that his treatment of Antonina had fate, that ominous power which prevents been inexcusable, and supported her the success of our search for happiness. This financially; she scrupulously avoided power hangs constantly over our heads, like making any public criticism of him, Damocles’ sword. There is no alternative but even after his death. Tchaikovsky’s to submit to fate. correspondence makes clear that their incompatibility was the result The theme of ‘fate’ is the powerful of ‘cultural differences’ rather than brass fanfare which opens the first sexual horror. movement, and which returns at climactic moments in this and the None of which is to say that the Fourth last movement. Contrasting with this Symphony is not ‘about’ serious is a conventional pair of ‘subjects’ emotional and psychological states, or thematic groupings. The first, nor that the experience of a disastrous 9 marked moderato, is characterised ABOUT THE MUSIC

to enjoy themselves, giving themselves up to undivided feelings of pleasure.’ Guest Musicians This has obscured an important aspect of the Finale – Tchaikovsky’s quote Katerina Nazarova concertmaster of an actual folk-tune, ‘In the field a Rebecca Adler violin little birch tree stood’. As Roland John Ingrid Homburg violin Wiley notes in the New Grove Dictionary Jenny Khafagi violin of Music and Musicians: Michael Loftus-Hills violin Robert Ashworth principal viola* both words and setting are significant. The Ceridwen Davies viola birch tree is solitary, and it is the image Simon Oswell viola of a woman…The crowd that gathers is of Merewyn Bramble viola unmarried women who perform a round Molly Kadarauch cello dance and then throw their wreaths into the Svetlana Bogosavljevic cello stream. Those whose wreaths float on the Kylie Davies double bass surface of the water will marry; those whose Emma Sullivan double bass wreaths sink will not. Esther Wright double bass Tchaikovsky’s view of Antonina was Ann Blackburn oboe clearly not unsympathetic, despite the Rachel Cashmore oboe baleful intrusion of the Fate music. Geoffrey Dodd cor anglais Interpretation of this symphony has Matthew Ockenden principal bassoon** inevitably been compromised by the Ed Allen principal horn fatuous rehashing of ‘biographical’ Jenna Breen horn In the second movement, Tchaikovsky details, making it a document Julia Brooke horn again uses seemingly literal repetition of hysteria. However, we should Bruno Siketa trumpet of the thematic material, but as remember that the ‘profound, Christopher Lane timpani/percussion Botstein notes ‘despite repetition, the terrifying despair’ of this work is * Courtesy Auckland background and foreground changes’ created by an artist in full control of Philharmonia Orchestra as different dialogues between theme his technical resources. ** Courtesy Australian Opera and countermelody are explored. Abridged from an annotation by and Ballet Orchestra The Scherzo has been interpreted as the Gordon Kerry © 2002 reassertion of reality. Its celebrated The Melbourne Symphony Orchestra gave the pizzicato-dominated string writing first complete Australian performance of this has an implacable character, but it also work on 20 August 1938, with Malcolm Sargent. serves to provide a bridge between the The Orchestra most recently performed it on a introspection of the second movement tour of regional Victoria in October 2012 with and the extrovert nature of the Finale. . The composer’s explanation for the Finale’s festive nature was: ‘If you find no cause for joy within yourself, look for it in others. Look, they know how

10 EARS WIDE OPEN More than the Music

If you love great classical music, and want to know more, don’t miss Ears Wide Open. Ears Wide Open is an interactive 80-minute journey into music, live on stage in the beautiful Melbourne Recital Centre – conducted and Image by Sam Chirnside presented by Australia’s most charismatic musical personality, . Join thousands of other Melbourne music lovers who take their listening enjoyment to a new level. If you love great classical music, and want to know more, don’t miss Ears Wide Open. This year Richard will explore Mozart’s Jupiter Symphony, Elgar’s Enigma Variations and Schubert’s Unfinished Symphony.

THREE-CONCERT SEASON PASS SUBSCRIPTION – $48 Single tickets available

To book, VISIT MSO.COM.AU or visit the MSO marquee in the Bowl

28 MAY – 1 Jun

MElb E T Ourn OWn HAllE

Discover the power of percussion, the subtlety of strings, the wonders of woodwind and the brilliance of brass in this first-hand experience of a live orchestra! Audiences of all ages are welcome. To receive a 2013 Education and Community Outreach brochure – which includes full details about Education Week – please visit the MSO marquee, email [email protected] or visit mso.com.au 2

- AinArs RubiK,is conductor Hoang Pham piano Latvian conductor Aina¯rs Rubik,is Melbourne pianist Hoang Pham came to international attention as has appeared as a soloist with Melbourne Symphony Orchestra winner of the Third International the Melbourne, Queensland and - Gustav Mahler Conducting Tasmanian Symphony orchestras. AinArs RubiK,is conductor Competition in 2010. The following In 2005 he won the Lev Vlassenko Hoang Pham piano year he received the Nestlé and Piano Competition, and in 2008 Salzburg Festival Young Conductors was awarded Best Australian Pianist Award and in 2012 he became Music at the Sydney International Piano Beethoven Symphony No.2 Director and Chief Conductor of Competition. In 2010 he won the INTERVAL 25 MINUTES Novosibirsk State Academic Opera and inaugural Melbourne Recital Centre Ballet Theatre. Great Romantics competition, and his Beethoven Piano Concerto No.2 live performances of Chopin, Bach, Recent engagements include the Bartók The Miraculous Liszt and Paderewski were released Hong Kong, Brussels and Poznan´ Mandarin: Suite on CD. He has made regular recital Philharmonic Orchestras, the appearances in England, the USA, Edinburgh Festival with the France, and New Zealand. The concert will conclude at Bamberg Symphony, the Lockenhaus approximately 9pm and will Chamber Music Festival and an In addition to his solo and concerto be hosted by ABC Classic FM acclaimed performance with the performances, he has served presenter Julia Lester Gustav Mahler Youth Orchestra as a jury member of the Piano/ at the Salzburg Festival. Other Ohio competition in Cleveland orchestras he has conducted and performs internationally and include the Gulbenkian Orchestra, in Australia as a member of the Kremerata Baltica, Hamburg Melbourne Piano Trio. Plans for 2013 Symphony, Budapest Philharmonic, include solo recitals at Melba Hall and The pre-concert performance Duisburg Philharmonic, Estonian for the Musical Society of Geelong, commencing at 6pm, led by National Symphony, Royal Liverpool as well as performing with violinist Gillian Howell, is your chance Philharmonic, Bournemouth Ji Won Kim at the MSO’s Stravinsky to jam with musicians of the Symphony, Northern Sinfonia, Festival in August. MSO and members of the MSO Toronto Symphony, and the National ArtPlay Graduate Ensemble. Born in Vietnam, Hoang Pham moved Arts Centre Orchestra Ottawa. His to Australia at an early age and studied schedule at Novosibirsk includes privately with Rita Reichman at the Eugene Onegin, La bohème, La traviata Australian National Academy of and Carmen, as well as concert Music. He subsequently studied with performances of Verdi’s Requiem. Marc Silverman at the Manhattan Born in Riga, Rubik,is pursued School of Music, where he completed a postgraduate studies in orchestral Master of Music degree. conducting with Andris Vecumnieks, and also participated in master classes with Mariss Jansons and Zsolt Nagy.

12 brothers (though Beethoven only refers The finale juggles wit and seriousness to one by name and the other by a in a way that is worthy of, but never blank space in the manuscript). In it, sounds like, Haydn. For one thing, Beethoven expresses his anguish about the movement, balancing the first, is his condition: broad in scale and has an extended coda. Beethoven’s orchestral music what humiliation when someone stood to date includes the first three of beside me and heard a flute in the distance his piano concertos, but, as one and I heard nothing, or heard the shepherd commentator has suggested, in singing and again I heard nothing. Such this work he fully engages with the incidents brought me to the verge of despair, orchestra for the first time. but little more and I would have put an end to my life – only my art held me back. Abridged from a note by Gordon Kerry © 2004 The saving art at this time included a number of violin sonatas, piano The first performance of Beethoven’s sonatas and bagatelles, and the Symphony No.2 by the Melbourne Symphony Second Symphony, which Beethoven Orchestra took place on 20 September 1941 completed during his stay at under conductor William Cade. Douglas Boyd conducted the Orchestra’s most recent Heiligenstadt. It is difficult to find performance, as part of the Beethoven Festival in evidence of a composer in deep despair August 2011. in this work, however, reminding us of the complex relationship between the life and work of any artist. But there is INTERVAL 25 MINUTES Ludwig van Beethoven a nice symmetry at work. The Second (1770–1827) might be seen as a leave-taking of the pastoral/classical tradition in favour Guest Musicians of the more ‘heroic’ style of the middle Symphony No.2 in D, Op.36 period music, but it is Heiligenstadt Katerina Nazarova concertmaster Rebecca Adler violin I Adagio molto – which Beethoven portrayed in a work which marked his victory over Matthew Rigby violin Allegro con brio fate some years later: the Pastoral Jacqueline Edwards violin II Larghetto Symphony. Jenny Khafagi violin III Scherzo (Allegro) Robert Ashworth principal viola* Beethoven’s First Symphony had IV Allegro molto Ceridwen Davies viola been greeted as an honourable, if not Simon Oswell viola always elegant, contribution to the Caroline Henbest viola tradition of Haydn and Mozart. To a Beethoven spent the summer of 1802 Isabel Morse viola modern listener, the Second seems Molly Kadarauch cello at Heiligenstadt, in those days a small a more assured but still essentially village in the countryside but now a Kylie Davies double bass ‘Classical’ work. Like Haydn, Emma Sullivan double bass suburb of Vienna. He liked to withdraw Beethoven generates tense expectation to the country to concentrate on his Esther Wright double bass in the first movement by using a slow Ann Blackburn oboe work in peaceful surroundings, but this introduction (and Tovey has shown year there was an additional purpose: Rachel Cashmore oboe that Beethoven borrows a specific Geoffrey Dodd cor anglais the deafness which had become sequence of chords from Haydn’s noticeable in previous years was now Matthew Ockenden principal bassoon** Creation in this work). Some hints of Chloe Turner contrabassoon becoming serious, and the composer’s the mature Beethoven are in evidence, physician suggested a prolonged period Ed Allen principal horn such as the breathtakingly simple Jenna Breen horn away from the potentially damaging means by which he extends the scale noise of the city. Tristan Reiben trumpet of the first movement with its lengthy Christopher Lane timpani/percussion As he was preparing to return to Vienna concluding section or coda. The Louisa Breen piano in October 1802, Beethoven wrote Larghetto is one of Beethoven’s most Leigh Harrold celetse a curious document that was found serene, pastoral slow movements, among his papers after his death. and for the first time in an orchestral * Courtesy Auckland Now known as the ‘Heiligenstadt work he uses the term Scherzo (Italian Philharmonia Orchestra Testament’, it was a kind of will, for ‘joke’ – and it is genuinely funny) ** Courtesy Australian Opera addressed to the composer’s two for the dance-like third movement. and Ballet Orchestra 13 ABOUT THE MUSIC

When Beethoven sent the final version played with the thumb under, a of this concerto to his publisher, he technique he pioneered. The cadenza Ludwig van Beethoven gave this estimate of its worth: ‘The for this movement was not written (1770–1827) concerto I value at ten ducats…I do not until 1809, perhaps for Beethoven’s give it out as one of my best.’ No doubt pupil the Archduke Rudolf. Beethoven was admitting that he had The Adagio is a truly slow movement, not solved entirely to his satisfaction Piano Concerto No.2 in B flat, whereas Mozart’s concerto slow the problem of apportioning the Op.19 movements are usually Andantes. roles between soloist and orchestra, As in many such movements in in his first concerto to be played in I Allegro con brio – early Beethoven, the treatment of Vienna. We also know that uppermost II Adagio – the theme by the piano becomes in his mind in composing it may III Rondo, molto allegro increasingly elaborate and decorative. have been consolidating his position The movement is distinguished by an as a virtuoso pianist, and that his eloquent – and prophetic – ending, admiration for the achievement of Hoang Pham piano where the soloist has a recitative- Mozart in composing piano concertos like utterance alternating with the would lead him to judge his own orchestra’s statement of the theme in efforts severely. broken phrases. Mozart was a good model, and we The infectious last movement is a need not remind ourselves that rondo in 6/8, whose hunting style Beethoven later achieved, in his fourth is familiar from some of Mozart’s and fifth piano concertos, his own concertos in B flat; but it is more answer to the concerto challenge; we boisterous than anything in Mozart, should imagine instead the young mainly through Beethoven’s handling virtuoso glorying in his own powers, of the off-beat accents. The rhythmic using this vehicle to conquer the placement of these accents is an Viennese public. important building block of the Vienna’s Burgtheater in The occasion was a concert in the movement – they are shifted for effect Beethoven’s time. It was here that he gave the premiere of his Piano Burgtheater in 1795. Beethoven’s at the beginning of the first couplet of Concerto No. 2. playing in the salons of the aristocracy the rondo, and in many other places. had already gained him a reputation There is a pleasant surprise at the as a solo pianist of extraordinary end, where Beethoven again follows skill and daring, and a remarkable Mozart’s precedent by introducing improviser – his skill in this direction a new theme in the coda, a popular may even have extended to his playing touch, followed by some Beethovenian of the solo part in the concerto, for, humour. This is Beethoven the eloquent when he was introducing a concerto entertainer indeed, not much loved himself, he did not bother to write by his fellow-pianists, and we can see out the solo part. Later Beethoven why if we compare this concerto he revised the concerto for performances wrote to display his wares with the in Vienna and Prague with different contemporary products of Hummel, soloists, and he withheld it from Dussek, Clementi and others! publication until 1801, which explains why it is numbered 2 although it was © David Garrett written before the published No.1. The Melbourne Symphony Orchestra’s first The concerto was the first ‘symphonic’ performance of this concerto took place on 2 work of Beethoven’s to be heard February 1944. The pianist was Edward Goll and the conductor Bernard Heinze. The MSO’s in Vienna, and, not surprisingly, most recent performance was in May 2012 with the orchestra spreads its wings at conductor Andrew Grams and soloist Andreas the outset. One commentator has Haefliger. identified as many as five themes before the piano comes in with a sixth. The crucial phrases are the opening ones: a short flourish from tonic to dominant and back, followed by a reflective lyrical phrase. Once the piano is in it dominates the discourse, with many passages obviously designed to show off Beethoven’s 14 pianism – especially his legato runs, ABOUT THE MUSIC

In August 1917, the Hungarian The girl entices men (rubato clarinet magazine Nyugat published a libretto solo). The first man (shrill chirping by Menyhert Lengyel, intended to clarinets) comes upstairs; the ruffians catch the eye of the impresario, Sergei hide. The man makes comic gestures Diaghilev. Bartók became interested of love (trombone glissandos, with in The Miraculous Mandarin and wrote violas and cellos playing an ardent to Lengyel asking if he could write theme). The ruffians leap out from music for the scenario (which Bartók their hiding place, seize the man and described as ‘beautiful’). throw him out. Bartók sketched a ballet the same The girl begins a second seduction month. The draft was completed in (clarinet again). A shy young man May 1919, and scoring was begun in appears (oboe solo). Hesitantly he 1923. Bartók only really decided on an joins her in a dance. The ruffians jump ending sometime between 1926 and out, seize the youth and throw him out 1931. This suite is taken from the first (clattering woodwind triplets as in the two-thirds of the ballet. first eviction). The story concerns a girl and three The girl and the three ruffians see a ruffians. The first ruffian goes figure in the street – a mandarin. He through his pockets looking for comes up the stairs (trombone and money (violas playing a recitative- tuba pounding, flute flutter-tongueing, Béla Bartók like passage). The second rummages piano and violin glissandos). The (1881–1945) through drawers (violins entering girl tries hard to lure him (an atonal faster against the triplet chugging of waltz), but the mandarin watches the lower strings and piano). The third the girl with immobile gaze. Finally The Miraculous Mandarin, ruffian gets up from his bed (rising she embraces him, and he begins to fourths on trombones and tuba), and shake. She tries to pull away from him, Op.19 – Suite orders the girl to stand in the window and breaks free, but he gives chase (a I Introduction and lure men up to their apartment. heightened Allegro barbaro, whirling II The Girl and the First Victim Thus begin three seduction scenes, above a stamping ostinato). This is which become more and more as far as the suite takes us, but the III III The Girl and the musically elaborate. ballet continues with attempts by the Second Victim girl and the three ruffians to rob and IV The Girl and the Mandarin finally kill the mandarin. V The Girl Dances before the Mandarin – VI The Mandarin’s Capture of the Girl

15 ABOUT THE MUSIC

Bartók considered The Miraculous relationships in a civilisation which Mandarin one of his finest scores. curbs and corrupts the animal nature Though tonal, harmonic variety of human beings’. is gained from the equal use of all Gordon Kalton Williams 12 tones. ‘We have at our disposal Symphony Australia © 1998/2010 a previously undreamed of wealth of transitory nuances,’ wrote The Melbourne Symphony Orchestra gave the Bartók in 1920. The orchestration first performance of this work in Australia, is of an extraordinary richness. The on 29 October 1955 under conductor Walter Susskind. The Orchestra most recently performed rhythmic life of the work is one of its the suite on 29 April 1989 with Hiroyuki Iwaki, immediately endearing features. and played the complete ballet music in April The work is quintessentially early 20th 2001 with Lü Jia. century in its conjunction of urban poverty, crime and sex. But according to Paul Griffiths it completed for Bartók the trilogy of stage works [including Bluebeard’s Castle and The Wooden Prince] that ‘took another look at the hopelessness of male-female

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Benjamin Northey conductor Amy Dickson saxophone Since returning to Australia from As soloist, Amy Dickson performs and Europe in 2006, Benjamin Northey has records with orchestras such as the Melbourne Symphony Orchestra rapidly emerged as one of the nation’s Royal Philharmonic, Philharmonia leading musical figures. His career Orchestra and London Philharmonic, Benjamin Northey conductor encompasses a wide range of styles among others. In addition to Amy Dickson saxophone including mainstream orchestral performing the concertos of programs, new music, opera, Glazunov, Debussy, Villa-Lobos, Ibert, ballet, groundbreaking cross-genre Larsson and Milhaud, she champions Broadstock Federation Flourish collaborations, and education and contemporary repertoire and regularly Edwards Full Moon Dances community outreach projects. commissions new works. She has WilLiams Escapades for alto performed her arrangement of Glass’ He has appeared with the London saxophone and orchestra Violin Concerto No.1 with several Philharmonic Orchestra, Salzburg orchestras, and recently premiered INTERVAL 25 MINUTES Mozarteum Orchestra, Hong Ross Edwards’ arrangement for Kong Philharmonic, Southbank saxophone of his oboe concerto Bird Prokofiev Symphony No.5 Sinfonia, and the New Zealand and Spirit Dreaming and a new arrangement Christchurch Symphony orchestras. of ’s oboe concerto The concert will conclude He has collaborated with artists such Inflight Entertainment. at approximately 9.15pm, as Julian Rachlin, Alban Gerhardt, and will be hosted by 774 Marc-André Hamelin, Arnaldo Cohen, As a recitalist and chamber musician ABC Melbourne presenter the Silver-Garburg Piano Duo, KD she has appeared at leading venues Richard Stubbs. Lang, Kurt Elling, Tim Minchin, Slava such as Wigmore Hall, Bridgewater Grigoryan and Emma Matthews. Hall and the Queen Elizabeth Hall. Her duo partners have included In Australia he has appeared with all Catherine Milledge, Martin Cousin the state symphony orchestras and and Simon Mulligan, and she has with Opera Australia (Don Giovanni, collaborated with the Mandelring and Così fan tutte) and State Opera of South Chilingirian String Quartets. Australia (The Elixir of Love, The Tales of Hoffmann, La sonnambula). He made his Born in Sydney, Amy Dickson made debut with the Melbourne Symphony her concerto debut at the age of 16 Orchestra in 2003 and was appointed before studying at the Royal College of Associate Conductor in 2011. He was Music in London and the Amsterdam previously Resident Guest Conductor Conservatorium. She won the of the Australia Pro Arte Chamber Symphony Australia Young Performers Orchestra (2002–6) and Principal Award in 2004. Guest Conductor of the Melbourne Her recordings include the CDs Smile Chamber Orchestra (2007–10). His (2008) and Glass – Tavener – Nyman recordings include award-winning CD (2009), Carl Davis’ score for the film releases for ABC Classics. Hotel du Lac, and works by Joseph A graduate of the University of Holbrooke and Richard Rodney Melbourne and the Sibelius Academy Bennett. On her new ABC Classics in Finland, Northey’s teachers have CD, Catch Me If You Can, she is soloist included , Jorma Panula, with the MSO conducted by Benjamin Atso Almila and Leif Segerstam. Northey. 18 ABOUT THE MUSIC

Born in Melbourne, Brenton The composer writes: Broadstock is one of Australia’s most Federation Flourish is meant to be a prolific composers in most genres, joyous centennial celebration of the including vocal, chamber and solo Federation of Australia – the birth of instrumental music, and opera. He a nation in 1901. It is in two parts: the is a particularly important figure first opens with a majestic fanfare in orchestral composition, having heard on the trumpets and percussion written six symphonies, concertos for and develops into a stately, nostalgic tuba, piano, euphonium, jazz trumpet theme heard in the winds and violins. and saxophone, and numerous other In the second part, the work gathers pieces. He has been the Melbourne momentum and passes through Symphony Orchestra’s composer in various transformations of the two residence twice, and his symphonic themes – some triumphal, some works have been performed by all troubled – until they come together in major Australian orchestras, as well jubilant conclusion. as in the UK, Japan and continental Europe; among some 43 commercial The work was commissioned by recordings of his music is a set of Symphony Australia and is dedicated the first five symphonies recorded to friend and colleague, Betsy Heath. by Russia’s Krasnoyarsk Symphony Gordon Kerry © 2012 Orchestra under Andrew Wheeler. Brenton Broadstock The Melbourne Symphony Orchestra gave the (born 1952) Broadstock’s music almost always world premiere of Federation Flourish at a conveys a powerful humanistic 2002 Sidney Myer Free Concert, under conductor message. His freely modal musical Markus Stenz. Federation Flourish language can encompass moments of arresting dissonance or luminous repose and he has an unerring sense of the dramatic possibilities of orchestral colour. His work can enlist our sympathy in pieces like the Second Symphony, Stars in a Dark Night, based on the tragic suffering of poet and musician Ivor Gurney; offer a vision of transcendence, as in the Fourth, Born from Good Angel’s Tears; or, as in the present work, reflect a mood of collective joy and optimism.

19 ABOUT THE MUSIC

Photo: Bridget Elliott Ross Edwards has created a sound- 3. Water-Moon world which seeks to reconnect music Guan Yin, the Chinese Goddess of with elemental forces and restore its Compassion (who may be compared traditional association with ritual with the Christian Mary), is venerated and dance. His music is deeply in her various guises throughout connected to its roots in Australia, Southeast Asia. She is often depicted whose cultural diversity it celebrates as a beautiful woman in a white robe, and from whose natural environment sometimes with a halo of moonlight. it draws inspiration, especially In a Tang dynasty poem by Po Chu-I birdsong and the mysterious patterns she is symbolised by the moon’s and drones of insects. Extra-musical reflection ‘floating in pure, clear associations sometimes infiltrate his water’. This dance pays homage to her. compositions, and such works as Bird Spirit Dreaming (2002) and The Heart 4. Sanctus of Night (2004) contain elements of The stage is transformed into a sacred theatre and ritual. space. Over an accompaniment of trance-like stillness scored for bell In Full Moon Dances, a female soloist is and muted strings, the Goddess sings proffered the role of universal Moon serenely as she receives and transmits Goddess incarnate, source of plant gentle moon radiance. This movement life and protector of the environment, draws, as does its successor, on in which she performs a series of Ross Edwards material from Edwards’ Mass of the ritual healing ceremonies. Serene and (born 1943) Dreaming (2009), and makes oblique mysterious, she nonetheless has power reference to fragments of plainchant. to unleash ecstasy and terror beyond Full Moon Dances – the bounds of reason. 5 Second Ritual Dance Concerto for saxophone and The work unfolds in an unbroken The finale joyously celebrates the earth sequence of five movements: with drone-based shapes and rhythms orchestra that recall Australian Aboriginal 1. Mantra with night birds and chant. The melody that bloomed from Mantra with night birds and dark dark moon blossoms the mantra now returns accompanied moon blossoms – An ancient Vedic mantra grows into by a blazing darbuka (small, goblet- First Ritual Dance – a chant-like melody which invokes shaped North African hand drum), Water-Moon – the Goddess, whose appearance is after which a reflective passage leads Sanctus – accompanied by eerie night sounds to a restatement of the insistent, symbolising the powerful psychic dance-like hymn to the earth. Second Ritual Dance forces of the unconscious. The mantra Ross Edwards © 2012 persists in the background, eventually Amy Dickson saxophone dissolving into moments of moon- Full Moon Dances was commissioned for drenched phantasmagoria. Amy Dickson, the Sydney Symphony and the Australian symphony orchestras by Andrew 2. First Ritual Dance and Renata Kaldor AO with the support This cleansing ritual is driven by self- of Symphony Services International. The abandoning rhythms whose function first performance was given by the Adelaide Symphony Orchestra, with Amy Dickson is to purge negative thoughts and as soloist, on 7 June 2012. This is the first feelings. After a central climax, the performance of the work by the Melbourne dance abruptly returns to its source Symphony Orchestra. and resurges, gathering intensity.

20 ABOUT THE MUSIC

Steven Spielberg’s 2002 film Catch these are the immediate catalysts Me if You Can follows the exploits of Frank’s need to turn to crime to John Williams of confidence trickster Frank W. survive on the streets. The melancholy (born 1932) Abagnale who from 1964 to 1969, second movement begins in the film as when he was arrested by the FBI Frank’s family life begins to fall apart. at the age of 21, had successfully Prominent use of hemiolas passed himself off as an airline pilot, Escapades (alternation of duple and triple surgeon and lawyer and made many time) denotes the joyous, up-tempo I Closing In millions in forged cheques. John character of the last movement. This II Reflections Williams’ concert work, Escapades, music is created basically by lifting successfully creates a saxophone III Joy Ride the underscore for a five-minute concertino from three fairly complete sequence from the film where Frank’s sections of his soundtrack – his 20th first attempts to pass off cheques Amy Dickson saxophone film collaboration with Spielberg. fail until he sees a couple of Pan Am The concert work’s title Escapades pilots (1960s heroes) emerging from neatly captures the film character a taxi with a bevy of air hostesses. Dreamworks/The Kobal Collection/ Abagnale’s career. Cooper, Andrew Frank successfully masquerades as an Catch Me if You Can made a virtue of assistant pilot, finds a way to cash Pan 1960s stylisation (pool parties, James Am payroll cheques, and even takes Bond, the use of Eero Saarinen’s his first flight in the ‘deadhead’ seat of futuristic TWA Terminal at JFK a cockpit. airport for locations). Williams’ The music John Williams has original score matched the visual style provided for his 100+ films (Jaws was superbly. Under the opening titles score #43) has often been recognised animation, the orchestra evoked, not as being of a higher quality than only a sense of furtive hide-and-seek much film music, which can remain (complete with orchestral ‘shh’s), but anonymously subservient to its film. an atmosphere of Cool Jazz that was Escapades is one of the rare examples coming into fashion in the period of of music that can be lifted straight Leonardo DiCaprio as Frank W. the film’s setting. This depiction of from a film to the more intense Abagnale, surrounded by Pan Am FBI pursuit becomes the concertino’s scrutiny of the concert hall. air hostesses, in Steven Spielberg’s opening movement, Closing In. The Catch Me If You Can (2002) chromatic saxophone solo may remind Gordon K. Williams © 2012 listeners of the Bebop improvisations This is the first complete performance of of Charlie Parker but is in fact Escapades by any of the former ABC orchestras. completely written out. Ostensibly a film about scamming, Catch Me if You Can gained an added INTERVAL 25 MINUTES depth from the portrayal of Frank’s parents’ divorce and custody battle;

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be read as a subtle denunciation of it is dramatically effective of the the regime. The composer, moreover, composer not to plunge immediately had first-hand experience of the into the expected triumphal finale. As precariousness of favour in the Soviet musicologist Arnold Whittall remarks, Union. He had permanently returned the movement avoids the ‘naively life- to Russia from Paris in 1936, and enhancing’ clichés of Soviet music but soon found that when he tried to the subtle use of dissonance, and the compose in the officially sanctioned uneasy sense right at the end, suggest way he would be accused of writing that the energy of the music has music that was ‘pale and lacking in outlived its meaning. individuality’; if he continued on The timing of the symphony was, the course he had begun in Western however, perfect, seeming to sing Europe he was derided as a ‘formalist’. of Soviet victory. Sadly, it would not With works like Peter and the Wolf and be long before Prokofiev would feel Romeo and Juliet, Prokofiev’s stocks the weight of disfavour once more; revived, and during the early 1940s he moreover, concussion sustained in a received the Stalin Prize several times fall shortly after the premiere meant and was evacuated to safety when the that the Fifth Symphony would be the Soviet Union entered World War II in last work he would ever conduct. 1942. He spent the summer of 1944 in Abridged from a note by Gordon Kerry the relative luxury of a government- Sergei Prokofiev © 2003 (1891–1953) run artists’ colony and in a mere two months (and with a little recycling) The Melbourne Symphony Orchestra first had composed his Fifth Symphony. performed Prokofiev’s Fifth Symphony on 11 September 1948 under conductor Symphony No.5 in B flat, The Fourth Symphony, composed Eugene Goossens, and most recently in June 2009 Op.100 some 14 years earlier, was a not with Yan Pascal Tortelier. entirely successful cobbling together I Andante of off-cuts from the Prodigal Son ballet. II Allegro marcato In the Fifth, Prokofiev produced a III Adagio much more ‘classical’ work, of four Guest Musicians movements, but one in which his Natsuko Yoshimoto concertmaster* IV Allegro giocoso material is superbly integrated and Rebecca Adler violin tightly argued. The tempo of the first Jo Beaumont violin movement is broad and stately rather As Prokofiev raised his baton to Jenny Khafagi violin than traditionally fast, enabling conduct the premiere of his Fifth Clare Miller violin an epic treatment of the material. Symphony, Moscow shook with the Matthew Rigby violin The movement unfolds gradually sound of cannon-fire. It was January Claire Tyrell violin but inexorably, with passages of 1945, and the fusillade announced to Ceridwen Davies viola characteristic wit, high lyricism and the citizens that the Red Army had Simon Oswell viola overpowering full scoring until, in its crossed the Vistula River in its rout of Beth Hemming viola final cadence, a radiant B flat chord the invading Germans. If the cannon- Andrew Metaxas viola emerges from tense dissonance. fire was announcing the turn of the Eve Silver associate principal cello** war’s tide, the symphony announced The second movement provides the Molly Kadarauch cello a new beginning. Its epic scale and first really fast music, its balletic Kylie Davies double bass optimistic trajectory perfectly reflected quality partly explained by the use Emma Sullivan double bass the mood of the time. Prokofiev later of discarded material from Romeo Ann Blackburn oboe wrote that in this work ‘I wanted and Juliet. This recalls the Prokofiev Geoffrey Dodd cor anglais to sing of the free, happy man, his of The Love for Three Oranges – fast, Nicholas Evans clarinet mighty power, his chivalry and his incisive, colourful – and provides a Jack Schiller principal bassoon purity of spirit...I wrote the kind of foil to the extended and beautiful slow David Evans principal horn** music that grew ripe within me and movement which follows. Jenna Breen horn finally filled up my soul.’ Bruno Siketa trumpet In the finale, Prokofiev initially defies Christopher Lane percussion We need, of course, to understand the expectations by quoting the melody Daniel Richardson percussion deliberate ambiguity of such remarks: from the first movement, this time Leigh Harrold piano/celetse Prokofiev, like anyone else, was well scored for the rarified sound of divided aware of the lack of freedom and cellos. Whether or not this represents * Courtesy Adelaide happiness under Joseph Stalin; his what Prokofiev’s ‘official’ biographer Symphony Orchestra description might sound like that of Israel Nestyev calls the ‘theme of ** Courtesy West Australian 22 the new ‘Soviet man’, but can equally man’s grandeur and heroic strength’, Symphony Orchestra 4

Benjamin Northey conductor Kristian Winther violin Since returning to Australia from Born in Canberra in 1984, Kristian Europe in 2006, Benjamin Northey has Winther studied violin with Josette Melbourne Symphony Orchestra rapidly emerged as one of the nation’s Esquedin-Morgan and conducting leading musical figures. His career with , with whom he Benjamin Northey conductor encompasses a wide range of styles also made his concerto debut in Kristian Winther violin including mainstream orchestral 2000, performing the Sibelius Violin Siobhan Stagg soprano programs, new music, opera, Concerto. As soloist he has appeared ballet, groundbreaking cross-genre with the Melbourne, Sydney and collaborations, and education and Tasmanian Symphony orchestras, the Mozart La clemenza di Tito: community outreach projects. Auckland Philharmonia Orchestra, and the Melbourne Chamber Overture He has appeared with the London Orchestra. He has also appeared as Mozart Violin Concerto No.3 Philharmonic Orchestra, Salzburg Concertmaster of the MSO and the Mozarteum Orchestra, Hong INTERVAL 25 MINUTES Mahler Chamber Orchestra, and as Kong Philharmonic, Southbank Leader/Director of ACO2. Mahler Symphony No.4 Sinfonia, and the New Zealand and Christchurch Symphony orchestras. In 2007–2008 he was violinist with He has collaborated with artists such the Tinalley String Quartet, winning The concert will conclude as Julian Rachlin, Alban Gerhardt, the 2007 Banff International String at approximately 9.15pm, Marc-André Hamelin, Arnaldo Cohen, Quartet Competition, which was and will be hosted by 774 the Silver-Garburg Piano Duo, KD followed by critically acclaimed tours ABC Melbourne presenter Lang, Kurt Elling, Tim Minchin, Slava of the USA, Canada and Europe. He Lindy Burns Grigoryan and Emma Matthews. has performed the Australian and New Zealand premieres of Brett In Australia he has appeared with all Dean’s Violin Concerto The Lost the state symphony orchestras and Art of Letter Writing, and Australian with Opera Australia (Don Giovanni, premieres of works by Andriessen, Così fan tutte) and State Opera of South Salonen, Calvin Bowman and Rihm, Pre-concert performance from Australia (The Elixir of Love, The Tales of among others. In 2012 he joined the 5pm to 6.15pm by The RAAF Hoffmann, La sonnambula). He made his Australian String Quartet, touring Band debut with the Melbourne Symphony with the ensemble nationally and Orchestra in 2003 and was appointed internationally. As conductor, he has Associate Conductor in 2011. He was performed works by Gubaidulina, previously Resident Guest Conductor Pärt and Andriessen at the Melbourne of the Australia Pro Arte Chamber International Arts Festival and Orchestra (2002–6) and Principal the Canberra International Music Guest Conductor of the Melbourne Festival, and in 2011 he conducted Chamber Orchestra (2007–10). His Holst’s The Planets with the Melbourne recordings include award-winning CD Youth Orchestra. releases for ABC Classics. Outside of music Kristian is utterly A graduate of the University of mad about chess and tennis, and Melbourne and the Sibelius Academy boasts a sizeable sneaker collection. in Finland, Northey’s teachers have included John Hopkins, Jorma Panula, Atso Almila and Leif Segerstam. 23 Recent highlights include Ravel’s Shéhérazade with Paul Daniel and the It is a very special evening for Australian National Academy of Music Matthew from Starlight Children’s Orchestra; Bach’s St John Passion with Foundation. Matthew is part of Stephen Layton; Monteverdi’s L’Orfeo Starlight’s Wishgranting program with the Australian Brandenburg that grant once in a lifetime wishes Orchestra; Handel’s Messiah with to seriously ill children and young the Royal Melbourne Philharmonic; people throughout Australia. Matthew a concert in Germany with La lives with cerebral palsy and cortical Compañia; and Haydn’s The Creation at impairment and his ultimate wish is St Donat’s Castle, Wales. Future plans to conduct the Melbourne Symphony include two months in residence at the Orchestra. 2013 Salzburg Festival’s Young Singers With the enormous support of the Project before becoming an emerging MSO, Starlight is able to transform Siobhan Stagg soprano artist with Deutsche Oper Berlin, his wish into reality. Please join us in where she will perform in the Ring celebrating this special evening with As winner of the 2012 Australian cycle (Siegfried) under Simon Rattle. Matthew as he walks onto the stage International Opera Award, Australian Originally from Mildura, Siobhan this evening. soprano Siobhan Stagg recently Stagg graduated from the University For more information on Starlight’s moved to the UK, where she studies of Melbourne in 2009 and continued programs and how you can help, with Dennis O’Neill at the Cardiff her training locally on the Amelia please visit www.starlight.org.au International Academy of Voice. Joscelyne Memorial Scholarship from In 2012, she also won the Italian the Dame Nellie Melba Opera Trust. Opera Foundation Award, as well as She studied in Europe on scholarship the Mietta Song Competition with from Opera Foundation Australia, and pianist Amir Farid, with whom she is in New York on the Donovan-Johnston currently recording an album. Memorial Scholarship.

Arts Centre Melbourne presents ROBERT WILSON / PHILIP GLASS EINSTEIN ON THE BEACH AN OPERA IN FOUR ACTS CHOREOGRAPHY BY LUCINDA CHILDS

“It is undoubtedly the most spectacular work of the twentieth century that exists before us” Le Figaro, Paris

“Childs’ soaring choreography is as meaningfully apposite to Glass’ music as Balanchine’s was to Stravinsky’s.” The Los Angeles Times

31 July – 4 August 2013 Arts Centre Melbourne State Theatre

Book online or call 1300 182 183

24 artscentremelbourne.com.au Eighteenth-century overtures were usually functional: a piece played by the orchestra before the stage entertainment began, to show off the skill of the composer and the players, but hardly to prepare the audience for what was to follow. Mozart’s overtures, however, referred to the action: bustling comedy for Figaro, Stone Guest music for Don Giovanni… To some extent at least Mozart followed Gluck in the reform of theatrical conventions, which included making the overture a more integral part of the experience. But La clemenza di Tito, Mozart’s last opera, composed hurriedly for an imperial ceremonial occasion in Prague, was a throwback, or so it was almost thought until recently. Expressing the new-found neo-classical admiration for Roman antiquity, Tito was an opera about relationships and loyalty – and self-denial. Mozart wants us, it seems, to admire not just Titus’ power, but also his forgiving generosity. For such a timely theme – rulers were under pressure everywhere after 1789 – ‘old-fashioned’ opera seria could be given a new lease of life; and a new kind of music developed. And so the overture suggests. Its grand ceremony and imitative writing give it affinities with the Jupiter Symphony. The opening is a sustained exploration of the chord of C major, only at the last moment moving to G for the contrasting second theme, which soon refers to the opening material. A diminuendo leads to an extraordinarily adventurous swinging of the opening flourish through a Wolfgang Amadeus variety of harmonies. After the most daring of these excursions, instead of the first flourish, the second subject returns, now in C, the tonic key. This departure Mozart from the usual pattern of so-called sonata form is more characteristic of Haydn (1756–1791) than of Mozart, whom it shows in the mood for an experiment. An entirely successful one, which enables him to conclude with the same sequences which La clemenza di Tito: Overture made the opening so effective. David Garrett © 1991 The Melbourne Symphony Orchestra first performed this overture on 6 August 1949 under conductor Rafael Kubelik, and most recently in April 2011 with Garry Walker, on a tour of regional Victoria.

25 ABOUT THE MUSIC

We think of Mozart as a pianist, but orchestra, and within the orchestra, his father Leopold, one of the leading setting off strings against oboes and violin teachers of the time, claimed horns in the development. that he could, if he worked at it, play Whereas the first movement is like the finest violinist in Europe. energetically playful, the slow Mozart composed all but the first of movement is rapturous. This is the his five violin concertos, including this type of Mozart slow movement aptly one, in a sustained burst in 1775 when described as dreamy, like that of he was 19. They have sometimes been the Piano Concerto in C, K.467. The regarded as attempts to please his similarities include the broken triplet father rather than himself, yet none accompaniment, muted strings and of his piano concertos up to this time pizzicato bass. show the maturity of conception of the last three of these violin concertos, the The Rondeau, in a jaunty 3/8 time, ones in G major (K.216), D (K.218) and has a main theme which comes back A (K.219). five times, and is especially marked by its throwaway ending, where the The solo violin parts of these horns and oboes are left on their own. concertos put musical substance, and Eventually the dominance of the 3/8 idiomatic writing for the instrument, rhythm is broken by two fanciful ahead of virtuoso display. This wasn’t episodes; the first, in a slower tempo because Mozart’s own violin technique (Andante), gives way immediately Wolfgang Amadeus was limited. The concertos were to a much simpler, folk-like theme possibly intended not for him but Mozart in common time. After this rather for his Salzburg colleague Antonio (1756–1791) whimsical interruption, the Rondeau Brunetti (first violin and soloist in the resumes its earlier course, but fantasy Court Orchestra). Both men certainly has the last word: the throwaway line played at least some of them, and Violin Concerto No.3 in G, K.216 gracefully waves as the concerto leaves Brunetti himself said: ‘Mozart could the stage. I Allegro play anything.’ Abridged from a note by David Garrett II Adagio The concerto in G major is in many © 1999 III Rondeau (Allegro – Andante – ways the most endearing of Mozart’s Allegretto – Allegro) violin concertos, the most intimate, The Melbourne Symphony was the first of charming and sensual in expression. the former ABC orchestras to perform this To begin the work, Mozart re-uses the concerto, in April 1940 with soloist Ernest Llewellyn and conductor Georg Schnéevoigt. Kristian Winther violin orchestral ritornello music of the aria The Orchestra’s last performance of the concerto ‘Aer tranquillo’ from his opera Il re took place in August 2010 with conductor/soloist pastore, composed five months earlier. Roy Theaker. This violin concerto anticipates the mature piano concertos in the variety of exchanges between solo and INTERVAL 25 MINUTES

Three-concerT The MSO’s Family Classic Kids concerts are a wonderful package way to introduce young people to the wonders of orchestral $48 adulT music. Children are invited to respond to the music with $30 children movement, actions and song and maybe even conduct!

classic kids 1: classic kids 2: classic kids 3: The Happiness Box Magic and Monsters Clowning Around with Melvin Tix Saturday 11 May at 10am, Saturday 1 June at 10am Wednesday 6 November at 12pm and 1.30pm 11:30am, 1:30pm and 3pm and 11:30am Costa Hall, Geelong (Bookings through GPAC – 03 5225 1200) Iwaki Auditorium, Melbourne Town Hall Saturday 9 November at 10am, 11:30am, 1:30pm and 3pm ABC Southbank Centre Iwaki Auditorium, ABC Southbank Centre

To find ouT more please visiT The mso marquee, email [email protected] or visiT mso.com.au

26 ABOUT THE MUSIC

The Fourth Symphony is arguably It is an unforgettable passage, but Mahler’s most accessible orchestral somehow, out of the squeals of Hades, work. While it is, at 55 minutes long, the ‘happy’ mood inexplicably returns, a large piece by Classical standards, it as if oblivious to what has preceded still falls easily enough into ‘standard’ it, and the movement continues on symphonic form: a sonata-allegro to its naive and blissfully indifferent opening movement; a scherzo and conclusion. trio; an adagio; and a rondo finale. These blithe descents from radiance And yet, while it is not necessarily into the macabre and back again typical of some of the elaborately- continue in the scherzo, to which structured earlier and later Mahler ascribed the note ‘Death symphonies, it is clearly a work takes the fiddle’. In fact Death’s of Mahler’s, not least because its fiddle is tuned a tone higher, to bring final movement is a setting from out a suitably eerie folk-fiddling Des Knaben Wunderhorn. This was the sound, making it necessary for the third time Mahler had used a text concertmaster to have two violins from this early-Romantic anthology of on hand, differently tuned. The trio German folksongs and poetry within is more relaxed but it cannot hold the body of a symphony. ‘Death’s fiddle’ tune at bay for long. The Fourth Symphony was written in Mahler once told Bruno Walter that Gustav Mahler 1899/1900, but the final movement, to the slow movement of the Fourth (1860–1911) which all roads within the symphony Symphony was inspired by the vision lead, was actually composed much of a church sepulchre, complete with earlier, perhaps even as far back as reclining stone figures of the dead, Symphony No.4 in G 1892. Like so many of his scores, ‘their arms closed in eternal peace’. the symphony contains all the Certainly this beautiful Adagio I Bedächtig – Recht gemächlich symptoms of anxiety and alienation presents a more peaceful vision of [Deliberately – Really Mahler shared with other artists of death than the movements which unhurried] his time. Most notably we find the precede it. death-obsession and the paradoxical The main melody of the finale begins II In gemächlicher Bewegung, but understandable celebrations of in the clarinet but is soon taken up ohne Hast [In a leisurely life and the innocence of childhood. by the soprano soloist. Singing a tempo, without haste] Specifically, in the Fourth Symphony folk-like (almost yodelling) tune, the these all come together in the final III Ruhevoll [Peacefully] soloist, assuming the persona of a movement, where the text centres IV Sehr behaglich [Very homely child, proclaims that all is peaceful in on a child’s vision of paradise after heaven. The jaunty theme continues and comfortable] death. In its naivety it is almost through the stanzas, but is brought to embarrassing, in its musical setting a halt at the end of each section by an Siobhan Stagg soprano it is touching, but in its philosophical unspeakably beautiful, chorale-like implications and reflection of earthly descending phrase. The occurrence suffering it is horrifying. of this phrase on the rather prosaic Yet that was always Mahler’s gift and line ‘The angels, they bake the bread’ his curse: the ability to tinge even is a good example of how the music the simplest and sunniest musical overwhelms the text at this point of experience with a kind of existential sublime beauty. horror. This was specifically his aim in the opening movement of the Fourth Symphony where the jingling sleigh bells and flutes which open the movement in jaunty folk rhythms (and which are taken up again during the final movement) somehow, without setting out to do so, border on the hysterical. The jingling and joyous mood continues through the development, but ultimately the movement reaches a climax in which triumphant horn and trumpet fanfares without warning transform themselves into nightmarish visions. 27 ABOUT THE MUSIC

As the music halts in this timeless zone, the first movement’s sleigh Wir geniessen die himmlischen We taste the joys of Heaven bell theme returns with more vigour Freuden leaving behind all that is earthly. and agitation than before, as if d’rum thun wir das Irdische meiden. the poignant stillness were being Kein weltlich’Getümmel No worldly strife interrupted by some coarse and hört man nicht im Himmel! is heard in Heaven. insistent memory of less innocent Lebt Alles in sanftester Ruh’! We live here in sweetest peace! times. Three times this occurs, before Wir führen ein englisches Leben! We live an angelic life, the infernal sleigh-ride slows and Sind dennoch ganz lustig daneben! yet we are merry as can be. passes into E major, where at last the Wir tanzen und springen We dance and spring heavens can proclaim, ‘No music on wir hüpfen und singen! and skip and sing earth can compare with ours.’ Sanct Peter in Himmel sieht zu! while St Peter in heaven looks on. At the end of this most sublime Johannes das Lämmlein auslasset, St John lets the lamb go running, masterpiece of symphonic der Metzger Herodes drauf passet! the butcher Herod is waiting for it. composition, it is very difficult not to Wir führen ein geduldig’s, We lead the patient, feel Mahler at least came close. unschuldig’s, geduldig’s, meek, guiltless ein liebliches Lämmlein zu Tod! little Lambkin to death! Abridged from a note by Sanct Lucas den Ochsen thät St Luke is slaughtering the oxen Martin Buzacott schlachten without care or consideration, Symphony Australia © 1997 ohn’einig’s Bedenken und Achten, The wine is free der Wein kost kein Heller in the heavenly tavern, im himmlischen Keller, and the angels, they bake the bread. die Englein, die backen das Brot. Gut’ Kräuter von allerhand Arten, Fine vegetables of every kind die wachsen im himmlischen Garten! grow in the gardens of Heaven, Gut’ Spargel, Fisolen, good asparagus and beans, und was wir nur wollen! whatever they fancy, Ganze Schüsseln voll sind uns bereit! big bowls are prepared for us! Gut’ Äpfel, gut’ Birn’ und gut’ Good apples and pears and grapes! Trauben! The gardeners let us take all! die Gärtner, die Alles erlauben! Do you want a roebuck or hare? Guest Musicians Willst Rehbock, willst Hasen, Here in the open streets Auf offener Strassen they run about! Natsuko Yoshimoto concertmaster* sie laufen herbei! Rebecca Adler violin Jo Beaumont violin Sollt ein Fasttag etwa kommen And when there is a fast day Zoe Black violin alle Fische gleich mit Freuden the fish come swarming in merrily! Jenny Khafagi violin angeschwommen! St Peter, he runs Ceridwen Davies viola Dort läuft schon Sanct Peter with net and with bait Simon Oswell viola mit Netz und mit Köder to fish in the heavenly pond. Sophie Kesoglidis viola zum himmlischen Weiher hinein. St Martha is the cook, who else? Catherine Turnbull viola Sanct Martha die Köchin muss sein! Eve Silver associate principal cello** Kein Musik ist ja nicht auf Erden, No music on earth Molly Kadarauch cello die uns’rer verglichen kann werden. can compare with ours. Rachel Atkinson cello Elftausend Jungfrauen Eleven thousand virgins Alister Barker cello zu tanzen sich trauen! come forward to dance! Kylie Davies double bass Sanct Ursula selbst dazu lacht! Even St Ursula laughs to see that! Emma Sullivan double bass Kein Musik ist ja nicht auf Erden, No music on earth Ann Blackburn oboe die uns’rer verglichen kann werden. can compare with ours. Rachel Cashmore oboe Cäcilia mit ihren Verwandten Cecilia and her relations Geoffrey Dodd cor anglais sind treffliche Hofmusikanten! are excellent court musicians! Jack Schiller principal bassoon Die englischen Stimmen The angelic voices David Evans principal horn** ermuntern die Sinnen! lift our spirits Jenna Breen horn dass Alles für Freuden erwacht. and all things awaken to joy! Tristan Rebien trumpet Daniel Richardson percussion Translation: Hedwig Roediger ABC/Symphony Australia © 1986 * Courtesy Adelaide Symphony Orchestra The Melbourne Symphony Orchestra first performed Mahler’s Fourth Symphony on 17 September ** Courtesy West Australian 1949 under conductor Otto Klemperer; the soloist was Elisabeth Schwarzkopf. The orchestra most 28 Symphony Orchestra recently performed the work in June 2012 with Benjamin Northey and soprano Emma Matthews. the orchestra

MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST VIOLINS Rachel Homburg DOUBLE BASSES OBOES contraBASSOON TROMBONES Wilma Smith Christine Johnson Steve Reeves Jeffrey Crellin Brock Imison Brett Kelly Harold Mitchell AC David Shafir Principal Principal Principal Principal Concertmaster Chair Isy Wasserman Philippa West Andrew Moon Vicki Philipson Kenneth McClimont Katherine Lukey Patrick Wong Associate Principal Associate Principal HORNS Associate Principal Principal Roger Young Sylvia Hosking Geoff Lierse Michael Bertoncello Peter Edwards Assistant Principal COR ANGLAIS Associate Principal Assistant Principal VIOLAS Damien Eckersley Michael Pisani Saul Lewis BASS TROMBONE Principal 3rd Kirsty Bremner Fiona Sargeant Benjamin Hanlon Principal Eric Klay MSO Friends Chair Associate Principal Suzanne Lee Trinette McClimont Principal Stephen Newton Sarah Curro Trevor Jones CLARINETS Rachel Silver Lerida Delbridge Assistant Principal David Thomas TUBA Peter Fellin FLUTES Elisabeth Murdoch TRUMPETS Deborah Goodall Lauren Brigden Tim Buzbee Prudence Davis Principal Clarinet Chair Lorraine Hook Katharine Brockman Geoffrey Payne Principal Principal Kirstin Kenny Christopher Cartlidge Philip Arkinstall Principal Simon Collins Associate Principal Ji Won Kim Wendy Clarke Shane Hooton TIMPANI Eleanor Mancini Gabrielle Halloran Associate Principal Craig Hill Associate Principal Christine Turpin Anne Martonyi Cindy Watkin Sarah Beggs Principal Mark Mogilevski Justin Williams William Evans Michelle Ruffolo Caleb Wright BASS CLARINET Julie Payne Kathryn Taylor PICCOLO Jon Craven PERCUSSION CELLOS Andrew Macleod Principal Robert Clarke SECOND VIOLINS David Berlin Principal Principal Matthew Tomkins Principal BASSOONS John Arcaro Principal Nicholas Bochner Elise Millman Robert Cossom Robert Macindoe Assistant Principal Associate Principal Associate Principal Miranda Brockman Natasha Thomas HARP Monica Curro Rohan de Korte Julie Raines Assistant Principal Sharon Draper Principal Keith Johnson Mary Allison Sarah Morse Isin Cakmakcioglu Angela Sargeant Cong Gu Michelle Wood Andrew Hall

MANAGEMENT

Board Business Artistic Operations Marketing Box Office Harold Mitchell AC Francie Garretto Huw Humphreys Lou Oppenheim Merri Hagan Claire Hayes Chairman Interim Chief Director, Artistic Planning Director of Operations Director of Marketing Box Office Manager Financial Officer André Gremillet Andrew Pogson Angela Bristow Jennifer Poller Paul Clutterbuck Managing Director Raelene King Assistant Artistic Assistant Orchestra Marketing Manager Senior Subscriptions Personnel Manager Administrator Manager Officer Dr Bronte Adams Megan Sloley Peter Biggs Kaanji Skandakumar Anna Melville Tom Warneke Marketing Manager Hon. Alan Accountant Artistic Coordinator Production Manager Development Phillip Sametz Goldberg AO QC Nathalia Andries Bronwyn Lobb James Poole Communications Cameron Mowat Rohan Leppert Finance Officer Education Manager Production Coordinator Manager Director of Development Alastair McKean Ann Peacock Dale Bradbury Jonathan Kerstin Schulenburg Alison Macqueen Jessica Frean Michael Ullmer Project Manager – Grieves-Smith Artist Liaison Publicist Philanthropy Manager Kee Wong Tessitura Chorus Master Alastair McKean Simon Wilson Arturs Ezergailis Helena Balazs Orchestra Librarian Interactive Marketing Development Officer Chorus Coordinator Manager Company Secretary Kathryn O’Brien Rosemary Shaw Oliver Carton Lucy Bardoel Assistant Librarian Nina Dubecki Development Coordinator Education Assistant Front of House Supervisor Michael Stevens Executive Operations Assistant Lara Polley André Gremillet Marketing Coordinator Managing Director Beata Lukasiak Julia Bryndzia Marketing Coordinator Executive Assistant Stella Barber Consultant Historian 29 the sponsors

PRINCIPAL PARTNER MSO AMBASSADOR Geoffrey Rush

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30 the donors

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

MSO EDUCATION AND OUTREACH PATRON Mrs Elizabeth Chernov

IMPRESARIO PATRONS MAESTRO PATRONS TRUSTS AND FOUNDATIONS M P Chipman Andrew and Theresa Dyer Pratt Foundation John McKay and Lois McKay Tim and Lyn Edward The Ian Potter Foundation Bevelly and Harold Mitchell AC Rachel and Hon. Alan Goldberg AO QC Cybec Foundation Dame Elisabeth Murdoch AC, DBE Tom Jacob Erica Foundation Inés Scotland Ilma Kelson Music Foundation The Alan (AGL) Shaw Endowment, managed by Onbass Foundation Perpetual Elizabeth Proust AO The Schapper Family Foundation The Ullmer Family Endowment Ivor Ronald Evans Foundation, as administered Lyn Williams AM by Mr Russell Brown and Equity Trustees Anonymous (4) The Phyllis Connor Memorial Trust, as administered by Equity Trustees Limited

PRINCIPAL PATRONS Bert and Ila Vanrenen Goldblatt, George H Golvan QC, Dr Marged Christine and Mark Armour The Hon. Michael Watt QC and Cecilie Hall Goode, Jean Hadges, Stuart and Sue Hamilton, Kaye and David Birks Barbara and Donald Weir KSJ Tilda and Brian Haughney, Julian and Gisela Jennifer Brukner Brian and Helena Worsfold Heinze, Hans and Petra Henkell, Dr Alastair Paul Carter George Worthington and Cameron Mowat Jackson, Stuart Jennings, John and Joan Jones, The Cuming Bequest Anonymous (2) George and Grace Kass, Irene Kearsey, Dr Dominic and Natalie Dirupo Anne Kennedy, Vivien and Graham Knowles, Dr Elizabeth A Lewis AM, Norman Lewis in Susan Fry and Don Fry AO THE CONDUCTOR’S CIRCLE Mr Greig Gailey and Dr Geraldine Lazarus memory of Dr Phyllis Lewis, Dr Anne Lierse, Jenny Anderson Robert and Jan Green Violet and Jeff Loewenstein, Peter Lovell, Joyce Bown Jill and Robert Grogan Vivienne Hadj and Rosemary Madden, Sandra Ken Bullen Louis Hamon OAM and Leigh Masel, Trevor and Moyra McAllister, Luci and Ron Chambers Nereda Hanlon and Michael Hanlon AM John and Ann McArthur, Allan and Evelyn Sandra Dent Hartmut and Ruth Hofmann McLaren, Jan Minchin, John and Isobel Morgan, Lyn Edward Peter and Jenny Hordern The Novy Family, Laurence O’Keefe and Alan Egan JP Norman and Betty Lees Christopher James, Mrs W. Peart, John and Betty Louis Hamon OAM Mr and Mrs D R Meagher Pizzey, Lady Potter AC, Peter Priest, Jiaxing Qin, Tony Howe Wayne and Penny Morgan Dr Sam Ricketson, Hugh T Rogers AM, Tom John and Joan Jones Ian and Jeannie Paterson and Elizabeth Romanowski, Delina Schembri- C P Kemp Mrs Margaret S Ross AM and Dr Ian C Ross Hardy, Max and Jill Schultz, David Shavin Elizabeth Proust AO Maria Sola and Malcolm Douglas QC, Chris and Jacci Simpson, Gary Singer Penny Rawlins Kee Wong and Wai Tang and Geoffrey A Smith, Dr Robert Sloane and Joan P Robinson Anonymous (1) Denise Sloane, Dr Sam Smorgon AO and Mrs Pamela Swansson Minnie Smorgon, Geoff and Judy Steinicke, Mrs Dr Cherliyn Tillman Suzy and Dr Mark Suss, Prof Seong-Seng Tan ASSOCIATE PATRONS Mr and Mrs R P Trebilcock and Jisun Lim, Margaret Tritsch, Mrs Barbara Dr Bronte Adams Michael Ullmer Tucker, P and E Turner, Mary Vallentine AO, The Will and Dorothy Bailey Bequest Mr Tam Vu Hon. Rosemary Varty, Wah Yeo AM, Sue Walker Peter and Mary Biggs Marian and Terry Wills Cooke AM, Elaine Walters OAM, Pat and John Webb, Mrs S Bignell Mark Young Erna Werner and Neil Werner OAM, Nic and David and Emma Capponi Anonymous (15) Ann Willcock, Marian and Terry Wills Cooke, Pamela F. Wilson, Ruth Wisniak OAM and Dr Jan and Peter Clark We gratefully acknowledge support received John Miller AO, Joanne Wolff, Peter and Susan John and Lyn Coppock from the Estates of Gwen Hunt, Peter Forbes Yates, Mark Young, Anonymous (10) Peter and Leila Doyle MacLaren, Prof Andrew McCredie, Miss Sheila Lisa Dwyer and Dr Ian Dickson Scotter AM MBE, Jean Tweedie, Herta and At 31 January 2013 Dr Helen M Ferguson Fred B Vogel Colin Golvan SC John and Agita Haddad Susan and Gary Hearst PLAYER PATRONS Gillian and Michael Hund Marlyn and Peter Bancroft OAM, Dr Julianne Sylvia Lavelle Bayliss, Stephen and Caroline Brain, M Ward Christopher and Anna Long Breheny, Mr John Brockman OAM and Mrs Pat Jan Minchin Brockman, Jill and Christopher Buckley, Bill Marie Morton and Sandra Burdett, Dr Lynda Campbell, Judith Patrons make annual contributions of $1,000 Dr Paul Nisselle AM M Connelly, Ann Darby in memory of Leslie J. (Player), $2,500 (Associate), $5,000 (Principal), Ann Peacock with Andrew and Woody Kroger Darby, Panch Das and Laurel Young-Das, Mary $10,000 (Maestro), $20,000 Impresario or more. Rae Rothfield and Frederick Davidson AM, Pat and Bruce The MSO Conductor’s Circle recognises notified Craig and Jennifer Semple Davis, Sandra Dent, John and Anne Duncan, Bequestors. All donors are recognised on our Gai and David Taylor William J Forrest AM, Joanna Foulkes, David website. Inquiries: T 03 9626 1107 Mr Tam Vu and Dr Cherilyn Tillman I Gibbs and Susie O’Neill, Merwyn and Greta [email protected] 31 Melbourne SYMphonY orcheStra PRESENTS

Three concerTS To enTerTain The whole family from timeless Disney to cole Porter classics, the mSo brings you an exciting range of musical experiences in 2013.

DISNEY LIVE IN CONCERT: tribute to diSneY’S FantaSia pirateS oF the caribbean the SonGWriterS LIVE IN CONCERT THE CURSE OF THE BLACK PEARL Saturday 6 april at 7pm Saturday 25 May at 7pm Saturday 5 october at 7pm Sunday 7 april at 2pm Sunday 26 May at 2pm Sunday 6 october at 2pm

Coward Porter Sinatra

For More inForMation 3 Con and to book, viSit MSo.coM.au Pa Cert or call (03) 9929 9600 fromCkage $183 Single tickets now available

Disney’s Pirates of the Caribbean: The Curse of the Black Pearl music by Klaus Badelt music Themes and production by hans Zimmer Presentation licensed by Disney concert library and wDSmP non-Theatrical © Disney This presentation is licensed by Disney concert library © Disney