Mozart’s Concerto No.17

Geelong Series Saturday Matinees Great Classics on Monday Friday 28 August at 8pm Saturday 29 August at 2pm Monday 31 August at 6.30pm Costa Hall, Deakin University Arts Centre Melbourne Arts Centre Melbourne Geelong Hamer Hall Hamer Hall

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AN EVENING WITH PICTURES AT AN EXHIBITION MOZART No.40 RENÉE FLEMING MUSSORGSKY, LISZT, REGER Thursday 17 September Thursday 3 September Friday 11 September Friday 18 September Saturday 5 September Saturday 19 September Featuring works inspired by art: Monday 21 September Famed for her magnetic Reger’s Four Tone Poems after Featuring MSO Concertmaster performances and sheer beauty of Arnold Böcklin and Mussorgsky’s Eoin Andersen, works by Stravinsky tone, celebrated American soprano Pictures at an Exhibition. Liszt’s are balanced by Mozart’s Renée Fleming joins the MSO and Piano Concerto No.1 makes for a final Violin Concerto and the Sir Andrew Davis for two Melbourne breathtaking interlude. exclusive orchestral concerts. unmistakeable melancholic strains of Symphony No.40. Presented by MSO and Arts Centre Melbourne

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SCHEHERAZADE AN AMERICAN IN PARIS TCHAIKOVSKY & GRIEG Thursday 1 October Friday 30 October Friday 13 November Friday 2 October Gershwin’s An American in Paris Saturday 14 November Monday 5 October evokes a journey through the Asher Fisch conducts three Under the baton of Jakub Hrůša, the bustling streets of the French masterworks that defined the overture to Smetana’s comic opera capital, punctuated by taxi horns Romantic era. Tchaikovsky’s stirring The Bartered Bride opens a dazzling and a bluesy trumpet solo. Also Romeo and Juliet is followed by night of music. Dvořák’s Violin featured in this program is Ravel’s Grieg’s poignant Piano Concerto, Concerto is followed by Rimsky- Piano Concerto in G and Saint- with the high-voltage intensity of Korsakov’s Scheherazade, a vivid Saëns Symphony No.3 Organ. Tchaikovsky’s Fourth Symphony. orchestral work inspired by the tales of the Arabian Nights.

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MELBOURNE SYMPHONY ORCHESTRA

Birdsong is the unlikely link between With a reputation for excellence, Simone Young. The Orchestra has the first three items, by Rossini, versatility and innovation, the also collaborated with non-classical Mozart and Messiaen, on this Melbourne Symphony Orchestra musicians including Burt Bacharach, intriguing program under MSO is Australia’s oldest orchestra, Ben Folds, Nick Cave, Sting and Chief Conductor, Sir Andrew Davis. established in 1906. The Orchestra Tim Minchin. The overture to Rossini’s La gazza currently performs live to more The MSO reaches an even larger ladra (The Thieving Magpie) is self- than 200,000 people annually, in audience through its regular concert descriptive. The avian connection concerts ranging from subscription broadcasts on ABC Classic FM, to Mozart’s Piano Concerto No.17 performances at its home, Hamer also streamed online, and through was the composer’s pet starling, Hall at Arts Centre Melbourne, to its recordings on Chandos and ABC who could whistle the opening bars annual free concerts at Melbourne’s Classics. The MSO’s Education of the finale. Tonight’s soloist, largest outdoor venue, the Sidney and Community Engagement Jean-Efflam Bavouzet, prefers Myer Music Bowl. initiatives deliver innovative and the piano. Messiaen’s Oiseaux Sir Andrew Davis gave his inaugural engaging programs to audiences exotiques conjures up no fewer concerts as Chief Conductor of the of all ages, including MSO Learn, an than 18 species of birds, including MSO in April 2013, having made his educational iPhone and iPad app rare ones from India, China, debut with the Orchestra in 2009. designed to teach children about Malaysia and the Americas. Highlights of his tenure have included the inner workings of an orchestra. These are depicted variously collaborations with artists including by woodwind, brass, percussion The Melbourne Symphony Orchestra Bryn Terfel, Emanuel Ax and Truls is funded principally by the Australian and solo piano performed by Mørk, the release of recordings Bavouzet again. For those of Government through the Australia of music by Percy Grainger and Council, its arts funding and you who are ornithophobic, rest Eugene Goossens, a 2014 European assured: the final work, Brahms’ advisory body, and is generously Festivals tour, and a multi-year cycle supported by the Victorian Symphony No.3, contains no of Mahler’s . traces of starlings, prairie chickens, Government through Creative bobolinks or mynah birds! The MSO also works each season with Victoria, Department of Economic Principal Guest Conductor Diego Development, Jobs, Transport and Matheuz, Associate Conductor Resources. The MSO is also funded Benjamin Northey and the Melbourne by the City of Melbourne, its Principal Symphony Orchestra Chorus. Recent Partner, Emirates, corporate sponsors André Gremillet Managing Director guest conductors to the MSO have and individual donors, trusts and included Thomas Adès, John Adams, foundations. Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and

MOZART’S PIANO CONCERTO No.17 3 ABOUT THE ARTISTS

Melbourne Symphony Sir Andrew Davis Jean-Efflam Bavouzet Orchestra conductor piano

Sir Andrew Davis Sir Andrew Davis is Music Director Award-winning pianist Jean-Efflam conductor and Principal Conductor of the Bavouzet enjoys a prolific recording Jean-Efflam Bavouzet Lyric Opera of Chicago and Chief and international concert career, piano Conductor of the Melbourne and is Artistic Director of a new Symphony Orchestra. In a career biennial piano festival set in the --- spanning over 40 years, he has stunning scenery of Norway’s ROSSINI been the musical and artistic leader Lofoten Islands. La gazza ladra: Overture at several of the world’s most Recent highlights include a US --- distinguished opera and symphonic MOZART tour with the London Philharmonic institutions, including the BBC Orchestra, and his debut with the Piano Concerto No.17 Symphony Orchestra (1991-2004), Luxembourg Philharmonic Orchestra, --- Glyndebourne Festival Opera (1988- Cincinnati Symphony Orchestra Interval 20 minutes 2000), and the Toronto Symphony and the Orchestra della Svizzera --- Orchestra (1975-1988). He recently italiana. He has also appeared with MESSIAEN received the honorary title of the Orchestre National de France, Oiseaux exotiques Conductor Emeritus from the Royal Hong Kong Philharmonic Orchestra, Liverpool Philharmonic Orchestra. --- NHK Symphony Orchestra and the BRAHMS One of today’s most recognised Auckland Philharmonia Orchestra. Symphony No.3 and acclaimed conductors, Sir His Residency at the Orquestra Andrew has conducted virtually Sinfônica do Estado de São Paulo This concert has a duration of all the world’s major orchestras, concluded with a week of chamber approximately 2 hours including one opera companies, and festivals. music, recitals and master classes. 20 minute interval. This year he celebrates his 40- An active recitalist, he returns this Saturday afternoon’s performance will year association with the Toronto season to the Louvre and Wigmore be recorded for delayed broadcast Symphony, and aside from Hall, and to give recitals in Munich, on ABC Classic FM. performances with the Melbourne Budapest, Taiwan and Adelaide. He Symphony, he will conduct the BBC is a champion of lesser-known French Symphony Orchestra at the Proms, music, notably that of Gabriel Pierné Philharmonia Orchestra at the Three and Albéric Magnard. Choirs Festival, and the Scottish Chamber Orchestra at the Edinburgh Jean-Efflam’s recording of the International Festival. complete Prokofiev Piano Concertos Pre-Concert Talks with the BBC Philharmonic and Born in 1944 in Hertfordshire, Gianandrea Noseda won the 7pm Friday 28 August England,Sir Andrew studied at Costa Hall, Deakin University Concerto category of the 2014 King’s College, Cambridge, where Gramophone Awards. His earlier 1pm Saturday 29 August he was an organ scholar before recordings have earned him multiple Stalls Foyer, Hamer Hall taking up . His wide- prizes, including two Gramophone ranging repertoire encompasses MSO Orchestra Librarian Alastair Awards, two BBC Music Magazine the Baroque to contemporary, and McKean will present a talk on Awards, a Diapason d’Or and Choc his vast conducting credits span the artists and works featured in de l’année. the symphonic, operatic and the program. choral worlds. Sir Andrew was made a Commander Post-Concert Conversation of the British Empire in 1992, and a 8.30pm Monday 31 August Knight Bachelor in 1999. Stalls Foyer, Hamer Hall Join MSO Director of Artistic Planning Ronald Vermeulen for a post-concert conversation with tonight’s artists.

4 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT ABOUT THE MUSIC

Gioachino Rossini (1792-1868)

La gazza ladra Rossini’s semi-serious opera The was the most successful first night he (The Thieving Magpie): Overture Thieving Magpie was first produced had ever attended, and the opera at La Scala, Milan, in 1817. The became the most popular feature libretto, adapted by Giovanni of La Scala’s repertoire throughout Gherardini from a French play of the the season. same name, is the story of a servant The overture, widely considered girl who is condemned to death on Rossini’s best (after William Tell), circumstantial evidence for stealing opens with loud rolls on two snare a silver spoon. As she is being taken drums before launching into a to the scaffold, someone in the swinging march tune. The chief crowd catches sight of a magpie theme of the overture is taken from overhead making off with a silver a duet in the third act. The rest of spoon in its beak. The girl is released the melodic material is typical of amid great jubilation. the composer in character. There The opera represented in some are striking examples of the ‘Rossini respects a new departure for the crescendo’, particularly as the pace composer. Rossini, two of whose of the music quickens in a brief coda works had previously failed in Milan, for a thrilling curtain raiser. made a point of settling in that city © Symphony Australia two months before the new piece was produced, to study at first hand The Overture from The Thieving Magpie the taste of the Milanese. This public, was first performed by the Melbourne which prided itself on its intellectual Symphony Orchestra on 20 December superiority, had developed a strong 1953 under Clive Douglas, and most recently at the 2006 Classical Spectacular liking for German opera, with its concert, conducted by Anthony Inglis. emphasis on orchestral values. Rossini accordingly resolved to elaborate his instrumentation beyond his usual custom. The French writer Stendhal, who later wrote a biography of Rossini, remarked that the premiere

MOZART’S PIANO CONCERTO No.17 5 ABOUT THE MUSIC

Wolfgang Amadeus Mozart (1756-1791)

Piano Concerto No.17 in G, K.453 Mozart had periods of low creative the themes. A cadenza by productivity, but 1784 was not one of Mozart for this movement survives Allegro them – it is generally agreed that this (in this evening’s performance Andante was the year in which he wrote the Jean-Efflam Bavouzet will play his own Allegretto greatest number of first-rate works, cadenzas). including six of his piano concertos Jean-Efflam Bavouzet piano The opening of the very expressive (K.449, 450, 451, 453, 456 and 459). slow movement ends with a pause, Mozart composed the Concerto in G, then the oboe begins a series of K.453 for his pupil Barbara (Babette) almost vocal woodwind phrases. von Ployer, daughter of an agent After the piano has its turn with of the Salzburg court in Vienna. Her the music, and reaches the same father not only paid him handsomely pause, it continues passionately and for it, but hired an orchestra for the surprisingly with a powerful chord premiere at the family’s summer introducing G minor. Yet another house in Döbling on 13 June 1784. pause brings a development leading Mozart brought along the composer to distant keys. The recapitulation is Giovanni Paisiello to show off his pupil even more dramatic, but some relief and his music. comes with the reappearance of the The first movement’s somewhat woodwind phrases in E flat. march-like character is disguised The finale is based on a bourrée by the trill on the second note and or contredanse theme which the semitone it emphasises. The Mozart liked so much that he expression here is to be subtle, the taught his pet starling to sing it, mood ever shifting, the harmony which it did with endearing mistakes. often chromatic and hesitating It is followed by five variations of between major and minor, as in the which the fourth is in the minor. After second subject, which is led in by the final variation, and a cadenza, arpeggio figures for the winds, and a coda begins which is virtually a followed by a dramatic plunge into new movement, full of the spirit of a distant key. The solo piano subject an opera buffa finale. includes an important winding © David Garrett figure, and is followed by a beautiful transition featuring the winds and The Melbourne Symphony Orchestra first especially the bassoon, which plays performed this concerto on 8 February a large role in this concerto. The 1962 with conductor development, after a pause, sets and soloist Fou Ts’ong, and most recently in July 2000 with Christopher Hogwood off for far shores with great fantasy, and soloist Marina Kolomiytseva. seeming to have nothing to do with

6 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT Mozart: The Money Manager

Mozart and money are not generally The first performance of K.453 by only wrote for remuneration. No thought to have been good Babette Ployer seems to have taken matter, for as the great scientist’s companions, however at the time place in June 1784 at her country cousin, musicologist Alfred Einstein he wrote the Concerto No.17 (K.453) estate, following her commissioning said in his scholarly work on Mozart: that you will hear today, it seems of this work and an earlier concerto, ‘Mozart’s music, which to so many the young composer was in a good K.449. Mozart’s ability to support his of his contemporaries still seemed place financially. This was thanks to family as a successful ‘freelancer’ to have the brittleness of clay, has a series of commissions and a very (before that term was invented), long since been transformed into healthy number of patrons attending was owed to music loving patrons gold, gleaming in the light, [taking his 1784 series of spring concerts at like Ployer, Countess Maria von Thun, on] a different lustre for each the Trattnerhof, as well as a successful Baron Gottfried Van Swieten, who new generation. Without it, each self-staged concert at the Burgtheater commissioned him to re-score some generation would be infinitely poorer.’ in Vienna. Handel pieces for his personal use, — Count Joseph Nepomuk von Deym who commissioned the Fantasias for If you would like to offer your support Mechanical Organ, and of course to MSO, our Philanthropy Team Count Esterházy, whose palace would love to talk with you. Contact hosted some of Mozart’s most Judy Turner on (03) 9626 1551 or by successful subscription concerts email [email protected] for a in 1783-4. confidential discussion. Without these and many other generous supporters, Mozart’s output would have been vastly different. Never unaware of the importance of money, Mozart allowed contemporaries to see him as a quill for hire – someone who

MOZART’S PIANO CONCERTO No.17 7 ABOUT THE MUSIC

Olivier Messiaen (1908–1992)

Oiseaux exotiques (Exotic Birds) Birds, for Olivier Messiaen, were His program notes explain the title: the first musicians of the planet. He ‘Unlike the Réveil des oiseaux [whose began to take a systematic interest birds are French], Oiseaux exotiques in birdsong in 1952 after lessons from is based on the singing of exotic birds enthusiast Jacques Delamain, author of India, China, Malaysia, North and of the popular book Why Birds Sing. South America, taking note as much Messiaen took every opportunity of their colours as of their singing.’ to notate birdsong out of doors, Messiaen had heard only some of as if from ‘dictation’. By 1958 he these birds ‘live’. He was always had completed a comprehensive excited to hear birds for the first time piano composition, Catalogue in their native habitat (in Australia d’oiseaux. His collaborator was his in 1988, lyrebirds were a highlight, future second wife, pianist Yvonne and the kookaburra). In France he Loriod (who followed him with a tape heard exotic birds in private aviaries recorder). But he was disappointed and at market stalls, as well as on when she let him hear her part in his recordings. Altogether, the calls of first birdsong-dominated orchestral 47 species of bird feature in Oiseaux work, Réveil des oiseaux (Awakening exotiques. of the Birds – 1953): ‘you haven’t The colours of the birds’ plumage, got the timbres’. Pianists, Messiaen like their song, have their counterpart suggested, should listen to the birds in Messiaen’s music. Hearing certain before attempting his music. At first chordal combinations caused him to he effaced himself and wanted the see corresponding colours. Another birds credited as the true composers. of Messiaen’s major preoccupations In Oiseaux exotiques three years – ancient Greek and Hindu rhythms later, Messiaen was freer and more – underlies the work’s rhythmic daring – the musician was taking structure, articulated by percussion over from the ornithologist. He instruments. combined songs of different birds and moved them about at will.

8 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT In Oiseaux exotiques three years later, Messiaen was freer and more daring – the musician was taking over from the ornithologist.

Oiseaux exotiques is scored for solo 8. All the birds sing together in 12. Short piano cadenza calling piano, winds, brass and percussion. counterpoint while four rhythmical back the Wood Thrush and Messiaen’s synopsis follows, amplified strophes for percussion develop the Cardinal. (in italics) by his descriptions of some the Hindu and Greek rhythms. The 13. Coda, with implacable of the birds and their song. American Robin (two clarinets) vociferations of the White-crested 1. Introduction. enlivens this long tutti. Also heard: Laughing Thrush (a bog bird the Olive-backed Thrush, the 2. Piano cadenza. of terrifying aspect, from the Hermit Thrush, the Red-whiskered Himalayas). Indian Minah – black with a yellow Bubul and the Wood Thrush. neck – singular cries; Wood Thrush David Garrett © 2015 – bursting sunlit fanfare. 9. Four shrieks of the Prairie Chicken, 3. Interlude of four birds (Lesser followed by tam-tam crescendo. Oiseaux exotiques was commissioned by Pierre Boulez for the Domaine Musical Green Leafbird, Baltimore Oriole, 10. Very long piano cadenza based concerts at the Petit Théâtre Marigny in Red-billed Mesia and Californian on the Bobolink and the Cat-bird Paris, and first performed on 10 March Thrush) entrusted to woodwind, (slate-grey – begins its strophes 1956 under the direction of Rudolf Albert. glockenspiel, and xylophone. with a mewing). Very brilliant Yvonne Loriod, to whom the work is 4. Short piano cadenza based on writing in all registers. dedicated, was the piano soloist. The the Cardinal (red). 11. Second and final grand tutti. Melbourne Symphony Orchestra’s only previous performance took place on 25 Principal soloist the White-rumped 5. The rest of the interlude of the four June 1975 with conductor Hiroyuki Iwaki birds (woodwind). Shama (bluish-black, orange and pianist Kaori Kimura. body, long tail with white and 6. Third piano cadenza based on black feathers; a marvellous the Cardinal. singer – rhythmical percussion 7. Storm thunders above the strokes of two disjointed sounds Amazonian Forest, tremendous and bursting ringing fanfares). tam-tam crescendo. The Prairie Great counterpoint, extremely Chicken inflates its air sack, then coloured, of all the instruments. emits a terrible shriek from high to low.

MOZART’S PIANO CONCERTO No.17 9 ABOUT THE MUSIC

Johannes Brahms (1833-1897)

Symphony No.3 in F, Op.90 Brahms spent the summer of which was written partly as a gesture 1883 in the German spa town of of reconciliation by Brahms, who Allegro con brio Wiesbaden, where he produced had fallen out with Joachim over Andante his Third Symphony in a mere four the latter’s divorce some years Poco allegretto months. It is the shortest of Brahms’ earlier. But the theme which the Allegro symphonies, but for this obsessively motto introduces evokes Schumann, self-critical composer that was someone dear to both Brahms’ and almost miraculous. Hans Richter, who Joachim’s hearts. conducted the first performance in The motto-motif provides the Vienna, was perhaps a little over the assertive opening gesture, where it top in calling it ‘Brahms’ Eroica’ (it is ‘spelled’ F-A flat-F: in F major, the was Richter, after all, who dubbed A flat is chromatic, thus providing a the First Symphony ‘Beethoven’s dramatic dissonance at the work’s Tenth’) and yet it is a work that outset. This pattern – the first, third essays many emotional states in a and eighth degrees of the scale highly dramatic fashion, and leads to – can be found throughout the a conclusion of great peace. whole work. But the major-minor Thirty years earlier, Brahms had tension pervades the work, giving contributed to the ‘F-A-E Sonata’, it its moments of ‘heroic’ drama. a work jointly composed with Albert The work’s dramatic unity is also Dietrich and Robert Schumann in effected by its overall tonal plan: honour of violinist Joseph Joachim. the outer movements are, naturally, The letters stand for Joachim’s centred on the home key of F, personal motto ‘frei aber einsam’ while the inner movements focus (free but lonely) and provide a on its polar opposite, C. This simple musical motif that unites the work. architecture is decorated at the Brahms responded that his own more local level by much more motto was ‘frei aber froh’ (free but surprising key relations. The F major/A happy). The musical version of this, flat opening is a case in point; the F-A-F, dominates the Third Symphony, first subject, or thematic group,

10 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT ABOUT THE MUSIC is a surging music in F major that Swafford’s view that Brahms was © Gordon Kerry 2014/15 derives from the opening theme of not unaffected by the recent death Robert Schumann’s Third Symphony, of Wagner, ‘his rival, his respected The Melbourne Symphony was the first of the Australian state orchestras to the ‘Rhenish’. Wiesbaden, where enemy, his shadow’, whose sound- perform Brahms’ Third Symphony, on 9 Brahms composed the piece, is on world they resemble. July 1938 under Percy Code. The MSO’s the Rhine; Brahms may have been The main theme of the third most recent performances took place in unconscious of the resemblance, movement is characterised August 2010 with Johannes Fritzsch. though the model of the First by gentle dissonance on the Symphony’s finale, which almost downbeats and a wave-like ebb – and quite deliberately – quotes and flow. After a contrasting central Beethoven’s Ninth, comes to mind. section introduced by pulsing chords But the second subject, a serene that alternate with rich string scoring, tune sounded by clarinet and the opening material is recapitulated bassoon, is in the distant key of A but in different instrumentation. major. A short development leads to the expected recapitulation of the The dramatic focus of the symphony, opening material; more important, however, is the finale where, though, is Brahms’ gradual lowering Beethoven-style, assertive, often of the temperature to conclude the terse, rhythmic ideas contend with movement – as he does with all four athletic, long-breathed melodies, in this work – softly and calmly. notably one that has the classic Brahmsian tension between duplet The Andante takes up the pastoral and triplet motifs. After boisterous sounds of clarinet and bassoon, heroics that feature a three-beat alternating wind textures with rhythm derived from the work’s quiet lower-string passages at first, opening motto, the music reaches and such textures moderate any a state of repose where, against impassioned outbursts during the rippling strings, the winds build in course of its sonata-design unfolding. intensity to restate the opening The delicate textures at the end of F-A flat-F moment, now purged the movement might support Jan of any angst.

Concerts in Geelong and CLASSIC KIDS 3 Melbourne for Schools and The Happiness Box Families Brett Kelly conductor Stephen Curry narrator The Happiness Box tells the story of three animal friends on a quest to discover the secret of happiness. This delightful tale was written for Changi Gaol’s child prisoners in 1942 by Australian Prisoner of War, David Gri n, and illustrated by fellow POW Leslie Greener. It has been thoughtfully scored for young audiences by award-winning composer Bryony Marks with beautiful illustrations from the original book accompanying the narration and music. These concerts are the ideal introduction to the orchestra for School Students Foundation to Grade 2 and young families with children aged 3 -7 years. GEELONG SHOWS Wednesday 4 November at 12pm and 1.30pm Costa Hall, Deakin University Geelong MELBOURNE SHOWS Thursday 5 November at 10am, 11.15am and 1pm Friday 6 November at 10am, 11.15am and 1pm Saturday 7 November at 10am, 11.15am and 1pm Iwaki Auditorium, ABC Southbank Centre BOOK NOW GPAC.ORG.AU | (03) 5225 1207 MSO.COM.AU | (03) 9929 9600 Supported by the Geelong Friends of the MSO

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Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST VIOLINS Andrew Hall Michelle Wood CLARINETS TRUMPETS Dale Barltrop Francesca Hiew Nils Hobiger* David Thomas Geoffrey Payne Concertmaster Rachel Homburg Principal Principal DOUBLE BASSES Eoin Andersen Christine Johnson Philip Arkinstall Shane Hooton Steve Reeves Concertmaster Isy Wasserman Associate Principal Associate Principal Principal Sophie Rowell Philippa West Craig Hill William Evans Andrew Moon Associate Concertmaster Patrick Wong Julie Payne Associate Principal BASS CLARINET Peter Edwards Roger Young Sylvia Hosking Jon Craven TROMBONES Assistant Principal VIOLAS Assistant Principal Principal Brett Kelly Kirsty Bremner Christopher Moore Damien Eckersley Principal MSO Friends Chair BASSOONS Principal Benjamin Hanlon Kieran Conrau* Sarah Curro Jack Schiller Christopher Cartlidge Suzanne Lee Peter Fellin Principal BASS TROMBONE Acting Associate Stephen Newton Deborah Goodall Lyndon Watts* Mike Szabo Principal Young-Hee Chan* Lorraine Hook Guest Principal Principal Lauren Brigden Jonathan Heilbron* Kirstin Kenny Elise Millman Katharine Brockman TUBA Ji Won Kim FLUTES Associate Principal Simon Collins Timothy Buzbee Eleanor Mancini Prudence Davis Natasha Thomas Gabrielle Halloran Principal Mark Mogilevski Principal Flute Chair - Trevor Jones CONTRABASSOON Michelle Ruffolo Anonymous TIMPANI Fiona Sargeant Brock Imison Kathryn Taylor Wendy Clarke Christine Turpin Cindy Watkin Principal Rebecca Adler* Associate Principal Principal Caleb Wright Colin Forbes-Adams* Jacqueline Edwards* Sarah Beggs Ceridwen Davies* PERCUSSION Robert John* HORNS Emilie Grimes* PICCOLO Robert Clarke Oksana Thompson* Zora Slokar Andrew Macleod Principal Isabel Morse* Principal SECOND VIOLINS Principal John Arcaro CELLOS Peter Luff* Matthew Tomkins Robert Cossom David Berlin OBOES Guest Principal† The Gross Foundation Peter Neville* MS Newman Family Jeffrey Crellin Geoff Lierse Principal Second Violin Conrad Nilsson* Principal Cello Chair Principal Associate Principal Chair Greg Sully* Rachael Tobin Thomas Hutchinson Saul Lewis Robert Macindoe Eugene Ughetti* Associate Principal Associate Principal Principal Third Associate Principal Nicholas Bochner Ann Blackburn Jenna Breen HARP Monica Curro Assistant Principal Abbey Edlin Yinuo Mu Assistant Principal COR ANGLAIS Miranda Brockman Trinette McClimont Principal Mary Allison Michael Pisani Rohan de Korte Isin Cakmakcioglu Principal Keith Johnson *Guest musician Freya Franzen † Sarah Morse Courtesy Queensland Cong Gu Angela Sargeant Symphony Orchestra MANAGEMENT

BOARD BUSINESS EDUCATION AND MARKETING DEVELOPMENT Harold Mitchell AC Francie Doolan COMMUNITY Alice Wilkinson Leith Brooke Chairman Chief Financial Officer ENGAGEMENT Director of Marketing Director of Development André Gremillet Raelene King Bronwyn Lobb Jennifer Poller Jessica Frean Managing Director Personnel Manager Director of Education Marketing Manager MSO Foundation Michael Ullmer Leonie Woolnough and Community Megan Sloley Manager Deputy Chair Financial Controller Engagement Marketing Manager Ben Lee Andrew Dyer Phil Noone Lucy Bardoel Ali Webb Donor and Government Danny Gorog Accountant Education and PR Manager Relations Manager Margaret Jackson AC Nathalia Andries Community Engagement Kate Eichler Arturs Ezergailis Brett Kelly Finance Officer Coordinator Publicity and Online Donor and Patron David Krasnostein Suzanne Dembo Lucy Rash Engagement Coordinator Coordinator David Li Strategic Pizzicato Effect Kieran Clarke Judy Turner Ann Peacock Communications and Coordinator Digital Manager Major Gifts Manager Helen Silver AO Business Processes Nina Dubecki Justine Knapp OPERATIONS Kee Wong Manager Front of House Supervisor Major Gifts Coordinator Gabrielle Waters James Rewell Michelle Monaghan COMPANY ARTISTIC Director of Operations Graphic Designer Corporate Development SECRETARY Ronald Vermeulen Angela Bristow Chloe Schnell Manager Oliver Carton Director of Artistic Orchestra Manager Marketing Coordinator James Ralston Planning James Foster EXECUTIVE Claire Hayes Corporate Development Andrew Pogson Operations Manager André Gremillet Ticket and Database and Events Coordinator Special Projects Manager James Poole Managing Director Manager Laura Holian Production Coordinator Catrin Harris Paul Congdon Artistic Coordinator Alastair McKean Executive Assistant Box Office Supervisor Helena Balazs Orchestra Librarian Jennifer Broadhurst HUMAN RESOURCES Chorus Coordinator Kathryn O’Brien Ticketing Coordinator Miranda Crawley Assistant Librarian Angela Ballin Director of Human Michael Stevens Customer Service Resources Assistant Orchestra Coordinator Manager Chelsie Jones Stephen McAllan Customer Service Officer Artist Liaison Lucy Rash Operations Coordinator

MOZART’S PIANO CONCERTO No.17 13 THANKS TO OUR WONDERFUL MSO SUPPORTERS

The MSO relies on your ongoing philanthropic support to sustain access, artists, education, community engagement and more. We invite our supporters to get close to the MSO through a range of special events and supporter newsletter The Full Score. The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $100 (Friend), $1,000 (Player), $2,500 (Associate), $5,000 (Principal), $10,000 (Maestro), $20,000 (Impresario), $50,000 (Benefactor) The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will. Enquiries: Ph +61 (03) 9626 1248 Email: [email protected] This honour roll is correct at time of printing.

ARTIST CHAIR BENEFACTORS Future Kids Pty Ltd Mr John Brockman OAM and Harold Mitchell AC Robert & Jan Green Mrs Pat Brockman Chief Conductor Chair Lou Hamon OAM Leith and Mike Brooke Patricia Riordan Margaret Jackson AC Rhonda Burchmore Associate Conductor Chair Konfir Kabo and Monica Lim Bill and Sandra Burdett Joy Selby Smith Mr Greig Gailey and Dr Geraldine Lazarus Oliver Carton Orchestral Leadership Chair Norman and Betty Lees John and Lyn Coppock Marc Besen AC and Eva Besen AO Matsoral Foundation Miss Ann Darby in memory of Leslie J. Darby International Guest Chair Mimie MacLaren Mary and Frederick Davidson AM MSO Friends Chair Ian and Jeannie Paterson Peter and Leila Doyle The Gross Foundation Onbass Foundation Lisa Dwyer and Dr Ian Dickson Principal Second Violin Chair Glenn Sedgwick Jane Edmanson OAM MS Newman Family Principal Cello Chair Maria Solà, in memory of Malcolm Douglas Dr Helen M Ferguson Principal Flute Chair – Anonymous Drs G & G Stephenson. In honour of the Mr Bill Fleming great Romanian musicians George Enescu Colin Golvan QC and Dr Deborah Golvan PROGRAM BENEFACTORS and Dinu Lipatti Michael and Susie Hamson Meet The Music Lyn Williams AM Susan and Gary Hearst Made possible by The Ullmer Family Kee Wong and Wai Tang Gillian and Michael Hund Foundation Jason Yeap OAM Rosemary and James Jacoby East meets West Anonymous (1) John and Joan Jones Supported by the Li Family Trust Connie and Craig Kimberley The Pizzicato Effect (Anonymous) PRINCIPAL PATRONS $5,000+ Kloeden Foundation MSO UPBEAT Lino and Di Bresciani OAM Supported by Betty Amsden AO DSJ Linda Britten Sylvia Lavelle MSO CONNECT David and Emma Capponi Ann and George Littlewood Supported by Jason Yeap OAM Tim and Lyn Edward H.E. McKenzie John and Diana Frew Allan and Evelyn McLaren BENEFACTOR PATRONS $50,000+ Danny Gorog and Lindy Susskind Don and Anne Meadows Betty Amsden AO DSJ Nereda Hanlon and Michael Hanlon AM Ann Peacock with Andrew and Philip Bacon AM Hartmut and Ruth Hofmann Woody Kroger Marc Besen AC and Eva Besen AO Jenny and Peter Hordern Sue and Barry Peake Jennifer Brukner Jenkins Family Foundation Mrs W Peart Rachel and Hon. Alan Goldberg AO QC Suzanne Kirkham Ruth and Ralph Renard The Gross Foundation Vivien and Graham Knowles Tom and Elizabeth Romanowski David and Angela Li David Krasnostein and Pat Stragalinos Max and Jill Schultz Annette Maluish Elizabeth Kraus in memory of Bryan Hobbs Diana and Brian Snape AM Harold Mitchell AC Dr Elizabeth A Lewis AM Mr Tam Vu and Dr Cherilyn Tillman MS Newman Family Peter Lovell William and Jenny Ullmer Roslyn Packer AO The Cuming Bequest Bert and Ila Vanrenen Mrs Margaret S Ross AM and Dr Ian Ross Mr and Mrs D R Meagher Brian and Helena Worsfold Joy Selby Smith Wayne and Penny Morgan Anonymous (12) Ullmer Family Foundation Marie Morton FRSA PLAYER PATRONS $1,000+ IMPRESARIO PATRONS $20,000+ Dr Paul Nisselle AM Anita and Graham Anderson, Christine Michael Aquilina Lady Potter AC and Mark Armour, Arnold Bloch Leibler, Perri Cutten and Jo Daniell Stephen Shanasy Marlyn and Peter Bancroft OAM, Adrienne Basser, Prof Weston Bate and Janice Bate, Susan Fry and Don Fry AO Gai and David Taylor Timothy and Margaret Best, David and John McKay and Lois McKay the Hon. Michael Watt QC and Cecilie Hall Helen Blackwell, Bill Bowness, Michael F Elizabeth Proust AO Barbara and Donald Weir Boyt, M Ward Breheny, Susie Brown, Jill and Rae Rothfield Anonymous (4) Christopher Buckley, Dr Lynda Campbell, Sir Roderick Carnegie AC, Andrew and MAESTRO PATRONS $10,000+ ASSOCIATE PATRONS $2,500+ Pamela Crockett, Natasha Davies, Pat John and Mary Barlow Dandolo Partners and Bruce Davis, Merrowyn Deacon, Kaye and David Birks Pierce Armstrong Foundation Sandra Dent, Dominic and Natalie Dirupo, Paul and Wendy Carter Will and Dorothy Bailey Bequest Marie Dowling, John and Anne Duncan, Mitchell Chipman Barbara Bell in memory of Elsa Bell Kay Ehrenberg, Gabrielle Eisen, Vivien Jan and Peter Clark Peter Biggs CNZM and Mary Biggs and Jack Fajgenbaum, Grant Fisher and Helen Bird, Barry Fradkin OAM and Dr Pam Sir Andrew and Lady Gianna Davis Mrs S Bignell Fradkin, David Gibbs and Susie O’Neill, Andrew and Theresa Dyer Stephen and Caroline Brain

14 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT THANKS TO OUR WONDERFUL MSO SUPPORTERS

Merwyn and Greta Goldblatt, Dina and Wills Cooke, Pamela F Wilson, Joanne Wolff, The Schapper Family Foundation Ron Goldschlager, Golvan QC and Naomi Peter and Susan Yates, Mark Young, Panch The Scobie and Claire Mackinnon Trust Golvan, Charles and Cornelia Goode, Das and Laurel Young-Das, YMF Australia, Dr Marged Goode, Louise Gourlay OAM, Anonymous (17) CONDUCTOR’S CIRCLE Ginette and André Gremillet, Max Gulbin, Jenny Anderson, GC Bawden and de Kievik, THE MAHLER SYNDICATE Dr Sandra Hacker AO and Mr Ian Kennedy Lesley Bawden, Joyce Bown, Mrs Jenny David and Kaye Birks, Jennifer Brukner, AM, Jean Hadges, Paula Hansky OAM and Brukner and the late Mr John Brukner, Ken Mary and Frederick Davidson AM, Tim and Jack Hansky AM, Tilda and Brian Haughney, Bullen, Luci and Ron Chambers, Sandra Lyn Edward, John and Diana Frew, Louis Henkell Family Fund, Penelope Hughes, Dr Dent, Lyn Edward, Alan Egan JP, Gunta Hamon OAM, The Hon Dr Barry Jones AC, Alastair Jackson, Stuart Jennings, George Eglite, Louis Hamon OAM, Carol Hay, Tony Dr Paul Nisselle AM, Maria Solà in memory of and Grace Kass, Irene Kearsey, Ilma Kelson Howe, Audrey M Jenkins, John and Joan Malcolm Douglas, The Hon Michael Watt QC Music Foundation, Dr Anne Kennedy, Lew Jones, George and Grace Kass, Mrs Sylvia and Cecilie Hall, Anonymous (1) Foundation, Norman Lewis in memory of Dr Lavelle, Pauline and David Lawton, Lorraine Phyllis Lewis, Dr Anne Lierse, Violet and Jeff MSO ROSES Meldrum, Cameron Mowat, Laurence Loewenstein, The Hon Ian Macphee AO Founding Rose: Jennifer Brukner O’Keefe and Christopher James, Rosia and Mrs Julie Mcphee, Elizabeth H Loftus, Roses: Mary Barlow, Linda Britten, Wendy Pasteur, Elizabeth Proust AO, Penny Rawlins, Vivienne Hadj and Rosemary Madden, Dr Carter, Annette Maluish, Lois McKay, Pat Joan P Robinson, Neil Roussac, Anne Julianne Bayliss, In memory of Leigh Masel, Stragalinos, Jenny Ullmer. Rosebuds: Leith Roussac-Hoyne, Jennifer Shepherd, Drs John and Margaret Mason, In honour of Brooke, Lynne Damman, Francie Doolan, Gabriela and George Stephenson, Pamela Norma and Lloyd Rees, Trevor and Moyra Lyn Edward, Elizabeth A Lewis AM, Sophie Swansson, Lillian Tarry, Dr Cherilyn Tillman, Mr McAllister, David Menzies, Ian Morrey, Rowell, and Mrs R P Trebilcock, Michael Ullmer, Ila The Novy Family, Laurence O’Keefe and Dr Cherilyn Tillman Vanrenen, Mr Tam Vu, Marian and Terry Wills Christopher James, Graham and Christine Cooke, Mark Young, Anonymous (21) FOUNDATIONS AND TRUSTS Peirson, Andrew Penn and Kallie Blauhorn, THE MSO GRATEFULLY ACKNOWLEDGES THE The Annie Danks Trust Kerryn Pratchett, Peter Priest, Jiaxing SUPPORT RECEIVED FROM THE ESTATES OF: Qin, Eli Raskin, Peter and Carolyn Rendit, Collier Charitable Fund Angela Beagley, Gwen Hunt, Pauline S M Richards AM and M R Richards, Dr Creative Partnerships Australia Marie Johnston, C P Kemp, Peter Forbes Rosemary Ayton and Dr Sam Ricketson, Crown Resorts Foundation and the Packer MacLaren, Prof Andrew McCredie, Miss Joan P Robinson, Doug and Elizabeth Scott, Family Foundation Sheila Scotter AM MBE, Molly Stephens, Jeffrey Sher, Dr Sam Smorgon AO and Mrs The Cybec Foundation Jean Tweedie, Herta and Fred B Vogel, Minnie Smorgon, John So, Dr Norman and The Harold Mitchell Foundation Dorothy Wood Dr Sue Sonenberg, Dr Michael Soon, Pauline Helen Macpherson Smith Trust Speedy, State Music Camp, Geoff and HONORARY APPOINTMENTS Judy Steinicke, Mrs Suzy and Dr Mark Suss, Ivor Ronald Evans Foundation, managed by Mrs Elizabeth Chernov Pamela Swansson, Frank Tisher OAM and Dr Equity Trustees Limited and Mr Russell Brown Education and Community Miriam Tisher, Margaret Tritsch, Judy Turner Linnell/Hughes Trust, managed by Perpetual Engagement Patron and Neil Adam, P & E Turner, Mary Vallentine The Marian and EH Flack Trust Sir Elton John CBE AO, The Hon. Rosemary Varty, Leon and The Perpetual Foundation – Alan (AGL) Life Member Sandra Velik, Sue Walker AM, Elaine Walters Shaw Endowment, managed by Perpetual The Honourable Alan Goldberg AO QC OAM and Gregory Walters, Edward and The Pratt Foundation Life Member Paddy White, Janet Whiting and Phil Lukies, The Robert Salzer Foundation Geoffrey Rush AC Nic and Ann Willcock, Marian and Terry Ambassador

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