CONCERT PROGRAMCONCERT PROGRAM

PLAYS PASTORAL

23–26 JUNE 2017

MSO PLAYS DAS LIED VON DER ERDE Saturday 1 July | 2pm

MSO PLAYS SHOSTAKOVICH 5 Saturday 12 August | 2pm

SIR ANDREW DAVIS UNCOVERS BRUCKNER 7 Saturday 2 September | 2pm

MSO PLAYS RAVEL Saturday 23 September | 2pm

MSO PLAYS RACHMANINOV 2 Saturday 25 November | 2pm

Arts Centre Melbourne, Hamer Hall

Book now mso.com.au/matinees

The perfect Saturday

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Melbourne Symphony Orchestra

Sir Andrew Davis conductor

Daniel Müller-Schott cello

Christopher Moore viola

Strauss Don Quixote

INTERVAL

Beethoven arr. Dean Adagio molto e mesto

Beethoven Symphony No.6 Pastoral

Running time: 2 hours, including 20-minute interval

In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone.

The MSO acknowledge the Traditional Owners of the land on which we are performing. We pay our respects to their Elders, past and present, and the Elders from other communities who may be in attendance.

mso.com.au (03) 9929 9600

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MELBOURNE SYMPHONY ORCHESTRA

Established in 1906, the Melbourne Symphony Orchestra (MSO) is Australia’s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of the MSO since 2013. Engaging more than 2.5 million people each year, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming. As a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world. Its international audiences include China, where the MSO performed in 2016 and Europe where the MSO toured in 2014.

The MSO performs a variety of concerts ranging from core classical performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl. The MSO also delivers innovative and engaging programs to audiences of all ages through its Education and Outreach initiatives.

The MSO also works with Associate Conductor, Benjamin Northey, and the Melbourne Symphony Orchestra Chorus, as well as with such eminent recent guest conductors as Thomas Ades, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Nick Cave, Sting, Tim Minchin, Ben Folds, DJ Jeff Mills and Flight Facilities. Tonight’s concert concludes the MSO’s acclaimed Richard Strauss cycle, which has been recorded for CD (ABC Classics).

SIR ANDREW DAVIS CONDUCTOR

Sir Andrew Davis is Music Director and Principal Conductor of the Lyric Opera of Chicago and Chief Conductor of the Melbourne Symphony Orchestra. In a career spanning over 40 years, he has been the musical and artistic leader at several of the world's most distinguished opera and symphonic institutions, including the BBC Symphony Orchestra (1991-2004), Glyndebourne Festival Opera (1988-2000), and the Toronto Symphony Orchestra (1975-1988). He recently received the honorary title of Conductor Emeritus from the Royal Liverpool Philharmonic Orchestra.

One of today's most recognised and acclaimed conductors, Sir Andrew has conducted virtually all the world's major orchestras, opera companies, and festivals. Born in 1944 in Hertfordshire, England, Sir Andrew studied at King’s College, Cambridge, where he was an organ scholar before taking up conducting. His wide-ranging repertoire encompasses the Baroque to contemporary, and his vast conducting credits span the symphonic, operatic and choral worlds.

In 1992 Maestro Davis was made a Commander of the British Empire, and in 1999 he was made a Knight Bachelor in the New Year Honours List.Image courtesy Dario Acosta Photography

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DANIEL MÜLLER-SCHOTT CELLO

With technical brilliance and authority, with intellect and emotional esprit, Daniel Müller-Schott has been guest soloist with the Berlin Philharmonic under Alan Gilbert, the New York Philharmonic and the Boston Symphony Orchestra under Charles Dutoit and the Munich Philharmonic under Lorin Maazel.

He is also a regular guest of the City of Birmingham Symphony Orchestra, Philharmonia Orchestra, London Philharmonic Orchestra, at London’s BBC Proms, Leipzig Gewandhaus Orchestra, and in the US with the orchestras of Cleveland, Chicago and Philadelphia. He performs with NHK Symphony Orchestra, Sydney Symphony and Seoul Philharmonic. He works with conductors including Jakub Hrůša, Neeme Järvi, Jun Märkl, Andris Nelsons, André Previn, Jukka-Pekka Saraste and Dima Slobodeniouk.

Müller-Schott studied with Walter Nothas, Heinrich Schiff and Steven Isserlis and was recipient of the 2013 Aida Stucki Award awarded from the Anne-Sophie Mutter Foundation. Through this support he studied with the late Mstislav Rostropovich. He plays the “Ex Shapiro” Matteo Goffriller cello, Venice, 1727.

CHRISTOPHER MOORE VIOLA

Born in Newcastle, Christopher Moore's strongest memory from childhood was seeing his mother pulling up in the driveway of his home with a tiny blue violin case on the back seat. After studying with two prominent Sydney Suzuki teachers, Marjorie Hystek and the late Harold Brissendon, he completed his Bachelor of Music in Newcastle with violinist and pedagogue Elizabeth Holowell.

After working with Adelaide and New Zealand Symphony Orchestras as a violinist, Chris decided to take up a less highly strung string instrument and moved his musical focus and energy to the viola. He accepted a position with the Melbourne Symphony Orchestra – a position he held for one and a half years before successfully auditioning for the position of Associate Principal Viola with the orchestra. During his association with MSO, Chris has performed regularly as a chamber musician with other colleagues from the MSO and counts among his many highlights sharing the stage with KISS.

In his current position as Principal Viola of the MSO, Chris is supported by Di Jameson.

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PROGRAM NOTES

RICHARD STRAUSS (1864–1949)

Don Quixote – Fantastic Variations on a Theme of Knightly Character, Op.35

Daniel Müller-Schott celloChristopher Moore viola

Cervantes’ 17th-century novel would become the greatest work of Spanish literature, with Don Quixote and Sancho Panza two of the greatest characters in all literature – up there with Faust, Hamlet and Milton’s Satan. And the number of musical settings over the years has surely adorned Cervantes’ comic classic beyond his humblest dreams – suites by Purcell and Telemann, song cycles by Ravel and Ibert, operas by Mendelssohn, Donizetti, Massenet and Paisiello, and works by fellow Spaniards like Roberto Gerhard and Manuel de Falla.

Richard Strauss’ tone-poem, the most popular orchestral work on the subject, was his third character study after Don Juan and Till Eulenspiegel. It was largely written during December 1897 while Strauss was Hofkapellmeister back in his home town of Munich, and first performed in Cologne on 8 March 1898.

Strauss’ Don Quixote is a symphonic poem but takes the form of theme and variations (representing adventurous episodes). Strauss’ designation of the work as being for grosses Orchester conceals the extent of soloistic work. The oboe is immediately noticeable in the Introduction, but, more significantly, a solo cello represents

the Don, and a solo viola embodies his squire, Sancho Panza. Other sides to these characters are presented by solo violin (for Quixote), and bass clarinet and tenor tuba (for Sancho).

The opening theme consists of a wind flourish and then a galant violin theme suggesting the Don’s chivalric nature. A clarinet figure expresses the Don’s dreamy personality. Strauss next pursues the events leading to Quixote’s insanity, with violas playing a variant of the opening theme until the oboe presents his idealised woman, the farm girl whom the Don has christened Dulcinea. Trumpets summon the Don to exploits. From this point a certain nightmarish quality invests the Introduction.

Strauss now presents his themes for variation – a character study by solo cello of the famous ‘Knight of the Sorrowful Countenance’; Sancho is depicted by three themes: a rolling figure on bass clarinet and tuba, a scampering theme on viola, and finally, Sancho’s proverbs and platitudes.

Variation I: The Adventure with the Windmills comes from the famous episode where Don Quixote mistakes windmills for giants and attacks them. You can hear the breeze stirring the windmills’ arms in the quick repeated notes on piccolo and flute and trilling violins. The Don’s failure is sharp and the music depicts his limping recovery.

Variation II: The Battle with the Sheep. Against ‘bleating’ flutter-tonguing on winds and brass, a pastoral

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theme suggests sheep which the Don mistakes for mighty armies and attacks. A victorious outcome fits in nicely with Strauss’ musical scheme, but Cervantes’ shepherds threw stones at his hero.

Strauss called Variation III: Dialogue between Knight and Servant: Sancho’s demands, questions and proverbs, Don Quixote’s instructions, appeasings and promises. It is an amusing picture of the two of them bantering for miles. Finally the Don ‘explodes’ and Strauss shifts the scene, giving us a portrait of Knight Errantry through Don Quixote’s eyes.

Off goes Rocinante, Quixote’s tired old nag, in a decrepit gallop (Variation IV: The Adventure with the procession of Penitents). The Don mistakes penitents carrying a statue of the Virgin for ‘villainous and unmannerly scoundrels’ abducting a lady. We hear a liturgical chant and little ‘Ave Marias’ in the woodwinds.

Variation V: Don Quixote’s Vigil during the summer night depicts the Don’s vigil over his armour.

Variation VI: Meeting with a country lass: Sancho tells his master she is Dulcinea bewitched portrays the episode of Dulcinea’s ‘enchantment’. The Don commands Sancho to find his Lady, and Sancho passes off three peasant girls on donkeys as Dulcinea and her serving girls.

In Variation VII: The Flight through the air the audience is taken on an entertaining orchestral ride as the

Don imagines himself travelling 9,681 leagues on a flying horse.

Variation VIII: The Adventure of the Enchanted Boat (Barcarolle) contains one of Strauss’ most graphic pieces of tone-painting. A boat Quixote and Sancho take from a riverbank drifts amidst water mills and is smashed to pieces. Uncannily appropriate pizzicatos depict the Don and Sancho shaking off drops of water after they are fetched ashore.

In Variation IX: The Contest with the supposed Magician: The Attack of the Monks the Don thinks two Benedictine monks, masked against a dust storm, are sorcerers bearing off a princess, and puts them to flight. (The monks’ intense conversation is conveyed by two bassoons in close counterpoint.)

Variation X: Duel with the Knight of the White Moon: The defeated Don Quixote decides to give up fighting, contemplates being a shepherd, and goes home follows. Fellow-villager Sampson Carrasco disguises himself as the Knight of the White Moon and defeats the Don in battle, shattering his illusions. The orchestra depicts the Don's leaden-footed return home.

The piece ends with the Finale: Death of Don Quixote, which sees one of Strauss' most sublime melodies express the Don's death. Gordon Kalton Williams Symphony Services International © 1998/2015

The Melbourne Symphony Orchestra first performed this work on 20 May 1939 under conductor Georg Szell, and most recently in April 2000 with Yaron Traub.

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LUDWIG VAN BEETHOVEN (1770–1827)arr. BRETT DEAN (born 1961)

Adagio molto e mesto

from String Quartet in F, Op.59 No.1 (Rasumovsky)for flute, clarinet and string orchestra

Several of Brisbane-born Brett Dean’s pieces have been inspired by the lives and works of great composers. 2003’s Testament, a response to a call for a piece that in some way related to Beethoven’s life and music, was composed for Dean’s former colleagues in the Berlin Philharmonic’s viola section. That work was inspired by Beethoven’s Heiligenstadt Testament (1802), a document in which the composer poured out his anguish about his encroaching deafness, and whose sense of pathos, despair and self-pity Dean found particularly moving. Throughout the music of Testament, Dean wove quotations from the first of Beethoven’s Rasumovsky Quartets (Op.59), completed four years after his Heilingenstadt crisis during what was for the composer a period of intense growth and creativity. It was to this source that Dean returned in 2013 to create his arrangement for flute, clarinet and strings of that quartet’s expansive Adagio, a movement which has been described as ‘one of Beethoven’s great tragic pieces’. © Symphony Services International

This work was commissioned by the Royal Northern Sinfonia who performed the world premiere on 9 May 2013 at Sage Gateshead. Tonight’s performance by the Melbourne Symphony Orchestra is the Australian premiere.

LUDWIG VAN BEETHOVEN (1770–1827)

Symphony No.6 in F major Op.68, Pastoral

Awakening of happy feelings on arrival in the country (Allegro ma non troppo)

Scene by the brook (Andante molto mosso)

Peasants’ merrymaking (Allegro) –

Thunderstorm (Allegro) –

Shepherd’s song: Thanksgiving after the storm (Allegretto)

In the summer of 1802 Beethoven, as usual, retired to the country for a vacation. His preferred holiday spot was the village of Heiligenstadt just outside Vienna, but this particular summer saw a major crisis in the composer’s life. After his death, a document was found among his papers: now known as the Heiligenstadt Testament, it is a kind of will written in 1802 and addressed, but never sent to, Beethoven’s brothers. The document describes Beethoven’s anguish on realising that the deterioration of his hearing was incurable. It describes his humiliation at not hearing what others around him took for granted, such as the distant sound of a shepherd’s flute. As he famously expressed it in a letter to a friend, Beethoven’s response to this crisis was a resolve to ‘take Fate by the throat’.

The Heiligenstadt Testament was obviously written after the crisis had past, and in his new frame of mind Beethoven launched into the works of what scholars call his ‘heroic’ period. The first of the Rasumovsky

PROGRAM NOTES

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Quartets and the Eroica Symphony each expanded the sheer scale of its genre beyond anything previously imaginable, and in works like the Fifth Symphony Beethoven dramatises a titanic struggle and victory.

Beethoven spent subsequent summers in Heiligenstadt but in the Pastoral Symphony of 1808 he returns in his music to the scene of his existential crisis. Beethoven once wrote in a notebook of his desire to remain in the country: ‘My unfortunate hearing does not plague me there. It is as if every tree spoke to me in the country: holy! holy! Ecstasy in the woods!’ This might give the impression of the work being a kind of Romantic or pantheist hymn, but that is far from being the case. There is no lone Caspar David Friedrich figure dwarfed by a forbidding forest. In fact, Beethoven’s Sixth is the fulfilment of certain Baroque and Classical conventions; perhaps Haydn’s Creation and Seasons are the immediate begetters of this work.

Beethoven was very precise in describing the symphony as about feeling rather than painting. The first movement expresses feelings of joy at arriving in the country through its seemingly simple, diatonic melody and moments where the harmony seems static but is enlivened by joyously repeated motifs. We may well picture Beethoven sitting alone by a brook in the second movement, enabled by the miracle of art to hear the bird calls. Like Haydn, though – who admitted that his tone-painting of frogs in

The Seasons was ‘frenchified trash’ – Beethoven was mistrustful of art imitating nature. The bird calls were an afterthought, and perhaps an ironic one at that.

But the third movement is social as well as pastoral. It is collective humanity which celebrates to the strains of the town band – and that prefigures the use of ‘pop music’ elements in the all-embracing context of the finale of the Ninth Symphony. It is collective humanity which experiences the storm – the last gasp of the figure of Fate who is wrestled to the ground in the works between 1802 and the time of the Pastoral Symphony – and it is the universe at large which gives thanks in the finale. The simple arpeggios of the ‘thanksgiving’ theme may well evoke a shepherd’s artless tune – which Beethoven could no longer hear in reality – but they also reflect, in repose, the striving arpeggios of the Eroica’s main theme.

The Pastoral Symphony, then, lays the ghosts that besieged Beethoven in Heiligenstadt in 1802. It allows him to ‘hear’ birds’ calls and shepherd’s flutes, and reduces the fearsome figure of fate to nothing scarier than a thunderstorm. Not surprisingly, Beethoven felt he could leave the symphonic genre for some years after this. When he returned to it, it was with the cosmic dance of the Seventh.Gordon Kerry © 2008

The first performance of Beethoven’s Sixth Symphony by the Melbourne Symphony Orchestra took place on 25 July 1942, under conductor Bernard Heinze. The Orchestra most recently performed it in May 2015 with Diego Matheuz.

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MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor

Hiroyuki Iwaki Conductor Laureate (1974-2006)

FIRST VIOLINS

Dale Barltrop Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell Associate ConcertmasterThe Ullmer Family Foundation#

John Marcus Principal

Peter Edwards Assistant Principal

Kirsty BremnerSarah Curro Michael Aquilina#

Peter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniDavid and Helen Moses#

Mark Mogilevski Michelle RuffoloKathryn TaylorMichael Aquilina#

Oksana Thompson*

SECOND VIOLINS

Matthew Tomkins Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro Assistant PrincipalDanny Gorog and Lindy Susskind#

Mary AllisonIsin Cakmakcioglu

Freya Franzen Anonymous#

Cong GuAndrew HallAndrew and Judy Rogers#

Francesca HiewTam Vu, Peter and Lyndsey Hawkins#

Rachel Homburg Isy WassermanPhilippa WestPatrick WongRoger YoungAaron Barnden*Amy Brookman*Lynette Rayner*

VIOLAS

Christopher Moore PrincipalDi Jameson#

Fiona Sargeant Associate Principal

Lauren BrigdenKatharine BrockmanChristopher CartlidgeAnthony ChatawayGabrielle HalloranTrevor Jones Cindy WatkinElizabeth WoolnoughCaleb WrightGaëlle Bayet†William Clark*Ceridwen Davies*Isabel Morse*

CELLOS

David Berlin Principal MS Newman Family#

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de KorteKeith JohnsonSarah MorseAngela SargeantMichelle WoodAndrew and Theresa Dyer#

Yelian He*

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser#

Lauren Pierce*Stuart Riley*Esther Toh*

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal

OBOES

Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn

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COR ANGLAIS

Michael Pisani Principal

CLARINETS

David Thomas Principal

Philip Arkinstall Associate Principal

Craig Hill

BASS CLARINET

Jon Craven Principal

BASSOONS

Jack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

CONTRABASSOON

Brock Imison Principal

HORNS

David Evans*^ Guest Principal

Saul Lewis Principal Third

Jenna BreenAbbey Edlin Nereda Hanlon and Michael Hanlon AM#

Trinette McClimontJulia Brooke*^Ian Wildsmith*

TRUMPETS

Geoffrey Payne Principal

Shane Hooton Associate Principal

William EvansJoshua Rogan*

TROMBONES

Brett Kelly Principal

Richard Shirley

BASS TROMBONE

Mike Szabo Principal

TUBA

Timothy Buzbee Principal

EUPHONIUM

Matthew Van Emmerik*

TIMPANI

John Arcaro

PERCUSSION

Robert Clarke Principal

Robert Cossom

HARP

Yinuo Mu Principal

MSO BOARD

Chairman

Michael Ullmer

Managing Director

Sophie Galaise

Board Members

Andrew DyerDanny GorogBrett KellyDavid KrasnosteinDavid LiHelen Silver AOMargaret Jackson ACHyon-Ju Newman

Company Secretary

Oliver Carton

# Position supported by

* Guest Musician

† On exchange from West German Radio Symphony

^ Courtesy of West Australian Symphony Orchestra

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SUPPORTERS

MSO PATRON

The Honourable Linda Dessau AC Governor of Victoria

ARTIST CHAIR BENEFACTORS

AnonymousPrincipal Flute ChairDi JamesonPrincipal Viola ChairJoy Selby SmithOrchestral Leadership ChairThe Gross FoundationPrincipal Second Violin ChairThe Newman Family Foundation Principal Cello ChairThe Ullmer Family FoundationAssociate Concertmaster ChairThe Cybec Foundation Cybec Assistant Conductor Chair

PROGRAM BENEFACTORS

The Cybec Young Composer in ResidenceMade possible by the Cybec FoundationMeet The OrchestraMade possible by The Ullmer Family FoundationEast Meets WestSupported by the Li Family TrustThe Pizzicato Effect(Anonymous)Collier Charitable FundThe Marian and E.H. Flack TrustSchapper Family FoundationSupported by the Hume City Council’s Community Grants ProgramMSO EducationSupported by Mrs Margaret Ross AM and Dr Ian Ross

MSO Audience AccessCrown Resorts FoundationPacker Family FoundationMSO International TouringSupported byHarold Mitchell ACSatan JawaAustralia Indonesia Institute (DFAT)MSO Regional Touring Creative VictoriaCybec 21st Century Australian Composers ProgramThe Cybec Foundation

CHAIRMAN’S CIRCLE $100,000+

Marc Besen AC and Eva Besen AO The Gross Foundation◊

David and Angela LiMS Newman Family Foundation◊

Joy Selby SmithUllmer Family Foundation◊

Anonymous (1)

VIRTUOSO PATRONS $50,000+

Di Jameson◊

Mr Ren Xiao Jian and Mrs Li QuianHarold Mitchell ACKim Williams AM

IMPRESARIO PATRONS $20,000+

Michael Aquilina◊

The John and Jennifer Brukner FoundationPerri Cutten and Jo DaniellMary and Frederick Davidson AMvRachel and the late Hon. Alan Goldberg AO QCHilary Hall, in memory of Wilma CollieMargaret Jackson ACDavid Krasnostein and

Pat StragalinosMimie MacLarenJohn and Lois McKay

MAESTRO PATRONS $10,000+

Kaye and David BirksMitchell ChipmanSir Andrew and Lady DavisJohn Gandel AO and Pauline Gandel Danny Gorog and Lindy Susskind◊

Robert & Jan GreenSuzanne KirkhamThe Cuming BequestIan and Jeannie PatersonLady Potter AC CMRI◊

Elizabeth Proust AORae RothfieldGlenn SedgwickHelen Silver AO and Harrison YoungMaria SolàProfs. G & G Stephenson, in honour of the great Romanian musicians George Enescu and Dinu LipattiGai and David TaylorJuliet TootellAlice VaughanKee Wong and Wai TangJason Yeap OAM

PRINCIPAL PATRONS $5,000+

Christine and Mark ArmourJohn and Mary BarlowStephen and Caroline BrainProf Ian BrighthopeLinda BrittenDavid and Emma CapponiWendy DimmickAndrew and Theresa Dyer◊

Mr Bill FlemingJohn and Diana FrewSusan Fry and Don Fry AOSophie Galaise and Clarence Fraser◊

Geelong Friends of the MSO◊

Jennifer GorogLouis Hamon OAMNereda Hanlon and Michael Hanlon AM ◊Hans and Petra HenkellFrancis and Robyn HofmannHartmut and Ruth HofmannJack HoganDoug HooleyJenny and Peter HordernDr Alastair JacksonDr Elizabeth A Lewis AMPeter LovellLesley McMullin FoundationMr and Mrs D R MeagherDavid and Helen Moses◊

Dr Paul Nisselle AMKen Ong, in memory of Lin OngBruce Parncutt and Robin CampbellJim and Fran PfeifferPzena Investment Charitable FundAndrew and Judy Rogers◊

Max and Jill SchultzStephen ShanasyHMA FoundationD & CS Kipen on behalf of Israel KipenMr Tam Vu and Dr Cherilyn Tillman◊

The Hon. Michael Watt QC and Cecilie HallLyn Williams AMAnonymous (1)

ASSOCIATE PATRONS $2,500+

Dandolo PartnersWill and Dorothy Bailey BequestBarbara Bell, in memory of Elsa BellBill BownessOliver CartonJohn and Lyn CoppockMiss Ann Darby, in memory of Leslie J. DarbyNatasha Davies, for the Trikojus Education Fund

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Merrowyn DeaconBeryl DeanSandra DentPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonJane Edmanson OAMTim and Lyn EdwardDr Helen M FergusonMr Peter Gallagher and Dr Karen MorleyDina and Ron GoldschlagerColin Golvan QC and Dr Deborah GolvanLouise Gourlay OAMPeter and Lyndsey Hawkins◊

Susan and Gary HearstColin Heggen, in memory of Marjorie Drysdale HeggenRosemary and James JacobyJenkins Family FoundationC W Johnston FamilyJohn JonesGeorge and Grace KassIrene Kearsey and M J RidleyKloeden FoundationBryan LawrenceAnn and George LittlewoodH E McKenzieAllan and Evelyn McLarenDon and Anne MeadowsMarie Morton FRSAAnnabel and Rupert Myer AOAnn Peacock with Andrew and Woody KrogerSue and Barry PeakeMrs W PeartGraham and Christine PeirsonRuth and Ralph RenardS M Richards AM and M R RichardsTom and Elizabeth RomanowskiJeffrey Sher QC and Diana Sher OAMDiana and Brian Snape AM

Dr Norman and Dr Sue SonenbergGeoff and Judy SteinickeWilliam and Jenny UllmerElisabeth WagnerBrian and Helena WorsfoldPeter and Susan YatesAnonymous (8)

PLAYER PATRONS $1,000+

David and Cindy AbbeyChrista AbdallahDr Sally AdamsMary ArmourArnold Bloch LeiblerPhilip Bacon AMMarlyn and Peter Bancroft OAMAdrienne BasserProf Weston Bate and Janice BateDavid BlackwellAnne BowdenMichael F BoytThe Late Mr John Brockman OAM and Mrs Pat BrockmanDr John BrookesSuzie and Harvey BrownJill and Christopher BuckleyBill and Sandra BurdettLynne BurgessPeter CaldwellJoe CordoneAndrew and Pamela CrockettPat and Bruce DavisMarie DowlingJohn and Anne DuncanRuth EgglestonKay EhrenbergJaan EndenAmy & Simon FeiglinGrant Fisher and Helen BirdBarry Fradkin OAM and Dr Pam FradkinApplebay Pty LtdDavid Frenkiel and Esther Frenkiel OAMDavid Gibbs and Susie O'Neill

Merwyn and Greta GoldblattGeorge Golvan QC and Naomi GolvanDr Marged GoodeMax GulbinDr Sandra Hacker AO and Mr Ian Kennedy AMJean HadgesMichael and Susie HamsonPaula Hansky OAMMerv Keehn and Sue HarlowTilda and Brian HaughneyPenelope HughesBasil and Rita JenkinsStuart JenningsBrett Kelly and Cindy WatkinDr Anne KennedyJulie and Simon KesselKerry LandmanWilliam and Magdalena LeadstonAndrew LeeNorman Lewis, in memory of Dr Phyllis LewisDr Anne LierseAndrew LockwoodViolet and Jeff LoewensteinElizabeth H LoftusChris and Anna LongThe Hon Ian Macphee AO and Mrs Julie MacpheeVivienne Hadj and Rosemary MaddenEleanor and Phillip ManciniDr Julianne BaylissIn memory of Leigh MaselJohn and Margaret MasonRuth MaxwellJenny McGregor AM and Peter AllenGlenda McNaughtWayne and Penny MorganIan Morrey and Geoffrey MinterJB Hi-Fi LtdPatricia Nilsson

Laurence O'Keefe and Christopher JamesAlan and Dorothy PattisonMargaret PlantKerryn PratchettPeter PriestEli RaskinBobbie RenardPeter and Carolyn RenditDr Rosemary Ayton and Dr Sam RicketsonJoan P RobinsonCathy and Peter RogersDoug and Elisabeth ScottMartin and Susan ShirleyDr Sam Smorgon AO and Mrs Minnie SmorgonJohn SoDr Michael SoonJennifer SteinickeDr Peter StricklandPamela SwanssonJenny TatchellFrank Tisher OAM and Dr Miriam TisherP and E TurnerThe Hon. Rosemary VartyLeon and Sandra VelikSue Walker AMElaine Walters OAM and Gregory WaltersEdward and Paddy WhiteNic and Ann WillcockMarian and Terry Wills CookeLorraine WoolleyPanch Das and Laurel Young-DasAnonymous (21)

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SUPPORTERS

THE MAHLER SYNDICATE

David and Kaye BirksMary and Frederick Davidson AMTim and Lyn EdwardJohn and Diana FrewFrancis and Robyn HofmannThe Hon Dr Barry Jones ACDr Paul Nisselle AMMaria Solà The Hon Michael Watt QC and Cecilie Hall

TRUSTS AND FOUNDATIONS

Alan (AGL) Shaw Endwoment, managed by PerpetualCollier Charitable FundCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Marian and E.H. Flack TrustGandel PhilanthropyThe Scobie and Claire Mackinnon TrustThe Harold Mitchell FoundationKen & Asle Chilton Trust, managed by PerpetualLinnell/Hughes Trust, managed by PerpetualThe Pratt FoundationTelematics Trust

CONDUCTOR’S CIRCLE

Current Conductor’s Circle MembersJenny AndersonDavid AngelovichG C Bawden and L de KievitLesley BawdenJoyce Bown

Mrs Jenny Brukner and the late Mr John BruknerKen BullenLuci and Ron ChambersBeryl DeanSandra DentLyn EdwardAlan Egan JPGunta EgliteMarguerite Garnon-WilliamsLouis Hamon OAMCarol HayTony HoweLaurence O'Keefe and Christopher JamesAudrey M JenkinsJohn and Joan JonesGeorge and Grace KassMrs Sylvia LavellePauline and David LawtonCameron MowatRosia PasteurElizabeth Proust AOPenny RawlinsJoan P RobinsonNeil RoussacAnne Roussac-HoyneAnn and Andrew SerpellJennifer ShepherdProfs. Gabriela and George StephensonPamela SwanssonLillian TarryDr Cherilyn TillmanMr and Mrs R P TrebilcockMichael UllmerIla VanrenenThe Hon. Rosemary VartyMr Tam VuMarian and Terry Wills CookeMark YoungAnonymous (23)

The MSO gratefully acknowledges the support received from the Estates of:Angela BeagleyGwen HuntPauline Marie JohnstonC P KempPeter Forbes MacLarenLorraine Maxine MeldrumProf Andrew McCredieMiss Sheila Scotter AM MBEMarion A I H M SpenceMolly StephensJean TweedieHerta and Fred B VogelDorothy Wood

HONORARY APPOINTMENTS

Ambassador

Geoffrey Rush AC

Life Members

Sir Elton John CBE

Ila Vanrenen

The Late John Brockman AO

The Late Alan Goldberg AO QC

The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our suporters to get close to the MSO through a range of special events.

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $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 P (03) 9626 1551 E philanthropy@

mso.com.au

◊ Signifies Adopt an MSO Musician supporter

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SUPPORTERS

Government Partners

Trusts and Foundations

Supporting Partners

Maestro Partners

Principal Partner

Venue Partner Media Partners

Quest Southbank

The Scobie and Claire Mackinnon Trust

The CEO Institute