PRINCIPAL PARTNER

Rachmaninov’s Third

Master Series ThursdayThursday 20 August at 8pm

Arts Centre Melbourne Hamer Hall

Master Series Friday Friday 21 August at 8pm Arts Centre Melbourne

Hamer Hall

Saturday Night Symphony Saturday 22 August at 8pm

Arts Centre Melbourne Hamer Hall

Welcome to this exciting concert of Russian and German works with our Chief Conductor, Sir Andrew Davis. The program is certainly challenging, especially for Russian-American virtuoso Kirill Gerstein, who tackles Rachmaninov’s great Piano Concerto No.3. Gerstein recently said that in order to master ‘Rach 3’, you have to get the instrument itself on side: ‘At times it’s your friend. At times it’s an all-consuming monster that’s about to devour you’.

Also on the program is Rimsky-Korsakov’s spirited burst of revolution, Dubinushka (the name means ‘little oak stick’, wielded by the serfs in a fruitless attempt to overthrow their oppressive masters), and Richard Strauss’ semi-autobiographical tone poem, Ein Heldenleben (A Hero’s Life). Although Heldenleben was described after its premiere in 1925 as ‘a monstrous act of egotism’, it is now regarded as one of his masterpieces. I think so, and I hope you do, too.

André Gremillet Managing Director

With a reputation for excellence, versatility and innovation, the Melbourne Symphony Orchestra is Australia’s oldest orchestra, established in 1906. The Orchestra currently performs live to more than 200,000 people annually, in concerts ranging from subscription performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl.

Sir Andrew Davis gave his inaugural concerts as Chief Conductor of the MSO in April 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists including Bryn Terfel, Emanuel Ax and Truls Mørk, the release of recordings of music by Percy Grainger and Eugene Goossens, a 2014 European Festivals tour, and a multi-year cycle of Mahler’s Symphonies.

The MSO also works each season with Principal Guest Conductor Diego Matheuz, Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus. Recent guest conductors to the MSO have included Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark

Wigglesworth, Markus Stenz and Simone Young. The Orchestra has also collaborated with non-classical musicians including Burt Bacharach, Ben Folds, Nick Cave, Sting and Tim Minchin.

The MSO reaches an even larger audience through its regular concert broadcasts on ABC Classic FM, also streamed online, and through recordings on Chandos and ABC Classics. The MSO’s Education and Community Engagement initiatives deliver innovative and engaging programs to audiences of all ages, including MSO Learn, an educational iPhone and iPad app designed to teach children about the inner workings of an orchestra.

The Melbourne Symphony Orchestra is funded principally by the Australian Government through the Australia Council, its arts funding and advisory body, and is generously supported by the Victorian Government through Creative Victoria, Department of Economic Development, Jobs, Transport and Resources. The MSO is also funded by the City of Melbourne, its Principal Partner, Emirates, corporate sponsors and individual donors, trusts and foundations.

What’s On August — October

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Welcome to Rachmaninov’s Third

MELBOURNE SYMPHONY ORCHESTRA

SCHEHERAZADEThursday 1 October Friday 2 October Monday 5 OctoberUnder the baton of Jakub Hrůša, the overture to Smetana’s comic opera The Bartered Bride opens a dazzling night of music. Dvořák’s Violin Concerto is followed by Rimsky-Korsakov’s Scheherazade, a vivid orchestral work inspired by the tales of the Arabian Nights.

3RACHMANINOV’S THIRD

MOZART’S SYMPHONY No.40Thursday 17 September Friday 18 September Saturday 19 September Monday 21 SeptemberFeaturing MSO Concertmaster Eoin Andersen, works by Stravinsky are balanced by Mozart’s final Violin Concerto and the unmistakeable melancholic strains of Symphony No.40.

MOZART’S PIANO CONCERTO No.17Friday 28 August Saturday 29 August Monday 31 AugustThe irrepressible overture to Rossini’s La gazza ladra is set alongside works by Mozart and Messiaen, and the lush melodies of Brahms’ Symphony No.3. Featuring the French pianist Jean-Efflam Bavouzet.

AN AMERICAN IN PARISFriday 30 OctoberGershwin’s An American in Paris evokes a journey through the bustling streets of the French capital, punctuated by taxi horns and a bluesy trumpet solo. Also featured in this program is Ravel’s Piano Concerto in G and Saint-Saëns Symphony No.3 Organ.

PICTURES AT AN EXHIBITIONMUSSORGSKY, LISZT, REGERFriday 11 SeptemberFeaturing works inspired by art: Reger’s Four Tone Poems after Arnold Böcklin and Mussorgsky’s Pictures at an Exhibition. Liszt’s Piano Concerto No.1 makes for a breathtaking interlude.

AN EVENING WITH RENÉE FLEMINGThursday 3 September Saturday 5 SeptemberFamed for her magnetic performances and sheer beauty of tone, celebrated American soprano Renée Fleming joins the MSO and Sir Andrew Davis for two Melbourne-exclusive orchestral concerts.

Presented by MSO and Arts Centre Melbourne

Venue Partner

Nikolai Rimsky-Korsakov (1844–1908)

Dubinushka, Op.62—The year 1905 began in St Petersburg with a massive strike of over 100,000 workers protesting against almost feudal living and working conditions. The government reacted with a number of repressive measures, among them banning the right to organised marches. The workers in turn responded by organising a march, led by an Orthodox priest, to petition the Tsar directly. Despite being essentially peaceful – some marchers, according to one report, even carried portraits of the Tsar to stress their loyalty to him – many were gunned down in the snow in front of the Winter Palace on Bloody Sunday. The populace was outraged, strikes spread across the country and finally the Tsar was forced to accept the institution of a constitutional monarchy with elected parliament. That experiment failed – slowly.

By this time Rimsky-Korsakov had become one of the most respected senior composers in Russia, and one of its most distinguished teachers. When his students at the St Petersburg Conservatory made common cause with the striking workers, the composer publicly supported them and was duly fired from his professorship. Students and staff left the institution in droves until order was restored by the appointment of Glazunov as director, and his invitation to Rimsky-Korsakov to return.

During the strike the composer had heard marchers singing Dubinushka whose poem reflects the disillusionment of the newly freed serfs in the 1860s: the title means ‘little oak stick’ and refers to the weapon carried by disgruntled peasants. It is set to a Russian folk-tune that Rimsky-Korsakov used as the basis for this short, but stirring symphonic poem (there is also a version that includes chorus).

© Gordon Kerry 2015

This is the first performance of this work by the Melbourne Symphony Orchestra.

5RACHMANINOV’S THIRD4 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

Sir Andrew Davisconductor

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. This year he celebrates his 40-year association with the Toronto Symphony, and aside from performances with the Melbourne Symphony, he will conduct the BBC Symphony Orchestra at the Proms, Philharmonia Orchestra at the Three Choirs Festival, and the Scottish Chamber Orchestra at the Edinburgh International Festival.

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.

Sir Andrew was made a Commander of the British Empire in 1992, and a Knight Bachelor in 1999.

Kirill Gersteinpiano

Kirill Gerstein is the recipient of the Gilmore Artist Award, and has shared his prize through the commissioning of new works by Oliver Knussen, Chick Corea, Brad Mehldau, Timo Andres and Alexander Goehr.

Highlights of the 2014-15 season in North America include performances with the Boston Symphony Orchestra, The Philadelphia Orchestra, San Francisco Symphony, and the St. Louis, Vancouver, Indianapolis, Nashville and San Antonio Symphony Orchestras. Elsewhere he appears with the Vienna Philharmonic, Leipzig Gewandhaus Orchestra, St. Petersburg Philharmonic Orchestra, BBC Symphony Orchestra and the São Paulo Symphony Orchestra.

Born in Russia, Kirill Gerstein came to the United States to study jazz piano as the youngest student ever to attend Boston’s Berklee College of Music. After completing his studies he attended the Manhattan School of Music. He is a professor of piano at the Musikhochschule in Stuttgart, Artist-in-Residence at the Berklee College of Music, and a member of the piano and chamber music faculty at the Boston Conservatory.

ABOUT THE ARTISTS ABOUT THE MUSIC

Melbourne Symphony Orchestra

Sir Andrew Davisconductor

Kirill Gersteinpiano—RIMSKY-KORSAKOVDubinushka—RACHMANINOVPiano Concerto No.3—Interval 20 minutes—STRAUSSEin Heldenleben

This concert has a duration of approximately 2 hours including one 20 minute interval.

Friday night’s performance will be recorded for delayed broadcast on ABC Classic FM.

Pre-Concert Talks

7pm Thursday 20 August 7pm Friday 21 August 7pm Saturday 22 August Stalls Foyer, Hamer Hall

MSO Second Violinist Andrew Hall will present a talk on the artists and works featured in the program.

Saturday Night Symphony Series Partner

Sergei Rachmaninov (1873-1943)

Piano Concerto No.3 in D minor, Op.30

Allegro ma non tanto

Intermezzo (Adagio) –

Finale (Alla breve)

Kirill Gerstein piano—Having just completed what is now regarded as one of the most famously difficult piano concertos of all time, the composer’s resort to the use of a ‘dummy’ keyboard as he worked to master it is, perhaps, darkly ironic. But that he did. His performance with the New York Symphony and Walter Damrosch on 28 November 1909 was greeted enthusiastically, as was a repeat performance at Carnegie Hall the following January with the New York Philharmonic under Gustav Mahler. However, unlike his Second Piano Concerto which was taken up by other pianists immediately, the popularity of the Third was slow to build. Arguably, it was not until the young Vladimir Horowitz made his European recording debut with the work in 1930 that it found a wider audience.

The concerto was written on the cusp of the so-called ‘modern’ age. As a composer, Rachmaninov was very much aware of the changing trend, his own turning-point coming directly after his massive, formally designed Second Symphony, completed in 1907. While the inflections common in many performances of the Third Concerto often emphasise its extravagances, many modernising twists are to be found, especially in the work’s unique structure.

An example is the treatment of the first movement’s two main themes, which return at various places in later movements. The famous opening melody recurs in the second movement as an impassioned outburst in the violins, and as a jaunty clarinet waltz. In the final movement, the cellos reflect on it briefly as the music winds toward a full restatement of the second theme, which is also reincarnated (incognito) as the underlying motto of the central scherzando section.

Rachmaninov wrote alternate cadenzas for the opening

movement, the longer and more extreme being the original of the two. The second cadenza is shorter and lighter, and its creation could be seen as a harbinger of the composer’s uncertainties over the issue of length, which became increasingly prevalent in his later years. This issue similarly underscores the numerous, often disfiguring, cuts that he made in both performance and recording, truncations that were assiduously followed by many subsequent interpreters. These days the concerto is typically played complete, save for a couple of the more adventurous ossias (or alternative passages), which include variant figurations so demanding that they are close to impossible (such as the suggestion of switching to even faster double-octaves in the closing lines).

Rather than using a formally structured theme as the basis for the second movement, as he typically did, a short four-note motif provides the melodic impetus. In the finale, the outer portions of the tripartite structure offer pianists some of the most physically challenging passages in the repertoire, an exceptional degree of strength seeming to be a prerequisite.

With the release of the film Shine in 1996, the concerto has witnessed even higher levels of fame. While its iconic status now seems entrenched, it is perhaps worth noting that Rachmaninov’s success as a pianist was built on ideals novel for the time, including understatement, an abhorrence of virtuosity, and faithfulness to the score. A subtle illustration of this perhaps lies in the closing moments, where the music returns to the lyrical second subject. In this instance, however, Rachmaninov’s tempo indications do not allow for wallowing excess; rather, the concerto proceeds to its conclusion in a forthright and headlong manner.

Abridged from a note by Scott Davie © 2012/2014

The Melbourne Symphony Orchestra first performed Rachmaninov’s Third Piano Concerto in 1945 with soloist William Kapell and conductor Bernard Heinze, and most recently in 2014 with conductor Andrew Gourlay and soloist Caroline Almonte.

7RACHMANINOV’S THIRD

Supported early in his career by the legendary Mitrofan Belyayev, heir to a timber fortune and passionate amateur viola player, Sergei Rachmaninov had his earliest publication opportunity through Belyayev’s publishing house. This benefactor was responsible for commissioning significant works from most of the leading Russian composers of the day and staged the first performance of the ill-fated Symphony No.1, in 1897. It is well known that Rachmaninov’s creative output stopped following that poor first performance and the shocking reviews that followed. What is less known, however, is the role that another philanthropist – wealthy industrialist Savva Mamontov – played in getting Rachmaninov’s career moving again.

Apparently Mamontov invited Rachmaninov to direct his Moscow Private Russian Opera Season 1898-99, thus launching his third career, in conducting.

The prolific performer, composer and conductor once said ‘I have chased three hares [and can’t] be certain that I have captured one.’ Audiences throughout the twentieth century disagreed. Voting with their feet, they followed the great pianist during his lifetime, flocking to performances of the much loved Piano Concertos, especially when the composer was at the podium. So popular was he as a performer and conductor that Rachmaninov was able to support his family through a grueling round of concert tours throughout the new world and

the old, long after he had left his beloved Russia and his works were banned under Stalin. Ironically, the state patronage that fell (as a mixed blessing) to others of his countrymen during the years of communism was denied to Rachmaninov, who was always a proud exponent of Russian pedagogy, and who claimed that his creative force came directly from the folk melodies of his mother land.

If you would like to offer your support to MSO, our Philanthropy Team would love to talk with you. Contact Judy Turner on (03) 9626 1551 or by email turnerj@mso.com.au for a confidential discussion.

Rachmaninov — beneficiary of philanthropy,

Russian style

MELBOURNE SYMPHONY ORCHESTRA IN CONCERT6

ABOUT THE MUSIC

Richard Strauss (1864-1949)

Ein Heldenleben (A Hero’s Life), Op.40

Der Held (The Hero)Des Helden Widersacher (The Hero’s enemies)Des Helden Gefährtin (The Hero’s companion)Des Helden Walstatt (The Hero’s deeds of war)Des Helden Friedenswerke (The Hero’s works of peace)Des Helden Weltflucht und Vollendung (The Hero’s retirement from the world)—In 1900 the French writer Romain Rolland described his friend Richard Strauss as ‘the typical artist of the new German empire, the powerful reflection of that heroic pride which is on the verge of becoming delirious, of that contemptuous Nietzscheism, of that egotistical and practical idealism which makes a cult of power and disdains weakness’. Strauss was, of course, a quintessentially and proudly German artist, whose symphonic poems attempt to bring together the philosophical and descriptive with the abstract ideals of the symphonic tradition. And he was blessed with a healthy ego. Rolland also quotes Strauss as saying, with specific reference to Ein Heldenleben, ‘I don’t see why I should not compose a symphony about myself; I find myself quite as interesting as Napoleon or Alexander.’ Strauss was, however, given to self-conscious (and often self-deprecating) hyperbole, and not only in his music. For instance, he once remarked that the purpose of life ‘was to make art possible. Christianity had to be invented to make possible the Colmar altar, the Sistine Madonna, the Missa solemnis and Parsifal.’ Accordingly, we should take his gag about being ‘as interesting as Napoleon’ with a grain of salt, especially in light of his remark to his father that it was only partly true that Strauss himself was the ‘hero’ of Ein Heldenleben.

The idea for Ein Heldenleben evidently came to Strauss while he was at work on the symphonic poem Don Quixote. That work, with its theme of the ‘crazy striving after false ideals’ seemed to cry out for a companion piece, one which, as Strauss put it, would embody ‘a more

general and free ideal of great and manly heroism’. In 1898 he wrote, slightly facetiously:

‘Beethoven’s Eroica is so little beloved of our conductors, and is on this account now only rarely performed, that to fulfil a pressing need I am composing a largish tone poem entitled Heldenleben, admittedly without a funeral march, but yet in E flat, with lots of horns, which are always a yardstick of heroism.’

The score uses eight horns, to be precise, not to mention five trumpets, two tubas, quadruple woodwind and two harps. But while the hero of Ein Heldenleben must in some respects be identified with Strauss, Norman Del Mar points out that Strauss had ‘too much sense of humour to pompously proclaim himself a hero to the whole world’. In other words, it is Strauss’ life as an artist which furnishes the ‘autobiographical’ elements of Ein Heldenleben, elements which, like comparable moments in the poetry of Walt Whitman, can be seen as analogous to elements in the life of any creative individual. Moreover, the ‘self-portrait’ Strauss draws of himself in the Symphonia domestica is markedly different from that of the Hero introduced in the first section of Ein Heldenleben.

The Hero ‘sings himself’ in a long and, significantly, unaccompanied theme beginning low in the horns and strings and bounding up the arpeggio of E flat through two octaves in its first bar. The theme contains a number of strongly profiled motifs, which are subjected to development representing the ‘primary unfolding of abilities’. After a fully scored climax, a new theme appears, described by Del Mar as the hero’s ‘ultimatum’, which is stated six times and each time answered by silence. Finally, a magisterial chord of the dominant seventh leaves the hero waiting for the world’s response.

In a masterly dramatic stroke, the answer comes from The Hero’s enemies, or critics, in a complex of themes ranging from thin-lipped solos for flute and oboe to the trudging motive for tubas said to represent rhythmically the Munich critic Doktor Döhring. The hero responds with a long and beautiful melody, which serves only to provoke the critics to more hysterical attacks.

Ignoring the critics, the music now turns to The Hero’s companion, by far the longest and most elaborate movement in the whole work. The burden of representing the hero’s companion falls largely to the solo violin – reminding us that Pauline Strauss was a singer whose voice inspired so much of Richard’s work. According to Rolland, Strauss said, ‘It’s my wife I wanted to portray. She is very complex, very much a woman, a little depraved, something of a flirt, never twice alike, every minute different from what she was the minute before.’ Certainly, Strauss’ portrait is of a complex character, and is not, as Del Mar notes, always flattering.

The love scene is interrupted by a call to battle, which Michael Kennedy takes pains to point out is about the battlefield of the soul, rather than crude militarism. The Hero’s deeds of war are depicted with uncompromising violence, though the progression of the music leaves it in no doubt that the hero will prevail, and the pervasive 3/4 waltz time suggests some ironic distance on the composer’s part. When the tumult and the shouting dies, the music describes The Hero’s works of peace, which Strauss depicts in 30 quotations from eight of his works.The Hero’s retirement from the world formally recapitulates material and synthesises it. The home key of E flat is re-established, notably in some luminous, quiet writing for eight horns. Memories of battle are dissipated, memories of love are comforting. Strauss (aged 34 when he composed the work) can’t have been thinking of retirement, but convincingly describes a state in which the hero’s soul has been refined by experience. The work originally ended with the ecstatically beautiful passage for horn and violin (again representing the love of his life) which we hear before the final brass apotheosis. Strauss was stung by a friend’s criticism that he could only ever compose quiet endings (so much for his egotism). In old age he derided the work’s final chords as ‘the Hero’s State Funeral’.

Gordon Kerry © 2002

The Melbourne Symphony Orchestra first performed this work in 1941 with conductor Montague Brearley, and most recently in 2010 with Andrew Litton.

9

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

MELBOURNE SYMPHONY ORCHESTRA

BOARDHarold Mitchell ACChairmanAndré GremilletManaging DirectorMichael UllmerDeputy ChairAndrew DyerDanny GorogMargaret Jackson ACBrett KellyDavid Krasnostein David LiAnn PeacockHelen Silver AOKee Wong

COMPANY SECRETARYOliver Carton

EXECUTIVEAndré GremilletManaging Director Catrin HarrisExecutive Assistant

HUMAN RESOURCESMiranda CrawleyDirector of Human Resources

BUSINESSFrancie DoolanChief Financial OfficerRaelene KingPersonnel ManagerLeonie WoolnoughFinancial ControllerPhil NooneAccountantNathalia Andries Finance OfficerSuzanne Dembo Strategic Communications and Business Processes Manager

ARTISTICRonald VermeulenDirector of Artistic Planning Andrew Pogson Special Projects ManagerLaura HolianArtistic CoordinatorHelena BalazsChorus Coordinator

EDUCATION AND COMMUNITY ENGAGEMENTBronwyn LobbDirector of Education and Community EngagementLucy BardoelEducation and Community Engagement CoordinatorLucy RashPizzicato Effect Coordinator

OPERATIONSGabrielle Waters Director of OperationsAngela BristowOrchestra ManagerJames FosterOperations ManagerJames PooleProduction CoordinatorAlastair McKeanOrchestra LibrarianKathryn O’BrienAssistant LibrarianMichael StevensAssistant Orchestra ManagerStephen McAllanArtist LiaisonLucy RashOperations Coordinator

MARKETINGAlice WilkinsonDirector of MarketingJennifer PollerMarketing ManagerMegan Sloley Marketing ManagerAli Webb PR ManagerKate EichlerPublicity and Online Engagement CoordinatorKieran Clarke Digital ManagerNina DubeckiFront of House SupervisorJames Rewell Graphic Designer Chloe SchnellMarketing Coordinator Claire HayesTicket and Database ManagerPaul CongdonBox Office SupervisorJennifer BroadhurstTicketing CoordinatorAngela BallinCustomer Service CoordinatorChelsie JonesCustomer Service Officer

DEVELOPMENTLeith Brooke Director of DevelopmentJessica Frean MSO Foundation ManagerBen LeeDonor and Government Relations ManagerArturs EzergailisDonor and Patron CoordinatorJudy TurnerMajor Gifts ManagerJustine KnappMajor Gifts CoordinatorMichelle MonaghanCorporate Development ManagerJames RalstonCorporate Development and Events Coordinator

MANAGEMENT

RACHMANINOV’S THIRD

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FIRST VIOLINSDale BarltropConcertmasterEoin AndersenConcertmasterSophie Rowell Associate ConcertmasterPeter EdwardsAssistant PrincipalKirsty BremnerMSO Friends ChairSarah CurroPeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn TaylorJacqueline Edwards* Robert John* Anne Martonyi*

SECOND VIOLINSMatthew TomkinsThe Gross Foundation Principal Second Violin ChairRobert Macindoe Associate PrincipalMonica Curro Assistant PrincipalMary AllisonIsin CakmakciogluFreya FranzenCong Gu

Andrew HallFrancesca HiewRachel Homburg Christine JohnsonIsy WassermanPhilippa WestPatrick WongRoger Young

VIOLASChristopher Moore PrincipalYoko Okayasu*Guest Principal Christopher Cartlidge Acting Associate PrincipalLauren BrigdenKatharine BrockmanSimon CollinsGabrielle HalloranTrevor Jones Fiona Sargeant Cindy WatkinCaleb WrightCeridwen Davies*Isabel Morse*

CELLOSDavid Berlin MS Newman Family Principal Cello ChairRachael Tobin Associate PrincipalNicholas Bochner Assistant PrincipalMiranda BrockmanRohan de KorteKeith Johnson

Sarah MorseAngela SargeantMichelle WoodJarrad Mathie*

DOUBLE BASSESSteve Reeves PrincipalAndrew Moon Associate PrincipalSylvia Hosking Assistant PrincipalDamien EckersleyBenjamin HanlonSuzanne LeeStephen NewtonYoung-Hee Chan* Emma Sullivan*

FLUTESPrudence Davis Principal Flute Chair - AnonymousWendy Clarke Associate PrincipalSarah Beggs

PICCOLOAndrew Macleod Principal

OBOESJeffrey Crellin PrincipalAnn BlackburnRachel Curkpatrick*

COR ANGLAISMichael Pisani Principal

CLARINETSDavid Thomas PrincipalPhilip Arkinstall Associate PrincipalCraig Hill

BASS CLARINETJon Craven Principal

BASSOONSJack Schiller PrincipalElise Millman Associate Principal Natasha ThomasColin Forbes-Abrams*

CONTRABASSOONBrock Imison Principal

HORNS Zora Slokar PrincipalGeoff Lierse Associate PrincipalSaul Lewis Principal Third Jenna BreenAbbey EdlinTrinette McClimontDeborah Hart* Anton Schroeder* Robert Shirley*

TRUMPETSGeoffrey Payne PrincipalShane Hooton Associate PrincipalWilliam EvansJulie Payne

TROMBONESBrett Kelly PrincipalKieran Conrau* Matthew Van Emmerik*

BASS TROMBONEMike Szabo Principal

TUBATimothy Buzbee Principal

TIMPANIChristine Turpin Principal

PERCUSSIONRobert Clarke PrincipalJohn ArcaroRobert CossomGreg Sully*

HARPYinuo Mu PrincipalAlannah Guthrie-Jones*

*Guest musician

10 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

THANKS TO OUR WONDERFUL MSO SUPPORTERSTHANKS TO OUR WONDERFUL MSO SUPPORTERS

Merwyn and Greta Goldblatt, Dina and Ron Goldschlager, Golvan QC and Naomi Golvan, Charles and Cornelia Goode, Dr Marged Goode, Louise Gourlay OAM, Ginette and André Gremillet, Max Gulbin, Dr Sandra Hacker AO and Mr Ian Kennedy AM, Jean Hadges, Paula Hansky OAM and Jack Hansky AM, Tilda and Brian Haughney, Henkell Family Fund, Penelope Hughes, Dr Alastair Jackson, Stuart Jennings, George and Grace Kass, Irene Kearsey, Ilma Kelson Music Foundation, Dr Anne Kennedy, Lew Foundation, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Violet and Jeff Loewenstein, The Hon Ian Macphee AO and Mrs Julie Mcphee, Elizabeth H Loftus, Vivienne Hadj and Rosemary Madden, Dr Julianne Bayliss, In memory of Leigh Masel, John and Margaret Mason, In honour of Norma and Lloyd Rees, Trevor and Moyra McAllister, David Menzies, Ian Morrey, The Novy Family, Laurence O’Keefe and Christopher James, Graham and Christine Peirson, Andrew Penn and Kallie Blauhorn, Kerryn Pratchett, Peter Priest, Jiaxing Qin, Eli Raskin, Peter and Carolyn Rendit, S M Richards AM and M R Richards, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, Doug and Elizabeth Scott, Jeffrey Sher, Dr Sam Smorgon AO and Mrs Minnie Smorgon, John So, Dr Norman and Dr Sue Sonenberg, Dr Michael Soon, Pauline Speedy, State Music Camp, Geoff and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Frank Tisher OAM and Dr Miriam Tisher, Margaret Tritsch, Judy Turner and Neil Adam, P & E Turner, Mary Vallentine AO, The Hon. Rosemary Varty, Leon and Sandra Velik, Sue Walker AM, Elaine Walters OAM and Gregory Walters, Edward and Paddy White, Janet Whiting and Phil Lukies, Nic and Ann Willcock, Marian and Terry

Wills Cooke, Pamela F Wilson, Joanne Wolff, Peter and Susan Yates, Mark Young, Panch Das and Laurel Young-Das, YMF Australia, Anonymous (17)

THE MAHLER SYNDICATEDavid and Kaye Birks, Jennifer Brukner, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Louis Hamon OAM, The Hon Dr Barry Jones AC, Dr Paul Nisselle AM, Maria Solà in memory of Malcolm Douglas, The Hon Michael Watt QC and Cecilie Hall, Anonymous (1)

MSO ROSESFounding Rose: Jennifer BruknerRoses: Mary Barlow, Linda Britten, Wendy Carter, Annette Maluish, Lois McKay, Pat Stragalinos, Jenny Ullmer. Rosebuds: Leith Brooke, Lynne Damman, Francie Doolan, Lyn Edward, Elizabeth A Lewis AM, Sophie Rowell, Dr Cherilyn Tillman

FOUNDATIONS AND TRUSTSThe Annie Danks TrustCollier Charitable FundCreative Partnerships AustraliaCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Harold Mitchell FoundationHelen Macpherson Smith TrustIvor Ronald Evans Foundation, managed by Equity Trustees Limited and Mr Russell BrownLinnell/Hughes Trust, managed by PerpetualThe Marian and EH Flack TrustThe Perpetual Foundation – Alan (AGL) Shaw Endowment, managed by PerpetualThe Pratt FoundationThe Robert Salzer FoundationThe Schapper Family Foundation

The Scobie and Claire Mackinnon Trust

CONDUCTOR’S CIRCLEJenny Anderson, GC Bawden and de Kievik, Lesley Bawden, Joyce Bown, Mrs Jenny Brukner and the late Mr John Brukner, Ken Bullen, Luci and Ron Chambers, Sandra Dent, Lyn Edward, Alan Egan JP, Gunta Eglite, Louis Hamon OAM, Carol Hay, Tony Howe, Audrey M Jenkins, John and Joan Jones, George and Grace Kass, Mrs Sylvia Lavelle, Pauline and David Lawton, Lorraine Meldrum, Cameron Mowat, Laurence O’Keefe and Christopher James, Rosia Pasteur, Elizabeth Proust AO, Penny Rawlins, Joan P Robinson, Neil Roussac, Anne Roussac-Hoyne, Jennifer Shepherd, Drs Gabriela and George Stephenson, Pamela Swansson, Lillian Tarry, Dr Cherilyn Tillman, Mr and Mrs R P Trebilcock, Michael Ullmer, Ila Vanrenen, Mr Tam Vu, Marian and Terry Wills Cooke, Mark Young, Anonymous (21)

THE MSO GRATEFULLY ACKNOWLEDGES THE SUPPORT RECEIVED FROM THE ESTATES OF:Angela Beagley, Gwen Hunt, Pauline Marie Johnston, C P Kemp, Peter Forbes MacLaren, Prof Andrew McCredie, Miss Sheila Scotter AM MBE, Molly Stephens, Jean Tweedie, Herta and Fred B Vogel, Dorothy Wood

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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: philanthropy@mso.com.auThis honour roll is correct at time of printing.

ARTIST CHAIR BENEFACTORSHarold Mitchell AC Chief Conductor ChairPatricia Riordan Associate Conductor ChairJoy Selby Smith Orchestral Leadership ChairMarc Besen AC and Eva Besen AO International Guest ChairMSO Friends ChairThe Gross Foundation Principal Second Violin ChairMS Newman Family Principal Cello Chair Principal Flute Chair – Anonymous

PROGRAM BENEFACTORSMeet The Music Made possible by The Ullmer Family FoundationEast meets West Supported by the Li Family TrustThe Pizzicato Effect (Anonymous)MSO UPBEAT Supported by Betty Amsden AO DSJMSO CONNECT Supported by Jason Yeap OAM

BENEFACTOR PATRONS $50,000+Betty Amsden AO DSJPhilip Bacon AM Marc Besen AC and Eva Besen AO Jennifer Brukner Rachel and Hon. Alan Goldberg AO QC The Gross FoundationDavid and Angela LiAnnette MaluishHarold Mitchell ACMS Newman FamilyRoslyn Packer AOMrs Margaret S Ross AM and Dr Ian Ross Joy Selby SmithUllmer Family Foundation

IMPRESARIO PATRONS $20,000+Michael AquilinaPerri Cutten and Jo DaniellSusan Fry and Don Fry AO John McKay and Lois McKayElizabeth Proust AO Rae Rothfield

MAESTRO PATRONS $10,000+John and Mary BarlowKaye and David BirksPaul and Wendy Carter Mitchell ChipmanJan and Peter ClarkSir Andrew and Lady Gianna DavisAndrew and Theresa Dyer

Future Kids Pty Ltd Robert & Jan GreenLou Hamon OAMMargaret Jackson AC Konfir Kabo and Monica Lim Mr Greig Gailey and Dr Geraldine LazarusNorman and Betty Lees Matsoral FoundationMimie MacLarenIan and Jeannie Paterson Onbass Foundation Glenn Sedgwick Maria Solà, in memory of Malcolm Douglas Drs G & G Stephenson. In honour of the great Romanian musicians George Enescu and Dinu LipattiLyn Williams AMKee Wong and Wai TangJason Yeap OAMAnonymous (1)

PRINCIPAL PATRONS $5,000+Lino and Di Bresciani OAM Linda BrittenDavid and Emma CapponiTim and Lyn EdwardJohn and Diana Frew Danny Gorog and Lindy SusskindNereda Hanlon and Michael Hanlon AMHartmut and Ruth HofmannJenny and Peter HordernJenkins Family Foundation Suzanne KirkhamVivien and Graham KnowlesDavid Krasnostein and Pat Stragalinos Elizabeth Kraus in memory of Bryan Hobbs Dr Elizabeth A Lewis AM Peter LovellThe Cuming BequestMr and Mrs D R MeagherWayne and Penny MorganMarie Morton FRSA Dr Paul Nisselle AM Lady Potter ACStephen Shanasy Gai and David Taylorthe Hon. Michael Watt QC and Cecilie Hall Barbara and Donald WeirAnonymous (4)

ASSOCIATE PATRONS $2,500+Dandolo PartnersPierce Armstrong Foundation Will and Dorothy Bailey BequestBarbara Bell in memory of Elsa BellPeter Biggs CNZM and Mary BiggsMrs S BignellStephen and Caroline Brain

Mr John Brockman OAM and Mrs Pat Brockman Leith and Mike Brooke Rhonda Burchmore Bill and Sandra BurdettOliver CartonJohn and Lyn CoppockMiss Ann Darby in memory of Leslie J. Darby Mary and Frederick Davidson AMPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonJane Edmanson OAMDr Helen M FergusonMr Bill FlemingColin Golvan QC and Dr Deborah GolvanMichael and Susie HamsonSusan and Gary HearstGillian and Michael HundRosemary and James Jacoby John and Joan Jones Connie and Craig KimberleyKloeden Foundation Sylvia LavelleAnn and George Littlewood H.E. McKenzieAllan and Evelyn McLarenDon and Anne MeadowsAnn Peacock with Andrew and Woody KrogerSue and Barry Peake Mrs W Peart Ruth and Ralph RenardTom and Elizabeth RomanowskiMax and Jill Schultz Diana and Brian Snape AMMr Tam Vu and Dr Cherilyn TillmanWilliam and Jenny UllmerBert and Ila VanrenenBrian and Helena WorsfoldAnonymous (12)

PLAYER PATRONS $1,000+Anita and Graham Anderson, Christine and Mark Armour, Arnold Bloch Leibler, Marlyn and Peter Bancroft OAM, Adrienne Basser, Prof Weston Bate and Janice Bate, Timothy and Margaret Best, David and Helen Blackwell, Bill Bowness, Michael F Boyt, M Ward Breheny, Susie Brown, Jill and Christopher Buckley, Dr Lynda Campbell, Sir Roderick Carnegie AC, Andrew and Pamela Crockett, Natasha Davies, Pat and Bruce Davis, Merrowyn Deacon, Sandra Dent, Dominic and Natalie Dirupo, Marie Dowling, John and Anne Duncan, Kay Ehrenberg, Gabrielle Eisen, Vivien and Jack Fajgenbaum, Grant Fisher and Helen Bird, Barry Fradkin OAM and Dr Pam Fradkin, David Gibbs and Susie O’Neill,

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