TCHAIKOVSKY VIOLIN CONCERTO

22 JUNE 2018

CONCERT PROGRAM

MORNINGS

Melbourne Symphony OrchestraSir Andrew Davis conductor

Anne-Sophie Mutter violin, Soloist in Residence*

Stravinsky The Fairy’s Kiss: Divertimento

Tchaikovsky Violin Concerto

Running time: One hour, no interval

In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your 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

* Supported by Mr Marc Besen AC and Mrs Eva Besen AO

2

MELBOURNE SYMPHONY ORCHESTRA

SIR ANDREW DAVIS CONDUCTOR

Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s longest-running professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 4 million people each year, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming.

The MSO also works with Associate Conductor Benjamin Northey and Cybec Assistant Conductor Tianyi Lu, as well as with such eminent recent guest conductors as Tan Dun, John Adams, Jakub Hrůša and Jukka-Pekka Saraste. It also collaborates with non-classical musicians such as Elton John, Nick Cave and Flight Facilities.

Chief Conductor of the Melbourne Symphony Orchestra, Sir Andrew Davis is also Music Director and Principal Conductor of the Lyric Opera of Chicago. He is Conductor Laureate of both the BBC Symphony Orchestra and the Toronto Symphony, where he has also been named interim Artistic Director until 2020.

In a career spanning more than 40 years he has conducted virtually all the world’s major orchestras and opera companies, and at the major festivals. Recent highlights have included Die Walküre in a new production at Chicago Lyric.

Sir Andrew’s many CDs include Messiah nominated for a 2018 GRAMMY® Award, Bliss’ The Beatitudes, and a recording with the Bergen Philharmonic of Vaughan Williams’ Job/Symphony No.9 nominated for a 2018 BBC Music Magazine Award. With the MSO he has just released a third recording in the ongoing Richard Strauss series, featuring the Alpine Symphony and Till Eulenspiegel.

3

ANNE-SOPHIE MUTTER VIOLIN

Anne-Sophie Mutter is a four-time GRAMMY® Award winner. Contemporary composers such as Krzysztof Penderecki, Sofia Gubaidulina, Wolfgang Rihm and John Williams have all composed for her. She premiered Sir André Previn’s The Fifth Season at Carnegie Hall in March 2018. Future performances include a recital of Mozart, Brahms and Franck sonatas with Daniel Barenboim and performances of Beethoven, Unsuk Chin (a world premiere) and John Williams’ Markings at Berlin’s Philharmonie.

Anne-Sophie Mutter dedicates herself to numerous benefit projects and, since 2011, has regularly shared the stage with The Mutter Virtuosi, an ensemble formed from former and current scholarship-holders of the Anne-Sophie Mutter Foundation. Her latest disc is a recording of Schubert’s Trout Quintet with Daniil Trifonov, Maximilian Hornung, Hwayoon Lee and Roman Patkoló.

The MSO is thrilled to host Anne-Sophie as 2018 Soloist in Residence.

PROGRAM NOTES

IGOR STRAVINSKY (1882-1971)

The Fairy’s Kiss: Divertimento

Sinfonia

Swiss Dances and Waltz

Scherzo

Pas de deux

Stravinsky first established his reputation in the West through his association with Sergei Diaghilev’s legendary Ballets Russes, for whom he composed the ballets which have remained his most popular works – The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913).

Towards the end of 1927, the dancer Ida Rubinstein, who was planning to establish a dance company of her own, approached Stravinsky’s publishers to enquire whether she might include his new ballet Apollon musagète in her repertoire. She was told that the European rights rested with Diaghilev, so she submitted to Stravinsky two ideas for new works, one of which he liked immediately. This was to compose a score inspired by the music of Tchaikovsky who had been a childhood idol.

Stravinsky cherished memories of Tchaikovsky, pointed out to him by his father Feodor at the Mariinsky Theatre during the 50th anniversary production of Ruslan and Ludmila in 1893, two weeks before Tchaikovsky died. But Stravinsky’s lifelong regard for Tchaikovsky was founded on a great love for his music. In 1921, when

4

Diaghilev was mounting his lavish production of The Sleeping Beauty at London’s Alhambra Theatre, Stravinsky declared, in a letter to the Times, that Sleeping Beauty was ‘the most convincing example of Tchaikovsky’s great creative power’. He arranged two numbers for the London production, and his affection for this music is still apparent in the 1963 rehearsal of the ‘Bluebird pas de deux’ included on CBS’s complete set of Stravinsky Conducts recordings. Rubinstein gave Stravinsky free rein to choose both the subject matter and scenario of the ballet. He fashioned a storyline from Hans Christian Andersen’s tale The Ice Maiden, and decided to base his work on a selection of Tchaikovsky’s non-orchestral pieces – mostly piano and vocal works.

The scenario is intended to be taken as an allegory of Tchaikovsky’s creative life. A child, separated from his mother, is found and kissed by a Fairy, then taken away to be looked after by villagers. At a village fête some 18 years later, the young man is celebrating with his fiancée when the Fairy, disguised as a gypsy, enters and tells the young man his future, promising good fortune. The young man and his fiancée dance by a mill, but when the fiancée goes away to put on her bridal dress, the Fairy appears, and lures the young man away with her. She bestows her fatal kiss on the young man, and encloses him forever in the land of Eternal Dwelling.

Stravinsky chose about half of the complete ballet for inclusion in the four-movement Divertimento. In the Sinfonia, the Fairy kisses the child and disappears; Swiss Dances and Waltz

is the village fair and the young man’s betrothal. The Fairy leads the young man to his fiancée, playing round games with her friends, in the Scherzo, and the young couple dance together in the Pas de deux.

It could be said that the scenario reveals some ambivalence towards Tchaikovsky’s art. The Fairy who bestows the kiss turns out to be malign. Lawrence Morton has suggested that, in Stravinsky’s mind, the fatal kiss planted on Tchaikovsky represented ‘the vulgarity of his symphonic climaxes and his boring sequences’. Morton further points out that the aspect of Tchaikovsky’s music most altered by Stravinsky is melody, the element most people would argue was Tchaikovsky’s real strength. But who could be confident in completely accepting the modernist Morton’s view of Stravinsky’s dissatisfaction with Tchaikovsky’s style?

This work is the product of a deep immersion in an earlier countryman’s art. Tchaikovsky’s voice may sound, from a rewrought version of his song Tant triste, tant douce to a cadential figure from the Fifth Symphony, to a mere whiff of None but the Lonely Heart, another of Tchaikovsky’s songs, but the chugging rhythms, the precise articulations, the orchestration, ‘the syntax, idiom, accent, craft’ – there is not a bar that is not pure Stravinsky.

It has been claimed that a certain spirit went out of Stravinsky’s music once he severed links finally with his homeland. The popular early ballets are imbued with the spirit of Russia, and Richard Taruskin has shown how deeply Stravinsky absorbed and transmuted

5

what may be called ‘aboriginal’ Russian and Ukrainian folk material in The Rite of Spring. In the 1920s, as Stravinsky began to pare down his style and subscribe to the values of Classicism, he also began to align himself with the more cosmopolitan strand of Russian culture, and he dedicated the short one-act opera Mavra (1921) to the ‘trinity’ of Glinka, Pushkin and Tchaikovsky. In The Fairy’s Kiss, Stravinsky’s expression of love for an honoured predecessor, there is a curious and moving warmth.

In one sense, however, The Fairy’s Kiss did signify a rupture. Diaghilev was furious that one of his protégés should have been associated with such an inferior undertaking as the Ida Rubinstein Company, and the first performance at the Paris Opera on 27 November 1928 could be considered the end of their relationship.

Gordon Kalton Williams Symphony Australia © 1998/2005

The Melbourne Symphony Orchestra first performed this work on 28 November 1961 during Stravinsky’s visit to Australia, under the direction of Robert Craft. The Orchestra most recently performed it on 15-17 November 2007 with Markus Stenz.

PETER ILYICH TCHAIKOVSKY (1840-1893)

Violin Concerto in D, Op.35

Allegro moderato – Moderato assai

Canzonetta (Andante)

Finale (Allegro vivacissimo)

Anne-Sophie Mutter violin

It was the winter of 1877, and Tchaikovsky was in love. He wrote to his brother Modest about the ‘unimaginable force’ of the passion that had developed; its object was a young violinist and student at the Moscow Conservatorium, Josef Kotek. Kotek was a devoted and affectionate but platonic friend to Tchaikovsky, but soon became besotted with a fellow (female) student. The composer’s ardour cooled quickly, and within three weeks of discovering Kotek’s new relationship, Tchaikovsky had made his fateful proposal to Antonina Milyukova, a former Conservatorium student who had fallen in love with him. They married two months later, and as the depth of their cultural and personal differences quickly became clear, Tchaikovsky left his wife two months after that.

Kotek and Tchaikovsky remained friends, however, and the Violin Concerto seems to have grown out of a promise that the composer made to write a piece for one of Kotek’s upcoming concerts. While Kotek was not, ultimately, the dedicatee or first performer of the work, he was of enormous help to Tchaikovsky in playing through sections of the piece as the composer finished them.

6

After leaving his wife, Tchaikovsky, accompanied by one or other of his brothers (and at one point Kotek himself), travelled extensively in Western Europe. Tchaikovsky worked on the Violin Concerto in Switzerland in early 1878, not long after completing the Fourth Symphony and the opera Eugene Onegin. Commentators are generally agreed that both of those works reflect Tchaikovsky’s emotional reactions to the traumatic events of his marriage, though the composer himself was careful, in a letter to his patron, Nadezhda von Meck, to point out that one could only depict such states in retrospect. In any event, it seems likely that, apart from honouring a promise to Kotek, Tchaikovsky found the conventions of the violin concerto offered a way of writing a large-scale work without the personal investment of the opera and symphony.

Like the great concertos of Beethoven, Brahms, Mendelssohn and Sibelius, Tchaikovsky’s is in three substantial movements. The first develops two characteristic themes within a tracery of brilliant virtuoso writing for the violin, and like Mendelssohn, Tchaikovsky places the solo cadenza before the recapitulation of the opening material. As in the slow movement of the Fourth Symphony, the central Canzonetta works its magic by the deceptively simple repetition of its material. The work concludes with a bravura, ‘Slavic’ Finale which is interrupted only by a motif for solo oboe which for one writer recalls, nostalgically, a moment in the ‘Letter Scene’ from Onegin (which itself parallels the relationship between Tchaikovsky and Antonina).

The work was initially dedicated to the virtuoso Leopold Auer, who thought it far too difficult and refused to play it. In 1881 Adolf Brodsky gave the premiere in Vienna, where that city’s most feared critic, Eduard Hanslick, tore the piece to shreds:

The violin is no longer played; it is pulled, torn, drubbed…We see plainly the savage vulgar faces, we hear curses, we smell vodka…Tchaikovsky’s Violin Concerto gives us for the first time the notion that there can be music that stinks to the ear.

Hanslick, like many a music critic, made a bad call; Tchaikovsky had written one of the best-loved works of the concerto repertoire.

Gordon Kerry © 2003

The Melbourne Symphony Orchestra first performed this concerto on 21 May 1938 with conductor George Szell and soloist Lionel Lawson. The Orchestra’s most recent performance was on 28 February 2017, with Benjamin Northey and Maxim Vengerov.

7

Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor Anthony Pratt#

Tianyi Lu Cybec Assistant Conductor

Hiroyuki Iwaki Conductor Laureate (1974–2006)

FIRST VIOLINS

Dale Barltrop Concertmaster

Sophie Rowell Concertmaster The Ullmer Family Foundation#

Peter Edwards Assistant Principal John McKay and Lois McKay#

Kirsty BremnerSarah Curro Michael Aquilina#

Peter FellinDeborah GoodallLorraine HookAnne-Marie JohnsonKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn Taylor Michael Aquilina#

Amy Brookman*Madeleine Jevons*Michael Loftus-Hills*Susannah Ng*Oksana Thompson*Nicholas Waters*

SECOND VIOLINS

Matthew Tomkins Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro Assistant Principal Danny Gorog and Lindy Susskind#

Mary AllisonIsin CakmakciogluFreya Franzen Anonymous#

Zoe FreisbergCong GuAndrew Hall Andrew and Judy Rogers#

Isy WassermanPhilippa WestPatrick WongRoger YoungJacqueline Edwards*

VIOLAS

Christopher Moore Principal Di Jameson#

Fiona Sargeant Associate Principal

Lauren Brigden Mr Tam Vu and Dr Cherilyn Tillman#

Katharine BrockmanChristopher Cartlidge Michael Aquilina#

Anthony Chataway Dr Elizabeth E Lewis AM#

Gabrielle HalloranTrevor Jones Cindy WatkinElizabeth WoolnoughCaleb WrightLisa Grosman*Helen Ireland*Sophie Kesoglidis*

CELLOS

David Berlin Principal MS Newman Family#

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de Korte Andrew Dudgeon#

Keith JohnsonSarah MorseAngela SargeantMichelle Wood Andrew and Theresa Dyer#

Rachel Atkinson*

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser#

Robert Nairn*Vivian Siyuan Qu*

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal

MELBOURNE SYMPHONY ORCHESTRA

8

MSO BOARD

ChairmanMichael Ullmer

Managing DirectorSophie Galaise

Board MembersAndrew DyerDanny GorogMargaret Jackson ACDavid KrasnosteinDavid LiHyon-Ju NewmanHelen Silver AO

Company SecretaryOliver Carton

OBOES

Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn The Rosemary Norman Foundation#

COR ANGLAIS

Michael Pisani Principal

Rachel Curkpatrick*

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

Colin Forbes-Abrams*

HORNS

Ben Jacks*† Guest Principal

Saul Lewis Principal Third

Ian Wildsmith* Guest Principal Third

Abbey Edlin Nereda Hanlon and Michael Hanlon AM#

Trinette McClimont

Alexander Morton*Rachel Shaw*‡

TRUMPETS

Geoffrey Payne* Guest Principal

Shane Hooton Associate Principal

William EvansRosie Turner

TROMBONES

Brett Kelly Principal

Richard Shirley Tim and Lyn Edward#

Mike Szabo Principal Bass Trombone

TUBA

Timothy Buzbee Principal

David J. Saltzman*

TIMPANI**

Christopher Lane

PERCUSSION

Robert Clarke Principal

John Arcaro Tim and Lyn Edward#

Robert Cossom

HARP

Yinuo Mu Principal

# Position supported by

* Guest Musician

† Courtesy of Sydney Symphony Orchestra

‡ Courtesy of Orchestra Victoria

** Timpani Chair position supported by Lady Potter AC CMRI

9

MSO PATRON

The Honourable Linda Dessau AC, Governor of Victoria

CHAIRMAN’S CIRCLE

Marc Besen AC and Eva Besen AO The Gross Foundation Harold Mitchell FoundationDavid and Angela LiHarold Mitchell ACMS Newman Family FoundationLady Potter AC CMRIJoy Selby SmithThe Cybec FoundationThe Pratt FoundationThe Ullmer Family FoundationAnonymous (1)

ARTIST CHAIR BENEFACTORS

Associate Conductor Chair Benjamin Northey Anthony Pratt Orchestral Leadership Joy Selby SmithCybec Assistant Conductor Chair Tianyi Lu The Cybec FoundationAssociate Concertmaster Chair Sophie Rowell The Ullmer Family Foundation2018 Soloist in Residence Chair Anne-Sophie Mutter Marc Besen AC and Eva Besen AOYoung Composer in Residence Ade Vincent The Cybec Foundation

PROGRAM BENEFACTORS

Cybec 21st Century Australian Composers Program The Cybec FoundationEast Meets West Supported by the Li Family TrustMeet The Orchestra Made possible by The Ullmer Family FoundationMSO Audience Access Crown Resorts Foundation, Packer Family FoundationMSO Building Capacity Gandel Philanthropy (Director of Philanthropy)MSO Education Supported by Mrs Margaret Ross AM and Dr Ian RossMSO International Touring Supported by Harold Mitchell ACMSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, The Robert Salzer Foundation, AnonymousThe Pizzicato Effect (Anonymous), Collier Charitable Fund, The Marian and E.H. Flack Trust, Scobie and Claire Mackinnon Trust, Supported by the Hume City Council’s Community Grants ProgramSidney Myer Free Concerts Supported by the Myer Foundation and the University of Melbourne

PLATINUM PATRONS $100,000+

Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel The Gross Foundation David and Angela LiMS Newman Family Foundation Anthony Pratt The Pratt FoundationLady Potter AC CMRIJoy Selby SmithUllmer Family Foundation Anonymous (1)

VIRTUOSO PATRONS $50,000+

Di Jameson David Krasnostein and Pat StragalinosHarold Mitchell ACKim Williams AM

IMPRESARIO PATRONS $20,000+

Michael Aquilina The John and Jennifer Brukner FoundationMary and Frederick Davidson AMMargaret Jackson ACAndrew JohnstonMimie MacLarenJohn and Lois McKay Maria Solà

SUPPORTERS

10

MAESTRO PATRONS $10,000+

Kaye and David BirksMitchell ChipmanTim and Lyn EdwardDanny Gorog and Lindy Susskind Robert & Jan GreenHilary Hall, in memory of Wilma CollieThe Hogan Family Foundation International Music and Arts FoundationSuzanne KirkhamThe Cuming BequestGordan Moffat AMIan and Jeannie PatersonElizabeth Proust AOXijian Ren and Qian LiGlenn SedgwickHelen Silver AO and Harrison YoungGai and David TaylorJuliet TootellAlice VaughanHarry and Michelle WongJason Yeap OAM

PRINCIPAL PATRONS $5,000+

Christine and Mark ArmourJohn and Mary BarlowBarbara Bell, in memory of Elsa BellStephen and Caroline BrainProf Ian BrighthopeDavid and Emma CapponiMay and James ChenWendy DimmickAndrew Dudgeon AM Andrew and Theresa Dyer

Mr Bill FlemingJohn and Diana FrewSusan Fry and Don Fry AOSophie Galaise and Clarence Fraser Geelong Friends of the MSOR Goldberg and Family Jennifer GorogHMA FoundationLouis Hamon OAMNereda Hanlon and Michael Hanlon AMHans and Petra HenkellHartmut and Ruth HofmannDoug HooleyJenny and Peter HordernDr Alastair JacksonRosemary and James JacobyDr Elizabeth A Lewis AMNorman Lewis, in memory of Dr Phyllis LewisPeter LovellLesley McMullin FoundationMr Douglas and Mrs Rosemary MeagherMarie Morton FRSADr Paul Nisselle AMThe Rosemary Norman Foundation Ken Ong, in memory of Lin OngBruce Parncutt AO Jim and Fran PfeifferPzena Investment Charitable FundAndrew and Judy Rogers Rae RothfieldMax and Jill SchultzJeffrey Sher QC and Diana Sher OAMProfs. G & G Stephenson,

in honour of the great Romanian musicians George Enescu and Dinu LipattiTasco PetroleumMr Tam Vu and Dr Cherilyn Tillman The Hon. Michael Watt QC and Cecilie HallLyn Williams AMAnonymous (2)

ASSOCIATE PATRONS $2,500+

Dandolo PartnersWill and Dorothy Bailey BequestDavid Blackwell OAMAnne BowdenJulia and Jim BreenLynne BurgessOliver CartonJohn and Lyn CoppockAnn Darby, in memory of Leslie J. DarbyNatasha Davies, for the Trikojus Education FundMerrowyn DeaconSandra DentPeter and Leila DoyleDuxton VineyardsLisa Dwyer and Dr Ian DicksonJane Edmanson OAMJaan EndenDr Helen M FergusonMr Peter Gallagher and Dr Karen MorleyDina and Ron GoldschlagerLeon GoldmanColin Golvan AM QC and Dr Deborah GolvanLouise Gourlay OAMSusan and Gary Hearst

11

Colin Heggen, in memory of Marjorie Drysdale HeggenJenkins Family FoundationJohn JonesGeorge and Grace KassIrene Kearsey and M J RidleyThe Ilma Kelson Music FoundationBryan LawrenceJohn and Margaret MasonH E McKenzieAllan and Evelyn McLarenSue and Barry PeakeMrs W PeartGraham and Christine PeirsonJulie and Ian ReidPeter and Carolyn RenditS M Richards AM and M R RichardsTom and Elizabeth RomanowskiDiana and Brian Snape AMPeter J StirlingAnonymous (8)

PLAYER PATRONS $1,000+

David and Cindy AbbeyChrista AbdallahDr Sally AdamsMary ArmourDr Rosemary Ayton and Dr Sam RicketsonMarlyn and Peter Bancroft OAMAdrienne BasserJanice Bate and the Late Prof Weston BateJanet BellMichael F BoytPatricia BrockmanDr John Brookes

Stuart BrownSuzie Brown OAM and Harvey BrownRoger and Col BuckleJill and Christopher BuckleyShane BuggleJohn CarrollAndrew and Pamela CrockettPanch Das and Laurel Yound-DasBeryl DeanRick and Sue DeeringDominic and Natalie DirupoJohn and Anne DuncanValerie Falconer and the Rayner Family in memory of Keith FalconerGrant Fisher and Helen BirdBarry Fradkin OAM and Dr Pam FradkinApplebay Pty LtdDavid Frenkiel and Esther Frenkiel OAMDavid Gibbs and Susie O’NeillMerwyn and Greta GoldblattGeorge Golvan QC and Naomi GolvanDr Marged GoodeProf Denise Grocke AOMax GulbinDr Sandra Hacker AO and Mr Ian Kennedy AMJean HadgesMichael and Susie HamsonPaula Hansky OAMMerv Keehn & Sue HarlowTilda and Brian HaughneyAnna and John HoldsworthPenelope HughesBasil and Rita Jenkins

Dorothy KarpinBrett Kelly and Cindy WatkinDr Anne KennedyJulie and Simon KesselKerry LandmanDiedrie LazarusWilliam and Magdalena LeadstonGaelle LindreaDr Susan LintonAndrew LockwoodElizabeth H LoftusChris and Anna LongThe Hon Ian Macphee AO and Mrs Julie MacpheeEleanor & Phillip ManciniIn memory of Leigh MaselRuth MaxwellDon and Anne MeadowsIan Morrey and Geoffrey Minternew U MilduraPatricia NilssonLaurence O’Keefe and Christopher JamesAlan and Dorothy PattisonKerryn PratchettPeter PriestTreena QuarinEli Raskin Raspin Family TrustJoan P RobinsonCathy and Peter RogersMartin and Susan ShirleyPenny ShoreDr Sam Smorgon AO and Mrs Minnie SmorgonDr Norman and Dr Sue SonenbergDr Michael SoonLady Southey AC

SUPPORTERS

12

Geoff and Judy SteinickeJennifer SteinickeDr Peter StricklandPamela SwanssonJenny TatchellFrank Tisher OAM and Dr Miriam TisherDavid ValentineMary ValentineThe Hon. Rosemary VartyLeon and Sandra VelikDavid and Yazni VennerSue Walker AMElaine Walters OAM and Gregory WaltersEdward and Paddy WhiteNic and Ann WillcockMarian and Terry Wills CookeLorraine WoolleyRichard YeAnonymous (21)

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

Collier Charitable FundCrown Resorts Foundation and the Packer Family Foundation

The Cybec FoundationThe Marian and E.H. Flack TrustFreemasons Foundation VictoriaGandel PhilanthropyThe International Music and Arts FoundationThe Scobie and Claire Mackinnon TrustThe Harold Mitchell FoundationThe Sidney Myer MSO Trust FundThe Pratt FoundationThe Robert Salzer FoundationTelematics TrustAnonymous

CONDUCTOR’S CIRCLE

Current Conductor’s Circle MembersJenny AndersonDavid AngelovichG C Bawden and L de KievitLesley BawdenJoyce BownMrs Jenny Brukner and the late Mr John BruknerKen BullenPeter A CaldwellLuci and Ron ChambersBeryl DeanSandra DentLyn EdwardAlan Egan JPGunta EgliteMr Derek GranthamMarguerite Garnon-WilliamsDrs Clem Gruen and Rhyl Wade

Louis Hamon OAMCarol HayTony HoweLaurence O’Keefe and Christopher JamesAudrey M JenkinsJohn JonesGeorge and Grace KassMrs Sylvia LavellePauline and David LawtonCameron MowatRosia PasteurElizabeth Proust AOPenny RawlinsJoan P RobinsonNeil RoussacAnne Roussac-HoyneSuzette SherazeeMichael Ryan and Wendy MeadAnne Kieni-Serpell 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 (26)

13

The MSO gratefully acknowledges the support of the following Estates:Angela BeagleyNeilma GantnerThe Hon Dr Alan Goldberg AO QCGwen HuntAudrey JenkinsJoan JonesPauline Marie JohnstonJoan JonesC P KempPeter Forbes MacLarenJoan Winsome MaslenLorraine Maxine MeldrumProf Andrew McCredieMiss Sheila Scotter AM MBEMarion A I H M SpenceMolly StephensJennifer May TeagueJean TweedieHerta and Fred B VogelDorothy Wood

HONORARY APPOINTMENTS

Marc Besen AC and Eva Besen AO Life MembersSir Elton John CBE Life MemberLady Potter AC CMRI Life MemberGeoffrey Rush AC Ambassador

The MSO honours the memory ofJohn Brockman OAM Life MemberThe Honourable Alan Goldberg AO QC Life MemberIla Vanrenen Life Member

SUPPORTERS

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+ (Virtuoso)

$100,000+ (Platinum)

The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will.

Enquiries: P (03) 8646 1551 E philanthropy@mso.com.au

14

PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

The CEO InstituteQuest Southbank Bows for StringsErnst & Young

TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

The Scobie and Claire Mackinnon Trust, Sidney Myer MSO Trust Fund

The Gross Foundation, Li Family Trust, MS Newman Family Foundation, The Ullmer Family Foundation