SAINT-SAËNS’ GREAT ORGAN SYMPHONY 3 AUGUST 2018
CONCERT PROGRAM
Melbourne Symphony Orchestra Benjamin Northey conductor Piers Lane piano Calvin Bowman organ Kodály Dances of Galánta Liszt Piano Concerto No.1 INTERVAL Saint-Saëns Symphony No.3 Organ
Running time: 1 hour and 45 minutes, including a 20-minute interval In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone. The MSO acknowledges the Traditional Owners of the land on which it is performing. MSO pays its respects to their Elders, past and present, and the Elders from other communities who may be in attendance. 2
mso.com.au
(03) 9929 9600
MELBOURNE SYMPHONY ORCHESTRA
BENJAMIN NORTHEY CONDUCTOR
Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s oldest 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 diverse audiences through live performances, recordings, TV and radio broadcasts and live streaming. Its international audiences include China, where MSO has performed in 2012, 2016 and most recently in May 2018, Europe (2014) and Indonesia, where in 2017 it performed at the UNESCO World Heritage Site, Prambanan Temple.
Benjamin Northey is Chief Conductor of the Christchurch Symphony Orchestra and Associate Conductor of the Melbourne Symphony Orchestra.
The MSO performs a variety of concerts ranging from symphonic 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 and digital tools to audiences of all ages through its Education and Outreach initiatives.
Benjamin appears regularly as guest conductor with all major Australian symphony orchestras, Opera Australia (Turandot, L’elisir d’amore, Don Giovanni, Così fan tutte, Carmen), New Zealand Opera (Sweeney Todd) and State Opera South Australia (La sonnambula, Les contes d’Hoffmann). His international appearances include concerts with London Philharmonic Orchestra, Tokyo Philharmonic Orchestra and Mozarteum Orchestra Salzburg. With a progressive and diverse approach to repertoire, he has collaborated with a broad range of artists including Maxim Vengerov and Slava Grigoryan, as well as popular artists Tim Minchin, Barry Humphries and James Morrison. An Honorary Fellow at the University of Melbourne Conservatorium of Music, his awards include the prestigious 2010 Melbourne Prize Outstanding Musician’s Award as well as multiple awards for his numerous recordings with ABC Classics.
3
PIERS LANE AO PIANO
CALVIN BOWMAN ORGAN
London-based Australian pianist Piers Lane has worked with many of the world’s leading orchestras and conductors, and at numerous international festivals. Recent appearances have included recitals at Norway’s Fjord Classics festival, a recording of Ferdinand Ries piano concertos, and the world premiere with Kathryn Stott of Carl Vine’s Concerto for Two Pianos.
Calvin Bowman is a graduate of the University of Melbourne, and was the first Australian to graduate with a Doctor of Musical Arts degree from Yale University, with the assistance of a Fulbright scholarship.
Piers Lane became Artistic Director of the Sydney International Piano Competition in 2016. He was formerly Artistic Director of the Australian Festival of Chamber Music. His CDs cover the music of composers ranging from Scriabin to Henselt to Bach to Grainger. Brett Dean, Colin Matthews, and Malcolm Williamson have also composed for him. In the Queen’s Diamond Jubilee honours, he was made an Officer in the Order of Australia.
4
He is much in demand as a soloist, accompanist and chamber musician. As keyboardist he has premiered works by many prominent Australian composers and appeared as soloist with many of the major Australian orchestras. Dr Bowman is also a prolific composer, specialising in the form of artsong. His major awards include an Australia Council Fellowship, and he has also been commissioned by organisations such as Ars Musica Australis and Symphony Australia, as well as by many individuals and ensembles. He is an exclusive Decca/UMA artist. A recording of his artsong with Sara Macliver, Paul McMahon and Christopher Richardson entitled Real and Right and True was released in July.
PROGRAM NOTES ZOLTÁN KODÁLY
(1882-1967)
Dances of Galánta (Galántai táncok) Lento – Andante maestoso – Allegretto moderato – Andante maestoso – Allegro con moto, grazioso – Andante maestoso – Allegro – Poco meno mosso – Allegro vivace – Andante maestoso – Allegro molto vivace Zoltán Kodály is revered as Hungary’s father of modern composition. His breadth of creativity and commitment to teaching helped to maintain a vigorous musical culture through periods of artistic and political oppression. Along with his close contemporary and friend Béla Bartók (1881-1945), he collected over 3,500 folk tunes from throughout Hungary, Romania and Slovakia. These songs influenced both composers’ subsequent works, as well as those of many other middleEuropean composers. Kodály said of his collaboration with Bartók: ‘The vision of an educated Hungary, reborn from the people, rose before us. We decided to devote our lives to its realisation.’ Thus the importance of folk tunes to the national identity of countries such as Hungary cannot be overstated. The Dances of Galánta were written for the 80th anniversary of the Budapest Philharmonic in 1933. Kodály took as his source a compendium of dances from the early 1800s, ‘the gypsy dances from Galánta’, and selected, orchestrated and linked some of them. Kodály grew 6
up in the town of Galánta on the border between Hungary and Austria, where the passing traffic, including gypsies and wandering musicians, may well have left an aural impression. This is a mature work from Kodály (he was in his early fifties), both highly accessible and gently conservative, possibly due in part to the influence of the commissioning orchestra. Based on the verbunkos style (similar to the csárdás or the ‘tavern’ tunes of Hungary and its surrounding regions), these dances have two moods: pensively slow and fiercely fast. Chiefly linking these two emotional opposites with broad and impassioned string writing, Kodály also allows solo passages to play a significant role. As in his suite from the opera Háry János (1927), there are meltingly lyrical sections of poignant beauty and virtuosity for the clarinet. Throughout the first major section or first ‘dance’ (Lento – Andante maestoso) and indeed through the rest of the suite, the clarinet receives special attention from Kodály. It seems to act as a melodic fulcrum, linking and leading harmonic and rhythmic changes. Kodály maintains tension by clever use of rubato and rhythmic variation, as with the syncopated rhythms of the fiery csárdás heard in the late-night revels of a tavern. The ‘gypsy scale’, found in so much of the folk music diligently collected by Kodály, is a prominent melodic feature. There is also a Jewish ‘feel’ in much that is here – the clarinet in particular conjures the sound of klezmer music in its sense of abandonment and melancholy. A solo flute and piccolo in dotted rhythm accompanied by pizzicato strings introduce the second dance (Allegretto
moderato). There is a decidedly Eastern flavour to this section, and the whirring strings, when released from pizzicato, are particularly striking as they return to the first, clarinet-inspired, introspective dance themes. An oboe introduces the third dance (Allegro con moto, grazioso). This melody is so simple and insubstantial that it seems to need reinforcement from the other woodwinds, brass and strings. It is eventually overwhelmed by the return of the melancholic first theme, which in turn is interrupted just as suddenly by a fierce, syncopated dance (Allegro) with the whole orchestra in full cry. Two dances quickly follow, with melodies reminiscent of Háry János – there are grace-noted bassoons, horns swinging across the bar line and a dotted rhythm returning in the clarinet (Poco meno mosso). This mildly comic excursion by Kodály sets up a frantic finale, beginning with the muted insistence of the timpani. The theme is then launched by the winds, and captured in virtuoso brilliance by the strings, with powerful syncopation throughout the orchestra (Allegro vivace). Instead of a predictably triumphant close, the first brooding melody returns in an arresting G sharp minor. Kodály is perhaps reminding the listener that behind all this exuberance lies darkness. But such introspection is thrust aside in the final bars (Allegro molto vivace) where the dance is at an end: exhilarating, exhausting! David Vivian Russell Symphony Australia © 2000 The Melbourne Symphony Orchestra first performed the Dances of Galánta on 10-11 September 1951 under conductor Tibor Paul, and most recently on 22 February 2012 with Diego Matheuz.
FRANZ LISZT
(1811-1886)
Piano Concerto No.1 in E flat Allegro maestoso – Quasi adagio – Allegro vivace – Allegro animato – Allegro marziale animato Liszt was a larger-than-life character, both biographically and musically. A gifted child prodigy, he was publicly kissed on the brow by Beethoven, and later gained a formidable reputation as a womaniser, toured extensively as the greatest pianist of his era, lived with a princess and even took a form of Holy Orders. Yet behind this colourful and romantic image lay an immensely gifted musician, deeply committed to the future of music and the creative endeavours of his contemporaries. Liszt’s two piano concertos rank among his most important works and, while quite different in character, have a similar history. Early sketches for both works date from 1838-1840, but Liszt’s constant touring prevented the completion of the first until 1849, the year after his appointment as court conductor in Weimar. But even then there was a delay and the Concerto No.1 was not to be premiered in Weimar until 17 February 1855, with Liszt himself as soloist and Berlioz conducting. Dedicated to Henri Litolff, the concerto is a work of extraordinary unity in four movements played without a break. The main theme dominates both the first and the last movements and all other important themes recur several times during the course of the work. Variations of these themes occur through metamorphosis and transformation rather than through formal development. 7
The forceful principal theme is stated immediately in the strings over wind chords. It is said that Liszt sang the words ‘Das versteht ihr alle nicht’ (‘None of you understands this’) to this melody. After four bars the piano enters and we hear a cadenza and some elaboration of the opening theme. The movement ends with intricate arpeggios and runs in the piano while the orchestra restates the main theme. A subject on muted cellos and double basses amplified by the solo piano heralds the beginning of the Adagio. The dreamlike melody for the piano gives way to a magical moment where the flute and then clarinet enter while the pianist’s trills die away to nothing. In the scherzo there is an unusually prominent part for that most humble of orchestral instruments – the triangle! It is employed at the beginning as a sparkling companion to the descending cascades of the piano. Eduard Hanslick bitterly attacked the prominence given to the triangle in this movement, but Liszt retorted that it offered ‘the effect of contrast’. Such extraordinary aesthetic debates hindered the general acceptance of the concerto early in its life (it was not performed again until 1869), although they could not distract popular attention from it forever. A third important theme is introduced in this scherzo and the end of the movement is signalled by a cadenza in which the opening theme of the movement is again suggested. A development section then leads to the final movement in which we find all the themes of the concerto transformed and unified: first the delicate Adagio melody is treated in a march-like fashion, then the theme of the scherzo ushers in a brilliant stretto (overlapping entries in close succession), and finally the main theme returns in triumph. 8
The strength – and the paradox – of this concerto lie in its tight structure that nevertheless appears to be almost ‘improvisatory’. As the legendary pianist Alfred Cortot remarked, ‘The listener… must not be given the impression that he is subjected to a kind of nonsensical chitchat. The steadiness of the work’s foundations must be felt.’ Martin Buzacott © Symphony Australia The Melbourne Symphony Orchestra first performed this concerto on 9 April 1940 with conductor Georg Schnéevoigt and pianist Eric Landerer, and most recently on 10-12 May 2018 with Sir Andrew Davis and Moye Chen.
CAMILLE SAINT-SAËNS
(1835-1921)
Symphony No.3 in C minor, Op.78 Organ Adagio – Allegro moderato – Poco adagio Allegro moderato – Presto – Maestoso – Allegro Saint-Saëns was something of an Anglophile. So it was a happy coincidence that when he was making plans for another symphony, the Royal Philharmonic Society invited him to perform as both conductor and pianist at one of its London concerts. As the non-profit Society could not afford the requested fee of £40, they suggested £30, plus a formal commission to write the Third Symphony under the Society’s auspices. Saint-Saëns agreed and immediately began work on the symphony, saying to the Society: ‘It will be terrifying, I warn you.’ And he wasn’t wrong. Considering the Society’s financial state at the time, the prospect of an outsize orchestra complete with organ and multiple pianists must have struck fear into the heart of at least the Treasurer. And as the blood pressure of Society members rose, so too did the key of the symphony. ‘This imp of a symphony has gone up a half-tone; it didn’t want to stay in B minor and is now in C minor,’ Saint-Saëns advised the long-suffering Society members as he worked on the ever-expanding piece. In the end, Saint-Saëns came up with a symphony in two parts, but still more or less using the traditional four movements. The first part consists of an Allegro and Adagio, corresponding to conventional first and second movements, and the second part is a scherzo and finale merged into one.
The use of the organ was inspired by Liszt’s employment of it in his symphonic poem Hunnenschlacht (Battle of the Huns) and the published version of the Organ Symphony is dedicated ‘to the memory of Franz Liszt’, who had died shortly after the premiere. That premiere occurred on 19 May 1886 in St James’s Hall, London, with the composer conducting, as well as appearing as soloist in his own Fourth Piano Concerto. On the whole, the reception was excellent, despite the best efforts of a few Wagnerians in the audience. Afterwards, the great admirer of British royalty was introduced to the Prince of Wales (the future King Edward VII). A Paris premiere, the following year, was a great success and prompted Charles Gounod to proclaim, ‘There goes the French Beethoven.’ Saint-Saëns summarised the symphony by saying, ‘I have given all that I had to give…What I have done I shall never do again.’ And he was as good as his word. The Organ Symphony was to remain his supreme achievement in music and it is still one of his most frequently performed works. In recent years it has actually achieved a certain popular success, following its quotation in the soundtracks for the movies Babe and Babe: Pig in the City. Saint-Saëns was a virtuoso by nature. Indeed, the ongoing criticism of his music has been that his prodigious technical facility and ability to dazzle sometimes distract from the greater impact of the music itself. Certainly in the Organ Symphony Saint-Saëns gives literal meaning to the cliché ‘pulling out all stops’. While much of the organ writing is subtle, even understated, climaxes are marked by 9
thunderous passages for the organ, and deliberately grandiose scoring. The ‘first movement’ develops through a kind of Lisztian transformation of themes, whereby the thematic material appears in a series of varying guises rather than being developed in a strictly Classical sense. After the ‘first movement’ has led without pause into the ‘second’, the organ enters, surprisingly discreetly, as an accompaniment to the mystical main theme, marked Poco adagio. The scherzo (‘third movement’) begins the second half of the piece, and much of its thematic material derives – albeit vastly transformed – from the preceding Adagio. From here SaintSaëns introduces all the fireworks he can. The tempo increases to Presto, the orchestration becomes more vibrant and new themes are superimposed over the existing ones, before the organ almost lunges into the finale. This concluding section is a good example of the differing valuejudgements which Saint-Saëns’ music invites. The climax builds through fanfares, four-hand piano figures, loud organ chords and extensive fugal writing, carrying the work through to its triumphant conclusion. Depending on one’s viewpoint, Saint-Saëns either demonstrates his unrivalled compositional virtuosity, or simply goes over the top. However, no one can doubt that the Organ Symphony has demonstrated its enduring appeal. Martin Buzacott Symphony Australia © 1998 The Melbourne Symphony Orchestra first performed Saint-Saëns’ Organ Symphony on 11 August 1965 under conductor Willem van Otterloo, and most recently on 30 October 2015 with Nicholas Milton.
10
MELBOURNE IS A CREATIVE CITY The City of Melbourne proudly supports major and emerging arts organisations through our 2018–20 Triennial Arts Grants Program African Music and Cultural Festival
KINGS Artist-Run
Melbourne Symphony
Koorie Heritage Trust
Orchestra
Aphids
La Mama
Melbourne Writers Festival
Arts Access Victoria
Liquid Architecture
Australian Art Orchestra
Lucy Guerin Inc.
Australian Centre for Contemporary Art
Malthouse Theatre Melbourne Festival
Polyglot Theatre
BLINDSIDE
Melbourne Fringe
Speak Percussion
Chamber Made
Melbourne International Comedy Festival
St Martins Youth Arts Centre
Melbourne International Film Festival
Orchestra
Circus Oz Craft Victoria Emerging Writers’ Festival Human Rights Arts & Film Festival ILBIJERRI Theatre Company
Melbourne International Jazz Festival Melbourne Queer Film Festival
melbourne.vic.gov.au/triennialarts
Multicultural Arts Victoria Next Wave Festival
Victorian Youth Symphony West Space The Wheeler Centre Wild@Heart Community Arts
MELBOURNE SYMPHONY ORCHESTRA
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 Bremner Sarah Curro
Michael Aquilina#
Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Kirstin Kenny Ji Won Kim Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor Michael Aquilina#
Harry Bennetts* Amy Brookman* Jose Luis Tochon Quintero*
SECOND VIOLINS
CELLOS
Matthew Tomkins
David Berlin
Robert Macindoe
Rachael Tobin
Monica Curro
Nicholas Bochner
Principal The Gross Foundation# Associate Principal
Assistant Principal Danny Gorog and Lindy Susskind#
Mary Allison Isin Cakmakcioglu Tiffany Cheng Freya Franzen Cong Gu Andrew Hall Isy Wasserman Philippa West Patrick Wong Roger Young Michael Loftus-Hills* VIOLAS Christopher Moore
Principal MS Newman Family# Associate Principal Assistant Principal
Miranda Brockman
Geelong Friends of the MSO#
Rohan de Korte
Andrew Dudgeon#
Keith Johnson Sarah Morse Angela Sargeant Maria Solà#
Michelle Wood
Andrew and Theresa Dyer#
Molly Kadarauch* DOUBLE BASSES Steve Reeves Principal
Andrew Moon
Associate Principal
Principal Di Jameson#
Sylvia Hosking
Fiona Sargeant
Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton
Associate Principal
Lauren Brigden
Mr Tam Vu and Dr Cherilyn Tillman#
Katharine Brockman Christopher Cartlidge Michael Aquilina#
Anthony Chataway
Dr Elizabeth E Lewis AM#
Gabrielle Halloran Maria Solà#
Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Sergio Insuasti*
Assistant Principal
Sophie Galaise and Clarence Fraser#
Shannon Birchall* Tim Dunin* Esther Toh* FLUTES Prudence Davis Principal Anonymous#
Wendy Clarke
Associate Principal
Helen Hardy*
Guest Associate Principal
Sarah Beggs 12
PICCOLO
Abbey Edlin
Andrew Macleod
Nereda Hanlon and Michael Hanlon AM#
Principal
OBOES
Trinette McClimont Alexander Morton*
Jeffrey Crellin
TRUMPETS
Thomas Hutchinson
Shane Hooton
Ann Blackburn
Tristan Rebien*
Rachel Curkpatrick*
William Evans Rosie Turner
COR ANGLAIS
TROMBONES
Michael Pisani
Brett Kelly
Principal
Associate Principal
The Rosemary Norman Foundation#
Principal
CLARINETS David Thomas
Principal
Philip Arkinstall
Associate Principal
Craig Hill BASS CLARINET Jon Craven
Associate Principal Guest Associate
Principal
Richard Shirley Jarrod Callaghan* Mike Szabo Principal Bass Trombone
Jack Schiller
PERCUSSION
Elise Millman
Robert Clarke
Brock Imison Principal
HORNS Grzegorz Curyla*†
Guest Principal
Saul Lewis
Acting Associate Principal
Company Secretary Oliver Carton
David J. Saltzman*
Brent Miller*
CONTRABASSOON
Board Members Andrew Dyer Danny Gorog Margaret Jackson AC Di Jameson David Krasnostein David Li Hyon-Ju Newman Glenn Sedgwick Helen Silver AO
Principal
BASSOONS
Natasha Thomas Christopher Haycroft*
Managing Director Sophie Galaise
TUBA
TIMPANI**
Associate Principal
Chairman Michael Ullmer
Timothy Buzbee
Principal
Principal
MSO BOARD
Principal
John Arcaro
Tim and Lyn Edward#
Robert Cossom HARP Yinuo Mu Principal
PIANO Louisa Breen* Leigh Harrold*
# Position supported by * Guest Musician † Courtesy of Malaysian Philharmonic Orchestra ** Timpani Chair position supported by Lady Potter AC CMRI 13
SUPPORTERS MSO PATRON
PROGRAM BENEFACTORS
The Honourable Linda Dessau AC, Governor of Victoria
Cybec 21st Century Australian Composers Program The Cybec Foundation East Meets West Supported by the Li Family Trust Meet The Orchestra Made possible by The Ullmer Family Foundation MSO Audience Access Crown Resorts Foundation, Packer Family Foundation MSO Building Capacity Gandel Philanthropy (Director of Philanthropy) MSO Education Supported by Mrs Margaret Ross AM and Dr Ian Ross MSO International Touring Supported by Harold Mitchell AC MSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, The Robert Salzer Foundation, Anonymous The 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 Program Sidney Myer Free Concerts Supported by the Myer Foundation and the University of Melbourne
CHAIRMAN’S CIRCLE Marc Besen AC and Eva Besen AO Gandel Philanthropy The Gross Foundation Harold Mitchell Foundation David and Angela Li Harold Mitchell AC MS Newman Family Foundation Lady Potter AC CMRI Joy Selby Smith The Cybec Foundation The Pratt Foundation The Ullmer Family Foundation Anonymous (1) ARTIST CHAIR BENEFACTORS Associate Conductor Chair Benjamin Northey Anthony Pratt Orchestral Leadership Joy Selby Smith Cybec Assistant Conductor Chair Tianyi Lu The Cybec Foundation Associate Concertmaster Chair Sophie Rowell The Ullmer Family Foundation 2018 Soloist in Residence Chair Anne-Sophie Mutter Marc Besen AC and Eva Besen AO Young Composer in Residence Ade Vincent The Cybec Foundation
14
PLATINUM PATRONS $100,000+ Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel The Gross Foundation David and Angela Li MS Newman Family Foundation Anthony Pratt The Pratt Foundation Lady Potter AC CMRI Joy Selby Smith Ullmer Family Foundation Anonymous (1) VIRTUOSO PATRONS $50,000+ Di Jameson David Krasnostein and Pat Stragalinos Harold Mitchell AC Kim Williams AM IMPRESARIO PATRONS $20,000+ Michael Aquilina The John and Jennifer Brukner Foundation Mary and Frederick Davidson AM Margaret Jackson AC Andrew Johnston Mimie MacLaren John and Lois McKay Maria Solà
MAESTRO PATRONS $10,000+ Kaye and David Birks Mitchell Chipman Tim and Lyn Edward Danny Gorog and Lindy Susskind Robert & Jan Green Hilary Hall, in memory of Wilma Collie The Hogan Family Foundation International Music and Arts Foundation Suzanne Kirkham The Cuming Bequest Gordan Moffat AM Ian and Jeannie Paterson Elizabeth Proust AO Xijian Ren and Qian Li Glenn Sedgwick Helen Silver AO and Harrison Young Gai and David Taylor Juliet Tootell Alice Vaughan Harry and Michelle Wong Jason Yeap OAM – Mering Management Corporation PRINCIPAL PATRONS $5,000+ Christine and Mark Armour John and Mary Barlow Barbara Bell, in memory of Elsa Bell Stephen and Caroline Brain Prof Ian Brighthope David Capponi and Fiona McNeil May and James Chen Wendy Dimmick Andrew Dudgeon AM Andrew and Theresa Dyer
Mr Bill Fleming John and Diana Frew Susan Fry and Don Fry AO Sophie Galaise and Clarence Fraser Geelong Friends of the MSO R Goldberg and Family Leon Goldman Jennifer Gorog HMA Foundation Louis Hamon OAM Nereda Hanlon and Michael Hanlon AM Hans and Petra Henkell Hartmut and Ruth Hofmann Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson AM Rosemary and James Jacoby Dr Elizabeth A Lewis AM Norman Lewis, in memory of Dr Phyllis Lewis Peter Lovell Lesley McMullin Foundation Mr Douglas and Mrs Rosemary Meagher Marie Morton FRSA Dr Paul Nisselle AM The Rosemary Norman Foundation Ken Ong, in memory of Lin Ong Bruce Parncutt AO Jim and Fran Pfeiffer Pzena Investment Charitable Fund Rae Rothfield Max and Jill Schultz Jeffrey Sher QC and Diana Sher OAM Profs. G & G Stephenson, in honour of the great Romanian musicians George
Enescu and Dinu Lipatti Tasco Petroleum Mr Tam Vu and Dr Cherilyn Tillman The Hon. Michael Watt QC and Cecilie Hall Lyn Williams AM Anonymous (2) ASSOCIATE PATRONS $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest David Blackwell OAM Anne Bowden Julia and Jim Breen Lynne Burgess Oliver Carton John and Lyn Coppock Ann Darby, in memory of Leslie J. Darby Natasha Davies, for the Trikojus Education Fund Merrowyn Deacon Sandra Dent Peter and Leila Doyle Duxton Vineyards Lisa Dwyer and Dr Ian Dickson Jaan Enden Dr Helen M Ferguson Mr Peter Gallagher and Dr Karen Morley Dina and Ron Goldschlager Leon Goldman Colin Golvan AM QC and Dr Deborah Golvan Louise Gourlay OAM Susan and Gary Hearst Colin Heggen, in memory of Marjorie Drysdale Heggen Jenkins Family Foundation John Jones 15
SUPPORTERS George and Grace Kass Irene Kearsey and M J Ridley The Ilma Kelson Music Foundation Bryan Lawrence John and Margaret Mason H E McKenzie Allan and Evelyn McLaren Alan and Dorothy Pattison Sue and Barry Peake Mrs W Peart Graham and Christine Peirson Julie and Ian Reid Ralph and Ruth Renard Peter and Carolyn Rendit S M Richards AM and M R Richards Tom and Elizabeth Romanowski Diana and Brian Snape AM Peter J Stirling Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher Anonymous (8) PLAYER PATRONS $1,000+ David and Cindy Abbey Christa Abdallah Dr Sally Adams Mary Armour Dr Rosemary Ayton and Dr Sam Ricketson Marlyn and Peter Bancroft OAM Adrienne Basser Janice Bate and the Late Prof Weston Bate Janet H Bell John and Sally Bourne Michael F Boyt Patricia Brockman
16
Dr John Brookes Stuart Brown Suzie Brown OAM and Harvey Brown Roger and Col Buckle Jill and Christopher Buckley Shane Buggle John Carroll Andrew and Pamela Crockett Panch Das and Laurel Yound-Das Beryl Dean Rick and Sue Deering Dominic and Natalie Dirupo John and Anne Duncan Jane Edmanson OAM Valerie Falconer and the Rayner Family in memory of Keith Falconer Grant Fisher and Helen Bird Elizabeth Foster Barry Fradkin OAM and Dr Pam Fradkin Applebay Pty Ltd David Frenkiel and Esther Frenkiel OAM David Gibbs and Susie O’Neill Merwyn and Greta Goldblatt George Golvan QC and Naomi Golvan Dr Marged Goode Prof Denise Grocke AO Max Gulbin Dr Sandra Hacker AO and Mr Ian Kennedy AM Jean Hadges Michael and Susie Hamson Paula Hansky OAM Merv Keehn & Sue Harlow Tilda and Brian Haughney Anna and John Holdsworth
Penelope Hughes Basil and Rita Jenkins Dorothy Karpin Brett Kelly and Cindy Watkin Dr Anne Kennedy Julie and Simon Kessel Kerry Landman Diedrie Lazarus William and Magdalena Leadston Dr Anne Lierse Gaelle Lindrea Dr Susan Linton Andrew Lockwood Elizabeth H Loftus Chris and Anna Long The Hon Ian Macphee AO and Mrs Julie Macphee Eleanor & Phillip Mancini In memory of Leigh Masel Ruth Maxwell Don and Anne Meadows Ian Morrey and Geoffrey Minter new U Mildura Wayne and Penny Morgan Patricia Nilsson Laurence O’Keefe and Christopher James Kerryn Pratchett Peter Priest Treena Quarin Eli Raskin Raspin Family Trust Joan P Robinson Cathy and Peter Rogers Andrew and Judy Rogers Peter Rose and Christopher Menz Martin and Susan Shirley Penny Shore
Dr Sam Smorgon AO and Mrs Minnie Smorgon Dr Norman and Dr Sue Sonenberg Dr Michael Soon Lady Southey AC Geoff and Judy Steinicke Jennifer Steinicke Dr Peter Strickland Pamela Swansson Ann and Larry Turner David Valentine Mary Valentine AO The Hon. Rosemary Varty Leon and Sandra Velik David and Yazni Venner Sue Walker AM Elaine Walters OAM and Gregory Walters Edward and Paddy White Nic and Ann Willcock Marian and Terry Wills Cooke Lorraine Woolley Richard Ye Anonymous (21) THE MAHLER SYNDICATE David and Kaye Birks Mary and Frederick Davidson AM Tim and Lyn Edward John and Diana Frew Francis and Robyn Hofmann The Hon Dr Barry Jones AC Dr Paul Nisselle AM Maria Solà The Hon Michael Watt QC and Cecilie Hall
TRUSTS AND FOUNDATIONS Collier Charitable Fund Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation The Marian and E.H. Flack Trust Freemasons Foundation Victoria Gandel Philanthropy The International Music and Arts Foundation The Scobie and Claire Mackinnon Trust The Harold Mitchell Foundation The Sidney Myer MSO Trust Fund The Pratt Foundation The Robert Salzer Foundation Telematics Trust Anonymous CONDUCTOR’S CIRCLE Current Conductor’s Circle Members Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Mrs Jenny Brukner and the late Mr John Brukner Ken Bullen Peter A Caldwell Luci and Ron Chambers Beryl Dean Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite
Mr Derek Grantham Marguerite Garnon-Williams Drs Clem Gruen and Rhyl Wade Louis Hamon OAM Carol Hay Tony Howe Laurence O’Keefe and Christopher James Audrey M Jenkins John Jones George and Grace Kass Mrs Sylvia Lavelle Pauline and David Lawton Cameron Mowat David Orr Rosia Pasteur Elizabeth Proust AO Penny Rawlins Joan P Robinson Neil Roussac Anne Roussac-Hoyne Suzette Sherazee Michael Ryan and Wendy Mead Anne Kieni-Serpell and Andrew Serpell Jennifer Shepherd Profs. Gabriela and George Stephenson Pamela Swansson Lillian Tarry Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Michael Ullmer Ila Vanrenen The Hon. Rosemary Varty Mr Tam Vu Marian and Terry Wills Cooke Mark Young Anonymous (26)
SUPPORTERS The MSO gratefully acknowledges the support of the following Estates: Angela Beagley Neilma Gantner The Hon Dr Alan Goldberg AO QC Gwen Hunt Audrey Jenkins Joan Jones Pauline Marie Johnston Joan Jones C P Kemp Peter Forbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Jennifer May Teague Jean Tweedie Herta and Fred B Vogel Dorothy Wood
HONORARY APPOINTMENTS Marc Besen AC and Eva Besen AO Life Members Sir Elton John CBE Life Member Lady Potter AC CMRI Life Member Geoffrey Rush AC Ambassador The MSO honours the memory of John Brockman OAM Life Member The Honourable Alan Goldberg AO QC Life Member Ila Vanrenen Life Member
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
PRINCIPAL PARTNER
GOVERNMENT PARTNERS
PREMIER PARTNERS
VENUE PARTNER
MAJOR PARTNERS
EDUCATION PARTNERS
SUPPORTING PARTNERS
Quest Southbank
The CEO Institute
Ernst & Young
Bows for Strings
TRUSTS AND FOUNDATIONS
Sidney Myer MSO Trust Fund, The Gross Foundation, Li Family Trust, MS Newman Family Foundation, The Ullmer Family Foundation, Erica Foundation Pty Ltd MEDIA AND BROADCAST PARTNERS