Holst's The Planets Concert Program

HOLST’S THE PLANETS 30 AUGUST & 1 SEPTEMBER 2018 Arts Centre Melbourne, Hamer Hall

31 AUGUST 2018 Costa Hall, Geelong

CONCERT PROGRAM

Melbourne Symphony Orchestra Sir Andrew Davis conductor Ladies of the MSO Chorus Warren Trevelyan-Jones chorus master Vine* Symphony No.8 The Enchanted Loom WORLD PREMIERE AND MSO COMMISSION

INTERVAL

Holst The Planets

*Composer in Residence

Pre-concert talk Join us for a pre-concert talk with former MSO Librarian Alistair McKean from the stage. Thursday 6.15pm, Friday 6.30pm, Saturday 12.45pm.

Saturday’s concert will be recorded by ABC Classics for possible release.

Running time: One 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.

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MELBOURNE SYMPHONY ORCHESTRA

SIR ANDREW DAVIS 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.

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.

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.

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, 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.

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MELBOURNE SYMPHONY ORCHESTRA CHORUS

WARREN TREVELYAN-JONES CHORUS MASTER

For more than 50 years the Melbourne Symphony Orchestra Chorus has been the unstinting voice of the Orchestra’s choral repertoire. The MSO Chorus sings with the finest conductors including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, Bernard Labadie, Vladimir Ashkenazy and Manfred Honeck, and is committed to developing and performing new Australian and international choral repertoire.

Warren Trevelyan-Jones is the Head of Music at St James’, King Street in Sydney and is regarded as one of the leading choral conductors and choir trainers in Australia. Warren has had an extensive singing career as a soloist and ensemble singer in Europe, including nine years in the Choir of Westminster Abbey, and regular work with the Gabrieli Consort, Collegium Vocale (Ghent), the Taverner Consort, The Kings Consort, Dunedin Consort, The Sixteen and the Tallis Scholars.

Commissions include Brett Dean’s Katz und Spatz, Ross Edwards’ Mountain Chant, and Paul Stanhope’s Exile Lamentations. Recordings by the MSO Chorus have received critical acclaim.

It has performed across Brazil and at the Cultura Inglese Festival in Sao Paolo, with The Australian Ballet, Sydney Symphony Orchestra, at the AFL Grand Final and at Anzac Day commemorative ceremonies.

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Warren is also Director of the Parsons Affayre, Founder and Co-Director of The Consort of Melbourne and, in 2001 with Dr Michael Noone, founded the Gramophone award-winning group Ensemble Plus Ultra. Warren is also a qualified music therapist.

MELBOURNE SYMPHONY ORCHESTRA CHORUS

CHORUS MASTER

ALTO

Warren Trevelyan-Jones

Cecilia Bjรถrkegren Kate Bramley Serena Carmel Nicola Eveleigh Lisa Faulks Jill Giese Ros Harbison Sue Hawley Kristine Hensel Sara Kogan-Lazarus Helen MacLean Rosemary McKelvie Stephanie Mitchell Nicole Paterson Annie Runnalls Lisa Savige Julienne Seal

REPETITEUR Tom Griffiths SOPRANO Julie Arblaster Aviva Barazani Anne-Marie Brownhill Eva Butcher Jessica Chan Ella Dann-Limon Michele De Courcy Rita Fitzgerald Emma Hamley Penny Huggett Tania Jacobs Anna Kidman Clancye Milne Tiffany Pang Natalie Reid Janelle Richardson Mhairi Riddet Natalia Salazar Chiara Stebbing Elizabeth Tindall Fabienne Vandenburie Tara Zamin

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PROGRAM NOTES CARL VINE

(born 1954)

Symphony No.8 The Enchanted Loom* i. the loom awakens ii. the social fabric iii. sheer invention iv. euphoria v. imagining infinity The term Enchanted Loom was coined in the 1930’s by British neuroscientist Sir Charles Sherrington to depict the function of the human brain as it weaves together our personal impression of the outside world and constructs, from raw sensory data, our internal sense of location, identity, and “mind”. At that time biological systems were analysed increasingly in terms of mechanical function. This poetic reference to the Jacquard loom, the most sophisticated machine of the early 19th century, reflects only certain aspects of brain function, yet it has resonated with generations of neurologists since then.

This symphony conjures five imagined states of brain function. i. the loom awakens In his book “Man on his Nature” Sherrington imagines a brain emerging from sleep. “ The brain is waking and with it the mind is returning. It is as if the Milky Way entered upon some cosmic dance. Swiftly the head mass becomes an enchanted loom where millions of flashing shuttles weave a dissolving pattern… a shifting harmony of sub-patterns.”

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A few pounds of fatty tissue floating inside our skull commences its daily task of re-creating our sense of place in the universe, weaving perception into recognisable structure. ii. the social fabric Viewing society as a fabric woven of contrasting ingredients is especially apt from the perspective of an enchanted loom. Although aspects of our social role derive from external factors like genetics and historical accident, our ultimate sense of belonging is produced by our minds. Happiness is unlikely without acceptance by and usefulness within a community. iii. sheer invention The source of creativity is endlessly fascinating. I am drawn to Oliver Sacks’ studies in hallucination suggesting that unexpected images and unprecedented concepts are a natural byproduct of random brain cell activity, possibly even influenced by the geometry and topography of the brain. Even if brains are weaving machines they can still surprise us. iv. euphoria Euphoric states serve many useful biological functions. They are generated entirely within the brainpan and delivered to our sensory systems, often without prompting, as reward or enticement, or both. v. imagining infinity One of the most astonishing feats of our brains is the ability to conceptualise and picture as concrete entities the very boundaries of the universe. We have to accept that our personal identity is manufactured by these

lumps of grey tissue floating inside our heads, but the fact that they are simultaneously able to contemplate the edges of infinity is truly awesome. © Carl Vine, June 2018 *World Premiere and MSO Commission

GUSTAV HOLST

(1874-1934)

The Planets, Op.32 Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of Old Age Uranus, the Magician Neptune, the Mystic The Planets is one of the most influential musical works of the 20th century. Russell Crowe and his cohorts in Gladiator seemed that bit more craggily determined thanks to a score that reminded us of Mars. At the opening of Uranus, you could be forgiven for expecting Darth Vader to rip off his headgear and reveal the clown beneath. At the close of Neptune, Holst invents the fade-out.

The iridescent opening of Jupiter foreshadows the work of John Adams, and for many years Anglicans have sung its big central tune as the patriotic hymn, I vow to thee my country.

As a repository of orchestral special effects and memorable tunes, the piece has certainly earned its pop status, but its very popularity and the imitations it has spawned have disadvantaged it and its composer. We need to make an effort to hear the work with fresh ears

– forgetting about Russell and Darth and all that – and to remind ourselves that this was very radical music for its time. Moreover, we should note that it is atypical of its composer. An artist of great integrity, Holst refused to imitate the piece to ensure his own status, so that we sadly hear little of his other work, even though much of it is of the same quality as The Planets.

Holst, like his great friend Vaughan Williams, was of a generation educated at London’s Royal College of Music which rejuvenated British music through the study of Tudor music and the collection of folksong. The young Holst was at first a Wagnerian, and his early works show this influence in their opulence and richly chromatic harmony.

After some years as a professional trombonist – playing on occasion under that master orchestrator Richard Strauss – Holst decided in 1903 to devote himself to composition. In practice, though, this meant beginning his career as an outstanding teacher at St Paul’s Girls School, Morley College, and later the RCM. In the first decade of the century he also became drawn to eastern mysticism, particularly that of Hinduism, which led, indirectly, to his development of a much leaner harmonic style.

Planned in 1913 and composed between 1914 and 1917, the seven movements of The Planets are less about depicting large balls of gas and rock than about each planet’s astrological significance.

Given the outbreak of the First World War at the time, it is hard not to see Mars as grimly prophetic of the carnage of the first high-tech war. Where a composer like Mahler uses military 7

music for an ambiguously thrilling effect, Holst takes pains to make his music simply inhuman: the opening three-note theme traces the tritone, an unstable interval often called ‘the devil in music’. The relentlessly repeated rhythm, or ostinato, is no simple march, having five beats to a bar. The harmony is bitonal, that is, it superimposes chords of two different keys to give it its sense of unrelieved dissonance, especially at the shattering climax.

Venus, the Bringer of Peace of course offers a complete contrast: the orchestration is sweet and languorous and the harmony, while still frequently bitonal, uses chords which avoid direct clashes of adjacent notes, creating subtle voluptuousness. Framed by slow sections, the piece moves through a slightly faster section and a contrasting animato.

Mercury on the other hand is rather like a symphonic scherzo: short, fast and orchestrated with the utmost delicacy. At the heart of the suite, Jupiter is an orchestral tour de force.

The glittering fast music with which it opens is busy but crystal clear; its theme, like that of Mars, is based on a three-note motive, but here it is completely and solidly diatonic. The Planets was first planned during a holiday in Spain, so we shouldn’t be surprised to hear certain Iberian sounds and rhythms in the dance music which follows. This is interrupted by a fanfare of repeated chords, which ushers in the quiet statement of the celebrated maestoso theme. The quintessentially British tune may seem out of place in a celebration of the Bringer of Jollity – it is hardly thigh-slappingly funny.

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Curiously, too, it doesn’t reach a full close: what should be the second-last chord sets off an echo the shimmering sounds of the opening. The tune does, however, stride through tumultuous last pages of the movement.

If Jupiter’s big tune was a reminder that joy is fleeting, Saturn makes this very clear in its portentous, deathward tread and ever more disturbing brass chords. Uranus, however, casts a spell (after ripping off the Darth Vader mask) in music as innocent as The Sorcerer’s Apprentice. Taking his cue from Debussy’s Sirènes, Holst imbues Neptune with the mystery of wordless, offstage female voices. With its translucent scoring and the hypnotic use of repeated chord patterns, the work ends as perhaps no other had before, fading imperceptibly into night and silence.

Gordon Kerry © 2003 The Melbourne Symphony Orchestra first performed The Planets on 25 August 1939 under the direction of Sir Malcolm Sargent. The Orchestra’s most recent performance, with the Women of the Melbourne Symphony Orchestra Chorus, took place on 21 October 2016 with conductor Benjamin Northey.

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PHILLIP SAMETZ EXAMINES THE NATURE OF HOLST’S COMET For Max Bruch, it was his first violin concerto; for Litolff his Scherzo; for Humperdinck Hansel and Gretel. For Holst, it was The Planets. All four composers are known to the general public almost solely because they wrote these pieces.

The overnight success of The Planets astonished Holst, who had written it slowly, over a period of years, out of a personal interest in the character of each planet. He was a naturally shy and reserved man, the last person who would wish to write a ‘hit’, in the manner of a Richard Strauss. The celebrity which The Planets brought with it was anathema to the composer.

‘It made me realise the truth of “Woe to you when all men speak well of you,”’ he told a friend. Still, fame had its amusing moments, as when one admirer wrote to him: ‘Dear Sir, As you have painted The Planets in music, could you do the eight [sic] wives of Henry VIII?’ In the context of his complete output, the problem is not that The Planets reveals all the elements of Holst’s musical personality in one work, but rather that we glimpse aspects of his musical personality in this piece that are seen in comparatively panoramic fashion in many others.

By the time the work received its first complete public performance in 1920, Holst was a vastly experienced musician. A teacher and performer (he had played trombone on Brighton Pier, in opera orchestras, and in Wurm’s White Viennese Band, among other 10

places), he had been writing music for more than 20 years. But nobody hearing his first published orchestral work, the Suite de ballet of 1899, would imagine that Holst was its composer: it sounds more like an amalgam of Sullivan and Grieg, albeit a skilful and sometimes beautiful one.

Within the next few years Holst’s interests – musical, literary and spiritual – would expand rapidly. He was an artist for whom non-musical stimuli meant as much to the nature of his work as did musical ones. The opulence of The Mystic Trumpeter (1904), for soprano and orchestra, derives from the combination of two of his early influences, the poet Walt Whitman and Wagner. There are, though, some striking glimpses of the later Holst, particularly the hushed serenity of the opening, which prefigures the colour and texture of the Venus movement in The Planets.

In A Somerset Rhapsody (1906) he explores his recent discovery of English folksong, which he was able to transmute with astonishing results in his first completely individual work, the opera Sāvitri (1908), one of the most startling and original pieces to have been written in Britain. Taken from an episode in the Mahabharata, it has a cast of three, an orchestra of twelve and a small off-stage female chorus who vocalise on a single vowel. There is hardly any scenery. A note in the score says that the work ‘is intended for performance in the open air, or else in a small building’. For the first few

minutes the voices of the two main characters are heard unaccompanied, and when, at the passage beginning ‘It is Maya!’, the character Satyavan is accompanied by wordless chorus holding a suspended ‘pedal’ chord, we realise we are in the presence of a vivid and unique imagination. But, as Gerald Abraham wrote later, ‘no opera could more austerely discard everything that appeals to an audience.’ Indeed Holst was rarely interested in ‘appealing’. He was interested in working his passions into his music. In 1926 he wrote to his friend Vaughan Williams: ‘I still believe in the Hindu doctrine of Dharma, which is one’s path in life. If one is lucky enough…to have a clearly appointed path to which one comes naturally…one ought to try and stick to it. And…to believe in doing so without worrying about the “fruits of action”, that is, success or otherwise.’

Sāvitri arose out of Holst’s reading of Hindu literature and philosophy in translation. He once told his daughter Imogen: ‘Never learn anything until not knowing it becomes a positive nuisance to you,’ and eventually he learned Sanskrit at London’s School of Oriental Languages. He became fluent enough to translate from it and, in addition to Sāvitri, he immediately began writing four sets of Choral Hymns from the Rig Veda (1908-12), which contain some of his most innovative choral writing. The third set, for female voices and harp, cannot have been far from Britten’s mind when he wrote his Ceremony of Carols. Similarly, the impact of Sāvitri on the composer who was to create the term ‘chamber opera’ must have been profound. Roger Covell has noted that,

in these and other respects, ‘Holst is Britten’s most immediate ancestor in English music.’ Holst, incidentally, would later learn Greek in order to translate passages from the apocryphal Acts of St John for his Hymn of Jesus (1917).

The Planets brings the language of many of these pieces together: the climax of Sāvitri finds an echo in Saturn, the gossamer texture of the Hymn to the Waters (from Group 3 of the Rig Veda hymns) finds an orchestral equivalent in Mercury, and so on. Mercury then served as the basis for much of Holst’s 1921 ballet score The Lure, which is in places a more spirited working-out of the tunes he had created several years before. Similarly, the final moments of Neptune inform the Ode to Death, again based on Whitman, of 1919.

But in two important respects The Planets is atypical of Holst’s work.

It is for a large orchestra, and is quite long (around 50 minutes). Most of Holst’s music is short, and is written for small forces. In the pieces written after The Planets, the forces tended to get smaller and the textures sparer, as he became interested in English madrigal composers and in the absolute possibilities of counterpoint. As early as 1916, in the Four Songs for Voice and Violin, he creates a complete world of feeling on the smallest scale. Egdon Heath (1927), although written for conventional orchestral forces, is one of the quietest, most poised orchestral pieces ever written, and rises above piano only in two short sections. Even in the Moorside Suite (1928), written for a major British brass band contest, Holst spends much of his time exploring 11

quieter sonorities. The work’s second movement, in particular, sounds like a chamber work.

In any case, the length of The Planets is somewhat deceptive, disguising as it does seven short character pieces. Holst was painfully aware that sustaining large forms was not one of his gifts, and his one genuinely ‘big’ piece is his Choral Symphony (1924), an intense and resourceful setting of Keats’ poems, including the Ode on a Grecian Urn, in four substantial movements. He did not write a really long work after that.

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None of Holst’s pieces offers a complete view of his interests and musical style, but, from Sāvitri onwards, they are all Holst nonetheless. His integrity as an artist was immense, and it is this admirable resoluteness of purpose that shines through so clearly in all his best music. It is time for audiences who enjoy The Planets to look at his music through the right end of the telescope.

Phillip Sametz © 1997

Artist’s impression

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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 Chisholm & Gamon#

Mark Mogilevski Michelle Ruffolo Kathryn Taylor

Monica Curro

Assistant Principal Danny Gorog and Lindy Susskind#

Mary Allison Isin Cakmakcioglu Freya Franzen Cong Gu Andrew Hall Isy Wasserman Philippa West Patrick Wong Roger Young Aaron Barnden* Michael Loftus-Hills* VIOLAS Christopher Moore Principal Di Jameson#

Fiona Sargeant

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 Sola#

Amy Brookman* Tiffany Cheng* Nicholas Waters*

Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright William Clark*

SECOND VIOLINS

CELLOS

Matthew Tomkins

David Berlin

Robert Macindoe

Rachael Tobin

Michael Aquilina#

Principal The Gross Foundation# Associate Principal

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Principal MS Newman Family# Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman

Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon#

Keith Johnson Sarah Morse Angela Sargeant Maria Sola#

Michelle Wood

Andrew and Theresa Dyer#

Zoe Knighton* DOUBLE BASSES Steve Reeves Principal

Andrew Moon

Associate Principal

Sylvia Hosking

Assistant Principal

Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton

Sophie Galaise and Clarence Fraser#

Robert Nairn* Vivian Siyuan Qu* Esther Toh* FLUTES Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs PICCOLO Andrew Macleod Principal

OBOES Jeffrey Crellin

Principal

Thomas Hutchinson Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

Rachel Curkpatrick* Annabelle Farid* (Bass Oboe)

COR ANGLAIS Michael Pisani

Principal

Abbey Edlin

Calvin Bowman*

Trinette McClimont Josiah Kop* Alexander Morton* Phoebe Smithies*

Louisa Breen*

TRUMPETS Geoffrey Payne* Guest Principal

Shane Hooton

Associate Principal

William Evans Rosie Turner

CLARINETS

John and Diana Frew#

David Thomas

TROMBONES

Principal

Philip Arkinstall

Associate Principal

Craig Hill BASS CLARINET Jon Craven

Principal Bass Trombone

Matthew Van Emmerik*

Principal

(Euphonium)

Associate Principal

TIMPANI**

Lyndon Watts*

Christine Turpin*

CONTRABASSOON Principal

HORNS Malcolm Stewart*†

Guest Principal

Saul Lewis

Acting Associate Principal

Ian Wildsmith*

Guest Principal Third

† Courtesy of Queensland Symphony Orchestra

Mike Szabo

Jack Schiller

Brock Imison

** Timpani Chair position supported by Lady Potter AC CMRI

Tim and Lyn Edward#

Timothy Buzbee

Guest Associate Principal

* Guest Musician

Richard Shirley

BASSOONS

Natasha Thomas

# Position supported by

Principal

TUBA

Elise Millman

CELESTE

Brett Kelly

Principal

Principal

ORGAN

Nereda Hanlon and Michael Hanlon AM#

PERCUSSION Robert Clarke Principal

John Arcaro

Tim and Lyn Edward#

Robert Cossom Timothy Hook* HARP Yinuo Mu Principal

Megan Reeve*

MSO BOARD Chairman Michael Ullmer Managing Director Sophie Galaise Board Members Andrew Dyer Danny Gorog Margaret Jackson AC Di Jameson David Krasnostein David Li Hyon-Ju Newman Glenn Sedgwick Helen Silver AO Company Secretary Oliver Carton

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Supporters MSO PATRON

PROGRAM BENEFACTORS

The Honourable Linda Dessau AC, Governor of Victoria

Cybec 21st Century Australian Composers Program The Cybec Foundation

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

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

Associate Conductor Chair Benjamin Northey Anthony Pratt

PLATINUM PATRONS $100,000+

Orchestral Leadership Joy Selby Smith

Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel

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David and Angela Li MS Newman Family Foundation Anthony Pratt The Pratt Foundation

2018 Soloist in Residence Chair Anne-Sophie Mutter Marc Besen AC and Eva Besen AO

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Anonymous (2) 17

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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

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

Treena Quarin

Crown Resorts Foundation and the Packer Family Foundation

Eli Raskin

The Cybec Foundation

Raspin Family Trust

The Marian and E.H. Flack Trust

Joan P Robinson

Freemasons Foundation Victoria

Cathy and Peter Rogers

Gandel Philanthropy

Andrew and Judy Rogers

The International Music and Arts Foundation

Peter Rose and Christopher Menz

The Scobie and Claire Mackinnon Trust

Martin and Susan Shirley

The Harold Mitchell Foundation

Penny Shore

The Sidney Myer MSO Trust Fund

Dr Sam Smorgon AO and Mrs Minnie Smorgon

The Pratt Foundation

Dr Norman and Dr Sue Sonenberg

The Robert Salzer Foundation

Dr Michael Soon

Telematics Trust

Lady Southey AC

Anonymous

Geoff and Judy Steinicke Jennifer Steinicke Dr Peter Strickland Pamela Swansson

19

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 20

Mr Tam Vu Marian and Terry Wills Cooke Mark Young Anonymous (26) 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 John Gandel AC and Pauline Gandel Life Members Sir Elton John CBE Life Member Lady Potter AC CMRI Life Member Mrs Jeanne Pratt AC 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)

Geoffrey Rush AC Ambassador

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

THE MSO HONOURS

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

THE MEMORY OF

John Brockman OAM Life Member The Honourable Alan Goldberg AO QC Life Member Ila Vanrenen Life Member

‘ We are the music makers, and we are the dreamers of dreams.'

– Arthur O’Shaughnessy

Come dream with us by adopting your own MSO musician!

Support the music and the orchestra you love while getting to know your favourite player. Honour their talent, artistry and life-long commitment to music, and become part of the MSO family.

Adopt Principal Harp, Yinuo Mu, or any of our wonderful musicians today.

Principal Partner

Government Partners

Premier Partners

Venue Partner

Major Partners

Education Partners

Supporting Partners

Quest Southbank

The CEO Institute

Ernst & Young

Bows for Strings

The Observership Program

Trusts And Foundations

Sidney Myer MSO Trust Fund, The Gross Foundation, MS Newman Family Foundation, The Ullmer Family Foundation, Erica Foundation Pty Ltd

Media And Broadcast Partners