MOZART’S JUPITER AND MORE 14 SEPTEMBER 2018 Melbourne Town Hall
CONCERT PROGRAM
Melbourne Symphony Orchestra Benjamin Northey conductor Andrea Lam piano Stravinsky Pulcinella: Suite Mendelssohn Piano Concerto No.1 INTERVAL Tchaikovsky (orch. Stravinsky) The Sleeping Beauty: ‘Bluebird’ Pas de deux Mozart Symphony No.41 Jupiter
Running time: 1 hour 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
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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 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.
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ANDREA LAM PIANO
PROGRAM NOTES IGOR STRAVINSKY
(1882-1971)
Pulcinella: Suite Sinfonia Serenata Scherzino – Allegro – Andantino Tarantella Toccata Pronounced a “real talent” by the Wall Street Journal, pianist Andrea Lam is earning consistent acclaim as a soloist, recitalist, and chamber musician for her “great style and thrilling virtuosity” (Sydney Morning Herald). A frequent guest at US venues such as New York’s Carnegie Hall and Lincoln Center to the Sydney Opera House, Andrea’s performances are noted internationally for her “melting lyricism, filigree touch and spirited eloquence” (The Australian). Andrea Lam made her orchestral debut at age 13 with the Sydney Symphony Orchestra, and since then she has given over 80 performances with orchestras in Australia, New Zealand, the United States, Japan, and Hong Kong. ABC Classics recently released her soloist recordings of two Mozart Concertos with the Tasmanian Symphony Orchestra and Nicholas Milton.
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Gavotta con due variazioni Duetto Menuetto – Finale This suite is derived from Stravinsky’s score for Pulcinella – Ballet with Song in one act (after Pergolesi), commissioned by Sergei Diaghilev, the impresario of the Ballets Russes. Pulcinella was first presented at the Paris Opera in 1920, with designs by Picasso and choreography by Massine. During the years 1917-20, Diaghilev produced a series of new ballets based on music by old Italian masters; Tommasini arranged and transcribed music by Domenico Scarlatti to create The Good-Humoured Ladies, while Respighi did the same for Rossini’s music in La Boutique fantasque. Pergolesi was one of Diaghilev’s favourite composers. What he got from Stravinsky, however, was not quite what he had bargained for. Stravinsky in effect re-composed the suggested pieces by the 18th-century Italian, and the result is a tribute by one composer to another, and, through Pergolesi, to the commedia dell’arte which is the subject of the ballet. (Pulcinella is another name for Harlequin, or Punch.)
The originality of Stravinsky’s treatment should be stressed – many histories of music date the beginnings of ‘neoclassicism’ prevalent in music of the 1920s from Pulcinella. Since those days when Stravinsky played so freely with the music by ‘Pergolesi’ Diaghilev had given him, much of it has been shown to have been falsely attributed to this celebrated but short-lived composer. The author of the Stabat Mater and La serva padrona, works which took Europe by storm, has had many compositions stripped from him by musicology. Perhaps Stravinsky had a premonition: when asked, many years after writing the ballet, which music by Pergolesi he liked best, he replied, ‘My Pulcinella.’ The score for the ballet consists of 19 numbers. For the concert suite Stravinsky selected 11 of these and made eight movements out of them. The singers who joined the orchestra in the pit for the full ballet were omitted, but some of their part, as in the Serenata, was redistributed to instruments. The scoring remained intimate: a chamber orchestra of 30 players, featuring a solo string quintet. The suite has been well described as a provocative combination of old and new, in which the square rhythms of the 18th century and its simple harmonic progressions are projected, as it were, upon a new and complex screen. This is not Pergolesi arranged by Stravinsky, but rather Pergolesi seen through the medium of Stravinsky. Many composers have followed Stravinsky down this road – few if any have managed to put their unmistakeable stamp on every bar of music which nevertheless retains the freshness of its models.
© David Garrett The Melbourne Symphony Orchestra first performed the Suite from Pulcinella on 29 November 1961 under Robert Craft, a conductor well-known for his friendship with Stravinsky himself. The Orchestra most recently performed it in June 2010 with Sir Andrew Davis.
FELIX MENDELSSOHN
(1809-1847)
Piano Concerto No.1 in G minor, Op.25 Molto allegro con fuoco Andante Presto – Molto allegro e vivace – Tempo I This concerto dates from the period of what we may call Mendelssohn’s ‘Grand Tour’ – a period of roughly four years during which Mendelssohn, entering his twenties, toured the British Isles and Europe. In Munich in 1830 Mendelssohn met Delphine von Schauroth, who was to be the inspiration for his first piano concerto. Mendelssohn, who was in demand at soirées, records that he followed Delphine around ‘like a pet lamb’. He persuaded her to play Hummel’s Sonata for four hands with him and gallantly held an A flat for her because her tiny hands could not reach it. ‘We flirted dreadfully,’ he wrote to his sister Fanny, ‘but there is no danger because I am already in love with a young Scottish girl whose name I don’t know.’ The Concerto in G minor was actually committed to paper in the space of three days during Mendelssohn’s return journey to Munich the following year. It was first performed in Munich on 17 October 1831, with Mendelssohn as soloist, before the King and Queen of Bavaria. The concert program also included his Symphony 5
No.1 (with the newly-orchestrated scherzo from the Octet replacing the symphony’s original scherzo) and the overture A Midsummer Night’s Dream. The concerto’s first movement dispenses with the extended orchestral opening of Classical tradition. Its turbulent G minor calls to mind Carl Zelter’s question when the 12-year-old Mendelssohn had improvised for Goethe: ‘What goblins and dragons have you been dreaming about to drive you along so wildly?’ The movement’s biggest surprise comes at the end, where a trumpet fanfare interrupts, and the piano’s musing reply leads directly into the second movement, a warm, tenderly scored Andante. Mendelssohn as pianist liked to play the final movement ‘as fast as possible, providing that the notes can be heard’. The movement contains passing references to the first movement in order to clinch the concerto’s unity. Some writers have claimed that this work is more virtuosic than profound. As an English witness, John Edmund Cox, wrote, Mendelssohn’s own playing was certainly impressive: ‘Whilst in all the delicate nuances his fingers seemed to be like feathers, in those of more forcible and impetuous character there was a grasp and an élan which almost took away one’s breath.’ But while the First Piano Concerto overflows with the impetuousness of youth, it also provides an early example of Mendelssohn’s lifelong quest for structural unity and continuity. Many of Mendelssohn’s works during the period bore the sign of literary or pictorial inspiration, yet here is a piece which works in the realm of structural as well as pianistic interest.
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This concerto subsequently became one of Mendelssohn’s most popular pieces. Berlioz tells the story of an Erard piano at the Paris Conservatoire which began to play the piece of its own accord after 29 contestants in a row had played it in a competition. Erard, the maker, was hastily summoned and sprinkled holy water on the piano to no avail. Nor did dismantling the piano or chopping it up have any effect; the only thing that worked was burning it. G.K. Williams © Symphony Australia The Melbourne Symphony Orchestra first performed this concerto on 30 October 1941 with conductor Sir Bernard Heinze and soloist Lucy Secker, and most recently in May 2014 with Mark Wigglesworth and Saleem Ashkar.
PETER ILYICH TCHAIKOVSKY
(1840-1893)
orch. Igor Stravinsky (1882-1971) The Sleeping Beauty, Act III: ‘Bluebird’ Pas de deux Adagio Variation I – Tempo di valse Variation II – Andantino Coda – Con moto In Act III of Tchaikovsky’s ballet The Sleeping Beauty, characters from Perrault’s fairytales take turns to entertain the heroine Princess Aurora and her prince prior to their marriage. The ‘Bluebird’ Pas de deux was originally a pas de quatre danced by Cinderella and Prince Fortuné and the Bluebird and Princess Florine, but a pas de deux version can be performed by just the Bluebird and a female character. The ‘Bluebird’ Pas de deux is not be confused with earlier orchestrations
for Sleeping Beauty made by Stravinsky for the remounting of the ballet by Diaghilev in London in 1921. There, Diaghilev wanted to restore two numbers cut by Tchaikovsky (‘Aurora’s Variation’ and the ‘Entr’acte symphonique’, both from Act II), and Stravinsky had to orchestrate them from the piano score, as well as making changes to Act III’s ‘Russian Dance’. The ‘Bluebird’ Pas de deux was written in response to a commission for Ballet Theatre in New York in 1941. Once again Stravinsky had to work from a piano score – the full score was not available in America at the time, and war-time exigencies necessitated a reduced orchestra (Stravinsky recommended a string strength of 5 violins, 4 violas, 3 cellos and 2 double basses). ‘The one novelty,’ said Stravinsky, ‘is the prominent piano part which conceals the small number of strings. The interest in the arrangement, so far as my own music is concerned, is that the instrumental body is almost the same in my next opus, Danses concertantes.’ One may wonder about the supposed Tchaikovsky references in Danses concertantes, a typically Bachian neoclassical work, written by Stravinsky in memory of the Mariinsky Theatre, and premiered under his direction in Los Angeles, February 1942; but in the 1920s Stravinsky had described his work on Tchaikovsky’s Sleeping Beauty as ‘a demonstration of my love of Tchaikovsky’s art’. We can imagine him making the same declaration in 1941, notwithstanding the fact that ‘Bluebird’ Pas de deux was a commission. Tchaikovsky’s music was ‘quite as Russian as Pushkin’s verse or
Glinka’s song’, said Stravinsky, allying himself with the more cosmopolitan strand of Russian art, but we can imagine the consolation he found in working on a familiar and much-loved score, redolent of his homeland, not long after arriving to settle in the US. One could almost think there is nothing of Stravinsky in this arrangement. It is only coincidence that Tchaikovsky’s flute and clarinet arabesques in the opening section remind us of Stravinsky’s own Firebird or Nightingale, and the instrumentation owes as much to wartime shortages as to aesthetic decisionmaking. But perhaps Stravinsky didn’t mind that this version was deprived of a certain lushness or that his ‘Tempo di valse’ couldn’t quite throw around quite so much orchestral weight. Stravinsky’s skilful reduction could be thought to awaken us to those qualities of Tchaikovsky’s art most likely to appeal to Stravinsky: the strikingly immediate and apt delineation of musical character and gesture in four economical dances. Gordon Kalton Williams © 2000 Symphony Australia The only previous performance of this work by the Melbourne Symphony Orchestra took place in July 2000 under the direction of Hiroyuki Iwaki.
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WOLFGANG AMADEUS MOZART
(1756-1791)
Symphony No.41 in C, K551 Jupiter Allegro vivace Andante cantabile Menuetto (Allegretto) – Trio – Menuetto Molto allegro Producing over 50 symphonies (the official number 41 notwithstanding) in the space of 23 years, Mozart can truly be said to have enjoyed a ‘symphonic career’, much as did his older friend Joseph Haydn (over 100 symphonies in 38 years). And as symphonic careers go, it was, like Haydn’s, successful from first to last. After relocating from Salzburg to Vienna in 1781, however, piano concertos took over as Mozart’s preferred orchestral vehicle, better for charming fickle metropolitan audiences than the more esoteric symphony. New symphonies were not entirely absent from his Vienna concerts, but all of them from these years were, in the first instance, out-of-town commissions: No.35 for the Haffner family in Salzburg in 1782; No.36 and the so-called No.37 (most of it actually by Michael Haydn) for a concert in Linz in 1783; and No.38 for Prague in 1787, during the season there of his opera The Marriage of Figaro. In May 1788, the imperial theatre in Vienna unveiled for hometown audiences his latest Italian opera, Don Giovanni (or the Libertine Punished), premiered in Prague the previous October. The tepid reception it received perhaps explains why Mozart devoted much of the sultry Viennese summer that year to composing three new symphonies,
Nos 39-41, works that, like their immediate predecessors, were unlikely to appeal greatly to the Viennese. By then, Austria was at war with Ottoman Turkey. Accordingly, most of his patrons were also feeling the economic pinch, and Mozart’s plans to give another concert series, at which the new symphonies might have been performed, came to nothing. However, it may well have been with one eye to possible publication and performances in England, France and Germany that he completed the trilogy in quick succession between June and August. In doing this, Mozart was probably emulating Joseph Haydn. In December 1787, the Vienna firm Artaria published Haydn’s new set of six ‘Paris’ Symphonies, issued in two sets of three. The first set contained symphonies in C major (No.82), G minor (No.83) and E flat (No.84). Given the rarity of G minor symphonies, it can hardly be mere coincidence that Mozart chose exactly the same three keys for his new trilogy. Clearly, if Haydn could publish symphonies, presumably with hope of financial return, Mozart too, then saddled with debts, might as well try. He had, after all, successfully undertaken a similar copycat project a few years earlier when, following on from Artaria’s 1782 first edition of Haydn’s Op.33 string quartets, he composed a set of his own (since referred to, fittingly, as Mozart’s ‘Haydn’ quartets). In concerts in Mozart’s day, the first movement of a symphony typically served as the overture to the whole evening’s entertainment, so it is hardly surprising that the first movement of
his final symphony is stylistically almost identical with his late opera overtures. Moreover, close to the end of the first movement’s statement of themes, Mozart actually borrows a phrase from a catchy little opera song, Un bacio di mano (‘A hand-kiss’), K541 that he composed a few months earlier. Less subtle, but far more effective, is the contribution of the brass and drums. Taken out of context and played alone, the bluster of their simple, militaristic fanfares sounds more suited to a parade-ground than a concert room. Yet, added to the rest of the orchestra, these primitive gestures generate palpable excitement and grandeur. Since his valveless horns and trumpets could only play a few notes in the keys of C and G, Mozart has the woodwinds take over their fanfare figures when he needs to explore more distant keys. Also suggestive of opera is the arialike second movement in which the woodwinds ‘sing’ in seemingly effortless counterpoint with muted violins. Mozart’s valveless horns were able to participate in this F major movement by changing crooks, but the trumpets and drums are banished until the return of C major in the third movement, a fast and breezy minuet. Mozart’s symphony finales also bear a close resemblance to their operatic finale counterparts, consisting of busy, motoric music inclined to virtuosic sleight-of-hand. This finale is a contrapuntal extravaganza that climaxes in the coda. There, the movement’s unforgettable four-note main theme and its four countermelodies are combined simultaneously in what musical technicians describe as ‘five-part invertible counterpoint’ 10
(which simply means that the five snatches of melody make musical sense together, vertically, whichever one is on top, bottom, or in the middle). This contrapuntal feat earned the piece its German nickname, ‘Symphony with a fugal ending’, which perhaps sounds a little stern for music which, though ingenious and uplifting, is nevertheless couched in the same light-hearted, rollicking manner as Rossini’s operatic finales of 15 years later. Among the projects Mozart contemplated for 1789 was a potentially profitable visit to England. Had the visit gone ahead, he would have introduced this symphony to British audiences personally, and heard first-hand the nickname which one of his London admirers (Haydn’s friend, John Peter Salomon) gave it, ‘Jupiter’, fittingly elevating it to the pinnacle of the musical pantheon. Abridged from a note by Graeme Skinner © 2013 The Melbourne Symphony Orchestra first performed Mozart’s Symphony No.41 on 27 June 1940 under Sir Thomas Beecham, and most recently in May 2013 with Douglas Boyd.
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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#
Laurence Jackson†* Guest Concertmaster
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 Michael Aquilina#
Monica Naselow* Nicholas Waters*
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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 Jacqueline Edwards* 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
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#
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#
FLUTES Prudence Davis
Dr Elizabeth E Lewis AM#
Principal Anonymous#
Gabrielle Halloran
Wendy Clarke
Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Simon Collins* Sophie Kesoglidis*
Sarah Beggs
Maria Solà#
Associate Principal
PICCOLO Andrew Macleod Principal
OBOES
TRUMPETS
MSO BOARD
Jeffrey Crellin
Shane Hooton
Thomas Hutchinson
William Evans Rosie Turner
Chairman Michael Ullmer
Principal
Associate Principal
Ann Blackburn
The Rosemary Norman Foundation#
Associate Principal
John and Diana Frew#
TROMBONES
COR ANGLAIS
Brett Kelly
Michael Pisani
Ben Lovell-Greene*
Principal
CLARINETS David Thomas
Principal
Philip Arkinstall
Associate Principal
Craig Hill
Principal
Guest Associate Principal
Richard Shirley
Tim and Lyn Edward#
Mike Szabo
Principal Bass Trombone
TUBA Timothy Buzbee
BASS CLARINET
Principal
Jon Craven
TIMPANI**
Principal
Tim and Lyn Edward#
Jack Schiller
PERCUSSION
Elise Millman
Associate Principal
Natasha Thomas CONTRABASSOON Brock Imison Principal
HORNS Saul Lewis
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
John Arcaro
BASSOONS Principal
Managing Director Sophie Galaise
Robert Clarke Principal
Robert Cossom HARP Yinuo Mu Principal
PIANO Jacob Abela*
Acting Associate Principal
Ian Wildsmith*
Guest Principal Third
Abbey Edlin
Nereda Hanlon and Michael Hanlon AM#
Trinette McClimont Alexander Morton*
# Position supported by * Guest Musician ** Timpani Chair position supported by Lady Potter AC CMRI †Courtesy of West Australian Symphony Orchestra 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
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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 Anonymous (1) 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 Chisholm & Gamon John and Lyn Coppock 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 (3) ASSOCIATE PATRONS $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest David Blackwell OAM Anne Bowden
Julia and Jim Breen Lynne Burgess Oliver Carton 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 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 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 15
SUPPORTERS Romanowski Diana and Brian Snape AM Dr Michael Soon Peter J Stirling Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher Anonymous (5) 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 Dr John Brookes Stuart Brown Suzie Brown OAM and Harvey Brown Roger and Col Buckle Jill and Christopher Buckley Shane Buggle John Carroll Andrew Crockett AM and Pamela Crockett Panch Das and Laurel Young-Das Beryl Dean Rick and Sue Deering Dominic and Natalie Dirupo John and Anne Duncan Jane Edmanson OAM
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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 Janette Gill 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 Christian and Jinah Johnston 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 Annette Maluish In memory of Leigh Masel Ruth Maxwell Don and Anne Meadows Ian Morrey and Geoffrey Minter new U Mildura Wayne and Penny Morgan Anne Neil Patricia Nilsson Laurence O’Keefe and Christopher James Kerryn Pratchett Peter Priest Treena Quarin Eli Raskin Raspin Family Trust Joan P Robinson Andrew and Judy Rogers Cathy and Peter Rogers Peter Rose and Christopher Menz Liliane Rusek Martin and Susan Shirley Penny Shore Dr Sam Smorgon AO and Mrs Minnie Smorgon Dr Norman and Dr Sue Sonenberg 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 (17) 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 COMMISSIONS 2018 All the World’s a Stage Iain Grandage Commissioned by Mary Davidson in honour of her husband Frederick Davidson AM, on occasion of their 50th wedding anniversary Clarinet Concerto Paul Dean Commissioned by Andrew Johnston and premiered by the MSO to mark the 65th Wedding Anniversary of Andrew Johnston’s parents, Stephanie and David Johnston Missed Tales III – The Lost Mary Finsterer Commissiond by Kim Williams AM
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) 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
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SUPPORTERS TRUSTS AND FOUNDATIONS
HONORARY APPOINTMENTS
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
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 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
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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