HANDEL’S MESSIAH 15–16 DECEMBER 2018 Arts Centre Melbourne, Hamer Hall
CONCERT PROGRAM
Melbourne Symphony Orchestra Jan Willem de Vriend conductor Jeanine De Bique soprano Nicholas Tolputt counter-tenor Andrew Goodwin tenor Stephan Loges bass MSO Chorus Warren Trevelyan-Jones chorus master Handel Messiah
Pre-concert talk Learn more about Handel’s Messiah at our pre-concert talk with violist and PhD candidate Megan Burslem; from the stage Saturday at 5.45pm and Sunday at 3.45pm. Running time: Two hours and 40 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. The 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
JAN WILLEM DE VRIEND 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 the 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.
Jan Willem de Vriend is Principal Conductor of The Residency Orchestra of The Hague, and Principal Guest Conductor of the Orquestra Simfónica de Barcelona i Nacional de Catalunya and of the Orchestre National de Lille. He was Artistic Director of the Combattimento Consort Amsterdam (1982–2015), an ensemble specialising in unknown masterpieces of the 17th and 18th centuries which he founded. Jan Willem de Vriend’s recordings include many with the Combattimento Consort as well as the complete Beethoven piano concertos and symphonies and ‘Hamburg’ version of Mahler’s First Symphony with the Netherlands Symphony Orchestra. He has conducted opera in Swetzingen, Luzern, and Strasbourg and appeared in TV series such as De Vriend and His Heroes.
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.
Future conducting appearances include the Tonhalle-orchester Zurich and Rotterdam Philharmonic.
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JEANINE DE BIQUE SOPRANO
NICHOLAS TOLPUTT COUNTER-TENOR
Trinidad-born, Jeanine De Bique’s repertoire ranges from Handel to John Adams. She has appeared at major houses including the Rome Opera and with companies such as the Royal Danish Opera. Recent highlights have included the title role in Handel’s Rodelinda at Théâtre de Caen and Opéra de Lille, Brahms’ German Requiem with LA Master Chorale, as Annio in a new Peter Sellars’ production of La clemenza di Tito at the 2017 Salzburg Festival, and with the Chineke! Orchestra at the BBC Proms and the Aldeburgh Festival.
Nicholas graduated from the Melbourne Conservatorium of Music in 2014 and was a 2016 Young Artist for Pacific Opera. An established artist with the Brisbane Baroque Festival, Nicholas has performed in each festival to date with highlights including singing in Purcell’s King Arthur (2016) and covering the role of Medoro in Handel’s Orlando (2014).
Jeanine De Bique holds a Masters degree from the Manhattan School of Music. Awards include First Prize at the Young Concert Artists, Inc. Music Competition, and the Arleen Auger Prize at the ‘s-Hertogenbosch International Vocal Competition.
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In 2017 Nicholas performed the role of Ottone in Lyric Opera’s The Coronation of Poppea. Recent oratorio and cantata performances include the alto solos in Bach's Christmas Oratorio and Vivaldi’s Stabat Mater. In 2018, Nicholas made his international debut as the alto soloist in The New Zealand Dance Company’s OrphEus: A Dance Opera. Nicholas recently performed Bernstein’s Chichester Psalms with the Melbourne and West Australian Symphony Orchestras, and the role of David in the Sydney Philharmonia’s presentation of Saul.
ANDREW GOODWIN TENOR
STEPHAN LOGES BASS
Andrew Goodwin has appeared with opera companies in Europe, the UK, Asia and Australia, including the Bolshoi Opera, Teatro Real Madrid, La Scala Milan, Opera Australia and Sydney Chamber Opera.
Dresden-born, Stephan Loges was an early winner of the Wigmore Hall International Song Competition. He has given recitals at venues such as Carnegie Hall and Amsterdam’s Concertgebouw. Opera roles have included Golaud in English Touring Opera’s Pelléas et Mélisande, Begearss in Milhaud’s La mère coupable at Theater an der Wien, Bruno in MacMillan’s Parthenogenesis for the Royal Opera House, Covent Garden, and Wolfram (Tannhäuser) and Papageno (The Magic Flute) at Brussel’s La Monnaie. He has sung with orchestras such as the Mid-German Radio Orchestra Leipzig (Bernstein’s Songfest), Salzburg Mozarteum, Sapporo Symphony and San Francisco Symphony (Messiah).
He has performed with the St Petersburg Philharmonic Orchestra, the Sydney, Queensland and Adelaide Symphony Orchestras, and at the Huntington Festival and the Australian Festival of Chamber Music. Recent engagements have included appearances with the MSO (L’enfance du Christ) and Melbourne Bach Choir (St John Passion). In 2018 he made his State Opera of South Australia debut as Nadir in The Pearlfishers and performed the title role of Artaxerxes with Pinchgut Opera. Andrew regularly gives recitals with pianist Daniel de Borah, and they have recorded Schubert’s Die Schöne Müllerin and Winterreise for ABC Classic FM.
Stephan Loges’ recordings include St. Matthew Passions with Sir John Eliot Gardiner and Paul McCreesh as well as Der Freischütz with Sir Colin Davis and Wolf’s Mörike-lieder.
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MELBOURNE SYMPHONY ORCHESTRA CHORUS
WARREN TREVELYAN-JONES MSO 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.
PROGRAM NOTES GEORGE FRIDERIC HANDEL
(1685–1759)
Messiah A Sacred Oratorio Words selected from the Holy Bible by Charles Jennens (1700–1773) Messiah, Handel’s most enduringly popular oratorio, was composed in just over three weeks, during the summer of 1741. It appeared at a crucial point in the composer’s career. His first oratorios (non-staged dramatic vocal works with either a sacred or secular text) had been composed during a four-year stay in Italy between 1706 and 1710. These were Il trionfo del Tempo e del Disinganno (The Triumph of Time and Truth) and La Resurrezione (The Resurrection), premiered in Rome in 1707 and 1708 respectively. Handel’s next work in the genre was the Brockes Passion, composed in London around 1716 to a German text, and clearly intended for performance in Germany. This was soon followed by his first oratorio to an English text, Esther, in 1718 when Handel was resident at Cannons, Edgware, under the patronage of James Brydges, Earl of Carnarvon and later Duke of Chandos. It was written during a lull in operatic activities in London, the main focus of Handel’s musical life from his arrival there in 1711 until the time that Messiah was composed. His interest in oratorio was rekindled by a revival of Esther by the Children of the Chapel Royal, London, under the direction of their Master, Bernard Gates. This performance was staged, with limited use of costumes and acting, at the
Crown and Anchor Tavern in the Strand (a much-used concert venue) in March 1732. It so impressed Handel that he decided to perform the work in his opera theatre the same year, but in an expanded and revised version. Professional soloists were employed, but the choir used was again that of the Chapel Royal. Handel, it seems, had originally intended to use costumes and scenery, but the Bishop of London forbade acting by the choir in an opera house ‘even with books in the children’s hands’. Consequently, a non-staged performance occurred, and this created the precedent which was to be followed in every subsequent Handel oratorio concert. During the next few years oratorio remained peripheral in Handel’s life. Most of his energy was devoted to Italian opera, but he was also composing an increasing amount of chamber music for semi-domestic performance: harpsichord suites, sonatas for various instruments, cantatas for one or more singers, and ceremonial music for the Chapel Royal and for important state occasions. However, a number of oratorios appeared: Deborah (1733), Athalia (composed for and premiered during Handel’s very successful visit to Oxford in the same year), Saul and Israel in Egypt (both written in 1738). In February 1741 Handel produced his last opera, Deidamia. Having no sympathy with the new direction that the Italian opera company was taking in London, and disillusioned with the public’s waning interest in the genre, he was delighted to accept an invitation from the Lord Lieutenant of Ireland, William Cavendish, to undertake a concert season in Dublin from late in 1741 until Easter 1742. Messiah served as the 7
pièce de résistance of this season. It was publicly rehearsed on Friday 9 April 1742 and premiered on Tuesday 13 April at the New Musick-Hall, Fishamble Street. A capacity audience of 700 attended, the expectation of an audience larger than the concert hall could comfortably hold leading to the quaint newspaper request that ladies come without hooped dresses and gentlemen without swords. The concert was a charity performance ‘For the Relief of the Prisoners in the several Gaols, and for the support of Mercer’s Hospital, and the Charitable Infirmary’. The work was a great success. One contemporary reviewer enthused poetically, with a sure grasp of the aesthetic doctrines of the time: the best Judges allowed it to be the most finished Piece of Music. Words are wanting to express the exquisite Delight it afforded to the admiring crouded Audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestic and moving Words, conspired to transport and charm the ravished Heart and Ear. However, the initial performances in London, in March 1743, were greeted with less enthusiasm, and it was only when Handel began to perform the work in association with the Foundling Hospital at Lincoln’s Inn (of which he was a governor) from 1750 onwards, that it became a favourite in London and began to assume its modern iconic status. During the intervening years Handel produced a new oratorio each concert season; he found they were less taxing to compose than operas, less difficult and expensive to produce, more popular with his audiences, and brought him greater box office returns. Among his 8
greatest works of the next decade are Samson (1741), Semele (1743), Belshazzar (1744), Susanna and Solomon (both 1748), Theodora (1749), and Jephtha (1751). Most of Handel’s oratorios employ librettos based on stories from the Old Testament and are dramatic in form and content. Messiah clearly does not fit into this pattern. It is one of three works which deal with Christian subject matter, the others being La Resurrezione, and Theodora, a story of early Christian martyrdom. Also, Messiah is not dramatic in the traditional sense; it is more a meditative, reflective composition, in which the events in the libretto are referred to obliquely rather than narrated directly. The libretto itself was compiled entirely from the Authorised Version of the Bible and the Psalter of the Book of Common Prayer by Charles Jennens, a Gloucestershire landowner, who also provided Handel with the librettos of Saul, Belshazzar and possibly Israel in Egypt. Jennens arranged the synopsis of Messiah to reflect the sequence of the liturgical year, beginning with the Advent prophecies of Christ’s birth, the celebration of the Nativity at Christmas (significantly narrated directly), and the life and ministry of Christ in the postChristmas period. Lent and Holy Week dominate the central Passion section of the work (again narrated directly), while there is a progression (from the middle of Part II to the conclusion) through Easter, Ascension, Pentecost, the life and witness of the Apostles and Saints, to Eternity. The way that the drama unfolds can be interpreted as encapsulating a quintessentially Enlightenment presentation of the Christian story, and while this may
reflect an ethos typical of Anglicanism of the 18th century, its decorum, rationality and restraint also endow it with an air of universality. Musically, this universality can be seen in the work’s combination of diverse but complementary stylistic elements. For it fuses in a unique way the musically sacred and secular, namely the traditions of Italian opera and chamber music, the German Lutheran Passion tradition, and the English ceremonial, liturgical anthem. Interestingly, these different stylistic elements can also be seen to progress through the work. Thus, Part I shows the strongest Italianate influence in its arias, accompanied recitatives and choruses. The earlier section of Part II has the strongest Germanic influence; the tenor is used as narrator of the Passion story like the Evangelist in the Lutheran Passion tradition, while from the Resurrection onwards there is a return to Italianate influence with a strong and very prominent admixture of English ceremonial music, particularly in the celebrated Hallelujah Chorus and the massive concluding choral paean, Worthy is the Lamb, with their celebratory timpani, trumpets, and fanfare figures. Handel’s original performance of Messiah in Dublin employed quite modest forces. The soloists and orchestra consisted of a mixture of artists brought from London by the composer and the best available local talent. The choir consisted of the combined forces of the two cathedrals of St Patrick and Christ Church, and was therefore all male. Handel scored Messiah for a modest orchestra of strings, oboes and continuo, with the addition of trumpets and timpani for
special dramatic effect (his trumpets first enter quite magically with the Angels in the chorus Glory to God). The composer’s subsequent performances in London, during which numerous adaptations were made to the work (particularly the arias, as these were adjusted for a changing cast of soloists each season), were always performed by similar forces. Only after his death did a tradition arise of increasing the numbers of performers on a massive scale. This began, interestingly, in Westminster Abbey, where Handel had been buried in 1759. In 1784 a vast commemorative performance took place there. Haydn heard Messiah at a repeat of this festival during his visit to London early in 1791 and was deeply impressed by the thrilling and awesome sound. Meanwhile, Mozart had started the trend to ‘enrich’ Handel’s orchestration by an adaptation of the work for a 1789 performance in the Hall of the Imperial Library, Vienna, where limited continuo instruments were available. Both of these performance trends continued, reaching their apogee at the Crystal Palace, London in 1857 when a ‘wonderful assembly of 2000 vocal and 500 instrumental performers’ was involved. From the mid-20th century, however, a revisionary attitude has led to a general desire to return to the masterpiece as Handel conceived, composed, adapted, knew, and performed it. Adapted from a note by Robert Forgacs © 2010 The Melbourne Symphony Orchestra first performed Messiah on 25 December 1940 under conductor Sir Bernard Heinze, with the Melbourne Philharmonic Society. The soloists were Thea Philips, Joan Jones, William Herbert and Stanley Clarkson. The Orchestra’s most recent performances took place on 9–10 December 2017 with conductor Rinaldo Alessandrini, soloists Sara Macliver, Joslyn Rechter, Ed Lyon and Salvo Vitale, and the Melbourne Symphony Orchestra Chorus. 9
LIBRETTO GEORGE FRIDERIC HANDEL Messiah
A Sacred Oratorio Words selected from the Holy Bible by Charles Jennens (1700-1773)
PART THE FIRST
Prophecy of Christ’s appearance on earth; the nativity.
Sinfony Comfort ye (Isaiah 40:1-3) Accompagnato: Tenor Ev’ry valley (Isaiah 40:4) Song: Tenor Comfort ye, comfort ye my people, saith your God; speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplish’d, that her iniquity is pardon’d. The voice of him that crieth in the wilderness, prepare ye the way of the Lord, make straight in the desert a highway for our God. Ev’ry valley shall be exalted, and ev’ry mountain and hill made low, the crooked straight, and the rough places plain. And the glory of the Lord (Isaiah 40:5) Chorus And the glory of the Lord shall be revealed, and all flesh shall see it together; for the mouth of the Lord hath spoken it. Thus saith the Lord (Haggai 2:6-7; Malachi 3:1) Accompagnato: Bass Thus saith the Lord, the Lord of Hosts; Yet once a little while, and I will shake the heav’ns and the earth; the sea and the dry land; And I will shake all nations; and the desire of all nations shall come. The Lord, whom you seek, shall suddenly come to His temple, even the Messenger of the Covenant, whom ye delight in: behold, He shall come, saith the Lord of Hosts. But who may abide (Malachi 3:2) Song: Counter-tenor But who may abide the day of His coming? 10
and who shall stand when He appeareth? For He is like a refiner’s fire. And He shall purify (Malachi 3:3) Chorus And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. Behold, a virgin shall conceive (Isaiah 7:14; Matthew 1:23) Recit.: Counter-tenor O thou that tellest (Isaiah 40:9 and 60:1) Song: Counter-tenor, and Chorus Behold, a virgin shall conceive, and bear a son, and shall call His name Emmanuel, ‘God with us’. O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid, say unto the cities of Judah, Behold your God. O thou that tellest good tidings to Zion, arise, shine, for thy light is come, and the glory of the Lord is risen upon thee. For behold, darkness (Isaiah 60:2-3) Accompagnato: Bass The people that walked in darkness (Isaiah 9:2) Song: Bass For behold, darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee. And the Gentiles shall come to thy light, and kings to the brightness of thy rising. The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined. For unto us a child is born (Isaiah 9:6) Chorus For unto us a child is born, unto us a son is given; and the government shall be upon His shoulder; and His name shall be called Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace. Please turn your page quietly 11
Pifa (Pastoral Symphony) There were shepherds abiding in the field (Luke 2:8) Recit.: Soprano And lo, the angel of the Lord (Luke 2:9) Accompagnato: Soprano And the angel said unto them (Luke 2:10-11) Recit.: Soprano And suddenly, there was with the angel (Luke 2:13) Accompagnato: Soprano Glory to God (Luke 2:14) Chorus There were shepherds abiding in the field, keeping watch over their flock by night. And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid. And the angel said unto them, Fear not: for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day, in the city of David, a Saviour, which is Christ the Lord. And suddenly there was with the angel a multitude of the heav’nly host, praising God, and saying… ‘Glory to God in the highest, and peace on earth, goodwill towards men.’ Rejoice greatly (Zechariah 9:9-10) Song: Soprano Rejoice greatly, O daughter of Zion, shout, O daughter of Jerusalem; behold thy King cometh unto thee. He is the righteous Saviour; And He shall speak peace unto the heathen. Then shall the eyes of the blind (Isaiah 35:5-6) Recit.: Counter-tenor He shall feed his flock (Isaiah 40:11; Matthew 11:28-29) Duet: Counter-tenor & Soprano Then shall the eyes of the blind be open’d, And the ears of the deaf unstopped; then shall the lame man leap as a hart, and the tongue of the dumb shall sing. He shall feed His flock like a shepherd: and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young. 12
Come unto Him all ye that labour, come unto Him, that are heavy laden, and He will give you rest. Take His yoke upon you, and learn of Him; for He is meek and lowly of heart: and ye shall find rest unto your souls. His yoke is easy (Matthew 11:30) Chorus His yoke is easy, His burthen is light.
PART THE SECOND
The death, resurrection and ascension of Christ; the spreading of the Gospel. Behold the Lamb of God (John 1:29) Chorus Behold the Lamb of God, that taketh away the sin of the world. He was despised (Isaiah 53:3 and 50:6) Song: Counter-tenor He was despised and rejected of men, a man of sorrows, and acquainted with grief. He gave His back to the smiters, and His cheeks to them that plucked off the hair: He hid not His face from shame and spitting. Surely He hath borne our griefs (Isaiah 53:4-5) Chorus And with His stripes we are healed (Isaiah 53:5) Chorus All we, like sheep (Isaiah 53:6) Chorus Surely He hath borne our griefs and carried our sorrows: He was wounded for our transgressions, He was bruised for our iniquities; the chastisement of our peace was upon Him. And with His stripes we are healed. All we, like sheep, have gone astray, we have turned ev’ry one to his own way; and the Lord hath laid on Him the iniquity of us all.
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All they that see Him (Psalm 22:7 – Book of Common Prayer) Accompagnato: Tenor He trusted in God (Psalm 22:8 – BCP) Chorus All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying: He trusted in God that He would deliver him: let Him deliver Him, if He delight in Him. INTERVAL Thy rebuke hath broken His heart (Psalm 69:20 – BCP) Accompagnato: Tenor Behold and see (Lamentations 1:12) Song: Tenor He was cut off (Isaiah 53:8) Accompagnato: Tenor But Thou didst not leave (Psalm 16:10) Song: Tenor Thy rebuke hath broken His heart; He is full of heaviness. He looked for some to have pity on Him, but there was no man, neither found He any to comfort Him. Behold, and see, if there be any sorrow like unto His sorrow! He was cut off out of the land of the living; for the transgression of Thy people was He stricken. But Thou didst not leave His soul in Hell, nor didst Thou suffer Thy Holy One to see corruption. Lift up your heads (Psalm 24:7-10) Chorus Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in. Who is this King of Glory? The Lord strong and mighty; the Lord mighty in battle, The Lord of Hosts: He is the King of Glory. Thou art gone up on high (Psalm 68:18) Song: Counter-tenor Thou art gone up on high; Thou hast led captivity captive, and received gifts for men, yea, even for Thine enemies, that the Lord God might dwell among them. 14
The Lord gave the word (Psalm 68:11 – BCP) Chorus The Lord gave the word: great was the company of the preachers. How beautiful are the feet (Isaiah 52:7; Romans 10:15) Song: Soprano How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things. Their sound is gone out (Romans 10:18) Chorus Their sound is gone out into all lands, and their words unto the ends of the world. Why do the nations (Psalm 2:1-2 – BCP) Song: Bass Let us break their bonds (Psalm 2:3) Chorus He that dwelleth in heaven (Psalm 2:4 – BCP) Recit.: Tenor Thou shalt break them (Psalm 2:9) Song: Tenor Why do the nations so furiously rage together: why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsel together against the Lord and against His anointed. Let us break their bonds asunder, and cast away their yokes from us. He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision. Thou shalt break them with a rod of iron; Thou shalt dash them in pieces like a potter’s vessel. Hallelujah (Revelation 19:6; 11:15; 19:16) Chorus Hallelujah, for the Lord God Omnipotent reigneth, Hallelujah! The Kingdom of this world is become the Kingdom of our Lord and of His Christ; and He shall reign forever and ever, King of Kings, and Lord of Lords, Hallelujah!
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PART THE THIRD Victory over Death. I know that my Redeemer liveth (Job 19:25-26; 1 Corinthians 15:20) Song: Soprano I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And tho’ worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first fruits of them that sleep. Since by man came death (1 Corinthians 15:21-22) Chorus Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive. Behold, I tell you a mystery (1 Corinthians 15:51-52) Accompagnato: Bass The trumpet shall sound (1 Corinthians 15:52) Song: Bass Behold, I tell you a mystery: We shall not all sleep, but we shall all be chang’d, in a moment, in the twinkling of an eye, at the last trumpet. The trumpet shall sound, and the dead shall be rais’d incorruptible, and we shall be chang’d. For this corruptible must put on incorruption, and this mortal must put on immortality. Then shall be brought to pass (1 Corinthians 15:54) Recitative: Counter-tenor O Death, where is thy sting? (1 Corinthians 15:55-56) Duet: Counter-tenor & Tenor But thanks be to God (1 Corinthians 15:57) Chorus Then shall be brought to pass the saying that is written; Death is swallow’d up in victory. O death, where is thy sting? O grave, where is thy victory? The sting of death is sin, and the strength of sin is the law.
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But thanks be to God, who giveth us the victory through our Lord Jesus Christ. If God be for us (Romans 18:31, 33-34) Song: Soprano If God be for us, who can be against us? Who shall lay anything to the charge of God’s elect? It is God that justifieth: Who is he that condemneth? It is Christ that died, yea, rather that is risen again; who is at the right hand of God, who makes intercession for us. Worthy is the Lamb (Revelation 5:12-13) Chorus Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and power be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen.
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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 Michael Aquilina#
Anne Martonyi* Liam Oborne* Alison Rayner* Lynette Rayner* Harry Ward*
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 Aaron Barnden* Jacqueline Edwards* Emma Hunt* Matthew Rigby* VIOLAS Christopher Moore Principal Di Jameson#
Lauren Brigden
Acting Associate Principal Mr Tam Vu and Dr Cherilyn Tillman#
Katharine Brockman Christopher Cartlidge
Associate Principal Assistant Principal Anonymous*
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#
Rachel Atkinson* Zoe Wallace* 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#
Michael Aquilina#
FLUTES
Anthony Chataway
Prudence Davis
Dr Elizabeth E Lewis AM#
Gabrielle Halloran Maria Solà#
Trevor Jones Fiona Sargeant Cindy Watkin Elizabeth Woolnough Beth Hemming* Justin Julian* Isabel Morse* 18
Principal MS Newman Family#
Principal Anonymous#
Wendy Clarke
Associate Principal
Sarah Beggs PICCOLO Andrew Macleod Principal
OBOES
TRUMPETS
MSO BOARD
Jeffrey Crellin
Shane Hooton
Thomas Hutchinson
Tristan Rebien*
Chairman Michael Ullmer
Principal
Associate Principal
Ann Blackburn
The Rosemary Norman Foundation#
Rachel Curkpatrick*
Associate Principal Guest Associate Principal
William Evans Rosie Turner
John and Diana Frew#
Michael Olsen*
COR ANGLAIS
TROMBONES
Michael Pisani
Brett Kelly
Principal
CLARINETS David Thomas
Principal
Philip Arkinstall
Associate Principal
Craig Hill
Principal
Richard Shirley
Tim and Lyn Edward#
Mike Szabo
Principal Bass Trombone
TUBA Timothy Buzbee
BASS CLARINET
Principal
Jon Craven
TIMPANI**
Managing Director Sophie Galaise Board Directors Danny Gorog Lorraine Hook Margaret Jackson AC Di Jameson David Krasnostein David Li Hyon-Ju Newman Glenn Sedgwick Helen Silver AO Company Secretary Oliver Carton
Principal
BASSOONS Jack Schiller
Principal
Elise Millman
Associate Principal
Lyndon Watts*
Guest Associate Principal
PERCUSSION Robert Clarke Principal
John Arcaro
Tim and Lyn Edward#
Robert Cossom
Natasha Thomas
HARP
CONTRABASSOON
Yinuo Mu
Brock Imison
Principal
Principal
ORGAN
HORNS
Jacob Abela*
Saul Lewis
HARPSICHORD
Acting Associate Principal
Abbey Edlin
Donald Nicolson*
Nereda Hanlon and Michael Hanlon AM#
Trinette McClimont
# Position supported by * Guest Musician ** Timpani Chair position supported by Lady Potter AC CMRI 19
MELBOURNE SYMPHONY ORCHESTRA CHORUS CHORUS MASTER
ALTO
TENOR
Warren Trevelyan-Jones
Satu Aho Ruth Anderson Catherine Bickell Cecilia Björkegren Jane Brodie Serena Carmel Alexandra Chubaty Nicola Eveleigh Jill Giese Ros Harbison Jennifer Henry Kristine Hensel Joy Lukman Helen MacLean Christina McCowan Rosemary McKelvie Stephanie Mitchell Mair Roberts Helen Rommelaar Annie Runnalls Lisa Savige Libby Timcke
Steve Burnett Denny Chandra Geoffrey Collins James Dipnall Simon Gaites David Henley Lyndon Horsburgh Wayne Kinrade Michael Mobach Jean-Francois Ravat Tim Wright
REPETITEUR Tom Griffiths SOPRANO Aviva Barazani Anne-Marie Brownhill Eva Butcher Samantha Davies Catherine Folley Susan Fone Carolyn Francis Camilla Gorman Juliana Hassett Penny Huggett Tania Jacobs Gwen Kennelly Anna Kidman Catriona NguyenRobertson Caitlin Noble Karin Otto Tiffany Pang Tanja Redl Natalie Reid Janelle Richardson Mhairi Riddet Jo Robin Elizabeth Rusli Natalia Salazar Jillian Samuels Freja Soininen Elizabeth Tindall Fabienne Vandenburie Tara Zamin
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BASS Alexandras Bartaska Andrew Ham Joseph Hie Jordan Janssen Evan Lawson Gary Levy Vern O’Hara Alexander Owens Stephen Pyk Liam Straughan Tom Turnbull Foon Wong Ned Wright-Smith Maciek Zielinski
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 The Cybec Foundation The Pratt Foundation The Ullmer Family Foundation Anonymous (2) ARTIST CHAIR BENEFACTORS Associate Conductor Chair Benjamin Northey Anthony Pratt Orchestral Leadership Joy Selby Smith Cybec Assistant Conductor Chair Tianyi Lu The Cybec Foundation 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
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 Ullmer Family Foundation Anonymous (2) 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 21
Robert & Jan Green Hilary Hall, in memory of Wilma Collie The Hogan Family Foundation Peter Hunt AM and Tania de Jong AM 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 22
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 Andrew and Judy Rogers Rae Rothfield Max and Jill Schultz Jeffrey Sher QC and Diana Sher OAM Diana and Brian Snape AM 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 (5)
ASSOCIATE PATRONS $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest David Blackwell OAM Anne Bowden Bill Bowness Julia and Jim Breen Jill and Christopher Buckley 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 Elizabeth Foster 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 Romanowski 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 Australian Decorative and Fine Arts Society 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 Shane Buggle Dr Lynda Campbell 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 Valerie Falconer and the Rayner Family in memory of Keith Falconer Grant Fisher and Helen Bird Barry Fradkin OAM and Dr Pam Fradkin Applebay Pty Ltd David Frenkiel and Esther Frenkiel OAM David Gibbs and Susie O’Neill Janette Gill Greta Goldblatt and the late Merwyn 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 and 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 Wayne McDonald 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 Cathy and Peter Rogers Peter Rose and Christopher Menz Liliane Rusek Elisabeth and Doug Scott 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 23
Elaine Walters OAM and Gregory Walters Edward and Paddy White Nic and Ann Willcock Marian and Terry Wills Cooke Lorraine Woolley Richard Ye Anonymous (16) 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 MSO PATRON COMMISSIONS All the World’s a Stage Iain Grandage Commissioned by Mary Davidson Clarinet Concerto Paul Dean Commissioned by Andrew Johnston Missed Tales III – The Lost Mary Finsterer Commissioned by Kim Williams AM Snare Drum Award test piece 2018 Commissioned by Tim and Lyn Edward
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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 The Hon. Rosemary Varty Mr Tam Vu Marian and Terry Wills Cooke Mark Young Anonymous (27) 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
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 The Gall Family Foundation Gandel Philanthropy The International Music and Arts Foundation The Archie & Hilda Graham Foundation The Ern Hartley Foundation Gwen & Edna Jones Foundation The A.L. Lane 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 The Ray & Joyce Uebergang Foundation Anonymous
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 Harold Mitchell AC Life Member Lady Potter AC CMRI Life Member Mrs Jeanne Pratt AC Life Member Tan Dun Artistic Ambassador Geoffrey Rush AC Artistic 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)
$20,000+ (Impresario)
$2,500+ (Associate)
$50,000+ (Virtuoso)
$5,000+ (Principal)
$100,000+ (Platinum)
$10,000+ (Maestro) 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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‘ART DE VIVRE’ Hotel. Restaurant. Bar Sofitel-Melbourne.com.au
Principal Partner
Government Partners
Premier Partners
Major Partners
Venue Partner
Education Partners
Supporting Partners
Quest Southbank
The CEO Institute
Ernst & Young
Bows for Strings
The Observership Program
Trusts and Foundations
Erica Foundation Pty Ltd, Gall Family Foundation, The Archie & Hilda Graham Foundation, The Gross Foundation, Ern Hartley Foundation, The A.L. Lane Foundation, Gwen & Edna Jones Foundation, Sidney Myer MSO Trust Fund, MS Newman Family Foundation, The Ray & Joyce Uebergang Foundation, The Ullmer Family Foundation
Media and Broadcast Partners