2019 MSO Mid-Season Gala featuring Lang Lang

Lang Lang Mid-Season Gala 4 J U LY 2 0 1 9

through music i want children to see i want to show them how music can help them achieve their dreams.

- Lang Lang www.langlangfoundation.org

Artists Melbourne Symphony Orchestra Kirill Karabits conductor Lang Lang piano

Program MOZART The Marriage of Figaro: Overture MOZART Piano Concerto No.24

[4'] [31']

— INTERVAL — RACHMANINOV Symphony No.3

[38']

Running time: approximately one hour and 50 minutes including a twenty-minute interval Lang Lang’s performance with the MSO is supported by MSO Life Members, Mr Marc Besen AC and Mrs Eva Besen AO. Lang Lang is managed by: Columbia Artists Music LLC 1500 Broadway, 19th Floor, New York NY 10019 www.camimusic.com General Manager: Jean-Jacques Cesbron Lang Lang is an Exclusive Recording Artist of Universal Music Group and Deutsche Grammophon

Assistive hearing: A hearing system is available from Arts Centre Melbourne ushers, providing coverage to all seats via headphones or neck-loops.

In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone. Photos and videos of this performance are not permitted.

Lang Lang Mid-Season Gala – 4 July 2019

Melbourne Symphony Orchestra The Melbourne Symphony Orchestra is a leading cultural figure in the Australian arts landscape, bringing the best in orchestral music and passionate performance to a diverse audience across Victoria, the nation and around the world.

Each year the MSO engages with more than 5 million people through live concerts, TV, radio and online broadcasts, international tours, recordings and education programs.

Under the spirited leadership of Chief Conductor, Sir Andrew Davis, the MSO is a vital presence, both onstage and in the community, in cultivating classical music in Australia. The nation’s first professional orchestra, the Melbourne Symphony Orchestra has been the sound of the city of Melbourne since 1906.

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The MSO regularly attracts great artists from around the globe including Anne-Sophie Mutter, Lang Lang, Renee Fleming and Thomas Hampson, while bringing Melbourne’s finest musicians to the world through tours to China, Europe and the United States.

The Melbourne Symphony Orchestra acknowledges the Traditional Owners of the Land on which we perform and would like to pay our respects to their Elders and Community both past and present.

Lang Lang

Kirill Karabits is Chief Conductor of the Bournemouth Symphony Orchestra, with whom he has been recording an award-winning Prokofiev cycle. He is also General Music Director and Principal Conductor of the German National Theatre and Staatskapelle Weimar.

His first production with them as Music Director was The Mastersingers of Nuremberg in November 2016.

Lang Lang is one of the leading figures in classical music today, equally happy playing for billions of viewers at the 2008 Beijing Olympics Opening Ceremony or for just a few hundred children in public schools.

conductor

He has worked with leading orchestras such as the San Francisco Symphony, Chicago Symphony, Cleveland Orchestra, and Philadelphia Orchestra, Rotterdam Philharmonic, BBC Symphony, Yomiuri Nippon Symphony, Orchestra Filarmonica del Teatro La Fenice and Russian National Orchestra.

Recent appearances have included the world premiere of Ludger Vollmer’s opera The Circle in Weimar and Boris Godunov with the Deutsche Opera, Berlin.

Working with the next generation of bright musicians is of great importance to Karabits. He is Artistic Director of the I, CULTURE Orchestra. He was named Conductor of the Year at the 2013 Royal Philharmonic Society Music Awards.

piano

Lang Lang Mid-Season Gala – 4 July 2019

Kirill Karabits

Lang Lang has formed ongoing collaborations with conductors including Sir Simon Rattle, Gustavo Dudamel, Daniel Barenboim and Christoph Eschenbach and performs with all the world’s top orchestras.

Lang Lang gave his first public recital before the age of five. He entered Beijing’s Central Music Conservatory aged nine and won First Prize at the International Tchaikovsky Competition for Young Musicians at 13. He subsequently studied at Philadelphia’s Curtis Institute with the legendary Gary Graffman. His recent CD Piano Book features the piano pieces that inspired him to become a musician in the first place.

Lang Lang is the recipient of numerous awards. He has played for Pope Francis, four US presidents and monarchs from many nations.

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Program Notes WOLFGANG AMADEUS MOZART

(1756–1791)

The Marriage of Figaro, K492: Overture In The Barber of Seville, Figaro eventually assisted Count Almaviva to marry the lovely Rosina. The Marriage of Figaro (or, One Mad Day) is Beaumarchais’ sequel: the Count is beginning to stray, in this case towards his wife’s maid (and Figaro’s fiancée) Susanna. This opera begins on Figaro and Susanna’s wedding day…but it’s a long way to the altar!

The libretto is a study in classic characters – the perky soubrette Susanna, the lecherous Count, the languishing Countess, Cherubino (the type of boy who these days would be diagnosed with attention deficit disorder), manipulative and manipulated Figaro, grasping Bartolo and Marcellina…

Mozart’s overtures served to attract the audience’s attention away from each other’s latest fashions and intrigues.

A notable overture was a chance to set the mood for enjoyment, a little like today’s warm-up act for a comedy show.

During this time it was not common practice to use themes from the opera in the overture, as if to offer a musical sample-bag of what’s to come. That sort of overture was more likely to appear in the mid-19th century. With the overture to The Marriage of Figaro, however, it’s impossible not to suspect that the eloquently drawn characters were influencing the composer in subtler ways.

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It opens with strings in a conspiratorial sort of motif, doubled by bassoon (an instrument frequently associated with elderly male comic entities such as Dr Bartolo). This is answered by an urbane phrase from the winds, such as might represent the Count’s self-confidence.

Or, perhaps, the scene is being set for

the Upstairs/Downstairs story that so shocked its early audiences. Suddenly, all hell breaks loose in a fortissimo orchestral tutti that calls to mind the fast-paced farcical concealment and escape scene that ends Act II. Equally suddenly, the conspiratorial theme returns, this time with a countermelody in the high winds that hints at the Countess’ sorrow. Each of these ideas is developed, modified, restated and interwoven, just as the plot entwines an eventual total of 11 characters! For the final section of the overture, Mozart seizes on the relatively unimportant motif of a descending scale and extends it, driving the energy onwards and up to the rising curtain.

Katherine Kemp © Symphony Australia The MSO first performed the overture from The Marriage of Figaro on 24 September 1938 under Sir Malcolm Sargent, and most recently on 1 April 2017 with Benjamin Northey.

WOLFGANG AMADEUS MOZART Piano Concerto No.24 in C minor, K491 Allegro Larghetto Allegretto Lang Lang piano Mozart was so busy between October 1785 and April 1786 that he didn’t even have time to write letters home. Even by his own standards he got through a huge number of major works: a violin sonata, several pieces for the Masonic Lodge of which he was an active member, various ‘insert’ pieces for other operas, some works for wind ensembles, a ‘musical comedy’ Der Schauspieldirektor (The Impresario), three piano concertos and his epochal opera, The Marriage of Figaro. And he found the time to appear as conductor or soloist in at least seven concerts during those six months.

It is true, however, that this period marked the end, for a time at least, of Mozart’s

Politically, things were a little strained in Vienna at the time. Emperor Joseph II was determined to modernise his realm, curtailing the power of the church and nobility (for which reason he supported Mozart’s proposal to make Figaro into an opera), reforming the legal system, abolishing torture, offering a greater degree of liberty than his predecessor.

Sadly he was inconsistent in his practice, and about the middle of the decade passed the Freemasonry Act in order to monitor the activities of its members.

More disturbingly, in early 1786, the emperor intervened in a murder case with the result that the defendant was publicly and gruesomely executed over a fourhour period. As German scholar Volkmar Braunbehrens points out, this all took place a few hundred yards from Mozart’s home, and the composer, about to

spend two weeks writing this concerto, can hardly have been unaware of the 30,000-strong crowd in the streets below.

To what extent might all this bear on the music? This concerto is unique in Mozart’s output in several ways: it uses a large orchestra for a vast range of effects; it avoids virtuosic display for its own sake; its first movement is in triple time (itself unusual); the opening theme, characterised by downward steps followed by wide upward leaps, is broken into progressively smaller units by short, gasping silences. The turbulence this creates prefigures Beethoven (who declared he could never surpass this piece), and has led commentators ever since to describe the piece as ‘tragic’ or ‘demonic’.

Solomon has noted that in the slow movement of this, as in other works of this time, Mozart summons up ‘every gradation of emotion – from terror to vague feelings of unease, from unbearable intense pleasures bordering on ecstasy to a floating placidity and contentment’. And again, in the finale Mozart uses a form beloved of Beethoven and puts his theme through a set of eight variations, exploring a wide range of emotional worlds in the process.

Lang Lang Mid-Season Gala – 4 July 2019

prominence as a soloist. He gave his annual ‘academy’ – a concert where he would present his newest works – on 7 April in Vienna’s Burgtheater, featuring the C minor concerto, but, unusually for him, did not plan a series of subscription concerts for the season of Lent as he had in previous years. Mozart’s withdrawal from concerto performance inevitably spawned a number of more or less fanciful theories in the decades which followed, especially given the nature of the C minor concerto: one is the old myth about his falling from favour with the Viennese public – the concerto’s uncompromising nature was supposedly not to Viennese taste. Another, more curious, is the notion that Mozart’s hands were damaged: it was said, by Karl Beethoven for one, that Mozart’s fingers were so bent from constant playing that he was unable to use a knife at table. It is true that bouts of rheumatic fever, from which Mozart suffered on several occasions, can cause arthritis, but as Mozart biographer Maynard Solomon points out, the ‘fine calligraphy’ of Mozart’s scores, not to mention his excellence at billiards, make this hard to believe.

The other factor in the equation is Figaro, of whose importance (both musically and politically) Mozart was well aware.

Whether the turmoil and glimpses of beatific peace in this work are the result of Mozart’s response to his circumstances and the times will remain an open question. We can however point out that this work issues from the composer who was in the process of revolutionising the way in which human emotions and relationships could be depicted in music.

Gordon Kerry © 2002 The MSO first performed this concerto on 31 May 1945 under Joseph Post, with soloist Alice Carrard. The Orchestra’s most recent performances took place in April 2011 with Edo de Waart and Joyce Yang.

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SERGEI RACHMANINOV

(1873–1943)

Symphony No. 3 in A minor, Op.44 Lento – Allegro moderato Adagio ma non troppo – Allegro vivace – Adagio Allegro The Romantic melancholy that is supposed to pervade Rachmaninov’s music is not at all the over-riding emotion of his Third Symphony. Rather this, his first symphonic essay since 1908, is rhythmically taut, melodically suave and, harmonically, relatively astringent.

It may be enough to say, in other words, that it does not inhabit the same lush world as that of, say, the Second Piano Concerto. But that is to shortchange both works. Any composer’s musical development is complex to trace: Rachmaninov’s was waylaid and irrevocably altered by personal upheaval and a major shift in his musical career.

The Op.39 Etudes tableaux of 1917, his last major work for solo piano before leaving Russia, point the way towards a newer style – inimitably rhapsodic, yes, but much broader in its emotional implications, particularly in fleet-footed musical settings, than in many of his earlier works. A considerable span of years would elapse before he would follow this new direction more fully.

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Now 44 years old, his decision to settle in the West – specifically, at least for the time being, the United States – meant a flight from his homeland with his family, the loss of his estates and Russian income and a seismic career shift from composer/pianist/conductor to concert pianist. The massive effort involved in the creation of a new life for himself was not conducive to the creation of new music. Through a combination of the new discipline required to maintain his performing career, a frenetic performance schedule and the effort

involved in acclimatising to a new culture while lamenting the one he left behind, he also made it known that he was incapable of composition.

‘How can I compose without melody?’ he told his friend, fellow composer Nicholas Medtner. To a correspondent he wrote: ‘To begin something new seems unattainably difficult.’

Yet beneath this façade of despair he never gave up on the idea of composing, and in the 1925/26 concert season gave himself a sabbatical. Always insecure about his own music, Rachmaninov began work on his Fourth Piano Concerto in secret during this self-imposed exile from the concert platform. But the failure of this work with public and critics led to another long period of silence, broken five years later with the Variations on a Theme of Corelli, his first solo piano work composed in the West. These too failed to find an audience. He finally created a piece of great public and critical appeal in 1934, with his Rhapsody on a Theme of Paganini, and, on a rare compositional ‘high’, began work on the Third Symphony in June 1935.

Rachmaninov was described by Stravinsky as a ‘very old’ composer.

In the 1930s he was what might be called a progressive conservative. Had he repeated himself – created replicas of his old pre-revolutionary ‘hits’ such as the Second and Third Concertos and the Second Symphony – his American audiences would probably have been delighted. But he re-thought his musical language in a manner that alienated both audiences and critics. The supple, gently pulsating melody which opens this symphony’s first movement, for example, is a case study of the subtleties in the work that puzzled its first audiences and annoyed critics.

(Rachmaninov was a fine conductor, too, and, in his recording of this work, he brings to this theme a uniquely ‘breathing’ rubato.)

Of course Rachmaninov was not interested in being ‘up to date’, and in fact expressed a general disdain for new music, but the Third Symphony illustrates that he had his own internal impulses that made it impossible for him to stagnate. The first movement is constructed in a highly conventional sonata form – there is even an exposition repeat (not always observed). The innovations here lie in the newer, subtler quality of his harmonic ideas, a much greater freedom in his writing for the woodwind, brass and percussion instruments independently, and the interplay he creates between them.

The second movement is a different matter. Here Rachmaninov telescopes the idea of slow movement and scherzo together with great beauty and vividness, beginning with a rhapsodic succession of short lyrical ideas – a Bardic transformation of the first movement’s main theme for solo horn with harp accompaniment, then the

‘slow’ movement’s main theme for solo violin, which is in turn given to the flute, to be worked out passionately by the strings. It might appear at first hearing that he divides the movement neatly in half, as a scurrying passage on the strings introduces a figure of martial demeanour (that actually alternates between duple and triple metre). But the lyrical music returns by way of a brilliant tremolo passage. There is tremendous passion here but scored with great clarity and precision. This transparency of sound, which now seems so captivating in Rachmaninov’s later music, seemed only to bewilder the work’s first audiences. After all, he was not really a ‘modern’ composer, was he?

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The twin gods of contemporary music, Stravinsky and Schoenberg, had made the critical fraternity impatient with a composer who used a highly chromatic tonal idiom to convey emotional expression, no matter how subtly. The passage that leads to the next major melodic idea suggests that we are going to be treated to a full-blown Romantic ‘love theme’. But the gently lyrical, artfully shaped theme we hear confounds these expectations. The development section likewise, with the thematic fragments darting hither and thither with great rhythmic freedom between the bassoons, the percussion, muted trumpets and the quick march for the strings, is hardly the Rachmaninov of old. Still, nobody was listening. The piece received reviews ranging from the hostile to the polite in the USA; then, after its London premiere, the critic Richard Capell referred to Rachmaninov building palaces that nobody wanted to live in.

The finale of the Second Symphony found Rachmaninov in an unbuttoned mood and the Third Symphony’s finale opens in the same spirit. But the succession of ideas is rapid and restless, now epically Romantic (a gorgeous lyrical theme for strings), now gently comic (a characterful bassoon solo), now propulsive (a dashing fugue). It soon becomes clear that rhythmic drive and orchestral virtuosity are Rachmaninov’s greatest interests here. You might leave this concert remembering how much swiftly moving music this symphony contains relative to its length. Certainly, the third movement’s final pages, rhythmically scintillating and scored with enormous skill, are a superb demonstration of how vital a composer Rachmaninov was in his 60s. It was his tragedy to be writing this piece at so unresponsive a historical moment – four years would pass before he could bring another major work, his Symphonic Dances, before the public.

Phillip Sametz © 2003 The MSO first performed Rachmaninov’s Symphony No.3 on 7 October 1989 under conductor Vernon Handley, and most recently in March 2011 with Mark Wigglesworth.

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Lang Lang Mid-Season Gala – 4 July 2019

Your MSO

Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor

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

Kirsty Bremner Sarah Curro

Michael Aquilina#

Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Kirstin Kenny Eleanor Mancini Chisholm & Gamon#

Mark Mogilevski Michelle Ruffolo Kathryn Taylor Michael Aquilina

#

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

Principal MS Newman Family# Associate Principal Assistant Principal Anonymous*

Miranda Brockman

Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon#

Keith Johnson

Barbara Bell, in memory of Elsa Bell#

Sarah Morse Maria Solà#

Angela Sargeant Maria Solà#

Michelle Wood

VIOLAS

Michael Aquilina# Andrew and Theresa Dyer#

Christopher Moore

DOUBLE BASSES

Principal Di Jameson#

Lauren Brigden Katharine Brockman Christopher Cartlidge Michael Aquilina#

Anthony Chataway

Dr Elizabeth E Lewis AM#

Gabrielle Halloran Maria Solà#

Trevor Jones Fiona Sargeant Cindy Watkin Elizabeth Woolnough

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 Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs

Sophia Yong-Tang# 10

Andrew Macleod

HORNS

PERCUSSION

Nicolas Fleury

Robert Clarke

Saul Lewis

John Arcaro

Principal John McKay and Lois McKay#

Principal

OBOES

Principal Third The Hon Michael Watt QC and Cecilie Hall#

Jeffrey Crellin

Principal

Thomas Hutchinson Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

COR ANGLAIS Michael Pisani

Principal

Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

MID-SEASON GALA GUEST MUSICIANS

Owen Morris Principal

Shane Hooton

David Thomas

Craig Hill BASS CLARINET Jon Craven Principal

BASSOONS Jack Schiller

Principal

John and Diana Frew#

TROMBONES Richard Shirley

Tim and Lyn Edward#

Mike Szabo

Principal Bass Trombone

TUBA Timothy Buzbee

Principal

Elise Millman

TIMPANI**

Natasha Thomas

Principal

Associate Principal Dr Martin Tymms and Patricia Nilsson#

CONTRABASSOON Brock Imison

HARP

TRUMPETS

William Evans Rosie Turner

Associate Principal

Drs Rhyll Wade and Clem Gruen#

Yinuo Mu

Associate Principal

Philip Arkinstall

Tim and Lyn Edward#

Robert Cossom

Trinette McClimont Rachel Shaw

CLARINETS Principal

Principal

Christopher Lane

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PICCOLO

Principal

Tair Khisambeev

assistant concertmaster

Aaron Barnden violin Madeleine Jevons violin Jenny Khafagi violin Michael Loftus-Hills violin Susannah Ng violin Nicholas Waters violin William Clark viola Paul McMillan^ viola Rebecca Proietto cello Rohan Dasika double bass Vivian Qu Siyuan double bass

Ian Wildsmith

associate principal horn

Jessica Buzbee

principal trombone

Timothy Hook percussion Peter Neville percussion Greg Sully percussion Donald Nicolson celeste

Principal

# Position supported by ** Timpani Chair position supported

by Lady Potter AC CMRI ^ Appears courtesy of Orchestra Victoria

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Supporters MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria

CHAIRMAN’S CIRCLE Marc Besen AC and Eva Besen AO Gandel Philanthropy The Gross Foundation Harold Mitchell Foundation David Li AM 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 (1)

ARTIST CHAIR BENEFACTORS Orchestral Leadership Joy Selby Smith Cybec Assistant Conductor Chair Tianyi Lu The Cybec Foundation Concertmaster Chair Sophie Rowell The Ullmer Family Foundation 2019 Mid-Season Gala Artist Lang Lang is supported by Marc Besen AC and Eva Besen AO Young Composer in Residence Mark Holdsworth The Cybec Foundation

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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, The Ullmer Family Foundation, The Pratt Foundation MSO Regional Touring Creative Victoria, Freemasons Foundation Victoria 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 Sidney Myer MSO Trust Fund and the University of Melbourne

PLATINUM PATRONS $100,000+ Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel AC The Gross Foundation David Li AM and Angela Li MS Newman Family Foundation Anthony Pratt The Pratt Foundation Lady Potter AC CMRI Ullmer Family Foundation Anonymous (1)

VIRTUOSO PATRONS $50,000+ Di Jameson Harold Mitchell AC

PROGRAM BENEFACTORS

IMPRESARIO PATRONS $20,000+

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

Michael Aquilina The John and Jennifer Brukner Foundation Mary and Frederick Davidson AM Andrew Johnston David Krasnostein AM and Pat Stragalinos Mimie MacLaren John and Lois McKay Maria Solà

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 Peter Hunt AM and Tania de Jong AM International Music and Arts Foundation Margaret Jackson AC Suzanne Kirkham The Cuming Bequest Bruce Parncutt AO Ian and Jeannie Paterson Elizabeth Proust AO Xijian Ren and Qian Li Glenn Sedgwick Helen Silver AO and Harrison Young Gai and David Taylor Harry and Michelle Wong Anonymous (2)

PRINCIPAL PATRONS $5,000+ Christine and Mark Armour Barbara Bell, in memory of Elsa Bell Kaye and the late David Birks Stephen and Caroline Brain Prof Ian Brighthope 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 Colin Golvan AM QC and Dr Deborah Golvan 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 Jim and Fran Pfeiffer Jeffrey Sher QC and Diana Sher OAM Diana and Brian Snape AM Tasco Petroleum The Hon. Michael Watt QC and Cecilie Hall Drs Rhyl Wade and Clem Gruen Lyn Williams AM Jason Yeap OAM – Mering Management Corporation Sophia Yong-Tang Anonymous (4)

Lang Lang Mid-Season Gala – 4 July 2019

MAESTRO PATRONS $10,000+

ASSOCIATE PATRONS $2,500+ Marlyn and Peter Bancroft OAM Dandolo Partners Will and Dorothy Bailey Bequest Anne Bowden Bill Bowness Julia and Jim Breen Patricia Brockman Roger and Coll Buckle Jill and Christopher Buckley Lynne Burgess Oliver Carton Richard and Janet Chauvel Ann Darby, in memory of Leslie J. Darby Natasha Davies, for the Trikojus Education Fund Merrowyn Deacon

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Sandra Dent Peter and Leila Doyle Duxton Vineyards Lisa Dwyer and Dr Ian Dickson AM Jaan Enden Dr Helen M Ferguson Elizabeth Foster Barry Fradkin OAM and Dr Pam Fradkin Dina and Ron Goldschlager Louise Gourlay OAM Susan and Gary Hearst Jenkins Family Foundation John Jones George and Grace Kass Dr Rosemary Ayton and Dr Sam Ricketson Irene Kearsey and Michael Ridley Merv Keehn and Sue Harlow 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 Christine Peirson and the late Graham Peirson Julie and Ian Reid Ralph and Ruth Renard Peter and Carolyn Rendit S M Richards AM and M R Richards Joan P Robinson and Christopher Robinson Tom and Elizabeth Romanowski Mark and Jan Schapper Dr Michael Soon Jennifer Steinicke Peter J Stirling Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher Richard Ye Anonymous (3)

PLAYER PATRONS $1,000+ David and Cindy Abbey Dr Sally Adams Mary Armour Australian Decorative and Fine Arts Society Robbie Barker Adrienne Basser Janice Bate and the late Prof Weston Bate Janet H Bell David Blackwell OAM John and Sally Bourne Michael F Boyt Dr John Brookes Stuart Brown Suzie Brown OAM and Harvey Brown Shane Buggle Dr Lynda Campbell John Carroll Andrew Crockett AM and Pamela Crockett Panch Das and Laurel Young-Das Caroline Davies Beryl Dean Rick and Sue Deering John and Anne Duncan Jane Edmanson OAM Doug Evans Grant Fisher and Helen Bird Applebay Pty Ltd David Frenkiel and Esther Frenkiel OAM David Gibbs and Susie O’Neill Janette Gill Mary and Don Glue Greta Goldblatt and the late Merwyn Goldblatt George Golvan QC and Naomi Golvan Dr Marged Goode Prof Denise Grocke AO Jennifer Gross Max Gulbin Dr Sandra Hacker AO and Mr Ian Kennedy AM Jean Hadges Paula Hansky OAM Tilda and Brian Haughney Anna and John Holdsworth

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Lang Lang Mid-Season Gala – 4 July 2019

Penelope Hughes Basil and Rita Jenkins Christian and Jinah Johnston Dorothy Karpin Dr Anne Kennedy Julie and Simon Kessel KCL Law Kerry Landman Diedrie Lazarus 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 new U Mildura Wayne and Penny Morgan Anne Neil Patricia Nilsson Sir Gustav Nossal AC CBE and Lady Nossal Laurence O’Keefe and Christopher James Kerryn Pratchett Peter Priest Treena Quarin Eli Raskin Raspin Family Trust Cathy and Peter Rogers Andrew and Judy Rogers Peter Rose and Christopher Menz Liliane Rusek Elisabeth and Doug Scott Martin and Susan Shirley Penny Shore John E Smith Dr Sam Smorgon AO and Mrs Minnie Smorgon Dr Norman and Dr Sue Sonenberg

MSO PATRON COMMISSIONS Clarinet Concerto Paul Dean Commissioned by Andrew Johnston Snare Drum Award test piece 2019 Commissioned by Tim and Lyn Edward

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

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Lang Lang Mid-Season Gala – 4 July 2019

Drs Clem Gruen and Rhyl Wade Louis Hamon OAM Carol Hay Rod Home 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 Matthew O’Sullivan 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 AO The Hon. Rosemary Varty Mr Tam Vu Marian and Terry Wills Cooke OAM 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 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 Albert Henry Ullin Jean Tweedie Herta and Fred B Vogel Dorothy Wood

TRUSTS AND FOUNDATIONS

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 Thomas O’Toole Foundation, The Ray & Joyce Uebergang Foundation, The Ullmer Family Foundation 16

MSO BOARD

Life Members Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel AC Sir Elton John CBE Harold Mitchell AC Lady Potter AC CMRI Mrs Jeanne Pratt AC

Chairman Michael Ullmer AO

Artistic Ambassador Tan Dun Artistic Ambassador Geoffrey Rush AC The MSO honours the memory of John Brockman OAM Life Member The Honourable Alan Goldberg AO QC Life Member Roger Riordan AM Life Member Ila Vanrenen Life Member

Deputy Chairman David Li AM Managing Director Sophie Galaise Board Directors Andrew Dudgeon AM Danny Gorog Lorraine Hook Margaret Jackson AC Di Jameson David Krasnostein AM Hyon-Ju Newman Glenn Sedgwick Helen Silver AO

Lang Lang Mid-Season Gala – 4 July 2019

HONORARY APPOINTMENTS

Company Secretary Oliver Carton

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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 17

CALENDAR

OF EVENTS

13 July

18 & 20 July

Last Night of the Proms The Rite of Spring Arts Centre Melbourne, Hamer Hall

Arts Centre Melbourne, Hamer Hall

30 July Ears Wide Open: A Midsummer Night’s Dream Melbourne Recital Centre

FI NA L TI CK E T S

2 – 5 August

8 – 10 August

Elgar’s Cello Concerto

The Film Music of Nick Harry Potter and the Cave and Warren Ellis Order of the Phoenix™ Arts Centre Melbourne, in Concert

Arts Centre Melbourne, Hamer Hall

Hamer Hall

15 – 17 August

Arts Centre Melbourne, Hamer Hall

Tickets at mso.com.au

Thank you to our Partners 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

East meets West Program Partners Consulate General of the People’s Republic of China in Melbourne

LRR Family Trust

Mr Chu Wanghua and Dr Shirley Chu

Associate Professor Douglas Gin and Susan Gin

Media and Broadcast Partners

BEST SEAT in the house

As Principal Partner of the Melbourne Symphony Orchestra, we know the importance of delighting an audience. That’s why when you’re in Emirates First, you’ll enjoy the ultimate flying experience with fine dining at any time in your own private suite.

*Emirates First Class Private Suite pictured. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.