Chinese New Year 2023

Chinese New Year Concert Program

On behalf of the Embassy of People’s Republic of China in Australia, I would like to extend my warm congratulations to the Melbourne Symphony Orchestra on the occasion of the 10th Chinese New Year Concert!

I would also like to express my sincere gratitude to Lingfeng Wu, director of the Sichuan Symphony Orchestra, Darrell Ang, famous conductor, and those Chinese and Australian musicians who participated in the performance. Music is a bridge to stress the communication by heart, and it also gives us confidence and strength. The Chinese New Year Concert has been successfully held for nine years, becoming a shining brand for people-to-people exchanges between China and Australia. It is my hope that the Melbourne Symphony Orchestra continues to play an active role in making greater contributions to increasing understanding and deepening friendship between the our two countries and two people.

Wish the concert a complete success!

Wish you all the best in the year of the Rabbit!

His Excellency Xiao Qian Ambassador of the People’s Republic of China to the Commonwealth of Australia

我谨代表中华人民共和国驻澳大使馆，对墨尔本交 响乐团举办第十届中国新年音乐会表示热烈祝贺！ 我还要向来自四川交响乐团团长吴灵峰、著名指 挥家洪毅全以及参与演出的中澳音乐家表示衷心 感谢。

音乐是心灵沟通的桥梁，也给我们带来信心和力 量。中国新年音乐会已成功举办九年，成为中澳人 文交流的光辉品牌。希望墨尔本交响乐团继续发挥 积极作用，为增进两国和两国人民之间的了解和友 谊做出更大贡献。

祝音乐会圆满成功！

祝大家兔年万事如意！

中华人民共和国驻澳大利亚大使

肖千 阁下

I send my best wishes to the Melbourne Symphony Orchestra for their tenth annual Chinese New Year concert.

In strengthening traditional Chinese culture in our state and spotlighting incredibly talented artists, the concert is sure to entertain and inspire audiences once more.

Hard work, detailed planning and plenty of passion go into making these events possible, and so to everyone involved in putting the show together – well done – and thank you.

On behalf of the Victorian Government, I wish everyone in the concert good luck and a Happy New Year.

To all Victorians celebrating the Year of the Rabbit, I wish you and your family health, happiness and prosperity.

The Hon Daniel Andrews MP Premier

我谨此向墨尔本交响乐团第十届中国新年音乐会送 上最美好的祝愿。

新年音乐会不光能加强我州传统中国文化传播和聚 焦出类拔萃艺术家，而且会让观众再次享受到听觉 飨宴，身心受到振奋。

各位付出的辛勤工作，做出的详细计划，展示的高 度热情，确保音乐会得以成行，在此我对参与本次 活动的各位表示衷心感谢，各位辛苦了！

我谨代表维多利亚州政府，祝参加音乐会的各位好 运连连，新春快乐。

祝我州庆祝兔年的各位和家人身体健康、幸福安 康、万事如意。

维多利亚州州长、议员 丹尼尔·安德鲁斯阁下

Welcome

Tonight we celebrate a very special occasion – the 10th anniversary of the Melbourne Symphony Orchestra’s Chinese New Year Concerts, presented in collaboration with Arts Centre Melbourne. On behalf of the Orchestra’s Board, musicians, and staff, it is an honour to have you join us at this milestone performance.

This year we celebrate the Year of the Rabbit and the MSO’s relationship with the Sichuan Province. Our program, includes beautiful works by Guan Xia, Ding Shande, and illustrating the exhilarating natural beauty of Sichuan, Sichuan Image, by Ye Xiaogang. Their compositions will be performed alongside western classical masterpieces by Donizetti and Tchaikovsky, as well as wonderful works by Chinese-Australian composer, Julian Yu, and Australian composer, Graeme Koehne. Our talented musicians will be led by Artistic Director and Chief Conductor of the Sichuan Symphony Orchestra, Darrell Ang, and acclaimed rising star Sichuan-Born soprano, Meigui Zhang.

Off stage, we will celebrate this anniversary concert through the announcement of a new three-year collaboration agreement with the Sichuan Symphony Orchestra, to further promote cultural connections, practical cooperation, and people-to-people links between Australia and China, and our sister provinces of Victoria and Sichuan.

I extend my special thanks to all our MSO and East meets West supporters, partners, and donors, including Program Supporters the Consulate-General of the People’s Republic of China in Melbourne, Ministry of Culture and Tourism of the People’s Republic of China, the National Foundation for Australia-China Relations.

Wishing you all a happy Chinese New Year, and good health and happiness in the year ahead.

David Li AM Chairman Melbourne Symphony Orchestra

今晚，我们将共庆特别时刻——墨尔本交响乐团与 墨尔本艺术中心合作举办的中国新年音乐会十周年 纪念演出。我谨代表乐团董事会、音乐家和工作人 员，很荣幸能邀请您参与这场意义非凡的演出。

本场音乐会庆贺的不仅是兔年的到来，还有MSO与 四川省缔结的友好关系。演出曲目包括关峡、丁善 德的优美作品，以及叶小纲描绘四川振奋人心的自 然美景的《四川印象》。此外还有多尼采蒂和柴可 夫斯基的西方古典音乐杰作，以及澳大利亚华裔作 曲家于京君和澳大利亚作曲家格雷姆·科恩的精彩 作品。

在本场演出中，四川交响乐团艺术总监兼首席指 挥家洪毅全将担任指挥、带领本团才华横溢的音乐 家，并由国际知名新星、四川女高音张玫瑰独唱。

此外，我们还将宣布与四川交响乐团签订为期三 年的新合作协议，为这场十周年纪念音乐会锦上添 花，并进一步推动中澳两国之间及姐妹省州（维多 利亚州与四川省）之间的“文化交流、务实合作、 民心相通”。

同时，特别感谢 MSO 和中西融合项目的所有支持 者、合作伙伴和捐助方，包括项目支持者中华人民 共和国驻墨尔本总领馆、中华人民共和国文化和旅 游部、澳中关系国家基金会。

祝大家新春快乐，在新的一年里 身体健康，万事如意！

李大伟 澳大利亚勋章获得者 墨尔本交响乐团董事会主席

The MSO is committed to a sustainable future for our art form and our audiences. As such, this program has been printed on Revive Laser stock. Revive Laser is 100% Recycled, and Certified Carbon Neutral against Climate Active Carbon Neutral Standard. Made in Australia by an ISO 14001 certified mill. No chlorine bleaching occurs in the recycling process.

墨尔本交响乐团致力于在艺术形式上和与观众互动方式上创造可持续的未来；因此， 本节目单为再生激光纸印刷。再生激光纸可100%回收利用，并得到气候活动碳中性标 准组织的碳中性认证。纸张由ISO 14001认证的工厂在澳制造。回收过程中无氯漂白。

Artists 艺术家

Melbourne Symphony Orchestra

Darrell Ang conductor

Meigui Zhang soprano

Angela Li piano

Musicians from Australian Dunhuang Arts Academy

The MSO also welcomes Ms Wang Chuan Zi from Sichuan Symphony Orchestra.

Program

GUAN XIA Symphonic Overture No.1

墨尔本交响乐团 指挥：洪毅全 女高音：张玫瑰

钢琴：李沈虹

澳大利亚敦煌艺术中心音乐家

墨尔本交响乐团同时对四川交响乐团的 王钏子女士表示欢迎。

DONIZETTI ‘Regnava nel silenzio’ from Lucia di Lamermoor

JULIAN YU Evolution

TCHAIKOVSKY The Sleeping Beauty Suite

GRAEME KOEHNE Elevator Music

DING SHANDE Four Chinese Folk Songs

YE XIAOGANG Sichuan Image

演出曲目

关峡 《第一交响序曲》

多尼采蒂 《拉美莫尔的露琪亚》选段《四周多么寂静》

于京君 《日新》

柴可夫斯基 《睡美人组曲》

格雷姆·科恩 《电梯音乐》

丁善德 《中国民歌四首》

叶小纲 《四川印象》

Running time: approximately 2 hours including a 20-minute interval. Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham AO, will be performed at this concert.

Please note audience members are strongly recommended to wear face masks where 1.5m distancing is not possible. In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.

演出时间：

约2小时，含20分钟中场休息。

本团通过音乐对原住民表示敬意，节目《恒久生活于斯》由澳大利亚勋章获得 者黛博拉·齐塔在本次音乐会上演出。

请观众注意，若您不能和他人保持1.5米距离，强烈建议请戴好口罩。 考虑其他观众，敬请各位将手机调至静音并调暗光照。

This concert may be recorded for future broadcast on MSO.LIVE

Acknowledging Country

In the first project of its kind in Australia, the MSO has developed a musical Acknowledgment of Country with music composed by Yorta Yorta composer Deborah Cheetham AO, featuring Indigenous languages from across Victoria. Generously supported by Helen Macpherson Smith Trust and the Commonwealth Government through the Australian National Commission for UNESCO, the MSO is working in partnership with Short Black Opera and Indigenous language custodians who are generously sharing their cultural knowledge.

The Acknowledgement of Country allows us to pay our respects to the traditional owners of the land on which we perform in the language of that country and in the orchestral language of music.

对原住民表示敬意

墨尔本交响乐团以音乐方式对原住 民表示敬意，音乐由原住民部落约 塔·约塔作曲家、澳大利亚勋章获 得者黛博拉·齐塔创作，以维州各 地原住民语言为特色；以音乐表示 敬意，属全澳首创。在海伦·麦克弗 森·史密斯信托基金和联邦政府的 大力支持下，通过教科文组织澳大 利亚全国委员会，墨尔本交响乐团 正与慷慨分享其文化知识的 Short Black 歌剧团和原住民语言监护人 开展合作。

《对原住民表示敬意》让我们有机 会向这片土地的传统主人表达敬 意，我们在这片土地上，用原住民 所说的语言、用音乐所表达的管弦 语言进行表演。

About Long Time Living Here

In all the world, only Australia can lay claim to the longest continuing cultures and we celebrate this more today than in any other time since our shared history began. We live each day drawing energy from a land which has been nurtured by the traditional owners for more than 2000 generations. When we acknowledge country we pay respect to the land and to the people in equal measure.

As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music. In order to compose the music for this Acknowledgement of Country Project I have had the great privilege of working with no fewer than eleven ancient languages from the state of Victoria, including the language of my late Grandmother, Yorta Yorta woman Frances McGee. I pay my deepest respects to the elders and ancestors who are represented in these songs of acknowledgement and to the language custodians who have shared their knowledge and expertise in providing each text.

I am so proud of the MSO for initiating this landmark project and grateful that they afforded me the opportunity to make this contribution to the ongoing quest of understanding our belonging in this land.

— Deborah Cheetham AO

恒久生活于斯

全世界只有澳大利亚可以自豪地宣称拥有全球历史最悠久的文化，自从与 原住民共同生活的历史开始以来，我们如今庆祝这一文化的时间比任何时 候都多。这片土地养育了2000多代传统的原住民，我们每天都从这片土地 上汲取能量。我们对原住民表示敬意时，就是对土地、对人民表示同等的 尊重。

作为作曲人，我擅长将我们原住民语言中的美和多样性与古典音乐的力和动 感强度相结合。为了创作这一“对原住民表示敬意”音乐，本曲采用了至少 十一种维多利亚州古时的语言，包括我已故祖母、约塔·约塔部落妇女弗朗 西斯·麦吉所说的语言。我在此向《对原住民表示敬意》之歌中所代表的原 住民长老和祖先、向分享其知识和技能并提供文本的语言守护者们，致以最 深的敬意。

墨尔本交响乐团能发起这一具有里程碑意义的项目，我深感骄傲，同时也 感谢乐团给我这个机会，让我不断探索，不断理解，不断找到归属，并为此 作出我的贡献。

澳勋章获得者：黛博拉·齐塔

Melbourne Symphony Orchestra

Established in 1906, the Melbourne Symphony Orchestra is Australia’s pre-eminent orchestra and a cornerstone of Victoria’s rich, cultural heritage.

Each year, the MSO engages with more than 5 million people, presenting in excess of 180 public events across live performances, TV, radio and online broadcasts, and via its online concert hall, MSO.LIVE, with audiences in 56 countries.

With a reputation for excellence, versatility and innovation, the MSO works with culturally diverse and First Nations leaders to build community and deliver music to people across Melbourne, the state of Victoria and around the world.

In 2022, the MSO’s new Chief Conductor, Jaime Martín has ushered in an exciting new phase in the Orchestra’s history. Maestro Martín joins an Artistic Family that includes Principal Guest Conductor Xian Zhang, Principal Conductor in Residence, Benjamin Northey, Conductor Laureate, Sir Andrew Davis CBE, Composer in Residence, Paul Grabowsky and Young Artist in Association, Christian Li.

The Melbourne Symphony Orchestra respectfully acknowledges the people of the Eastern Kulin Nations, on whose un-ceded lands we honour the continuation of the oldest music practice in the world.

墨尔本交响乐团

墨尔本交响乐团成立于 1906年，是澳大利亚杰出的交响乐团，也是维多利亚州丰富文化遗产的基石。

乐团通过现场表演、电视、广播、在线等形式，举办180多场公共活动，每年为500多万观众献上音乐节目，并通过 在线音乐厅MSO.LOVE播放节目，观众遍布56个国家。

乐团以卓越、多样、创新而闻名于世，并与多元文化社区和原住民领袖合作，共同建设社区，向墨尔本、维多利亚 州和世界各地的民众奉献音乐节目。

2022年，乐团新任首席指挥杰米·马丁开启了乐团历史上激动人心的新阶段。音乐大师马丁成为乐团这个艺术大家 庭的一员，其他音乐家还包括首席客座指挥张弦、首席驻团指挥本杰明·诺西、桂冠指挥安德鲁·戴维斯爵士、驻团 作曲家保罗·格拉博斯基、青年艺术家协会的客座艺术家李映衡等。

墨尔本交响乐团对原住民东库林部落人民表示敬意，在其永久生活的土地上，我们对世界上最古老音乐的延续表示敬意。

Sitting at the head of one of China’s leading orchestras, the Sichuan Symphony Orchestra, conductor Darrell Ang is fast becoming one of the most entrepreneurial and influential players in the musical landscape of China, as well as one of the foremost interpreters of contemporary Asian composers active on the global stage. In recognition of this, in 2022 he was engaged by the San Francisco Opera to conduct a 7-show production of Bright Sheng’s Dream of the Red Chamber, and will lead the Lunar New Year celebration of the Melbourne Symphony Orchestra in 2023.

Ang shot into the international spotlight in 2007 when he took all three top prizes at the prestigious 50th Besançon International Conducting Competition: Grand Prize, Audience Prize, and Orchestra Prize. Ang is celebrated globally as being in possession of a unique artistic mind and prodigious intellect. He enjoys a prolific guest conducting career globally, regularly conducting the leading orchestras of Asia, the Far East and Europe.

Ms. Zhang was born in Chengdu, Sichuan. She is a contracted soprano of the Metropolitan Opera and a deputy professor of the Vocal Opera faculty of the China Conservatory of Music. She has performed with many music masters worldwide, and has performed all over Asia, Europe, and America. She is known as the most promising young soprano active on the international stage today.

In 2012, she was admitted to the Sichuan Conservatory of Music with the first professional grade and studied in the Shanghai Conservatory of Music the following year under Professor Zhou Xiaoyan. In 2016, she was admitted to the Mannes School of Music in the United States for a master’s degree with a top scholarship. The 2022/23 seasons featured her debuts in the roles of Euridice in San Francisco Opera’s Orfeo ed Euridice, and her Atlanta Opera debut as Zerlina in Don Giovanni. She was also engaged as the soprano soloist in Mozart’s Requiem with the North Carolina Symphony, Brahms’ Requiem with the Calgary Philharmonic, and Bruckner’s Te Deum with the New Jersey Symphony. In the 2021/22 season performed with the Metropolitan Opera, as well as Barbarina in Le nozze di Figaro. She also made her debut at the San Francisco Opera starring in the lead role of Dai Yu in The Dream of the Red Chamber.

张玫瑰 女高音

四川交响乐团作为中国领先的交响乐团，其首席指挥洪毅 全先生正迅速成为中国音乐界最具创业精神和影响力的指 挥之一，同时也是活跃在全球舞台上的亚洲作曲家之一。

有鉴于此，他在 2022 年受邀于旧金山歌剧院，指挥了七场 由盛宗亮作曲的歌剧《红楼梦》，他还将在 2023 年墨尔本 交响乐团的中国新年庆祝演出中担任指挥。

2007 年，洪毅全先生在著名的第 50 届贝桑根国际指挥比赛

中获得三项最高奖项：特等大奖、观众大奖、交响乐奖， 成为国际关注的焦点。洪毅全先生因艺术造诣独特、领悟 能力超群而享誉全球。他在全球多国担任过客座指挥，经 常在亚洲、远东、欧洲等国的领先乐团担任指挥。

张玫瑰，出生于四川成都，美国大都会歌剧院签约歌唱 家，中国音乐学院声乐歌剧系副教授。她与众多世界音乐 大师均有合作，演出足迹遍布亚、欧、美洲，她被誉为活 跃在当今国际舞台上最有潜力的青年女高音歌唱家。

2012年，她以第一名的专业成绩考入四川音乐学院，次 年进入上海音乐学院，被周小燕教授选中并跟随其学习声 乐。2016年，以高额奖学金考入美国曼尼斯音乐学院硕士 研究生。2022/23 演出季，她重返旧金山歌剧院，在《奥 菲欧与尤丽狄刻》中饰演女主角尤丽狄刻，在亚特兰大歌 剧院的《唐璜》中饰演泽琳娜。北卡罗来纳交响乐团莫扎 特的安魂曲、卡尔加里爱乐乐团的勃拉姆斯安魂曲以及新 泽西交响乐团布鲁克纳的赞美诗的女高音独唱。2021/22 乐季，她受邀在美国大都会歌剧院出演歌剧《费加罗婚 礼》中的芭芭丽娜，以及《唐.卡洛》里的蒂博。2022年 6 月在美国旧金山歌剧院出演歌剧《红楼梦》中的林黛玉。

曾荣获2019 韦尔比耶音乐节最高荣誉“Prix Yves Paternot”大奖；挪威宋雅皇后国际声乐比赛决赛入围并 获奖； 2020 英国格林德博恩国际声乐比赛荣获“观众 最受喜爱奖”，美国纽约歌剧精萃国际声乐比赛第二名； 2021美国纽约Premiere Opera国际声乐大赛第一名。

Meigui Zhang soprano

Darrell Ang conductor

洪毅全 指挥

Accomplished Chinese-Australian pianist Angela Li was raised in an artistic family from Shanghai. She has been studying the piano since the age of four.

Angela obtained a Bachelor of Music and taught in the Shanghai Conservatorium of Music. in 1990 where she undertook postgraduate study at the Victoria College of Arts,Melbourne University under the most eminent Australia pianist, Stephen McIntyre AM.

Angela has appeared at many recitals performing both solo and chamber music in China and Australia. Her playing style is recognised for its exquisite touch and tonal range. In 2019

Angela performed violin virtuoso Lu Siqing at the Melbourne Recital Centre. In 2021, she performed Chopin Andante Spianato and Grande Polonaises Brillante with MSO in Myer Music Bowl. In 2022 she performed a piano and violin recital with internationally acclaimed violinist Ning Feng.

Angela Li has been appointed as an Artist in Residence of Sir Zelman Cowen School of Music, Monash University in 2020.

李沈虹 钢琴

李沈虹，知名华裔钢琴家，出身于音乐世家。获得音乐学 士学位后，任教于上海音乐学院。1990年继续在墨尔本大 学维多利亚艺术学院攻读研究生，师从澳大利亚最杰出的 钢琴家Stephen McIntyre AM。

她曾在澳中两国参加过众多独奏及室内音乐会，演奏触键 精致细腻，音色完美多变。2019年，她在墨尔本演奏中心 与MSO艺术大使、国际著名小提琴演奏家吕思清 (著名帕 格尼尼小提琴比赛一等奖获得者)合作演出；2021年, 她在 Myer墨尔本露天音乐剧场与MSO合作演奏了肖邦的《平静 的行板与华丽的大波兰舞曲》；2022年，她与国际知名小 提琴家宁峰成功举办钢琴和小提琴独奏音乐会。

李沈虹自2020年起被任命为蒙纳士大学泽尔曼·考恩爵士 音乐学院驻院艺术家。

Australia Dunhuang Arts Academy was established in 2015 in Melbourne. The core philosophy behind the Academy is based on the synergy between tradition and innovation.

The Academy believe in cultivating the inner curiosity and artistic talents that exist in all of us through exposure of Chinese traditional culture. Through appreciating the sound of the Erhu (bamboo flute) and hands on playing the near extinct art of KongHou (Chinese harp), a new world opens up. The Australian Dunhuang Arts Academy brand is also the sole authorised distributor in the Australian region for Dunhuang traditional Chinese music instrument craft to ensure our talents work with the best tools there are.

Since opening, the Academy always been committed to improving. Whether it’s simplifying operations or making courses more straightforward, we do everything possible to create the best learning environment.

澳大利亚敦煌艺术中心

澳大利亚敦煌艺术中心于 2015 年在墨尔本成立；成立的核 心理念是基于传统和创新，发挥协同作用。

艺术中心坚信通过弘扬中国传统文化，培养每个学习伙伴 的内在好奇心和艺术才能，通过欣赏二胡(竹笛)的声音， 包括亲身演奏近乎失传的箜篌艺术，一个新的世界得以 打开。

澳洲敦煌是上海敦煌乐器传统工艺在澳大利亚地区的唯一 授权分销商，高品质的乐器是音乐爱好者们最好的搭档。 自艺术中心创立以来，团队一直不断致力于自我完善。无 论是制定更契合要求的课程还是流程简化，中心都将竭力 创造最佳的学习环境。

Australian Dunhuang Arts Academy

Angela Li piano

Get closer to the Music

Become an MSO Patron

Help us deliver an annual Season of musical magic, engage world-renowned artists, and nurture the future of Australian orchestral music by becoming an MSO Patron.

Through an annual gift of $500 or more, you can join a group of like-minded musiclovers and enhance your MSO experience. Be the first to hear news from the MSO and enjoy exclusive MSO Patron activities, including behind-the-scenes access, special Patron pre-sales, and events with MSO musicians and guest artists.

To find out more, please call MSO Philanthropy on (03) 8646 1551, or scan the QR code.

Thank you for your support.

Chief

Jaime Martín,

Conductor Melbourne Symphony Orchestra

Program notes

GUAN XIA (born 1957)

Symphonic Overture No.1

Guan Xia’s Symphonic Overture No.1 (2003) is an orchestral piece based on the music in his national opera Dawn of Sorrow and soundtrack of the TV series The Years of Burning Passion

In 2001, Guan Xia composed the soundtrack for the TV series The Years of Burning Passion. He used the prelude that he composed for the three-act national opera Dawn of Sorrow in 1997 as the opening of the TV series, and continued to develop this musical theme throughout the piece, because “the two works have similarities in terms of digging out the sublime beauty of the spiritual level of that generation, expressing the feelings of heroism and idealism contained in ordinary people and their deep expression.” In 2003, the composer adapted and reconstructed the opera and TV soundtracks, sublimating it into the Symphonic Overture No.1.

The Symphonic Overture depicts a magnificent historical picture of the ancestors in the course of the Chinese revolution with lyrical piano melodies narrating feelings of no regrets after a difficult life. A high-spirited and energetic rush of frenzied percussion and brilliant brass intercepts, with all of the instrumental voices marching nervously around them. Struggle and hope contrast, returning to a temporary calm where a solo violin plays and like the stars inlaid in the vast sky, instrumental parts join one by one, and finally blooms into a soul-stirring scene. A shocking light –the woodwinds and strings set a sweet and peaceful scene of hope and glory. The music concludes with the return of the beginning theme, depicting the faith of burning passion.

© Translated and adapted from a note on Sin80 2018

DOMENICO GAETANO MARIA DONIZETTI (1797–1848)

‘Regnava nel silenzio’ from Lucia di Lamermoor

Meigui Zhang soprano

For European Romantics, Scotland seemed the most remote and mysterious place imaginable shrouded in mists and bursting with clan rivalry in a country ruled by a dynasty of monarchs whose members included some of history’s most famous martyrs. All of the great stories of Scottish history were vividly retold in a series of novels by Sir Walter Scott that were read throughout the world and became the basis of innumerable operas. Although not one of his better known novels nowadays, Scott’s The Bride of Lammermoor with its tragic heroine, was eagerly seized upon by libretto writers for operatic treatment and became the subject for operas that include settings by Adolphe Adam, Carafa, Rieschi, Bredal and Mazzucato. Donizetti’s version of 1835 is the most famous of all and has never disappeared from the repertoire.

The aria marks Lucia’s entry in the opera. Beside a fountain in a secluded part of the Ravenswood estate, Lucia Ashton awaits the arrival of her lover, Edgardo Ravenswood, the hated rival of her brother. In the first part of the aria, Lucia tells her confidante Alisa the legend of the fountain: one of the Ravenswoods murdered his wife in a fit of jealousy and her body was thrown into its waters. Lucia describes how her ghost appeared and beckoned her, showing the waters of the fountain had now become reddened with blood. Alisa

interprets Lucia’s story as an ill omen and warns that her affair with her brother’s rival can only lead to disaster. Lucia dismisses her fears and declares in a brilliant cabaletta that Edgardo’s love for her is her only joy in life.

Andrew Greene © 2009

JULIAN YU (born 1957) Evolution

Evolution was commissioned in 2018 by the Orchestra of the National Centre for the Performing Arts (NCPA) in Beijing to celebrate the tenth anniversary of its founding in March 2010. At the time of commissioning nobody knew that the Covid pandemic was soon to break out; the piece was composed in Melbourne during extensive lockdowns, so it was a relief to be able to write bright and cheerful music that would lift the spirits of listeners. The first performance was postponed for nine months, eventually taking place on 20 December 2020 at NCPA. Subsequently the piece was also broadcast online worldwide and performed in Suzhou, Wuhan and Changsha during the Orchestra’s anniversary tour.

The work combines Western composition techniques with elements of Chinese folk music. The first folksong-like theme is followed by a dance-like melody (both pentatonic), which are developed in canonic style until a real Chinese folk song (打连城) appears, steeped in nostalgia. The piece ends with a fanfare-like burst of joyful celebration.

© Julian Yu 2022

PETER ILYICH TCHAIKOVSKY (1840–1893)

The Sleeping Beauty : Suite

I. Introduction (The Lilac Fairy)

II. Adagio

IV. Panorama

V. Waltz

The Sleeping Beauty was the second of Tchaikovsky’s three ballets – completed between Swan Lake and The Nutcracker – and the first in which he worked with Russia’s revered choreographer Marius Petipa. In 1888 the Director of Imperial Theatres, Ivan Vsevolozhsky, proposed a ballet –based on Charles Perrault’s La Belle au bois dormant (1697) – that was to draw not only on the plot of the well-known fairytale but on the milieu of 17th century France. ‘I want to stage it in the style of Louis XIV…’ he wrote to Tchaikovsky. ‘If you like the idea, why don’t you write the music?’

Tchaikovsky did like the idea, and he completed the music in the knowledge that it was one of his best works and among the most profound. Ballet and concert audiences would agree. The Sleeping Beauty has become one of the best-loved ballets on the stage, as well as in the concert hall, most frequently in the suite realised by Alexander Siloti after the composer’s death. The suite highlights the qualities shared by Tchaikovsky’s symphonies and ballets alike: a sense of drama and irresistible movement, and an unsurpassed melodic quality.

The first movement is the most obviously symphonic in character. Based on two themes from the ballet’s Prologue (Aurora’s christening), it plays on the dramatic contrast between the uninvited, and furious, Carabosse and the Lilac

Fairy, whose gently melancholy entrance tempers the effect of Carabosse’s curse.

The ‘Rose’ Adagio from Act I begins with a harp cadenza introducing Princess Aurora, who has grown to be a lovely and graceful woman. She dances in turn with each of her four noble suitors to music of formal yet fervent grandeur.

In Act II, the Lilac Fairy leads Prince Désiré through the enchanted wood in an illusion created by a scrolling panorama. The music was required to accommodate the precise length of the canvas and Tchaikovsky obliged with a serene and gliding melody over throbbing chords. The final movement returns to Act I for one of the most beloved of Tchaikovsky’s waltzes.

Yvonne Frindle © 2003

GRAEME KOEHNE (born 1956)

Elevator Music

The composer writes:

‘Elevator music’ is the description by which one can register disdain for any kind of music which serves to give pleasure to ‘ordinary’ people. It has become a useful signifier of superiority over the tastes of the common herd, and an easy way to put in its place any excursion by orchestral musicians into the popular realm.

This derogatory attitude is misplaced. The 20 th century has produced a remarkable body of popular orchestral music, much of which contains genuinely creative and imaginative musicianship. Popular orchestral music is not always soporific – it’s often exhilarating.

My Elevator Music can be considered the third in a trilogy of works in which I’ve taken elements of popular music as my starting point; or rather, in which particular enthusiasms – new encounters for me – have stirred my musical imagination. In [my] Unchained Melody, it was the construction of popular song and the rhythmic conceptions of contemporary pop. In Powerhouse, it was the inventive music of Looney Tunes and Merrie Melodies cartoons (by Carl Stalling and Raymond Scott) and the Latin-American music of Xavier Cugat.

In Elevator Music, it’s the music of Les Baxter, Henry Mancini and John Barry that has given me ideas. All three composers built upon their classical schooling to integrate jazz and popular music into orchestral music. What’s distinctive about these three, among the legions of popular orchestral composers, is their interest in what was then called The Beat. John Barry, for instance, (before becoming the great composer of the James Bond movies), was something of a star of the burgeoning English rock’n’roll scene in the late 1950s. The John Barry Seven provided a perfect testing ground for Barry to forge a uniquely exciting form of instrumental music which accommodated The Beat ’s powerful influence. The timpanist in the John Barry Seven made a particularly important contribution, to which I’ve sought to pay homage.

As in the previous pieces of the ‘trilogy’, I haven’t used any of these composers’ actual material. I’ve made some observations about the ways they ‘use’ an orchestra, and launched my piece off on its own tangent.

The basic material of Elevator Music is a 12-tone agglomeration, consisting of two interlocking hexachords. I haven’t used any of the conventional 12-tone methods of developing this material, though. That’s where Messrs. Baxter, Mancini and Barry come in...which introduces a possibility I wish Schoenberg had thought of - one day while playing tennis with Gershwin, perhaps.

© Graeme Koehne

DING SHANDE (1911–1995)

Four Chinese Folk Songs

I. When Will the Sophora Flower Bloom?

II. Missing My Dear Mother

III. A Lovely Rose

IV. The Sun Brings Joy to All

Born in Kunshan, Jiangsu, Ding Shande was one of the pioneering Chinese composers who used Western compositional techniques in his music. This wasn’t always celebrated, however. His pieces were seen as contaminating Chinese music with foreign techniques. Ding’s reputation resurged about a decade before his death fortunately with the assistance of several protégé but notably his grandson Long Yu, a music director of China’s top three orchestras at the time.

Frédéric Chopin was a composer of interest to Ding. He published an article, Why Chinese can Accept and Understand Chopin’s Music, remarking on the spirit of patriotism and Chopin’s grief at the invasion of Poland, and how it resonated with Chinese people. Ding found similarities in his own music to Chopin’s, in not only the influences of war and invasions on their music, but in Chopin and Ding’s use of national compositional features and love of traditional folk tunes.

As the title suggests, The Four Chinese Folk Songs, four of which are being performed this evening, are based on Chinese folk songs, with melodies dating back to all the way back into the Ming (1368–1644 AD) and Qing Dynasty (1644–1912 AD). The songs tell the stories of awaiting the return of a lover, the suffering and hope during the Second Sino-Japanese war, young love, and missing your mother while away from home.

Adapted from notes by Jiarui Yao, Xu Zhou and Nadia Boulanger.

YE XIAOGANG (1955)

Sichuan Image

I. Prelude. Memory of Sichuan

II. Mt. Bashan

VI. A Night in Bazhong

VIII. Torrential Chuan River

X. Beichuan Region

XI. It Rains When Heaven Deems Fit

XII. The Bouldess Mt. Minshan

XVII. Mother Re-marries

XVIII. Qingcheng in the Rain

XX . The South of Mian River

XXIII Looking Up into Leshan

XXIV. Night Rain in Wenchuan

XXVI. The Love of Tianfu

XXVII. Fogs of Suining

XXVIII. Dreaming back to South Sichuan

XXIX. Epilogue: My Sichuan

Commissioned by the Sichuan Philharmonic Orchestra, the symphonic painting Sichuan Image consists of a number of short and atmospheric pieces composed to accompany filmed scenes.

Before starting work on the piece, Xiaogang Ye travelled on foot, visiting mountains, rivers, villages, towns and areas inhabited by ethnic minorities in Sichuan, where he was able to enjoy the unique natural scenery of western China as well as its thousand-year old historical sites. The composer’s musical reflections on what he experienced during the journey has contributed to the naming of the sections of Sichuan Image.

Certain titles, such as Mother Re-marries, reflects the daily life of the local people, sometimes humorously. Most of the images that appear in the work are unique to Sichuan, ranging from mountains to rivers, as well as silent and bleak, traditional Chinese landscapes. The large orchestra includes parts for four percussionists as well as a group of traditional Chinese instruments, each adding its particular colour to the work. The instruments are the erhu, a 2-string fiddle, and its lower-pitched relative zhonghu; pipa, a 4-string pearshaped lute; the bamboo flutes di and xiao, and sheng, the characteristic Chinese ‘mouth organ’. Sichuan Image was first performed on 25th December 2015 at the Pride Concert Hall in Chengdu by the Sichuan Philharmonic Orchestra conducted by Hao Cheng.

© Xiaogang Ye

关峡 (生于 1957年)

《第一交响序曲》

《第一交响序曲》是作曲家关峡于 2003 年根据其创作 的民族歌剧《悲怆的黎明》中的音乐及电视剧《激情燃 烧的岁月》配乐改编而成的一首管弦乐曲。

关峡于 2001 年创作了电视剧《激情燃烧的岁月》的配 乐，他将自己1997 年为三幕民族歌剧《悲怆的黎明》创 作的前奏曲作为电视剧的片头曲，并将该音乐主题继 续发展贯穿全曲，因为 “两部作品在挖掘那一代人心灵 层面的崇高美，表现普通人身上所蕴含的英雄主义和 理想主义的情怀及其深层表达方面有着异曲同工之 妙 ” 。2003 年，作曲家将歌剧配乐与电视剧配乐改编、 重构，升华成《第一交响序曲》。

《第一交响序曲》描绘出一幅中国历史进程中先辈们 前赴后继、波澜壮阔的画卷，钢琴旋律抒情委婉， 叙 述经历过艰难人生的无怨无悔之情。乐曲中部，在鼓声 狂燥的敲击之上，铜管奏出方才第一主题的变奏，所有 的声部都在紧张的行进。斗争与希望对比交织着，然而 鼓舞的力量从来没有放弃过。恢复到暂时的平静后，异 常柔美的小提琴独奏开启了一种可能，一个个乐器声部 逐次加入，仿佛镶嵌在广袤天空的星辰，一个一个的闪 烁，星光瀑布直落人间，最终绽放到一个令人震慑的光 明。木管声部与弦乐声部次第与小提琴交织，展现出一 幅甜美、稳定的安宁景象，充满着勃勃生机，蕴藏着无 限的力量与希望。乐曲的结尾回归到开场的主题，令人 回忆起曾经奋斗的荣光。

© Translated and adapted from a note on Sin80 2018

多尼采蒂 (1797–1848)

《拉美莫尔的露琪亚》选段《四周多么寂静》 女高音: 张玫瑰

对于欧洲浪漫主义者来说，苏格兰似乎是能够想象到 的最遥远、最神秘的地方，这里笼罩在迷雾之中，国家 由君主王朝统治，国度中充满了氏族争斗，其成员包括 一些历史上最著名的殉道者。沃尔特·司各特爵士所创 作的一系列小说，生动地重述了苏格兰历史上所有伟大 的故事，这些小说在世界各地广为传播，成为无数歌剧 的来源。虽然现在看来，司各特的《拉美莫尔的新娘》 并非其较为出名的小说，但其悲剧性的女主人公却激发 了许多剧本作家的灵感，将其剧本谱写为歌剧，其中包 括阿道夫·亚当、卡拉法、里耶希、布雷达尔·马祖卡托 等人的版本。多尼采蒂1835年版本在所有版本中最为著 名，从未从各种剧目中消失。

这首咏叹调标志着露琪亚在歌剧中的出场。在雷文斯 伍德庄园僻静处的喷泉旁，露琪亚·阿斯顿等待情人埃 德加·雷文斯伍德的到来，同时也是她哥哥痛恨的对 手。在咏叹调第一部分，露琪亚告诉红颜知己艾丽莎这 个喷泉的传说：雷文斯伍德家族中有人因妒杀妻，抛尸 入泉。露琪亚描述了鬼魂如何出现并向她招手，表明喷 泉之水现已被血染红。艾丽莎将露琪亚讲述的故事视

为不祥之兆，警告说她与哥哥对手的恋情，只会带来灾 难。露琪亚无视朋友的恐惧，并在精彩的卡巴莱塔咏叹 调中宣布，埃德加对她的爱是她一生中唯一的快乐。

Andrew Greene © 2009

于京君 (生于 1957年)

《日新》

《日新》于 2018 年由北京国家大剧院管弦乐团委托创

作，庆祝大剧院于2010年3月建团十周年纪念。委托时， 没人知道会发生新冠疫情；作品是在墨尔本大面积封 城期间创作的，因此作品能体现出明亮和欢快的乐调， 听众为之精神振奋，让人无比欣慰。第一次演出推迟九

2020 年 12 月20日在国家大剧院举行。随 后，该作品还在网上向全球播放，并在乐团建团周年纪 念巡演期间在苏州、武汉、长沙等地演出。

这部作品结合了西方作曲技术和中国民间音乐中的元 素。第一主题类似民歌，之后是类似舞蹈的旋律（均为 五声音阶），以卡农风格发展，直到出现一个真正的中 国民歌（打连城），让人沉浸于怀旧之中。这首曲子以 类似大鼓的欢快庆祝乐声结束。

© Julian Yu 2022

柴可夫斯基 (1840–1893)

《睡美人组曲》

I. 《序曲》(紫丁香仙子)

II. 慢板

IV. 全景

V. 华尔兹

《睡美人》是柴可夫斯基三部芭蕾舞剧中的第二部， 该剧在《天鹅湖》和《胡桃夹子》之间完成，也是他与 俄罗斯著名编舞家马里乌斯·佩蒂帕合作的第一部作 品。1888 年，帝国剧院院长伊凡·弗谢沃罗夫斯基提出 要创作一部芭蕾舞剧，舞剧取材于法国文豪夏尔·佩 罗的《睡美人》（1697），而且要借鉴这个著名童话故

事的情节，并运用 17 世纪法国的环境因素。“ 我想以路 易十四的风格来演出……”他给柴可夫斯基写信时说， “ 如果你喜欢我这个想法，不如由你来为这部芭蕾舞剧 谱曲?”

柴可夫斯基确实喜欢这一想法，并且创作了乐曲，他知 道这不仅是他一生中最好的作品之一，也是最深刻的作 品之一。芭蕾舞和音乐会的观众对此都毫无异议。《睡 美人》已成为舞台和乐厅中最受欢迎的芭蕾舞剧之一； 在柴可夫斯基去世后由亚历山大·西洛蒂完成的组曲 中最为常见。该组曲突出显示了柴可夫斯基的交响曲和 芭蕾舞剧所共有的品质、戏剧感和不可抗拒的乐章、无 与伦比的旋律质量等。

第一乐章展示出最明显的交响乐特征；乐章以芭蕾舞剧 《序幕》（《奥罗拉的洗礼》）中的两个主题为基础，在 不请自来、怒气冲天的卡拉博斯以及丁香仙子之间所发 生的戏剧性对比上做文章，后者温柔忧郁的出场，缓和 了卡拉博斯所发诅咒的效果。

第一幕中的 “玫瑰 ” 慢板以竖琴快板开始，介绍奥罗拉公 主，公主已经成人，可爱优雅；在正式而热烈的宏伟音 乐中，依次与四个贵族求婚者跳舞。

在第二幕中，丁香仙子带领德西雷王子在滚动全景图 所创造的幻觉中，穿过魔法森林。音乐需要符合画布的 精确长度，柴可夫斯基在悸动和弦上，通过宁静和滑行 旋律完成了任务。最后一个乐章回到第一幕，这是柴可 夫斯基最受欢迎的华尔兹之一。

Yvonne Frindle © 2003

格雷姆·科恩

(生于 1956年)

《电梯音乐》

作曲家写道：

《电梯音乐》是一种描述，通过这种描述，人们可以对 任何给 “ 普通大众 ” 带来快乐的音乐表示蔑视；这已成 为超越普通大众品味的一个有用标志，也是取代管弦 乐队音乐家进入流行领域的捷径。

这种蔑视贬低的态度很不合适。20 世纪产生了一批出 色的流行管弦乐，其中大部分都包含了真正的创造性和 想象力丰富的音乐技巧。流行的管弦乐并不总是让人 难受，相反，流行管弦乐常常让人振奋。

我的《电梯音乐》可视为三部曲中的第三部，在作品中， 我把流行音乐的元素作为起点；换言之，在作品中，特 殊的热情对我而言就是新的际遇，这激起了我的音乐 想象力。在我的《无拘旋律》中，这属于流行歌曲的结 构和当代流行音乐的节奏概念。在《动力室》中，是“ 疯 狂曲调 ” 和 “ 快乐旋律 ” 动画片中的创造性音乐（由卡 尔·施塔林和雷蒙德·斯科特创作）和泽维尔·库加特 的拉丁美洲音乐。

在《电梯音乐》中，则是莱斯·巴克斯特、亨利·曼西 尼、约翰·巴瑞的音乐给了我灵感。这三位作曲家在古 典学校教育基础上，将爵士乐和流行音乐融入管弦乐。

在众多流行管弦乐作曲家中，三位作曲家的独特之处在 于其对当时被称为“节拍”的音乐。例如，约翰·巴瑞（当

时尚未成为邦德电影的伟大作曲家）是 20 世纪 50 年代 末新兴的英国摇滚乐坛的明星。摇滚乐队” 约翰·巴瑞 七人组 ” 为巴瑞提供了完美的试验场，从而形成令人兴 奋的独特器乐形式，让 “ 节拍音乐 ”发挥出强大影响。约 翰·巴瑞七人组中的定音鼓手，对此做出了极为重要的 贡献，我在此对他表示敬意。

正如 “三部曲 ”中的前几首作品一样，我并未使用这些作 曲家的任何实际材料。我对他们所 “ 使用 ” 管弦乐队的 方式做了观察，并在我的作品充分展开。

《电梯音乐》的基本材料是一个 12 音的集合曲目，由两 个交错的六和弦组成。然而，我没有使用任何传统的 12 音阶方法来开发这一曲目；这里就是巴克斯特、曼西 尼、巴瑞充分发挥作用之处 或许有这样的可能性，

我希望勋伯格当时能想到这一点，或许在他与格什温 打网球的某一天。

© Graeme Koehne

丁善德 (1911–1995)

《中国民歌四首》

I. 《槐花几时开》

II. 《太阳出来喜洋洋》

III.《可爱的一朵玫瑰花》

IV. 《想亲娘》

丁善德生于江苏昆山，是音乐中使用西方作曲技术的中 国先锋作曲家之一；然而，这并不总是受到赞扬。其作 品被认为是通过外国技术污染了中国音乐。幸运的是， 在去世前十年，在其学生，尤其是在外孙余隆的帮助下， 丁善德的声誉又得以恢复，余隆是当时中国三大交响 乐团的音乐总监。

丁善德对作曲家弗雷德里克·肖邦很感兴趣；在其发 表的文章《中国人民为什么能够接收和欣赏肖邦的音 乐》，评论了肖邦的爱国主义情操和对波兰遭到入侵的 悲痛，以及其音乐如何引起中国人的共鸣。丁善德发现 自己的音乐与肖邦的音乐有相似之处，不仅是战争和入 侵对其音乐所产生的影响，而且也是肖邦和丁善德对民 族作曲特点的使用和对传统民间曲调的喜爱。

如题所示，《中国民歌四首》以中国民歌为基础，旋律 可追溯到明清两代。这些歌曲 讲述的是等待爱人归来 的故事、抗日战争期间遭受的痛苦和心中的希望、年轻 人的爱情、离家外出时对母亲的思念等故事。

改编自姚嘉瑞、周旭、娜迪亚·包灵杰的笔记。

叶小纲 (1955) 《四川印象》

I. 序：四川回忆

II. 巴山

VI. 巴中夜

VIII. 激流川江

X. 北川

XI. 天要下雨

XII. 岷山无际

XVII. 娘要嫁人

XVIII. 雨中青城

XX. 绵水之南

XXIII. 遥望乐山

XXIV. 汶川夜雨

XXVI. 天府情怀

XXVII. 遂宁迷雾

XXVIII. 梦回川南

XXIX. 尾声：我的四川

受四川爱乐乐团的委托，交响画《四川印象》由几首简 短而据艺术风格的乐曲组成，以配合所拍摄的场景。

开始创作这部作品之前，叶小纲徒步旅行，深入四川的 山脉、河流、村庄、城镇、民族居住区，欣赏西部独特的 自然风光以及千年的历史遗迹。通过音乐创作，叶小纲 对在旅途中所经历的事情进行反思，为《四川印象》各 章节的命名提供了灵感。

某些标题，如《娘要嫁人》，不但反映当地民众的日常 生活，有时还很幽默。作品中出现的大多数图像都是四 川所特有，从山川到河流，到寂静和苍凉的中国传统 风景。大型管弦乐队包括四个打击乐手，以及一组传统 的中国乐器，每一种乐器都为作品增添了其特殊色彩。 这些乐器包括二胡，以及其较低音调的中胡、琵琶、竹 笛、小笛还有中国特有 “ 口琴 ”——笙。《四川印象》于

2015年12月25日由四川爱乐乐团在成都艺术中心首演， 指挥程浩。

© Xiaogang Ye

Musicians Performing in this Concert

FIRST VIOLINS

Tair Khisambeev

Assistant Concertmaster

Di Jameson and Frank Mercurio#

Peter Edwards

Assistant Principal

Kirsty Bremner

Amanda Chen*

Sarah Curro

Peter Fellin

Karla Hanna*

Lorraine Hook

Anne-Marie Johnson

Kirstin Kenny

Michael Loftus-Hills*

Eleanor Mancini

Mark Mogilevski

Michelle Ruffolo

SECOND VIOLINS

Robert Macindoe

Associate Principal

Mary Allison

Isin Cakmakcioglu

Jacqueline Edwards*

Freya Franzen

Cong Gu

Newton Family in memory of Rae Rothfield#

Andrew Hall

Lynette Rayner*

Isy Wasserman

Philippa West

Andrew Dudgeon AM#

Patrick Wong

Hyon Ju Newman#

VIOLAS

Christopher Moore Principal

Di Jameson and Frank Mercurio#

Merewyn Bramble*

Katharine Brockman

Anthony Chataway

Dr Elizabeth E Lewis AM#

William Clark*

Caroline Henbest*

Trevor Jones

Anne Neil#

Isabel Morse*

Fiona Sargeant

Heidi von Bernewitz*

CELLOS

David Berlin Principal

Rachael Tobin Associate Principal

Elina Faskhi*

Joseph Kelly*

Rohan de Korte

Andrew Dudgeon AM#

Kalina Krusteva*

Rebecca Proietto*

Angela Sargeant

Michelle Wood

Andrew and Judy Rogers#

DOUBLE BASSES

Caitlin Bass*

Rohan Dasika

Benjamin Hanlon

Frank Mercurio and Di Jameson#

Suzanne Lee

Vivian Qu Siyuan*

Emma Sullivan*

FLUTES

Prudence Davis Principal

Anonymous#

Wendy Clarke Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal

OBOES

Michael Pisani Acting Principal

Ann Blackburn The Rosemary Norman Foundation#

Rachel Curkpatrick

COR ANGLAIS

Rachel Curkpatrick* Guest Principal

CLARINETS

David Thomas Principal

Craig Hill BASS CLARINET

Robin Henry* Guest Principal

BASSOONS

Elise Millman

Associate Principal

Matthew Kneale*

CONTRABASSOON

Cameron Burnes* Guest Principal

HORNS

Peter Luff* Guest Principal

Abbey Edlin Nereda Hanlon and Michael Hanlon AM#

Robert McMillan*

Rachel Shaw

Gary McPherson#

Mel Simpson*

TRUMPETS

Owen Morris Principal

Shane Hooton Associate Principal Glenn Sedgwick#

William Evans

Rosie Turner

John and Diana Frew#

TROMBONES

David Binder* Acting Principal

Richard Shirley

Mike Szabo

Principal Bass Trombone

TUBA

Max Castor* Guest Principal

TIMPANI

John Arcaro

Tim and Lyn Edward#

PERCUSSION

Robert Allan*

Robert Cossom

Drs Rhyl Wade and Clem Gruen#

Conrad Nilsson*

Greg Sully*

HARP

Melina van Leeuwen* Guest Principal

PIANO

Louisa Breen*

MUSICIANS FROM THE AUSTRALIA DUNHUANG ARTS ACADEMY

Xiao & Dizi Qiuming Dong

Pipa

Ying Yang

Erhu

Dong Ma

Sheng

Wenrui Zhao

# Position supported by * Guest Musician

THE YEAR OF THE RABBIT

OFFICIAL DESSERT

SUPPLIER OF MSO

Supporters

MSO PATRON

The Honourable Linda Dessau AC, Governor of Victoria

CHAIRMAN’S CIRCLE

Mr Marc Besen AC and the late Mrs Eva Besen AO Gandel Foundation

The Gross Foundation

Di Jameson and Frank Mercurio

Harold Mitchell Foundation

Lady Potter AC CMRI

The Cybec Foundation

The Pratt Foundation

The Ullmer Family Foundation

Anonymous

ARTIST CHAIR BENEFACTORS

Chief Conductor Jaime Martín

Mr Marc Besen AC and the late Mrs Eva Besen AO

Cybec Assistant Conductor Chair

Carlo Antonioli The Cybec Foundation

Concertmaster Chair Dale Barltrop

David Li AM and Angela Li

Assistant Concertmaster

Tair Khisambeev Di Jameson and Frank Mercurio

Young Composer in Residence

Alex Turley The Cybec Foundation

2023 Composer in Residence

Mary Finsterer Kim Williams AM

PROGRAM BENEFACTORS

MSO Now & Forever Fund: International Engagement Gandel Foundation

Cybec 21st Century Australian Composers Program The Cybec Foundation

Digital Transformation

The Ian Potter Foundation, The Margaret Lawrence Bequest – Managed by Perpetual, Perpetual Foundation –Alan (AGL) Shaw Endowment

First Nations Emerging Artist Program

The Ullmer Family Foundation

East meets West The Li Family Trust

MSO Live Online Crown Resorts Foundation, Packer Family Foundation

MSO Education Anonymous

MSO Academy Di Jameson and Frank Mercurio

MSO For Schools Crown Resorts Foundation, Packer Family Foundation, The Department of Education and Training, Victoria, through the Strategic Partnerships Program and the Victorian Challenge and Enrichment Series (VCES)

Melbourne Music Summit Erica Foundation Pty Ltd, The Department of Education and Training, Victoria, through the Strategic Partnerships Program

MSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, John T Reid Charitable Trusts, Robert Salzer Foundation, The Sir Andrew & Lady Fairley Foundation

The Pizzicato Effect Supported by Hume City Council’s Community Grants program, The Marian and E.H. Flack Trust, Scobie and Claire Mackinnon Trust, Australian Decorative And Fine Arts Society, Anonymous

Sidney Myer Free Concerts Supported by the Sidney Myer MSO Trust Fund and the University of Melbourne

PLATINUM PATRONS $100,000+

Mr Marc Besen AC and the late Mrs Eva Besen AO Gandel Foundation

The Gross Foundation

Di Jameson and Frank Mercurio

David Li AM and Angela Li

Anonymous (1)

VIRTUOSO PATRONS $50,000+

Margaret Jackson AC

The Ullmer Family Foundation

Lady Primrose Potter AC

Weis Family

Anonymous (1)

IMPRESARIO PATRONS $20,000+

Harold Bentley

The Hogan Family Foundation

David Krasnostein AM and Pat Stragalinos

Opalgate Foundation

Elizabeth Proust AO and Brian Lawrence

Lady Marigold Southey AC

Kim Williams AM

Anonymous (1)

MAESTRO PATRONS $10,000+

Christine and Mark Armour

Margaret Billson and the late Ted Billson

Shane Buggle and Rosie Callanan

Krystyna Campbell-Pretty AM

Andrew Dudgeon AM

Colin Golvan AM KC and Dr Deborah Golvan

Danny Gorog and Lindy Susskind

Doug Hooley

Peter Lovell

Maestro Jaime Martin

Ian and Jeannie Paterson

Glenn Sedgwick

The Sun Foundation

Gai and David Taylor

Athalie Williams and Tim Danielson

Lyn Williams

Jason Yeap OAM – Mering Management Corporation

Anonymous (2)

PRINCIPAL PATRONS $5,000+

Mary Armour

John and Lorraine Bates

Barbara Bell in memory of Elsa Bell

Bodhi Education Fund (East meets West)

John Coppock OAM and Lyn Coppock

Perri Cutten and Jo Daniell

Ann Darby in memory of Leslie J. Darby

Mary Davidson and the late Frederick Davidson AM

The Dimmick Charitable Trust

Tim and Lyn Edward

Jaan Enden

Bill Fleming

Don Fry AO and Susan Fry

Sophie Galaise and Clarence Fraser

Geelong Friends of the MSO

Jennifer Gorog

Dr Rhyl Wade and Dr Clem Gruen

Cecilie Hall and the late Hon Michael Watt KC

Hilary Hall, in memory of Wilma Collie

Louis Hamon OAM

Dr Alastair Jackson AM

Dr John and Diana Frew

Suzanne Kirkham

Dr Elizabeth A Lewis AM

Sherry Li

Dr Caroline Liow

Gary McPherson

The Mercer Family Foundation

Nereda Hanlon and Michael Hanlon AM

Marie Morton FRSA

Anne Neil

Hyon-Ju Newman

Newton Family in memory of Rae Rothfield

Ken Ong OAM

Bruce Parncutt AO

Dr Rosemary Ayton and Dr Sam Ricketson

Andrew and Judy Rogers

Rosemary and the late Douglas Meagher

The Rosemary Norman Foundation

Guy Ross

The Kate and Stephen Shelmerdine

Family Foundation

Helen Silver AO and Harrison Young

Anita Simon

Brian Snape AM

Dr Michael Soon

Dawna Wright and Peter Riedel

Anonymous (2)

ASSOCIATE PATRONS $2,500+

Carolyn Baker

Marlyn Bancroft and Peter Bancroft OAM

Sue and Barry Peake

Sascha O. Becker

Janet H Bell

Julia and Jim Breen

Alan and Dr Jennifer Breschkin

Patricia Brockman

Drs John D L Brookes and Lucy V Hanlon

Stuart Brown

Lynne Burgess

Dr Lynda Campbell

Oliver Carton

Janet Chauvel and the late Dr Richard Chauvel

Breen Creighton and Elsbeth Hadenfeldt

Katherine Cusack

Michael Davies

Leo de Lange

Sandra Dent

Elaine Walters OAM

Barry Fradkin OAM and Dr Pam Fradkin

Carrillo Gantner AC and Ziyin Gantner

Kim and Robert Gearon

Steinicke Family

Janette Gill

R Goldberg and Family

Goldschlager Family Charitable

Foundation

Catherine Gray

Merv Keehn and Sue Harlow

Susan and Gary Hearst

Hartmut and Ruth Hofmann

Paul and Amy Jasper

John Jones

Graham and Jo Kraehe

The Cuming Bequest

Margaret and John Mason OAM

H E McKenzie

Dr Isabel McLean

Ian Merrylees

Patricia Nilsson

Dr Paul and Sue Nisselle

Alan and Dorothy Pattison

David and Nancy Price

Peter Priest

Ruth and Ralph Renard

Tom and Elizabeth Romanowski

Liliane Rusek and Alexander Ushakoff

Jeffrey Sher KC and Diana Sher OAM

Peter J Stirling

Jenny Tatchell

Dr Clayton and Christina Thomas

Janet Whiting AM

Nic and Ann Willcock

Anonymous (4)

PLAYER PATRONS $1,000+

Dr Sally Adams

Anita and Graham Anderson

Australian Decorative & Fine Arts Society (ADFAS)

Geoffrey and Vivienne Baker

Joyce Bown

Nigel Broughton and Sheena Broughton

Elizabeth Brown

Suzie Brown OAM and the late Harvey Brown

Ronald and Kate Burnstein

Kaye Cleary

John and Mandy Collins

Andrew Crockett AM and Pamela Crockett

Panch Das and Laurel Young-Das

Natasha Davies, for the Trikojus Education Fund

Rick and Sue Deering

Suzanne Dembo

John and Anne Duncan

Jane Edmanson OAM

Diane Fisher

Grant Fisher and Helen Bird

Alex Forrest

Frank Tisher OAM and Dr Miriam Tisher

Applebay Pty Ltd

David and Esther Frenkiel OAM

Anthony Garvey and Estelle O’Callaghan

David I Gibbs AM and Susie O’Neill

Sonia Gilderdale

Dr Marged Goode

Dr Sandra Hacker AO and Mr Ian Kennedy AM

Dawn Hales

David Hardy

Tilda and the late Brian Haughney

Cathy Henry

Dr Keith Higgins

Anthony and Karen Ho

Peter and Jenny Hordern

Katherine Horwood

Penelope Hughes

Shyama Jayaswal

Basil and Rita Jenkins

Sandy Jenkins

Sue Johnston

John Kaufman

Angela Kayser

Irene Kearsey & Michael Ridley

Drs Bruce and Natalie Kellett

Dr Anne Kennedy

Tim Knaggs

Jane Kunstler

Ann Lahore

Kerry Landman

Kathleen and Coran Lang

Janet and Ross Lapworth

Bryan Lawrence

Diana Lay

Phil Lewis

Elizabeth H Loftus

Chris and Anna Long

Gabe Lopata

Eleanor & Phillip Mancini

Aaron McConnell

Wayne McDonald and Kay Schroer

John and Rosemary McLeod

Don and Anne Meadows

Dr Eric Meadows

Sylvia Miller

Ian Morrey and Geoffrey Minter

Anthony Morton

Laurence O’Keefe and Christopher James

Roger Parker

Ian Penboss

Eli Raskin

Jan and Keith Richards

James Ring

Dr Peter Rogers and Cathy Rogers OAM

Dr Ronald and Elizabeth Rosanove

Marie Rowland

Jan Ryan

Elisabeth and Doug Scott

Glenn Sedgwick

Martin and Susan Shirley

P Shore

John E Smith

Dr Peter Strickland

Dr Joel Symons and Liora Symons

Russell Taylor and Tara Obeyesekere

Geoffrey Thomlinson

Andrew and Penny Torok

Christina Turner

Ann and Larry Turner

Leon and Sandra Velik

The Reverend Noel Whale

Edward & Paddy White

Terry Wills Cooke OAM and the late

Marian Wills Cooke

Richard Withers

Lorraine Woolley

Shirley and Jeffrey Zajac

Anonymous (11)

OVERTURE PATRONS $500+*

Margaret Abbey PSM

Jane Allan and Mark Redmond

Mario M Anders

Jenny Anderson

Benevity Australia Online Giving Foundation

Mr Peter Batterham

Peter Berry and Amanda Quirk

Dr William Birch AM

Allen and Kathryn Bloom

Stephen Braida

Linda Brennan

Dr Robert Brook

Roger and Coll Buckle

Cititec Systems Pty Ltd

Charmaine Collins

Dr Sheryl Coughlin and Paul Coughlin

Judith Cowden in memory of violinist

Margaret Cowden

Dr Oliver Daly and Matilda Daly

Merrowyn Deacon

Bruce Dudon

Melissa and Aran Fitzgerald

Brian Florence

Elizabeth Foster

Mary Gaidzkar

Simon Gaites

Dr Mary-Jane Gething

David and Geraldine Glenny

Hugo and Diane Goetze

Louise Gourlay OAM

George Hampel AM KC and Felicity Hampel AM SC

Jim Hickey

William Holder

Clive and Joyce Hollands

R A Hook

Gillian Horwood

Peter Huntsman

Geoff and Denise Illing

Wendy Johnson

John Keys

Belinda King

Professor David Knowles and Dr Anne McLachlan

Paschalina Leach

Dr Jenny Lewis

Sharon Li

The Podcast Reader

Janice Mayfield

Shirley A McKenzie

Dr Alan Meads and Sandra Boon

Marie Misiurak

Joan Mullumby

Dr Judith S Nimmo

David Oppenheim

Sarah Patterson

Pauline and David Lawton

Adriana and Sienna Pesavento

Professor Charles Qin OAM and Kate Ritchie

Alfonso Reina and Marjanne Rook

Professor John Rickard

Carolyn Sanders

Dr Alex and Janet Starr

Dylan Stewart

Ruth Stringer

Reverend Angela Thomas

Max Walters

Rosemary Warnock

Nickie Warton and Grant Steel

Amanda Watson

Deborah Whithear and Dr Kevin Whithear OAM

Dr Kelly and Dr Heathcote Wright

Dr Susan Yell

Daniel Yosua

Anonymous (17)

CONDUCTOR’S CIRCLE

Jenny Anderson

David Angelovich

G C Bawden and L de Kievit

Lesley Bawden

Joyce Bown

Mrs Jenny Bruckner and the late Mr John Bruckner

Ken Bullen

Peter A Caldwell

Luci and Ron Chambers

Beryl Dean

Sandra Dent

Alan Egan JP

Gunta Eglite

Marguerite Garnon-Williams

Drs L C Gruen and R W Wade

Louis J Hamon AOM

Carol Hay

Jennifer Henry

Graham Hogarth

Rod Home

Tony Howe

Lindsay and Michael Jacombs

Laurence O’Keefe and Christopher James

John Jones

Grace Kass and the late George Kass

Sylvia Lavelle

Pauline and David Lawton

Cameron Mowat

Ruth Muir

David Orr

Matthew O’Sullivan

Rosia Pasteur

Penny Rawlins

Joan P Robinson

Anne Roussac-Hoyne and Neil Roussac

Michael Ryan and Wendy Mead

Andrew Serpell and Anne Kieni Serpell

Jennifer Shepherd

Suzette Sherazee

Dr Gabriela and Dr George Stephenson

Pamela Swansson

Lillian Tarry

Tam Vu and Dr Cherilyn Tillman

Mr and Mrs R P Trebilcock

Peter and Elisabeth Turner

Michael Ulmer AO

The Hon. Rosemary Varty

Terry Wills Cooke OAM and the late Marian Wills Cooke

Mark Young

Anonymous (19)

The MSO gratefully acknowledges the support of the following Estates:

Norma Ruth Atwell

Angela Beagley

Christine Mary Bridgart

The Cuming Bequest

Margaret Davies

Neilma Gantner

The Hon Dr Alan Goldberg AO QC

Enid Florence Hookey

Gwen Hunt

Family and Friends of James Jacoby

Audrey Jenkins

Joan Jones

Pauline Marie Johnston

C P Kemp

Peter Forbes MacLaren

Joan Winsome Maslen

Lorraine Maxine Meldrum

Prof Andrew McCredie

Jean Moore

Maxwell Schultz

Miss Sheila Scotter AM MBE

Marion A I H M Spence

Molly Stephens

Halinka Tarczynska-Fiddian

Jennifer May Teague

Albert Henry Ullin

Jean Tweedie

Herta and Fred B Vogel

Dorothy Wood

COMMISSIONING CIRCLE

Mary Armour

The late Hon Michael Watt KC and Cecilie Hall

Tim and Lyn Edward

Kim Williams AM

Weis Family

FIRST NATIONS CIRCLE

John and Lorraine Bates

Colin Golvan AM KC and Dr Deborah Golvan

Sascha O. Becker

Maestro Jaime Martín

Elizabeth Proust AO and Brian Lawrence

The Kate and Stephen Shelmerdine Family Foundation

Michael Ullmer AO and Jenny Ullmer

Jason Yeap OAM – Mering Management Corporation

ADOPT A MUSICIAN

Mr Marc Besen AC and the late Mrs Eva Besen AO

Chief Conductor Jaime Martín

Shane Buggle and Rosie Callanan

Roger Young

Andrew Dudgeon AM

Rohan de Korte, Philippa West

Tim and Lyn Edward

John Arcaro

Dr John and Diana Frew

Rosie Turner

Sophie Galaise and Clarence Fraser

Stephen Newton

Geelong Friends of the MSO

Miranda Brockman

The Gross Foundation

Matthew Tomkins

Dr Clem Gruen and Dr Rhyl Wade

Robert Cossom

Danny Gorog and Lindy Susskind

Monica Curro

Cecilie Hall and the late Hon Michael Watt KC

Saul Lewis

Nereda Hanlon and Michael Hanlon AM

A bbey Edlin

Margaret Jackson AC

Nicolas Fleury

Di Jameson and Frank Mercurio

Benjamin Hanlon, Tair Khisambee, Christopher Moore

Dr Elizabeth A Lewis AM

Anthony Chataway

David Li AM and Angela Li

Dale Barltrop

Gary McPherson

Rachel Shaw

Anne Neil

Trevor Jones

Hyon-Ju Newman

Patrick Wong

Newton Family in memory of Rae

Rothfield

Cong Gu

The Rosemary Norman Foundation

Ann Blackburn

Andrew and Judy Rogers

Michelle Wood

Glenn Sedgwick

Tiffany Cheng, Shane Hooton

Dr Martin Tymms and Patricia Nilsson

Natasha Thomas

Anonymous

Prudence Davis

HONORARY APPOINTMENTS

Life Members

Mr Marc Besen AC

John Gandel AC and Pauline Gandel AC

Sir Elton John CBE

Harold Mitchell AC

Lady Potter AC CMRI

Jeanne Pratt AC

Michael Ullmer AO and Jenny Ullmer

Anonymous

MSO Ambassador

Geoffrey Rush AC

The MSO honours the memory of Life Members

Mrs Eva Besen AO

John Brockman OAM

The Honourable Alan Goldberg AO QC

Roger Riordan AM

Ila Vanrenen

Trusts and Foundations

MSO ARTISTIC FAMILY

Jaime Martín

Chief Conductor

Xian Zhang

Principal Guest Conductor

Benjamin Northey

Principal Conductor in Residence

Carlo Antonioli

Cybec Assistant Conductor Fellow

Sir Andrew Davis

Conductor Laureate

Hiroyuki Iwaki † Conductor Laureate (1974–2006)

Warren Trevelyan-Jones

MSO Chorus Director

Siobhan Stagg

2023 Soloist in Residence

Gondwana Voices

2023 Ensemble in Residence

Christian Li

Young Artist in Association

Mary Finsterer

2023 Composer in Residence

Melissa Douglas

2023 Cybec Young Composer in Residence

Christopher Moore

Creative Producer, MSO Chamber

Deborah Cheetham AO

MSO First Nations Creative Chair

Dr Anita Collins

Creative Chair for Learning and Engagement

Artistic Ambassadors

Tan Dun

Lu Siqing

MSO BOARD

Chairman

David Li AM

Co-Deputy Chairs

Di Jameson

Helen Silver AO

Managing Director

Sophie Galaise

Board Directors

Shane Buggle

Andrew Dudgeon AM

Danny Gorog

Lorraine Hook

Margaret Jackson AC

David Krasnostein AM

Gary McPherson

Hyon-Ju Newman

Glenn Sedgwick

Company Secretary

Oliver Carton

The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our supporters 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:

$500+ (Overture)

$1,000+ (Player)

$2,500+ (Associate)

$5,000+ (Principal)

$10,000+ (Maestro)

$20,000+ (Impresario)

$50,000+ (Virtuoso)

$100,000+ (Platinum)

Enquiries

P (03) 8646 1551

E philanthropy@mso.com.au

The Sir Andrew and Lady Fairley Foundation, Flora & Frank Leith Trust, Perpetual Foundation – Alan (AGL) Shaw Endowment, Sidney Myer MSO Trust Fund

Premier Partners Principal Partner

Venue Partner Major Partners

Orchestral Training Partner

Media and Broadcast Partners

Government Partners

Supporting Partners

East meets West Program Supporters

Program Supporters

Consulate General of the People’s Republic of China in Melbourne

Supporting Partners

Ministry of Culture and Tourism China

Consortium Partners

Education Partner

Supporters

Xiaojian Ren & Qian Li Mr Wanghua Chu Dr Shirley Chu

Quest Southbank

Ernst & Young

Bows for Strings

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.