CONCERT PROGRAM JUNE 2021 SCHUBERT ’S UNFINISHED SY M P H O N Y H AY D N ’ S M I R AC L E SY M P H O N Y
Be Part of Our Story Across the decades, the MSO has been part of thousands of lifelong musical journeys. Following the challenges of the last year, our return to the stage has imbued our 2021 Season with a heightened sense of emotion, excitement, and significance. Thank you for sharing it with us tonight. Your support today is as vital as it ever has been and will ensure we can continue to create musical magic for generations to come.
Click to donate mso.com.au/give
CONTENTS
04
THE MELBOURNE SYMPHONY ORCHESTRA Acknowledging Country Your MSO Guest Musicians
10
SCHUBERT’S UNFINISHED SYMPHONY
16
HAYDN’S MIRACLE SYMPHONY
23
SUPPORTERS
These concerts will be available for future broadcast on MSO.LIVE.
mso.com.au
(03) 9929 9600
Our Artistic Family
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. Australian National Commission for UNESCO United Nations Educational, Scientific and Cultural Organization
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.
4
— Deborah Cheetham AO
Our Artistic Family
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. 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 MSO has been the sound of the city of Melbourne since 1906. The MSO regularly attracts great artists from around the globe including AnneSophie Mutter, Lang Lang, Renée 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.
5
Your MSO Xian Zhang
Principal Guest Conductor
Benjamin Northey Principal Conductor in Residence
Nicholas Bochner
Cybec Assistant Conductor
Sir Andrew Davis Conductor Laureate
Hiroyuki Iwaki †
Conductor Laureate (1974–2006)
FIRST VIOLINS Dale Barltrop Concertmaster
Sophie Rowell
Concertmaster The Ullmer Family Foundation#
Tair Khisambeev
Assistant Concertmaster Di Jameson and Frank Mercurio#
Peter Edwards
Assistant Principal
Kirsty Bremner Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Barbara Bell, in memory of Elsa Bell#
Kirstin Kenny Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor
6
SECOND VIOLINS
CELLOS
Matthew Tomkins
David Berlin
Principal The Gross Foundation#
Robert Macindoe Associate Principal
Monica Curro
Assistant Principal Danny Gorog and Lindy Susskind#
Mary Allison Isin Cakmakcioglu Tiffany Cheng Freya Franzen Danny Gorog and Lindy Susskind#
Cong Gu Andrew Hall Isy Wasserman Philippa West Patrick Wong Roger Young VIOLAS Christopher Moore Principal Di Jameson#
Christopher Cartlidge Associate Principal
Lauren Brigden Katharine Brockman Anthony Chataway
Dr Elizabeth E Lewis AM#
Gabrielle Halloran Trevor Jones Anne Neil#
Fiona Sargeant Cindy Watkin
Learn more about our musicians on the MSO website.
Principal
Rachael Tobin
Associate Principal
Nicholas Bochner Assistant Principal
Miranda Brockman
Geelong Friends of the MSO#
Rohan de Korte
Andrew Dudgeon#
Sarah Morse Angela Sargeant Michelle Wood
Andrew and Judy Rogers#
DOUBLE BASSES Benjamin Hanlon
Frank Mercurio and Di Jameson#
Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#
FLUTES Prudence Davis Principal Anonymous#
Wendy Clarke
Associate Principal
Sarah Beggs
Sophia Yong-Tang#
PICCOLO Andrew Macleod
Principal John McKay and Lois McKay#
OBOES Thomas Hutchinson
Associate Principal
Ann Blackburn
The Rosemary Norman Foundation#
HORNS Nicolas Fleury
Principal Margaret Jackson AC#
Saul Lewis
COR ANGLAIS
Principal Third The Hon Michael Watt QC and Cecilie Hall#
Michael Pisani
Abbey Edlin
Principal Beth Senn#
Nereda Hanlon and Michael Hanlon AM#
CLARINETS
Trinette McClimont Rachel Shaw
David Thomas
Principal
TRUMPETS
Philip Arkinstall
Owen Morris
Associate Principal
Craig Hill BASS CLARINET Jon Craven Principal
Elise Millman
Anonymous#
CONTRABASSOON Brock Imison
Robert Cossom
Drs Rhyl Wade and Clem Gruen#
HARP Yinuo Mu Principal
William Evans Rosie Turner
TROMBONES
Dr Martin Tymms and Patricia Nilsson#
Anonymous#
Associate Principal Glenn Sedgwick#
Jack Schiller
Natasha Thomas
John Arcaro
Shane Hooton
John and Diana Frew#
Associate Principal
PERCUSSION
Principal
BASSOONS Principal
TIMPANI
Richard Shirley
Mike Szabo
Principal Bass Trombone
TUBA Timothy Buzbee
Principal
Principal
# Position supported by
7
Guest musicians
Guest Musicians SCHUBERT’S UNFINISHED SYMPHONY Viola Molly Collier-O’Boyle Assistant Principal
Double Bass Rohan Dasika
Assistant Principal
Oboe Shefali Pryor*
Trombone Jessica Buzbee
Harmonium Jacob Abela
Timpani Brent Miller
Celeste Louisa Breen
Principal Timpani
Harp Carolyn Burgess
Piano Leigh Harrold
HAYDN’S MIRACLE SYMPHONY Viola Molly Collier-O’Boyle Assistant Principal
Double Bass Rohan Dasika
Assistant Principal
8
Oboe Emmanuel Cassimatis
Trombone Jessica Buzbee
French Horn William Tanner Ian Wildsmith Peter Luff
Timpani Brent Miller
Information correct as of 3 June 2021
Principal Timpani
Harp Carolyn Burgess
* Appears courtesy of Sydney Symphony Orchestra
Live the French way Sofitel Melbourne On Collins, 25 Collins Street, Melbourne, Victoria. Book your stay at sofitel-melbourne.com.au PARIS – MELBOURNE – SYDNEY – LONDON – NEW YORK – BEIJING – BALI
Schubert’s Unfinished Symphony Thursday 24 June | 6pm Livestreamed from Arts Centre Melbourne, Hamer Hall Melbourne Symphony Orchestra Nicholas Carter conductor SCHREKER Kammersymphonie SCHUBERT Symphony No.8 Unfinished
A musical Acknowledgement of Country, Long Time Living Here by Deborah Cheetham AO, will be performed before the start of this concert. Proudly presented by MSO Premier Partner Ryman Healthcare.
SCHUBERT’S UNFINISHED SYMPHONY
Nicholas Carter conductor Now in his final season as Chief Conductor of the Stadttheater Klagenfurt and the Kärntner Sinfonieorchester, Nicholas Carter will take up the position of Chief Conductor and Opera Director of the Konzert Theater Bern, Switzerland, from the beginning of the 2021/22 season. Born in Melbourne, Nicholas enjoys an ongoing relationship with all the major Australian orchestras, particularly with the Adelaide Symphony, where he served as Principal Conductor from 2016–2019. Over the previous seasons, Nicholas has continued to build relationships with many of the world’s most prestigious orchestras and opera companies, such as the Wiener Staatsoper, Rundfunksinfonie Orchestra Berlin, BBC Scottish Symphony, Dallas Symphony, Santa Fe Opera, Deutsche Oper Berlin, Deutsche Oper am Rhein, Hong Kong Philharmonic, Dallas Symphony and Orchestre Metropolitain (Montreal), plus invitations to Glyndebourne Festival Opera, Seoul Philharmonic and Atlanta Symphony, which have been postponed due to the Coronavirus pandemic. The 2021/22 season will see his New York Metropolitan Opera debut with Brett Dean’s Hamlet.
11
SCHUBERT’S UNFINISHED SYMPHONY
Program Notes FRANZ SCHREKER
(1878–1934)
Kammersymphonie Although Schreker was best known in his lifetime for his operas – including Der ferne Klang (1912) and Die Gezeichneten (1918) – his Chamber Symphony is now his most regularly performed work. He wrote it in 1916 to a commission from the Vienna Academy of Music and Performing Arts for their centenary celebrations. It received its premiere at the Academy in March 1917 and thereafter quickly entered the repertory. The Chamber Symphony is scored for eleven solo strings, seven woodwind and brass instruments, piano, harmonium, harp, celeste, timpani and percussion. Like Strauss’ Don Juan (1888) or Schoenberg’s Pelleas and Melisande (1903), it is written in a single, continuous movement divided into sections. However, unlike the Strauss and Schoenberg works, it is a piece of absolute music, with no clear narrative. Its sections can be roughly divided into Introduction, Allegro, Adagio, Scherzo, and a final section that recalls earlier thematic material.
12
In 1918 Schreker wrote to the music critic Paul Bekker of his desire to use orchestral instruments to create ‘a dematerialised array of ever-changing colours’. The Chamber Symphony is the perfect representation of this ambition. It is a lusciously scored work in which the melodic and rhythmic themes and the instrumentation are in a perpetual state of metamorphosis. The richly chromatic – yet not atonal – harmony evokes the Wagner of Tristan and Isolde and the Schoenberg of Verklärte Nacht, while the prominence Schreker gives to high woodwind recalls Mahler’s symphonies.
Among the work’s most striking elements are the magical opening scored for shimmering celeste, harp, harmonium, piano and flute; the rich, dark textures of the Adagio section; the opening folk-like melody for oboe and flute in the Scherzo; and the thematic reminiscences of the final section, evocative of the end of Wagner’s opera Parsifal in its rapt intensity. Kate Hopkins © 2021
FRANZ SCHUBERT
(1797–1828)
Symphony No.8 in B minor, D759 (The ‘Unfinished’) Allegro moderato Andante con moto To refer to the B minor Symphony as ‘the unfinished’ is slightly misleading on two main counts: knowing the circumstances of Schubert’s short life, we might wrongly assume that death intervened before he could finish it, where in fact he had simply put it to one side, having completed the first two movements and a sketch of the Scherzo in November 1822. It is not, moreover, the but an unfinished symphony. There is at least one incomplete symphony among Schubert’s early work. And since 1978 we have had the sketches of a symphony (D.936a) that he was indeed working on at the time of his death. Why Schubert abandoned the B minor Symphony is unclear, though it may be that he merely wished to concentrate, at the time, on music that had some chance of a performance. It was the time of the composition of other major works like the A flat major Mass D.678, the Wanderer Fantasy D.760 and a great many songs. But what is clear is that the surviving work represents a milestone in Schubert’s development. Like the ‘Great’ C major Symphony of 1826, it is a work that follows Beethoven in its radical
The first movement is marked Allegro moderato. Its opening theme, built around the first three notes of the B minor scale, is so familiar that we might not appreciate its freshness. Not only is the introductory first phrase unaccompanied, it is sounded – quietly – in the depths of the orchestra. The urgent, answering shimmer from the upper strings falls into a two-bar phrase, which is repeated, and then repeated again when the main melody begins. This, too, makes use of two-bar motivic cells that are repeated: in this way Schubert is able to extend the scale of the melody without overloading it with detail. And Schubert’s scoring is striking: over that ‘shimmer’, the first theme is sounded by oboe and clarinet in unison, a potentially dangerous doubling as the instruments have quite different acoustic properties, but the plangent new timbre is unforgettable; Schubert repeats this material, now with an added line for the horn. Like that of most classical symphonies, this first movement has a second subject – a new theme in a new key. Classical composers often ‘hide’ the modulation, or transition, to the new, ‘brightersounding’ key in more elaborate textures but Schubert’s example is almost comically off-hand: after an emphatic gesture, a long held note from the horns and bassoons introduces three simple chords and a syncopated, pulsing texture that accompanies the new theme – which is sounded below it by the cellos. This theme, too, is a mosaic of simple motifs: a down-up leap and a balancing stepwise figure all contained within the interval of the fourth. These are combined, recombined and slightly elaborated to produce a long singing melody that wends its way upward.
According to ‘classical’ practice, this second theme should be in D major, but Schubert writes it in G to create an unexpected effect. He also, like Haydn and Beethoven, uses silence dramatically, and after the theme is fully stated there is a bar of silence and a sudden loud C minor chord. Schubert, like Beethoven, repeatedly sounds chords for rhetorical effect, and often immobilises the harmony, as heard at the end of the exposition. The central development section starts with a version of the introductory gesture, now modified to stress the sighing interval of the falling minor second. There is a dramatic juxtaposition of unexpected harmonies and fragments of the pulsing figure that accompanies the second theme – but without the melody. The climax is reached with the first theme striding through a dense orchestral accompaniment, but the recapitulation is even more dramatic for being a hushed pianissimo. The final coda is also mysterious, with much shimmering, and the emphatic nature of the closing gesture is undercut by the dying away of the last chord.
SCHUBERT’S UNFINISHED SYMPHONY
expansion of the scale of a Classical form, and it does so by using very clear and deceptively simple gestures to articulate its structure.
Both movements begin with three notes rising stepwise. This first is in B minor, but the second, marked Andante con moto, is in E major. The symmetricallyshaped movement’s first theme has a characteristic rhythm – in 3/8, it is long-long-short-short-short-long, and this can furnish shorter patterns that Schubert uses throughout. The contrasting second theme, like the one in the first movement, has a gently pulsing accompaniment, and is a long melody first announced by the clarinet, then passed to the oboe with echoing phrases from the flute. In a climactic passage, the theme is stated in octaves against magisterial chords and energetic passagework, followed by a calmer section where
13
SCHUBERT’S UNFINISHED SYMPHONY 14
it is played in canon between cellos and violins. The second theme reemerges, now played first by the oboe and passed to the clarinet; and, as in the first movement, the first theme is recapitulated very quietly. The movement ends in a hushed manner, another mosaic of the short-short-short motif, a faster rising and falling figure and the falling second, now confidently major. © Gordon Kerry 2013
RYMAN PIONEERS A new way of living
Ryman is pioneering retirement living for one simple reason to better serve a generation of Australians. And right now, it’s more important than ever, because there’s a new generation that are not retiring from life, they’re looking for a new way to live. Pioneering is part of who we are. That’s why each Ryman village is named after an Australian trailblazer. Nellie Melba, Weary Dunlop - they lived with passion and purpose, they pushed further, they went beyond the ordinary. That’s exactly what we strive to do, every day, at Ryman. To pioneer a new way of living, for a new retirement generation. rymanhealthcare.com.au
Haydn’s Miracle Symphony Thursday 24 June | 8.30pm Livestreamed from Arts Centre Melbourne, Hamer Hall Melbourne Symphony Orchestra Nicholas Carter conductor Michael Pisani cor anglais ANNE CAWRSE The Rest is Silence, Concerto for Cor Anglais and Orchestra
(WORLD PREMIERE OF AN MSO COMMISSION)
HAYDN Symphony No.96 Miracle
A musical Acknowledgement of Country, Long Time Living Here by Deborah Cheetham AO, will be performed before the start of this concert.
Michael Pisani
Now in his final season as Chief Conductor of the Stadttheater Klagenfurt and the Kärntner Sinfonieorchester, Nicholas Carter will take up the position of Chief Conductor and Opera Director of the Konzert Theater Bern, Switzerland, from the beginning of the 2021/22 season.
Michael Pisani has been a member of the Melbourne Symphony Orchestra Oboe section since 2004. Michael grew up in Melbourne, first learning the piano before starting the oboe at age 12. After studying at the Victorian College of the Arts he was appointed to the position of Associate Principal Oboe in the Australian Opera and Ballet Orchestra and then to the same position in Orchestra Victoria the following year.
conductor
Born in Melbourne, Nicholas enjoys an ongoing relationship with all the major Australian orchestras, particularly with the Adelaide Symphony, where he served as Principal Conductor from 2016–2019. Over the previous seasons, Nicholas has continued to build relationships with many of the world’s most prestigious orchestras and opera companies, such as the Wiener Staatsoper, Rundfunksinfonie Orchestra Berlin, BBC Scottish Symphony, Dallas Symphony, Santa Fe Opera, Deutsche Oper Berlin, Deutsche Oper am Rhein, Hong Kong Philharmonic, Dallas Symphony and Orchestre Metropolitain (Montreal), plus invitations to Glyndebourne Festival Opera, Seoul Philharmonic and Atlanta Symphony, which have been postponed due to the Coronavirus pandemic.
HAYDN’S MIRACLE SYMPHONY
Nicholas Carter
cor anglais
On occasion, Michael also plays Principal Oboe with the Australian Chamber Orchestra and has been guest principal with the Tasmanian Symphony Orchestra, Queensland Symphony Orchestra, Auckland Philharmonic and Hong Kong Philharmonic. He has appeared as soloist with various orchestras in Melbourne, performing Strauss and Mozart oboe concertos, and has featured on the ABC’s Sunday Live and Young Australia programs. Michael also teaches oboe at the University of Melbourne.
The 2021/22 season will see his New York Metropolitan Opera debut with Brett Dean’s Hamlet. 17
HAYDN’S MIRACLE SYMPHONY
Program Notes ANNE CAWRSE
(born 1981)
The Rest is Silence, Concerto for Cor Anglais and Orchestra World Premiere of an MSO Commission
Michael Pisani cor anglais The composer writes: In orchestral settings, the cor anglais is often charged with the responsibility of giving voice to music’s most melancholic, bittersweet and emotionally profound melodic moments. In planning this concerto, I decided early on that I was not interested in pushing the instrument into a space it did not easily fit. And so, armed with the desire to write a primarily lyrical work, together with a list of soloist Michael Pisani’s favourite cor anglais orchestral moments, I created The Rest Is Silence as a musical response to the quote by Aldous Huxley: “After silence, that which comes nearest to expressing the inexpressible is music”. My concerto seeks to position the cor anglais in the spaces between music and silence. It is often both the first and the last to be heard, acting as a conduit between string and wind sonorities. Its unmistakable tone appears in brief glimpses between chords, like sunlight briefly piercing through clouds. The regular silences and moments of rest found in the orchestral parts are manipulated by the soloist, who either fills the space, comments upon it, or prepares us for the silence yet to come.
18
Formally, The Rest Is Silence is presented in three interconnected sections. The opening acts as an unfolding of the musical themes through the harmonic underpinning of the orchestra and the gradual expansion of the opening cor anglais line. At the heart of the work is a taste of some of those ‘inexpressible’ feelings found in music – acceptance,
uncertainty, comfort, beauty, expectancy, rest, joy – all grown from the same opening motif. The soloist weaves between wind and string chorales, sometimes joined by others, but often alone. Repeated, unresolved cadential figures interrupt the flow of the music, forcing us to sit in the space between the notes, listening to what surrounds us. Then finally, we are treated to a song – a literal (though wordless) chanson grown out of the motivic foundation set by the soloist at the very start of our journey. The words that we do not hear, an extract from Huxley’s essay Music at Night, describe a still and silent evening that is alive and vibrant with scent, breath, and sensation. My hope is that this work, to borrow more of Huxley’s words, will “give expression to (the) awareness of blessedness” that comes from being still and knowing. The Rest Is Silence is a prayer, a celebration, and a meditation on the quiet still spaces, the silence amidst the hustle, and the enduring power of music. Quotes taken from The Rest is Silence and Music at Night, both found in Music at Night and other essays by Aldous Huxley, published 1931. Anne Cawrse © 2021
JOSEPH HAYDN
(1732–1809)
Symphony No. 96 in D major (The Miracle) Adagio – Allegro Andante Menuetto (Allegretto) Finale (Vivace assai) Barely had the 58-year-old Haydn made a safe first arrival in London early in the new year of 1791, taking a couple of days to recover from a Channel crossing, than he was hard at work composing the music expected from him in his first London season for the impresario Johann Peter Salomon. There were to be a pair of symphonies (Nos 96 and 95 – probably in
As a standby, he was also carrying two of his most recent symphonies, Nos 90 and 92, which would be new to London. (Haydn found he had forgotten No.91 and had to send urgently to Vienna for it.) While he was acclimatising to the bustle of this city of 900,000 inhabitants and coming to terms with the incessant intrusion of street vendors’ cries on his concentration, Haydn was swept up in a whirl of diplomatic, social and media commitments. At the same time plans were proceeding to launch Salomon’s twelve-concert subscription series in less than six weeks. Even Haydn could hardly have guaranteed his new Symphony No.96 in such circumstances and at such short notice. Two delays occasioned by operatic demands on Salomon’s singers put off the opening until Friday 11 March, by which time Symphony No.96 was probably well and truly ready. But circumstantial evidence examined by H.C. Robbins Landon now tends to refute the modern supposition that it was premiered on that occasion. The first symphony Haydn performed in London was mostly likely one of the standbys in his satchel – No.92 (later to be performed at Oxford and appropriately so immortalised). No.96, as the first symphony Haydn wrote in London, was probably the new work premiered in the concert of 29 April 1791 (and thus No.95 on 27 May – with Nos 93 and 94, now numbered out of chronological order, following in the 1792 season). Not only, then, was No.96 probably not Haydn’s first symphony in London (a work, whichever it was, found by the press to be the ‘most wonderful’ composition, praised for its ‘grandeur of subject’ and ‘rich variety of air and
passion’). No.96 was also, positively, not the work that so entranced the audience, pressing forward for a better view of the great composer, that, by a ‘miracle’ they all escaped a falling chandelier. (That event happened at the premiere of No.102 four and a half years later and in a different hall – but Haydn’s biographer Dies got mixed up and so tradition has applied the label to the wrong symphony!) Not that No.96 is not a musical ‘miracle’ in its own right, or a work of grandeur and majesty. Since the sixties we’ve at last been able to hear it restored from the emasculations of 19th century editors, who drastically simplified, or even omitted, its powerful writing for trumpets and drums (the latter deliberately positioned by Haydn for maximum effect on a raised central platform behind the rest of the orchestra).
HAYDN’S MIRACLE SYMPHONY
that order) and an opera (fated, through no fault of its own, to lie unperformed until 1951) as well as numerous smaller instrumental works and cantatas.
Harmonically, Haydn shows his new London audience a wide range of wares, clouding the slow but sunny introduction with minor tonalities after only seven bars, tossing the apparently light-hearted Allegro subject turbulently through several minor keys in the development, suspending us on a dramatic precipice for almost three bars of silence before descending into the remotest possible key, and even allowing a brief fortissimo intrusion of D minor as we are on course for a major-key homecoming at the end of the first movement. Haydn so varies his treatment of the single Allegro theme that he is able to dispense with the usual contrasting second subject. Two solo violins (one of them Salomon, who was the orchestra leader as well as the impresario) take centre stage in the slow movement, weaving a delicate tracery around the melody in the style of a concerto-grosso concertino. The movement ends with a big trilling cadenza for woodwinds which modulates romantically in a brilliant coda.
19
HAYDN’S MIRACLE SYMPHONY
If Haydn perhaps seeks to appeal to English taste in the slow movement, his minuet is thoroughly Austrian, with an attractive oboe solo in the central trio section which is accompanied in strict waltz rhythm. The Finale is a brilliant and technically demanding sonata-rondo movement in the style of a perpetuum mobile in which (as Haydn explained when he sent the score back to Vienna) he sought ‘the softest piano and a very quick tempo.’ Heard with the pyramidal orchestral layout Haydn employed to project his brass and timpani, and with his highly accomplished 40-piece band in the small 800-seat Hanover Square Room, there is little doubt that the impact of this first Haydn symphony composed in London would have made it a worthy salute from the world’s most acclaimed composer to the world’s greatest metropolis. Samuel C. Dixon © 2003
20
J U LY– D E C E M B E R O N S A L E
T I C K E T S O N SA L E N OW
M S O.C O M . AU
TH E CYB EC FO U N DATI O N Celebrating an Immeasurable Investment in Australian Artist Development
The Cybec Foundation allumna, Anne Cawrse
For 18 years, the Cybec Foundation has been a loyal and generous supporter of the MSO. Beginning with the establishment of the Cybec 21st Century Australian Composers program which addressed the need for handson professional development opportunities for emerging Australian composers, the Foundation’s continued support has enabled this nationally-recognised initiative to become an exemplar for artist development programs within the sector, and contributed to the MSO’s reputation as one of the largest advocates for Australian new music.
This year, MSO commissioned four new concerti from Australian composers to showcase the virtuosity and talent within our woodwind and brass sections. The four composers commissioned to write the new works – May Lyon, Holly Harrison, Anne Cawrse and Matthew Laing – are all alumni of the Cybec 21st Century Australian Composers program. Anne Cawrse’s piece, The Rest is Silence, Concerto for Cor Anglais and Orchestra, is the third of these commissions to be premiered this year. A member of the Elder Conservatorium’s teaching faculty at the University of Adelaide, Anne participated in MSO’s Cybec 21st Century Australian Composers program in 2007. Completing her PhD in Composition in 2008, Anne’s penchant for text setting has made her a highly revered art song and choral composer. Recipient of the SA State award at the 2018 APRA/Australian Music Centre Classical Music Awards, Anne is highly sought after as an orchestral and chamber music composer, with commissions from the Adelaide and Melbourne Symphony Orchestras, the Australian String Quartet, Plexus Ensemble, the Benaud Trio, Adelaide Chamber Singers, the Australian Vocal Ensemble, and the Adelaide Wind Orchestra. Commenting on her participation in MSO’s Cybec 21st Century Australian Composers program, Anne reflects that: “ As an emerging composer, the experience was invaluable as a stepping stone to further commissions and opportunities; but first and foremost the professionalism of the outcome allowed me to trust my voice as a composer, helping me believe that I did have something of value to say through my music.” The MSO is grateful to the Cybec Foundation for its generous and consistent giving to the Orchestra over many years, and for the shared desire to provide opportunities for talented Australian composers and conductors to hone their craft. We are extremely proud to supporting Australian composers and artists, across various stages of their careers; Anne’s story is just one of many highlighting the Cybec Foundation’s valuable impact and contribution to the Australian orchestral artform. To read more about Anne’s achievements and composing career, visit www.annecawrse.com. Photo credit: Emma Luker
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 Di Jameson Harold Mitchell Foundation Hyon Ju Newman Lady Potter AC CMRI The Cybec Foundation The Pratt Foundation Elizabeth Proust AO and Brian Lawrence The Ullmer Family Foundation
ARTIST CHAIR BENEFACTORS Cybec Assistant Conductor Chair Nicholas Bochner The Cybec Foundation Concertmaster Chair Sophie Rowell The Ullmer Family Foundation Young Composer in Residence Matthew Laing The Cybec Foundation
PROGRAM BENEFACTORS Cybec 21st Century Australian Composers Program The Cybec Foundation Digital Transformation Perpetual Foundation – Alan (AGL) Shaw Endowment, Telematics Trust, The Ian Potter Foundation East meets West The Li Family Trust
MSO Capacity Building Di Jameson (Senior Manager, Philanthropy and External Affairs), The Alison Puzey Charitable Fund as part of Equity Trustees Sector Capacity Building Fund supporting Musicians’ iPADs
Supporters
Supporters
MSO Education Margaret Ross AM and Dr Ian Ross 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) MSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, Robert Salzer Foundation, Sir Andrew & Lady Fairley Foundation, The Ray & Joyce Uebergang Foundation The Pizzicato Effect Flora & Frank Leith Charitable Trust, The Marian and E.H. Flack Trust, Scobie and Claire Mackinnon Trust, Jenny Anderson, Australian Decorative And Fine Arts Society, Barbara Bell in memory of Elsa Bell, Janet H Bell, Richard and Janet Chauvel, Caroline Davies, Alex and Liz Furman, Robert and Janet Green, Jean Hadges, Hilary Hall in memory of Wilma Collie, Rosemary Jacoby in memory of James Jacoby, Jenkins Family Foundation, Jeanette King, Christopher and Anna Long, H E McKenzie, Shirley McKenzie, Marjorie McPherson, Kerryn Pratchett, Opalgate Foundation, Joanne Soso, Margaret Ross AM and Dr Ian Ross, Jenny Tatchell, Anonymous Sidney Myer Free Concerts Supported by the Sidney Myer MSO Trust Fund and the University of Melbourne
Meet the Orchestra The Ullmer Family Foundation Melbourne Music Summit Erica Foundation Pty Ltd MSO Live Online Crown Resorts Foundation, Packer Family Foundation
23
Supporters
PLATINUM PATRONS $100,000+ Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel AC The Gross Foundation Di Jameson David Li AM and Angela Li The Pratt Foundation The Ullmer Family Foundation
Harry and Michelle Wong Anonymous (3)
PRINCIPAL PATRONS $5,000+ Adrienne Basser Barbara Bell, in memory of Elsa Bell Dr Kaye Birks and the late David Birks
Anonymous (1)
Stephen and Caroline Brain
VIRTUOSO PATRONS $50,000+
Dr Shirley Chu
Annette Maluish Elizabeth Proust AO and Brian Lawrence Hyon Ju Newman Anonymous (1)
Lynne Burgess John and Lyn Coppock Mary Davidson and Frederick Davidson AM Wendy Dimmick Andrew Dudgeon AM Jaan Enden
IMPRESARIO PATRONS $20,000+
Bill Fleming
Harold Bentley
Susan Fry and Don Fry AO
Sir Andrew and Lady Davis Hilary Hall, in memory of Wilma Collie The Hogan Family Foundation Margaret Jackson AC David Krasnostein AM and Pat Stragalinos
John and Diana Frew Sophie Galaise and Clarence Fraser Geelong Friends of the MSO R Goldberg and Family Leon Goldman
John and Lois McKay
Colin Golvan AM QC and Dr Deborah Golvan
Lady Potter AC CMRI
Jennifer Gorog
Anonymous (1)
HMA Foundation
MAESTRO PATRONS $10,000+ Christine and Mark Armour Margaret Billson and the late Ted Billson Krystyna Campbell-Pretty AM Ann Darby, in memory of Leslie J. Darby Danny Gorog and Lindy Susskind Robert and Jan Green Nereda Hanlon and Michael Hanlon AM Rosemary Jacoby in memory of James Jacoby Paul Noonan Opalgate Foundation Ian and Jeannie Paterson Dr Trong Pham and Graeme Campbell Glenn Sedgwick and Dr Anita Willaton 24
Gai and David Taylor
Beth Senn
Louis Hamon OAM Geoff Hayes Hans and Petra Henkell Hartmut and Ruth Hofmann Doug Hooley Dr Alastair Jackson AM Suzanne Kirkham Man Kit Yu Dr Jerry Koliha and Marlene Krelle Dr Elizabeth A Lewis AM Norman Lewis, in memory of Dr Phyllis Lewis Dr Caroline Liow Peter Lovell Douglas and Rosemary Meagher Frank Mercurio Marie Morton FRSA
Elizabeth Foster
Dr Paul Nisselle AM
Barry Fradkin OAM and Dr Pam Fradkin
The Rosemary Norman Foundation
Alex and Liz Furman
Norwest
Dina and Ron Goldschlager
Ken Ong, in memory of Lin Ong
Louise Gourlay OAM
Bruce Parncutt AO
Susan and Gary Hearst
Jim and Fran Pfeiffer
Jenny and Peter Hordern
Dr Rosemary Ayton and Dr Sam Ricketson
Jenkins Family Foundation
Andrew and Judy Rogers
John Jones
Jeffrey Sher QC and Diana Sher OAM
Andrew Johnston
Helen Silver AO and Harrison Young
Irene Kearsey and Michael Ridley
Brian Snape AM and the late Diana Snape
Merv Keehn and Sue Harlow
Lady Marigold Southey AC
The Ilma Kelson Music Foundation
The Hon Michael Watt QC and Cecilie Hall
Jeanette King
Dr Rhyl Wade and Dr Clem Gruen
Julie Lamont
Liping Wang
Bryan Lawrence
Lyn Williams AM
Jane Leitinger
Sophia Yong-Tang
Andrew Lockwood
Anonymous (5)
Shane Mackinlay
ASSOCIATE PATRONS $2,500+ Mary Armour Marlyn Bancroft and Peter Bancroft OAM Dandolo Partners Will and Dorothy Bailey Bequest Anne Bowden Bill Bowness AO Julia and Jim Breen Patricia Brockman Dr John Brookes Elizabeth Brown Roger and Coll Buckle Jill and Christopher Buckley Oliver Carton Richard and Janet Chauvel David Chu Breen Creighton Natasha Davies, for the Trikojus Education Fund Sandra Dent Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson AM Dr Helen M Ferguson Bill Fleming
Supporters
Anne Neil
Margaret and John Mason OAM Wayne McDonald and Kay Schroer H E McKenzie Allan and Evelyn McLaren Wayne and Penny Morgan Patricia Nilsson Alan and Dorothy Pattison Sue and Barry Peake Mrs W Peart Christine Peirson and the late Graham Peirson Dug Pomeroy Barrie and Heather Pover Julie and Ian Reid Ralph and Ruth Renard Peter and Carolyn Rendit S M Richards AM and M R Richards Joan P and Christopher Robinson Tom and Elizabeth Romanowski Elizabeth Rosanove Liliane Rusek and Alexander Ushakoff Mark and Jan Schapper Dr Norman and Dr Sue Sonenberg Dr Michael Soon Geoff and Judy Steinicke
25
Supporters
Jennifer Steinicke
Robert B Coles
Peter J Stirling
Dr Sheryl Coughlin and Paul Coughlin
Jenny Tatchell
Breen Creighton
Clayton and Christina Thomas
Gregory L Crew
Frank Tisher OAM and Dr Miriam Tisher
Andrew Crockett AM and Pamela Crockett
Nic and Ann Willcock
Panch Das and Laurel Young-Das
Lorraine Woolley
Caroline Davies
Richard Wong
Wolf and Asya Deane
Anna Xi
Rick and Sue Deering
Lu Xing
John and Anne Duncan
Peter and Susan Yates
Jane Edmanson OAM
Richard Ye
Doug Evans
Chester Yeoh
Grant Fisher and Helen Bird
Anonymous (5)
Elizabeth Foster
PLAYER PATRONS $1,000+ David and Cindy Abbey Dr Sally Adams Applebay Pty Ltd Australian Decorative and Fine Arts Society Geoffrey and Vivienne Baker Robbie Barker Adrienne Basser Janice Bate and the late Prof Weston Bate Elizabeth Beischer Janet H Bell Gilbert and Dawn Best David Blackwell OAM John and Sally Bourne Robbie Boyes Geoff Brentnall Elida Brereton Professor Ian Brighthope Nigel Broughton and Sheena Broughton Elizabeth Brown Olivia H Brown Stuart Brown Suzie Brown OAM and Harvey Brown Shane Buggle Ronald and Kate Burnstein Dr Lynda Campbell Pamela Carder 26
John Carroll
David Frenkiel and Esther Frenkiel OAM Simon Gaites Anthony Garvey and Estelle O’Callaghan David Gibbs and Susie O’Neill Janette Gill Greta Goldblatt and the late Merwyn Goldblatt George Golvan QC and Naomi Golvan Dr Marged Goode Louise Gourlay OAM Catherine Gray Prof Denise Grocke AO Margie and Marshall Grosby Jennifer Gross Max Gulbin Dr Sandra Hacker AO and Mr Ian Kennedy AM Jean Hadges Paula Hansky OAM Amir Harel and Dr Judy Carman Tilda and Brian Haughney Peter and Lyndsey Hawkins David H Hennell Cathy Henry Linda Herd Dora Hiller Anthony and Karen Ho Anna and John Holdsworth Rod Home Doug Hooley
Dr Rosemary Nixon AM
Penelope Hughes
David O’Connell
Judi Humberstone
Timothy O’Connell
Geoff and Denise Illing
Laurence O’Keefe and Christopher James
Kay Jackson
Roger Parker
Peter Jaffe and Judy Gold
Adriana and Sienna Pesavento
Andrew Jamieson
Wilma Plozza-Green
Paul and Amy Jasper
Kerryn Pratchett
Basil and Rita Jenkins
Peter Priest
David and Dr Elizabeth Judd
Treena Quarin
Dorothy Karpin
Eli Raskin
Angela Kayser
Tony and Elizabeth Rayward
Irene Kearsey and Michael Ridley
Peter and Carolyn Rendit
Bruce and Natalie Kellett
Brian and June Roberts
Dr Anne Kennedy
Cathy and Peter Rogers
Julie and Simon Kessel
Peter Rose and Christopher Menz
Jeanette King
Marie Rowland
Anthony Klemm
Fred and Patricia Russell
Graham and Jo Kraehe
Jan Ryan
Ann Lahore
Elisabeth and Doug Scott
Kerry Landman
Dr Nora Scheinkestel
Bryan Lawrence
Martin and Susan Shirley
Diedrie Lazarus
Penny Shore
Jane Leitinger
Dr Sam Smorgon AO and Minnie Smorgon
Dr Anne Lierse
Sparky Foundation
Norman Lewis, in memory of Dr Phyllis Lewis
Dr Vaughan Speck
Dr Susan Linton
Dr Peter Strickland
Dr Emily Lo Andrew Lockwood Elizabeth H Loftus Chris and Anna Long Margaret Long June and Simon Lubansky Shane Mackinlay The Hon Ian Macphee AO and Julie Macphee Pete Masters Ruth Maxwell Ian M McDonald Wayne McDonald and Kay Schroer Margaret McGrath Don and Anne Meadows Dr Eric Meadows
Supporters
Anne Huffam
Geoff and Judy Steinicke Dr Norman and Dr Sue Sonenberg Pamela Swansson Stephanie Tanuwidjaja Tara, Tessa, Melinda and Terrence Teh Geoffrey Thomlinson Ann and Larry Turner Mary Valentine AO H Van Reesma Jacob and Mavis Varghese The Hon Rosemary Varty Leon and Sandra Velik Sue Walker AM Elaine Walters OAM and Gregory Walters The Rev Noel Whale Edward and Paddy White Barry and Julie Wilkins
27
Supporters
Marian Wills Cooke and Terry Wills Cooke OAM
John Butcher
Richard Withers
Elise Callander
Jeffrey and Shirley Zajac Susan Zheng Anonymous (25)
OVERTURE PATRONS $500+*
Anita and Norman Bye Neil Carabine Damian Carr Judy Carrigan and Manting Wong Professor Jan Carter AM Jennifer Carty
Katy and Nigel Adams
Ian and Wilma Chapman
Ellen Allery and Joan Stephens
Dreda Charters-Wood
Anita and Graham Anderson
Barbara Cheevers
Dr Judith Armstrong and Robyn Dalziel
Dr Deanne Chiu
Emanuel J Augustes
Peter Clavin
John Avery
Helen Connelly
Elvala Ayton & Maxine Wain
Geoffrey Constable
Margaret Bainbridge
Carol Coyle
Richard and Jan Baird
Michael Cramphorn
Liz and Charles Baré
Calvin Crisp
Gisela Barrett
Rosemary Cromby
Maria Bascombe
Bernard Daffey
Nina Bate
Elaine Davidoff
Heather and David Baxter
Alan Day
Professor David Beanland AO
Roger Deayton
Judy Becher
Dr Tim Denton
Koert Beekes
Carol des Cognets
Susi Bella
The Dougall and Morey families
Dr William Birch AM
Mike and Nina Dow
Neville Blythman
William Dubksy
Jennifer Bowen
Michael Dunne
Bill Bowness AO
David and Dr Elizabeth Ebert
Mrs Errol Broome
Cynthia Edgell
John Brownbill
Jane Edmanson OAM
Gordon Bunyan
Virginia Ellis
Bill and Sandra Burdett
Rosanne Ennis
Rick Burrows
Jennifer Errey
Dr Judy Bush
Robert Evans
* The MSO has introduced a new tier to its annual Patron Program in recognition of the donors who supported the Orchestra during 2020, many for the first time. Moving forward, donors who make an annual gift of $500–$999 to the MSO will now be publicly recognised as an Overture Patron. For more information, please contact Donor Liaison, Keith Clancy on (03) 8646 1109 or clancyk@mso.com.au 28
Phillip Kidd
Jillian Fearon
Dorothy Kiers
David and Catriona Ferguson
Daniel Kirkham
Alisa Fiddes
Dr Anthony Klemm
Janette Fly
Michael Koswig
Elizabeth Fraser
Pramote Kothanakul
Penny Fraser
Peta Kowalski
Pamela Furnell
Viji and Margaret Krishnapillai
Mary Gaidzkar
Barbara Kuriata
Justin Gan
John and Wendy Langmore
Elizabeth Giddy
Peter Lawrence
Sonia Gilderdale
Paschalina Leach
Prue Gill
Anne Leversha and Roger Smith
Sandra Gillett and Jeremy Wilkins
Bronwyn Lewis
Craig W Gliddon
Amanda Lynn
Hugo and Diane Goetze
Dr Takako Machida
Tim and Liz Grazebrook
Jane Madden
Christine Grenda
Amer Makhoul
Rosemary Greness
John L Martiensen
Terry Griffin
Janice Mayfield
Jennifer Grinwald
Fred and Alta McAnda
Richard Gubbins
Julie E McConville
Jing Guo
and Neil McEwen
Dawn Hales
Gail McGregor and Margaret Badminton
Kay Hannaford
Shirley A McKenzie
R J Harden
Tracey and Lorraine McKerrow
Phillip and Janette M Head
John and Rosemary McLeod
Rev Kenneth Hewlett
Bernard McNamara
Paul Higham
Richard McQueen
Margaret R Hook
Noreen C Megay
Katherine Horwood
Jennifer and Andreas Meister
Noelle Howell and Judy Clezy
Irene Messer
Linsey and John Howie
Professor Geoffrey Metz
F Louise Jamson
Helen Midgley
Shyama Jayaswal
Helen Miles
Basil and Rita Jenkins
Dr Leigh and Margaret Mitchell
Robert Johanson AO
Anne Moon
Wendy Johnson
Ann Moore
Fiona Johnston
Peter Moran
Wesley Jones
Ian Morrey and Geoffrey Minter
Myra and Paul Kaufman
Peter Morris
Denise Kennedy and Damien Wohlfort
Joan Mullumby
Helen Kershaw
Dr Bruce and Judy Munro
John Keys
Jennifer Murchie
Supporters
Douglas L Farch
29
Supporters
Maureen Nakonesky
Dr Max and Annette Simmons
Francis P Newman
Libby Skilling
Barbara Nichol and Ian McCormick
John E Smith
Michael Noble
Margaret Smith
Jenny O’Brien
Colin Squires
Conrad O’Donohue and Dr Rosemary Kiss
Geoff and Judy Steinicke
Uri and Nili Palti
Andrew Stephenson
Dr Judith Paphazy
Professors Gabriela and George Stephenson
Jillian Pappas
Heather Stock
Phil Parker
Rowan Streiff and Dr Murray Sandland
Sarah Patterson
Ruth Stringer
Ronald Pitcher AM
Nancy Sturgess
Dr James Polhemus
Anthony Summers
Jill Poynton and Heather Maplesden
Ricci Swart
Sandra Price and Judy Hillman
Helen M Symons
Hendrik Prins
Brett Thomas
Kerryn Pryde
Luanne Thornton
Professor Charles Qin and Kate Ritchie
Tam Vu and Dr Cherilyn Tillman
Christine Rainford
Michael Tomkins
Marilyn Richards
Alan and Glenda Trethewey
Phillip M Richards
Noel and Jenny Turnbull
Joy and David Ritchie
Dr Elsa Underhill and Professor Malcolm Rimmer
Lawrence and Anne Robinson Marion Robertson and Linton Edwards Thea Roche Alister Rowe Margaret and Roger Rush Anne Russell Dr Emily and Kevin Russo Judy Ryan Michael Ryan and Wendy Mead Robyn and Bruce Ryan Justin-Paul Sammons Grant Samphier Dr John C Sampson Ken Sandars Bev Sanders Frances Scholtz Dr Peter Seligman Paul Selmo David Sherwood Sally Shuter Dr Frank and Valerie Silberberg 30
Paul and Margarita Schneider
Dr Chris van Rompaey Gabrielle Vertessy Jillian Waddell Dr Adrian and Catherine Wallis Wendy and Robert Warren Amanda Watson Margaret Watters Angela Westacott Ken Whitney Agnes Wong Joyce Woodroffe Professor Barbara Workman Lorna Wyatt Harold Zwier Anonymous (23)
Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Jenny Brukner and the late Mr John Brukner Ken Bullen Peter A Caldwell Luci and Ron Chambers Beryl Dean Sandra Dent Alan Egan JP Gunta Eglite Mr Derek Grantham Marguerite Garnon-Williams Dr Rhyl Wade and Dr Clem Gruen Louis Hamon OAM Carol Hay Graham Hogarth Rod Home Tony Howe Laurence O’Keefe and Christopher James Audrey M Jenkins John Jones George and Grace Kass Bruce and Natalie Kellett Sylvia Lavelle Pauline and David Lawton Cameron Mowat David Orr Matthew O’Sullivan Rosia Pasteur Penny Rawlins Joan P Robinson Neil Roussac and Anne Roussac-Hoyne Suzette Sherazee Michael Ryan and Wendy Mead Anne Kieni-Serpell and Andrew Serpell
Lillian Tarry Tam Vu and Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Michael Ullmer AO
Supporters
CONDUCTOR’S CIRCLE
The Hon Rosemary Varty Marian Wills Cooke and Terry Wills Cooke OAM Mark Young Anonymous (29) 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
Jennifer Shepherd Prof Gabriela Stephenson and Prof George Stephenson Pamela Swansson
31
Supporters
EAST MEETS WEST
MSO BOARD
Li Family Trust
Chairman David Li AM
Biostime Swisse Xiaojian Ren & Qian Li Wanghua Chu and Dr Shirley Chu LRR Family Trust David and Dominique Yu
HONORARY APPOINTMENTS 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 Jeanne Pratt AC Artistic Ambassadors Tan Dun
Deputy Co-Chair Di Jameson Helen Silver AO Managing Director Sophie Galaise Board Directors Andrew Dudgeon AM Danny Gorog Lorraine Hook Margaret Jackson AC David Krasnostein AM Hyon-Ju Newman Glenn Sedgwick Company Secretary Oliver Carton
Lu Siqing MSO Ambassador Geoffrey Rush AC The MSO honours the memory of Life Members John Brockman OAM The Honourable Alan Goldberg AO QC Roger Riordan AM Ila Vanrenen
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)
32
Thank you to our Partners Principal Partner
Premier Partners
Major Partners
Government Partners
Education Partners
Venue Partner
Supporting Partners
Quest Southbank
Ernst & Young
The CEO Institute
Bows for Strings
Trusts and Foundations
Sir Andrew and Lady Fairley Foundation, Erica Foundation Pty Ltd, Flora & Frank Leith Trust, Scobie & Claire Mackinnon Trust, Sidney Myer MSO Trust Fund, The Alison Puzey Foundation part of Equity Trustees Sector Capacity Building Fund, Perpetual Foundation – Alan (AGL) Shaw Endowment, The Ray & Joyce Uebergang Foundation, The Ullmer Family Foundation
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.