June 2021 | MSO.LIVE Concert Program

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

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CONTENTS

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THE MELBOURNE SYMPHONY ORCHESTRA Acknowledging Country Your MSO Guest Musicians

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SCHUBERT’S UNFINISHED SYMPHONY

16

HAYDN’S MIRACLE SYMPHONY

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SUPPORTERS

These concerts will be available for future broadcast on MSO.LIVE.

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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.

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— 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.

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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

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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

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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

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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.

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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.

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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.

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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

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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

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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.

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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.

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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.

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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

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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

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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.