BENJAMIN NORTHEY CONDUCTS ENIGMA 27–28 JULY 2017
CONCERT PROGRAM
What is the role of the artist in a creative city?
The City of Melbourne is proud to support major and emerging arts organisations through their 2015–17 Triennial Arts Grants Program. Aphids Arts Access Victoria Australian Centre for Contemporary Art Blindside Artist Run Space Chamber Made Opera Circus Oz Craft Emerging Writers’ Festival Ilbijerri Theatre Koorie Heritage Trust La Mama Little Big Shots Lucy Guerin Inc. Melbourne Festival
“Artists play a vital role in colouring the creative city we live in. They enrich our lives by reflecting on the world around us and the thoughts within us.”
Melbourne Fringe Melbourne International Comedy Festival Melbourne International Film Festival Melbourne International Jazz Festival Melbourne Queer Film Festival Melbourne Symphony Orchestra Melbourne WebFest Melbourne Writers Festival Multicultural Arts Victoria Next Wave Festival Polyglot Theatre Poppy Seed Songlines Aboriginal Music
Dale Barltrop Concertmaster Melbourne Symphony Orchestra
Speak Percussion The Wheeler Centre West Space Wild@heART Community Arts
melbourne.vic.gov.au/triennialarts
Melbourne Symphony Orchestra Benjamin Northey conductor Kristian Chong piano Bizet Carmen: Suite No.1 Saint-SaĂŤns Piano Concerto No.2 INTERVAL
Elgar Sospiri Elgar Variations on an Original Theme Enigma Running time: 2 hours, including 20-minute interval PRE-CONCERT ORGAN REICTAL As with all of the MSO’s Melbourne Town Hall Series, renowned composer and organist Calvin Bowman will perform a pre-concert organ recital in the historic setting of the Melbourne Town Hall. This free performance will begin at 6.30pm.
In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone. The MSO acknowledge the Traditional Owners of the land on which we are performing. We pay our respects to their Elders, past and present, and the Elders from other communities who may be in attendance.
mso.com.au
(03) 9929 9600 3
MELBOURNE SYMPHONY ORCHESTRA Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 2.5 million people each year, and as a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world.
BENJAMIN NORTHEY CONDUCTOR
KRISTIAN CHONG PIANO Leading Australian pianist Kristian Chong has performed throughout Australia, China and the UK, and in France, New Zealand, Singapore, USA, and Zimbabwe. As soloist he has appeared with the Adelaide, Melbourne, Queensland, Sydney and Tasmanian Symphony Orchestras, and orchestras in the UK, New Zealand and China. Highlights include Rachmaninoff’s Third Piano Concerto (Sydney Symphony) and Paganini Rhapsody (Beijing and Canberra) and Ravel's Left-Hand Concerto (Dunedin Symphony).
A highly sought-after chamber musician, Kristian’s collaborations include the Tinalley and Australian String Quartets, violinists Sophie Rowell and Dale Barltrop, cellist Li-Wei Qin and baritone Teddy Tahu Rhodes. Festival appearances include the Australian Northey also appears regularly as a Festival of Chamber Music, Adelaide, guest conductor with all major Australian Huntington Estate, Mimir and Bangalow symphony orchestras, Opera Australia Festivals with other highlights including (Turandot, L’elisir d’amore, Don Giovanni, the Xing Hai Festival (Guangzhou) and Così fan tutte, Carmen), New Zealand Australian Music Week on Gulangyu Opera (Sweeney Todd) and State Opera Island (Xiamen). South Australia (La sonnambula, L’elisir d’amore, Les contes d’Hoffmann). His Kristian studied at the Royal Academy international appearances include of Music with Piers Lane and concerts with the London Philharmonic, Christopher Elton, and with Stephen Tokyo Philharmonic and Hong Kong McIntyre at the University of Melbourne Philharmonic Orchestras and the where Kristian teaches piano and Mozarteum Orchestra Salzburg. chamber music. Australian conductor Benjamin Northey is the Chief Conductor of the Christchurch Symphony Orchestra and the Associate Conductor of the Melbourne Symphony Orchestra.
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PROGRAM NOTES
GEORGES BIZET
CAMILLE SAINT-SAËNS
(1838–1875)
(1835–1921)
Carmen: Suite No.1
Piano Concerto No.2 in G minor, Op.22
Prélude – Aragonaise Intermezzo Séguedille Les Dragons d’Alcala Les Toréadors
Andante sostenuto Allegro scherzando Presto
Kristian Chong piano
Camille Saint-Saëns’ contribution to French music over an exceptionally long life was a helpful and versatile one. A child prodigy who, making his debut as a ten-year-old with Mozart and Beethoven piano concertos, offered his delighted audience any one of the 32 Beethoven piano sonatas as an encore. He lived to a somewhat embittered old age, and walked out of the 1913 premiere of Stravinsky’s Rite of Spring muttering that it wasn’t music. Saint-Saëns for most of his life had been receptive to the new, and tried to steer French music away from its fixation on opera into channels where it could benefit from the example of the best of German instrumental music. He was a friend of Liszt, and his Third Symphony, with organ, is in many ways a tribute to that composer. (It has made a comeback in the age of hi-fi and of talking pigs – After the death of the composer Guiraud Australian composer Nigel Westlake borrowed from it in his soundtrack compiled two suites from the music music for Babe.) of Carmen. The first suite comprises of the instrumental entre’acte from Ironically, a piece which he dashed off the opera, ending with the famous in 17 days in 1868 has proved one of Overture. The only vocal excerpt his most durably popular: his Second in this suite is the Séguedille, which Piano Concerto. The haste was due to appears in an orchestral arrangement. the concert hall becoming available at © Symphony Australia short notice for a concert conducted When Carmen was first produced in Paris in 1875, three months before Bizet’s death at the age of 36, audiences were shocked by the unashamed realism of the story: Carmen’s blatant sexuality scandalised many, as did the rowdy women’s chorus (Carmen’s coworkers in the cigarette factory) who both fight and smoke on stage. And Carmen’s murder by the spurned Don José, in full view of the audience, was too strong for many tastes. The show did run for 48 performances, though, largely on the strength of its shock value, and although the Parisian opera companies were too timid to program it again until 1883 (when it met with enthusiastic acclaim), by that time it had enjoyed success around the the world, mostly in a ‘revised’ version by Bizet’s friend Ernest Guiraud. Guiraud set the original spoken dialogue to recitative.
The MSO first performed music from Carmen on 17 July 1943 under conductor Bernard Heinze, and most recently performed Suite No.1 on 5 February 2013 with Benjamin Northey.
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PROGRAM NOTES
by the Russian Anton Rubinstein, in which Saint-Saëns was to play a concerto. The music shows little sign of hasty workmanship. Saint-Saëns was the classicist among the French Romantics, and his sure grasp of form sometimes makes up for ideas which seem too easily acquired. Liszt described this piano concerto fairly when he said that Saint-Saëns ‘takes into account the effects of the pianist without sacrificing anything of the ideas of the composer’. Nevertheless, this concerto has been indelibly marked by the witty observation of the Polish pianist Sigismond Stojowski, in that it ‘begins with Bach and ends with Offenbach’. It is true that the pianist’s unaccompanied introduction is an obvious tribute-by-imitation to Bach, especially the Bach of the Chromatic Fantasia and other toccatas for organ or harpsichord. Saint-Saëns conceives this imitation in a Romantic sense: it is a declamation rather than a meditation, and projected, by the sustaining pedal on the steel-framed pianoforte, to the back row of the concert hall. The themes of the first movement, prefaced by this introduction, are expressive and lyrical: the main melody was borrowed (with permission) from Saint-Saëns’ younger friend and former pupil Gabriel Fauré (who had used it for a Tantum ergo with choir and organ). The level of activity soon rises, and dramatic exchanges between the soloist and the orchestra climax in a full-throated return of the main theme. 6
There is a cadenza returning to the fantasia style of the introduction, and the movement ends, as it were, by swallowing its own tail. The puckish scherzo is the only movement that was a success at the under-rehearsed first performance. It has a catchy refrain, and is laid out for the instruments with masterly delicacy. The last movement is a tarantella (in popular imagination, the dance of the victim of spider bite), and this brings a strong whiff of the music of Offenbach (he of the can-can). Are the high spirits of comic operetta out of place in the finale of a concerto? Mozart didn’t think so; nor did Saint-Saëns. © David Garrett The MSO first performed this concerto on 17 October 1940 with conductor Georg Schnéevoigt and soloist Sigrid Sundgren, and most recently performed it in July 2008 with Thomas Dausgaard and Simon Trpčeski.
EDWARD ELGAR
EDWARD ELGAR
(1857–1934)
(1857–1934)
Sospiri, Op.70
Variations on an Original Theme, Op.36 Enigma
Elgar is wearing his heart on his sleeve in Sospiri, composed in 1914 and dedicated to his close friend and musical associate W.H. ‘Billy’ Reed. Reed, on whose technical expertise Elgar had drawn whilst composing his Violin Concerto, was at that time the leader of the London Symphony Orchestra, which helps explain the choice of the medium, string orchestra, in this case with harp and organ. Here performance by single strings is unimaginable. The ‘sighs’ of the Italian title seem to point to a private sadness which in Elgar is never far away. Elgar completed Sospiri in February 1914, only months before the outbreak of the First World War, news of which reached the Elgars during an idyllic summer holiday in Scotland. Sir Henry Wood conducted the premiere at that year’s first Promenade concert, on 15 August 1914, the work’s sense of melancholy and regret no doubt a poignant lull in the evening’s highly charged wartime mood. Symphony Australia © 2004 This is the MSO's first performance of Sospiri.
I (C.A.E.) – Caroline Alice Elgar, the composer’s wife II (H.D.S.-P) – Hew David Steuart-Powell, pianist in Elgar’s trio III (R.B.T.) – Richard Baxter Townshend, author IV (W.M.B.) – William Meath Baker, nicknamed ‘the Squire’ V (R.P.A.) – Richard Penrose Arnold, son of Matthew Arnold VI (Ysobel) – Isabel Fitton, viola player VII (Troyte) – Arthur Troyte Griffith, architect VIII (W.N.) – Winifred Norbury IX (Nimrod) – August Johannes Jaeger, reader for the publisher Novello & Co X (Dorabella) Intermezzo – Dora Penny, later Mrs Richard Powell XI (G.R.S.) – Dr G.R. Sinclair, organist of Hereford Cathedral XII (B.G.N.) – Basil G. Nevinson, cellist in Elgar’s trio XIII (***) Romanza – Lady Mary Lygon, later Trefusis XIV (E.D.U.) Finale – Elgar himself (‘Edu’ being his nickname)
In middle age, Elgar loathed having to earn the bulk of his income as a humble rural music teacher. Nevertheless, in spite of his obvious talent as a composer, his career during his 20s and 30s had been a series of disappointments. He had gravitated toward London, but Elgar and the big city never got on. And so, at a time when Schoenberg was emerging in Austria and Debussy was writing his Nocturnes in France, poor Elgar found himself back in his native Malvern region, eking out a living as best he 7
PROGRAM NOTES
could. He took in students, made instrumental arrangements, played in an occasional performance and continually threatened to give away music altogether. But one evening in October 1898, Elgar began to doodle at the piano. Chancing upon a brief theme that pleased him, he started imagining his friends confronting the same melody, or he would try to catch another’s character in a variation. This harmless bit of fun, initiated accidentally, would single-handedly turn around the composer’s career and by February 1899 the work had grown into what would become one of England’s greatest orchestral masterpieces, Elgar’s Variations on an Original Theme, Op.36. Where the word ‘Theme’ should have appeared in the score, however, Elgar wrote ‘Enigma’. He stated that the theme itself was a variation on a well-known tune which he refused to identify. It’s a conundrum which has occupied concertgoers and scholars alike ever since. Over the years there have been many attempts to identify the mystery theme which, according to Elgar, goes in counterpoint with the one we actually hear. Elgar himself rejected suggestions of God Save the King and Auld Lang Syne. Other suggestions have included Rule, Britannia!, various nursery rhymes, a theme from Beethoven’s late quartets, an extract from Wagner’s Parsifal, and even Ta-ra-ra-boom-de-ay. Elgar biographer Michael Kennedy has 8
proposed that it could be Elgar himself, with the famous motif on which the entire work is based capturing the natural speech rhythm of the name ‘Edward Elgar’. But, mischief-maker that he was, Elgar went to his grave without revealing the truth and no one since has come up with the definitive answer. The second enigma was the identity of the characters depicted within each variation, who were represented at first only by their initials in the score. Fortunately this enigma has proved much easier to solve. The main theme is given to the violins, who state it immediately. Variation 1 depicts Elgar’s wife, Caroline Alice (‘Carice’). The second variation brings the first hint of actual imitation. Pianist H.D. Steuart-Powell was one of Elgar’s chamber music collaborators, who characteristically played a diatonic run over the keyboard as a warm-up. Variation 3 depicts the ham actor R.B. Townshend whose drastic variation in vocal pitch is mocked here. The Cotswold squire W. Meath Baker is the subject of Variation 4, while the mixture of seriousness and wit displayed by the great poet Matthew Arnold’s son Richard is captured in the fifth variation. The next two variations parody the technical inadequacies of Elgar’s chamber music acquaintances. Violist Isabel Fitton (Variation 6) had trouble performing music where the strings had to be crossed, while Arthur Troyte Griffith (Variation 7) was a pianist whose vigorous style sounded
more like drumming! Winifred Norbury is represented in Variation 8 by a musical depiction of her 18th-century country house, ‘Sherridge’. The most famous variation, of course, is Nimrod (No.9). Nimrod (the ‘mighty hunter before the Lord’ of Genesis chapter 10) was Elgar’s publisher, A.J. Jaeger (German for ‘hunter’). Apparently the idea for this particular variation came when Elgar was going through one of his regular slumps. Jaeger took Elgar on a long walk during which he said that whenever Beethoven was troubled by the turbulent life of a creative artist, he simply poured his frustrations into still more beautiful compositions. In memory of that conversation, Elgar made those opening bars of Nimrod quote the slow movement from Beethoven’s Pathétique Sonata.
Australia. And then finally we hear ‘E.D.U.’ where the composer depicts himself (his wife’s nickname for him was Edoo) cocking a snook at all those who said he’d never make it as a composer. The Enigma Variations, premiered in London on 19 June 1899 under Hans Richter, were the conclusive evidence that he had. Abridged from a note © Martin Buzacott The MSO first performed Elgar’s Enigma Variations on 29 September 1938 with Sir Malcolm Sargent, and most recently on 13-14 September 2013 under Sir Andrew Davis.
Variation 10 depicts a young woman called Dora Penny, whose soubriquet ‘Dorabella’ comes from Mozart’s Così fan tutte. And then Variation 11 goes beyond the human species, depicting the organist G.R. Sinclair’s bulldog Dan, falling down the steep bank of the river Wye, paddling upstream, coming to land and then barking. The cello features prominently in Variation 12 – a tribute to the cellist Basil Nevinson who later served as the inspiration for Elgar’s Cello Concerto. Mendelssohn’s Calm Sea and Prosperous Voyage is quoted in Variation 13, thought to allude to Lady Mary Lygon’s departure by ship to 9
MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor
SECOND VIOLINS
CELLOS
Benjamin Northey Associate Conductor
Matthew Tomkins
Principal The Gross Foundation#
David Berlin
Tianyi Lu Cybec Assistant Conductor
Robert Macindoe
Rachael Tobin
Associate Principal
Associate Principal
Hiroyuki Iwaki Conductor Laureate (1974-2006)
Monica Curro
Nicholas Bochner
FIRST VIOLINS
Assistant Principal Danny Gorog and Lindy Susskind#
Mary Allison Isin Cakmakcioglu Freya Franzen
Dale Barltrop Concertmaster
Eoin Andersen
Anonymous#
Concertmaster
Sophie Rowell
Associate Concertmaster The Ullmer Family Foundation#
John Marcus Principal
Peter Edwards
Assistant Principal
Kirsty Bremner Sarah Curro
Michael Aquilina#
Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini
David and Helen Moses#
Mark Mogilevski Michelle Ruffolo Kathryn Taylor #
Michael Aquilina
Harry Bennetts* Amy Brookman* Robert John* Oksana Thompson*
Cong Gu Andrew Hall
Andrew and Judy Rogers#
Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Jacqueline Edwards* Michael Loftus-Hills* Christine Wang* VIOLAS
Principal MS Newman Family#
Assistant Principal
Miranda Brockman Geelong Friends of the MSO#
Rohan de Korte
Andrew Dudgeon#
Keith Johnson Sarah Morse Angela Sargeant Michelle Wood
Andrew and Theresa Dyer#
Molly Kadarauch* DOUBLE BASSES
Steve Reeves Principal
Andrew Moon
Associate Principal
Sylvia Hosking
Assistant Principal
Fiona Sargeant
Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton
Lauren Brigden Katharine Brockman Christopher Cartlidge
Emma Sullivan* Esther Toh*
Christopher Moore Principal Di Jameson#
Associate Principal
Michael Aquilina#
Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Merewyn Bramble* William Clark* Ceridwen Davies*
Sophie Galaise and Clarence Fraser#
FLUTES
Prudence Davis Principal Anonymous#
Wendy Clarke
Associate Principal
Sarah Beggs PICCOLO
Andrew Macleod Principal
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OBOES
TRUMPETS
MSO BOARD
Jeffrey Crellin
Geoffrey Payne
Chairman
Thomas Hutchinson
Shane Hooton
Associate Principal
Managing Director
Ann Blackburn
William Evans Daniel Henderson*
Sophie Galaise
Principal
Associate Principal
The Rosemary Norman Foundation# COR ANGLAIS
Michael Pisani Principal
Principal
TROMBONES
Brett Kelly Principal
Richard Shirley
CLARINETS
BASS TROMBONE
David Thomas
Mike Szabo
Principal
Principal
Philip Arkinstall
Associate Principal
Craig Hill BASS CLARINET
Jon Craven
Timothy Buzbee
Oliver Carton
Principal
TIMPANI
BASSOONS
PERCUSSION
Jack Schiller
Robert Clarke
Associate Principal
Natasha Thomas CONTRABASSOON
Brock Imison Principal HORNS
Heath Parkinson*ยง
Guest Principal
Andrew Dyer Danny Gorog Margaret Jackson AC Brett Kelly David Krasnostein David Li Hyon-Ju Newman Helen Silver AO Company Secretary
Alex Timcke*^
Elise Millman
Board Members
TUBA
Principal
Principal
Michael Ullmer
Principal
John Arcaro Robert Cossom Lara Wilson* HARP
Yinuo Mu Principal ORGAN
Calvin Bowman*
Saul Lewis
Principal Third
Jenna Breen Abbey Edlin
# Position supported by * Guest Musician
Nereda Hanlon and Michael Hanlon AM#
ยง Courtesy of Orchestra Victoria
Trinette McClimont
^ Courtesy of West Australian Symphony Orchestra 11
SUPPORTERS MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria
ARTIST CHAIR BENEFACTORS
MSO Audience Access Crown Resorts Foundation Packer Family Foundation
Joy Selby Smith Orchestral Leadership Chair
MSO Education supported by Mrs Margaret Ross AM and Dr Ian Ross
The Cybec Foundation Cybec Assistant Conductor Chair
MSO International Touring supported by Harold Mitchell AC
The Ullmer Family Foundation Associate Concertmaster Chair
MSO Regional Touring Creative Victoria The Robert Salzer Foundation
Anonymous Principal Flute Chair
The Pizzicato Effect Collier Charitable Fund The Marian and E.H. Flack Trust Schapper Family Foundation Scobie and Claire Mackinnon Trust Supported by the Hume City Council’s Community Grants Program (Anonymous)
The Gross Foundation Principal Second Violin Chair Di Jameson Principal Viola Chair MS Newman Family Foundation Principal Cello Chair Marc Besen AC and Eva Besen AO 2018 Soloist in Residence Chair
PROGRAM BENEFACTORS Cybec 21st Century Australian Composers Program The Cybec Foundation Cybec Young Composer in Residence made possible by The Cybec Foundation East Meets West supported by the Li Family Trust Meet The Orchestra made possible by The Ullmer Family Foundation
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Sidney Myer Free Concerts Supported by the Myer Foundation and the University of Melbourne
CHAIRMAN’S CIRCLE $100,000+ Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel The Gross Foundation ◊ David and Angela Li MS Newman Family Foundation ◊ Anthony Pratt ◊ The Pratt Foundation Joy Selby Smith Ullmer Family Foundation ◊ Anonymous (1)
VIRTUOSO PATRONS $50,000+
PRINCIPAL PATRONS $5,000+
Di Jameson ◊ David Krasnostein and Pat Stragalinos Mr Ren Xiao Jian and Mrs Li Quian Harold Mitchell AC Kim Williams AM
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IMPRESARIO PATRONS $20,000+ Michael Aquilina ◊ The John and Jennifer Brukner Foundation Perri Cutten and Jo Daniell Mary and Frederick Davidson AM Rachel and the late Hon. Alan Goldberg AO QC Hilary Hall, in memory of Wilma Collie Margaret Jackson AC Mimie MacLaren John and Lois McKay
MAESTRO PATRONS $10,000+ Kaye and David Birks Mitchell Chipman Sir Andrew and Lady Davis Danny Gorog and Lindy Susskind ◊ Robert & Jan Green Suzanne Kirkham The Cuming Bequest Ian and Jeannie Paterson Lady Potter AC CMRI ◊ Elizabeth Proust AO Rae Rothfield Glenn Sedgwick Helen Silver AO and Harrison Young Maria Solà Profs. G & G Stephenson, in honour of the great Romanian musicians George Enescu and Dinu Lipatti Gai and David Taylor Juliet Tootell Alice Vaughan Kee Wong and Wai Tang Jason Yeap OAM
Max and Jill Schultz Stephen Shanasy Mr Tam Vu and Dr Cherilyn Tillman ◊ The Hon. Michael Watt QC and Cecilie Hall Lyn Williams AM Anonymous (1)
ASSOCIATE PATRONS $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest Barbara Bell, in memory of Elsa Bell Bill Bowness Lynne Burgess Oliver Carton John and Lyn Coppock Miss Ann Darby, in memory of Leslie J. Darby Natasha Davies, for the Trikojus Education Fund Merrowyn Deacon Beryl Dean Sandra Dent Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson Jane Edmanson OAM Tim and Lyn Edward Dr Helen M Ferguson Mr Peter Gallagher and Dr Karen Morley Leon Goldman Dina and Ron Goldschlager Colin Golvan QC and Dr Deborah Golvan Louise Gourlay OAM Peter and Lyndsey Hawkins ◊ Susan and Gary Hearst Colin Heggen, in memory of Marjorie Drysdale Heggen Rosemary and James Jacoby Jenkins Family Foundation C W Johnston Family John Jones George and Grace Kass Irene Kearsey and M J Ridley Kloeden Foundation
Bryan Lawrence Ann and George Littlewood H E McKenzie Allan and Evelyn McLaren Don and Anne Meadows Marie Morton FRSA Annabel and Rupert Myer AO Ann Peacock with Andrew and Woody Kroger Sue and Barry Peake Mrs W Peart Graham and Christine Peirson Julie Reid Ruth and Ralph Renard S M Richards AM and M R Richards Tom and Elizabeth Romanowski Jeffrey Sher QC and Diana Sher OAM Diana and Brian Snape AM Dr Norman and Dr Sue Sonenberg Geoff and Judy Steinicke William and Jenny Ullmer Elisabeth Wagner Brian and Helena Worsfold Peter and Susan Yates Anonymous (8)
PLAYER PATRONS $1,000+ David and Cindy Abbey Christa Abdallah Dr Sally Adams Mary Armour Arnold Bloch Leibler Philip Bacon AM Marlyn and Peter Bancroft OAM Adrienne Basser Prof Weston Bate and Janice Bate Janet H Bell David Blackwell Anne Bowden Michael F Boyt The Late Mr John
Brockman OAM and Mrs Pat Brockman Dr John Brookes Suzie and Harvey Brown Jill and Christopher Buckley Bill and Sandra Burdett Peter Caldwell Joe Cordone Andrew and Pamela Crockett Pat and Bruce Davis Dominic and Natalie Dirupo Marie Dowling John and Anne Duncan Ruth Eggleston Kay Ehrenberg Jaan Enden Amy and Simon Feiglin Grant Fisher and Helen Bird Barry Fradkin OAM and Dr Pam Fradkin Applebay Pty Ltd David Frenkiel and Esther Frenkiel OAM David Gibbs and Susie O'Neill Merwyn and Greta Goldblatt George Golvan QC and Naomi Golvan Dr Marged Goode Max Gulbin Dr Sandra Hacker AO and Mr Ian Kennedy AM Jean Hadges Michael and Susie Hamson Paula Hansky OAM Merv Keehn and Sue Harlow Tilda and Brian Haughney Penelope Hughes Basil and Rita Jenkins Stuart Jennings Dorothy Karpin Brett Kelly and Cindy Watkin Dr Anne Kennedy Julie and Simon Kessel Kerry Landman William and Magdalena Leadston Andrew Lee
Norman Lewis, in memory of Dr Phyllis Lewis Gaelle Lindrea Dr Anne Lierse Andrew Lockwood Violet and Jeff Loewenstein Elizabeth H Loftus Chris and Anna Long The Hon. Ian Macphee AO and Mrs Julie Macphee Vivienne Hadj and Rosemary Madden Eleanor and Phillip Mancini Dr Julianne Bayliss In memory of Leigh Masel John and Margaret Mason Ruth Maxwell Jenny McGregor AM and Peter Allen Glenda McNaught Wayne and Penny Morgan Ian Morrey and Geoffrey Minter JB Hi-Fi Ltd Patricia Nilsson Laurence O'Keefe and Christopher James Alan and Dorothy Pattison Margaret Plant Kerryn Pratchett Peter Priest Treena Quarin Eli Raskin Raspin Family Trust Bobbie Renard Peter and Carolyn Rendit Dr Rosemary Ayton and Dr Sam Ricketson Joan P Robinson Cathy and Peter Rogers Doug and Elisabeth Scott Martin and Susan Shirley Dr Sam Smorgon AO and Mrs Minnie Smorgon John So Dr Michael Soon Lady Southey AC Jennifer Steinicke Dr Peter Strickland Pamela Swansson 13
SUPPORTERS Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher P and E Turner The Hon. Rosemary Varty Leon and Sandra Velik Sue Walker AM Elaine Walters OAM and Gregory Walters Edward and Paddy White Nic and Ann Willcock Marian and Terry Wills Cooke Lorraine Woolley Panch Das and Laurel Young-Das Anonymous (21)
THE MAHLER SYNDICATE David and Kaye Birks Mary and Frederick Davidson AM Tim and Lyn Edward John and Diana Frew Francis and Robyn Hofmann The Hon. Dr Barry Jones AC Dr Paul Nisselle AM Maria Solà The Hon. Michael Watt QC and Cecilie Hall
TRUSTS AND FOUNDATIONS Ken and Asle Chilton Trust, managed by Perpetual Collier Charitable Fund Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation The Marian and E.H. Flack Trust Gandel Philanthropy Linnell/Hughes Trust, managed by Perpetual The Scobie and Claire Mackinnon Trust The Harold Mitchell Foundation The Myer Foundation The Pratt Foundation The Robert Salzer Foundation 14
Alan (AGL) Shaw Endowment, managed by Perpetual Telematics Trust
CONDUCTOR’S CIRCLE Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Mrs Jenny Brukner and the late Mr John Brukner Ken Bullen Luci and Ron Chambers Beryl Dean Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite Marguerite GarnonWilliams Louis Hamon OAM Carol Hay Tony Howe Laurence O'Keefe and Christopher James Audrey M Jenkins John and Joan Jones George and Grace Kass Mrs Sylvia Lavelle Pauline and David Lawton Cameron Mowat Rosia Pasteur Elizabeth Proust AO Penny Rawlins Joan P Robinson Neil Roussac Anne Roussac-Hoyne Fred and Patricia Russell Suzette Sherazee Michael Ryan and Wendy Mead Ann and Andrew Serpell Jennifer Shepherd Profs. Gabriela and George Stephenson Pamela Swansson Lillian Tarry Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Michael Ullmer
Ila Vanrenen The Hon. Rosemary Varty Mr Tam Vu Marian and Terry Wills Cooke Mark Young Anonymous (24) The MSO gratefully acknowledges the support received from the estates of Angela Beagley Neilma Gantner Gwen Hunt Audrey Jenkins Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Jean Tweedie Herta and Fred B Vogel Dorothy Wood
HONORARY APPOINTMENTS Sir Elton John CBE Life Member The Hon. Alan Goldberg AO QC Life Member Geoffrey Rush AC Ambassador The Late John Brockman OAM Life Member Ila Vanrenen Life Member ◊ Signifies Adopt an MSO Musician supporter
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