Musicians Performing in this Concert
FIRST VIOLINS
Dale Barltrop
Concertmaster
David Li AM and Angela Li#
Tair Khisambeev
Assistant Concertmaster
Di Jameson and Frank Mercurio#
Peter Edwards
Assistant Principal
Amanda Chen
Sarah Curro
Deborah Goodall
Karla Hanna
Lorraine Hook
Anne-Marie Johnson
Kirstin Kenny
Eleanor Mancini
Mark Mogilevski
Michelle Ruffolo
Kathryn Taylor
SECOND VIOLINS
Matthew Tomkins Principal
The Gross Foundation#
Robert Macindoe
Associate Principal
Monica Curro
Assistant Principal
Danny Gorog and Lindy Susskind#
Mary Allison
Isin Cakmakcioglu
Tiffany Cheng
Glenn Sedgwick#
Freya Franzen
Cong Gu
Newton Family in memory of Rae Rothfield#
Andrew Hall
Philippa West
Andrew Dudgeon AM#
Patrick Wong
Hyon Ju Newman#
Roger Young
Shane Buggle and Rosie Callanan#
VIOLAS
Christopher Moore Principal
Di Jameson and Frank Mercurio#
Merewyn Bramble*
Katharine Brockman
Lucy Carrigy-Ryan*
Anthony Chataway
Dr Elizabeth E Lewis AM#
William Clark*
Molly Collier-O’Boyle*
Ceridwen Davies*
Isabel Morse*
Fiona Sargeant
Kate Worley*
CELLOS
David Berlin Principal
Rachael Tobin
Associate Principal
Elina Faskhi
Assistant Principal
Jonathan Chim*
Sarah Morse
Rebecca Proietto*
Angela Sargeant
Michelle Wood
Andrew and Judy Rogers#
DOUBLE BASSES
Caitlin Bass*
Benjamin Hanlon
Frank Mercurio and Di Jameson#
Suzanne Lee
Stephen Newton
Sophie Galaise and Clarence Fraser#
Gustavo Quintino*
Vivian Qu Siyuan*
Emma Sullivan*
FLUTES
Prudence Davis Principal
Anonymous#
Wendy Clarke
Associate Principal
Sarah Beggs
PICCOLO
Andrew Macleod Principal
Correct as of 31 March 2023
Learn more about our musicians on the MSO website
WAR REQUIEM | 14–15 April 6
BRITTEN’S
OBOES
Shefali Pryor* Guest Principal
Ann Blackburn
The Rosemary Norman Foundation#
Rachel Curkpatrick*
COR ANGLAIS
Michael Pisani Principal
CLARINETS
David Thomas Principal
Philip Arkinstall
Associate Principal
Craig Hill
BASS CLARINET
Jon Craven Principal
BASSOONS
Jack Schiller Principal
Elise Millman Associate Principal
Christopher Haycroft*
CONTRABASSOON
Brock Imison Principal
HORNS
Nicolas Fleury Principal
Margaret Jackson AC#
Saul Lewis
Principal Third
The late Hon Michael Watt KC and Cecilie Hall#
Abbey Edlin
Nereda Hanlon and Michael Hanlon AM#
Ryan Humphrey*
Josiah Kop*
Rebecca Luton*
Rachel Shaw
Gary McPherson#
TRUMPETS
Owen Morris Principal
Shane Hooton
Associate Principal
Glenn Sedgwick#
William Evans*
Tristan Rebien*
TROMBONES
Richard Shirley
Mike Szabo
Principal Bass Trombone
TUBA
Timothy Buzbee Principal
TIMPANI
Scott Weatherson* Acting Principal
PERCUSSION
Shaun Trubiano* Principal
John Arcaro
Tim and Lyn Edward#
Robert Allan*
Robert Cossom
Drs Rhyl Wade and Clem Gruen#
Nathan Gatenby*
Greg Sully*
HARP
Yinuo Mu Principal
PIANO/CELESTE
Louisa Breen*
ORGAN / CHAMBER
ORGAN
Calvin Bowman*
* Denotes Guest Musician # Position supported by
BRITTEN’S WAR REQUIEM | 14–15 April 7
Chief Conductor of the Melbourne Symphony Orchestra since 2022, Jaime Martín is also Chief Conductor of the National Symphony Orchestra (Ireland) and Music Director of the Los Angeles Chamber Orchestra. He is the Principal Guest Conductor of the Orquesta y Coro Nacionales de España (Spanish National Orchestra) for the 22/23 season and was Artistic Director and Principal Conductor of Gävle Symphony Orchestra from 2013 to 2022.
Having spent many years as a highly regarded flautist, Jaime turned to conducting full-time in 2013, and has become very quickly sought after at the highest level. Recent and future engagements include appearances with the London Symphony Orchestra, Dresden Philharmonic, Netherlands Philharmonic, Royal Stockholm Philharmonic, Colorado Symphony, Dallas Symphony, Antwerp Symphony, Orquesta Sinfónica y Coro de RTVE (ORTVE) and Galicia Symphony orchestras, as well as a nine-city European tour with the London Philharmonic Orchestra.
Martín is the Artistic Advisor and previous Artistic Director of the Santander Festival. He was also a founding member of the Orquestra de Cadaqués, where he was Chief Conductor from 2012 to 2019.
The Chief Conductor is supported by Mr Marc Besen AC and the late Mrs Eva Besen AO.
Australian/British soprano Samantha Clarke is the winner of the 2019 Guildhall Gold Medal and prize winner in the 2019 Grange International Festival Singing Competition. Samantha studied at the Royal Northern College of Music, as a Sir John Fisher Foundation and Independent Opera Scholar, under the tutelage of Mary Plazas.
Her operatic roles include: Helena and Tytania A Midsummer Night’s Dream, Fiordiligi Cosi fan tutte, Donna Elvira Don Giovanni, Pamina Die Zauberflöte, Countess Le Nozze di Figaro, Anne Trulove The Rake’s Progress, The Governess The Turn of the Screw, Theodora and Beth Little Women.
Recent and future engagements include her role debut as Violetta La traviata with West Australian Opera, Marzelline Fidelio and Mendelssohn’s Midsummer Night’s Dream with the Sydney Symphony Orchestra and Simone Young, Fiordiligi Cosi fan tutte at Queensland Opera, Dorset Opera and Grange Festival, her Proms debut in Mozart Requiem, Beethoven Symphony No.9 in Tasmania, Adina L’elisir d’amore at West Green House Opera, Golden Cockerel at the Adelaide Festival, and Flower Maiden Parsifal at Opera North.
Jaime Martín conductor Samantha Clarke soprano
| 14–15 April 8
BRITTEN’S WAR REQUIEM
Toby Spence tenor
An honours graduate and choral scholar from New College, Oxford, Toby Spence studied at the Opera School of the Guildhall School of Music and Drama. He was the winner of the Royal Philharmonic Society 2011 Singer of the Year award.
In concert Toby has sung with some of the most renowned orchestras such as the Berlin Philharmonic Orchestra, Vienna Philharmonic Orchestra, Bavarian Radio Symphony Orchestra, San Francisco Symphony, London Symphony Orchestra, London Philharmonic Orchestra, Los Angeles Philharmonic, Cleveland Orchestra, Rotterdam Philharmonic and the Accademia Nazionale di Santa Cecilia.
Operatic plans for 22/23 include role debuts as Alonso/ The Tempest for Teatro alla Scala and Erik/Der Fliegende Holländer for Teatro la Fenice. On the concert platform Toby sings Das Lied von der Erde Orchestre de Lille cond. Alexandre Bloch, St Matthew Passion for the Gulbenkian Foundation, Britten’s War Requiem with the Melbourne Symphony Orchestra, The Bells with the Philharmonia Orchestra cond.
Stanislav Kochanovsky, the Glagolitic Mass with the London Philharmonic Orchestra cond. Edward Gardner, and Bach Magnificat cond. Mena with the Cincinnati Symphony. Further ahead, Toby returns to the Wiener Staatsoper.
David Greco baritone
Internationally regarded for his interpretations of Schubert Lieder and the works of J.S. Bach, baritone David Greco has sung on some of the finest stages across Europe and has appeared as a principal in opera festivals such as Festival d’Aix-en-Provence and Glyndebourne.
He regularly appears with leading Australian ensembles such as Pinchgut Opera, Australian Brandenburg Orchestra, Australian Chamber Orchestra, Sydney Philharmonia and the Sydney, Melbourne, Adelaide and Western Australia symphony orchestras. He has appeared as a principal artist with Opera Australia, and his performances as Seneca in Pinchgut’s Coronation of Poppea and Momus in Platée received critical acclaim.
He has an impressive catalogue of solo recordings and is an active researcher into the historical performance practice of 19 th century vocal music; recently receiving his doctorate from Melbourne University. This led to the first Australian recordings of historically informed performances of Schubert’s song cycles Winterreise and Die schöne Müllerin (ABC Classic), the latter receiving an ARIA nomination for Best Classical Album (2020). Schwanengesang will be recorded later this year.
Gondwana Voices
Founded by Lyn Williams AM in 1997, Gondwana Voices is Australia’s national children’s choir for treble singers aged 10-17. It regularly performs with the country’s leading ensembles and has built a reputation for performances of outstanding musicianship. The choristers of Gondwana Voices come from all around Australia, from the cities, the suburbs and the bush to perform captivating and challenging music. The choir tours nationally and internationally and has taken part in international choral festivals including the World Symposium on Choral Music, Rotterdam; America Cantat, Mexico City; Polyfollia, Normandy; and the BBC Proms. In 2019, Gondwana Voices performed Brett Dean’s Vexations and Devotions with the Berlin Radio Symphony Orchestra under maestro Vladimir Jurowksi at the Berlin Philharmonie. The choir has recorded three albums for ABC Classics.
Gondwana Voices Chorus List
Sara Andrew
Hannah Appaneal
Arlie Bragg
Elias Buggy Axton
Etta Buggy Axton
Rachel Carpenter
Teya Catterall
Jolene Corpus
Astrid Durrant
Paige Easson
James Emmett
Sienna Flannery
Amelie Hamedl
Angela Han
Amira Hibberd
Daniel Hirst
Abigail Hughes
Finley Humberstone
Yuhansa Jayakody
Miranda Johnston
Max Junge
Esther Little
Thomas Mansour
Dylan Marrick
James Morris
Beatrix Parton
Juliette Pfeil
Mia Rogers
Elizabeth Samuel
Saskia Scheib
Reva Shinde
India Smith
Imogen Taylor
Liam Ullman
Miranda Vaz
Ash Watts
Avara Williams
Ebbeny Williams-Cherry
| 14–15 April 10
BRITTEN’S WAR REQUIEM
Lyn Williams is widely regarded as one of the finest conductors of choirs around the world. For over 30 years, Lyn has harnessed the incredible power of young voices through her worldrenowned ensembles: the Sydney Children’s Choir, Gondwana Voices, the Gondwana Indigenous Children’s Choir and Marliya. Her choirs have appeared with the world’s leading orchestras and conductors and at festivals including the BBC Proms and Polyfollia.
Lyn has commissioned over 200 works from composers across Australia and around the world and her ability to forge innovative and meaningful collaborations is widely recognised. She continues to foster strong relationships with First Nations artists across Australia, bringing together cultural custodians and composers to create new works which preserve and celebrate Aboriginal and Torres Strait Island languages and cultures.
In 2017, Lyn received the Australia Council for the Arts’ Don Banks Music Award for outstanding and sustained contribution to music in Australia, in recognition of her lifework as founder and director of Gondwana Choirs. In 2021, Lyn received the Sir Bernard Heinze Memorial Award for outstanding contribution to Australian music.
Melbourne Symphony Orchestra Chorus Director Warren Trevelyan-Jones is the Head of Music at St James’, King Street in Sydney and is regarded as one of the leading choral conductors and choir trainers in Australia. Warren has had an extensive singing career as a soloist and ensemble singer in Europe, including nine years in the Choir of Westminster Abbey, and regular work with the Gabrieli Consort, Collegium Vocale (Ghent), the Taverner Consort, The Kings Consort, Dunedin Consort, The Sixteen and the Tallis Scholars. Warren is also Director of the Parsons Affayre, Founder and Co-Director of The Consort of Melbourne and, in 2001 with Dr Michael Noone, founded the Gramophone award-winning group Ensemble Plus Ultra. Warren is also a qualified music therapist.
Lyn Williams AM children’s chorus director
Warren Trevelyan-Jones chorus director
BRITTEN’S WAR REQUIEM | 14–15 April 11
BRITTEN’S WAR REQUIEM
Melbourne Symphony Orchestra Chorus
For more than 50 years the Melbourne Symphony Orchestra Chorus has been the unstinting voice of the Orchestra’s choral repertoire. The MSO Chorus sings with the finest conductors including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, Bernard Labadie, Vladimir Ashkenazy, Manfred Honeck, Xian Zhang and Nodoko Okisawa, and is committed to developing and performing new Australian and international choral repertoire.
Commissions include Brett Dean’s Katz und Spatz, Ross Edwards’ Mountain Chant, and Paul Stanhope’s Exile Lamentations. Recordings by the MSO Chorus have received critical acclaim. It has performed across Brazil and at the Cultura Inglese Festival in Sao Paolo, with The Australian Ballet, Sydney Symphony Orchestra, at the AFL Grand Final and at the Anzac Day commemorative ceremonies.
The MSO Chorus is always welcoming new members. If you would like to audition, please visit mso.com.au/chorus for more information.
MSO Chorus SOPRANO
Shirin Albert
Emma Anvari
Carolyn Archibald
Sheila Baker
Helena Balazs
Anne-Marie Brownhill
Eva Butcher
Aliz Cole
Jillian Colrain
Kylie Constantine
Veryan Croggon
Michele de Courcy
Isabelle Dennis
Laura Fahey
Catherine Folley
Susan Fone
Carolyn Francis
Nicole Free
Emma Hamley
Penny Huggett
Leanne Hyndman
Tania Jacobs
Gwen Kennelly
Ingrid Kirchner
Natasha Lambie
Judy Longbottom
Caitlin Noble
Karin Otto
Amanda Powell
Tanja Redl
Beth Richardson
Jo Robin
Danielle Rosenfeld-Lovell
Jodi Samartgis
Jillian Samuels
Julienne Seal
Fiona Steffensen
| 14–15 April 12
Christa Tom
Fabienne Vandenburie
Asami Weaver
Jillian Wood
Tara Zamin
ALTO
Ruth Anderson
Margaret Arnold
Tes Benton
Catherine Bickell
Cecilia Björkegren
Kate Bramley
Jane Brodie
Alexandra Chubaty
Juliarna Clark
Mari Eleanor-Rapp
Nicola Eveleigh
Lisa Faulks
Claudia Funder
Jill Giese
Natasha Godfrey
Jillian Graham
Debbie Griffiths
Sophia Gyger
Ros Harbison
Jennifer Henry
Kristine Hensel
Helen Hill
Julie Lotherington
Helen MacLean
Christina McCowan
Rosemary McKelvie
Charlotte Midson
Sandy Nagy
Natasha Pracejus
Alison Ralph
Kate Rice
Helen Rommelaar
Kerry Roulston
Lisa Savige
Victoria Sdralis
Helen Staindl
Melvin Tan
TENOR
Adam Birch
Kent Borchard
Steve Burnett
Pete Campbell
Allan Chiang
James Dipnall
Simon Gaites
Lyndon Horsburgh
Michael Mobach
Matthew O’Leary
Colin Schultz
Robert Simpson
Torsten Stokirch
Brad Warburton
BASS
Maurice Amor
José Miguel Armijo Fidalgo
Kevin Barrell
David Bennett
Richard Bolitho
Stephen Bordignon
Roger Dargaville
Ted Davies
Peter Deane
Michael Gough
Elliott Gyger
Andrew Ham
Andrew Hibbard
John Howard
John Hunt
Jordan Hyndman
Jordan Janssen
Gary Levy
Tim March
Douglas McQueenThomson
Vern O’Hara
Douglas Proctor
Liam Straughan
Matthew Toulmin
Caleb Triscari
BRITTEN’S WAR REQUIEM | 14–15 April 13
Program Notes
BENJAMIN BRITTEN (1913–1976)
incorporating texts of WILFRED OWEN (1893–1918)
War Requiem, Op.66
I. Requiem aeternam
II. Dies irae
III. Offertorium
IV. Sanctus
V. Agnus Dei
VI. Libera me
“ The whole of my life has been devoted to acts of creation (being by profession a composer) and I cannot take part in acts of destruction. I do not believe in the Divinity of Christ, but I think his teaching is sound and his example should be followed.”
Benjamin Britten wrote these words in 1942, as part of a statement to the War Board in his application for conscientious objector status. Together with his lifelong partner, Peter Pears, Britten had left the UK for New York in early 1939. They returned three years later, but ran the risk of being branded criminals and facing incarceration if their application was rejected.
Britten had been committed to the pacifist cause from a very early age, even refusing to serve in his school’s cadet force at 13. He had begun thinking about a large-scale choral work to serve as a ‘call for peace’ when Gandhi was assassinated in 1948. He was therefore keen to accept a commission from the Coventry Arts Committee, who approached him in October 1958 about the composition of a work to mark the consecration of Coventry Cathedral. The Cathedral had been destroyed by Luftwaffe bombs on 14 November
1940, in a raid nicknamed ‘Operation Moonlight Sonata’, and the Committee had ambitious plans with which to mark its reopening.
In 1961, Britten wrote to the great German baritone Dietrich Fischer-Dieskau:
I am writing what I think will be one of my most important works. It is a full-scale Requiem Mass for chorus and orchestra (in memory of those nations who died in the last war), and I am interspersing the Latin text with many poems of a great English poet, Wilfred Owen, who was killed in the First World War. These magnificent poems, full of the hate of destruction, are a kind of commentary on the Mass; they are, of course, in English. These poems will be set for tenor and baritone, with an accompaniment of chamber orchestra, placed in the middle of the other forces. They will need singing with the utmost beauty, intensity and sincerity. Peter Pears has agreed to sing the tenor part, and with great temerity, I am asking you whether you would sing the baritone.
Fischer-Dieskau accepted and Britten added a further solo part for soprano Galina Vishnevskaya, wife of his great friend and collaborator Mstislav Rostropovich.
The huge forces for the War Requiem are divided into three distinct groups, who do not perform concurrently until the final pages of the work. They are:
i. The children’s choir, accompanied by chamber organ or harmonium, usually positioned offstage. They sing the text of the Requiem Mass in Latin and are heard as voices from heaven.
ii. The main orchestra, main chorus and soprano soloist, who also sing in Latin and represent the celebration of the mass on earth.
BRITTEN’S WAR REQUIEM | 14–15 April 15
iii. The two male soloists, accompanied by a chamber orchestra of string quintet, flute, oboe, clarinet, bassoon, French horn, harp and percussion. The two soloists are soldiers and their text is the poetry of Wilfred Owen.
Although Wilfred Owen was killed in action at the Battle of the Sambre –only days before the Armistice – when Britten was barely a year old, the two make curiously kindred spirits. Both were committed pacifists, both fell under the spell of a charismatic older colleague (Siegfried Sassoon in Owen’s case and W.H. Auden in Britten’s), both were discreetly gay, both challenged the Church’s role in the condoning of war and both men wrote in gritty realities, contrary to the heroic spirit of the times. In many ways, Owen’s influence legitimises Britten’s writing of the War Requiem: Owen is Britten’s soldier at the front, providing a first-hand account of life in the trenches. Unlike Britten, Owen was never accused of cowardice or desertion.
The Requiem aeternam opens with a dark and foreboding atmosphere. Church bells intone an F sharp and C natural, the interval of a tritone that Britten uses throughout the score. Disjointed phrases gradually grow longer before the children’ chorus is heard in the distance. As the scene shifts to the battlefield, Britten mocks the sound of church bells with text from Owen’s Anthem for Doomed Youth, sung by the solo tenor (‘What passing-bells for these who die as cattle?’).
In the Dies irae, Britten connects the prophecies of the last trumpet from the Requiem text with the military bugles from Owen’s Voices. Later in the movement, the words of Owen’s The Next War (‘Out there, we’ve walked quite friendly up to Death;/ Sat down and eaten with him, cool and bland’)
are sung by the two male soloists in a section marked ‘Fast and gay’. With the horrors that they face on a daily basis, the biblical Day of Judgment holds no fears for these soldiers.
The central crux of the War Requiem can be found in the Offertorium. The Latin text centres on the ancient promise of blessing that God made to Abraham and his descendants; the main chorus initially sings the text in fugal rejoicing. Britten then interpolates Owen’s The Parable of the Old Man and the Young, which tells the biblical story of Abraham and Isaac, sung by the baritone soloist. When God instructs Abraham to spare Isaac and sacrifice the ram instead, the story departs from the traditional. The baritone sings, ‘But the old man would not so, but slew his son,/ And half the seed of Europe, one by one’. When the main chorus returns, their earlier material fragments and disintegrates, just as Abraham’s promise has.
The Sanctus is composed of stark contrasts. It opens with music of great splendour, as the solo soprano leads the main chorus in worship praising the glory of God. The section culminates in magnificent brass fanfares before the pity of War is heard against the opulence of the Church. The baritone sings from Owen’s The End, words of profound despair accompanied by bare orchestral writing.
The Agnus Dei is a dialogue between tenor soloist and the main chorus, with the verses from Owen’s At a Calvary Near the Ancre being answered with the text of Requiem Mass. It is a deeply unsettling combination of words concerning the divine sacrifice of Christ and the sacrifice of young soldiers. At the end of the movement, the tenor sings ‘dona nobis pacem’ in an upwards scale, the only time either of the male soloists sings in Latin throughout the work.
The Libera me opens with the sound
| 14–15 April 16
BRITTEN’S WAR REQUIEM
of military drums and the uneven march of soldiers, perhaps wounded, perhaps spectres. The chorus’ cries for deliverance become more impassioned and each utterance of the word ‘ignem’ (fire) is accompanied by the sound of the whip in the percussion section, as if to stress its potential doublemeaning as ‘gunfire’. From the rubble of the battlefield, we hear the text of Owen’s Strange Meeting, a conversation between two soldiers from opposing sides. It later becomes clear that this is a meeting between the killer and the killed and that both soldiers are already dead. As they duet on the words ‘Let us sleep now’, Britten finally unites his entire forces in music of hope and reconciliation. However just as a resolution sounds possible, the tritone bells sound again in warning. The dissonance leaves the listener musically and emotionally unsettled, as if to emphasise the perpetual threat of war.
War Requiem was premiered on 30 May 1962 in difficult circumstances. The Soviet Minister for Culture, Ekaterina Furtseva, had prevented Galina Vishnevskaya from leaving Russia, asking, ‘How can you, a Soviet woman, stand next to a German and an Englishman and perform a political work?’; British soprano Heather Harper was therefore given only ten days to learn the work. Britten himself was suffering from what he described as ‘a rotten arm’ and so decided to split the conducting duties with Meredith Davies, who had been preparing the choruses; Britten would conduct the chamber orchestra and male soloists while Davies would direct the main orchestra, chorus and soprano soloist. The problems continued however: the composer described the acoustics as ‘lunatic’, the cathedral authorities would not allow any staging to be erected, performing space was cramped and the entire audience was ushered in through one tiny door.
Despite all this, the premiere was a triumph. Reviewing the performance, playwright Peter Shaffer declared, ‘I believe it to be the most impressive and moving piece of sacred music ever to be composed in this country … the most profound and moving thing which this most committed of geniuses has so far achieved. It makes criticism impertinent.’ Further performances abounded and Decca released a recording of the work the following year, with Vishnevskaya finally in place as the solo soprano; it sold an unprecedented 200,000 copies in the first five months alone. Britten had clearly tapped into the contemporary zeitgeist and written a work that people needed to hear. Its continued popularity is evidence of the piece’s lasting resonance and relevance. As Owen wrote, and as Britten quoted on the front page of the score, ‘My subject is War, and the pity of War. The Poetry is in the pity … All a poet can do today is warn.’
BRITTEN’S WAR REQUIEM | 14–15 April 17
I. Requiem Aeternam
Chorus
Requiem aeternam dona eis Domine, et lux perpetua luceat eis.
Children’s Chorus
Te decet hymnus, Deus in Sion; et tibi reddetur votum in Jerusalem; exaudi orationem meam, ad te omnis caro veneit.
Tenor solo
Eternal rest grant unto them O Lord, and let perpetual light shine upon them.
Thou, O God, art praised in Sion; and unto Thee shall the vow be performed in Jerusalem; Thou who hearest the prayer, unto Thee shall all flesh come.
What passing-bells for these who die as cattle?
Only the monstrous anger of the guns, Only the stuttering rifles’ rapid rattle Can patter out their hasty orisons. No mockeries for them from prayers or bells, Nor any voice of mourning save the choirs, –The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires. What candles may be held to speed them all?
Not in the hands of boys, but in their eyes
Shall shine the holy glimmers of good-byes. The pallor of girls’ brows shall be their pall; Their flowers the tenderness of silent minds, And each slow dusk a drawing-down of blinds.
Chorus
Kyrie eleison.
Christe eleison.
Kyrie eleison.
II. Dies Irae
Chorus
Dies irae, dies illa, Solvet saeclum in favilla, Teste David cum Sibylla. Quantus tremor est futurus, Quando Judex est venturus, Cuncta stricte discussurus!
Tuba mirum spargens sonum
Lord have mercy upon us. Christ have mercy upon us. Lord have mercy upon us.
Day of wrath and doom impending, Heaven and earth in ashes ending: David’s words with Sybil’s blending. Oh, what fear man’s bosom rendeth when from heaven the judge descendeth on whose sentence all dependeth!
Wondrous sound the trumpet flingeth
Texts and Translation
| 14–15 April 18
BRITTEN’S WAR REQUIEM
Per sepulcra regionum, Coget omnes ante thronum, Mors stupebit et natura, Cum resurget creatura, Judicanti responsura.
Baritone solo Bugles sang, saddening the evening air, And bugles answered, sorrowful to hear.
through earth’s sepulchres it ringeth all before the throne it bringeth. Death is struck and nature quaking, all creation is awaking, to its judge an answer making.
Voices of boys were by the river-side. Sleep mothered them, and left the twilight sad. The shadow of the morrow weighed on men.
Voices of old despondency resigned, Bowed by the shadow of the morrow, slept.
Soprano solo and Chorus Liber scriptus proferetur, In quo totum continetur, Unde mundus judicetur.
Judex ergo cum sedebit, Quidquid latet, apparebit: Nil inultum remanebit.
Quid sum miser tunc dicturus?
Quem patronum rogaturus, Cum vix justus sit securus?
Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.
Tenor and Baritone solos
Lo! the book exactly worded, wherein all hath been recorded; thence shall judgment be awarded. When the judge his seat attaineth, and each hidden deed arraigneth, nothing unavenged remaineth. What shall I, frail man, be pleading? Who for me be interceding, when the just are mercy needing? King of majesty tremendous, who dost free salvation send us, Fount of pity, then befriend us!
Out there, we’ve walked quite friendly up to Death; Sat down and eaten with him, cool and bland, –Pardoned his spilling mess-tins in our hand.
We’ve sniffed the green thick odour of his breath, –
Our eyes wept, but our courage didn’t writhe.
He’s spat at us with bullets and he’s coughed Shrapnel. We chorussed when he sang aloft; We whistled while he shaved us with his scythe.
Oh, Death was never enemy of ours!
We laughed at him, we leagued with him, old chum. No soldier’s paid to kick against his powers.
We laughed, knowing that better men would come, And greater wars; when each proud fighter brags
He wars on Death – for Life; not men – for flags.
Please turn pages quietly
BRITTEN’S WAR REQUIEM | 14–15 April 19
Chorus
Recordare Jesu pie, Quod sum causa tuae viae: Ne me perdas illa die.
Quaerens me, sedisti lassus: Redemisti crucem passus: Tantus labor non sit cassus.
Ingemisco, tamquam reus: Culpa rubet vultus meus: Supplicanti parce Deus.
Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti. Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra. Confutatis maledictis, Flammis acribus addictis, Voca me cum benedictis.
Oro supplex et acclinis, Cor contritum quasi cinis: Gere curam mei finis.
Baritone solo
Think, kind Jesus – my salvation caused Thy wondrous incarnation; leave me not to reprobation. Faint and weary Thou has sought me; on the cross of suffering brought me; shall such grace be vainly brought me? Guilty, now I pour my moaning all my shame with anguish owning; spare, O God, Thy suppliant groaning! Through the sinful Mary shriven, through the dying thief forgiven, Thou to me a hope hast given. With Thy sheep a place provide me, from the goat afar divide me, to Thy right hand do Thou guide me. When the wicked are confounded, doomed to flames of woe unbounded, call me, with Thy saints surrounded. Low I kneel with heart-submission; see, like ashes, my contrition! Help me in my last condition!
Be slowly lifted up, thou long black arm, Great gun towering toward Heaven, about to curse; Reach at that arrogance which needs thy harm, And beat it down before its sins grow worse; But when thy spell be cast complete and whole, May God curse thee, and cut thee from our soul!
Soprano solo and Chorus
Dies irae …
Lacrimosa dies illa, Qua resurget ex favilla
Judicandus homo reus, Huic ergo parce Deus.
Tenor solo
Move him into the sun –Gently its touch awoke him once, At home, whispering of fields unsown. Always it woke him, even in France, Until this morning and this snow. If anything might rouse him now The kind old sun will know.
Ah, that day of tears and mourning! From the dust of earth returning, man for judgement must prepare him: Spare, O God, in mercy spare him!
WAR REQUIEM | 14–15 April 20
BRITTEN’S
Think how it wakes the seeds, –Woke, once, the clays of a cold star. Are limbs, so dear-achieved, are sides, Full-nerved – still warm – too hard to stir? Was it for this the clay grew tall? –O what made fatuous sunbeams toil To break earth’s sleep at all?
Chorus
Pie Jesu Domine, dona eis requiem. Amen.
III. Offertorium
Children’s Chorus
Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu: libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum.
Chorus
Sed signifer sanctus Michael repraesentet eas in lucem sanctam: quam olim Abrahae promisisti, et semini ejus.
Tenor and Baritone solos
Lord, all-pitying, Jesu blest, grant them rest. Amen.
O Lord Jesus Christ, King of Glory, deliver the souls of all the faithful departed from the pains of hell and from the depths of the pit: deliver them from the lion’s mouth, that hell may devour them not, that they fall not into darkness.
But let the standard-bearer Saint Michael bring them into the holy light: which of old Thou didst promise unto Abraham and his seed.
So Abram rose, and clave the wood, and went, And took the fire with him, and a knife, And as they sojourned both of them together, Isaac the first-born spake and said, My Father, Behold the preparations, fire and iron, But where the lamb for this burnt-offering?
Then Abram bound the youth with belts and straps, And builded parapets and trenches there, And stretchèd forth the knife to slay his son. When lo! an angel called him out of heaven, Saying, Lay not thy hand upon the lad, Neither do anything to him. Behold, A ram, caught in a thicket by its horns; Offer the Ram of Pride instead of him. But the old man would not so, but slew his son, –And half the seed of Europe, one by one.
Please turn pages quietly
BRITTEN’S WAR REQUIEM | 14–15 April 21
WAR REQUIEM
BRITTEN’S
Children’s Chorus
Hostias et preces tibi Domine
laudis offerimus:
tu suscipe pro animabus illis, quarum hodie memoriam facimus: face eas, Domine, de morte transire ad vitam.
IV. Sanctus
Chorus
Sanctus, sanctus, sanctus
Dominus Deus Sabaoth.
Pleni sunt coeli et terra
gloria tua, Hosanna in excelsis.
Sanctus …
Benedictus qui venit in nomine Domini. Hosanna in excelsis.
Sanctus …
Baritone solo
We offer unto Thee, O Lord, sacrifices of prayer and praise: do Thou receive them for the souls of those whose memory we this day recall: make them, O Lord, to pass from death to life.
After the blast of lightning from the East, The flourish of loud clouds, the Chariot Throne; After the drums of Time have rolled and ceased, And by the bronze west long retreat is blown, Shall life renew these bodies? Of a truth
All death will He annul, all tears assuage? –Fill the void veins to Life again with youth, And wash, with an immortal water, Age? When I do ask white Age he saith not so: ‘My head hangs weighed with snow.’
And when I hearken to the Earth, she saith: ‘My fiery heart shrinks, aching. It is death. Mine ancient scars shall not be glorified, Nor my titanic tears, the sea, be dried.’
V. Agnus Dei
Tenor solo
One ever hangs where shelled roads part. In this war He too lost a limb, But His disciples hide apart;
Holy, Holy, Holy Lord God of Sabaoth. Heaven and earth are full of Thy glory, Glory be to Thee, O Lord most High. Holy … Blessed is he that cometh in the name of the Lord. Glory be to Thee, O Lord most High. Holy … | 14–15 April 22
And now the Soldiers bear with Him.
Near Golgotha strolls many a priest, And in their faces there is pride
That they were flesh-marked by the Beast
By whom the gentle Christ’s denied. The scribes on all the people shove And bawl allegiance to the state, But they who love the greater love Lay down their life; they do not hate.
Chorus
Agnus Dei, qui tollis peccata mundi, dona eis requiem.
Agnus Dei, qui tollis peccata mundi, dona eis requiem.
Agnus Dei, qui tollis peccata mundi: dona eis requiem sempiternam.
Tenor solo
Dona nobis pacem.
VI. Libera Me
Soprano solo and Chorus
Libera me, Domine, de morte aeterna, in die illa tremenda:
Quando coeli movendi sunt et terra, Dum veneris judicare saeculum per ignem.
Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira.
Quando coeli movendi sunt et terra.
Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde. Libera me, Domine …
O Lamb of God, who takest away the sins of the world, grant them rest.
O Lamb of God, who takest away the sins of the world, grant them rest.
O Lamb of God, who takest away the sins of the world, grant them eternal rest.
Grant us peace.
Deliver me, O Lord, from death eternal on that fearful day: when the heavens and earth shall be shaken, when Thou shalt come to judge the world by fire.
I am in fear and trembling till the sifting be upon us, and the wrath to come, when the heavens and earth shall be shaken, O that day, that day of wrath, of calamity and misery, day of great and exceeding bitterness. Deliver me, O Lord …
Please turn pages quietly
BRITTEN’S WAR REQUIEM | 14–15 April 23
Tenor and Baritone solos
It seemed that out of battle I escaped Down some profound dull tunnel, long since scooped Through granites which titanic wars had groined. Yet also there encumbered sleepers groaned, Too fast in thought or death to be bestirred. Then, as I probed them, one sprang up, and stared With piteous recognition in fixed eyes, Lifting distressful hands as if to bless. And no guns thumped, or down the flues made moan, ‘Strange friend,’ I said, ‘here is no cause to mourn.’ ‘None,’ said the other, ‘save the undone years, The hopelessness. Whatever hope is yours, Was my life also; I went hunting wild
After the wildest beauty in the world.
For by my glee might many men have laughed, And of my weeping something had been left, Which must die now. I mean the truth untold, The pity of war, the pity war distilled. Now men will go content with what we spoiled. Or, discontent, boil bloody, and be spilled. They will be swift with swiftness of the tigress, None will break ranks, though nations trek from progress. Miss we the march of this retreating world Into vain citadels that are not walled.
Then, when much blood had clogged their chariot-wheels I would go up and wash them from sweet wells, Even from wells we sunk too deep for war, Even the sweetest wells that ever were.
I am the enemy you killed, my friend. I knew you in this dark; for so you frowned Yesterday through me as you jabbed and killed. I parried; but my hands were loath and cold. Let us sleep now …’
WAR
| 14–15 April 24
BRITTEN’S
REQUIEM
Children’s Chorus, Soprano solo and Chorus
In paradisum deducant te Angeli: in tuo adventu suscipiant te Martyres, et perducant te in civitatem sanctam Jerusalem.
Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere aeternam habeas requiem.
Children’s Chorus
Requiem aeternam dona eis, Domine; et lux perpetua luceat eis.
Chorus
Requiescant in pace. Amen.
Into paradise may the Angels lead thee: at thy coming may the Martyrs receive thee, and bring thee into the holy city Jerusalem, May the Choir of Angels receive thee, and with Lazarus, once poor, mayest thou have eternal rest.
Rest eternal grant unto them, O Lord: and let perpetual light shine upon them.
May they rest in peace. Amen.
BRITTEN’S WAR REQUIEM | 14–15 April 25
Text from the Missa pro defunctis and the poems of Wilfred Owen.
Supporters
MSO PATRON
The Honourable Linda Dessau AC, Governor of Victoria
CHAIRMAN’S CIRCLE
Mr Marc Besen AC and the late Mrs Eva Besen AO
Gandel Foundation
The Gross Foundation
Di Jameson and Frank Mercurio
Harold Mitchell Foundation
Lady Potter AC CMRI
The Cybec Foundation
The Pratt Foundation
The Ullmer Family Foundation
Anonymous
ARTIST CHAIR BENEFACTORS
Chief Conductor Jaime Martín Mr Marc
Besen AC and the late Mrs Eva Besen AO
Cybec Assistant Conductor Chair
Carlo Antonioli The Cybec Foundation
Concertmaster Chair Dale Barltrop
David Li AM and Angela Li
Assistant Concertmaster
Tair Khisambeev Di Jameson and Frank Mercurio
Young Composer in Residence
Melissa Douglas The Cybec Foundation
2023 Composer in Residence
Mary Finsterer Kim Williams AM
PROGRAM BENEFACTORS
MSO Now & Forever Fund: International Engagement Gandel Foundation
Cybec 21st Century Australian Composers
Program The Cybec Foundation
Digital Transformation The Margaret
Lawrence Bequest – Managed by Perpetual, Perpetual Foundation – Alan (AGL) Shaw Endowment
First Nations Emerging Artist Program
The Ullmer Family Foundation
East meets West The Li Family Trust, National Foundation for Australia-China Relations
MSO Live Online Crown Resorts Foundation, Packer Family Foundation
MSO Education Anonymous
MSO Academy Di Jameson and Frank Mercurio
MSO For Schools Crown Resorts Foundation, Packer Family Foundation, The Department of Education and Training, Victoria, through the Strategic Partnerships Program
Melbourne Music Summit The Department of Education and Training, Victoria, through the Strategic Partnerships Program
MSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, Robert Salzer Foundation, The Sir Andrew & Lady Fairley Foundation
The Pizzicato Effect Supported by Hume City Council’s Community Grants program, The Marian and E.H. Flack Trust, Flora & Frank Leith Charitable Trust, Australian Decorative And Fine Arts Society, Anonymous
Sidney Myer Free Concerts Supported by the Sidney Myer MSO Trust Fund and the University of Melbourne
PLATINUM PATRONS $100,000+
Mr Marc Besen AC and the late Mrs Eva Besen AO
The Gandel Foundation
The Gross Foundation
Di Jameson and Frank Mercurio
David Li AM and Angela Li
Lady Primrose Potter AC CMRI
The Ullmer Family Foundation
Anonymous (1)
VIRTUOSO PATRONS $50,000+
Margaret Jackson AC
Weis Family
Anonymous (1)
26 Supporters
IMPRESARIO PATRONS $20,000+
Harold Bentley
The Hogan Family Foundation
David Krasnostein AM and Pat Stragalinos
Paul Noonan
Opalgate Foundation
Lady Marigold Southey AC
Kim Williams AM
Anonymous (1)
MAESTRO PATRONS $10,000+
Christine and Mark Armour
Margaret Billson and the late Ted Billson
Shane Buggle and Rosie Callanan
Krystyna Campbell-Pretty AM
Andrew Dudgeon AM
Colin Golvan AM KC and Dr Deborah Golvan
Danny Gorog and Lindy Susskind
Peter Lovell
Maestro Jaime Martín
Ian and Jeannie Paterson
Elizabeth Proust AO and Brian Lawrence
Yashian Schauble
Glenn Sedgwick
The Sun Foundation
David and Gai Taylor
Athalie Williams and Tim Danielson
Lyn Williams AM
Wingate Group
Jason Yeap OAM – Mering Management Corporation
Anonymous (2)
PRINCIPAL PATRONS $5,000+
Mary Armour
John and Lorraine Bates
Barbara Bell in memory of Elsa Bell
Bodhi Education Fund (East meets West)
Julia and Jim Breen
Oliver Carton
John Coppock OAM and Lyn Coppock
Perri Cutten and Jo Daniell
Ann Darby in memory of Leslie J. Darby
Mary Davidson and the late Frederick Davidson AM
The Dimmick Charitable Trust
Tim and Lyn Edward
Jaan Enden
Bill Fleming
Dr John and Diana Frew
Susan Fry and Don Fry AO
Sophie Galaise and Clarence Fraser
Geelong Friends of the MSO
Jennifer Gorog
Dr Rhyl Wade and Dr Clem Gruen
Cecilie Hall and the late Hon Michael Watt KC
Hilary Hall in memory of Wilma Collie
Louis J Hamon OAM
Nereda Hanlon and Michael Hanlon AM
Dr Alastair Jackson AM
Paul and Amy Jasper
Merv Keehn and Sue Harlow
Suzanne Kirkham
Dr Elizabeth A Lewis AM
Sherry Li
Dr Caroline Liow
Gary McPherson
The Mercer Family Foundation
Marie Morton FRSA
Anne Neil
Hyon-Ju Newman
Newton Family in memory of Rae Rothfield
Ken Ong OAM
Bruce Parncutt AO
Sam Ricketson and Rosemary Ayton
Andrew and Judy Rogers
Rosemary and the late Douglas Meagher
The Rosemary Norman Foundation
Guy Ross
The Kate and Stephen Shelmerdine Family Foundation
Helen Silver AO and Harrison Young
Anita Simon
Brian Snape AM
Dr Michael Soon
Dawna Wright and Peter Riedel
Supporters
Anonymous (2) 27
ASSOCIATE PATRONS $2,500+
Carolyn Baker
Marlyn Bancroft and Peter Bancroft OAM
Sascha O. Becker
Janet H Bell
Alan and Dr Jennifer Breschkin
Patricia Brockman
Drs John D L Brookes and Lucy V Hanlon
Stuart Brown
Lynne Burgess
Dr Lynda Campbell
Janet Chauvel and the late Dr Richard Chauvel
Breen Creighton and Elsbeth Hadenfeldt
The Cuming Bequest
Katherine Cusack
Leo de Lange
Sandra Dent
Barry Fradkin OAM and Dr Pam Fradkin
Carrillo Gantner AC and Ziyin Gantner
Kim and Robert Gearon
Janette Gill
R Goldberg and Family
Goldschlager Family Charitable Foundation
Catherine Gray
Hartmut and Ruth Hofmann
John Jones
LRR Family Trust
Margaret and John Mason OAM
H E McKenzie
Dr Isabel McLean
Ian Merrylees
Patricia Nilsson
Dr Paul Nisselle AM and Sue Nisselle
Alan and Dorothy Pattison
Sue and Barry Peake
David and Nancy Price
Peter Priest
Ruth and Ralph Renard
Tom and Elizabeth Romanowski
Liliane Rusek and Alexander Ushakoff
Jeffrey Sher KC and Diana Sher OAM
Barry Spanger
Steinicke Family
Peter J Stirling
Jenny Tatchell
Clayton and Christina Thomas
Elaine Walters OAM
Janet Whiting AM
Nic and Ann Willcock
Anonymous (4)
PLAYER PATRONS $1,000+
Dr Sally Adams
Anita and Graham Anderson
Australian Decorative & Fine Arts Society
Geoffrey and Vivienne Baker
Michael Bowles and Alma Gill
Joyce Bown
Miranda Brockman
Nigel Broughton and Sheena Broughton
Suzie Brown OAM and the late Harvey Brown
Dr Robin Burns and Dr Roger Douglas
Ronald and Kate Burnstein
Kaye Cleary
John and Mandy Collins
Andrew Crockett AM and Pamela Crockett
Dr Daryl and Nola Daley
Panch Das and Laurel Young-Das
Michael Davies
Natasha Davies for the Trikojus Education Fund
Rick and Sue Deering
Suzanne Dembo
John and Anne Duncan
Jane Edmanson OAM
Diane Fisher
Grant Fisher and Helen Bird
Alex Forrest
Applebay Pty Ltd
David and Esther Frenkiel OAM
Anthony Garvey and Estelle O’Callaghan
David I Gibbs AM and Susie O’Neill
Sonia Gilderdale
Dr Celia Godfrey
Dr Marged Goode
Dr Sandra Hacker AO and Ian Kennedy AM
28
Supporters
Dawn Hales
David Hardy
Tilda and the late Brian Haughney
Susan and Gary Hearst
Cathy Henry
Dr Keith Higgins
Anthony and Karen Ho
Peter and Jenny Hordern
Katherine Horwood
Penelope Hughes
Shyama Jayaswal
Basil and Rita Jenkins
Sandy Jenkins
Sue Johnston
John Kaufman
Angela Kayser
Drs Bruce and Natalie Kellett
Dr Anne Kennedy
Tim Knaggs
Dr Jerry Koliha and Marlene Krelle
Jane Kunstler
Ann Lahore
Kerry Landman
Kathleen and Coran Lang
Janet and Ross Lapworth
Bryan Lawrence
Phil Lewis
Andrew Lockwood
Elizabeth H Loftus
Chris and Anna Long
Gabe Lopata
John MacLeod
Eleanor & Phillip Mancini
Aaron McConnell
Wayne McDonald and Kay Schroer
Ray McHenry
John and Rosemary McLeod
Don and Anne Meadows
Dr Eric Meadows
Professor Geoffrey Metz
Sylvia Miller
Ian Morrey and Geoffrey Minter
Dr Anthony and Dr Anna Morton
Laurence O’Keefe and Christopher James
Roger Parker
Ian Penboss
Eli Raskin
Jan and Keith Richards
James Ring
Dr Peter Rogers and Cathy Rogers OAM
Dr Ronald and Elizabeth Rosanove
Marie Rowland
Jan Ryan
Martin and Susan Shirley
P Shore
John E Smith
Dr Peter Strickland
Dr Joel Symons and Liora Symons
Russell Taylor and Tara Obeyesekere
Geoffrey Thomlinson
Frank Tisher OAM and Dr Miriam Tisher
Andrew and Penny Torok
Christina Turner
Ann and Larry Turner
Leon and Sandra Velik
The Reverend Noel Whale
Edward and Paddy White
Terry Wills Cooke OAM and the late Marian Wills Cooke
Robert and Diana Wilson
Richard Withers
Lorraine Woolley
Youth Music Foundation
Shirley and Jeffrey Zajac
Anonymous (12)
OVERTURE PATRONS $500+*
Margaret Abbey PSM
Jane Allan and Mark Redmond
Mario M Anders
Jenny Anderson
Peter Batterham
Benevity Australia Online Giving Foundation
Peter Berry and Amanda Quirk
Dr William Birch AM
Allen and Kathryn Bloom
Linda Brennan
Dr Robert Brook
29 Supporters
Elizabeth Brown
John Brownbill
Roger and Coll Buckle
Cititec Systems
Charmaine Collins
Dr Sheryl Coughlin and Paul Coughlin
Judith Cowden in memory of violinist
Margaret Cowden
Dr Oliver Daly and Matilda Daly
Merrowyn Deacon
Bruce Dudon
Melissa and Aran Fitzgerald
Brian Florence
Elizabeth Foster
Mary Gaidzkar
Simon Gaites
Dr Mary-Jane Gething
David and Geraldine Glenny
Hugo and Diane Goetze
Louise Gourlay OAM
Robert and Jan Green
George Hampel AM KC and Felicity Hampel AM SC
Geoff Hayes
Jim Hickey
William Holder
Clive and Joyce Hollands
Rod Home
R A Hook
Gillian Horwood
Geoff and Denise Illing
Wendy Johnson
John and Christine Keys
Belinda and Malcom King
Professor David Knowles and Dr Anne McLachlan
Pauline and David Lawton
Paschalina Leach
Dr Jenny Lewis
Sharon Li
The Podcast Reader
Janice Mayfield
Shirley A McKenzie
Dr Alan Meads and Sandra Boon
Marie Misiurak
Joan Mullumby
Dr Judith S Nimmo
Estelle O’Callaghan
Brendan O’Donnell
David Oppenheim
Sarah Patterson
Adriana and Sienna Pesavento
Kerryn Pratchett
Professor Charles Qin OAM and Kate Ritchie
Alfonso Reina and Marjanne Rook
Professor John Rickard
Dr Anne Ryan
Viorica Samson
Carolyn Sanders
Dr Nora Scheinkestel
Julia Schlapp
Dr Alex Starr
Dylan Stewart
Ruth Stringer
Reverend Angela Thomas
Rosemary Warnock
Nickie Warton and Grant Steel
Amanda Watson
Deborah Whithear and Dr Kevin Whithear OAM
Dr Susan Yell
Anonymous (15)
30 Supporters
CONDUCTOR’S CIRCLE
Jenny Anderson
David Angelovich
G C Bawden and L de Kievit
Lesley Bawden
Joyce Bown
Mrs Jenny Bruckner and the late Mr John Bruckner
Ken Bullen
Peter A Caldwell
Luci and Ron Chambers
Beryl Dean
Sandra Dent
Alan Egan JP
Gunta Eglite
Marguerite Garnon-Williams
Drs L C Gruen and R W Wade
Louis J Hamon AOM
Charles Hardman
Carol Hay
Jennifer Henry
Graham Hogarth
Rod Home
Lyndon Horsburg
Tony Howe
Lindsay and Michael Jacombs
Laurence O’Keefe and Christopher James
John Jones
Grace Kass and the late George Kass
Sylvia Lavelle
Pauline and David Lawton
Cameron Mowat
Ruth Muir
David Orr
Matthew O’Sullivan
Rosia Pasteur
Penny Rawlins
Joan P Robinson
Anne Roussac-Hoyne and Neil Roussac
Michael Ryan and Wendy Mead
Andrew Serpell and Anne Kieni Serpell
Jennifer Shepherd
Suzette Sherazee
Dr Gabriela and Dr George Stephenson
Pamela Swansson
Lillian Tarry
Tam Vu and Dr Cherilyn Tillman
Mr and Mrs R P Trebilcock
Peter and Elisabeth Turner
Michael Ulmer AO
The Hon. Rosemary Varty
Terry Wills Cooke OAM and the late Marian Wills Cooke
Mark Young
Anonymous (19)
The MSO gratefully acknowledges the support of the following Estates:
Norma Ruth Atwell
Angela Beagley
Christine Mary Bridgart
The Cuming Bequest
Margaret Davies
Neilma Gantner
The Hon Dr Alan Goldberg AO QC
Enid Florence Hookey
Gwen Hunt
Family and Friends of James Jacoby
Audrey Jenkins
Joan Jones
Pauline Marie Johnston
C P Kemp
Peter Forbes MacLaren
Joan Winsome Maslen
Lorraine Maxine Meldrum
Prof Andrew McCredie
Jean Moore
Joan P Robinson
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
31 Supporters
COMMISSIONING CIRCLE
Mary Armour
Cecilie Hall and the Late Hon Michael Watt KC
Tim and Lyn Edward
Kim Williams AM
Weis Family
FIRST NATIONS CIRCLE
John and Lorraine Bates
Colin Golvan AM KC and Dr Deborah Golvan
Sascha O. Becker
Maestro Jaime Martín
Elizabeth Proust AO and Brian Lawrence
The Kate and Stephen Shelmerdine Family Foundation
Michael Ullmer AO and Jenny Ullmer
Jason Yeap OAM – Mering Management Corporation
ADOPT A MUSICIAN
Mr Marc Besen AC and the late Mrs Eva Besen AO
Chief Conductor Jaime Martín
Shane Buggle and Rosie Callanan
Roger Young
Andrew Dudgeon AM
Rohan de Korte, Philippa West
Tim and Lyn Edward
John Arcaro
Dr John and Diana Frew
Rosie Turner
Sophie Galaise and Clarence Fraser
Stephen Newton
The Gross Foundation
Matthew Tomkins
Dr Clem Gruen and Dr Rhyl Wade
Robert Cossom
Danny Gorog and Lindy Susskind
Monica Curro
Cecilie Hall and the late Hon Michael Watt KC
Saul Lewis
Nereda Hanlon and Michael Hanlon AM
Abbey Edlin
Margaret Jackson AC
Nicolas Fleury
Di Jameson and Frank Mercurio
Benjamin Hanlon, Tair Khisambeev, Christopher Moore
Dr Elizabeth A Lewis AM
Anthony Chataway
David Li AM and Angela Li
Dale Barltrop
Gary McPherson
Rachel Shaw
Hyon-Ju Newman
Patrick Wong
Newton Family in memory of Rae Rothfield
Cong Gu
The Rosemary Norman Foundation
Ann Blackburn
Andrew and Judy Rogers
Michelle Wood
Glenn Sedgwick
Tiffany Cheng, Shane Hooton
Dr Martin Tymms and Patricia Nilsson
Natasha Thomas
Anonymous
Prudence Davis
HONORARY APPOINTMENTS
Life Members
Mr Marc Besen AC
John Gandel AC and Pauline Gandel AC
Sir Elton John CBE
Harold Mitchell AC
Lady Potter AC CMRI
Jeanne Pratt AC
Michael Ullmer AO and Jenny Ullmer
Anonymous
MSO Ambassador
Geoffrey Rush AC
The MSO honours the memory of Life Members
Mrs Eva Besen AO
John Brockman OAM
The Honourable Alan Goldberg AO QC
Roger Riordan AM
Ila Vanrenen
32 Supporters
MSO ARTISTIC FAMILY
Jaime Martín
Chief Conductor
Xian Zhang
Principal Guest Conductor
Benjamin Northey
Principal Conductor in Residence
Carlo Antonioli
Cybec Assistant Conductor Fellow
Sir Andrew Davis
Conductor Laureate
Hiroyuki Iwaki †
Conductor Laureate (1974–2006)
Warren Trevelyan-Jones
MSO Chorus Director
Siobhan Stagg
2023 Soloist in Residence
Gondwana Voices
2023 Ensemble in Residence
Christian Li
Young Artist in Association
Mary Finsterer
2023 Composer in Residence
Melissa Douglas
2023 Cybec Young Composer in Residence
Christopher Moore
Creative Producer, MSO Chamber
Deborah Cheetham Fraillon AO
MSO First Nations Creative Chair
Dr Anita Collins
Creative Chair for Learning and Engagement
Artistic Ambassadors
Tan Dun
Lu Siqing
MSO BOARD
Chairman
David Li AM
Co-Deputy Chairs
Di Jameson
Helen Silver AO
Managing Director
Sophie Galaise
Board Directors
Shane Buggle
Andrew Dudgeon AM
Lorraine Hook
Margaret Jackson AC
David Krasnostein AM
Gary McPherson
Farrel Meltzer
Hyon-Ju Newman
Glenn Sedgwick
Company Secretary
Oliver Carton
The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our supporters to get close to the MSO through a range of special events.
The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows:
$500+ (Overture)
$1,000+ (Player)
$2,500+ (Associate)
$5,000+ (Principal)
$10,000+ (Maestro)
$20,000+ (Impresario)
$50,000+ (Virtuoso)
$100,000+ (Platinum)
33
Supporters
Principal
Education Partner
Major Partners
Orchestral Training Partner
Government Partners
Venue Partner
Supporting Partners
Quest
you to our
Thank
Partners
Partner Premier Partners
Southbank
Bows for Strings Ernst & Young
— Deborah Cheetham Fraillon AO
The Sir Andrew and Lady Fairley Foundation, Flora & Frank Leith Trust, Perpetual Foundation – Alan (AGL) Shaw Endowment, Sidney Myer MSO Trust Fund
