Last Night of the Proms Program by Melbourne Symphony Orchestra

LAST NIGHT OF THE PROMS 25 MARCH 2018

CONCERT PROGRAM

Melbourne Symphony Orchestra Sir Andrew Davis conductor Measha Brueggergosman soprano David Jones drum kit Melbourne Symphony Orchestra Chorus Warren Trevelyan-Jones chorus master Tasmin Little violin Tianyi Lu conductor

Elgar Cockaigne Ravel Tzigane Duparc Selection of Orchestral songs INTERVAL

Vine V Chindamo Concerto for Drums and Orchestra* * MSO commission and World Premiere Elgar Pomp and Circumstance March No.1 Wood Fantasia on British Sea Songs Arne Rule, Britannia! Parry Jerusalem

MELBOURNE SYMPHONY ORCHESTRA

SIR ANDREW DAVIS

Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s longest-running professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 3 million people each year, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming.

Chief Conductor of the Melbourne Symphony Orchestra, Sir Andrew Davis is also Music Director and Principal Conductor of the Lyric Opera of Chicago. He is Conductor Laureate of both the BBC Symphony Orchestra and the Toronto Symphony, where he has also been named interim Artistic Director until 2020.

Sir Andrew Davis gave his inaugural concerts as the MSO’s Chief Conductor in 2013. The MSO also works with Associate Conductor Benjamin Northey and Assistant Conductor Tianyi Lu, as well as with such eminent recent guest conductors as Tan Dun, John Adams, Jakub Hrůša and JukkaPekka Saraste. It has also collaborated with non-classical musicians including Elton John, Nick Cave and Flight Facilities.

In a career spanning more than 40 years he has conducted virtually all the world’s major orchestras and opera companies, and at the major festivals. Sir Andrew’s many CDs include a Messiah nominated for a 2018 Grammy, a recording of Strauss with the MSO, Bliss’s The Beatitudes, and a recording with the Bergen Philharmonic of Vaughan Williams’ Job/Symphony No.9 nominated for a 2018 BBC Music Magazine Award. With the MSO he has just released a third recording in the ongoing Richard Strauss series, featuring the Alpine Symphony and Till Eulenspiegel.

Running time 2 hours 10 minutes, including 20 minute interval 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

MEET THE ARTISTS

Courtesy B Ealovega

TIANYI LU CONDUCTOR

TASMIN LITTLE VIOLIN

DAVID JONES DRUM KIT

MEASHA BRUEGGERGOSMAN SOPRANO

Dynamic young conductor, Tianyi Lu has received praise from across the world for her poetic and dramatic conducting even with the most challenging of repertoire. Joining the MSO in mid-2017 as the Orchestra's Assistant Conductor, (a position kindly supported by the Cybec Foundation) Tianyi will continue to further her abilities throughout her two year intensive residency. In 2018, Tianyi will introduce audiences to world premiere works, conducting Mills’ Island Signal Island Song.

Tasmin Little has performed in prestigious venues such as Carnegie Hall, the Concertgebouw, Barbican Centre and Suntory Hall. Her career encompasses performances, masterclasses, workshops and community outreach work.

David Jones is often described as one of the most innovative and musical drummers in the world, renowned for his virtuoso solo performances.

Canadian soprano Measha Brueggergosman embraces a broad array of performance platforms and musical styles. Committed to innovative programming, she has given song recitals at venues including Carnegie Hall, as well as festivals such as Edinburgh, Verbier and Bergen. In concert she has worked with such conductors as Daniel Barenboim, Gustavo Dudamel and Sir Andrew Davis. Recent opera highlights include the Spanish premiere of Jake Heggie's Dead Man Walking.

Tianyi is also a Dudamel Fellow with the Los Angeles Philharmonic, Principal Conductor of the St. Woolos Players, and regularly guest conducts orchestras around the United Kingdom and New Zealand. She will be conducting the Royal Concertgebouw Orchestra later this year in a conducting masterclass with Daniele Gatti.

Already this year she has appeared as soloist and in recital around the UK. Recordings include Elgar’s Violin Concerto with Sir Andrew Davis and the Royal National Scottish Orchestra (Critic’s Choice Award in 2011’s Classic BRIT Awards) and, recently, Szymanowski and Karłowicz concertos with the BBC Symphony Orchestra and Edward Gardner. Tasmin Little has premiered many contemporary works. Her awards include a Gramophone Award for Audience Innovation for her outreach program, The Naked Violin. She is an Officer of the Order of the British Empire (OBE). She plays a 1757 Guadagnini violin.

Over 49 years, David has performed and recorded with great Australian and International musicians and orchestras. He is at home in every musical genre, from complex arranged music to free improvisation. An enthusiastic educator he is Honorary Senior Fellow at the VCA-MCM. Since 1984, David has integrated his meditation practice into his music-making. With his partner Carmen Warrington, he has created guided meditation CDs for ABC Music. In 2006, Tokyo composer Toshi Watanabe composed a piece for David called Essay for Drumkit and Small Orchestra, which premiered in Japan. In 2010, David was awarded the prestigious Melbourne Prize for Music.

Her recording of Wagner’s Wesendoncklieder with Franz Welser-Möst and the Cleveland Orchestra earned a Grammy nomination. Offstage, Measha Brueggergosman is a leading advocate for music education and has just released her memoir Something is Always on Fire. Exploring her African heritage, Songs of Freedom, a film, 4-part TV series, interactive website and mobile application has also been released.

davidjonesdrums.com

PROGRAM NOTES EDWARD ELGAR

(1857-1934)

Cockaigne: Overture, Op.40 (In London Town)

MELBOURNE SYMPHONY ORCHESTRA CHORUS

WARREN TREVELYAN-JONES MSO CHORUS MASTER

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 and

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.

Manfred Honeck, 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. The Chorus 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 Anzac Day commemorative ceremonies.

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.

From the turn of the 20th century onwards, radical social change began to make its presence felt in the imaginations of European composers. In Britain, as the British Empire began to crumble and as political developments in Europe pointed toward the end of an era, composers (who could not rely on television to do it for them) set out to document the sights and sounds of their national capital as they had known it. Elgar began the trend with his Cockaigne Overture in 1901, and in the decades which followed, Vaughan Williams wrote his London Symphony, Gustav Holst composed Hammersmith, John Ireland offered his London Overture and Eric Coates completed two London Suites. In Elgar’s case, the composition of the Cockaigne Overture (which is not an ‘overture’ as such, but a freestanding tone poem) was written not just in response to the passing of an era, but also, in some sense, the passing of Elgar’s career! Written in February and March of 1901 after the notorious failure of The Dream of Gerontius premiere, Elgar at the time of its composition professed himself to be suicidal. While his contemporaries attested that Elgar was at times guilty of excessive self-dramatisation, there can be no doubt that he was genuinely devastated by the negative response to his great Oratorio. He was also in desperate financial trouble and he protested in letters (perhaps a little melodramatically) that he might have to become a tradesman to make ends meet.

And yet for all that, the Cockaigne Overture remains one of Elgar’s sunniest pieces. He described it in a letter to Hans Richter as ‘honest, healthy, humorous and strong but not vulgar…extremely cheerful like a miserable unsuccessful man ought to write’; and in a letter to Jaeger (‘Nimrod’ of the Enigma Variations) he called it ‘cheerful and Londony – stout and steaky’. He said that the idea for a descriptive piece about London occurred to him ‘one dark day in the Guildhall: looking at the memorials of the city’s great past and knowing well the history of its unending charity, I seemed to hear far away in the dim roof a theme, an echo of some noble melody’. That ‘noble melody’ now forms the second theme of the Cockaigne Overture, with its characteristic marking of ‘nobilmente’ (nobly) above it in the score. ‘Cockaigne’ is an archaic, humorous term for London – the modern word ‘cockney’ derives from it – but so as to avoid any confusion Elgar provided the subtitle ‘In London Town’. While not being programmatic in the strict Straussian sense, the overture nevertheless conjures up the sights and sounds of turn-of-the-century London, including the quiet squares, the chirpy street-vendors and the processions of military and brass bands. Each passage is marked by its distinctive orchestration, with passages where bells chime, woodwinds snatch pointillistic figures, cornets add an edge of brashness, and a solo horn against accompanying strings provides an element of romance and nostalgia. All of these themes merge seamlessly, one into another, giving the work a broad impressionistic unity rather than a strict classical development.

From its quiet but busy and bustling opening theme, to the triumphant return of the ‘nobilmente’ second subject at the end of the work, the Cockaigne Overture has never failed to please audiences. It was premiered by the Royal Philharmonic Society at the Queen’s Hall, London, in June 1901 with the composer conducting, and after meeting immediate success it was performed again at the Three Choirs Festival in Gloucester in the September of that year. Martin Buzacott © Symphony Australia The Melbourne Symphony Orchestra first performed Elgar’s Cockaigne Overture on 21 August 1939 under the baton of conductor Sir Malcolm Sargent, and most recently on 7 May 1999, conducted by Jonathan Grieves-Smith.

HENRI DUPARC

(1848-1933)

L’invitation au voyage (Charles Baudelaire) La vie antérieure (Charles Baudelaire) Le manoir de Rosamonde (Robert de Bonnières) Phidylé (Leconte de Lisle) Measha Bruggergosman soprano Duparc, like his friend and colleague Ernest Chausson, was destined for a career in the law, but kept up the study of composition with César Franck. He had some success with the 1875 symphonic poem Lénore, inspired by Gottfried Bürger’s hugely influential ‘Gothic’ ballad of 1773, in which a young girl is carried off by a mysterious horseman, in punishment for arguing with God, and made to join her lover in his grave. Intensely self-critical and beset by physical and mental health issues, Duparc abandoned composition at the age of 36, and destroyed almost all but some 17 songs

for voice and piano. He had orchestrated eight of them, as he believed (or so he told Chausson) that he had never learned to write properly for piano. He lived in rural France and Switzerland, painting and drawing the landscape until he began to go blind; by 1906 he regarded his blindness as God’s reminder to ‘live a more interior life’. The first edition of Les Fleurs du mal (the perhaps wisely substituted title for the original Les Lesbiennes) by Charles Baudelaire (1821-1867) appeared in 1857 and led to Baudelaire’s being charged with outraging public decency. It may seem curious that the devout Duparc was so taken with this poet and his work, but in fact Baudelaire, too, lived an almost exclusively interior life – he is said to have died a virgin. Moreover, despite the sometimes ‘shocking’ nature of his themes and imagery, Baudelaire was essentially a classical poet, though both artists were deeply conscious of, and reactive to, Wagner’s work. Duparc set two poems from Les Fleurs du mal. Dedicated to his wife, L’invitation au voyage dates from 1870. The poet, addressing a girl as ‘child and sister’ (but meaning ‘lover’), imagines a land that is the image of her, with low-setting suns and changeable skies. Suggesting the ships nearby riding at anchor, Duparc’s music is a gentle barcarolle, with rippling accompaniment periodically punctuated by deep tolling like distant waves breaking. Duparc responds to Baudelaire’s imagery, which stresses the effects of light, with effects of extreme delicacy such as the glinting percussion at the end, and moments of swelling power as on the second verse’s climax on the word lumière!. The refrain-like final couplet, with its promise of luxury, serenity and pleasure,

is given first in a static diaphanous texture, and, at the end, with a sense that the journey has begun. L’invitation au voyage looks forward to an ideal world, where La vie antérieure looks back to one. Composed in 1884, it is Duparc’s last surviving song. The poem is in that most classical of forms, the sonnet. The speaker recalls another landscape; drenched in the light of the sun and sea, with a building of immense porticoes and columns, it reminds us of Claude Lorrain’s paintings. Attended by nude slaves and wanting for nothing, the poet nonetheless suffers. Memory is represented at first by a regular repeated ostinato under the verse, but images of music and light begin to animate it. The climax offers a shining vision, again, of luxurious calm, while the poet’s suffering is heard in throbbing syncopated rhythms toward the end. Robert de Bonnières (1850-1905), a less controversial figure than Baudelaire, is associated as a poet mainly with the composer Vincent d’Indy. Le manoir de Rosamonde has something of the Gothic tale to it: having been ‘bitten’ by love, likened to a dog, the poet rides endlessly through various landscapes looking for the object of his desire. The Schumannesque horsey rhythms, in Duparc’s 1879 setting, give way as the poet addresses the reader, where the music becomes more frankly Wagnerian in its depiction of unrequited love. Phidylé, dedicated to Chausson, sets four verses from Charles-Marie-René Leconte de Lisle’s poem. Encouraged by Baudelaire, Leconte de Lisle (1818-1894) led the neoclassical Parnassian movement. ‘Phidylé’ offers conventional imagery of the beloved falling asleep in an idyllic Arcadian summer landscape.

Duparc, however, brings to bear all of the eroticism of Wagner’s musical language to indicate the increasingly impatient passion of the poet-lover. The orchestration is rich and gorgeous, the harmony lush and chromatic, and the piece’s postlude, with its Tristanesque atmosphere, leaves little to the imagination. © Gordon Kerry 2018 The Melbourne Symphony Orchestra first performed these songs on 21 September 1985 with Felicity Lott under the baton of Hiroyuki Iwaki. The songs performed were La vie antérieure, L’invitation au voyage and Phidylé. La manoir de Rosemondeans and L’invitation au voyage was most recently performed on 22 September 1999, conducted by Markus Stenz.

MAURICE RAVEL

(1875–1937)

Tzigane – Concert Rhapsody Tasmin Little violin Tianyi Lu conductor Tzigane means ‘gypsy’ and the music to which Ravel gave this title is ‘a virtuoso piece in the style of a Hungarian Rhapsody’. In 1922 Ravel heard the Hungarian violinist Jelly d’Aranyi play his Duo sonata for violin and cello at a London soirée. Afterwards she entertained Ravel by playing him a string of Hungarian gypsy melodies in a recital that lasted until the early hours of the morning. Two years later he told her about the piece he was writing ‘especially for you… the Tzigane must be a piece of great virtuosity, full of brilliant effects, provided it is possible to perform them, which I’m not always sure of’. When Jelly d’Aranyi gave Tzigane its first performance, in London later that year, in the version with piano, Ravel is reported to have told her afterwards that if he’d known she could master the difficulties so well he would have made it even harder!

Yet Jelly d’Aranyi may have had only two days to master the piece, which found its place on the program almost by accident. She was to have included Ravel’s Sonata for violin and piano in the London concert, but Ravel had suspended work on it, and Tzigane was the substitute, completed in some hurry. This may give a practical reason why almost half the piece is for violin alone. In Tzigane Ravel set himself the kind of challenge he loved – to make a musical virtue of extreme technical difficulties. He asked his publisher to send him a copy of Liszt’s Hungarian Rhapsodies for piano, to refresh his memory, and his friend the violinist Hélène Jourdan-Morhange to bring her copy of Paganini’s Caprices for solo violin. Both these composers represented the ne plus ultra of virtuosity on their instruments, and Ravel outdid them. The technical feats Ravel asks of the violinist in the long opening unaccompanied section include playing in high positions on the G string, octaves, multiple stops, tremolos, arpeggios, glissandos. Harmonics and left-hand pizzicato are saved for after the entrance of the piano. The piano – or rather the piano-luthéal, as Ravel had intended and which was used in the Paris premiere – became an orchestra in the second version of the piece, premiered by d’Aranyi in the Concerts Colonne in Paris in 1924. The luthéal was an attachment to the piano, patented in 1919, which enabled it to imitate the plucked and hammered sounds of the harpsichord, the guitar, and the Hungarian cimbalom. Ravel used it in his opera L’Enfant et les sortilèges as well as in this piece. By 1924, however, this anticipation of the prepared piano was already almost obsolete, and in the 10

orchestral version of Tzigane Ravel finds a substitute in the colours of harp, celesta, and the string section playing pizzicato and with harmonics. Probably Ravel, with the luthéal, had been trying to make the folk-band imitation of the accompaniment sound more Hungarian. Ravel had ‘unbounded enthusiasm’ for Bartók’s work in collecting traditional folk melodies, but his parodistic pastiche of Hungarian gypsy music makes no attempt at ethnographic authenticity, and probably owes more to the gypsy fiddlers Ravel heard in Paris cafés and cabarets. Tzigane is a series of free variations, as if improvised, but falling broadly into the ‘csárdás’ structure of the Hungarian Rhapsody as brought to the concert hall by Liszt: a slow introduction, lassù, where the minor key seeks a certain pathos, then a sometimes wild fast section, a friss. The fast section begins with a theme based on the interval of a fifth which recalls Bartók. The modal musical language of both the slow and fast sections is an imitation of the Hungarian gypsy style, but Tzigane is above all a successful experiment in stretching violin virtuosity to its limits. David Garrett © 2004/2006 The Melbourne Symphony Orchestra first performed Ravel’s Tzigane on 26 & 27 June 1963 with conductor Georges Tzipine and soloist Tibor Varga, and most recently on 21 October 1982 with Edith Peinemann and David Bollard.

CARL VINE

(born 1954) MSO's 2018 Composer in Residence V Carl Vine is one of Australia’s best known and most often performed composers, with a catalogue now including seven symphonies, eleven concertos, music for film, television,

dance and theatre, electronic music and numerous chamber works. Although primarily a composer of modern ‘classical’ music he has undertaken tasks as diverse as arranging the Australian National Anthem and writing music for the Closing Ceremony of the Olympic Games (Atlanta, 1996). Born in Perth, he studied piano with Stephen Dornan and composition with John Exton at the University of Western Australia. Moving to Sydney in 1975, he worked as a freelance pianist and composer with a wide range of ensembles, theatre and dance companies over the following decades. Since 2000 he has been the Artistic Director of Musica Viva Australia, the largest chamber music entrepreneur in the world. His recent compositions include Five Hallucinations commissioned by the Chicago and Sydney symphony orchestras, Wonders for Sydney Philharmonia Choirs, Our Sons for the Australian Chamber Orchestra and Concerto for Orchestra for the West Australian Symphony Orchestra. He is currently working on a new Symphony – his eighth – for the MSO. The composer writes: I have always wanted to title a work using a single letter. The ‘V’ of this title refers to the Roman numeral, and hence to the five-minute duration of this little orchestral fanfare. Five minutes of music, even for orchestra, doesn’t seem to warrant a much longer title, nor, for that matter, a longer program note. Carl Vine © 2003 The only previous performance of this work by the Melbourne Symphony Orchestra took place on 8 February 2006 with conductor Nicholas Milton.

JOE CHINDAMO

(born 1961)

Concerto for Drums and Orchestra MSO Commission and World Premiere. David Jones drum kit In the hierarchy of dangerous musical ideas, the challenge of composing and realising a concerto for drum kit, for me stands at the pinnacle. There are several reasons for this. Firstly, the drum soloist can never be called upon to play any melodic themes or consequent melodic developments or variations. In a drum kit concerto, unlike, for example, a percussion concerto once the composer’s resources for rhythmic permutations have been exhausted (at least for a period), there is no melodic instrument, like a marimba or vibraphone, waiting to save the day with a tune. Secondly, there are often inescapable associations attached to the instrument. For many, the mere presence of a drum kit within an orchestral setting is as much an indicator of the music one will not hear, as of what one will. Historical precedence dictates that drums will always be drums, and any work which incorporates the kit seems to invite past musical preconceptions to the party. Such were the (often drum-centric) attempts in the 1970s to wed jazz, classical and rock, presumably to produce a sum greater than the parts. To my mind, this sometimes unholy matrimony only succeeded in creating an awkward meeting of comfort zones (otherwise known as cross-genre).

It is little wonder that the number of drum concerti in existence can be counted on the fingers of one hand. Indeed, I know of only one other (also composed for David Jones). Being a great believer that limiting one’s resources is a key to creativity, I initially took the lateral view of drawing my inspiration from what I was not going to do. Coupled with a profound desire to dispel all such preconceptions, I concerned myself first and foremost with writing a serious work for orchestra, only gradually edging the spotlight towards the soloist an extraordinary musician, who happens to play the drums. In fact, David’s banquet of talents is such that he provided inspiration for new means of compositional expression, such as his use of the singing bowl in the 3rd movement. For nearly 3 minutes he meditates on an A note, allowing me to create a cascade of harmonies in the strings, all of which contain A as a common denominator- analogous to producing the effect of visually perceiving an object from myriad perspectives. Throughout the work there is much interplay and dialogue between each section and the soloist. But the underlying quality is a governing narrative of a journey taken in tandem by David and the orchestra. To refer to David Jones as one of the best drummers in the world is to diminish him somewhat. He is a unique and rare creative force who offers inspiration to all those who share his moment in history. It is an honour to compose this concerto for him in this first and very important commission for the wonderful Melbourne Symphony Orchestra. ©Joe Chindamo 2018

EDWARD ELGAR

SIR HENRY WOOD

(1857-1934)

(1869-1944)

Pomp and Circumstance, Op.3g, March No.1

Fantasia on British Sea Songs

Of his Pomp and Circumstance marches Elgar commented: I did not see why the ordinary quick march should not be treated on a large scale in the way that the waltz, the old-fashioned slow march and even the polka have been treated by the great composers; yet all marches on the symphonic scale are so slow that people can’t march to them. I have some of the soldier instinct in me and so I have written two marches of which, so far from being ashamed, I am proud. Elgar went on to write another three, however it is March No.1 that is the bestknown of the series. Written in 1901 during the Boer War, the tune proved so popular at its first London performance that Sir Henry Wood had to play it three times ‘merely to restore order’. Elgar knew he had a tune that would ‘knock ‘em flat’, and apparently Edward VII agreed: according to the composer, it was the King who first suggested that the trio section of March No.1 would make a great song. A.C. Benson’s words were added the following year when Elgar recycled the tune as the finale of his Coronation Ode, and as Land of Hope and Glory gained a life of its own, a secondary British national anthem was born. © Symphony Australia The Melbourne Symphony Orchestra first performed Pomp and Circumstance, Op.3g, March No.1 on 9 May 1940 with Antal Doráti, and most recently on 25 March 2017 under the baton of Sir Andrew Davis.

Sir Henry Wood, who was permanent conductor of the Proms concerts from their foundation in 1895 until his death, composed his Fantasia on British Sea Songs for a 1905 concert commemorating the centenary of the Battle of Trafalgar. He included it in the final concert of the following year’s Proms, establishing the Last Night tradition. The maritime songs in Wood’s medley are of diverse origin, from the traditional sailor’s hornpipe Jack’s the Lad to ‘See, the conquering hero comes’, from Handel’s oratorio Judas Maccabaeus. Not to mention, of course, Thomas Arne’s anthem to British naval power, Rule, Britannia! as the finale. © Symphony Australia The MSO’s first performed Fantasia on British Sea on 16 April 2016 and most recently on 25 March 2017, both under the baton of Sir Andrew Davis.

THOMAS ARNE

(1710-1778)

Rule, Britannia! (James Thompson) Arr. Sir Malcolm Sargent (1895-1967)

the Anglo-Saxon king Alfred the Great – a subject that fitted perfectly with Frederick’s political ambitions. The Melbourne Symphony Orchestra first performed Rule, Britannia! on 16 April 2016 and most recently on 25 March 2017, both under the baton of Sir Andrew Davis.

SIR CHARLES HUBERT PARRY

(1848-1918)

Jerusalem (William Blake) London’s Royal College of Music was founded in 1882 under Edward VII (then Prince of Wales) with the aim of creating a national music school similar to the established conservatories of Europe. An important name in the renaissance of British music at the turn of the last century, Hubert Parry succeeded Sir George Grove as head of the RCM where his students included Ralph Vaughan Williams, Gustav Holst and Frank Bridge. Steeped in the English choral tradition, he is chiefly remembered for his coronation anthem I was glad and of course, Jerusalem, his 1916 setting of Blake’s famous poem. The Melbourne Symphony Orchestra first performed Jerusalem on 16 April 2016 and most recently on 25 March 2017, both under the baton of Sir Andrew Davis.

Measha Bruggergosman soprano When in 1740 Frederick, Prince of Wales commissioned a new musical drama to celebrate his infant daughter’s birthday, he turned not to Handel (London’s foremost composer and creator of Zadok the Priest for the coronation of his father, George II) but to Handel’s rival in the theatre, Thomas Arne. Rule, Britannia! formed part of the finale of Arne’s masque honouring

TEXTS L’invitation au voyage (Charles Baudelaire, 1821 - 1867)

Invitation to the journey

La vie antérieure (Charles Baudelaire, 1821 - 1867)

A former life

Mon enfant, ma soeur, Songe à la douceur D’aller là-bas vivre ensemble! Aimer à loisir, Aimer et mourir Au pays qui te ressemble! Les soleils mouillés De ces ciels brouillés Pour mon ésprit ont les charmes Si mystérieux De tes traîtres yeux, Brillant à travers leurs larmes. Là, tout n’est qu’ordre et beauté, Luxe, calme et volupté.

My child, my sister, Imagine how sweet it would be To go away, yonder, to live together! To love at our leisure, To love and die In a land which so resembles you! The watery suns Of those unsettled skies For me possess The mysterious charms Of your treacherous eyes, shining through their tears. There, all is harmony and beauty, sumptuousness, calm and pleasure.

J’ai longtemps habité sous de vastes portiques Que les soleils marins teignaient de mille feux, Et que leurs grands piliers, droits et majestueux, Rendaient pareils, le soir, aux grottes basaltiques.

For a long time I lived beneath vast porticoes Tinted with a thousand fires by ocean suns, Whose great pillars, straight and majestic, Made them look, in the evening, like basalt caves.

Vois sur ces canaux Dormir ces vaisseaux Dont l’humeur est vagabonde; C’est pour assouvir Ton moindre désir Qu’ils viennent du bout du monde. Les soleils couchants Revêtent les champs, Les canaux, la ville entière, D’hyacinthe et d’or; Le monde s’endort Dans une chaude lumière. Là, tout n’est qu’ordre et beauté, Luxe, calme et volupté.

See how on those canals the ships are sleeping Ships, whose nature is to roam. It is to satisfy your slightest desire that they come from the ends of the earth. Each night the setting sun clothes the fields, the canals, the whole town in hyacinth and gold. The world falls asleep Bathed in a warm light. There, all is harmony and beauty, sumptuousness, calm and pleasure.

Les houles, en roulant les images des cieux, Mêlaient d’une façon solennelle et mystique Les tout-puissants accords de leur riche musique Aux couleurs du couchant reflété par mes yeux.

The swells, rolling the reflections of the skies above, Solemnly and mystically mingled The almighty chords of their rich music With the colours of sunset reflected in my eyes.

C’est là que j’ai vécu dans les voluptés calmes, Au milieu de l’azur, des vagues, des splendeurs Et des esclaves nus, tout imprégnés d’odeurs,

It is there that I lived in sensuous calm, In the midst of azure skies, waves, splendours And naked slaves, drenched in scent, Who fanned my brow with palm fronds,

Qui me rafraîchissaient le front avec des palmes, Et don’t l’unique soin était d’approfondir Le secret douloureux qui me faisait languir.

And whose only task was to further deepen The sorrowful secret which made me languish.

TEXTS Le manoir de Rosemonde (Robert de Bonnières, 1850 - 1905) De sa dent soudaine et vorace, Comme un chien l’amour m’a mordu… En suivant mon sang répandu, Va, tu pourras suivre ma trace. Prends un cheval de bonne race, Pars, et suis mon chemin ardu, Fondrière ou sentier perdu, Si la course ne te harasse! En passant par où j’ai passé Tu verras que seul et blessé J’ai parcouru ce triste monde, Et qu’ainsi je m’en fus mourir Bien loin, bien loin, sans découvrir Le bleu manoir de Rosemonde.

RULE, BRITANNIA! Rosamonde’s manor With its sudden, voracious tooth, Love, like a dog, has bitten me… Go, follow the drops of my blood and you’ll be able to trace my path. Take a thoroughbred horse Head out, and follow my arduous route, over uneven ground or overgrown paths if the journey does not exhaust you. When you pass by where I have passed you will see that, alone and wounded, I traversed this sad world and thus would I die, far, far away, without ever finding the blue manor of Rosamonde.

Phidylé (Leconte de Lisle, 1818 - 1894)

Phidylé

L’herbe est molle au sommeil sous les frais peupliers, Aux pentes des sources moussues, Qui dans les prés en fleur germant par mille issues, Se perdent sous les noirs halliers.

The grass is soft for sleeping beneath the cool poplars On the slopes with the mossy springs, That in abundantly flowering meadows Disappear under dark bushes.

Repose, ô Phidylé! Midi sur les feuillages Rayonne et t’invite au sommeil. Par le trèfle et le thym, seules, en plein soleil, Chantent les abeilles volages.

Rest, O Phidylé! The midday sun on the leaves shimmers, and invites you to sleep. By the clover and thyme, alone, in the sun, The fickle bees hum.

Un chaud parfum circule au détour des sentiers; La rouge fleur des blés s’incline; Et les oiseaux, rasant de l’aile la colline, Cherchent l’ombre des églantiers.

A warm fragrance wafts around the winding paths, The red bloom of the cornfield droops, And the birds, their wings skimming the hillsides, Seek the shade of the brier.

Mais, quand l’Astre, incliné sur sa courbe éclatante, Verra ses ardeurs s’apaiser, Que ton plus beau sourire et ton meilleur baiser Me récompensent de l’attente!

But when the sun, set low on its brilliant curve, Sees its heat subside, Let your most beautiful smile and finest kiss Reward me for waiting!

Text James Thomson Solo Measha Brueggergosman SOLO

When Britain first, at heaven’s command, Arose from out the azure main, This was the charter of the land, And guardian angels sang this strain.

SOLO

The Muses still, with freedom found, Shall to thy happy coasts repair, Blest isle, with matchless beauty crowned, And manly hearts to guard the fair. ALL

Rule, Britannia!…

ALL

Rule, Britannia! Britannia, rule the waves. Britons never, never, never shall be slaves.

JERUSALEM

SOLO

Music Hubert Parry (1848-1918) Words William Blake (1757-1827)

The nations not so blest as thee, Must in their turns to tyrants fall, While thou shall flourish great and free, The dread and envy of them all. ALL

Rule, Britannia! … SOLO

Still more majestic shalt thou rise, More dreadful from each foreign stroke, As the loud blast that tears the skies, Serves but to root thy native oak. ALL

Rule, Britannia! … SOLO

Thee haughty tyrants ne’er shall tame, All their attempts to bend thee down, Will but arouse thy generous flame, But work their woe and thy renown.

And did those feet in ancient time Walk upon England’s mountains green? And was the Holy Lamb of God On England’s pleasant pastures seen? And did the Countenance Divine Shine forth upon our clouded hills? And was Jerusalem builded here Among these dark Satanic mills? Bring me my bow of burning gold! Bring me my arrows of desire! Bring me my spear! O clouds, unfold! Bring me my chariot of fire! I will not cease from mental fight Nor shall my sword sleep in my hand Till we have built Jerusalem In England’s green and pleasant land!

ALL

Rule, Britannia! … SOLO

To thee belongs the rural reign, Thy cities shall with commerce shine, All thine shall be the subject main, And every shore it circles thine. ALL

Rule, Britannia! …

Translations © Symphony Australia

MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor

Benjamin Northey

Associate Conductor Anthony Pratt #

Tianyi Lu

Cybec Assistant Conductor

Hiroyuki Iwaki

Conductor Laureate (1974-2006)

SECOND VIOLINS

CELLOS

PICCOLO

Matthew Tomkins

David Berlin

Andrew Macleod

Principal MS Newman Family#

Principal The Gross Foundation#

Rachael Tobin

Robert Macindoe

Dale Barltrop Concertmaster

Concertmaster The Ullmer Family Foundation#

Peter Edwards

Rohan de Korte

Andrew Dudgeon#

Keith Johnson Sarah Morse Angela Sargeant Michelle Wood

Zoe Freisberg Cong Gu Andrew Hall

Andrew and Theresa Dyer# #

Isy Wasserman Philippa West Patrick Wong Roger Young Michael Loftus-Hills*

Michael Aquilina#

Aaron Barnden* Zoe Black* Jacqueline Edwards* Oksana Thompson*

Robert Clarke

The Rosemary Norman Foundation#

Kirsty Bremner Sarah Curro

Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Kirstin Kenny Ji Won Kim Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor

PERCUSSION

Abbey Edlin

Miranda Brockman

Andrew and Judy Rogers

Michael Aquilina

Guest Principal ◊

Associate Principal

Assistant Principal

Jeffrey Crellin Principal

Anonymous#

Sophie Rowell

Lin Jiang

Nicholas Bochner

Mary Allison Isin Cakmakcioglu Freya Franzen

FIRST VIOLINS

VIOLAS

Christopher Moore Principal Di Jameson#

Fiona Sargeant

Associate Principal

Lauren Brigden

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon

Associate Principal

Sylvia Hosking

Assistant Principal

Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser #

Thomas Hutchinson Ann Blackburn

Michael Pisani Principal

CLARINETS

David Thomas

Associate Principal

Brett Kelly Principal

Jon Craven

Don Immel*

BASSOONS

Richard Shirley Mike Szabo

Katharine Brockman Christopher Cartlidge

FLUTES

Natasha Thomas

Prudence Davis

CONTRABASSOON

Wendy Clarke

Shane Hooton

TROMBONES

Principal

Associate Principal

Brock Imison

Tim and Lyn Edward#

Robert Cossom Timothy Hook* Evan Pritchard*

Yinuo Mu

Craig Hill

Jack Schiller

John Arcaro

HARP

Associate Principal

Principal

Geoffrey Payne*

William Evans Rosie Turner

BASS CLARINET

Lady Potter AC CMRI#

TRUMPETS

Philip Arkinstall

Principal

Elise Millman

Principal Anonymous#

Trinette McClimont Josiah Kop* Rebecca Luton* Alexander Morton*

Guest Principal

Esther Toh*

Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Helen Ireland* Isabel Morse*

Nereda Hanlon and Michael Hanlon AM#

COR ANGLAIS

Mr Tam Vu and Dr Cherilyn Tillman

Michael Aquilina#

Adam Jeffrey

OBOES

Monica Curro

Geelong Friends of the MSO#

Saul Lewis

Principal Third

Associate Principal Assistant Principal

TIMPANI

Principal

Associate Principal Assistant Principal Danny Gorog and Lindy Susskind #

HORNS

Guest Associate Principal

Principal Bass Trombone TUBA

Timothy Buzbee Principal

Scott Watson* † Matthew Van Emmerik* Euphonium

Principal

Associate Principal

Sarah Beggs # Position supported by * Guest Musician † Courtesy of University of Kansas ◊ Courtesy of Hong Kong Philharmonic Orchestra

Principal

Megan Reeve* CELESTE/PIANO

Jacob Abela MSO BOARD Chairman

Michael Ullmer Managing Director

Sophie Galaise Board Members

Andrew Dyer Danny Gorog Margaret Jackson AC Di Jameson David Krasnostein David Li Hyon-Ju Newman Glenn Sedgwick Helen Silver AO Company Secretary

Oliver Carton

CHORUS Tom Griffiths Repetiteur

SOPRANO

Aviva Barazani Eva Butcher Rita Fitzgerald Catherine Folley Susan Fone Carolyn Francis Camilla Gorman Emma Hamley Penny Huggett Naomi Hyndman Anna Kidman Clancye Milne Catriona NguyenRobertson Susie Novella Karin Otto Tiffany Pang Jodie Paxton Tanja Redl Natalie Reid Mhairi Riddet Jo Robin Natalia Salazar Jillian Samuels Freja Soininen Chiara Stebbing Elizabeth Tindall Fabienne Vandenburie Tara Zamin

ALTO

BASS

Catherine Bickell Cecilia Bjรถrkegren Kate Bramley Alexandra Cameron Katharine Daley Nicola Eveleigh Debbie Griffiths Ros Harbison Sue Hawley Sara Kogan-Lazarus Joy Lukman Helen MacLean Lucy McFarlane Rosemary McKelvie Nicole Paterson Mair Roberts Helen Rommelaar Kerry Roulston Annie Runnalls Katherine Samarzia Lisa Savige Helen Staindl Libby Timcke Katarina Van Der Linden Emma Warburton

Maurice Amor Alexandras Bartaska Richard Bolitho Paul Alexander Chantler Roger Dargaville Andrew Hibbard Joseph Hie Evan Lawson Alexander Owens Stephen Pyk Nick Sharman Liam Straughan Matthew Toulmin Tom Turnbull

TENOR

James Allen Alexandra Amerides Tony Barnett Steve Burnett Peter Campbell Peter Clay James Dipnall David Henley Wayne Kinrade Michael Mobach Asher Reichman Tim Wright

Anne-Sophie Mutter TCHAIKOVSKY VIOLIN CONCERTO MID-SEASON GALA Witness the superstar violinist in her first ever Melbourne performance! SATURDAY 23 JUNE | 7.30pm Arts Centre Melbourne, Hamer Hall

mso.com.au 20

Anne-Sophie Mutter supported by Mr Marc Besen AC and Mrs Eva Besen AO

SUPPORTERS MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria

ARTIST CHAIR BENEFACTORS Associate Conductor Chair Benjamin Northey Anthony Pratt Orchestral Leadership Chair Joy Selby Smith Cybec Assistant Conductor Chair Tianyi Lu The Cybec Foundation Associate Concertmaster Chair Sophie Rowell The Ullmer Family Foundation Principal Flute Chair Anonymous Principal Second Violin Chair The Gross Foundation Principal Viola Chair Di Jameson Principal Cello Chair MS Newman Family Foundation 2018 Soloist in Residence Chair Marc Besen AC and Eva Besen AO

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 MSO Audience Access Crown Resorts Foundation Packer Family Foundation MSO Education Supported by Mrs Margaret Ross AM and Dr Ian Ross MSO International Touring Harold Mitchell AC MSO Regional Touring Creative Victoria Freemasons Foundation Victoria The Robert Salzer Foundation The Pizzicato Effect Anonymous 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 Sidney Myer Free Concerts Supported by the late Sidney Myer and the University of Melbourne

PLATINUM PATRONS $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+ Di Jameson David Krasnostein and Pat Stragalinos Harold Mitchell AC Kim Williams AM 22

IMPRESARIO PATRONS $20,000+

PRINCIPAL PATRONS $5,000+

Lyn Williams AM Anonymous (2)

Michael Aquilina ◊ ◊ The John and Jennifer Brukner Foundation Mary and Frederick Davidson AM Rachel and the late Hon. Alan Goldberg AO QC Margaret Jackson AC Andrew Johnston Mimie MacLaren John and Lois McKay

Christine and Mark Armour John and Mary Barlow Barbara Bell, in memory of Elsa Bell Stephen and Caroline Brain Prof Ian Brighthope David and Emma Capponi May and James Chen Wendy Dimmick Andrew Dudgeon AM ◊ Andrew and Theresa Dyer ◊ Tim and Lyn Edward ◊ Mr Bill Fleming John and Diana Frew Susan Fry and Don Fry AO Sophie Galaise and Clarence Fraser ◊ Geelong Friends of the MSO ◊ Jennifer Gorog HMA Foundation Louis Hamon OAM Hans and Petra Henkell Hartmut and Ruth Hofmann Jack Hogan Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson Dr Elizabeth A Lewis AM Norman Lewis, in memory of Dr Phyllis Lewis Peter Lovell Lesley McMullin Foundation Mr Douglas and Mrs Rosemary Meagher David and Helen Moses Dr Paul Nisselle AM The Rosemary Norman Foundation ◊ Ken Ong, in memory of Lin Ong Bruce Parncutt AO Jim and Fran Pfeiffer Pzena Investment Charitable Fund Andrew and Judy Rogers ◊ Rae Rothfield Max and Jill Schultz Mr Tam Vu and Dr Cherilyn Tillman ◊ The Hon. Michael Watt QC and Cecilie Hall

ASSOCIATE PATRONS $2,500+

MAESTRO PATRONS $10,000+ Kaye and David Birks Mitchell Chipman Sir Andrew and Lady Davis Danny Gorog and Lindy Susskind ◊ Robert & Jan Green Hilary Hall, in memory of Wilma Collie Nereda Hanlon and Michael Hanlon AM ◊ Suzanne Kirkham The Cuming Bequest Ian and Jeannie Paterson Lady Potter AC CMRI ◊ Elizabeth Proust AO Xijian Ren and Qian Li 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 Harry and Michelle Wong Jason Yeap OAM Anonymous (1)

Dandolo Partners Will and Dorothy Bailey Bequest Anne Bowden 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 Sandra Dent Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson Jane Edmanson OAM Dr Helen M Ferguson Mr Peter Gallagher and Dr Karen Morley Dina and Ron Goldschlager 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 The Ilma Kelson Music Foundation Kloeden Foundation Bryan Lawrence Ann and George Littlewood John and Margaret Mason H E McKenzie Allan and Evelyn McLaren Don and Anne Meadows Marie Morton FRSA Annabel and Rupert Myer AO Sue and Barry Peake Mrs W Peart Graham and Christine Peirson 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 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 Bell David Blackwell OAM Anne Bowden Michael F Boyt Patricia Brockman Dr John Brookes Suzie Brown OAM and Harvey Brown Roger and Col Buckle Jill and Christopher Buckley Bill and Sandra Burdett Peter Caldwell Joe Cordone Andrew and Pamela Crockett Beryl Dean Dominic and Natalie Dirupo Marie Dowling John and Anne Duncan Kay Ehrenberg Jaan Enden Valerie Falconer and the Rayner Family in memory of Keith Falconer Amy & Simon Feiglin Grant Fisher and Helen Bird

SUPPORTERS 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 Colin Golvan QC and Dr Deborah Golvan George Golvan QC and Naomi Golvan Dr Marged Goode Prof Denise Grocke AO 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 Anna and John Holdsworth 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 Dr Anne Lierse Gaelle Lindrea Andrew Lockwood Violet and Jeff Loewenstein Elizabeth H Loftus Chris and Anna Long The Hon Ian Macphee AO and Mrs Julie Macphee Eleanor and Phillip Mancini Dr Julianne Bayliss In memory of Leigh Masel Ruth Maxwell Jenny McGregor AM and Peter Allen Glenda McNaught Ian Morrey and Geoffrey Minter 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 Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher 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 Richard Ye Panch Das and Laurel Young-Das Anonymous (20)

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

Yes! I want to make a difference to the community by supporting the MSO’s Month of Giving.

TRUSTS AND FOUNDATIONS Collier Charitable Fund Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation The Marian and E.H. Flack Trust Freemasons Foundation Victoria Gandel Philanthropy The Scobie and Claire Mackinnon Trust The Harold Mitchell Foundation The Myer Foundation The Pratt Foundation The Robert Salzer Foundation Telematics Trust

Name Address

Phone Enclosed is my contribution of: $50 $100 $150 Other

WE ARE THE SOUND OF OUR CITY.

Show your love for MSO.

THE CONDUCTOR'S CIRCLE Current Conductor’s Circle Members 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 Peter A Caldwell Luci and Ron Chambers Beryl Dean Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite Mr Derek Grantham Marguerite Garnon-Williams Louis Hamon OAM Carol Hay Tony Howe Laurence O'Keefe and Christopher James Audrey M Jenkins John Jones George and Grace Kass Mrs Sylvia Lavelle Pauline and David Lawton Cameron Mowat

At over 100 years old, the MSO has been around for nearly as long as Melbourne. We want to continue to be here for you, and all of Melbourne, year after year, season after season.

CREDIT CARD VISA

Mastercard

AMEX

Please charge in full $

Please charge monthly instalments of $ (number of payments per year)

Cardholder

Card number Expiry Signature ( If you prefer to charge by phone, please contact Garry Stocks on 8646 1551)

CHEQUE ENCLOSED

Donate today mso.com.au/give

(payable to Melbourne Symphony Orchestra Pty Ltd)

EFT TO NAB ACCOUNT MSO Fund BSB 083 004 Account 89 393 2381 (include your name and 'Month of Giving' in payment description)

ONLINE at mso.com.au/give I am interested in leaving a legacy of wonderful music for years to come: I have made a gift to the MSO in my Will I would consider including the MSO in my Will and would like more information PLEASE RETURN TO MSO’s Month of Giving GPO Box 9994 Melbourne VIC 3001

All gifts over $2 are fully tax-deductible

SUPPORTERS SUPPORTERS SUPPORTERS

SUPPORTERS

PARTNERPARTNER PRINCIPALPRINCIPAL PARTNER PRINCIPAL Rosia Pasteur Elizabeth Proust AO Penny Rawlins Joan P Robinson Neil Roussac Anne Roussac-Hoyne Suzette Sherazee Michael Ryan and Wendy Mead Anne Kieni-Serpell 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 of the following Estates: Angela Beagley Neilma Gantner Gwen Hunt Audrey Jenkins Pauline Marie Johnston Joan Jones 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 Jennifer May Teague Jean Tweedie Herta and Fred B Vogel Dorothy Wood

HONORARY APPOINTMENTS Sir Elton John CBE Life Member Lady Potter AC CMRI Life Member Geoffrey Rush AC Ambassador The MSO honours the memory of: John Brockman OAM Life Member The Honourable Alan Goldberg AO QC Life Member Ila Vanrenen Life Member

GOVERNMENT PARTNERS GOVERNMENT PARTNERS GOVERNMENT PARTNERS

PREMIER PREMIER PARTNERS PREMIER PARTNERS PARTNERS

MAJOR PARTNERS MAJOR PARTNERS MAJOR PARTNERS

VENUE PARTNER VENUE PARTNER VENUE PARTNER

EDUCATION PARTNERS EDUCATION PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS SUPPORTING PARTNERS SUPPORTING PARTNERS

The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our suporters 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: $1,000+ (Player)

Quest Southbank Quest Southbank Quest Southbank

Ernst & Young Bows for Strings Ernst & Young Bows for Strings Ernst & Young Bows for Strings

TRUSTS AND FOUNDATIONS TRUSTS AND FOUNDATIONS TRUSTS AND FOUNDATIONS

$2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario) $50,000+ (Virtuoso) $100,000+ (Platinum) The MSO Conductorâ&#x20AC;&#x2122;s Circle is our bequest program for members who have notified of a planned gift in their Will. Enquiries | P (03) 8646 1551 | E philanthropy@mso.com.au

and Claireand Mackinnon Trust, Sidney Myer MSO Trust Fund e Scobie e andScobie Claire e Mackinnon Trust, Sidney Myer MSO Trust Fund Scobie Claire Mackinnon Trust, Sidney Myer MSO Trust Fund

MEDIA AND BROADCAST PARTNERS MEDIA AND BROADCAST PARTNERS MEDIA AND BROADCAST PARTNERS