Debussy and Brahms Concert Program by Melbourne Symphony Orchestra

DEBUSSY AND BRAHMS 5 APRIL | 7.30PM Arts Centre Melbourne, Hamer Hall 6 APRIL | 7.30PM Robert Blackwood Hall, Monash

CONCERT PROGRAM

MELBOURNE SYMPHONY ORCHESTRA I love digging into performance history. What were the circumstances of the first performance of Beethoven’s Eroica, or Stravinsky’s Rite of Spring? Who were the performers? What other pieces were on the program? Some of the stories surrounding the recognised masterworks of Western music make fascinating reading, and you can learn a lot from them. There is a wonderful book by Thomas Forrest Kelly, called First Nights. It tells the stories of five (in)famous premieres, including Berlioz buying violin mutes and viola strings on the day his Symphonie fantastique was premiered, and the exact names and backgrounds of the singers and instrumentalists Handel assembled for his Messiah. The book tells of great successes and epic failures. Many works that were booed at their premiere were vindicated years later. Think only of the symphonies by Gustav Mahler; even in a music dictionary published in the early 1960’s it says that it is ‘highly doubtful’ that these works will become part of the standard repertoire. If only we could avoid premieres! The stress for the composer to finish a work on time, musicians trying to get ‘behind the notes’ and figure out the real ‘soul’ of a piece, or the dreaded first rehearsal where the composer can finally hear their music. I have seen many new works land on my desk. It is always one of the most exciting moments in the season, when you open a score for the first time and read through the notes, trying to imagine what it will sound like.

New works always brings musicians to the edge of their seats. There is an extra sense of excitement in the air, because everybody wants to give the music the best possible first performance. Tonight MSO is happy to present a new Double Concerto by Melbourne’s own Mary Finsterer. We hope you will share our excitement. Let’s make this premiere one for the books – for the all the right reasons! Ronald Vermeulen Director of Artistic Planning

For further listening we recommend: Jun Märkl made a beautiful recording of the Trois Nocturnes by Debussy with the Orchestre National de Lyon. The work is coupled with the ‘Symphony’ Marius Constant drew from the opera Pelléas et Mélisande. Naxos 8.5770993 On the Altus-label there is a recording of Jun Märkl conducting the MDR Sinfonieorchester in Brahms’ Fourth Symphony. Alt166

Melbourne Symphony Orchestra Jun Märkl conductor Christopher Moore viola Timo-Veikko Valve cello Ladies of the MSO Chorus Debussy Nocturnes Finsterer Missed Tales III: The Lost * *World Premiere, commissioned by Kim Williams AM on behalf of the MSO INTERVAL

Brahms Symphony No.4

This season the MSO will play more Debussy – the famous Prélude à l’aprèsmidi d’un faune and the Ariettes Oubliées (orchestrated by Brett Dean) – on 23, 24 and 26 November with Fabien Gabel conducting.

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.

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The MSO acknowledges 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.

MELBOURNE SYMPHONY ORCHESTRA

MÄRKL JUN MÄRKL CONDUCTOR CONDUCTOR

MEET THE ARTISTS

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

Jun Märkl Märkl has has conducted conducted many many of Jun of the the world’s leading orchestras, and at major world’s leading orchestras, and at major opera houses houses and and festivals. festivals. He He has has held opera held titled positions the Orchestre titled positions with with the Orchestre National de de Lyon, Lyon, where where he he earned earned a a National Chevalier de l’Ordre des Arts et des Chevalier de l’Ordre des Arts et des Lettres from from the the French French government, government, Lettres and the the MDR MDR Leipzig Leipzig Radio Radio Symphony Symphony and Orchestra. He concluded his tenure as as Orchestra. He concluded his tenure Chief Conductor of the Basque National Chief Conductor of the Basque National Orchestra in in June June 2017. 2017. Orchestra

CHRISTOPHER MOORE VIOLA

TIMO-VEIKKO VALVE CELLO

Born in Newcastle, Christopher Moore's strongest memory from childhood was seeing his mother pulling up in the driveway of his home with a tiny blue violin case on the back seat. After studying with two prominent Sydney Suzuki teachers, Marjorie Hystek and the late Harold Brissendon, Christopher completed his Bachelor of Music in Newcastle with violinist and pedagogue Elizabeth Holowell.

Timo-Veikko “Tipi” Valve is one of the most versatile musicians of his generation, performing as a soloist, chamber musician and orchestral leader on both modern and period instruments.

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

Jun Märkl’s Märkl’s recent recent performances performances have have Jun included a a production production of of Lohengrin Lohengrin with with included the Nikikai Nikikai Opera Opera Foundation, Foundation, conducting conducting the the Tokyo Tokyo Metropolitan Metropolitan Orchestra, Orchestra, and the and performances with the Hong performances with the Hong KongKong Philharmonic and and Baltimore Baltimore and and Atlanta Philharmonic Atlanta Symphony Orchestras. Orchestras. June June sees Symphony sees a a return to to the the Minnesota Minnesota Orchestra Orchestra and and return he recently released a CD of Saint-Saëns’ he recently released a CD of Saint-Saëns’ symphonic poems, poems, conducting conducting the the symphonic Orchestre National National de de Lille. Lille. Orchestre

After working with Adelaide and New Zealand Symphony Orchestras as a violinist, Chris decided to take up a less highly strung string instrument and moved his musical focus and energy to the viola. He accepted a position with the Melbourne Symphony Orchestra - playing with the Orchestra for one and a half years before successfully auditioning for the position of Associate Principal Viola. During his association with MSO, Chris has performed regularly as a chamber musician with other colleagues from the MSO and counts among his many highlights sharing the stage with KISS.

Valve studied at the Sibelius Academy in his home town of Helsinki and at the Edsberg Music Institute in Stockholm, Sweden and has performed as a soloist with all the major orchestras in Finland and as a chamber musician throughout Europe, Asia, Australia and the US. He works closely with a number of Finnish composers and has commissioned new works for the cello. Most recently Valve has premiered concertos by Aulis Sallinen and Olli Virtaperko as well as two new cello concertos written for him by Eero Hämeenniemi and Olli Koskelin. In 2006, Valve was appointed Principal Cello of the Australian Chamber Orchestra. Tonight, Tipi appears courtesy of the Australian Chamber Orchestra.

In his current position as Principal Viola of the MSO, Chris is supported by Di Jameson.

PROGRAM NOTES CLAUDE DEBUSSY

(1862-1918)

Nocturnes Nuages (clouds) (Clouds) Fêtes (Festivals) Sirènes (Sirens) Ladies of the MSO Chorus

LADIES OF THE MSO 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 Manfred Honeck, and is committed to developing and performing new Australian and international choral repertoire.

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.

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.

Debussy completed the Nocturnes on 15 December 1899 at three in the morning. Nuages (Clouds) and Fêtes (Festivals) were first performed in December the following year. It wasn’t until October 1901 that all three Nocturnes (including the movement with wordless female chorus – Sirènes) were performed in public. In more than a symbolic sense, however, the Nocturnes can be considered the first major work of the 20th century. In this piece are many of the features which mark a break with the 19th century – a subtler sense of form, nondirectional harmony, less assertive melody, and the elevation of the importance of orchestral colour. As foreshadowed in Debussy’s earlier works, there is an acceptance of sound as something to luxuriate in, rather than a ClassicalRomantic notion of sound as something to be mobilised in the pursuit of a statement or climax. The Nocturnes were originally conceived in a form different from that in which they are known today. At first Debussy drafted a triptych, Scènes au crépuscule (Scenes at twilight), inspired by poems by Henri de Régnier. A phrase from Régnier’s poems which speaks of ‘the brilliance of angry tambourines and sharp trumpet calls’ seems to be reverberating in the second Nocturne, Fêtes, written some years later. In 1894 Debussy wrote to the Belgian violinist Ysaÿe:

I am working at three nocturnes for violin and orchestra that are intended for you; the first is scored for strings, the second for three flutes, four horns, three trumpets and two harps; the third combines both these groups. This is, in fact, an experiment in the various arrangements that can be made with a single colour – what a study in grey would be in painting. The reference to painting is notable. In few other works is the epithet ‘impressionist’, borrowed from painting, more appropriate. One writer goes so far as to say that even without the titles a listener could form a pretty good idea of the works’ suggested subjects – the march on muted trumpets, accompanied by harp, lower strings and timpani in Fêtes, for example, undoubtedly represents the approach and passing of a procession. Debussy did not intend the title ‘Nocturnes’ to be understood in the sense of a Chopin nocturne. The title probably has more to do with a series of Whistler paintings of the same name. The composer himself said: The title Nocturnes is to be interpreted here in a general, and more particularly, in a decorative sense. Therefore, it is not meant to designate the usual form of the Nocturne, but rather all the various impressions and the special effects of light that the word suggests. The programmatic intent of these works is illustrative, without the emotional involvement of the late-Romantic tonepoets. Nuages renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white’ – the composer’s words find musical expression in the slowly changing background of rootless, floating chords which underlie

the recurring tone of the cor anglais. Classical-Romantic distinctions between theme and texture are irrelevant in the smooth accompaniment; the cor anglais call never evolves into a melody. There is a whole new range of string colours here – delicate combinations of bowed and pizzicato effects, harmonics, nonstandard divisions of the string forces. A complete change of colour and a new pentatonic theme on flute and harp mark an obvious new section in the music, and the movement closes with merely a resumé of the opening material. There is no progression to a clearly marked cadence at the end, but rather a gradual disintegration of elements, as the cor anglais motif breaks down into smaller and smaller particles. In complete contrast with Nuages and its ‘study in grey’, Fêtes gives us an almost kaleidoscopic display of momentarily bright colours. Once more the composer supplies a description: Fêtes gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling, fantastic vision) which passes through the festive scene and becomes merged in it. But the background remains persistently the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm. A brisk theme on clarinets and cor anglais against a rhythmic accompaniment is later taken up by other instruments. After a harp glissando, the activity dies down and the march approaches as if from afar. This builds up and takes us back into the racy opening material. At the end there is a gradual atomising of material and dulling of colour. A ghost of the march

can be heard on the tambour against descending lower strings. Muted trumpets and muted horns play single chords, mere specks of colour, then there is a dry tap of the timpani, a touch of the cymbal and the piece disappears into silence with a low pizzicato note. Sirènes evolves almost as a continuum; it swells and ebbs, rather than marking out a path; the melody grows and decays by the addition or alteration of small details. It is understandable how turn-of-the-century listeners, accustomed to more definition in form, could have regarded this music as impressionistic. It is possible that the use of wordless female voices in this last Nocturne was suggested to Debussy not only by Régnier’s L’Homme et la sirène, but also by Swinburne’s poem Nocturne, in which love is symbolised by a mermaid rising from the sea. Debussy wrote that this last movement ‘depicts the sea and its countless rhythms and presently, amongst the waves silvered by moonlight…the mysterious song of the sirens as they laugh and pass on’. Within the value system of the ClassicalRomantic period, Debussy’s music was at first seen by some as negative, even morbid. Fluent rather than dramatic, plastic rather than constructed, it is the very antithesis of the positive striving of, say, a Beethoven or a Bruckner. Yet Debussy’s innovations laid the foundations for a new ethos in Western music and for new techniques of musical language, opening up for the 20th century many new vistas for exploration. G.K. Williams Symphony Australia © 1998 The first performance of all three Nocturnes by the Melbourne Symphony Orchestra took place on 5 August 1943 under Bernard Heinze. The MSO’s most recent performance was on 18-19 April 2008 with the Women of the MSO Chorus, conducted by Richard Hickox.

MARY FINSTERER

(born 1962)

Missed Tales III: The Lost* World Premiere and MSO Commission Christopher Moore viola Timo-Veikko Christopher Moore Valve cello viola Timo-Veikko Valve cello The Lost (viola and cello with orchestra) is the The third Lost (viola in a series and cello of orchestral with orchestra) concertiis entitled the thirdMissed in a series Tales, of orchestral which explore concerti the mysteries entitled Missed of nature Tales, and which placeexplore within Celtic the and mysteries Norseof mythology. nature and place within Celtic and Norse mythology. The Lost refers to an ancient Celtic ritual conducted The Lost refers by the to an Scots ancient and Picts Celticinritual the undulating conducted Irish by the and Scots Scottish and Picts landscapes. in the A undulating bonfire would Irish and be lit Scottish on the highest landscapes. hill A and bonfire would would be used be litby onfarmers the highest to light hill and torches would be that used would by farmers act as diviners to light torches for mapping that would out act territory. as diviners Thefor torches mapping would out then territory. be placed The torches in suchwould a waythen as tobe enfold placed the in such most a way fertile asland, to enfold which the they most called fertile ‘The land,Lost’, whichathey termcalled that invokes ‘The Lost’, the Celtic a term word that invokes for fire,the Losaid. Celtic word for fire, Losaid. The title sets up the expectation that something is missing. From this, what follows is an anticipation of fear and yearning. Yet in the context of the ancient Celtic ritual, The Lost represents a discovery of something that is precious, something connected to a source of life. The dichotomy of these two meanings act like a counterpoint or a tension which gives rise to a metaphysical shift. It is this interplay that I have worked with to shape the music.

landscapes is represented here as a place where time and space coincide and fuse together, creating something like a polyphony of ideas and sounds. The piece responds to the open strings of the solo instruments the viola and cello, drawing sonority and carving foundation from their earthy timbres. Branching out to neighbouring tones, an evolving sound palate evokes tension. In the preparation of the work I am working closely with soloists Christopher Moore and Timo–Veikko Valve to bring the piece to life. I have constructed the piece drawing from harmonic material idiomatic to their instruments. Everything in the piece is referential to the concept of the work, creating a sound world that is a metaphor for the Earth and its relation to the complexity of life. This work is dedicated to Kim Williams and his sister Candice. Mary Finsterer © 2018

* World Premiere, commissioned by Kim Williams AM on behalf of the MSO

My overall interest with this series resides as much in the narrative interpretations of myths and ancient rituals as it does with imagining their origins and reasons for certain beliefs. Whether these reasons are religious or superstitious, my rendering of them as interpretations within sonic

JOHANNES BRAHMS

(1833-1897)

Symphony No.4 in E minor, Op.98 Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato In 1885 Brahms, as was his wont, convened a group of trusted friends to listen to a play-through of the Fourth Symphony, with the composer and his friend Ignaz Brüll at the piano. Feedback from knowledgeable people had been invaluable throughout his career, and on this occasion the listeners included the conductor Hans Richter and the critic Eduard Hanslick. But this time the response was a baffled silence. Even Hanslick, Brahms’ greatest supporter in print, tried to joke that he felt like he had been ‘beaten up by two intelligent people’ at the end of the first movement. Later, after the works politely received Viennese premiere, a less well-disposed wit composed a verse to the theme of the first movement to the effect that Brahms had run out of ideas. The Third Symphony had, of course, enjoyed an unqualified success and it says much for Brahms’ artistic integrity that he was prepared to take a quite different approach in the new work; that the Fourth was written over not one but two summers suggests that Brahms had to work hard at it. So, what baffled the listeners in the first movement? In fact the ‘run out of ideas’ critic was wrong, but nevertheless onto something, in that a large chunk of Brahms’ first theme consists of practically no material: two chains of thirds (and sixths, their inversion) are sounded in a rhythm that consists entirely of a repeated short-long

pattern. Eventually a more elaborate motif is sounded, but then immediately repeated in sequence. The thirds provide the basis for a fanfare-like transition into the second theme, and here again Brahms goes against convention with a melody that is not, as expected, ‘lyrical’ but is much more assertive, sounded in the orchestra’s tenor register, and again based on sequences of a repeated rhythmic cell (long, long, short, short, short). Fragmentary patterns of thirds provide the accompaniment. All of which is to say that Brahms was writing in, to the Viennese, a disturbingly abstract and ‘modern’ way. Haydn, of course, and Beethoven – especially in the Fifth Symphony – had worked in just this way, and it is no accident that such rigorous design attracted the approval of Schoenberg in his 1933 lecture, Brahms the Progressive. But it put Brahms out of step with current musical fashion in Vienna. The piece is frequently intensely contrapuntal (and thus requires a ‘classical’ orchestra), reflecting Brahms’ lifelong love of the Baroque, but there are profoundly poetic moments. The recapitulation of the first movement’s main theme should, by convention, be a rhetorically powerful moment of arrival; Brahms instead dwells on a distant but radiant C major chord and then, radically, continues to develop his themes. The second movement is in what has sometimes been called Brahms’ ‘bardic’ manner. The young Richard Strauss, who regarded the ‘gigantic work’ as ‘new and original in its greatness of conception and invention, its genius in treatment of form’, captured the slow movement’s essence in his image of a ‘funeral procession moving across moonlit heights’.

This movement, which relies heavily on mysterious wind scoring and the occasional archaic inflections of the Phrygian mode, could not offer a greater contrast to the scherzo, with what Karl Geiringer calls its ‘sturdy gaiety’. In two, rather than three, beats to a bar, it has a rustic air, but its most curious feature is the way in which Brahms, again creating music out of nothing, offers a series of monolithic chords, octaves apart, that interrupt the rhythmic drive of the movement towards its end. These chords, however, also pave the way for the finale, in which Brahms abandons any vestige of classical precedent, instead using the Baroque form of the passacaglia, in which a repeated harmonic pattern, or ground, serves as a vehicle for variations. Brahms’ ground is a series of rhythmically equal chords (adumbrated at the end of the scherzo) over which he elaborates a movement unlike anything heard in symphonic music before. In 1886, Vienna’s response was tepid, partly as Hans Richter’s rehearsals were inadequate. But by then the work had enjoyed triumphant success in 14 German and Dutch cities under Hans von Bülow. Vienna finally embraced it, and the mortally ill Brahms, at the last concert the composer was able attend before his death in 1897. © Gordon Kerry 2015 The Melbourne Symphony Orchestra first performed Brahms’ Fourth Symphony on 27 June 1942 under the baton of Percy Code, and most recently on 27-28 May 2016 with Christoph König.

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) FIRST VIOLINS

Dale Barltrop Concertmaster

CELLOS

OBOES

Matthew Tomkins

David Berlin

Jeffrey Crellin

Principal MS Newman Family#

Principal The Gross Foundation#

Rachael Tobin

Robert Macindoe Associate Principal

Associate Principal

Monica Curro

Nicholas Bochner

Concertmaster The Ullmer Family Foundation#

Kirsty Hilton*^ Guest Associate Concertmaster

Peter Edwards

Assistant Principal John McKay and Lois McKay#

Kirsty Bremner Sarah Curro Michael Aquilina

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

Tiffany Cheng* Nicholas Waters* Lynette Rayner* Oksana Thompson*

Principal Third

PERCUSSION

Ann Blackburn

Lin Jiang

Robert Clarke

The Rosemary Norman Foundation#

Mary Allison Isin Cakmakcioglu Freya Franzen

Rohan de Korte

Michael Pisani

Zoe Freisberg Cong Gu Andrew Hall

Andrew and Theresa Dyer# #

Andrew and Judy Rogers

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

Christopher Moore Principal Di Jameson#

Fiona Sargeant

Associate Principal

Lauren Brigden

Mr Tam Vu and Dr Cherilyn Tillman

Steve Reeves

CLARINETS

Craig Hill

Principal

BASSOONS

Jack Schiller Principal

Elise Millman

Associate Principal

Rob Nairn*

CONTRABASSOON

Wendy Clarke

Brock Imison Principal

Associate Principal Guest Associate Principal

William Evans Rosie Turner TROMBONES

Taryn Richards*

Chairman

Michael Ullmer Managing Director

Sophie Galaise

Richard Shirley Mike Szabo

Board Members

Principal

Principal Bass Trombone TUBA

Timothy Buzbee Principal

Scott Watson* †

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

Sarah Beggs

Principal

MSO BOARD

Brett Kelly

Associate Principal

Andrew Macleod

Principal

Tristan Rebien*

Principal Anonymous#

PICCOLO

HARP

Melina van Leeuwen*

Natasha Thomas

Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Isabel Morse* William Clark*

Robert Cossom Greg Sully* Lara Wilson*

Shane Hooton

Sophie Galaise and Clarence Fraser #

Prudence Davis

Tim and Lyn Edward#

Philip Arkinstall

Sylvia Hosking

FLUTES

Trinette McClimont Rebecca Luton* Alexander Morton* Anton Schroeder*

John Arcaro

Yinuo Mu

Jon Craven

Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton

Nereda Hanlon and Michael Hanlon AM#

Principal

TRUMPETS

Andrew Moon

Assistant Principal

Abbey Edlin

Tim and Lyn Edward#

Principal

BASS CLARINET

Associate Principal

Guest Principal ◊

David Thomas

Principal

Katharine Brockman Christopher Cartlidge Michael Aquilina#

Principal

Associate Principal DOUBLE BASSES

John Arcaro

Saul Lewis

Associate Principal

COR ANGLAIS

Keith Johnson Sarah Morse Angela Sargeant Michelle Wood

Peter Luff*

Thomas Hutchinson

Geelong Friends of the MSO# Andrew Dudgeon#

TIMPANI ##

Guest Principal

Assistant Principal

Miranda Brockman

HORNS

Principal

Assistant Principal Danny Gorog and Lindy Susskind #

Anonymous#

Sophie Rowell

SECOND VIOLINS

# Position supported by * Guest Musician ^ Courtesy of Sydney Symphony Orchestra † Courtesy of University of Kansas ## Timpani Chair position supported by Lady Potter AC CMRI

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PRINCIPAL PATRONS $5,000+ 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 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 Lyn Williams AM Anonymous (2)

ASSOCIATE PATRONS $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest David Blackwell OAM Anne Bowden Bill Bowness Julia and Jim Breen 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 Michael F Boyt Patricia Brockman Dr John Brookes Suzie Brown OAM and Harvey Brown Roger and Col Buckle Jill and Christopher Buckley Shane Buggle 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 Barry Fradkin OAM and Dr Pam Fradkin 17

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 Penny Shore Dr Sam Smorgon AO and Mrs Minnie Smorgon John So 18

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 (21)

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 Harold Mitchell Foundation The Pratt Foundation The Robert Salzer Foundation Sidney Myer MSO Trust Fund Telematics Trust International Music and Art Foundation

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 2018 Soloist in Residence Chair Anne-Sophie Mutter Marc Besen AC and Eva Besen AO Cybec Young Composer in Residence Ade Vincent The Cybec Foundation

CHAIRMAN’S CIRCLE Marc Besen AC and Eva Besen AO The Gross Foundation Harold Mitchell Foundation David and Angela Li Harold Mitchell AC MS Newman Family Foundation Lady Potter AC CMRI Joy Selby Smith The Cybec Foundation The Pratt Foundation The Ullmer Family Foundation Anonymous (1)

ADOPT A MUSICIAN CHAIRS Principal Second Violin Chair Matthew Tomkins The Gross Foundation Principal Viola Chair Chris Moore Di Jameson

Cello Miranda Brockman Geelong Friends of the MSO Cello Rohan de Korte Andrew Dudgeon AM Cello Michelle Wood Andrew and Theresa Dyer Double Bass Stephen Newton Sophie Galaise and Clarence Fraser Oboe Ann Blackburn The Rosemary Norman Foundation French Horn Abbey Edlin Nereda Hanlon and Michael Hanlon AM Percussion John Arcaro Tim and Lyn Edward

PROGRAM BENEFACTORS

Principal Cello Chair David Berlin MS Newman Family Foundation

Cybec 21st Century Australian Composers Program The Cybec Foundation

Principal Flute Chair Prudence Davis Anonymous

Meet The Orchestra Made possible by The Ullmer Family Foundation

Principal Timpani Chair Lady Potter AC CMRI Associate Principal Second Violin Monica Curro Danny Gorog and Lindy Susskind Assistant Principal First Violin Peter Edwards John McKay and Lois McKay First Violin Sarah Curro Michael Aquilina First Violin Kathryn Taylor Michael Aquilina Second Violin Freya Franzen Anonymous Second Violin Andrew Hall Andrew and Judy Rogers Viola Lauren Brigden Mr Tam Vu and Dr Cherilyn Tillman Viola Chris Cartlidge Michael Aquilina

East Meets West Supported by the Li Family Trust

MSO Audience Access Crown Resorts Foundation, Packer Family Foundation MSO Building Capacity Gandel Philanthropy (Director of Philanthropy) 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

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 19

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 Drs L C Gruen & R W Wade 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 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 (26)

The MSO gratefully acknowledges the support of the following Estates: Angela Beagley Neilma Gantner The Hon Dr Alan Goldberg AO QC Gwen Hunt Audrey Jenkins Joan Jones 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

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.

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

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) $2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario) $50,000+ (Virtuoso) $100,000+ (Platinum) The MSO Conductor’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 ◊

S ignifies Adopt an MSO Musician supporter

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

PRINCIPAL PARTNER PRINCIPAL PARTNERPARTNER PRINCIPAL PARTNER PRINCIPAL

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

PREMIERPREMIER PARTNERS PREMIER PREMIER PARTNERS PARTNERS PARTNERS

WE ARE THE SOUND OF OUR CITY.

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Please charge in full $

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

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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.

MAJOR PARTNERS MAJOR PARTNERS MAJOR PARTNERS MAJOR PARTNERS

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TRUSTS AND FOUNDATIONS TRUSTS AND FOUNDATIONS TRUSTS AND FOUNDATIONS TRUSTS AND FOUNDATIONS

CHEQUE ENCLOSED

(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'

Donate today mso.com.au/give

in payment description)

ONLINE at mso.com.au/give I am interested in leaving a legacy of wonderful music for years to come:

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

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

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

PLEASE RETURN TO MSO’s Month of Giving GPO Box 9994 Melbourne VIC 3001 All gifts over $2 are fully tax-deductible