PLAYS RAVEL 21–23 SEPTEMBER 2017
CONCERT PROGRAM
Melbourne Symphony Orchestra André de Ridder conductor Jean-Efflam Bavouzet piano Mozart Symphony No.34 Chin Mannequin INTERVAL
Ravel Piano Concerto Ravel La Valse Running time: 2 hours, including 20-minute interval Please note, Saturday’s pre-concert talk by MSO’s 2018 Young Composer in Residence, Ade Vincent will be recorded for podcast by 3MBS Fine Music Melbourne.
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.
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MELBOURNE SYMPHONY ORCHESTRA
ANDRÉ DE RIDDER CONDUCTOR
Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 2.5 million people each year, and as a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world.
André de Ridder works across many musical forms. In Australia he has conducted the soundtrack of 2001: A Space Odyssey and conducted the MSO in the 2015 Metropolis Festival. He was Artistic Director of Helsinki’s Musica Nova festival in early 2017. His own musicians’ collective, s t a r g a z e, made their BBC Proms debut in 2016 interpreting the music of David Bowie.
The MSO performs a variety of concerts ranging from core classical performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl. The MSO also delivers innovative and engaging programs to audiences of all ages through its Education and Outreach initiatives. The MSO also works with Associate Conductor, Benjamin Northey, and the Melbourne Symphony Orchestra Chorus, as well as with such eminent guest conductors as John Adams, Tan Dun, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Nick Cave, Sting, Tim Minchin, DJ Jeff Mills and Flight Facilities. Image courtesy Daniel Aulsebrook
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André de Ridder has appeared with include the BBC Philharmonic, Orchestre de Paris, Tokyo Metropolitan Orchestra and New York Philharmonic. He has conducted operas by Mozart, Janáček and Henze, among others. Spring 2016 saw him premiere Kaajia Saariaho’s Only the Sound Remains at Netherlands Opera. Recordings include Robert Saxton’s The Wandering Jew with the BBC Symphony and Vivaldi’s Four Seasons recomposed by Max Richter. He has worked with Melbourne-born director Barrie Kosky at the Komische Oper for the three Monteverdi operas in new orchestrations by Elena Kats-Chernin. André de Ridder studied conducting with Leopold Hager at the University of Music and Performing Arts, Vienna and Sir Colin Davis at the Royal Academy of Music, London. Image courtesy Marco Borggreve
PROGRAM NOTES
WOLFGANG AMADEUS MOZART (1756–1791) Symphony No.34 in C, K338
JEAN-EFFLAM BAVOUZET PIANO A former student of Pierre Sancan at the Paris Conservatoire, Jean-Efflam Bavouzet was invited by Sir George Solti to give his debut with the Orchestre de Paris in the late 1990s. Conductors with whom he has worked include Pierre Boulez, Vladimir Jurowski, Valery Gergiev, Kirill Karabits, Neeme Järvi, Andris Nelsons, and Ingo Metzmacher. Recent orchestral performances have included the New Japan Philharmonic and Junichi Hirokami, the BBC National Orchestra of Wales and Thomas Søndergård, the Orquesta Sinfónica de Navarra and Alexander Anissimov and the Toronto Symphony with Sir Andrew Davis. As a recitalist, Jean-Efflam Bavouzet regularly performs at London’s Southbank Centre, Wigmore Hall, La Roque d’Anthéron and Cité de la Musique. He is Artistic Director of Norway’s Lofoten Piano Festival. Recent recital venues have included Hungary’s Kaposvár Chamber Music Festival, the Cheltenham Festival, Kumho Hall (Seoul), Vancouver Playhouse and California’s Bay Area. He has won awards for his recordings of works by Debussy, Ravel, Haydn and Bartók and was nominated for Gramophone Artist of the Year 2017. Image courtesy Paul Mitchell
Allegro vivace Andante di molto Finale (Allegro vivace)
This symphony was composed in Salzburg and bears the date 29 August 1780. As Mozart played at court on 2, 3 and 4 September, it may have been first heard there. Most likely, as Neal Zaslaw observes, Mozart wanted to have a new symphony in his baggage when he went to Munich to supervise the rehearsals of his opera Idomeneo, in case a concert opportunity presented itself as well. Idomeneo is the great masterpiece of Mozart’s early manhood, and the surrounding compositions share his excitement at writing for the orchestra which first played it, the famous Mannheim orchestra, whose princely employer had just removed it to Munich. The opening movement of Symphony No.34 contains Mozart’s version of one of this orchestra’s trademarks, the ‘Mannheim’ crescendo. The first movement is very grand and symphonic, with the contrasting drama of tonality and themes which is the essence of the Viennese Classical style. Contrast also motivates the dark, minor-key character of the development section – the kind of Mozart the Romantics hailed as anticipating their own music. Zaslaw, surveying Mozart’s symphonies as a whole, comments that this movement reveals Mozart’s developing interest 5
PROGRAM NOTES
in longer ‘paragraphs’, replacing the ‘shorter-breathed, patchwork-quilt designs of his earlier symphonies’. Mozart began a minuet for this symphony, on the back of the final page of the opening movement, which suggests it was to come second. If he completed the minuet at all, it is lost except for the first 14 bars. In the second movement the winds and brass are silent, with the exception of the bassoon, which doubles the cellos and double basses. The string writing, however, is outstandingly subtle and multicoloured. At the beginning of the movement Mozart writes ‘sotto voce’ (literally: under the voice) and this establishes the mood: the impression is of a conversation conducted in hushed tones, between two violin parts and two (!) viola parts. The finale is in the unceasing dance rhythm of the jig, virtually a tarantella (a dance to exhaustion). Like the first movement, it is in sonata form, a sign of the breadth of conception of this symphony. David Garrett © 2003 The Melbourne Symphony Orchestra first performed this symphony in July 1940 with Sir Thomas Beecham, and most recently on 18-20 September 2014 with Michael Collins.
UNSUK CHIN (born 1961) Mannequin AUSTRALIAN PREMIERE, CO-COMMISSIONED BY THE MELBOURNE SYMPHONY ORCHESTRA
Music Box – Fever Dream Sandman and Child 6
Dance of the Clockwork Girl The Stolen Eyes
Following Unsuk Chin's excursions into street theatre (Gougalon), pantomime (cosmigimmicks), and street art (Graffiti), the orchestral work Mannequin – Tableaux vivants for orchestra is the composer's first referring to dance. It could be likened to an 'imaginary choreography', reflecting as it does a fascination for the movement potential of the human body and its expressive capabilities, with a special stress on high-energy physicality. It is highly gestural music intended to be danced, but 'without feet', as it were; a particular inspiration came from the great choreographers' and dancers' pursuit of making the impossible appear possible, of defying natural physical laws; in short: their ability to challenge perceptions of time and space. The work has no relation whatsoever to the codified structures of classical ballet; instead, it explores extreme contrasts of colour, speed and gesture with a constant tension between forces. Mannequin tells a story, though neither in the form of a linear narrative nor in the manner of illustrative programme music: the line between dreams and reality is being crossed in a surreal manner, with the main themes of the scenario being problems of perception and of personal identity. It is freely based on the fantastical novella The Sandman, written by German writer, composer, music critic, lawyer, cabaret artist and draughtsman E. T. A. Hoffmann (1776-
1822). As a writer, he was rejected by his contemporaries: Johann Wolfgang von Goethe and Sir Walter Scott, among many others, called Hoffmann's fiction 'sick', insinuating that he should undergo medical treatment. Posthumously, however, Hoffmann has been recognized as the master of the uncanny and the ambiguous, influencing figures as diverse as Robert Schumann, Richard Wagner, Edgar Allan Poe, Nikolai Gogol, Franz Kafka, Sigmund Freud, Alfred Hitchcock, Ingmar Bergman, Andrei Tarkovsky and David Lynch. The Sandman might well be Hoffmann's most forwardlooking and daring creation: in this almost magical realist story, the author constantly leaves the reader unsure of what is actually happening and why, and it is possible to be read in a number of (mutually exclusive) ways. Nathanael, the young protagonist in The Sandman, seems torn between delusions and reality and is not conforming to society. But whether it is him who is 'mad', or the society around him, is left open as well as so much more. This ambiguity and relativism much horrified the author's contemporaries but it is precisely these aspects, combined with Hoffmann's experimental and highly elliptical style, that explain the story's modernity and its spell. Many contradictory interpretations have been written about this labyrinthine novella, but most of them miss the point by forcing it into a Procrustean bed of either-or by clearly distinguishing good and evil, real and unreal. Indeed, it would be senseless
to attempt to find a moral or a clearcut plot, for it is precisely his “wisdom of uncertainty” and his exploration of “the essential relativity of things human” (Milan Kundera) where Hoffmann's achievement lies: The Sandman hauntingly illuminates what a subjective affair reality is. Mannequin consists of four movements. The first two movements, respectively titled Music Box – Fever Dream and Sandman and Child, refer to Nathanael's childhood and how his nanny used to instil terror in him by a cautionary tale about the Sandman who steals misbehaving children's eyes and feeds them to his offspring who live in the crescent moon. Nathanael associates the Sandman's figure with a half-mythical and sinister person named Coppelius, who seems in some way connected with the decline of Nathanael's family and who continues to haunt the adult Nathanael's life in the guise of a number of grotesque 'doppelgangers'. The third movement, Dance of the Clockwork Girl, refers to Olimpia, a female life-size automaton, with whom Nathanael falls in love, without realizing its true nature until it is being destroyed during a fight between its inventor Spalanzani and Coppola, a dubious seller of optical aids (both apparently being doubles of Sandman/Coppelius). The title of the last movement, The Stolen Eyes, refers to the ubiquitous 'eye leitmotif': throughout Hoffmann's tale, Sandman and his 'doppelgangers' (Spalanzani, Coppelius and Coppola) are stealing, inventing or selling eyes – a motive 7
PROGRAM NOTES
that, similarly to the title of Chin's work (Mannequin), might of course also be understood allegorically. Mannequin was jointly commissioned by the Southbank Centre, Boston Symphony Orchestra, Danish National Symphony Orchestra and the Melbourne Symphony Orchestra. The work was given first performances by the National Youth Orchestra of Great Britain under Ilan Volkov's direction at Sage Gateshead and at the Southbank Centre in London. © Gordon Kerry 2017 This is the first performance of Mannequin by the Melbourne Symphony Orchestra.
MAURICE RAVEL (1875–1937) Piano Concerto in G Allegramente Adagio assai Presto
Jean-Efflam Bavouzet piano It is scarcely surprising that Ravel wrote two of the greatest piano concertos of the 20th century. He was, after all, a concert pianist himself, as well as a composer of the highest calibre for solo piano, and arguably the greatest orchestrator of his generation. What was unexpected, however, was that he took so long to get around to the task, only writing the Piano Concerto for the Left Hand and the Piano Concerto in G simultaneously at the end of his career. During the 1920s Ravel began frequenting Paris’ jazz clubs, and in 8
1928, while on a concert tour in America, he encountered Gershwin’s Rhapsody in Blue and met the composer. This influence is most clearly observable in the G major Piano Concerto. His admiration for Rhapsody is obvious in the first movement of his concerto, where the themes have a distinctly Gershwinesque feel. Ravel originally intended to perform the solo part of the concerto himself (which may explain why it is written with much more of a jazz feel than the Left Hand Concerto written for Paul Wittgenstein), but in the end his ailing health prevented him from doing so. Instead, the concerto was premiered by Marguerite Long at the Salle Pleyel in 1932, with Ravel conducting. For all its hipness, there is no mistaking that this is a ‘classical’ concerto in the strict, Mozartian sense of the term. Ravel believed that ‘the music of a concerto should…be light-hearted and brilliant, and not aim at profundity or dramatic effects’. In any case, it became a true concerto in which fun, self-parody and exquisite beauty all play their part; but there is a ‘brittleness’ in the concerto’s high spirits, not to mention a pervasive and ‘in-spite-of-itself’ sadness to the slow movement. It begins, appropriately enough, with a crack-of-the-whip and it barely stops racing during the entire first movement. Scored with virtuosic dexterity and lightness, the jazzy rhythm drives on through spiky arpeggios in the piano, a piccolo solo, tremolos and pizzicati in the strings, and a trumpet solo. Even the harp takes the spotlight, while a
mixture of broad, lurching, Gershwinesque themes dominates the middle section. The sense of purpose never falters, and before breath can be drawn, the movement hurtles to its abrupt conclusion.
a homage to Johann Strauss II, at one stage entitled Wien (Vienna). This was never completed, and in 1911, following Schubert’s precedent (and Schubert’s use of a French title), he composed his Valses nobles et sentimentales.
The sublime Adagio was modelled on the equivalent movement in Mozart’s Clarinet Quintet. Writing painstakingly, Ravel agonised over this movement for months, confessing later that it ‘almost killed him’. Its prevailing mood is that of a nocturne, and the piano’s achingly beautiful main theme seems almost hesitant, yet somehow inexorable and assured.
After service in the First World War, Ravel wished to renew the successes he had previously enjoyed with Sergei Diaghilev’s Ballets Russes. He rewrote Wien under the title La Valse (subtitling it a ‘choreographic poem’) and completed it in the summer of 1920. Diaghilev turned it down, however, and the work was first performed as an orchestral piece at the Concerts Lamoureux in December 1920. It was eventually staged as a ballet, and performed by Ida Rubinstein’s troupe at the Paris Opéra in 1928.
The finale is supposedly a rondo (although at this frenetic pace it’s not easy to tell), and is filled with jazz sounds and dazzling piano effects. It presents percussive flourishes, trombone glissandi and brief snatches of big band imitations from brass and woodwind, before racing on to its sudden but emphatic end. Abridged from a note by Martin Buzacott © Symphony Australia The first performance of Ravel’s Piano Concerto in G by the Melbourne Symphony Orchestra took place on 16 October 1954 with conductor Sir Eugene Goossens and soloist Natasha Litvin. The Orchestra most recently performed it in October 2015 with Nicholas Milton and David Fung.
MAURICE RAVEL (1875–1937) La Valse
If in his G major Piano Concerto Ravel expressed his admiration for American jazz, in La Valse he pays tribute to the Viennese waltz. Ravel had a great love for the waltz and in 1906 began
La Valse has been criticised by some as a pastiche, but Ravel’s own comments on the work suggest that he was trying to do something subtler than simply imitate the Strauss family: ‘I had intended this as a kind of apotheosis of the Viennese waltz, linked in my mind with the impression of a fantastic and fatal whirling.’ The score bears the following preface: Through rifts in eddying clouds waltzing couples can be glimpsed. The clouds disperse little by little; one makes out an immense hall filled with a whirling crowd. The scene progressively lightens. The light of the chandeliers bursts forth. An Imperial Court about 1855. © Symphony Australia The MSO first performed La Valse on 4 September 1941 under the direction of Bernard Heinze, and most recently on 15 February 2017, as part of the Sidney Myer Free Concerts, with Kazuki Yamada.
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MELBOURNE SYMPHONY ORCHESTRA Monica Curro
Sir Andrew Davis Chief Conductor
Assistant Principal Danny Gorog and Lindy Susskind#
Benjamin Northey Associate Conductor Tianyi Lu Cybec Assistant Conductor Hiroyuki Iwaki Conductor Laureate (1974-2006) FIRST VIOLINS
Dale Barltrop Eoin Andersen Concertmaster
Sophie Rowell
Associate Concertmaster The Ullmer Family Foundation#
John Marcus Principal
Peter Edwards
Assistant Principal
Kirsty Bremner Sarah Curro
Michael Aquilina#
Tiffany Cheng* Jennen Ngiau-Keng* Kana Ohashi* Lynette Rayner* Oksana Thompson*
Matthew Tomkins
Principal The Gross Foundation#
Robert Macindoe Associate Principal 10
Associate Principal
Nicholas Bochner Assistant Principal
Rohan de Korte
Geelong Friends of the MSO#
Andrew Dudgeon#
Keith Johnson Sarah Morse Angela Sargeant Michelle Wood
Andrew and Theresa Dyer#
Svetlana Bogosavljevic* Yelian He* Molly Kadarauch* Zoe Wallace* DOUBLE BASSES
Steve Reeves Principal
Fiona Sargeant
Andrew Moon
Lauren Brigden
Sylvia Hosking
Katharine Brockman Christopher Cartlidge
Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton
Associate Principal
Michael Aquilina#
Rachael Tobin
Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Jacqueline Edwards* Karla Hanna* Madeline Jevons* Michael Loftus-Hills* Susannah Ng*
Principal Di Jameson#
Mark Mogilevski Michelle Ruffolo Kathryn Taylor
Principal MS Newman Family#
Miranda Brockman
Christopher Moore
#
David Berlin
Cong Gu Andrew Hall
VIOLAS
David and Helen Moses
SECOND VIOLINS
Anonymous#
Andrew and Judy Rogers#
Concertmaster
Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini
Mary Allison Isin Cakmakcioglu Freya Franzen
CELLOS
Tam Vu, Peter and Lyndsey Hawkins#
Michael Aquilina#
Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright William Clark* Gregory Daniel* Justin Julian* Matthew Laing* Isabel Morse*
Associate Principal Assistant Principal
Sophie Galaise and Clarence Fraser#
Emma Sullivan* FLUTES
Prudence Davis Principal Anonymous#
Wendy Clarke
Associate Principal
Sarah Beggs
PICCOLO
Andrew Macleod Principal
Katie Zagorski* OBOES
Jeffrey Crellin
Trinette McClimont Josiah Kop* Ian Wildsmith*
Chairman
TRUMPETS
Managing Director
Geoffrey Payne
Sophie Galaise
Principal
Principal
Shane Hooton
Thomas Hutchinson
Associate Principal
Associate Principal
Ann Blackburn
The Rosemary Norman Foundation#
William Evans Rosie Turner Tristan Rebien*
COR ANGLAIS
TROMBONES
Michael Pisani
Brett Kelly Principal
Principal
Richard Shirley
CLARINETS
BASS TROMBONE
David Thomas
Mike Szabo
Principal
Michael Ullmer
Board Members
Andrew Dyer Danny Gorog Margaret Jackson AC Brett Kelly David Krasnostein David Li Hyon-Ju Newman Helen Silver AO Company Secretary
Oliver Carton
Principal
Philip Arkinstall
Associate Principal
TUBA
Craig Hill Mitchell Jones*
Timothy Buzbee Principal
BASS CLARINET
Aaron Tindall*
Jon Craven
PERCUSSION
Principal
Robert Clarke
BASSOONS
Principal
Jack Schiller
John Arcaro
Principal
Tim and Lyn Edward#
Elise Millman
CONTRABASSOON
Robert Cossom Timothy Hook* Shanie Klas* Brent Miller*
Brock Imison
HARP
Associate Principal
Natasha Thomas
Principal
Yinuo Mu
Colin Forbes-Abrams*
Principal
HORNS
Melina van Leeuwen*
Eirik Haaland*
PIANO
Saul Lewis
Jacob Abela*
Guest Principal Principal Third
Abbey Edlin
MSO BOARD
#
Nereda Hanlon & Michael Hanlon AM
CELESTE
# Position supported by
Leigh Harrold*
* Guest Musician 11
SUPPORTERS MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria
ARTIST CHAIR BENEFACTORS
MSO Audience Access Crown Resorts Foundation Packer Family Foundation
Anthony Pratt Associate Conductor Chair
MSO Education supported by Mrs Margaret Ross AM and Dr Ian Ross
Joy Selby Smith Orchestral Leadership Chair
MSO International Touring supported by Harold Mitchell AC
The Cybec Foundation Cybec Assistant Conductor Chair
MSO Regional Touring Creative Victoria The Robert Salzer Foundation
The Ullmer Family Foundation Associate Concertmaster Chair Anonymous Principal Flute Chair The Gross Foundation Principal Second Violin Chair Di Jameson Principal Viola Chair MS Newman Family Foundation Principal Cello Chair
The Pizzicato Effect Collier Charitable Fund The Marian and E.H. Flack Trust Schapper Family Foundation Scobie and Claire Mackinnon Trust Supported by the Hume City Council’s Community Grants Program (Anonymous)
Marc Besen AC and Eva Besen AO 2018 Soloist in Residence Chair
Sidney Myer Free Concerts Supported by the Myer Foundation and the University of Melbourne
PROGRAM BENEFACTORS
CHAIRMAN’S CIRCLE $100,000+
Cybec 21st Century Australian Composers Program The Cybec Foundation
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)
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 12
VIRTUOSO PATRONS $50,000+
PRINCIPAL PATRONS $5,000+
Di Jameson ◊ David Krasnostein and Pat Stragalinos Mr Ren Xiao Jian and Mrs Li Quian Harold Mitchell AC Kim Williams AM
Christine and Mark Armour John and Mary Barlow Stephen and Caroline Brain Prof Ian Brighthope David and Emma Capponi Wendy Dimmick Andrew Dudgeon ◊ 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 Nereda Hanlon and Michael Hanlon AM ◊ Hans and Petra Henkell Hartmut and Ruth Hofmann Jack Hogan Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson D & CS Kipen on behalf of Israel Kipen Dr Elizabeth A Lewis AM 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 and Robin Campbell Jim and Fran Pfeiffer Pzena Investment Charitable Fund Andrew and Judy Rogers ◊ Max and Jill Schultz
IMPRESARIO PATRONS $20,000+ Michael Aquilina ◊ The John and Jennifer Brukner Foundation Perri Cutten and Jo Daniell Mary and Frederick Davidson AM Rachel and the late Hon. Alan Goldberg AO QC Hilary Hall, in memory of Wilma Collie Margaret Jackson AC Mimie MacLaren John and Lois McKay
MAESTRO PATRONS $10,000+ Kaye and David Birks Mitchell Chipman Sir Andrew and Lady Davis Danny Gorog and Lindy Susskind ◊ Robert & Jan Green Suzanne Kirkham The Cuming Bequest Ian and Jeannie Paterson Lady Potter AC CMRI ◊ Elizabeth Proust AO Rae Rothfield Glenn Sedgwick Helen Silver AO and Harrison Young Maria Solà Profs. G & G Stephenson, in honour of the great Romanian musicians George Enescu and Dinu Lipatti Gai and David Taylor Juliet Tootell Alice Vaughan Kee Wong and Wai Tang Jason Yeap OAM
Stephen Shanasy Mr Tam Vu and Dr Cherilyn Tillman ◊ The Hon. Michael Watt QC and Cecilie Hall Lyn Williams AM Anonymous (1)
ASSOCIATE PATRONS $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest Barbara Bell, in memory of Elsa Bell Bill Bowness Lynne Burgess Oliver Carton John and Lyn Coppock Miss Ann Darby, in memory of Leslie J. Darby Natasha Davies, for the Trikojus Education Fund Merrowyn Deacon Beryl Dean Sandra Dent Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson Jane Edmanson OAM 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
H E McKenzie Allan and Evelyn McLaren Don and Anne Meadows Marie Morton FRSA Annabel and Rupert Myer AO Ann Peacock with Andrew and Woody Kroger Sue and Barry Peake Mrs W Peart Graham and Christine Peirson Ruth and Ralph Renard S M Richards AM and M R Richards Tom and Elizabeth Romanowski Jeffrey Sher QC and Diana Sher OAM Diana and Brian Snape AM Dr Norman and Dr Sue Sonenberg Geoff and Judy Steinicke William and Jenny Ullmer Elisabeth Wagner Brian and Helena Worsfold Peter and Susan Yates Anonymous (8)
PLAYER PATRONS $1,000+ David and Cindy Abbey Christa Abdallah Dr Sally Adams Mary Armour Arnold Bloch Leibler Philip Bacon AM Marlyn and Peter Bancroft OAM Adrienne Basser Prof Weston Bate and Janice Bate David Blackwell Anne Bowden Michael F Boyt The Late Mr John Brockman OAM and Mrs Pat Brockman Dr John Brookes Suzie and Harvey Brown
Roger and Col Buckle Jill and Christopher Buckley Bill and Sandra Burdett Lynne Burgess Peter Caldwell Joe Cordone Andrew and Pamela Crockett Pat and Bruce Davis Marie Dowling John and Anne Duncan Ruth Eggleston Kay Ehrenberg Jaan Enden Amy and Simon Feiglin Grant Fisher and Helen Bird Barry Fradkin OAM and Dr Pam Fradkin Applebay Pty Ltd David Frenkiel and Esther Frenkiel OAM David Gibbs and Susie O'Neill Merwyn and Greta Goldblatt Colin Golvan QC and Dr Deborah Golvan George Golvan QC and Naomi Golvan Dr Marged Goode Max Gulbin Dr Sandra Hacker AO and Mr Ian Kennedy AM Jean Hadges Michael and Susie Hamson Paula Hansky OAM Merv Keehn and Sue Harlow Tilda and Brian Haughney Penelope Hughes Basil and Rita Jenkins Stuart Jennings Dorothy Karpin Brett Kelly and Cindy Watkin Dr Anne Kennedy Julie and Simon Kessel Kerry Landman William and Magdalena Leadston Andrew Lee Norman Lewis, in memory of Dr Phyllis Lewis
Dr Anne Lierse Andrew Lockwood Violet and Jeff Loewenstein Elizabeth H Loftus Chris and Anna Long The Hon. Ian Macphee AO and Mrs Julie Macphee Vivienne Hadj and Rosemary Madden Eleanor and Phillip Mancini Dr Julianne Bayliss In memory of Leigh Masel John and Margaret Mason Ruth Maxwell Jenny McGregor AM and Peter Allen Glenda McNaught Wayne and Penny Morgan Ian Morrey and Geoffrey Minter JB Hi-Fi Ltd Patricia Nilsson Laurence O'Keefe and Christopher James Alan and Dorothy Pattison Margaret Plant Kerryn Pratchett Peter Priest Treena Quarin Eli Raskin Raspin Family Trust Bobbie Renard Peter and Carolyn Rendit Dr Rosemary Ayton and Dr Sam Ricketson Joan P Robinson Cathy and Peter Rogers Doug and Elisabeth Scott Martin and Susan Shirley Dr Sam Smorgon AO and Mrs Minnie Smorgon John So Dr Michael Soon Lady Southey AC Jennifer Steinicke Dr Peter Strickland Pamela Swansson Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher P and E Turner 13
SUPPORTERS 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)
THE MAHLER SYNDICATE David and Kaye Birks Mary and Frederick Davidson AM Tim and Lyn Edward John and Diana Frew Francis and Robyn Hofmann The Hon. Dr Barry Jones AC Dr Paul Nisselle AM Maria Solà The Hon. Michael Watt QC and Cecilie Hall
TRUSTS AND FOUNDATIONS Ken and Asle Chilton Trust, managed by Perpetual Collier Charitable Fund Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation The Marian and E.H. Flack Trust Gandel Philanthropy Linnell/Hughes Trust, managed by Perpetual The Scobie and Claire Mackinnon Trust The Harold Mitchell Foundation The Myer Foundation The Pratt Foundation The Robert Salzer Foundation
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Alan (AGL) Shaw Endowment, managed by Perpetual Telematics Trust
CONDUCTOR’S CIRCLE Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Mrs Jenny Brukner and the late Mr John Brukner Ken Bullen Luci and Ron Chambers Beryl Dean Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite Mr Derek Grantham Marguerite GarnonWilliams Louis Hamon OAM Carol Hay Tony Howe Laurence O'Keefe and Christopher James Audrey M Jenkins John and Joan Jones George and Grace Kass Mrs Sylvia Lavelle Pauline and David Lawton Cameron Mowat Rosia Pasteur Elizabeth Proust AO Penny Rawlins Joan P Robinson Neil Roussac Anne Roussac-Hoyne Suzette Sherazee Michael Ryan and Wendy Mead Ann and Andrew Serpell Jennifer Shepherd Profs. Gabriela and George Stephenson Pamela Swansson Lillian Tarry Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Michael Ullmer
Ila Vanrenen The Hon. Rosemary Varty Mr Tam Vu Marian and Terry Wills Cooke Mark Young Anonymous (23) The MSO gratefully acknowledges the support received from the estates of Angela Beagley Neilma Gantner Gwen Hunt Audrey Jenkins Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Jean Tweedie Herta and Fred B Vogel Dorothy Wood
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