SOUNDS OF SPRING 30 NOVEMBER – 1 DECEMBER 2017
CONCERT PROGRAM
Melbourne Symphony Orchestra Eoin Andersen violin/director Stefan Cassomenos piano Beethoven Violin Sonata No.5 Spring Copland Appalachian Spring: Suite Piazzolla The Four Seasons of Buenos Aires
Running time: 2 hours, including a 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.
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MELBOURNE SYMPHONY ORCHESTRA
EOIN ANDERSEN VIOLIN / DIRECTOR
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 the 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.
A native of Wisconsin, USA, Eoin began violin lessons at the age of five. His teachers have included Sr. Noraleen Retinger, Gerald Fischbach, David Taylor, Efim Boico, and his foremost musical influence, Nadja Salerno-Sonnenberg.
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, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Nick Cave, Sting, Tim Minchin and Flight Facilities. Image courtesy Daniel Aulsebrook
Eoin commenced the position of Co-Concertmaster of the Melbourne Symphony Orchestra in 2015, and was previously Principal Second Violin of the Orchester der Oper Zürich. He has performed as Guest Concertmaster of the Konzerthausorchester Berlin and the Swedish Radio Symphony Orchestra, and as Guest Principal with the Mahler and Australian Chamber Orchestras, Zurich Chamber Orchestra, London Philharmonic and frequently with the RundfunkSinfonieorchester Berlin. Eoin was a long-time member of the Mahler Chamber Orchestra and the Lucerne Festival Orchestra. As a founding member and director of the Mahler Chamber Soloists, he performed in South America and throughout Europe, and collaborated with the pianist Fazıl Say, the choreographer Sasha Waltz, and soprano Anna Prohaska. Image courtesy Shara Henderson
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PROGRAM NOTES
LUDWIG VAN BEETHOVEN (1770–1827) Violin Sonata No.5 in F, Op.24 Spring
STEFAN CASSOMENOS PIANO Melbourne pianist and composer Stefan Cassomenos is one of Australia’s most vibrant and versatile musicians. Stefan has performed internationally since the age of 10, and performed the premiere of his own composition Piano Concerto No.1 Aegean Odyssey with the Adelaide Symphony Orchestra at the age of 16. More recently, he has performed concertos with the Beethoven Orchestra Bonn, Melbourne Symphony Orchestra, Queensland Symphony Orchestra, and Orchestra Victoria. Stefan’s compositions are regularly commissioned and performed throughout Australia, and his music has been performed by the Melbourne and Adelaide Symphony Orchestras, the Queensland Youth Symphony, Orchestra 21, and the Royal Melbourne Philharmonic Choir. He is also active as an artistic director of various festivals, projects and collaborations, and he is a founding member of PLEXUS. Stefan is generously supported by Kawai Australia and by the Youth Music Foundation of Australia. Image courtesy Belinda Strodder
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Allegro Adagio molto espressivo Scherzo: Allegro molto Allegro ma non troppo Eoin Andersen violin Stefan Cassomenos piano
The fifth of Beethoven’s sonatas for piano and violin was published in 1801, the same year as its predecessor, Op.23 in A minor. Whereas that work was troubled, agitated and difficult, the F major sonata is sunny, equable and fresh, so that the nickname someone has given it seems less objectionable than some other such arbitrary titles. Among nearcontemporary works of the composer, one similar in mood is the Op.28 piano sonata, the Pastoral, while the key of F major was later to seem suitable to Beethoven for the development of similar sentiments on a far greater scale in the Sixth Symphony. This is not to say that the Spring Sonata is a small-scale work. Not only is it the first of its genre in Beethoven’s output to have four movements, but each except the Scherzo is developed with considerable breadth. Breadth and flowing lyricism immediately strike the attention in the opening movement’s first subject. In fact, as with other memorable themes of his, it took Beethoven some effort to fashion its final form, which combines
spontaneity and inevitability. The character of the movement is thus set from the outset – though there is some agitation and drama later, particularly when the recapitulation turns towards the second subject group. The basic contrast is between the essentially melodic first idea and a more broken-up, dramatically exchanged second subject. The main theme returns in the coda where its first bar is developed, setting its seal even more firmly on the movement.
variously shaped, the effect is of almost uninterrupted development and variation. The contrast comes when, in the second couplet of the Rondo, the music shifts into D minor. When the refrain returns, some remote keys are explored before the coda uses a little virtuosity to provide an effective concert conclusion. Š David Garrett This is the first performance of this work by the Melbourne Symphony Orchestra.
The slow movement, in B flat, is again distinguished by breadth of phrase and warm feeling, while the mood is more serious. Exposition is exceptionally closely shared by the instruments, each doing what it can best – the violin detaching itself to present the first theme cantabile, the piano heightening the intensity by varying it with repeated notes. In concluding the dialogue with trills on both instruments, Beethoven provides an early example of his ability to raise a decorative device to an expressive function. Breathtaking concision marks the Scherzo which abruptly contrasts a syncopated exchange (the violin follows the piano a beat behind) with a trio in rapidly running notes. This prepares the listener by way of contrast for a return in the last movement to the lyricism and flow of the first. Formally this is a rondo, and because of the subtlety with which the refrain is altered and
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PROGRAM NOTES
AARON COPLAND (1900–1990) Appalachian Spring (Ballet for Martha): Suite Version for 13 instruments Very slowly – Allegro – Moderato – Fast – Molto moderato – Subito allegro – Presto – Meno mosso – Very slowly (as at first) – Doppio movimento (Shaker melody: The Gift to be Simple) – Moderato (like a prayer) – Andante (very calm)
Aaron Copland’s Appalachian Spring Suite originated in a ballet he wrote for the choreographer Martha Graham. Graham had already choreographed Copland’s Piano Variations (Dithyramb, 1931) when, in 1942, arts patron Elizabeth Sprague Coolidge commissioned her to produce three new ballets, and Copland was chosen to write music for one of them. Appalachian Spring premiered in Washington in October 1944 and its score won the Pulitzer Prize for Music the following year. Appalachian Spring is one of those works which defines the American spirit in music, yet its title has attracted its fair share of misunderstandings. For one thing, springtime was not in the creators’ heads at the time of writing. ‘I could not decide on a title,’ recounted Martha Graham, ‘and the day of the first rehearsal 6
I noticed [Aaron] had written on the title page, “Ballet for Martha”. Finally I shared with [him] the title Appalachian Spring, and he laughed that wonderful laugh and sighed, “At last!”’ The words ‘Appalachian Spring’ actually come from a book-length poem, The Bridge, by Hart Crane, and refer to a spring of water on a trail through the Appalachian Mountains: I took the portage climb, then chose A further valley-shed; I could not stop. Feet nozzled wat’ry webs of upper flows; One white veil gusted from the very top. O Appalachian Spring!… Despite Copland being kept in the dark over the title, much in Graham’s concept inspired this most American of scores. Her original scenario included Bible quotations, a central character who resembled Pocahontas, and several references to the Civil War. Eventually the story revolved around a pioneer farmhouse in the Pennsylvania hill country in the early 1800s – a stark symbol of American values. Graham’s unique choreographic style – spare and restrained – determined much of the expressive content of the ballet. Set designer Isamu Noguchi noted that Graham was ‘in a sense influenced by Shaker furniture, but it is also the culmination of Martha’s interest in American themes and in the Puritan American tradition’. The values of simplicity and directness led to the use of the Shaker hymn The Gift to be Simple, a song ‘previously…unknown to the general public,’ recalled Copland, ‘but…which expressed the unity of the Shaker spirit,
[and] was ideal for Martha’s scenario, and for the kind of austere movements associated with her choreography.’
5. Still faster. Solo dance of the Bride – presentiment of motherhood. Extremes of joy and fear and wonder.
With the benefit of hindsight, however, we can tell that much of Graham’s aesthetic was in accord with Copland’s own compositional inclinations, which we associate now with the typical American sound. ‘Plain, plain, plain!…,’ said Leonard Bernstein in admiration, ‘one of those Puritan values like being fair – you’re thrifty.’
6. Very slowly (as at first). Transition scenes reminiscent of the introduction.
In 1944, Copland extracted a concert suite from the ballet, which he subsequently arranged for full orchestra (it is performed this evening in the ballet’s original 13-member chamber instrumentation). The suite is constructed in eight sections, played without interruption. Copland’s printed analysis for the suite’s premiere, given by the New York Philharmonic under Artur Rodzinski on 4 October 1945, enables a concert audience to retain an impression of the broader features of the original ballet: 1. Very slowly. Introduction of the characters, one by one, in a suffused light. 2. Fast. Sudden burst of unison strings in A major arpeggios starts the action. A sentiment both elated and religious gives the keynote to this scene. 3. Moderato. Duo for the Bride and her Intended – scene of tenderness and passion. 4. Quite fast. The Revivalist and his flock. Folksy feelings – suggestions of square dances and country fiddlers.
7. Calm and flowing. Scenes of activity for the Bride and her Farmer-husband. There are five improvisations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published later under the title The Gift to be Simple. 8. Moderato – Coda. The Bride takes her place among her neighbours. At the end the couple are left ‘quiet and strong in their new house’. Muted strings intone a hushed, prayer-like passage. We hear a last echo of the principal theme sung by a flute and solo violin.
‘Appalachian Spring had a great deal to do with bringing my name before a larger public,’ recalled Copland in later years, and his orchestration of The Gift to be Simple has become a secondary American anthem. The storyline of the original ballet implies good Yankee values – sobriety, industriousness, community spirit. Though few people these days know the ballet, there is something in Copland’s music, his Enlightened Popular style – the wide-open folksy breeziness, the stoically heroic melodies, the simple colours – which has also come to represent these qualities. Abridged from a note by Gordon Kalton Williams © 1998/2015 The Melbourne Symphony Orchestra first performed the suite from Appalachian Spring in March 1967 under conductor Moshe Atzmon, and on 19-21 March 1978 under the direction of the composer. The Orchestra most recently performed the work in July 2015 with Matthew Coorey.
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PROGRAM NOTES
ASTOR PIAZZOLLA (1921–1992) arr. Leonid Desyatnikov (born 1955) Las cuatro estaciones porteñas (The Four Seasons of Buenos Aires) Primavera porteña (Spring) Allegro – Lento – Allegro Verano porteño (Summer) Allegro – Lento – Rosso – Allegro Invierno porteño (Winter) Andante moderato Otoño porteño (Autumn) = 112 – Lento – Allegro – Tempo I
In 1954 Astor Piazzolla won a scholarship to study with the legendary Nadia Boulanger in Paris. He was by this stage acknowledged as a great composer of tangos and performer on the bandoneón (button-key accordion) in his native Buenos Aires (though, incidentally, he spent many of his earliest years in New York) and had already studied with Alberto Ginastera. But Piazzolla, like Gershwin, yearned to be a serious composer and played down the importance of tango at first. Boulanger, however, showed her usual perspicacity. Hearing Piazzolla play tango on the bandoneón she famously said ‘Astor, your classical pieces are well written, but the true Piazzolla is here, never leave it behind.’ Despite Piazzolla’s distinguished career, tango was originally far from high art, and while its origins are complex it was the music of the porteños and porteñas – inhabitants of the slum port areas of Buenos Aires – in the early 20th century which is the root 8
of Piazzolla’s art. (And, we might note, plenty of people believed that Piazzolla had ruined tango by developing it into a ‘classical’ genre as he did.) These four pieces, composed between 1964 and 1970, are often referred to as the Four Seasons of Buenos Aires, but are really tango portraits of this particular aspect of the city’s life through the year. They were originally composed for Piazzolla’s own ensemble of violin, piano, electric guitar, bass, and bandoneón. Violinist Gidon Kremer had the idea of using the pieces to complement Vivaldi’s Four Seasons (as Piazzolla’s Seasons were written in the Southern Hemisphere, the movements actually oppose Vivaldi's work, which were written in the North. For examples, Vivaldi's themes in his Autumn can be found in Piazzolla / Desyatnikov's Spring), so commissioned Ukrainian composer Leonid Desyatnikov to make this version for violin and string orchestra. They are, strictly speaking, versions rather than arrangements: Desyatnikov underlines the relationship to Vivaldi by incorporating thematic material, often to genuinely humorous effect, from the Baroque composer’s work into Piazzolla’s without disrespect to either. Desyatnikov also exploits the virtuosity of both Kremer and his orchestra. Each movement has a strong musical and meteorological character. Spring, as in other parts of the southern hemisphere, is busy but not always comfortable; Summer, the first composed of the set, was written
for a play and is well-known in its own right. Winter begins with a slow introduction that leads, eventually, into the main tango, but ends in a mood of quiet nostalgia with music that recalls Pachelbel’s famous canon. Autumn, composed second, begins with an implacable rhythm that gives way to an introspective solo, originally for bandoneón but here played on cello. Gordon Kerry © 2009/11 The Melbourne Symphony Orchestra’s only previous performance of this work took place on 25 February 2012 at the Sidney Myer Free Concert, under the direction of Diego Matheuz.
ABOUT THE COMPOSER Born in Mar del Plata, Argentina in 1921, Astor Piazzolla moved with his family to New York in 1924, where he began learning his signature instrument, the bandoneón, at the age of eight. Jazz was an important formative influence, as was classical music, to which he was introduced by his Hungarian pianist neighbour, Béla Wilda, whose playing of Bach ignited Piazzolla’s lifelong passion for the composer. After returning to Argentina in 1937, Piazzolla became an arranger for bandleader Aníbal Troilo in Buenos Aires while studying with Alberto Ginastera, but left Troilo to form Orquesta del 46, a vehicle for his own compositions. He had already been intrigued by the potential of tango as a genre, but in 1954 he travelled to Paris to study with the great pedagogue Nadia Boulanger,
who typically encouraged him to plumb his own style and traditions – which meant tango. Back in Argentina he formed the Octeto Buenos Aires and Quinteto Nuevo Tango. In 1968 he formed an association with the poet Horacio Ferrer, with whom he composed the tango operita, María de Buenos Aires. From 1976 he began to enjoy great popularity around the world, recording with, among others, Lalo Schifrin and the Orchestra of St. Luke’s and with jazz vibraphonist Gary Burton. In 1989 he formed his last group, the New Tango Sextet, which included two bandoneóns, piano, electric guitar, bass and cello. Piazzolla's tango nuevo, incorporating elements of jazz as well as classical techniques such as fugue, earned the hostility of many traditionalist tangueros, to whom tango was dance music, not concert music; but by the 1990s, even some Argentineans conceded the revivifying effect on tango traditions of Piazzolla’s innovations. Having begun to appeal to audiences in France and the USA, his music was reaching a wider public at the time of his death, championed by such artists as Michael Tilson Thomas, Gidon Kremer, and the Kronos Quartet. Piazzolla died in July 1992, sadly before making his planned first visit to Australia as part of the Melbourne International Festival of Arts. © Symphony Australia
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MELBOURNE SYMPHONY ORCHESTRA
Sir Andrew Davis Chief Conductor Benjamin Northey Associate Conductor Tianyi Lu Cybec Assistant Conductor Hiroyuki Iwaki Conductor Laureate (1989-2006) FIRST VIOLINS
Dale Barltrop Concertmaster
Eoin Andersen Concertmaster
Sophie Rowell
Associate Concertmaster The Ullmer Family Foundation#
John Marcus Principal
Peter Edwards
Assistant Principal
Kirsty Bremner Sarah Curro
Michael Aquilina#
Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini
David and Helen Moses#
Mark Mogilevski Michelle Ruffolo Kathryn Taylor Michael Aquilina#
SECOND VIOLINS
CELLOS
Matthew Tomkins
David Berlin
Robert Macindoe
Rachael Tobin
Associate Principal
Associate Principal
Monica Curro
Nicholas Bochner
Principal The Gross Foundation#
Assistant Principal Danny Gorog and Lindy Susskind#
Mary Allison Isin Cakmakcioglu Freya Franzen #
Anonymous
Cong Gu Andrew Hall
Andrew and Judy Rogers#
Isy Wasserman Philippa West Patrick Wong Roger Young Jenny Khafagi* VIOLAS
Christopher Moore Principal Di Jameson#
Fiona Sargeant
Associate Principal
Lauren Brigden
Principal MS Newman Family#
Assistant Principal
Miranda Brockman Geelong Friends of the MSO#
Rohan de Korte
Andrew Dudgeon#
Keith Johnson Sarah Morse Angela Sargeant Michelle Wood
Andrew and Theresa Dyer# DOUBLE BASSES
Steve Reeves Principal
Andrew Moon
Associate Principal
Sylvia Hosking
Assistant Principal
Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton
Tam Vu, Peter and Lyndsey Hawkins#
Sophie Galaise and Clarence Fraser#
Katharine Brockman Christopher Cartlidge
FLUTES
Michael Aquilina#
Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright
Prudence Davis Principal Anonymous#
Wendy Clarke
Associate Principal
Sarah Beggs PICCOLO
Andrew Macleod Principal
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TRUMPETS
MSO BOARD
Jeffrey Crellin
Geoffrey Payne
Chairman
Thomas Hutchinson
Shane Hooton
Associate Principal
Managing Director
Ann Blackburn
William Evans Rosie Turner
Sophie Galaise
TROMBONES
Andrew Dyer Danny Gorog Margaret Jackson AC David Krasnostein David Li Hyon-Ju Newman Helen Silver AO
OBOES Principal
Associate Principal
The Rosemary Norman Foundation# COR ANGLAIS
Michael Pisani Principal
CLARINETS
David Thomas Principal
Philip Arkinstall
Associate Principal
Craig Hill BASS CLARINET
Jon Craven Principal
BASSOONS
Jack Schiller Principal
Elise Millman
Principal
Brett Kelly Principal
Richard Shirley BASS TROMBONE
Mike Szabo Principal TUBA
Timothy Buzbee
Oliver Carton
Robert Clarke Principal
John Arcaro
Tim and Lyn Edward#
Robert Cossom HARP
Yinuo Mu
Principal
Company Secretary
PERCUSSION
Natasha Thomas
Brock Imison
Board Members
Principal
Associate Principal
CONTRABASSOON
Michael Ullmer
Principal PIANO
Louisa Breen
HORNS
Saul Lewis
Principal Third
Abbey Edlin
Nereda Hanlon & Michael Hanlon AM#
Trinette McClimont
# Position supported by * 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 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 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 AO 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 Andrew Johnston 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 Nereda Hanlon and Michael Hanlon AM ◊ 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 Anonymous (1)
Stephen Shanasy 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 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
John and Margaret Mason 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 (7)
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 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 Dominic and Natalie Dirupo Marie Dowling John and Anne Duncan Ruth Eggleston Kay Ehrenberg Jaan Enden Valerie Falconer and the Rayner Family in memory of Keith Falconer 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 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 13
SUPPORTERS Dr Peter Strickland Pamela Swansson Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher P and E Turner The Hon. Rosemary Varty Leon and Sandra Velik Sue Walker AM Elaine Walters OAM and Gregory Walters Edward and Paddy White Nic and Ann Willcock Marian and Terry Wills Cooke Lorraine Woolley Richard Ye Panch Das and Laurel Young-Das Anonymous (22)
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 14
The Myer Foundation The Pratt Foundation The Robert Salzer Foundation 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 Peter A Caldwell 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 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 Joan Jones Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Jean Tweedie Herta and Fred B Vogel Dorothy Wood
HONORARY APPOINTMENTS Sir Elton John CBE Life Member The Hon. Alan Goldberg AO QC* Life Member Geoffrey Rush AC Ambassador John Brockman OAM* Life Member Ila Vanrenen* Life Member *Deceased ◊ Signifies Adopt an MSO Musician supporter
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) $2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario) $50,000+ (Virtuoso) $100,000+ (Chairman’s Circle) The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will.
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Phone (03) 8646 1551 Email philanthropy@ mso.com.au
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