New Beginnings: Season Opening Gala by Melbourne Symphony Orchestra

New Beginnings:

Season Opening Gala CONCERT PROGRAM Proudly presented by MSO Premier Partner Ryman Healthcare

25 & 26 FEBRUARY 2022 Hamer Hall, Arts Centre Melbourne

Friday 25 February / 7.30pm Saturday 26 February / 7.30pm Arts Centre Melbourne, Hamer Hall Melbourne Symphony Orchestra Jaime Martín conductor William Barton yidaki (didgeridoo)

Program HAYDN Symphony No.6 Le matin DEBORAH CHEETHAM Baparripna (WORLD PREMIERE OF AN MSO COMMISSION)

– INTERVAL MAHLER Symphony No.1

This concert may be recorded for future broadcast on MSO.LIVE. Please note, masks must be worn at all times in the Hamer Hall building. A musical Acknowledgement of Country, Long Time Living Here by Deborah Cheetham AO, will be performed before the start of this concert. In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone. Running time: 1 hour 50 minutes including a 20 minute interval. Timings listed are approximate.

Welcome “After the long night we wake beneath our mutual sky, all the sweetness of life’s possibilities laid before us.” This is the way Deborah Cheetham describes her new work Baparripna, “Dawn” in the Yorta Yorta language. We are starting a new season, my first season as Chief Conductor of this wonderful orchestra, but at the same time we are celebrating the return to the concert hall. We are starting again, looking at the future together and Baparripna describes with incredible accuracy the sense of new beginnings we all feel at the MSO. Mahler describes his first symphony as depicting “…the awakening of Nature from the long sleep of winter”. Live music has had a long sleep, not the sleep of winter but the sleep of COVID, let the music fill our lives again… Baparripna is the word! Jaime Martín Chief Conductor Melbourne Symphony Orchestra

Acknowledging Country In the first project of its kind in Australia, the MSO has developed a musical Acknowledgment of Country with music composed by Yorta Yorta composer Deborah Cheetham AO, featuring Indigenous languages from across Victoria. Generously supported by Helen Macpherson Smith Trust and the Commonwealth Government through the Australian National Commission for UNESCO, the MSO is working in partnership with Short Black Opera and Indigenous language custodians who are generously sharing their cultural knowledge. The Acknowledgement of Country allows us to pay our respects to the traditional owners of the land on which we perform in the language of that country and in the orchestral language of music. Australian National Commission for UNESCO United Nations Educational, Scientiﬁc and Cultural Organization

About Long Time Living Here In all the world, only Australia can lay claim to the longest continuing cultures and we celebrate this more today than in any other time since our shared history began. We live each day drawing energy from a land which has been nurtured by the traditional owners for more than 2000 generations. When we acknowledge country we pay respect to the land and to the people in equal measure. As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music. In order to compose the music for this Acknowledgement of Country Project I have had the great privilege of working with no fewer than eleven ancient languages from the state of Victoria, including the language of my late Grandmother, Yorta Yorta woman Frances McGee. I pay my deepest respects to the elders and ancestors who are represented in these songs of acknowledgement and to the language custodians who have shared their knowledge and expertise in providing each text. I am so proud of the MSO for initiating this landmark project and grateful that they afforded me the opportunity to make this contribution to the ongoing quest of understanding our belonging in this land. — Deborah Cheetham AO

Our Artistic Family

Melbourne Symphony Orchestra The Melbourne Symphony Orchestra is a leading cultural figure in the Australian arts landscape, bringing the best in orchestral music and passionate performance to a diverse audience across Victoria, the nation and around the world. Each year the MSO engages with more than 5 million people through live concerts, TV, radio and online broadcasts, international tours, recordings and education programs. The MSO is a vital presence, both onstage and in the community, in cultivating classical music in Australia. The nation’s first professional orchestra, the MSO has been the sound of the city of Melbourne since 1906. The MSO regularly attracts great artists from around the globe including AnneSophie Mutter, Lang Lang, Renée Fleming and Thomas Hampson, while bringing Melbourne’s finest musicians to the world through tours to China, Europe and the United States. The Melbourne Symphony Orchestra respectfully acknowledges the people of the Eastern Kulin Nations, on whose un‑ceded lands we honour the continuation of the oldest music practice in the world.

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Our Artistic Family

Your MSO Jaime Martín

Chief Conductor Dr Marc Besen AC and the late Dr Eva Besen AO#

Xian Zhang

Principal Guest Conductor

Benjamin Northey Principal Conductor in Residence

Carlo Antonioli Cybec Assistant Conductor Fellow

SECOND VIOLINS Matthew Tomkins

Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro

Assistant Principal Danny Gorog and Lindy Susskind#

Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon AM#

Sarah Morse Angela Sargeant Michelle Wood

Andrew and Judy Rogers#

DOUBLE BASSES

Mary Allison Isin Cakmakcioglu Tiffany Cheng Freya Franzen Cong Gu Andrew Hall Isy Wasserman Philippa West Patrick Wong Roger Young

Benjamin Hanlon

VIOLAS

Wendy Clarke

Tair Khisambeev

Christopher Moore

Sarah Beggs

Peter Edwards

Christopher Cartlidge

Kirsty Bremner Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Kirstin Kenny Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor

Lauren Brigden Katharine Brockman Anthony Chataway

Sir Andrew Davis Conductor Laureate

Hiroyuki Iwaki †

Conductor Laureate (1974–2006)

FIRST VIOLINS Dale Barltrop

Concertmaster David Li AM and Angela Li#

Sophie Rowell

Concertmaster The Ullmer Family Foundation# Assistant Concertmaster Di Jameson# Assistant Principal

Principal Di Jameson#

Associate Principal

Frank Mercurio and Di Jameson#

Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#

FLUTES Prudence Davis Principal Anonymous#

Associate Principal

PICCOLO Andrew Macleod Principal

OBOES Thomas Hutchinson

Dr Elizabeth E Lewis AM#

Associate Principal

Gabrielle Halloran Trevor Jones

Ann Blackburn

Fiona Sargeant Cindy Watkin

COR ANGLAIS

Anne Neil#

CELLOS David Berlin

The Rosemary Norman Foundation#

Michael Pisani Principal

CLARINETS

Principal Hyon Ju Newman#

David Thomas

Rachael Tobin

Philip Arkinstall

Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman

Learn more about our musicians on the MSO website.

Principal

Associate Principal

Craig Hill

Jon Craven

TIMPANI

Principal

PERCUSSION

BASSOONS

John Arcaro

Jack Schiller

Principal

Elise Millman

Associate Principal

Natasha Thomas

Anonymous#

Robert Cossom

Drs Rhyl Wade and Clem Gruen#

HARP Yinuo Mu

Dr Martin Tymms and Patricia Nilsson#

Principal

CONTRABASSOON

GUEST MUSICIANS

Brock Imison

VIOLINS First violin Amanda Chen

Principal

HORNS Nicolas Fleury

Principal Margaret Jackson AC#

Saul Lewis

Guest Associate Principal Viola

William Clark

Trinette McClimont Rachel Shaw

CELLO Elina Faskhitdinova Alexandra Partridge Eliza Sdraulig

TRUMPETS Owen Morris Principal

Shane Hooton

Associate Principal

William Evans Rosie Turner

John and Diana Frew#

TROMBONES Richard Shirley Mike Szabo

Principal Bass Trombone

TUBA Timothy Buzbee Principal

Guest Principal Trombone

Cian Malikides TIMPANI Brent Miller

Guest Principal Timpani

PERCUSSION Robert Allan Greg Sully HARPSICHORD Donald Nicolson

VIOLA Molly Collier-O’Boyle

Abbey Edlin

Gary McPherson#

TROMBONE Don Immel

SECOND VIOLIN Jenny Khafagi

Principal Third The Hon Michael Watt QC and Cecilie Hall# Nereda Hanlon and Michael Hanlon AM#

TRUMPET Tristan Rebien

Our Artistic Family

BASS CLARINET

DOUBLE BASS Caitlin Bass Kylie Davies Emma Sullivan Giovanni Vinci FLUTE Taryn Richards OBOE Shefali Pryor* Guest Principal

FRENCH HORN Tim Allen-Ankins Josiah Kop William Tanner

# Position supported by * Appears courtesy of Sydney Symphony Orchestra

SEASON OPENING GALA | 25–26 February 2022

Jaime Martín conductor The Chief Conductor is supported by Dr Marc Besen AC and the late Dr Eva Besen AO.

Jaime Martín will begin his tenure as MSO Chief Conductor in 2022, investing the Orchestra with prodigious musical creativity and momentum. In September 2019 Jaime Martín became Chief Conductor of the RTÉ National Symphony Orchestra and Music Director of the Los Angeles Chamber Orchestra. He has been Artistic Director and Principal Conductor of Gävle Symphony Orchestra since 2013. He was recently announced as the Principal Guest Conductor of the Orquesta y Coro Nacionales de España (Spanish National Orchestra) for the 22/23 season. Having spent many years as a highly regarded flautist, Jaime turned to conducting fulltime in 2013. In recent years Martín has conducted an impressive list of orchestras and has recorded various discs, both as a conductor and as a flautist. Martín is the Artistic Advisor and previous Artistic Director of the Santander Festival. He was also a founding member of the Orquestra de Cadaqués, where he was Chief Conductor from 2012 to 2019. He is a Fellow of the Royal College of Music, London, where he was a flute professor. 10

Deborah Cheetham, Yorta Yorta woman, soprano, composer and educator has been a leader and pioneer in the Australian arts landscape for more than 25 years. In the 2014 Queen’s Birthday Honours List, Cheetham was appointed as an Officer of the Order of Australia (AO), for “distinguished service to the performing arts as an opera singer, composer and artistic director, to the development of Indigenous artists, and to innovation in performance”. In 2009, Deborah Cheetham established Short Black Opera as a national not-for-profit opera company devoted to the development of Indigenous singers. The following year she produced the premiere of her first opera Pecan Summer. This landmark work was Australia’s first Indigenous opera and has been a vehicle for the development of a new generation of Indigenous opera singers. In March 2015 she was inducted onto the Honour Roll of Women in Victoria and in April 2018 received an Honorary Doctorate from the University of South Australia for her pioneering work and achievements in the music. Ms Cheetham’s Eumeralla, a war requiem for peace, premiered to sold out audiences on-country at the Port Fairy Spring Festival in October 2018 and at Hamer Hall in Melbourne with the Melbourne Symphony Orchestra on June 15, 2019.

Deborah Cheetham’s list of commissions for major Australian ensembles continues to grow including works for the Victorian Opera, Sydney Philharmonia Choir, Orchestra Victoria, Melbourne ensemble, Adelaide Symphony Orchestra, Melbourne Symphony Orchestra, Australia String Quartet, West Australian Symphony Orchestra String Quartet, Rubiks Collective, Plexus Ensemble, the Goldner Quartet and Flinders Quartet. In 2019 Deborah Cheetham established the One Day in January project designed to develop and nurture Indigenous orchestral musicians. In this same year she received the Sir Bernard Heinze Memorial Award for service to music in Australia, the Merlyn Myer Prize for Composition, was inducted onto the Victorian Aboriginal Honour Roll and received Life Time Membership at the Melbourne Recital Centre.

SEASON OPENING GALA | 25–26 February 2022

Prof. Deborah Cheetham AO composer

Deborah was the 2019 winner of the prestigious Melbourne Prize for Music and was named Limelight Magazine’s Critics Choice Artist of the Year. In 2020 Deborah Cheetham was the 2020 Composer-in-residence for the Melbourne Symphony Orchestra and commenced her appointment at the Sir Zelman Cowen School of Music, Monash University as Professor of Music practice. In 2021 Deborah Cheetham began a five year appointment as First Nations Chair of Melbourne Symphony orchestra. Deborah Cheetham was the 2020 recipient of the JC Williamson Life Time Achievement Award which recognises an individual who has made an outstanding contribution to the Australian live entertainment and performing arts industry, and helped to shape the future of our industry for the better. 11

SEASON OPENING GALA | 25–26 February 2022

William Barton yidaki (didgeridoo) William Barton is Australia’s leading didgeridoo player as well as composer, instrumentalist and vocalist. William first learnt the instrument from his uncle, Arthur Peterson, an elder of the Wannyi, Lardil and Kalkadunga people and was working from an early age with traditional dance groups and fusion/rock jazz bands, orchestras, string quartets, and mixed ensembles. Throughout his diverse career he has forged a path in the classical musical world, from the London and Berlin Philharmonic Orchestras to historic events at Westminster Abbey for Commonwealth Day 2019, at Anzac Cove in Gallipoli and for the Beijing Olympics. His awards include Winner of Best Original Score for a Mainstage Production at the 2018 Sydney Theatre Awards and Winner of Best Classical Album with an ARIA for Birdsong At Dusk in 2012. In 2021 he was the recipient of the prestigious Don Banks Music Award from the Australia Council. William is currently developing a new musical language, epitomised in Heartland, in partnership with Aunty Delmae Barton and violinist Véronique Serret. 12

With his prodigious musicality and building on his Kalkadunga heritage, William has vastly expanded the horizons of the didgeridoo.

JOSEPH HAYDN

(1732–1809)

Symphony No.6 Le matin Symphony No.6 heads a group of three, the first he composed for his new patron Prince Anton Esterhazy, immediately after taking up his appointment as deputy music director at Eisenstadt in 1761. The three symphonies have programmatic titles and themes: the others complete the times of day with Le midi (Midday) and Le soir (Evening). The ideas are said to have been suggested by the prince himself, a discriminating lover of music. Haydn either forgot or chose not to reveal what the detailed programme was, but it is immediately obvious that No.6 begins with a sunrise, anticipating the wonderful similar passage in the oratorio The Creation, composed thirty-seven years later. This slow introduction is the prototype of a typical feature of the symphony form as Haydn was to handle it. These three symphonies have long been recognised as a striking advance on those Haydn had composed up to then, and they continued to be played when Haydn’s other early symphonies were completely neglected. The 19th century Haydn scholar Pohl referred to their strking expansion of the form, new depth, and glittering extravagance. At this time Haydn was concentrating on instrumental music, and particularly on the genres of divertimento and concerto. He was stimulated by the presence in the Esterhazy orchestra of some remarkable virtuosi, notably the leader, the brilliant Italian violinist Luigi Tomasini. These symphonies are full of difficult and showy concertante solo passages, not just for violin, but for cello, and for flute, oboe, and even double bass (violone) and bassoon.

The layout of the music owes a good deal to the Italian concerto grosso, and anticipates the Sinfonie concertante of the 1770s and 80s. The winds, notably, are ‘liberated’, and often play on their own. Haydn seems to have felt free to write flexibly, and sheds some of the stiffness which cramps his more concise early symphonies. A relaxed mood is immediately apparent in Le matin as the flute launches the Allegro first movement with a folk-like tune, with more than a whiff of birdsong about it. The second movement begins in the same vein as the first, then develops into what has been interpreted as a parody of a music lesson, with simple scales and some double stopping from the solo violin (to check tuning?). Is this not rather the musicians getting down to the work of the day? They soon get into stride in an Andante with dialogues for solo violin and cello. Two chords, in the style of the close of a recitative, bring back the Adagio with the scale parody, but quite transformed into what H. C. Robbins Landon calls a heartfelt and moving tribute to the beauty of the Baroque age.

SEASON OPENING GALA | 25–26 February 2022

Program Notes

The same authority discovers a further echo of the Baroque in the extraordinary trio of the poised and graceful Minuet (in itself a new feature of the symphony). Here the texture, with its solo for violone and accompanying bassoons, harks back to the most intricately worked Baroque music – Landon fancifully likens it to part of a Seventh Brandenburg Concerto! The dashing last movement again echoes Bach’s fourth Brandenburg (which Haydn cannot have heard) where the solo violin bursts into elaborate virtuoso passage work. David Garrett © 1987

SEASON OPENING GALA | 25–26 February 2022

DEBORAH CHEETHAM

(1860–1911)

Baparripna

Symphony No.1

William Barton yidaki

In the days when Mahler’s work was at its least fashionable, it was frequently derided for its eclecticism – his magpie references to musical gestures not only from the classical repertoire, but from such disreputable sources as military marches and folk music. (Similar accusations have at various times been levelled at Shakespeare’s works; few of the playwright’s plot-lines – certainly not those of Othello, Hamlet, Romeo and Juliet, Macbeth or Julius Caesar – are of his own invention.) Today Mahler’s inclusion of a wide range of musical styles and stock elements from nature, folklore and the classical repertoire is regarded as an essential part of what makes him Mahler. His eclecticism resonates strongly with our own musical lives, which invariably include at least a smattering of classical, popular and commercial elements from a vast range of times, places and peoples.

The composer writes: Baparripna (Yorta Yorta – Dawn ) Waking beneath our mutual sky, all the sweetness of life’s possibilities laid out before us. Dawn sits peacefully and powerfully on the endless horizon of longing for our return. Time has ceased to be linear, if it ever was and Gorngany’s* carolling fills the air pierced with blue solitude. We walk together with our ancestors in this rare light, as our dreams are carried away by the morning star. During my career as a soprano I have often observed that dawn is not a particularly familiar time of the day, however as a composer I have witnessed many a dawn as the solitude provided by working through the night suits my compositional process. I have long anticipated this collaboration with William Barton and am so thrilled that it takes place at the suggestion of our new conductor in chief Jaime Martín. Yidaki (Yolngu – didgeridoo) is an ancient instrument with an immediately identifiable sound. Traditionally women do not play this instrument and so that presented a new challenge for me, as usually I will at least have some hands on knowledge of the instruments for which I write. Fortunately the musical language and symbolism developed by William has made this commission an exciting and rewarding journey of discovery. Deborah Cheetham AO *Yorta Yorta name for Magpie

GUSTAV MAHLER

(born 1964)

Mahler does not restrict his musical models to humans, or even to animals: a typical Mahlerian direction to his performers is Wie ein Naturlaut (like a sound from nature), which appears in the direction for the shimmering opening of the first movement. Soon Mahler brings in the call of a cuckoo. Mahler’s audience would readily have recognised the opening of Beethoven’s fourth symphony in the very beginning of Mahler’s first. The jaunty second movement of the symphony draws on an early (and uncomplicatedly joyful) song of Mahler’s own entitled Hans und Grethe. Mahler’s slow movement makes a more startling borrowing: the nursery tune known in Germanspeaking countries as Bruder Martin (we cosmopolitan English speakers call it Frère Jacques). Mahler makes it unmistakably his own, defamiliarising

as he was to do throughout his life, in the works of German philosophers and other literature, and the young student probably identified strongly with the suicidal protagonist of The Titan, a novel by Jean-Paul Richter.

Mahler’s most significant reference in this work, however, is to his own song-cycle Lieder eines fahrenden Gesellen (‘Songs of a Wayfarer’), which dates from 1885. (The symphony was completed in 1888, and revised several times before its publication in 1899.) It is a partly autobiographical work, inspired by his unhappy love affair with the singer Johanna Richter. The texts deal with unhappy love in the way familiar from Schubert’s great song-cycles: the protagonist sets off wandering to escape his grief, eventually finding peace in death and reunion with nature. The second song of the cycle (Ging heut’ morgen über’s Feld [I went this morning across the field]) lends its theme to the main body of the first movement. The simple, folk-like section in the third movement refers to the closing strains of the final song, in which Mahler’s wayfarer comes to his final rest under a linden tree. Mahler has here given us a particularly and ambiguous juxtaposition: a partly autobiographical funeral of his own, or at least of his ardent youthful self, set within one of the most sarcastic funeral marches in music. Mahler was also at this time searching for meaning,

Mahler’s practice of making reference to other works and genres is far more than a matter of appropriating the occasional tune; it is his means of bringing into play a vast range of human experience. His musical ‘found objects’ shed light on the nature of the symphony far more eloquently and more ambiguously than a written program could ever do; indeed often we are not sure whether it is the outside world illuminating Mahler’s symphony or the other way around.

SEASON OPENING GALA | 25–26 February 2022

it in three crucial ways: we hear it in the minor mode, in a slow tempo, in the strained uppermost register of a solo double bass. The aim (according to a program Mahler prepared to assist his listeners in early performances of the work – although he later disdained such annotations as nothing more than ‘a crutch for a cripple’) was to depict a satirical funeral march: the animals of the forest carrying a hunter to his grave in solemn procession. A little later, in a contrasting section, the mocking theme is accompanied by much use of village-band trumpets and clarinets, with bass drum and cymbals; indeed the village band dominates the final return of the funeral march, at one point even wrenching it into dance tempo.

Supporters

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

CHAIRMAN’S CIRCLE Dr Marc Besen AC and the late Dr Eva Besen AO Gandel Philanthropy The Gross Foundation Di Jameson Harold Mitchell Foundation Hyon Ju Newman Lady Potter AC CMRI The Cybec Foundation The Pratt Foundation Elizabeth Proust AO and Brian Lawrence The Ullmer Family Foundation

ARTIST CHAIR BENEFACTORS Chief Conductor Jaime Martín Dr Marc Besen AC and the late Dr Eva Besen AO Cybec Assistant Conductor Chair Carlo Antonioli The Cybec Foundation Concertmaster Chair Sophie Rowell The Ullmer Family Foundation Concertmaster Chair Dale Barltrop David Li AM and Angela Li Assistant Concertmaster Tair Khisambeev Di Jameson Young Composer in Residence Alex Turley The Cybec Foundation

PROGRAM BENEFACTORS Cybec 21st Century Australian Composers Program The Cybec Foundation Digital Transformation The Ian Potter Foundation, The Margaret Lawrence Bequest – Managed by Perpetual First Nations Emerging Artist Program The Ullmer Family Foundation 16

◊ Denotes Adopt a Musician supporter

East meets West The Li Family Trust MSO Live Online Crown Resorts Foundation, Packer Family Foundation MSO Education Margaret Ross AM and Dr Ian Ross MSO Academy Di Jameson MSO For Schools Crown Resorts Foundation, Packer Family Foundation, The Department of Education and Training, Victoria, through the Strategic Partnerships Program and the Victorian Challenge and Enrichment Series (VCES) MSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, John T Reid Charitable Trusts, Robert Salzer Foundation, The Sir Andrew & Lady Fairley Foundation The Pizzicato Effect Supported by Hume City Council’s Community Grants program, The Marian and E.H. Flack Trust, Scobie and Claire Mackinnon Trust, Jenny Anderson, Australian Decorative And Fine Arts Society, Barbara Bell in memory of Elsa Bell, Janet H Bell, Richard and Janet Chauvel, Caroline Davies, Alex and Liz Furman, Robert and Janet Green, Jean Hadges, Hilary Hall in memory of Wilma Collie, Rosemary Jacoby in memory of James Jacoby, Jenkins Family Foundation, Jeanette King, Christopher and Anna Long, H E McKenzie, Shirley McKenzie, Marjorie McPherson, Kerryn Pratchett, Opalgate Foundation, Joanne Soso, Margaret Ross AM and Dr Ian Ross, Jenny Tatchell, Anonymous Sidney Myer Free Concerts Supported by the Sidney Myer MSO Trust Fund and the University of Melbourne

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◊ Denotes Adopt a Musician supporter

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David and Dr Elizabeth Ebert

Wayne McDonald and Kay Schroer

Cynthia Edgell

Dr Anne McDougall

Melissa and Aran Fitzgerald

Jennifer McKean

Brian Florence

Dr Alan Meads and Sandra Boon

Anthony Garvey and Estelle O’Callaghan

Marie Misiurak

Sandra Gillett and Jeremy Wilkins

Ann Moore

David and Geraldine Glenny

Kevin Morrish

Hugo and Diane Goetze

Joan Mullumby

Pauline Goodison

Adrian and Louise Nelson

Louise Gourlay OAM

Tania Nesbit

Cindy Goy

Michael Noble

Christine Grenda

Rosemary O’Collins

Jason Grollo

Conrad O’Donohue and Dr Rosemary Kiss

Dawn Hales

Phil Parker

Cathy Henry

Howard and Dorothy Parkinson

Clive and Joyce Hollands

Sarah Patterson

Natasha Holmes

Pauline and David Lawton

Roderick Home

Wilma Plozza-Green

Geoff and Denise Illing

Kerryn Pratchett

Rob Jackson

Akshay Rao

Shyama Jayaswal

Professor John Rickard

Sandy Jenkins

Liliane Rusek and Alexander Ushakoff

* The MSO has introduced a new tier to its annual Patron Program in recognition of the donors who supported the Orchestra during 2020, many for the first time. Moving forward, donors who make an annual gift of $500–$999 to the MSO will now be publicly recognised as an Overture Patron. For more information, please contact Donor Liaison, Keith Clancy on (03) 8646 1109 or clancyk@mso.com.au 20

Louis J Hamon AOM

Carolyn Sanders

Carol Hay

Dr Nora Scheinkestel

Graham Hogarth

Dr Peter Seligman

Rod Home

Suzette Sherazee

Tony Howe

Dr Frank and Valerie Silberberg

Lindsay and Michael Jacombs

Matt Sinclair

Laurence O’Keefe and Christopher James

Olga Skibina Brian Snape AM and the late Diana Snape Colin and Mary Squires Ruth Stringer Anthony Summers Allan and Margaret Tempest Reverend Angela Thomas Brett Thomas Amanda Watson Michael Webber and Ruth Fincher Angela Westacott Barry and Julie Wilkins Robert and Diana Wilson Fiona Woodard Dr Kelly Wright and Dr Heathcote Wright Dr Susan Yell Daniel Yosua

John Jones Grace Kass and the late George Kass Sylvia Lavelle Pauline and David Lawton Cameron Mowat Ruth Muir David Orr Matthew O’Sullivan Rosia Pasteur Penny Rawlins Joan P Robinson Anne Roussac-Hoyne and Neil Roussac Michael Ryan and Wendy Mead Andrew Serpell Jennifer Shepherd Suzette Sherazee

Anonymous (36)

Dr Gabriela and Dr George Stephenson

CONDUCTOR’S CIRCLE

Lillian Tarry

Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Mrs Jenny Bruckner and the late Mr John Bruckner

Pamela Swansson Tam Vu and Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Peter and Elisabeth Turner Michael Ulmer AO The Hon. Rosemary Varty Marian and Terry Wills Cooke OAM Mark Young

Ken Bullen

Anonymous (19)

Peter A Caldwell

The MSO gratefully acknowledges the support of the following Estates:

Luci and Ron Chambers Beryl Dean Sandra Dent Alan Egan JP Gunta Eglite Marguerite Garnon-Williams Drs L C Gruen and R W Wade

Supporters

Viorica Samson

Norma Ruth Atwell Angela Beagley Christine Mary Bridgart The Cuming Bequest Margaret Davies Neilma Gantner The Hon Dr Alan Goldberg AO QC

Supporters

Enid Florence Hookey Gwen Hunt Family and Friends of James Jacoby Audrey Jenkins Joan Jones Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Jean Moore Maxwell Schultz Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Halinka Tarczynska-Fiddian Jennifer May Teague Albert Henry Ullin Jean Tweedie Herta and Fred B Vogel

MSO BOARD Chairman David Li AM Deputy Co-Chair Di Jameson Helen Silver AO Managing Director Sophie Galaise Board Directors Shane Buggle Andrew Dudgeon AM Danny Gorog Lorraine Hook Margaret Jackson AC David Krasnostein AM Gary McPherson Hyon-Ju Newman Glenn Sedgwick Company Secretary Oliver Carton

Dorothy Wood

HONORARY APPOINTMENTS Life Members Dr Marc Besen AC John Gandel AC and Pauline Gandel AC Sir Elton John CBE Harold Mitchell AC Lady Potter AC CMRI Jeanne Pratt AC Artistic Ambassadors Tan Dun Lu Siqing MSO Ambassador Geoffrey Rush AC The MSO honours the memory of Life Members Dr Eva Besen AO John Brockman OAM The Honourable Alan Goldberg AO QC Roger Riordan AM Ila Vanrenen 22

The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our supporters to get close to the MSO through a range of special events. The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $500+ (Overture) $1,000+ (Player) $2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario) $50,000+ (Virtuoso) $100,000+ (Platinum)

For the Future At the MSO, we believe in building the future of our artform. As Australia’s oldest professional orchestra, we have done this for more than 100 years by supporting the next generation of musicians, artists, composers, and conductors, contributing to a culture of artistic excellence within the MSO and broader arts ecology. From mentorships and residencies, to structured learning and training organisations, our programs create a multi-disciplinary talent pipeline for the advancement of Australian orchestral music. But we can’t do this alone. Please help us continue to build the future of our artform by donating today.

CLICK HERE TO DONATE

Thank you to our Partners Principal Partner

Premier Partners

Education Partner

Venue Partner

Major Partners

Government Partners

Supporting Partners

Quest Southbank Ernst & Young Bows for Strings

Media and Broadcast Partners

Trusts and Foundations

The Sir Andrew and Lady Fairley Foundation, John T Reid Charitable Trusts, Scobie & Claire Mackinnon Trust, Sidney Myer MSO Trust Fund, The Ullmer Family Foundation

BEST SEAT in the house

As Principal Partner of the Melbourne Symphony Orchestra, we know the importance of delighting an audience. That’s why when you’re in Emirates First, you’ll enjoy the ultimate flying experience with fine dining at any time in your own private suite.

*Emirates First Class Private Suite pictured. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.