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Melbourne Symphony Orchestra
Benjamin Northey conductor
Jonathon Ramsay trombone
BARBER Overture to The School for Scandal*
JOE CHINDAMO Ligeia: Concerto for Trombone and Orchestra
– Interval –
BERNSTEIN Symphonic Dances from West Side Story
GERSHWIN An American in Paris
Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham Fraillon AO, will be performed at these concerts.
*This piece will only be performed on April 11–13.
11–13 April: Pre-concert talks
Want to learn more about the music being performed? Arrive early for an informative and entertaining pre-concert talk with Kym Dillon.
Thursday 11 April at 6.45pm
Saturday 13 April at 1.15pm
Stalls Foyer on Level 2, Hamer Hall
Friday 12 April at 6.45pm Costa Hall Foyer
15 April: Quick Fix at Half Six
Stalls Foyer on Level 2, Hamer Hall
Pre-concert wine tasting at 5.30pm
Arrive early for a wine tasting courtesy of TarraWarra Estate, free for ticket holders.
Post-concert conversation at 7.45pm
Stay on for a post-concert conversation with Benjamin Northey.
These concerts may be recorded for future broadcast on MSO.LIVE
Duration
11–13 April: 1 hour and 40 minutes including interval.
15 April: 75 minutes with no interval.
In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.
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 Fraillon 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.
As a Yorta Yorta/Yuin composer the responsibility I carry to assist the MSO in delivering a respectful acknowledgement of country is a privilege which I take very seriously. I have a duty of care to my ancestors and to the ancestors on whose land the MSO works and performs.
This new work [2024] will become the second in a suite of compositions I am creating for the MSO, known simply as Long Time Living Here.
As MSO continues to grow its knowledge and understanding of what it means to truly honour the First people of this land, the musical acknowledgment of country will serve to bring those on stage and those in the audience together in a moment of recognition as as we celebrate the longest continuing cultures in the world.
– Deborah Cheetham Fraillon AO
Committed to shaping and serving the state it inhabits, the Melbourne Symphony Orchestra is Australia’s preeminent orchestra and a cornerstone of Victoria’s rich, cultural heritage.
Each year, the MSO and MSO Chorus present more than 180 public events across live performances, TV, radio and online broadcasts, and via its online concert hall, MSO.LIVE, engaging an audience of more than five million people in 56 countries. In 2024 the organisation will release its first two albums on the newly established MSO recording label.
With an international reputation for excellence, versatility and innovation, the MSO works with culturally diverse and First Nations artists to build community and deliver music to people across Melbourne, the state of Victoria and around the world.
In 2024, Jaime Martín leads the Orchestra for his third year as MSO Chief Conductor. Maestro Martín leads an Artistic Family that includes Principal Conductor Benjamin Northey, Cybec Assistant Conductor Leonard Weiss, MSO Chorus Director Warren Trevelyan-Jones, Composer in Residence Katy Abbott, Artist in Residence Erin Helyard, MSO First Nations Creative Chair Deborah Cheetham Fraillon AO, Young Cybec Young Composer in Residence Naomi Dodd, and Artist in Association Christian Li.
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.
FIRST VIOLINS
Tair Khisambeev
Acting Associate Concertmaster
Di Jameson and Frank Mercurio#
Peter Edwards
Assistant Principal
Margaret Billson and the late Ted Billson#
Kirsty Bremner
Sarah Curro
Dr Harry Imber#
Peter Fellin
Deborah Goodall
Kirstin Kenny
Eleanor Mancini
Anne Neil#
Mark Mogilevski
Michelle Ruffolo
Anna Skalova
Kathryn Taylor
Emily Beauchamp°
Jos Jonker*
SECOND VIOLINS
Matthew Tomkins
Principal
The Gross Foundation#
Monica Curro
Assistant Principal Dr Mary Jane Gething AO#
Mary Allison
Isin Cakmakçioglu
Freya Franzen
Cong Gu
Newton Family in memory of Rae Rothfield#
Andrew Hall
Isy Wasserman
Philippa West
Andrew Dudgeon AM#
Patrick Wong
Roger Young
Shane Buggle and Rosie Callanan#
Jacqueline Edwards*
Oksana Thompson*
Correct as of 19 March 2024.
Learn more about our musicians on the MSO website
VIOLAS
Lauren Brigden
Katharine Brockman
William Clark
Gabrielle Halloran
Fiona Sargeant
Molly Collier-O’Boyle*
Karen Columbine*
Andrew Crothers*
Ceridwen Davies*
Heidi von Bernewitz*
CELLOS
David Berlin
Principal
Rohan de Korte
Andrew Dudgeon AM#
Rebecca Proietto
Elaine and Peter Kempen AM#
Angela Sargeant
Caleb Wong
Michelle Wood
Andrew and Judy Rogers#
Alexandra Partridge°
Anna Pokorny*
DOUBLE BASSES
Jonathan Coco
Principal
Stephen Newton
Acting Associate Principal
Sophie Galaise and Clarence Fraser#
Benjamin Hanlon
Di Jameson and Frank Mercurio#
Suzanne Lee
Caitlin Bass°
Emma Sullivan°
Benjamin Saffir*
* Denotes Guest Musician # Position supported by
Prudence Davis Principal Anonymous#
Wendy Clarke Associate Principal
Sarah Beggs
PICCOLO
Andrew Macleod Principal
OBOES
Michael Pisani Acting Associate Principal
Ann Blackburn
The Rosemary Norman Foundation#
Rachel Curkpatrick° Acting Principal
David Thomas Principal
Philip Arkinstall Associate Principal
Craig Hill
Rosemary and the late Douglas Meagher#
Jonathan Craven Principal
Jack Schiller
Principal
Dr Harry Imber#
Tasman Compton^
Brock Imison Principal
Nicolas Fleury Principal
Margaret Jackson AC#
Andrew Young Associate Principal
Saul Lewis
Principal Third
The late Hon Michael Watt KC and Cecilie Hall#
Abbey Edlin
Nereda Hanlon and Michael Hanlon AM#
Josiah Kop
Owen Morris Principal
Rosie Turner
John and Diana Frew#
Adam Davis^
Mark Davidson
Principal
Richard Shirley
Mike Szabo
Principal Bass Trombone
TUBA
Timothy Buzbee Principal
Matthew Thomas Principal
Shaun Trubiano Principal
John Arcaro
Tim and Lyn Edward#
Robert Cossom
Drs Rhyl Wade and Clem Gruen#
Hugh Tidy*
DRUM KIT
David Jones*
HARP
Yinuo Mu Principal
KEYBOARD
Aidan Boase
SAXOPHONES
Sarah Beale*
Niels Bijl*
Michael Lichnovsky*
* Denotes Guest Musician
^ Denotes MSO Academy
° Denotes Contract Musician
# Position supported by
Australian conductor Benjamin Northey is the Chief Conductor of the Christchurch Symphony Orchestra and the Principal Conductor and Artistic Advisor—Learning and Engagement of the Melbourne Symphony Orchestra.
Northey studied conducting at Finland’s Sibelius Academy with Professors Leif Segerstam and Atso Almila and completed his studies at the Stockholm Royal College of Music with Jorma Panula in 2006.
Northey appears regularly as a guest conductor with all major Australian symphony orchestras, Opera Australia (La bohème, Turandot, L’elisir d’amore, Don Giovanni, Così fan tutte, Carmen), New Zealand Opera (Sweeney Todd ) and the State Opera South Australia (La sonnambula, L’elisir d’amore, Les contes d’Hoffmann).
His international appearances include concerts with the London Philharmonic Orchestra, the Tokyo Philharmonic Orchestra, the Mozarteum Orchestra Salzburg, the Hong Kong Philharmonic, the National Symphony Orchestra of Colombia, the Malaysian Philharmonic and the New Zealand Symphony Orchestra.
An Aria Awards, Air Music Awards, and Art Music Awards winner, he was voted Limelight Magazine’s Australian Artist of the Year in 2018. Northey’s many recordings can be found on ABC Classics.
In 2024, he conducts the Melbourne, Sydney, Adelaide, Queensland and Christchurch Symphony Orchestras and the Hong Kong Philharmonic.
To move one’s life halfway around the world in the pursuit of musical endeavour is a gamble at best, but one that Trombonist Jonathon Ramsay, born and educated in Sydney, took to heart in 2018 as he left behind his position as Principal Trombone of the Tasmanian Symphony Orchestra to partake in the Karajan Academy of the Berliner Philharmoniker. Since making the move to Europe, he has been accepted as member of the Mahler Chamber Orchestra, was briefly Solo-Trombonist of the Münchner Philharmoniker, and has recently taken up his current position as SoloTrombonist of the Berliner Philharmoniker.
Winner of the Second Prize at the ARD International Music Competition 2022 and the First Prize at the 2019 Aeolus International Competition for Wind Instruments, he is in demand throughout Europe and Australia as a Soloist and Orchestral Musician, having performed as a guest with orchestras such as the London Symphony Orchestra, the Symphonie-Orchester des Bayerischen Rundfunks (as guest and Soloist), the Bayreuther Festspielorchester, and the Staatskapelle Berlin; as well as with all the major symphony orchestras in Australia.
After forging an international career as one of the most brilliant jazz pianists of his generation, winning a plethora of awards and collaborating with many of the genre’s leading figures, Joe Chindamo has more recently, by way of a complete career aboutface, carved out an astonishing second act as a critically acclaimed classical composer.
In a relatively short time, he has become a coveted new compositional voice, receiving commissions from Australia’s leading chamber groups (ACO, MCO, ASQ, Camerata, Ensemble Offspring, Artaria, Goldner String Quartet, Wilma and friends) and Symphony Orchestras (MSO, TSO, ASO & QSO).
In 2011 Joe co-founded a duo with leading violinist Zoë Black. Their long-standing collaboration inspired the creation of a great number of new compositions for violin and piano. The duo has performed at all the major festivals in Australia and recorded 3 ARIA nominated CDs, (Re imaginings, Dido’s Lament and Chindamo’s re-versioning of the The Goldberg Variations, premiering the latter at New York City’s Weill Hall (Carnegie Hall) in 2015.
Recent highlights include the commissioning of a new work This House by the Australian High Commissioner in London for the centenary of Australia House. The work was premiered at the latter in the presence of HRH Prince Charles in November 2018.
Recent symphonic commissions and performances include Concerto for Drums and Orchestra (MSO, 2018) Fantaskatto (MSO, 2019) Concerto for Orchestra (TSO, 2021), Ligeia Concerto for Trombone and Orchestra (ASO, 2022)—which received its wildly successful second performance in Dublin by LSO principal trombonist Peter Moore and the RTE Orchestra in March 2024, under the baton of celebrated English conductor John Wilson—and Concerto for Violin and Orchestra (TSO, 2023).
In 2022
Joe was added to the Queen’s birthday honours list and awarded an Order of Australia for his services to music and the performing arts—OAM.
TarraWarra Estate provides you with the perfect backdrop for a day of wine tasting, lunch or simply taking in the views from the deck. Only an hour from Melbourne and you’ll find yourself enjoying our cool climate Chardonnay and Pinot Noir in our subterranean cellar door. 311
Overture to The School for Scandal, Op.5
Born in Pennsylvania, Samuel Barber became interested in music at a young age, fostered by his aunt, the celebrated contralto Louise Homer, and her husband, a songwriter. At the age of thirteen, Barber entered the Curtis Institute of Music in Philadelphia to study voice, piano and composition. He graduated in 1932 and in 1935 won both the Pulitzer Prize and the American Prix de Rome, the latter prize enabling him to study at the American Academy in Rome for two years. He was fundamentally a Romanticist whose works are characterised by strong melodic lines and an insistent appeal to the listener’s emotions. He was twentyone when he wrote the Overture to The School for Scandal. While inspired by the sense of fun and gaiety found in the Restoration-era play of the same name by Richard B. Sheridan, Barber’s Overture does not follow any particular program. The opening fanfare-like passage builds until it explodes in an ‘orchestral laughter’ which punctuates the whole piece. The main theme begins in the violins, only to swell with the addition of other instruments until the ‘laughter’ interrupts again. A second, rather nostalgic melody played by a solo oboe is followed by a clarinet over buoyant pizzicato. A flute comments briefly before being interrupted by another burst of orchestral ‘laughter’. The thematic material is then reprised and the Overture concludes with the same humour with which it began.
Ligeia
Concerto for Trombone and Orchestra
1. Animato
2. q = 60 –
3. Dramatically – Allegro, Adventurously Jonathon Ramsay trombone
The composer writes: Ligeia Concerto for Trombone and Orchestra channels the literary world of Edgar Allen Poe—hence the title, borrowed from one of the writer’s better-known stories.
The concerto reflects the nature of duality, or the double, a recurring theme in Poe’s Gothic tales of mystery and the macabre.
In turn, Poe’s exploration of duality presages aspects of Carl Jung’s work by nearly a century. Jung believed that we all wear a mask to convince others and ourselves that we are not a bad or hypocritical person. This is manifested In The Tell Tale Heart (another of Poe’s famed tales) in which an unnamed narrator endeavours to convince the reader of his sanity while simultaneously describing a murder he has committed. Jung argued that we cannot escape the limitations of our persona—or mask—until we have incorporated into our character those darker traits which belong to what he called the “shadow self”.
Ligeia, in three movements, reflects this idea of psychic struggle through its highly energetic and virtuosic character for the orchestra and soloist alike. The work is replete with quasi-operatic passages, full of drama, tempered by an eerie tender lyricism—as exemplified in the recurring Ligeia waltz (which first appears in the second movement). Playing on the idea of duality in
particular, the often relentless drive (and self assuredness) that propels the first and third movements is countered by periods of stillness and introspection— “the shadow self”.
There is also a strong nostalgic streak that permeates throughout; not necessarily a personal or specific nostalgia but rather, a sense of longing for a time beyond one’s own. As the son of Italian immigrants, I know this feeling all too well, since I grew up spiritually and culturally aligned with a country I didn’t personally experience till my mid twenties. (There is a wonderful word that has become popular recently which describes this kind of nostalgia— Anemoia.)
It was a long standing Austrian/ German/Catholic tradition to use the trombone in settings of Requiem mass and composers such as Mozart employed it as a portent of death, thereby making the instrument a perfect narrator for Poe-esque themes.
In this work, however, the trombone’s bandwidth extends well beyond the funereal. Here it also conjures the hero, satirist, sage, poet, wit, lover, and court jester: one by one, entangled in a symbiotic waltz with “the shadow”.
Throughout the work, Poe’s duality is expressed musically by employing different musical languages. The metamorphoses—as we transition between the flip personality sides— is expressed by oscillating between the tonal & atonal and full symphonic romanticism & angular minimalism.
Stylistically, the work arguably belongs to the realm of polystylism, on which much was written about in reference to the great twentieth-century Russian composer Alfred Schnittke, a self proclaimed polystylist.
Polystylism is the use of multiple styles or techniques in literature, art,
film, and especially music. Not to be confused with cross-genre, in which fully gestated genres are combined— mostly unsuccessfully—polystylism combines the DNA of various styles (often from different periods) in such a way that a new music—an authentic music—emerges in an organic way. In this manner it is possible for, say, pre-modern music, impressionism, neoclassicism and atonality etc to co-exist as parts of the whole in the same piece.
There are relatively few concerti written for the trombone, a little over 100, to my knowledge. This is minuscule if one compares this to the number produced for the piano, violin, cello etc.
On one hand, it presents a great challenge for the modern composer, since there are fewer works from which to draw inspiration. But at the same time, it can be liberating to eschew the shackles of a formidable pedigree, and this scarcity of existing trombone concerti can even afford one the opportunity to contribute to the course of the instrument’s evolution in an orchestral setting.
Joe Chindamo May 2022
Ligeia was commissioned by the Adelaide Symphony Orchestra
Symphonic Dances from West Side Story
1. Prelude (Allegro moderato)
2. Somewhere (Adagio)
3. Scherzo (Vivace leggiero)
4. Mambo (Meno Presto)
5. Cha Cha (Andantino con grazia)
6. Meeting Scene (Meno Mosso)
7. Cool, Fugue (Allegretto)
8. Rumble (Molto allegro)
9. Finale (Adagio)
In August 1957, when Leonard Bernstein signed a contract to become the next conductor of the New York Philharmonic, he was also preparing to open West Side Story. Writing his wife, Felicia, who was in Chile, he reported: “I signed the Philharmonic contract…. Big moment.… Other events—nothing but the show. We ran through today for the first time, and the problems are many, varied, overwhelming; but we’ve got a show there, and just possibly a great one.”
Three-and-a-half years later, in February 1961, the Philharmonic premiered Symphonic Dances from West Side Story on a gala concert called “A Valentine for Leonard Bernstein,” celebrating the extension of his contract with the orchestra. In between, the musical had run 732 performances on Broadway, toured the United States, returned to New York for another 249 performances, had an Original Broadway Cast album released, and begun development into a film. Bernstein, meanwhile, had been promoted from the Philharmonic’s joint principal conductor (alongside outgoing maestro Dimitri Mitropoulos) to its full-fledged music director, and become a television star through the Philharmonic’s Young People’s Concerts.
This was the peak Bernstein era, which had begun with his November 1943
podium debut with the Philharmonic, stepping in to replace Bruno Walter. As a composer, Bernstein had already created the ballet Fancy Free with choreographer Jerome Robbins, elaborated it into the musical On the Town, written the opera Trouble in Tahiti, scored the Marlon Brando picture On the Waterfront, and begun the operetta Candide. The idea for West Side Story—a musical update of Romeo and Juliet set among New York City gangs—had been simmering for most of a decade, with the concept and choreography by Robbins and a book by Arthur Laurents. Finally, the last piece fell in place when Stephen Sondheim joined as lyricist.
At the 1961 Philharmonic gala, probably the entire Carnegie Hall audience had seen West Side Story, owned the record, and could hum its tunes, from Jet Song to A Boy Like That. But Bernstein, working with orchestrators Sid Ramin and Irwin Kostal, wanted to do more than a medley of hits for this special concert. Instead, they took dance numbers and just a few lyrical snippets, reordering them “according to alternating high and low levels of emotional intensities,” as Bernstein’s assistant, Jack Gottlieb, observed. The result is seamless—like a memory of the musical, abstracted through free association.
In his program note for the premiere, later reprinted as a preface to the published score, Gottlieb wrote: “Why are these [dances] called symphonic? Simply because the dance music, even in its original format, is symphonically conceived … This is music on its own terms, music that does not have to depend upon presupposed knowledge of the unfolding events.” He did, however, go on to describe the plot correspondences for those who wanted to know.
The Prologue (Allegro moderato) establishes a recurring interval—the dissonant tritone—which can signal instability and danger, but also yearning (as in Maria). In Gottlieb’s description, the introduction shows “the growing rivalry between two teenage street gangs, the Jets and Sharks,” ending with a police whistle.
Somewhere (Adagio), with lyrical strings accompanied by lilting harp and piano, is “a visionary dance sequence, [where] the two gangs are united in friendship.” The Scherzo (Vivace e leggiero) turns folksy with pizzicato strings and chirping woodwinds—“In the same dream, they break through the city walls and suddenly find themselves in a world of space, air, and sun.”
The dream is interrupted by drums… brass… and Mambo! “Reality again; competitive dance between the gangs.” The Cha cha (Andantino con grazia) is lighter and coy, as “the star-crossed lovers see each other for the first time and dance together.” Sugary violins, celesta, and vibraphone score the alluring Meeting Scene (Meno mosso) between Tony and Maria.
The Cool Fugue (Allegretto) swings into a pile-on as “the Jets practice controlling their hostility”—with little success. The Rumble (Molto allegro) is fuelled by a propulsive piano riff and squawking brass that all breaks down in a “climactic gang battle during which the two gang leaders are killed.” A mournful flute cadenza surveys the carnage, leading to the Finale (Adagio)— “Love music developing into a procession, which recalls, in tragic reality, the vision of Somewhere.”
© Benjamin Pesetsky 2024
Many French musicians of the 1920s were fascinated by jazz. At the end of the First World War, Black American artists in particular were welcomed into Paris’s cafés, concert halls, and nightclubs, finding freedom in a country without segregation or systematic discrimination. Meanwhile, writers like F. Scott Fitzgerald and Ernest Hemingway split their time between Paris and the Riviera, taking advantage of a favourable exchange rate and enjoying eccentric company.
George Gershwin was on both sides of this Jazz Age exchange. In March 1928, he met Maurice Ravel at the French composer’s 53rd birthday party in New York—an event captured in a famous photo, and later dramatised in the 1945 film Rhapsody in Blue with the quip:
Gershwin: Monsieur Ravel, how much I’d like to study with you.
Ravel: If you study with me, you will only write second-rate Ravel instead of first-rate Gershwin.
Ravel was touring the United States, and Gershwin was about to embark on three months in Europe. He was a celebrity with Broadway successes and Rhapsody in Blue already in his portfolio; Irving Berlin called him “the only songwriter I know who became a composer.”
The first kernel of the symphonic poem An American in Paris came from a previous European trip, in 1926, that inspired a sketch labelled “Very Parisienne.” The second kernel was his discovery of French taxi-horns, which he picked up in a Paris automobile shop and added to his instrumentation. He worked on the piece in Europe through most of 1928, and it premiered on December 13 of that year at Carnegie Hall with Walter Damrosch
leading the New York Philharmonic. Unlike Rhapsody in Blue, Gershwin orchestrated the work himself, adding touches of French impressionist style.
Perhaps a bit self-seriously, Gershwin described his intent:
An American in Paris is an attempted reconciliation between two opposing schools of musical thought … It is program-music in that it engages to tell an emotional narrative; to convey, in terms of sound, the successive emotional reactions experienced by a Yankee Tourist adrift in the City of Light. It is absolute music as well, in that its structure is determined by considerations musical rather than literary or dramatic. The piece, while not in strict sonata form, resembles an extended symphonic movement in that it announces, develops, combines and recapitulates definite themes.
But Gershwin’s colleague, the composer and writer Deems Taylor, embellished the story in his program note for the premiere. In this telling, “You are to imagine, then, an American, visiting Paris, swinging down the ChampsElysees on a mild, sunny morning in May or June.” The American is amused by the taxicabs, the old-fashioned music of a café, and something going on at a church or the Grand Palais. He crosses the Seine to the Left Bank “where so many Americans foregather,” and gets a little drunk on pastis.
At this point, according to Taylor, “the orchestra introduces an unhallowed episode. Suffice it to say that a solo violin approaches our hero (in the soprano register) and addresses him in the most charming broken English.” But the tourist is getting homesick, and “realises suddenly, overwhelmingly, that he does not belong to this place, that he is the most wretched creature in all the world, a foreigner.” The music turns more American with references to
the blues and the rollicking Charleston dance. But when the tourist meets a fellow American, the “voluble, gusty, wise-cracking orchestra proceeds to demonstrate at some length that it’s always fair weather when two Americans get together, no matter where.” His mood lifted, the tourist “in a riotous finale decides to make a night of it. It will be great to get home but meanwhile, this is Paris!”
© Benjamin Pesetsky 2024
INTRODUCING THE Jaime Martín Martini...bottled. A dry, aromatic and savoury martini with a spanish twist..
MSO PATRON
Her Excellency Professor, the Honourable
Margaret Gardner AC, Governor of Victoria
CHAIRMAN’S CIRCLE
The Gandel Foundation
The Gross Foundation
Di Jameson OAM and Frank Mercurio
Harold Mitchell Foundation
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Anonymous (1)
Concertmaster Chair
David Li AM and Angela Li
Cybec Assistant Conductor Chair
Leonard Weiss Cybec Foundation
Assistant Concertmaster
Tair Khisambeev
Di Jameson OAM and Frank Mercurio
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Naomi Dodd
Cybec Foundation
PROGRAM BENEFACTORS
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Leith Charitable Trust, Hume City Council
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ASSOCIATE PATRONS $2,500+
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Peter and Carolyn Rendit
James Ring
Tom and Elizabeth Romanowski
Liliane Rusek and Alexander Ushakoff
Jeffrey Sher KC and Diana Sher OAM
Steinicke Family
Caroline Stuart
Robert and Diana Wilson
Shirley and Jeffrey Zajac
Anonymous (4)
Dr Sally Adams
Helena Anderson
Margaret Astbury
Robbie Barker
Justine Battistella
Michael Bowles & Alma Gill
Allen and Kathryn Bloom
Joyce Bown
Youth Music Foundation
Professor Ian Brighthope
Miranda Brockman
Drs John D L Brookes and Lucy V Hanlon
Stuart Brown
Suzie Brown OAM and the late
Harvey Brown
Jill and Christopher Buckley
Dr Robin Burns and Dr Roger Douglas
Shayna Burns
Ronald and Kate Burnstein
Peter A Caldwell
Josh Chye
Jessica Agoston Cleary
Breen Creighton and Elsbeth Hadenfeldt
Alexandra Champion de Crespigny
Mrs Nola Daley
Panch Das and Laurel Young-Das
Caroline Davies
Natasha Davies, for the Trikojus Education Fund
Rick and Sue Deering
John and Anne Duncan
Jane Edmanson OAM
Diane Fisher
Grant Fisher and Helen Bird
Alex Forrest
Chris Freelance
Applebay Pty Ltd
David and Esther Frenkiel
Mary Gaidzkar
Simon Gaites
Anthony Garvey and Estelle O’Callaghan
David I Gibbs AM and Susie O’Neill
Sonia Gilderdale
Dr Celia Godfrey
Dr Marged Goode
Hilary Hall in memory of Wilma Collie
David Hardy
Tilda and the late Brian Haughney
Cathy Henry
Dr Jennifer Henry
Anthony and Karen Ho
Rod Home
Lorraine Hook
Jenny and Peter Hordern
Katherine Horwood
Penelope Hughes
Jordan Janssen
Shyama Jayaswal
Basil and Rita Jenkins
Jane Jenkins
Emma Johnson
Wendy Johnson
Sue Johnston
John Kaufman
Angela Kayser
Drs Bruce and Natalie Kellett
Dr Anne Kennedy
Akira Kikkawa
Dr Judith Kinnear
Dr Richard Knafelc and Mr Grevis Beard
Tim Knaggs
Professor David Knowles and Dr Anne McLachlan
Dr Jerry Koliha and Marlene Krelle
Jane Kunstler
Kerry Landman
Janet and Ross Lapworth
Bryan Lawrence
Lesley McMullin Foundation
Dr Jenny Lewis
Phil Lewis
Dr Kin Liu
Andrew Lockwood
Elizabeth H Loftus
Chris and Anna Long
John MacLeod
Wayne McDonald and Kay Schroer
Lois McKay
Dr Eric Meadows
Professor Geoffrey Metz
Sylvia Miller
Ian Morrey and Geoffrey Minter
Dr Anthony and Dr Anna Morton
Barry Mowszowski
Dr Judith S Nimmo
Laurence O’Keefe and Christopher James
Susan Pelka
Ian Penboss
Kerryn Pratchett
Peter Priest
John Prokupets
Professor Charles Qin OAM and Kate Ritchie
Eli and Lorraine Raskin
Roger Parker and Ruth Parker
Dr Peter Rogers and Cathy Rogers OAM
Dr Ronald and Elizabeth Rosanove
Marie Rowland
Viorica Samson
Marshall Segan in memory of Berek Segan
OBE and Marysia Segan
P Shore
Janet and Alex Starr
Dr Peter Strickland
Dr Joel Symons and Liora Symons
Russell Taylor and Tara Obeyesekere
Geoffrey Thomlinson
Frank Tisher OAM and Dr Miriam Tisher
Andrew and Penny Torok
Christina Turner
Ann and Larry Turner
Sandra and the late Leon Velik
Jayde Walker
Edward and Paddy White
Nic and Ann Willcock
Lorraine Woolley
Dr Kelly and Dr Heathcote Wright
George Yeung
Demetrio Zema
Anonymous (14)
OVERTURE PATRONS $500+
Jane Allan and Mark Redmond
Mario M Anders
Jenny Anderson
Dr Judith Armstrong and Robyn Dalziel
Doris Au
Lyn Bailey
Mr Robin Batterham
Dr William Birch AM
Richard Bolitho
Dr Robert Brook
Elizabeth Brown
Roger and Coll Buckle
Daniel Bushaway
Jungpin Chen
Dr John Collins
Gregory Crew
Sue Cummings
Oliver and Matilda Daly
Suzanne Dembo
Carol des Cognets
Bruce Dudon
Margaret Flatman
Brian Florence
M C Friday
David and Geraldine Glenny
Hugo and Diane Goetze
Louise Gourlay OAM
Christine Grenda
Dawn Hales
George Hampel AM KC and Felicity Hampel AM SC
John Hill
William Holder
Gillian Horwood
Noelle Howell and Judy Clezy
Oliver Hutton
Rob Jackson
Irene Kearsey & Michael Ridley
Peter Kempen AM
John Keys
Lesley King
Dr Kim Langfield-Smith
Pauline and David Lawton
Paschalina Leach
Kay Liu
David Loggia
Helen Maclean
Eleanor & Phillip Mancini
Joy Manners
Dr Morris and Helen Margolis
Sandra Masel in memory of Leigh Masel
Janice Mayfield
Gail McKay
Shirley A McKenzie
Alan Meads and Sandra Boon
Adrian and Louise Nelson
Marian Neumann
Ed Newbigin
Valerie Newman
Amanda O’Brien
Brendan O’Donnell
Jillian Pappas
Phil Parker
Sarah Patterson
The Hon Chris Pearce and Andrea Pearce
Peter Berry and Amanda Quirk
William Ramirez
Geoffrey Ravenscroft
Dr Christopher Rees
Professor John Rickard
Michael Riordan and Geoffrey Bush
Fred and Patricia Russell
Carolyn Sanders
Dr Marc Saunders
Dr Nora Scheinkestel
Julia Schlapp
Hon Jim Short and Jan Rothwell Short
Madeline Soloveychik
Tom Sykes
Allison Taylor
Reverend Angela Thomas
Mely Tjandra
Chris and Helen Trueman
Rosemary Warnock
Amanda Watson
Michael Whishaw
Deborah and Dr Kevin Whithear OAM
Charles and Jill Wright
Anonymous (13)
FUTURE MSO ($1,000 +)
Justine Battistella
Shayna Burns
Jessica Agoston Cleary
Alexandra Champion de Crespigny
Josh Chye
Barry Mowszowski
Jayde Walker
Demetrio Zema
Jenny Anderson
David Angelovich
Lesley Bawden
Peter Berry and Amanda Quirk
Joyce Bown
Patricia A Breslin
Jenny Brukner and the late John Brukner
Peter A Caldwell
Luci and Ron Chambers
Sandra Dent
Sophie E Dougall in memory of Libby Harold
Alan Egan JP
Gunta Eglite
Marguerite Garnon-Williams
Dr Clem Gruen and Dr Rhyl Wade
Louis J Hamon OAM
Charles Hardman and Julianne Bambacas
Carol Hay
Dr Jennifer Henry
Graham Hogarth
Rod Home
Lyndon Horsburgh
Katherine Horwood
Tony Howe
Lindsay and Michael Jacombs
Laurence O’Keefe and Christopher James
John Jones
Pauline and David Lawton
Robyn and Maurice Lichter
Christopher Menz and Peter Rose
Cameron Mowat
Laurence O’Keefe and Christopher James
David Orr
Matthew O’Sullivan
Rosia Pasteur
Penny Rawlins
Margaret Riches
Anne Roussac-Hoyne and Neil Roussac
Michael Ryan and Wendy Mead
Anne Kieni Serpell and Andrew Serpell
Jennifer Shepherd
Suzette Sherazee
Professors Gabriela and George Stephenson
Pamela Swansson
Tam Vu and Dr Cherilyn Tillman
Mr and Mrs R P Trebilcock
Peter and the late Elizabeth Turner
Michael Ullmer AO
The Hon Rosemary Varty
Francis Vergona
Terry Wills Cooke OAM and the late Marian Wills Cooke
Mark Young
Anonymous (23)
The MSO gratefully acknowledges the support of the following Estates:
Norma Ruth Atwell
Angela Beagley
Barbara Bobbe
Michael Francois Boyt
Christine Mary Bridgart
Margaret Anne Brien
Ken Bullen
Deidre and Malcolm Carkeek
The Cuming Bequest
Margaret Davies
Blair Doig Dixon
Neilma Gantner
Angela Felicity Glover
The Hon Dr Alan Goldberg AO QC
Derek John Grantham
Delina Victoria Schembri-Hardy
Enid Florence Hookey
Gwen Hunt
Family and Friends of James Jacoby
Audrey Jenkins
Joan Jones
Pauline Marie Johnston
Christine Mary Kellam
C P Kemp
Jennifer Selina Laurent
Sylvia Rose Lavelle
Peter Forbes MacLaren
Joan Winsome Maslen
Lorraine Maxine Meldrum
Prof Andrew McCredie
Jean Moore
Joan P Robinson
Maxwell and Jill Schultz
Miss Sheila Scotter AM MBE
Marion A I H M Spence
Molly Stephens
Gwennyth St John
Halinka Tarczynska-Fiddian
Jennifer May Teague
Elisabeth Turner
Albert Henry Ullin
Jean Tweedie
Herta and Fred B Vogel
Dorothy Wood
Joyce Winsome Woodroffe
COMMISSIONING CIRCLE
Cecilie Hall and the Late Hon Michael Watt KC
Tim and Lyn Edward
Weis Family
FIRST NATIONS CIRCLE
John and Lorraine Bates
Colin Golvan AM KC and Dr Deborah Golvan
Sascha O. Becker
Maestro Jaime Martín
Elizabeth Proust AO and Brian Lawrence
Guy Ross
The Sage Foundation
The Kate and Stephen Shelmerdine Family Foundation
Michael Ullmer AO and Jenny Ullmer
Jason Yeap OAM – Mering Management Corporation
ADOPT A MUSICIAN
Shane Buggle and Rosie Callanan
Roger Young
Andrew Dudgeon AM
Rohan de Korte, Philippa West
Tim and Lyn Edward
John Arcaro
Dr John and Diana Frew
Rosie Turner
Sophie Galaise and Clarence Fraser
Stephen Newton
Dr Mary-Jane Gething AO
Monica Curro
The Gross Foundation
Matthew Tomkins
Dr Clem Gruen and Dr Rhyl Wade
Robert Cossom
Cecilie Hall and the late Hon Michael Watt KC
Saul Lewis
Nereda Hanlon and Michael Hanlon AM
Abbey Edlin
David Horowicz
Anne Marie Johnson
Dr Harry Imber
Sarah Curro, Jack Schiller
Margaret Jackson AC
Nicolas Fleury
Di Jameson OAM and Frank Mercurio
Elina Fashki, Benjamin Hanlon, Tair Khisambeev, Christopher Moore
Elaine and Peter Kempen AM
Rebecca Proietto
The late Dr Elizabeth A Lewis AM
Anthony Chataway
David Li AM and Angela Li
Concermaster Chair
Rosemary and the late Douglas Meagher
Craig Hill
Gary McPherson
Rachel Shaw
Anne Neil
Eleanor Mancini
Newton Family in memory of Rae Rothfield
Cong Gu
The Rosemary Norman Foundation
Ann Blackburn
Andrew and Judy Rogers
Michelle Wood
Glenn Sedgwick
Tiffany Cheng, Shane Hooton
Dr Martin Tymms and Patricia Nilsson
Natasha Thomas
Anonymous
Prudence Davis
Anonymous
Rachael Tobin
HONORARY APPOINTMENTS
Life Members
John Gandel AC and Pauline Gandel AC
Sir Elton John CBE
Lady Primrose Potter AC CMRI
Jeanne Pratt AC
Michael Ullmer AO and Jenny Ullmer
Anonymous
MSO Ambassador
Geoffrey Rush AC
The MSO honours the memory of Life Members
Marc Besen AC
Mrs Eva Besen AO
John Brockman OAM
The Honourable Alan Goldberg AO QC
Harold Mitchell AC
Roger Riordan AM
Ila Vanrenen
MSO ARTISTIC FAMILY
Jaime Martín
Chief Conductor
Benjamin Northey
Principal Conductor
Artistic Advisor – Learning and Engagement
Leonard Weiss
Cybec Assistant Conductor
Sir Andrew Davis CBE
Conductor Laureate
Hiroyuki Iwaki †
Conductor Laureate (1974–2006)
Warren Trevelyan-Jones
MSO Chorus Director
Erin Helyard
Artist in Residence
Karen Kyriakou
Artist in Residence, Learning and Engagement
Christian Li
Young Artist in Association
Katy Abbott
Composer in Residence
Naomi Dodd
Cybec Young Composer in Residence
Deborah Cheetham Fraillon AO
First Nations Creative Chair
Xian Zhang
East meets West Ambassador
Artistic Ambassadors
Tan Dun
Lu Siqing
Chairman
David Li AM
Co-Deputy Chairs
Margaret Jackson AC
Di Jameson OAM
Managing Director
Sophie Galaise
Board Directors
Shane Buggle
Andrew Dudgeon AM
Martin Foley
Lorraine Hook
Gary McPherson
Farrel Meltzer
Edgar Myer
Glenn Sedgwick
Mary Waldron
Company Secretary
Demetrio Zema
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)
Thank
PRINCIPAL PARTNER
INTERNATIONAL LAW FIRM PARTNER
GOVERNMENT PARTNERS
VENUE PARTNER
PREMIER PARTNERS
EDUCATION PARTNERS
ORCHESTRAL TRAINING PARTNER
MAJOR PARTNERS
SUPPORTING PARTNERS
Quest Southbank Ernst & Young
The Sir Andrew and Lady Fairley Foundation, The Angior Family Foundation, Flora & Frank Leith Trust, Perpetual Foundation – Alan (AGL) Shaw Endowment, Sidney Myer MSO Trust Fund
Freemasons Foundation Victoria
