American Stories

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CONCERT PROGRAM
11–15 APRIL Melbourne & Geelong AMERICAN STORIES BERNSTEIN, GERSHWIN AND MORE Quick Fix at Half Six is proudly presented by TarraWarra Estate MSO’s Geelong performance is supported by Creative Victoria, AWM Electrical, Freemasons Foundation Victoria, the Robert Salzer Foundation, the Angior Family Foundation and Geelong Friends of the MSO.

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ARTISTS

Melbourne Symphony Orchestra

Benjamin Northey conductor

Jonathon Ramsay trombone

PROGRAM

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.

ENHANCE YOUR EXPERIENCE

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.

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 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.

About Long Time Living Here

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.

Australian National Commission for UNESCO United Nations Educational, Scientific and Cultural Organization
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MELBOURNE SYMPHONY ORCHESTRA

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.

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MUSICIANS PERFORMING IN THIS CONCERT

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

AMERICAN STORIES: BERNSTEIN, GERSHWIN AND MORE | 11–15 April 6

FLUTES

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#

COR ANGLAIS

Rachel Curkpatrick° Acting Principal

CLARINETS

David Thomas Principal

Philip Arkinstall Associate Principal

Craig Hill

Rosemary and the late Douglas Meagher#

BASS CLARINET

Jonathan Craven Principal

BASSOONS

Jack Schiller

Principal

Dr Harry Imber#

Tasman Compton^

CONTRABASSOON

Brock Imison Principal

HORNS

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

TRUMPETS

Owen Morris Principal

Rosie Turner

John and Diana Frew#

Adam Davis^

TROMBONES

Mark Davidson

Principal

Richard Shirley

Mike Szabo

Principal Bass Trombone

TUBA

Timothy Buzbee Principal

TIMPANI

Matthew Thomas Principal

PERCUSSION

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

AMERICAN STORIES: BERNSTEIN, GERSHWIN AND MORE | 11–15 April 7

BENJAMIN NORTHEY CONDUCTOR

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.

AMERICAN STORIES: BERNSTEIN, GERSHWIN AND MORE | 11–15 April 8

JONATHON RAMSAY TROMBONE

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.

AMERICAN STORIES: BERNSTEIN, GERSHWIN AND MORE | 11–15 April 9

JOE CHINDAMO OAM COMPOSER

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.

AMERICAN STORIES: BERNSTEIN, GERSHWIN AND MORE | 11–15 April 10

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PROGRAM

NOTES

SAMUEL BARBER (1910–1981)

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.

JOE CHINDAMO (born 1961)

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

AMERICAN STORIES: BERNSTEIN, GERSHWIN AND MORE | 11–15 April 12

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

AMERICAN STORIES: BERNSTEIN, GERSHWIN AND MORE | 11–15 April 13

LEONARD BERNSTEIN (1918–1990)

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.

AMERICAN STORIES: BERNSTEIN, GERSHWIN AND MORE | 11–15 April 14

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

GEORGE GERSHWIN (1898–1937)

An American in Paris

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

AMERICAN STORIES: BERNSTEIN, GERSHWIN AND MORE | 11–15 April 15

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

AMERICAN STORIES: BERNSTEIN, GERSHWIN AND MORE | 11–15 April 16

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SUPPORTERS

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

Lady Primrose Potter AC CMRI

Cybec Foundation

The Pratt Foundation

The Ullmer Family Foundation

Anonymous (1)

ARTIST CHAIR BENEFACTORS

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

Cybec Young Composer in Residence

Naomi Dodd

Cybec Foundation

PROGRAM BENEFACTORS

Now & Forever Fund: International Engagement Gandel Foundation

Cybec 21st Century Australian Composers Program Cybec Foundation

Digital Transformation Perpetual Foundation – Alan (AGL) Shaw Endowment

First Nations Emerging Artist Program

The Ullmer Family Foundation

East meets West The Li Family Trust, National Foundation for Australia-China Relations

Community and Public Programs

AWM Electrical, City of Melbourne, Crown Resorts Foundation, Packer Family Foundation

Live Online and MSO Schools Crown Resorts Foundation, Packer Family Foundation

Student Subsidy Program Anonymous

MSO Academy Di Jameson OAM and Frank Mercurio, Mary Armour, Christopher Robinson in memory of Joan P Robinson

Jams in Schools Department of Education, Victoria, through the Strategic Partnerships Program, AWM Electrical, Marian and E.H. Flack Trust, Flora & Frank

Leith Charitable Trust, Hume City Council

Regional Touring Angior Family Foundation, AWM Electrical, Creative Victoria, Freemasons Foundation Victoria, Robert Salzer Foundation, The Sir Andrew & Lady Fairley Foundation

Sidney Myer Free Concerts Sidney Myer

MSO Trust Fund and the University of Melbourne, City of Melbourne Event Partnerships Program

PLATINUM PATRONS $100,000+

AWM Electrical

The Gandel Foundation

The Gross Foundation

Di Jameson OAM and Frank Mercurio

David Li AM and Angela Li

Lady Primrose Potter AC CMRI

Anonymous (1)

VIRTUOSO PATRONS $50,000+

Jolene S Coultas

Dr Harry Imber

Margaret Jackson AC

Packer Family Foundation

Ullmer Family Foundation

Weis Family

Anonymous (2)

IMPRESARIO PATRONS $20,000+

The Aranday Foundation

H Bentley

The Hogan Family Foundation

David Krasnostein AM and Pat Stragalinos

Lady Marigold Southey AC

Kim Williams AM

The Yulgilbar Foundation

Anonymous (2)

18
Supporters

MAESTRO PATRONS $10,000+

Christine and Mark Armour

Barbara Bell in memory of Elsa Bell

Margaret Billson and the late Ted Billson

Jannie Brown

Shane Buggle and Rosie Callanan

Krystyna Campbell-Pretty AM

Andrew Dudgeon AM

Jaan Enden

Kim and Robert Gearon

Dr Mary-Jane H Gething AO

Nereda Hanlon and Michael Hanlon AM

David Horowicz

David R Lloyd

Peter Lovell

Dr Ian Manning

Maestro Jaime Martín

Rosemary and the late Douglas Meagher

Farrel and Wendy Meltzer

Paul Noonan

Opalgate Foundation

Ian and Jeannie Paterson

Dr Hieu Pham and Graeme Campbell

Elizabeth Proust AO and Brian Lawrence

Yashian Schauble

The Sun Foundation

Gai and David Taylor

Athalie Williams and Tim Danielson

Lyn Williams AM

PRINCIPAL PATRONS $5,000+

Mary Armour

John and Lorraine Bates

Bodhi Education Fund

Julia and Jim Breen

Lynne Burgess

Ken Ong Chong OAM

John Coppock OAM and Lyn Coppock

Ann Darby in memory of Leslie J. Darby

Mary Davidson and the late Frederick Davidson AM

The Dimmick Charitable Trust

Tim and Lyn Edward

Equity Trustees

Bill Fleming

Dr John and Diana Frew

Sophie Galaise and Clarence Fraser

Carrillo Gantner AC and Ziyin Gantner

Dr Rhyl Wade and Dr Clem Gruen

Cecilie Hall and the late Hon Michael Watt KC

Louis J Hamon OAM

Merv Keehn and Sue Harlow

Elaine and Peter Kempen AM

Dr Alastair Jackson AM

John Jones

Suzanne Kirkham

Lucas Family Foundation

Dr Jane Mackenzie

Gary McPherson

The Mercer Family Foundation

Anne Neil in memory of Murray A. Neil

Newton Family in memory of Rae Rothfield

Bruce Parncutt AO

David Ponsford

Jan and Keith Richards

Professor Sam Ricketson and Dr Rosemary Ayton

Andrew and Judy Rogers

The Rosemary Norman Foundation

Guy Ross

Helen Silver AO and Harrison Young

Brian Snape AM

Dr Michael Soon

P & E Turner

Mary Waldron

Janet Whiting AM

Dawna Wright and Peter Riedel

Igor Zambelli

Anonymous (3)

ASSOCIATE PATRONS $2,500+

Carolyn Baker

Marlyn Bancroft and Peter Bancroft OAM

Sascha O Becker

Janet H Bell

Alan and Dr Jennifer Breschkin

Patricia Brockman

Nigel and Sheena Broughton

Dr Lynda Campbell

Oliver Carton

Janet Chauvel and the late Dr Richard Chauvel

19 Supporters

Sage Foundation

Kaye Cleary

Michael Davies and Drina Staples

Leo de Lange

Sandra Dent

Sophie E Dougall in memory of Libby Harold

Barry Fradkin OAM and Dr Pam Fradkin

Janette Gill

R Goldberg and Family

Goldschlager Family Charitable Foundation

Colin Golvan AM KC and Dr Deborah Golvan

Jennifer Gorog

C M Gray

Marshall Grosby and Margie Bromilow

Ian Kennedy AM & Dr Sandra Hacker AO

Susan and Gary Hearst

Dr Keith Higgins and Dr Jane Joshi

Hartmut and Ruth Hofmann

Doug Hooley

Gillian Hund OAM and Michael Hund

Geoff and Denise Illing

Paul and Amy Jasper

Sandy Jenkins

Ann Lahore

Mrs Qian Li

Carolynne Marks

Margaret and John Mason OAM

Ian McDonald

H E McKenzie

Dr Isabel McLean

Christopher Menz and Peter Rose

Ian Merrylees

Dr Paul Nisselle AM

Alan and Dorothy Pattison

Ruth and Ralph Renard

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)

PLAYER PATRONS ($1,000+)

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

20
Supporters

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

21 Supporters

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

22 Supporters

MSO GUARDIANS

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

23 Supporters

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

24
Supporters

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

MSO BOARD

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)

25 Supporters

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

you to our Partners

MEDIA AND BROADCAST PARTNERS

TRUSTS AND FOUNDATIONS

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

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