Mozart and Tchaikovsky

MOZART AND TCHAIKOVSKY

23–24 MAY

Melbourne Town Hall & Geelong

ARTISTS

Melbourne Symphony Orchestra

Han-Na Chang conductor

Jack Schiller bassoon

PROGRAM

MOZART Eine kleine Nachtmusik [18']

MOZART Bassoon Concerto [18']

– Interval –

TCHAIKOVSKY Symphony No.5 [50']

Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham Fraillon AO, will be performed at these concerts.

CONCERT EVENTS

23 May at 6.30pm at Melbourne Town Hall.

Arrive early to enjoy a recital performed by Calvin Bowman on the mighty Grand Organ, free for ticket holders.

24 May at 6.45pm at Costa Hall Foyer

Want to learn more about the music being performed? Arrive early for an informative and entertaining pre-concert talk with MSO Principal Third Horn Saul Lewis.

These concerts may be recorded for future broadcast on MSO.LIVE

Duration: 2 hours including interval. Timings listed are approximate.

The Geelong Series is proudly supported by Geelong Friends of the MSO.

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.

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.

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

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.

MUSICIANS PERFORMING IN THIS CONCERT

FIRST VIOLINS

Sophie Rowell*

Guest Concertmaster

Peter Edwards

Assistant Principal

Margaret Billson and the late Ted Billson#

Peter Fellin

Deborah Goodall

Karla Hanna

Lorraine Hook

Kirstin Kenny

Eleanor Mancini

Anne Neil#

Mark Mogilevski

Michelle Ruffolo

Anna Skalova

Kathryn Taylor

SECOND VIOLINS

Matthew Tomkins

Principal

The Gross Foundation#

Mary Allison

Isin Cakmakçioglu

Tiffany Cheng

Glenn Sedgwick#

Freya Franzen

Andrew Hall

Robert Macindoe

Philippa West

Andrew Dudgeon AM#

Patrick Wong

Roger Young

Shane Buggle and Rosie Callanan#

Jos Jonker°

Jacqueline Edwards*

Correct as of 13 May 2024

Learn more about our musicians on the MSO website

VIOLAS

Christopher Moore

Principal

Di Jameson and Frank Mercurio#

Lauren Brigden

Katharine Brockman

Anthony Chataway

The late Dr Elizabeth E Lewis AM#

Aidan Filshie

Jenny Khafagi

Fiona Sargeant

Ceridwen Davies°

Karen Columbine*

CELLOS

David Berlin

Principal

Rebecca Proietto

Peter T Kempen AM#

Caleb Wong

Michelle Wood

Andrew and Judy Rogers#

Jonathan Chim*

Anna Pokorny*

DOUBLE BASSES

Stephen Newton

Acting Associate Principal

Sophie Galaise and Clarence Fraser#

Rohan Dasika

Acting Assistant Principal

Benjamin Hanlon

Di Jameson and Frank Mercurio#

Suzanne Lee

Caitlin Bass°

Emma Sullivan°

FLUTES

Prudence Davis Principal Anonymous#

Sarah Beggs

PICCOLO

Andrew Macleod Principal

OBOES

Emmanuel Cassimatis* Guest Principal

Ann Blackburn

CLARINETS

Philip Arkinstall

Associate Principal

Craig Hill

Rosemary and the late Douglas Meagher#

BASSOONS

Elise Millman Associate Principal

Natasha Thomas

Patricia Nilsson and Dr Martin Tymms#

HORNS

Nicolas Fleury Principal

Margaret Jackson AC#

Saul Lewis Principal Third

The late Hon Michael Watt KC and Cecilie Hall#

Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

Josiah Kop

Rachel Shaw

Gary McPherson#

TRUMPETS

Shane Hooton

Associate Principal

Glenn Sedgwick and Dr Anita Willaton#

Tim Keenihan*

TROMBONES

Richard Shirley

Mike Szabo Principal Bass Trombone

TUBA

Timothy Buzbee Principal

TIMPANI

Matthew Thomas Principal

* Denotes Guest Musician

^ Denotes MSO Academy

° Denotes Contract Musician

# Position supported by

HAN-NA CHANG CONDUCTOR

Han-Na Chang’s prestigious and unique international career spans three decades. 2024 marks the 30th Anniversary of her extraordinary debut on the international stages, when as an 11-year old, she won the First Prize at the Fifth International Rostropovich Cello Competition in Paris. After developing an intense interest in and deep passion for the symphonic repertoire during her late teens and early twenties, she made her formal conducting debut in 2007 and has since focused her artistic output exclusively to conducting.

Han-Na Chang is the Artistic Leader and Chief Conductor of the Trondheim Symfoniorkester & Opera in Norway since 2017, and Erste Gastdirigentin of the Symphoniker Hamburg since 2022. In addition, she frequently guest conducts Oslo Philharmonic Orchestra, Rotterdam Philharmonic, Wiener Symphoniker, Sächsische Staatskapelle Dresden, WDR Sinfonieorchester Köln, Bamberger Symphoniker, Philharmonia Orchestra (UK), Royal Stockholm Philharmonic Orchestra, Royal Liverpool Philharmonic Orchestra, Minnesota Orchestra, Royal Scottish National Orchestra, Orchestra del Teatro di San Carlo di Napoli, Bruckner Orchester Linz, the Toronto, Gothenburg, Singapore, Tokyo, Cincinnati, St Louis, Indianapolis, Seattle, Vancouver and Detroit Symphony Orchestras.

Han-Na Chang was born in South Korea has studied at the Juilliard School in New York. Ms. Chang read Philosophy at Harvard University.

JACK SCHILLER BASSOON

Jack Schiller has been the Principal Bassoon of the Melbourne Symphony Orchestra since 2013. From 2008 he spent four years under the tutelage of Mark Gaydon (Adelaide Symphony Orchestra), including two years of study at the Elder Conservatorium of Music. During this time he was a member of the Australian Youth Orchestra and attended National Music Camp.

In 2012 he took up a scholarship at the Australian National Academy of Music, studying with Elise Millman (Melbourne Symphony Orchestra). During his time at the academy Jack won the ANAM Concerto Competition, performing with the Tasmanian Symphony Orchestra. He also won the in-house chamber music competition and was awarded the Director’s Prize for outstanding achievement by a leaving student. After completing his studies at ANAM, Jack took up a contract with the Sydney Symphony Orchestra as Associate Principal Bassoon and a position in the orchestra’s Fellowship program under the mentorship of Matthew Wilkie (SSO).

Outside of the orchestra Jack regularly collaborates with colleagues and friends to play chamber music including being a founding member of the Melbourne Ensemble. He has performed at Musica Viva’s Huntington Estate Music Festival, the Australian Festival of Chamber Music in Townsville, Music By the Springs (Hepburn Springs), the Utzon Room and at the Ukaria Cultural Centre. As soloist, Jack has performed with the MSO, Melbourne Chamber Orchestra as well as the Tasmanian Symphony Orchestra and Orchestra Victoria. He has also been a part of a number of premieres including Of Paradise Lost, a concerto written for Jack and the MSO by Matt Laing and The Song of the Wombat, a solo work by Rachel Bruerville.

Help nurture a vibrant MSO

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PROGRAM NOTES

WOLFGANG AMADEUS

MOZART (1756–1791)

Serenade in G, K.525 (‘Eine kleine Nachtmusik ’)

I. Allegro

II. Romanze (Andante)

III. Menuetto (Allegretto)

IV. Rondo (Allegro)

Has there ever been a composer equally at home in the gossamer grace of a midsummer night’s serenade, on one hand, and in the profoundest probings of the human heart on the other? It is a measure of Mozart’s scope that he could turn, in the middle of composing the second act of his almost Shakespearean tragi-comedy, Don Giovanni, to one of the lightest, most beguiling of all his scores, Eine kleine Nachtmusik.

Mozart’s autograph is dated August 10, 1787. We know that Mozart was in Vienna but nothing more of the circumstances of composition. Eine kleine Nachtmusik, ‘a little night music’, is the German for a small serenade. But there is more than the German title to distinguish it from the earlier serenades and divertimenti which may have served equally well as dinner music for the Archbishop of Salzburg, or as summer evening open-air entertainment. The winds which figured so prominently in the earlier serenades, and which are so suited to open-air music, are missing here.

Mozart’s list of his own works shows that his kleine Nachtmusik was probably intended for a quintet of solo strings, and originally had five movements, including two minuets. The minuet which originally came in second place, between the Allegro and the Romanze,

seems to have disappeared sometime before the year 1800. In recent years, however, attempts have been made to supply this missing minuet, using other minuets by Mozart which seem likely candidates. Nevertheless, this Serenade is still usually heard as it came down to us, in four movements. It resembles, outwardly at least, an unpretentious symphony of the period of Mozart’s youth, and can be appropriately played by a chamber orchestra.

Allegro

The graceful opening theme, which is the principal theme of the movement, could hardly be simpler or more transparent in its classical harmonic balance. Yet it has an impetus which carries us forward. As so often in Mozart, he uses the familiar melodic turns, the harmonic commonplaces of his day, with inimitable freshness. An especially telling example is the closing theme of this tiny exposition, a whispering phrase with repeated notes and trills for the first violin, which might almost have been written by half a dozen late 18th-century composers—yet not quite. Indeed, it is this whispering, chuckling fragment which serves Mozart for some of the most delicate surprises in his brief development section.

Romanze (Andante)

The mood is more tender in the lyric slow movement. The title, Romanze, usually referred to a short song of sentimental character, but was occasionally used by Mozart and Beethoven for instrumental movements of especial delicacy. Here, the form is rather like a very free set of variations on the opening two-part strain.

Menuetto (Allegro)

The charm of the surviving minuet lies in part in its brevity and simplicity. The trio section, marked sotto voce, has a flowing line of a grace remarkable even for Mozart.

Rondo (Allegro)

The skipping refrain of the rondo is a tune which, once heard, is hard to forget. It was Mozart’s older friend, Haydn, who first developed this ingenious combination of rondo and sonata forms which so enriched his and Mozart’s instrumental music. Here Mozart fuses the two forms with a seeming simplicity which was one of his special gifts and which has endeared this ‘little serenade’ to generations of admirers.

Adapted from an annotation by Edward Downes

WOLFGANG AMADEUS MOZART

Bassoon Concerto in B flat, K.191

I. Allegro

II. Andante ma adagio

III. Rondo (Tempo di menuetto)

Jack Schiller bassoon

Mozart completed his Bassoon Concerto K.191 on 4 June 1774, when he was 18 years old. This was one of his earliest concertos, and his first for a wind instrument. Mozart received a commission from an amateur bassoonist, Baron Thaddäus von Dürnitz of Munich. Some sources suggest that Dürnitz ordered five bassoon concertos, and six piano sonatas (the Baron was also a pianist). Mozart completed for Dürnitz the sonata for piano (K.284), and one for two bassoons (now known in its published version for cello and bassoon, K.292). If indeed he did complete the bassoon concertos, at least three of them are lost, and the authenticity of another is doubtful.

Modern scholars also believe that the bassoon concerto which is known to be definitely by Mozart was not written for Dürnitz. The concerto’s solo writing certainly makes no concessions to amateurism. One of its leading modern interpreters, Milan Turkovic,

observes that it must have seemed a bold composition to contemporary bassoonists, and it exploits all the notes available on the instrument at that time—a five-keyed bassoon requiring complicated fingering. Mozart must have heard it played with virtuosity, because this was a period when notable soloists on wind instruments were emerging. Mozart’s concerto remains satisfying to players with more userfriendly instruments, and is still the most often played bassoon concerto.

The bassoon has acquired a reputation for jocularity, and there is indeed something humorous in its wide leaps from register to contrasting register, and the plaintiveness of its tone in its higher reaches. Mozart does not miss the possibilities this offers, but he is also fully awake to the expressiveness of the bassoon, liberated for once from having to reinforce the bass line in the orchestra. He exploits the full range of the instrument, and often makes it sing eloquently in its tenor register.

Writing for solo bassoon and orchestra presents some challenges, because the solo instrument’s natural register lies in the middle range, so that the orchestral accompaniment must confine itself to the bass and treble parts, leaving the middle as clear as possible. Mozart, as his biographer Alfred Einstein has written, always moved comfortably and freely within any limitations, and turned them to positive advantage. Here he employs only strings, oboes and horns. He reserves the use of the full orchestra for those moments when the bassoon is silent. F major is the most natural key for the bassoon, and Mozart resorts to it in the slow movement. The key of the flanking movements, however, B flat, brings into play the highest and the lowest notes available on the bassoon of the time, and Mozart goes to both extremes, though he always approaches the top B flat with a rising scale rather than a leap. The

key of B flat, as will be heard at the very beginning, puts the orchestral horns very high in their range, keeping them out of the bassoon territory.

The first movement is the most ambitious: the orchestra providing quite a powerful framework for the bassoon’s leaps and runs. The second movement makes the most of the soloist’s capacity for singing cantabile. With phrases prophetic of the Countess’ aria ‘Porgi amor’ from The Marriage of Figaro the bassoon sings a romance in tones described by the English critic Michael Whewell as those of ‘a superhuman baritone ranging from deep Russian bass to the coolest falsetto’. The finale is a rondo minuet. The bassoon provides the episodes between the main statements of the rondo theme, varying the theme, but only once, towards the end, playing the theme itself.

David Garrett © 2003

PYOTR ILYICH TCHAIKOVSKY (1840–1893)

Symphony No.5 in E minor, Op.64

I. Andante – Allegro con anime

II. Andante cantabile, con alcuna licenza

III. Valse (Allegro moderato)

IV. Finale (Andante maestoso –Allegro vivace)

After completing his Fourth Symphony (1877), Tchaikovsky wrote to his former pupil Sergey Taneyev: ‘I should be sorry if symphonies that mean nothing should flow from my pen.’ He insisted that the Fourth definitely followed a ‘program’, even though, like Beethoven’s Fifth Symphony on which he had partly modelled the work, it could not be expressed in words. Circumstantial evidence suggests that Tchaikovsky’s own Fifth Symphony, composed in summer 1888, likewise could not ‘mean nothing’, and even if a precise meaning

will probably never emerge, Tchaikovsky did leave clues as to the direction of his thoughts.

Fate and providence were certainly on his mind, having in mid-1887 spent two distressing months at the bedside of a dying friend. Later in his sketchbook he verbally outlined a first movement whose slow introduction began with ‘total submission to fate’, followed by an allegro that introduced ‘murmurs, doubts, laments, reproaches’ before considering succumbing to ‘the embrace of faith’. He described this as ‘a wonderful program, if only it can be fulfilled’. Although no irrefutable evidence links this plan directly with the 1888 symphony, the Fifth’s main theme does lend itself to a musical personification of grim fate (in its minor form) and of beneficent providence (in its major form), and a journey from the first to the second is a plausible program, if not for the opening movement (which ends in the minor), then for the whole work.

The main theme (played at the outset by solo clarinet) also pays homage to the man Tchaikovsky called ‘the father of Russian music’, Mikhail Glinka. He borrowed the germinal first eight-note phrase from Glinka’s opera A Life for the Czar, where it opens the second half of a melody sung in succession by all three principal characters in the first act trio. But Tchaikovsky develops Glinka’s melodic fragment (first sung to the words ‘Do not turn to sorrow’) into an entirely new motto theme whose subliminal transformations and literal reprises bind the symphony’s four movements together. The first transformation is into the dancelike theme of the Allegro con anima announced by clarinet and bassoon.

The horn melody in the second movement is one of the most beautiful in all of Tchaikovsky’s music. He actually scribbled on a sketch of this melody

(in French): ‘I love you, my love!’ But it is more than just a love theme; it, too, is subtly related to the motto (of the motto’s first eight notes, it is a varied reworking of the last five). This connection is made explicit when the undisguised motto returns, portentously with trumpets and timpani, just before the reprise of the love theme.

Tchaikovsky called the third movement a ‘waltz’, a modestly understated example compared with his great ballet waltzes, but one whose easy mood makes it a perfect structural foil to the slow movement’s passionate intensity. It may well be significant that he crafted the tune out of snippets of a Tuscan folksong, called La Pimpinella, that he heard in Florence in 1877, sung by (as he noted) a ‘positively beautiful’ young (male) street-singer. Certainly significant, the waltz tune also audibly echoes the rhythm of the preceding movement’s soulful horn theme, of which it is essentially a faster, lighter reworking. The same rhythm also reappears in the sinuously exotic subsidiary tune introduced by the bassoon. But only once does the motto itself intrude on this pleasant reverie, from clarinets and bassoons, right at the movement’s close.

The motto returns fully, in major mode, as a solemn march, introducing the fourth movement, sumptuously scored with all the violins playing down low in unison with the cellos, passing next to the woodwinds, before trumpets and timpani signal the imminent Allegro vivace. Tchaikovsky energises the motto’s second, falling-scale element to create a new minor-key theme that launches further transformations and combinations of germinal fragments, underpinned by the quick tick-tock of bassoons, timpani and basses, plateauing out on a brilliantly shrill major-key woodwind chorus. Winding down and then up again through more

furious returns of the minor-key theme, a massive climax builds, breaking back into the now almost unbearably splendid march, the motto’s apotheosis capped at the last possible moment by a trumpet reprise of the first movement’s allegro theme.

© Graeme Skinner 2014

SUPPORTERS

MSO PATRON

Her Excellency Professor, the Honourable

Margaret Gardner AC, Governor of Victoria

CHAIRMAN’S CIRCLE

The Gandel Foundation

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Di Jameson OAM and Frank Mercurio

Harold Mitchell Foundation

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Anonymous (1)

ARTIST CHAIR BENEFACTORS

Concertmaster Chair

David Li AM and Angela Li

Cybec Assistant Conductor Chair

Leonard Weiss

Cybec Foundation

Acting Associate Concertmaster

Tair Khisambeev

Di Jameson OAM and Frank Mercurio

Cybec Young Composer in Residence

Naomi Dodd

Cybec Foundation

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

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C.F. Yeung & Family Philanthropic Fund

Demetrio Zema

(13)

OVERTURE PATRONS $500+

Jane Allan and Mark Redmond

Mario M Anders

Jenny Anderson

Doris Au

Lyn Bailey

Mr Robin Batterham

Peter Berry and Amanda Quirk

Dr William Birch AM

Richard Bolitho

Miranda Brockman

Dr Robert Brook

Roger and Coll Buckle

Daniel Bushaway

Jungpin Chen

Dr John Collins

Gregory Crew

Sue Cummings

Dr 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

Dr Jennifer Henry

William Holder

Gillian Horwood

Oliver Hutton

Rob Jackson

Wendy Johnson

Irene Kearsey & Michael Ridley

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

Morris and Helen Margolis

In memory of Leigh Masel

Janice Mayfield

Gail McKay

Shirley A McKenzie

Marie Misiurak

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

William Ramirez

Geoffrey Ravenscroft

Dr Christopher Rees

Professor John Rickard

Michael Riordan and Geoffrey Bush

Fred and Patricia Russell

Carolyn Sanders

Dr Marc Saunders

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

Adrian Wigney

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

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

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

Daphne White

Joyce Winsome Woodroffe

Dorothy Wood

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

ADOPT A MUSICIAN

Margaret Billson and the late Ted Billson

Peter Edwards

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

Peter T Kempen AM

Rebecca Proietto

The late Dr Elizabeth A Lewis AM

Anthony Chataway

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

Patricia Nilsson and Dr Martin Tymms

Natasha Thomas

Andrew and Judy Rogers

Michelle Wood

Glenn Sedgwick

Tiffany Cheng, Shane Hooton

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

The late Marc Besen AC and the late 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 (2013–2024)

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)

PRINCIPAL PARTNER

PREMIER PARTNERS

GOVERNMENT PARTNERS

INTERNATIONAL LAW FIRM PARTNER

ORCHESTRAL TRAINING PARTNER

SUPPORTING PARTNERS

VENUE PARTNER

MAJOR PARTNERS

EDUCATION PARTNERS

Quest Southbank Ernst & Young

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

East meets West Program Supporters

Consulate General of the People’s Republic of China in Melbourne PROGRAM SUPPORTERS

SUPPORTING PARTNERS

SUPPORTERS

Ministry of Culture and Tourism China

CONSORTIUM PARTNERS