Brahms and Dvořák: Friends and Admirers

Artists

Melbourne Symphony Orchestra

Jaime Martín conductor

Javier Perianes piano

Program

BRAHMS Piano Concerto No.1

– INTERVAL –

DVOŘÁK Symphony No.6

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

Concert events

Pre-concert talk: 20 July at 6.45pm in Stalls Foyer, Level 2 at Hamer Hall.

21 July at 6.45pm at Robert Blackwood Hall.

22 July at 1.45pm in Stalls Foyer, Level 2 at Hamer Hall.

Want to learn more about the music being performed? Arrive early for an informative and entertaining pre-concert talk with composer and broadcaster Stéphanie Kabanyana Kanyandekwe.

In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.

Acknowledging Country

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.

from a land which has been nurtured by the traditional owners for more than 2000 generations. When we acknowledge country we pay respect to the land and to the people in equal measure.

As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music. In order to compose the music for this Acknowledgement of Country Project I have had the great privilege of working with no fewer than eleven ancient languages from the state of Victoria, including the language of my late Grandmother, Yorta Yorta woman Frances McGee. I pay my deepest respects to the elders and ancestors who are represented in these songs of acknowledgement and to the language custodians who have shared their knowledge and expertise in providing each text.

I am so proud of the MSO for initiating this landmark project and grateful that they afforded me the opportunity to make this contribution to the ongoing quest of understanding our belonging in this land.

— Deborah Cheetham Fraillon AO

Melbourne Symphony Orchestra

Established in 1906, the Melbourne Symphony Orchestra is Australia’s pre-eminent orchestra and a cornerstone of Victoria’s rich, cultural heritage.

Each year, the MSO engages with more than 5 million people, presenting in excess of 180 public events across live performances, TV, radio and online broadcasts, and via its online concert hall, MSO.LIVE, with audiences in 56 countries.

With a reputation for excellence, versatility and innovation, the MSO works with culturally diverse and First Nations leaders to build community and deliver music to people across Melbourne, the state of Victoria and around the world.

In 2023, the MSO’s Chief Conductor, Jaime Martín continues an exciting new phase in the Orchestra’s history. Maestro Martín joins an Artistic Family that includes Principal Guest Conductor, Xian Zhang, Principal Conductor in Residence, Benjamin Northey, Conductor Laureate, Sir Andrew Davis CBE, Cybec Assistant Conductor Fellow, Carlo Antonioli, MSO Chorus Director, Warren Trevelyan-Jones, Soloist in Residence, Siobhan Stagg, Composer in Residence, Mary Finsterer, Ensemble in Residence, Gondwana Voices, Cybec Young Composer in Residence, Melissa Douglas and Young 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.

BRAHMS AND DVOŘÁK: FRIENDS AND ADMIRERS

Musicians Performing in this Concert

FIRST VIOLINS

Natalie Chee*

Guest Concertmaster

Tair Khisambeev

Assistant Concertmaster

Di Jameson OAM and Frank Mercurio#

Peter Edwards

Assistant Principal

Kirsty Bremner

Sarah Curro

Peter Fellin

Deborah Goodall

Karla Hanna

Lorraine Hook

Kirstin Kenny

Eleanor Mancini

Anne Neil#

Mark Mogilevski

Susannah Ng*

Michelle Ruffolo

Kathryn Taylor

SECOND VIOLINS

Matthew Tomkins Principal

The Gross Foundation#

Robert Macindoe

Associate Principal

Monica Curro

Assistant Principal

Dr Mary-Jane Gething AO#

Mary Allison

Isin Cakmakçioglu

Jacqueline Edwards*

Freya Franzen

Cong Gu

Newton Family in memory of Rae Rothfield#

Andrew Hall

Ioana Tache*

Isy Wasserman

Philippa West

Andrew Dudgeon AM#

Patrick Wong

Hyon Ju Newman#

Roger Young

Shane Buggle and Rosie Callanan#

VIOLAS

Christopher Moore Principal

Di Jameson OAM and Frank Mercurio#

Merewyn Bramble*

Lauren Brigden

Anthony Chataway

Dr Elizabeth E Lewis AM#

Molly Collier-O’Boyle*

Karen Columbine*

Ceridwen Davies8

Gabrielle Halloran*

Fiona Sargeant

CELLOS

David Berlin Principal

Rachael Tobin

Associate Principal

Anonymous#

Rohan de Korte

Andrew Dudgeon AM#

Sarah Morse

Anna Pokorny*

Rebecca Proietto

Caleb Wong

Michelle Wood

Andrew and Judy Rogers#

DOUBLE BASSES

Jonathon Coco

Acting Principal

Caitlin Bass*

Rohan Dasika

Benjamin Hanlon

Di Jameson OAM and Frank Mercurio#

Suzanne Lee

Stephen Newton

Sophie Galaise and Clarence Fraser#

Emma Sullivan*

FLUTES

Prudence Davis Principal

Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs

Correct as of 10 July 2023

Learn more about our musicians on the MSO website

OBOES

Michael Pisani

Acting Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

CLARINETS

David Thomas

Principal

Oliver Crofts^

BASS CLARINET

Jon Craven

Principal

BASSOONS

Elise Millman

Associate Principal

CONTRABASSOON

Brock Imison

Principal

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#

Rebecca Luton

TRUMPETS

Shane Hooton

Associate Principal

Glenn Sedgwick and Dr Anita Willaton#

Rosie Turner

John and Diana Frew#

TROMBONES

Don Immel

Acting Principal

Richard Shirley

Mike Szabo

Principal Bass Trombone

TUBA

Timothy Buzbee Principal

PERCUSSION

Shaun Trubiano

Principal

John Arcaro

Tim and Lyn Edward#

Robert Cossom

Drs Rhyl Wade and Clem Gruen#

HARP

Yinuo Mu Principal

* Denotes Guest Musician # Position supported by

Jaime Martín conductor

Chief Conductor of the Melbourne Symphony Orchestra since 2022, Jaime Martín is also Chief Conductor of the National Symphony Orchestra (Ireland) and Music Director of the Los Angeles Chamber Orchestra. He is the Principal Guest Conductor of the Orquesta y Coro Nacionales de España (Spanish National Orchestra) for the 22/23 season and was Artistic Director and Principal Conductor of Gävle Symphony Orchestra from 2013 to 2022.

Having spent many years as a highly regarded flautist, Jaime turned to conducting full-time in 2013, and has become very quickly sought after at the highest level. Recent and future engagements include appearances with the London Symphony Orchestra, Dresden Philharmonic, Netherlands Philharmonic, Royal Stockholm Philharmonic, Colorado Symphony, Dallas Symphony, Antwerp Symphony, Orquesta Sinfónica y Coro de RTVE (ORTVE) and Galicia Symphony orchestras, as well as a nine-city European tour with the London Philharmonic Orchestra.

Martín is the Artistic Advisor and previous Artistic Director of the Santander Festival. He was also a founding member of the Orquestra de Cadaqués, where he was Chief Conductor from 2012 to 2019.

Javier Perianes piano

The international career of Javier Perianes has led him to perform in the most prestigious concert halls with the world’s foremost orchestras and celebrated conductors, including Daniel Barenboim, Gustavo Dudamel, Klaus Mäkelä, Gustavo Gimeno, Santtu-Matias Rouvali, Vladimir Jurowski, and François-Xavier Roth.

The 2022/23 season includes an array of high-profile concerts including debuts with Dallas Symphony, Melbourne Symphony Orchestra and Royal Liverpool Philharmonic Orchestra and returns to Budapest Festival Orchestra, Oslo Philharmonic, Los Angeles Philharmonic, Konzerthausorchester Berlin, Luxembourg, Comunitat Valenciana, Barcelona and Royal Philharmonic orchestras. Artist in Residence 22/23 with Orquesta Sinfónica de Galicia and Orquesta Sinfónica de Castilla y León.

Perianes frequently appears in recital across the globe, and is a keen chamber musician regularly collaborating with violist Tabea Zimmermann and the Quiroga Quartet, and appearing at Festivals such as the BBC Proms, Lucerne, Salzburg Whitsun, La Roque d’Anthéron, Grafenegg, Prague Spring, Ravello, and Blossom. This season he tours a programme titled Crossroads, featuring works by Clara and Robert Schumann, Brahms, and Granados’ Goyescas, with recitals at Berlin’s Boulez Saal, BeethovenHaus Bonn, Wigmore Hall, Rheingau Musik Festival, Sydney City Recital Hall, Milano, Madrid and Barcelona amongst others.

Previous seasons have included performances with Chicago, Boston, San Francisco, New York, Washington’s National Symphony, Cleveland Orchestra, Wiener Philhamoniker, London and Czech Philharmonic orchestras, Orchestre de Paris, and orchestras throughout Europe and Asia.

Recording exclusively for harmonia mundi, Perianes has a diverse discography ranging from Beethoven, Schubert, Grieg, Chopin, Debussy, Ravel and Bartók to Falla, Granados and Turina.

Guests of Note DINNER SERIES

Across three separate events, we warmly invite you to share an intimate evening of conversation, fine food, wine – and of course music! – with some of the biggest superstars from our 2023 Season.

Best of all, every ticket raises funds to support the Orchestra’s core artistic program – helping the MSO continue presenting the best artists, thrilling repertoire, and worldclass orchestral performances.

COMING UP

An evening with Jaime Martín & Javier Perianes

Saturday 22 July 2023

An evening with Benjamin Northey & Deborah Cheetham

Fraillon AO

Sunday 15 October 2023

For more information and to book your ticket, please scan the QR code or call MSO Philanthropy team on 03 8646 1551

Program Notes

JOHANNES BRAHMS (1833–1897)

Piano Concerto No.1 in D minor, Op.15

I. Maestoso

II. Adagio

III. Rondo (Allegro non troppo)

Javier Perianes piano

Robert Schumann had been the Romantic composer par excellence, cultivating the fragmentary, the poetic and the allusive while also contributing to those genres established by composers in the classical tradition. After his death in 1856 two roads diverged in German music: the ‘New German’ composers, led by Franz Liszt and in turn by Richard Wagner, composed the ‘music of the future’, avoiding or at least subverting the conventions of symphony and sonata with narrative or philosophical ‘programs’; in due course Brahms would come to occupy the position of antipope, breathing new life into the forms and genres of abstract music.

When Brahms’ First Piano Concerto appeared in January 1859 it shocked traditionalists in its scale and ferocity, but also because it blurred the distinction between symphony and concerto, and because of suspicions that it contained a program. The premiere in Hannover was received with polite confusion, one critic finding it ‘dry and difficult to understand’, but the performance in Leipzig a day or two later engendered frank hostility, and it is fair to say that Brahms was still less than confident in handling orchestration.

The work grew out of the Sonata for two pianos that Brahms worked on in the mid-1850s, which the Schumanns’ had encouraged him to orchestrate. Not surprisingly, Brahms, still in his early 20s, was influenced by the prevailing

currents of Romanticism and his music from this time contains more than its share of Sturm und Drang (storm and stress), which was carried over into the Concerto. Thanks partly to Joachim, though, a story grew up that the first movement of the Concerto enacted and registered Brahms’ reaction to Robert Schumann’s attempt to commit suicide by flinging himself into the Rhine at Düsseldorf. Be that as it may, the concerto has one of the most excoriating openings of any work – by Brahms or anyone else – with its powerful pedal note D that only just supports a massive superstructure of unstable harmony and arresting rhetorical motifs. This provides an introduction of some minutes’ duration – as in Beethoven’s Third Piano Concerto, there is the danger that listeners will forget that they are to hear a piano concerto – before the appearance of the soloist who, as Karl Geiringer has noted, is repeatedly given music ‘only remotely, if at all, connected to the material of the orchestral part’. Geiringer goes on to point out how this may derive from Brahms’ study of Baroque music, but the effect here is of titanic, and arch-Romantic, struggle between angst and brilliance.

The original two-piano sonata followed the first movement with a minor-key scherzo that Brahms omitted from the Concerto, though he did, some years later, use it as the basis for the sombre dance-like second movement of his German Requiem, ‘Denn alles Fleisch, es ist wie Gras’ (for all flesh is as grass). The remainder of the Concerto is all new material, and the manuscript of the Adagio originally bore the inscription Benedictus qui venit in nomine Domini (Blessed is he that comes in the name of the Lord); as Charles Rosen has noted, ‘the juncture of religion and music’ affects ‘even the piano concertos of Brahms’. The inscription was not included in the published score, but, writing to Clara Schumann about it in

BRAHMS AND DVOŘÁK: FRIENDS AND ADMIRERS

1856, Brahms said, ‘I am also painting a lovely portrait of you; it is to be the adagio.’ This suggests that the ‘blessed person’ is Clara, and the ‘Lord’ is Robert (whom Brahms occasionally referred to jokingly as ‘Mynheer Domine’) and his legacy. This is no less ‘Romantic’ than the opening movement, though of a quite different tenor and mood. The piano, perhaps representing Clara, has a more conventionally prominent role, though the movement is by no means a vehicle for bravura display.

If there is an accidental similarity to Beethoven’s Third Concerto at the outset, there is a more conscious one in the third movement, where Brahms seems to have used the form and proportions, and even, according to Jan Swafford, certain phrase structures of Beethoven’s finale to shape his own.

Brahms was wounded by the negative response to the piece, though aware of the role his orchestral inexperience played in its reception. It would be another 15 years before the next try.

© Gordon Kerry 2015

ANTONÍN DVOŘÁK (1841–1904)

Symphony No.6 in D, Op.60

I. Allegro non tanto

II. Adagio

III. Scherzo: Furiant (Presto)

IV. Finale (Allegro con spirito)

Dvořák composed his sixth symphony at age 39. Long designated ‘Number 1’ as the first to be published, this does indeed come first among the four unqualified masterpieces that crowned the Czech composer’s symphonic career, culminating within a dozen or so years in the universally acclaimed New World Symphony.

Five busy years of creative development had followed the composition of Dvořák’s Symphony No.5 in 1875, whilst the symphony lay unpublished and unperformed until as late as 1879. But also in 1879, Dvořák made his mark in Vienna. The Philharmonic performed his Third Slavonic Rhapsody with such success that Dvořák promised the conductor, Hans Richter, a new symphony for the following season. Thus, with a view to performance in Vienna at Christmastide 1880, the Sixth Symphony was composed between August and October of that year.

The Vienna Philharmonic did not give the scheduled premiere, however, allegedly due to anti-Czech sentiment. It was eventually performed in Prague, under Adolf Čech (who had premiered the Fifth Symphony), on 25 March 1881. Although Hans Richter admired the work and performed it many times, he was never to do so in Vienna.

Dvořák clearly intended a gesture of homage to his mentor Brahms in composing his new symphony in the same key as the latter’s Second Symphony, which Richter had premiered in Vienna just three years previously,

BRAHMS AND DVOŘÁK: FRIENDS AND ADMIRERS

and in similarly sunny vein. Horns at the beginning of both symphonies evoke a sense of arrival in the countryside and both final movements begin in understated fashion with their main themes seeming to be in search of properly grand orchestral robes.

But Dvořák is gratefully emulating Brahms, not imitating him. He speaks with his own voice. The freshness of his melodies and the richness of his orchestration, with its expressive use of winds and brass, are his own. In raising a popular Czech dance to symphonic status for the first time as his third movement, he ensures that his accents are unmistakably Czech.

In this symphony, the boy from a tiny village downstream from Prague who had struggled in the Czech capital to make his way in music, against family expectations that he would learn German and make a living in the butcher’s trade, was entering the symphonic big league. Indeed, with already more than twice as many symphonies under his belt as the more professionally cautious Brahms, Dvořák was well prepared to take on Vienna. Brahms, who had been instrumental as an adjudicator in the award of Austrian government scholarships to the desperately impoverished young Dvořák, and whose introduction to his own publisher had borne fruit in Dvořák’s hugely successful Slavonic Dances, would have been proud of his protégé’s symphonic prowess.

The principal subject of the first movement grows from a simple twonote figure exchanged nonchalantly between upper and lower woodwinds. It quickly blossoms into a lyrical melody, gains energy and momentum, and builds to a resplendent statement, grandioso, on the full orchestra. An easygoing horn melody over gaily dancing violins seems to promise a second subject expressive,

like the first, of the simple pleasures of the countryside. But it is short-lived. A calmly rising scale springboards the oboes into the disarmingly innocent melody that proves to be the second subject proper. All innocence is later dispelled, however, when the selfsame second subject brings the sonataform recapitulation to an end in a statement of immense power, leading immediately into a coda of mounting urgency and rhythmic elation. The entire brass section combines to celebrate the main theme one last time, in the peaceful aftermath of which the second subject suddenly returns and brings the movement quickly and firmly to a close.

In the opening of the slow movement, Dvořák recalls Beethoven at the equivalent point in his Ninth Symphony as, for a few bars, imitative woodwinds doodle reflectively on a tiny threenote phrase. But the long, lyrical string melody that grows out of the tiny phrase is pure Dvořák. It is virtually identical to one he had used a decade or more previously in an early string quartet (in B flat) - here salvaged from the oblivion to which Dvořák doubtless thought his then unpublished quartet was doomed.

This is an Adagio of nocturnal bliss. Dvořák alternates his idyllic main theme and its all-pervasive three-note motto with a yearning, increasingly passionate subject of repeatedly falling phrases. A dramatic outburst developed in a central episode from the opening motto figure briefly disturbs the calm. The main theme soaring mellifluously on flute stands out among many delicate and ingenious pieces of instrumentation as the movement moves towards a tranquil close.

It was in keeping with the optimistic mood of the symphony that Dvořák should choose as his scherzo movement an ebullient Czech dance, the furiant, which, following the classic furiant in

Smetana’s opera The Bartered Bride, he had used with great success in his Slavonic Dances. In no sense a ‘furious’ dance, the furiant expresses boldness or defiance through sharply accented rhythms in alternating duple and triple time. Dvořák’s central Trio section offers a complete break from the wild exuberance of the dance, a limpid oasis of calm allowing the piccolo briefly to indulge in flights of fancy. The movement was enthusiastically encored at its premiere in Prague.

If the furiant was a muscle-flexing display piece for frisky young men, the urge to dance seems to spread to everyone, young and old, in a finale which overflows with high spirits and good humour. In almost no time a genial melody in the strings is taken up by other instruments and loudly proclaimed by all with utmost enthusiasm. A skipping second subject on clarinet is welcomed to the celebration. All is developed properly according to sonata form, but joy is unconfined as the work proceeds to a presto coda and a hymn of ecstatic solemnity reflecting the splendour of the festivities.

Anthony Cane ©2009

CHAIRMAN’S CIRCLE

Mr Marc Besen AC and the late Mrs Eva Besen AO

Gandel Foundation

The Gross Foundation

Di Jameson OAM and Frank Mercurio

Harold Mitchell Foundation

Lady Potter AC CMRI

Cybec Foundation

The Pratt Foundation

The Ullmer Family Foundation

Anonymous

ARTIST CHAIR BENEFACTORS

Cybec Assistant Conductor Chair

Carlo Antonioli Cybec Foundation

Concertmaster Dale Barltrop

David Li AM and Angela Li

Assistant Concertmaster

Tair Khisambeev Di Jameson OAM and Frank Mercurio

Young Composer in Residence

Melissa Douglas Cybec Foundation

2023 Composer in Residence

Mary Finsterer Kim Williams AM

PROGRAM BENEFACTORS

MSO 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

MSO Live Online Crown Resorts Foundation, Packer Family Foundation

MSO Education Anonymous

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

MSO For Schools Crown Resorts

Foundation, Packer Family Foundation, Department of Education, Victoria, through the Strategic Partnerships Program

Melbourne Music Summit Department of Education, Victoria, through the Strategic Partnerships Program

MSO Regional Touring Angor Foundation, William & Lindsay Brodie Foundation

Creative Victoria, Freemasons Foundation

Victoria, Robert Salzer Foundation, The Sir Andrew & Lady Fairley Foundation

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Charitable Trust, Australian Decorative And Fine Arts Society, Anonymous

Sidney Myer Free Concerts Sidney Myer

MSO Trust Fund and the University of Melbourne

PLATINUM PATRONS $100,000+

Mr Marc Besen AC and the late Mrs Eva Besen AO

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VIRTUOSO PATRONS $50,000+

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Simon Gaites

David and Geraldine Glenny

Hugo and Diane Goetze

Louise Gourlay OAM

Jan and the late Robert Green

Christine Grenda

George Hampel AM KC and Felicity Hampel AM SC

Geoff Hayes

Jim Hickey

William Holder

Rod Home

R A Hook

Gillian Horwood

Geoff and Denise Illing

Wendy Johnson

Peter Kempen AM

John and Christine Keys

Belinda and Alexandra King

Dr Kim Langfield-Smith

Janet and Ross Lapworth

Pauline and David Lawton

Paschalina Leach

Dr Jenny Lewis

Sharon Li

Dr Susan Linton

The Podcast Reader

Morris and Helen Margolis

Janice Mayfield

Shirley A McKenzie

Dr Alan Meads and Sandra Boon

Marie Misiurak

Joan Mullumby

Valerie Newman

Dr Judith S Nimmo

Estelle O’Callaghan

Brendan O’Donnell

David Oppenheim

Sarah Patterson

Adriana and Sienna Pesavento

Geoffrey Ravenscroft

Alfonso Reina and Marjanne Rook

Professor John Rickard

Dr Anne Ryan

Viorica Samson

Carolyn Sanders

Dr Nora Scheinkestel

Julia Schlapp

Madeline Soloveychik

Dr Alex Starr

Dyan Stewart

Ruth Stringer

Tom Sykes

Reverend Angela Thomas

Mely Tjandra

Rosemary Warnock

Amanda Watson

Michael Whishaw

Deborah Whithear and Dr Kevin Whithear OAM

Dr Susan Yell

Anonymous (14)

CONDUCTOR’S CIRCLE

Jenny Anderson

David Angelovich

G C Bawden and L de Kievit

Lesley Bawden

Joyce Bown

Mrs Jenny Bruckner and the late Mr John Bruckner

Ken Bullen

Peter A Caldwell

Luci and Ron Chambers

Beryl Dean

Sandra Dent

Alan Egan JP

Gunta Eglite

Marguerite Garnon-Williams

Drs L C Gruen and R W Wade

Louis J Hamon AOM

Charles Hardman

Carol Hay

Jennifer Henry

Graham Hogarth

Rod Home

Lyndon Horsburgh

Tony Howe

Lindsay and Michael Jacombs

Laurence O’Keefe and Christopher James

John Jones

Grace Kass and the late George Kass

Sylvia Lavelle

Pauline and David Lawton

Cameron Mowat

Ruth Muir

David Orr

Matthew O’Sullivan

Rosia Pasteur

Penny Rawlins

Joan P Robinson

Anne Roussac-Hoyne and Neil Roussac

Michael Ryan and Wendy Mead

Andrew Serpell and Anne Kieni Serpell

Jennifer Shepherd

Suzette Sherazee

Dr Gabriela and Dr George Stephenson

Pamela Swansson

Lillian Tarry

Tam Vu and Dr Cherilyn Tillman

Mr and Mrs R P Trebilcock

Peter and Elisabeth Turner

Michael Ulmer AO

The Hon. Rosemary Varty

Terry Wills Cooke OAM and the late Marian Wills Cooke

Mark Young

Anonymous (19)

The MSO gratefully acknowledges the support of the following Estates:

Norma Ruth Atwell

Angela Beagley

Christine Mary Bridgart

The Cuming Bequest

Margaret Davies

Neilma Gantner

The Hon Dr Alan Goldberg AO QC

Enid Florence Hookey

Gwen Hunt

Family and Friends of James Jacoby

Audrey Jenkins

Joan Jones

Pauline Marie Johnston

C P Kemp

Peter Forbes MacLaren

Joan Winsome Maslen

Lorraine Maxine Meldrum

Prof Andrew McCredie

Jean Moore

Joan P Robinson

Maxwell Schultz

Miss Sheila Scotter AM MBE

Marion A I H M Spence

Molly Stephens

Gwennyth St John

Halinka Tarczynska-Fiddian

Jennifer May Teague

Albert Henry Ullin

Jean Tweedie

Herta and Fred B Vogel

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

The Kate and Stephen Shelmerdine Family Foundation

Michael Ullmer AO and Jenny Ullmer

Jason Yeap OAM – Mering Management Corporation

ADOPT A MUSICIAN

Mr Marc Besen AC and the late Mrs Eva Besen AO

Chief Conductor Jaime Martín

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

Margaret Jackson AC

Nicolas Fleury

Di Jameson OAM and Frank Mercurio

Elina Fashki, Benjamin Hanlon, Tair Khisambeev, Christopher Moore

Dr Elizabeth A Lewis AM

Anthony Chataway

David Li AM and Angela Li

Dale Barltrop

Gary McPherson

Rachel Shaw

Anne Neil

Eleanor Mancini

Hyon-Ju Newman

Patrick Wong

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

HONORARY APPOINTMENTS

Life Members

Mr Marc Besen AC

John Gandel AC and Pauline Gandel AC

Sir Elton John CBE

Harold Mitchell AC

Lady 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

Mrs Eva Besen AO

John Brockman OAM

The Honourable Alan Goldberg AO QC

Roger Riordan AM

Ila Vanrenen

MSO ARTISTIC FAMILY

Jaime Martín

Chief Conductor

Xian Zhang

Principal Guest Conductor

Benjamin Northey

Principal Conductor in Residence

Carlo Antonioli

Cybec Assistant Conductor

Sir Andrew Davis CBE

Conductor Laureate

Hiroyuki Iwaki †

Conductor Laureate (1974–2006)

Warren Trevelyan-Jones

MSO Chorus Director

Siobhan Stagg

Soloist in Residence

Gondwana Voices

Ensemble in Residence

Christian Li

Young Artist in Association

Mary Finsterer

Composer in Residence

Melissa Douglas

Cybec Young Composer in Residence

Christopher Moore

Creative Producer, MSO Chamber

Deborah Cheetham Fraillon AO

MSO First Nations Creative Chair

Dr Anita Collins

Creative Chair for Learning and Engagement

Artistic Ambassadors

Tan Dun

Lu Siqing

MSO BOARD

Chairman

David Li AM

Co-Deputy Chairs

Di Jameson

Helen Silver AO

Managing Director

Sophie Galaise

Board Directors

Shane Buggle

Andrew Dudgeon AM

Martin Foley

Lorraine Hook

Margaret Jackson AC

David Krasnostein AM

Gary McPherson

Farrel Meltzer

Edgar Myer

Glenn Sedgwick

Mary Waldron

Company Secretary

Oliver Carton

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

Education Partner

Major Partners

Orchestral Training

Partner

Government Partners

Venue Partner

Supporting Partners

Quest Southbank

Bows for Strings

Ernst & Young

Media and Broadcast Partners

Trusts and Foundations

The Sir Andrew and Lady Fairley Foundation, The Angior Family Foundation, The William and Lindsay Brodie Foundation, Flora & Frank Leith Trust, Perpetual Foundation – Alan (AGL) Shaw Endowment, Sidney Myer MSO Trust Fund