Sheku Kanneh-Mason Mid-Season Gala CONCERT PROGRAM Proudly presented by MSO Premier Partner Ryman Healthcare In association with Andrew McKinnon Presentations
30 JULY 2022 Hamer Hall, Arts Centre Melbourne
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Saturday 30 July / 7.30pm Arts Centre Melbourne, Hamer Hall Melbourne Symphony Orchestra Jaime Martín conductor Sheku Kanneh-Mason cello
Program ANNE BOYD At the Rising of the Sun SHOSTAKOVICH Cello Concerto No.2 DVOŘÁK Symphony No.9 From the New World
This concert may be recorded for future broadcast on MSO.LIVE.
Our thanks to Mr Marc Besen AC for printing tonight’s tribute and program in honour of his late wife, Mrs Eva Besen AC. Please note audience members are strongly recommended to wear face masks where 1.5m distancing is not possible, however wearing a mask is no longer a requirement for entry. Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham AO, will be performed at this concert. In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone. Running time: approx. 2 hours including interval
Our Artistic Family
Acknowledging Country In the first project of its kind in Australia, the MSO has developed a musical Acknowledgment of Country with music composed by Yorta Yorta composer Deborah Cheetham AO, featuring Indigenous languages from across Victoria. Generously supported by Helen Macpherson Smith Trust and the Commonwealth Government through the Australian National Commission for UNESCO, the MSO is working in partnership with Short Black Opera and Indigenous language custodians who are generously sharing their cultural knowledge. The Acknowledgement of Country allows us to pay our respects to the traditional owners of the land on which we perform in the language of that country and in the orchestral language of music. Australian National Commission for UNESCO United Nations Educational, Scientific and Cultural Organization
About Long Time Living Here In all the world, only Australia can lay claim to the longest continuing cultures and we celebrate this more today than in any other time since our shared history began. We live each day drawing energy from a land which has been nurtured by the traditional owners for more than 2000 generations. When we acknowledge country we pay respect to the land and to the people in equal measure. As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music. In order to compose the music for this Acknowledgement of Country Project I have had the great privilege of working with no fewer than eleven ancient languages from the state of Victoria, including the language of my late Grandmother, Yorta Yorta woman Frances McGee. I pay my deepest respects to the elders and ancestors who are represented in these songs of acknowledgement and to the language custodians who have shared their knowledge and expertise in providing each text. I am so proud of the MSO for initiating this landmark project and grateful that they afforded me the opportunity to make this contribution to the ongoing quest of understanding our belonging in this land.
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— Deborah Cheetham AO
Our Artistic Family
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 2022, the MSO ‘s new Chief Conductor, Jaime Martín has ushered in 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, Composer in Residence, Paul Grabowsky 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.
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Our Artistic Family
Your MSO Jaime Martín
Chief Conductor Mr Marc Besen AC and the late Mrs Eva Besen AO#
Xian Zhang
Principal Guest Conductor
Benjamin Northey Principal Conductor in Residence
Carlo Antonioli Cybec Assistant Conductor Fellow
Sir Andrew Davis Conductor Laureate
Hiroyuki Iwaki †
Conductor Laureate (1974–2006)
FIRST VIOLINS Dale Barltrop
Concertmaster David Li AM and Angela Li#
Sophie Rowell
Concertmaster The Ullmer Family Foundation#
Tair Khisambeev
Assistant Concertmaster Di Jameson and Frank Mercurio#
Peter Edwards
Assistant Principal
Kirsty Bremner Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Kirstin Kenny Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor
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SECOND VIOLINS
CELLOS
Matthew Tomkins
David Berlin
Robert Macindoe
Rachael Tobin
Monica Curro
Miranda Brockman
Principal The Gross Foundation# Associate Principal Assistant Principal Danny Gorog and Lindy Susskind#
Mary Allison Isin Cakmakcioglu Tiffany Cheng Glenn Sedgwick#
Freya Franzen Cong Gu Andrew Hall Isy Wasserman Philippa West
Andrew Dudgeon AM#
Patrick Wong Roger Young
Shane Buggle and Rosie Callanan#
VIOLAS Christopher Moore Principal Di Jameson and Frank Mercurio#
Principal Hyon Ju Newman# Associate Principal Geelong Friends of the MSO#
Rohan de Korte
Andrew Dudgeon AM#
Sarah Morse Angela Sargeant Michelle Wood
Andrew and Judy Rogers#
DOUBLE BASSES Benjamin Hanlon
Frank Mercurio and Di Jameson#
Rohan Dasika Suzanne Lee Stephen Newton FLUTES Prudence Davis Principal Anonymous#
Wendy Clarke
Associate Principal
Sarah Beggs
Lauren Brigden Katharine Brockman Anthony Chataway
Andrew Macleod
Gabrielle Halloran Trevor Jones
Ann Blackburn
Dr Elizabeth E Lewis AM#
Anne Neil#
Fiona Sargeant
Learn more about our musicians on the MSO website.
PICCOLO Principal
OBOES The Rosemary Norman Foundation#
COR ANGLAIS Michael Pisani Principal
TRUMPETS
GUEST MUSICIANS
Owen Morris
Principal
Principal
Philip Arkinstall
Shane Hooton
First Violins Zoe Freisberg Karla Hanna
William Evans Rosie Turner
Second Violins Michael Loftus-Hills Susannah Ng
David Thomas
Associate Principal
Craig Hill BASS CLARINET Jon Craven Principal
BASSOONS Jack Schiller
Principal
Elise Millman
Associate Principal Glenn Sedgwick#
John and Diana Frew#
TROMBONES Richard Shirley Mike Szabo
Principal Bass Trombone
Associate Principal
TUBA
Natasha Thomas
Timothy Buzbee
Dr Martin Tymms and Patricia Nilsson#
CONTRABASSOON
Principal
TIMPANI
Brock Imison
PERCUSSION
HORNS
Anonymous#
Principal
Nicolas Fleury
Principal Margaret Jackson AC#
Saul Lewis
Principal Third The Hon Michael Watt QC and Cecilie Hall#
Abbey Edlin
Nereda Hanlon and Michael Hanlon AM#
Trinette McClimont Rachel Shaw Gary McPherson#
John Arcaro
Robert Cossom
Drs Rhyl Wade and Clem Gruen#
HARP Yinuo Mu
Principal
Our Artistic Family
CLARINETS
Violas William Clark Karen Columbine Ceridwen Davies Isabel Morse Tahlia Petrosian Cello Josephine Vains Double Basses Caitlin Bass Christian Geldsetzer Nemanja Petkovic Emma Sullivan Oboe James Button Bassoon Colin Forbes-Abrams Trombones Robert Collins Don Immel Percussion Robert Allan Greg Sully Harp Megan Reeve
# Position supported by
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Jaime Martín conductor Jaime Martín commenced his tenure as MSO Chief Conductor in 2022, investing the Orchestra with prodigious musical creativity and momentum. In September 2019 Jaime Martín became Chief Conductor of the RTÉ National Symphony Orchestra and Music Director of the Los Angeles Chamber Orchestra. He has been Artistic Director and Principal Conductor of Gävle Symphony Orchestra since 2013. He was recently announced as the Principal Guest Conductor of the Orquesta y Coro Nacionales de España (Spanish National Orchestra) for the 22/23 season. Having spent many years as a highly regarded flautist, Jaime turned to conducting fulltime in 2013. In recent years Martín has conducted an impressive list of orchestras and has recorded various discs, both as a conductor and as a flautist. Martín is the Artistic Advisor and previous Artistic Director of the Santander Festival. He was also a founding member of the Orquestra de Cadaqués, where he was Chief Conductor from 2012 to 2019. He is a Fellow of the Royal College of Music, London, where he was a flute professor. The MSO’s Chief Conductor is supported by Mr Marc Besen AC and the late Mrs Eva Besen AO. 8
SHEKU KANNEH-MASON: MID-SEASON GALA | 30 July 2022
Sheku Kanneh-Mason cello Sheku Kanneh-Mason became a household name in 2018 after performing at the wedding of the Duke and Duchess of Sussex at Windsor Castle. Sheku initially garnered renown as the winner of the 2016 BBC Young Musician competition, the first Black musician to take the title. He has released two chart-topping albums on the Decca Classics label, Inspiration in 2018 and Elgar in 2020. Sheku has made debuts with orchestras such as the Seattle Symphony, the Orchestre Philharmonique de Radio France, NDR Elbphilharmonie Orchestra, Stockholm Philharmonic, the Atlanta Symphony, Japan Philharmonic, BBC Symphony, London Philharmonic, Frankfurt Radio Symphony, and Baltimore Symphony orchestras. Forthcoming highlights include performances with the Cleveland Orchestra, Orchestre de Paris, Deutsches Symphonie-Orchester Berlin, Barcelona Symphony, New York Philharmonic, Czech Philharmonic, and London Philharmonic orchestras, and on tour with the City of Birmingham Symphony Orchestra. He has performed at the BAFTA awards ceremony twice in 2017 and 2018, is the winner of Best Classical Artist at the Global Awards in 2020 and 2021 (the latter as part of the Kanneh-Mason family), and received the 2020 Royal Philharmonic Society’s Young Artists’ Award. Sheku was appointed a Member of the Most Excellent Order of the British Empire (MBE) in the 2020 New Year’s Honours List. He plays a Matteo Goffriller cello from 1700 which is on indefinite loan to him.
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IN AUGUST
Warm up with Chief Conductor Jaime Mart�n Stravinsky’s Ballets 12–13 AUGUST / 7.30pm
Poetry in Music 18 AUGUST / 6.30pm* 19 AUGUST / 7.30pm *Berlioz only
Sibelius and Ravel 25–27 AUGUST / 7.30pm All concerts at Arts Centre Melbourne, Hamer Hall
B O O K N OW
M S O.C O M . AU
SHEKU KANNEH-MASON: MID-SEASON GALA | 30 July 2022
Remembering Eva Besen AO 1928 – 2021 The Melbourne Symphony Orchestra dedicates tonight’s Mid-Season Gala concert to the extraordinary life and memory of Eva Besen AO; whose philanthropic generosity, together with that of her husband, Marc Besen AC, has contributed to many of the MSO’s significant artistic achievements over the decades. Eva Besen enjoyed all the MSO concerts she attended, but one stood out the most, held in Melbourne in June 1949. After a performance by the ABC Symphony (as the MSO was then known), conducted by Sir Bernard Heinze, the young man on her arm, Marc Besen, asked her to marry him. Their union would produce a wonderful family of 4 children, 14 grandchildren and 14 great grandchildren – and a lifetime of shared musical experience at the MSO spanning 70 years. A philanthropist and arts benefactor, Mrs Besen believed that arts and culture play an important role in connecting and inspiring communities. Her interests were broad and spanned health, education, the Jewish community and the visual and performing arts – funding research into Alzheimer’s, the Jewish Holocaust Centre in Melbourne, Polyglot Theatre and the establishment of the TarraWarra Museum of Art in the Yarra Valley.
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Eva Besen loved classical music, especially Chopin and Beethoven, and she wanted to give more young people the opportunity to hear it. Together, the Besens believed “a vibrant and properly
supported arts sector” was vital to Melbourne, and an outward looking – and outward bound – symphony orchestra was central to this vision. Over many years, Marc and Eva’s great support for the MSO enabled the Orchestra to tour internationally as cultural ambassadors for our great city and engage the world’s very best conductors and artists to work with the MSO and delight Melbourne audiences. Their support of International Artist Chairs Anne-Sophie Mutter, Lang Lang and Maxim Vengerov now includes our Chief Conductor, Maestro Jaime Martín. The MSO is proud to have held a special place in Eva’s heart. As close members of our MSO Family, in 2018 Eva and Marc Besen were awarded Life Memberships of the MSO at the Mid-Season Gala with Anne-Sophie Mutter. It is therefore a fitting tribute that we celebrate Eva’s wonderful life and legacy with her family at tonight’s Mid-Season Gala. Under the baton of our Chief Conductor, with Sheku Kanneh-Mason on our stage alongside our wonderful musicians, we honour Eva with a musical night to remember.
ANNE BOYD
(born 1946)
At the Rising of the Sun “… at the rising of the sun...” are words drawn from Mark’s gospel in the King James version of the Bible. The passage tells how at dawn, on the first Easter morning, the three women set out to anoint Christ’s body only to discover his empty tomb. The music can be read as their dawning consciousness of the mystical fact of Christ’s resurrection. The work is both a meditation and a prayer. Essentially it is about tuning – of ourselves to each other and to the natural world. The sun is perceived cosmologically as a symbol for the Son of God and for the coming of light, of life (both natural and spiritual) and of knowledge. Philosophically the music is based upon the intersection of Christian Love with Buddhist silence, a concept which lies at the heart of my creative activity. The work also represents the conjoining of past and present being largely based upon an earlier work As I Crossed A Bridge of Dreams from the narrative account of her spiritual journey by the deeply Buddhist Lady Sarashina of 14th century Japan. I see no contradiction in the coming together of Buddhism and Christianity in this context as a representation of Matthew Fox’s idea of The Coming of the Cosmic Christ as the dawn of a new age in spiritual consciousness – an outlook which has much in common with medieval Christian mysticism as represented in the life and work of Hildegarde of Bingen, whose world embraced a deep reverence and awe for the earth conceived as a Mother – God’s greatest gift to human kind. This work is commissioned by the Kuring-gai Symphony Orchestra for the
centenary of Australia’s Federation. It is dedicated to my beloved lifelong friend and teacher, Peter Sculthorpe. © Anne Boyd
DMITRI SHOSTAKOVICH
(1906–1975)
Cello Concerto No.1 in E flat I. Largo II. Allegretto III. Allegretto Sheku Kanneh-Mason cello The early 1960s were for the best of times and the worst of times for Shostakovich. Stalin’s death in 1953 and Khrushchev’s famous ‘secret’ speech of denunciation culminated in a thaw of sorts. He had been acclaimed as a ‘People’s Artist’ in 1954 and from the late 1950s was appointed to high office in the official composers’ unions. He was able to travel with some degree of freedom within and outside of the Soviet Union: he travelled to London in 1960 with the Leningrad Symphony Orchestra and there met Benjamin Britten with whom he developed a close friendship. On a trip to Edinburgh in 1962 he heard Britten’s The Turn of the Screw; impressed at the British composer’s fruitful marriage of twelvenote serial procedure with traditional tonal harmony, Shostakovich made his own experiments. The following year saw the triumphant premiere of Katerina Ismailova, the reworking of Lady Macbeth of Mtsensk which had caused Shostakovich such difficulty 30 years earlier. Shostakovich’s international eminence and stature at home were perhaps behind his decision in 1960 to finally join the Communist Party, a decision which was ratified in 1966. On the debit side, Shostakovich is said to have threatened suicide, but was persuaded by friends not to kill himself
SHEKU KANNEH-MASON: MID-SEASON GALA | 30 July 2022
Program Notes
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in the wake of his embrace of and by the Communist Party. In reality there was little relief for the composer or his country. After embarrassing scenes in such forums as the United Nations, and the potential global disaster of the Cuban Missile Crisis, Khrushchev was quietly removed from office in 1964 and replaced by Leonid Brezhnev, whose regime was distinctly less liberal than that of his predecessor. Shostakovich’s health, which had been poor since the late 1950s continued to decline: in 1966 a chronic injury to his hand forced him to give up public performance as a pianist and on the night of his farewell concert he suffered a heart attack. The works of Shostakovich’s last decade then show an even more pervasive concern with mortality than his earlier music. In a sense the Cello Concerto No.2 ushers in this phase, coming as it did at the time when Shostakovich was forced to withdraw from the platform and confront his chronic illness. In addition he began to lose colleagues of his age cohort – to natural causes; in 1965 the second violinist, and foundation member of the Beethoven Quartet, Vassily Shirinsky died and Shostakovich dedicated his Eleventh Quartet to him. The Concerto is likewise dedicated to a performer colleague. In 1960, when Shostakovich met Britten in London, the Leningrad Symphony Orchestra was performing his First Cello Concerto, and the soloist was Mstislav Rostropovich. The cellist, who died in April this year aged 80, was the inspiration, first interpreter and dedicatee of several major works by composers like Prokofiev, Khachaturian, Lutosławski, Dutilleux, Britten and of course Shostakovich who wrote both concertos for him. Rostropovich regarded Shostakovich, Prokofiev and Britten as his ‘three musical gods’. In addition to being a brilliant cellist and fine conductor, Rostropovich became a
political hero in the last days of the Cold War. In 1970 he had publicly condemned the Brezhnev administration’s treatment of Alexander Solzhenitsin; repeating his remarks while in Paris in 1978 led to his effective banishment from the Soviet Union to which he didn’t return until 1990. In 1991 he went back to show public support for Boris Yeltsin in the face of a hard-line coup in Moscow. In 1964 Britten produced his Symphony for Cello and Orchestra for Rostropovich. As its title suggests, the composer was careful not to call it a concerto, but rather to underline the importance of the overall thematic integration of the solo and orchestral parts. It is possible that Shostakovich was in some way influenced by this; it is said that he originally considered making this piece his Symphony No.14. As Britten and Prokofiev (whose Symphony-Concerto was written for Rostropovich) have shown, though this needn’t mean any downgrading of the role of virtuosity in the solo part, and in the case of Shostakovich’s Second Concerto the same is true. Whatever the final designation of the work it is both thrillingly virtuosic and satisfyingly symphonic in its argument, as even the late solo sonatas of Shostakovich are as well. As David Fanning puts it: The Second Cello Concerto, Second Violin Concerto and Violin and Viola Sonatas have much in common, in particular a sense of familiar territory being traversed but in a wan, alienated manner, as though experienced by a lost soul. Moments of tonal clarification register increasingly as out-of-body experiences, and they are surrounded by paroxysms of pain, inscrutable soliloquies and ghostly revisitings of the past. The first movement is marked Largo, unusually slow for a concerto opening,
Shostakovich composed the work largely in the Crimea, and the scherzo which follows quotes a cabaret song from the city of Odessa, Bubliki, kupite bubliki which translates as ‘Buy my bread rolls’ (or indeed, ‘bagels’!). Gerard McBurney has pointed out that this is an in-joke between the composer and Rostropovich going back to a New Year’s Eve party some months before. The singer of the song is, of course, offering rather more than fresh bread. The final movement – written in haste after Shostakovich destroyed the first effort – begins with a kind of cadenza where cellist echoes fanfares from the horns. The music tries several times to introduce a note of lyricism and calm, but before long Shostakovich unleashes the full force of the orchestra in a terrifyingly, frenetic outburst which seems for a time to crush the soloist. The cello re-emerges, bloodied but unbowed. Rostropovich gave the first performance of the concerto in the Moscow Conservatory under Yevgeny Svetlanov in a concert to honour Shostakovich’s 60th birthday. Drew Crawford © 1998
ANTONÍN DVORÁK
(1841–1904)
Symphony No.9 in E minor From the New World I. Adagio – Allegro molto II. Largo III. Scherzo (Molto vivace) IV. Allegro con fuoco In his last and most celebrated symphony, Antonín Dvorák mingles excitement at the sights and sounds of America with downright homesickness for his native Bohemia. Dvorák had arrived in New York in September 1892 to become director of the National Conservatory of Music, and the symphony was composed between January and May of the following year. Apart from the diplomatic cantata, The American Flag, it was his first composition in the USA.
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and begins with deep solo ruminations gradually joined by the rest of the orchestra. The orchestration, typically for as astute a composer as this, calls for a wind section of double woodwinds (plus contrabassoon) and two horns. There is no other brass, but Shostakovich makes sure the band can make serious noise by including a fair amount of percussion and two harps.
A Czech-American pupil, Josef Jan Kovarík, who travelled with Dvorák to New York, has recounted that when he was to take the score to Anton Seidl, conductor of the New York Philharmonic, for its first performance, the composer paused at the last moment to write on the title page ‘Z Nového sveta’ (From the New World). Significantly, written in Czech rather than the German or English that Seidl or his American audience would have understood, the inscription implied no suggestion that the new work was an ‘American’ symphony (Kovarík was adamant about this) but meant merely ‘Impressions and greetings from the New World’. The ‘impressions’ that crowded Dvorák’s mind as he wrote the symphony were, of course, the frenetic bustle of New York, the seething cauldron of humanity in the metropolis, and the folk caught up in its impersonal whirl – the AfricanAmericans and Native Americans. Above all, he developed a fascination for
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SHEKU KANNEH-MASON: MID-SEASON GALA | 30 July 2022
what he was able to hear of the music of these two races – the plantation songs of Stephen Foster; spirituals sung to him on several occasions by Harry T. Burleigh, a black student at the National Conservatory; transcriptions he was given of some Native American songs, and others he heard at Buffalo Bill’s Wild West Show. Dvorák claimed in a newspaper interview that the two musics were nearly identical and that their fondness for type of pentatonic scale made them remarkably similar to Scottish music. But it must be acknowledged that his acquaintance with the songs – those of the Native Americans in particular – was distinctly superficial. Dvorák’s fascination with these people stemmed from his reading, some thirty years earlier, Longfellow’s The Song of Hiawatha in a Czech translation. Although he did not persevere with ideas he had for writing an opera on the subject of America, the Hiawatha concept nevertheless surfaced to some extent in this symphony. The great Dvorák scholar Otakar Sourek found the physical manifestations of America embodied mainly in the surging flow and swiftly changing moods of the first and last movements, soaring at times to heights of impressive grandeur. It is in the Largo and Scherzo that Dvorák is said to have admitted drawing on The Song of Hiawatha – Minnehaha’s bleak forest funeral in the slow movement, and the wedding feast and Indians dancing in the Scherzo. The music goes far beyond such flimsy poetic inspiration, however, for the Largo positively aches with the composer’s nostalgia and homesickness, while the Trio of the third movement is an unmistakable Czech dance. Ultimately, the symphony as a whole is far more Czech than American.
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The very familiarity of the music to most listeners, the facility with which
well-remembered tunes appear and reappear, is apt to blur the subtleties of Dvorák’s writing and symphonic construction. Most notable is the way themes for each movement recur in succeeding movements, often skilfully woven into climaxes or codas. Unlike Beethoven, however, in whose Ninth Symphony the ideas of the first three movements are reviewed, only to be rejected and transcended in a towering finale, Dvorák uses his earlier thoughts as a force of structural and spiritual unity, so that in combination they transcend themselves and each other. In the miraculous Largo, the famous and elegiac melody first stated by the solo cor anglais – the melody that later became ‘Goin’ home’ – culminates grandly on trumpets against festive recollections of the two main themes from the first movement. Both first movement themes recur again in the coda of the Scherzo, the first of them (somewhat disguised) actually appearing three times earlier in the movement as well – at the end of the Scherzo section and twice in the transition of the Trio. The development section of the finale contains allusions to the main themes of both Largo and Scherzo, and in the masterly coda the main themes of all three preceding movements are reviewed, that of the fast movement finally engaging in dialogue with the finale’s main subject until cut off by an urgent rush of highly conventional chords. Unexpectedly these lead to a delicate pianissimo wind chord with which the symphony ultimately soars heavenward, freed from earthbound shackles. Anthony Cane © 1994
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Supporters
Supporters MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria
CHAIRMAN’S CIRCLE Mr Marc Besen AC and the late Mrs Eva Besen AO The Gandel Foundation The Gross Foundation Di Jameson and Frank Mercurio Harold Mitchell Foundation Hyon Ju Newman Lady Potter AC CMRI The Cybec Foundation The Pratt Foundation Elizabeth Proust AO and Brian Lawrence The Ullmer Family Foundation
ARTIST CHAIR BENEFACTORS Chief Conductor Jaime Martín Mr Marc Besen AC and the late Mrs Eva Besen AO Cybec Assistant Conductor Chair Carlo Antonioli The Cybec Foundation Concertmaster Chair Sophie Rowell The Ullmer Family Foundation Concertmaster Chair Dale Barltrop David Li AM and Angela Li Assistant Concertmaster Tair Khisambeev Di Jameson and Frank Mercurio Young Composer in Residence Alex Turley The Cybec Foundation
PROGRAM BENEFACTORS MSO Now & Forever Fund: International Engagement Gandel Foundation Cybec 21st Century Australian Composers Program The Cybec Foundation Digital Transformation The Ian Potter Foundation, The Margaret Lawrence Bequest – Managed by Perpetual, Perpetual Foundation – Alan (AGL) Shaw Endowment First Nations Emerging Artist Program The Ullmer Family Foundation East meets West The Li Family Trust 18
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PLATINUM PATRONS $100,000+ Mr Marc Besen AC and the late Mrs Eva Besen AO The Gandel Foundation The Gross Foundation◊ Di Jameson and Frank Mercurio◊ David Li AM and Angela Li◊ The Pratt Foundation The Ullmer Family Foundation Anonymous (1)◊
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Lesley McMullin Foundation
Natasha Davies, for the Trikojus Education Fund
Margaret and John Mason OAM H E McKenzie Dr Isabel McLean Douglas and Rosemary Meagher Wayne and Penny Morgan Patricia Nilsson Ken Ong OAM Alan and Dorothy Pattison Sue and Barry Peake Dr Paul Nisselle AM Peter Priest Ruth and Ralph Renard Tom and Elizabeth Romanowski Liliane Rusek and Alexander Ushakoff Jeffrey Sher QC and Diana Sher OAM Steinicke Family Peter J Stirling Jenny Tatchell Clayton and Christina Thomas Jessica Thomson-Robbins Nic and Ann Willcock Lorraine Woolley
Rick and Sue Deering John and Anne Duncan Jane Edmanson OAM John Firth Grant Fisher and Helen Bird Alex Forrest Applebay Pty Ltd David and Esther Frenkiel David I Gibbs AM and Susie O’Neill Sonia Gilderdale Janette Gill Dr Marged Goode Chris Grikscheit and Christine Mullen Margie and Marshall Grosby Jennifer Gross Dr Sandra Hacker AO and Mr Ian Kennedy AM Jean Hadges David Hardy Tilda and the late Brian Haughney Dr Keith Higgins
Anonymous (5)
Anthony and Karen Ho
PLAYER PATRONS $1,000+
Paul and Amy Jasper
Dr Sally Adams Australian Decorative & Fine Arts Society Geoffrey and Vivienne Baker Marlyn Bancroft and Peter Bancroft OAM Janet H Bell The Brett Young Family Patricia Brockman Robert and Jill Brook Nigel Broughton and Sheena Broughton Elizabeth Brown 20
Merrowyn Deacon
◊ Denotes Adopt a Musician supporter
Katherine Horwood Shyama Jayaswal Basil and Rita Jenkins John Kaufman Irene Kearsey & Michael Ridley Drs Bruce and Natalie Kellett Dr Anne Kennedy John Keys Professor David Knowles and Dr Anne McLachlan Bryan Lawrence
Ann and Larry Turner
Diana Lay
The Hon Rosemary Varty
Phil Lewis
Leon and Sandra Velik
Andrew Lockwood
P J Warr in memory of Peter Gates
Elizabeth H Loftus
The Reverend Noel Whale
Chris and Anna Long
Edward and Patricia White
Shane Mackinlay
Deborah Whithear
Eleanor & Phillip Mancini
Terry Wills Cooke OAM and the late Marian Wills Cooke
Wayne McDonald and Kay Schroer Margaret Mcgrath Nigel and Debbie McGuckian Shirley A McKenzie John and Rosemary McLeod Don and Anne Meadows Dr Eric Meadows Sylvia Miller Anthomy and Anna Morton Timothy O’Connell Brendan O’Donnell Laurence O’Keefe and Christopher James Roger Parker Ian Penboss Adriana and Sienna Pesavento Eli Raskin Jan and Keith Richards James Ring Dr Peter Rogers and Cathy Rogers OAM Dr Ronald and Elizabeth Rosanove Marie Rowland Dr Paul Schneider and Dr Margarita Silva-Schneider Elisabeth and Doug Scott Glenn Sedgwick Sparky Foundation Martin and Susan Shirley P Shore Hon Jim Short and Jan Rothwell Short John E Smith Dr Norman and Dr Sue Sonenberg Barry Spanger Dr Vaughan Speck Dr Peter Strickland Dr Joel Symons and Liora Symons Gavin Taylor Russell Taylor and Tara Obeyesekere Frank Tisher OAM and Dr Miriam Tisher Andrew and Penny Torok
Supporters
Peter Lawrence
Robert and Diana Wilson Richard Withers Shirley and Jeffrey Zajac Anonymous (18)
OVERTURE PATRONS $500+* Margaret Abbey PSM Jane Allan and Mark Redmond Mario M Anders Jenny Anderson Liz and Charles Baré Miriam Bass Heather and David Baxter Peter Berry and Amanda Quirk Dr William Birch AM Allen and Kathryn Bloom Melissa Bochner Graham and Mary Ann Bone Stephen Braida Linda Brennan R Brook Edwin Brumby Anita and Norman Bye Pamela M Carder Ian and Wilma Chapman Dr Catherine Cherry Cititec Systems Charmaine Collins Geoffrey Constable Marjorie Cornelius Dr Sheryl Coughlin and Paul Coughlin Gregory Crew Dr Daryl Daley and Nola Daley Michael Davies Nada Dickinson Bruce Dudon David and Dr Elizabeth Ebert Cynthia Edgell
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Supporters
Melissa and Aran Fitzgerald
Joy Manners
Brian Florence
Janice Mayfield
Simon Gaites
Wayne McDonald and Kay Schroer
Anthony Garvey and Estelle O’Callaghan
Dr Anne McDougall
Sandra Gillett and Jeremy Wilkins
Jennifer McKean
David and Geraldine Glenny
Dr Alan Meads and Sandra Boon
Hugo and Diane Goetze
Marie Misiurak
Pauline Goodison
Ann Moore
Louise Gourlay OAM
Kevin Morrish
Cindy Goy
Joan Mullumby
Christine Grenda
Adrian and Louise Nelson
Jason Grollo
Tania Nesbit
Dawn Hales
Rosemary O’Collins
Geoff Hayes
Jeremy O’Connor and Yoko Murakoshi
Cathy Henry
Conrad O’Donohue and Rosemary Kiss
Jim Hickey
Phil Parker
William Holder
Howard and Dorothy Parkinson
Clive and Joyce Hollands
Sarah Patterson
Roderick Home
Pauline and David Lawton
R A Hook
Adriana and Sienna Pesavento
Di and Courtney Horscroft
Wilma Plozza-Green
Peter Huntsman
Jane Powick
Geoff and Denise Illing
Kerryn Pratchett
Rob Jackson
Professor Charles Qin OAM and Kate Ritchie
Sandy Jenkins
Akshay Rao
Wendy Johnson
Professor John Rickard
Sue Johnston
Viorica Samson
Huw Jones
Carolyn Sanders
Fiona Keenan
Dr Nora Scheinkestel
Coralie Kennedy
Suzette Sherazee
Phillip Kidd
Dr Frank and Valerie Silberberg
Belinda and Alexandra King
Matt Sinclair
David Kneipp
Olga Skibina and Anastassia Korolev
Jane Kunstler
Brian Snape
Elizabeth-Anne Lane
Colin and Mary Squires
Paschalina Leach
Ruth Stringer
Jane Leitinger
Allan and Margaret Tempest
Dr Jenny Lewis
Reverend Angela Thomas
Dr Susan Linton
Amanda Watson
* The MSO has introduced a new tier to its annual Patron Program in recognition of the donors who supported the Orchestra during 2020, many for the first time. Moving forward, donors who make an annual gift of $500–$999 to the MSO will now be publicly recognised as an Overture Patron. For more information, please contact Donor Liaison, Keith Clancy on (03) 9929 9609 or clancyk@mso.com.au 22
Andrew Serpell
Angela Westacott
Jennifer Shepherd
Barry and Julie Wilkins
Suzette Sherazee
Fiona Woodard
Dr Gabriela and Dr George Stephenson
Dr Kelly and Dr Heathcote Wright
Pamela Swansson
Dr Susan Yell
Lillian Tarry
Daniel Yosua
Tam Vu and Dr Cherilyn Tillman
Anonymous (18)
Mr and Mrs R P Trebilcock
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 Carol Hay Graham Hogarth Rod Home 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
Supporters
Michael Webber and Ruth Fincher
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 Maxwell Schultz Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Halinka Tarczynska-Fiddian Jennifer May Teague Albert Henry Ullin Jean Tweedie Herta and Fred B Vogel Dorothy Wood 23
Supporters
COMMISSIONING CIRCLE
MSO BOARD
Mary Armour
Chairman
The Hon Michael Watt QC and Cecilie Hall
David Li AM
Tim and Lyn Edward
Di Jameson
FIRST NATIONS CIRCLE
Co-Deputy Chairs Helen Silver AO Managing Director
John and Lorraine Bates
Sophie Galaise
Colin Golvan AM QC and Dr Deborah Golvan
Board Directors Shane Buggle
Sascha O. Becker
Andrew Dudgeon AM
Elizabeth Proust AO and Brian Lawrence
Danny Gorog
The Kate and Stephen Shelmerdine Family Foundation
Lorraine Hook
Michael Ullmer AO and Jenny Ullmer
David Krasnostein AM
Jason Yeap OAM – Mering Management Corporation
Margaret Jackson AC Gary McPherson Hyon-Ju Newman
HONORARY APPOINTMENTS
Glenn Sedgwick
Life Members
Oliver Carton
Company Secretary
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 Artistic Ambassadors Tan Dun Lu Siqing 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
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)
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$100,000+ (Platinum)
Get closer to the Music Become an MSO Patron
Help us deliver an annual Season of musical magic, engage world-renowned artists, and nurture the future of Australian orchestral music by becoming an MSO Patron. Through an annual gift of $500 or more, you can join a group of like-minded musiclovers and enhance your MSO experience. Be the first to hear news from the MSO and enjoy exclusive MSO Patron activities, including behind-the-scenes access, special Patron pre-sales, and events with MSO musicians and guest artists. To find out more, please call MSO Philanthropy on (03) 8646 1551, or join online by clicking the button below. Thank you for your support.
BECOME AN MSO PATRON
Thank you to our Partners Principal Partner
Education Partner
Premier Partners
Venue Partner
Major Partners
Government Partners
Supporting Partners
Quest Southbank Ernst & Young Bows for Strings
Media and Broadcast Partners
Trusts and Foundations
Freemasons Foundation Victoria
Erica Foundation Pty Ltd, The Sir Andrew and Lady Fairley Foundation, John T Reid Charitable Trusts, Scobie & Claire Mackinnon Trust, Perpetual Foundation - Alan (AGL) Shaw Endowment, Sidney Myer MSO Trust Fund, The Ullmer Family Foundation
BEST SEAT in the house
As Principal Partner of the Melbourne Symphony Orchestra, we know the importance of delighting an audience. That’s why when you’re in Emirates First, you’ll enjoy the ultimate flying experience with fine dining at any time in your own private suite.
*Emirates First Class Private Suite pictured. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.