CONCERT PROGRAM TCHAIKOVSKY’S PATHÉTIQUE AND MORE SONORITY AND SILENCE 3–5 SEPTEMBER
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Presented
These concerts may be recorded for future broadcast on MSO.LIVE
Pre-concert talk: 3 September at 6.45pm in Stalls Foyer, Level 2 at Hamer Hall. talk: 5 September at 7.45pm in Stalls Foyer, Level 2 at Hamer Hall. by composer and artist, Stephanie Kabanyana-Kanyandekwe.
Please note audience members are strongly recommended to wear face masks where 1.5m distancing is not possible. In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone. Artists Melbourne Symphony Orchestra Alpesh Chauhan conductor Michael Pisani cor anglais Program THOMAS ADÈS Three-piece Suite from Powder Her Face* ANNE CAWRSE The Rest is Silence (MSO COMMISSION) TCHAIKOVSKY Symphony No.6 Pathétique *3 September only Running time: 3 September – approximately 100 minutes including interval. 5 September – approximately 1 hour with no interval. Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham AO, will be performed at these concerts. Pre-concert and Post-concert talks
Post-concert
Acknowledging Country
The Acknowledgement of Country allows us to pay our respects to the traditional owners of the land on which we perform in the language of that country and in the orchestral language of music. About Long Time Living Here
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 Asmeasure.acomposer 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 AO
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.
NationalAustralianCommission for UNESCO United Nations Educational, Scientific and Cultural Organization
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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.
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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.
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Melbourne Symphony Orchestra
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.
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 ConductorAssistantFellow Sir Andrew Davis Conductor Laureate Hiroyuki Iwaki † Conductor (1974–2006)Laureate FIRST VIOLINS Dale Barltrop DavidConcertmasterLiAMand Angela Li# Sophie Rowell Concertmaster Tair Khisambeev Assistant Concertmaster Di Jameson and Frank Mercurio# Peter Edwards Assistant Principal Kirsty Bremner Sarah Curro Peter KathrynMichelleMarkEleanorKirstinAnne-MarieLorraineDeborahFellinGoodallHookJohnsonKennyManciniMogilevskiRuffoloTaylor SECOND VIOLINS Matthew Tomkins ThePrincipalGross Foundation# Robert Macindoe Associate Principal Monica Curro Assistant Principal Danny Gorog and Lindy Susskind# Mary Allison Isin TiffanyCakmakciogluCheng Glenn Sedgwick# Freya Franzen Cong PhilippaIsyAndrewGuHallWassermanWest Andrew Dudgeon AM# Patrick Wong Roger Young Shane Buggle and Rosie Callanan# VIOLAS Christopher Moore DiPrincipalJameson and Frank Mercurio# Lauren AnthonyKatharineBrigdenBrockmanChataway Dr Elizabeth E Lewis AM# Gabrielle Halloran Trevor Jones Anne Neil# Fiona Sargeant CELLOS David Berlin HyonPrincipalJuNewman# Rachael Tobin Associate Principal Nicholas Bochner Miranda Brockman Geelong Friends of the MSO# Rohan de Korte Andrew Dudgeon AM# Sarah MichelleAngelaMorseSargeantWood Andrew and Judy Rogers# DOUBLE BASSES Benjamin Hanlon Frank Mercurio and Di Jameson# Rohan StephenSuzanneDasikaLeeNewton FLUTES Prudence Davis AnonymousPrincipal# Wendy Clarke Associate Principal Sarah Beggs PICCOLO Andrew Macleod Principal OBOES Ann Blackburn The Rosemary Norman Foundation# COR ANGLAIS Michael Pisani Principal CLARINETS David Thomas Principal Philip Arkinstall Associate Principal Craig Hill BASS CLARINET Jon Craven Principal Learn more about our musicians on the MSO website. Your MSOSeptember3–5|SilenceandSonority–moreandPathétiqueTchaikovsky’s 6
BASSOONS Jack Schiller Principal Elise Millman Associate Principal Natasha Thomas Dr Martin Tymms and Patricia Nilsson# CONTRABASSOON Brock Imison Principal HORNS Nicolas Fleury MargaretPrincipal 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# TRUMPETS Owen Morris Principal Shane Hooton Associate Principal Glenn Sedgwick# William Evans Rosie Turner John and Diana Frew# TROMBONES Richard Shirley Mike Szabo Principal Bass Trombone TUBA Timothy Buzbee Principal PERCUSSIONTIMPANI John Arcaro Anonymous# Robert Cossom Drs Rhyl Wade and Clem Gruen# HARP Yinuo Mu Principal GUEST MUSICIANS First Violins Miranda SusannahMathesonNg Second Violins Jacqueline Edwards Michael Loftus-Hills Lynette Rayner Violas William ChristopherIsabelJennyCeridwenClarkDaviesKhafagiMorseCartlidge Cellos Elina RebeccaAnnaSvetlanaAlexandraFaskhiPartridgeBogosavljevicPokornyProietto Double Basses Caitlin Bass Emma NemanjaSullivanPetkovic Flutes Lily TarynBryant*Clarke Oboes Johannes EmmanuelGrossoCassimatis Bassoons Colin Forbes-Abrams Horns Rebecca Luton Ryan Humphrey* Trumpets Tristan Rebien Trombones Brian Santero Timpani Matthew Brennan Percussion Robert Allan Greg Sully Piano Leigh Harrold # Position supported by * MSO Academy September3–5|SilenceandSonority–moreandPathétiqueTchaikovsky’s 7
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Alpesh Chauhan conductor
Alpesh Chauhan is Music Director of Birmingham Opera Company, Associate Conductor of the BBC Scottish Symphony Orchestra and Principal Guest Conductor of the Düsseldorfer Symphoniker.
Frequently appearing as a guest with acclaimed international orchestras including the Orchestre National d’Île de France, Orchestra Sinfonica Nazionale RAI, Malmö Symphony Orchestra, Philharmonia, Royal Philharmonic Orchestra, BBC Philharmonic and BBC National Orchestra of Wales, Alpesh also enjoys collaborations with distinguished soloists such as Nicola Benedetti, Pablo Ferrández, Boris Giltburg, Ilya Gringolts, Benjamin Grosvenor, Stephen Hough, Leila Josefowicz, Pavel Kolesnikov, Johannes Moser, Arcadi Volodos, and singers Markus Werba, Christianne Stotijn and Jennifer Wilson among others.
A keen advocate of music education for young people, Alpesh is a patron of Awards for Young Musicians, a UK charity supporting talented young people from disadvantaged backgrounds on their musical journeys. He has worked with ensembles such as the National Youth Orchestra of Scotland and the symphony orchestras of the Royal Conservatoire of Scotland and the Royal Northern College of Music. He was the conductor of the second BBC Ten Pieces film which brought the world of classical music into secondary schools across the country and received a distinguished BAFTA award.
On occasion, Michael also plays Principal Oboe with the Australian Chamber Orchestra and has been guest principal with the Tasmanian Symphony Orchestra, Queensland Symphony Orchestra, Auckland Philharmonic and Hong Kong Philharmonic. He has appeared as soloist with various orchestras in Melbourne, performing Strauss and Mozart oboe concertos, and has featured on the ABC’s Sunday Live and Young Australia programs. Michael also teaches oboe at the University of Melbourne.
Michael Pisani has been a member of the Melbourne Symphony Orchestra Oboe section since 2004. Michael grew up in Melbourne, first learning the piano before starting the oboe at age 12. After studying at the Victorian College of the Arts he was appointed to the position of Associate Principal Oboe in the Australian Opera and Ballet Orchestra and then to the same position in Orchestra Victoria the following year.
Michael Pisani cor anglais
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Recent awards include the 2021 APRA/AMC Art Music Award for Chamber Work of the Year, the South Australian Luminary Award for sustained contributions to composition and education, the 2021 Albert H Maggs Award for composition, and a 2022 Prelude Composer Residency. In 2021 and 2022 she currated the ‘She Speaks’ Festival of Women Composers for the Adelaide Symphony Orchestra. Cawrse lectures in composition at the Elder Conservatorium. Projects for 2023 include a Marimba Concerto for Claire Edwardes and the ASO, a Piano Trio for the Lyrebird Trio, and a new work for Arcadia Winds.
Cawrse completed her PhD in Composition in 2008 at the University of Adelaide, studying primarily with Graeme Koehne. Recent commissions include works for the Australian String Quartet, the Benaud Trio, the Adelaide Chamber Singers, Sharon and Slava Grigoryan, Claire Edwardes, the Australian Vocal Ensemble, Bowerbird Collective, Adelaide Wind Orchestra, and the Melbourne and Adelaide Symphony Orchestras. Her debut album Advice to a Girl was released through ABC Classic in February 2022.
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Composer Anne Cawrse is inspired by stories, art, nuance, and the fragility of the human condition. Based in Adelaide, she composes for orchestral, choral, and chamber groups, as well as solo instrumental and voice.
Anne Cawrse composer
The Waltz flashes back to her 1934 wedding. In the original aria, an enviously sardonic waitress looks on and observes, “Fancy being rich. Fancy being lovely. Fancy having money to waste, and not minding it … She doesn’t look happy. She looks rich.”
The Overture and Finale are the opera’s first and last numbers, so we hear its heart-racing opening and spluttering ending on either side of a radically pared-down middle (in total, about 15 minutes of music, in contrast with the opera’s two-hour runtime). Adès’s music is so vivid it keeps its narrative coherence even in this shortened form.
THOMAS ADÈS (born Three-piece1971) Suite (Suite No.1) from Powder Her Face I. Overture II. Waltz III. PowderFinaleHer
The Finale returns to the hotel room in 1990, where the elderly Duchess is being evicted. The music comes apart at the
In the Overture, a maid and an electrician fool around in the Duchess’s hotel room, laughing and mocking the destitute old woman behind her back. A woozy tango evokes her glamorous youth through the fog of memory, while two clarinets set the tawdry tone that defines the whole suite.
Program Notes
Face is a 1995 chamber opera by Thomas Adès based on Margaret Campbell, Duchess of Argyll, whose reallife 1963 divorce created a sensational sex scandal in England. Her husband accused her of infidelity, introducing a set of explicit Polaroid photos as evidence in court. Later in life, she squandered her fortune and ended up living in a hotel suite. This is where the opera finds her, as she slips into the past, conjuring scenes set in the 1930s through ‘70s. Both the 24-year-old Adès and his librettist, Philip Hensher, were drawn to the tabloid tale when they were commissioned by London’s Almeida Opera. “The Almeida didn’t disguise their complete bewilderment at what we were proposing,” Hensher told The Guardian in 2008. “The director of opera said he had no idea what I meant when I said I wanted it to seem like scenes from the life of a medieval saint, only with shopping expeditions instead of miracles.” The opera was met with a mix of outrage and admiration after its premiere— and is now one of the most frequently produced operas of the late 20 th century. Since then, Adès has become one of Britain’s most popular composers, writing two more operas: The Tempest (2003) for the Royal Opera House, Covent Garden, and The Exterminating Angel (2016) for the Salzburg Festival, Royal Opera House, Metropolitan Opera, and Royal Danish Opera. He has also written extensively for the concert hall, including a recently acclaimed piano concerto for the Boston Symphony, and he performs internationally as a conductor and pianist. Alongside these new works, Adès has revisited Powder Her Face over the years, first extracting three movements in 2007 as Dances from Powder Her Face. Since the original score used only a small pit band, he rescored the music for large orchestra, creating lusher sonorities and arranging some of the vocal lines for instruments. The suite was premiered by the Philharmonia Orchestra at the Aldeburgh Festival in June 2007, where Adès was artistic director. Later he created two longer suites from the opera, and in 2018 lightly retouched the original and renamed it Three piece Suite (Suite No.1), which is the version performed today.
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Quotes taken from The Rest is Silence and Music at Night, both found in Music at Night and other essays by Aldous Huxley, published 1931.
© Benjamin Pesetsky 2022 ANNE CAWRSE (born 1981)
© Anne Cawrse
PYOTR ILYICH TCHAIKOVSKY Symphony(1840–1893)No.6 in B minor, Pathétique I. Adagio – Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Finale (Adagio lamentoso –Andante) The first allusion to the Sixth Symphony may be found in letters from Tchaikovsky
seams, disintegrating in keeping with her state of denial. In what Adès originally termed the “Ghost Epilogue,” the maid and electrician continue to fool around as they strip the bed, fold the sheets, finally quit their hijinks, and turn out the lights.
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The Rest Is Silence Concerto for Cor Anglais and Orchestra Michael Pisani cor anglais
In orchestral settings, the cor anglais is often charged with the responsibility of giving voice to music’s most melancholic, bittersweet and emotionally profound melodic moments. In planning this concerto, I decided early on that I was not interested in pushing the instrument into a space it did not easily fit. And so, armed with the desire to write a primarily lyrical work, together with a list of soloist Michael Pisani’s favourite cor anglais orchestral moments, I created The Rest Is Silence as a musical response to the quote by Aldous Huxley: “After silence, that which comes nearest to expressing the inexpressible is music”. My concerto seeks to position the cor anglais in the spaces between music and silence. It is often both the first and the last to be heard, acting as a conduit between string and wind sonorities. Its unmistakable tone appears in brief glimpses between chords, like sunlight briefly piercing through clouds. The regular silences and moments of rest found in the orchestral parts are manipulated by the soloist, who either fills the space, comments upon it, or prepares us for the silence yet to come. Formally, The Rest Is Silence is presented in three interconnected sections. The opening acts as an unfolding of the musical themes through the harmonic underpinning of the orchestra and the gradual expansion of the opening cor anglais line. At the heart of the work is a taste of some of those ‘inexpressible’ feelings found in music – acceptance, uncertainty, comfort, beauty, expectancy, rest, joy – all grown from the same opening motif. The soloist weaves between wind and string chorales, sometimes joined by others, but often alone. Repeated, unresolved cadential figures interrupt the flow of the music, forcing us to sit in the space between the notes, listening to what surrounds us. Then finally, we are treated to a song – a literal (though wordless) chanson grown out of the motivic foundation set by the soloist at the very start of our journey. The words that we do not hear, an extract from Huxley’s essay Music at Night, describe a still and silent evening that is alive and vibrant with scent, breath, and Mysensation.hopeis that this work, to borrow more of Huxley’s words, will “give expression to (the) awareness of blessedness” that comes from being still and knowing. The Rest Is Silence is a prayer, a celebration, and a meditation on the quiet still spaces, the silence amidst the hustle, and the enduring power of music.
Tchaikovsky was a closet homosexual, a state to which he referred in his diaries as ‘XXX’. At one point Tchaikovsky attempted to deny his true feelings by succumbing to the advances of an obsessive female student, Antonina. It was probably the worst choice he could have made because Antonina was apparently a nymphomaniac, and her hyper-sexuality was terribly confronting to his own sexuality. Their sham marriage, while only lasting nine weeks, nevertheless nearly ruined his mental health and creative potential. Antonina refused a divorce and took numerous lovers by whom she had equally numerous children, and by 1879 was certified insane and institutionalised until her death. (Feminist and modern genderbased musicologists such as Susan McClary suggest a homosexual subtext to the ‘program’ behind this Symphony.)
to his brother Anatol on 22 and 23 February 1893.
Kylie Burtland Symphony Australia
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‘As you already know, I destroyed a Symphony which I had partly composed and orchestrated in the Autumn. I did wisely, for it contained little that was really fine – an empty pattern of sounds without any inspiration. Just as I was starting on my journey [to Paris in 1892], the idea came to me for a new symphony. This time with a program, but of the kind which remains an enigma to all – let them guess who can. The work will be entitled ‘A Program Symphony’ (No.6) This program is penetrated by subjective sentiment. During my journey, while composing it in my mind, I frequently shed tears...There will be much more that is novel as regards form in this work. For instance, the Finale will not be a great Allegro, but an Adagio of considerable dimensions. You cannot imagine what joy I feel at the conviction that my day is not yet over.’ Confidence in this Symphony led Tchaikovsky to write to the Grand Duke Constantine, ‘Without exaggeration, I have put my whole soul into this Symphony.’ The title ‘Pathétique’, as it is now called, was suggested by Tchaikovsky’s brother Anatol. By the time the composer withdrew his favour from the name, the score was already in print at the publishers and so remains today. There is, according to Tchaikovsky’s biographer John Warrack, a hint of the idea of suffering in the Russian connotation of ‘pathetic’, so it is conceivable that Tchaikovsky’s original acceptance of the name may point to a program dealing with ‘emotional
When a Russian Duke wrote to the Tsar complaining about the amount of time Tchaikovsky had been spending with his son, a ‘court of honour’ was convened by Tchaikovsky’s classmates from law school. It has been suggested that they made a ‘judgement’ and asked for his death, and that Tchaikovsky chose this option as an alternative to exile and public ridicule. During a cholera epidemic, he drank unboiled water and quickly succumbed to the illness. Whether these events began to unfold before the first performance, or throw any light on the enigmatic ‘program’ of the ‘Pathétique’ Symphony is uncertain.
Certainly Tchaikovsky’s life had its conflicts, and he experienced numerous debilitating bouts of depression.
©
Althoughsuffering’.he was in good spirits during its composition, nine days after the premiere of the symphony Tchaikovsky was dead, under suspicious circumstances.
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Melissa and Aran Fitzgerald Brian AnthonySimonFlorenceGaitesGarvey and Estelle O’Callaghan Sandra Gillett and Jeremy Wilkins David and Geraldine Glenny Hugo and Diane Goetze Pauline Goodison Louise Gourlay OAM Cindy DrDrJanePaschalinaElizabeth-AnneJaneDavidBelindaPhillipCoralieFionaHuwSueWendySandyRobGeoffPeterDiRRoderickCliveWilliamJimCathyGeoffDawnJasonChristineGoyGrendaGrolloHalesHayesHenryHickeyHolderandJoyceHollandsHomeAHookandCourtneyHorscroftHuntsmanandDeniseIllingJacksonJenkinsJohnsonJohnstonJonesKeenanKennedyKiddandAlexandraKingKneippKunstlerLaneLeachLeitingerJennyLewisSusanLinton Joy WayneJaniceMannersMayfieldMcDonald and Kay Schroer Dr Anne McDougall Jennifer McKean Dr Alan Meads and Sandra Boon Marie Misiurak Ann AdrianJoanKevinMooreMorrishMullumbyandLouise Nelson Tania JeremyRosemaryNesbitO’CollinsO’Connorand Yoko Murakoshi Conrad O’Donohue and Rosemary Kiss Phil HowardParkerand Dorothy Parkinson Sarah PaulinePattersonandDavid Lawton Adriana and Sienna Pesavento Wilma Plozza-Green Jane ProfessorKerrynPowickPratchettCharles Qin OAM and Kate Ritchie Akshay ProfessorRaoJohn Rickard Viorica AmandaReverendAllanRuthColinBrianOlgaMattDrSuzetteDrCarolynSamsonSandersNoraScheinkestelSherazeeFrankandValerieSilberbergSinclairSkibinaandAnastassiaKorolevSnapeandMarySquiresStringerandMargaretTempestAngelaThomasWatson * 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 20 Supporters
Michael Webber and Ruth Fincher Angela Westacott Barry and Julie Wilkins Fiona Woodard Dr Kelly and Dr Heathcote Wright Dr Susan Yell Daniel AnonymousYosua(18) 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 GraceJohnChristopherLaurenceLindsayTonyRodGrahamCarolLouisDrsMargueriteGuntaAlanSandraBerylLuciPeterBullenACaldwellandRonChambersDeanDentEganJPEgliteGarnon-WilliamsLCGruenandRWWadeJHamonAOMHayHogarthHomeHoweandMichaelJacombsO’KeefeandJamesJonesKassandthelateGeorge Kass Sylvia PaulineLavelleandDavid Lawton Cameron Mowat Ruth AnneJoanPennyRosiaMatthewDavidMuirOrrO’SullivanPasteurRawlinsPRobinsonRoussac-Hoyne and Neil Roussac Michael Ryan and Wendy Mead Andrew 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 AnonymousYoung (19) The MSO gratefully acknowledges the support of the following Estates: Norma Ruth Atwell Angela TheNeilmaMargaretTheChristineBeagleyMaryBridgartCumingBequestDaviesGantnerHonDrAlanGoldberg AO QC Enid Florence Hookey Gwen FamilyHuntandFriends of James Jacoby Audrey Jenkins Joan PaulineJonesMarie Johnston C P PeterKempForbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Jean MissMaxwellMooreSchultzSheilaScotter AM MBE Marion A I H M Spence Molly DorothyHertaJeanAlbertJenniferHalinkaStephensTarczynska-FiddianMayTeagueHenryUllinTweedieandFredBVogelWood 21 Supporters
COMMISSIONING CIRCLE Mary Armour The Hon Michael Watt QC and Cecilie Hall Tim and Lyn Edward FIRST NATIONS CIRCLE John and Lorraine Bates Colin Golvan AM QC and Dr Deborah Golvan Sascha O. Becker Elizabeth Proust AO and Brian Lawrence The Kate and Stephen Shelmerdine Family MichaelFoundationUllmer AO and Jenny Ullmer Jason Yeap OAM – Mering Management Corporation 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 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 MSO BOARD Chairman David Li AM Co-Deputy Chairs Di HelenJamesonSilver AO Managing Director Sophie Galaise Board Directors Shane AndrewBuggleDudgeon AM Danny MargaretLorraineGorogHookJackson AC David Krasnostein AM Gary GlennHyon-JuMcPhersonNewmanSedgwick 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+ $100,000+$50,000+$20,000+$10,000+$5,000+$2,500+$1,000+(Overture)(Player)(Associate)(Principal)(Maestro)(Impresario)(Virtuoso)(Platinum)22 Supporters
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.
To find out more, please call MSO Philanthropy on (03) 8646 1551, or join online by clicking the button below. you for your support.
Thank
BECOME AN MSO PATRON Get closer to the Music Become 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.
Thank you to our Partners Government Partners Principal Partner Premier Partners Supporting Partners Education Partner Venue Partner Major Partners Quest SouthbankBows for StringsErnst & Young Orchestral Training Partner
Media and Broadcast Partners Trusts and Foundations 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 FreemasonsFoundationVictoria Program Supporters SupportersConsortium Partners Concert Partners Supporting PartnersPrestigious Partner East meets West Consulate General of the People’s Republic of China in Melbourne Ken Ong OAM Ministry of Culture and Tourism China
BEST SEAT in the house *Emirates First Class Private Suite pictured. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent. 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.
