Musicians Performing in this Concert
FIRST VIOLINS
Dale Barltrop
Concertmaster
David Li AM and Angela Li#
Kirsty Bremner
Sarah Curro
Peter Fellin
Deborah Goodall
Karla Hanna
Anne-Marie Johnson
David Horowicz#
Kirstin Kenny
Eleanor Mancini
Anne Neil#
Mark Mogilevski
Michelle Ruffolo
Zoe Black*
Jacqueline Edwards*
Michael Loftus-Hills*
Susannah Ng*
SECOND VIOLINS
Matthew Tomkins Principal
The Gross Foundation#
Robert Macindoe
Associate Principal
Isin Cakmakcioglu
Tiffany Cheng
Glenn Sedgwick#
Freya Franzen
Cong Gu
Newton Family in memory of Rae Rothfield#
Andrew Hall
Isy Wasserman
Philippa West
Andrew Dudgeon AM#
Patrick Wong
Hyon Ju Newman#
Roger Young
Shane Buggle and Rosie Callanan#
Oksana Thompson*
VIOLAS
Christopher Moore Principal
Di Jameson and Frank Mercurio#
Lauren Brigden
Katharine Brockman
Anthony Chataway
Dr Elizabeth E Lewis AM#
Jenny Khafagi
Isabel Morse
Fiona Sargeant
Heidi von Bernewitz*
Molly Collier-O'Boyle*
Ceridwen Davies*
CELLOS
David Berlin Principal
Rachael Tobin
Associate Principal
Anonymous#
Elina Faskhi
Assistant Principal
Di Jameson and Frank Mercurio#
Rohan de Korte
Andrew Dudgeon AM#
Rebecca Proietto
Angela Sargeant
Caleb Wong
Michelle Wood
Andrew and Judy Rogers#
Anna Pokorny*
DOUBLE BASSES
Rohan Dasika
Benjamin Hanlon
Di Jameson and Frank Mercurio#
Stephen Newton
Sophie Galaise and Clarence Fraser#
Correct as of 28 August 2023 Learn more about our musicians on the MSO website
SCHUMANN AND MENDELSSOHN | 7–8 September 6
FLUTES
Prudence Davis Principal Anonymous#
Sarah Beggs
Alyse Faith^
OBOES
Michael Pisani
Acting Associate Principal
Ann Blackburn
The Rosemary Norman Foundation#
CLARINETS
David Thomas Principal
Oliver Crofts^
BASSOONS
Jack Schiller Principal
CONTRABASSOON
Brock Imison Principal
HORNS
Andrew Young Associate Principal
Saul Lewis
Principal Third
The late Hon Michael Watt KC and Cecilie Hall#
Abbey Edlin
Nereda Hanlon and Michael Hanlon AM#
Josiah Kop
Rachel Shaw
Gary McPherson#
TRUMPETS
Shane Hooton
Associate Principal
Glenn Sedgwick and Dr Anita Willaton#
Rosie Turner
John and Diana Frew#
TROMBONES
Mark Davidson Section Principal
Richard Shirley
Mike Szabo Principal Bass Trombone
TUBA
Timothy Buzbee
Principal
TIMPANI
John Arcaro
Tim and Lyn Edward#
PERCUSSION
Shaun Trubiano Principal
Denotes Guest Musician ^ Denotes MSO Academy # Position supported by SCHUMANN AND MENDELSSOHN | 7–8 September 7
*
SCHUMANN AND MENDELSSOHN
Xian Zhang conductor
PRINCIPAL GUEST CONDUCTOR
2023/24 will mark Zhang’s eighth season as Music Director of the New Jersey Symphony, who celebrated their centennial last season. Zhang is also Principal Guest Conductor of Melbourne Symphony Orchestra, and Conductor Emeritus of Orchestra Sinfonica di Milano where she was previously Music Director between 2009–2016.
This season, Zhang debuts at the Metropolitan Opera in New York, conducting Anthony Minghella’s acclaimed production of Puccini’s Madama Butterfly. Having recently conducted Boston Symphony at Tanglewood, her upcoming highlights include Philadelphia Orchestra, Seattle Symphony, Orquestra Sinfônica do Estado de São Paulo, Houston Symphony, Orchestra of St Luke’s, and National Symphony Orchestra DC. She remains popular with the likes of London Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Montreal Symphony, Orchestre National du Capitole de Toulouse.
Letters for The Future, Zhang’s recent Deutsche Grammophon recording with Philadelphia Orchestra and Time for Three, won multiple GRAMMY® awards for Best Contemporary Classical Composition (Kevin Puts’ Contact) and Best Classical Instrumental Solo.
Zhang previously served as Principal Guest Conductor of the BBC National Orchestra & Chorus of Wales, the first female titled conductor across the BBC. In 2002, she won first prize in the Maazel-Vilar Conductor’s Competition. She was appointed New York Philharmonic’s Assistant Conductor in 2002, subsequently becoming their Associate Conductor and the first holder of the Arturo Toscanini Chair.
| 7–8 September 8
Esther Yoo violin
In an era when technical perfection is a given, the spotlight inevitably shifts to interpretation, and Esther Yoo’s playing has been described as ”mesmerising”, “soulful“, “ spellbinding“, “intensely lyrical”, and “taking her audience into an enchanted garden.” She performs with leading conductors – including Vladimir Ashkenazy (with whom she and the Philharmonia Orchestra recorded the Sibelius, Glazunov and Tchaikovsky concertos for Deutsche Grammophon), Gustavo Dudamel, Esa-Pekka Salonen, Thierry Fischer, Karina Canellakis and Andrew Davis – and orchestras such as the Philharmonia, Los Angeles Philharmonic, BBC Symphony Orchestra, Seoul Philharmonic, Deutsche Radio Philharmonie or the Royal Liverpool Philharmonic. She has also performed at a range of prominent festivals including the BBC Proms and Aspen Music Festival.
The Royal Philharmonic Orchestra appointed her as their inaugural Artist-in-Residence in 2018, through which Esther participated extensively in educational and outreach projects, alongside their concert performances in London and across the UK.
Yoo has appeared in recital at Lincoln Center and Wigmore Hall, and in 2018 featured prominently on the soundtrack and accompanying Decca disc of the feature film, On Chesil Beach. The piano trio, Z.E.N., (which she co-founded together with fellow former BBC Radio 3 New Generation Artists Zhang Zuo and Narek Hakhnazaryan), tours widely in North America, Europe, Asia and Australia. They chose works by Brahms and Dvořák for their first recording, followed by Burning Through the Cold, with trios by Shostakovich, Babajanyan, Rachmaninov and Khachaturian. The trio records for Deutsche Grammophon.
Esther may be unique among classical soloists in being fully tri-cultural. She was born and spent her earliest years in the U.S., before receiving her education in Belgium and Germany, but she always retained her family’s proud Korean heritage. Having authentic roots in three continents may have contributed to her versatility and exceptionally broad range of expression, and was unquestionably a factor in making her one of the most articulate and gifted communicators in the field of classical music.
She began playing the violin at 4 and made her concerto debut aged 8. At 16 she became the youngest prizewinner of the International Sibelius Violin Competition and two years later she was one of the youngest ever prizewinners of the Queen Elisabeth Competition in 2012. In 2014 she became a BBC Radio 3 New Generation Artist and in 2018 Classic FM featured her in their Top 30 Artists under 30.
SCHUMANN AND MENDELSSOHN | 7–8 September 9
CYBEC YOUNG COMPOSER IN RESIDENCE
Melissa Douglas is an Australian composer currently based in Melbourne. Her compositions have been performed in Australia, the UK, US and Europe. She is currently the Cybec Young Composer in Residence with the Melbourne Symphony Orchestra.
Melissa has been commissioned by a variety of musicians, chamber ensembles and festivals, such as the BBC Singers, the London Women of the World Festival, PLEXUS, pianists Clare Hammond and Grace Francis, the Magnard Ensemble, the Polaris Duo and the Melbourne Symphony Orchestra.
Melissa’s music is evocative, dramatic and versatile. Her piano piece, Solo Gratia, performed by Grace Francis, was broadcast on BBC Radio 3 in 2015 and digitally released on Launch Music International and iTunes.
Her composition for alto saxophone and harp, Spheres, was commissioned by the Polaris Duo and features on their debut album illuminate, released in April 2018. The work received its Croatian premiere at the 2018 World Saxophone Congress in Zagreb.
Melissa studied Piano and Composition at the Melbourne Conservatorium of Music. She continued postgraduate studies in Composition at the Royal Northern College of Music (2014–16) in the United Kingdom, graduating with an MMus in Composition with Distinction in 2016.
Melissa was the recipient of the RNCM Patricia Cunliffe Composition Prize in 2015. She is a Represented Artist with the Australian Music Centre.
Melissa Douglas composer
Melissa Douglas’ position as MSO’s 2023 Cybec Young Composer in Residence is supported by the Cybec Foundation.
| 7–8 September 10
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Program Notes
ROBERT SCHUMANN (1810–1856)
Symphony No.1 in B flat, Op.38 (Spring)
I. Andante un poco maestoso –Allegro molto vivace
II. Larghetto –
III. Scherzo (Molto vivace – Molto più vivace)
IV. Allegro animato e grazioso
Schumann wrote his First Symphony with a quill pen he had found near Beethoven’s grave in Vienna. It was his first major orchestral composition, and began a brief but intensive creative spurt, in which he also composed the first version of what became Symphony No.4. This was typical of a composer whose creative focus shifted from genre to genre. In April 1839 Schumann wrote to a friend, ‘Sometimes I would like to smash my piano, it has become too narrow for my thoughts.’ Nevertheless, these thoughts still came in small units – typically four- and eight-bar phrases, but Schumann now worked very hard to assemble them into convincing larger forms. The example of Beethoven showed him that each symphony should have a very definite and individual character. Although Schumann removed the title ‘Spring’ Symphony when the music was published, he wrote to a conductor of the work:
Try to inspire the orchestra with some of the spring longing which chiefly possessed me when I wrote the symphony in February 1841. At the very beginning I should like the trumpets to sound as if from on high, like a call to awaken. In what follows of the introduction there might be a suggestion of the growing green of everything, even of a butterfly flying up, and in the following allegro of the gradual
assembling of all that belongs to spring. But these are fancies that came to me after the completion of the work.
Schumann was inspired by the spring time in which he was composing, and by the overwhelming happiness of his marriage to Clara Wieck, which had finally happened after so many obstacles. He was ambitious for the esteem to be gained by composing a successful symphony. Schumann sketched the whole work in four days, and had completed the orchestration within a month. There was another musical stimulus, too. Schumann had just discovered Schubert’s hitherto forgotten Great C major Symphony (No.9). This excited him by showing that even after Beethoven a symphony could be written in a new way. The slow introduction to Schumann’s own symphony may be inspired by Schubert’s. The Schubert symphony was conducted by Felix Mendelssohn, who conducted the premiere of Schumann’s own symphony in the Leipzig Gewandhaus on 31 March 1841. Mendelssohn also had a beneficent influence on Schumann’s orchestration. As a novice in matters orchestral, Schumann was happy to accept his colleague’s guidance.
The very opening of the symphony, the ‘call of spring’ motif, probably spells out an underlying poetic text – its rhythm matches the first lines of a poem by Adolph Boettger:
O wende, wende deine Lauf, Im Tale bluht der Frühling auf!
(Oh turn, turn aside thy course, the valley blooms with spring!)
Schumann sent the first notes to the poet, with the words ‘Beginning of a symphony inspired by D. Adolph Boettger’. This opening caused an embarrassing moment at the first rehearsal. Schumann had scored it,
SCHUMANN AND MENDELSSOHN | 7–8 September 13
for horns as well as trumpets, on B flat, the tonic note of the symphony. He seems to have forgotten that on valveless horns the notes would sound ‘as though they had caught a violent head cold’, and that the valveless trumpets could not play the note at all. Mendelssohn deftly solved the problem by transposing the phrase up so that it began on D, and the symphony was published with that alteration. Even after the Gewandhaus Orchestra and others had valve horns and trumpets, Schumann never changed it back. The clarity of the scoring of the symphony, on the whole Schumann’s most effectively orchestrated, suggests the benefits of working with a first-rate conductor who was also an experienced orchestral composer. The symphony was immediately successful, and has remained Schumann’s most-often performed.
The opening motif dominates the first movement, the first subject of the Allegro being essentially a speeded up version of it, this time on B flat, since the trumpets and horns don’t have to play it. There is a lovely contrasting second subject led by the winds, and the material is elaborately, but essentially undramatically, developed by Schumann’s characteristic method of sequential repetition with modulation. At the point of climax which comes with the recapitulation, Schumann substitutes for the first subject of the Allegro an expanded version of the opening fanfare motive, in long note values and with a broadening of the tempo – an effect of grandeur.
At the end of the graceful Larghetto, in a song form with middle section and da capo, the melody is gradually transformed, at the entrance of the trombones, so that after a half-close it becomes the theme of the Scherzo. This follows without a break, soon establishing its key of D minor. The
vigorous, stamping dance is contrasted with two trios, and, after the second, a very compressed last appearance of the Scherzo leads to a coda with capricious changes of tempo, and a quietening of the mood.
The finale begins with a loud outburst for the full orchestra stating an upward scale which will play a role later in the movement. The tripping main theme – ‘light as a daisy chain’, writes Tovey –made Schumann caution a conductor: ‘I like to think of it as the farewell of spring, so I wouldn’t want it played too frivolously.’ Soon, marked off by restatements of the opening scale, comes a quotation. This skipping theme also appears in Schumann’s cycle of piano pieces Kreisleriana, composed in 1838, and a favourite of its composer. Schumann liked riddles, but one clue to this one is that the phrase is so close to one from the Canzonetta movement of Mendelssohn’s String Quartet Op.12 that it may be Schumann’s tribute to the conductor of his First Symphony. The rhythmic pattern of the symphony’s opening plays its part in this movement, too. Schumann thought he was following Beethoven in thus unifying the work, and perhaps he was following Beethoven (the oboe solo in the first movement of the Fifth Symphony), in pausing just before the recapitulation for a flute solo cadenza. But the way this is ushered in by the horns, and its colouristic effect, is poetic and Romantic. ‘Beethoven’s’ quill pen in a fresh hand.
David Garrett © 2005
SCHUMANN AND MENDELSSOHN | 7–8 September 14
MELISSA DOUGLAS (born 1992)
Awaken
The theme of Abundant Spring was my inspiration for this new piece, Awaken, commissioned by the Melbourne Symphony Orchestra as part of my 2023 Cybec Young Composer residency. The residency involves writing three new pieces for the orchestra. This will be the premiere of my third commission and the culmination of the formal part of my residency. Thus it seems only fitting that this piece was inspired by abundance and growth, which builds and propels towards the ending.
Throughout several cycles, Awaken stirs from the stasis of winter to expand and regenerate. These cycles swell and gradually unfold, with an exploration of colour and an increase in momentum. Dormant seeds of ideas transform into fields of flowers and golden landscapes of canola, with bursts of growth and activity along the way. These dream-like cycles reflect a soundscape of spring.
© Melissa Douglas 2023
FELIX MENDELSSOHN (1809–1847)
Violin Concerto in E minor, Op.64
I. Allegro molto appassionato –
II. Andante –
III. Allegro non troppo – Allegro molto vivace
Esther Yoo violin
This concerto is one of the best-loved of all Mendelssohn’s works. Its main rival for top ranking among violin concertos is probably that of Beethoven, and even in Mendelssohn’s day the comparison was already being made. ‘There seems to me to be something essentially and exquisitely feminine about it, just as there is something essentially and
heroically masculine in the Beethoven Violin Concerto,’ said English pianistcomposer William Sterndale Bennett. Mendelssohn has a reputation in some quarters for facility, even for unthinking note-spinning. The Violin Concerto gives the impression of spontaneous invention, but only through the art which conceals art. Ferdinand David, the leader of the Leipzig Gewandhaus Orchestra under Mendelssohn, helped the composer with the technicalities of the solo part, and gave the premiere in 1845. As early as 1838 Mendelssohn wrote to David: ‘I should also like to write a violin concerto for you next winter. One in E minor runs in my head, the beginning of which gives me no peace.’ Over the next six years Mendelssohn peppered David with questions about technical difficulties, and finished, ‘“Thank God this fellow is through with his Concerto,” you will say. Excuse my bothering you, but what can I do?’
Mendelssohn’s thoughtful approach to the challenge of writing this concerto produced a number of structural innovations. The first was his solution to the problem of the opening orchestral tutti (already tackled by Beethoven in his last two piano concertos). Mendelssohn abolishes it completely: the violin soars in with the impassioned and lyrical first subject after just a bar and a half of orchestral accompaniment. Another happy find is the single open G-string note which the soloist sustains as a bass to the beautifully contrasted second subject. The next formal innovation shows how the virtuosity of the writing for violin is subordinated to the overall musical purpose: the cadenza, fully written out, occurs in the middle of the movement, and concludes with the recapitulation – a magical moment, as the orchestra states the main theme while the violin continues with figuration from the cadenza.
SCHUMANN AND MENDELSSOHN | 7–8 September 15
The bassoon note sustained from the last chord of the first movement, linking it with the second, is usually explained as Mendelssohn’s attempt to persuade the audience not to applaud at this point. What it does do is make the music continuous, and emphasise the change of key to C major for the songful slow movement. Mendelssohn again shows his concern for overall unity in writing an introduction to the last movement, with a theme for violin and strings a little reminiscent of the first movement – the soloist leads the listener in a typically Romantic manner through the unfolding ‘story’ of the concerto.
The last movement has many affinities with Mendelssohn’s ‘fairy-scherzo’ vein, first proclaimed in his teenage masterpieces the Octet and the Midsummer Night’s Dream Overture. It is a movement of entrancing contrasts: between the opening call-to-attention, the substantial second subject, and the violin’s curving lyrical theme while the orchestra plays with scraps of the main theme. The whole concerto reveals how completely Mendelssohn could recapture the fresh inspiration of his youth in his full musical maturity.
David Garrett © 1998
| 7–8 September 16
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Gail McKay
Shirley A McKenzie
Alan Meads and Sandra Boon
Joan Mullumby
Marian Neumann
Ed Newbigin
Valerie Newman
Brendan O’Donnell
Jillian Pappas
Phil Parker
Sarah Patterson
The Hon Chris Pearce and Andrea Pearce
Peter Berry and Amanda Quirk
William Ramirez
Geoffrey Ravenscroft
Dr Christopher Rees
Professor John Rickard
Peter Riedel
Michael Riordan and Geoffrey Bush
Fred and Patricia Russell
Carolyn Sanders
Dr Nora Scheinkestel
Julia Schlapp
Hon Jim Short and Jan Rothwell Short
Madeline Soloveychik
Dr Alex Starr
22
Supporters
Dyan Stewart
Ruth Stringer
Tom Sykes
Reverend Angela Thomas
Mely Tjandra
Rosemary Warnock
Amanda Watson
Michael Whishaw
Deborah and Dr Kevin Whithear OAM
Charles and Jill Wright
Anonymous (16)
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
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
23 Supporters
Supporters
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
David Horowicz
Anne-Marie Johnson
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
Rosemary and the late Douglas Meagher
Craig Hill
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
24
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 OAM
Helen Silver AO
Managing Director
Sophie Galaise
Board Directors
Shane Buggle
Andrew Dudgeon AM
Martin Foley
Lorraine Hook
Margaret Jackson AC
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)
25 Supporters
Principal Partner
Premier Partners
Education Partner
Major Partners
Orchestral Training
Partner
Government Partners
Venue Partner
Supporting Partners
Thank you to our Partners
Quest Southbank
Bows for Strings
Ernst & Young
— Deborah Cheetham Fraillon AO
