CONCERT PROGRAM BENJAMIN NORTHEY CONDUCTS KALEIDOSCOPIC SPLENDOUR 15–16 SEPTEMBER / 7.30PM MELBOURNE & GEELONG
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KORNGOLD Violin Concerto
Running time: approximately 105 minutes including interval.
Benjamin Northey conductor
HYDE Village Fair
Artists
Melbourne Symphony Orchestra Chorus
Pre-concert and Post-concert events
Emily Sun violin Program
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.
This concert may be recorded for future broadcast on MSO.LIVE
DVOŘÁK Symphony No.8
Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham AO, will be performed at this concert.
Arrive early to enjoy a free recital performed by Calvin Bowman on the mighty Grand Organ from 6.30pm (Melbourne only).
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 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.
NationalAustralianCommission
Acknowledging Country
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.
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.
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.
— Deborah Cheetham AO
for UNESCO United Nations Educational, Scientific and Cultural Organization 4
About Long Time Living Here
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.
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.
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.
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.
Melbourne Symphony Orchestra
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Established in 1906, the Melbourne Symphony Orchestra is Australia’s pre-eminent orchestra and a cornerstone of Victoria’s rich, cultural heritage.
Andrew Dudgeon AM# Patrick Wong Hyon Ju Newman# Roger Young Shane Buggle and Rosie Callanan# Michael Loftus-Hills* Lynette Rayner* VIOLAS
SECOND VIOLINS
Benjamin Hanlon Frank Mercurio and Di Jameson# Rohan StephenSuzanneDasikaLeeNewton
Your MSO
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Dr Elizabeth E Lewis AM# Gabrielle Halloran Trevor Jones Anne Neil# Fiona Sargeant Molly Collier-O’Boyle* Jenny Khafagi*
Dale Barltrop
CELLOS
Sir Andrew Davis Conductor Laureate
Principal Guest Conductor Benjamin Northey Principal Conductor in Residence Carlo Antonioli Cybec ConductorAssistantFellow
Tair Khisambeev Assistant Concertmaster Di Jameson and Frank Mercurio# Peter Edwards Assistant Principal Kirsty Bremner Sarah Curro Peter KarlaJacquelineKathrynMichelleMarkEleanorKirstinAnne-MarieLorraineDeborahFellinGoodallHookJohnsonKennyManciniMogilevskiRuffoloTaylorEdwards*Hanna*
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Learn more about our musicians on the MSO website.
DavidConcertmasterLiAMand Angela Li# Sophie Rowell Concertmaster
FIRST VIOLINS
Robert Macindoe Associate Principal Monica Curro Assistant Principal Danny Gorog and Lindy Susskind# Mary Allison Isin TiffanyCakmakciogluCheng Glenn Sedgwick# Freya Franzen Cong PhilippaIsyAndrewGuHallWassermanWest
Sophie Galaise and Clarence Fraser# Caitlin Bass* Vivian Qu Siyuan* Stuart NemanjaThomson*Petkovic*
6
Mr Marc Besen AC and the late Mrs Eva Besen AO# Xian Zhang
Matthew Tomkins ThePrincipalGross Foundation#
Christopher Moore DiPrincipalJameson and Frank Mercurio# Lauren AnthonyKatharineBrigdenBrockmanChataway
Hiroyuki Iwaki † Conductor (1974–2006)Laureate
Jaime Martín Chief Conductor
David Berlin Principal 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# Nils AlexandraHobiger*Partridge*
Jack Schiller Principal Elise Millman Associate Principal Natasha Thomas Dr Martin Tymms and Patricia Nilsson#
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Michael Pisani Principal CLARINETS
MargaretPrincipal Jackson AC# Saul Lewis Principal Third The Hon Michael Watt KC and Cecilie Hall# Abbey Edlin Nereda Hanlon and Michael Hanlon AM# Trinette McClimont Rachel Shaw Gary McPherson# Anton Schroeder* Josiah Kop*
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Yinuo Mu Principal CELESTE Laurence Matheson*
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Nicolas Fleury
PERCUSSION John Arcaro Anonymous# Robert Cossom Drs Rhyl Wade and Clem Gruen# Greg Sully*
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BASS CLARINET
TRUMPETS
TIMPANI
Matthew Brennan*
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David Thomas Principal Philip Arkinstall Associate Principal Craig ThomasHillD’Ath*
Wendy Clarke Associate Principal Sarah Beggs PICCOLO
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Richard Shirley Mike Szabo Principal Bass Trombone Brian Santero* TUBA Timothy Buzbee Principal
Jon Craven Principal
Brock Imison Principal
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Ann Blackburn The Rosemary Norman Foundation#
CONTRABASSOON
HARP
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# Position supported by September15|SplendourKaleidoscopoicconductsNortheyBenjamin 7
FLUTES
His international appearances include concerts with the London Philharmonic Orchestra, the Tokyo Philharmonic Orchestra, the Mozarteum Orchestra Salzburg, the Hong Kong Philharmonic, the National Symphony Orchestra of Colombia, the Malaysian Philharmonic and the New Zealand Symphony and Auckland Philharmonia.
He has conducted L’elisir d’amore, The Tales of Hoffmann and La sonnambula for SOSA and Turandot, Don Giovanni, Carmen and Cosi fan tutte for Opera Australia.
Benjamin Northey conductor
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Since returning to Australia from Europe, Benjamin Northey has rapidly emerged as one of the nation’s leading musical figures. He is currently the Principal Resident Conductor of the Melbourne Symphony Orchestra and was appointed Chief Conductor of the Christchurch Symphony Orchestra in 2015.
Limelight Magazine named him Australian Artist of the Year in 2018. In 2021, he conducts the Hong Kong Philharmonic, the Christchurch Symphony and all six Australian state symphony orchestras.
Emily is a Violin Professor at the Royal College of Music London, and plays on a 1760 Nicolò Gagliano violin, kindly loaned by Beares International Violin Society.
‘Possessed of a superb talent’ (The Australian), with ‘a searing and poetic tone’ (The Guardian), Emily Sun’s powerful sound and compelling interpretations have earned her international renown, winning the Royal Overseas League Competition (UK), ABC Young Performers Award (Australia), and violin competitions Italy, Austria and Russia. Emily’s debut album, Nocturnes, was released on ABC Classics to critical acclaim and nominated for ‘Best Classical Album’ in the 2021 ARIA Awards.
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Emily Sun violin
In 2022, Emily performs with the Adelaide, West Australian, and Melbourne Symphony Orchestras and London Mozart Players with conductors Vasily Petrenko, Benjamin Northey and Howard Griffiths, alongside engagements in Wigmore Hall, UKARIA Cultural Centre and Melbourne’s Federation Square.
Recent highlights include with Sydney and Queensland Symphony Orchestras, European Union Chamber Orchestra, Orchestre de Royal Wallonie, Arizona Symphony Orchestra, Qingdao Symphony Orchestra, and Bach’s Double Violin Concerto with Maxim Vengerov at Buckingham Palace by invitation from HRH Prince of Wales. Recital debuts include Royal Albert Hall (London), Tchaikovsky Hall (Moscow), Sydney Opera House and Seoul Arts Centre.
MIRIAM HYDE
Emily Sun violin
A country dance follows, faintly “modal” at times, and lightly scored for
Village Fair
I.
The unifying theme is “Oh Dear! What can the Matter Be?” of which the bright opening section presents a variation in common time. Some brass colouring with occasional solo trumpet phrases suggests the festive air of a village fair, and, as a ballet, this would require general activity on the stage. This gives place to the entry of a pieman. Though no words are used, there being no vocal part, the orchestra does suggest the cry “Hot pies”, imitated between the various sections. The village girls dance around his little stall, the original trumpet rhythm of the “Oh Dear!” theme being clearly utilised here against the “Hot pies” of the horns. Then follows a slow section in G minor. The principal girl is melancholy at Johnnie’s tardy return from the fair. The melody (again based on “Oh Dear!”) is given to a solo violin and later to the cellos accompanied by a canopy of woodwind. This leads into a flower waltz – chromatic passages in the woodwind suggesting the scintillating effect of petals thrown high and then falling together in their many colours. A flower seller plucks the petals of a large daisy, while the onlookers watch whether the result will be “He loves me” or “He loves me not” – suggested by alternate major and minor harmonies and by appropriate rhythms.
ERICH WOLFGANG KORNGOLD
II.
III.
flute and pizzicato accompaniment. The “Oh Dear!” theme here is clearly recognisable, but in a minor mode. After this there is a gipsy fortuneteller, the music being in a more Eastern almost Spanish, idiom; a solo violin and solo oboe are conspicuous above a persistent rhythmical bass. A hurdy-gurdy man passes, grinding out his popular tune, with a few notes characteristically missing and out of tune.
Violin(1897–1957)Concerto in D Moderato nobile Romance (Andante) Finale (Allegro assai vivace)
A coda, gay and bright in colouring, is reminiscent of the opening scene, though in the key a fifth higher for greater brilliance. Johnnie has returned with bunches of blue ribbons. A penetrating re-entry of the pieman theme (on horns and violas) is combined with “Oh Dear!” to which three timpani make a final reference in the notes of B flat, G, and up to E flat.
(1913–2005)
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Korngold was born in the Czech city of Brno, then called Brünn and part of Austria. The son of the later famous Viennese music critic Julius Korngold,
© Miriam Hyde, annotations published in Radio Call. March 15, 1944
Johnnie is still not in sight, and the “Oh Dear!” theme forms a wistful link between the hurdy-gurdy man and a portrayal of a juggling scene; staccato woodwind making cross rhythms with the lower strings and representing the intricate patterns of balls being thrown at different heights. Trumpets and horns lead back strongly to the “Oh Dear!” theme, which at this point most clearly approaches its original outline.
Program Notes
The composer writes: Village Fair was started on January 16, 1943, and the actual musical material completed in about a fortnight, though the orchestration and the writing of the individual parts were spread over a much longer period.
young Korngold was mentored by Gustav Mahler, and took lessons from Alexander Zemlinsky, quickly developing his prodigious natural talents. He was only 13 years old when, in 1910, his Piano Trio, shortly to be published as his Opus 1 in the prestigious Austrian imprint Universal Edition, received its first Vienna performance by an eminent trio that included Bruno Walter (piano) and Arnold Rosé (violin). Rosé (Mahler’s brotherin-law) already knew the work of this young prodigy, for two months earlier he had led the Vienna Court Opera orchestra in the premiere of Korngold’s ballet-pantomime Der Schneemann (The Snowman, to the composer’s own scenario). Richard Strauss, who had also composed his first published work at the age of 12, responded with a much-quoted appreciation of the ‘boy genius’, reprinted even half a world away in Adelaide, in the Advertiser of 27 May 1910:
would be banned by the Nazi regime. So rife was the spirit of anti-semitism, even in free Europe, that his Die Kathrin was derided by a Swedish reviewer in 1939 as ‘that emigrant Jew Korngold’s disgusting opera’. Perhaps unwittingly, Korngold’s personal salvation came early on, when in 1934 director Max Reinhardt first lured him to Hollywood, to arrange a score out of Mendelssohn’s famous incidental music for his Warner Bros film of A Midsummer Night’s Dream (starring the young Mickey Rooney as Puck, and Olivia de Havilland as Hermia). For the next four years until Hitler’s annexation of Austria forced him into permanent exile, Korngold commuted between Warner Bros’ Hollywood studios and his home in Vienna, remaking himself as arguably the most acclaimed movie composer of the 1930s. He won his first Oscar for the score of Anthony Adverse (1936), and his second for The Adventures of Robin Hood (1938), presented to him at the award ceremony by Jerome Kern. Probably his most famous and characteristic score of all was that for the swashbuckling romance The Sea Hawk (1940) starring Errol AlmostFlynn.inevitably,
his American movie scores did little to further Korngold’s reputation as a serious German composer and conductor, a point of particular conflict with his father, Julius, who nagged Erich relentlessly to return to the opera and concert stage. And sadly, on one occasion when Korngold did so, producing this Violin Concerto for first performance early in 1947, the New York reviewer Irving Kolodin could not pass up the opportunity for an easy dig, describing the result as ‘more corn than Curiously,gold’.according
Mature success came with the operas Violanta (1916), and, above all, with the 1920 psychodrama Die tote Stadt (The Dead City, to a libretto by the composer’s father, Julius), which within a year of its simultaneous premiere in Hamburg and Cologne had also been performed at the Vienna State Opera and the Metropolitan Opera in New York, winning the admiration of two notable composer colleagues, Puccini and Berg. Largely due to Die tote Stadt, by the early 1930s Korngold was being described as the ‘Viennese Puccini’, and by some as a ‘great hope of German music’.
But Korngold was Jewish, and Die tote Stadt, along with the rest of his music,
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to one version of the story, it was Korngold’s anti-Hollywood father who suggested that his beautiful title music for a forgotten Errol Flynn adventure, Another Dawn (1937), might make a good opening theme for a violin
The first feeling I had was one of awe and apprehension, succeeded by a fervent wish that so precocious a manifestation of genius may have an opportunity for normal development. What assurance of style, mastery of form, individuality of expression… it is all genuinely astounding.
III. Lento assai – Allegro vivace
Graeme Skinner © 2010
Symphony(1841–1904)No.8 in G
I. Non Allegro
After the arching opening from Another Dawn, the first movement moves on to a second idea borrowed from the love theme for his score for the 1939 film Juarez, based – fittingly for the concerto’s dedicatee – on a novel by Franz Werfel. With this second theme, the movement first comes fully into the ‘nobile’ of its initial tempo direction, before continuing through a closely worked development towards its fullest realisation in the virtuosic coda. Korngold’s Oscar-winning score to Anthony Adverse supplies the main melody for the luminously scored second movement, though the central section, marked ‘misterioso’ was new and remained unique to the concerto.
concerto. Having long ago promised such a work to violinist Bronislaw Huberman, Korngold began sketching the concerto on a trip back to Vienna in summer 1937. Alban Berg’s Violin Concerto was new at the time, dedicated to the memory of the young Manon Gropius, daughter of architect Walter Gropius and Alma Mahler, who had died recently of polio, and there is a fleeting tonal echo of Berg’s open-string initial gambit in Korngold’s concerto. Korngold would go on to dedicate his concerto, after completion in 1945, to Manon’s mother, by then herself a Hollywood refugee, and recently widow of Korngold’s friend, the novelist Franz Werfel.
ANTONÍN DVOŘÁK
II. Andante con moto (Tempo di valse)
IV. Allegro ma non troppo
The success that Dvořák enjoyed, thanks to Brahms’ advocacy in the late 1870s, made his name beyond Vienna and Prague, and in 1884 he made the first of nine visits to England where his music became – and remained – extremely popular. In 1890, now a regular visitor, Dvořák arrived with the score of his Eighth Symphony (published originally as No.4), which he had recently premiered in Prague but which for some time was colloquially known as the ‘English InSymphony’.fact,thepiece has, even for Dvořák, an especially Bohemian accent; its immediate popularity with the British audience perhaps has more to do with
was repeatedly unable to commit to a suitable date, and a new friend, Jascha Heifetz, eventually gave the premiere, to warm response, in St Louis (with repeats in Chicago and New York) in February 1947. Contrary to a warning attached to an earlier Hollywood refugee violin concerto, about which its composer Arnold Schoenberg reportedly said: ‘I am delighted to add another unplayable work to the repertoire’, Korngold advised listeners in his own original program note: ‘In spite of its demand for virtuosity in the finale, the work with its many melodic and lyric episodes was contemplated rather for a Caruso of the violin than for a Paganini.’ In the concerto, as he testified elsewhere, Korngold remained faithful to his aim ‘that music should be melodic’, ‘wohllautend’ (well-sounding), and ‘conceived in the heart’.
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The virtuosic third movement is based on the puckishly athletic jig theme from Korngold’s 1937 score for The Prince and the Pauper, the skittering 6/8 melody also transformed in several briefly intervening brass-laden orchestral tuttis into a rambunctious 2/4 American hoedown that momentarily seems to naturalise Korngold into the musical world of his new fellow countrymen, Aaron Copland and Roy Harris. Almost a decade on from its inception, Korngold was still saving the first performance of the concerto for Huberman. But the violinist
its relaxed attitude to the formal rigours of Germanic symphonism, and an abundance of memorable, folk-inflected melody. For Brahms, normally a great supporter, this was a major flaw. He argued (offering, in passing, a seriously backhanded compliment to his rival Anton Bruckner) that too much that’s fragmentary, incidental, loiters about in the piece. Everything fine, musically captivating and beautiful – but no main points! When one says of Dvořák that he fails to achieve anything great and comprehensive with his pure, individual ideas, this is correct. Not so with Bruckner, all the same he offers so little.
The first movement is in G major and marked Allegro con brio, but Dvořák disguises both speed and tonality by beginning with a slow-moving minor-
Gordon Kerry © 2013
While the Symphony is a work of absolute music, it was composed in close proximity to a series of concert overtures originally known as Nature, Life and Love – the more customary titles In Nature’s Realm, Carnival and Othello came later. This triptych shows Dvořák’s essential Romanticism in his adherence to the cult of Nature and his delight in celebrating his ethnic musical roots, and in similar musical language to that of the Eighth Symphony.
What Brahms, of all people, failed to hear in this music is how the varying episodes, across the movements, are unified by pervasive rhythmic cells. The long-short-short figure with which the work opens also dominates the slow movement’s main theme. Groups of four repeated even notes – crotchets or quavers – appear at structural points; groups of triplets can appear as distant drum taps, or the opening gesture of an important melody (like that of the w), and be transformed into the three-note up-beat of the third movement; the dotted rhythm of the third movement’s trio is transmuted in the rhythm of the fourth movement’s fanfare, and when that theme is stated by the orchestra its rising arpeggio reveals it to be related to the flute’s theme from the first movement. This almost subliminal motivic manipulation gives coherence to some of Dvořák’s most expansive and poetic music.
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mode melody in the cellos, richly doubled by horn, clarinet and bassoon. When the music makes it to the home key of G major it is with a chirping melody for the flute. In a breathtaking display of orchestration that ranges from translucent shimmering to the richness of divided violas and cellos, Dvořák elaborates his themes through an audacious series of key changes; the conventional recapitulation is here a shining G major chord with the flute melody now given to a more introspective cor anglais. The Adagio, in C minor, is often brightened with rapid, falling major scales like pealing bells, and has an impassioned central section. The scherzo begins with a lyrical G minor dance contrasting with a more buoyant G major trio and fast coda. The finale is a set of variations on the bright fanfare announced by the trumpet as the movement opens.
In fact, the formal freedom and melodic richness are precisely what makes this work special. According his early biographer, Otakar Šourek, Dvořák aimed ‘to write something different from his other symphonies and shape the musical content of his ideas in a new manner’. He did so not by piling up beautiful incidents, as Brahms suggests, though; as he is said to have told his student, Josef Michl: ‘To have a beautiful idea is nothing special. The idea comes from itself and if it is beautiful and great, man can take no credit for that. But to develop the idea well and make something great from it, that is the most difficult, that is – art!’
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OVERTURE PATRONS $500+*
James Ring
Basil and Rita Jenkins
Shyama Jayaswal
Sylvia Miller
Lapworth
Martin and Susan Shirley P
Sandy Jenkins Sue
Dr Peter Rogers and Cathy Rogers OAM
Phil WayneAaronEleanorGabeChrisElizabethAndrewLewisLockwoodHLoftusandAnnaLongLopata&PhillipManciniMcConnellMcDonaldandKay
MelissaCynthiaBruceNadaMichaelGregoryDrCharmaineCititecIanRogerDrLindaStephenGrahamAllenDrPeterHeatherMrBenevityAndersonPeterBatterhamandDavidBaxterBerryandAmandaQuirkWilliamBirchAMandKathrynBloomandMaryAnnBoneBraidaBrennanRobertBrookandCollBuckleandWilmaChapmanCollinsSherylCoughlinandPaulCoughlinCrewDaviesDickinsonDudonEdgellandAranFitzgerald
Margaret Mcgrath
Jane Allan and Mark Redmond
Dr Anne Kennedy
Ian Penboss
Dr Anthony and Dr Anna Morton Laurence O’Keefe and Christopher James Roger Parker
Dr Ronald and Elizabeth Rosanove Marie ElisabethRowlandandDoug Scott
R A
Kerryn ProfessorPratchettCharles Qin OAM and Kate AlfonsoRitchieReina and Marjanne Rook
Silberberg
Brian
Brian Snape AM and the late Diana Snape Colin and Mary Squires Allan and Margaret Tempest
SandraMary-JaneSimonMaryElizabethFlorenceFosterGaidzkarGaitesGethingGillettandJeremy
Jim CliveHickeyandJoyce Hollands
David and Geraldine Glenny Hugo and Diane Goetze Pauline Goodison
Professor David Knowles and Dr Anne
BelindaJohnFionaWendyRobGillianHookHorwoodJacksonJohnsonKeenanKeysandMalcolm
Reverend Angela Thomas Max
Jenny Anderson
CONDUCTOR’S CIRCLE
David Angelovich G C Bawden and L de Kievit Lesley Bawden
Joyce Bown Mrs Jenny Bruckner and the late Mr John Bruckner Ken
20 Supporters
GuntaAlanSandraBerylLuciPeterBullenACaldwellandRonChambersDeanDentEganJPEglite
AdrianaPaulineSarahDavidRosemaryDrAdrianJoanMarieShirleyJaniceTheDrDrPaschalinaMcLachlanLeachJennyLewisSusanLintonPodcastReaderMayfieldAMcKenzieMisiurakMullumbyandLouiseNelsonJudithSNimmoO’CollinsOppenheimPattersonandDavidLawtonandSiennaPesavento
DrJuliaCarolynSamsonSandersSchlappFrankandValerie
DrFionaDrDeborahAmandaRosemaryWaltersWarnockWatsonWhithearandKevinWhithearOAMWoodardKellyandDrHeathcote
Conrad O’Donohue and Rosemary Kiss
Wright
Dr Susan Yell Daniel Yosua
* 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
Louise Gourlay OAM Geoff Hayes
Wilkins
King
Professor John Rickard Viorica
Terry Wills Cooke OAM and the late Marian Wills Cooke Mark AnonymousYoung (19)
Carol LindsayTonyRodGrahamHayHogarthHomeHoweandMichael
Marguerite Garnon-Williams
Dr Gabriela and Dr George Stephenson Pamela Swansson
C P PeterKempForbes MacLaren Joan Winsome Maslen
Michael Ryan and Wendy Mead Andrew Serpell
Enid Florence Hookey Gwen FamilyHuntandFriends of James Jacoby
Audrey Jenkins Joan PaulineJonesMarie Johnston
The Hon. Rosemary Varty
AnneJoanPennyRosiaMatthewDavidMuirOrrO’SullivanPasteurRawlinsPRobinsonRoussac-Hoyne
Tam Vu and Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Peter and Elisabeth Turner Michael Ulmer AO
21 Supporters
Drs L C Gruen and R W Wade Louis J Hamon AOM
Jacombs
Lillian Tarry
AM MBE
Ruth
Marion A I H M Spence Molly
Laurence O’Keefe and Christopher James John GraceJonesKass and the late George Kass Sylvia PaulineLavelleandDavid Lawton Cameron Mowat
Jennifer Shepherd Suzette Sherazee
and Neil Roussac
Lorraine Maxine Meldrum Prof Andrew McCredie Jean MissMaxwellMooreSchultzSheilaScotter
The MSO gratefully acknowledges the support of the following Estates: Norma Ruth Atwell Angela TheNeilmaMargaretTheChristineBeagleyMaryBridgartCumingBequestDaviesGantnerHonDrAlanGoldberg AO QC
DorothyHertaJeanAlbertJenniferHalinkaStephensTarczynska-FiddianMayTeagueHenryUllinTweedieandFredBVogelWood
HONORARY
The Hon Michael Watt KC and Cecilie Hall
Colin Golvan AM KC and Dr Deborah Golvan Sascha O. Becker
Jason Yeap OAM – Mering Management Corporation
Sir Elton John CBE
APPOINTMENTS
The MSO honours the memory of Life Members
Sophie Galaise
Board Directors
Gary GlennHyon-JuMcPhersonNewmanSedgwick
22 Supporters
David Krasnostein AM
Tim and Lyn Edward Kim Williams AM
Harold Mitchell AC
Artistic Ambassadors
The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows:
Michael Ullmer AO and Jenny Ullmer Anonymous
Shane AndrewBuggleDudgeon AM
MichaelFoundationUllmer AO and Jenny Ullmer
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.
John Gandel AC and Pauline Gandel AC
Weis Family
$500+ $100,000+$50,000+$20,000+$10,000+$5,000+$2,500+$1,000+(Overture)(Player)(Associate)(Principal)(Maestro)(Impresario)(Virtuoso)(Platinum)
Oliver Carton
Chairman
Life Members
COMMISSIONING CIRCLE
The Kate and Stephen Shelmerdine Family
John and Lorraine Bates
Jeanne Pratt AC
Lady Potter AC CMRI
John Brockman OAM
Ila Vanrenen
David Li AM
Co-Deputy Chairs
Geoffrey Rush AC
Lu Siqing
Elizabeth Proust AO and Brian Lawrence
Tan Dun
MSO Ambassador
FIRST NATIONS CIRCLE
Mary Armour
Mr Marc Besen AC
Mrs Eva Besen AO
Roger Riordan AM
MSO BOARD
The Honourable Alan Goldberg AO QC
Di HelenJamesonSilver AO Managing Director
Danny MargaretLorraineGorogHookJackson AC
Company Secretary
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.
Get closer to the Music
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. Thank you for your support. PATRON
BECOME AN MSO
Thank
you to our Partners Government Partners Principal Partner Premier Partners Supporting Partners Education Partner Venue Partner Major Partners Quest SouthbankBows for StringsErnst & Young
Ken Ong OAM
Program Supporters
and Broadcast
Trusts and Foundations
East meets West
Consulate General of the People’s Republic of China in Melbourne
Ministry of Culture and Tourism China
SupportersConsortium Partners Concert Partners Supporting PartnersPrestigious Partner
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
Media Partners
FreemasonsFoundationVictoria
*Emirates First Class Private Suite pictured. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent. As
Orchestra, we
BEST SEAT in the house Principal Partner of the Melbourne Symphony know the importance of delighting an audience. That’s why when you’re in First, you’ll enjoy the ultimate flying experience with fine dining at any time in your own private suite.
Emirates
