Debussy's Nocturnes | Concert Program

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Artists

Melbourne Symphony Orchestra

Nodoka Okisawa conductor

Yinuo Mu harp

Upper Voices of the MSO Chorus

Warren Trevelyan-Jones chorus director

Nicholas Dinopoulos guest chorus director

Program

RAVEL Valses nobles et sentimentales

MELODY EÖTVÖS Sonarmilo for Harp and Orchestra (WORLD PREMIERE OF AN MSO COMMISSION)

TAKEMITSU Dreamtime*

DEBUSSY Nocturnes

* This piece will be performed on 13 and 15 October only.

Running time: 13 & 15 October approximately 105 minutes including interval. 14 October approximately 65 minutes with no interval.

Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham AO, will be performed at this concert.

Pre-concert events

Pre-concert talk: 13 October at 6:45pm

14 October at 10:15am

15 October at 6:45pm

Presented by composer and artist, Stéphanie Kabanyana Kanyandekwe in conversation with Melody Eötvös, in the Stalls Foyer, Level 2 at Hamer Hall.

These concerts may be recorded for future broadcast on MSO.LIVE

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.

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.

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.

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.

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

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 Susannah Ng*

SECOND VIOLINS

Matthew Tomkins

Principal

The Gross Foundation# Robert Macindoe

Associate Principal Monica Curro 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 Hyon Ju Newman#

Roger Young Shane Buggle and Rosie Callanan#

VIOLAS

Christopher Moore Principal Di Jameson and Frank Mercurio# Lauren Brigden

Katharine Brockman Anthony Chataway Dr Elizabeth E Lewis AM# Gabrielle Halloran Trevor Jones Anne Neil#

Fiona Sargeant* William Clark*

Ceridwen Davies* Jenny Khafagi* Isabel Morse*

Tom Chawner*

Karen Columbine*

Heidi von Bernewitz*

CELLOS

David Berlin

Principal Rachael Tobin

Associate Principal Nicholas Bochner

Miranda Brockman

Geelong Friends of the MSO# Rohan de Korte Andrew Dudgeon AM#

Sarah Morse

Angela Sargeant Michelle Wood Andrew and Judy Rogers# Jonathan Chim* Rebecca Proietto*

DOUBLE BASSES

Benjamin Hanlon Frank Mercurio and Di Jameson# Rohan Dasika

Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#

Caitlin Bass*

Siyuan Vivian Qu* Emma Sullivan* Nemanja Petkovic*

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke Associate Principal Sarah Beggs

PICCOLO

Andrew Macleod

Principal OBOES

Ann Blackburn

The Rosemary Norman Foundation#

Callum Hogan* Guest Principal Oboe

COR ANGLAIS

Michael Pisani

Principal

CLARINETS

David Thomas Principal Philip Arkinstall Associate Principal Craig Hill

BASS CLARINET

Jon Craven Principal BASSOONS

Jack Schiller Principal Elise Millman Associate Principal Natasha Thomas Dr Martin Tymms and Patricia Nilsson#

CONTRABASSOON

Brock Imison

Principal

HORNS

Nicolas Fleury

Principal

Margaret Jackson AC#

Saul Lewis

Principal Third

The late Hon Michael Watt KC and Cecilie Hall# Abbey Edlin Nereda Hanlon and Michael Hanlon AM# Trinette McClimont Rachel Shaw Gary McPherson# Tim Allen-Ankins*

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 Mark Davidson* Acting Principal Trombone

TUBA

Timothy Buzbee

Principal

TIMPANI

Guy Du Blet*

Acting Principal Timpani

PERCUSSION

John Arcaro

Anonymous#

Robert Cossom

Drs Rhyl Wade and Clem Gruen#

Robert Allan* Conrad Nilsson* Greg Sully* Scott Weatherson*

HARP

Yinuo Mu Principal Megan Reeve* Melina van Leeuwen* KEYBOARD Louisa Breen*

Guest

Nodoka Okisawa is the winner of the renowned Concours international de jeunes chefs d’orchestre de Besançon 2019, where she was awarded the Grand Prix, the Orchestra Prize and the Audience Prize. In 2018, she won the Tokyo International Music Competition for Conducting, one of the most important international conducting competitions.

Since the beginning of the 2020/2021 season, Nodoka Okisawa has been a scholarship holder at the Karajan Academy of the Berliner Philharmoniker and assistant to Kirill Petrenko. In addition to assisting the principal conductor in concert and opera, the scope of her two-year scholarship also includes conducting her own concert projects together with the academy members of the Berliner Philharmoniker. Together with Kirill Petrenko, she conducted the the 50 th anniversary concert of the Karajan Academy in May 2022.

Highlights of the current season include her subscription debuts with the Melbourne Symphony Orchestra, Orquesta de València, Yomiuri Nippon Symphony Orchestra and City of Kyoto Symphony Orchestra, among others. She also regularly conducts the NHK Symphony Orchestra, New Japan Philharmonic, Tokyo Symphony Orchestra, Japan Philharmonic Orchestra, Orchestra Ensemble Kanazawa and the Noord Nederlands Orkest.

Yinuo Mu has been a member of the Melbourne Symphony Orchestra since 2013. A dynamic, intuitive performer, she has won numerous music awards and solo competitions including Grand Prize at the American String Teachers Association National Solo Competition and American Harp Society’s Ann Adams Award. Yinuo has appeared as a soloist on a number of occasions, most recently performing Tan Dun’s harp concerto Nu Shu with the MSO in 2015.

Prior to joining the MSO, Yinuo served as principal harpist of the Florida Grand Opera. She has also worked as guest harpist with the Boston Symphony Orchestra, Houston Symphony Orchestra, San Diego Symphony Orchestra, and the NCPA orchestra in Beijing. In Australia, she has played as guest principal harpist with Sydney Symphony Orchestra, West Australian Symphony Orchestra, Australian Opera and Ballet Orchestra, Orchestra Victoria and Tasmania Symphony Orchestra.

Yinuo holds a Bachelor of Music degree from Oberlin Conservatory of Music (USA), a Master of Music Degree from the Cleveland Institute of Music (USA), and a Graduate Performance Diploma from the Boston University School of Fine Arts.

Nodoka Okisawa conductor Yinuo Mu harp

Warren Trevelyan-Jones chorus director

MSO Chorus Director Warren TrevelyanJones is the Head of Music at St James’, King Street in Sydney and is regarded as one of the leading choral conductors and choir trainers in Australia. Warren has had an extensive singing career as a soloist and ensemble singer in Europe, including nine years in the Choir of Westminster Abbey, and regular work with the Gabrieli Consort, Collegium Vocale (Ghent), the Taverner Consort, The Kings Consort, Dunedin Consort, The Sixteen and the Tallis Scholars. Warren is also Director of the Parsons Affayre, Founder and Co-Director of The Consort of Melbourne and, in 2001 with Dr Michael Noone, founded the Gramophone award-winning group Ensemble Plus Ultra. Warren is also a qualified music therapist.

Nicholas Dinopoulos guest chorus director

Nicholas Dinopoulos studied singing at the University of Melbourne under Merlyn Quaife AM. He maintains a busy performance schedule consisting of various concert, recital and operatic engagements, most notably as a core member of Songmakers Australia.

He has appeared as a guest soloist with the Melbourne Symphony Orchestra, Auckland Philharmonia, Bach Musica NZ, Royal Melbourne Philharmonic, Australian Haydn Ensemble, Ludovico’s Band, Latitude 37, Victorian Opera (Melbourne) and Pinchgut Opera (Sydney).

He is frequently heard in national live-to-air broadcasts on ABC Classic & 3MBS FM, and his performances have been recorded by both the Chandos and Pinchgut Live labels. www.nickdinopoulos.com

MSO Chorus

For more than 50 years the Melbourne Symphony Orchestra Chorus has been the unstinting voice of the Orchestra’s choral repertoire. The MSO Chorus sings with the finest conductors including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, Bernard Labadie, Vladimir Ashkenazy and Manfred Honeck, and is committed to developing and performing new Australian and international choral repertoire.

Commissions include Brett Dean’s Katz und Spatz, Ross Edwards’ Mountain Chant, and Paul Stanhope’s Exile Lamentations. Recordings by the MSO Chorus have received critical acclaim. It has performed across Brazil and at the Cultura Inglese Festival in Sao Paolo, with The Australian Ballet, Sydney Symphony Orchestra, at the AFL Grand Final and at the Anzac Day commemorative ceremonies.

The MSO Chorus is always welcoming new members. If you would like to audition, please visit mso.com.au/chorus for more information.

SOPRANO

Philippa Allen

Emma Anvari

Sheila Baker

Samantha Davies

Susan Fone

Aurora Harmathy

Juliana Hassett

Penny Huggett

Gina Humphries

Leanne Hyndman

Gwen Kennelly

Judy Longbottom

Caitlin Noble

Jodi Samartgis

Fabienne

Vandenburie

Julia Wang

ALTO Tes Benton

Kate Bramley

Serena Carmel

Juliarna Clark

Jill Giese

Jillian Graham

Ros Harbison

Jennifer Henry

Kristine Hensel

Helen Hill

Helen MacLean

Penelope Monger

Sandy Nagy

Alison Ralph

Annie Runnalls

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Program Notes

MAURICE RAVEL

(1875–1937)

Valses nobles et sentimentales

I. Modéré

II. Assez lent

III. Modéré

IV. Assez animé

V. Presque lent

VI. Assez vif

VII. Moins vif

VIII. Epilogue: lent

Stravinsky was not being unkind when he referred to Ravel as the ‘Swiss watchmaker of music’. Ravel’s ideal was technical perfection, and in pursuit of it he created numerous perfect simulacra of music of the past. He reinvents the French Baroque in Le Tombeau de Couperin, Lisztian Romanticism in Gaspard de la nuit, and dance music of the early 19 th century – ‘following the example of Schubert’ – in the Valses nobles et sentimentales. Coming after the fireworks of Gaspard this set of eight contrasting waltzes baffled some of Ravel’s followers. It was composed for piano in 1911, with the superscription ‘the delightful and always novel pleasure of a useless occupation’; the following year Ravel was persuaded to orchestrate the music for a ballet for Natalia Trouhanova. Any resemblance to Schubert is diluted by the purely Ravelian orchestration.

The composer himself wrote the libretto for the ballet, Adélaïde, ou le langage des fleurs, which takes place in the Parisian salon of a courtesan, Adélaïde (also the name of Ravel’s wartime truck!), in 1820, and which plays on the symbolism of flowers. Prominent in Adélaïde’s salon are two suitors: a duke and a passionate younger man, Lorédan.

The dances show the interactions of the characters, with the fourth waltz a pas de deux for Adélaïde and Lorédan. The party breaks up, leaving the two alone. In the epilogue, Adélaïde hands Lorédan a poppy, suggesting forgetfulness, but he pledges passionate love. The epilogue is made up of remembered snatches of melody from the previous movements.

© Gordon Kerry 2013

MELODY EÖTVÖS

(born 1984)

Sonarmilo for Harp and Orchestra

Yinuo Mu harp

The composer writes: Sonarmilo is the Esperanto word for ‘sound weapon’. The harp is one of the oldest instruments in the world, dating back to around 3500BCE in Mesopotamia. Early depictions of harps and lyres show a common resemblance with a hunter’s bow, and the instrument was indeed adapted from the weapon. We can easily imagine someone sitting with their bow and idly plucking at the string. It is from here that this Concertante for Harp and Orchestra begins. While the first movement doesn’t begin quite so idly, the music does aim to capture a more dangerous and edgy portrait of the harp.

In the second movement we see a more relaxed and sonorous character, while the third movement brings the piece home with a rush.

The harp is not an easy instrument to write for, let alone balance as a soloist with an entire orchestra. As such all my thanks goes to the stunning Yinuo Mu for her patience with me, the guidance she gave freely, and her unparalleled ability to bring this piece alive!

© Melody Eötvös

Dreamtime

The ability of a composer to establish a truly characteristic voice or musical personality is a rare thing indeed. Toru Takemitsu is one such composer. While there are echoes of many great composers in his work – Debussy, Scriabin, Ravel, Berg and Messiaen for example – Takemitsu’s compositions have a recognisable unifying sound, a unique aura.

Born in Tokyo, the largely selftaught Toru Takemitsu first came to prominence in his home country through his work with the ‘Experimental Workshop’, a group of artists looking at new modes of expression and perhaps endeavouring to separate themselves from the past. In doing so they were paralleling, of course, their fellow artists in other parts of the world.

Takemitsu’s musical development was not orthodox. Influences ranged from the postwar European avant-garde through New York experimentation (John Cage), to the world of jazz and popular music; all of this filtered through a deep knowledge of and commitment to Japanese music. Indeed, although Takemitsu worked in an essentially Western contemporary music language, the sensibility, philosophy and language of his own culture is never far away. The music is rooted in the sounds of Japan. Not just in the sounds of traditional Japanese music, but in the whole range of sounds unique to that land: the sounds of ancient rituals; the sounds of modern post-industrial Japan; the sounds of nature. It is in this surprising synthesis of contrasts, of East and West, new and old, clear and obscure, complex and simple, local and global, that Takemitsu develops his palette of sounds.

Dreamtime for orchestra (1982) was first heard as music for dance. Commissioned by the Nederlands Dans Theatre and its Czechoslovakian director and choreographer, Jiří Kylián, its title refers to one of the constant themes of the composer – the dream. In the first concert performance in June 1982, the Sapporo Symphony was directed by Hiroyuki Iwaki.

As Takemitsu states: ‘At the time of composing this work I was intensely influenced by the Dreamtime, the spiritual beliefs and storytelling handed down from generation to generation among the Australian First Nations people.’

The specific content and nature of the Dreamtime is not paralleled or used in the work. Typically, Takemitsu uses the title to signal a number of things about the work.

‘Just as a dream, for its vividness of detail, points to an unanticipated, unreal whole, so in this work short episodes hang suspended in seeming incoherency to form a musical whole.’

In the first few moments of the piece there is a sense of something emerging out of a smudged yet shimmering texture, a kind of musical pond that contains the images of the music yet obscures them. Each episode is like a stilling of the surface – we make out a shape, a rising line transferring from strings to woodwind to muted brass, etched by harps, celeste and subtle percussion. But each passes, the surface is disturbed and we await the next clarity. The images seem to accumulate, the line becomes almost familiar – but suddenly, after its simplest statement (on the flute), it is gone.

Adapted from a note by Barry Conyngham © 1993/2022

DEBUSSY

Nocturnes

I. Nuages (Clouds)

II. Fêtes (Festivals)

III. Sirènes (Sirens)

Upper Voices of the MSO Chorus (Sirènes)

Debussy completed Nocturnes on 15 December 1899 at three in the morning. The piece marks a break with 19th century music in its subtler sense of form, non-directional harmony, less assertive melody, and the elevation of the importance of orchestral colour. Sound is something to luxuriate in, rather than a tool in the pursuit of statement or climax.

The Nocturnes were originally conceived as a triptych, Scenes at twilight, inspired by poems by Henri de Régnier. In 1894 Debussy wrote to the Belgian violinist Ysaÿe, ‘I am working at three nocturnes for violin and orchestra that are intended for you; the first is scored for strings, the second for three flutes, four horns, three trumpets and two harps; the third combines both these groups. This is, in fact, an experiment in the various arrangements that can be made with a single colour – what a study in grey would be in painting.’ The reference to painting is notable. In few other works is the epithet ‘Impressionist’, borrowed from painting, more appropriate. Debussy did not intend the title Nocturnes to be understood in the sense of a Chopin Nocturne; it has more to do with Whistler paintings of the same name.

The programmatic intent of these works is illustrative, without the emotional involvement of the late Romantic tonepoets. ‘Nuages renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white.’

The composer’s words find musical expression in the slowly changing background of rootless, floating chords which underlie the recurring tone of the cor anglais. Classical-Romantic distinctions between theme and texture are irrelevant in the accompaniment; the cor anglais call never evolves into a melody. A complete change of colour and a new pentatonic theme on flute and harp mark an obvious new section in the music, but the movement closes with merely a résumé of the opening material.

No ‘study in grey’, Fêtes gives us a kaleidoscopic display of momentarily bright colours. A brisk theme on clarinets and cor anglais against rhythmic accompaniment is later taken up by other instruments. A harp glissando takes us into a section in 15/8 metre. The activity dies down and then the march approaches as if from afar. This builds up and takes us back into the racy opening material. At the end there is a gradual atomising of material and dulling of colour. Sirènes evolves almost as a continuum; it swells and ebbs, rather than marks out a path; the melody grows and decays by the addition or alteration of small details. It is possible that the use of wordless female voices was suggested not only by Régnier’s L’Homme et la Sirène, but also by Swinburne’s poem Nocturne, in which love is symbolised by a mermaid rising from the sea. Debussy wrote that this last movement ‘depicts the sea and its countless rhythms and presently, amongst the waves silvered by moonlight...the mysterious song of the sirens as they laugh and pass on.’

Gordon

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Sandra Gillett and Jeremy Wilkins David and Geraldine Glenny Hugo and Diane Goetze

Pauline Goodison Louise Gourlay OAM

Geoff Hayes

Jim Hickey

Clive and Joyce Hollands

R A Hook

Gillian Horwood Rob Jackson Wendy Johnson Fiona Keenan

John Keys

Belinda and Malcolm King Conrad O’Donohue and Rosemary Kiss

Professor David Knowles and Dr Anne McLachlan Paschalina Leach Dr Jenny Lewis Dr Susan Linton

The Podcast Reader

Janice Mayfield Shirley A McKenzie Marie Misiurak

Joan Mullumby Adrian and Louise Nelson

Dr Judith S Nimmo

Rosemary O’Collins David Oppenheim Sarah Patterson

Pauline and David Lawton Adriana and Sienna Pesavento

Kerryn Pratchett

Professor Charles Qin OAM and Kate Ritchie

Alfonso Reina and Marjanne Rook

Professor John Rickard

Viorica Samson Carolyn Sanders Julia Schlapp

Dr Frank and Valerie Silberberg

Brian Snape AM and the late Diana Snape Colin and Mary Squires

Allan and Margaret Tempest

Reverend Angela Thomas

Max Walters

Rosemary Warnock

Amanda Watson Deborah Whithear and Dr Kevin Whithear OAM Fiona Woodard

Dr Kelly and Dr Heathcote Wright Dr Susan Yell

Daniel Yosua

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

* 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

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 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 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

COMMISSIONING CIRCLE

Mary Armour

The late Hon Michael Watt KC and Cecilie Hall

Tim and Lyn Edward Kim Williams AM

Weis Family

FIRST NATIONS CIRCLE

John and Lorraine Bates

Colin Golvan AM KC and Dr Deborah Golvan

Sascha O. Becker

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

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 Jameson

Helen Silver AO

Managing Director

Sophie Galaise

Board Directors

Shane Buggle

Andrew Dudgeon AM

Danny Gorog

Lorraine Hook

Margaret Jackson AC

David Krasnostein AM

Gary McPherson

Hyon-Ju Newman

Glenn Sedgwick

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)

Get closer to the Music

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.

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

East meets West

Program Supporters

Consulate General of the People’s Republic of China in Melbourne

Prestigious Partner

Ministry of Culture and Tourism China

SupportersConsortium

Ken Ong

SEAT in the house

Principal Partner of the

know the importance of delighting an audience. That’s why when you’re

you’ll enjoy the ultimate flying experience with

dining

own private suite.