Bartók and Beethoven

CONCERT PROGRAM

Bartók and Beethoven

2–3 November Melbourne Town Hall and Monash

Artists Melbourne Symphony Orchestra Benjamin Northey conductor Berta Brozgul piano

Program SCULTHORPE Kakadu BARTÓK Piano Concerto No.3 – Interval – BEETHOVEN Symphony No.6 Pastoral Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham Fraillon AO, will be performed at these concerts.

Concert events Free Organ Recital: Melbourne Town Hall 2 November at 6.30pm Arrive early to enjoy a recital performed by Calvin Bowman on the mighty Grand Organ, free for ticket holders.

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

Duration: 2 hours including interval In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.

Acknowledging Country

About Long Time Living Here

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 Fraillon AO, featuring Indigenous languages from across Victoria. Generously supported by Helen Macpherson Smith Trust and the Commonwealth Government through the Australian National Commission for UNESCO, the MSO is working in partnership with Short Black Opera and Indigenous language custodians who are generously sharing their cultural knowledge.

The Acknowledgement of Country allows us to pay our respects to the traditional owners of the land on which we perform in the language of that country and in the orchestral language of music.

Australian National Commission for UNESCO United Nations Educational, Scientific and Cultural Organization

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.

— Deborah Cheetham Fraillon AO

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BARTÓK AND BEETHOVEN | 2–3 November

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 2023, the MSO’s Chief Conductor, Jaime Martín continues 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, Cybec Assistant Conductor Fellow, Carlo Antonioli, MSO Chorus Director, Warren Trevelyan-Jones, Soloist in Residence, Siobhan Stagg, Composer in Residence, Mary Finsterer, Ensemble in Residence, Gondwana Voices, Cybec Young Composer in Residence, Melissa Douglas and Young Artist in Association, Christian Li. The Melbourne Symphony Orchestra respectfully acknowledges the people of the Eastern Kulin Nations, on whose un-ceded lands we honour the continuation of the oldest music practice in the world.

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BARTÓK AND BEETHOVEN | 2–3 November

Musicians Performing in this Concert FIRST VIOLINS

SECOND VIOLINS

CELLOS

Rebecca Chan*

Matthew Tomkins

Rachael Tobin

Monica Curro

Elina Faskhi

Mary Allison Emily Beauchamp^ Isin Cakmakçioglu Andrew Hall Isy Wasserman Philippa West

Rohan de Korte

Guest Concertmaster

Tair Khisambeev

Acting Associate Concertmaster Di Jameson and Frank Mercurio#

Kirsty Bremner Sarah Curro Dr Harry Imber#

Peter Fellin Deborah Goodall Anne-Marie Johnson David Horowicz#

Kirstin Kenny Eleanor Mancini Anne Neil#

Mark Mogilevski Michelle Ruffolo Michael Loftus-Hills* Susannah Ng* Oksana Thompson*

Principal The Gross Foundation# Assistant Principal Dr Mary-Jane Gething AO#

Andrew Dudgeon AM#

Patrick Wong Roger Young

Associate Principal Anonymous# Assistant Principal Di Jameson and Frank Mercurio# Andrew Dudgeon AM#

Angela Sargeant Caleb Wong Michelle Wood

Andrew and Judy Rogers#

Jonathan Chim* Zoe Wallace* DOUBLE BASSES

Shane Buggle and Rosie Callanan#

Rohan Dasika

Madeleine Jevons* Jos Jonker*

Benjamin Hanlon

VIOLAS Christopher Moore

Principal Di Jameson and Frank Mercurio#

Alexandru-Mihai Bota* Guest Associate Principal

Lauren Brigden Katharine Brockman Anthony Chataway

The late Dr Elizabeth E Lewis AM#

William Clark Gabrielle Halloran Jenny Khafagi Ceridwen Davies* Isabel Morse*

Acting Associate Principal Di Jameson and Frank Mercurio#

Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#

Siyuan Vivian Qu Caitlin Bass* Emma Sullivan* FLUTES Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs PICCOLO Andrew Macleod Principal

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Correct as of 17 October 2023 Learn more about our musicians on the MSO website.

* Denotes Guest Musician # Position supported by

Emmanuel Cassimatis*

Guest Principal

Ann Blackburn

The Rosemary Norman Foundation#

COR ANGLAIS Rachel Curkpatrick

Acting Principal

CLARINETS Philip Arkinstall

Associate Principal

Craig Hill

Rosemary and the late Douglas Meagher#

HORNS

TIMPANI

Nicolas Fleury

Matthew Thomas

Principal Margaret Jackson AC#

Andrew Young

Associate Principal

Abbey Edlin

Robert Cossom

Gary McPherson#

TRUMPETS

Shane Hooton

Callum G’Froerer*

Tim Murray*

TROMBONES

Brock Imison

Principal

Drs Rhyl Wade and Clem Gruen#

Owen Morris

BASSOONS

CONTRABASSOON

Tim and Lyn Edward#

Principal

Rosie Turner

Dr Martin Tymms and Patricia Nilsson#

Principal

Rachel Shaw

BASS CLARINET

Natasha Thomas

Shaun Trubiano John Arcaro

Jon Craven

Guest Principal

PERCUSSION

Nereda Hanlon and Michael Hanlon AM#

Associate Principal Glenn Sedgwick and Dr Anita Willaton#

Principal

Principal

BARTÓK AND BEETHOVEN | 2–3 November

OBOES

John and Diana Frew#

Mark Davidson Principal

Richard Shirley TUBA Timothy Buzbee Principal

* Denotes Guest Musician ^ Denotes MSO Academy # Position supported by

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BARTÓK AND BEETHOVEN | 2–3 November

Happy Anniversary

Ben Northey!

When he stepped onto the Sidney Myer Music Bowl podium in 2003, it wasn’t just Benjamin Northey’s MSO debut. “It was my first big concert with a professional orchestra,” he recalls.

As if that wasn’t pressure enough, he chose to conduct the entire concert without the scores. “I still have no idea what I was thinking.”

Whatever it was, it worked, because “they were all tremendously impressed and immediately invited me back”. Again and again, especially from 2007, when Northey returned from studying in Europe. He was appointed as the MSO’s Associate Conductor in 2010, then Principal Conductor in Residence nine years later.

Northey has many fond memories of leading the Orchestra, including 2021’s WATA: A Gathering for Songmen, Improvising Soloists and Orchestra by the Wilfred brothers and Paul Grabowsky AO, and the collaboration with Nick Cave and Warren Ellis in 2019. All his Sidney Myer Music Bowl concerts are favourites too, “encapsulating Melbourne’s love of music and the generosity of the Orchestra”. Off-stage highlights include Russian violinist Maxim Vengerov saying “just relax” to a notably nervous Northey ahead of the MSO’s 2017 Season Opening Gala. “It was really funny; it was such an understated thing to say.” He also relished the opportunity to host the MSO’s Up Late series of online interviews (which were presented by partners TarraWarra Estate) during pandemic lockdowns. “We wanted to stay connected with our audience, subscribers and musicians, so we thought it was a good chance to celebrate the individual lives of the musicians.” Chatting with everyone from MSO First Violin Eleanor Mancini to then newly appointed Chief Conductor Jaime Martín, Northey tried to “stay positive and help everybody through that difficult time”. One viewer wrote: “You are the light that is getting me through COVID.”

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Northey’s engagements for the rest of his MSO 20th anniversary year include August’s jazz concert with trumpet legend Wynton Marsalis with the Jazz at Lincoln Center Orchestra and MSO combined, spring’s Metropolis series, and October’s reprise of another career highlight, Deborah Cheetham Fraillon AO’s Eumeralla, a war requiem for peace. “The MSO has made me the conductor I am today. I’ve grown with them over the 20 years, and I’d like to think I’ll continue to grow. I’ll be forever grateful.”

“The MSO has made me the conductor I am today.

I’ve grown with them over the 20 years, and I’d like to think I’ll continue to grow.

I’ll be forever grateful.”

BARTÓK AND BEETHOVEN | 2–3 November

Benjamin Northey conductor Australian conductor Benjamin Northey is the Chief Conductor of the Christchurch Symphony Orchestra and the Principal Conductor in Residence of the Melbourne Symphony Orchestra.

Northey also appears regularly as a guest conductor with all major Australian symphony orchestras, Opera Australia (Turandot, L’elisir d’amore, Don Giovanni, Così fan tutte, Carmen), New Zealand Opera (Sweeney Todd) and State Opera South Australia (La sonnambula, L’elisir d’amore, Les contes d’Hoffmann). His international appearances include concerts with the London Philharmonic Orchestra, the Tokyo Philharmonic Orchestra, the Mozarteum Orchestra Salzburg, the Hong Kong Philharmonic, the Malaysian Philharmonic and the New Zealand Symphony, Auckland Philharmonia and Christchurch Symphony Orchestras.

Northey studied conducting with John Hopkins at the University of Melbourne and Jorma Panula at the Stockholm Royal College of Music.

With a progressive and diverse approach to repertoire, he has collaborated with a broad range of artists including Maxim Vengerov, Julian Rachlin, Karen Gomyo, Piers Lane and many others.

In 2023, he conducts the Melbourne, Sydney, Adelaide, Tasmanian and Christchurch Symphony Orchestras and the Hong Kong Philharmonic.

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BARTÓK AND BEETHOVEN | 2–3 November

Berta Brozgul piano Born in Cape Town, South Africa, Berta migrated to Australia at the age of 12. Whilst attending the Victorian College of the Arts Secondary School, she was the recipient of numerous awards including the Margaret Schofield prize for the best music student in the state. She completed her undergraduate and postgraduate studies at the Mozarteum in Salzburg, Austria, with highest honours.

She has received many prizes in Australia as well as overseas and was the fourth place winner in the prestigious Lev Vlassenko piano competition in Brisbane, in 2015. She was also awarded the Queensland Symphony orchestra vote for the best concerto performance of the evening, performing Beethoven’s fourth piano concerto.

During her studies at the Australian National Academy of Music from 2016 to 2018, she was awarded the prize for the most outstanding performance in a solo recital, as well as the Ursula Hoff Prize for outstanding performance of a work by Mozart.

She was also selected as a finalist in the concerto competition in 2018, performing Chopin’s E minor piano concerto with the Tasmanian Symphony Orchestra.

She is an active collaborative artist as well as a soloist and has performed alongside numerous international artists including the Australian tenor Steve Davislim and the internationally renowned violinist Ye-Eun Choi, and has been a guest pianist with the well-known Australian piano trio, the ‘Firebird trio’, on numerous occasions.

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Program Notes PETER SCULTHORPE

(1929–2014) Kakadu

The music of Peter Sculthorpe (1929–2014) remains one of the most original creative responses to Australian landscape and spirit of place coined by any Australian artist of non-Indigenous descent. His appreciation of the continent’s vastness, of the fragility of its environment, and his respect for the wisdom of its traditional owners were clearly deeply personal, but not without a note of irony. Sculthorpe was a European Australian and lived and worked for most of his life in the modern nation’s largest city, Sydney.

When he did travel – to Kakadu, Cairns, Bali, Wales, or Taos – he always seemed happier to get back to his desk and piano in his studio in inner suburban Woollahra. Even then, his expeditions into the Australian outback and tropics, voyages into the Torres Straits and across the Timor Sea, and even his engagement with the traditional Indigenous cultures of those places were largely imaginary, in the best, creative sense. It was in his music, rather than in the rest of his day-to-day existence – teaching or dealing with the business generated by his huge output of music – that he came to terms with the simultaneously alienating and enriching experience of being a 20th century European Australian in this strange, often troubled, but wonderful homeland.

‘Kakadu’ (German for cockatoo) was already the subtitle of a set of clarinet variations by Beethoven, but Sculthorpe’s Kakadu takes its name from Kakadu National Park on northern Australia’s far north coast, an enormous wilderness area stretching from tidal flood plains to inland mountain plateaux.

Sadly, only a few of its traditional owners today still know the Indigenous kakadu or gaagudju language from which the park takes its name.

Sculthorpe first wrote music about this region in his film score Essington (1974), upon which he in turn based Port Essington (1977). In 1985, he composed a soundtrack score for the feature film Burke and Wills (1985), which slightly recast the tragic history of the 1860–61 expedition by magically allowing the ill-fated explorers to see their goal, the Gulf of Carpentaria. Though in fact Burke and Wills never got closer than 5kms from the coast, it was a good deal closer than Sculthorpe had been to either Port Essington or Kakadu when he composed his eponymous works. A self-confessed armchair traveller (a trait he said he inherited from his aunt), he had, naturally, read about Kakadu, seen photographs in coffee-table books and watched television documentaries.

Though in 1988 he had not yet been there physically, he confidently explained to his first audience that the work was ‘concerned with my feelings about this place, its landscape, its change of seasons, its dry season and its wet, its cycle of life and death.’

For a single movement it is a long work, though it is laid out in just three large sections. Sculthorpe described the outer sections as ‘dance-like and energetic, sharing similar musical ideas’. The melodic character of the opening finds Sculthorpe again under the influence of the contours and rhythms of Australian Indigenous chant. This can be heard most clearly in the urgent opening for the upper strings (marked Ardente), music that bears a close family likeness to the treatment of the Djilile theme at the opening of Port Essington. The opening melody in Kakadu, however, is based on a different melody, a traditional Indigenous lament sung by the Elcho Island elder and actor,

Kakadu was first performed at Aspen, Colorado, on 24 July 1988, by the Aspen Festival Orchestra conducted by Jorge Mester. For the premiere, Sculthorpe’s score lacked parts for flutes, oboes, and bassoons. However, to accommodate the Australian symphony orchestras, he revised it in 1989, to include them. The Australian version, first performed by the Melbourne Symphony Orchestra on Sculthorpe’s 60th birthday, 29 April 1989, was then recorded by the Sydney Symphony in July 1989. The version with didjeridu was specially prepared, in collaboration with William Barton, for the 2003 recording with the Queensland Symphony Orchestra. © Graeme Skinner 2014

BÉLA BARTÓK

(1881–1945)

Piano Concerto No. 3 I. Allegretto II. Adagio religioso III. Allegro vivace Berta Brozgul piano When Bartók wrote this poised and entrancing music in the summer of 1945, he was in exile, in poverty, and in ill health; the scoring of the last 17 bars was in fact completed from Bartók’s musical shorthand after his death, by his friend and pupil Tibor Serly. This is an extraordinary example of how a creative artist can disengage himself in his work from the immediate conditions of his life.

BARTÓK AND BEETHOVEN | 2–3 November

Mawuyul Yanthalawuy, in the title role in the Tasmanian historical feature film Manganinnie (1980), on which Sculthorpe based his soundtrack score.

Sculthorpe also used the melody in his first Quiros work, a guitar concerto, entitled The Visions of Captain Quiros (1980). In Kakadu, after its urgent announcement by the violins over insistent bongo drumming, the melody passes to the trumpets, while the violins introduce a new countermelody that, this time, is actually derived from Djilile. The ecstatic horn melody also derives from the shared melodic and rhythmic contours of these melodies, but interpreted in a more conventionally Western, almost Romantic fashion.

Bartók’s opposition to the political trends of the 1930s had made his career in Hungary increasingly difficult, and as the alliance with Germany and the spread of Nazi doctrine became more open, he forced himself to consider emigration. In 1940 he settled in New York. For the man it was bad enough; for the composer who had based his language on his native folk idiom it was worse, and, moreover, in the United States his music was at that time little known. He was given a research grant to work on the folk collection at Columbia University, but when this had to end, his financial position became desperate.

By 1943 he was suffering gravely from leukaemia.

Then help and commissions began to come, and with great fortitude Bartók composed the Concerto for Orchestra for the Boston Symphony Orchestra and the solo Violin Sonata for Yehudi Menuhin, and nearly completed the Viola Concerto for William Primrose.

Though Bartlett and Robertson commissioned a duo-piano concerto, Bartók turned instead to work on this uncommissioned solo Piano Concerto.

It seems that he intended it as a farewell

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BARTÓK AND BEETHOVEN | 2–3 November

gift to his wife Ditta, a pianist who was once his pupil and with whom he had given the first performance of his Sonata for Two Pianos and Percussion.

Though Ditta Bartók did not in the end launch the Third Concerto, the thought of her may have influenced Bartók’s writing. While it is virtuosic, the piano part is less powerful and percussive than that of the two earlier concertos which he played himself. The whole cast of the music is lighter and less formidable, more diatonic (as is the Concerto for Orchestra), than most of Bartók’s music of the 1920s and 1930s. But there is the same direct thinking in direct rhythms and harmonies, the same strength gained from the absorption by a highly skilled mind of the tough peasant quality of Hungarian folk-music.

The opening of the concerto shows all this. Over a light orchestral trill the piano throws a crisp tune, doubled in octaves, the lucid sound and catchy syncopated rhythm indicating the manner of the whole movement. The tune lengthens, running easily between major and minor, then bunches into ‘Magyar’ ornamental runs. It is a characteristic of the piano writing that the hands double each other much of the time, moving in clean octaves, or – at the restatement of the main theme – in duplication. It makes for an uncluttered, buoyant sound. The one stretch of rather more conventional piano concerto writing comes in the development, when woodwinds carry a smoother version of the main theme, which the piano then takes over. The movement is in sonata form, concise and balanced, with every note in its place.

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The Adagio is marked religioso. The music of Bach and the wide night skies of the Hungarian plains are thought to be its imaginative sources. It is introduced by a calm paragraph for strings in close imitation, and this texture returns to extend the cadences

of the chorale which the piano gives out, serenely but with sharpening concern.

Then the ‘night music’ comes alive, with the mysterious flicker and shimmer of birds and insects – Bartók, we are told, loved to stand still and silent enough to sense life all around him. The chorale returns on woodwind, the piano pacing through it with a gentle two-part invention; but the night music has not been quite banished and the cadences now have a touch of wildness.

The last movement is a spirited rondo, its episodes heralded by timpani solos.

The tunes are worked with intricate fugal devices (inversions, close strettos and so on) but lightly; and if with skill, without effort. As always with Bartók, the joy of construction seems very close to the joy of living. © Diana McVeagh

Symphony No.6 in F, Op.68 Pastoral I. Awakening of pleasant feelings upon arriving in the country (Allegro ma non troppo) II. Scene at the brook (Andante molto mosso) III. Peasants’ merrymaking (Allegro) – IV. The storm (Allegro) – V. Shepherds’ hymn of joy and thanksgiving after the storm (Allegretto) In October 1808, Beethoven was offered 3,400 florins a year to leave Vienna and move to Kassel, in Germany, to become musical director to Napoleon’s brother, Jerome, newly created ‘King of Westphalia’. Though he had no intention of going, he let it be known that he was seriously considering the offer. Then he set out to demonstrate how indispensable he was to Vienna and its musical life by arranging a preChristmas concert, on 22 December, that included two yet unperformed symphonies, the Fifth and the recently completely Sixth. As a bargaining tool, the concert – his last at the financially troubled Theater an der Wien – perhaps fell short of making the perfect impression. It was very long, also including the Fourth Piano Concerto, bits of the Mass in C, and, to give the chorus something else to do, the purpose-composed Choral Fantasy as a last-minute addition. As usual, the orchestra was under-rehearsed, and Beethoven’s own piano playing was, by this time, often erratic, due to his failing hearing. Nevertheless, his ploy seems to have worked. Three of his most longsuffering supporters, Archduke Rudolph and Princes Kinsky and Lobkowitz, clubbed together to pay him an annuity of 4,000 florins on condition he stay in Vienna.

Perhaps, in a different way, the Sixth Symphony was another positive attempt on Beethoven’s part to come to terms with the dissatisfactions of his life in urban Vienna. What better panacea than an escape to the country? The idea of a symphony depicting country life had been forming in his mind since as early as 1803, while working on the Third Symphony, when he sketched a version of the quirky dance at the centre of the Peasants’ Merrymaking, and a short passage ultimately for the second movement that he marked ‘the murmuring of the brook’ (‘the larger the stream the deeper the note’). His only full-scale ‘program’ symphony, he subtitled it ‘Recollections of country life’, and also devised descriptive titles for each movement, though he warned that these were more indications of feeling than scene-painting.

The composer’s Awakening of pleasant feelings upon arriving in the country is immediately audible in the refreshingly simple opening tune with its rustic bagpipe-like drone (on violas and cellos) as accompaniment. But apart from being more relaxed and expansive than the openings of the Third or Fifth Symphonies, the movement follows the traditional symphonic pattern, as well as fulfilling Beethoven’s pictorial intentions. Likewise, the Scene at the brook is a formally conventional slow movement – at least until the coda, with its unaccompanied bird calls (marked as such in the score): a flute as nightingale, oboe as quail, and clarinet as cuckoo.

For the rest of the work, Beethoven does modify conventional symphonic layout, with three more movements (instead of two), but run together without a break.

Peasants’ merrymaking is the obvious pretext for a scherzo. The dancing is brought to a stop, literally, by The storm for which Beethoven introduces a piccolo and a pair of trombones, instruments then still more usually used

BARTÓK AND BEETHOVEN | 2–3 November

LUDWIG VAN BEETHOVEN

(1770–1827)

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BARTÓK AND BEETHOVEN | 2–3 November

for opera and other staged spectacles than in concert symphonies. They add a suitably portentous colouring. Finally, the storm passes as the shepherds sing their Hymn of thanksgiving.

Beethoven himself also said: ‘Anyone who has an idea of life in the country can divine for himself the composer’s intentions without a lot of titles.’ But it was precisely because of the genial titles – and the simple story they plot – that this accessible symphony remained his most generally popular well into the recording era, and until as late as the Second World War, when it was finally overtaken by the Fifth.

Graeme Skinner © 2014

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Supporters

Supporters MSO PATRON Her Excellency Professor the Honourable Margaret Gardner AC, Governor of Victoria

CHAIRMAN’S CIRCLE Mr Marc Besen AC and the late Mrs Eva Besen AO Gandel Foundation The Gross Foundation Di Jameson OAM and Frank Mercurio Harold Mitchell Foundation Lady Potter AC CMRI Cybec Foundation The Pratt Foundation The Ullmer Family Foundation Anonymous

ARTIST CHAIR BENEFACTORS Cybec Assistant Conductor Chair Carlo Antonioli Cybec Foundation Concertmaster Dale Barltrop David Li AM and Angela Li Assistant Concertmaster Tair Khisambeev Di Jameson OAM and Frank Mercurio Young Composer in Residence Melissa Douglas Cybec Foundation 2023 Composer in Residence Mary Finsterer Kim Williams AM

PROGRAM BENEFACTORS

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MSO Now & Forever Fund: International Engagement Gandel Foundation Cybec 21st Century Australian Composers Program Cybec Foundation Digital Transformation Perpetual Foundation – Alan (AGL) Shaw Endowment First Nations Emerging Artist Program The Ullmer Family Foundation East meets West The Li Family Trust, National Foundation for Australia-China Relations MSO Live Online Crown Resorts Foundation, Packer Family Foundation

MSO Education Anonymous MSO Academy Di Jameson OAM and Frank Mercurio, Mary Armour, Christopher Robinson in memory of Joan P Robinson MSO For Schools Crown Resorts Foundation, Packer Family Foundation, Department of Education, Victoria, through the Strategic Partnerships Program Melbourne Music Summit Department of Education, Victoria, through the Strategic Partnerships Program MSO Regional Touring Angior Foundation, William & Lindsay Brodie Foundation Creative Victoria, Freemasons Foundation Victoria, Gwen and Edna Jones Foundation, Robert Salzer Foundation, The Sir Andrew & Lady Fairley Foundation, Uebergang Foundation The Pizzicato Effect Hume City Council’s Community Grants program, The Marian and E.H. Flack Trust, Flora & Frank Leith Charitable Trust, Australian Decorative And Fine Arts Society, Anonymous Sidney Myer Free Concerts Sidney Myer MSO Trust Fund and the University of Melbourne

PLATINUM PATRONS $100,000+ Mr Marc Besen AC and the late Mrs Eva Besen AO The Gandel Foundation The Gross Foundation David Li AM and Angela Li Di Jameson OAM and Frank Mercurio Lady Primrose Potter AC Anonymous (1)

VIRTUOSO PATRONS $50,000+ Dr Harry Imber Margaret Jackson AC Packer Family Foundation Weis Family The Ullmer Family Foundation Anonymous (1)

The Aranday Foundation H Bentley The Hogan Family Foundation David Krasnostein AM and Pat Stragalinos Elizabeth Proust AO and Brian Lawrence Lady Marigold Southey AC Kim Williams AM The Yulgilbar Foundation Anonymous (2)

MAESTRO PATRONS $10,000+ Christine and Mark Armour Margaret Billson and the late Ted Billson Shane Buggle and Rosie Callanan Krystyna Campbell-Pretty AM Andrew Dudgeon AM Dr Mary-Jane H Gething AO Danny Gorog and Lindy Susskind David R Lloyd Peter Lovell Maestro Jaime Martin Rosemary and the late Douglas Meagher Nereda Hanlon and Michael Hanlon AM Paul Noonan Opalgate Foundation Ian and Jeannie Paterson Rosemary and the late Douglas Meagher Yashian Schauble The Sun Foundation Gai and David Taylor Athalie Williams and Tim Danielson Lyn Williams AM The Wingate Group Jason Yeap OAM– Mering Management Corporation Anonymous (3)

PRINCIPAL PATRONS $5,000+ Mary Armour John and Lorraine Bates Barbara Bell in memory of Elsa Bell Bodhi Education Fund Julia and Jim Breen

John Coppock OAM and Lyn Coppock Perri Cutten and Jo Daniell Ann Darby in memory of Leslie J. Darby Mary Davidson and the late Frederick Davidson AM The Dimmick Charitable Trust Tim and Lyn Edward Jaan Enden Equity Trustees Bill Fleming Dr John and Diana Frew Susan Fry and Don Fry AO Sophie Galaise and Clarence Fraser Carrillo Gantner AC and Ziyin Gantner Dr Rhyl Wade and Dr Clem Gruen Cecilie Hall and the late Hon Michael Watt KC Louis J Hamon OAM Merv Keehn and Sue Harlow David Horowicz Dr Alastair Jackson AM Paul and Amy Jasper Suzanne Kirkham The Late Dr Elizabeth Lewis AM Sherry Li Lucas Family Foundation Dr Jane Mackenzie The Cuming Bequest Gary McPherson The Mercer Family Foundation Anne Neil in memory of Murray A. Neil Newton Family in memory of Rae Rothfield Ken Ong OAM Bruce Parncutt AO David Ponsford Professor Sam Ricketson and Dr Rosemary Ayton Andrew and Judy Rogers The Rosemary Norman Foundation Guy Ross Helen Silver AO and Harrison Young Anita Simon Brian Snape AM Dr Michael Soon Jenny Tatchell

Supporters

IMPRESARIO PATRONS $20,000+

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Supporters

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Mary Waldron Janet Whiting AM Anonymous (3)

ASSOCIATE PATRONS $2,500+ Carolyn Baker Marlyn Bancroft and Peter Bancroft OAM Sascha O Becker Janet H Bell Alan and Dr Jennifer Breschkin Patricia Brockman Nigel and Sheena Broughton Dr Lynda Campbell Oliver Carton Janet Chauvel and the late Dr Richard Chauvel Breen Creighton and Elsbeth Hadenfeldt Katherine Cusack Michael Davies and Drina Staples Leo de Lange Sophie E Dougall in memory of Libby Harold Barry Fradkin OAM and Dr Pam Fradkin Kim and Robert Gearon Steinicke Family Janette Gill Gillian Hund OAM and Michael Hund R Goldberg and Family Goldschlager Family Charitable Foundation Colin Golvan AM KC and Dr Deborah Golvan Jennifer Gorog C. M. Gray Marshall Grosby and Margie Bromilow Ian Kennedy AM & Dr Sandra Hacker AO Susan and Gary Hearst Hartmut and Ruth Hofmann Doug Hooley Sandy Jenkins John Jones Ann Lahore Mrs Qian Li Carolynne Marks Margaret and John Mason OAM H E McKenzie Dr Isabel McLean

Christopher Menz and Peter Rose Ian Merrylees Alan and Dorothy Pattison David and Nancy Price Ruth and Ralph Renard Peter and Carolyn Rendit James Ring Tom and Elizabeth Romanowski Christopher Menz and Peter Rose Jan Ryan Jeffrey Sher KC and Diana Sher OAM Barry Spanger Caroline Stuart Robert and Diana Wilson Shirley and Jeffrey Zajac Anonymous (4)

PLAYER PATRONS $1,000+ Dr Sally Adams Margaret Astbury Australian Decorative & Fine Arts Society Robbie Barker Michael Bowles and Alma Gill Joyce Bown Youth Music Foundation Miranda Brockman Drs John D L Brookes and Lucy V Hanlon Stuart Brown Jill and Christopher Buckley Dr Robin Burns and Dr Roger Douglas Ronald and Kate Burnstein Kaye Cleary Mrs Nola Daley Dr Panch Das and Laurel Young-Das Caroline Davies Natasha Davies for the Trikojus Education Fund Rick and Sue Deering Suzanne Dembo John and Anne Duncan Jane Edmanson OAM Diane Fisher Alex Forrest Frank Tisher OAM and Dr Miriam Tisher Applebay Pty Ltd

Ian McDonald Wayne McDonald and Kay Schroer Lois McKay Don and Anne Meadows Dr Eric Meadows Professor Geoffrey Metz Sylvia Miller Ian Morrey and Geoffrey Minter Anthony and Anna Morton Dr Judith S Nimmo Laurence O’Keefe and Christopher James Susan Pelka Ian Penboss Peter Priest John Prokupets Professor Charles Qin OAM and Kate Ritchie Eli Raskin Jan and Keith Richards Roger Parker and Ruth Parker Dr Peter Rogers and Cathy Rogers OAM Dr Ronald and Elizabeth Rosanove Marie Rowland Viorica Samson Martin and Susan Shirley P Shore John E Smith Dr Peter Strickland Dr Joel Symons and Liora Symons Russell Taylor and Tara Obeyesekere Geoffrey Thomlinson Andrew and Penny Torok Christina Turner Leon and Sandra Velik The late Reverend Noel Whale Edward & Paddy White Nic and Ann Willcock Lorraine Woolley Grant Fisher and Helen Bird Anonymous (16)

Supporters

David Frenkiel and Esther Frenkiel OAM Mary Gaidzkar Simon Gaites Anthony Garvey and Estelle O’Callaghan David I Gibbs AM and Susie O’Neill Sonia Gilderdale Dr Celia Godfrey Dr Marged Goode Tony Grusd Hilary Hall in memory of Wilma Collie David Hardy Tilda and the late Brian Haughney Cathy Henry Dr Jennifer Henry Anthony and Karen Ho Lorraine Hook Jenny and Peter Hordern Katherine Horwood Penelope Hughes Jordan Janssen Basil and Rita Jenkins Sue Johnston John Kaufman Angela Kayser Drs Bruce and Natalie Kellett Anne and Leonard Kennedy Akira Kikkawa Dr Judith Kinnear Dr Richard Knafelc and Mr Grevis Beard Tim Knaggs Dr Jerry Koliha and Marlene Krelle Kerry Landman Kathleen and Coran Lang Bryan Lawrence Lesley McMullin Foundation Dr Jenny Lewis Phil Lewis Dr Kin Liu Andrew Lockwood Elizabeth H Loftus Chris and Anna Long John MacLeod Eleanor & Phillip Mancini Marshall Segan in memory of Berek Segan OBE and Marysia Segan

OVERTURE PATRONS $500+ Margaret Abbey PSM Jane Allan and Mark Redmond Mario M Anders

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Supporters

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Jenny Anderson Dr Judith Armstrong and Robyn Dalziel Doris Au Lyn Bailey Robin Batterham Richard Bolitho Dr Robert Brook Elizabeth Brown Suzie Brown OAM and the late Harvey Brown John Brownbill Daniel Bushaway Jungpin Chen Linda Clifton Dr John Collins Dr Sheryl Coughlin and Paul Coughlin Judith Cowden in memory of violinist Margaret Cowden Gregory Crew Sue Cummings Merrowyn Deacon Suzanne Dembo Carol des Cognets Bruce Dudon Margaret Flatman Brian Florence Martin Foley Chris Freelance M C Friday David and Geraldine Glenny Hugo and Diane Goetze Louise Gourlay OAM Jan and the late Robert Green Christine Grenda Dawn Hales George Hampel AM KC and Felicity Hampel AM SC Dr Neville Hathaway Geoff Hayes William Holder Rod Home Gillian Horwood Noelle Howell and Judy Clezy Geoff and Denise Illing Rob Jackson

Wendy Johnson Irene Kearsey & Michael Ridley John Keys Lesley King Professor David Knowles and Dr Anne McLachlan Dr Kim Langfield-Smith Janet and Ross Lapworth Pauline and David Lawton Paschalina Leach Sharon Li Dr Susan Linton Kay Liu Joy Manners Morris and Helen Margolis Sandra Masel in memory of Leigh Masel Janice Mayfield Gail McKay Shirley A McKenzie Alan Meads Joan Mullumby Marian Neumann Ed Newbigin Valerie Newman Brendan O’Donnell Jillian Pappas Phil Parker The Hon Chris Pearce and Andrea Pearce Peter Berry and Amanda Quirk Kerryn Pratchett William Ramirez Geoffrey Ravenscroft Dr Christopher Rees Professor John Rickard Peter Riedel Michael Riordan and Geoffrey Bush Fred and Patricia Russell Carolyn Sanders Dr Marc Saunders Dr Nora Scheinkestel Julia Schlapp Madeline Soloveychik Dr Alex Starr Dylan Stewart Tom Sykes

MSO GUARDIANS Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Patricia A Breslin 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 (20) 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 and Jill Schultz Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens

Supporters

Allison Taylor Reverend Angela Thomas Mely Tjandra Chris and Helen Trueman Amanda Watson Michael Whishaw Charles and Jill Wright Anonymous (13)

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Supporters

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 Guy Ross The Kate and Stephen Shelmerdine Family Foundation Michael Ullmer AO and Jenny Ullmer Jason Yeap OAM – Mering Management Corporation

ADOPT A MUSICIAN

Abbey Edlin

David Horowicz

Anne-Marie Johnson

Dr Harry Imber

Sarah Curro, Jack Schiller

Margaret Jackson AC Nicolas Fleury

Di Jameson OAM and Frank Mercurio

Elina Fashki, Benjamin Hanlon, Tair Khisambeev, Christopher Moore

The late 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

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

Shane Buggle and Rosie Callanan

HONORARY APPOINTMENTS

Andrew Dudgeon AM

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 MSO Ambassador Geoffrey Rush AC

Roger Young

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

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Nereda Hanlon and Michael Hanlon AM

Saul Lewis

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

MSO BOARD Chairman David Li AM

Supporters

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

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

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

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)

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Thank you to our Partners PRINCIPAL PARTNER

PREMIER PARTNERS

GOVERNMENT PARTNERS

VENUE PARTNER

EDUCATION PARTNERS

MAJOR PARTNERS

ORCHESTRAL TRAINING PARTNER

SUPPORTING PARTNERS

Quest Southbank

Ernst & Young

Bows for Strings

MEDIA AND BROADCAST PARTNERS

TRUSTS AND FOUNDATIONS

Freemasons Foundation Victoria

The Sir Andrew and Lady Fairley Foundation, The Angior Family Foundation, The William and Lindsay Brodie Foundation, Flora & Frank Leith Trust, The Gwen and Edna Jones Foundation, The Ray and Joyce Uebergang Foundation, Perpetual Foundation – Alan (AGL) Shaw Endowment, Sidney Myer MSO Trust Fund