Jaime Martín conducts Bruch and Dvořák by Melbourne Symphony Orchestra

CONCERT PROGRAM

Jaime Martín conducts Bruch and Dvořák

17–18 November Arts Centre Melbourne, Hamer Hall

Artists Melbourne Symphony Orchestra Jaime Martín conductor Jack Liebeck violin

Program PAUL GRABOWSKY Four Elements^* BRUCH Violin Concerto No.1 – Interval – DVOŘÁK Symphony No.5 Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham Fraillon AO, will be performed at these concerts. ^ World premiere of an MSO Commission. * This piece will only be performed on November 17.

Concert Events Want to learn more about the music being performed? 17 November at 10.15am in the Stalls Foyer on Level 2 at Hamer Hall. Arrive early for an informative and entertaining pre-concert talk with musicologist and conductor Carlo Del Cueto.

18 November at 1.15pm in the Stalls Foyer on Level 2 at Hamer Hall. Arrive early for an informative and entertaining pre-concert talk with composer and broadcaster Stéphanie Kabanyana Kanyandekwe and featured composer, Paul Grawbosky AO.

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

Duration 17 November: 1 hour, no interval. 18 November: 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

JAIME MARTÍN CONDUCTS BRUCH AND DVOŘÁK | 17–18 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.

JAIME MARTÍN CONDUCTS BRUCH AND DVOŘÁK | 17–18 November

Musicians Performing in this Concert FIRST VIOLINS

SECOND VIOLINS

CELLOS

Dale Barltrop

Matthew Tomkins

David Berlin

Tair Khisambeev

Robert Macindoe

Concertmaster David Li AM and Angela Li# Acting Associate Concertmaster Di Jameson and Frank Mercurio#

Peter Edwards

Assistant Principal Margaret Billson and the late Ted Billson#

Kirsty Bremner Sarah Curro Dr Harry Imber

Deborah Goodall Karla Hanna Lorraine Hook Anne-Marie Johnson David Horowicz#

Kirstin Kenny Mark Mogilevski Michelle Ruffolo Jacqueline Edwards* Michael Loftus-Hills* Susannah Ng*

Principal The Gross Foundation#

Rachael Tobin

Associate Principal

Associate Principal Anonymous#

Monica Curro

Elina Faskhi

Mary Allison Isin Cakmakçioglu Freya Franzen Cong Gu

Rohan de Korte

Assistant Principal Dr Mary-Jane Gething AO#

Newton Family in memory of Rae Rothfield#

Isy Wasserman Philippa West

Andrew Dudgeon AM#

Patrick Wong Roger Young

Shane Buggle and Rosie Callanan#

Madeleine Jevons* Jos Jonker*

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

Rebecca Proietto Caleb Wong Michelle Wood

Andrew and Judy Rogers#

DOUBLE BASSES Jonathan Coco Principal

Rohan Dasika Benjamin Hanlon

Di Jameson and Frank Mercurio#

Suzanne Lee Stephen Newton

VIOLAS

Sophie Galaise and Clarence Fraser#

Christopher Moore

Caitlin Bass*

Principal Di Jameson and Frank Mercurio#

FLUTES

Lauren Brigden Katharine Brockman Anthony Chataway

Prudence Davis

The late Dr Elizabeth E Lewis AM#

William Clark Gabrielle Halloran Jenny Khafagi Fiona Sargeant Molly Collier-O’Boyle* Ceridwen Davies* Caroline Henbest* Isabel Morse*

Principal

Correct as of 23 October 2023 Learn more about our musicians on the MSO website.

Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs PICCOLO Andrew Macleod Principal

* Denotes Guest Musician # Position supported by

Michael Pisani

Acting Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

COR ANGLAIS

HORNS

TIMPANI

Nicolas Fleury

Matthew Thomas

Principal Margaret Jackson AC#

Andrew Young

Associate Principal

Saul Lewis

Rachel Curkpatrick

Principal Third The late Hon Michael Watt KC and Cecilie Hall#

CLARINETS

Josiah Kop Rachel Shaw

Acting Principal

David Thomas

Principal

BASS CLARINET Jon Craven

Principal

BASSOONS Elise Millman

Associate Principal

CONTRABASSOON Brock Imison

Principal

Gary McPherson#

Principal

PERCUSSION Shaun Trubiano Principal

John Arcaro

Tim and Lyn Edward#

Robert Cossom

Drs Rhyl Wade and Clem Gruen#

Robert Allan*

TRUMPETS

HARP

Owen Morris

Yinuo Mu

Principal

Shane Hooton

Associate Principal Glenn Sedgwick and Dr Anita Willaton#

Principal

PIANO/CELESTE Aidan Boase*

Rosie Turner

John and Diana Frew#

JAIME MARTÍN CONDUCTS BRUCH AND DVOŘÁK | 17–18 November

OBOES

TROMBONES Mark Davidson

Principal

Richard Shirley Mike Szabo

Principal Bass Trombone

TUBA Timothy Buzbee

Principal

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

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In Loving Memory A Tribute to MSO Patrons Max and Jill Schultz

The Melbourne Symphony Orchestra dedicates this concert to the extraordinary life and memory of Max and Jill Schultz. Together, their love of classical music and philanthropic generosity has contributed to the future of our Orchestra and the flourishing of musical life in our city. From their earliest days, music and the arts were always intertwined with their lives. As a child, Max helped his father run the Royal Picture Theatre in Nhill, regional Victoria and would traverse the town on his bicycle putting up movie pictures and collecting records of the music and films he loved. Jill grew up in Essendon and became a primary school teacher – she could often be found sitting at the piano with a young family member, teaching them to play. Together they had incredible energy and passion for the performing arts and as a couple would be known to attend the concert hall, the opera and theatre all in one week on a regular basis. Max and Jill loved classical music, especially Rachmaninov and Dvořák, and wanted to give more young people the opportunity to experience live orchestral performance and to help nurture emerging musical talent through the MSO’s learning and engagement programs. Through Max and Jill’s bequest to the MSO we are reminded of the immense power of generosity and how a single act of kindness can inspire and support the next generation. The MSO is proud to have held a special place in Max and Jill’s heart and it is therefore a fitting tribute that we celebrate their lives and legacy with their family at tonight’s concert. Under the baton of our Chief Conductor Maestro Jaime Martín, with Jack Liebeck on our stage alongside our wonderful musicians, we honour Max and Jill with a musical night to remember. Their story – and the music they loved – lives on.

JAIME MARTÍN CONDUCTS BRUCH AND DVOŘÁK | 17–18 November

Jaime Martín conductor Chief Conductor of the Melbourne Symphony Orchestra since 2022, Jaime Martín is also Chief Conductor of the National Symphony Orchestra (Ireland) and Music Director of the Los Angeles Chamber Orchestra. He is the Principal Guest Conductor of the Orquesta y Coro Nacionales de España (Spanish National Orchestra) for the 22/23 season and was Artistic Director and Principal Conductor of Gävle Symphony Orchestra from 2013 to 2022. Having spent many years as a highly regarded flautist, Jaime turned to conducting full-time in 2013, and has become very quickly sought after at the highest level. Recent and future engagements include appearances with the London Symphony Orchestra, Dresden Philharmonic, Netherlands Philharmonic, Royal Stockholm Philharmonic, Colorado Symphony, Dallas Symphony, Antwerp Symphony, Orquesta Sinfónica y Coro de RTVE (ORTVE) and Galicia Symphony orchestras, as well as a nine-city European tour with the London Philharmonic Orchestra. Martín is the Artistic Advisor and previous Artistic Director of the Santander Festival. He was also a founding member of the Orquestra de Cadaqués, where he was Chief Conductor from 2012 to 2019.

JAIME MARTÍN CONDUCTS BRUCH AND DVOŘÁK | 17–18 November

Jack Liebeck violin British/German violinist, director and festival director Jack Liebeck possesses “flawless technical mastery” and a “beguiling silvery tone” (BBC Music Magazine). Jack is the Royal Academy of Music’s first Émile Sauret Professor of Violin and Artistic Director of the Australian Festival of Chamber Music. Jack’s fascination with all things scientific has led to two new concertos being written for him and regular collaborator Professor Brian Cox – Dario Marianelli’s Voyager Violin Concerto and Paul Dean’s A Brief History of Time commissioned by Melbourne Symphony Orchestra in commemoration of Professor Stephen Hawking. In summer 2023 Jack gave the online premiere of Taylor Scott Davis’ new concerto for violin, choir & orchestra To Sing of Love: a Triptych with the VOCES8 Foundation Choir and Orchestra conducted by Barnaby Smith as part of LIVE From London, commissioned for Jack this will be released on album in 2024. Upcoming highlights include a tour of Australia with VOCES8 with performances at Sydney Opera House and Queensland Symphony Orchestra performing a new arrangement of Lark Ascending and Christopher Tin The Lost Birds; his debut with Spokane Symphony; return performances with Royal Scottish National Orchestra, Melbourne Symphony Orchestra, Savannah Chamber Music Festival, Franz Liszt Orchestra, London Chamber Orchestra, Staatsorchester Rheinische Philharmonie, Wigmore Hall with Salica Piano Trio; debuts at La Jolla Festival and a new project with Australian Youth Orchestra. Jack Liebeck is managed worldwide by Percius. www.percius.co.uk.

JAIME MARTÍN CONDUCTS BRUCH AND DVOŘÁK | 17–18 November

PAUL GRABOWSKY AO Paul Grabowsky is a pianist, composer, arranger, conductor – and is one Australia’s most distinguished artists. He lived and worked in Europe and the US from 1980–85, during which time he performed with many jazz luminaries including Art Farmer and Johnny Griffin. He returned to Australia in 1986 and established a reputation as one of Australia’s leading jazz musicians with such bands as his own trio and sextet, the Wizards of Oz and as musical director for singer Vince Jones. He has written the scores for over twenty feature films in Australia, the UK and US including Innocence (Paul Cox), Last Orders, The Eye of the Storm, Words and Pictures (Fred Schepisi) and Shiner (John Irvin). He is the Founding Artistic Director of the Australian Art Orchestra, which he led from 1994–2013. He has won seven ARIA awards (most recently in 2019 for his recording Tryst with singer Kate Ceberano), two Helpmann awards, several APRA and Bell Awards and a Deadly award. In 2014 he was made an Officer of the Order of Australia for services to music and arts administration.

PAUL GRABOWSKY AO

(b. 1958)

Four Elements The composer writes: Four Elements, composed mainly during August and September of 2023, is the last in a series of works I made for the Melbourne Symphony Orchestra during my extended tenure as composer in residence. That the residency was longer than originally anticipated was due to the global pandemic, which scarcely bears discussion, except to say that the MSO have been tireless in their determination to get behind all of the projects I brought them. I mention this because Four Elements is quite different from the others. Wata (2020), One Song (2021) and Immortal Diamond (2022) are all full-length concert projects, in which particular individuals are celebrated, while Fascinatin’ Algorhythm (2023) is a 20 minute concerto for jazz trio and chamber orchestra. Four Elements is a concert overture, an additional commission which I am grateful to have received, a piece designed for a more traditional concert program, while not in the least being in itself a ‘conventional’ work. The title refers to the four elements proposed by the pre-Socratic philosopher Empedocles as being the fundamental building blocks of the cosmos: air, water, fire and earth. They are in turn governed by two opposing forces which attract and repel them, holding them in a relational tension: love and strife. In the piece, we (the listener) cycle through the elements in the order described above, returning to air at the work’s conclusion. A melody heard on trumpet at the beginning represents the individual journey, passed on to tuba, strings and finally solo violin as the

surrounding cascading aural landscape morphs from air to water. A galloping, fiery rhythm begun in the horns underpins a virtuosic xylophone solo, before carrying on through woodwind, brass and percussion in what sounds like different tempi simultaneously. Strife dominates. This leads to the announcement of a new theme, a canon in the string orchestra representing the beginning of the return of the listener, now on an increasingly joyous climactic terra firma, before finally lifting into the air in a quite literal reversal of the work’s opening bars. Love finally triumphs. Four Elements is in certain ways a celebration of the Romantic orchestral tradition. The galloping dotted rhythms of its middle section are a nod to Beethoven’s Seventh Symphony, its slightly over-oxygenated climax in Eb major a reminder of the Hero idea. With the demands it makes on the players, it is unashamedly a display piece for an orchestra I have had such a wonderful experience with during the last years, and it is humbly dedicated to them.

JAIME MARTÍN CONDUCTS BRUCH AND DVOŘÁK | 17–18 November

Program Notes

MAX BRUCH

(1838–1920)

Violin Concerto No.1 in G minor, Op.26 I. Prelude: Allegro moderato – II. Adagio III. Finale: Allegro energico Jack Liebeck violin Bruch was a talented and respected composer whose musical style was firmly in the camp of his contemporary, Johannes Brahms. Not for him the extravagant and progressive orientation of Wagner, Liszt, and their popular followers. Rather, like Brahms he composed in the more conservative tradition of Schubert, Schumann, Mendelssohn, and their admirers. He was a precocious musician, composing from an early age, and displaying

JAIME MARTÍN CONDUCTS BRUCH AND DVOŘÁK | 17–18 November

through his long career a remarkable gift for lyricism and the ability to craft a melodic line. Active in many genres – operas, symphonies, choral music, chamber music, and song – he is best known for his immensely popular first violin concerto. He wrote two others, as well, but they did not achieve any lasting success. He came to rue the popularity of the first, hoping musicians would perform more frequently his many other fine compositions, but alas! To be sure, a few of his other compositions garnered renown, though, including the Scottish Fantasy for violin and orchestra and the Kol nidrei for violoncello and orchestra. The reception of the majority of his compositions suffered to some degree owing to his living in the shadow of Brahms; the lack of appeal to British audiences (before and during WWI) of his often German-themed works; and the mistaken assumption by Germans in the 1930s that he was Jewish. To top it off, his dyed-in-the-wool romanticism was old hat by the time of his death in 1920. History is often not kind. The first violin concerto has its origins very early on, in 1857, when Bruch was a student and only nineteen years old. He deemed it finished in 1865, when he was serving as court music director in Koblenz. It received its first performance a year later. But, it was clear that much revision needed to be done, and for that he sought the advice of the pre-eminent concert violinist of the time, the great Joseph Joachim (Brahms did likewise with his violin concerto, later). Joachim gave the première of the revised version in 1868, and, of course, the concerto went on to lasting popularity. Unfortunately, Bruch received only a pittance for his efforts, owing to a variety of reasons, basically being more or less swindled out of his autograph copy of the score. It finally ended up in the Morgan Library in New York City only a few decades ago.

The overall form of the work is a bit unusual, for the first movement is somewhat short, and serves rather like a prelude or introduction to the slow second movement. So, rather than a robust, significant first movement as is usual in solo concertos, Bruch was happy with an abbreviated Vorspiel, or prelude. It nevertheless does have two main themes, both firmly reminding us of Bruch’s legendary gift for melody. In the beginning, one hears a brief idea in the woodwinds, followed immediately by a brief, rather pensive, cadenzalike reflection from the soloist. All that repeats, and then the full orchestra starts the affair in earnest. Two main ideas follow: an emphatic, memorable first theme (which, it must be admitted sounds very much like Dvořák), and a much more tender, lyrical second one. Don’t bother to look forward to a typical exploration, or development, of the ideas, for after a robust diversion, very quickly we hear the woodwind introduction from the very beginning of this “prelude,” and it seems like there’s a premature recapitulation. After revisiting the two brief cadenzas of the opening, and an answer from the full orchestra, the movement quickly glides via a sustained low note in the violins to the meat of the concerto: the extensive slow movement. And a lovely one it is, accounting, no doubt, for much of the concerto’s timeless appeal. Bruch composed a wealth of music, much of it first rate in every regard, yet he takes his place in musical history for this concerto, and this movement, to be sure. Here, his gift for soaring, lyric romantic melodies is supreme. In the last movement, the soloist enters after a brief introduction with the dramatic main theme, with its memorable multiple stops. The second theme comes quickly – another winsome example of Bruch’s innate lyricism – heard first in soaring iteration in the full orchestra, taken up quickly

ANTONÍN DVOŘÁK

(1841–1904)

Symphony No.5 in F Major, Op.76 I. Allegro ma non troppo II. Andante ma non troppo – III. Scherzo. Presto IV. Finale. Allegro con spirito Antonín Dvořák had no hang-ups about writing symphonies. Perhaps because he was Czech, at the fringe of the German-Austrian mainstream, he wasn’t intimidated by Beethoven, bent on proving himself a worthy heir to a great legacy. He could just be himself. Still, it wasn’t easy to know exactly what that meant, and one reason his early symphonies aren’t often played is that they don’t sound very much like Dvořák. Neither his First Symphony or Second were performed when first written. For a while he was inspired by the radical music of Richard Wagner, a direction he explored in his Third Symphony and Fourth, which were both performed in Prague, conducted by Bedřich Smetana. Still, they didn’t really catch on, and he supported himself as a violist, church organist, and piano teacher. Beginning in 1874, Dvořák began applying for an Austrian State Stipendium for artists in order to support his composing habit. He

received his first award in February 1875, which allowed him to dive into a new symphony – his Fifth – which he completed in just six weeks that summer. Here he came into his own, embracing leaner, almost neo-classical textures, and Slavic folk elements he had grown up with. He added the new symphony to his Stipendium portfolio for the following year, where it was reviewed by panelist Johannes Brahms, who took an interest in Dvořák’s career. “For several years I have enjoyed works sent in by Antonín Dvořák (pronounced Dvorschak),” Brahms later wrote in a recommendation to his publisher. How funny that Dvořák had already written five symphonies before his wizened mentor had completed even one. Nonetheless, Dvořák’s Fifth Symphony wasn’t premiered until 1879 – after his reputation exploded with the Slavonic Dances – and it wasn’t performed abroad until 1888 in London. Around that time he made some revisions and dedicated it to the conductor Hans von Bülow, who responded: “A dedication from you – next to Brahms the most divinely gifted composer of the present time – is a higher decoration than any Grand Cross from the hands of any prince.”

JAIME MARTÍN CONDUCTS BRUCH AND DVOŘÁK | 17–18 November

by the soloist. And just as quickly, the development begins working through both ideas. Bruch was not one to “pad” his compositions, and the scintillating conclusion of this timeless work comes without delay. Bruch may have bitterly rued the popularity of this work at the expense of most of the others of his many worthwhile compositions, but a hundred years on, he no doubt would have welcomed the apparent immortality of just one of them.

His international reputation established, Dvořák’s next symphony was written for the Vienna Philharmonic and published as “Symphony No.1,” and the one after that was titled “No.2,” basically de-canonizing the first five. However their success led Dvořák to revisit his back catalogue, and in 1888 he published the Fifth for the first time as “No.3.” For a long time the numbering of his symphonies was all a mess, but eventually musicologists restored the early ones and put everything in chronological order. The Fifth Symphony’s first movement, Allegro ma non troppo, is fresh and

JAIME MARTÍN CONDUCTS BRUCH AND DVOŘÁK | 17–18 November

breezy, opening with clarinets that will keep peeking up as a folksy element throughout the piece. After decorating around the edges, he builds up with horn calls to the bold main theme. Little rhythmic punctuations within and below the orchestra (often in pizzicato) register as a Dvořák hallmark. The slow movement introduces a dignified melody, first heard in the cellos, and then sticks to it relentlessly. Every twist turns back to the same place. A lighter middle section hints at something different, but the theme sneaks back in and soon takes over again. Even the introduction to the next movement can’t shake the slow movement’s theme (an unusual compositional bridge). Finally the Scherzo tune kicks it away – heralded with touches of triangle. Uncommon for a major-key symphony, the finale is set largely in minor. And its main idea – guess what – seems to be a dramatic transformation of the sticky slow-movement theme, now in boldface. After a few minutes, Dvořák soothes it with a balletic second theme, and then throws all his ideas into continual contrast, extending them to the breaking point, conjuring a latter-day Sturm und Drang. © Benjamin Pesetsky 2023

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

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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

Supporters

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)

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

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)

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