Stars and Stripes: Gershwin and Copland | Concert Program

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Artists

Melbourne Symphony Orchestra

Gemma New conductor

Simon Tedeschi piano Program

SALINA FISHER Rainphase GERSHWIN Concerto in F COPLAND Symphony No.3

Running time: approximately 2 hours including interval. Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham AO, will be performed at this concert.

Pre-concert events

24 November: Arrive at the Melbourne Town Hall early to enjoy a free recital of works by Selby, Yon and Barber performed by Calvin Bowman on the mighty Grand Organ from 6.30pm.

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.

Musicians Performing in this Concert

FIRST VIOLINS

Sophie Rowell Concertmaster

Tair Khisambeev Assistant Concertmaster Di Jameson and Frank Mercurio# Zoe Black* Amanda Chen* Sarah Curro Peter Fellin Deborah Goodall Karla Hanna* Lorraine Hook Madeleine Jevons* Anne-Marie Johnson Kirstin Kenny Eleanor Mancini Michelle Ruffolo

SECOND VIOLINS

Matthew Tomkins Principal The Gross Foundation# Robert Macindoe Associate Principal Mary Allison Isin Cakmakcioglu Tiffany Cheng Glenn Sedgwick# Jacqueline Edwards* Freya Franzen Andrew Hall Isy Wasserman Nicholas Waters* 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 Christopher Cartlidge* Anthony Chataway Dr Elizabeth E Lewis AM# Ceridwen Davies* Jenny Khafagi* Fiona Sargeant

CELLOS

Elina Faskhi* Guest Assistant Principal Miranda Brockman Geelong Friends of the MSO# Rohan de Korte Andrew Dudgeon AM# Alexandra (Aly) Partridge*

Rebecca Proietto* Michelle Wood Andrew and Judy Rogers#

DOUBLE BASSES

Caitlin Bass* Rohan Dasika Benjamin Hanlon Frank Mercurio and Di Jameson# Suzanne Lee Nemanja Petkovic* Siyuan Vivian Qu* Emma Sullivan*

FLUTES

Prudence Davis Principal Anonymous# Wendy Clarke Associate Principal Sarah Beggs PICCOLO Andrew Macleod Principal

OBOES

Sandy Xu* Guest Principal Rachel Curkpatrick*

COR ANGLAIS

Michael Pisani Principal

CLARINETS

Philip Arkinstall Associate Principal Craig Hill Chris Tingay*

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

Correct as of 14 November 2022

Learn more about our musicians on the MSO website

HORNS

Saul Lewis

Principal Third

The late Hon Michael Watt KC and Cecilie Hall#

Abbey Edlin Nereda Hanlon and Michael Hanlon AM# Ryan Humphrey* Rebecca Luton* Eve McEwen*

TRUMPETS

Owen Morris

Principal Shane Hooton Associate Principal Glenn Sedgwick# William Evans Tim Keenihan* Rosie Turner John and Diana Frew#

TROMBONES

José Milton Vieira* Acting Principal Trombone Richard Shirley Mike Szabo Principal Bass Trombone

TUBA

Timothy Buzbee

Principal

TIMPANI

Brent Miller* Acting Principal Timpani

PERCUSSION

John Arcaro Tim and Lyn Edward# Matthew Brennan* Alexander Meagher* Greg Sully* HARP Melina van Leeuwen* Yinuo Mu Principal KEYBOARD Louisa Breen* Donald Nicolson*

* Denotes Guest Musician

# Position supported by

Gemma New conductor

Sought after for her insightful interpretations and dynamic presence, New Zealandborn Gemma New is the newly appointed Artistic Advisor and Principal Conductor of the New Zealand Symphony Orchestra, Music Director of the Hamilton Philharmonic Orchestra and Principal Guest Conductor of the Dallas Symphony Orchestra. New is the recipient of the prestigious 2021 Sir Georg Solti Conducting Award. In the 2022/23 season, New leads the Royal Philharmonic Orchestra, BBC Symphony Orchestra, Royal Scottish National Orchestra, and Royal Northern Sinfonia. Increasingly in demand in Europe, she leads the RTÉ National Symphony Orchestra, Orchestre National de Lyon, Berner Symphonie orchester, Gävle Symphony, Orchestre National Bordeaux Aquitaine, Orchestra della Toscana and the Mozarteum Orchestra Salzburg in Mozartwoche2023. New makes her debuts with the Houston Symphony and Melbourne Symphony in Australia and returns to lead the New Jersey Symphony Orchestra, Toronto Symphony and the New World Symphony. In June 2023, she returns to St. Louis to lead Opera Theatre of St. Louis’s production of Susannah.

New served for four seasons as Resident Conductor of the St. Louis Symphony Orchestra and also previously served as Associate Conductor of the New Jersey Symphony. A former Dudamel Conducting Fellow with the Los Angeles Philharmonic and Conducting Fellow at Tanglewood Music Center, prior to receiving the 2021 Sir Georg Solti Conducting Award, she was awarded Solti Foundation U.S. Career Assistance Awards in 2017, 2019 and 2020.

Gerswhin and Copland

Simon Tedeschi piano

Simon Tedeschi is quite often described by respected critics and musical peers as one of the finest artists in the world making the young pianist’s mark on music both undeniable and admirable.

Tedeschi first performed a Mozart Piano Concerto at age 9 in the Sydney Opera House. He has studied piano in Australia with Neta Maughan for 10 years as well as in London with Noretta Conci and Boston with Peter Serkin.

Tedeschi has a string of international prizes and scholarships under his belt. This includes winning the Open Age Concerto Series and ‘Most Outstanding in all Youth Sections’ at the IBLA Grand Prize in Italy in 1994 and taking out the top prize in the keyboard section of the Royal Overseas League Music Competition in London (2002).

Program Notes

SALINA FISHER (born 1993)

Rainphase

The composer writes: For quite some time, the beauty and chaos of Wellington rain has inspired me to respond musically. Rainphase draws on characteristics of water as rain: its shape and shapelessness, transparency and density, energy and calm, and its capacity for reflection in both a literal and emotional sense.

Structurally, it flows through various stages of this “phase” in the water cycle: last rays diminishing as grey clouds form; droplets released; a frenzy of water and wind; all collecting in streams. I’m particularly fascinated by the variation in sound and movement of raindrops depending on the material upon which they fall, and the texture created when these countless individual timbres and rhythms happen all at once.

The ending evokes a memorable moment of obscure beauty that I experienced on a still night last winter. Heavy rain had transformed empty streets into blurry mirrors, reflecting warm glows of street and traffic light. Rainphase was written for the 2015 NZSO National Youth Orchestra (Composer-in-Residence) and was awarded the 2016 SOUNZ Contemporary Award.

© Salina Fisher

GEORGE GERSHWIN (1898–1937)

Concerto in F for piano and orchestra I. Allegro II. Andante con moto III. Allegro agitato

Simon Tedeschi piano

Rhapsody in Blue, the music in which Gershwin first crossed the tracks from jazz and popular music to ‘serious’ music, caused a sensation and a controversy. When all the dust had settled, the pungent, memorable tunes and rhythms were still there: the Rhapsody is likely to remain Gershwin’s most popular piece of instrumental music. But Gershwin composed it for Paul Whiteman’s big band, which played what Whiteman, at least, called jazz. Rhapsody in Blue comes off best, many believe, in its original scoring for band rather than in the inflated orchestral version. Actually, the neophyte composer made neither scoring himself – he and Whiteman called in the services of the band’s arranger, Ferde Grofé. That was in 1924. Meanwhile, the jazz craze was sweeping America, and the quite venerable but still enterprising conductor of the New York Symphony Society, Walter Damrosch, had an idea which would at one stroke further his aim of encouraging American composers and bring some jazz flavour into the concert hall. In the spring of 1925 his Society commissioned Gershwin to compose a concerto and to appear as soloist in seven concerts with the New York Symphony beginning in December of that year.

It is said that the brashly selfconfident Gershwin, after accepting the commission, had to find out what a ‘concerto’ was. Be that as it may, Gershwin was determined to orchestrate the work himself, and bought a textbook of orchestration. His original title for the work was New York Concerto, and he

began to write it in the Gershwin family home at 103rd Street; or, when that became too crowded with distracting friends and relatives, in the seclusion of a room at the nearby Whitehall Hotel. The Australian-born pianist Ernest Hutcheson, then a staff member and later president of the Juilliard School, made available to Gershwin a studio at out-of-town Chautauqua, where he conducted masterclasses in the summer months. Some of the concerto was composed there.

Gershwin’s original plan for the concerto was expressed in his typically laconic style. The three movements were to be:

1. Rhythm

2. Melody

3. More Rhythm

Because of the title ‘concerto’, much attention has focussed on how Gershwin met conventional demands of form. Critics were quick to point out supposed ‘structural deficiencies’, although some have countered with the claim that Gershwin adopted sonata form in the first movement, rondo form in the third. It is doubtful whether this approach to the concerto is much to the point. Gershwin biographer Charles Schwartz surely has it right: ‘Doing what came naturally to him, Gershwin created his own personal version of a concerto, though hardly one that would conform to textbook models.’ After all, what popular 20th-century concerto do those models fit? Certainly not Rachmaninov’s.

The Concerto in F is in fact a string of highly effective melodies, involving a certain amount of repetition (including reminiscences of the first movement in the third), not much development, and some quasi-symphonic linking passages between the big tunes. The anxious care Gershwin gave to this work was surely due to his sense that the music

would have to stand the test of durability and repetition, not the ephemeral success of a Broadway show. By that test he succeeded: the Concerto in F is certainly the most often played American concerto and one of the most frequentlyheard concertos of our century.

In the Carnegie Hall premiere’s mixed audience of jazz buffs, classical elite, and Damrosch’s worshipful following of Society ladies, there were those who were shocked, those who were puzzled, and those who were disappointed – because the concerto was not as musically raffish as Rhapsody in Blue. Critic Samuel Chotzinoff caught the reaction which has endured: ‘Of all those writing the music of today… Gershwin alone expresses us.’ The original title, New York Concerto, is an apt indication of its character: ‘a mixture of New York musical vernacular and the concert hall’ (Schwartz). Gershwin’s own program note makes no claims about the form of the piece, but gives a good description of its contents:

The first movement employs the Charleston rhythm. It is quick and pulsating, representing the young enthusiastic spirit of American life. It begins with a rhythmic motif given out by the kettledrums, supported by other percussion instruments, and with a Charleston motif… The principal theme is announced by the bassoon. Later, a second theme is introduced by the piano.

The second movement has a poetic nocturnal atmosphere which has come to be referred to as the American blues, but in a purer form than that in which they are usually treated.

The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping to the same pace throughout.

David Garrett © 1987/2003

AARON COPLAND

(1900–1990)

Symphony No.3

I. Molto moderato

II. Allegro molto

III. Andantino quasi allegretto

IV. Molto deliberato (Fanfare) –Allegro risoluto

In the 1940s, Aaron Copland was at the height of his powers as a composer. He had defined the quest of the American composer as ‘wanting to speak with a largeness of utterance wholly representative of the country that Walt Whitman had envisaged’. With the country now embroiled in a World War, the largest utterance a composer could make would be in the form of a symphony that could embody the spirit and aspirations of a nation at war.

Although there are sketches for a large-scale symphony dating back to 1940, Copland did not begin work on his Third Symphony until the (northern) summer of 1944. It was to occupy a full two years, a huge undertaking made possible by the earnings from some film scores and a generous commission from the Koussevitsky Foundation.

During his long tenure (1924–49) as Music Director of the Boston Symphony Orchestra, Serge Koussevitsky had premiered a dozen Copland compositions, culminating in the Third Symphony, which the composer dedicated to the conductor’s late wife, Natalie. This titanic, four-movement work lasting over 40 minutes had Koussevitsky’s stamp all over it and Copland was not coy about revealing its paternity. ‘I knew exactly the kind of music he enjoyed conducting and the sentiments he brought to it,’ Copland recalled in 1980. ‘I knew the sound of his orchestra, so I had every reason to do my darndest to write a symphony in the grand manner.’ That sentiment was

echoed by Leonard Bernstein, arguably the work’s most acclaimed interpreter. ‘The grandeur of that magnificent conductor must have had great influence on the shape and manner of the symphony,’ he told an audience in Tel Aviv in October 1948. ‘It is truly a symphony in the ‘Koussevitsky manner’.’

For its Boston premiere on 18 October 1946, Copland provided some characteristically offhanded comments, paraphrased in later record cover notes. ‘If I forced myself, I could invent an ideological basis for the Third Symphony,’ he conceded. ‘But if I did, I’d be bluffing – or, at any rate, adding something ex post facto, something that might or might not have been true but that played no role at the moment of creation.’ He would only say that the work ‘intended to reflect the euphoric spirit of the country at the time.’

Given the circumstances of Copland’s personal politics around this time, something that he was reticent to discuss openly over the years, one could view Copland’s symphony as a study in social contrasts. Virgil Thomson, alternately adulatory and downright catty, saw it as a conflict between the pastoral and the military, resolved only in the finale. The conductor Hugh Wolff takes this a step further: combining the ambiguous imagery of Blake, Britten and William Bolcom, he compares it to songs of innocence and experience, contrasting light against darkness. Each of the first three movements has opening and closing sections (A and C), which stand in stark contrast to the B-sections they enclose. In the opening movement, Wolff senses contrast between repose and strife. In the second movement, the bustle of activity associated with the military-industrial complex wrestles a kind of pastoral passivity, while the third movement pits a sense of elegy against a mood of exultant joy. The closing C-sections

contain elements of the music which precedes them. Consequently, Wolff sees these three movements as representing ‘a kind of Hegelian thesis, antithesis, and synthesis’. It is not impossible, he suggests, that Copland may have been thinking of ‘a Marxist dialectic’.

In passing, we may note that, from the early 1930s onwards, Copland was closely associated with progressive socialist politics emanating from the Village in Lower Manhattan. He was president of the Young Composers Group, founded in 1932, which was strongly influenced by Marxist principles and dedicated to the creation of music for the proletariat, particularly the mass song. In 1934, his song Into the Streets, May First won first prize in a competition for a socialist rallying-song and was published the following year in the Worker’s Song Book No.2. During the McCarthy era, Copland disowned his ‘communist song’, as he called it, as ‘the silliest thing I did’. With a somewhat revisionist eye to the times, he said he simply wanted ‘to prove to myself that I could write a better mass song than the next fellow.’

On 25 May 1953, Aaron Copland, even then dean of American composers, was hauled before the House Un-American Activities Committee [HUAC] and grilled by Senator Joseph McCarthy and chief counsel Roy Cohn for two hours about his ‘communist sympathies’. Copland managed to maintain his dignity throughout the ordeal but it was to leave an almost indelible stain on his reputation. From that time on, he was reluctant to discuss his political beliefs openly.

All the same, Copland would not allow his music to be played at the Inaugurals of Presidents Eisenhower and Nixon, but was happy to conduct a concert for President Carter’s Inaugural in 1977. The present author attended a concert on the Capitol Lawns in June 1982 when

the composer conducted the National Symphony in a free concert of his music, intended as something of an apology for his shabby treatment there decades earlier. ‘It’s on the House,’ screamed the PR blurb. ‘And the Senate too!’

Nowhere is Copland’s true feeling about America, his America – the land of Lincoln, Jefferson, Ives and Walt Whitman – more tellingly revealed than in the fourth movement of this Third Symphony.

From the time he commenced work on the piece, he had intended to deploy the Fanfare for the Common Man as its principle thematic device. ‘Make it a really K[nock] O[ut] symphony,’ urged fellow composer David Diamond. ‘And do, please use the fanfare material.’ At the time, the Fanfare was an obscure wartime morsel, virtually unknown. Far from capitalising on its (non-existent) popularity, Copland would now bring it to centre stage.

During the 1942/43 season, Eugene Goossens, then Music Director of the Cincinnati Symphony Orchestra, invited 17 composers to create patriotic fanfares. ‘Stirring and significant contributions to the war effort’, these would be performed at the opening of his subscription concerts in Cincinnati. Goossens suggested the duration of around two minutes and the instrumentation of brass and percussion. Copland wrote his music but an effective title eluded him; he toyed with the idea of titles like Fanfare ‘for a Solemn Ceremony’, ‘for the Spirit of Democracy’, ‘for the Paratroops’, and ‘for Four Freedoms’.

Goossens had hoped that Copland’s fanfare would launch his series on 9 October, but the score arrived late. Another date had to be found – 12 March 1943. ‘It deserves a special occasion for its performance,’ conductor wrote composer. ‘If it is agreeable with

you, we will premiere it at income tax time.’ (After the War, the income tax deadline for all Americans to lodge their returns with the Internal Revenue Service became April 15.) Copland had no argument with that. ‘I was all for honoring the common man at income tax time,’ he chuckled. And from such prosaic circumstances came one of the most echt American pieces of music ever written, second only to Sousa’s Stars and Stripes Forever.

The Fanfare is stretched almost toffeelike throughout the full 15 minutes of the finale of the Third Symphony, causing some of Copland’s closest supporters to wince at what Irving Fine called his ‘blatant populist tendencies’. Even Bernstein felt compelled to lecture his master on ‘excess’, and added ‘a sizable cut near the end’ of the coda. In his 1964 survey of American music, Wilfrid Mellers pointedly omitted mention of the work altogether. But Koussevitsky declared it ‘simply the greatest American symphony ever written’, and Bernstein extolled it as much ‘an American monument [as] the Washington Monument or the Lincoln Memorial’.

More recently, Copland’s Third Symphony has had to weather accusations of ‘jingoism’ and being ‘the voice of American imperialism’. Such hackneyed and ill-informed stridencies forget the circumstances of its composition. In the exuberance and sheer relief of post-War America, Copland had written, according to playwright Clifford Odets, ‘the loftiest [utterance] our country has yet expressed in music’.

Almost 60 years later, that sentiment rings true for today’s America, looking inward for its sustaining values and meaning. Facing a future that is suddenly insecure and unnerving, many find comfort in Copland’s steady, reassuring sound.

Two years ago, the African-American conductor William Eddins was in Australia conducting this Third Symphony. He knew the work well, having conducted it with the Chicago Symphony the previous season. Even so, he still found the experience ‘absolutely hair-raising’, especially when the Fanfare for the Common Man creeps into the course of the finale. ‘Every night, when I get to that moment, where the flutes give you a little glimpse of the theme,’ he confessed to commentator-writer Gordon Kalton Williams, ‘every hair on my body stands straight up. There is something about it that just grabs us by the neck and shakes us around: “Pay attention to the rest of reality here. This is what your society is supposed to be all about. This is what you should be reaching for.” It’s an incredible moment for us, it really is.’

Vincent Plush © 2003

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Russell Taylor and Tara Obeyesekere

Geoffrey Thomlinson

Frank Tisher OAM and Dr Miriam Tisher Andrew and Penny Torok

Christina Turner Ann and Larry Turner

The Hon Rosemary Varty Leon and Sandra Velik

The Reverend Noel Whale Edward and Paddy White Terry Wills Cooke OAM and the late Marian Wills Cooke Robert and Diana Wilson Richard Withers

Shirley and Jeffrey Zajac Anonymous (11)

OVERTURE PATRONS $500+*

Margaret Abbey PSM

Jane Allan and Mark Redmond

Mario M Anders Jenny Anderson

Mr Peter Batterham Heather and David Baxter

Benevity

Peter Berry and Amanda Quirk

Dr William Birch AM

Allen and Kathryn Bloom

Graham and Mary Ann Bone

Stephen Braida

Linda Brennan

Dr Robert Brook

Roger and Coll Buckle Ian and Wilma Chapman

Cititec Systems Pty Ltd

Charmaine Collins

Dr Sheryl Coughlin and Paul Coughlin

Gregory Crew

Michael Davies Nada Dickinson

Bruce Dudon

Cynthia Edgell Melissa and Aran Fitzgerald

Brian Florence Elizabeth Foster

Mary Gaidzkar

Simon Gaites

Mary-Jane Gething

Sandra Gillett and Jeremy Wilkins

David and Geraldine Glenny Hugo and Diane Goetze

Louise Gourlay OAM

Robert and Jan Green

Geoff Hayes

Jim Hickey

William Holder

Clive and Joyce Hollands

R A Hook

Gillian Horwood

Peter Huntsman

Geoff and Denise Illing

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

Joy Manners

Janice Mayfield

Dr Alan Meads and Sandra Boon Marie Misiurak

Joan Mullumby

Adrian and Louise Nelson

Dr Judith S Nimmo

Rosemary O’Collins

David Oppenheim

Howard and Dorothy Parkinson

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

Anonymous (18)

CONDUCTOR’S CIRCLE

Jenny Anderson

David Angelovich

G C Bawden and L de Kievit Lesley Bawden Joyce Bown

Mrs Jenny Bruckner and the late Mr John Bruckner Ken Bullen

Peter A Caldwell Luci and Ron Chambers

Beryl Dean Sandra Dent

Alan Egan JP Gunta Eglite

Marguerite Garnon-Williams Drs L C Gruen and R W Wade

Louis J Hamon AOM

Carol Hay Jennifer Henry 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 and Anne Kieni Serpell

Jennifer Shepherd Suzette Sherazee Dr Gabriela and Dr George Stephenson Pamela Swansson

Lillian Tarry Tam Vu and Dr Cherilyn Tillman Mr and Mrs R P Trebilcock

Peter and Elisabeth Turner Michael Ulmer AO

The Hon. Rosemary Varty Terry Wills Cooke OAM and the late Marian Wills Cooke Mark Young Anonymous (19)

The MSO gratefully acknowledges the support of the following Estates:

Norma Ruth Atwell

Angela Beagley

Christine Mary Bridgart The Cuming Bequest Margaret Davies Neilma Gantner

The Hon Dr Alan Goldberg AO QC Enid Florence Hookey Gwen Hunt

Family and Friends of James Jacoby Audrey Jenkins Joan Jones Pauline Marie Johnston C P Kemp

Peter Forbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Jean Moore

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 Maestro Jaime Martín

Elizabeth Proust AO and Brian Lawrence The Kate and Stephen Shelmerdine Family Foundation

Michael Ullmer AO and Jenny Ullmer Jason Yeap OAM – Mering Management Corporation

ADOPT A MUSICIAN

Mr Marc Besen AC and the late Mrs Eva Besen AO Chief Conductor Jaime Martín

Shane Buggle and Rosie Callanan Roger Young

Andrew Dudgeon AM Rohan de Korte Philippa West Tim and Lyn Edward John Arcaro

Dr John and Diana Frew Rosie Turner

Sophie Galaise and Clarence Fraser Stephen Newton

Geelong Friends of the MSO Miranda Brockman The Gross Foundation Matthew Tomkins

Dr Clem Gruen and Dr Rhyl Wade Robert Cossom

Danny Gorog and Lindy Susskind Monica Curro

Cecilie Hall and the late Hon Michael Watt KC Saul Lewis

Nereda Hanlon and Michael Hanlon AM

Abbey Edlin

Margaret Jackson AC Nicolas Fleury

Di Jameson and Frank Mercurio Benjamin Hanlon Tair Khisambeev

Christopher Moore

Dr Elizabeth A Lewis AM Anthony Chataway

David Li AM and Angela Li Dale Barltrop

Gary McPherson Rachel Shaw Anne Neil Trevor Jones

Hyon-Ju Newman Patrick Wong

Newton Family in memory of Rae Rothfield Cong Gu

The Rosemary Norman Foundation Ann Blackburn

Andrew and Judy Rogers Michelle Wood Glenn Sedgwick Tiffany Cheng Shane Hooton

Dr Martin Tymms and Patricia Nilsson Natasha Thomas Anonymous Prudence Davis

HONORARY APPOINTMENTS

Life Members

Mr Marc Besen AC

John Gandel AC and Pauline Gandel AC

Sir Elton John CBE

Harold Mitchell AC

Lady Potter AC CMRI

Jeanne Pratt AC

Michael Ullmer AO and Jenny Ullmer

Anonymous

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)

Trusts and Foundations

Freemasons

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

Foundation Victoria