PLAYS DAS LIED VON DER ERDE

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1 PLAYS DAS LIED VON DER ERDE 29 JUNE 1 JULY 2017 CONCERT PROGRAM

2 The perfect Saturday MSO PLAYS SHOSTAKOVICH 5 Saturday 12 August 2pm SIR ANDREW DAVIS UNCOVERS BRUCKNER 7 Saturday 2 September 2pm MSO PLAYS RAVEL Saturday 23 September 2pm MSO PLAYS RACHMANINOV 2 Saturday 25 November 2pm Arts Centre Melbourne, Hamer Hall Book now mso.com.au/matinees

3 Melbourne Symphony Orchestra Sir Andrew Davis conductor Catherine Wyn-Rogers mezzo-soprano Stuart Skelton tenor Schubert Symphony No.8 Unfinished INTERVAL Mahler Das Lied von der Erde Running time: 2 hours, including 20-minute interval In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone. The MSO acknowledge the Traditional Owners of the land on which we are performing. We pay our respects to their Elders, past and present, and the Elders from other communities who may be in attendance. mso.com.au (03)

4 MELBOURNE SYMPHONY ORCHESTRA Established in 1906, the Melbourne Symphony Orchestra (MSO) is Australia s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since Engaging more than 2.5 million people each year, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming. As a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world. Its international audiences include China, where the MSO performed in 2016 and Europe where the MSO toured in The MSO performs a variety of concerts ranging from core classical performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne s largest outdoor venue, the Sidney Myer Music Bowl. The MSO also delivers innovative and engaging programs to audiences of all ages through its Education and Outreach initiatives. The MSO also works with Associate Conductor, Benjamin Northey, and the Melbourne Symphony Orchestra Chorus, as well as with such eminent recent guest conductors as Thomas Ades, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Nick Cave, Sting, Tim Minchin, Ben Folds, DJ Jeff Mills and Flight Facilities. 4 SIR ANDREW DAVIS CONDUCTOR Sir Andrew Davis is Music Director and Conductor of the Lyric Opera of Chicago and Chief Conductor of the Melbourne Symphony Orchestra. In a career spanning over 40 years, he has been the musical and artistic leader at several of the world's most distinguished opera and symphonic institutions, including the BBC Symphony Orchestra ( ), Glyndebourne Festival Opera ( ), and the Toronto Symphony Orchestra ( ). He recently received the honorary title of Conductor Emeritus from the Royal Liverpool Philharmonic Orchestra. One of today's most recognised and acclaimed conductors, Sir Andrew has conducted virtually all the world's major orchestras, opera companies, and festivals. Born in 1944 in Hertfordshire, England, Sir Andrew studied at King s College, Cambridge, where he was an organ scholar before taking up conducting. His wide-ranging repertoire encompasses the Baroque to contemporary, and his vast conducting credits span the symphonic, operatic and choral worlds. In 1992 Maestro Davis was made a Commander of the British Empire, and in 1999 he was made a Knight Bachelor in the New Year Honours List. Image courtesy Dario Acosta Photography

5 CATHERINE WYN-ROGERS MEZZO-SOPRANO Catherine Wyn-Rogers has performed in concert with conductors such as Bernard Haitink, Gennady Rozhdestvensky, Sir Charles Mackerras, Zubin Mehta, Sir Roger Norrington and Sir Andrew Davis, and appeared at festivals such as the BBC Proms, Aldeburgh, and the Three Choirs. Recordings include The Dream of Gerontius with Vernon Handley, Mozart s Vespers with Trevor Pinnock, Peter Grimes with the London Symphony and Sir Colin Davis, and Graham Johnson s Complete Schubert Edition for Hyperion. She began an ongoing relationship with the Royal Opera House, Covent Garden in 1989 as Schwertleite in Die Walküre. Catherine Wyn-Rogers has also been a regular guest at Bavarian State Opera and worked at Scottish Opera, La Scala, the Semper Opera Dresden and Houston Grand Opera, among others. Recent highlights have included a new production of Frank Martin s Le vin herbé with Welsh National Opera, Barber s Vanessa with the Deutsches Symphonie-Orchester, and Schoenberg s Moses und Aron in Madrid. Future performances include Messiah with the London Handel Festival Orchestra and Peter Grimes at the Edinburgh Festival. STUART SKELTON TENOR Winner of the 2014 International Opera Awards for Best Male Singer and 2 Helpmann Awards, Stuart Skelton s repertoire encompasses roles from Wagner's Lohengrin, Parsifal, Rienzi, Siegmund and Erik to Strauss s Kaiser and Bacchus, Janacek s Laca, Saint-Saens Samson, Beethoven's Florestan and Britten s Peter Grimes. He appears regularly on the leading concert and operatic stages of the world, including Berlin, London, Los Angeles, Munich, Paris, Tokyo and Vienna with orchestras including the Berlin Philharmonic, Boston Symphony, L.A Philharmonic, London Symphony, Vienna Philharmonic and at the BBC Proms. He has sung with such acclaimed conductors as Vladimir Ashkenazy, Daniel Barenboim, Jiři Bèlohlavek, James Conlon, Sir Andrew Davis, Christoph von Dohnanyi, Mariss Jansons, Philippe Jordan, James Levine, Lorin Maazel, Sir Charles Mackerras, Sir Simon Rattle and Simone Young. Recent performances have included Tristan (Tristan und Isolde) for the Metropolitan Opera, English National Opera, and at the Baden-Baden Festival with the Berlin Philharmonic, Lohengrin for Opéra National de Paris, Laca (Jenůfa) for the Bavarian State Opera. 5

6 PROGRAM NOTES FRANZ SCHUBERT ( ) Symphony No.8 in B minor, D759 Unfinished Allegro moderato Andante con moto Schubert made something of a habit of not finishing symphonies; the B minor work is one of four of which sections or whole movements were begun and then abandoned at various times, beginning in 1811, over Schubert's life. In the case of the B minor Symphony though, the two movements we have were completed in full, and there exists a 20-bar sketch for the scherzo. These were composed in October 1822, at a time when the 25-year-old Schubert was enjoying the first intimations of success. His vocal works solo and part-songs were enjoying public performances, and he was actually earning decent fees from the publication of various songs beginning with Erlkönig and Gretchen am Spinnrade. Other large-scale works from this time include the opera Alfonso und Estrella and the Mass in A flat. There are several possible explanations for Schubert leaving the work aside. He may have seen little opportunity for performance of symphonic music, though he did go on to complete the Great C major Symphony. He wanted to pursue opera composition, though such dreams would go unfulfilled. The aesthetic and social milieu of poets and singers in which Schubert mixed may have encouraged him to concentrate on songs. It is possible, though we can t know, that he had begun to suffer from the disease that would kill him. While there have been attempts to complete the scherzo and then tack on a bit of the incidental music to Rosamunde by way of finale, the piece arguably works best as a twomovement torso. In many respects it is unusual for its time. B minor, for instance, was not a common key for orchestral music (certain keys suiting certain instruments, especially brass, better than others) and an opening movement in 3/4 was relatively unusual (Beethoven s Third and Eighth Symphonies are exceptions). Then there is the mood created by deft, and unclassical, touches of orchestration: the brooding bass-register melody at the start, answered by the shimmer of higher strings; the risky (then as now) doubling of oboe and clarinet to create the distinctive timbre of the first theme; and the sudden retraction of lavish to simple textures a single note or throbbing syncopation, as in the transition to the cello s second theme. Schubert is quite capable of the sort of contrapuntal elaboration that we might find in a work of Mozart, Haydn or his teacher Salieri, but in his often terse and highly gestural rhetoric we can hear his assimilation of the lessons of Beethoven. Marked Andante con moto, the second movement is hardly slow, and in its range from weightless lyricism to the hammering of short motifs, from lucid 6

7 textures to passages of intricate counterpoint, it provides a kind of mirror to the opening movement. Its final achievement of peace in a quietly glowing texture seems a hard act to follow, even if Schubert did start on a scherzo. Perhaps, as conductor Nikolaus Harnoncourt is convinced, the piece remained unfinished because the form is perfect; there is nothing more to say. Gordon Kerry 2016 The Melbourne Symphony Orchestra first performed this symphony on 15 April 1939 under conductor Bernard Heinze, and most recently on 22 April 2016 with Benjamin Northey. GUSTAV MAHLER ( ) Das Lied von der Erde (The Song of the Earth) Symphony for contralto (or baritone), tenor and orchestra after Hans Bethge s Die Chinesische Flöte (The Chinese Flute) Das Trinklied vom Jammer der Erde (The Drinking Song of the Earth s Sorrow) Der Einsame im Herbst (The Lonely Man in Autumn) Von der Jugend (Of Youth) Von der Schönheit (Of Beauty) Der Trunkene im Frühling (The Drunken Man in Spring) Der Abschie (The Farewell) Catherine Wyn-Rogers mezzo-soprano Stuart Skelton tenor Bruno Walter, who had conducted the world premiere of Das Lied von der Erde after the composer s death in 1911, gave what was by all accounts a great performance of it at the 1947 Edinburgh Festival. The work ends with one of the great cathartic moments in music: the quiet repetition of the word ewig (for ever) as the music passes into silence in a haze of bells and plucked sounds. The contralto soloist on that occasion, the incomparable Kathleen Ferrier, was so overcome by emotion that she was unable to sing the final words without weeping. In response to Ferrier s apologies for her unprofessional behaviour, Walter is supposed to have said, My dear Miss Ferrier, if we were all as professional as you we would all be in tears. This 7

8 PROGRAM NOTES was not mere gallantry: Walter knew the power of this music. A respected colleague of Mahler s, it was he that the composer had asked of the work, Is it at all bearable? Will it drive people to do away with themselves? This, in turn, was not mere Romantic hyperbole. At the beginning of 1907 Mahler had been diagnosed with a heart condition which had worsened significantly over the intervening months. In addition to this, and the stress of the machinations which caused him to resign as Director of the Vienna Opera, his four-year-old daughter died of scarlet fever and diphtheria; as the coffin was being lifted into the cortege Alma Mahler s mother suffered a heart attack, and Alma herself soon suffered emotional prostration under the strain. Mahler continued to work and to plan for the future, but it is hard to imagine that the experiences didn t concentrate his mind somewhat. In 1907, Mahler received a copy of Die Chinesische Flöte (The Chinese Flute) by Hans Bethge ( ). Bethge s renditions of 83 Chinese poems were somewhat removed from their source, being German versions of French translations. Furthermore, Mahler made significant alterations and interpolations of his own to the seven poems he chose to set. Neither poetry nor music claims to be authentically Chinese; philosopher Theodor Adorno argued that the work does not take itself literally but grows eloquent through inauthenticity. Broadly speaking, the piece expresses an intense love of the physical world through images of wine, love, the moon and everyday life, and an acute sense of our limited time in that world. Scholar Michael Kennedy calls it Mahler s supreme masterpiece filled with indefinable sadness and longing yet ultimately it is not depressing. The Song of the Earth was originally conceived as a song cycle but as Adorno has said, symphonic expansion bursts the limits of the song, hence its final designation as a symphony. Alma Mahler wrote in her often unreliable memoirs that at first [Mahler] wrote The Song of the Earth as the ninth, but crossed the number out, and, thinking of Beethoven and Bruckner in particular, it was a superstition of Mahler s that no great writer of symphonies got beyond his ninth. Michael Kennedy accepts this theory with some reluctance and scepticism because Mahler is likely to have realised that although The Song of the Earth is symphonic, it stands apart from the rest of the series. Formally, though, the work recalls Mahler s Third Symphony in its use of six movements of which the last is a long Adagio preceded by shorter intermezzos. The first song, The Drinking Song of the Earth s Sorrow, wastes no time in signalling the power and subtlety of Mahler s art. Within the first few bars we hear distinctive touches in the scoring a muscular fanfare from the horns, flutter-tonguing in the flutes, and the audacious use of the tenor s high register at full volume. The text, based on a poem by the 8

9 8th-century Li-Tai-Po, laments that in the face of the eternity of the earth and sky we have less than a hundred years each to enjoy it, so should do so with wine and music; impending death is unforgettably represented by the image of an ape howling in a graveyard. The Lonely Man in Autumn, after a poem by Chang-Tsi, a contemporary of Li-Tai-Po, begins with a three-note motif from the oboe which pervades the whole work. The loneliness of the poet, and his yearning for spring or death, is memorably reflected in the music which, as Adorno puts it, has the colour of old gold. Of Youth is the first of the three short intermezzos which bridge the extended slow movements. With its imagery of mirror images, Adorno described it as a song which ends like a transparent mirage. Of Beauty presents a tableau of young women picking flowers and young men riding horses. The drunken man of the fifth song is perhaps the same one that Li-Tai-Po introduced in the first, though having decided that life is but a dream, he is now a happier drunk. In a central episode he hears a bird singing (represented by solo violin and piccolo) that spring has come in the night, but no matter: he ll just drink some more and then sleep. The Farewell sets two poems. Mong- Kao-Yen s describes the beauties of evening, the moon floating on the blue sky-lake. A second section reduces the orchestral sound to almost nothing as night falls and the poet waits for his friend to whom he must bid a last farewell. To represent the poet s lute Mahler introduces a rare visitor to the orchestra, the mandolin, used in a way which manages to be self-consciously exotic without being kitsch. This leads to an ecstatic section as the poet anticipates his friend s arrival. The orchestra then plays a long passage without the singer, which is solemn and funereal perhaps depicting the friend s imminent and final journey. The text of the final section is after a poem by Wang Wei. The friend arrives and takes a ritual farewell drink. He explains that fortune has not been kind, and that he must ride in search of his homeland. A whole-tone chord, reminiscent of Debussy, seems to dissolve in the air, introducing the overwhelming beauty of the work s final moments, where the dear earth everywhere blooms in spring with the promise of blue skies. These elements, such a insult to the mortality of the poet in the first song, take on a comforting and redemptive quality. Adorno said that the music weeps without reason like one overcome by remembrance; no weeping had more reason. No wonder Kathleen Ferrier wept too. Abridged from a note by Gordon Kerry 2002 The Melbourne Symphony Orchestra first performed Das Lied von der Erde on 26 November 1960 with conductor Henry Krips and soloists Lauris Elms and Ken Neate. The Orchestra most recently performed it in April 1990 under Jorge Mester, with Elizabeth Campbell and Thomas Edmonds. 9

10 MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor Benjamin Northey Associate Conductor Tianyi Lu Cybec Assistant Conductor Hiroyuki Iwaki Conductor Laureate ( ) FIRST VIOLINS Dale Barltrop Concertmaster Eoin Andersen Concertmaster Sophie Rowell Associate Concertmaster The Ullmer Family # John Marcus Peter Edwards Assistant Kirsty Bremner Sarah Curro Michael Aquilina # Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini David and Helen Moses # Mark Mogilevski Michelle Ruffolo Kathryn Taylor Michael Aquilina # Jacqueline Edwards* Oksana Thompson* SECOND VIOLINS Matthew Tomkins The Gross # Robert Macindoe Associate Monica Curro Assistant Danny Gorog and Lindy Susskind # Mary Allison Isin Cakmakcioglu Freya Franzen Anonymous # Cong Gu Andrew Hall Andrew and Judy Rogers # Francesca Hiew Tam Vu, Peter and Lyndsey Hawkins # Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Aaron Barnden* Amy Brookman* VIOLAS Christopher Moore Di Jameson # Fiona Sargeant Associate Lauren Brigden Katharine Brockman Christopher Cartlidge Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Gaëlle Bayet Gregory Daniel* CELLOS David Berlin MS Newman Family # Rachael Tobin Associate Nicholas Bochner Assistant Miranda Brockman Geelong Friends of the MSO # Rohan de Korte Keith Johnson Sarah Morse Angela Sargeant Michelle Wood Andrew and Theresa Dyer # DOUBLE BASSES Steve Reeves Andrew Moon Associate Sylvia Hosking Assistant Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser # Stuart Riley* Esther Toh* FLUTES Prudence Davis Anonymous # Wendy Clarke Associate Sarah Beggs PICCOLO Andrew Macleod 10

11 OBOES Jeffrey Crellin Thomas Hutchinson Associate Ann Blackburn COR ANGLAIS Michael Pisani CLARINETS David Thomas Philip Arkinstall Associate Craig Hill Magdalenna Krstevska BASS CLARINET Jon Craven BASSOONS Jack Schiller Elise Millman Associate Natasha Thomas CONTRABASSOON Brock Imison HORNS Grzegorz Curyla* Guest Saul Lewis Third Jenna Breen Abbey Edlin Nereda Hanlon and Michael Hanlon AM # Trinette McClimont Timothy Skelly* TRUMPETS Geoffrey Payne Shane Hooton Associate William Evans Joshua Rogan* TROMBONES Brett Kelly Richard Shirley BASS TROMBONE Mike Szabo TUBA Timothy Buzbee TIMPANI Christine Turpin* PERCUSSION Robert Clarke John Arcaro Robert Cossom HARP Yinuo Mu Melina van Leeuwen* CELESTE Louisa Breen* MANDOLIN Doug de Vries* MSO BOARD Chairman Michael Ullmer Managing Director Sophie Galaise Board Members Andrew Dyer Danny Gorog Brett Kelly David Krasnostein David Li Helen Silver AO Margaret Jackson AC Hyon-Ju Newman Company Secretary Oliver Carton # Position supported by * Guest Musician On exchange from West German Radio Symphony Courtesy of Malaysian Philharmonic Orchestra 11

12 SUPPORTERS MSO PATRON The Honourable Linda Dessau AC Governor of Victoria ARTIST CHAIR BENEFACTORS Anonymous Flute Chair Di Jameson Viola Chair Joy Selby Smith Orchestral Leadership Chair The Gross Second Violin Chair The Newman Family Cello Chair The Ullmer Family Associate Concertmaster Chair The Cybec Cybec Assistant Conductor Chair PROGRAM BENEFACTORS The Cybec Young Composer in Residence Made possible by the Cybec Meet The Orchestra Made possible by The Ullmer Family East Meets West Supported by the Li Family Trust The Pizzicato Effect (Anonymous) Collier Charitable Fund The Marian and E.H. Flack Trust Schapper Family Supported by the Hume City Council s Community Grants Program MSO Education Supported by Mrs Margaret Ross AM and Dr Ian Ross 12 MSO Audience Access Crown Resorts Packer Family MSO International Touring Supported by Harold Mitchell AC Satan Jawa Australia Indonesia Institute (DFAT) MSO Regional Touring Creative Victoria Cybec 21st Century Australian Composers Program The Cybec CHAIRMAN S CIRCLE $100,000+ Marc Besen AC and Eva Besen AO The Gross David and Angela Li MS Newman Family Joy Selby Smith Ullmer Family Anonymous (1) VIRTUOSO PATRONS $50,000+ Di Jameson Mr Ren Xiao Jian and Mrs Li Quian Harold Mitchell AC Kim Williams AM IMPRESARIO PATRONS $20,000+ Michael Aquilina The John and Jennifer Brukner Perri Cutten and Jo Daniell Mary and Frederick Davidson AMv Rachel and the late Hon. Alan Goldberg AO QC Hilary Hall, in memory of Wilma Collie Margaret Jackson AC David Krasnostein and Pat Stragalinos Mimie MacLaren John and Lois McKay MAESTRO PATRONS $10,000+ Kaye and David Birks Mitchell Chipman Sir Andrew and Lady Davis John Gandel AO and Pauline Gandel Danny Gorog and Lindy Susskind Robert & Jan Green Suzanne Kirkham The Cuming Bequest Ian and Jeannie Paterson Lady Potter AC CMRI Elizabeth Proust AO Rae Rothfield Glenn Sedgwick Helen Silver AO and Harrison Young Maria Solà Profs. G & G Stephenson, in honour of the great Romanian musicians George Enescu and Dinu Lipatti Gai and David Taylor Juliet Tootell Alice Vaughan Kee Wong and Wai Tang Jason Yeap OAM PRINCIPAL PATRONS $5,000+ Christine and Mark Armour John and Mary Barlow Stephen and Caroline Brain Prof Ian Brighthope Linda Britten David and Emma Capponi Wendy Dimmick Andrew and Theresa Dyer Mr Bill Fleming John and Diana Frew Susan Fry and Don Fry AO Sophie Galaise and Clarence Fraser Geelong Friends of the MSO Jennifer Gorog Louis Hamon OAM Nereda Hanlon and Michael Hanlon AM Hans and Petra Henkell Francis and Robyn Hofmann Hartmut and Ruth Hofmann Jack Hogan Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson Dr Elizabeth A Lewis AM Peter Lovell Lesley McMullin Mr and Mrs D R Meagher David and Helen Moses Dr Paul Nisselle AM Ken Ong, in memory of Lin Ong Bruce Parncutt and Robin Campbell Jim and Fran Pfeiffer Pzena Investment Charitable Fund Andrew and Judy Rogers Max and Jill Schultz Stephen Shanasy HMA D & CS Kipen on behalf of Israel Kipen Mr Tam Vu and Dr Cherilyn Tillman The Hon. Michael Watt QC and Cecilie Hall Lyn Williams AM Anonymous (1) ASSOCIATE PATRONS $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest Barbara Bell, in memory of Elsa Bell Bill Bowness Oliver Carton John and Lyn Coppock Miss Ann Darby, in memory of Leslie J. Darby Natasha Davies, for the Trikojus Education Fund

13 Merrowyn Deacon Beryl Dean Sandra Dent Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson Jane Edmanson OAM Tim and Lyn Edward Dr Helen M Ferguson Mr Peter Gallagher and Dr Karen Morley Dina and Ron Goldschlager Colin Golvan QC and Dr Deborah Golvan Louise Gourlay OAM Peter and Lyndsey Hawkins Susan and Gary Hearst Colin Heggen, in memory of Marjorie Drysdale Heggen Rosemary and James Jacoby Jenkins Family C W Johnston Family John Jones George and Grace Kass Irene Kearsey and M J Ridley Kloeden Bryan Lawrence Ann and George Littlewood H E McKenzie Allan and Evelyn McLaren Don and Anne Meadows Marie Morton FRSA Annabel and Rupert Myer AO Ann Peacock with Andrew and Woody Kroger Sue and Barry Peake Mrs W Peart Graham and Christine Peirson Ruth and Ralph Renard S M Richards AM and M R Richards Tom and Elizabeth Romanowski Jeffrey Sher QC and Diana Sher OAM Diana and Brian Snape AM Dr Norman and Dr Sue Sonenberg Geoff and Judy Steinicke William and Jenny Ullmer Elisabeth Wagner Brian and Helena Worsfold Peter and Susan Yates Anonymous (8) PLAYER PATRONS $1,000+ David and Cindy Abbey Christa Abdallah Dr Sally Adams Mary Armour Arnold Bloch Leibler Philip Bacon AM Marlyn and Peter Bancroft OAM Adrienne Basser Prof Weston Bate and Janice Bate David Blackwell Anne Bowden Michael F Boyt The Late Mr John Brockman OAM and Mrs Pat Brockman Dr John Brookes Suzie and Harvey Brown Jill and Christopher Buckley Bill and Sandra Burdett Lynne Burgess Peter Caldwell Joe Cordone Andrew and Pamela Crockett Pat and Bruce Davis Marie Dowling John and Anne Duncan Ruth Eggleston Kay Ehrenberg Jaan Enden Amy & Simon Feiglin Grant Fisher and Helen Bird Barry Fradkin OAM and Dr Pam Fradkin Applebay Pty Ltd David Frenkiel and Esther Frenkiel OAM David Gibbs and Susie O'Neill Merwyn and Greta Goldblatt George Golvan QC and Naomi Golvan Dr Marged Goode Max Gulbin Dr Sandra Hacker AO and Mr Ian Kennedy AM Jean Hadges Michael and Susie Hamson Paula Hansky OAM Merv Keehn and Sue Harlow Tilda and Brian Haughney Penelope Hughes Basil and Rita Jenkins Stuart Jennings Brett Kelly and Cindy Watkin Dr Anne Kennedy Julie and Simon Kessel Kerry Landman William and Magdalena Leadston Andrew Lee Norman Lewis, in memory of Dr Phyllis Lewis Dr Anne Lierse Andrew Lockwood Violet and Jeff Loewenstein Elizabeth H Loftus Chris and Anna Long The Hon Ian Macphee AO and Mrs Julie Macphee Vivienne Hadj and Rosemary Madden Eleanor and Phillip Mancini Dr Julianne Bayliss In memory of Leigh Masel John and Margaret Mason Ruth Maxwell Jenny McGregor AM and Peter Allen Glenda McNaught Wayne and Penny Morgan Ian Morrey and Geoffrey Minter JB Hi-Fi Ltd Patricia Nilsson Laurence O'Keefe and Christopher James Alan and Dorothy Pattison Margaret Plant Kerryn Pratchett Peter Priest Eli Raskin Bobbie Renard Peter and Carolyn Rendit Dr Rosemary Ayton and Dr Sam Ricketson Joan P Robinson Cathy and Peter Rogers Doug and Elisabeth Scott Martin and Susan Shirley Dr Sam Smorgon AO and Mrs Minnie Smorgon John So Dr Michael Soon Jennifer Steinicke Dr Peter Strickland Pamela Swansson Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher P and E Turner The Hon. Rosemary Varty Leon and Sandra Velik Sue Walker AM Elaine Walters OAM and Gregory Walters Edward and Paddy White Nic and Ann Willcock Marian and Terry Wills Cooke Lorraine Woolley Panch Das and Laurel Young-Das Anonymous (21) 13

14 SUPPORTERS THE MAHLER SYNDICATE David and Kaye Birks Mary and Frederick Davidson AM Tim and Lyn Edward John and Diana Frew Francis and Robyn Hofmann The Hon Dr Barry Jones AC Dr Paul Nisselle AM Maria Solà The Hon Michael Watt QC and Cecilie Hall TRUSTS AND FOUNDATIONS Alan (AGL) Shaw Endwoment, managed by Perpetual Collier Charitable Fund Crown Resorts and the Packer Family The Cybec The Marian and E.H. Flack Trust Gandel Philanthropy The Scobie and Claire Mackinnon Trust The Harold Mitchell Ken & Asle Chilton Trust, managed by Perpetual Linnell/Hughes Trust, managed by Perpetual The Pratt Telematics Trust CONDUCTOR S CIRCLE Current Conductor s Circle Members Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Mrs Jenny Brukner and the late Mr John Brukner Ken Bullen Luci and Ron Chambers Beryl Dean Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite Marguerite Garnon- Williams Louis Hamon OAM Carol Hay Tony Howe Laurence O'Keefe and Christopher James Audrey M Jenkins John and Joan Jones George and Grace Kass Mrs Sylvia Lavelle Pauline and David Lawton Cameron Mowat Rosia Pasteur Elizabeth Proust AO Penny Rawlins Joan P Robinson Neil Roussac Anne Roussac-Hoyne Ann and Andrew Serpell Jennifer Shepherd Profs. Gabriela and George Stephenson Pamela Swansson Lillian Tarry Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Michael Ullmer Ila Vanrenen The Hon. Rosemary Varty Mr Tam Vu Marian and Terry Wills Cooke Mark Young Anonymous (23) The MSO gratefully acknowledges the support received from the Estates of: Angela Beagley Gwen Hunt Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Lorraine Maxine Meldrum Prof Andrew McCredie Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Jean Tweedie Herta and Fred B Vogel Dorothy Wood HONORARY APPOINTMENTS Ambassador Geoffrey Rush AC Life Members Sir Elton John CBE Ila Vanrenen The Late John Brockman AO The Late Alan Goldberg AO QC The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our suporters 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: $1,000 (Player), $2,500 (Associate), $5,000 (), $10,000 (Maestro), $20,000 (Impresario), $50,000 (Benefactor). The MSO Conductor s Circle is our bequest program for members who have notified of a planned gift in their Will. Enquiries P (03) E philanthropy@ mso.com.au Signifies Adopt an MSO Musician supporter 14

15 SUPPORTERS Partner Maestro Partners Supporting Partners Quest Southbank The CEO Institute Government Partners Trusts and s The Scobie and Claire Mackinnon Trust Venue Partner Media Partners 15

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