REGIONAL TOURING POWERCOR THE MELBOURNE SYMPHONY ORCHESTRA IN CONCERT AROUND VICTORIA

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1 POWERCOR REGIONAL TOURING THE MELBOURNE SYMPHONY ORCHESTRA IN CONCERT AROUND VICTORIA Tuesday 9 October at 8pm The Capital Bendigo s Performing Arts Centre Wednesday 10 October at 8pm Eastbank Centre, Shepparton Thursday 11 October at 8pm Albury Entertainment Centre Benjamin Northey conductor Michael Bertoncello trombone Respighi Ancient Airs and Dances: Suite No.3 Rota Trombone Concerto INTERVAL 20 MINUTES Tchaikovsky Symphony No.4 Benjamin Northey will give the pre-concert talk at 7pm twitter.com/melbsymphony facebook.com/melbournesymphony Download our free app from the MSO web site.

2 THE SPONSORS PRINCIPAL PARTNER MSO AMBASSADOR Geoffrey Rush GOVERNMENT PARTNERS MAESTRO PARTNER CONCERTMASTER PARTNERS MSO POPS SERIES PRESENTING PARTNER REGIONAL TOURING PARTNER ASSOCIATE PARTNERS SUPPORTING PARTNERS MONASH SERIES PARTNER SUPPLIERS Kent Moving and Storage Quince s Scenicruisers Melbourne Brass and Woodwind Nose to Tail 2

3 WELCOME Powercor Australia is proud of its long association with the MSO, one of the world s leading symphony orchestras. We have been a major sponsor and partner of the Orchestra for more than 15 years, focusing our sponsorship on the Regional Touring program for the past decade together. Recently, the MSO and Powercor Australia jointly received a prestigious Australia Business Arts Foundation (AbaF) award in recognition of their shared dedication to regional Victoria. The award reflects the ongoing commitment of both companies to provide access to cultural activities of the highest standard to regional Victoria. As Victoria s largest electricity distributor, supplying regional and rural centres in central and western Victoria (including greater Geelong), and Melbourne s outer western suburbs, our involvement in the MSO s Regional Touring Program is a valuable opportunity to contribute to the communities we serve. It is a privilege to be able to help bring the Orchestra and its music to communities whose location may limit their access to the fine music heard regularly in Melbourne. As the audiences who have experienced these events will attest, the intimacy and warmth of smaller concerts in regional venues is in some respects even more rewarding than the grandeur of Hamer Hall. My best wishes for your enjoyment of tonight s concert under the direction of Benjamin Northey. Following two Italian works in the first half, the program takes us to Russia for Tchaikovsky s mighty Fourth Symphony. Shane Breheny Chief Executive Officer Powercor Australia Ltd Kathryn Taylor First Violin CONCERT INFORMATION This concert has a duration of approximately two hours. Concerts by the Melbourne Symphony Orchestra are broadcast around Australia throughout the year on ABC Classic FM (on analogue and digital radio), and streamed on the network s website. Please turn off your mobile phone and all other electronic devices before the performance commences. If you do not need your printed program after the concert, we encourage you to return it to the program stands located in the foyer. Melbourne Symphony Orchestra programs can be read on-line or downloaded up to a week before each concert. For more information, visit mso.com.au 3

4 ABOUT THE MUSIC Ottorino Respighi ( ) Ancient Airs and Dances: Suite No.3 I Italiana II Arie di corte III Siciliana IV Passacaglia Respighi is an intriguing figure in 20th-century music and perhaps a composer whose time has only now arrived. Like Vaughan Williams in England, the Italian-born, Russian- and German-educated Respighi s compositional influences virtually bypassed the Romantic and Classical periods altogether. As Schoenberg, Berg and Webern pushed the musical gestures of late Romanticism into the austere realms of 12 tones, and Stravinsky rediscovered pure Classicism, Respighi went his own quiet way in his native Bologna, writing highly distinctive works influenced by the medieval modes, Gregorian chant, 16th- and 17th-century lute music, and madrigals. Respighi s major orchestral works have never lacked an appreciative audience, nor great conductors such as Toscanini and von Karajan to champion their cause, but they have always tended to be underrated by critics. The misunderstanding and critical neglect seem to stem from the fact that Respighi was an ancient in a modern world. Perhaps now that the pre-classical, often modal works of modern composers such as Górecki, Pärt and Tavener are top of the pops, Respighi s music, which shares so many of the same attributes, is finding a wider audience. Respighi composed three sets of Ancient Airs and Dances, dating from 1917, 1924 and 1932 respectively, and in the same year in which that third set appeared, he, along with nine other Italian composers, issued a compositional manifesto which noted in part: We are against art which cannot and does not have any human content and desires to be merely a mechanical demonstration and a cerebral puzzle... In arguing that old musical forms return to fashion in cycles, Respighi attacked the value of the supposed innovations embodied in atonal music. The third set of Ancient Airs and Dances sought to prove the point. Scored for string orchestra only, the third set is based on works written in the 16th and 17th centuries. Respighi first encountered them in a variety of scholarly editions prepared by the Italian musicologist Oscar Chilesotti in the late 19th century and he orchestrated them so as to preserve their melodic and harmonic character, while making them more gratifying to modern ears. The work opens with a charming Italiana by an anonymous 16th-century composer. A medley of songs by Jean-Baptiste Besard ( ) forms the second movement. A Siciliana with a seductive rhythm forms the third movement, while the finale is the most modern of the airs and dances: it s a Passacaglia written by Lodovico Roncalli in 1692! Adapted from a note by Martin Buzacott 1998 The Melbourne Symphony Orchestra first performed the third set of Ancient Airs and Dances in June 1951 with Alceo Galliera, and most recently in June 2002 with John Harding. 4

5 ABOUT THE MUSIC Nino Rota ( ) Trombone Concerto in C I Allegro giusto II Lento, ben ritmato III Allegro moderato Michael Bertoncello trombone Italian cinema is unthinkable without Nino Rota. In 1942 he began composing scores for the Lux Film Company, and a decade later began his ongoing partnership with Federico Fellini. In addition to some 16 scores for Fellini, including those for 8½, Satyricon, La strada and Casanova, Rota provided music for cinematic milestones like Luchino Visconti s The Leopard, Francis Ford Coppola s The Godfather franchise and numerous films of Franco Zeffirelli including Romeo and Juliet. He also worked with major directors from France, Japan, Russia and the United Kingdom. Rota was recognised as a prodigy at the age of 12 when his oratorio L infanzia di San Giovanni Battista received its premiere in his native Milan. He studied at the Milan Conservatory and the Santa Cecilia Academy in Rome before spending two years at the Curtis Institute in the USA. He returned to Italy in 1932 and produced several works of chamber music as well as two symphonies. His work was well received, but after the war Rota was too easily pigeonholed as a traditionalist, ignored by the developing avant-garde. His career in film started at this time, but we should note that from 1942 Rota also composed a series of major operas and orchestral works, and became director of the Bari Conservatory. The Trombone Concerto was composed in 1966, roughly contemporaneous with Rota s scores for Zeffirelli s The Taming of the Shrew and Romeo and Juliet, and was first performed at the Milan Conservatory with Bruno Ferrari as soloist. It is an unashamedly neo-classical piece of modest dimensions: its three movements play for 15 minutes or so, and the scoring is for a small orchestra of single flute and oboe, pairs of clarinets, bassoons and horns, timpani and strings. The first movement sets up a jaunty pulse with short angular motifs passed between soloist and orchestra. Rota scrupulously allows the trombone to sound without undue force the call and response pattern that is common in this work, and the size of the orchestra, work in the service of clarity rather than bombast. This is not to say that that Rota does not on occasion command some rhetorical force, and there are passages in the movement s development section that recall Janáček. The slow movement begins quietly as a slow march, dominated by Italianate dotted rhythms, and builds through a series of triplet arpeggios for the soloist to a kind of climax, followed by a more emphatic restatement of dotted rhythmic material. The orchestral writing in much of the movement is of great delicacy, but again, Rota displays a great sense of mastery of tension and release. The final movement provides strong contrast to the restrained anguish of the previous one. The soloist states a perky theme against repeated wind chords, which is then answered by an optimistic theme for strings. As in the first movement, short motifs from the soloist are answered by tutti. A reflective central section features triplet figurations over static chords, but a fanfare and the opening theme inject new energy. Gordon Kerry 2012 This is the first performance of Rota s Trombone Concerto by any of the former ABC orchestras. INTERVAL 20 minutes 5

6 ABOUT THE MUSIC Peter Ilyich Tchaikovsky ( ) Symphony No.4 in F minor, Op.36 I Andante sostenuto Moderato con anima Moderato assai, quasi II Andante Allegro vivo Andantino in modo di canzona III Scherzo (Pizzicato ostinato) Allegro IV Finale (Allegro con fuoco) You know the old story. In 1877, Tchaikovsky received a declaration of love from Antonina Milyukova, who threatened suicide if Tchaikovsky refused to marry her. The composer, hoping to save Antonina and cure his homosexuality, accepted the proposal, but within minutes of being married realised that he had made a terrible mistake. Within two months he had attempted suicide himself before fleeing Moscow; Antonina quickly descended into madness and Tchaikovsky poured his anguish into his Fourth Symphony and the opera Eugene Onegin. Thanks to musicologist Alexander Poznansky, we can now see this well-known scenario for the load of rubbish that it is. The composer seems at no time to have been anguished by his sexuality and his decision to marry Antonina stemmed from other causes, not least of which that she was shortly to inherit a respectable sum of money. Later, Tchaikovsky admitted that his treatment of Antonina had been inexcusable, and supported her financially; she scrupulously avoided making any public criticism of him, even after his death. Tchaikovsky s correspondence makes clear that their incompatibility was the result of cultural differences rather than sexual horror. None of which is to say that the Fourth Symphony is not about serious emotional and psychological states, nor that the experience of a disastrous marriage didn t affect Tchaikovsky s emotional equilibrium. Nadezhda von Meck, his patron, wrote to him of the work s profound, terrifying despair. The composer insisted in his correspondence with Meck that where words finish, music begins and that a program explaining the meaning of the music would necessarily be imprecise. Nonetheless he did offer a kind of map of the work s emotional journey (never dreaming that it would be published), saying: The main idea...is expressive of the idea of fate, that ominous power which prevents the success of our search for happiness. This power hangs constantly over our heads, like Damocles sword. There is no alternative but to submit to fate. The theme of fate is the powerful brass fanfare which opens the first movement, and which returns at climactic moments in this and the last movement. Contrasting with this is a conventional pair of subjects or thematic groupings. The first, marked moderato, is characterised by a waltz tempo kept on its toes by crossrhythm; the second, according to Tchaikovsky, represents the world of dreams into which we are tempted to escape. Scholar Leon Botstein has argued that Tchaikovsky s use of repetition in the course of this movement is emblematic of the obsessive state of mind that the music depicts. But fate keeps obtruding (undermining the principles of sonata design) and eventually disperses the imagery of dreams. 6

7 ABOUT THE MUSIC In the second movement, Tchaikovsky again uses seemingly literal repetition of the thematic material, but as Botstein notes, despite repetition, the background and foreground changes as different dialogues between theme and countermelody are explored. The Scherzo has been interpreted as the reassertion of reality. Its celebrated pizzicato-dominated string writing has an implacable character, but it also serves to provide a bridge between the introspection of the second movement and the extrovert nature of the Finale. The composer s explanation for the Finale s festive nature was: If you find no cause for joy within yourself, look for it in others. Look, they know how to enjoy themselves, giving themselves up to undivided feelings of pleasure. This has obscured an important aspect of the Finale Tchaikovsky s quote of an actual folk-tune, In the field a little birch tree stood. As Roland John Wiley notes in the New Grove Dictionary of Music and Musicians: both words and setting are significant. The birch tree is solitary, and it is the image of a woman The crowd that gathers is of unmarried women who perform a round dance and then throw their wreaths into the stream. Those whose wreaths float on the surface of the water will marry; those whose wreaths sink will not. Tchaikovsky s view of Antonina was clearly not unsympathetic, despite the baleful intrusion of the Fate music. Interpretation of this symphony has inevitably been compromised by the fatuous rehashing of biographical details, making it a document of hysteria. However, we should remember that the profound, terrifying despair of this work is created by an artist in full control of his technical resources. Abridged from a note by Gordon Kerry 2002 The Melbourne Symphony Orchestra gave the first complete Australian performance of this work on 20 August 1938 with Malcolm Sargent. The Orchestra most recently performed the work in June 2011 with Ludovic Morlot. New from the Melbourne Symphony Orchestra on ABC Classics Brahms: A German Requiem A truly tremendous piece of art which moves the entire being in a way little else does. Clara Schumann Soloists Teddy Tahu Rhodes and Nicole Car join the Melbourne Symphony Orchestra and Chorus (Chorusmaster: Jonathan Grieves-Smith) in this new studio recording of Brahms s greatest choral work, conducted by Johannes Fritzsch Rachmaninoff: Symphony No. 2 The latest addition to the MSO Live collection: Rachmaninoff s glorious Second Symphony, conducted by Tadaaki Otaka. This rich, Romantic symphony is one of the most popular of all Russian orchestral works. Available at ABC Shops, ABC Centres and good music stores. For more information visit 7

8 ABOUT THE MUSIC WE BELIEVE IN THE POWER OF TOGETHER. BY COMBINING OUR PASSION AND SKILLS WITH THAT OF OUR CLIENTS, WE CAN ACHIEVE AMAZING THINGS. A Daimler Brand We are the sum of many perfect parts. When we come together in perfect harmony, the results will move you in a way you ve never been moved before. Our passion for excellence gives us the impetus to innovate. Our versatility allows us to surprise. We proudly invite you to take a seat and enjoy what we do best. We are the sum of many perfect parts. When we come together in perfect harmony, the results will move you in a way you ve never been moved before. Our passion for excellence gives us the impetus to innovate. Our versatility allows us to surprise. We proudly invite you to take a seat and enjoy what we do best. KING & WOOD MALLESONS IS DELIGHTED TO BE AN ONGOING SUPPORTER OF THE MELBOURNE SYMPHONY ORCHESTRA. Like attracts like. Mercedes-Benz Australia/Pacific, official automotive partner to the Melbourne Symphony Orchestra. Summer is on the horizon at Myer with a world range of colour from untamed brights to sugar coated pastels. Discover the new looks in store now! Myer is proud to support fashion, style and Melbourne Symphony Orchestra for your nearest store and more visit myer.com.au 8

9 ABOUT THE artists Benjamin Northey conductor Benjamin Northey holds the Melbourne Symphony Orchestra s Patricia Riordan Associate Conductor Chair. Since returning to Australia from Europe in 2006, Benjamin Northey has rapidly emerged as one of the nation s leading musical figures. A graduate of the University of Melbourne and the Sibelius Academy in Finland, he has appeared with the London Philharmonic Orchestra, Salzburg Mozarteum Orchestra, Hong Kong Philharmonic, Southbank Sinfonia, and the New Zealand and Christchurch Symphony orchestras. He has collaborated with artists such as Julian Rachlin, Alban Gerhardt, Marc-André Hamelin, Arnaldo Cohen, and the Silver-Garburg Piano Duo, among others. In Australia he has appeared with all the state symphony orchestras and with Opera Australia (Don Giovanni, Così fan tutte) and State Opera of South Australia (The Elixir of Love, The Tales of Hoffmann, La sonnambula). He made his debut with the Melbourne Symphony Orchestra in 2003 and was appointed Associate Conductor in His recordings include award-winning CD releases for ABC Classics with the Melbourne, Sydney, Tasmanian, Adelaide and West Australian Symphony orchestras. His teachers have included John Hopkins, Jorma Panula, Atso Almila and Leif Segerstam. In 2009, he was selected as one of three participants worldwide to the prestigious International Conductors Academy of the Allianz Cultural Foundation, during which he conducted the Philharmonia and London Philharmonic orchestras under the mentorship of conductors Vladimir Jurowski and Christoph von Dohnányi. Benjamin Northey s awards include the 2010 Melbourne Prize Outstanding Musicians Award, Brian Stacey Memorial Award, Nelly Apt Scholarship, Symphony Australia Young Conductor of the Year in 2001, and the 2007 Limelight Magazine Best Newcomer Award. Michael Bertoncello trombone A member of the Melbourne Symphony Orchestra since 2005, Michael Bertoncello has previously held Trombone positions with the Shanghai Radio Broadcasting Symphony Orchestra, Auckland Philharmonia and the Tonhalle Orchestra Zurich. In 2011 he joined the Australian World Orchestra as Trombone, and performed as didjeridu soloist in the Orchestra s performance of Sculthorpe s Earth Cry at the Sydney Opera House. He is in demand as a recitalist, soloist, chamber musician and clinician, and has travelled extensively throughout Australia, New Zealand, Germany, France, Switzerland, the USA, China, Singapore and Hong Kong, giving classes and recitals at institutions including the Juilliard School and Chicago s Northwestern University. He has performed as soloist with the Melbourne, West Australian and Tasmanian Symphony orchestras, Mulhouse Symphony Orchestra (France), and the Tonhalle Orchestra Zurich, with whom he recorded the trombone concertos of Wagenseil and Ferdinand David. He has performed with German Brass and is a founding member of the Australian Brass Quintet. He co-founded the Melbourne International Festival of Brass and currently directs the Melbourne Summer Low Brass Intensive. He was previously Lecturer in Brass at the University of Melbourne and currently teaches at ANAM, in addition to holding the position of Lecturer in Brass at the University of Tasmania. Michael Bertoncello began his studies with Ian Perry at the Victorian College of the Arts and in 1997 moved to the US to join the Civic Orchestra of Chicago, studying with Michael Mulcahy. He completed his Masters of Music Performance at the University of Melbourne in

10 melbourne symphony orchestra and management MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor Designate Tadaaki Otaka Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair FIRST VIOLINS Peter Edwards Assistant Kirsty Bremner MSO Friends Chair Sarah Curro Lerida Delbridge Anne Martonyi Kathryn Taylor Kirsty Greig* JiWon Lee* Elena Phatak* Oksana Thompson* SECOND VIOLINS Matthew Tomkins Christine Johnson Isy Wasserman Francesca Hiew* Jenny Khafagi* Shelley Heath* Ingrid Homburg* Jesre Stenson* VIOLAS Christopher Cartlidge Simon Collins Justin Williams Caleb Wright Sophie Kesoglidis* Simon Oswell* CELLOS David Berlin Miranda Brockman Angela Sargeant Joan Evans* Virginia Kable* DOUBLE BASSES Andrew Moon Associate Damien Eckersley Benjamin Hanlon Stephen Newton FLUTES Prudence Davis Sarah Beggs Taryn Richards* OBOES Jeffrey Crellin Annabelle Badcock* CLARINETS Philip Arkinstall Associate Robin Henry* BASSOONS Jack Schiller* Guest Associate Chloe Turner* HORNS Geoff Lierse Associate Saul Lewis 3rd Rachel Silver Jenna Breen* TRUMPETS Shane Hooton Associate William Evans TROMBONES Kenneth McClimont Associate Robert Collins* BASS TROMBONE Charles MacInnes* TUBA Tim Buzbee TIMPANI Christine Turpin PERCUSSION John Arcaro Robert Cossom *Guest musician MANAGEMENT Board Harold Mitchell AC Chairman Dr Bronte Adams Peter Biggs Hon. Alan Goldberg AO QC Ann Peacock Jennifer Kanis Alastair McKean Michael Ullmer Kee Wong Company Secretary Oliver Carton Executive Wayne Box Acting Chief Executive Officer Julia Bryndzia Executive Assistant Business Nerolie Grant Acting Chief Financial Officer Raelene King Personnel Manager Kaanji Skandakumar Accountant Nathalia Andries Finance Officer Dale Bradbury Project Manager Tessitura Artistic Huw Humphreys Director, Artistic Planning Andrew Pogson Assistant Artistic Administrator Anna Melville Artistic Coordinator Bronwyn Lobb Education Manager Jonathan Grieves-Smith Chorus Master Helena Balazs Chorus Coordinator Lucy Bardoel Education Assistant Operations Lou Oppenheim Director of Operations Angela Chilcott Assistant Orchestra Manager Paul Freeman Production Manager James Poole Production Coordinator Kerstin Schulenburg Artist Liaison Alastair McKean Orchestra Librarian Kathryn O Brien Assistant Librarian Michael Stevens Operations Assistant Marketing Merri Hagan Director of Marketing Joanna Krezel Marketing Manager Phillip Sametz Communications Manager Alison Macqueen Publicist Simon Wilson Interactive Marketing Manager Nina Dubecki Front of House Supervisor Jennifer Poller Marketing Coordinator Lara Polley Assistant Marketing Coordinator Eileen Nesbitt CRM Coordinator Box Office Claire Hayes Box Office Manager Paul Clutterbuck Senior Subscriptions Officer Scott Campbell Subscriptions Officer Development Cameron Mowat Director of Development Jessica Frean Philanthropy Manager Jennifer Tighe Sponsorship and Events Manager Arturs Ezergailis Development Officer Rosemary Shaw Development Coordinator 10 Stella Barber Consultant Historian

11 THE DONORS The Company proudly acknowledges the support of our benefactors, patrons and bequestors, trusts, foundations and sponsors in helping to realise our vision to be recognised as Australia s leading symphony orchestra. Thank you! ARTIST CHAIR BENEFACTORS Harold Mitchell AC Concertmaster Chair Patricia Riordan Associate Conductor Chair Elisabeth Murdoch Clarinet Chair Joy Selby Smith Orchestral Development Chair MSO Friends Chair MSO EDUCATION AND OUTREACH PATRON Mrs Elizabeth Chernov IMPRESARIO PATRONS John McKay and Lois McKay Bevelly and Harold Mitchell AC Dame Elisabeth Murdoch AC, DBE Inés Scotland MAESTRO PATRONS M P Chipman Andrew and Theresa Dyer Tim and Lyn Edward Rachel and Hon. Alan Goldberg AO QC Tom Jacob Ilma Kelson Music Foundation Mimie MacLaren Onbass Foundation Elizabeth Proust AO The Ullmer Family Endowment Lyn Williams AM Anonymous (3) TRUSTS AND FOUNDATIONS Pratt Foundation Cybec Foundation Erica Foundation The Alan (AGL) Shaw Endowment, managed by Perpetual Scanlon Foundation The Schapper Family Foundation Ivor Ronald Evans Foundation, as administered by Mr Russell Brown and Equity Trustees The Phyllis Connor Memorial Trust, as administered by Equity Trustees Limited PRINCIPAL PATRONS Christine and Mark Armour Kaye and David Birks Jennifer Brukner The Cuming Bequest Dominic and Natalie Dirupo Susan Fry and Don Fry AO Mr Greig Gailey and Dr Geraldine Lazarus Jill and Robert Grogan Louis Hamon OAM Nereda Hanlon and Michael Hanlon AM Hartmut and Ruth Hofmann Peter and Jenny Hordern Norman and Betty Lees Mr and Mrs D R Meagher Wayne and Penny Morgan Ian and Jeannie Paterson Mrs Margaret S Ross AM and Dr Ian C Ross Maria Sola and Malcolm Douglas Kee Wong and Wai Tang Anonymous (1) ASSOCIATE PATRONS Dr Bronte Adams Will and Dorothy Bailey Bequest Peter and Mary Biggs Mrs S Bignell David and Emma Capponi Paul Carter John and Lyn Coppock Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson Dr Helen M Ferguson Robert and Jan Green John and Agita Haddad Susan and Gary Hearst Gillian and Michael Hund Peter Lovell Jan Minchin Marie Morton Dr Paul Nisselle AM Ann Peacock with Andrew and Woody Kroger Rae Rothfield Craig and Jennifer Semple Gai and David Taylor Mr Tam Vu and Dr Cherilyn Tillman Bert and Ila Vanrenen The Hon. Michael Watt QC and Cecilie Hall Barbara and Donald Weir KSJ Joanne Wolff Brian and Helena Worsfold Anonymous (2) THE CONDUCTOR S CIRCLE Jenny Anderson Joyce Bown Ken Bullen Luci and Ron Chambers Sandra Dent Lyn Edward Alan Egan JP Louis Hamon OAM Tony Howe John and Joan Jones C P Kemp Elizabeth Proust AO Penny Rawlins Joan P Robinson Molly Stephens Pamela Swansson Dr Cherliyn Tillman Mr and Mrs R P Trebilcock Michael Ullmer Mr Tam Vu Marian and Terry Wills Cooke Mark Young Anonymous (15) We gratefully acknowledge support received from the Estates of Gwen Hunt, Peter Forbes MacLaren, Prof Andrew McCredie, Jean Tweedie, Herta and Fred B Vogel PLAYER PATRONS Marlyn and Peter Bancroft OAM, Dr Julianne Bayliss, Mr Marc Besen AO and Mrs Eva Besen AO, Stephen and Caroline Brain, M Ward Breheny, Mr John Brockman OAM and Mrs Pat Brockman, Jill and Christopher Buckley, Bill and Sandra Burdett, Dr Lynda Campbell, Jan and Peter Clark, Judith M Connelly, Ann Darby in memory of Leslie J. Darby, Panch Das and Laurel Young-Das, Mary and Frederick Davidson, Pat and Bruce Davis, Sandra Dent, John and Anne Duncan, William J Forrest AM, Joanna Foulkes, David I Gibbs and Susie O Neill, Merwyn and Greta Goldblatt, Colin Golvan SC, George H Golvan QC, Dr Marged Goode, Jean Hadges, Stuart and Sue Hamilton, Tilda and Brian Haughney, Julian and Gisela Heinze, Hans and Petra Henkell, Dr Alastair Jackson, Stuart Jennings, John and Joan Jones, Vivien and Graham Knowles, Dr Elizabeth A Lewis AM, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Violet and Jeff Loewenstein, Christopher and Anna Long, Vivienne Hadj and Rosemary Madden, Sandra and Leigh Masel, Trevor and Moyra McAllister, Allan and Evelyn McLaren, Dr Gabriele Medley AM, John and Isobel Morgan, Ian Morrey, The Novy Family, Laurence O Keefe and Christopher James, John and Betty Pizzey, Lady Potter AC, Peter Priest, Jiaxing Qin, Dr Sam Ricketson, Hugh T Rogers AM, Tom and Elizabeth Romanowski, Delina Schembri-Hardy, Max and Jill Schultz, David Shavin QC, Chris and Jacci Simpson, Gary Singer and Geoffrey A Smith, Dr Robert Sloane and Denise Sloane, Dr Sam Smorgon AO and Mrs Minnie Smorgon, Geoff and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Prof Seong-Seng Tan and Jisun Lim, Margaret Tritsch, Mrs Barbara Tucker, P and E Turner, Mary Vallentine AO, The Hon. Rosemary Varty, Wah Yeo AM, Sue Walker AM, Pat and John Webb, Erna Werner and Neil Werner OAM, Nic and Ann Willcock, Marian and Terry Wills Cooke, Ruth Wisniak OAM and Dr John Miller AO, Peter and Susan Yates, Mark Young, Anonymous (9) Patrons make annual contributions of $1,000 (Player), $2,500 (Associate), $5,000 (), $10,000 (Maestro), $20,000 Impresario or more. The MSO Conductor s Circle recognises notified Bequestors. All donors are recognised on our website. Inquiries: T philanthropy@mso.com.au 11

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