PLAYS SHOSTAKOVICH 5 CONCERT PROGRAM

Transcription

1 PLAYS SHOSTAKOVICH 5 10 & 12 AUGUST 2017 CONCERT PROGRAM

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3 Melbourne Symphony Orchestra Jakub Hrůša conductor Alina Ibragimova violin Bartók Violin Concerto No.2 INTERVAL Shostakovich Symphony No.5 Running time: 2 hours, including 20-minute interval Please note, Saturday s pre-concert talk by MSO Librarian, Alastair McKean will be recorded for podcast by 3MBS Fine Music Melbourne. 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 an arts leader and 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, and as a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world. 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 guest conductors as John Adams, Tan Dun, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Nick Cave, Sting, Tim Minchin, DJ Jeff Mills and Flight Facilities. Image courtesy Daniel Aulsebrook 4 JAKUB HRŮŠA CONDUCTOR Jakub Hrůša succeeded Jonathan Nott as Chief Conductor of the Bamberg Symphony in September He is Permanent Guest Conductor of the Czech Philharmonic, Guest Conductor of the Tokyo Metropolitan Symphony Orchestra, and served as Music Director and Chief Conductor of PKF-Prague Philharmonia from In March 2017 he was announced as Guest Conductor of the Philharmonia Orchestra, alongside Santtu-Matias Rouvali, from the 2017/18 season. Jakub Hrůša is a regular guest with many of the world s leading orchestras. He has conducted the Leipzig Gewandhaus Orchestra, Cleveland Orchestra and Orchestre Philharmonique de Radio France. In opera, he has been a regular guest at Glyndebourne, conducting The Cunning Little Vixen, A Midsummer Night s Dream, Carmen, The Turn of the Screw, Don Giovanni and La bohème, and serving as Music Director of Glyndebourne On Tour for three years. Elsewhere he has conducted at Vienna State Opera (a new production of Janáček s The Makropolos Case), Frankfurt Opera (Puccini s Il trittico), Opéra National de Paris (Rusalka), Finnish National Opera (Jenůfa), Royal Danish Opera (Boris Godunov), and Prague

5 National Theatre (The Cunning Little Vixen and Rusalka). Recent appearances have included debuts with the Chicago Symphony and New York Philharmonic, his debut concert with the Tonhalle Orchester, Zürich conducting Bartók, Schumann and Janáček, and a concert of Kodály, Liszt and Bartók with the Berlin Radio Symphony Orchestra. He conducted the Boston Symphony in October Just prior to appearing in Melbourne, he conducted the Tokyo Metropolitan Orchestra in Brahms Third Symphony and Josef Suk s symphonic poem, Ripening. From here he goes to the Proms to conduct the BBC Symphony Orchestra in a concert of Smetana, Martinů, Dvořák, Janáček and Suk. Jakob Hrůša s recordings include a live recording of Smetana s Má vlast from the Prague Spring Festival, as well as live recordings of Berlioz s Symphonie fantastique, Strauss Alpine Symphony, and Suk s Asrael Symphony. He has recorded Tchaikovsky and Bruch Violin Concertos with Nicola Benedetti and the Czech Philharmonic. His latest disc is Má vlast with the Bamberg Symphony, released to coincide with the start of his tenure as their Chief Conductor. Originally from Brno, Jakob Hrůša studied conducting at the Academy of Performing Arts in Prague. He is President of the International Martinů Circle, and in 2015 was the inaugural recipient of the Sir Charles Mackerras Prize. He first appeared with the Melbourne Symphony Orchestra in 2011 and most recently appeared in 2015, conducting Rimsky-Korsakov s Scheherazade. Image courtesy Zbynek Maderyc ALINA IBRAGIMOVA VIOLIN Alina Ibragimova plays music from the baroque era to new commissions on both modern and period instruments. She has performed with orchestras such as the London Symphony, Cleveland Orchestra, Orchestra of the Age of Enlightenment and all the BBC orchestras. Conductors with whom she has worked include Bernard Haitink, Valery Gergiev, Sir Charles Mackerras, Paavo Järvi and Yannick Nézet-Séguin. As a recitalist Alina Ibragimova has appeared at the Concertgebouw and Carnegie Hall. She has given complete cycles of Mozart and Beethoven violin sonatas with Cédric Tiberghien. Future concerts include appearances with her quartet Chiaroscuro in the UK, Switzerland and Germany and Prokofiev s Violin Concerto No.1 with the London Philharmonic. Alina Ibragimova was born in Russia and studied at Moscow s Gnesin School before moving with her family to the UK where she studied at the Menuhin School and Royal College of Music. Honours include an MBE in the New Years list, She performs on a c.1775 Anselmo Bellioso violin generously provided by Georg von Opel. Image courtesy Eva Vermandel 5

6 PROGRAM NOTES BÉLA BARTÓK ( ) Violin Concerto No.2, Sz.112 Allegro non troppo Andante tranquillo Allegro molto Alina Ibragimova violin When the great Hungarian composer Béla Bartók s new work for violin and orchestra was premiered in early 1939, it was titled simply Violin Concerto. Only in 1956, after the manuscript of an early, unperformed violin concerto from around 1908 resurfaced, was the composer s catalogue of works posthumously revised, and the two concertos were assigned specific numbers. Whilst the First Concerto is a compact and private work (dedicated to the violinist Stefi Geyer, with whom he was in love), the Second Concerto is an unashamedly open and broadly conceived composition that displays Bartók s masterful craft in its full maturity. Bartók wrote his Violin Concerto No.2 for his younger compatriot, the highly respected solo violinist and quartet leader Zoltán Székely. They had known each other since the early 1920s, and the violinist had already premiered Bartók s virtuosic Rhapsody No.2 for violin and orchestra. Bartók was a magnificent pianist, but as he did not play the violin himself, he regularly consulted various violinists including Joseph Szigeti, Jelly d Arányi, and Yehudi Menuhin, in addition to Székely when composing works featuring the instrument. His resultant writing for string instruments, as can be observed in the six String Quartets, the Violin Sonatas and various solo works, is uniquely inventive, effective and brilliant. The solo part of the Violin Concerto No.2 is immensely difficult and exploits a wide range of violinistic sonorities and techniques. A large orchestra is used, including a full battery of percussion, with notable parts for the harp and celesta. Bartók composed the work in just over a year, completing it on New Year s Eve He was unable to be present at the world premiere, which Székely successfully gave with Amsterdam s Concertgebouw Orchestra under Willem Mengelberg in March the following year. When he eventually did hear a performance in 1943 after his emigration to America, he expressed relief about the balance and rich scoring, remarking that there was no trouble with regard to the instrumentation. A newfound diatonic openness and harmonic clarity in Bartók s musical language is evident in the Violin Concerto No.2. The outer movements are unmistakably based in the key of B major, though meandering chromatic elements (for example in the first movement s cascading twelve-tone second theme) are also prominent. Symmetrical constructive procedures are found on a number of levels, a feature that is characteristic of many of Bartók s works of the 1930s. The finale 6

7 mirrors and varies the first movement material, and it even contains a second cadenza (accompanied by orchestral interjections) towards the work s end. The generally reflective central movement provides emotional contrast to the bravura that surrounds it. Cast as a set of variations, it is based on a simple, touching, folk-like melody that is stated by the violin at the outset. James Cuddeford 2017 The Melbourne Symphony Orchestra first performed this concerto in August 1953 with conductor Hans Schmidt- Isserstedt and soloist Alan Loveday. The Orchestra most recently performed it on 17 November 2007 with Markus Stenz and Kolja Blacher. DMITRI SHOSTAKOVICH ( ) Symphony No.5 in D minor, Op.47 Moderato Allegro non troppo Allegretto Largo Allegro non troppo Shostakovich s Fifth Symphony is one of the iconic works of the 20th century. In purely musical terms it is a masterpiece, coherently expressed and brilliantly orchestrated in a largescale architecture whose pacing is always expertly judged. But the work s status derives at least in part from extra-musical considerations: the circumstances in which the work was conceived were extraordinary, and the piece has become a powerful symbol in the battle for the composer s ideological soul. The well-known facts of the symphony s genesis bear repeating. By 1936 Shostakovich s opera Lady Macbeth of Mtsensk had enjoyed a very successful two-year run, but then Stalin, whose tastes tended to extend no further than Lehár s Merry Widow, saw the show. An anonymous review appeared in the official newspaper Pravda accusing the composer of producing chaos instead of music and warning that this could end very badly for him. Shostakovich took to sleeping in the hallway of his apartment so as not to disturb his family when the NVKD (the predecessor of the KGB) arrived to arrest him though it never came to that. Lady Macbeth was pulled 7

8 PROGRAM NOTES from the stage and revised as the toned-down Katerina Ismailova, and he withdrew, or allowed to be withdrawn, his Symphony No.4. He had good reason for alarm. Stalin s infamous purges, the Great Terror, was at its height, resulting in the incarceration, and often murder, of a colossal number of leading intellects in all walks of life as well as potential political rivals. Whether out of caprice, paranoia or sheer sadism, Stalin came close to fatally weakening his country. Shostakovich s Fourth Symphony which had to wait decades for a performance is an epic, blisteringly ironic work where triumphal fanfares turn sour in the space of a single bar and glacial spaces unfold menacingly. Composed in 1937, the Fifth, by contrast, is essentially a neoclassical piece, the angular contour and dotted rhythms of its opening gesture immediately recalling the baroque overture. The work has four movements in conventional forms (sonata-allegro, scherzo and so on); its musical language affirms traditional diatonic harmony in a Beethovenian journey from a striving D minor opening to the blazing major-key optimism of the finale. Following the common practice of Russian composers like Borodin, Tchaikovsky and Rachmaninov, Shostakovich places the dance-like scherzo second, before an emotionally powerful Largo which alludes briefly to his own setting of Pushkin s poem Rebirth. At the time Shostakovich claimed that man with all his experiences [is] in the centre of the composition, which is lyrical in form from beginning to end. In the finale, the tragically tense impulses of the earlier movements are resolved in optimism and joy of living. Composers program notes are often unreliable, but years later Shostakovich s conductor son, Maxim, claimed that his father had described it as a heroic symphony not unlike Beethoven s Third in intent. The work was a huge success at its premiere, with audience members weeping during the slow movement and on their feet, cheering, as the finale drew to a close (they stayed on their feet for 40 minutes after the piece finished!) As a work which reflected the ideals of Socialist Realism, and which was clearly such a hit with the masses, the Symphony was Shostakovich s passport to a return for now at least to official favour. When a journalist described it as an artist s response to just criticism Shostakovich didn t demur, and that phrase has come to be seen as the work s subtitle, though there is no evidence that it was indeed Shostakovich s expressed view. During the early stages of the Cold War, Shostakovich was derided in the West as a composer of what Virgil Thomson called national advertising and a work like the Fifth seen as a piece of mandatory optimism and Soviet propaganda. In the late 20th century, however, that attitude changed radically as the view emerged that Shostakovich 8

9 was a secret dissident, encoding anti-soviet messages in his music, including the Fifth Symphony. This view gathered strength with the publication in 1979 (four years after Shostakovich s death) of a volume entitled Testimony: Memoirs of Dmitri Shostakovich as related to and edited by Solomon Volkov. In it Volkov quotes Shostakovich contradicting what he told his son, by saying: I think it is clear to everyone what happens in the Fifth. The rejoicing is forced, created under threat, as in Boris Godunov. It s as if someone were beating you with a stick and saying, Your business is rejoicing, your business is rejoicing, and you rise, shaky, and go marching off, muttering, our business is rejoicing, our business is rejoicing. What kind of apotheosis is that? You have to be a complete oaf not to hear that. Testimony created an ongoing furore, with musicologists and journalists confidently proclaiming the work either a complete fraud or a valuable document of the composer s thought. In 2004 one of the sceptics, Laurel E. Fay, subjected the text to detailed examination. Fay cast doubt on the authenticity of the book, having discovered that the eight pages which the composer signed as having read all contained material which was not only innocuous but all of which had been published before. There was no guarantee that he saw, let alone dictated, the rest. The stylistic change that came about with the Fifth was almost certainly fuelled by Shostakovich s brush with the regime, and it is no accident that he began his epic cycle of intensely personal string quartets at this time. But certain facts are inconvenient to a simplistic reading of the man and his work, such as his decision to join the Communist Party in 1960, long after the immediate danger of Stalinism had passed. Moreover the Fifth Symphony was at one stage seen as pro-soviet tub-thumping and then almost overnight regarded as a denunciation of the very same regime. Maybe it s neither, but as critic Alex Ross puts it: The notes, in any case, remain the same. The symphony still ends fortissimo, in D major, and it still brings audiences to their feet. Gordon Kerry 2007 The Melbourne Symphony Orchestra first performed Shostakovich s Symphony No.5 in May 1947 with conductor Sir Bernard Heinze, and most recently in December 2011 under Jonathan Nott. 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 # Jennen Ngiau-Keng* Oksana Thompson* 10 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 # Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Jacqueline Edwards* Michael Loftus-Hills* VIOLAS Christopher Moore Di Jameson # Fiona Sargeant Associate Lauren Brigden Katharine Brockman Christopher Cartlidge Michael Aquilina # Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Ceridwen Davies* Lisa Grosman* Helen Ireland* CELLOS David Berlin MS Newman Family # Rachael Tobin Associate Nicholas Bochner Assistant Miranda Brockman Geelong Friends of the MSO # Rohan de Korte Andrew Dudgeon # Keith Johnson Sarah Morse Angela Sargeant Michelle Wood Andrew and Theresa Dyer # Rachel Atkinson* Jovan Pantelich* DOUBLE BASSES Steve Reeves Andrew Moon Associate Sylvia Hosking Assistant Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser # Esther Toh* FLUTES Prudence Davis Anonymous # Wendy Clarke Associate Sarah Beggs PICCOLO Andrew Macleod

11 OBOES Jeffrey Crellin Thomas Hutchinson Associate Ann Blackburn The Rosemary Norman # COR ANGLAIS Michael Pisani CLARINETS David Thomas Philip Arkinstall Associate Craig Hill BASS CLARINET Jon Craven Lloyd Van t Hoff* BASSOONS Jack Schiller Elise Millman Associate Natasha Thomas CONTRABASSOON Brock Imison HORNS Valentin Eschmann* Guest Saul Lewis Third Jenna Breen Abbey Edlin Nereda Hanlon and Michael Hanlon AM # Trinette McClimont TRUMPETS Geoffrey Payne Shane Hooton Associate William Evans Daniel Henderson* TROMBONES Brett Kelly Richard Shirley BASS TROMBONE Mike Szabo TUBA Timothy Buzbee TIMPANI Tony Bedewi*^ PERCUSSION Robert Clarke John Arcaro Robert Cossom Robert Allan* Evan Pritchard* HARP Yinuo Mu Yi Yun Loei* PIANO/CELESTE Louisa Breen* # Position supported by * Guest Musician ^ Courtesy of London Symphony Orchestra MSO BOARD Chairman Michael Ullmer Managing Director Sophie Galaise Board Members Andrew Dyer Danny Gorog Margaret Jackson AC Brett Kelly David Krasnostein David Li Hyon-Ju Newman Helen Silver AO Company Secretary Oliver Carton 11

12 SUPPORTERS MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria ARTIST CHAIR BENEFACTORS Joy Selby Smith Orchestral Leadership Chair The Cybec Cybec Assistant Conductor Chair The Ullmer Family Associate Concertmaster Chair Anonymous Flute Chair The Gross Second Violin Chair Di Jameson Viola Chair MS Newman Family Cello Chair Marc Besen AC and Eva Besen AO 2018 Soloist in Residence Chair PROGRAM BENEFACTORS Cybec 21st Century Australian Composers Program The Cybec Cybec Young Composer in Residence made possible by The Cybec East Meets West supported by the Li Family Trust Meet The Orchestra made possible by The Ullmer Family MSO Audience Access Crown Resorts Packer Family MSO Education supported by Mrs Margaret Ross AM and Dr Ian Ross MSO International Touring supported by Harold Mitchell AC MSO Regional Touring Creative Victoria The Robert Salzer The Pizzicato Effect Collier Charitable Fund The Marian and E.H. Flack Trust Schapper Family Scobie and Claire Mackinnon Trust Supported by the Hume City Council s Community Grants Program (Anonymous) Sidney Myer Free Concerts Supported by the Myer and the University of Melbourne CHAIRMAN S CIRCLE $100,000+ Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel The Gross David and Angela Li MS Newman Family Anthony Pratt The Pratt Joy Selby Smith Ullmer Family Anonymous (1) VIRTUOSO PATRONS $50,000+ Di Jameson David Krasnostein and Pat Stragalinos 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 AM Rachel and the late Hon. Alan Goldberg AO QC Hilary Hall, in memory of Wilma Collie Margaret Jackson AC Mimie MacLaren John and Lois McKay MAESTRO PATRONS $10,000+ Kaye and David Birks Mitchell Chipman Sir Andrew and Lady Davis 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 Dudgeon 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 HMA 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 D & CS Kipen on behalf of Israel Kipen Dr Elizabeth A Lewis AM Peter Lovell Lesley McMullin Mr and Mrs D R Meagher David and Helen Moses Dr Paul Nisselle AM The Rosemary Norman Ken Ong, in memory of Lin Ong Bruce Parncutt and Robin Campbell Jim and Fran Pfeiffer Pzena Investment Charitable Fund Andrew and Judy Rogers 12

13 Max and Jill Schultz Stephen Shanasy 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 Lynne Burgess Oliver Carton John and Lyn Coppock Miss Ann Darby, in memory of Leslie J. Darby Natasha Davies, for the Trikojus Education Fund 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 Leon Goldman 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 Julie Reid 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 Janet H Bell 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 Peter Caldwell Joe Cordone Andrew and Pamela Crockett Pat and Bruce Davis Dominic and Natalie Dirupo Marie Dowling John and Anne Duncan Ruth Eggleston Kay Ehrenberg Jaan Enden Amy and 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 Dorothy Karpin 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 Gaelle Lindrea 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 Treena Quarin Eli Raskin Raspin Family Trust 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 Lady Southey AC Jennifer Steinicke Dr Peter Strickland Pamela Swansson 13

14 SUPPORTERS 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) 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 Ken and Asle Chilton Trust, managed by Perpetual Collier Charitable Fund Crown Resorts and the Packer Family The Cybec The Marian and E.H. Flack Trust Gandel Philanthropy Linnell/Hughes Trust, managed by Perpetual The Scobie and Claire Mackinnon Trust The Harold Mitchell The Myer The Pratt The Robert Salzer Alan (AGL) Shaw Endowment, managed by Perpetual Telematics Trust CONDUCTOR S CIRCLE 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 Fred and Patricia Russell Suzette Sherazee Michael Ryan and Wendy Mead 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 (24) The MSO gratefully acknowledges the support received from the estates of Angela Beagley Neilma Gantner Gwen Hunt Audrey Jenkins Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Joan Winsome Maslen 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 Sir Elton John CBE Life Member The Hon. Alan Goldberg AO QC Life Member Geoffrey Rush AC Ambassador The Late John Brockman OAM Life Member Ila Vanrenen Life Member Signifies Adopt an MSO Musician supporter 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+ (Virtuoso) $100,000+ (Chairman s Circle) The MSO Conductor s Circle is our bequest program for members who have notified of a planned gift in their Will. ENQUIRIES Phone (03) philanthropy@ mso.com.au 14

15 SUPPORTERS PRINCIPAL PARTNER GOVERNMENT PARTNERS PREMIER PARTNER VENUE PARTNER MAJOR PARTNERS EDUCATION PARTNERS SUPPORTING PARTNERS Quest Southbank The CEO Institute Ernst & Young Bows and strings TRUSTS AND FOUNDATIONS The Scobie and Claire Mackinnon Trust The Gross, Li Family Trust, MS Newman Family, The Ullmer Family MEDIA AND BROADCAST PARTNERS 15

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