Beethoven, Mozart & Copland

Transcription

1 Beethoven, Mozart & Copland Melbourne Town Hall Series Friday 31 July at 7.30pm Melbourne Town Hall PRINCIPAL PARTNER

2 What s On August September TCHAIKOVSKY S PIANO CONCERTO No.1 Friday 7 August Saturday 8 August Monday 10 August The very epitome of Romantic music, Tchaikovsky s Piano Concerto No.1 is performed by Simon Trpčeski, appearing alongside Rimsky Korsakov s Capriccio espagnol and Scriabin s Third Symphony. RACHMANINOV S THIRD Thursday 20 August Friday 21 August Saturday 22 August Russian-American pianist Kirill Gerstein displays his mastery of the formidable Rach 3, conducted by Sir Andrew Davis, alongside Rimsky-Korsakov s Dubinushka and Strauss autobiographical tone poem, Ein Heldenleben. MOZART S PIANO CONCERTO No.17 Friday 28 August Saturday 29 August Monday 31 August The irrepressible overture to Rossini s La gazza ladra is set alongside works by Mozart and Messiaen, and the lush melodies of Brahms Symphony No.3. Featuring the French pianist Jean-Efflam Bavouzet. AN EVENING WITH RENÉE FLEMING Thursday 3 September Saturday 5 September Famed for her magnetic performances and sheer beauty of tone, celebrated American soprano Renée Fleming joins the MSO and Sir Andrew Davis for two Melbourneexclusive orchestral concerts. Presented by MSO and Arts Centre Melbourne MUSSORGSKY & LISZT Friday 11 September Featuring works inspired by art: Reger s Four Tone Poems after Arnold Böcklin and Mussorgsky s Pictures at an Exhibition. Liszt s Piano Concerto No.1 makes for a breathtaking interlude. MOZART S SYMPHONY No.40 Thursday 17 September Friday 18 September Saturday 19 September Monday 21 September Mozart s compact concerto in D led by MSO Concertmaster Eoin Andersen is balanced by Mozart s Violin Concerto, a youthful work of matchless TheMSOrchestra Download our free app at mso.com.au/msolearn Sign up for our monthly e-news at mso.com.au and receive special offers from the MSO and our partners.

3 Welcome to Beethoven, Mozart & Copland MELBOURNE SYMPHONY ORCHESTRA Welcome to this concert in the mellow historic grandeur of the Melbourne Town Hall. The MSO has performed many times in this gracious venue, and the hall continues to resound vibrantly in the orchestra s heritage. Tonight s program, conducted by Matthew Coorey, features landmark works by three composers: the suite from Aaron Copland s evergreen Appalachian Spring, written in 1942 for choreographer and dancer Martha Graham (it was nearly titled Ballet for Martha); Mozart s darkly romantic Piano Concerto No.20 in D minor, with soloist Ian Munro; and Beethoven s majestic Symphony No.7, or the apotheosis of the dance, as it is sometimes known. If one thing binds tonight s program, it is popularity and durability; all of these works have never been out of the repertoire. But it is heartening to think that somewhere, every time they are played, someone is hearing the music for the first time. I hope you enjoy tonight s concert. André Gremillet Managing Director With a reputation for excellence, versatility and innovation, the Melbourne Symphony Orchestra is Australia s oldest orchestra, established in The Orchestra currently performs live to more than 200,000 people annually, in concerts ranging from subscription 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. Sir Andrew Davis gave his inaugural concerts as Chief Conductor of the MSO in April 2013, having made his debut with the Orchestra in Highlights of his tenure have included collaborations with artists including Bryn Terfel, Emanuel Ax and Truls Mørk, the release of recordings of music by Percy Grainger and Eugene Goossens, a 2014 European Festivals tour, and a multi-year cycle of Mahler s Symphonies. The MSO also works each season with Guest Conductor Diego Matheuz, Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus. Recent guest conductors to the MSO have included Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. The Orchestra has also collaborated with nonclassical musicians including Burt Bacharach, Ben Folds, Nick Cave, Sting and Tim Minchin. The MSO reaches an even larger audience through its regular concert broadcasts on ABC Classic FM, also streamed online, and through recordings on Chandos and ABC Classics. The MSO s Education and Community Engagement initiatives deliver innovative and engaging programs to audiences of all ages, including MSO Learn, an educational iphone and ipad app designed to teach children about the inner workings of an orchestra. The Melbourne Symphony Orchestra is funded principally by the Australian Government through the Australia Council, its arts funding and advisory body, and is generously supported by the Victorian Government through Creative Victoria, Department of Economic Development, Jobs, Transport and Resources. The MSO is also funded by the City of Melbourne, its Partner, Emirates, corporate sponsors and individual donors, trusts and foundations. BEETHOVEN, MOZART & COPLAND 3

4 Melbourne Symphony Orchestra Matthew Coorey conductor Ian Munro piano COPLAND Appalachian Spring: Suite MOZART Piano Concerto No.20 Interval 20 minutes BEETHOVEN Symphony No.7 This concert runs for a duration of approximately two hours including an interval of 20 minutes. Pre-Concert Recital 6.30pm Friday 31 July Melbourne Town Hall Ticket-holders are invited to attend a free pre-concert recital by Dr Calvin Bowman, on the Melbourne Town Hall grand organ. ABOUT THE ARTISTS Matthew Coorey conductor Matthew Coorey began his career as the Royal Liverpool Philharmonic Orchestra s Conductor in Residence. Important early debuts with the London Philharmonic Orchestra, Sydney Symphony Orchestra, the Philharmonia, the Hallé and the London Mozart Players all resulted in re-invitations. Recent highlights include concerts with the BBC Orchestras, the Bournemouth, Melbourne and London Symphony Orchestras and at the BBC Proms, as well as return engagements with the City of Birmingham Symphony Orchestra, the Stuttgart Radio Orchestra, New Zealand Symphony Orchestra, the National Youth Orchestra of Great Britain, Palestine National Orchestra, the Philharmonia and the RLPO. Matthew was invited to the Tanglewood Music Festival by Seiji Ozawa where also he worked with Jorma Panula who became his principal teacher. For two years, Matthew studied under Sir Mark Elder at the Royal Northern College of Music. He was a finalist in the Maazel Competition, a fellow of the Allianz International Academy and a prizewinner at the Solti Competition. He has collaborated with artists such as Sarah Chang, Freddy Kempff, Steven Osborne, Yevgeny Sudbin and Pieter Wispelwey, and has recorded for Classic FM and Naxos Records. Matthew began his musical career as a horn-player and after studying at the Sydney Conservatorium he performed regularly with many Australian orchestras. Matthew recently conducted a concert commemorating 100 years since the Gallipoli Campaign in Istanbul. Ian Munro piano Ian Munro is one of Australia s most distinguished and awarded musicians, with a career that has taken him to thirty countries in Europe, Asia, North America and Australasia. As a composer, Ian is the only Australian to have been awarded the Premier Grand Prix at the Queen Elisabeth Competition for Composers in 2003, and in 2011 he was Featured Composer for Musica Viva Australia. After completing his early training in Melbourne with Roy Shepherd, Ian furthered his studies in Vienna, London and Italy with Noretta Conci, Guido Agosti and Michele Campanella, launching his international career in the UK. He has performed with leading orchestras throughout the UK, Poland, Italy, Portugal, Russia, USA, China, New Zealand, Belgium, Switzerland and Uzbekistan, and with all the state orchestras in Australia in over sixty piano concerti. Ian has recorded for ABC Classics, Hyperion, Cala, Naxos, Marco Polo, Tall Poppies and the UK label Warehouse as both soloist and chamber musician. Recent discs include the collected music by Tasmanian composer Katherine Parker, and Elena Kats-Chernin s Piano Concerto commissioned for Ian Munro by the Sydney Symphony Orchestra. A widely experienced chamber musician, Ian joined the acclaimed Australia Ensemble in Sydney in 2000, for which he has also composed and arranged several works. 4 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

5 ABOUT THE MUSIC Aaron Copland ( ) Appalachian Spring: Suite for orchestra Aaron Copland s Appalachian Spring suite originated in a ballet he wrote for the choreographer Martha Graham. Graham had already choreographed Copland s Piano Variations (Dithyramb, 1931) when, in 1942, arts patron Elizabeth Sprague Coolidge commissioned her to produce three new ballets, and Copland was chosen to write music for one of them. Appalachian Spring premiered in Washington in October 1944 and its score won the Pulitzer Prize for Music the following year. Appalachian Spring is one of those works which defines the American spirit in music. The title, mistaken by many as an allusion to the season, is taken from a line in a Hart Crane poem and refers to a spring of water in the Appalachian Mountains. The scenario concerns preparations for a wedding in the Pennsylvania hill country in the early 1800s. The keynote of the whole enterprise was simplicity. Graham s unique choreographic style spare and restrained determined much of the expressive content of the ballet. Set designer Isamu Noguchi noted that Graham was in a sense influenced by Shaker furniture, but it is also the culmination of Martha s interest in American themes and in the puritan American tradition. With the benefit of hindsight, we can tell that much of Graham s aesthetic was in accord with Copland s own compositional inclinations, which we associate now with the typical American sound. Appalachian Spring had a great deal to do with bringing my name before a larger public, recalled Copland in later years, and his orchestration of the Shaker hymn Simple Gifts, heard towards the end of the suite, has become a secondary American anthem. In 1944, Copland extracted a concert suite from the ballet, which he orchestrated the following year. He trimmed 15 minutes of what was primarily choreographic material, and expanded the original 13-member chamber ensemble. The suite is constructed in eight sections, played without interruption. Copland s printed analysis for the suite s New York premiere, given by the New York Philharmonic under Artur Rodzinski on 4 October 1945, enables a concert audience to retain an impression of the broader features of the original ballet: 1. Very slowly. Introduction of the characters, one by one, in a suffused light. 2. Fast. Sudden burst of unison strings in A major arpeggios starts the action. A sentiment both elated and religious gives the keynote to this scene. 3. Moderato. Duo for the Bride and her Intended scene of tenderness and passion. 4. Quite fast. The Revivalist and his flock. Folksy feelings suggestions of square dances and country fiddlers. 5. Still faster. Solo dance of the Bride presentiment of motherhood. Extremes of joy and fear and wonder. 6. Very slow (as at first). Transition scenes reminiscent of the introduction. 7. Calm and flowing. Scenes of daily activity for the Bride and her Farmer-husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published under the title The Gift to be Simple. The melody I borrowed and used almost literally is called Simple Gifts. 8. Moderato Coda. The Bride takes her place among her neighbors. At the end the couple are left quiet and strong in their new house. Muted strings intone a hushed, prayer-like passage. We hear a last echo of the principal theme sung by a flute and solo violin. The close is reminiscent of the opening music. Gordon Kalton Williams 2015 The Melbourne Symphony Orchestra first performed the suite from the ballet in March 1967 under conductor Moshe Atzmon, and on March 1978 under the direction of the composer. The Orchestra most recently performed the orchestral version of the suite in June 2006, with Kees Bakels conducting. BEETHOVEN, MOZART & COPLAND 5

6 ABOUT THE MUSIC Wolfgang Amadeus Mozart ( ) Piano Concerto No.20 in D minor, K466 Allegro Romanze Rondo (Allegro assai) Ian Munro piano The first of the two piano concertos for which Mozart chose the minor mode is one of his most often heard works, and one of his most admired. Even in the 19th century, when much of his music was in eclipse, this concerto was played and regarded as representing the daemonic Mozart. Beethoven played it and wrote cadenzas for it (Ian Munro will play his own cadenzas in this evening s performance). In 1839 Schumann singled out this concerto: Our younger master will certainly not forget how the older ones would suddenly emerge with something magnificent Mozart s Concerto in D minor, Beethoven s in G. The stormy drama of the work can hardly fail to make an impression of great, but controlled, emotion and power. This concerto is not incontestably better than the nine others Mozart wrote in 1784 and 1785, but it is distinguished from them by the intensity of its subjective approach. It has often been hailed as being like Beethoven, a form of praise which tends to obscure its special qualities and their sources. As familiarity has grown with the music of Mozart, Haydn and their predecessors, we have come to see that the late 18th century had its own deep vein of Storm and Stress, of passionate expression. One respect in which this work could be admitted to be Beethovenian is that the strife and passion persist until the change of mood in the last bars of the Rondo. The first 15 bars of this concerto express the character of the whole of the first movement: throbbing, syncopated strings underlined by gruff bass triplets, rhythmic instability pushed as far as the Classical style would allow. Instead of turning to develop lighter material in the major key, this exposition retraces its steps to the mood of the opening, through orchestral tuttis of a violence unprecedented in Mozart s work. The piano s first entry, in free recitative, is very moving like the voice of one against the many, and this principle of opposition is much exploited throughout. With piano added to orchestra, the sustained and graded acceleration begins which gives this concerto much of its excitement. Alfred Einstein has written suggestively of the pianissimo conclusion to the movement that it is as if the furies had simply become tired out and had lain down to rest, still grumbling, and ready at any time to take up the fight again The slow movement begins in complete contrast, in an unexpected key (B flat major), fresh and poised. It proceeds as a spacious rondo, but as the second episode begins, is startlingly transformed. A raging Presto in G minor begins in breathless triplets, which should be played, according to a letter of Mozart s father Leopold, as swiftly as the possibility of bringing out the tune clearly allows. The return to the rondo theme is made in a transition of great breadth, like a horseman reining in his steed. This violent contrast within the movement would make no sense, as Charles Rosen points out, if the slow movement was isolated from the others. The furies of the first movement have taken up the fight again. The last movement is one of Mozart s few minor-key rondos, but its turn to the major key towards the end, playing with more cheerful material, has provoked some disappointment from those who would judge this concerto by non-mozartian aesthetic standards. The rocket-like theme with which the piano begins and the sustained violence of the first orchestral tutti are of a piece with the first movement, and the conciliatory character of the ending, besides being memorably jaunty and good-humoured, is perhaps best considered as a restoring of 18th-century balance, a desire to leave the audience with a friendly impression. David Garrett 2001 The Melbourne Symphony Orchestra first performed this work in 1939 with pianist Artur Schnabel and conductor George Szell, and most recently in 2010 with Howard Shelley as director/soloist. 6 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

7 Ludwig van Beethoven ( ) Symphony No.7 in A, Op.92 Poco sostenuto Vivace Allegretto Presto Trio Presto Trio Presto Allegro con brio Five years after the premieres of the Fifth and Sixth Symphonies, Beethoven introduced the Seventh, together with battle symphony Wellington s Victory, Op.91, on 8 December The occasion was a concert in Vienna s University Hall to raise money for Austrian soldiers recently wounded helping to expel Napoleon s army from Germany. Beethoven wrote an open letter of thanks to eminent colleagues who generously condescended to play under his direction, including Hummel, Meyerbeer, Spohr, and Salieri: It was a rare assembly of first-class musicians, each impelled not only by craft but also patriotic fervor to benefit the Fatherland, without concern for rank or precedence Had I not composed the music myself, I would have been as happy as Mr. Hummel to take my place at the drum! The third last symphony is a kind of mirror image of the Third. The Napoleonic Third is spacious and heroic (in E flat, a minor third above C), the Seventh (in A major, a minor third below C) all energy and bluster, animated by sheer rhythmic propulsion. Wagner labelled it the apotheosis of the dance, though so intense is Beethoven s focus on distinctive rhythms that it often leaves conventional dance far behind. That Beethoven might have been drunk, deaf, or daft when he composed it were all possibilities reportedly considered by his colleagues. Weber is supposed to have said ripe for the madhouse, and another wondered later whether in the last period, he succumbed to a kind of insanity, that his assertive contrasts, vehement expressiveness, and sheer insistence, rankle so?. Beethoven composed the Seventh during two high summers sketching it in 1811 and finishing it in 1812 while visiting a succession of Czech health resorts. In August 1812, he reported to his pupil, Archduke Rudolph: In Teplitz I heard the military band play four times a day the only musical report to offer you. Otherwise, I spent a good deal of time with Goethe. Goethe wrote to his wife that he had seldom met a more focused, fervent artist, though to a musical friend he added: But he is completely uncontrollable although because of his loss of hearing he can be excused, and pitied. As it is, he is naturally laconic, doubly so because of his misfortune. Meanwhile, Beethoven boasted he gave his senior a lesson in egalitarianism. Strolling through the spa gardens, they saw a crowd form as the imperial family walked by. Goethe, by far the more eminent of the pair and a seasoned courtier, removed his hat and was ignored. But Beethoven, hat firmly on my head pushed through the crowd, Archduke Rudolph doffed his hat, and the Empress herself came to greet me. Resonances of an idealised Teplitz military band and Beethoven s egalitarian spirit can be heard especially in the minor-key Allegretto, whose simple, solemn tune and straightforward treatment struck such a popular chord that it was regularly excerpted by real bands for use as a funeral march. He introduces another disarmingly simple tune in the middle of the scherzo s trio, according to one of Beethoven s clerical friends, borrowed from a hymn traditionally sung by pilgrims to the shrine at Mariazell. During the Second World War, the Seventh was one of the Beethoven works enlisted to help boost patriotic fervour here in Australia. The MSO s then chief conductor, Bernard Heinze, also conducted performances and radio broadcasts of it with other orchestras around the country as part of a nationwide Beethoven Festival. Reaching Perth in winter 1944, its effect on audience morale was electric, as the West Australian reviewer noted: Even the desolate anti-climax of a late bus, and frigid lower extremities, was mitigated by the persistence in one s pulse and brain of the finale. Professor Heinze had whirled his forces up-to-time through these tremendous Olympian transports, ending on a note of high exhilaration. Graeme Skinner 2014 The Melbourne Symphony was the first of the Australian state symphony orchestras to perform Beethoven s Seventh Symphony, on 7 May 1938 under Georg Szell. The Orchestra most recently performed it in May 2015 with Matthias Pintscher. BEETHOVEN, MOZART & COPLAND 7

8 MSO Education Week 2015 Over 15,000 Victorians embraced an exciting line up of music-making programs during the Melbourne Symphony Orchestra s fifth annual Education Week which took place in early June. Running across six days, the popular mini-festival featured 12 concerts attracting people of all ages to Hamer Hall and Melbourne Town Hall. Hosting the varied program was internationally acclaimed music educator Paul Rissmann, who described Education Week as making the Orchestra accessible to absolutely everyone. Joining Rissmann in the week-long event was Associate Conductor Benjamin Northey and Chief Conductor Sir Andrew Davis. In his first role in Education Week, Sir Andrew Davis led an orchestra comprising MSO musicians and 50 community musicians in the very special Symphony in a Day concert. Over 2,500 individuals from schools experiencing barriers were able to attend the Meet the Orchestra concert thanks to the Orchestra s annual Sponsor Schools excursion package and Arts Centre Melbourne s First Call Fund. Building on this access initiative was an exciting new venture with ABC Splash which streamed the Meet the Orchestra concert to schools across the country, with over 200 schools watching the live stream. MSO Managing Director André Gremillet said this live stream was a great opportunity to broaden audience reach and highlight the importance of classical music in education. The Meet the Orchestra learning resource program and footage of the concert can be viewed at splash.abc.net.au/livestream/- /l/ /meet-the-orchestralive-stream-, providing access for teachers and students to MSO education for years to come. Primary school student participates at MSO Meet the Orchestra performance at Arts Centre Melbourne, Hamer Hall Fall in love with every journey Rediscover the romance of travel with up to 1,600 channels of music, TV and movies. Let our inflight entertainment take you places you won t find on a map. Partner of the Melbourne Symphony Orchestra. emirates.com/au Enjoy our generous baggage allowance Gourmet cuisine Over 140 destinations worldwide Airline of the year 2013 Skytrax World Airline Awards. 8 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

9 MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Diego Matheuz Benjamin Northey Harold Mitchell AC Chief Conductor Chair Guest Conductor Patricia Riordan Associate Conductor Chair FIRST VIOLINS Dale Barltrop Concertmaster Eoin Andersen Concertmaster Sophie Rowell Associate Concertmaster Rebecca Chan* Guest Associate Concertmaster Peter Edwards Assistant Kirsty Bremner MSO Friends Chair Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor Rebecca Adler* Jo Beaumont* Jacqueline Edwards* SECOND VIOLINS Matthew Tomkins The Gross Foundation Second Violin Chair Robert Macindoe Associate Monica Curro Assistant Mary Allison Isin Cakmakcioglu Freya Franzen Cong Gu Andrew Hall Francesca Hiew Rachel Homburg Christine Johnson Isy Wasserman Philippa West Patrick Wong Roger Young Clare Miller* VIOLAS Christopher Moore Julia Joyce* Guest Christopher Cartlidge Acting Associate Lauren Brigden Katharine Brockman Simon Collins Gabrielle Halloran Trevor Jones Fiona Sargeant Cindy Watkin Caleb Wright Ceridwen Davies* Isabel Morse* CELLOS David Berlin MS Newman Family Cello Chair Rachael Tobin Associate Nicholas Bochner Assistant Miranda Brockman Rohan de Korte Keith Johnson Sarah Morse Angela Sargeant Michelle Wood Jarrad Mathie* DOUBLE BASSES Steve Reeves Andrew Moon Associate Sylvia Hosking Assistant Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Young-Hee Chan* Bonita Williams* FLUTES Prudence Davis Flute Chair Anonymous Wendy Clarke Associate Sarah Beggs PICCOLO Andrew Macleod OBOES Jeffrey Crellin Ann Blackburn Rachel Curkpatrick* COR ANGLAIS Michael Pisani CLARINETS David Thomas Philip Arkinstall Associate Craig Hill BASS CLARINET Jon Craven BASSOONS Jack Schiller Elise Millman Associate Natasha Thomas CONTRABASSOON Brock Imison HORNS Zora Slokar Geoff Lierse Associate Saul Lewis Third Jenna Breen Abbey Edlin Trinette McClimont TRUMPETS Geoffrey Payne Shane Hooton Associate William Evans Julie Payne TROMBONES Brett Kelly Jessica Buzbee* BASS TROMBONE Mike Szabo TUBA Timothy Buzbee TIMPANI Christine Turpin PERCUSSION Robert Clarke John Arcaro Robert Cossom HARP Yinuo Mu PIANO Louisa Breen* *Guest musician MANAGEMENT BOARD Harold Mitchell AC Chairman André Gremillet Managing Director Michael Ullmer Deputy Chair Andrew Dyer Danny Gorog Margaret Jackson AC Brett Kelly David Krasnostein David Li Ann Peacock Helen Silver AO Kee Wong COMPANY SECRETARY Oliver Carton EXECUTIVE André Gremillet Managing Director Catrin Harris Executive Assistant HUMAN RESOURCES Miranda Crawley Director of Human Resources BUSINESS Francie Doolan Chief Financial Officer Raelene King Personnel Manager Leonie Woolnough Financial Controller Phil Noone Accountant Nathalia Andries Finance Officer Suzanne Dembo Strategic Communications and Business Processes Manager ARTISTIC Ronald Vermeulen Director of Artistic Planning Andrew Pogson Special Projects Manager Laura Holian Artistic Coordinator Helena Balazs Chorus Coordinator EDUCATION AND COMMUNITY ENGAGEMENT Bronwyn Lobb Director of Education and Community Engagement Lucy Bardoel Education and Community Engagement Coordinator Lucy Rash Pizzicato Effect Coordinator OPERATIONS Gabrielle Waters Director of Operations Angela Bristow Orchestra Manager James Foster Operations Manager James Poole Production Coordinator Alastair McKean Orchestra Librarian Kathryn O Brien Assistant Librarian Michael Stevens Assistant Orchestra Manager Stephen McAllan Artist Liaison Lucy Rash Operations Coordinator MARKETING Alice Wilkinson Director of Marketing Jennifer Poller Marketing Manager Megan Sloley Marketing Manager Ali Webb PR Manager Kate Eichler Publicity and Online Engagement Coordinator Kieran Clarke Digital Manager Nina Dubecki Front of House Supervisor James Rewell Graphic Designer Chloe Schnell Marketing Coordinator Claire Hayes Ticket and Database Manager Paul Congdon Box Office Supervisor Jennifer Broadhurst Ticketing Coordinator Angela Ballin Customer Service Coordinator Chelsie Jones Customer Service Officer DEVELOPMENT Leith Brooke Director of Development Jessica Frean MSO Foundation Manager Ben Lee Donor and Government Relations Manager Arturs Ezergailis Donor and Patron Coordinator Judy Turner Major Gifts Manager Justine Knapp Major Gifts Coordinator Michelle Monaghan Corporate Development Manager James Ralston Corporate Development and Events Coordinator BEETHOVEN, MOZART & COPLAND 9

10 THANKS TO OUR WONDERFUL MSO SUPPORTERS The MSO relies on your ongoing philanthropic support to sustain access, artists, education, community engagement and more. We invite our supporters to get close to the MSO through a range of special events and supporter newsletter The Full Score. The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $100 (Friend), $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: Ph +61 (03) philanthropy@mso.com.au This honour roll is correct at time of printing. ARTIST CHAIR BENEFACTORS Harold Mitchell AC Chief Conductor Chair Patricia Riordan Associate Conductor Chair Joy Selby Smith Orchestral Leadership Chair Marc Besen AC and Eva Besen AO International Guest Chair MSO Friends Chair The Gross Foundation Second Violin Chair MS Newman Family Cello Chair Flute Chair Anonymous PROGRAM BENEFACTORS Meet The Music Made possible by The Ullmer Family Foundation East meets West Supported by the Li Family Trust The Pizzicato Effect (Anonymous) MSO UPBEAT Supported by Betty Amsden AO DSJ MSO CONNECT Supported by Jason Yeap OAM BENEFACTOR PATRONS $50,000+ Betty Amsden AO DSJ Phillip Bacon AM Marc Besen AC and Eva Besen AO Jennifer Brukner Rachel and Hon. Alan Goldberg AO QC The Gross Foundation David and Angela Li Annette Maluish Harold Mitchell AC MS Newman Family Roslyn Packer AO Mrs Margaret S Ross AM and Dr Ian Ross Joy Selby Smith Ullmer Family Foundation IMPRESARIO PATRONS $20,000+ Perri Cutten and Jo Daniell Susan Fry and Don Fry AO John McKay and Lois McKay Elizabeth Proust AO Rae Rothfield Inés Scotland MAESTRO PATRONS $10,000+ Michael Aquilina John and Mary Barlow Kaye and David Birks Mitchell Chipman Jan and Peter Clark Andrew and Theresa Dyer Future Kids Pty Ltd Robert & Jan Green Lou Hamon OAM Margaret Jackson AC Konfir Kabo and Monica Lim Mr Greig Gailey and Dr Geraldine Lazarus Norman and Betty Lees Mimie MacLaren Ian and Jeannie Paterson Onbass Foundation Peter and Natalie Schiavello Glenn Sedgwick Maria Solà, in memory of Malcolm Douglas Drs G & G Stephenson. In honour of the great Romanian musicians George Enescu and Dinu Lipati Lyn Williams AM Kee Wong and Wai Tang Jason Yeap OAM Anonymous (1) PRINCIPAL PATRONS $5,000+ Lino and Di Bresciani OAM David and Emma Capponi Paul Carter and Jennifer Bingham Tim and Lyn Edward John and Diana Frew Jill and Robert Grogan Nereda Hanlon and Michael Hanlon AM Hartmut and Ruth Hofmann Jenny and Peter Hordern Jenkins Family Foundation Vivien and Graham Knowles David Krasnostein and Pat Stragalinos Elizabeth Kraus in memory of Bryan Hobbs Dr Geraldine Lazarus and Mr Greg Gailey Dr Elizabeth A Lewis AM Peter Lovell The Cuming Bequest Mr and Mrs D R Meagher Wayne and Penny Morgan Marie Morton FRSA Dr Paul Nisselle AM Lady Potter AC Stephen Shanasy Gai and David Taylor the Hon. Michael Watt QC and Cecilie Hall Barbara and Donald Weir Anonymous (4) ASSOCIATE PATRONS $2,500+ Dr Bronte Adams Pierce Armstrong Foundation Will and Dorothy Bailey Bequest Barbara Bell in memory of Elsa Bell Peter Biggs CNZM and Mary Biggs Mrs S Bignell Stephen and Caroline Brain Mr John Brockman OAM and Mrs Pat Brockman Leith Brooke Rhonda Burchmore Bill and Sandra Burdett Oliver Carton John and Lyn Coppock Miss Ann Darby in memory of Leslie J. Darby Mary and Frederick Davidson AM Lauraine Diggins and Michael Blanche Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson Dr Helen M Ferguson Mr Bill Fleming Colin Golvan QC and Dr Deborah Golvan Michael and Susie Hamson Susan and Gary Hearst Gillian and Michael Hund Rosemary and James Jacoby John and Joan Jones Connie and Craig Kimberley Sylvia Lavelle Ann and George Littlewood H.E. McKenzie Allan and Evelyn McLaren Don and Anne Meadows Bruce Parncutt and Robin Campbell Ann Peacock with Andrew and Woody Kroger Sue and Barry Peake Mrs W Peart Ruth and Ralph Renard Max and Jill Schultz Diana and Brian Snape AM Mr Tam Vu and Dr Cherilyn Tillman William and Jenny Ullmer Bert and Ila Vanrenen Brian and Helena Worsfold Anonymous (11) PLAYER PATRONS $1,000+ Anita and Graham Anderson, Christine and Mark Armour, Arnold Bloch Leibler, Marlyn and Peter Bancroft OAM, Adrienne Basser, Prof Weston Bate and Janice Bate, David and Helen Blackwell, Bill Bowness, Michael F Boyt, M Ward Breheny, Susie Brown, Jill and Christopher Buckley, Dr Lynda Campbell, Sir Roderick Carnegie AC, Andrew and Pamela Crockett, Natasha Davies, Pat and Bruce Davis, Merrowyn Deacon, Sandra Dent, Dominic and Natalie Dirupo, John and Anne Duncan, Jane Edmanson OAM, Kay Ehrenberg, Gabrielle Eisen, Vivien and Jack Fajgenbaum, Grant Fisher and Helen Bird, Mr William J Forrest AM, Barry Fradkin OAM and Dr Pam Fradkin, David Gibbs and Susie O Neill, Merwyn and Greta Goldblatt, George Golvan QC and Naomi Golvan, 10 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

11 THANKS TO OUR WONDERFUL MSO SUPPORTERS Charles and Cornelia Goode, Dr Marged Goode, Danny Gorog and Lindy Susskind, Louise Gourlay OAM, Ginette and André Gremillet, Dr Sandra Hacker AO and Mr Ian Kennedy AM, Jean Hadges, Paula Hansky OAM and Jack Hansky AM, Tilda and Brian Haughney, Henkell Family Fund, Penelope Hughes, Dr Alastair Jackson, Stuart Jennings, George and Grace Kass, Irene Kearsey, Ilma Kelson Music Foundation, Dr Anne Kennedy, Lew Foundation, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Violet and Jeff Loewenstein, The Hon Ian Macphee AO and Mrs Julie Mcphee, Elizabeth H Loftus, Vivienne Hadj and Rosemary Madden, In memory of Leigh Masel, John and Margaret Mason, In honour of Norma and Lloyd Rees, Trevor and Moyra McAllister, David Menzies, John and Isobel Morgan, Ian Morrey, The Novy Family, Laurence O Keefe and Christopher James, Graham and Christine Peirson, Andrew Penn and Kallie Blauhorn, Kerryn Pratchett, Peter Priest, Jiaxing Qin, Eli Raskin, Peter and Carolyn Rendit, S M Richards AM and M R Richards, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, Tom and Elizabeth Romanowski, Jeffrey Sher, Dr Sam Smorgon AO and Mrs Minnie Smorgon, Dr Norman and Dr Sue Sonenberg, Dr Michael Soon, Pauline Speedy, State Music Camp, Geoff and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Dr Adrian Thomas, Frank Tisher OAM and Dr Miriam Tisher, Margaret Tritsch, Judy Turner and Neil Adam, P & E Turner, Mary Vallentine AO, The Hon. Rosemary Varty, Leon and Sandra Velik, Sue Walker AM, Elaine Walters OAM and Gregory Walters, Edward and Paddy White, Janet Whiting and Phil Lukies, Nic and Ann Willcock, Marian and Terry Wills Cooke, Pamela F Wilson, Joanne Wolff, Peter and Susan Yates, Mark Young, Panch Das and Laurel Young-Das, YMF Australia, Anonymous (18) THE MAHLER SYNDICATE David and Kaye Birks, Jennifer Brukner, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Louis Hamon OAM, The Hon Dr Barry Jones AC, Dr Paul Nisselle AM, Maria Solà in memory of Malcolm Douglas, The Hon Michael Watt QC and Cecilie Hall, Anonymous (1) MSO ROSES Roses: Mary Barlow, Jennifer Brukner, Annette Maluish, Pat Stragalinos, Jenny Ullmer. Rosebuds: Leith Brooke, Lynne Damman, Francie Doolan, Lyn Edward, Dr Elizabeth A Lewis AM, Dr Cherilyn Tillman FOUNDATIONS AND TRUSTS The Annie Danks Trust Collier Charitable Fund Creative Partnerships Australia Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation The Harold Mitchell Foundation Helen Macpherson Smith Trust Ivor Ronald Evans Foundation, managed by Equity Trustees Limited and Mr Russell Brown Ken & Asle Chilton Trust, managed by Perpetual Linnell/Hughes Trust, managed by Perpetual The Marian and EH Flack Trust The Perpetual Foundation Alan (AGL) Shaw Endowment, managed by Perpetual The Pratt Foundation The Robert Salzer Foundation The Schapper Family Foundation The Scobie and Claire Mackinnon Trust CONDUCTOR S CIRCLE Jenny Anderson, Lesley Bawden Joyce Bown, Mrs Jenny Brukner and the late Mr John Brukner, Ken Bullen, Luci and Ron Chambers, Sandra Dent, Lyn Edward, Alan Egan JP, Louis Hamon OAM, Tony Howe, Audrey M Jenkins, John and Joan Jones, Mrs Sylvia Lavelle, Cameron Mowat, Laurence O Keefe and Christopher James, Elizabeth Proust AO, Penny Rawlins, Joan P Robinson, Neil Roussac, Anne Roussac- Hoyne, Jennifer Shepherd, Drs Gabriela and George Stephenson, Pamela Swansson, Lillian Tarry, Dr Cherilyn Tillman, Mr and Mrs R P Trebilcock, Michael Ullmer, Ila Vanrenen, Mr Tam Vu, Marian and Terry Wills Cooke, Mark Young, Anonymous (19) THE MSO GRATEFULLY ACKNOWLEDGES THE SUPPORT RECEIVED FROM THE ESTATES OF: Angela Beagley, Gwen Hunt, Pauline Marie Johnston, C P Kemp, Peter Forbes MacLaren, Prof Andrew McCredie, Miss Sheila Scotter AM MBE, Molly Stephens, Jean Tweedie, Herta and Fred B Vogel, Dorothy Wood HONORARY APPOINTMENTS Mrs Elizabeth Chernov Education and Community Engagement Patron Sir Elton John CBE Life Member The Honourable Alan Goldberg AO QC Life Member Geoffrey Rush AC Ambassador PRINCIPAL PARTNER MAESTRO PARTNERS OFFICIAL CAR PARTNER ASSOCIATE PARTNERS SUPPORTING PARTNERS 3L Alliance Elenberg Fraser Fed Square Flowers Vasette Feature Alpha Investment (a unit of the Tong Eng Group) Future Kids Golden Age Group Kabo Lawyers Linda Britten Naomi Milgrom Foundation PwC UAG + SJB Universal GOVERNMENT PARTNERS MEDIA PARTNER

12 Benjamin Northey conductor Hoang Pham piano MUSSORGSKY & LISZT This striking concert features two compositions inspired by works of art: Reger s Four Tone Poems after Arnold Böcklin draws on the Swiss master-painter s works, while Mussorgsky s Pictures at an Exhibition presents an art gallery tour in musical form. Liszt s showpiece makes for a breathtaking interlude. 11 September at 7.30pm Melbourne Town Hall BOOK NOW MSO.COM.AU (03)