DEBUSSY AND BRAHMS CONCERT PROGRAM 6 APRIL 7.30PM. Arts Centre Melbourne, Hamer Hall. Robert Blackwood Hall, Monash

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1 DEBUSSY AND BRAHMS 5 APRIL 7.30PM Arts Centre Melbourne, Hamer Hall 6 APRIL 7.30PM Robert Blackwood Hall, Monash CONCERT PROGRAM

2 MELBOURNE SYMPHONY ORCHESTRA I love digging into performance history. What were the circumstances of the first performance of Beethoven s Eroica, or Stravinsky s Rite of Spring? Who were the performers? What other pieces were on the program? Some of the stories surrounding the recognised masterworks of Western music make fascinating reading, and you can learn a lot from them. There is a wonderful book by Thomas Forrest Kelly, called First Nights. It tells the stories of five (in)famous premieres, including Berlioz buying violin mutes and viola strings on the day his Symphonie fantastique was premiered, and the exact names and backgrounds of the singers and instrumentalists Handel assembled for his Messiah. The book tells of great successes and epic failures. Many works that were booed at their premiere were vindicated years later. Think only of the symphonies by Gustav Mahler; even in a music dictionary published in the early 1960 s it says that it is highly doubtful that these works will become part of the standard repertoire. If only we could avoid premieres! The stress for the composer to finish a work on time, musicians trying to get behind the notes and figure out the real soul of a piece, or the dreaded first rehearsal where the composer can finally hear their music. I have seen many new works land on my desk. It is always one of the most exciting moments in the season, when you open a score for the first time and read through the notes, trying to imagine what it will sound like. New works always brings musicians to the edge of their seats. There is an extra sense of excitement in the air, because everybody wants to give the music the best possible first performance. Tonight MSO is happy to present a new Double Concerto by Melbourne s own Mary Finsterer. We hope you will share our excitement. Let s make this premiere one for the books for the all the right reasons! Ronald Vermeulen Director of Artistic Planning For further listening we recommend: Jun Märkl made a beautiful recording of the Trois Nocturnes by Debussy with the Orchestre National de Lyon. The work is coupled with the Symphony Marius Constant drew from the opera Pelléas et Mélisande. Naxos On the Altus-label there is a recording of Jun Märkl conducting the MDR Sinfonieorchester in Brahms Fourth Symphony. Alt166 This season the MSO will play more Debussy the famous Prélude à l aprèsmidi d un faune and the Ariettes Oubliées (orchestrated by Brett Dean) on 23, 24 and 26 November with Fabien Gabel conducting. Melbourne Symphony Orchestra Jun Märkl conductor Christopher Moore viola Timo-Veikko Valve cello Ladies of the MSO Chorus Debussy Nocturnes Finsterer Missed Tales III: The Lost * *World Premiere, commissioned by Kim Williams AM on behalf of the MSO INTERVAL Brahms Symphony No.4 mso.com.au Running time 2 hours 10 minutes, including 20 minute interval In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone. The MSO acknowledges 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. 3

3 MELBOURNE SYMPHONY ORCHESTRA JUN MÄRKL CONDUCTOR MEET THE ARTISTS Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia s longest-running professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since Engaging more than 3 million people each year, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming. The MSO also works with Associate Conductor Benjamin Northey and Assistant Conductor Tianyi Lu, as well as with such eminent recent guest conductors as Tan Dun, John Adams, Jakub Hrůša and Jukka- Pekka Saraste. It has also collaborated with non-classical musicians including Elton John, Nick Cave and Flight Facilities. Jun Märkl has conducted many of the world s leading orchestras, and at major opera houses and festivals. He has held titled positions with the Orchestre National de Lyon, where he earned a Chevalier de l Ordre des Arts et des Lettres from the French government, and the MDR Leipzig Radio Symphony Orchestra. He concluded his tenure as Chief Conductor of the Basque National Orchestra in June Jun Märkl s recent performances have included a production of Lohengrin with the Nikikai Opera Foundation, conducting the Tokyo Metropolitan Orchestra, and performances with the Hong Kong Philharmonic and Baltimore and Atlanta Symphony Orchestras. June sees a return to the Minnesota Orchestra and he recently released a CD of Saint-Saëns symphonic poems, conducting the Orchestre National de Lille. CHRISTOPHER MOORE VIOLA Born in Newcastle, Christopher Moore's strongest memory from childhood was seeing his mother pulling up in the driveway of his home with a tiny blue violin case on the back seat. After studying with two prominent Sydney Suzuki teachers, Marjorie Hystek and the late Harold Brissendon, Christopher completed his Bachelor of Music in Newcastle with violinist and pedagogue Elizabeth Holowell. After working with Adelaide and New Zealand Symphony Orchestras as a violinist, Chris decided to take up a less highly strung string instrument and moved his musical focus and energy to the viola. He accepted a position with the Melbourne Symphony Orchestra - playing with the Orchestra for one and a half years before successfully auditioning for the position of Associate Viola. During his association with MSO, Chris has performed regularly as a chamber musician with other colleagues from the MSO and counts among his many highlights sharing the stage with KISS. TIMO-VEIKKO VALVE CELLO Timo-Veikko Tipi Valve is one of the most versatile musicians of his generation, performing as a soloist, chamber musician and orchestral leader on both modern and period instruments. Valve studied at the Sibelius Academy in his home town of Helsinki and at the Edsberg Music Institute in Stockholm, Sweden and has performed as a soloist with all the major orchestras in Finland and as a chamber musician throughout Europe, Asia, Australia and the US. He works closely with a number of Finnish composers and has commissioned new works for the cello. Most recently Valve has premiered concertos by Aulis Sallinen and Olli Virtaperko as well as two new cello concertos written for him by Eero Hämeenniemi and Olli Koskelin. In 2006, Valve was appointed Cello of the Australian Chamber Orchestra. Tonight, Tipi appears courtesy of the Australian Chamber Orchestra. In his current position as Viola of the MSO, Chris is supported by Di Jameson. 4 5

4 PROGRAM NOTES LADIES OF THE MSO CHORUS For more than 50 years the Melbourne Symphony Orchestra Chorus has been the unstinting voice of the Orchestra s choral repertoire. The MSO Chorus sings with the finest conductors including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, Bernard Labadie, Vladimir Ashkenazy and Manfred Honeck, and is committed to developing and performing new Australian and international choral repertoire. Commissions include Brett Dean s Katz und Spatz, Ross Edwards Mountain Chant, and Paul Stanhope s Exile Lamentations. Recordings by the MSO Chorus have received critical acclaim. The Chorus has performed across Brazil and at the Cultura Inglese Festival in Sao Paolo, with The Australian Ballet, Sydney Symphony Orchestra, at the AFL Grand Final and at Anzac Day commemorative ceremonies. WARREN TREVELYAN-JONES MSO CHORUS MASTER Warren Trevelyan-Jones is the Head of Music at St James, King Street in Sydney and is regarded as one of the leading choral conductors and choir trainers in Australia. Warren has had an extensive singing career as a soloist and ensemble singer in Europe, including nine years in the Choir of Westminster Abbey, and regular work with the Gabrieli Consort, Collegium Vocale (Ghent), the Taverner Consort, The Kings Consort, Dunedin Consort, The Sixteen and the Tallis Scholars. Warren is also Director of the Parsons Affayre, Founder and Co-Director of The Consort of Melbourne and, in 2001 with Dr Michael Noone, founded the Gramophone award-winning group Ensemble Plus Ultra. Warren is also a qualified music therapist. CLAUDE DEBUSSY ( ) Nocturnes Nuages (clouds) (Clouds) Fêtes (Festivals) Sirènes (Sirens) Ladies of the MSO Chorus Debussy completed the Nocturnes on 15 December 1899 at three in the morning. Nuages (Clouds) and Fêtes (Festivals) were first performed in December the following year. It wasn t until October 1901 that all three Nocturnes (including the movement with wordless female chorus Sirènes) were performed in public. In more than a symbolic sense, however, the Nocturnes can be considered the first major work of the 20th century. In this piece are many of the features which mark a break with the 19th century a subtler sense of form, nondirectional harmony, less assertive melody, and the elevation of the importance of orchestral colour. As foreshadowed in Debussy s earlier works, there is an acceptance of sound as something to luxuriate in, rather than a Classical- Romantic notion of sound as something to be mobilised in the pursuit of a statement or climax. The Nocturnes were originally conceived in a form different from that in which they are known today. At first Debussy drafted a triptych, Scènes au crépuscule (Scenes at twilight), inspired by poems by Henri de Régnier. A phrase from Régnier s poems which speaks of the brilliance of angry tambourines and sharp trumpet calls seems to be reverberating in the second Nocturne, Fêtes, written some years later. In 1894 Debussy wrote to the Belgian violinist Ysaÿe: I am working at three nocturnes for violin and orchestra that are intended for you; the first is scored for strings, the second for three flutes, four horns, three trumpets and two harps; the third combines both these groups. This is, in fact, an experiment in the various arrangements that can be made with a single colour what a study in grey would be in painting. The reference to painting is notable. In few other works is the epithet impressionist, borrowed from painting, more appropriate. One writer goes so far as to say that even without the titles a listener could form a pretty good idea of the works suggested subjects the march on muted trumpets, accompanied by harp, lower strings and timpani in Fêtes, for example, undoubtedly represents the approach and passing of a procession. Debussy did not intend the title Nocturnes to be understood in the sense of a Chopin nocturne. The title probably has more to do with a series of Whistler paintings of the same name. The composer himself said: The title Nocturnes is to be interpreted here in a general, and more particularly, in a decorative sense. Therefore, it is not meant to designate the usual form of the Nocturne, but rather all the various impressions and the special effects of light that the word suggests. The programmatic intent of these works is illustrative, without the emotional involvement of the late-romantic tonepoets. Nuages renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white the composer s words find musical expression in the slowly changing background of rootless, floating chords which underlie 6 7

5 the recurring tone of the cor anglais. Classical-Romantic distinctions between theme and texture are irrelevant in the smooth accompaniment; the cor anglais call never evolves into a melody. There is a whole new range of string colours here delicate combinations of bowed and pizzicato effects, harmonics, nonstandard divisions of the string forces. A complete change of colour and a new pentatonic theme on flute and harp mark an obvious new section in the music, and the movement closes with merely a resumé of the opening material. There is no progression to a clearly marked cadence at the end, but rather a gradual disintegration of elements, as the cor anglais motif breaks down into smaller and smaller particles. In complete contrast with Nuages and its study in grey, Fêtes gives us an almost kaleidoscopic display of momentarily bright colours. Once more the composer supplies a description: Fêtes gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling, fantastic vision) which passes through the festive scene and becomes merged in it. But the background remains persistently the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm. A brisk theme on clarinets and cor anglais against a rhythmic accompaniment is later taken up by other instruments. After a harp glissando, the activity dies down and the march approaches as if from afar. This builds up and takes us back into the racy opening material. At the end there is a gradual atomising of material and dulling of colour. A ghost of the march can be heard on the tambour against descending lower strings. Muted trumpets and muted horns play single chords, mere specks of colour, then there is a dry tap of the timpani, a touch of the cymbal and the piece disappears into silence with a low pizzicato note. Sirènes evolves almost as a continuum; it swells and ebbs, rather than marking out a path; the melody grows and decays by the addition or alteration of small details. It is understandable how turn-of-the-century listeners, accustomed to more definition in form, could have regarded this music as impressionistic. It is possible that the use of wordless female voices in this last Nocturne was suggested to Debussy not only by Régnier s L Homme et la sirène, but also by Swinburne s poem Nocturne, in which love is symbolised by a mermaid rising from the sea. Debussy wrote that this last movement depicts the sea and its countless rhythms and presently, amongst the waves silvered by moonlight the mysterious song of the sirens as they laugh and pass on. Within the value system of the Classical- Romantic period, Debussy s music was at first seen by some as negative, even morbid. Fluent rather than dramatic, plastic rather than constructed, it is the very antithesis of the positive striving of, say, a Beethoven or a Bruckner. Yet Debussy s innovations laid the foundations for a new ethos in Western music and for new techniques of musical language, opening up for the 20th century many new vistas for exploration. G.K. Williams Symphony Australia 1998 The first performance of all three Nocturnes by the Melbourne Symphony Orchestra took place on 5 August 1943 under Bernard Heinze. The MSO s most recent performance was on April 2008 with the Women of the MSO Chorus, conducted by Richard Hickox. MARY FINSTERER (born 1962) Missed Tales III: The Lost* Christopher Moore viola Timo-Veikko Valve cello The Lost (viola and cello with orchestra) is the third in a series of orchestral concerti entitled Missed Tales, which explore the mysteries of nature and place within Celtic and Norse mythology. The Lost refers to an ancient Celtic ritual conducted by the Scots and Picts in the undulating Irish and Scottish landscapes. A bonfire would be lit on the highest hill and would be used by farmers to light torches that would act as diviners for mapping out territory. The torches would then be placed in such a way as to enfold the most fertile land, which they called The Lost, a term that invokes the Celtic word for fire, Losaid. The title sets up the expectation that something is missing. From this, what follows is an anticipation of fear and yearning. Yet in the context of the ancient Celtic ritual, The Lost represents a discovery of something that is precious, something connected to a source of life. The dichotomy of these two meanings act like a counterpoint or a tension which gives rise to a metaphysical shift. It is this interplay that I have worked with to shape the music. My overall interest with this series resides as much in the narrative interpretations of myths and ancient rituals as it does with imagining their origins and reasons for certain beliefs. Whether these reasons are religious or superstitious, my rendering of them as interpretations within sonic landscapes is represented here as a place where time and space coincide and fuse together, creating something like a polyphony of ideas and sounds. The piece responds to the open strings of the solo instruments the viola and cello, drawing sonority and carving foundation from their earthy timbres. Branching out to neighbouring tones, an evolving sound palate evokes tension. In the preparation of the work I am working closely with soloists Christopher Moore and Timo Veikko Valve to bring the piece to life. I have constructed the piece drawing from harmonic material idiomatic to their instruments. Everything in the piece is referential to the concept of the work, creating a sound world that is a metaphor for the Earth and its relation to the complexity of life. This work is dedicated to Kim Williams and his sister Candice. Mary Finsterer 2018 * World Premiere, commissioned by Kim Williams AM on behalf of the MSO 8 9

6 JOHANNES BRAHMS ( ) Symphony No.4 in E minor, Op.98 Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato In 1885 Brahms, as was his wont, convened a group of trusted friends to listen to a play-through of the Fourth Symphony, with the composer and his friend Ignaz Brüll at the piano. Feedback from knowledgeable people had been invaluable throughout his career, and on this occasion the listeners included the conductor Hans Richter and the critic Eduard Hanslick. But this time the response was a baffled silence. Even Hanslick, Brahms greatest supporter in print, tried to joke that he felt like he had been beaten up by two intelligent people at the end of the first movement. Later, after the works politely received Viennese premiere, a less well-disposed wit composed a verse to the theme of the first movement to the effect that Brahms had run out of ideas. The Third Symphony had, of course, enjoyed an unqualified success and it says much for Brahms artistic integrity that he was prepared to take a quite different approach in the new work; that the Fourth was written over not one but two summers suggests that Brahms had to work hard at it. So, what baffled the listeners in the first movement? In fact the run out of ideas critic was wrong, but nevertheless onto something, in that a large chunk of Brahms first theme consists of practically no material: two chains of thirds (and sixths, their inversion) are sounded in a rhythm that consists entirely of a repeated short-long pattern. Eventually a more elaborate motif is sounded, but then immediately repeated in sequence. The thirds provide the basis for a fanfare-like transition into the second theme, and here again Brahms goes against convention with a melody that is not, as expected, lyrical but is much more assertive, sounded in the orchestra s tenor register, and again based on sequences of a repeated rhythmic cell (long, long, short, short, short). Fragmentary patterns of thirds provide the accompaniment. All of which is to say that Brahms was writing in, to the Viennese, a disturbingly abstract and modern way. Haydn, of course, and Beethoven especially in the Fifth Symphony had worked in just this way, and it is no accident that such rigorous design attracted the approval of Schoenberg in his 1933 lecture, Brahms the Progressive. But it put Brahms out of step with current musical fashion in Vienna. The piece is frequently intensely contrapuntal (and thus requires a classical orchestra), reflecting Brahms lifelong love of the Baroque, but there are profoundly poetic moments. The recapitulation of the first movement s main theme should, by convention, be a rhetorically powerful moment of arrival; Brahms instead dwells on a distant but radiant C major chord and then, radically, continues to develop his themes. The second movement is in what has sometimes been called Brahms bardic manner. The young Richard Strauss, who regarded the gigantic work as new and original in its greatness of conception and invention, its genius in treatment of form, captured the slow movement s essence in his image of a funeral procession moving across moonlit heights. This movement, which relies heavily on mysterious wind scoring and the occasional archaic inflections of the Phrygian mode, could not offer a greater contrast to the scherzo, with what Karl Geiringer calls its sturdy gaiety. In two, rather than three, beats to a bar, it has a rustic air, but its most curious feature is the way in which Brahms, again creating music out of nothing, offers a series of monolithic chords, octaves apart, that interrupt the rhythmic drive of the movement towards its end. These chords, however, also pave the way for the finale, in which Brahms abandons any vestige of classical precedent, instead using the Baroque form of the passacaglia, in which a repeated harmonic pattern, or ground, serves as a vehicle for variations. Brahms ground is a series of rhythmically equal chords (adumbrated at the end of the scherzo) over which he elaborates a movement unlike anything heard in symphonic music before. In 1886, Vienna s response was tepid, partly as Hans Richter s rehearsals were inadequate. But by then the work had enjoyed triumphant success in 14 German and Dutch cities under Hans von Bülow. Vienna finally embraced it, and the mortally ill Brahms, at the last concert the composer was able attend before his death in Gordon Kerry 2015 The Melbourne Symphony Orchestra first performed Brahms Fourth Symphony on 27 June 1942 under the baton of Percy Code, and most recently on May 2016 with Christoph König

7 MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor Benjamin Northey Associate Conductor Anthony Pratt # Tianyi Lu Cybec Assistant Conductor Hiroyuki Iwaki Conductor Laureate ( ) FIRST VIOLINS Dale Barltrop Concertmaster Sophie Rowell Concertmaster The Ullmer Family Foundation # Kirsty Hilton*^ Guest Associate Concertmaster Peter Edwards Assistant John McKay and Lois McKay # Kirsty Bremner Sarah Curro Michael Aquilina # Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Kirstin Kenny Ji Won Kim Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor Michael Aquilina # Tiffany Cheng* Nicholas Waters* Lynette Rayner* Oksana Thompson* SECOND VIOLINS Matthew Tomkins The Gross Foundation # Robert Macindoe Associate Monica Curro Assistant Danny Gorog and Lindy Susskind # Mary Allison Isin Cakmakcioglu Freya Franzen Anonymous # Zoe Freisberg Cong Gu Andrew Hall Andrew and Judy Rogers # Isy Wasserman Philippa West Patrick Wong Roger Young Aaron Barnden* Michael Loftus-Hills* VIOLAS Christopher Moore Di Jameson # Fiona Sargeant Associate Lauren Brigden Mr Tam Vu and Dr Cherilyn Tillman Katharine Brockman Christopher Cartlidge Michael Aquilina # Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Isabel Morse* William Clark* 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 # DOUBLE BASSES Steve Reeves Andrew Moon Associate Sylvia Hosking Assistant Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser # Rob Nairn* FLUTES Prudence Davis Anonymous # Wendy Clarke Associate Sarah Beggs PICCOLO Andrew Macleod Taryn Richards* OBOES Jeffrey Crellin Thomas Hutchinson Associate Ann Blackburn The Rosemary Norman Foundation # 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 Peter Luff* Guest Saul Lewis Third Lin Jiang Guest Abbey Edlin Nereda Hanlon and Michael Hanlon AM # Trinette McClimont Rebecca Luton* Alexander Morton* Anton Schroeder* TRUMPETS Shane Hooton Associate Tristan Rebien* Guest Associate William Evans Rosie Turner TROMBONES Brett Kelly Richard Shirley Mike Szabo Bass Trombone TUBA Timothy Buzbee Scott Watson* # Position supported by * Guest Musician ^ Courtesy of Sydney Symphony Orchestra Courtesy of University of Kansas ## Timpani Chair position supported by Lady Potter AC CMRI TIMPANI ## John Arcaro Tim and Lyn Edward # PERCUSSION Robert Clarke John Arcaro Tim and Lyn Edward# Robert Cossom Greg Sully* Lara Wilson* HARP Yinuo Mu Melina van Leeuwen* MSO BOARD Chairman Michael Ullmer Managing Director Sophie Galaise Board Members Andrew Dyer Danny Gorog Margaret Jackson AC Di Jameson David Krasnostein David Li Hyon-Ju Newman Glenn Sedgwick Helen Silver AO Company Secretary Oliver Carton 12 13

8 CHORUS Tom Griffiths Repetiteur SOPRANO Julie Arblaster Eva Butcher Rita Fitzgerald Catherine Folley Carolyn Francis Jillian Graham Karling Hamill Emma Hamley Penny Huggett Naomi Hyndman Tania Jacobs Gwen Kennelly Anna Kidman Clancye Milne Catriona Nguyen- Robertson Caitlin Noble Karin Otto Tiffany Pang Tanja Redl Natalie Reid Elizabeth Rusli Natalia Salazar Jillian Samuels Freja Soininen Chiara Stebbing Elizabeth Tindall Fabienne Vandenburie ALTO Satu Aho Carolyn Baker Catherine Bickell Cecilia Björkegren Kate Bramley Jane Brodie Serena Carmel Alexandra Chubaty Nicola Eveleigh Jill Giese Ros Harbison Sue Hawley Jennifer Henry Kristine Hensel Sara Kogan-Lazarus Joy Lukman Helen MacLean Christina McCowan Lucy McFarlane Rosemary McKelvie Nicole Paterson Sharmila Periakarpan Mair Roberts Helen Rommelaar Annie Runnalls Katherine Samarzia Lisa Savige Helen Staindl Libby Timcke Katarina Van Der Linden Emma Warburton 'We are the music makers, and we are the dreamers of dreams.' Arthur O'Shaughnessy Come dream with us by adopting your own MSO musician! Support the music and the orchestra you love while getting to know your favourite player. Honour their talent, artistry and life-long commitment to music, and become part of the MSO family. Adopt Harp, Yinuo Mu, or any of our wonderful musicians today. mso.com.au/adopt 14 15

9 Supporters MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria PLATINUM PATRONS $100,000+ Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel The Gross Foundation David and Angela Li MS Newman Family Foundation Anthony Pratt The Pratt Foundation Joy Selby Smith Ullmer Family Foundation Anonymous (1) VIRTUOSO PATRONS $50,000+ Di Jameson David Krasnostein and Pat Stragalinos Harold Mitchell AC Kim Williams AM Impresario Patrons $20,000+ Michael Aquilina The John and Jennifer Brukner Foundation Mary and Frederick Davidson AM Rachel and the late Hon. Alan Goldberg AO QC Margaret Jackson AC Andrew Johnston Mimie MacLaren John and Lois McKay IMPRESARIO PATRONS $20,000+ Michael Aquilina The John and Jennifer Brukner Foundation Mary and Frederick Davidson AM Rachel and the late Hon. Alan Goldberg AO QC Margaret Jackson AC Andrew Johnston 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 Hilary Hall, in memory of Wilma Collie Nereda Hanlon and Michael Hanlon AM Suzanne Kirkham The Cuming Bequest Ian and Jeannie Paterson Lady Potter AC CMRI Elizabeth Proust AO Xijian Ren and Qian Li 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 Harry and Michelle Wong Jason Yeap OAM PRINCIPAL PATRONS $5,000+ Christine and Mark Armour John and Mary Barlow Barbara Bell, in memory of Elsa Bell Stephen and Caroline Brain Prof Ian Brighthope David and Emma Capponi May and James Chen Wendy Dimmick Andrew Dudgeon AM Andrew and Theresa Dyer Tim and Lyn Edward 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 Foundation Louis Hamon OAM Hans and Petra Henkell Hartmut and Ruth Hofmann Jack Hogan Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson Dr Elizabeth A Lewis AM Norman Lewis in memory of Dr Phyllis Lewis Peter Lovell Lesley McMullin Foundation Mr Douglas and Mrs Rosemary Meagher Dr Paul Nisselle AM The Rosemary Norman Foundation Ken Ong, in memory of Lin Ong Bruce Parncutt AO Jim and Fran Pfeiffer Pzena Investment Charitable Fund Andrew and Judy Rogers Rae Rothfield Max and Jill Schultz Mr Tam Vu and Dr Cherilyn Tillman The Hon. Michael Watt QC and Cecilie Hall Lyn Williams AM Anonymous (2) ASSOCIATE PATRONS $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest David Blackwell OAM Anne Bowden Bill Bowness Julia and Jim Breen 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 Sandra Dent Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson Jane Edmanson OAM Dr Helen M Ferguson Mr Peter Gallagher and Dr Karen Morley Dina and Ron Goldschlager 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 Foundation C W Johnston Family John Jones George and Grace Kass Irene Kearsey and M J Ridley The Ilma Kelson Music Foundation Kloeden Foundation Bryan Lawrence Ann and George Littlewood John and Margaret Mason H E McKenzie Allan and Evelyn McLaren Don and Anne Meadows Marie Morton FRSA Annabel and Rupert Myer AO Sue and Barry Peake Mrs W Peart Graham and Christine Peirson Ruth and Ralph Renard S M Richards AM and M R Richards Tom and Elizabeth Romanowski Jeffrey Sher QC and Diana Sher OAM Diana and Brian Snape AM Dr Norman and Dr Sue Sonenberg Geoff and Judy Steinicke 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 Bell Michael F Boyt Patricia Brockman Dr John Brookes Suzie Brown OAM and Harvey Brown Roger and Col Buckle Jill and Christopher Buckley Shane Buggle Bill and Sandra Burdett Peter Caldwell Joe Cordone Andrew and Pamela Crockett Beryl Dean Dominic and Natalie Dirupo Marie Dowling John and Anne Duncan Kay Ehrenberg Jaan Enden Valerie Falconer and the Rayner Family in memory of Keith Falconer Amy & Simon Feiglin Grant Fisher and Helen Bird Barry Fradkin OAM and Dr Pam Fradkin 16 17

10 Applebay Pty Ltd David Frenkiel and Esther Frenkiel OAM David Gibbs and Susie O'Neill Merwyn and Greta Goldblatt Colin Golvan QC and Dr Deborah Golvan George Golvan QC and Naomi Golvan Dr Marged Goode Prof Denise Grocke AO 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 Anna and John Holdsworth 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 Dr Anne Lierse Gaelle Lindrea Andrew Lockwood Violet and Jeff Loewenstein Elizabeth H Loftus Chris and Anna Long The Hon Ian Macphee AO and Mrs Julie Macphee Eleanor and Phillip Mancini Dr Julianne Bayliss In memory of Leigh Masel Ruth Maxwell Jenny McGregor AM and Peter Allen Glenda McNaught Ian Morrey and Geoffrey Minter 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 Penny Shore Dr Sam Smorgon AO and Mrs Minnie Smorgon John So 18 Dr Michael Soon Lady Southey AC Jennifer Steinicke Dr Peter Strickland Pamela Swansson Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher 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 Richard Ye Panch Das and Laurel Young-Das Anonymous (21) TRUSTS AND FOUNDATIONS Collier Charitable Fund Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation The Marian and E.H. Flack Trust Freemasons Foundation Victoria Gandel Philanthropy The Harold Mitchell Foundation The Pratt Foundation The Robert Salzer Foundation Sidney Myer MSO Trust Fund Telematics Trust International Music and Art Foundation ARTIST CHAIR BENEFACTORS Associate Conductor Chair Benjamin Northey Anthony Pratt Orchestral Leadership Chair Joy Selby Smith Cybec Assistant Conductor Chair Tianyi Lu The Cybec Foundation Associate Concertmaster Chair Sophie Rowell The Ullmer Family Foundation 2018 Soloist in Residence Chair Anne-Sophie Mutter Marc Besen AC and Eva Besen AO Cybec Young Composer in Residence Ade Vincent The Cybec Foundation CHAIRMAN S CIRCLE Marc Besen AC and Eva Besen AO The Gross Foundation Harold Mitchell Foundation David and Angela Li Harold Mitchell AC MS Newman Family Foundation Lady Potter AC CMRI Joy Selby Smith The Cybec Foundation The Pratt Foundation The Ullmer Family Foundation Anonymous (1) ADOPT A MUSICIAN CHAIRS Second Violin Chair Matthew Tomkins The Gross Foundation Viola Chair Chris Moore Di Jameson Cello Chair David Berlin MS Newman Family Foundation Flute Chair Prudence Davis Anonymous Timpani Chair Lady Potter AC CMRI Associate Second Violin Monica Curro Danny Gorog and Lindy Susskind Assistant First Violin Peter Edwards John McKay and Lois McKay First Violin Sarah Curro Michael Aquilina First Violin Kathryn Taylor Michael Aquilina Second Violin Freya Franzen Anonymous Second Violin Andrew Hall Andrew and Judy Rogers Viola Lauren Brigden Mr Tam Vu and Dr Cherilyn Tillman Viola Chris Cartlidge Michael Aquilina Cello Miranda Brockman Geelong Friends of the MSO Cello Rohan de Korte Andrew Dudgeon AM Cello Michelle Wood Andrew and Theresa Dyer Double Bass Stephen Newton Sophie Galaise and Clarence Fraser Oboe Ann Blackburn The Rosemary Norman Foundation French Horn Abbey Edlin Nereda Hanlon and Michael Hanlon AM Percussion John Arcaro Tim and Lyn Edward PROGRAM BENEFACTORS Cybec 21st Century Australian Composers Program The Cybec Foundation East Meets West Supported by the Li Family Trust Meet The Orchestra Made possible by The Ullmer Family Foundation MSO Audience Access Crown Resorts Foundation, Packer Family Foundation MSO Building Capacity Gandel Philanthropy (Director of Philanthropy) MSO Education Supported by Mrs Margaret Ross AM and Dr Ian Ross MSO International Touring Harold Mitchell AC MSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, The Robert Salzer Foundation The Pizzicato Effect Anonymous, Collier Charitable Fund, The Marian and E.H. Flack Trust, Schapper Family Foundation, Scobie and Claire Mackinnon Trust, Supported by the Hume City Council s Community Grants Program Sidney Myer Free Concerts Supported by the late Sidney Myer and the University of Melbourne 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 19

11 CONDUCTOR S CIRCLE Current Conductor s Circle Members Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Mrs Jenny Brukner and the late Mr John Brukner Ken Bullen Peter A Caldwell Luci and Ron Chambers Beryl Dean Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite Mr Derek Grantham Marguerite Garnon-Williams Drs L C Gruen & R W Wade Louis Hamon OAM Carol Hay Tony Howe Laurence O'Keefe and Christopher James Audrey M Jenkins John 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 Suzette Sherazee Michael Ryan and Wendy Mead Anne Kieni-Serpell 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 (26) The MSO gratefully acknowledges the support of the following Estates: Angela Beagley Neilma Gantner The Hon Dr Alan Goldberg AO QC Gwen Hunt Audrey Jenkins Joan Jones Pauline Marie Johnston Joan Jones 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 Jennifer May Teague Jean Tweedie Herta and Fred B Vogel Dorothy Wood 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+ (Platinum) The MSO Conductor s Circle is our bequest program for members who have notified of a planned gift in their Will. Enquiries P (03) E philanthropy@mso.com.au Honorary Appointments Sir Elton John CBE Life Member Lady Potter AC CMRI Life Member Geoffrey Rush AC Ambassador THE MSO HONOURS THE MEMORY OF John Brockman OAM Life Member The Honourable Alan Goldberg AO QC Life Member Ila Vanrenen Life Member Signifies Adopt an MSO Musician supporter 20 21

12 SUPPORTERS SUPPORTERS SUPPORTERS SUPPORTERS Yes! I want to make a difference to the community by supporting the MSO s Month of Giving. PRINCIPAL PARTNER PRINCIPAL PRINCIPAL PARTNER PARTNER Name Address GOVERNMENT PARTNERS GOVERNMENT GOVERNMENT PARTNERS PARTNERS Phone Enclosed is my contribution of: $50 $100 $150 Other PREMIER PARTNERSPREMIER PREMIER PARTNERS PARTNERS VENUE PARTNER VENUE PARTNER VENUE PARTNER CREDIT CARD VISA Mastercard AMEX Please charge in full $ or Please charge monthly instalments of $ (number of payments per year) Cardholder Card number WE ARE THE SOUND OF OUR CITY. Show your love for MSO. MAJOR PARTNERS MAJOR PARTNERS MAJOR PARTNERS MAJOR PARTNERS EDUCATION EDUCATION PARTNERS EDUCATION PARTNERS EDUCATION PARTNERS PARTNERS SUPPORTING SUPPORTING PARTNERS SUPPORTING PARTNERS SUPPORTING PARTNERS PARTNERS Expiry Signature (If you prefer to charge by phone, please contact Garry Stocks on ) CHEQUE ENCLOSED (payable to Melbourne Symphony Orchestra Pty Ltd) EFT TO NAB ACCOUNT MSO Fund BSB Account (include your name and 'Month of Giving' in payment description) ONLINE at mso.com.au/give I am interested in leaving a legacy of wonderful music for years to come: I have made a gift to the MSO in my Will I would consider including the MSO in my Will and would like more information At over 100 years old, the MSO has been around for nearly as long as Melbourne. We want to continue to be here for you, and all of Melbourne, year after year, season after season. Donate today mso.com.au/give Quest Southbank Quest Southbank Quest Southbank Quest Southbank Ernst & Young Ernst & Young Ernst & Bows Young Ernst for & Bows Strings Young for Strings Bows for Strings Bows for Strings TRUSTS AND TRUSTS FOUNDATIONS AND TRUSTS FOUNDATIONS AND TRUSTS FOUNDATIONS AND FOUNDATIONS The Scobie The and Scobie Claire The and Mackinnon Scobie Claire The and Mackinnon Trust, Scobie Claire Sidney and Mackinnon Trust, Claire Myer Sidney Mackinnon MSO Trust, Myer Trust Sidney MSO Trust, Fund Myer Trust Sidney MSO Fund Myer Trust MSO Fund Trust Fund MEDIA AND MEDIA BROADCAST AND MEDIA BROADCAST PARTNERS AND MEDIA BROADCAST PARTNERS AND BROADCAST PARTNERS PARTNERS PLEASE RETURN TO MSO s Month of Giving GPO Box 9994 Melbourne VIC 3001 All gifts over $2 are fully tax-deductible

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