TCHAIKOVSKY 5 13, 14 & 16 APRIL 2018 CONCERT PROGRAM

Transcription

1 TCHAIKOVSKY 5 13, 14 & 16 APRIL 2018 CONCERT PROGRAM

2 MELBOURNE SYMPHONY ORCHESTRA MUHAI TANG CONDUCTOR Melbourne Symphony Orchestra Muhai Tang conductor James Ehnes violin Brahms Tragic Overture Kernis Violin Concerto* *MSO co-commission and Australian premiere INTERVAL Tchaikovsky Symphony No.5 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. Muhai Tang is currently Chief Conductor and Artistic Director of the Tianjin Opera and Orchestra, and Artistic Director of the Shanghai Philharmonic and Zhenjiang Symphony Orchestras in China. He has held Conductor positions with orchestras such as the Royal Philharmonic Orchestra of Flanders and China National Symphony Orchestra. He was Chief Conductor of the Finnish National Opera. While Conductor of the Gulbenkian Orchestra he won a Grammy for his recording with them and Sharon Isbin of the guitar concertos of Tan Dun and Christopher Rouse. Muahi was Conductor of the Queensland Symphony Orchestra, 1991 to Other orchestras he has conducted since include the Berlin Philharmonic, Leipzig Gewandhaus Orchestra, Orchestre de Paris, and San Francisco Symphony Orchestra. Running time 2 hours, including 20 minute interval In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone. The MSO 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. mso.com.au 3

3 MEET THE ARTIST PROGRAM NOTES JAMES EHNES VIOLIN James Ehnes has appeared with orchestras such as the Boston Symphony, London Symphony, Deutsches Symphonie- Orchester Berlin and NHK Symphony Orchestra, Tokyo, and with conductors such as Vladimir Ashkenazy, Marin Alsop, Sir Andrew Davis, and David Robertson. James maintains a busy recital schedule. In 2016, he undertook a cross-canada recital tour for his 40th birthday. He is currently Artistic Director of the Seattle Chamber Music Society. His recordings reflect a repertoire ranging from Adams to Bach. Recent live performances have included the World and American Premieres of Aaron Jay Kernis s Violin Concerto. He is the Concerto s exclusive soloist until James made his orchestral solo debut with the Orchestre symphonique de Montréal at 13. He plays the Marsick Stradivarius of JOHANNES BRAHMS ( ) Tragic Overture, Op.81 In 1880, Brahms spent the summer in the resort town of Ischl, where Vienna s rich and famous usually repaired in the warmer months to enjoy the rural scenery, the local spa, and the opportunity to rub shoulders with holidaying royalty. But Brahms had work to do, needing to write an orchestral piece, the light-hearted Academic Festival Overture based on student songs, as thanks for an Honorary Doctorate soon to be conferred on him by Breslau University. But during the same summer he also composed a very different companion piece, some of it based on sketches dating back to the 1860s, and which he had trouble naming. You may include a dramatic or tragic or Tragedy Overture in your program for January 6, he wrote to the Breslau concert organisers. I cannot find a proper title for it. Eventually he settled on Tragic Overture, but no one could say exactly what, if any, the tragic programmatic elements were. Some thought it might bear hallmarks of incidental music originally intended for an abandoned stage production of Goethe s Faust. Others pointed toward Brahms fascination with Shakespeare, still others suggested that the juxtaposition of comedy and tragedy in the Greek theatre tradition had inspired a Tragic Overture to accompany a Festival one. For his part, all Brahms would say was that I could not refuse my melancholy nature the pleasure of writing a Tragic Overture as well [as the Academic Festival Overture]. One laughs, the other weeps. In a loose sonata form, with three main subjects, the Overture justifies its Tragic title from the outset with its arresting opening chords, strident main theme, and continued use throughout of hammer blows to underscore the drama. Some have likened it to a mini-symphony, particularly in a middle passage where the horns play a distinctively Brahmsian call of longing over shimmering string chords, and in its characteristically turbulent returns of the main themes and emphatic coda. One of Brahms very few purely orchestral works outside his four symphonies, it was premiered by the Vienna Philharmonic under Hans Richter in December In several performances early in the following year some conducted by Brahms himself it appears to have baffled its audiences and didn t gain immediate acceptance. But Brahms enjoyed it enough to make various piano transcriptions of it that he played with Clara Schumann and other friends, another indication that this avowedly tragic work had been composed, as he himself Martin Buzacott 2012 The Melbourne Symphony Orchestra first performed Brahms Tragic Overture on 10 and 12 November 1945 conducted by Joseph Post, and most recently on 5-7 June 2014 with Olari Elts. AARON JAY KERNIS (born 1960) Violin Concerto Chaconne Ballad Toccatini MSO co-commission and Australian premiere James Ehnes violin In 2007 I unexpectedly heard from the BBC in London asking me to write a recital piece for a violinist whose playing I wasn't familiar with. Once supplied with some recordings it was clear he was a great (young) master at the instrument, and I unhesitatingly agreed. Out of that came my first collaboration with James Ehnes, Two Movements (with Bells), a piece that he has now played many times and recorded, and from him followed the enthusiastic request to write a concerto. Making (playing, writing, and listening to) music is indeed a journey, often coming when you least expect it, and this one leads directly to now and this big new Violin Concerto. The back story - I played the violin (not so well) from the time I was but gave it up to focus on the piano and composing. But I ve retained a great love of writing for strings and their singing quality, and many of my major pieces over the years are for strings. Since 2009 I ve had the good fortune to write a whole batch of concertos for various wonderful players and combinations cello, viola, flute, trumpet, chamber orchestra, piano, with one for horn upcoming. I ve tried to make them all different, and keep their forms, content and expression fresh for me and for listeners. This newest work for James Ehnes is formed out of the essential three movement form that many bedrock concertos of the past are built: 1) the largest, most searching arguments first, followed by the 2) shorter, slower lyrical utterance, and ending with the even shorter 3) fast, zippy, often hairraisingly difficult closer. But here there is much that differs from the past. 4 5

4 The first movement is Chaconne, and comes distantly from the Baroque form of a set of variations over a repeated series of chords. This is the most dramatically charged and changeable movement, with the opening downward melody/chord progression in the violin being the basis of all that follows. This theme is constantly varied in character and colour over the entire movement, and returns in its original, most dramatic statement at its end. Ballad is the songful, jazz/french-tinged lyrical middle movement, with an angular, wrenching center. The language of Two Movements (with Bells) returns here with hints of the blues and the influence of the harmony of composer Olivier Messiaen, an idol of mine. Finally, the energy of Toccatini closes the piece. A Toccata is a virtuoso, fast touch-piece from the Baroque. I thought this would be a tiny or teeny toccata, and the idea of creating a new martini the Toccatini (I ll suggest it to the management for this premiere week) helped get me through the post-u.s. election torpor. This is a not-atypical Kernis-ian mashup bits of jazz, hints of Stravinsky/Messaien, machine-music, wild virtuoso strings of notes all over the violin give James ever more chances to show his mettle its showcases his great ability to shape many thousands of notes with flair and joy. The Concerto is dedicated to James Ehnes, with great admiration and friendship, and was generously commissioned by four splendid Orchestras and Music Directors for James Ehnes: the Toronto Symphony and Peter Oundjian; Seattle Symphony and Ludovic Morlot with the generous support of the Norma and Don Stone Fund for New Music; the Dallas Symphony and Jaap Van Zweden; and the Melbourne Symphony and Sir Andrew Davis. Aaron Jay Kernis 2017 PETER ILYICH TCHAIKOVSKY ( ) Symphony No.5 in E minor, Op.64 Andante Allegro con anima Andante cantabile, con alcuna licenza Valse (Allegro moderato) Andante maestoso Allegro vivace After completing his Fourth Symphony (1877), Tchaikovsky wrote to his former pupil Sergey Taneyev: I should be sorry if symphonies that mean nothing should flow from my pen. He insisted that the Fourth definitely followed a program, even though, like Beethoven s Fifth Symphony on which he had partly modelled the work, it could not be expressed in words. Circumstantial evidence suggests that Tchaikovsky s own Fifth Symphony, composed in summer 1888, likewise could not mean nothing, and even if a precise meaning will probably never emerge, Tchaikovsky did leave clues as to the direction of his thoughts. Fate and providence were certainly on his mind, having in mid-1887 spent two distressing months at the bedside of a dying friend. Later in his sketchbook he verbally outlined a first movement whose slow introduction began with total submission to fate, followed by an allegro that introduced murmurs, doubts, laments, reproaches before considering succumbing to the embrace of faith. He described this as a wonderful program, if only it can be fulfilled. Although no irrefutable evidence links this plan directly with the 1888 symphony, the Fifth s main theme does lend itself to a musical personification of grim fate (in its minor form) and of beneficent providence (in its major form), and a journey from the first to the second is a plausible program, if not for the opening movement (which ends in the minor), then for the whole work. The main theme (played at the outset by solo clarinet) also pays homage to the man Tchaikovsky called the father of Russian music, Mikhail Glinka. He borrowed the germinal first eight-note phrase from Glinka s opera A Life for the Czar, where it opens the second half of a melody sung in succession by all three principal characters in the first act trio. But Tchaikovsky develops Glinka s melodic fragment (first sung to the words Do not turn to sorrow ) into an entirely new motto theme whose subliminal transformations and literal reprises bind the symphony s four movements together. The first transformation is into the dance-like theme of the Allegro con anima announced by clarinet and bassoon. The horn melody in the second movement is one of the most beautiful in all of Tchaikovsky s music. He actually scribbled on a sketch of this melody (in French): I love you, my love! But it is more than just a love theme; it, too, is subtly related to the motto (of the motto s first eight notes, it is a varied reworking of the last five). This connection is made explicit when the undisguised motto returns, portentously with trumpets and kettledrums, just before the reprise of the love theme. Tchaikovsky called the third movement a waltz, a modestly understated example compared with his great ballet waltzes, but one whose easy mood makes it a perfect structural foil to the slow movement s passionate intensity. It may well be significant that he crafted the tune out of snippets of a Tuscan folksong, called La Pimpinella, that he heard in Florence in 1877, sung by (as he noted) a positively beautiful young (male) street-singer. Certainly significant, the waltz tune also audibly echoes the rhythm of the preceding movement s soulful horn theme, of which it is essentially a faster, lighter reworking. The same rhythm also reappears in the sinuously exotic subsidiary tune introduced by the bassoon. But only once does the motto itself intrude on this pleasant reverie, from clarinets and bassoons, right at the movement s close. The motto returns fully, in major mode, as a solemn march, introducing the fourth movement, sumptuously scored with all the violins playing down low in unison with the cellos, passing next to the woodwinds, before trumpets and kettledrum signal the imminent Allegro vivace. Tchaikovsky energises the motto s second, falling-scale element to create a new minor-key theme that launches further transformations and combinations of germinal fragments, underpinned by the quick tick-tock of bassoons, kettledrums and basses, plateauing out on a brilliantly shrill majorkey woodwind chorus. Winding down and then up again through more furious returns of the minor-key theme, a massive climax builds, breaking back into the now almost unbearably splendid march, the motto s apotheosis capped at the last possible moment by a trumpet reprise of the first movement s allegro theme. Graeme Skinner 2014 The Melbourne Symphony Orchestra first performed this symphony on 9 May 1942 under the baton of Sir Bernard Heinze, and most recently at the Sidney Myer Free Concert on 20 February 2016 with Joshua Weilerstein. 6 7

5 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 # Natsuko Yoshimoto*^ Guest 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* 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 Madeleine Jevons* 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* 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* Zoe Knighton* DOUBLE BASSES Steve Reeves Andrew Moon Associate Sylvia Hosking Assistant Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser # Shannon Birchall* FLUTES Prudence Davis Anonymous # Wendy Clarke Associate Sarah Beggs PICCOLO Andrew Macleod 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 Malcolm Stewart*⁰ Guest Saul Lewis Third Abbey Edlin Nereda Hanlon and Michael Hanlon AM # Trinette McClimont Alexander Morton* Ian Wildsmith* TRUMPETS Shane Hooton Associate Tristan Rebien* Guest Associate William Evans Rosie Turner TROMBONES Brett Kelly Ashley Carter* Guest Associate Richard Shirley Mike Szabo Bass Trombone TUBA Timothy Buzbee Scott Watson* # Position supported by * Guest Musician ^ Courtesy of Adelaide Symphony Orchestra Courtesy of University of Kansas + Courtesy of London Symphony Orchestra ⁰ Courtesy of Queensland Symphony Orchestra TIMPANI Tony Bedewi* + Lady Potter AC CMRI # PERCUSSION Robert Clarke John Arcaro Tim and Lyn Edward# Robert Cossom HARP Yinuo Mu PIANO/CELESTE Louisa Breen* 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 8 9

6 '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. Find your Art Embrace the arts from Australia and around the world. Adopt Harp, Yinuo Mu, or any of our wonderful musicians today. mso.com.au/adopt

7 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 Applebay Pty Ltd 12 13

8 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 14 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 15

9 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 16 17

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