Ravel s Bolero with Sibelius 7

Transcription

1 Ravel s Bolero with Sibelius 7 Geelong Series Friday 17 July at 8pm Costa Hall, Deakin University Geelong Saturday Matinees Saturday 18 July at 2pm Arts Centre Melbourne Hamer Hall PRINCIPAL PARTNER

2 What s On July October YUJA WANG PLAYS PROKOFIEV Thursday 23 July Friday 24 July Saturday 25 July Chinese piano superstar Yuja Wang brings her acclaimed virtuosity to Prokofiev s tempestuous Second Piano Concerto, in a program that includes Tchaikovsky s Marche Slave and Brahms luminous fourth and final symphony. 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. 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. SCHEHERAZADE Thursday 1 October Friday 2 October Monday 5 October Under the baton of Jakub Hrůša, the overture to Smetana s comic opera The Bartered Bride opens a dazzling night of music. Dvořák s Violin Concerto is followed by Rimsky-Korsakov s Scheherazade, a vivid orchestral work inspired by the tales of the Arabian 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 Ravel s Bolero with Sibelius 7 MELBOURNE SYMPHONY ORCHESTRA Welcome to this intriguing program, conducted by MSO Associate Conductor Benjamin Northey. This year marks the 150th anniversary of the birth of Jean Sibelius, Finland s great cultural monument. The first part of this concert features two of his most celebrated works: the intense Valse triste, and the extraordinary one-movement Symphony No.7. The second half of this concert consists of two, dramatically different works. The first is the world premiere of Dances with Devils, by Australian composer Iain Grandage; this is a percussion concerto written for, and performed by, Sydney-born Claire Edwardes. Dubbed the sorceress of percussion, this performance by Edwardes will surely enthral and excite. The program concludes with another piece in which percussion plays a vital role: Ravel s sinuous Bolero. But the sum of Bolero s parts is nothing less than the entire orchestra. As Leonard Bernstein remarked, the work winds itself up to the biggest orchestral scream you ever heard. You have been warned. 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. André Gremillet Managing Director RAVEL S BOLERO WITH SIBELIUS 7 3

4 Melbourne Symphony Orchestra Benjamin Northey conductor Claire Edwards percussion SIBELIUS Valse triste SIBELIUS Symphony No.7 Interval 20 minutes GRANDAGE Percussion Concerto Dances with Devils RAVEL Bolero This concert runs for a duration of two hours including one 20 minute interval. Saturday afternoon s concert will be recorded for later broadcast around Australia on ABC Classic FM. Pre-Concert Talks 7pm Friday 17 July Onstage, Costa Hall 1pm Saturday 18 July Stalls Foyer, Hamer Hall Dr Michael Christoforidis will present a talk on the artists and works featured in the program. ABOUT THE ARTISTS Benjamin Northey conductor Benjamin Northey has rapidly emerged as one of the nation s leading musical figures. He holds the Patricia Riordan Associate Conductor Chair of the Melbourne Symphony Orchestra. Internationally, he has conducted the London Philharmonic Orchestra, Mozarteum Orchestra Salzburg, Hong Kong Philharmonic, National Symphony Orchestra of Colombia, New Zealand and Christchurch Symphony Orchestras, and the Southbank Sinfonia of London. In Australia, Northey has made many critically-acclaimed appearances as a guest conductor with the six state symphony orchestras as well as leading seasons of L elisir d amore, The Tales of Hoffmann, La sonnambula, Don Giovanni and Così fan tutte. In 2015, he returns to all the major Australian orchestras, the HKPO, the NZSO and conducts Turandot for Opera Australia. In 2015 he also holds the position of Chief Conductor of the Christchurch Symphony Orchestra. Claire Edwards percussion Internationally acclaimed percussion soloist, chamber musician and co-artistic director of Ensemble Offspring, Claire Edwardes has been described by the press as a sorceress of percussion, performing with spellbinding intensity and graceful virtuosity. She was recently granted a prestigious Australia Council Music Fellowship, is the two-time recipient of the APRA/AMCOS Art Music Award for her contribution to Australian music (2007 and 2012) and winner of the 1999 ABC Symphony Australia Young Performers Award. From Claire was resident in Europe where she had success in numerous international instrumental competitions, and performed solo at the Concertgebouw in Amsterdam and the Queen Elizabeth Hall in London. Claire is a champion of new music in Australia and abroad, having worked closely with composers such as Sir Harrison Birtwistle, Michel van der Aa and Ross Edwards. Claire is endorsed by Mike Balter Mallets and Adams Percussion. She teaches percussion at the Sydney Conservatorium of Music and currently balances her life as a mother of two young girls with a busy concert schedule in Australia and abroad. 4 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

5 ABOUT THE MUSIC Jean Sibelius ( ) Valse triste, Op.44 No.1 It s not quite enough to say that Sibelius lived at a time when many notable composers wrote incidental music for the theatre. Many major theatres supported permanent orchestras in the decades around the turn of the 20th century. Yet Scandinavia was something of a special case, for the theatre was a particularly important forum for new ideas about the nature of drama. The work of Ibsen, Strindberg and Bjørnson tells us something of this vitality, as does the pervasiveness of the symbolist movement. A case in point is the play Kuolema (Death) by Sibelius brother-in-law Arvid Järnefelt. It tells of the life of a virtuous man, Paavali, in episodes ranging from the death of his mother through to his marriage, his family life, his charitable deeds and, finally, his passing. The play was staged for the first time in December 1903 in the Finnish National Theatre, Helsinki. Sibelius wrote six numbers in all for the play and, when it was revised for a 1911 staging, created two further pieces. But unlike his earlier music for the play King Christian II, or his later work for Pelléas et Mélisande and The Tempest, he did not make a concert suite out of the Kuolema music. He did, however, extract some music from the score for independent performance. In the play, a crane brings a baby to Paavali and his wife Elsa. Sibelius used the music from this section for his concert piece Scene with Cranes (1906); but not long after Kuolema was first performed, he re-scored and re-shaped the play s very first number into a piece that would cross almost all the musical boundaries of the day, making its presence felt in concert halls, tea shops and dance palaces all over the Western world. In Kuolema s first scene, Paavali is at the bedside of his dying mother. She tells him that she has dreamed she has gone to a ball. Then, as Paavali falls asleep during his vigil, Death comes to his mother; she mistakes him for her late husband, and dances with him. When Paavali awakens, his mother is dead. Sibelius modified the music for this scene to become Valse triste, one of his most popular works. Ironically, Sibelius sold the rights to Valse triste outright to its publisher and was never paid any royalties for it. He would write many pieces of light music subsequently, but none that achieved its pervasive popularity. Abridged from an annotation Phillip Sametz The Melbourne Symphony Orchestra first performed Valse triste at a Finnish Relief Funds concert on 12 April 1940 under conductor Georg Schnéevoigt. The MSO s most recent performances were during a 1998 regional tour of Victoria with Brad Cohen. Symphony No.7 in C, Op.105 Gustav Mahler visited the Finnish capital of Helsinki in 1907, and met Jean Sibelius. In the course of their conversation, Sibelius expressed his view that the essence of symphonic composition was a severity of style and the profound logic that creates an inner connection between all the motifs. Mahler s famous retort was, No! The symphony must be like the world. It must embrace everything. As if to bear this out, Mahler s symphonies, never overly concise, become progressively more expansive, where the history of Sibelius symphonies is, broadly speaking, one of increasing compression and economy, culminating in the single-movement, 22-minute Seventh Symphony composed in As a young man, Sibelius developed a deep interest in the folk history of his native country. His most obviously nationalistic works are those based on the Kalevala collection of myths and legends, and the celebrated Finlandia, written at a time of severe repression of the Finns by their Russian overlords. By the time of the last three symphonies and the tone poem Tapiola, Sibelius interest in mythology seems less to do with simple nationalism than with a nature-based mysticism. Since 1904 Sibelius and his family had lived among the conifers and lakes of rural Finland, some 40 kilometres from Helsinki. Here, said Sibelius, the silence speaks. And through his music it spoke of the cosmos. RAVEL S BOLERO WITH SIBELIUS 7 5

6 ABOUT THE MUSIC This is nowhere truer than in the Seventh Symphony, which, as Donald Tovey said of Beethoven s Eighth, is tiny but vast. It was to have been a three-movement piece culminating in a Hellenic rondo, though what we hear is decidedly more Nordic than Greek. Having decided on the one-movement form, Sibelius was diffident about calling it a symphony at first, preferring Symphonic Fantasia which also suggests some extramusical intention. In some respects it is tempting to see the piece as a symphony in miniature, and we can isolate elements which correspond to a Classical symphony s exposition, development and recapitulation of themes, as well as sections which stand in for slow introduction, scherzo and so on. But the measure of Sibelius genius and craft is that it is almost impossible to tell where one section ends and another begins, and his technique, termed rotational form by one writer, of exactly repeating thematic material gives the music a sense of potentially endless invention. There are, nonetheless, a few signposts. The piece begins slowly with a simple, unaccompanied rising scale which is topped by an unexpected chord. The ensuing section is dominated by blurred chords and short motifs (notably from the woodwinds) as the music gradually gains momentum for the next four or so minutes. A spacious passage for divided strings introduces the main theme of the work, a majestic and extended melody for trombone. This gives way, imperceptibly yet again, to a kind of scherzo, dominated by terse rhythmic fragments passed back and forth from woodwinds to strings; suddenly there appears an oceanic swell in the lower strings above which the trombone theme returns in the minor mode. This galvanising moment marks the halfway point of the symphony. There follows a section which sounds like new material but is in fact based on transformations of what has gone before, and which gradually morphs into another scherzo-like section, before a third statement of the trombone theme. The blurred harmonies of the opening dominate the work s last pages: even the final C major chord is not achieved without difficulty. English composer Robert Simpson once wrote that Sibelius Seventh Symphony is like a great planet in orbit, its movement vast, inexorable, seemingly imperceptible to its inhabitants. As it happens, a version of the trombone melody appears in Sibelius sketch for another, unfinished work, labelled Where the stars dwell ; but even without that clue it is hard not to hear this work as cosmic in its endlessly changing details and underlying unity. Abridged from an annotation by Gordon Kerry 2002 The Melbourne Symphony Orchestra gave the first Australian performance of this work, on 21 August 1937 under conductor Georg Schnéevoigt. The MSO most recently performed it in August 1999 with conductor Paavo Järvi. MSO Roses empowers philanthropists who share a passion for orchestral music, a love for the Melbourne Symphony Orchestra and the desire to make a difference. UPCOMING EVENT How music inspires me Enjoy lunch and conversation at Sofitel Melbourne on Collins, followed by a panel discussion featuring corporate executive Margaret Jackson AC, neurosurgeon Dr Kate Drummond and architect Yvonne von Hartel AM. 23 July at 12.30pm, Sofitel Melbourne on Collins Free to MSO Roses and $95 for non-members BOOK NOW (03) or msoroses@mso.com.au

7 Iain Grandage (born 1970) Dances with Devils Percussion Concerto I The Chosen Vessel II The Conquering Bush III The Drover s Wife IV Lola Montez Claire Edwardes percussion WORLD PREMIERE The Australian Bush that great mythic landscape has always held a particular grasp on the psyche of white Australians. It is the great unknown beyond the realms of our control, and source of many subliminal fears. Indigenous Australians are more than aware of the power and mystery held within the earth, but those are not my stories to tell or my songs to sing. This work is instead a response to a series of short stories that reside within the Australian Gothic literary tradition of the 19th century, a tradition where the tropes of the old world ghosts, spectres, haunted houses and mythological beasts were transposed and transformed into events and situations that had particular resonance with the Australian colonial experience. The opening movement of Dances with Devils revolves around Barbara Baynton s 1896 short story The Chosen Vessel. This concise masterwork tells of the terror of a young woman one twilight, who is dreading the return of a swagman to her isolated hut. On hearing a passing horse, she mistakes it for a saviour. However, the rider is a young religious man who mistakes her for a ghost in her flowing nightgown, with her cries of For Christ s Sake, and refuses to stop. She falls victim to the lurking swagman. The movement features the marimba and is dominated by triplet rhythms redolent of horse hooves. The second movement is a subdued sarabande, based on Edward Dyson s The Conquering Bush, a story in which a woman, unable to cope with the searing, incessant noise of the birds around her bush home, chooses a drowning death for her and her child instead. It features series of instruments being transformed in pitch and timbre by water. The third movement is a traditional scherzo, launching from a moment within Henry Lawson s famous story The Drover s Wife, where the principal female character dreams of a different life, far from the bush. This is juxtaposed with harsher sections that reflect the reality of her current situation namely staying awake all night in a bush hut, awaiting a snake s reappearance. The final movement provides a moment of hope amongst the gothic landscape. It is a tarantella inspired by Lola Montez, whose famed Spider Dance was the talk of the goldfields when she toured Australia in the 1850s. I am indebted to Claire Edwardes for all she has brought to this collaboration. Claire s energy, virtuosity and musical competence redresses the seemingly impossible imbalance between a solitary soloist and the massed forces of a symphony orchestra that is inherent within the concerto format. She stands strong against that conquering noise and casts doubt and darkness aside. I love her for it. Dances with Devils was commissioned by Symphony Services International on behalf of its member orchestras. Iain Grandage 2015 About the composer Iain Grandage composes, conducts and performs. He has received the prestigious Sidney Myer Performing Arts Award, the Ian Potter Emerging Composer Fellowship, and has been Composer-in-Residence with the West Australian Symphony Orchestra, and Musician-in- Residence at the UWA School of Music, where he is currently an Honorary Research Fellow. He has won five Helpmann Awards (Best Original Score Cloudstreet, The Secret River, When Time Stops; Music Direction Little Match Girl, Secret River) and six Green Room awards. Maurice Ravel ( ) Bolero Poor Ravel. He was joking when he described Bolero as a masterpiece without any music in it so was very annoyed when the piece became one of his best-known works. In fact it came about when he was asked by Ida Rubenstein to orchestrate parts of Albéniz s Iberia for a ballet with a Spanish character in It is a common and inaccurate cliché that the best Spanish music was written by non- Spaniards, but it does contain a grain of truth. Musicians from all over Europe were drawn to Spain or to an idea of Spain because of its relative exoticism and its musical traditions that include an estimated 1,000 different dance forms. In much of his music, like the opera The Spanish Hour and the late Don Quixote songs, Ravel explores Spanish sounds and manners. In this case, though, it turned out that the rights to Albéniz s music were not available, so Ravel composed his Bolero, based on an 18th-century Spanish danceform which is characterised by a moderate tempo and three beats to a bar. It has no music in that a simple theme is reiterated over and over again, embodied in different orchestral colours each time, including that marvellous moment where it appears in three keys simultaneously. The work has been used and abused in various films but it remains a masterpiece after all, its inexorable tread building massive tension which is released explosively in the final bars. Gordon Kerry 2007 The Melbourne Symphony Orchestra first performed Ravel s Bolero in September 1946 at a Young People s concert under conductor Bernard Heinze, and most recently in February 2015 at the Chinese New Year concert with conductor Tan Dun. RAVEL S BOLERO WITH SIBELIUS 7 7

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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 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* Jacqueline Edwards* Robert John* Clare Miller* 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 Lynette Rayner* VIOLAS Christopher Moore Christopher Cartlidge Acting Associate Lauren Brigden Katharine Brockman Simon Collins Gabrielle Halloran Trevor Jones Fiona Sargeant Cindy Watkin Caleb Wright William Clark* Douglas Coghill* 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 Daniel Smith* DOUBLE BASSES Steve Reeves Andrew Moon Associate Sylvia Hosking Assistant Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Young-Hee Chan* Emma Sullivan* FLUTES Prudence Davis Flute Chair Anonymous Wendy Clarke Associate Sarah Beggs PICCOLO Andrew Macleod OBOES Jeffrey Crellin Ann Blackburn COR ANGLAIS Michael Pisani CLARINETS David Thomas Philip Arkinstall Associate Craig Hill BASS CLARINET Jon Craven BASSOONS Jack Schiller Lyndon Watts* Guest Elise Millman Associate Natasha Thomas CONTRABASSOON Brock Imison HORNS Zora Slokar Geoff Lierse Associate Saul Lewis Third Jenna Breen Abbey Edlin Trinette McClimont Deborah Hart* TRUMPETS Geoffrey Payne Shane Hooton Associate William Evans Julie Payne TROMBONES Brett Kelly Tim Dowling* BASS TROMBONE Mike Szabo TUBA Timothy Buzbee Jason Catchpowle* TIMPANI Christine Turpin PERCUSSION Robert Clarke John Arcaro Robert Cossom HARP Yinuo Mu PIANO Louisa Breen* SAXOPHONES Tom Martin Jason Xanthoudakis* *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 RAVEL S BOLERO WITH SIBELIUS 7 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. 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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 Sir Andrew Davis conductor Kirill Gerstein piano RACHMANINOV S THIRD Sir Andrew Davis conducts a thrilling night of virtuosic composition, beginning with Rimsky-Korsakov s Dubinushka, an evocation of the revolutionary spirit ignited through Russian folk song. Russian-American pianist Kirill Gerstein displays his mastery of the formidable Rach 3, before Strauss autobiographical tone poem, Ein Heldenleben, brings the evening to a close. 20, 21 and 22 August at 8pm Arts Centre Melbourne, Hamer Hall BOOK NOW MSO.COM.AU (03)