Vivaldi s Four Seasons

Transcription

1 Vivaldi s Four Seasons Melbourne Recital Centre Series Thursday 25 June at 8pm Saturday 27 June at 6.30pm Elisabeth Murdoch Hall Melbourne Recital Centre Monash Series Friday 26 June at 8pm Robert Blackwood Hall Monash University, Clayton PRINCIPAL PARTNER

2 What s On July September BABE Saturday 11 July Sunday 12 July George Miller s Babe is an icon of Australian cinema. To coincide with its twentieth anniversary, the MSO and original soundtrack composer, Nigel Westlake, join forces to present the world premiere of Babe: The Twentieth Anniversary Concert, an exclusive all-ages screening with the Orchestra performing the film s score. 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 3 Thursday 20 August Friday 21 August Saturday 22 August Russian-American pianist Kirill Gerstein displays his mastery of the formidable Rach 3, conducted by Sir Andrew Davis, alongside Rimsky-Korsakov s Dubinushka and Strauss autobiographical tone poem, Ein Heldenleben. MOZART S PIANO CONCERTO No.17 Friday 28 August Saturday 29 August Monday 31 August The irrepressible overture to Rossini s La gazza ladra is set alongside works by Mozart and Messiaen, and the lush melodies of Brahms Symphony No.3. 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 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 Vivaldi s Four Seasons MELBOURNE SYMPHONY ORCHESTRA Welcome to this special concert that celebrates the glories of string music across the ages. It is hard to imagine that a suite of 12 concertos with the title Il cimento dell armonia e dell inventione (The Test of Harmony and Invention) could contain some of the most beloved pieces of music in the classical canon. The first four concertos, however, have collectively achieved universal fame under a more familiar name: The Four Seasons. Vivaldi s Baroque weather report is the perfect work to mark the first play-conduct performance with the MSO by its Concertmaster, Dale Barltrop, who joined us last year. Brisbane-born Dale who made his debut with the Queensland Symphony Orchestra when he was 15, is one of Australia s finest musicians and we are thrilled to have him with us. This concert also features J.S. Bach s Concerto for Two Violins, with Second Violin Matthew Tomkins as co-soloist, and Benjamin Britten s early work for strings, Variations on a Theme of Frank Bridge. I hope you enjoy every last note. André Gremillet Managing Director With a reputation for excellence, versatility and innovation, the Melbourne Symphony Orchestra is Australia s oldest orchestra, established in The Orchestra currently performs live to more than 200,000 people annually, in concerts ranging from subscription performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne s largest outdoor venue, the Sidney Myer Music Bowl. Sir Andrew Davis gave his inaugural concerts as Chief Conductor of the MSO in April 2013, having made his debut with the Orchestra in Highlights of his tenure have included collaborations with artists including Bryn Terfel, Emanuel Ax and Truls Mørk, the release of recordings of music by Percy Grainger and Eugene Goossens, a 2014 European Festivals tour, and a multi-year cycle of Mahler s Symphonies. The MSO also works each season with Guest Conductor Diego Matheuz, Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus. Recent guest conductors to the MSO have included Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. The Orchestra has also collaborated with nonclassical musicians including Burt Bacharach, Ben Folds, Nick Cave, Sting and Tim Minchin. The MSO reaches an even larger audience through its regular concert broadcasts on ABC Classic FM, also streamed online, and through recordings on Chandos and ABC Classics. The MSO s Education and Community Engagement initiatives deliver innovative and engaging programs to audiences of all ages, including MSO Learn, an educational iphone and ipad app designed to teach children about the inner workings of an orchestra. The Melbourne Symphony Orchestra is funded principally by the Australian Government through the Australia Council, its arts funding and advisory body, and is generously supported by the Victorian Government through Creative Victoria, Department of Economic Development, Jobs, Transport and Resources. The MSO is also funded by the City of Melbourne, its Partner, Emirates, corporate sponsors and individual donors, trusts and foundations. VIVALDI S FOUR SEASONS 3

4 Melbourne Symphony Orchestra Dale Barltrop violin / director Matthew Tomkins violin BRITTEN Variations on a Theme of Frank Bridge, Op.10 J.S. BACH Concerto for Two Violins in D minor, BWV.1043 Interval 20 minutes VIVALDI The Four Seasons This concert has a duration of approximately 2 hours including one 20 minute interval. Saturday night s performance will be recorded for delayed broadcast on ABC Classic FM. Pre-Concert Talks 7pm Thursday 25 June Onstage, Elisabeth Murdoch Hall 7pm Friday 26 June Foyer, Robert Blackwood Hall Megan Burslem will present a talk on the artists and works featured in this program. Post-Concert Conversation 8.30pm Saturday 27 June Onstage, Elisabeth Murdoch Hall Join MSO Assistant Second Violin Monica Curro for a post-concert conversation with tonight s soloist and MSO Concertmaster Dale Barltrop. ABOUT THE ARTISTS Dale Barltrop violin / director Brisbane-born violinist Dale Barltrop began his violin studies in Brisbane, where he made his solo debut at age 15 with the Queensland Symphony Orchestra. He later moved to the United States to complete tertiary studies at the University of Maryland and the Cleveland Institute of Music. Dale is currently Co-Concertmaster of the Melbourne Symphony Orchestra, and is also Concertmaster of the Vancouver Symphony Orchestra. Previously, he has held and Guest Concertmaster positions with the Australian Chamber Orchestra, the Camerata of St John s Chamber Orchestra and the Saint Paul Chamber Orchestra. Dale has performed at numerous music festivals across North America, including Mainly Mozart, Festival Mozaic, Music in the Vineyards, Yellow Barn, Kneisel Hall, Tanglewood and the New York String Seminar. He was a prize-winner at the Fischoff National Chamber Music Competition and winner of the violin division of the American String Teachers Association National Solo Competition. Dale has served on the faculty of the University of British Columbia and the Vancouver Academy of Music, and has taught at the National Orchestral Institute in Maryland and the Australian National Academy of Music. Matthew Tomkins violin Matthew Tomkins has been a member of the Melbourne Symphony Orchestra since 2000, and in 2010 was appointed to the position of Second Violin. Matthew s teachers included Marco van Pagee, Spiros Rantos and Mark Mogilevski, and he also holds a Bachelor of Engineering and a Bachelor of Science degree from the University of Melbourne. With the MSO he has toured throughout Europe and China and performed with artists as diverse as Nigel Kennedy, Charles Dutoit, KISS, and Tim Minchin. Matthew is a regular performer in the MSO Chamber Players series, as well as performing regularly with the Flinders Quartet and Melbourne Chamber Orchestra. He tutors for the Australian Youth Orchestra, and teaches chamber music and violin at the University of Melbourne. 4 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

5 ABOUT THE MUSIC Benjamin Britten ( ) Variations on a Theme of Frank Bridge, Op.10 Introduction and Theme Variation 1: Adagio Variation 2: March Variation 3: Romance Variation 4: Aria italiana Variation 5: Bourrée classique Variation 6: Wiener Waltzer Variation 7: Moto perpetuo Variation 8: Funeral March Variation 9: Chant Variation 10: Fugue and Finale Britten s Bridge Variations were among the first of his works to draw wide attention to a new voice in English music, a fresh gift not just of remarkable technical facility, but of a creative imagination unlike anything previously heard in 20thcentury English music; independent both of the folk-song revival and of Elgarian Romanticism. It was written as an urgent commission when Boyd Neel and his orchestra were asked to play a new English work as a condition of giving a concert at the Salzburg Festival of Britten completed the Variations in sketch form in ten days, and the full score was ready in four weeks. The composer thus gave early notice of an ability which would endear him to artistic managements he fulfilled his commissions on time. The assurance, indeed the technical brilliance, of the work cannot be underestimated, but was not unexpected to those familiar with the young Britten s previous achievement, both in writing for strings (Simple Symphony, 1934) and in variation form. Variation form came naturally to Britten, and he preferred it to sonata structures. The choice of theme and the dedication To F.B. A tribute with affection and admiration acknowledged Britten s debt of gratitude to the composer Frank Bridge ( ), who had first noticed Britten s talent when he was a boy at Gresham s School, Norfolk, and continued to encourage and help him during his studies at the Royal College of Music. The theme of the Variations comes from Bridge s Idyll No.2 for string quartet. It is first heard played by a solo violin after an introduction where fanfare-like figures act both as a call to attention and an intimation of the harmonic world of the Variations as a whole. The theme is immediately developed by the full strings. Thereafter, the relationship of the variation to the theme is rarely obvious, though the characteristic pattern of two falling fifths is often prominent. Not only is Britten s variation technique daringly free, but his parody technique surveys widely contrasting musical outlooks and is a guide to the elements, many of them European in origin, which were contributing to his new style of English music. The first variation, a violin recitative, shows the influence of Mahler. In the March of the second variation there is a suggestion of goose-stepping: Britten and many of his artistic contemporaries were preoccupied with the shadow of fascism falling across Europe in the late 1930s. The pizzicato bass which accompanies the neoclassical melody of the Romance is closely related to Bridge s theme. Britten s parody of the coloratura runs and trills of Rossinian opera in Variation 4 is an affectionate one. Perhaps the simple Vivaldian sequences of Variation 5 jibe at the neo-baroque compositions of the inter-war years; certainly Variation 6 guys the Viennese Waltz. After a virtuosic Moto perpetuo, comes a Funeral March whose evocative sonorities, of muffled drums for example, show what surprising sounds can be extracted from the string band. The influence of Mahler is felt here, and in the Chant, while the Fugue most strongly reveals the influence of Frank Bridge s craftsmanship. Finally Bridge s theme is heard in a fully harmonised setting, imposing a note of serious and meditative intensity which counterbalances the wit and brilliance of much that has gone before. David Garrett Melbourne Symphony Orchestra has performed this work on only two previous occasions: in 1949 with Bernard Heinze, and in 1963 with Maurice Clare. VIVALDI S FOUR SEASONS 5

6 ABOUT THE MUSIC Johann Sebastian Bach ( ) Concerto for Two Violins in D minor, BWV.1043 Vivace Largo ma non tanto Allegro Dale Barltrop violin Matthew Tomkins violin The musical theologian Albert Schweitzer, in his study of Bach, wrote of the violin concertos: We must put them in the category of which Forkel [Bach s first biographer] briefly and eloquently observes: One can never say enough of their beauty. There are some useful things, nevertheless, that can be said. Now that Vivaldi s concertos are better known we realise why Bach admired them so much his own concertos for violin were composed at Cöthen between 1717 and 1723, shortly after he got to know Vivaldi s music. The opening theme of this D minor concerto may be borrowed from Vivaldi s Op.1 No.11. Yet how different is Bach s opening from most of Vivaldi s! In place of Vivaldi s fiery and assertive unisons Bach presents his ideas in muscular counterpoint, with a superbly active bass line, interweaving parts and rhythmic drive helped by uneven phrase lengths. Bach s adaptation of his model presents a contrast between Vivaldi s Latin sensuality and Bach s Northern sensibility and argumentativeness. What remains like Vivaldi is the way the texture clears for the entries of the soloists, with their wide leaps and interchanging roles. The heart-easing singing of the soloists in the slow movement distracts anyone but a scholar from how it is put together, out of typically Baroque formulas: descending scales, rising and falling sequences, and repeated arpeggios as ostinatos. To refresh the ear after so much sustained playing Bach writes a transition in detached notes, leading towards a climax of intensity. The motor-like energy of the concluding movement is almost all derived from a three-note figure, heard at the beginning. Eventually two other figures come to join it: powerful, rich chords, and a rising and falling six-note theme of wider intervals. All this material is constantly exchanged between the soloists and the full ensemble. Abridged from an annotation by David Garrett 1997 The Melbourne Symphony Orchestra first performed this concerto in April 1940 with conductor Bernard Heinze and soloists Edouard Lambert and Ernest Llewellyn. MSO s most recent performance was in April 1986 with conductor Hiroyuki Iwaki and soloists Thomas Zehetmair and Adele Anthony. 6 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

7 ABOUT THE MUSIC Antonio Vivaldi ( ) Le quattro stagioni (The Four Seasons) Concerto in E, RV 269, La primavera (Spring) Allegro Largo Allegro Concerto in G minor, RV 315, L estate (Summer) Allegro non molto Adagio Presto Presto Concerto in F, RV 293, L autunno (Autumn) Allegro Allegro assai Adagio molto Allegro Concerto in F minor, RV 297, L inverno (Winter) Allegro non molto Largo Allegro Dale Barltrop violin Antonio Vivaldi died in Vienna in July 1741 and was buried in an unmarked grave. His music was rarely if ever played between then and the 1930s, when musicians in Italy began rediscovering Vivaldi s huge and varied output of works. With the interest of music scholars like Alfred Einstein, composer Alfredo Casella and poet Ezra Pound, the revival of Vivaldi began; by the end of the 20th century Vivaldi was once again one of the most popular and frequently performed composers. Despite his death in obscure poverty, Vivaldi had enjoyed great popularity and success during his lifetime. Born in Venice in 1678, Vivaldi began learning violin with his father, a professional musician. He began studying for the priesthood in his early teens, though this in no way would have been seen as conflicting with the expectation of a career in music. It should be noted, too, that in Vivaldi s time one was not obliged to enter a seminary; he was effectively apprenticed to an older priest and was eventually ordained. Although ordained a priest, Vivaldi spent his adult life as a composer and violinist. His works included some 500 concertos as well as many operas, instrumental sonatas and a large body of sacred music. He pioneered the solo concerto, rather than the more common concerto grosso which had, at the very least, a pair of solo instruments. This was in part a vehicle for his own virtuosity; his playing was clearly prodigious one contemporary describes how Vivaldi put his fingers but a hair s breadth from the bow, so that there was scarcely room for the bow. He also experimented with violin technique, developing methods like position shifts, the use of mutes and pizzicato to create new sounds and effects, often with specifically illustrative intent. Venice in Vivaldi s time was, as H.C. Robbins Landon puts it, a city past its prime, yet it maintained a rich and elaborate cultural life. A particular feature of the city was the establishment of a number of orphanages for girls that doubled as music academies. In 1703, the year he was ordained, Vivaldi began teaching at one such orphanage, the Ospedale della Pietà. In his capacity as director of music at the Pietà, Vivaldi composed the first known concertos for cello, bassoon, mandolin and flautino (sopranino recorder). On the available evidence, the students were very fine players indeed. The Four Seasons forms part of Il cimento dell armonia e dell inventione ( The Contest of Harmony and Invention ), Opus 8, which was published in 1725 in Amsterdam. The Four Seasons is a frankly programmatic work. French composers had a tradition of music imitating nature, but Vivaldi was one of the first Italian composers to experiment in this vein. Vivaldi s rhetoric exquisitely depicts the seasons progress, described also in sonnets (possibly written by him) which he affixed to the score. The bright opening of the first concerto reflects joy at the arrival of spring, and the soloist s entry sets off a chain reaction of trilling birdcalls over a static bass. Rippling passages suggest running water, and the menace of distant thunder can be heard before the birds sing again. In the slow movement, a goat-herd falls asleep among murmuring plants, not even disturbed by the repeated barking of his dog. In the finale Botticellian nymphs and shepherds perform a rustic dance with bagpipe drone. Summer s first movement embodies a sense of heat-struck lassitude with only the intrepid cuckoo and turtle-dove calling, as the shepherd fears the encroaching storm. This apprehension is carried over into the unquiet slow movement, before the storm arrives in all its fury in the finale. Autumn begins with peasants celebrating the harvest with dance and song, and, as the movement progresses, Vivaldi creates a striking musical image of drunkenness. In the slow movement, the peasants sleep off their binge, before going hunting in the finale. This contrasts cantering hunting music with the panic of the quarry, which is caught and killed. Snow, ice, chattering teeth and a cruel wind inform the first movement of Winter, but for the slow movement we go indoors and enjoy a crackling fire as the rain beats on the windows. The finale begins with ice-skating, weaving different voices in slow-moving elegant arcs. The ice cracks, the skater shivers, and the four winds are unleashed. Gordon Kerry 2005/2010 The Melbourne Symphony Orchestra first performed The Four Seasons in June 1954 with conductor Enrique Jorda and soloist Maurice Clare, and most recently in 2010 with James Ehnes as director/soloist. VIVALDI S FOUR SEASONS 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 Jacqueline Edwards* Robert John* 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 VIOLAS Christopher Moore Christopher Cartlidge Acting Associate Lauren Brigden Katharine Brockman Simon Collins Gabrielle Halloran Trevor Jones Fiona Sargeant Cindy Watkin Caleb Wright Ceridwen Davies* Isabel Morse* CELLOS David Berlin MS Newman Family Cello Chair Rachael Tobin Associate Nicholas Bochner Assistant Miranda Brockman Rohan de Korte Keith Johnson Sarah Morse Angela Sargeant Michelle Wood DOUBLE BASSES Steve Reeves Andrew Moon Associate Sylvia Hosking Assistant Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton 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 Elise Millman Associate Natasha Thomas CONTRABASSOON Brock Imison HORNS Zora Slokar Geoff Lierse Associate Saul Lewis Third Jenna Breen Abbey Edlin Trinette McClimont TRUMPETS Geoffrey Payne Shane Hooton Associate William Evans Julie Payne TROMBONES Brett Kelly BASS TROMBONE Mike Szabo TUBA Timothy Buzbee TIMPANI Christine Turpin PERCUSSION Robert Clarke John Arcaro Robert Cossom HARP Yinuo Mu HARPSICHORD Calvin Bowman* *Guest musician MANAGEMENT BOARD Harold Mitchell AC Chairman André Gremillet Managing Director Michael Ullmer Deputy Chair Andrew Dyer Danny Gorog Brett Kelly David Krasnostein David Li Ann Peacock Helen Silver 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 Lang Customer Service Coordinator Chelsie Jones Customer Service Officer DEVELOPMENT Leith Brooke Director of Development Arturs Ezergailis Donor and Patron Coordinator Jessica Frean MSO Foundation Manager Justine Knapp Major Gifts Coordinator Ben Lee Donor and Government Relations Manager Michelle Monaghan Corporate Development Manager James Ralston Corporate Development and Events Coordinator Judy Turner Major Gifts Manager VIVALDI S FOUR SEASONS 9

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

11 THANKS TO OUR WONDERFUL MSO SUPPORTERS George Golvan QC and Naomi Golvan, 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, H E McKenzie 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, Delina Schembri-Hardy, 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 and Miriam Tisher, Margaret Tritsch, 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 (17) 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) FOUNDATIONS AND TRUSTS The Annie Danks Trust Collier Charitable Fund Creative Partnerships Australia 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, 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 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 Eoin Andersen violin/director MOZART SYMPHONY No.40 Across the gulf of a century, Mozart and Stravinsky created distinctive music shaped and inspired by rich interrogations of classical forms. MSO Concertmaster Eoin Andersen leads Mozart s final Violin Concerto and the unmistakable melancholic strains of his Symphony No.40, alongside two masterful works by Stravinsky. 17 September at 8pm 19 September at 6.30pm Elisabeth Murdoch Hall Melbourne Recital Centre 18 September at 8pm Robert Blackwood Hall Monash University Clayton BOOK NOW MSO.COM.AU (03)