CONCERT PROGRAM Ears Wide Open Concert Three Tuesday 27 October at 6.30pm Melbourne Recital Centre
REPERTOIRE MELBOURNE SYMPHONY ORCHESTRA Ears Wide Open Concert Three Melbourne Symphony Orchestra Richard Gill conductor Tchaikovsky Serenade for Strings This concert has a duration of 60 minutes with no interval. With a reputation for excellence, versatility and innovation, the Melbourne Symphony Orchestra is Australia s oldest orchestra, established in 1906. 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 2009. Highlights of his tenure have included collaborations with artists including Bryn Terfel, Emanuel Ax and Truls Mørk, the release of recordings of music by Richard Strauss, Charles Ives, 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 non-classical musicians including Burt Bacharach, Ben Folds, Nick Cave, Sting and Tim Minchin. The Melbourne Symphony Orchestra acknowledges the Traditional Owners of the Land on which we perform The Kulin Nation and would like to pay our respects to their Elders and Community both past and present. 2
RICHARD GILL Richard Gill, OAM, is one of Australia s preeminent conductors and an internationally respected music educator. He is Founding Music Director and Conductor Emeritus of Victorian Opera and Artistic Director of the Education Program for the Sydney Symphony Orchestra. He has been Artistic Director of OzOpera, Artistic Director and Chief Conductor of the Canberra Symphony Orchestra, Director of Chorus at Opera Australia (then the Australian Opera), and Adviser for the Musica Viva In Schools program. He has conducted all of the major Australian symphony orchestras and youth orchestras, including conducting the Sydney Symphony Orchestra s Meet the Music and Family concerts and was previously the Dean of the West Australian Conservatorium of Music. 3
PETER ILYICH TCHAIKOVSKY (1840 1893) Serenade for Strings, Op.48 Pezzo in forma di sonatina (Andante non troppo Allegro moderato) Valse (Moderato, Tempo di Valse) Elegia (Larghetto elegiaco) Finale, tema russo (Andante Allegro con spirito) About the Composer Tchaikovsky was born in Votkinsk, in the Urals, where his father was a mining engineer. His musical education began with the orchestrion, a mechanical contraption that played popular operatic excerpts. He also began piano lessons in 1845. The family moved to St Petersburg in 1852, where Tchaikovsky attended the School of Jurisprudence. On graduating in 1859 he was employed at the Ministry of Justice, but attended classes run by the Russian Musical Society. Under the leadership of Anton Rubinstein, the Society founded the St Petersburg Conservatory in 1862, and Tchaikovsky enrolled in its first class, with Rubinstein as his composition teacher. After three years there, Tchaikovsky was invited by Rubinstein s equally illustrious brother, Nikolai, to teach harmony for the Moscow branch of the Russian Musical Society, which would soon become the Moscow Conservatory. Tchaikovsky s first major works date from the latter 1860s. Around 1868 he became, briefly, quite friendly with the group of composers known as the Kuchka ( The Five or Mighty Handful ), led by Mily Balakirev. Balakirev believed that Russian composers should create distinctly Russian music, unpolluted by the techniques of Western composition. Although Tchaikovsky had shown an early interest in folk music, and some of his music uses traditional melodies, he was an internationalist at heart, and by 1877 he had broken with the Five. Despite being homosexual, Tchaikovsky became engaged to the Belgian soprano Désirée Artôt in 1868. It didn t last. Still under the influence of Balakirev at this time, however, he wrote one of his greatest tone-poems, Romeo and Juliet (inspired by a romance with one of the students at the Moscow Conservatory). He would follow this with tone-poems Francesca da Rimini and The Tempest, after Shakespeare s play. In 1874 he began work on his First Piano Concerto. He played it through to Nikolai Rubinstein, who gave Tchaikovsky the benefit of his unvarnished views in one long crescendo of abuse. Tchaikovsky revised the piece, and Rubinstein revised his opinion; on Rubinstein s death in 1881, Tchaikovsky wrote his great Piano Trio in homage. Tchaikovsky saw no reason not to marry, and the hour produced the woman, in the form of Antonina Milyukova, in 1877. Actually, they had met some years before, but now Tchaikovsky received a series of love letters from her. This mirrored the circumstances of his greatest opera, Eugene Onegin (on which he was working at the time), in which the young Tatyana reveals her love for Onegin in a letter and is humiliated by his rebuff. There is no real evidence that a despairing Tchaikovsky tried to end it all in the freezing Moscow River, but within weeks the marriage was over, with Tchaikovsky abandoning Antonina for his sister s estate at Kamenka in Ukraine. A year before the marriage, Tchaikovsky had received a letter from another woman, Nadezhda von Meck, who, like Antonina, was a huge fan, but unlike her, expressly did not want to meet Tchaikovsky. She did, however, want to use some of the considerable wealth her railwaytycoon husband had left her to commission new music, and for 14 years supported Tchaikovsky so that he could give up teaching and concentrate on composition. This he did while travelling extensively, often retreating to the estate at Kamenka, and, after 1885, at his own country house at Klin. He and Meck corresponded frequently, offering us an insight into Tchaikovsky s aesthetics and methods. In the West we think of Tchaikovsky as primarily a composer of orchestral music. His greatest works in that medium date from 4
the end of the 1870s. The Violin Concerto, now one of the most beloved, was at first dismissed as too noisy, difficult and Russian. In 1878 he completed his Fourth Symphony, an epic drama of fate. In addition to symphonies, concertos and ballets, he wrote a great deal of vocal music, including many songs and 12 operas. The first of the great ballets, Swan Lake, dates from 1876, but The Sleeping Beauty and The Nutcracker are both from around 1890. By this stage Tchaikovsky was an international celebrity, fêted as far afield as the United States and Britain. In November 1893, days after conducting the premiere of his Sixth Symphony in St Petersburg, he became ill and was treated for cholera which was epidemic in the city. The treatment was successful, but Tchaikovsky died of complications. Again, there is no evidence that he had intended suicide. His body lay in state, visited by hundreds, and the Tsar arranged a state funeral and burial. According to scholar Alexander Poznansky, at a performance of his Sixth Symphony a few weeks later many listeners (including some of the journalists writing about the concert for the press) gained the impression that Tchaikovsky had written a requiem for himself. He hadn t, but it stands as a wonderful epitaph. About the Music In October 1880, Tchaikovsky wrote to Madame von Meck: You can imagine, dear friend, that recently my muse has been very benevolent when I tell you I have written two works very rapidly: a Festival Overture for the Exhibition and a Serenade in four movements for string orchestra. The overture will be very noisy. I wrote it without much warmth of enthusiasm; therefore it has no great artistic value. The Serenade, on the contrary, I wrote from an inward impulse; I felt it, and venture to hope that this work is not without artistic qualities. The overture is of course the 1812, noisier with every passing year, though the Serenade, too, should be performed, according to Tchaikovsky, with as large a band of strings as practicable. The Serenade is in four classical movements. The first is bookended by a striking, solemn and rich slow introduction, firmly in C major yet very expressive. Like so many of Tchaikovsky s melodies, the theme is essentially a slightly modified scale. It is stated first in the first violins, then with minor-ish harmony by the cellos and basses, then again in a different combination, and finally, an octave lower than the start, it is stated softly and slightly fragmented. The movement is in the form of a sonatina so Tchaikovsky gives the classical contrast between a first theme (in C), based on a sighing motif, and second theme (G) that glitters with repeated semiquavers. Here Tchaikovsky plays tricks with the rhythm, accenting off-beats to create the passing effect of a different time-signature. Everyone gets a share of melody and frenetic accompaniment in the Waltz that follows. This has a slightly Italian sound to it (Tchaikovsky was a master of disguise, particularly in the ballets) especially in the motif periodically sounded by just the violins. The Elegy is pure Tchaikovsky, with its first, rising scale-based melody and passage of song accompanied by pizzicato, to suggest, maybe, guitars. Even the D major music that opens and closes the movement is sombre, but the harmony becomes increasingly chromatic and passionate. There are two Russian themes in the last movement: On the Green Meadow in the slow, muted introduction and Under the Green Apple Tree, the first theme of the Allegro. After a thrilling development, the music briefly returns to the work s opening gesture, before a tremendous release of energy in the final pages. 5
GLOSSARY FURTHER LISTENING Allegro lively, fast Andante at a walking pace Chromatic pertaining to notes foreign to the key, scale or chord Classical referring to the period roughly from the mid-18th century to the early decades of the 19th, and exemplified by the works of Haydn, Mozart and Beethoven. During this period composers codified many of the music s forms and conventions. The boundaries of balance, order and restraint were increasingly pushed as Classicism gave way to the age of Romanticism. Con spirito with spirit Larghetto slow and broad Moderato at a moderate pace Pizzicato instruction to string players to pluck the string Sonatina a little sonata Sonata (form) a term conceived in the 19th century to describe the way most Classical composers structured at least the first movement of a symphonic work or a sonata. It involves the exposition or presentation of themes or subjects: the first subject is in the tonic or home key, the second in a contrasting key. The resulting tension between keys is intensified in the development, where recognisable melodic and rhythmic aspects of the themes are manipulated as the music moves further away from the ultimate goal of the home key. Tension is resolved at the recapitulation where both subjects are restated in the tonic. There is sometimes a coda (literally, tail ) to enhance the sense of finality. The Melbourne Symphony Orchestra first performed Tchaikovsky s Serenade for Strings on 6 September 1943 with conductor Lionel Lawson, and most recently in October 2004 during a regional tour of Victoria led by John Harding. All of Tchaikovsky s symphonies are terrific but his last three, Nos 4, 5 and 6, form a fascinating triptych. Fans of the Serenade will also love the Souvenir de Florence, Op.70, and his Piano Trio is arguably his greatest work of chamber music. Music by Tchaikovsky s contemporaries from the time of the Serenade include Balakirev s two Overtures on Russian Themes (in their second versions), Borodin s In Central Asia and Rimsky-Korsakov s opera The Snow Maiden. Listening to Tchaikovsky and Shostakovich in proximity casts surprising light on both, and Stravinsky s ballet The Fairy s Kiss is a wonderful love-letter, using Tchaikovsky s music, to his idol. Gordon Kerry 2015 6
ORCHESTRA Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Diego Matheuz Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair First Violins Violas Flutes Horns Dale Barltrop Concertmaster Eoin Andersen Concertmaster Sophie Rowell Associate Concertmaster Andrew Beer*^ Guest Associate Concertmaster Peter Edwards Assistant Kirsty Bremner MSO Friends Chair Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor Jacqueline Edwards* Robert John* Oksana Thompson* Second Violins Matthew Tomkins The Gross Foundation Second Violin Chair Robert Macindoe 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 Rebecca Adler* Clare Miller* Christopher Moore Fiona Sargeant Lauren Brigden Katharine Brockman Christopher Cartlidge Gabrielle Halloran Trevor Jones Cindy Watkin Caleb Wright Merewyn Bramble* William Clark* Sophie Kesoglidis* Cellos David Berlin MS Newman Family Cello Chair Rachael Tobin Nicholas Bochner Assistant Miranda Brockman Rohan de Korte Keith Johnson Sarah Morse Angela Sargeant Michelle Wood Molly Kadarauch* Double Basses Steve Reeves Andrew Moon Sylvia Hosking Assistant Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Stuart Riley* Emma Sullivan* Prudence Davis Flute Chair - Anonymous Wendy Clarke Sarah Beggs Piccolo Andrew Macleod Oboes Jeffrey Crellin Thomas Hutchinson Ann Blackburn Cor Anglais Michael Pisani Clarinets David Thomas Philip Arkinstall Craig Hill Bass Clarinet Jon Craven Bassoons Jack Schiller Elise Millman Natasha Thomas Contrabassoon Brock Imison Geoff Lierse Saul Lewis Third Jenna Breen Abbey Edlin Trinette McClimont Trumpets Geoffrey Payne Shane Hooton 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 *Guest musician ^ Courtesy of the Auckland Philharmonia Orchestra 7
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SUPPORTERS 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 Orchestra 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 Philip Bacon AM Marc Besen AC and Eva Besen AO John and Jenny Brukner Rachel and the 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+ Michael Aquilina Perri Cutten and Jo Daniell Susan Fry and Don Fry AO Margaret Jackson AC John McKay and Lois McKay Elizabeth Proust AO Rae Rothfield Maestro Patrons $10,000+ John and Mary Barlow Kaye and David Birks Paul and Wendy Carter Mitchell Chipman Jan and Peter Clark Sir Andrew and Lady Gianna Davis Andrew and Theresa Dyer Future Kids Pty Ltd Robert & Jan Green Lou Hamon OAM David Krasnostein and Pat Stragalinos Mr Greig Gailey and Dr Geraldine Lazarus Mimie MacLaren Matsarol Foundation Ian and Jeannie Paterson Onbass Foundation Glenn Sedgwick Maria Solà, in memory of Malcolm Douglas Drs G & G Stephenson. In honour of the great Romanian musicians George Enescu and Dinu Lipatti Lyn Williams AM Kee Wong and Wai Tang Jason Yeap OAM Anonymous (1) Patrons $5,000+ Lino and Di Bresciani OAM Linda Britten David and Emma Capponi Tim and Lyn Edward John and Diana Frew Danny Gorog and Lindy Susskind Nereda Hanlon and Michael Hanlon AM Hartmut and Ruth Hofmann Jenny and Peter Hordern Jenkins Family Foundation Suzanne Kirkham Vivien and Graham Knowles Elizabeth Kraus in memory of Bryan Hobbs Dr Elizabeth A Lewis AM Peter Lovell The Cuming Bequest Mr and Mrs D R Meagher Wayne and Penny Morgan Marie Morton FRSA Dr Paul Nisselle AM Lady Potter AC Stephen Shanasy Gai and David Taylor The Hon. Michael Watt QC and Cecilie Hall Anonymous (5) Associate Patrons $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest Barbara Bell in memory of Elsa Bell Mrs S Bignell Stephen and Caroline Brain Mr John Brockman OAM and Mrs Pat Brockman Leith and Mike Brooke Rhonda Burchmore Bill and Sandra Burdett Oliver Carton John and Lyn Coppock Miss Ann Darby in memory of Leslie J. Darby Mary and Frederick Davidson AM Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson Jane Edmanson OAM Dr Helen M Ferguson Mr Bill Fleming Colin Golvan QC and Dr Deborah Golvan Susan and Gary Hearst Gillian and Michael Hund Rosemary and James Jacoby John and Joan Jones Kloeden Foundation Sylvia Lavelle Ann and George Littlewood H E McKenzie Allan and Evelyn McLaren Don and Anne Meadows Ann Peacock with Andrew and Woody Kroger Sue and Barry Peake Mrs W Peart Ruth and Ralph Renard Tom and Elizabeth Romanowski Max and Jill Schultz Diana and Brian Snape AM Mr Tam Vu and Dr Cherilyn Tillman William and Jenny Ullmer Bert and Ila Vanrenen Barbara and Donald Weir Brian and Helena Worsfold Anonymous (14) Player Patrons $1,000+ Anita and Graham Anderson, Christine and Mark Armour, Arnold Bloch Leibler, Marlyn and Peter Bancroft OAM, Adrienne Basser, Prof Weston Bate and Janice Bate, Timothy and Margaret Best, David and Helen Blackwell, Bill Bowness, Michael F Boyt, M Ward Breheny, Suzie Brown, Jill and Christopher Buckley, Lynne Burgess, 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, Marie Dowling, John and Anne Duncan, Kay Ehrenberg, Gabrielle Eisen, Vivien and Jack Fajgenbaum, Grant Fisher and Helen Bird, Barry Fradkin OAM and Dr Pam Fradkin, David Frenkiel and Esther Frenkiel OAM, Carrillo and Ziyin Gantner, David Gibbs and Susie O Neill, Merwyn and Greta Goldblatt, Dina and Ron Goldschlager, George Golvan QC and Naomi Golvan, Charles and Cornelia Goode, Dr Marged Goode, Louise Gourlay OAM, Ginette and André Gremillet, Max Gulbin, 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, 9
SUPPORTERS Dr Anne Kennedy, Bryan Lawrence, 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, Dr Julianne Bayliss, In memory of Leigh Masel, John and Margaret Mason, In honour of Norma and Lloyd Rees, Ruth Maxwell, Trevor and Moyra McAllister, David Menzies, Ian Morrey, Laurence O Keefe and Christopher James, Graham and Christine Peirson, Andrew Penn and Kallie Blauhorn, Kerryn Pratchett, Peter Priest, Eli Raskin, Peter and Carolyn Rendit, S M Richards AM and M R Richards, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, Doug and Elisabeth Scott, Jeffrey Sher, Dr Sam Smorgon AO and Mrs Minnie Smorgon, John So, Dr Norman and Dr Sue Sonenberg, Dr Michael Soon, Pauline Speedy, State Music Camp, Dr Peter Strickland, Geoff and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Tennis Cares- Tennis Australia, 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, Elizabeth Wagner, 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 (5) The Mahler Syndicate David and Kaye Birks, John and Jenny Brukner, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Louis Hamon OAM, Francis and Robyn Hofmann, 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 Founding Rose Jenny Brukner Roses Mary Barlow, Linda Britten, Wendy Carter, Annette Maluish, Lois McKay, Pat Stragalinos, Jenny Ullmer Rosebuds Maggie Best, Penny Barlow, Leith Brooke, Lynne Damman, Francie Doolan, Lyn Edward, Penny Hutchinson, Elizabeth A Lewis AM, Sophie Rowell, Dr Cherilyn Tillman Foundations and Trusts The A.L. Lane Foundation 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 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 Current Conductor s Circle Members Jenny Anderson, G C Bawden and L de Kievit, 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, Gunta Eglite, Louis Hamon OAM, Carol Hay, Tony Howe, Audrey M Jenkins, John and Joan Jones, George and Grace Kass, Mrs Sylvia Lavelle, Pauline and David Lawton, Lorraine Meldrum, Cameron Mowat, Laurence O Keefe and Christopher James, Rosia Pasteur, 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 (22) 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 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: $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 (3) 9626 1248 Email: philanthropy@ mso.com.au 10
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