CONCERT PROGRAM Romeo & Juliet Friday 3 June at 8pm Arts Centre Melbourne, Hamer Hall Presented by Emirates Saturday 4 June at 8pm Arts Centre Melbourne, Hamer Hall Presented by BMW Monday 6 June at 6:30pm Arts Centre Melbourne, Hamer Hall
WHAT S ON JUNE JULY 2016 MENDELSSOHN S VIOLIN CONCERTO Thursday 9 June Friday 10 June Saturday 11 June MSO Concertmaster Eoin Andersen directs the MSO in a fascinating program of music by Richard Strauss, Igor Stravinsky and Felix Mendelssohn (his beloved Violin Concerto, with Andersen as soloist). RACHMANINOV S PAGANINI RHAPSODY Thursday 16 June Friday 17 June Chief Conductor Sir Andrew Davis, ever the diligent adventurer, takes us from early Haydn his Symphony No.6, Le matin to Rachmaninov s famous Rhapsody on a Theme of Paganini, with the French virtuoso Jean-Efflam Bavouzet, and Ives quirky Fourth Symphony. GLUZMAN PLAYS BRAHMS Friday 24 June Saturday 25 June Monday 27 June The mighty challenges of the Brahms Violin Concerto are tackled by Ukrainian-born Israeli virtuoso, Vadim Gluzman, making his debut with the MSO. It is preceded by another powerful work, orchestral excerpts from Berlioz s dramatic symphony, Romeo and Juliet. This program also features the world premiere of Australian composer James Ledger s Hollow Kings. SIR ANDREW DAVIS CONDUCTS MAHLER 6 Thursday 30 June Friday 1 July Saturday 2 July Sir Andrew Davis and the MSO s Mahler cycle continues with the powerful Symphony No.6, which incorporates everything from cowbells to fatalistic hammer blows. American pianist Jonathan Biss returns to the MSO to play Mozart s Piano Concerto No.21. CIRQUE DE LA SYMPHONIE Friday 15 July Saturday 16 July A host of international circus performers including aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen join the MSO in this dazzling display. Inspired by classical masterpieces, the performers bring their acrobatic and illusory skills to new and exciting levels. SHAKESPEARE CLASSICS Thursday 21 July Friday 22 July 2016 marks the 400th anniversary of the death of William Shakespeare. This commemorative concert, conducted by Alexander Shelley, presents Bard-related works by four composers: Mendelssohn, Korngold, Walton and Richard Strauss. Mozart s Piano Concerto No.27 completes the program. 2
ARTISTS Melbourne Symphony Orchestra Diego Matheuz conductor Joyce Yang piano REPERTOIRE Mussorgsky Night on Bald Mountain Rachmaninov Piano Concerto No.2 Interval Prokofiev Movements from Romeo and Juliet This concert has a duration of approximately 1 hour and 50 minutes, including a 20-minute interval. This performance will be recorded for broadcast on ABC Classic FM on Wednesday 29 June at 1pm. Visit mso.com.au/broadcast for more information about upcoming concert broadcasts. Series Presenters Pre-Concert Talk 7pm Friday 3 June, Stalls Foyer, Hamer Hall 7pm Saturday 4 June, Stalls Foyer, Hamer Hall MSO Second Violinist Andrew Hall will present a talk on the artists and works featured in the program. Post-Concert Conversation 8:30pm Monday 6 June, Stalls Foyer, Hamer Hall Join MSO Director of Artistic Planning Ronald Vermeulen for a post-concert conversation. 3
MELBOURNE SYMPHONY ORCHESTRA The Melbourne Symphony Orchestra (MSO) was established in 1906 and is Australia s oldest orchestra. It currently performs live to more than 250,000 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. The Orchestra also delivers innovative and engaging programs to audiences of all ages through its Education and Outreach initiatives. Sir Andrew Davis gave his inaugural concerts as the MSO s Chief Conductor in 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists such as Bryn Terfel, Emanuel Ax, Truls Mørk and Renée Fleming, and the Orchestra s European Tour in 2014 which included appearances at the Edinburgh Festival, the Amsterdam Concertgebouw, the Mecklenburg-Vorpommern Festival and Copenhagen s Tivoli Concert Hall. Further current and future highlights with Sir Andrew Davis include a complete cycle of the Mahler symphonies. Sir Andrew will maintain the role of Chief Conductor until the end of 2019. The MSO also works with Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus, as well as with such eminent recent guest conductors as Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Burt Bacharach, Nick Cave, Sting, Tim Minchin, Ben Folds, DJ Jeff Mills and Flight Facilities. The Melbourne Symphony Orchestra reaches a wider audience through regular radio broadcasts, recordings and CD releases, including a Strauss cycle on ABC Classics which includes Four Last Songs, Don Juan and Also sprach Zarathustra, as well as Ein Heldenleben and Four Symphonic Interludes from Intermezzo, both led by Sir Andrew Davis. On the Chandos label the MSO has recently released Berlioz Harold en Italie with James Ehnes and music by Charles Ives which includes Symphonies Nos. 1 and 2, as well as a range of orchestral works including Three Places in New England, again led by Sir Andrew Davis. 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. 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. 4
DIEGO MATHEUZ CONDUCTOR JOYCE YANG PIANO Diego Matheuz is a graduate of the internationallyknown Venezuelan Sistema, and is already widely known as one of the most promising talents from the Americas. He held the title of Conductor of Teatro La Fenice from September 2011 to 2015, and from August 2013 2016, he was Guest Conductor of the Melbourne Symphony Orchestra. Diego Matheuz has conducted orchestras around the world including London s Philharmonia Orchestra, the Maggio Musicale Fiorentino, Hamburg Philharmonic, and the National Arts Centre Orchestra in Ottawa. Now based in Berlin, Diego Matheuz made his debut with the Berlin Radio Symphony Orchestra in December 2015. Recently he has also appeared with the Netherlands Radio Symphony Orchestra and the Malmö Symphony Orchestra. He replaced Daniel Harding at short notice for a concert performance of La Traviata at the Hollywood Bowl and conducted the MSO s Beethoven: the 1808 Vienna Concert. Diego Matheuz made his professional opera debut in October 2010 conducting Rigoletto at Teatro La Fenice. He will make his Deutsche Opera Berlin debut in 2016/17, also conducting Rigoletto. Diego Matheuz maintains a strong association with his native orchestras, and in 2013 he was appointed Associate Conductor of the Sinfónica Simón Bolívar de Venezuela. Joyce Yang came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at 19 years old, she also won awards for Best Performance of Chamber Music and of a New Work. Yang has performed with orchestras such as the BBC Philharmonic, Los Angeles Philharmonic, Chicago Symphony and Sydney Symphony, and with conductors such as James Conlon, Edo de Waart, Lorin Maazel, David Robertson, Leonard Slatkin, and Jaap van Zweden. This season s highlights have included Falla s Nights in the Gardens of Spain (with Bramwell Tovey and the New York Philharmonic), Schumann, Brahms and Schnittke quintets in San Francisco with the Alexander Quartet, and the premiere and recording of Michael Torke s concerto Three Manhattan Bridges, written especially for her. Born in Seoul, Korea, Yang received her first piano lesson from her aunt at age four. In 1997 she moved to the United States to begin studies at the pre-college division of the Juilliard School. After winning the Philadelphia Orchestra s Greenfield Student Competition, she performed with that orchestra at just twelve years old. Yang appears in the film In the Heart of Music, a documentary about the 2005 Cliburn Competition. 5
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Piano Virtuoso Meet Joyce Yang, phenomenal pianist, museum buff, budding art collector and shoe shopaholic. What are you looking forward to most about being in Melbourne? First and foremost, the music making! I had a wonderful time making music with the amazing musicians of the MSO and Diego Matheuz playing Rachmaninov s Rhapsody on the Theme by Paganini last time around [in 2014]. Each performance was so spontaneous, so free... I really look forward to playing one of my favourite concerti, the Rachmaninov Piano Concerto No.2. It is a piece I have performed many times over the years but I have a feeling this familiar piece will gain a whole new life in Melbourne. What does Rachmaninov s Piano Concerto No.2 mean to you? This concerto is the type of piece where the orchestra and the soloist need to become one entity. We have to breathe together in order to deliver the heart of this music. In a way, it is much more difficult than other Rachmaninov concerti because neither force (soloist or the orchestra) can lead. We need to interweave into each other s texture in order become one coherent voice. The members of the MSO have a fine sense of how to play together, or more importantly, how to spontaneously play together, and embrace the small changes that occur in live performances. Everything feels really alive and urgent. Tell us about the piece? After receiving severe criticism following the premiere of his first symphony, Rachmaninov fell into a deep depression. The Second Piano Concerto was written several years after that and was dedicated to the doctor who helped him. Despite the difficult times Rachmaninov experienced, he managed to create a concerto full of beauty, nostalgia, and exuberance. The work begins with an awakening. Rachmaninov emerges from his artistic drought and immediately, we are presented with a melody, a deluge of emotion rich with all shades of human experience. Throughout the piece, the moments of beauty and small triumphs are interrupted by thoughts of frustration and doubt. By the third movement, however, it is clear that hope will prevail over despair - if this piece were a love story, our protagonist would win the heart of the one he loves. How has Rachmaninov inspired you? The music of Rachmaninov has been one of the most significant pillars of my career. I have spent the last decade performing all of his concerti and many of his solo compositions. I have dedicated a lot of time learning this music because I believe it has the power to stir and awaken deep emotions that one might not have immediate access to in everyday life. Visit mso.com.au/joyceyang to find out some interesting facts about Joyce Yang. 7
MODEST MUSSORGSKY (1839 1881) Night on Bald Mountain [original version] It is often asserted that Mussorgsky was the most original member of that group of 19th-century Russian nationalist composers (Mussorgsky, Rimsky-Korsakov, Balakirev, Borodin and Cui) known in Russia as the Kuchka, and in the West as The Five. On the other hand, such a statement often accompanies explanatory notes to performances of Mussorgsky s work in arrangements or re-orchestrations, as if the originality of Mussorgsky s musicianship is the very thing that is not wanted. We often hear Pictures at an Exhibition in Ravel s orchestration, Night on Bald Mountain in that of Rimsky-Korsakov. Instrumental music was not Mussorgsky s preferred medium. Night on Bald Mountain is the only substantial work he composed for orchestra alone. Committed to Kuchkist principles of realism, authenticity and nationalism, Mussorgsky focused primarily on song cycles and operas, where he could simulate speech with quasi-phonographic accuracy, and replicate human behaviour with pantomimic suggestion. But Mussorgsky, rather more than any of his colleagues, also held the kuchkist attitude to musical education as something which might compromise a Russian voice. It is arguable that he thus failed to attain the fluency that might have marked a more polished composer, and the question has always been whether Mussorgsky s original conceptions are the highly original, if somewhat idiosyncratic, works his champions claim them to be, or patchily conceived creations, inviting other composers to come in and complete, rearrange, or re-orchestrate his work. Should his works be performed in the arrangements that supposedly succeed where he failed? Tonight you will hear Night on Bald Mountain as Mussorgsky originally intended it to be heard. The idea for this work dates back to Christmas 1858, when Mussorgsky, his brother and Balakirev outlined a three-act opera entitled St John s Eve, after a story by Gogol. Nothing came of this idea, but in September 1860, Mussorgsky was commissioned to write music for Mengden s drama The Witch, part of which portrayed a witches sabbath on St John s Eve. The work seems then to have preoccupied Mussorgsky for many years. The manuscript says it was finished on the eve of St John s Day, 23 June 1867, in the Luga District on Minkino Farm. Mussorgsky was thrilled by his achievement but disappointed by Rimsky-Korsakov s subsequent critical response, and put the work aside. In 1872, he, Rimsky- Korsakov, Borodin and Cui were commissioned to write a joint opera in which Rimsky-Korsakov and Mussorgsky shared Acts II and III. For this project Mussorgsky once more floated his Bald Mountain music. But Mlada (as this project was called) came to nothing. Years later Mussorgsky resurrected the work for an intermezzo in Sorochinsky Fair, his final opera. Rimsky-Korsakov is a strange figure in the Five. The Kuchka prided themselves on their self-taught status (one of their chief objections to Tchaikovsky was that he was conservatory trained) yet Rimsky ended up in academia, writing textbooks on orchestration and evolving a style of harmony that was so systematic as to take the spice out of often-pungent combinations. After Mussorgsky s death, Rimsky-Korsakov decided to salvage a piece out of Mussorgsky s drafts, basing his version on the more straightforward tone-poem from Sorochinsky Fair. The description in the front of the score of Rimsky-Korsakov s version gives the plot as follows: Subterranean noises and unearthly voices. Appearance of the spirits of darkness and of the black god (Chernobog). His glorification and the Black Mass. Witches revel. At the maddest moment the bell of the village church sounds in the distance, scattering the spirits of darkness. Daybreak. Mussorgsky s original version, as he described it in a letter to his friend Prof Nikolsky, gives the scheme as: 1. Assembly of the witches, their talk and gossip; 2. Satan s journey; 3. Obscene praises of Satan; and 4. Sabbath. Daybreak does not occur, and in general the picture he paints is far more gruesome. Mussorgsky s music is much starker and powerful. As critic Edward Rothstein once wrote: in Mussorgsky s own scoring, colour is a tool, not an aspect of the music that should be experienced in itself wild splits in texture and harmony draw attention to the disturbing expression, not to the brilliant virtuosity of Rimsky s [showpiece]. High time for it to be the preferred version. Gordon Williams Symphony Australia 1998 The Melbourne Symphony Orchestra first performed Night on Bald Mountain in 1944 under conductor Lionel Lawson, and most recently in June 2013 with Matthew Coorey. 8
SERGEI RACHMANINOV (1873 1943) Piano Concerto No.2 in C minor, Op.18 Moderato Adagio sostenuto Allegro scherzando Joyce Yang piano The story of the creation of Rachmaninov s Second Piano Concerto is often told: the young composer, a star student of the Moscow Conservatory and a favourite of Tchaikovsky, had achieved considerable success getting his earliest works published. However in 1897 his ambitious First Symphony was disastrously premiered in St Petersburg, resulting in vicious press attacks, notoriously from César Cui who compared it to a program symphony based on the Seven Plagues of Egypt. Supposedly, the ordeal led Rachmaninov into a three-year depression during which he was unable to write, and ended only after a course in hypnotherapy with the viola-playing Dr Nikolai Dahl. The doctor s treatment apparently persuaded the young composer that he would be able to write a new concerto, and the resulting work dedicated to Dahl has become one of the most famous in the piano repertory. It s an attractive tale, yet despite Rachmaninov s obvious disappointment with the reception of his symphony, the so-called creative hiatus was a relatively busy period for him. From 1898, he took up the baton professionally for the first time, and within a few years held a position at the Bolshoi Theatre. The period also heralded a subtle but significant change in his outlook on composition once he started writing larger works again. From 1900, Rachmaninov favoured a more conservative style than that of his symphony, and one that, ironically, became the source of some personal consternation as he sought to evolve his creative voice in subsequent years. Whether due to the hypnotherapy or simply the passage of time, there is no doubting the sense that something was unleashed within the composer in the works that followed. In the concerto and other compositions of the period (the second Two-Piano Suite and the Sonata for Piano and Cello are the closest), there is a new assuredness of style and an almost overwhelming abundance of melody. These new works were also created quickly: the second and third movements of the concerto were completed within a few months, and performed in December 1900 in Moscow. The first complete performance occurred on 9 November 1901, also in Moscow, with the composer at the piano and his cousin, Alexander Siloti, conducting. The famous opening notes of the Second Piano Concerto are essentially an extended cadence: slightly varied chords over bell-like bass notes gradually increase in volume, before the notes A flat, F, G the basis of a motif that appears throughout the concerto resolve to the home key of C minor, whereon the orchestra introduces the principal subject. The second theme, in the relative major, is given almost exclusively to the piano. The development section begins with material based on the motif, while a fragment of the second subject in the violins propels the movement to its climax. The recapitulation follows, with the orchestra again stating the main theme. The opening phrase of the second subject is recalled by the French horn, and Rachmaninov shares fragments of the melody gently between the soloist and the orchestra before a build-up of momentum brings the movement to a fiery close. In the second movement, over an arpeggiated figure in the piano, the first subject is given to the flute then taken over by the clarinet, before being stated by the soloist. A faster scherzando section leads to a cadenza (lacking from its traditional place in the first movement) before a restatement of the opening material in the violins. The final movement begins quietly on low strings, the rhythmic material being related to the motif. A keyboard cadenza also emphasises the motif before introducing the principal theme. A short period of development leads to an abrupt key change and the lyrical second subject, one of Rachmaninov s most famous melodies, in the oboe and violas. A trance-like section over a held bass note leads to a development section where Rachmaninov replaces a recapitulation of the first subject with a fugue based on its opening notes. The second subject is heard again in the distant key of D flat major, before a short coda leads to a final restatement of the melody, this time fortissimo and given to the full orchestra, underpinned by massive chords on the piano. In characteristic fashion, the concerto concludes with a spirited dash to the end. Abridged from Scott Davie 2007 The Melbourne Symphony Orchestra first performed Rachmaninov s Piano Concerto No.2 in July 1941 with conductor Montague Brearley and soloist Louise Gargurevich. It was most recently performed by the Orchestra in July 2012 with Jakub Hrůša and Nicholas Angelich. 9
SERGEI PROKOFIEV (1891 1953) Romeo and Juliet Excerpts from Suites 1, 2 and 3 The Montagues and the Capulets Juliet the Young Girl Minuet Arrival of the Guests Masks Romeo and Juliet Morning Dance Romeo at the Fountain The Death of Tybalt Dance of the Antilles Girls Romeo at Juliet s Grave Death of Juliet Prokofiev wrote his ballet Romeo and Juliet after his return to the USSR at the height of Stalin s Great Terror. The work s standing in the repertoire belies its somewhat protracted genesis, having been passed from the Kirov to the Bolshoi before finally receiving its premiere in Brno in 1938 (the Russian premiere took place two years later). The ballet is divided into four acts totalling some 52 numbers and lasting well over two hours. Thus rarely performed, Prokofiev decided to break the music down into a number of suites for concert purposes. The first two symphonic suites from the ballet, each consisting of seven movements, do not follow each other consecutively: rather, the suites develop in parallel to each other. Some numbers were taken directly from the ballet without alteration, others were compiled from different sources within it. The third suite, compiled ten years later, is based on dances which primarily feature Romeo or Juliet. This concert s selection suggests the outline of Shakespeare s story of the star-cross d lovers who were married by Friar Laurence when he thus hoped to heal the breach between their parents warring houses. When Romeo kills Juliet s cousin Tybalt in revenge for the murder of his friend Mercutio, he is banished. Meanwhile, Juliet s father, ignorant of the marriage, wants her to marry Count Paris. To help her out of the impossible situation, Friar Laurence gives Juliet a potion which will make her apparently lifeless for two days. Sadly, his message to Romeo, outlining the plan, goes astray. Romeo returns to the Capulet vault, finds Juliet apparently dead and kills himself. Juliet wakes, finds him dead and, guessing what has happened, takes his dagger and stabs herself. Prokofiev used the principle of leitmotifs attached to each character or specific emotion love, hate, youth, age, peace, battle, etc. The orchestration of the suites is very lush and the harmonies are steeped in post- Romantic grandeur. The Montagues and Capulets (Suite 2, No.1) The Montagues and the Capulets opens in a stormy atmosphere suggestive of the aggressive rivalry between the two families. The music includes that which accompanies the Duke s warning to the brawlers at the start of the ballet, and the so-called Dance of the Knights at the ball. The Knights music frames an aloof minuet which Juliet dances with her betrothed, Paris. Juliet the Young Girl (Suite 2, No.2) Juliet, depicted before her ill-fated marriage and still very much a child, is wonderfully characterised by Prokofiev as she playfully teases her nursemaid. At the entrance of Juliet s mother and a discussion of the arranged marriage, the music is subdued and stately, with a hint of the troubles to come. Minuet Arrival of the Guests (Suite 1, No.4) The courtly Minuet, part of the ballroom scene, is one of the set pieces that provide the backdrop to the story. Masks (Suite 1, No.5) This is a march, and the playful cornet, clarinet and oboe solos accompany the arrival of Romeo, Benvolio and Mercutio, all masked for the ball that they are about to gatecrash. Romeo and Juliet (Suite 1, No.6) This is the love music with which the first act of the ballet ends: Juliet, having fallen in love with Romeo at the ball, is out on her balcony in the moonlight; Romeo appears below and they tenderly swear everlasting love to each other. Morning Dance (Suite 3, No.2) The Morning Dance follows the depiction of the street in Verona coming to life. Romeo at the Fountain (Suite 3, No.1) This music occurs at the opening of the ballet, as the curtain rises on the street scene. Death of Tybalt (Suite 1, No.7) The Death of Tybalt is one of the most dramatic moments in the ballet. Brilliant rapid passages depict the antagonism of the duel; the full orchestra, with timpani, accompanies Tybalt s funeral procession. Dance of the Antilles Girls (Suite 2, No.6) At the arranged marriage of Juliet to Paris (during which she collapses from the potion) her handmaids dance. Romeo at Juliet s Grave (Suite 2, No.7) In the full ballet, the music for Romeo at Juliet s Grave is used both for Juliet s funeral and for the moment when Romeo discovers the heavily-sedated Juliet and believes her dead. Poignantly, the music expressing his grief recalls the themes used in earlier love scenes. The Death of Juliet (Suite 3, No.6) ends the ballet. Symphony Australia The Melbourne Symphony Orchestra performed Suite No.1 from Prokofiev s Romeo and Juliet on 17 October 1940 with conductor Georg Schnéevoigt. It was the first performance of any selections from the ballet by any of the Australian state orchestras. The MSO most recently performed music from the suites in 2014 under Tan Dun. 10
The Best... with Ji Won Kim Since beginning her musical career at the age of 4, Ji Won Kim has performed across the globe under the direction of some of the world s best conductors, but Melbourne is the place she calls home. We ask her what s The Best. The best thing you can t live without? My husband, Caleb Wright (MSO violist)! I shouldn t call him a thing but I can t think of anything else! We were married only recently. The best thing about your instrument? The fact that it was made during Mozart s time! He or Brahms or anyone could have come across my violin at a concert. It is crazy old and yet in excellent condition. The best concert you have performed in? It was with the MSO in 2013 when a soloist cancelled due to an injury and I was asked to step in with short notice, and Sir Andrew Davis was going to conduct! My absolute dream come true! It was also the most nerve wracking concert, I remember feeling like fainting right before I stepped out on to the Hamer Hall stage. My lovely section showed so much support and encouragement which I could never forget. The best venue you have performed in? The Sydney Opera House concert hall is pretty epic. The best piece to perform? Sibelius Violin Concerto. The second movement makes me cry - such heart wrenching music. The best dish you cook? I can cook simple Korean dishes like Bulgogi and Bibimbap. The best album? Christian Ferras Sibelius Violin Concerto. A French violinist in the 20th Century who puts all of his soul and mind in playing a piece. I wish I could sound like him. The best thing about Melbourne? MSO, chamber music and coffee! Ji Won purchased her violin over ten years ago in London. Made in Italy in 1785 by Lorenzo Storioni, the instrument is connected to many of Kim s musical successes including winning the International Brahms Violin Competition held in Austria a year after she purchased the violin. You can see Ji Won Kim perform in Rachmaninov s Paganini Rhapsody on 16 and 17 June at Arts Centre Melbourne, Hamer Hall. 11
SUPPORTERS Artist Chair Benefactors Harold Mitchell AC Chief Conductor Chair Patricia Riordan Associate Conductor Chair Joy Selby Smith Orchestral Leadership 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 Education Supported by Mrs Margaret Ross AM and Dr Ian Ross 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 Harold Mitchell AC MS Newman Family Joy Selby Smith Ullmer Family Foundation Anonymous (1) Impresario Patrons $20,000+ Michael Aquilina Perri Cutten and Jo Daniell Margaret Jackson AC Mimie MacLaren John McKay and Lois McKay 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 Davis Future Kids Pty Ltd Gandel Philanthropy Robert & Jan Green In memory of Wilma Collie David Krasnostein and Pat Stragalinos Mr Greig Gailey and Dr Geraldine Lazarus The Cuming Bequest Ian and Jeannie Paterson Onbass Foundation Elizabeth Proust AO Rae Rothfield 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 Anonymous (1) Patrons $5,000+ Linda Britten David and Emma Capponi Tim and Lyn Edward John and Diana Frew Susan Fry and Don Fry AO Danny Gorog and Lindy Susskind Lou Hamon OAM Nereda Hanlon and Michael Hanlon AM Hans and Petra Henkell Hartmut and Ruth Hofmann HMA Foundation Jenny and Peter Hordern Jenkins Family Foundation Suzanne Kirkham Vivien and Graham Knowles Dr Elizabeth A Lewis AM Peter Lovell Annette Maluish Matsarol Foundation Mr and Mrs D R Meagher Wayne and Penny Morgan Marie Morton FRSA Dr Paul Nisselle AM James and Frances Pfeiffer Lady Potter AC Stephen Shanasy Gai and David Taylor The Hon. Michael Watt QC and Cecilie Hall Jason Yeap OAM Anonymous (6) Associate Patrons $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest Barbara Bell in memory of Elsa Bell Mrs S Bignell Bill Bowness Stephen and Caroline Brain Leith and Mike Brooke Bill and Sandra Burdett Oliver Carton John and Lyn Coppock Miss Ann Darby in memory of Leslie J. Darby Mary and Frederick Davidson AM Natasha Davies Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson Jane Edmanson OAM Dr Helen M Ferguson Mr Bill Fleming Mr Peter Gallagher and Dr Karen Morley Colin Golvan QC and Dr Deborah Golvan Charles and Cornelia Goode Susan and Gary Hearst Colin Heggen in memory of Marjorie Heggen Gillian and Michael Hund Rosemary and James Jacoby John and Joan Jones Kloeden Foundation Sylvia Lavelle H E McKenzie Allan and Evelyn McLaren Don and Anne Meadows Andrew and Sarah Newbold Ann Peacock with Andrew and Woody Kroger Sue and Barry Peake Mrs W Peart Pzena Investment Charitable Fund Ruth and Ralph Renard S M Richards AM and M R Richards Tom and Elizabeth Romanowski Max and Jill Schultz Jeffrey Sher Diana and Brian Snape AM Geoff and Judy Steinicke Mr Tam Vu and Dr Cherilyn Tillman William and Jenny Ullmer Bert and Ila Vanrenen Kate and Blaise Vinot Barbara and Donald Weir Brian and Helena Worsfold Anonymous (12) 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, Dr Julianne Bayliss, Timothy and Margaret Best, David and Helen Blackwell, Michael F Boyt, Philip and Vivien Brass Charitable Foundation, M Ward Breheny, Lino and Di Bresciani OAM, Mr John Brockman OAM and Mrs Pat Brockman, Suzie Brown, Jill and Christopher Buckley, Lynne Burgess, Dr Lynda Campbell, Andrew and Pamela Crockett, Jennifer Cunich, 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, Applebay Pty Ltd, 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, 12
SUPPORTERS Dr Marged Goode, Philip and Raie Goodwach, Louise Gourlay OAM, Ginette and André Gremillet, Max Gulbin, Dr Sandra Hacker AO and Mr Ian Kennedy AM, Jean Hadges, Paula Hansky OAM, Tilda and Brian Haughney, Julian and Gisela Heinze, Penelope Hughes, Dr Alastair Jackson, Basil and Rita Jenkins, Stuart Jennings, George and Grace Kass, Irene Kearsey, Brett Kelly and Cindy Watkin, Ilma Kelson Music Foundation, Dr Anne Kennedy, George and Patricia Kline, Bryan Lawrence, William and Magdalena Leadston, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Ann and George Littlewood, Violet and Jeff Loewenstein, The Hon Ian Macphee AO and Mrs Julie Macphee, Elizabeth H Loftus, Vivienne Hadj and Rosemary Madden, 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, Margaret Plant, Kerryn Pratchett, Peter Priest, Eli Raskin, Bobbie Renard, Peter and Carolyn Rendit, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, Zelda Rosenbaum OAM, Antler Ltd, Doug and Elisabeth Scott, 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, 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 (17) The Mahler Syndicate David and Kaye Birks, John and Jenny Brukner, 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 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 Creative Partnerships Australia Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation The Harold Mitchell Foundation Ivor Ronald Evans Foundation, managed by Equity Trustees Limited 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, David Angelovich, 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 (23) 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 John Brockman AO Life Member 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 13
ORCHESTRA First Violins Violas Piccolo Trumpets Dale Barltrop Concertmaster Eoin Andersen Concertmaster Sophie Rowell The Ullmer Family Foundation Associate Concertmaster Chair Jennifer Owen* Guest Peter Edwards Assistant Kirsty Bremner 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* Madeleine Jevons* Oksana Thompson* 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 Aaron Barnden* Lynette Rayner* Christopher Moore Fiona Sargeant Associate Lauren Brigden Katharine Brockman Christopher Cartlidge Gabrielle Halloran Trevor Jones Cindy Watkin Caleb Wright William Clark* 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 Kalina Krusteva-Theaker* 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 Andrew Macleod Oboes Jeffrey Crellin Thomas Hutchinson Associate Ann Blackburn Rachel Curkpatrick* 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 Geoff Lierse Associate Saul Lewis Third Jenna Breen Abbey Edlin Trinette McClimont Robert Shirley* Geoffrey Payne Shane Hooton Associate William Evans Julie Payne Joshua Rogan* Trombones Brett Kelly Iain Faragher* Jonathon Ramsay* Bass Trombone Mike Szabo Tuba Timothy Buzbee Jason Catchpowle* Timpani Christine Turpin Percussion Robert Clarke John Arcaro Robert Cossom Evan Pritchard* Leah Scholes* Lara Wilson* Harp Yinuo Mu Piano Leigh Harrold* Celeste Louisa Breen* Saxophone Tom Martin* * Guest musician Courtesy of Tasmanian Symphony Orchestra BOARD Chairman Board Members Company Secretary Michael Ullmer Andrew Dyer Danny Gorog Margaret Jackson AC Brett Kelly David Krasnostein David Li Ann Peacock Helen Silver AO Kee Wong Oliver Carton 14
SUPPORTERS MAESTRO PARTNERS OFFICIAL CAR PARTNER ASSOCIATE PARTNERS Linda Britten Naomi Milgrom Foundation Hardy Amies SUPPORTING PARTNERS Fitzroys Alpha Feature Investment Red Emperor Beautiful Flowers GOVERNMENT PARTNERS MEDIA PARTNERS 15
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