CONCERT PROGRAM. Holst s The Planets. Friday 21 October at 7.30pm Melbourne Town Hall

CONCERT PROGRAM Holst s The Planets Friday 21 October at 7.30pm Melbourne Town Hall

WHAT S ON NOVEMBER DECEMBER 2016 INDIANA JONES IN CONCERT Thursday 3 November Friday 4 November Saturday 5 November The film that gave the world one of its greatest movie heroes, Indiana Jones, is back and better than ever before! Relive the magic on the silver screen with the original great adventure Raiders of the Lost Ark with John Williams epic score performed live to picture by the MSO! DVOŘÁK CELLO CONCERTO Friday 11 November Monday 14 November The American maestro Andrew Litton returns to the MSO for this exciting program that features Prokofiev s Symphony No.6, a heartfelt elegy to World War II. German cellist Alban Gerhardt is soloist in Dvořák s well-loved Cello Concerto. SIBELIUS & SHOSTAKOVICH Thursday 17 November Friday 18 November Saturday 19 November MSO Concertmaster Dale Barltrop directs members of the Orchestra in two Sibelius works: the intimate Rakastava (The Lover), and the sweeping Impromptu. Completing the program is one of Shostakovich s anguished Chamber Symphonies, and Ian Munro s new Flute Concerto. SIMONE YOUNG CONDUCTS WAGNER & BRUCKNER Thursday 1 December Saturday 3 December The MSO plays two majestic final works Wagner s Parsifal and Bruckner s unfinished Symphony No.9 conducted by Simone Young. Excerpts from Act II of Parsifal are sung by Australian tenor Stuart Skelton and American mezzosoprano Michelle DeYoung. MESSIAH Saturday 10 December Sunday 11 December Hallelujah! Where would the joyous season be without the MSO s year-end performance of Handel s Messiah? This lifeaffirming spiritual masterpiece with its exquisite choral writing offers many treasured musical moments including the exultant Hallelujah chorus, one of the most popular refrains in Western music. MSO + THE IDEA OF NORTH: A WORLD OF CHRISTMAS Saturday 17 December Celebrate Christmas with song as renowned vocal quartet The Idea of North share the stage with the MSO in an evening of festive music from around the world. 2

ARTISTS Melbourne Symphony Orchestra and Chorus Benjamin Northey conductor Andrea Lam piano Anthony Pasquill chorus master REPERTOIRE Vaughan Williams The Wasps: Overture Chopin Piano Concerto No.2 Interval Holst The Planets 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 Sunday 30 October at 1pm. This information is correct at time of print, however please visit mso.com.au/broadcast for the most current information about upcoming concert broadcasts. Pre-Concert Organ Recital 6.30pm Friday 21 October, Melbourne Town Hall Ticket-holders are invited to attend a free pre-concert recital by Dr Calvin Bowman, on the Melbourne Town Hall grand organ. 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. The MSO is also featured on Australian soprano Emma Matthews recently released third album, Agony and Ecstasy. 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

BENJAMIN NORTHEY CONDUCTOR ANDREA LAM PIANO Since returning to Australia from Europe in 2006, Benjamin Northey has rapidly emerged as one of the nation s leading musical figures. Since 2011, he has held the position of Associate Conductor of the Melbourne Symphony Orchestra. In 2015, he became Chief Conductor of the Christchurch Symphony Orchestra. Engagements in 2015 included returns to all the major Australian orchestras, the Hong Kong Philharmonic, the New Zealand Symphony Orchestra, and Turandot for Opera Australia. In 2016, he will lead both the MSO and Christchurch Symphony on several occasions as well as appear with Hong Kong Philharmonic, the Adelaide and West Australian Symphony Orchestras, and throughout New Zealand. Benjamin studied with John Hopkins at the University of Melbourne Conservatorium of Music and then with Jorma Panula and Leif Segerstam at Finland s prestigious Sibelius Academy where he was accepted as the highest placed applicant in 2002. He has appeared with the London Philharmonic Orchestra, Mozarteum Orchestra Salzburg, Hong Kong Philharmonic, National Symphony Orchestra of Colombia, New Zealand and Christchurch Symphony Orchestras, Auckland Philharmonia and the Southbank Sinfonia of London. In Australia, Benjamin has made his mark through his many critically acclaimed appearances as a guest conductor with all the Australian state symphony orchestras as well as opera productions including L elisir d amore, The Tales of Hoffmann and La Sonnambula for State Opera of South Australia, and Don Giovanni and Così fan tutte for Opera Australia. Andrea Lam made her orchestral debut at 13 with the Sydney Symphony Orchestra. Since then she has appeared with all the major Australian orchestras as well as the Hong Kong Philharmonic, Christchurch Symphony and orchestras in the US. Conductors with whom she has appeared include Alan Gilbert, Edo de Waart and Michael Christie. She has been a guest at festivals such as Musica Viva s Huntington Festival and the Great Lakes Chamber Music Festival in America. Andrea Lam is pianist of the Claremont Trio whose latest recording is a Beethoven disc, and which commissions works by contemporary composers such as Helen Grime, Gabriela Lena Frank and Judd Greenstein. She has appeared with the Takács Quartet and Ani Kavafian. Recent appearances have included Trio recitals at the Smithsonian Institute and Boston s Isabella Stuart Gardiner Museum. Her recordings of two Mozart concertos with Nicholas Milton and the Tasmanian Symphony Orchestra are available on ABC Classics. 5

MELBOURNE SYMPHONY ORCHESTRA CHORUS ANTHONY PASQUILL ASSOCIATE CHORUS MASTER The Melbourne Symphony Orchestra Chorus has built an international reputation for the highest standards and for bold artistic planning. Known as the Melbourne Chorale until 2008, it has since then been integrated with the Melbourne Symphony Orchestra and in 2015, celebrated its 50th anniversary. The Chorus sings with the finest conductors, including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, Bernard Labadie, Stephen Layton, Vladimir Ashkenazy, Masaaki Suzuki and Manfred Honeck. Highlights include Britten s War Requiem, Kancheli s Styx, Brett Dean s The Last Days of Socrates, Elgar s The Dream of Gerontius, Rachmaninov s The Bells, Wagner s The Flying Dutchman and Beethoven s Missa solemnis. The Chorus is committed to developing and performing new Australian and international choral repertoire. Commissions include Brett Dean s Katz und Spatz (commissioned with the Swedish Radio Choir), Ross Edwards Mountain Chant (commissioned with Cantillation), Paul Stanhope s Exile Lamentations (commissioned with Sydney Chamber Choir and London s Elysian Singers), and Gabriel Jackson s To the Field of Stars (commissioned with the Netherlands Chamber Choir and Stockholm s St Jacob s Chamber Choir). The Chorus has also premiered works by many composers including James MacMillan, Arvo Pärt, Hans Werner Henze, Alfred Schnittke, Gavin Bryars, Valentyn Silvestrov, Arturs Maskats, Thierry Machuel and Pēteris Vasks, and others. The Chorus has made critically acclaimed recordings for Chandos and for ABC Classics. It has performed across Brazil and at the Cultura Inglese Festival in Sao Paolo, in Kuala Lumpur with the Malaysian Philharmonic Orchestra, with The Australian Ballet, Sydney Symphony Orchestra, West Australian Symphony Orchestra, Barbra Streisand, at the Melbourne International Arts Festival, at the 2011 AFL Grand Final, and the Sydney Olympic Arts Festival. Recently listed by Limelight Magazine as a Rising Star in Australia s choral scene, Anthony Pasquill is a regular collaborator with leading choirs across a broad repertoire. Recently appointed Associate Chorus Master at the Melbourne Symphony Orchestra, he is also Musical Director of Sydney based Chamber Choir Bel a cappella. Anthony commenced his musical training as a chorister in the choir of Lichfield Cathedral before reading music at Leeds University. He also holds a Masters of Music in conducting from the Sydney Conservatorium of Music. Between 2012 and 2014 Anthony was Assistant Chorus Master of the Sydney Philharmonia Choirs and has prepared choruses for noted international conductors such as Vladimir Ashkenazy, David Robertson, David Zinman, Eric Whitacre and Paul McCreesh. He has chorus-mastered or conducted first performances of many works by composers such as Pēteris Vasks, Gabriel Jackson, David Briggs and Bernat Vivancos. 2014 15 saw Anthony conduct works by Ockeghem, MacMillan, Handel, Monteverdi and Tormis as well as the Australian Premiere of Dixit Dominus by Swedish composer Thomas Jennefelt. He has recently led Bel a cappella on their first international tour to Europe, having conducted in venues such as St. Peter s Basilica (Rome), St Mark s Basilica (Venice), Melk Abbey (Vienna) and the Schönbrunn Palace (Vienna). In the current season, he will be conducting works by Grigorjeva, Vivancos, Bryars, MacMillan, Rachmaninov and Schnittke in Sydney, in addition to major choral projects in his first season with the Melbourne Symphony Orchestra Chorus. 6

RALPH VAUGHAN WILLIAMS (1872 1958) The Wasps: Overture Aristophanes comedy The Wasps was first performed in 422 BC in the drama competition in Athens Lenaia Festival. It was a satire aimed specifically at Cleon, the then dominant figure in Athenian politics, and more broadly at those who abused the court system for financial gain. As the play opens, Bdelycleon and his two slaves are trying to restrain his father Philocleon who has developed a problem addiction, not to wine or gambling but to litigation. As Philocleon tries to escape through a chimney (disguised as a puff of smoke), Bdelycleon and the slaves are beset by a chorus of elderly jurors who swarm about like, and costumed as, wasps. The play involves various other madcap episodes: for instance, as a kind of therapy for Philocleon, Bdelycleon stages the trial of a dog accused of stealing cheese, who is testified against by kitchen utensils. There is a long debate, and, after the reconciliation of father and son, the play ends with a dance contest with the sons of a rival playwright. In 1909, The Wasps was chosen for that year s Cambridge Greek Play, and Vaughan Williams was invited to compose incidental music. In the dog s trial scene the score calls for a bag of crockery, representing the kitchen utensils, to be shaken. Vaughan Williams assured his mother s relations, the Wedgwoods, that only the family china would do! The score for the Cambridge performance was necessarily for a modest-sized theatre orchestra, and in 1912, Vaughan Williams scored the Overture and four of the other movements as his The Wasps: Aristophanic Suite for symphony orchestra. The music makes no attempt to sound ancient or Greek, but in a couple of respects it reminds us that Vaughan Williams had recently studied privately with Ravel in Paris. (Ravel, as it happens, praised Vaughan Williams as the only student who didn t end up mimicking his teacher.) After an attention-grabbing trill and some musical onomatopoeia depicting the buzzing of the wasps, Vaughan Williams states his first theme which sounds, at first, like something derived from English folksong, which the composer had dedicated much time to recording and preserving. The theme s contour, however, is distorted by the use of the whole-tone scale, much loved by Debussy. The theme is stated quietly by winds and then by the full orchestra, leading into a more conventionally English-sounding march. After this material there is a Ravellian dissolve which introduces a fragmentary theme on solo horn, passed to solo violin. This fragment then blooms as a long, heartfelt melody which, similarly, is given out quietly at first and then again with the full orchestra in all its richness. In the score this theme represents the ultimate reconciliation of Bdelycleon and his father. A passage of French languor follows, with woodwind solos tracing fragments of the whole-tone scale. The spell is broken by a return to the opening trill, and a building of momentum and noise until the first themes are restated and then combined in joyful counterpoint with the reconciliation theme. Gordon Kerry 2016 The Melbourne Symphony Orchestra first performed the Overture from The Wasps in August 1939 under the direction of Sir Malcolm Sargent, and most recently in June 1985 with Dobbs Franks. 7

FRÉDÉRIC CHOPIN (1810 1849) Piano Concerto No.2 in F minor, Op.21 Maestoso Larghetto Allegro vivace Andrea Lam piano Many would agree that Frédéric Chopin possessed a unique musical voice, given the ease with which his compositions can be recognised. Yet despite the stylistic constancy of certain attributes of his music, like melody, a marked evolution can be traced in other areas. Chopin s early compositions were often in bravura style, and it was in performance of such works that he won great acclaim on stages in Warsaw, Vienna and Paris. However he grew disillusioned with the atmosphere of the concert hall in his early 20s, and ultimately withdrew entirely from public performance. While most of his early stile brillante compositions have not held their initial appeal, the two piano concertos which both date from this period, written in his 20th year retain a treasured place in the repertory. Accordingly, they are pivotal works, on the one hand rich in the virtuosic pianism of the composer s early style, yet simultaneously diffused with those innate musical gifts which are held in high esteem. Despite being written first, issues relating to its publication resulted in the Concerto in F minor receiving both a later opus number and the designation as his second. It won critical acclaim at its premiere in Warsaw on 17 March 1830, the Powszechny dziennik krajowy noting Chopin s lovely and pleasing melodies, and the concerto s well-proportioned harmonic foundation. Yet in the latter part of the 19th century the work endured the disdain of scholars, who asserted problematic weaknesses in orchestration and structure, also claiming a lack of organic unity. More recently, assessment of compositions by Chopin s contemporaries Hummel, Kalkbrenner and Moscheles shows that perceived idiosyncrasies are in fact typical for the genre at that time. The opening movement features the expected four orchestral tuttis, which here are short and potent, and which serve to frame three lengthy solo sections. In these, the pianist expands on the concerto s thematic material, before embarking on episodes of complex passagework that traverse a kaleidoscopic array of keys. It can seem hard to fathom how the exquisite Larghetto was penned by one so young. Written in a simple ternary form, the outer sections feature the melodic style and intricate ornamentation characteristic of Chopin s many nocturnes, while the central section compels in its dramatic contrast, the pianist s recitativelike interjections underscored by tremolando strings. The final movement is also in ternary form (albeit with an added lengthy coda), and its triple metre evokes the mazurka, one of Poland s national dances. The unusual sound of violinists using the wood of their bows against the strings marks the commencement of the central section, which is rich in thematic content, each of the four melodic ideas ingeniously linked through triplet rhythmic patterns. After a return to the minor tonality of the opening, a horn solo heralds the coda, which signals the pianist to undertake dazzling passages of ever-greater difficulty. After a final cascading flourish, this remarkable early work so prescient of the composer s mature voice is brought by the orchestra to a powerful close. Scott Davie 2016 The Melbourne Symphony Orchestra first performed this work on 27 July 1940 with conductor Percy Code and pianist Ignaz Friedman. The Orchestra s most recent performance was given in November 2011 with John Storgårds and Cédric Tiberghien. 8

GUSTAV HOLST (1874 1934) The Planets, Op.32 Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of Old Age Uranus, the Magician Neptune, the Mystic The Planets must be one of the most influential musical works of the 20th century. Russell Crowe and his cohorts in the film Gladiator seemed that bit more craggily determined thanks to a score that reminded us of Mars. At the close of Neptune, Holst invents the fade-out. The iridescent opening of Jupiter foreshadows the work of John Adams, and for many years Anglicans have sung its big central tune as the patriotic hymn, I vow to thee my country. As a repository of orchestral special effects and memorable tunes, the piece has certainly earned its pop status, but its very popularity and the imitations it has spawned have disadvantaged it and its composer. We need to make an effort to hear the work with fresh ears and to remind ourselves that this was very radical music for its time. Moreover, we should note that it is atypical of its composer. An artist of great integrity, Holst refused to imitate the piece to ensure his own status, so that we sadly hear little of his other work, even though much of it is of the same quality as The Planets. Holst, like his great friend Vaughan Williams, was of a generation educated at London s Royal College of Music which rejuvenated British music through the study of Tudor music and the collection of folksong. The young Holst was at first a Wagnerian, and his early works show this influence in their opulence and richly chromatic harmony. After some years as a professional trombonist, Holst decided in 1903 to devote himself to composition. In practice, though, this meant beginning his career as an outstanding teacher at St Paul s Girls School, Morley College, and later the RCM. He also became drawn to eastern mysticism, particularly that of Hinduism, which led, indirectly, to his development of a much leaner harmonic style. Composed between 1914 and 1917, the seven movements of The Planets are less about depicting large balls of gas and rock than about each planet s astrological significance. Given the outbreak of the First World War at the time, it is hard not to see Mars as grimly prophetic of the carnage of the first hi-tech war. Where a composer like Mahler uses military music for an ambiguously thrilling effect, Holst takes pains to make his music simply inhuman: the opening three-note theme traces the tritone, an unstable interval often called the devil in music. The relentlessly repeated rhythm, or ostinato, is no simple march, having five beats to a bar. The harmony is bitonal, that is, it superimposes chords of two different keys to give it its sense of unrelieved dissonance, especially at the shattering climax. Venus, the Bringer of Peace offers a complete contrast: the orchestration is sweet and languorous and the harmony, while still frequently bitonal, uses chords which avoid direct clashes of adjacent notes, creating subtle voluptuousness. Mercury is rather like a symphonic scherzo: short, fast and orchestrated with the utmost delicacy. At the heart of the suite, Jupiter is an orchestral tour de force. The glittering fast music with which it opens is busy but crystal clear; its theme, like that of Mars, is based on a three-note motive, but here it is completely and solidly diatonic. The Planets was first planned during a holiday in Spain, so we shouldn t be surprised to hear certain Iberian sounds and rhythms in the dance music which follows. This is interrupted by a fanfare of repeated chords, which ushers in the quiet statement of the celebrated maestoso theme. The quintessentially British tune may seem out of place in a celebration of the Bringer of Jollity it is hardly thigh-slappingly funny. Curiously, too, it doesn t reach a full close: what should be the second last chord sets off an echo of the shimmering sounds of the opening. The tune does, however, stride through tumultuous last pages of the movement. If Jupiter s big tune was a reminder that joy is fleeting, Saturn makes this very clear in its portentous, death-ward tread and ever more disturbing brass chords. Uranus, however, casts a spell in music as innocent as The Sorcerer s Apprentice. Taking his cue from Debussy s Sirènes, Holst imbues Neptune with the mystery of wordless, offstage female voices. With its translucent scoring and the hypnotic use of repeated chord patterns, the work ends as perhaps no other had before, fading imperceptibly into night and silence. Gordon Kerry 2003 The Melbourne Symphony Orchestra first performed The Planets on 25 August 1939 under the direction of Sir Malcolm Sargent, and most recently in 2012 with Alexander Shelley. 9

Top: Rachael Tobin Photographer; Shara Henderson Above: The Melbourne Symphony Orchestra performing at the Concertgebouw in Amsterdam in 2014. Photographer; Matt Irwin Right: Sarah Vaughan, c. 1946. Photographer; William P. Gottlieb 10

The Best with Rachael Tobin Rachael Tobin joined the MSO in 2012, and holds the position of Associate Cello. She studied in London and New York before taking up a position on the Sydney Symphony Fellowship program. She has performed with the Sydney Symphony Orchestra, Tasmanian Symphony Orchestra, the Philharmonia Orchestra in London amongst others, as well as performing as a soloist and chamber performer across the world. We asked her what s The Best The best thing about your instrument? People are often surprised by the enormous range in pitch the cello has. It means we not only get to play the bass line, but quite often play the gorgeous melodies too. Oh, and also, people stand up and give me a seat on the tram. The best concert you ve performed in? One very memorable concert for me was playing in the Concertgebouw in Amsterdam in 2014, on the MSO s European Tour. The performance of Strauss' Four Last Songs (sung by Erin Wall) was dedicated to the memory of those lost in the MH17 tragedy. The hall was filled with heartfelt emotion, and I felt honoured to have been part of such a special and powerful performance. The best album you own? This is really hard to answer! It depends what mood I'm in, but a bit of Sarah Vaughan or Frank Sinatra at the end of a long day always goes down well. The best thing about Melbourne? I really like walking around cities, and Melbourne has so many diverse and interesting places to explore. I particularly love how so many areas have quirky little shops there seems to be a lot of support for local designers and artists in Melbourne. The best thing to do in your spare time? Having friends over, cooking a hearty meal, and sitting by the fire with a glass of wine. I also love going on a drive to the country with my little dog Poppy. You can see Rachael perform in Dvořák Cello Concerto on 11 and 14 November at Arts Centre Melbourne, Hamer Hall, and Sibelius & Shostakovich on 17 and 19 November at Melbourne Recital Centre. Range of orchestra string section Middle C Double Bass Cello Viola Violin 11

SUPPORTERS MSO Patron The Honourable Linda Dessau AM, Governor of Victoria Artist Chair Benefactors Anonymous Flute Chair Di Jameson Viola Chair Joy Selby Smith Orchestral Leadership Chair Patricia Riordan Associate Conductor Chair The Gross Foundation Second Violin Chair The MS Newman Family Cello Chair The Ullmer Family Foundation Associate Concertmaster Chair Program Benefactors Meet The Orchestra The Ullmer Family Foundation East Meets West Li Family Trust The Pizzicato Effect (Anonymous) Schapper Family Foundation Marian & EH Flack Trust MSO Education Mrs Margaret Ross AM and Dr Ian Ross MSO Audience Access Betty Amsden AO DSJ Crown Resorts Foundation Packer Family Foundation MSO International Touring Harold Mitchell AC Satan Jawa Australia Indonesia Institute (DFAT) MSO Regional Touring Erica Foundation Pty Ltd Robert Salzer Foundation Creative Victoria Benefactor Patrons $50,000+ Betty Amsden AO DSJ Marc Besen AC and Eva Besen AO The Gross Foundation 0 Di Jameson 0 David and Angela Li Harold Mitchell AC MS Newman Family 0 Joy Selby Smith Ullmer Family Foundation 0 Anonymous (1) Impresario Patrons $20,000+ Michael Aquilina 0 The John and Jennifer Brukner Foundation Perri Cutten and Jo Daniell Rachel and the late Hon. Alan Goldberg AO QC Hilary Hall, in memory of Wilma Collie Margaret Jackson AC David Krasnostein and Pat Stragalinos Mimie MacLaren John and Lois McKay Anonymous (1) Maestro Patrons $10,000+ John and Mary Barlow Kaye and David Birks Paul and Wendy Carter Mitchell Chipman Sir Andrew and Lady Davis Future Kids Pty Ltd Gandel Philanthropy Danny Gorog and Lindy Susskind 0 Robert & Jan Green Dr Geraldine Lazarus and Mr Greig Gailey The Cuming Bequest Ian and Jeannie Paterson Lady Potter AC 0 Elizabeth Proust AO Rae Rothfield Glenn Sedgwick Helen Silver AO and Harrison Young Maria Solà Profs. G & G Stephenson. In honour of the great Romanian musicians George Enescu and Dinu Lipatti Onbass Foundation Juliet Tootell Alice Vaughan Kee Wong and Wai Tang Jason Yeap OAM Anonymous (1) Patrons $5,000+ Linda Britten David and Emma Capponi Mary and Frederick Davidson AM Andrew and Theresa Dyer 0 Tim and Lyn Edward Mr Bill Fleming John and Diana Frew Susan Fry and Don Fry AO Sophie Galaise 0 Jennifer Gorog Louis Hamon OAM Nereda Hanlon and Michael Hanlon AM 0 Hans and Petra Henkell Hartmut and Ruth Hofmann Jenny and Peter Hordern Jenkins Family Foundation Suzanne Kirkham Vivien and Graham Knowles Dr Elizabeth A Lewis AM Peter Lovell Annette Maluish Lesley McMullin Foundation Mr and Mrs D R Meagher Marie Morton FRSA Dr Paul Nisselle AM James and Frances Pfeiffer Pzena Investment Charitable Fund Stephen Shanasy HMA Foundation D & CS Kipen on behalf of Israel Kipen Gai and David Taylor The Hon. Michael Watt QC and Cecilie Hall Lyn Williams AM Anonymous (5) 0 Signifies Adopt an MSO Musician supporter 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, Dr Mark and Mrs Ann Bryce, Bill and Sandra Burdett, Oliver Carton, John and Lyn Coppock, Miss Ann Darby in memory of Leslie J. Darby, Natasha Davies, for the Trikojus Education Fund, Beryl Dean, Sandra Dent, Peter and Leila Doyle, Lisa Dwyer and Dr Ian Dickson, Jane Edmanson OAM, Dr Helen M Ferguson, Mr Peter Gallagher and Dr Karen Morley, Dina and Ron Goldschlager, Colin Golvan QC and Dr Deborah Golvan, Charles and Cornelia Goode, Louise Gourlay OAM, Susan and Gary Hearst, Colin Heggen in memory of Marjorie Drysdale Heggen, Gillian and Michael Hund, Rosemary and James Jacoby, John Jones, George and Grace Kass, Irene Kearsey, Kloeden Foundation, Sylvia Lavelle, Bryan Lawrence, 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, Graham and Christine Peirson, Ruth and Ralph Renard, S M Richards AM and M R Richards, Joan P Robinson, Tom and Elizabeth Romanowski, Max and Jill Schultz, Jeffrey Sher QC and Diana Sher OAM, 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, Elisabeth Wagner, Barbara and Donald Weir, Athalie Williams, Brian and Helena Worsfold, Anonymous (13) Player Patrons $1,000+ Anita and Graham Anderson, Christine and Mark Armour, Philip Bacon AM, Arnold Bloch Leibler, Marlyn and Peter Bancroft OAM, Adrienne Basser, Prof Weston Bate and Janice Bate, Timothy and Margaret Best, David Blackwell, Michael F Boyt, Philip and Vivien Brass Charitable Foundation, M Ward Breheny, Lino and Di Bresciani OAM, The Late Mr John Brockman OAM and Mrs Pat Brockman, Suzie and Harvey Brown, Jill and Christopher Buckley, 12

SUPPORTERS Lynne Burgess, Peter Caldwell, Dr Lynda Campbell, Andrew and Pamela Crockett, Jennifer Cunich, Pat and Bruce Davis, Merrowyn Deacon, Wendy Dimmick, Dominic and Natalie Dirupo, Marie Dowling, John and Anne Duncan, Ruth Eggleston, Kay Ehrenberg, Gabrielle Eisen, Jaan Enden, 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, George Golvan QC and Naomi Golvan, Dr Marged Goode, Philip and Raie Goodwach, Max Gulbin, Dr Sandra Hacker AO and Mr Ian Kennedy AM, Jean Hadges, Paula Hansky OAM, Merv Keehn & Sue Harlow, Tilda and Brian Haughney, Julian and Gisela Heinze, Penelope Hughes, Dr Alastair Jackson, Basil and Rita Jenkins, Stuart Jennings, Brett Kelly and Cindy Watkin, Dr Anne Kennedy, George and Patricia Kline, William and Magdalena Leadston, Andrew Lee, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Ann and George Littlewood, Andrew Lockwood, Violet and Jeff Loewenstein, Elizabeth H Loftus, The Hon Ian Macphee AO and Mrs Julie Macphee, Vivienne Hadj and Rosemary Madden, Eleanor & Phillip Mancini, Dr Julianne Bayliss, In memory of Leigh Masel, John and Margaret Mason, Matsarol Foundation, In honour of Norma and Lloyd Rees, Ruth Maxwell, Trevor and Moyra McAllister, Glenda McNaught, David Menzies, Wayne and Penny Morgan, Ian Morrey and Geoffrey Minter, Patricia Nilsson, Laurence O'Keefe and Christopher James, Alan and Dorothy Pattison, Margaret Plant, John Pollaers, Kerryn Pratchett, Peter Priest, Eli Raskin, Bobbie Renard, Peter and Carolyn Rendit, Dr Rosemary Ayton and Dr Sam Ricketson, 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, Jennifer Steinicke, 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, 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, Lorraine Woolley, Peter and Susan Yates, Mark Young, Panch Das and Laurel Young-Das, YMF Australia, Anonymous (18) The Mahler Syndicate David and Kaye Birks, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Francis and Robyn Hofmann, The Hon Dr Barry Jones AC, Dr Paul Nisselle AM, Maria Solà, The Hon Michael Watt QC and Cecilie Hall, 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, Lynne Damman, Francie Doolan, Lyn Edward, Penny Hutchinson, Elizabeth A Lewis AM, Sophie Rowell, Dr Cherilyn Tillman Trusts and Foundations AL Lane Foundation, Crown Resorts Foundation and the Packer Family Foundation, The Cybec Foundation, The Erica Foundation, Ivor Ronald Evans Foundation, managed by Equity Trustees Limited, The Gall Foundation, The Harold Mitchell Foundation, The Pratt Foundation, The Robert Salzer Foundation, The Scobie and Claire Mackinnon Trust Conductor s Circle 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, Beryl Dean, Sandra Dent, Lyn Edward, Alan Egan JP, Gunta Eglite, Marguerite Garnon-Williams, Louis Hamon OAM, Carol Hay, Tony Howe, Laurence O'Keefe and Christopher James, Audrey M Jenkins, John and Joan Jones, George and Grace Kass, Mrs Sylvia Lavelle, Pauline and David Lawton, Lorraine Meldrum, Cameron Mowat, Rosia Pasteur, Elizabeth Proust AO, Penny Rawlins, Joan P Robinson, Neil Roussac, Anne Roussac-Hoyne, Ann and Andrew Serpell, Jennifer Shepherd, Profs. Gabriela and George Stephenson, Pamela Swansson, Lillian Tarry, Dr Cherilyn Tillman, Mr and Mrs R P Trebilcock, Michael Ullmer, Ila Vanrenen, The Hon. Rosemary Varty, Mr Tam Vu, Marian and Terry Wills Cooke, Mark Young, Anonymous (23) The MSO gratefully acknowledges 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 Sir Elton John CBE Life Member The Late Alan Goldberg AO QC Life Member Geoffrey Rush AC Ambassador The Late John Brockman AO Life Member The Honourable Linda Dessau AM Patron 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. 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 1104 Email: philanthropy@ mso.com.au 13

ORCHESTRA First Violins Violas Flutes Trumpets Dale Barltrop Concertmaster Eoin Andersen Concertmaster Sophie Rowell Associate Concertmaster (The Ullmer Family Foundation 0 ) 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 (Michael Aquilina 0 ) Robert John* Jenny Khafagi* Oksana Thompson* Second Violins Matthew Tomkins (The Gross Foundation 0 ) Robert Macindoe Associate Monica Curro Assistant (Danny Gorog & Lindy Susskind 0 ) Mary Allison Isin Cakmakcioglu Freya Franzen (Anonymous 0 ) Cong Gu Andrew Hall Francesca Hiew Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Amy Brookman* Jacqueline Edwards* Susannah Ng* Christopher Moore (Di Jameson 0 ) Fiona Sargeant Associate Lauren Brigden Katharine Brockman Christopher Cartlidge Gabrielle Halloran Trevor Jones Cindy Watkin Caleb Wright Anthony Chataway* William Clark* Simon Collins* Gregory Daniels* Isabel Morse* Katie Yap* Cellos David Berlin (MS Newman Family 0 ) Rachael Tobin Associate Nicholas Bochner Assistant Miranda Brockman Rohan de Korte Keith Johnson Sarah Morse Angela Sargeant Michelle Wood (Andrew & Theresa Dyer 0 ) Eliza Sdraulig* Simon Svoboda* Double Basses Steve Reeves Andrew Moon Associate Sylvia Hosking Assistant Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton (Sophie Galaise 0 ) Kinga Janiszewski* Prudence Davis Flute (Anonymous 0 ) Wendy Clarke Associate Sarah Beggs Piccolo Andrew Macleod Taryn Richards* Oboes Jeffrey Crellin Thomas Hutchinson Associate Ann Blackburn Annabelle Farid* 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 Adrian Vren* # Guest Saul Lewis Third Jenna Breen Abbey Edlin Trinette McClimont Robert Shirley* Ian Wildsmith* Geoffrey Payne Shane Hooton Associate William Evans Julie Payne Trombones Brett Kelly Iain Faragher* Bass Trombone Mike Szabo Euphonium Matthew van Emmerik* Tuba Timothy Buzbee Timpani Christine Turpin Percussion Robert Clarke John Arcaro Robert Cossom Timothy Hook* Harp Yinuo Mu Melina van Leeuwin* Guest Alannah Guthrie-Jones* Celeste Donald Nicolson* Organ Calvin Bowman* * Guest Musician # Courtesy of Adelaide Symphony Orchestra 0 Position supported by BOARD Managing Director Board Members Company Secretary Sophie Galaise Chairman Michael Ullmer Andrew Dyer Danny Gorog Margaret Jackson AC Brett Kelly David Krasnostein David Li Helen Silver AO Kee Wong Oliver Carton 14

CHORUS Soprano Aviva Barazani Jessica Chan Veryan Croggon Esther Crowley Cornelia Elmelid Rita Fitzgerald Catherine Folley Carolyn Francis Camilla Gorman Jillian Graham Penny Huggett Tania Jacobs Ester Litvak Elizabeth Rusli Freja Soininen Eloise Verbeek Eva Butcher Rashika Gomez Gwen Kennelly Judith McFarlane Susie Novella Natalia Salazar Jodi Samartgis Jemima Sim Shu Xian Elizabeth Tindall Vanessa Tunggal Alto Catherine Bickell Alexandra Chubaty Katherine Daley Natasha Godfrey Ros Harbison Sue Hawley Helen MacLean Rosemary McKelvie Kellie Mentlikowski Helen Nikolas Sharmila Periakarpan Helen Rommelaar Annie Runnalls Lisa Savige Wilma Smith Aleksandra Acker Elize Brozgul Andrea Clifford Jill Giese Jennifer Henry Kristine Hensel Christina McCowan Libby Timcke Mair Roberts Siobhan Ormandy Repetiteur Tom Griffiths Chorus Master Anthony Pasquil SUPPORTERS Maestro Partners Official Car Partner Associate Partners Venue Partner Red Emperor Fitzroys Li Family Trust Quest Southbank Supporting Partners The CEO Institute Feature Alpha Investment Beautiful Flowers Government Partners Media Partners

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