SIMONE YOUNG AND KOLJA BLACHER

SIMONE YOUNG AND KOLJA BLACHER 5 & 7 JULY 2018 Arts Centre Melbourne, Hamer Hall 6 JULY 2018 Costa Hall, Geelong CONCERT PROGRAM

Melbourne Symphony Orchestra Simone Young conductor Kolja Blacher violin Britten Violin Concerto INTERVAL Bruckner Symphony No.6 Pre-Concert conversation Join us for a pre-concert talk from MSO's Education Manager, Lucy Rash from stage. Thursday 6.15pm, Friday 6.30pm, Saturday 12.45pm. Running time: Two hours, including a 20-minute interval In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone. The MSO acknowledges the Traditional Owners of the land on which it is performing. MSO pays its respects to their Elders, past and present, and the Elders from other communities who may be in attendance. mso.com.au (03) 9929 9600 2

MELBOURNE SYMPHONY ORCHESTRA SIMONE YOUNG AM CONDUCTOR Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 4 million people each year, the MSO reaches diverse audiences through live performances, recordings, TV and radio broadcasts and live streaming. Its international audiences include China, where MSO has performed in 2012, 2016 and most recently in May 2018, Europe (2014) and Indonesia, where in 2017 it performed at the UNESCO World Heritage Site, Prambanan Temple. The MSO performs a variety of concerts ranging from symphonic 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 MSO also delivers innovative and engaging programs and digital tools to audiences of all ages through its Education and Outreach initiatives. Simone Young was General Manager and Music Director of the Hamburg State Opera and Music Director of the Philharmonic State Orchestra Hamburg (2005-2015). Currently Guest Conductor of the Lausanne Chamber Orchestra, Simone Young has been Music Director of Opera Australia, Chief Conductor of the Bergen Philharmonic, and Guest Conductor of Lisbon s Gulbenkian Orchestra. She has led the Vienna, Munich, Berlin, New York and London Philharmonic Orchestras, Staatskapelle Dresden, BBC and City of Birmingham Symphony Orchestras, and Wiener Symphoniker, and conducts at the Vienna, Berlin and Bavarian State Operas, Semper Oper Dresden, Zurich, Opéra National de Paris, Royal Opera House Covent Garden, Metropolitan Opera, and Los Angeles Opera. She holds a Professorship at the Musikhochschule, Hamburg, Honorary Doctorates from Griffith and Monash Universities and UNSW, and the Chevalier de l Ordre des Arts et des Lettres, France. 3

KOLJA BLACHER VIOLIN Kolja Blacher has performed with orchestras such as the Berlin Philharmonic, Munich Philharmonic, Leipzig Gewandhaus Orchestra, North German Radio Symphony Orchestra, Orchestra di Santa Cecilia and Baltimore Symphony. He has worked with conductors such as Kirill Petrenko, Mariss Jansons, Vladimir Jurowski, Simone Young, and Asher Fish, and with Claudio Abbado (a close association dating from their time at the Berlin Philharmonic and Lucerne Festival). Kolya Blacher s repertoire ranges from Bach to Berio, covering the classical-romantic core repertoire and contemporary works. He gave the German premiere of Brett Dean s Electric Preludes for the six-string e-violin. Recent recordings include the Nielsen Violin Concerto with Giordano Bellincampi and the Duisburg Philhamonic and the Schoenberg Violin Concerto with Markus Stenz and the Gürzenich Orchestra of Cologne. 4

PROGRAM NOTES BENJAMIN BRITTEN (1913-1976) Violin Concerto in D minor, Op.15 I Moderato con moto Agitato Tempo primo II Vivace Animando Largamente Cadenza III Passacaglia Kolja Blacher violin In September 1939 Britten wrote to a friend, I have just finished the score of my Violin Concerto. It is times like these that work is so important that humans can think of other things than blowing each other up! I try not to listen to the Radio more than I can help. Britten was writing from the USA. He and the singer Peter Pears, his lifelong partner, muse and interpreter, had left England for a long-planned recital tour of Canada in May of that year. With the outbreak of hostilities in Europe in September, Britten and Pears decided, as committed pacifists, to remain in North America. A number of prominent British literati, such as Christopher Isherwood and W.H. Auden, had already travelled to the USA where they would settle for good, so the two musicians crossed the border and settled for a time in the orbit of New York City. But while the concerto was written in the immediate build-up to the outbreak of World War II, its emotional core is Britten s response to the Spanish Civil War. Britten had been particularly appalled by events in Spain, especially the atrocities in which soldiers as young as 14 were routinely facing firing squads. The work which appears immediately before the concerto in Britten s list of opus numbers is Ballad of Heroes, Op.14, a work for tenor solo, massed choirs and orchestra which pays tribute to those Britons who fought and died for the republican cause. In April 1936, Britten had flown to Barcelona with the violinist Antonio Brosa for an International Society for Contemporary Music festival and it was here that Britten had an experience which was to leave an indelible imprint on his work: he heard for the first time the Violin Concerto of Alban Berg, which he described as just shattering very simple, & touching. With Brosa in mind he began work on his own concerto, completing the composition sketch in Canada in 1939. By the time the work was ready for performance, however, Britten found that his stocks at home in the UK were very low; the premiere was accordingly given at Carnegie Hall by the New York Philharmonic under Sir John Barbirolli with Brosa as soloist in 1940. When the work was premiered in the UK its reception was mixed, notably because of Britten s decision to leave his country in her hour of need. In New York, however, the work found favour with its audience and even with the New York Times critic Olin Downes, who observed drily, There is modern employment of percussion instruments. He referred, no doubt, to the opening motif for timpani and percussion which acts as a structural pivot for the first movement and imparts a vague sense of impending doom. Between appearances of this motto, however, 5

Britten canvasses a variety of different moods. The central movement, which follows without a break, has that kind of fevered energy found in other works of Britten s from this time, notably Our Hunting Fathers and the Dies irae from the Sinfonia da requiem. It is also notable for very Brittenesque textures, such as a passage scored for two piccolos and tuba. The cadenza concludes this movement, leading into the finale which is in one of Britten s favourite forms: the passacaglia. He introduces the theme on the trombones that have been silent, à la Brahms, up until now. A passacaglia in a concerto presents any composer with a challenge the repetition of a phrase which forms the basis of the form may work against the expectation of a concerto to become more expansive and virtuosic in its final movement. Britten, of course, carries it off with great flair over the considerable 15-minute span of the movement. This is not about merely scoring points, however. The music in the finale takes on the kind of Mahlerian/Bergian intensity which Britten s compassion called forth in him in the face of humans blowing each other up. Gordon Kerry 2005 The only previous performance of the Britten Violin Concerto by the Melbourne Symphony Orchestra took place on 6-8 July 2006 with conductor Mark Wigglesworth and Midori as soloist. ANTON BRUCKNER (1824-1896) Symphony No.6 in A, WAB 106 Maestoso Adagio: Sehr feierlich Scherzo: Nicht schnell Trio: Langsam Finale: Bewegt, doch nicht zu schnell Bruckner, who must have grown used to rejection, only ever heard the middle two movements of his Sixth Symphony when they were played in Vienna in 1883. (Gustav Mahler gave the whole work after the composer s death, but only did so after making significant cuts.) It is a shame, as the Viennese public might have formed a slightly more sophisticated view of Bruckner s music had this work become more familiar, and they might have been encouraged to reconsider some of the simplistic myths that cluster around it. These include: that Bruckner was an untutored, provincial peasant whose music is the product of rough carpentry (assuming a lack of formal technique); that the music is organists music, unsuccessfully translating the techniques of contrasting mass and colour from the organ console to the orchestra; or that, by contrast, he was simply replicating the orchestral sound of his idol Wagner; and that he wrote one symphony nine times. Bruckner s world-view was naturally informed by the conservative, Catholic, village society of which he was a product, but despite his quaintly rustic manners and seeming naiveté, he was, like his father (and, indeed, like Schubert), a trained schoolmaster; his musical schooling, too, was considerable not merely in what was 6

required for a village organist and he had the wisdom and humility to take lessons well into adulthood. The 30-something Bruckner even imposed seven years silence on himself while he submitted to Simon Sechter s strict regime in harmony and counterpoint. (Afterward, one of the examiners was heard to say, He should have examined us. ) Bruckner took his diploma from the Vienna Conservatory in 1861, after which conductor Otto Kitzler introduced him to the techniques of orchestration and formal design found in contemporary music. So the cathedrals in sound, to dispose of another hoary cliché, are the product of a well-informed, as well as original, musical intelligence. There is indeed a certain formal and stylistic consistency across Bruckner s symphonic output: after the massive yearning of the first movements and the exploration of grief and acceptance in many of the Adagios, the energy of the scherzos becomes a music of poised ecstasy, and is gathered up, along with earlier themes, in the finales. Bruckner s deeply held Catholicism helps us to understand what the music attempts to do, and why it is unlike that of any other composer of the time. For the paradox is that at the time of the most intense flowering of Romantic self-expression, Bruckner composed music which, as philosopher Theodor Adorno remarked, runs counter to the belief in composition as a subjective act of creation. Wagner regarded music as the art of transition, where Bruckner aims to dramatise ultimate reality; Mahler s subject, to borrow again from Adorno, is brokenness, while Bruckner s is the essential unity of all things. By another paradox, it is the atheist, urbane sophisticate Brahms whose music is so deeply rooted in the religious music of the past, namely Bach. Bruckner s is much closer to the Romantic ideal of spontaneous generation. Despite the many correspondences between his works, and indeed, instances of self-quotation, they are not merely formulaic. There are important differences, and each work has its own unique internal tension. Bruckner establishes this tension at the very beginning of his Sixth Symphony: instead of a timeless shimmer, his typical practice, he starts with an insistent and repeated rhythmic motif in the violins, whose ambiguity (of its dotted rhythm on the first beat and triplets on the second) becomes of major structural importance. As expected, the first theme sounds against this background, but, unusually for Bruckner, it is not presented, as in the Seventh Symphony, as an evenly scored melody. Here the phrases are distributed among the low strings, the solo horn, and eventually solo winds before the first full tutti. Moreover, the spacious, stable calm that we expect is absent: below the niggling violin C sharps, the various phrases are highly chromatic, moving quickly away from the tonic and always ending with a questioning semitone. This gives the whole movement a sense of heightened expectation. The second thematic group is, as usual, more relaxed, the typical Brucknerian use of three beats in the space of two giving it a gentle dance-like sense. In the main, Bruckner avoids bombast, preferring contrasting sections of lighter texture, but these are 7

frequently highly intricate, consisting of layers of rhythmically distinct material the duplet/triplet contrast now becomes simultaneous. And in a simple example of his economy, Bruckner signals the return of the opening material, now fully scored, with the addition of the timpani. His orchestra, we might note, is modest: much more like Brahms than Wagner s. The ceremonious Adagio contains some of his most organ-like scoring, though here, as elsewhere in Bruckner s work, it only sounds organlike because it is, as scholar Donald Tovey said, free of the organist s usual mistakes. Rich string polyphony, interrupted by a Romantic oboe solo, is gradually reinforced with winds, introducing the movement s main theme. This, like many associated with love in the music of Schumann, Mendelssohn and Wagner, starts with an interval of a falling seventh and has a rapid flutter on the second beat. Here, too, Bruckner experiments with sudden changes of key, and passages in which throbbing, individual rhythms contend with each other. The Scherzo is also atypical in that it is clearly marked not fast. It too is characterised by a mosaic of repeated motifs in different orchestral voices that can gather to a full tutti or be reduced to a single repeated bass note doubled by distant timpani, and which exploit unexpected harmonic shifts. There is a contrastingly woodsy-outdoorsy trio section that features horn calls. The finale is, broadly, in Bruckner s usual form and manner: assertive music followed by a lyrical string passage and a skipping theme that seems genial on solo flute but urgent when played by all. The movement plays with dramatic contrasts of sonority and character, and sudden glimpses of the abyss. The work s opening motif reappears, and the heroic theme of the first movement is triumphantly sounded by the trombones as the work ends. Gordon Kerry 2018 The Melbourne Symphony Orchestra first performed Bruckner s Sixth Symphony on 30 October 1947 under conductor Eugene Goossens, and most recently in August 1996 with Simone Young. 8

Unfold the musical legacy of legendary American composer and conductor, Leonard Bernstein. WEST SIDE STORY FILM WITH LIVE ORCHESTRA 27 JULY 7.30pm SOLD OUT 28 JULY 1pm SELLING FAST Benjamin Northey conductor BERNSTEIN CLASSICS 15 AUGUST 7.30pm Bramwell Tovey conductor BERNSTEIN ON BROADWAY 18 AUGUST 7.30pm Bramwell Tovey conductor Talks, films, concerts and more. All ages. Arts Centre Melbourne, Hamer Hall mso.com.au/bernstein Leonard Bernstein by Paul de Hueck, Courtesy of the Leonard Bernstein Office 9

MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor Benjamin Northey Associate Conductor Anthony Pratt # Tianyi Lu Cybec Assistant Conductor Hiroyuki Iwaki Conductor Laureate (1974 2006) FIRST VIOLINS Dale Barltrop Concertmaster Sophie Rowell Concertmaster The Ullmer Family Foundation # Peter Edwards Assistant John McKay and Lois McKay # Kirsty Bremner Sarah Curro Michael Aquilina # Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Kirstin Kenny Ji Won Kim Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor Michael Aquilina # Aaron Barnden* Zoe Black* Amy Brookman* Michael Loftus-Hills* Nicholas Waters* SECOND VIOLINS Matthew Tomkins The Gross Foundation # Robert Macindoe Associate Monica Curro Assistant Danny Gorog and Lindy Susskind # Mary Allison Isin Cakmakcioglu Tiffany Cheng Freya Franzen Anonymous # Cong Gu Andrew Hall Andrew and Judy Rogers # Isy Wasserman Philippa West Patrick Wong Roger Young Jacqueline Edwards* Madeleine Jevons* VIOLAS Christopher Moore Di Jameson # Fiona Sargeant Associate Lauren Brigden Mr Tam Vu and Dr Cherilyn Tillman # Katharine Brockman Christopher Cartlidge Michael Aquilina # Anthony Chataway Dr Elizabeth E Lewis AM # Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough William Clark* Ceridwen Davies* Lisa Grosman* Helen Ireland* CELLOS David Berlin MS Newman Family # Rachael Tobin Associate Nicholas Bochner Assistant Miranda Brockman Geelong Friends of the MSO # Rohan de Korte Andrew Dudgeon # Keith Johnson Sarah Morse Angela Sargeant Michelle Wood Andrew and Theresa Dyer # Rachel Atkinson* DOUBLE BASSES Steve Reeves Andrew Moon Associate Sylvia Hosking Assistant Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser # Jonathon Coco* Vivian Siyuan Qu* Emma Sullivan* Esther Toh* FLUTES Prudence Davis Anonymous # Wendy Clarke Associate Helen Hardy* Guest Associate Sarah Beggs PICCOLO Andrew Macleod 10

OBOES Jeffrey Crellin Thomas Hutchinson Associate Ann Blackburn The Rosemary Norman Foundation # COR ANGLAIS Michael Pisani Rachel Curkpatrick* CLARINETS David Thomas Philip Arkinstall Associate Craig Hill BASS CLARINET Jon Craven BASSOONS Jack Schiller Elise Millman Associate Natasha Thomas CONTRABASSOON Brock Imison HORNS Grzegorz Curyla* Guest Saul Lewis Third Ian Wildsmith* Guest Third Abbey Edlin Nereda Hanlon and Michael Hanlon AM # Trinette McClimont Josiah Kop* Alexander Morton* Ian Wildsmith* Philip Wilson* TRUMPETS Geoffrey Payne* Guest Shane Hooton Associate William Evans Rosie Turner TROMBONES Brett Kelly Tim Dowling* Guest Associate Richard Shirley Tim and Lyn Edward # Mike Szabo Bass Trombone TUBA Timothy Buzbee David J. Saltzman* TIMPANI ** Christopher Lane PERCUSSION Robert Clarke John Arcaro Tim and Lyn Edward # Robert Cossom HARP Yinuo Mu MSO BOARD Chairman Michael Ullmer Managing Director Sophie Galaise Board Members Andrew Dyer Danny Gorog Margaret Jackson AC David Krasnostein David Li Hyon-Ju Newman Helen Silver AO Company Secretary Oliver Carton # Position supported by * Guest Musician Courtesy of Adelaide Symphony Orchestra Courtesy of Malaysian Philharmonic Orchestra ** Timpani Chair position supported by Lady Potter AC CMRI 11

Supporters MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria CHAIRMAN S CIRCLE Marc Besen AC and Eva Besen AO The Gross Foundation Harold Mitchell Foundation David and Angela Li Harold Mitchell AC MS Newman Family Foundation Lady Potter AC CMRI Joy Selby Smith The Cybec Foundation The Pratt Foundation The Ullmer Family Foundation Anonymous (1) ARTIST CHAIR BENEFACTORS Associate Conductor Chair Benjamin Northey Anthony Pratt Orchestral Leadership Joy Selby Smith Cybec Assistant Conductor Chair Tianyi Lu The Cybec Foundation Associate Concertmaster Chair Sophie Rowell The Ullmer Family Foundation 2018 Soloist in Residence Chair Anne-Sophie Mutter Marc Besen AC and Eva Besen AO Young Composer in Residence Ade Vincent The Cybec Foundation PROGRAM BENEFACTORS Cybec 21st Century Australian Composers Program The Cybec Foundation East Meets West Supported by the Li Family Trust Meet The Orchestra Made possible by The Ullmer Family Foundation MSO Audience Access Crown Resorts Foundation, Packer Family Foundation MSO Building Capacity Gandel Philanthropy (Director of Philanthropy) MSO Education Supported by Mrs Margaret Ross AM and Dr Ian Ross MSO International Touring Supported by Harold Mitchell AC MSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, The Robert Salzer Foundation, Anonymous The Pizzicato Effect (Anonymous), Collier Charitable Fund, The Marian and E.H. Flack Trust, Scobie and Claire Mackinnon Trust, Supported by the Hume City Council s Community Grants Program Sidney Myer Free Concerts Supported by the Myer Foundation and the University of Melbourne PLATINUM PATRONS $100,000+ Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel The Gross Foundation David and Angela Li MS Newman Family Foundation Anthony Pratt The Pratt Foundation Lady Potter AC CMRI Joy Selby Smith Ullmer Family Foundation Anonymous (1) VIRTUOSO PATRONS $50,000+ Di Jameson David Krasnostein and Pat Stragalinos Harold Mitchell AC Kim Williams AM 12

IMPRESARIO PATRONS $20,000+ Michael Aquilina The John and Jennifer Brukner Foundation Mary and Frederick Davidson AM Margaret Jackson AC Andrew Johnston Mimie MacLaren John and Lois McKay Maria Solà MAESTRO PATRONS $10,000+ Kaye and David Birks Mitchell Chipman Tim and Lyn Edward Danny Gorog and Lindy Susskind Robert & Jan Green Hilary Hall, in memory of Wilma Collie The Hogan Family Foundation International Music and Arts Foundation Suzanne Kirkham The Cuming Bequest Gordan Moffat AM Ian and Jeannie Paterson Elizabeth Proust AO Xijian Ren and Qian Li Glenn Sedgwick Helen Silver AO and Harrison Young Gai and David Taylor Juliet Tootell Alice Vaughan Harry and Michelle Wong Jason Yeap OAM PRINCIPAL PATRONS $5,000+ Christine and Mark Armour John and Mary Barlow Barbara Bell, in memory of Elsa Bell Stephen and Caroline Brain Prof Ian Brighthope David and Emma Capponi May and James Chen Wendy Dimmick Andrew Dudgeon AM Andrew and Theresa Dyer Mr Bill Fleming John and Diana Frew Susan Fry and Don Fry AO Sophie Galaise and Clarence Fraser Geelong Friends of the MSO R Goldberg and Family Jennifer Gorog HMA Foundation Louis Hamon OAM Nereda Hanlon and Michael Hanlon AM Hans and Petra Henkell Hartmut and Ruth Hofmann Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson AM Rosemary and James Jacoby Dr Elizabeth A Lewis AM Norman Lewis, in memory of Dr Phyllis Lewis Peter Lovell Lesley McMullin Foundation Mr Douglas and Mrs Rosemary Meagher Marie Morton FRSA Dr Paul Nisselle AM The Rosemary Norman Foundation Ken Ong, in memory of Lin Ong Bruce Parncutt AO Jim and Fran Pfeiffer Pzena Investment Charitable Fund Andrew and Judy Rogers Rae Rothfield Max and Jill Schultz Jeffrey Sher QC and Diana Sher OAM Profs. G & G Stephenson, in honour of the great Romanian musicians George Enescu and Dinu Lipatti Tasco Petroleum Mr Tam Vu and Dr Cherilyn Tillman The Hon. Michael Watt QC and Cecilie Hall Lyn Williams AM Anonymous (2) 13

ASSOCIATE PATRONS $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest David Blackwell OAM Anne Bowden Julia and Jim Breen Lynne Burgess Oliver Carton John and Lyn Coppock Ann Darby, in memory of Leslie J. Darby Natasha Davies, for the Trikojus Education Fund Merrowyn Deacon Sandra Dent Peter and Leila Doyle Duxton Vineyards Lisa Dwyer and Dr Ian Dickson Jane Edmanson OAM Jaan Enden Dr Helen M Ferguson Mr Peter Gallagher and Dr Karen Morley Dina and Ron Goldschlager Leon Goldman Colin Golvan AM QC and Dr Deborah Golvan Louise Gourlay OAM Susan and Gary Hearst Colin Heggen, in memory of Marjorie Drysdale Heggen Jenkins Family Foundation John Jones George and Grace Kass Irene Kearsey and M J Ridley The Ilma Kelson Music Foundation Bryan Lawrence John and Margaret Mason H E McKenzie Allan and Evelyn McLaren Sue and Barry Peake Mrs W Peart Graham and Christine Peirson Julie and Ian Reid Peter and Carolyn Rendit S M Richards AM and M R Richards Tom and Elizabeth Romanowski Diana and Brian Snape AM Peter J Stirling Anonymous (8) PLAYER PATRONS $1,000+ David and Cindy Abbey Christa Abdallah Dr Sally Adams Mary Armour Dr Rosemary Ayton and Dr Sam Ricketson Marlyn and Peter Bancroft OAM Adrienne Basser Janice Bate and the Late Prof Weston Bate Janet Bell Michael F Boyt Patricia Brockman Dr John Brookes Stuart Brown Suzie Brown OAM and Harvey Brown Roger and Col Buckle Jill and Christopher Buckley Shane Buggle John Carroll Andrew and Pamela Crockett Panch Das and Laurel Yound-Das Beryl Dean Rick and Sue Deering Dominic and Natalie Dirupo John and Anne Duncan Valerie Falconer and the Rayner Family in memory of Keith Falconer Grant Fisher and Helen Bird Barry Fradkin OAM and Dr Pam Fradkin Applebay Pty Ltd David Frenkiel and Esther Frenkiel OAM David Gibbs and Susie O Neill Merwyn and Greta Goldblatt George Golvan QC and Naomi Golvan Dr Marged Goode Prof Denise Grocke AO Max Gulbin Dr Sandra Hacker AO and Mr Ian Kennedy AM Jean Hadges Michael and Susie Hamson Paula Hansky OAM Merv Keehn & Sue Harlow Tilda and Brian Haughney Anna and John Holdsworth Penelope Hughes Basil and Rita Jenkins Dorothy Karpin Brett Kelly and Cindy Watkin Dr Anne Kennedy Julie and Simon Kessel Kerry Landman 14

Diedrie Lazarus William and Magdalena Leadston Gaelle Lindrea Dr Susan Linton Andrew Lockwood Elizabeth H Loftus Chris and Anna Long The Hon Ian Macphee AO and Mrs Julie Macphee Eleanor & Phillip Mancini In memory of Leigh Masel Ruth Maxwell Don and Anne Meadows Ian Morrey and Geoffrey Minter new U Mildura Patricia Nilsson Laurence O Keefe and Christopher James Alan and Dorothy Pattison Kerryn Pratchett Peter Priest Treena Quarin Eli Raskin Raspin Family Trust Joan P Robinson Cathy and Peter Rogers Martin and Susan Shirley Penny Shore Dr Sam Smorgon AO and Mrs Minnie Smorgon Dr Norman and Dr Sue Sonenberg Dr Michael Soon Lady Southey AC Geoff and Judy Steinicke Jennifer Steinicke Dr Peter Strickland Pamela Swansson Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher David Valentine Mary Valentine The Hon. Rosemary Varty Leon and Sandra Velik David and Yazni Venner Sue Walker AM Elaine Walters OAM and Gregory Walters Edward and Paddy White Nic and Ann Willcock Marian and Terry Wills Cooke Lorraine Woolley Richard Ye Anonymous (21) 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 TRUSTS AND FOUNDATIONS Collier Charitable Fund Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation The Marian and E.H. Flack Trust Freemasons Foundation Victoria Gandel Philanthropy The International Music and Arts Foundation The Scobie and Claire Mackinnon Trust The Harold Mitchell Foundation The Sidney Myer MSO Trust Fund The Pratt Foundation The Robert Salzer Foundation Telematics Trust Anonymous 15

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 Peter A Caldwell Luci and Ron Chambers Beryl Dean Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite Mr Derek Grantham Marguerite Garnon-Williams Drs Clem Gruen and Rhyl Wade Louis Hamon OAM Carol Hay Tony Howe Laurence O Keefe and Christopher James Audrey M Jenkins John Jones George and Grace Kass Mrs Sylvia Lavelle Pauline and David Lawton Cameron Mowat Rosia Pasteur Elizabeth Proust AO Penny Rawlins Joan P Robinson Neil Roussac Anne Roussac-Hoyne Suzette Sherazee Michael Ryan and Wendy Mead Anne Kieni-Serpell 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 (26) The MSO gratefully acknowledges the support of the following Estates: Angela Beagley Neilma Gantner The Hon Dr Alan Goldberg AO QC Gwen Hunt Audrey Jenkins Joan Jones Pauline Marie Johnston Joan Jones C P Kemp Peter Forbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Jennifer May Teague Jean Tweedie Herta and Fred B Vogel Dorothy Wood The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our suporters 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+ (Virtuoso) $100,000+ (Platinum) The MSO Conductor s Circle is our bequest program for members who have notified of a planned gift in their Will. Enquiries P (03) 8646 1551 E philanthropy@mso.com.au 16

Honorary Appointments Marc Besen AC and Eva Besen AO Life Members Sir Elton John CBE Life Member Lady Potter AC CMRI Life Member Geoffrey Rush AC Ambassador THE MSO HONOURS THE MEMORY OF John Brockman OAM Life Member The Honourable Alan Goldberg AO QC Life Member Ila Vanrenen Life Member SHARE YOUR LOVE OF MUSIC Including a gift to MSO in your Will big or small is a powerful way to share your love of music with generations to come. By doing so, you will personally become a custodian of a centuries-old art form one which has the power to inspire, move, and soothe the human spirit without impacting your current financial situation. In appreciation, you will be invited to join MSO s Conductor s Circle where, through special events, you can become closer to our music and musicians. To find out how you can honour your love of the MSO, we invite you to join MSO s Philanthropy team for a complimentary morning tea at our forthcoming information session: MSO Gifts in Wills morning tea: Thursday 13 September, 10.30 11.45am Sofitel Melbourne on Collins RSVP (essential) by Thursday 30 August (03) 8646 1151 rsvp@mso.com.au 17

We are the music makers, and we are the dreamers of dreams.' Arthur O Shaughnessy Come dream with us by adopting your own MSO musician! Support the music and the orchestra you love while getting to know your favourite player. Honour their talent, artistry and life-long commitment to music, and become part of the MSO family. Adopt Harp, Yinuo Mu, or any of our wonderful musicians today. 18

PRINCIPAL PARTNER GOVERNMENT PARTNERS PREMIER PARTNERS VENUE PARTNER MAJOR PARTNERS EDUCATION PARTNERS SUPPORTING PARTNERS Quest Southbank The CEO Institute Ernst & Young Bows for Strings TRUSTS AND FOUNDATIONS The Scobie and Claire Mackinnon Trust, Sidney Myer MSO Trust Fund The Gross Foundation, Li Family Trust, MS Newman Family Foundation, The Ullmer Family Foundation MEDIA AND BROADCAST PARTNERS