KOLJA BLACHER 28 JUNE 2018 CONCERT PROGRAM

KOLJA BLACHER 28 JUNE 2018 CONCERT PROGRAM

Melbourne Symphony Orchestra Kolja Blacher violin, director Mendelssohn A Midsummer Night s Dream: Overture Bernstein Serenade (after Plato s Symposium ) INTERVAL Beethoven Romance No.1 Beethoven Symphony No.1 Pre-concert talk Join us for a pre-concert conversation led by MSO Second Violin, Andrew Hall, inside the Elisabeth Murdoch Hall from 6.30pm. 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 KOLJA BLACHER VIOLIN, DIRECTOR 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. 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 Fisch, and with Claudio Abbado (a close association dating from their time at the Berlin Philharmonic and Lucerne Festival). Kolja 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. 3

PROGRAM NOTES FELIX MENDELSSOHN (1809 1847) A Midsummer Night s Dream Overture, Op.21 I have grown accustomed to composing in our garden wrote the 16-year-old Mendelssohn to his sister Fanny in 1826. Today or tomorrow I am going to dream there A Midsummer Night s Dream. This is, however, an enormous audacity From Mendelssohn s own dream emerged a concert overture that captured all the magic of the siblings favourite among old Will s beloved plays. Shakespeare s plays formed a regular part of the Mendelssohns family life; they read them in English as well as in German, frequently dividing the parts between themselves for impromptu presentations. Yet for all the overture s dreamlike deftness, elfin humour and fluent orchestration the work of a finished master, albeit a young and audacious one its composition followed Mendelssohn s habit of scrupulous self-criticism and painstaking revision. Adolf Bernhard Marx (assuming the role of musical mentor) had complained of the first draft that, beyond the dance of the elves with its introductory chords he could perceive no Midsummer Night s Dream in it. This was severe criticism indeed, for Mendelssohn s goal was to imitate the content of the play in tones. But, even without Marx s criticism of that early version cheerful, pleasantly agitated, perfectly delightful, perfectly praiseworthy, we can be certain that the composer would have torn it to shreds of his own accord. Salvaged from the first draft was the famous opening four sustained and gleaming chords in the woodwind and the fairy music: feathery whispering of the violins. Mendelssohn was persuaded, too, not to dispense with the comical braying of the transformed Bottom. Later, he declared roguishly of this passage that, while there was nothing in his overture that Beethoven did not have and practise, perhaps he had broken new ground in using the ophicleide (the coarse-toned chromatic bullock, its part covered nowadays by the more refined tuba). To these were added the lyrical wanderings of the mortal lovers, the rumbustious representation of the rustics, and the horns of Theseus hunting party. Yet, while evoking the whimsy and confusion of the drama, the musical ideas neatly obey the requirements of sonata form. The central section is a fanciful development of the fairy music, and the fairies have the last word (as in the play) with the return of the four woodwind chords of the opening. Yvonne Frindle 1998 Mendelssohn s concert overture on A Midsummer Night s Dream was first performed in public on 29 April 1827. It was another 15 years before Mendelssohn returned to the play, composing his incidental music for a German production in Potsdam (premiered 18 October 1843). The Melbourne Symphony Orchestra first performed the Overture under conductor Georg Szell on 21 May 1938, and most recently in July 2016 with Alexander Shelley. 4

LEONARD BERNSTEIN (1918-1990) Serenade (after Plato s Symposium ) for solo violin, strings, harp and percussion I Phaedrus Pausanias (Lento Allegro) II Aristophanes (Allegretto) III Erixymathus (Presto) IV Agathon (Adagio) V Socrates Alcibiades (Molto tenuto Allegro molto vivace) Kolja Blacher violin In early June 1954, Leonard Bernstein moved his family into a rented home on Martha s Vineyard, the fashionable summer retreat off the Massachusetts coast. He had just completed the score for Elia Kazan s film On the Waterfront and his two summer projects were the composition of Candide and a violin concerto for Isaac Stern. With all cylinders burning, Candide emerged slowly, but the concerto was finished by early September when Bernstein left for Venice. For the 12 September premiere at the Teatro Fenice, Stern was the soloist, with Bernstein conducting the Israel Philharmonic Orchestra. Bernstein s violin concerto was commissioned by the Koussevitzky. With the dedication to the beloved memory of Serge and Natalie Koussevitzky, it perpetuates the legacy of the legendary conductor of the Boston Symphony, Serge Koussevitsky, who had been Bernstein s mentor in Boston and Tanglewood. With characteristic quirkiness, Bernstein chose not to burden his new work with the weighty designation of concerto ; instead, he decided to call it a serenade, recalling the Italian sera, or evening piece, with its emphasis on courtship, mating rituals and flirtatious expression of love. Indeed, preparing for this work, Bernstein had re-read Plato s Symposium, the ancient dialogue between guests at an imaginary Greek banquet that had impressed him during his student years at Harvard. In essence, the Serenade becomes an essay-discussion in praise of love, surely the singular guiding principle of Bernstein s own life, private and professional, and, by extension, his love for humankind. The solo violin is the host, the commentator who provokes debate between the guests at Plato s party. The music itself, while it follows no literal program, is, like the dialogue, a series of related statements in praise of love, and generally follows the Platonic form through the succession of speakers at a banquet. Bernstein further explains that the relatedness of the movements does not depend on common thematic material, but rather on a system whereby each movement evolves out of elements in the preceding one. In his Serenade, with all its titular implications of light-hearted frivolity, Bernstein re-examines the lofty notion of the violin concerto by its unusual five-part form and by toying with more than a hint of jazz, particularly in the last section of the work. I hope it will not be taken as anachronistic Greek party-music, he explained, somewhat ruefully, but rather as the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner-party. 5

No doubt he foresaw the reaction of critics in the mid-1950s when anything that contained hints of jazz was definitely not to be taken seriously. Sixty years later, Bernstein s Serenade remains one of the few musical scores inspired by a discussion of philosophy. Although still rarely played, it has endeared itself to listeners and commentators as one of the most characteristic works of its multi-dimensional creator, the prime purveyor in music of the optimistic spirit of humanism. Bernstein described each of the movements as follows: Phaedrus Pausanias Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love. (Fugato, begun by the solo violin.) Pausanias continues by describing the duality of lover and beloved. This is expressed in a classical sonata-allegro, based on the material of the opening fugato. Aristophanes Aristophanes does not play the role of clown in this dialogue, but instead that of the bedtime storyteller, invoking the fairy-tale mythology of love. Erixymathus The physician speaks of bodily harmony as a scientific model for the workings of love-patterns. This is an extremely short fugato scherzo, born of a blend of mystery and humour. Agathon Perhaps the most moving speech of the dialogue, Agathon s panegyric embraces all aspects of love s powers, charms and functions. This movement is a simple three-part song. Socrates Alcibiades Socrates describes his visit to the seer Diotima, quoting her speech on the demonology of love. This is a slow introduction of greater weight than any of the preceding movements; and serves as a highly developed reprise of the middle section of the Agathon movement, thus suggesting a hidden sonata-form. The famous interruption by Alcibiades and his band of drunken revellers ushers in the Allegro, which is an extended Rondo ranging in spirit from agitation through jig-like dance music to joyful celebration. Vincent Plush 2000 The Melbourne Symphony Orchestra first performed this work on 25, 26 and 28 July 2008 with conductor Eivind Aadland and soloist James Ehnes. LUDWIG VAN BEETHOVEN (1770-1827) Romance No.1 in G for violin and orchestra, Op.40 Kolja Blacher violin The two violin Romances were published after Beethoven was well established in Vienna, the G major piece appearing in Leipzig in 1803 and the F major in Vienna two years after that. But despite that, the noncontiguous opus numbers and the fact that their first public performances were some years apart the F major seems to have been premiered in 1798, and the G major in 1801 or 1802 it is possible that they were written at the same time, namely in the 1790s. After all, in 1802 Beethoven produced his three Violin Sonatas, Op.30, works that do for their genre what the Rasumovsky quartets and Eroica Symphony had done for 6

theirs. Charming as the Romances undoubtedly are, the same could not be said for them. Also in existence is a fragment from the first movement of what would have been a substantial Violin Concerto in C major (catalogued as WoO5) composed between 1790 and 1792 before Beethoven left Bonn for Vienna and it seems likely that at least one of the Romances, written for exactly the same modest orchestral forces, was intended as the slow movement: the keys of F and G are both closely related to C according to classical convention. Both works do, however, show Beethoven s intimate knowledge of string instruments he was a more than proficient violinist and had played viola in the court orchestra in Bonn. In both works, he makes full use of the instrument s singing upper register, but also uses its darker lower tones sparingly and to great dramatic effect. The term romance, of course, has a literary history: French writers, in particular, used it to denote a poem or song in strophic form that related a tale of love and gallantry. German poets took the term over, infusing it with folk-idioms and often using it interchangeably with ballade. The sense of a story told with the structural repetition of strophic verse carries over into Beethoven s use, in these pieces, of rondo form, where repeated statements of material are contrasted with episodes of new material, balancing lyricism and virtuosity. The G major work has a deceptively simple, almost hymnal melody as its main theme. Just what the story might be is a mystery, of course. Gordon Kerry 2010 The Melbourne Symphony Orchestra first performed the Beethoven Romances at a War Funds Concert on 22 August 1940 with conductor Sir Bernard Heinze and Yehudi Menuhin, and most recently in May 2014 with Richard Tognetti as director/soloist. LUDWIG VAN BEETHOVEN (1770-1827) Symphony No.1 in C, Op.21 Adagio molto Allegro con brio Andante cantabile con moto Menuetto (Allegro molto e vivace) Finale (Adagio Allegro molto e vivace) When Beethoven presented his first symphony amid the gilt elegance of the Royal and Imperial Court Theatre (Burgtheater) in Vienna on 2 April 1800, he was already in his thirtieth year. Having lived in Vienna more than seven years, he was well established as the city s foremost piano virtuoso, with his first two piano concertos already behind him one of them repeated in this, his first personal benefit concert. His program cannily included excerpts from the great success of the previous year, Haydn s new oratorio The Creation. But in choosing a Mozart symphony to open a program which would lead to his own symphonic debut, Beethoven was declaring himself more than ready to stand comparison with past masters. And he invites comparison provocatively in the very opening chord of the symphony, which is not the expected C major but a discord. Though he shifts key in the third bar, it still is not the home key. Beethoven s audience would have been bemused 7

by this groping for tonality. The unexpected modulations build tension throughout the slow introduction until the Allegro arrives, and with it the proper key of C major, which is hammered emphatically. With an anchor in C major, Beethoven is able to switch from one key to another without losing sense of direction. Harmonic innovation is already a distinctive characteristic of Beethoven s symphonic style. He allows oboes and flutes, alternately, to lead the contrasting second subject, and crowns the movement with an extended and brilliant coda. Beethoven begins the slow movement apparently intending to treat his winsome melody fugally, as if it were a counterpoint exercise for his former teacher, Albrechtsberger. But the graceful theme becomes a basis for inventive elaboration, fragments of rhythm or melody developed sturdily or ornamented affectionately with already confident command of the orchestra. In a foretaste of the remarkably individual use he would make of his kettledrums in works to come, Beethoven here has the timpani tuned as if for a movement in the key of C, rather than F, as it actually is. Thrice during the movement the wronglytuned timpani delightedly provide soft bouncing support for a flowing, delicately-scored melody above. Beethoven makes his first great contribution to symphonic form in the third movement, which he labels a minuet, though to all intents and purposes it is his first trademark symphonic scherzo. This is no longer dance music. But Beethoven resists the term scherzo (implying a joke); for the young tiger is in no particularly jocular mood. Under Beethoven, scherzo was to take on a new meaning, with its vigorous one-in-a-bar beat and totally new driving force. Again outlandish to some in the conservative musical establishment was the apparent frivolity with which Beethoven opens his finale violins fooling over several false starts before they eventually hit on the tune and then whirl away with great brio. One respected German conductor is said to have habitually cut the introduction lest it evoke laughter in the audience. The light-hearted finale culminates, like the first movement, in a coda already stamped with true Beethovenian power and authority. Anthony Cane 2011 The Melbourne Symphony Orchestra first performed this symphony on 6 August 1938 under conductor Malcolm Sargent, and most recently in September 2013 with Bernard Labadie. 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

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 # 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 # Amy Brookman* Michael Loftus-Hills* Nicholas Waters* SECOND VIOLINS Matthew Tomkins The Gross # Robert Macindoe Associate Monica Curro Assistant Danny Gorog and Lindy Susskind # Mary Allison Isin Cakmakcioglu Freya Franzen Anonymous # Zoe Freisberg Cong Gu Andrew Hall Andrew and Judy Rogers # Isy Wasserman Philippa West Patrick Wong Roger Young Jacqueline Edwards* 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 Caleb Wright 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 # Zoe Knighton* Kalina Krusteva-Theaker* DOUBLE BASSES Steve Reeves Andrew Moon Associate Sylvia Hosking Assistant Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser # Emma Sullivan* FLUTES Prudence Davis Anonymous # Wendy Clarke Associate Helen Hardy* Guest Associate Sarah Beggs 10

PICCOLO Andrew Macleod OBOES Jeffrey Crellin Thomas Hutchinson Associate Ann Blackburn The Rosemary Norman # 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 Saul Lewis Third Ian Wildsmith* Guest Third Abbey Edlin Nereda Hanlon and Michael Hanlon AM # Trinette McClimont Alexander Morton* TRUMPETS Shane Hooton Associate Tristan Rebien* Guest Associate William Evans Rosie Turner TROMBONES Brett Kelly 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 Brent Miller* Greg Sully* 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 ** 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 Harold Mitchell David and Angela Li Harold Mitchell AC MS Newman Family Lady Potter AC CMRI Joy Selby Smith The Cybec The Pratt The Ullmer Family 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 Associate Concertmaster Chair Sophie Rowell The Ullmer Family 2018 Soloist in Residence Chair Anne-Sophie Mutter Marc Besen AC and Eva Besen AO Young Composer in Residence Ade Vincent The Cybec PROGRAM BENEFACTORS Cybec 21st Century Australian Composers Program The Cybec East Meets West Supported by the Li Family Trust Meet The Orchestra Made possible by The Ullmer Family MSO Audience Access Crown Resorts, Packer Family 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 Victoria, The Robert Salzer, 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 and the University of Melbourne PLATINUM PATRONS $100,000+ Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel The Gross David and Angela Li MS Newman Family Anthony Pratt The Pratt Lady Potter AC CMRI Joy Selby Smith Ullmer Family Anonymous (1) VIRTUOSO PATRONS $50,000+ Di Jameson David Krasnostein and Pat Stragalinos Harold Mitchell AC Kim Williams AM IMPRESARIO PATRONS $20,000+ Michael Aquilina The John and Jennifer Brukner Mary and Frederick Davidson AM Margaret Jackson AC Andrew Johnston Mimie MacLaren John and Lois McKay Maria Solà 12

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 International Music and Arts 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 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 Mr Douglas and Mrs Rosemary Meagher Marie Morton FRSA Dr Paul Nisselle AM The Rosemary Norman 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) 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 13

SUPPORTERS Colin Heggen, in memory of Marjorie Drysdale Heggen Jenkins Family John Jones George and Grace Kass Irene Kearsey and M J Ridley The Ilma Kelson Music 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 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 14

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 and the Packer Family The Cybec The Marian and E.H. Flack Trust Freemasons Victoria Gandel Philanthropy The International Music and Arts The Scobie and Claire Mackinnon Trust The Harold Mitchell The Sidney Myer MSO Trust Fund The Pratt The Robert Salzer Telematics Trust Anonymous 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) 15

SUPPORTERS 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 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 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

Beethoven and Brahms Joshua Weilerstein conductor Jayson Gillham piano Beethoven s extraordinary Piano Concerto No.3 with Jayson Gillham, plus the magnificent orchestration of Brahms Piano Quartet. 20 21 JULY 7:30pm 23 JULY 6.30pm Arts Centre Melbourne, Hamer Hall Jayson Gillham piano Book now mso.com.au (03) 9929 9600

Die Walküre Act 1 Opera in Concert Wagner s fierce tale of drama, passion and power. SATURDAY 25 AUGUST 7.30pm Arts Centre Melbourne, Hamer Hall Eva-Maria Westbroek soprano Book now mso.com.au (03) 9929 9600

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, Li Family Trust, MS Newman Family, The Ullmer Family MEDIA AND BROADCAST PARTNERS