MOZART’S JUPITER AND MORE

CONCERT PROGRAM

14 SEPTEMBER 2018Melbourne Town Hall

Melbourne Symphony Orchestra

Benjamin Northey conductor

Andrea Lam piano

Stravinsky Pulcinella: SuiteMendelssohn Piano Concerto No.1

INTERVAL

Tchaikovsky (orch. Stravinsky) The Sleeping Beauty: ‘Bluebird’ Pas de deux

Mozart Symphony No.41 Jupiter

Running time: 1 hour 45 minutes, including a 20-minute interval.

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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.

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MELBOURNE SYMPHONY ORCHESTRA

BENJAMIN NORTHEY 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.

Benjamin Northey is Chief Conductor of the Christchurch Symphony Orchestra and Associate Conductor of the Melbourne Symphony Orchestra.

Benjamin appears regularly as guest conductor with all major Australian symphony orchestras, Opera Australia (Turandot, L’elisir d’amore, Don Giovanni, Così fan tutte, Carmen), New Zealand Opera (Sweeney Todd) and State Opera South Australia (La sonnambula, Les contes d’Hoffmann). His international appearances include concerts with London Philharmonic Orchestra, Tokyo Philharmonic Orchestra and Mozarteum Orchestra Salzburg.

With a progressive and diverse approach to repertoire, he has collaborated with a broad range of artists including Maxim Vengerov and Slava Grigoryan, as well as popular artists Tim Minchin and James Morrison.

An Honorary Fellow at the University of Melbourne Conservatorium of Music, his awards include the prestigious 2010 Melbourne Prize Outstanding Musician’s Award as well as multiple awards for his numerous recordings with ABC Classics.

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ANDREA LAM PIANO

Pronounced a “real talent” by the Wall Street Journal, pianist Andrea Lam is earning consistent acclaim as a soloist, recitalist, and chamber musician for her “great style and thrilling virtuosity” (Sydney Morning Herald). A frequent guest at US venues such as New York’s Carnegie Hall and Lincoln Center to the Sydney Opera House, Andrea’s performances are noted internationally for her “melting lyricism, filigree touch and spirited eloquence” (The Australian).

Andrea Lam made her orchestral debut at age 13 with the Sydney Symphony Orchestra, and since then she has given over 80 performances with orchestras in Australia, New Zealand, the United States, Japan, and Hong Kong. ABC Classics recently released her soloist recordings of two Mozart Concertos with the Tasmanian Symphony Orchestra and Nicholas Milton.

PROGRAM NOTES

IGOR STRAVINSKY (1882-1971)

Pulcinella: Suite

Sinfonia

Serenata

Scherzino – Allegro – Andantino

Tarantella

Toccata

Gavotta con due variazioni

Duetto

Menuetto – Finale

This suite is derived from Stravinsky’s score for Pulcinella – Ballet with Song in one act (after Pergolesi), commissioned by Sergei Diaghilev, the impresario of the Ballets Russes. Pulcinella was first presented at the Paris Opera in 1920, with designs by Picasso and choreography by Massine.

During the years 1917-20, Diaghilev produced a series of new ballets based on music by old Italian masters; Tommasini arranged and transcribed music by Domenico Scarlatti to create The Good-Humoured Ladies, while Respighi did the same for Rossini’s music in La Boutique fantasque. Pergolesi was one of Diaghilev’s favourite composers. What he got from Stravinsky, however, was not quite what he had bargained for. Stravinsky in effect re-composed the suggested pieces by the 18th-century Italian, and the result is a tribute by one composer to another, and, through Pergolesi, to the commedia dell’arte which is the subject of the ballet. (Pulcinella is another name for Harlequin, or Punch.)

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The originality of Stravinsky’s treatment should be stressed – many histories of music date the beginnings of ‘neo-classicism’ prevalent in music of the 1920s from Pulcinella.

Since those days when Stravinsky played so freely with the music by ‘Pergolesi’ Diaghilev had given him, much of it has been shown to have been falsely attributed to this celebrated but short-lived composer. The author of the Stabat Mater and La serva padrona, works which took Europe by storm, has had many compositions stripped from him by musicology. Perhaps Stravinsky had a premonition: when asked, many years after writing the ballet, which music by Pergolesi he liked best, he replied, ‘My Pulcinella.’

The score for the ballet consists of 19 numbers. For the concert suite Stravinsky selected 11 of these and made eight movements out of them. The singers who joined the orchestra in the pit for the full ballet were omitted, but some of their part, as in the Serenata, was redistributed to instruments. The scoring remained intimate: a chamber orchestra of 30 players, featuring a solo string quintet. The suite has been well described as a provocative combination of old and new, in which the square rhythms of the 18th century and its simple harmonic progressions are projected, as it were, upon a new and complex screen. This is not Pergolesi arranged by Stravinsky, but rather Pergolesi seen through the medium of Stravinsky. Many composers have followed Stravinsky down this road – few if any have managed to put their unmistakeable stamp on every bar of music which nevertheless retains the freshness of its models.

© David Garrett

The Melbourne Symphony Orchestra first performed the Suite from Pulcinella on 29 November 1961 under Robert Craft, a conductor well-known for his friendship with Stravinsky himself. The Orchestra most recently performed it in June 2010 with Sir Andrew Davis.

FELIX MENDELSSOHN (1809-1847)

Piano Concerto No.1 in G minor, Op.25

Molto allegro con fuoco

Andante

Presto – Molto allegro e vivace – Tempo I

This concerto dates from the period of what we may call Mendelssohn’s ‘Grand Tour’ – a period of roughly four years during which Mendelssohn, entering his twenties, toured the British Isles and Europe.

In Munich in 1830 Mendelssohn met Delphine von Schauroth, who was to be the inspiration for his first piano concerto. Mendelssohn, who was in demand at soirées, records that he followed Delphine around ‘like a pet lamb’. He persuaded her to play Hummel’s Sonata for four hands with him and gallantly held an A flat for her because her tiny hands could not reach it. ‘We flirted dreadfully,’ he wrote to his sister Fanny, ‘but there is no danger because I am already in love with a young Scottish girl whose name I don’t know.’

The Concerto in G minor was actually committed to paper in the space of three days during Mendelssohn’s return journey to Munich the following year. It was first performed in Munich on 17 October 1831, with Mendelssohn as soloist, before the King and Queen of Bavaria. The concert program also included his Symphony

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No.1 (with the newly-orchestrated scherzo from the Octet replacing the symphony’s original scherzo) and the overture A Midsummer Night’s Dream.

The concerto’s first movement dispenses with the extended orchestral opening of Classical tradition. Its turbulent G minor calls to mind Carl Zelter’s question when the 12-year-old Mendelssohn had improvised for Goethe: ‘What goblins and dragons have you been dreaming about to drive you along so wildly?’ The movement’s biggest surprise comes at the end, where a trumpet fanfare interrupts, and the piano’s musing reply leads directly into the second movement, a warm, tenderly scored Andante.

Mendelssohn as pianist liked to play the final movement ‘as fast as possible, providing that the notes can be heard’. The movement contains passing references to the first movement in order to clinch the concerto’s unity.

Some writers have claimed that this work is more virtuosic than profound. As an English witness, John Edmund Cox, wrote, Mendelssohn’s own playing was certainly impressive: ‘Whilst in all the delicate nuances his fingers seemed to be like feathers, in those of more forcible and impetuous character there was a grasp and an élan which almost took away one’s breath.’ But while the First Piano Concerto overflows with the impetuousness of youth, it also provides an early example of Mendelssohn’s lifelong quest for structural unity and continuity. Many of Mendelssohn’s works during the period bore the sign of literary or pictorial inspiration, yet here is a piece which works in the realm of structural as well as pianistic interest.

This concerto subsequently became one of Mendelssohn’s most popular pieces. Berlioz tells the story of an Erard piano at the Paris Conservatoire which began to play the piece of its own accord after 29 contestants in a row had played it in a competition. Erard, the maker, was hastily summoned and sprinkled holy water on the piano to no avail. Nor did dismantling the piano or chopping it up have any effect; the only thing that worked was burning it.

G.K. Williams © Symphony Australia

The Melbourne Symphony Orchestra first performed this concerto on 30 October 1941 with conductor Sir Bernard Heinze and soloist Lucy Secker, and most recently in May 2014 with Mark Wigglesworth and Saleem Ashkar.

PETER ILYICH TCHAIKOVSKY (1840-1893)

orch. Igor Stravinsky (1882-1971)

The Sleeping Beauty, Act III: ‘Bluebird’ Pas de deux

Adagio

Variation I – Tempo di valse

Variation II – Andantino

Coda – Con moto

In Act III of Tchaikovsky’s ballet The Sleeping Beauty, characters from Perrault’s fairytales take turns to entertain the heroine Princess Aurora and her prince prior to their marriage. The ‘Bluebird’ Pas de deux was originally a pas de quatre danced by Cinderella and Prince Fortuné and the Bluebird and Princess Florine, but a pas de deux version can be performed by just the Bluebird and a female character.

The ‘Bluebird’ Pas de deux is not be confused with earlier orchestrations

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for Sleeping Beauty made by Stravinsky for the remounting of the ballet by Diaghilev in London in 1921. There, Diaghilev wanted to restore two numbers cut by Tchaikovsky (‘Aurora’s Variation’ and the ‘Entr’acte symphonique’, both from Act II), and Stravinsky had to orchestrate them from the piano score, as well as making changes to Act III’s ‘Russian Dance’.

The ‘Bluebird’ Pas de deux was written in response to a commission for Ballet Theatre in New York in 1941. Once again Stravinsky had to work from a piano score – the full score was not available in America at the time, and war-time exigencies necessitated a reduced orchestra (Stravinsky recommended a string strength of 5 violins, 4 violas, 3 cellos and 2 double basses). ‘The one novelty,’ said Stravinsky, ‘is the prominent piano part which conceals the small number of strings. The interest in the arrangement, so far as my own music is concerned, is that the instrumental body is almost the same in my next opus, Danses concertantes.’

One may wonder about the supposed Tchaikovsky references in Danses concertantes, a typically Bachian neo-classical work, written by Stravinsky in memory of the Mariinsky Theatre, and premiered under his direction in Los Angeles, February 1942; but in the 1920s Stravinsky had described his work on Tchaikovsky’s Sleeping Beauty as ‘a demonstration of my love of Tchaikovsky’s art’. We can imagine him making the same declaration in 1941, notwithstanding the fact that ‘Bluebird’ Pas de deux was a commission. Tchaikovsky’s music was ‘quite as Russian as Pushkin’s verse or

Glinka’s song’, said Stravinsky, allying himself with the more cosmopolitan strand of Russian art, but we can imagine the consolation he found in working on a familiar and much-loved score, redolent of his homeland, not long after arriving to settle in the US.

One could almost think there is nothing of Stravinsky in this arrangement. It is only coincidence that Tchaikovsky’s flute and clarinet arabesques in the opening section remind us of Stravinsky’s own Firebird or Nightingale, and the instrumentation owes as much to war-time shortages as to aesthetic decision-making. But perhaps Stravinsky didn’t mind that this version was deprived of a certain lushness or that his ‘Tempo di valse’ couldn’t quite throw around quite so much orchestral weight. Stravinsky’s skilful reduction could be thought to awaken us to those qualities of Tchaikovsky’s art most likely to appeal to Stravinsky: the strikingly immediate and apt delineation of musical character and gesture in four economical dances.

Gordon Kalton Williams © 2000 Symphony Australia

The only previous performance of this work by the Melbourne Symphony Orchestra took place in July 2000 under the direction of Hiroyuki Iwaki.

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WOLFGANG AMADEUS MOZART (1756-1791)

Symphony No.41 in C, K551 Jupiter

Allegro vivace

Andante cantabile

Menuetto (Allegretto) – Trio – Menuetto

Molto allegro

Producing over 50 symphonies (the official number 41 notwithstanding) in the space of 23 years, Mozart can truly be said to have enjoyed a ‘symphonic career’, much as did his older friend Joseph Haydn (over 100 symphonies in 38 years). And as symphonic careers go, it was, like Haydn’s, successful from first to last. After relocating from Salzburg to Vienna in 1781, however, piano concertos took over as Mozart’s preferred orchestral vehicle, better for charming fickle metropolitan audiences than the more esoteric symphony.

New symphonies were not entirely absent from his Vienna concerts, but all of them from these years were, in the first instance, out-of-town commissions: No.35 for the Haffner family in Salzburg in 1782; No.36 and the so-called No.37 (most of it actually by Michael Haydn) for a concert in Linz in 1783; and No.38 for Prague in 1787, during the season there of his opera The Marriage of Figaro. In May 1788, the imperial theatre in Vienna unveiled for hometown audiences his latest Italian opera, Don Giovanni (or the Libertine Punished), premiered in Prague the previous October. The tepid reception it received perhaps explains why Mozart devoted much of the sultry Viennese summer that year to composing three new symphonies,

Nos 39-41, works that, like their immediate predecessors, were unlikely to appeal greatly to the Viennese. By then, Austria was at war with Ottoman Turkey. Accordingly, most of his patrons were also feeling the economic pinch, and Mozart’s plans to give another concert series, at which the new symphonies might have been performed, came to nothing. However, it may well have been with one eye to possible publication and performances in England, France and Germany that he completed the trilogy in quick succession between June and August.

In doing this, Mozart was probably emulating Joseph Haydn. In December 1787, the Vienna firm Artaria published Haydn’s new set of six ‘Paris’ Symphonies, issued in two sets of three. The first set contained symphonies in C major (No.82), G minor (No.83) and E flat (No.84). Given the rarity of G minor symphonies, it can hardly be mere coincidence that Mozart chose exactly the same three keys for his new trilogy. Clearly, if Haydn could publish symphonies, presumably with hope of financial return, Mozart too, then saddled with debts, might as well try. He had, after all, successfully undertaken a similar copycat project a few years earlier when, following on from Artaria’s 1782 first edition of Haydn’s Op.33 string quartets, he composed a set of his own (since referred to, fittingly, as Mozart’s ‘Haydn’ quartets).

In concerts in Mozart’s day, the first movement of a symphony typically served as the overture to the whole evening’s entertainment, so it is hardly surprising that the first movement of

his final symphony is stylistically almost identical with his late opera overtures. Moreover, close to the end of the first movement’s statement of themes, Mozart actually borrows a phrase from a catchy little opera song, Un bacio di mano (‘A hand-kiss’), K541 that he composed a few months earlier. Less subtle, but far more effective, is the contribution of the brass and drums. Taken out of context and played alone, the bluster of their simple, militaristic fanfares sounds more suited to a parade-ground than a concert room. Yet, added to the rest of the orchestra, these primitive gestures generate palpable excitement and grandeur. Since his valveless horns and trumpets could only play a few notes in the keys of C and G, Mozart has the woodwinds take over their fanfare figures when he needs to explore more distant keys.

Also suggestive of opera is the aria-like second movement in which the woodwinds ‘sing’ in seemingly effortless counterpoint with muted violins. Mozart’s valveless horns were able to participate in this F major movement by changing crooks, but the trumpets and drums are banished until the return of C major in the third movement, a fast and breezy minuet.

Mozart’s symphony finales also bear a close resemblance to their operatic finale counterparts, consisting of busy, motoric music inclined to virtuosic sleight-of-hand. This finale is a contrapuntal extravaganza that climaxes in the coda. There, the movement’s unforgettable four-note main theme and its four counter-melodies are combined simultaneously in what musical technicians describe as ‘five-part invertible counterpoint’

(which simply means that the five snatches of melody make musical sense together, vertically, whichever one is on top, bottom, or in the middle). This contrapuntal feat earned the piece its German nickname, ‘Symphony with a fugal ending’, which perhaps sounds a little stern for music which, though ingenious and uplifting, is nevertheless couched in the same light-hearted, rollicking manner as Rossini’s operatic finales of 15 years later.

Among the projects Mozart contemplated for 1789 was a potentially profitable visit to England. Had the visit gone ahead, he would have introduced this symphony to British audiences personally, and heard first-hand the nickname which one of his London admirers (Haydn’s friend, John Peter Salomon) gave it, ‘Jupiter’, fittingly elevating it to the pinnacle of the musical pantheon.

Abridged from a note by Graeme Skinner © 2013

The Melbourne Symphony Orchestra first performed Mozart’s Symphony No.41 on 27 June 1940 under Sir Thomas Beecham, and most recently in May 2013 with Douglas Boyd.

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‘ART DE VIVRE’

Hotel. Restaurant. BarSofi tel-Melbourne.com.au

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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#

Laurence Jackson†* Guest Concertmaster

Peter Edwards Assistant Principal John McKay and Lois McKay#

Kirsty BremnerSarah Curro Michael Aquilina#

Peter FellinDeborah GoodallLorraine HookAnne-Marie JohnsonKirstin KennyJi Won KimEleanor Mancini Chisholm & Gamon#

Mark Mogilevski Michelle RuffoloKathryn Taylor Michael Aquilina#

Monica Naselow*Nicholas Waters*

SECOND VIOLINS

Matthew Tomkins Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro Assistant Principal Danny Gorog and Lindy Susskind#

Mary AllisonIsin CakmakciogluTiffany ChengFreya FranzenCong GuAndrew HallIsy WassermanPhilippa WestPatrick WongRoger YoungJacqueline Edwards*

VIOLAS

Christopher Moore Principal Di Jameson#

Fiona Sargeant Associate Principal

Lauren Brigden Mr Tam Vu and Dr Cherilyn Tillman#

Katharine BrockmanChristopher Cartlidge Michael Aquilina#

Anthony Chataway Dr Elizabeth E Lewis AM#

Gabrielle Halloran Maria Solà#

Trevor Jones Cindy WatkinElizabeth WoolnoughCaleb WrightSimon Collins*Sophie Kesoglidis*

CELLOS

David Berlin Principal MS Newman Family#

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de Korte Andrew Dudgeon#

Keith JohnsonSarah MorseAngela Sargeant Maria Solà#

Michelle Wood Andrew and Theresa Dyer#

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser#

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal

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MSO BOARD

ChairmanMichael Ullmer

Managing DirectorSophie Galaise

Board MembersAndrew DyerDanny GorogMargaret Jackson ACDi JamesonDavid KrasnosteinDavid LiHyon-Ju NewmanGlenn SedgwickHelen Silver AO

Company SecretaryOliver Carton

OBOES

Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn The Rosemary Norman Foundation#

COR ANGLAIS

Michael Pisani Principal

CLARINETS

David Thomas Principal

Philip Arkinstall Associate Principal

Craig Hill

BASS CLARINET

Jon Craven Principal

BASSOONS

Jack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

CONTRABASSOON

Brock Imison Principal

HORNS

Saul Lewis Acting Associate Principal

Ian Wildsmith* Guest Principal Third

Abbey Edlin Nereda Hanlon and Michael Hanlon AM#

Trinette McClimontAlexander Morton*

TRUMPETS

Shane Hooton Associate Principal

William EvansRosie Turner John and Diana Frew#

TROMBONES

Brett Kelly Principal

Ben Lovell-Greene* Guest Associate Principal

Richard Shirley Tim and Lyn Edward#

Mike Szabo Principal Bass Trombone

TUBA

Timothy Buzbee Principal

TIMPANI**

John Arcaro Tim and Lyn Edward#

PERCUSSION

Robert Clarke Principal

Robert Cossom

HARP

Yinuo Mu Principal

PIANO

Jacob Abela*

# Position supported by

* Guest Musician

** Timpani Chair position supported by Lady Potter AC CMRI

† Courtesy of West Australian Symphony Orchestra

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MSO PATRON

The Honourable Linda Dessau AC, Governor of Victoria

CHAIRMAN’S CIRCLE

Marc Besen AC and Eva Besen AO Gandel PhilanthropyThe Gross Foundation Harold Mitchell FoundationDavid and Angela LiHarold Mitchell ACMS Newman Family FoundationLady Potter AC CMRIJoy Selby SmithThe Cybec FoundationThe Pratt FoundationThe Ullmer Family FoundationAnonymous (1)

ARTIST CHAIR BENEFACTORS

Associate Conductor Chair Benjamin Northey Anthony Pratt Orchestral Leadership Joy Selby SmithCybec Assistant Conductor Chair Tianyi Lu The Cybec FoundationAssociate Concertmaster Chair Sophie Rowell The Ullmer Family Foundation2018 Soloist in Residence Chair Anne-Sophie Mutter Marc Besen AC and Eva Besen AOYoung Composer in Residence Ade Vincent The Cybec Foundation

PROGRAM BENEFACTORS

Cybec 21st Century Australian Composers Program The Cybec FoundationEast Meets West Supported by the Li Family TrustMeet The Orchestra Made possible by The Ullmer Family FoundationMSO Audience Access Crown Resorts Foundation, Packer Family FoundationMSO Building Capacity Gandel Philanthropy (Director of Philanthropy)MSO Education Supported by Mrs Margaret Ross AM and Dr Ian RossMSO International Touring Supported by Harold Mitchell ACMSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, The Robert Salzer Foundation, AnonymousThe 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 ProgramSidney 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 FoundationLady Potter AC CMRIJoy Selby SmithUllmer Family Foundation Anonymous (1)

VIRTUOSO PATRONS $50,000+

Di Jameson David Krasnostein and Pat StragalinosHarold Mitchell ACKim Williams AM

IMPRESARIO PATRONS $20,000+

Michael Aquilina The John and Jennifer Brukner FoundationMary and Frederick Davidson AMMargaret Jackson ACAndrew JohnstonMimie MacLarenJohn and Lois McKay Maria SolàAnonymous (1)

MAESTRO PATRONS $10,000+

Kaye and David BirksMitchell ChipmanTim and Lyn EdwardDanny Gorog and Lindy Susskind Robert & Jan GreenHilary Hall, in memory of Wilma CollieThe Hogan Family Foundation International Music and Arts FoundationSuzanne Kirkham

SUPPORTERS

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The Cuming BequestGordan Moffat AMIan and Jeannie PatersonElizabeth Proust AOXijian Ren and Qian LiGlenn SedgwickHelen Silver AO and Harrison YoungGai and David TaylorJuliet TootellAlice VaughanHarry and Michelle WongJason Yeap OAM – Mering Management Corporation

PRINCIPAL PATRONS $5,000+

Christine and Mark ArmourJohn and Mary BarlowBarbara Bell, in memory of Elsa BellStephen and Caroline BrainProf Ian BrighthopeDavid Capponi and Fiona McNeilMay and James ChenChisholm & GamonJohn and Lyn CoppockWendy DimmickAndrew Dudgeon AM Andrew and Theresa Dyer Mr Bill FlemingJohn and Diana FrewSusan Fry and Don Fry AOSophie Galaise and Clarence Fraser Geelong Friends of the MSO R Goldberg and FamilyLeon GoldmanJennifer GorogHMA FoundationLouis Hamon OAMNereda Hanlon and Michael Hanlon AM

Hans and Petra HenkellHartmut and Ruth HofmannDoug HooleyJenny and Peter HordernDr Alastair Jackson AMRosemary and James JacobyDr Elizabeth A Lewis AMNorman Lewis, in memory of Dr Phyllis LewisPeter LovellLesley McMullin FoundationMr Douglas and Mrs Rosemary MeagherMarie Morton FRSADr Paul Nisselle AMThe Rosemary Norman Foundation Ken Ong, in memory of Lin OngBruce Parncutt AO Jim and Fran PfeifferPzena Investment Charitable FundRae RothfieldMax and Jill SchultzJeffrey Sher QC and Diana Sher OAMProfs. G & G Stephenson, in honour of the great Romanian musicians George Enescu and Dinu LipattiTasco PetroleumMr Tam Vu and Dr Cherilyn Tillman The Hon. Michael Watt QC and Cecilie HallLyn Williams AMAnonymous (3)

ASSOCIATE PATRONS $2,500+

Dandolo PartnersWill and Dorothy Bailey BequestDavid Blackwell OAMAnne Bowden

Julia and Jim BreenLynne BurgessOliver CartonAnn Darby, in memory of Leslie J. DarbyNatasha Davies, for the Trikojus Education FundMerrowyn DeaconSandra DentPeter and Leila DoyleDuxton VineyardsLisa Dwyer and Dr Ian DicksonJaan EndenDr Helen M FergusonMr Peter Gallagher and Dr Karen MorleyDina and Ron GoldschlagerColin Golvan AM QC and Dr Deborah GolvanLouise Gourlay OAMSusan and Gary HearstColin Heggen, in memory of Marjorie Drysdale HeggenJenkins Family FoundationJohn JonesGeorge and Grace KassIrene Kearsey and M J RidleyThe Ilma Kelson Music FoundationBryan LawrenceJohn and Margaret MasonH E McKenzieAllan and Evelyn McLarenAlan and Dorothy PattisonSue and Barry PeakeMrs W PeartGraham and Christine PeirsonJulie and Ian ReidRalph and Ruth RenardPeter and Carolyn RenditS M Richards AM and M R RichardsTom and Elizabeth

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PLAYER PATRONS $1,000+

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SUPPORTERS

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David and Yazni VennerSue Walker AMElaine Walters OAM and Gregory WaltersEdward and Paddy WhiteNic and Ann WillcockMarian and Terry Wills CookeLorraine WoolleyRichard YeAnonymous (17)

THE MAHLER SYNDICATE

David and Kaye BirksMary and Frederick Davidson AMTim and Lyn EdwardJohn and Diana FrewFrancis and Robyn HofmannThe Hon Dr Barry Jones ACDr Paul Nisselle AMMaria Solà The Hon Michael Watt QC and Cecilie Hall

COMMISSIONS 2018

All the World’s a Stage Iain Grandage Commissioned by Mary Davidson in honour of her husband Frederick Davidson AM, on occasion of their 50th wedding anniversaryClarinet Concerto Paul Dean Commissioned by Andrew Johnston and premiered by the MSO to mark the 65th Wedding Anniversary of Andrew Johnston’s parents, Stephanie and David JohnstonMissed Tales III – The Lost Mary Finsterer Commissiond by Kim Williams AM

CONDUCTOR’S CIRCLE

Current Conductor’s Circle MembersJenny AndersonDavid AngelovichG C Bawden and L de KievitLesley BawdenJoyce BownMrs Jenny Brukner and the late Mr John BruknerKen BullenPeter A CaldwellLuci and Ron ChambersBeryl DeanSandra DentLyn EdwardAlan Egan JPGunta EgliteMr Derek GranthamMarguerite Garnon-WilliamsDrs Clem Gruen and Rhyl WadeLouis Hamon OAMCarol HayTony HoweLaurence O’Keefe and Christopher JamesAudrey M JenkinsJohn JonesGeorge and Grace KassMrs Sylvia LavellePauline and David LawtonCameron MowatDavid OrrRosia PasteurElizabeth Proust AOPenny RawlinsJoan P RobinsonNeil RoussacAnne Roussac-HoyneSuzette SherazeeMichael Ryan and Wendy Mead

Anne Kieni-Serpell and Andrew SerpellJennifer ShepherdProfs. Gabriela and George StephensonPamela SwanssonLillian TarryDr Cherilyn TillmanMr and Mrs R P TrebilcockMichael UllmerIla VanrenenThe Hon. Rosemary VartyMr Tam VuMarian and Terry Wills CookeMark YoungAnonymous (26)The MSO gratefully acknowledges the support of the following Estates:Angela BeagleyNeilma GantnerThe Hon Dr Alan Goldberg AO QCGwen HuntAudrey JenkinsJoan JonesPauline Marie JohnstonJoan JonesC P KempPeter Forbes MacLarenJoan Winsome MaslenLorraine Maxine MeldrumProf Andrew McCredieMiss Sheila Scotter AM MBEMarion A I H M SpenceMolly StephensJennifer May TeagueJean TweedieHerta and Fred B VogelDorothy Wood

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TRUSTS AND FOUNDATIONS

Collier Charitable FundCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Marian and E.H. Flack TrustFreemasons Foundation VictoriaGandel PhilanthropyThe International Music and Arts FoundationThe Scobie and Claire Mackinnon TrustThe Harold Mitchell FoundationThe Sidney Myer MSO Trust FundThe Pratt FoundationThe Robert Salzer FoundationTelematics TrustAnonymous

HONORARY APPOINTMENTS

Marc Besen AC and Eva Besen AO Life MembersJohn Gandel AC and Pauline Gandel Life MembersSir Elton John CBE Life MemberLady Potter AC CMRI Life MemberMrs Jeanne Pratt AC Life MemberGeoffrey Rush AC Ambassador

The MSO honours the memory ofJohn Brockman OAM Life MemberThe Honourable Alan Goldberg AO QC Life MemberIla Vanrenen Life Member

SUPPORTERS

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+ (Principal)

$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

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Media And Broadcast Partners

Principal Partner

Government Partners

Premier Partners Venue Partner

Major Partners Education Partners

Supporting Partners

The CEO InstituteQuest Southbank Bows for StringsErnst & Young

Trusts And Foundations

Sidney Myer MSO Trust Fund, The Gross Foundation, MS Newman Family Foundation, The Ullmer Family Foundation, Erica Foundation Pty Ltd

The Observership Program