CONCERT PROGRAMCONCERT PROGRAM

25–27 MAY 2017

PLAYS PETRUSHKA

ARTISTS

Melbourne Symphony Orchestra

Bramwell Tovey conductor

Alexander Gavrylyuk piano

REPERTOIRE

Kats-Chernin Big Rhap World Premiere

Tchaikovsky Piano Concerto No.1INTERVAL

Stravinsky Petrushka (1947 version)

Running time: 1 hour 40 minutes including a 20-minute interval

The MSO is delighted to welcome Alexander Gavrylyuk replacing the previously announced soloist Jorge Luis Prats, who had to withdraw due to a hand injury.

mso.com.au (03) 9929 9600

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MELBOURNE SYMPHONY ORCHESTRA

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 over 2.5 million people each year, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming. As a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world. Its international audiences include China, where MSO performed in 2016 and Europe where the MSO toured in 2014.

The MSO performs a variety of concerts ranging from core classical 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 to audiences of all ages through its Education and Outreach initiatives.

Sir Andrew Davis gave his inaugural concerts as the MSO’s Chief Conductor in 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists such as Bryn Terfel, Emanuel Ax, Truls Mork and Renee Fleming, and the Orchestra’s European Tour in 2014 which included appearances at the Edinburgh Festival, the Amsterdam Concertgebouw, the

Mecklenburg-Vorpommern Festival and Copenhagen’s Tivoli Concert Hall. Further current and future highlights with Sir Andrew Davis include a complete cycle of the Mahler symphonies. Sir Andrew will maintain the role of Chief Conductor until the end of 2019.

The MSO also works with Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus, as well as with such eminent recent guest conductors as Thomas Ades, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Burt Bacharach, Nick Cave, Sting, Tim Minchin, Ben Folds, DJ Jeff Mills and Flight Facilities.

The MSO reaches a wider audience through regular radio broadcasts, recordings and CD releases, including a Strauss cycle on ABC Classics which includes Four Last Songs, Don Juan and Also sprach Zarathustra, as well as Ein Heldenleben and Four Symphonic Interludes from Intermezzo, both led by Sir Andrew Davis. On the Chandos label the MSO has released Berlioz’ Harold en Italie with James Ehnes and music by Charles Ives, which includes the complete symphonies as well as a range of orchestral works, again led by Sir Andrew Davis.

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BRAMWELL TOVEY CONDUCTOR

GRAMMY and Juno Award-winning conductor/composer Bramwell Tovey was appointed Music Director of the Vancouver Symphony Orchestra in 2000. Under his leadership the VSO have toured China, Korea, across Canada and the United States. His tenure at the VSO has included complete symphony cycles of Beethoven, Mahler, Brahms as well as the establishment of an annual festival dedicated to contemporary music. He is Artistic Adviser of the VSO School of Music. In 2018, the VSO’s centenary year, he will become the orchestra’s Music Director Emeritus.

This year Bramwell Tovey has made return appearances with the Chicago Symphony, Boston Symphony, Los Angeles Philharmonic and Philadelphia Orchestra (whose 2016-2017 New Year’s celebrations he directed). In 2016 he conducted Korngold’s Die Tote Stadt with the Calgary Opera. Recent appearances have also included the Montreal, New Zealand, and Pacific Symphony Orchestras, and the Philadelphia Orchestra and New York Philharmonic, reprising his programs with both at Bravo! Vail Valley Music Festival. He also conducted at the Blossom Music Center, Ravinia Festival, and the Hollywood Bowl.

In 2003 Bramwell Tovey won the Juno Award for Best Classical Composition for his choral and brass work Requiem for a Charred Skull. Commissions include the New York and Los Angeles Philharmonics, the Toronto Symphony and Calgary Opera who in 2011 premiered his first full length opera, The Inventor (recorded by Naxos). A talented pianist as well as conductor and composer, he has appeared as soloist with many major orchestras. He has performed his own Pictures in the Smoke with the Melbourne and Helsingborg Symphony Orchestras and the Royal Philharmonic Orchestra.

Bramwell Tovey was Music Director of the Winnipeg Symphony Orchestra 1989-2001 where he founded the WSO’s now celebrated New Music Festival. From 2002-2006 he was Music Director of Orchestre Philharmonique du Luxembourg. He opened Luxembourg’s Salle Philharmonie with the world première of Penderecki’s Eighth Symphony.

Mr. Tovey is a Fellow of London’s Royal Academy of Music, the Royal Conservatory of Music in Toronto and holds honorary degrees from the universities of British Columbia, Manitoba, Kwantlen and Winnipeg. In 2013 he was appointed an honorary Officer of the Order of Canada for services to music.

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ALEXANDER GAVRYLYUK PIANO

Born in 1984, Alexander Gavrylyuk began his piano studies at the age of seven and gave his first concerto performance when he was nine years old. He went on to win first prize and Gold Medal at the 1999 Horowitz International Piano Competition, first prize at the Hamamatsu International Piano Competition in Japan in 2000 where the Japanese press lauded him as the 'most talented 16-year old pianist of the second half of the 20th Century' and, in 2005, he took both the coveted Gold Medal as well as the award for Best Performance of a Classical Concerto at the internationally renowned Arthur Rubinstein International Piano Masters Competition.

Following his debut in 2010 with the Royal Concertgebouw Orchestra, Gavrylyuk has returned to Amsterdam each year, either in recital in the Master Pianist’s Series with the RCO, or as part of the Zaterdag Matinee at the Concertgebouw. He is now increasingly in demand by orchestras and conductors for his noble and compelling interpretations and has appeared with, among others, the Philharmonic Orchestras of New York, Los Angeles, Warsaw, Moscow, Israel and Rotterdam as well as the Royal Scottish National, Cincinnati

Symphony and the Vancouver Symphony Orchestras. He has collaborated with conductors such as Vladimir Ashkenazy, Alexandre Bloch, Vladimir Fedoseyev, Markus Stenz and Osmo Vänska. His solo recitals are also highly acclaimed and he has performed in venues such as Vienna Musikverein, Wigmore Hall, Tonhalle Zurich and Victoria Hall Geneva.

He regularly visits Japan and Asia, performing with orchestras such as NHK Symphony and Seoul Philharmonic as well as regular recital tours, often playing to sell-out audiences in Suntory Hall and Tokyo Opera City. He returns to Russia on a regular basis and has performed with the National Philharmonic of Russia under Vladimir Spivakov and the Svetlanov Russian State Symphony Orchestra, as well as recitals at the Great Hall of Moscow Conservatory and at the Kremlin.

At the age of 13, Alexander moved to Sydney where he lived until 2006. He has performed with all the main Australian orchestras including Melbourne and Sydney Symphony Orchestras, returning each year for concerts and recitals.

Alexander is Artist in Residence at Chautauqua Institution where he leads the piano program as an artistic advisor. He supports a number of charities including Theme and Variations Young Pianist Trust which aims to provide support and encouragement to young, aspiring Australian pianists as well as Opportunity Cambodia, which has built a residential educational facility for Cambodian children. Alexander is a Steinway Artist.

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PYOTR ILYICH TCHAIKOVSKY (1840-1893)

Piano Concerto No.1 in B flat minor, Op.23

Allegro non troppo e molto maestoso – Allegro con spirito

Andantino semplice – Prestissimo – Andantino semplice

Allegro con fuoco

Alexander Gavrylyuk piano

If it was fortuitous that Tchaikovsky succeeded at his first attempt, writing perhaps the ‘greatest piano concerto of all time’, then it is remarkable that he simultaneously created a new Russian genre. The striking mix of lyricism and virtuosity in his First Piano Concerto, written over six weeks late in 1874, would later be emulated by many Russian composers.

The dedicatee of the concerto, Hans von Bülow, performed the premiere in Boston, Massachusetts in 1875 to positive reviews, yet one wonders if the small band, consisting of only four first violins, were a match for the music’s potential. (A critic noted that, after a missed entry of the trombones in the first movement, von Bülow cried out, ‘the brass may go to hell!’) Rather, it is likely that the potential of the new concerto was first realised in a performance in Moscow by Sergei Taneyev later that year, following an apparently mediocre performance given by Gustav Kross in St Petersburg.

It had been to Anton Rubinstein’s younger brother, Nikolai, who

ELENA KATS-CHERNIN (born 1957)

Big Rhap (World Premiere)

When I think of Franz Liszt, I think of a virtuoso with an open and seductive nature, and an intriguing composer who was unambiguously dramatic. His music always reminds me of elements like wind, fire and water. My mother used to play the Second Hungarian Rhapsody when we lived in Yaroslavl in Russia. In writing this piece I am transferring my early memories of the spectacle, the merriness and the hyperbole of what I saw and heard in my living room to paper!

I didn’t actually consult the score of Rhapsody No.2 so this is not a transcription or an arrangement of the actual notes but a sketch from my young self whose enthusiastic mind’s ear was indeed seduced and enlivened by the high spirits of Liszt’s vision.

Certain things imprinted themselves indelibly on my imagination; the noble (and a bit scary) opening that suggests both triumph and treachery, the motoric regularity of the ‘friska’ and the way the ‘lassan’ made me feel the pain of a shivering and wounded heart.Elena Kats-Chernin, MSO Composer in Residence © 2017

PROGRAM NOTES

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Tchaikovsky had turned within days of the score’s completion, seeking advice about piano composition that only a professional could offer. Instead, and quite notoriously, he savaged the concerto, devastating its composer with comments suggesting that, in all, only a few pages could be salvaged and that the remainder should be discarded. There has been speculation ever since over the reason for Rubinstein’s reaction – ranging from jealousy to a tempestuous personality – but the defiant young Tchaikovsky remained true to his word, publishing the work exactly as it stood. Rubinstein was soon to recant his position, however: as well as conducting the first Moscow performance with Taneyev, he performed it often as soloist in the years before his early death.

In hindsight, it may have been over the demanding solo part that he had voiced concerns, or about sections where piano textures might be lost beneath the orchestration. Similarly, it could have been about structural matters that are still difficult to explain today, chief of which is the famous melody that begins the concerto but which, inexplicably, never returns. In this opening passage, Tchaikovsky eventually relented to advice, replacing lightweight arpeggios that had previously accompanied the soaring melody with the now-famous double-octave chords. In terms of structure, it is the brisk, dotted theme that quietly follows which is the real first subject in this sonata-form

movement. And here, as if to indicate to the world the ethnic authenticity of his music, Tchaikovsky follows in the style of the newly formed nationalist group of composers (the so-called ‘Mighty Handful’) by using a Ukrainian folksong, Oy, kryatshe, kryatshe.

The simple theme that opens the second movement typifies Tchaikovsky’s innate gift for melody, the solo flute conjuring folk-like affinities. A central section briefly quotes a café waltz, Il faut s’amuser, danser et rire, well known to the composer’s circle of friends. And it is to another Ukrainian folksong, Vïdy, vïdy, Ivan’ku, which Tchaikovsky turns for the principal theme of the finale, its dance-like cross-rhythms again evoking national character. The broadly lyrical melody that contrasts with this material twice succeeds in holding back the momentum, before the concerto arrives at a seemingly inevitable conclusion: a forceful octave cadenza traverses the entire keyboard, and moves headlong into an apotheosised statement of the movement’s main lyrical theme. With the pianist indefatigably leading the entire orchestra with fortissimo treble chords, it is a famous and satisfying ending. (And for more than a few composers who followed, one that proved irresistible to copy!)Scott Davie © 2011/2013

The Melbourne Symphony Orchestra first performed this concerto on 30 August 1939 with conductor Sir Malcolm Sargent and soloist Edward Goll. The Orchestra’s most recent performance took place in August 2015 with Vasily Petrenko and Simon Trpčeski.

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IGOR STRAVINSKY (1882-1971)

Petrushka – Burlesque in Four Scenes (1947 version)

The Shrove-tide Fair – Danse Russe

Petrushka

The Moor – Valse

The Shrove-tide Fair – Wet-Nurses Dance – Peasant with Bear – Gypsies and a Rake-Vendor – Dance of the Coachmen – Masqueraders – The Scuffle (Moor and Petrushka) – Death of Petrushka – Police and the Juggler – Apparition of Petrushka's Double

Petrushka, first staged in Paris in 1911, may well be the most representative and successful collaboration between Stravinsky and Diaghilev’s Ballets Russes. The visual appearance of the ballet was Russian. Its scenario, by Alexander Benois and the composer, dealt with the universal world of the theatre, and the puppet-with-a-soul Petrushka, as danced by Nijinsky, was pathetic, moving, and brilliant. The music matched all this with a sense of gesture which built on the colouristic inventions of the Russian nationalist composers, but with an originality and modernity all Stravinsky’s own.

Petrushka originated in a musical idea of Stravinsky’s, as he explains:

I had a vision of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios, the orchestra in its turn retaliating with

menacing fanfares of brass…ending in the sorrowful and querulous collapse of the poor puppet.

Stravinsky began to sketch this music in 1910, as a piece for piano and orchestra, which he described as a Konzertstück (‘Concert-piece’). It lacked a title, until one day Stravinsky ‘jumped for joy – Petrushka! The immortal and unhappy hero of all the fairs of all countries: I had found my title!’ The impresario Diaghilev, as soon as Stravinsky described the idea to him, saw its potential as a ballet, and persuaded the composer to transform the music into a full-scale choreographic work. They agreed to set the action of the ballet in the Shrove-tide Fair, the Mardi Gras in St Petersburg, where they both grew up. (Benois, in particular, retained a strong affection for this event in which he had participated as a child.)

Petrushka is the Russian version of Punch, who, in a stroke of genius on the part of the ballet’s creators, assumes the soulfulness of Pierrot. Although the character is universal, the ballet inhabits the world of Russian folklore, and Stravinsky makes use of Russian tunes and street songs. The dual nature of Petrushka as puppet and sensitive human being is conveyed by bitonality, using unrelated keys and derivations from Rimsky-Korsakov’s synthetic scales. The origins of this seem to be pianistic (one hand on the white keys, one on the black), and the piano part remains very

PROGRAM NOTES

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important in the full ballet score, both in the original version and in the revision of the instrumentation and reduction of the number of instruments Stravinsky made in 1947, which is heard in this concert.

In a square in St Petersburg during the carnival in 1830 a showman has set up his puppet theatre. A hurdy-gurdy and a music box compete and clash, before the showman, gaining attention by a cadenza on his flute, brings three puppets to life: Petrushka, the Ballerina, and the Moor. Beginning the Russian Dance, they leave their hooks and join the crowd. In the second tableau Petrushka woos the Ballerina, but she is repelled by his ugliness and uncouth gestures. In despair Petrushka hurls himself at a portrait of the Showman, tearing a hole in the cardboard wall of his cell. The third tableau opens with the Moor playing with a coconut. He tries to break it with his scimitar. The Ballerina is attracted to the Moor despite his stupidity; she dances to attract him, to a cornet solo and then a waltz; the Moor tries to join in, but cannot manage the triple time! Petrushka, mad with jealousy, bursts in on the love scene which follows.

Finally we are back at the fair, in the evening; nursemaids dance, as do a peasant’s performing bear, a rich merchant with two gypsy girls, a group of coachmen, joined by the nursemaids, then some masqueraders. Suddenly a commotion is noticed in the little theatre: Petrushka runs out,

chased by the Moor, who kills him with his scimitar. The Showman, picking up Petrushka, easily convinces everyone that the body is only wood and sawdust. The crowd disperses, but the Showman is terrified to see, above his booth, the ghost of Petrushka threatening and jeering at him.© David Garrett

Bernard Heinze conducted the Melbourne Symphony Orchestra’s first performance, on 18 and 20 August 1945. The MSO’s most recent performance (1947 version), conducted by Kazuki Yamada, took place in February 2017.

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MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor

Hiroyuki Iwaki Conductor Laureate (1974-2006)

FIRST VIOLINS

Dale Barltrop Concertmaster

Eoin Andersen Concertmaster

Ike See*‡ Guest Concertmaster

Sophie Rowell Associate ConcertmasterThe Ullmer Family Foundation#

John Marcus Principal

Peter Edwards Assistant Principal

Kirsty BremnerSarah Curro Michael Aquilina#

Peter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniDavid and Helen Moses#

Mark Mogilevski Michelle RuffoloKathryn TaylorMichael Aquilina#

Anne Martonyi*Oksana Thompson*Nicholas Waters*

SECOND VIOLINS

Matthew Tomkins Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro Assistant PrincipalDanny Gorog and Lindy Susskind#

Mary AllisonIsin CakmakciogluFreya Franzen Anonymous#

Cong GuAndrew HallAndrew and Judy Rogers#

Francesca HiewTam Vu, Peter and Lyndsey Hawkins#

Rachel Homburg Isy WassermanPhilippa WestPatrick WongRoger YoungAaron Barnden*Amy Brookman*Jacqueline Edwards*Hillary Hayes*Madeline Jevons*

VIOLAS

Christopher Moore PrincipalDi Jameson#

Fiona Sargeant Associate Principal

Lauren BrigdenKatharine BrockmanChristopher CartlidgeAnthony ChatawayGabrielle HalloranTrevor Jones Cindy WatkinElizabeth WoolnoughCaleb WrightGaëlle Bayet†William Clark*Helen Ireland*Isabel Morse*

CELLOS

David Berlin Principal MS Newman Family#

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de KorteKeith JohnsonSarah MorseAngela SargeantMichelle WoodAndrew and Theresa Dyer#

Zoe Knighton*

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser#

Hugh Kluger*Stuart Riley*

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal

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OBOES

Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn

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

Adrian Uren*§ Guest Principal

Saul Lewis Principal Third

Jenna BreenAbbey Edlin Nereda Hanlon and Michael Hanlon AM#

Trinette McClimontDeborah Hart*

TRUMPETS

Geoffrey Payne Principal

Shane Hooton Associate Principal

William EvansTristan Rebien*Joshua Rogan*

TROMBONES

Brett Kelly Principal

Jason Redman*^ Guest Principal

Iain Faragher*

BASS TROMBONE

Mike Szabo Principal

TUBA

Timothy Buzbee Principal

TIMPANI

Tim Corkeron*^

PERCUSSION

Robert Clarke Principal

John ArcaroRobert CossomBrent Miller*

HARP

Yinuo Mu Principal

PIANO

Leigh Harrold

CELESTE

Jacob Abela

MSO BOARD

Chairman

Michael Ullmer

Board Members

Andrew DyerDanny GorogBrett KellyDavid KrasnosteinDavid LiHelen Silver AOMargaret Jackson ACHyong JuSophie Galaise

Company Secretary

Oliver Carton

# Position supported by

* Guest Musician

† On exchange from West German Radio Symphony

‡ Courtesy of Australian Chamber Orchestra

§ Courtesy of Adelaide Symphony Orchestra

^ Courtesy of Queensland Symphony Orchestra

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SUPPORTERS

MSO PATRON

The Honourable Linda Dessau AC Governor of Victoria

ARTIST CHAIR BENEFACTORS

AnonymousPrincipal Flute ChairDi JamesonPrincipal Viola ChairJoy Selby SmithOrchestral Leadership ChairThe Gross FoundationPrincipal Second Violin ChairThe Newman Family Foundation Principal Cello ChairThe Ullmer Family FoundationAssociate Concertmaster ChairThe Cybec Foundation Cybec Assistant Conductor Chair

PROGRAM BENEFACTORS

The Cybec Young Composer in ResidenceMade possible by the Cybec FoundationMeet The OrchestraMade possible by The Ullmer Family FoundationEast Meets WestSupported by the Li Family TrustThe Pizzicato Effect(Anonymous)Collier Charitable FundThe Marian and E.H. Flack TrustSchapper Family FoundationSupported by the Hume City Council’s Community Grants ProgramMSO EducationSupported by Mrs Margaret Ross AM and Dr Ian Ross

MSO Audience AccessCrown Resorts FoundationPacker Family FoundationMSO International TouringSupported byHarold Mitchell ACSatan JawaAustralia Indonesia Institute (DFAT)MSO Regional Touring Creative VictoriaCybec 21st Century Australian Composers ProgramThe Cybec Foundation

CHAIRMAN’S CIRCLE $100,000+

Marc Besen AC and Eva Besen AO The Gross Foundation◊

David and Angela LiMS Newman Family Foundation◊

Joy Selby SmithUllmer Family Foundation◊

Anonymous (1)

VIRTUOSO PATRONS $50,000+

Di Jameson◊

Mr Ren Xiao Jian and Mrs Li QuianHarold Mitchell ACKim Williams AM

IMPRESARIO PATRONS $20,000+

Michael Aquilina◊

The John and Jennifer Brukner FoundationPerri Cutten and Jo DaniellMary and Frederick Davidson AMvRachel and the late Hon. Alan Goldberg AO QCHilary Hall, in memory of Wilma CollieMargaret Jackson ACDavid Krasnostein and

Pat StragalinosMimie MacLarenJohn and Lois McKay

MAESTRO PATRONS $10,000+

John and Mary BarlowKaye and David BirksMitchell ChipmanSir Andrew and Lady DavisJohn Gandel AO and Pauline Gandel Danny Gorog and Lindy Susskind◊

Robert & Jan GreenThe Cuming BequestIan and Jeannie PatersonLady Potter AC CMRI ◊

Elizabeth Proust ACRae RothfieldGlenn SedgwickHelen Silver AO and Harrison YoungMaria SolàProfs. G & G Stephenson, in honour of the great Romanian musicians George Enescu and Dinu LipattiGai and David TaylorJuliet TootellAlice VaughanKee Wong and Wai TangJason Yeap OAM

PRINCIPAL PATRONS $5,000+

Christine and Mark ArmourWill and Dorothy Bailey BequestStephen and Caroline BrainProf Ian BrighthopeLinda BrittenDavid and Emma CapponiAndrew and Theresa Dyer ◊

Mr Bill FlemingJohn and Diana FrewSusan Fry and Don Fry AOSophie Galaise and Clarence Fraser◊

Geelong Friends of the MSO ◊

Jennifer GorogLouis Hamon OAMNereda Hanlon and Michael Hanlon AM ◊

Hans and Petra HenkellFrancis and Robyn HofmannHartmut and Ruth HofmannJack HoganDoug HooleyJenny and Peter HordernDr Alastair JacksonSuzanne KirkhamDr Elizabeth A Lewis AMPeter LovellLesley McMullin FoundationMr and Mrs D R MeagherDavid and Helen Moses◊

Dr Paul Nisselle AMKen Ong, in memory of Lin OngBruce Parncutt and Robin CampbellJim and Fran PfeifferPzena Investment Charitable FundAndrew and Judy Rogers◊

Max and Jill SchultzStephen ShanasyHMA FoundationD & CS Kipen on behalf of Israel KipenMr Tam Vu and Dr Cherilyn Tillman ◊

The Hon. Michael Watt QC and Cecilie HallLyn Williams AMAnonymous (1)

ASSOCIATE PATRONS $2,500+

Dandolo PartnersBarbara Bell, in memory of Elsa BellBill BownessOliver CartonJohn and Lyn CoppockMiss Ann Darby, in memory of Leslie J. DarbyNatasha Davies, for the Trikojus Education FundMerrowyn Deacon

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Beryl DeanSandra DentPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonJane Edmanson OAMTim and Lyn EdwardDr Helen M FergusonMr Peter Gallagher and Dr Karen MorleyDina and Ron GoldschlagerColin Golvan QC and Dr Deborah GolvanLouise Gourlay OAMPeter and Lyndsey Hawkins◊

Susan and Gary HearstColin Heggen, in memory of Marjorie Drysdale HeggenRosemary and James JacobyJenkins Family FoundationC W Johnston FamilyJohn JonesGeorge and Grace KassIrene Kearsey and M J RidleyKloeden FoundationBryan LawrenceAnn and George LittlewoodH E McKenzieAllan and Evelyn McLarenDon and Anne MeadowsMarie Morton FRSAAnnabel and Rupert Myer AOAnn Peacock with Andrew and Woody KrogerSue and Barry PeakeMrs W PeartGraham and Christine PeirsonRuth and Ralph RenardS M Richards AM and M R RichardsTom and Elizabeth RomanowskiJeffrey Sher QC and Diana Sher OAMDiana and Brian Snape AM

Dr Norman and Dr Sue SonenbergGeoff and Judy SteinickeWilliam and Jenny UllmerElisabeth WagnerBrian and Helena WorsfoldPeter and Susan YatesAnonymous (8)

PLAYER PATRONS $1,000+

Christa AbdallahDr Sally AdamsMary ArmourArnold Bloch LeiblerPhilip Bacon AMMarlyn and Peter Bancroft OAMAdrienne BasserProf Weston Bate and Janice BateDavid BlackwellAnne BowdenMichael F BoytThe Late Mr John Brockman OAM and Mrs Pat BrockmanDr John BrookesSuzie and Harvey BrownJill and Christopher BuckleyBill and Sandra BurdettLynne BurgessPeter CaldwellJoe CordoneAndrew and Pamela CrockettPat and Bruce DavisWendy DimmickMarie DowlingJohn and Anne DuncanRuth EgglestonKay EhrenbergJaan EndenAmy & Simon FeiglinGrant Fisher and Helen BirdBarry Fradkin OAM and Dr Pam FradkinApplebay Pty LtdDavid Frenkiel and Esther Frenkiel OAMDavid Gibbs and Susie O'NeillMerwyn and Greta Goldblatt

George Golvan QC and Naomi GolvanDr Marged GoodeMax GulbinDr Sandra Hacker AO and Mr Ian Kennedy AMJean HadgesMichael and Susie HamsonPaula Hansky OAMMerv Keehn & Sue HarlowTilda and Brian HaughneyPenelope HughesBasil and Rita JenkinsStuart JenningsIrene Kearsey & M J RidleyBrett Kelly and Cindy WatkinDr Anne KennedyJulie and Simon KesselWilliam and Magdalena LeadstonChris and Anna LongAndrew LeeNorman Lewis, in memory of Dr Phyllis LewisDr Anne LierseAndrew LockwoodViolet and Jeff LoewensteinElizabeth H LoftusThe Hon Ian Macphee AO and Mrs Julie MacpheeVivienne Hadj and Rosemary MaddenEleanor & Phillip ManciniDr Julianne BaylissIn memory of Leigh MaselJohn and Margaret MasonRuth MaxwellJenny McGregor AM & Peter AllenGlenda McNaughtWayne and Penny MorganIan Morrey and Geoffrey MinterJB Hi-Fi LtdPatricia NilssonLaurence O'Keefe and

Christopher JamesAlan and Dorothy PattisonMargaret PlantKerryn PratchettPeter PriestEli RaskinBobbie RenardPeter and Carolyn RenditDr Rosemary Ayton and Dr Sam RicketsonJoan P RobinsonCathy and Peter RogersDoug and Elisabeth ScottMartin and Susan ShirleyDr Sam Smorgon AO and Mrs Minnie SmorgonJohn SoDr Michael SoonJennifer SteinickeDr Peter StricklandPamela SwanssonJenny TatchellFrank Tisher OAM and Dr Miriam TisherP and E TurnerThe Hon. Rosemary VartyLeon and Sandra VelikSue Walker AMElaine Walters OAM and Gregory WaltersEdward and Paddy WhiteNic and Ann WillcockMarian and Terry Wills CookeLorraine WoolleyPanch Das and Laurel Young-DasAnonymous (19)

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SUPPORTERS

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

TRUSTS AND FOUNDATIONS

Alan (AGL) Shaw Endwoment, managed by PerpetualCollier Charitable FundCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Marian and E.H. Flack TrustGandel PhilanthropyThe Scobie and Claire Mackinnon TrustThe Harold Mitchell FoundationKen & Asle Chilton Trust, managed by PerpetualLinnell/Hughes Trust, managed by PerpetualThe Pratt Foundation

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 Bullen

Luci and Ron ChambersBeryl DeanSandra DentLyn EdwardAlan Egan JPGunta EgliteMarguerite Garnon-WilliamsLouis Hamon OAMCarol HayTony HoweLaurence O'Keefe and Christopher JamesAudrey M JenkinsJohn and Joan JonesGeorge and Grace KassMrs Sylvia LavellePauline and David LawtonCameron MowatRosia PasteurElizabeth Proust AOPenny RawlinsJoan P RobinsonNeil RoussacAnne Roussac-HoyneAnn 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 (23)

The MSO gratefully acknowledges the support received from the Estates of:Angela BeagleyGwen HuntPauline Marie JohnstonC P KempPeter Forbes MacLarenLorraine Maxine MeldrumProf Andrew McCredieMiss Sheila Scotter AM MBEMolly StephensJean TweedieHerta and Fred B VogelDorothy Wood

HONORARY APPOINTMENTS

Ambassador

Geoffrey Rush AC

Life Members

Sir Elton John CBE

Ila Vanrenen

The Late John Brockman AO

The Late Alan Goldberg AO QC

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 (Benefactor).

The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will.

Enquiries P (03) 9626 1104 E philanthropy@

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◊ Signifies Adopt an MSO Musician supporter

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SUPPORTERS

Government Partners

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Supporting Partners

Maestro Partners

Principal Partner

Venue Partner Media Partners

Quest Southbank

The Scobie and Claire Mackinnon Trust

The CEO Institute