PRINCIPAL PARTNER

Beethoven, Mozart & Copland

Melbourne Town Hall SeriesFriday 31 July at 7.30pm

Melbourne Town Hall

What’s On August — September

MelbourneSymphony

@MelbSymphony

@MelbourneSymphonyOrchestra

TheMSOrchestra

Download our free app at mso.com.au/msolearn

Sign up for our monthly e-news at mso.com.au and receive special offers from the MSO and our partners.

MOZART’S SYMPHONY No.40Thursday 17 September Friday 18 September Saturday 19 September Monday 21 SeptemberMozart’s compact concerto in D – led by MSO Concertmaster Eoin Andersen – is balanced by Mozart’s Violin Concerto, a youthful work of matchless elegance.

MOZART’S PIANO CONCERTO No.17Friday 28 August Saturday 29 August Monday 31 AugustThe irrepressible overture to Rossini’s La gazza ladra is set alongside works by Mozart and Messiaen, and the lush melodies of Brahms’ Symphony No.3. Featuring the French pianist Jean-Efflam Bavouzet.

MUSSORGSKY & LISZTFriday 11 SeptemberFeaturing works inspired by art: Reger’s Four Tone Poems after Arnold Böcklin and Mussorgsky’s Pictures at an Exhibition. Liszt’s Piano Concerto No.1 makes for a breathtaking interlude.

RACHMANINOV’S THIRDThursday 20 August Friday 21 August Saturday 22 AugustRussian-American pianist Kirill Gerstein displays his mastery of the formidable ‘Rach 3’, conducted by Sir Andrew Davis, alongside Rimsky-Korsakov’s Dubinushka and Strauss’ autobiographical tone poem, Ein Heldenleben.

TCHAIKOVSKY’S PIANO CONCERTO No.1 Friday 7 August Saturday 8 August Monday 10 AugustThe very epitome of Romantic music, Tchaikovsky’s Piano Concerto No.1 is performed by Simon Trpčeski, appearing alongside Rimsky-Korsakov’s Capriccio espagnol and Scriabin’s Third Symphony.

AN EVENING WITH RENÉE FLEMINGThursday 3 September Saturday 5 SeptemberFamed for her magnetic performances and sheer beauty of tone, celebrated American soprano Renée Fleming joins the MSO and Sir Andrew Davis for two Melbourne-exclusive orchestral concerts.

Presented by MSO and Arts Centre Melbourne

Welcome to this concert in the mellow historic grandeur of the Melbourne Town Hall. The MSO has performed many times in this gracious venue, and the hall continues to resound vibrantly in the orchestra’s heritage.

Tonight’s program, conducted by Matthew Coorey, features landmark works by three composers: the suite from Aaron Copland’s evergreen Appalachian Spring, written in 1942 for choreographer and dancer Martha Graham (it was nearly titled Ballet for Martha); Mozart’s darkly romantic Piano Concerto No.20 in D minor, with soloist Ian Munro; and Beethoven’s majestic Symphony No.7, or ’the apotheosis of the dance’, as it is sometimes known.

If one thing binds tonight’s program, it is popularity and durability; all of these works have never been out of the repertoire. But it is heartening to think that somewhere, every time they are played, someone is hearing the music for the first time. I hope you enjoy tonight’s concert.

André Gremillet Managing Director

With a reputation for excellence, versatility and innovation, the Melbourne Symphony Orchestra is Australia’s oldest orchestra, established in 1906. The Orchestra currently performs live to more than 200,000 people annually, in concerts ranging from subscription performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl.

Sir Andrew Davis gave his inaugural concerts as Chief Conductor of the MSO in April 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists including Bryn Terfel, Emanuel Ax and Truls Mørk, the release of recordings of music by Percy Grainger and Eugene Goossens, a 2014 European Festivals tour, and a multi-year cycle of Mahler’s Symphonies.

The MSO also works each season with Principal Guest Conductor Diego Matheuz, Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus. Recent guest conductors to the MSO have included Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša,

Mark Wigglesworth, Markus Stenz and Simone Young. The Orchestra has also collaborated with non-classical musicians including Burt Bacharach, Ben Folds, Nick Cave, Sting and Tim Minchin.

The MSO reaches an even larger audience through its regular concert broadcasts on ABC Classic FM, also streamed online, and through recordings on Chandos and ABC Classics. The MSO’s Education and Community Engagement initiatives deliver innovative and engaging programs to audiences of all ages, including MSO Learn, an educational iPhone and iPad app designed to teach children about the inner workings of an orchestra.

The Melbourne Symphony Orchestra is funded principally by the Australian Government through the Australia Council, its arts funding and advisory body, and is generously supported by the Victorian Government through Creative Victoria, Department of Economic Development, Jobs, Transport and Resources. The MSO is also funded by the City of Melbourne, its Principal Partner, Emirates, corporate sponsors and individual donors, trusts and foundations.

Welcome to Beethoven, Mozart & Copland

MELBOURNE SYMPHONY ORCHESTRA

3BEETHOVEN, MOZART & COPLAND

4 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

Matthew Coorey conductor

Matthew Coorey began his career as the Royal Liverpool Philharmonic Orchestra’s Conductor in Residence.

Important early debuts with the London Philharmonic Orchestra, Sydney Symphony Orchestra, the Philharmonia, the Hallé and the London Mozart Players all resulted in re-invitations. Recent highlights include concerts with the BBC Orchestras, the Bournemouth, Melbourne and London Symphony Orchestras and at the BBC Proms, as well as return engagements with the City of Birmingham Symphony Orchestra, the Stuttgart Radio Orchestra, New Zealand Symphony Orchestra, the National Youth Orchestra of Great Britain, Palestine National Orchestra, the Philharmonia and the RLPO.

Matthew was invited to the Tanglewood Music Festival by Seiji Ozawa where also he worked with Jorma Panula who became his principal teacher. For two years, Matthew studied under Sir Mark Elder at the Royal Northern College of Music. He was a finalist in the Maazel Competition, a fellow of the Allianz International Academy and a prize-winner at the Solti Competition. He has collaborated with artists such as Sarah Chang, Freddy Kempff, Steven Osborne, Yevgeny Sudbin and Pieter Wispelwey, and has recorded for Classic FM and Naxos Records.

Matthew began his musical career as a horn-player and after studying at the Sydney Conservatorium he performed regularly with many Australian orchestras.

Matthew recently conducted a concert commemorating 100 years since the Gallipoli Campaign in Istanbul.

Ian Munropiano

Ian Munro is one of Australia’s most distinguished and awarded musicians, with a career that has taken him to thirty countries in Europe, Asia, North America and Australasia. As a composer, Ian is the only Australian to have been awarded the Premier Grand Prix at the Queen Elisabeth Competition for Composers in 2003, and in 2011 he was Featured Composer for Musica Viva Australia.

After completing his early training in Melbourne with Roy Shepherd, Ian furthered his studies in Vienna, London and Italy with Noretta Conci, Guido Agosti and Michele Campanella, launching his international career in the UK. He has performed with leading orchestras throughout the UK, Poland, Italy, Portugal, Russia, USA, China, New Zealand, Belgium, Switzerland and Uzbekistan, and with all the state orchestras in Australia in over sixty piano concerti.

Ian has recorded for ABC Classics, Hyperion, Cala, Naxos, Marco Polo, Tall Poppies and the UK label Warehouse as both soloist and chamber musician. Recent discs include the collected music by Tasmanian composer Katherine Parker, and Elena Kats-Chernin’s Piano Concerto commissioned for Ian Munro by the Sydney Symphony Orchestra. A widely experienced chamber musician, Ian joined the acclaimed Australia Ensemble in Sydney in 2000, for which he has also composed and arranged several works.

ABOUT THE ARTISTS

Melbourne Symphony Orchestra

Matthew Cooreyconductor

Ian Munro piano—COPLANDAppalachian Spring: Suite

MOZARTPiano Concerto No.20 —Interval 20 minutes—BEETHOVENSymphony No.7—This concert runs for a duration of approximately two hours including an interval of 20 minutes.

Pre-Concert Recital

6.30pm Friday 31 July Melbourne Town Hall

Ticket-holders are invited to attend a free pre-concert recital by Dr Calvin Bowman, on the Melbourne Town Hall grand organ.

5BEETHOVEN, MOZART & COPLAND

ABOUT THE MUSIC

Aaron Copland (1900–1990)

Appalachian Spring: Suite for orchestra —Aaron Copland’s Appalachian Spring suite originated in a ballet he wrote for the choreographer Martha Graham. Graham had already choreographed Copland’s Piano Variations (Dithyramb, 1931) when, in 1942, arts patron Elizabeth Sprague Coolidge commissioned her to produce three new ballets, and Copland was chosen to write music for one of them. Appalachian Spring premiered in Washington in October 1944 and its score won the Pulitzer Prize for Music the following year.

Appalachian Spring is one of those works which defines the American spirit in music. The title, mistaken by many as an allusion to the season, is taken from a line in a Hart Crane poem and refers to a spring of water in the Appalachian Mountains. The scenario concerns preparations for a wedding in the Pennsylvania hill country in the early 1800s.

The keynote of the whole enterprise was ‘simplicity’. Graham’s unique choreographic style – spare and restrained – determined much of the expressive content of the ballet. Set designer Isamu Noguchi noted that Graham was ‘in a sense influenced by Shaker furniture, but it is also the culmination of Martha’s interest in American themes and in the puritan American tradition’. With the benefit of hindsight, we can tell that much of Graham’s aesthetic was in accord with Copland’s own compositional inclinations, which we associate now with the typical American sound. ‘Appalachian Spring had

a great deal to do with bringing my name before a larger public,’ recalled Copland in later years, and his orchestration of the Shaker hymn ‘Simple Gifts’, heard towards the end of the suite, has become a secondary American anthem.

In 1944, Copland extracted a concert suite from the ballet, which he orchestrated the following year. He trimmed 15 minutes of what was primarily choreographic material, and expanded the original 13-member chamber ensemble. The suite is constructed in eight sections, played without interruption. Copland’s printed analysis for the suite’s New York premiere, given by the New York Philharmonic under Artur Rodzinski on 4 October 1945, enables a concert audience to retain an impression of the broader features of the original ballet:

1. Very slowly. Introduction of the characters, one by one, in a suffused light.

2. Fast. Sudden burst of unison strings in A major arpeggios starts the action. A sentiment both elated and religious gives the keynote to this scene.

3. Moderato. Duo for the Bride and her Intended – scene of tenderness and passion.

4. Quite fast. The Revivalist and his flock. Folksy feelings – suggestions of square dances and country fiddlers.

5. Still faster. Solo dance of the Bride – presentiment of motherhood. Extremes of joy and fear and wonder.

6. Very slow (as at first). Transition scenes reminiscent of the introduction.

7. Calm and flowing. Scenes of daily activity for the Bride and her Farmer-husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published under the title The Gift to be Simple. The melody I borrowed and used almost literally is called ‘Simple Gifts’.

8. Moderato – Coda. The Bride takes her place among her neighbors. At the end the couple are left ‘quiet and strong in their new house’. Muted strings intone a hushed, prayer-like passage. We hear a last echo of the principal theme sung by a flute and solo violin. The close is reminiscent of the opening music.

Gordon Kalton Williams © 2015

The Melbourne Symphony Orchestra first performed the suite from the ballet in March 1967 under conductor Moshe Atzmon, and on 19–21 March 1978 under the direction of the composer. The Orchestra most recently performed the orchestral version of the suite in June 2006, with Kees Bakels conducting.

6 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

ABOUT THE MUSIC

Wolfgang Amadeus Mozart (1756–1791)

Piano Concerto No.20 in D minor, K466

Allegro

Romanze

Rondo (Allegro assai)

Ian Munro piano—The first of the two piano concertos for which Mozart chose the minor mode is one of his most often heard works, and one of his most admired. Even in the 19th century, when much of his music was in eclipse, this concerto was played and regarded as representing the ‘daemonic’ Mozart. Beethoven played it and wrote cadenzas for it (Ian Munro will play his own cadenzas in this evening’s performance). In 1839 Schumann singled out this concerto: ‘Our younger master will certainly not forget how the older ones would suddenly emerge with something magnificent – Mozart’s Concerto in D minor, Beethoven’s in G.’ The stormy drama of the work can hardly fail to make an impression of great, but controlled, emotion and power.

This concerto is not incontestably better than the nine others Mozart wrote in 1784 and 1785, but it is distinguished from them by the intensity of its subjective approach. It has often been hailed as being like Beethoven, a form of praise which tends to obscure its special qualities and their sources. As familiarity has grown with the music of Mozart, Haydn and their predecessors, we have come to see that the late 18th century had its own deep vein of Storm and Stress, of passionate

expression. One respect in which this work could be admitted to be Beethovenian is that the strife and passion persist until the change of mood in the last bars of the Rondo.

The first 15 bars of this concerto express the character of the whole of the first movement: throbbing, syncopated strings underlined by gruff bass triplets, rhythmic instability pushed as far as the Classical style would allow. Instead of turning to develop lighter material in the major key, this exposition retraces its steps to the mood of the opening, through orchestral tuttis of a violence unprecedented in Mozart’s work.

The piano’s first entry, in free recitative, is very moving – like the voice of one against the many, and this principle of opposition is much exploited throughout. With piano added to orchestra, the sustained and graded acceleration begins which gives this concerto much of its excitement. Alfred Einstein has written suggestively of the pianissimo conclusion to the movement that it is ‘as if the furies had simply become tired out and had lain down to rest, still grumbling, and ready at any time to take up the fight again…’

The slow movement begins in complete contrast, in an unexpected key (B flat major), fresh and poised. It proceeds as a spacious rondo, but as the second episode begins, is startlingly transformed. A raging Presto in G minor begins in breathless triplets, which should be played, according to a letter of Mozart’s father Leopold, ‘as swiftly as the possibility of bringing

out the tune clearly allows’. The return to the rondo theme is made in a transition of great breadth, like a horseman reining in his steed. This violent contrast within the movement would make no sense, as Charles Rosen points out, if the slow movement was isolated from the others. The furies of the first movement have taken up the fight again.

The last movement is one of Mozart’s few minor-key rondos, but its turn to the major key towards the end, playing with more cheerful material, has provoked some disappointment from those who would judge this concerto by non-Mozartian aesthetic standards. The rocket-like theme with which the piano begins and the sustained violence of the first orchestral tutti are of a piece with the first movement, and the conciliatory character of the ending, besides being memorably jaunty and good-humoured, is perhaps best considered as a restoring of 18th-century balance, a desire to leave the audience with a friendly impression.

David Garrett © 2001

The Melbourne Symphony Orchestra first performed this work in 1939 with pianist Artur Schnabel and conductor George Szell, and most recently in 2010 with Howard Shelley as director/soloist.

7BEETHOVEN, MOZART & COPLAND

Ludwig van Beethoven (1770 –1827)

Symphony No.7 in A, Op.92

Poco sostenuto – Vivace

Allegretto

Presto – Trio – Presto – Trio – Presto

Allegro con brio —Five years after the premieres of the Fifth and Sixth Symphonies, Beethoven introduced the Seventh, together with ‘battle symphony’ Wellington’s Victory, Op.91, on 8 December 1813. The occasion was a concert in Vienna’s University Hall to raise money for Austrian soldiers recently wounded helping to expel Napoleon’s army from Germany. Beethoven wrote an open letter of thanks to eminent colleagues who generously condescended to play under his direction, including Hummel, Meyerbeer, Spohr, and Salieri:

It was a rare assembly of first-class musicians, each impelled not only by craft but also patriotic fervor to benefit the Fatherland, without concern for rank or precedence … Had I not composed the music myself, I would have been as happy as Mr. Hummel to take my place at the drum!

The third last symphony is a kind of mirror image of the Third. The Napoleonic Third is spacious and heroic (in E flat, a minor third above C), the Seventh (in A major, a minor third below C) all energy and bluster, animated by sheer rhythmic propulsion. Wagner labelled it ‘the apotheosis of the dance’, though so intense is Beethoven’s focus on distinctive rhythms that it often leaves conventional dance far behind.

That Beethoven might have been drunk, deaf, or daft when he composed it were all possibilities reportedly considered by his colleagues. Weber is supposed to have said ‘ripe for the madhouse’, and another wondered later whether ‘in the last period, he succumbed to a kind of insanity, that his assertive contrasts, vehement expressiveness, and sheer insistence, rankle so?’.

Beethoven composed the Seventh during two high summers – sketching it in 1811 and finishing it in 1812 – while visiting a succession of Czech health resorts. In August 1812, he reported to his pupil, Archduke Rudolph: ‘In Teplitz I heard the military band play four times a day – the only musical report to offer you. Otherwise, I spent a good deal of time with Goethe.’

Goethe wrote to his wife that he had seldom met a ‘more focused, fervent artist’, though to a musical friend he added: ‘But he is completely uncontrollable … although because of his loss of hearing he can be excused, and pitied. As it is, he is naturally laconic, doubly so because of his misfortune.’ Meanwhile, Beethoven boasted he gave his senior a lesson in egalitarianism. Strolling through the spa gardens, they saw a crowd form as the imperial family walked by. Goethe, by far the more eminent of the pair and a seasoned courtier, removed his hat and was ignored. But Beethoven, ‘hat firmly on my head … pushed through the crowd, Archduke Rudolph doffed his hat, and the Empress herself came to greet me’.

Resonances of an idealised Teplitz military band and Beethoven’s egalitarian spirit can be heard especially in the minor-key Allegretto, whose simple, solemn tune and straightforward treatment struck such a popular chord that it was regularly excerpted by real bands for use as a funeral march. He introduces another disarmingly simple tune in the middle of the scherzo’s trio, according to one of Beethoven’s clerical friends, borrowed from a hymn traditionally sung by pilgrims to the shrine at Mariazell.

During the Second World War, the Seventh was one of the Beethoven works enlisted to help boost patriotic fervour here in Australia. The MSO’s then chief conductor, Bernard Heinze, also conducted performances and radio broadcasts of it with other orchestras around the country as part of a nationwide Beethoven Festival. Reaching Perth in winter 1944, its effect on audience morale was electric, as the West Australian reviewer noted: ‘Even the desolate anti-climax of a late bus, and frigid lower extremities, was mitigated by the persistence in one’s pulse and brain of the finale. Professor Heinze had whirled his forces up-to-time through these tremendous Olympian transports, ending … on a note of high exhilaration.’

Graeme Skinner © 2014

The Melbourne Symphony was the first of the Australian state symphony orchestras to perform Beethoven’s Seventh Symphony, on 7 May 1938 under Georg Szell. The Orchestra most recently performed it in May 2015 with Matthias Pintscher.

Rediscover the romance of travel with up to 1,600 channels of music, TV and movies. Let our inflight entertainment take you places you won’t find on a map.

Principal Partner of the Melbourne Symphony Orchestra.

Fall in love with every journey

Enjoy our generous baggage allowance w Gourmet cuisine w Over 140 destinations worldwide

‘Airline of the year’ 2013 Skytrax World Airline Awards.

emirates.com/au

EMI0310_MSO_176x121_v4.indd 1 8/05/14 3:52 PM

MSO Education Week 2015Over 15,000 Victorians embraced an exciting line up of music-making programs during the Melbourne Symphony Orchestra’s fifth annual Education Week which took place in early June.

Running across six days, the popular mini-festival featured 12 concerts attracting people of all ages to Hamer Hall and Melbourne Town Hall.

Hosting the varied program was internationally acclaimed music educator Paul Rissmann, who described Education Week as ‘making the Orchestra accessible to absolutely everyone’. Joining Rissmann in the week-long event was Associate Conductor Benjamin Northey and Chief Conductor Sir Andrew Davis.

In his first role in Education Week, Sir Andrew Davis led an orchestra comprising MSO musicians and 50 community musicians in the very special Symphony in a Day concert.

Over 2,500 individuals from schools experiencing barriers were able to attend the Meet the Orchestra concert thanks to the Orchestra’s annual Sponsor Schools excursion package and Arts Centre Melbourne’s First Call Fund.

Building on this access initiative was an exciting new venture with ABC Splash which streamed the Meet the Orchestra concert to schools across the country, with over 200 schools watching the live stream.

MSO Managing Director André Gremillet said this live stream was a great opportunity to broaden audience reach and highlight the importance of classical music in education.

The Meet the Orchestra learning resource program and footage of the concert can be viewed at splash.abc.net.au/livestream/-/l/1869205/meet-the-orchestra-live-stream-, providing access for teachers and students to MSO education for years to come.

Primary school student participates at MSO Meet

the Orchestra performance at Arts Centre Melbourne,

Hamer Hall

8 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

9

Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST VIOLINSDale BarltropConcertmasterEoin AndersenConcertmasterSophie Rowell Associate ConcertmasterRebecca Chan*Guest Associate ConcertmasterPeter EdwardsAssistant PrincipalKirsty BremnerMSO Friends ChairSarah CurroPeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn TaylorRebecca Adler* Jo Beaumont*Jacqueline Edwards*

SECOND VIOLINSMatthew TomkinsThe Gross Foundation Principal Second Violin ChairRobert Macindoe Associate PrincipalMonica Curro Assistant PrincipalMary Allison

Isin CakmakciogluFreya FranzenCong GuAndrew HallFrancesca HiewRachel Homburg Christine JohnsonIsy WassermanPhilippa WestPatrick WongRoger YoungClare Miller*

VIOLASChristopher Moore PrincipalJulia Joyce*Guest PrincipalChristopher Cartlidge Acting Associate PrincipalLauren BrigdenKatharine BrockmanSimon CollinsGabrielle HalloranTrevor Jones Fiona Sargeant Cindy WatkinCaleb WrightCeridwen Davies* Isabel Morse*

CELLOSDavid Berlin MS Newman Family Principal Cello ChairRachael Tobin Associate Principal

Nicholas Bochner Assistant PrincipalMiranda BrockmanRohan de KorteKeith JohnsonSarah MorseAngela SargeantMichelle WoodJarrad Mathie*

DOUBLE BASSESSteve Reeves PrincipalAndrew Moon Associate PrincipalSylvia Hosking Assistant PrincipalDamien EckersleyBenjamin HanlonSuzanne LeeStephen NewtonYoung-Hee Chan* Bonita Williams*

FLUTESPrudence Davis Principal Flute Chair – AnonymousWendy Clarke Associate PrincipalSarah Beggs

PICCOLOAndrew Macleod Principal

OBOESJeffrey Crellin Principal

Ann BlackburnRachel Curkpatrick*

COR ANGLAISMichael Pisani Principal

CLARINETSDavid Thomas PrincipalPhilip Arkinstall Associate PrincipalCraig Hill

BASS CLARINETJon Craven Principal

BASSOONSJack Schiller PrincipalElise Millman Associate Principal Natasha Thomas

CONTRABASSOONBrock Imison Principal

HORNS Zora Slokar PrincipalGeoff Lierse Associate PrincipalSaul Lewis Principal Third Jenna BreenAbbey EdlinTrinette McClimont

TRUMPETSGeoffrey Payne PrincipalShane Hooton Associate PrincipalWilliam EvansJulie Payne

TROMBONESBrett Kelly PrincipalJessica Buzbee*

BASS TROMBONEMike Szabo Principal

TUBATimothy Buzbee Principal

TIMPANIChristine Turpin Principal

PERCUSSIONRobert Clarke PrincipalJohn ArcaroRobert Cossom

HARPYinuo Mu Principal

PIANOLouisa Breen*

*Guest musician

MELBOURNE SYMPHONY ORCHESTRA

BOARDHarold Mitchell ACChairmanAndré GremilletManaging DirectorMichael UllmerDeputy ChairAndrew DyerDanny GorogMargaret Jackson ACBrett KellyDavid Krasnostein David LiAnn PeacockHelen Silver AOKee Wong

COMPANY SECRETARYOliver Carton

EXECUTIVEAndré GremilletManaging Director Catrin HarrisExecutive Assistant

HUMAN RESOURCESMiranda CrawleyDirector of Human Resources

BUSINESSFrancie DoolanChief Financial OfficerRaelene KingPersonnel ManagerLeonie WoolnoughFinancial ControllerPhil NooneAccountantNathalia Andries Finance OfficerSuzanne Dembo Strategic Communications and Business Processes Manager

ARTISTICRonald VermeulenDirector of Artistic Planning Andrew Pogson Special Projects ManagerLaura HolianArtistic CoordinatorHelena BalazsChorus Coordinator

EDUCATION AND COMMUNITY ENGAGEMENTBronwyn LobbDirector of Education and Community EngagementLucy BardoelEducation and Community Engagement CoordinatorLucy RashPizzicato Effect Coordinator

OPERATIONSGabrielle Waters Director of OperationsAngela BristowOrchestra ManagerJames FosterOperations ManagerJames PooleProduction CoordinatorAlastair McKeanOrchestra LibrarianKathryn O’BrienAssistant LibrarianMichael StevensAssistant Orchestra ManagerStephen McAllanArtist LiaisonLucy RashOperations Coordinator

MARKETINGAlice WilkinsonDirector of MarketingJennifer PollerMarketing ManagerMegan Sloley Marketing ManagerAli Webb PR ManagerKate EichlerPublicity and Online Engagement CoordinatorKieran Clarke Digital ManagerNina DubeckiFront of House SupervisorJames Rewell Graphic Designer Chloe SchnellMarketing Coordinator Claire HayesTicket and Database ManagerPaul CongdonBox Office SupervisorJennifer BroadhurstTicketing CoordinatorAngela BallinCustomer Service CoordinatorChelsie JonesCustomer Service Officer

DEVELOPMENTLeith Brooke Director of DevelopmentJessica Frean MSO Foundation ManagerBen LeeDonor and Government Relations ManagerArturs EzergailisDonor and Patron CoordinatorJudy TurnerMajor Gifts ManagerJustine KnappMajor Gifts CoordinatorMichelle MonaghanCorporate Development ManagerJames RalstonCorporate Development and Events Coordinator

MANAGEMENT

BEETHOVEN, MOZART & COPLAND

10 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

THANKS TO OUR WONDERFUL MSO SUPPORTERS

The MSO relies on your ongoing philanthropic support to sustain access, artists, education, community engagement and more. We invite our supporters to get close to the MSO through a range of special events and supporter newsletter The Full Score.

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $100 (Friend), $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: Ph +61 (03) 9626 1248 Email: philanthropy@mso.com.auThis honour roll is correct at time of printing.

ARTIST CHAIR BENEFACTORSHarold Mitchell AC Chief Conductor ChairPatricia Riordan Associate Conductor ChairJoy Selby Smith Orchestral Leadership ChairMarc Besen AC and Eva Besen AO International Guest ChairMSO Friends ChairThe Gross Foundation Principal Second Violin ChairMS Newman Family Principal Cello Chair Principal Flute Chair – Anonymous

PROGRAM BENEFACTORSMeet The Music Made possible by The Ullmer Family FoundationEast meets West Supported by the Li Family TrustThe Pizzicato Effect (Anonymous)MSO UPBEAT Supported by Betty Amsden AO DSJMSO CONNECT Supported by Jason Yeap OAM

BENEFACTOR PATRONS $50,000+Betty Amsden AO DSJPhillip Bacon AM Marc Besen AC and Eva Besen AO Jennifer Brukner Rachel and Hon. Alan Goldberg AO QC The Gross FoundationDavid and Angela LiAnnette MaluishHarold Mitchell ACMS Newman FamilyRoslyn Packer AOMrs Margaret S Ross AM and Dr Ian Ross Joy Selby SmithUllmer Family Foundation

IMPRESARIO PATRONS $20,000+Perri Cutten and Jo DaniellSusan Fry and Don Fry AO John McKay and Lois McKayElizabeth Proust AO Rae Rothfield Inés Scotland

MAESTRO PATRONS $10,000+Michael AquilinaJohn and Mary BarlowKaye and David Birks Mitchell ChipmanJan and Peter ClarkAndrew and Theresa DyerFuture Kids Pty Ltd

Robert & Jan GreenLou Hamon OAMMargaret Jackson AC Konfir Kabo and Monica Lim Mr Greig Gailey and Dr Geraldine LazarusNorman and Betty LeesMimie MacLarenIan and Jeannie Paterson Onbass FoundationPeter and Natalie Schiavello Glenn Sedgwick Maria Solà, in memory of Malcolm Douglas Drs G & G Stephenson. In honour of the great Romanian musicians George Enescu and Dinu LipatiLyn Williams AMKee Wong and Wai TangJason Yeap OAMAnonymous (1)

PRINCIPAL PATRONS $5,000+Lino and Di Bresciani OAM David and Emma CapponiPaul Carter and Jennifer BinghamTim and Lyn EdwardJohn and Diana Frew Jill and Robert GroganNereda Hanlon and Michael Hanlon AMHartmut and Ruth HofmannJenny and Peter HordernJenkins Family Foundation Vivien and Graham KnowlesDavid Krasnostein and Pat Stragalinos Elizabeth Kraus in memory of Bryan Hobbs Dr Geraldine Lazarus and Mr Greg GaileyDr Elizabeth A Lewis AM Peter LovellThe Cuming BequestMr and Mrs D R MeagherWayne and Penny MorganMarie Morton FRSA Dr Paul Nisselle AM Lady Potter ACStephen Shanasy Gai and David Taylorthe Hon. Michael Watt QC and Cecilie Hall Barbara and Donald WeirAnonymous (4)

ASSOCIATE PATRONS $2,500+Dr Bronte AdamsPierce Armstrong Foundation Will and Dorothy Bailey BequestBarbara Bell in memory of Elsa BellPeter Biggs CNZM and Mary BiggsMrs S BignellStephen and Caroline Brain

Mr John Brockman OAM and Mrs Pat Brockman Leith Brooke Rhonda Burchmore Bill and Sandra BurdettOliver CartonJohn and Lyn CoppockMiss Ann Darby in memory of Leslie J. Darby Mary and Frederick Davidson AMLauraine Diggins and Michael BlanchePeter and Leila DoyleLisa Dwyer and Dr Ian DicksonDr Helen M FergusonMr Bill FlemingColin Golvan QC and Dr Deborah GolvanMichael and Susie HamsonSusan and Gary HearstGillian and Michael HundRosemary and James Jacoby John and Joan Jones Connie and Craig Kimberley Sylvia LavelleAnn and George Littlewood H.E. McKenzieAllan and Evelyn McLarenDon and Anne MeadowsBruce Parncutt and Robin CampbellAnn Peacock with Andrew and Woody KrogerSue and Barry Peake Mrs W Peart Ruth and Ralph Renard Max and Jill Schultz Diana and Brian Snape AMMr Tam Vu and Dr Cherilyn TillmanWilliam and Jenny UllmerBert and Ila VanrenenBrian and Helena WorsfoldAnonymous (11)

PLAYER PATRONS $1,000+Anita and Graham Anderson, Christine and Mark Armour, Arnold Bloch Leibler, Marlyn and Peter Bancroft OAM, Adrienne Basser, Prof Weston Bate and Janice Bate, David and Helen Blackwell, Bill Bowness, Michael F Boyt, M Ward Breheny, Susie Brown, Jill and Christopher Buckley, Dr Lynda Campbell, Sir Roderick Carnegie AC, Andrew and Pamela Crockett, Natasha Davies, Pat and Bruce Davis, Merrowyn Deacon, Sandra Dent, Dominic and Natalie Dirupo, John and Anne Duncan, Jane Edmanson OAM, Kay Ehrenberg, Gabrielle Eisen, Vivien and Jack Fajgenbaum, Grant Fisher and Helen Bird, Mr William J Forrest AM, Barry Fradkin OAM and Dr Pam Fradkin, David Gibbs and Susie O’Neill, Merwyn and Greta Goldblatt, George Golvan QC and Naomi Golvan,

THANKS TO OUR WONDERFUL MSO SUPPORTERS

Charles and Cornelia Goode, Dr Marged Goode, Danny Gorog and Lindy Susskind, Louise Gourlay OAM, Ginette and André Gremillet, Dr Sandra Hacker AO and Mr Ian Kennedy AM, Jean Hadges, Paula Hansky OAM and Jack Hansky AM, Tilda and Brian Haughney, Henkell Family Fund, Penelope Hughes, Dr Alastair Jackson, Stuart Jennings, George and Grace Kass, Irene Kearsey, Ilma Kelson Music Foundation, Dr Anne Kennedy, Lew Foundation, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Violet and Jeff Loewenstein, The Hon Ian Macphee AO and Mrs Julie Mcphee, Elizabeth H Loftus, Vivienne Hadj and Rosemary Madden, In memory of Leigh Masel, John and Margaret Mason, In honour of Norma and Lloyd Rees, Trevor and Moyra McAllister, David Menzies, John and Isobel Morgan, Ian Morrey, The Novy Family, Laurence O’Keefe and Christopher James, Graham and Christine Peirson, Andrew Penn and Kallie Blauhorn, Kerryn Pratchett, Peter Priest, Jiaxing Qin, Eli Raskin, Peter and Carolyn Rendit, S M Richards AM and M R Richards, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, Tom and Elizabeth Romanowski, Jeffrey Sher, Dr Sam Smorgon AO and Mrs Minnie Smorgon, Dr Norman and Dr Sue Sonenberg, Dr Michael Soon, Pauline Speedy, State Music Camp, Geoff and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Dr Adrian Thomas, Frank Tisher OAM and Dr Miriam Tisher, Margaret Tritsch, Judy Turner and Neil Adam, P & E Turner, Mary Vallentine AO, The Hon. Rosemary Varty, Leon and Sandra Velik, Sue Walker AM, Elaine Walters OAM and Gregory Walters, Edward and Paddy White, Janet Whiting and Phil Lukies, Nic and Ann Willcock, Marian and Terry

Wills Cooke, Pamela F Wilson, Joanne Wolff, Peter and Susan Yates, Mark Young, Panch Das and Laurel Young-Das, YMF Australia, Anonymous (18)

THE MAHLER SYNDICATEDavid and Kaye Birks, Jennifer Brukner, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Louis Hamon OAM, The Hon Dr Barry Jones AC, Dr Paul Nisselle AM, Maria Solà in memory of Malcolm Douglas, The Hon Michael Watt QC and Cecilie Hall, Anonymous (1)

MSO ROSESRoses: Mary Barlow, Jennifer Brukner, Annette Maluish, Pat Stragalinos, Jenny Ullmer. Rosebuds: Leith Brooke, Lynne Damman, Francie Doolan, Lyn Edward, Dr Elizabeth A Lewis AM, Dr Cherilyn Tillman

FOUNDATIONS AND TRUSTSThe Annie Danks TrustCollier Charitable FundCreative Partnerships AustraliaCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Harold Mitchell FoundationHelen Macpherson Smith TrustIvor Ronald Evans Foundation, managed by Equity Trustees Limited and Mr Russell BrownKen & Asle Chilton Trust, managed by PerpetualLinnell/Hughes Trust, managed by PerpetualThe Marian and EH Flack TrustThe Perpetual Foundation – Alan (AGL) Shaw Endowment, managed by PerpetualThe Pratt FoundationThe Robert Salzer Foundation

The Schapper Family FoundationThe Scobie and Claire Mackinnon Trust

CONDUCTOR’S CIRCLEJenny Anderson, Lesley BawdenJoyce Bown, Mrs Jenny Brukner and the late Mr John Brukner, Ken Bullen, Luci and Ron Chambers, Sandra Dent, Lyn Edward, Alan Egan JP, Louis Hamon OAM, Tony Howe, Audrey M Jenkins, John and Joan Jones, Mrs Sylvia Lavelle, Cameron Mowat, Laurence O’Keefe and Christopher James, Elizabeth Proust AO, Penny Rawlins, Joan P Robinson, Neil Roussac, Anne Roussac-Hoyne, Jennifer Shepherd, Drs Gabriela and George Stephenson, Pamela Swansson, Lillian Tarry, Dr Cherilyn Tillman, Mr and Mrs R P Trebilcock, Michael Ullmer, Ila Vanrenen, Mr Tam Vu, Marian and Terry Wills Cooke, Mark Young, Anonymous (19)

THE MSO GRATEFULLY ACKNOWLEDGES THE SUPPORT RECEIVED FROM THE ESTATES OF:Angela Beagley, Gwen Hunt, Pauline Marie Johnston, C P Kemp, Peter Forbes MacLaren, Prof Andrew McCredie, Miss Sheila Scotter AM MBE, Molly Stephens, Jean Tweedie, Herta and Fred B Vogel, Dorothy Wood

HONORARY APPOINTMENTSMrs Elizabeth Chernov Education and Community Engagement PatronSir Elton John CBE Life MemberThe Honourable Alan Goldberg AO QC Life MemberGeoffrey Rush AC Ambassador

MEDIA PARTNERGOVERNMENT PARTNERS

SUPPORTING PARTNERS

ASSOCIATE PARTNERS

Golden Age Group Kabo Lawyers Linda Britten

Naomi Milgrom Foundation PwC

UAG + SJB Universal

Feature Alpha Investment (a unit of the Tong Eng Group)

Future Kids

PRINCIPAL PARTNER

MAESTRO PARTNERS

3L Alliance Elenberg Fraser

Fed Square Flowers Vasette

OFFICIAL CAR PARTNER

This striking concert features two compositions inspired by works of art: Reger’s Four Tone Poems after Arnold Böcklin draws on the Swiss master-painter’s works, while Mussorgsky’s Pictures at an Exhibition presents an art gallery tour in musical form. Liszt’s showpiece makes for a breathtaking interlude.

Benjamin Northey conductor Hoang Pham piano

11 September at 7.30pm Melbourne Town Hall

BOOK NOW MSO.COM.AU | (03) 9929 9600

MUSSORGSKY & LISZT