C O N C E R T P R O G R A M

Holst’s The Planets

Friday 21 October at 7.30pm Melbourne Town Hall

2

WHAT’S ON NOVEMBER – DECEMBER 2016

SIMONE YOUNG CONDUCTS WAGNER & BRUCKNERThursday 1 December Saturday 3 December

The MSO plays two majestic final works – Wagner’s Parsifal and Bruckner’s unfinished Symphony No.9 – conducted by Simone Young. Excerpts from Act II of Parsifal are sung by Australian tenor Stuart Skelton and American mezzo-soprano Michelle DeYoung.

MESSIAH Saturday 10 December Sunday 11 December

Hallelujah! Where would the joyous season be without the MSO’s year-end performance of Handel’s Messiah? This life-affirming spiritual masterpiece with its exquisite choral writing offers many treasured musical moments including the exultant Hallelujah chorus, one of the most popular refrains in Western music.

MSO + THE IDEA OF NORTH: A WORLD OF CHRISTMASSaturday 17 December

Celebrate Christmas with song as renowned vocal quartet The Idea of North share the stage with the MSO in an evening of festive music from around the world.

INDIANA JONES IN CONCERT Thursday 3 November Friday 4 November Saturday 5 November

The film that gave the world one of its greatest movie heroes, Indiana Jones, is back and better than ever before! Relive the magic on the silver screen with the original great adventure – Raiders of the Lost Ark – with John Williams’ epic score performed live to picture by the MSO!

DVOŘÁK CELLO CONCERTO Friday 11 November Monday 14 November

The American maestro Andrew Litton returns to the MSO for this exciting program that features Prokofiev’s Symphony No.6, a heartfelt elegy to World War II. German cellist Alban Gerhardt is soloist in Dvořák’s well-loved Cello Concerto.

SIBELIUS & SHOSTAKOVICH Thursday 17 November Friday 18 November Saturday 19 November

MSO Concertmaster Dale Barltrop directs members of the Orchestra in two Sibelius works: the intimate Rakastava (The Lover), and the sweeping Impromptu. Completing the program is one of Shostakovich’s anguished Chamber Symphonies, and Ian Munro’s new Flute Concerto.

3

This concert has a duration of approximately 1 hour and 50 minutes, including a 20-minute interval.

This performance will be recorded for broadcast on ABC Classic FM on Sunday 30 October at 1pm.

This information is correct at time of print, however please visit mso.com.au/broadcast for the most current information about upcoming concert broadcasts.

Pre-Concert Organ Recital

6.30pm Friday 21 October, 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.

ARTISTS

Melbourne Symphony Orchestra and Chorus

Benjamin Northey conductorAndrea Lam piano

Anthony Pasquill chorus master REPERTOIRE

Vaughan Williams The Wasps: Overture

Chopin Piano Concerto No.2

— Interval —Holst

The Planets

4

MELBOURNE SYMPHONY ORCHESTRA

The Melbourne Symphony Orchestra (MSO) was established in 1906 and is Australia’s oldest orchestra. It currently performs live to more than 250,000 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. The Orchestra 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 Mørk and Renée 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 Adès, 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 Melbourne Symphony Orchestra 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. The MSO is also featured on Australian soprano Emma Matthews recently released third album, Agony and Ecstasy. On the Chandos label the MSO has recently released Berlioz’ Harold en Italie with James Ehnes and music by Charles Ives which includes Symphonies Nos. 1 and 2, as well as a range of orchestral works including Three Places in New England, again led by Sir Andrew Davis.

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.

The Melbourne Symphony Orchestra acknowledges the Traditional Owners of the Land on which we perform – The Kulin Nation – and would like to pay our respects to their Elders and Community both past and present.

5

BENJAMIN NORTHEY CONDUCTOR

ANDREA LAM PIANO

Andrea Lam made her orchestral debut at 13 with the Sydney Symphony Orchestra. Since then she has appeared with all the major Australian orchestras as well as the Hong Kong Philharmonic, Christchurch Symphony and orchestras in the US.

Conductors with whom she has appeared include Alan Gilbert, Edo de Waart and Michael Christie. She has been a guest at festivals such as Musica Viva’s Huntington Festival and the Great Lakes Chamber Music Festival in America.

Andrea Lam is pianist of the Claremont Trio whose latest recording is a Beethoven disc, and which commissions works by contemporary composers such as Helen Grime, Gabriela Lena Frank and Judd Greenstein. She has appeared with the Takács Quartet and Ani Kavafian.

Recent appearances have included Trio recitals at the Smithsonian Institute and Boston’s Isabella Stuart Gardiner Museum. Her recordings of two Mozart concertos with Nicholas Milton and the Tasmanian Symphony Orchestra are available on ABC Classics.

Since returning to Australia from Europe in 2006, Benjamin Northey has rapidly emerged as one of the nation’s leading musical figures. Since 2011, he has held the position of Associate Conductor of the Melbourne Symphony Orchestra. In 2015, he became Chief Conductor of the Christchurch Symphony Orchestra.

Engagements in 2015 included returns to all the major Australian orchestras, the Hong Kong Philharmonic, the New Zealand Symphony Orchestra, and Turandot for Opera Australia. In 2016, he will lead both the MSO and Christchurch Symphony on several occasions – as well as appear with Hong Kong Philharmonic, the Adelaide and West Australian Symphony Orchestras, and throughout New Zealand.

Benjamin studied with John Hopkins at the University of Melbourne Conservatorium of Music and then with Jorma Panula and Leif Segerstam at Finland’s prestigious Sibelius Academy where he was accepted as the highest placed applicant in 2002. He has appeared with the London Philharmonic Orchestra, Mozarteum Orchestra Salzburg, Hong Kong Philharmonic, National Symphony Orchestra of Colombia, New Zealand and Christchurch Symphony Orchestras, Auckland Philharmonia and the Southbank Sinfonia of London.

In Australia, Benjamin has made his mark through his many critically acclaimed appearances as a guest conductor with all the Australian state symphony orchestras as well as opera productions including L’elisir d’amore, The Tales of Hoffmann and La Sonnambula for State Opera of South Australia, and Don Giovanni and Così fan tutte for Opera Australia.

6

The Melbourne Symphony Orchestra Chorus has built an international reputation for the highest standards and for bold artistic planning. Known as the Melbourne Chorale until 2008, it has since then been integrated with the Melbourne Symphony Orchestra and in 2015, celebrated its 50th anniversary.

The Chorus sings with the finest conductors, including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, Bernard Labadie, Stephen Layton, Vladimir Ashkenazy, Masaaki Suzuki and Manfred Honeck. Highlights include Britten’s War Requiem, Kancheli’s Styx, Brett Dean’s The Last Days of Socrates, Elgar’s The Dream of Gerontius, Rachmaninov’s The Bells, Wagner’s The Flying Dutchman and Beethoven’s Missa solemnis.

The Chorus is committed to developing and performing new Australian and international choral repertoire. Commissions include Brett Dean’s Katz und Spatz (commissioned with the Swedish Radio Choir), Ross Edwards’ Mountain Chant (commissioned with Cantillation), Paul Stanhope’s Exile Lamentations (commissioned with Sydney Chamber Choir and London’s Elysian Singers), and Gabriel Jackson’s To the Field of Stars (commissioned with the Netherlands Chamber Choir and Stockholm’s St Jacob’s Chamber Choir). The Chorus has also premiered works by many composers including James MacMillan, Arvo Pärt, Hans Werner Henze, Alfred Schnittke, Gavin Bryars, Valentyn Silvestrov, Arturs Maskats, Thierry Machuel and Pēteris Vasks, and others.

The Chorus has made critically acclaimed recordings for Chandos and for ABC Classics. It has performed across Brazil and at the Cultura Inglese Festival in Sao Paolo, in Kuala Lumpur with the Malaysian Philharmonic Orchestra, with The Australian Ballet, Sydney Symphony Orchestra, West Australian Symphony Orchestra, Barbra Streisand, at the Melbourne International Arts Festival, at the 2011 AFL Grand Final, and the Sydney Olympic Arts Festival.

ANTHONY PASQUILL ASSOCIATE CHORUS MASTER

Recently listed by Limelight Magazine as a Rising Star in Australia’s choral scene, Anthony Pasquill is a regular collaborator with leading choirs across a broad repertoire. Recently appointed Associate Chorus Master at the Melbourne Symphony Orchestra, he is also Musical Director of Sydney based Chamber Choir Bel a cappella.

Anthony commenced his musical training as a chorister in the choir of Lichfield Cathedral before reading music at Leeds University. He also holds a Masters of Music in conducting from the Sydney Conservatorium of Music.

Between 2012 and 2014 Anthony was Assistant Chorus Master of the Sydney Philharmonia Choirs and has prepared choruses for noted international conductors such as Vladimir Ashkenazy, David Robertson, David Zinman, Eric Whitacre and Paul McCreesh. He has chorus-mastered or conducted first performances of many works by composers such as Pēteris Vasks, Gabriel Jackson, David Briggs and Bernat Vivancos.

2014–15 saw Anthony conduct works by Ockeghem, MacMillan, Handel, Monteverdi and Tormis as well as the Australian Premiere of Dixit Dominus by Swedish composer Thomas Jennefelt. He has recently led Bel a cappella on their first international tour to Europe, having conducted in venues such as St. Peter’s Basilica (Rome), St Mark’s Basilica (Venice), Melk Abbey (Vienna) and the Schönbrunn Palace (Vienna).

In the current season, he will be conducting works by Grigorjeva, Vivancos, Bryars, MacMillan, Rachmaninov and Schnittke in Sydney, in addition to major choral projects in his first season with the Melbourne Symphony Orchestra Chorus.

MELBOURNE SYMPHONY ORCHESTRA CHORUS

7

Aristophanes’ comedy The Wasps was first performed in 422 BC in the drama competition in Athens’ Lenaia Festival. It was a satire aimed specifically at Cleon, the then dominant figure in Athenian politics, and more broadly at those who abused the court system for financial gain. As the play opens, Bdelycleon and his two slaves are trying to restrain his father Philocleon who has developed a problem addiction, not to wine or gambling but to litigation. As Philocleon tries to escape through a chimney (disguised as a puff of smoke), Bdelycleon and the slaves are beset by a chorus of elderly jurors who swarm about like, and costumed as, wasps. The play involves various other madcap episodes: for instance, as a kind of therapy for Philocleon, Bdelycleon stages the trial of a dog accused of stealing cheese, who is testified against by kitchen utensils. There is a long debate, and, after the reconciliation of father and son, the play ends with a dance contest with the sons of a rival playwright.

In 1909, The Wasps was chosen for that year’s Cambridge Greek Play, and Vaughan Williams was invited to compose incidental music. In the dog’s trial scene the score calls for a bag of crockery, representing the kitchen utensils, to be shaken. Vaughan Williams assured his mother’s relations, the Wedgwoods, that only the family china would do!

The score for the Cambridge performance was necessarily for a modest-sized theatre orchestra, and in 1912, Vaughan Williams scored the Overture and four of the other movements as his The Wasps: Aristophanic Suite for symphony orchestra. The music makes no attempt to sound ancient or Greek, but in a couple of respects it reminds us that Vaughan Williams had recently studied privately with Ravel in Paris. (Ravel, as it happens, praised Vaughan Williams as the only student who didn’t end up mimicking his teacher.)

After an attention-grabbing trill and some musical onomatopoeia depicting the buzzing of the wasps, Vaughan Williams states his first theme which sounds, at first, like something derived from English folk-song, which the composer had dedicated much time to recording and preserving. The theme’s contour, however, is distorted by the use of the whole-tone scale, much loved by Debussy. The theme is stated quietly by winds and then by the full orchestra, leading into a more conventionally English-sounding march. After this material there is a Ravellian dissolve which introduces a fragmentary theme on solo horn, passed to solo violin. This fragment then blooms as a long, heartfelt melody which, similarly, is given out quietly at first and then again with the full orchestra in all its richness. In the score this theme represents the ultimate reconciliation of Bdelycleon and his father. A passage of French languor follows, with woodwind solos tracing fragments of the whole-tone scale.

The spell is broken by a return to the opening trill, and a building of momentum and noise until the first themes are restated and then combined in joyful counterpoint with the reconciliation theme.

© Gordon Kerry 2016

The Melbourne Symphony Orchestra first performed the Overture from The Wasps in August 1939 under the direction of Sir Malcolm Sargent, and most recently in June 1985 with Dobbs Franks.

RALPH VAUGHAN WILLIAMS (1872–1958)

The Wasps: Overture

8

Many would agree that Frédéric Chopin possessed a unique musical voice, given the ease with which his compositions can be recognised. Yet despite the stylistic constancy of certain attributes of his music, like melody, a marked evolution can be traced in other areas. Chopin’s early compositions were often in bravura style, and it was in performance of such works that he won great acclaim on stages in Warsaw, Vienna and Paris. However he grew disillusioned with the ‘atmosphere’ of the concert hall in his early 20s, and ultimately withdrew entirely from public performance. While most of his early stile brillante compositions have not held their initial appeal, the two piano concertos – which both date from this period, written in his 20th year – retain a treasured place in the repertory. Accordingly, they are pivotal works, on the one hand rich in the virtuosic pianism of the composer’s early style, yet simultaneously diffused with those innate musical gifts which are held in high esteem.

Despite being written first, issues relating to its publication resulted in the Concerto in F minor receiving both a later opus number and the designation as his ‘second’. It won critical acclaim at its premiere in Warsaw on 17 March 1830, the Powszechny dziennik krajowy noting Chopin’s ‘lovely and pleasing’ melodies, and the concerto’s ‘well-proportioned harmonic foundation’. Yet in the latter part of the 19th century the work endured the disdain of scholars, who asserted problematic weaknesses in orchestration and structure, also claiming a lack of organic unity. More recently, assessment of compositions by Chopin’s contemporaries – Hummel, Kalkbrenner and Moscheles – shows that perceived idiosyncrasies are in fact typical for the genre at that time. The opening movement features the expected four orchestral tuttis, which here are short and potent, and which serve to frame three lengthy solo sections. In these, the pianist expands on the concerto’s thematic material, before embarking on episodes of complex passagework that traverse a kaleidoscopic array of keys.

It can seem hard to fathom how the exquisite Larghetto was penned by one so young. Written in a simple ternary form, the outer sections feature the melodic style and intricate ornamentation characteristic of Chopin’s many nocturnes, while the central section compels in its dramatic contrast, the pianist’s recitative-like interjections underscored by tremolando strings. The final movement is also in ternary form (albeit with an added lengthy coda), and its triple metre evokes the mazurka, one of Poland’s national dances. The unusual sound of violinists using the wood of their bows against the strings marks the commencement of the central section, which is rich in thematic content, each of the four melodic ideas ingeniously linked through triplet rhythmic patterns. After a return to the minor tonality of the opening, a horn solo heralds the coda, which signals the pianist to undertake dazzling passages of ever-greater difficulty. After a final cascading flourish, this remarkable early work – so prescient of the composer’s mature voice – is brought by the orchestra to a powerful close.

Scott Davie © 2016

The Melbourne Symphony Orchestra first performed this work on 27 July 1940 with conductor Percy Code and pianist Ignaz Friedman. The Orchestra’s most recent performance was given in November 2011 with John Storgårds and Cédric Tiberghien.

FRÉDÉRIC CHOPIN (1810–1849)

Piano Concerto No.2 in F minor, Op.21

Maestoso

Larghetto

Allegro vivace

Andrea Lam piano

9

The Planets must be one of the most influential musical works of the 20th century. Russell Crowe and his cohorts in the film Gladiator seemed that bit more craggily determined thanks to a score that reminded us of Mars. At the close of Neptune, Holst invents the fade-out. The iridescent opening of Jupiter foreshadows the work of John Adams, and for many years Anglicans have sung its big central tune as the patriotic hymn, I vow to thee my country.

As a repository of orchestral special effects and memorable tunes, the piece has certainly earned its pop status, but its very popularity and the imitations it has spawned have disadvantaged it and its composer. We need to make an effort to hear the work with fresh ears and to remind ourselves that this was very radical music for its time. Moreover, we should note that it is atypical of its composer. An artist of great integrity, Holst refused to imitate the piece to ensure his own status, so that we sadly hear little of his other work, even though much of it is of the same quality as The Planets.

Holst, like his great friend Vaughan Williams, was of a generation educated at London’s Royal College of Music which rejuvenated British music through the study of Tudor music and the collection of folksong. The young Holst was at first a Wagnerian, and his early works show this influence in their opulence and richly chromatic harmony. After some years as a professional trombonist, Holst decided in 1903 to devote himself to composition. In practice, though, this meant beginning his career as an outstanding teacher at St Paul’s Girls’ School, Morley College, and later the RCM. He also became drawn to eastern mysticism, particularly that of Hinduism, which led, indirectly, to his development of a much leaner harmonic style.

Composed between 1914 and 1917, the seven movements of The Planets are less about depicting large balls of gas and rock than about each planet’s astrological significance. Given the outbreak of the First World War at the time, it is hard not to see Mars as grimly prophetic of the carnage of the first hi-tech war. Where a composer like Mahler uses military music for an ambiguously thrilling effect, Holst takes pains to make his music simply inhuman: the opening three-note theme traces the tritone, an unstable interval often called ‘the devil in music’. The relentlessly repeated rhythm, or ostinato, is no simple march, having five beats to a bar. The harmony is bitonal, that is, it superimposes chords of two different keys to give it its sense of unrelieved dissonance, especially at the shattering climax.

Venus, the Bringer of Peace offers a complete contrast: the orchestration is sweet and languorous and the harmony, while still frequently bitonal, uses chords which avoid direct clashes of adjacent notes, creating subtle voluptuousness.

Mercury is rather like a symphonic scherzo: short, fast and orchestrated with the utmost delicacy. At the heart of the suite, Jupiter is an orchestral tour de force. The glittering fast music with which it opens is busy but crystal clear; its theme, like that of Mars, is based on a three-note motive, but here it is completely and solidly diatonic. The Planets was first planned during a holiday in Spain, so we shouldn’t be surprised to hear certain Iberian sounds and rhythms in the dance music which follows. This is interrupted by a fanfare of repeated chords, which ushers in the quiet statement of the celebrated maestoso theme. The quintessentially British tune may seem out of place in a celebration of the ‘Bringer of Jollity’ – it is hardly thigh-slappingly funny. Curiously, too, it doesn’t reach a full close: what should be the second last chord sets off an echo of the shimmering sounds of the opening. The tune does, however, stride through tumultuous last pages of the movement.

If Jupiter’s big tune was a reminder that joy is fleeting, Saturn makes this very clear in its portentous, death-ward tread and ever more disturbing brass chords. Uranus, however, casts a spell in music as innocent as The Sorcerer’s Apprentice. Taking his cue from Debussy’s Sirènes, Holst imbues Neptune with the mystery of wordless, offstage female voices. With its translucent scoring and the hypnotic use of repeated chord patterns, the work ends as perhaps no other had before, fading imperceptibly into night and silence.

Gordon Kerry © 2003

The Melbourne Symphony Orchestra first performed The Planets on 25 August 1939 under the direction of Sir Malcolm Sargent, and most recently in 2012 with Alexander Shelley.

GUSTAV HOLST (1874–1934)

The Planets, Op.32

Mars, the Bringer of War

Venus, the Bringer of Peace

Mercury, the Winged Messenger

Jupiter, the Bringer of Jollity

Saturn, the Bringer of Old Age

Uranus, the Magician

Neptune, the Mystic

10

Top: Rachael TobinPhotographer; Shara Henderson

Above: The Melbourne Symphony Orchestra performing

at the Concertgebouw in Amsterdam in 2014.

Photographer; Matt Irwin

Right: Sarah Vaughan, c. 1946.Photographer; William P. Gottlieb

11

The Best… with Rachael Tobin

The best thing about your instrument?

People are often surprised by the enormous range in pitch the cello has. It means we not only get to play the bass line, but quite often play the gorgeous melodies too. Oh, and also, people stand up and give me a seat on the tram.

The best concert you’ve performed in?

One very memorable concert for me was playing in the Concertgebouw in Amsterdam in 2014, on the MSO’s European Tour. The performance of Strauss' Four Last Songs (sung by Erin Wall) was dedicated to the memory of those lost in the MH17 tragedy. The hall was filled with heartfelt emotion, and I felt honoured to have been part of such a special and powerful performance.

The best album you own?

This is really hard to answer! It depends what mood I'm in, but a bit of Sarah Vaughan or Frank Sinatra at the end of a long day always goes down well.

The best thing about Melbourne?

I really like walking around cities, and Melbourne has so many diverse and interesting places to explore. I particularly love how so many areas have quirky little shops – there seems to be a lot of support for local designers and artists in Melbourne.

The best thing to do in your spare time?

Having friends over, cooking a hearty meal, and sitting by the fire with a glass of wine. I also love going on a drive to the country with my little dog Poppy.

You can see Rachael perform in Dvořák Cello Concerto on 11 and 14 November at Arts Centre Melbourne, Hamer Hall, and Sibelius & Shostakovich on 17 and 19 November at Melbourne Recital Centre.

Middle C

Double BassCello

ViolaViolin

Range of orchestra string section

Rachael Tobin joined the MSO in 2012, and holds the position of Associate Principal Cello. She studied in London and New York before

taking up a position on the Sydney Symphony Fellowship program. She has performed with the Sydney Symphony Orchestra, Tasmanian Symphony Orchestra, the Philharmonia Orchestra in London amongst

others, as well as performing as a soloist and chamber performer across the world. We asked her what’s The Best…

12

SUPPORTERS

MSO Patron The Honourable Linda Dessau AM, Governor of Victoria

Artist Chair BenefactorsAnonymous Principal Flute Chair

Di Jameson Principal Viola Chair

Joy Selby Smith Orchestral Leadership Chair

Patricia Riordan Associate Conductor Chair

The Gross Foundation Principal Second Violin Chair

The MS Newman Family Principal Cello Chair

The Ullmer Family Foundation Associate Concertmaster Chair

Program BenefactorsMeet The Orchestra The Ullmer Family Foundation

East Meets West Li Family Trust

The Pizzicato Effect (Anonymous) Schapper Family Foundation Marian & EH Flack Trust

MSO Education Mrs Margaret Ross AM and Dr Ian Ross

MSO Audience Access Betty Amsden AO DSJ Crown Resorts Foundation Packer Family Foundation

MSO International Touring Harold Mitchell AC

Satan Jawa Australia Indonesia Institute (DFAT)

MSO Regional Touring Erica Foundation Pty Ltd Robert Salzer Foundation Creative Victoria

Benefactor Patrons $50,000+Betty Amsden AO DSJMarc Besen AC and Eva Besen AO The Gross Foundation 0Di Jameson 0David and Angela Li

Harold Mitchell ACMS Newman Family 0Joy Selby SmithUllmer Family Foundation 0Anonymous (1)

Impresario Patrons $20,000+Michael Aquilina 0The John and Jennifer Brukner FoundationPerri Cutten and Jo DaniellRachel and the late Hon. Alan Goldberg AO QCHilary Hall, in memory of Wilma CollieMargaret Jackson ACDavid Krasnostein and Pat StragalinosMimie MacLarenJohn and Lois McKayAnonymous (1)

Maestro Patrons $10,000+John and Mary BarlowKaye and David BirksPaul and Wendy CarterMitchell ChipmanSir Andrew and Lady DavisFuture Kids Pty LtdGandel PhilanthropyDanny Gorog and Lindy Susskind 0Robert & Jan GreenDr Geraldine Lazarus and Mr Greig GaileyThe Cuming BequestIan and Jeannie PatersonLady Potter AC 0Elizabeth Proust AORae RothfieldGlenn SedgwickHelen Silver AO and Harrison YoungMaria SolàProfs. G & G Stephenson. In honour of the great Romanian musicians George Enescu and Dinu LipattiOnbass FoundationJuliet TootellAlice VaughanKee Wong and Wai TangJason Yeap OAMAnonymous (1)

Principal Patrons $5,000+Linda BrittenDavid and Emma CapponiMary and Frederick Davidson AMAndrew and Theresa Dyer 0Tim and Lyn EdwardMr Bill FlemingJohn and Diana FrewSusan Fry and Don Fry AOSophie Galaise 0Jennifer GorogLouis Hamon OAMNereda Hanlon and Michael Hanlon AM 0Hans and Petra HenkellHartmut and Ruth HofmannJenny and Peter HordernJenkins Family FoundationSuzanne KirkhamVivien and Graham KnowlesDr Elizabeth A Lewis AMPeter LovellAnnette MaluishLesley McMullin FoundationMr and Mrs D R MeagherMarie Morton FRSADr Paul Nisselle AMJames and Frances PfeifferPzena Investment Charitable FundStephen ShanasyHMA FoundationD & CS Kipen on behalf of Israel KipenGai and David TaylorThe Hon. Michael Watt QC and Cecilie HallLyn Williams AMAnonymous (5)

0 Signifies Adopt an MSO Musician supporter

Associate Patrons $2,500+Dandolo Partners, Will and Dorothy Bailey Bequest, Barbara Bell in memory of Elsa Bell, Mrs S Bignell, Bill Bowness, Stephen and Caroline Brain, Dr Mark and Mrs Ann Bryce, Bill and Sandra Burdett, Oliver Carton, John and Lyn Coppock, Miss Ann Darby in memory of Leslie J. Darby, Natasha Davies, for the Trikojus Education Fund,

Beryl Dean, Sandra Dent, Peter and Leila Doyle, Lisa Dwyer and Dr Ian Dickson, Jane Edmanson OAM, Dr Helen M Ferguson, Mr Peter Gallagher and Dr Karen Morley, Dina and Ron Goldschlager, Colin Golvan QC and Dr Deborah Golvan, Charles and Cornelia Goode, Louise Gourlay OAM, Susan and Gary Hearst, Colin Heggen in memory of Marjorie Drysdale Heggen, Gillian and Michael Hund, Rosemary and James Jacoby, John Jones, George and Grace Kass, Irene Kearsey, Kloeden Foundation, Sylvia Lavelle, Bryan Lawrence, H E McKenzie, Allan and Evelyn McLaren, Don and Anne Meadows, Andrew and Sarah Newbold, Ann Peacock with Andrew and Woody Kroger, Sue and Barry Peake, Mrs W Peart, Graham and Christine Peirson, Ruth and Ralph Renard, S M Richards AM and M R Richards, Joan P Robinson, Tom and Elizabeth Romanowski, Max and Jill Schultz, Jeffrey Sher QC and Diana Sher OAM, Diana and Brian Snape AM, Geoff and Judy Steinicke, Mr Tam Vu and Dr Cherilyn Tillman, William and Jenny Ullmer, Bert and Ila Vanrenen, Kate and Blaise Vinot, Elisabeth Wagner, Barbara and Donald Weir, Athalie Williams, Brian and Helena Worsfold, Anonymous (13)

Player Patrons $1,000+Anita and Graham Anderson, Christine and Mark Armour, Philip Bacon AM, Arnold Bloch Leibler, Marlyn and Peter Bancroft OAM, Adrienne Basser, Prof Weston Bate and Janice Bate, Timothy and Margaret Best, David Blackwell, Michael F Boyt, Philip and Vivien Brass Charitable Foundation, M Ward Breheny, Lino and Di Bresciani OAM, The Late Mr John Brockman OAM and Mrs Pat Brockman, Suzie and Harvey Brown, Jill and Christopher Buckley,

13

SUPPORTERS

Lynne Burgess, Peter Caldwell, Dr Lynda Campbell, Andrew and Pamela Crockett, Jennifer Cunich, Pat and Bruce Davis, Merrowyn Deacon, Wendy Dimmick, Dominic and Natalie Dirupo, Marie Dowling, John and Anne Duncan, Ruth Eggleston, Kay Ehrenberg, Gabrielle Eisen, Jaan Enden, Grant Fisher and Helen Bird, Barry Fradkin OAM and Dr Pam Fradkin, Applebay Pty Ltd, David Frenkiel and Esther Frenkiel OAM, Carrillo and Ziyin Gantner, David Gibbs and Susie O'Neill, Merwyn and Greta Goldblatt, George Golvan QC and Naomi Golvan, Dr Marged Goode, Philip and Raie Goodwach, Max Gulbin, Dr Sandra Hacker AO and Mr Ian Kennedy AM, Jean Hadges, Paula Hansky OAM, Merv Keehn & Sue Harlow, Tilda and Brian Haughney, Julian and Gisela Heinze, Penelope Hughes, Dr Alastair Jackson, Basil and Rita Jenkins, Stuart Jennings, Brett Kelly and Cindy Watkin, Dr Anne Kennedy, George and Patricia Kline, William and Magdalena Leadston, Andrew Lee, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Ann and George Littlewood, Andrew Lockwood, Violet and Jeff Loewenstein, Elizabeth H Loftus, The Hon Ian Macphee AO and Mrs Julie Macphee, Vivienne Hadj and Rosemary Madden, Eleanor & Phillip Mancini, Dr Julianne Bayliss, In memory of Leigh Masel, John and Margaret Mason, Matsarol Foundation, In honour of Norma and Lloyd Rees, Ruth Maxwell, Trevor and Moyra McAllister, Glenda McNaught, David Menzies, Wayne and Penny Morgan, Ian Morrey and Geoffrey Minter, Patricia Nilsson, Laurence O'Keefe and Christopher James, Alan and Dorothy Pattison, Margaret Plant, John Pollaers, Kerryn Pratchett, Peter Priest, Eli Raskin, Bobbie Renard,

Peter and Carolyn Rendit, Dr Rosemary Ayton and Dr Sam Ricketson, Zelda Rosenbaum OAM, Antler Ltd, Doug and Elisabeth Scott, Dr Sam Smorgon AO and Mrs Minnie Smorgon, John So, Dr Norman and Dr Sue Sonenberg, Dr Michael Soon, Pauline Speedy, State Music Camp, Jennifer Steinicke, Dr Peter Strickland, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Tennis Cares- Tennis Australia, 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, Lorraine Woolley, Peter and Susan Yates, Mark Young, Panch Das and Laurel Young-Das, YMF Australia, Anonymous (18)

The Mahler SyndicateDavid and Kaye Birks, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Francis and Robyn Hofmann, The Hon Dr Barry Jones AC, Dr Paul Nisselle AM, Maria Solà, The Hon Michael Watt QC and Cecilie Hall, Anonymous (1)

MSO RosesFounding RoseJenny Brukner

RosesMary Barlow, Linda Britten, Wendy Carter, Annette Maluish, Lois McKay, Pat Stragalinos, Jenny Ullmer

RosebudsMaggie Best, Penny Barlow, Lynne Damman, Francie Doolan, Lyn Edward, Penny Hutchinson, Elizabeth A Lewis AM, Sophie Rowell, Dr Cherilyn Tillman

Trusts and FoundationsAL Lane Foundation, Crown Resorts Foundation and the Packer Family Foundation, The Cybec Foundation, The Erica Foundation, Ivor Ronald Evans Foundation, managed by Equity Trustees Limited, The Gall Foundation, The Harold Mitchell Foundation, The Pratt Foundation, The Robert Salzer Foundation, The Scobie and Claire Mackinnon Trust

Conductor’s CircleJenny Anderson, David Angelovich, G C Bawden and L de Kievit, Lesley Bawden, Joyce Bown, Mrs Jenny Brukner and the late Mr John Brukner, Ken Bullen, Luci and Ron Chambers, Beryl Dean, Sandra Dent, Lyn Edward, Alan Egan JP, Gunta Eglite, Marguerite Garnon-Williams, Louis Hamon OAM, Carol Hay, Tony Howe, Laurence O'Keefe and Christopher James, Audrey M Jenkins, John and Joan Jones, George and Grace Kass, Mrs Sylvia Lavelle, Pauline and David Lawton, Lorraine Meldrum, Cameron Mowat, Rosia Pasteur, Elizabeth Proust AO, Penny Rawlins, Joan P Robinson, Neil Roussac, Anne Roussac-Hoyne, Ann and Andrew Serpell, Jennifer Shepherd, Profs. Gabriela and George Stephenson, Pamela Swansson, Lillian Tarry, Dr Cherilyn Tillman, Mr and Mrs R P Trebilcock, Michael Ullmer, Ila Vanrenen, The Hon. Rosemary Varty, Mr Tam Vu, Marian and Terry Wills Cooke, Mark Young, Anonymous (23)

The MSO gratefully acknowledges 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 AppointmentsSir Elton John CBE Life Member

The Late Alan Goldberg AO QC Life Member

Geoffrey Rush AC Ambassador

The Late John Brockman AO Life Member

The Honourable Linda Dessau AM Patron

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.

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: Ph: +61 (3) 9626 1104

Email: philanthropy@mso.com.au

14

ORCHESTRA

First ViolinsDale Barltrop Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell Associate Concertmaster (The Ullmer Family Foundation0)

Peter Edwards Assistant Principal

Kirsty BremnerSarah CurroPeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn Taylor(Michael Aquilina0)

Robert John*Jenny Khafagi*Oksana Thompson*

Second ViolinsMatthew Tomkins Principal(The Gross Foundation0)

Robert Macindoe Associate Principal

Monica Curro Assistant Principal (Danny Gorog & Lindy Susskind0)

Mary AllisonIsin CakmakciogluFreya Franzen(Anonymous0)

Cong GuAndrew HallFrancesca HiewRachel Homburg Isy WassermanPhilippa WestPatrick WongRoger YoungAmy Brookman*Jacqueline Edwards*Susannah Ng*

ViolasChristopher Moore Principal (Di Jameson0)

Fiona Sargeant Associate Principal

Lauren BrigdenKatharine BrockmanChristopher CartlidgeGabrielle HalloranTrevor Jones Cindy WatkinCaleb WrightAnthony Chataway*William Clark*Simon Collins*Gregory Daniels*Isabel Morse*Katie Yap*

CellosDavid Berlin Principal(MS Newman Family0)

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda BrockmanRohan de KorteKeith JohnsonSarah MorseAngela SargeantMichelle Wood(Andrew & Theresa Dyer0)

Eliza Sdraulig*Simon Svoboda*

Double BassesSteve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton(Sophie Galaise0)

Kinga Janiszewski*

FlutesPrudence Davis Principal Flute (Anonymous0)

Wendy Clarke Associate Principal

Sarah Beggs

PiccoloAndrew Macleod Principal

Taryn Richards*

OboesJeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann BlackburnAnnabelle Farid*

Cor AnglaisMichael Pisani Principal

ClarinetsDavid Thomas Principal

Philip Arkinstall Associate Principal

Craig Hill

Bass ClarinetJon Craven Principal

BassoonsJack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

ContrabassoonBrock Imison Principal

Horns Adrian Vren*# Guest Principal

Saul Lewis Principal Third

Jenna BreenAbbey EdlinTrinette McClimontRobert Shirley*Ian Wildsmith*

TrumpetsGeoffrey Payne Principal

Shane Hooton Associate Principal

William EvansJulie Payne

TrombonesBrett Kelly Principal

Iain Faragher*

Bass TromboneMike Szabo Principal

EuphoniumMatthew van Emmerik*

TubaTimothy Buzbee Principal

TimpaniChristine Turpin Principal

PercussionRobert Clarke Principal

John ArcaroRobert CossomTimothy Hook*

HarpYinuo Mu Principal

Melina van Leeuwin* Guest Principal

Alannah Guthrie-Jones*

CelesteDonald Nicolson*

OrganCalvin Bowman*

* Guest Musician# Courtesy of Adelaide Symphony Orchestra0 Position supported by

BOARD

Managing DirectorSophie Galaise

ChairmanMichael Ullmer

Board MembersAndrew DyerDanny GorogMargaret Jackson ACBrett Kelly

David Krasnostein David LiHelen Silver AOKee Wong

Company SecretaryOliver Carton

SUPPORTERS

Government Partners

Associate Partners Venue Partner

Red Emperor Fitzroys

Li Family Trust Quest Southbank

The CEO Institute Feature Alpha Investment

Media Partners

Supporting Partners

B e a u t i f u l F l o w e r s

Official Car PartnerMaestro Partners

SopranoAviva BarazaniJessica ChanVeryan CroggonEsther CrowleyCornelia ElmelidRita FitzgeraldCatherine FolleyCarolyn FrancisCamilla GormanJillian GrahamPenny HuggettTania JacobsEster LitvakElizabeth RusliFreja SoininenEloise VerbeekEva ButcherRashika GomezGwen KennellyJudith McFarlaneSusie NovellaNatalia SalazarJodi SamartgisJemima Sim Shu XianElizabeth TindallVanessa Tunggal

AltoCatherine BickellAlexandra ChubatyKatherine DaleyNatasha GodfreyRos HarbisonSue HawleyHelen MacLeanRosemary McKelvieKellie MentlikowskiHelen NikolasSharmila PeriakarpanHelen RommelaarAnnie RunnallsLisa SavigeWilma SmithAleksandra AckerElize BrozgulAndrea CliffordJill GieseJennifer HenryKristine HenselChristina McCowanLibby TimckeMair RobertsSiobhan Ormandy

RepetiteurTom Griffiths

Chorus MasterAnthony Pasquil

CHORUS

emirates.com/au

Complimentary Chauffeur-drive service* w Fine dining on demand w World-class service

Relax to music and smooth sips of Hennessy Paradis, or a good story and a glass of Dom Perignon. Savour every indulgence in our First Class Private Suites.

Principal Partner of the Melbourne Symphony Orchestra.

Master the art of me-time

*Complimentary Chauffeur-drive service available for First Class and Business Class, excluding Trans-Tasman services and codeshare flights operated by Qantas to Southeast Asia. Mileage restrictions apply. For full terms and conditions visit emirates.com/au. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.

BECOME A MEMBER

www.langi.com.au

[ W INE C L U B ]

Receive a selection of 6 wines every quarter

Discounts between 10% and 20%

MSO exclusive offers and more...

Enjoy one of Australias most iconic wines with the additional benefits of our partnership with the Melbourne Symphony Orchestra.

Musicians of the MSO performing in the Mount Langi Ghiran Vineyard 2015

Find out more today at mso.com.au/langi