Thursday 14 June and Friday 15 June at 8pm Melbourne Town Hall

Melbourne Symphony Orchestra Benjamin Northey conductorJulian Rachlin violinEmma Matthews soprano

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ShostakovichViolin Concerto No.1

INTERVAL

MahlerSymphony No.4

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about the music

This concert has a duration of approximately two hours and ten minutes, including an interval of 20 minutes.

Friday evening’s performance will be broadcast live around Australia on ABC Classic FM (on analogue and digital radio), and will be streamed on its website.

Please turn off your mobile phone and all other electronic devices before the performance commences.

If you do not need your printed program after the concert, we encourage you to return it to the program stands located in the foyer.

Melbourne Symphony Orchestra programs can be read on-line or downloaded up to a week before each concert, from www.mso.com.au.

Donald Runnicles, who was to have conducted this program, recently cancelled his Australian engagements. Maestro Runnicles asked that the following message be conveyed to you:

“With great regret, Donald Runnicles has asked the Melbourne Symphony and Sydney Symphony orchestras to release him from performances later this month, due to personal family reasons. He is grateful to both institutions and to their audiences for their understanding and acceptance.”

MSO management and musicians express their thanks to Benjamin Northey for stepping in to conduct this program at short notice.

CONCERT INFORMATION

DMITRI SHOSTAkOVICH (1906–1975)

Violin Concerto No.1 in A minor, Op.99

I Nocturne (Moderato) II Scherzo (Allegro) III Passacaglia (Andante Cadenza – IV Burlesque (Allegro con brio – Presto)

Julian Rachlin violin

With the defeat of the Nazis in 1945, Stalin’s administration returned to the business of enforcing its values on the Soviet people, and initiated a series of crackdowns on artistic life. By February 1948 a Party Decree attacked the proponents of ‘formalism’ in music. Shostakovich, despite publicly acknowledging his ‘errors’, was relieved of his teaching duties. A first draft of the Decree included the resolution ‘to liquidate the one-sided, abnormal deviation in Soviet music towards textless instrumental works’. In the event, ‘liquidate’ was replaced with ‘censure’, but the intention is plain: textless works are susceptible to many interpretations, and therefore less easy to censor. Perhaps for that reason, Shostakovich kept the violin

concerto that he began in 1947 under wraps until 1955 when Stalin was safely embalmed.

The impetus for the work was almost certainly the series of concerts given by David Oistrakh in 1947 entitled ‘The Development of the Violin’, and Shostakovich’s response to Oistrakh’s amazing artistry was to compose this big, four-movement, essentially symphonic work and dedicate it to him. Oistrakh said:

This composition sets before the violinist a fascinating and noble task…enabling him not only to display his virtuosity, but, in the first place, to give utterance to the most profound feelings, ideas and emotions.

The music weaves its spell gradually. The opening Nocturne – and how seemingly perverse to begin a bravura work with a nocturne – is neither symphonic sonata-allegro nor virtuosic display. Rather the soloist is presented as a lyrical, meditative character, tentatively exploring a sombre landscape and rising by degrees to more impassioned, double-stopped gestures before retreating slowly. The comparison with the Scherzo could hardly be greater. Here the music is, in Oistrakh’s words, ‘malignant, demonic, prickly’. The solo part, often playing in counterpoint with solo woodwinds, requires all the virtuosity apparently lacking in the first movement. COVer phOtO

paul Gosney © abC Classics universal Music australia

about the musicGUSTAV MAHLER (1860–1911)

I Bedächtig – Recht gemächlich [Deliberately – Really unhurried]

II In gemächlicher Bewegung, ohne Hast [In a leisurely tempo, without haste]

III Ruhevoll [Peacefully]IV Sehr behaglich [Very homely

and comfortable]

Emma Matthews soprano

‘It is too beautiful: one shouldn’t allow oneself such a thing!’ exclaimed Mahler one day in 1900. He was standing on the balcony of his newly-built summer residence at Maiernigg, surrounded by forest on the shores of the Wörthersee. Mahler’s career as a conductor usually left him only the summer months for composition; when he became Director of the Vienna Court Opera in 1897 and conductor of the Vienna Philharmonic in 1898 the intensity of the workload meant that he composed nothing during those years. The house at Maiernigg was a perfect retreat, and the perfect place to complete his Fourth Symphony, which he had begun in the summer of 1899.

The symphony is at once the culmination of certain aspects of the previous two and their complete antithesis. The Second Symphony is Mahler’s musical dramatisation of nothing less than death and resurrection, while in the Third, as he put it, ‘all nature finds a voice’.

The Fourth, by contrast, is on an altogether more modest scale: it consists of the ‘standard’ four movements (the first time Mahler adhered to that pattern), plays for a comparatively short 55 minutes or so, and is scored for a much smaller orchestra. What it shares with its two predecessors is a preoccupation with ideas of life and death, and a relationship to the collection of folk poetry, Des Knaben Wunderhorn (The Youth’s Magic Horn), which Mahler mined for various song settings. The

The movement reaches a grim climax with the bone-rattling timbre of the xylophone.

While there is some gallows humour in the Scherzo, and references to the DSCH motive (D-E-C-B natural) which Shostakovich uses as his musical signature, the Passacaglia is unapologetically baleful. Its theme, hinted at in the Scherzo but fully stated here by low strings and timpani, has an ominous tread to which the violin replies with long, heart-rending melodies. Like the Nocturne, the Passacaglia emphasises the melodic, rather than the bravura, aspects of the solo instrument, but as the movement dissolves into the concerto’s cadenza, there can be no doubt that this is music conceived for a prodigiously talented performer. The cadenza leads without a break into the Burlesque.

It is only here, where the orchestra plays the introductory bars without the soloist, that we realise how constant a presence the violin has been until now, and what stamina is required to play a work of such dimensions. But it’s not long before the violin is drawn back into the maelstrom. There is black humour, and acid energy, and ever more impossible-seeming gestures for the soloist before a brief reminiscence of the Passacaglia is peremptorily dismissed by a sudden cadence.

Oistrakh gave the first performance in Leningrad in 1955 and a few months later introduced it to the West in a concert at Carnegie Hall. The US press went wild; Stalin would have turned in his mausoleum.

Abridged from a note by Gordon Kerry © 2002

The Melbourne Symphony Orchestra first performed this concerto on 9 May 1970 with conductor Moshe Atzmon and soloist Nelli Shkolnikova, and most recently on the orchestra’s 2007 European tour, with Oleg Caetani and Sarah Chang.

INTERVAL

DAVID OISTRAkH

SHOSTAkOVICH COMPOSING IN HIS HUT

about the musicfinal movement – which Mahler first set in 1892 and which was originally planned for inclusion in the Third Symphony – is taken from the Wunderhorn collection, and describes a child’s vision of heaven.

Commentator Paul Bekker has suggested that the whole symphony was germinated by the song, and Michael Kennedy has noted that all the movements are ‘thematically interconnected’. Dramatically, too, the work is unified by a pervasive sense of innocence: Mahler’s music is never naïve, and its simplicity is deceptive given the formal sophistication of its structure and elaboration of its counterpoint, but the work is careful to avoid the obtuse, the rhetorical and the monumental. The philosopher Theodor Adorno points out that the whole work’s ‘image-world is of childhood. The means are reduced, without heavy brass; horns and trumpets are more modest in number. No father figures are admitted to its precincts.’

The first movement quickly establishes the mood of childish innocence with the sound of four flutes and sleigh bells, and simple melodies (one derived from Schubert) with pizzicato accompaniment from low strings. Various solo instruments appear like characters in a child’s story; the four flutes at one point play low in unison to give the effect of what Adorno calls a ‘dream ocarina’. But as the great Mahler scholar Deryck Cooke once put it, the serene surface of the work conceals figures who he described as ‘moving behind a veil which obscures their naked horror and makes them like the bogeymen who appear in illustrations to books of fairy tales’. Neville Cardus, a wonderfully communicative writer about music, compared these musical goblins to the shadows cast by candlelight on a nursery wall. There is perhaps latent danger in the brief eruption of the Fifth Symphony’s tempestuous fanfare in the first movement of this work, but the movement ends with a moment of seraphic peace before its good-humoured conclusion.

One ‘bogeyman’ is ‘Freund Hain’, a devilish fiddler such as we also meet in Saint-Saëns’ Danse macabre. In an early sketch for his scherzo Mahler wrote ‘Freund Hain spielt auf’ (Our friend Hain strikes up). In the final version of this movement with its ländler (a peasant dance in triple time) Trio section, there is a prominent solo for a violin which is tuned higher than normal to make it sound like ‘ein Fiedel’ (a fiddle). Kennedy argues that Hain is ‘picturesque rather than macabre’, but quotes Mahler who compared composing this work with ‘wandering through the flower-scented garden of Elysium and it suddenly changes to a nightmare of finding oneself in a Hades full of horrors’.

There is no horror in the opening of the work’s central adagio, by far the longest movement in the work. A set of variations, it is unified by the device of the pizzicato double bass which plays a repeated figure or ostinato. There is a violent passage towards the end of the movement, where the timpani take over the basses’ figure, playing, as Adorno says, ‘as drums once seemed before the age of seven’.

In the final movement the orchestra is joined by a soprano soloist for the Wunderhorn song, and it is here that the work’s ambiguities come into clear focus. Ostensibly a cute account of how a child might see heaven, it is actually a cleverly disguised set of variations which allows Mahler to seem simple while constantly spinning new and fascinating sounds. It characterises various saints carrying on their earthly tasks to produce the gastronomic delights of the afterlife: St Martha cooks, of course; St Peter fishes, Herod (somehow admitted through the pearly gates) is the butcher. As Adorno notes:

These are not only the modest joys of the useful south German vegetable plot…Immortalised in them are blood and violence; oxen are slaughtered, deer and hare run to the feast in full view on the roads. The poem culminates in an absurd Christianity.

After hymning St Cecilia, the work ends quietly. For Cooke it is a ‘peaceful close’, for Adorno this ‘fairy-tale symphony is as sad as the late works… Joy remains unattainable, and no transcendence is left but yearning’. Like Maiernigg, this work is perhaps ‘too beautiful’ to be true.

Gordon Kerry © 2003

MAHLER IN 1907

about the musicWir geniessen die himmlischen Freudend’rum thun wir das Irdische meiden.Kein weltlich’ Getümmelhört man nicht im Himmel!Lebt Alles in sanftester Ruh’!Wir führen ein englisches Leben!Sind dennoch ganz lustig daneben!Wir tanzen und springenwir hüpfen und singen!Sanct Peter in Himmel sieht zu!

Johannes das Lämmlein auslasset,der Metzger Herodes drauf passet!Wir führen ein geduldig’s,unschuldig’s, geduldig’s,ein liebliches Lämmlein zu Tod!Sanct Lucas den Ochsen thät schlachtenohn’ einig’s Bedenken und Achten,der Wein kost kein Hellerim himmlischen Keller,die Englein, die backen das Brot.

Gut’ Kräuter von allerhand Arten,die wachsen im himmlischen Garten!Gut’ Spargel, Fisolen,und was wir nur wollen!Ganze Schüsseln voll sind uns bereit!Gut’ Äpfel, gut’ Birn’ und gut’ Trauben!Die Gärtner, die Alles erlauben!Willst Rehbock, willst Hasen,Auf offener Strassensie laufen herbei!

Sollt ein Fasttag etwa kommenalle Fische gleich mit Freuden angeschwommen!Dort läuft schon Sanct Petermit Netz und mit Köderzum himmlischen Weiher hinein.Sanct Martha die Köchin muss sein!

Kein Musik ist ja nicht auf Erden,die uns’rer verglichen kann werden.Elftausend Jungfrauenzu tanzen sich trauen!Sanct Ursula selbst dazu lacht!Kein Musik ist ja nicht auf Erden,die uns’rer verglichen kann werden.Cäcilia mit ihren Verwandtensind treffliche Hofmusikanten!Die englischen Stimmenermuntern die Sinnen!dass Alles für Freuden erwacht.

We taste the joys of Heavenleaving behind all that is earthly.No worldly strifeis heard in Heaven.We live here in sweetest peace!We live an angelic life,yet we are merry as can be.We dance and springand skip and singwhile St Peter in heaven looks on.

St John lets the lamb go running,the butcher Herod is waiting for it.We lead the patient,meek, guiltlessdear little Lambkin to death!St Luke is slaughtering the oxenwithout care or consideration,The wine is freein the heavenly tavern,and the angels, they bake the bread.

Fine vegetables of every kindgrow in the gardens of Heaven,good asparagus and beans,whatever we fancy,big bowls are prepared for us!Good apples and pears and grapes!The gardeners let us take all!Do you want a roebuck or hare?Here in the open streetsthey run about!

And when there is a fast daythe fish come swarming in merrily!St Peter, he runswith net and with baitto fish in the heavenly pond.St Martha is the cook, who else?

No music on earth can compare with ours.Eleven thousand virginscome forward to dance!Even St Ursula laughs to see that!No music on earth can compare with ours.Cecilia and her relationsare excellent court musicians!The angelic voiceslift our spiritsand all things awaken to joy!

Translation: Hedwig Roediger

ABC/Symphony Services International © 1986

The Melbourne Symphony Orchestra first performed Mahler’s Fourth Symphony on 17 September 1949 under conductor Otto Klemperer; the soloist was Elisabeth Schwarzkopf. The orchestra most recently performed the work in May 2007 with Mark Wigglesworth and soprano Celeste Lazarenko.

ABOVE: PAGES FROM THE COLLECTION DAS KNABeN WuNDeRHoRN (THe YouTH’S MAgIC HoRN)

about the music

The Melbourne Symphony Orchestra Instrument Fund ensures the artists of the MSO have instruments equal to their superb talent.

2012 is a special year for the MSO as instrumentalists, choristers and audiences return to the refurbished Hamer Hall, and its enticing new world of acoustic splendour.

Your superb woodwind section has identified three extraordinary instruments to assist them to in their quest for ever improving standards:

OBOE D’AMORE – The oboe of love! This serene member of the double-reed family has been a cherished part of the orchestral sound-world from the 18th century. The current MSO instrument is beyond repair and desperately needs replacing.

CONTRABASS CLARINET – Despite its increasing use in the orchestral repertoire since the mid-20th century there are very few of these instruments in Australia. The MSO does not currently own a contrabass clarinet and, given its increase in usage, it is essential that we purchase one at this time.

WOODEN FLUTES – To recreate the authentic sounds of the flute in the music of such composers as Beethoven, Schumann and Brahms, the purchase of two wooden flutes will greatly enhance the sound of the MSO for these performances.

CAN YOU HELP?

We welcome all donations, but a donation of $100 or more will help us solve these problems in a timely manner. Donations over $2 are fully tax-deductible.

Donate online at mso.com.au (click on Belong then Donate), or call 03 9626 1107, or post your donation to MSO Instrument Appeal, Melbourne Symphony Orchestra GPO Box 9994 Melbourne VIC 3001.

A GREAT ORCHESTRA NEEDS GREAT INSTRUMENTS

Prudence Davis, MSO Principal Flute

“Music can transform the human spirit. This is an art to which I have devoted my life, and I hope you will help this special appeal for our woodwind section, in whatever way you can.”

© James Penlidis

New from the

MelbourneSymphony Orchestraon ABC Classics

Available at ABC Shops, ABC Centres and good music stores. For more information visitwww.abcclassics.com

Brahms: A German Requiem ‘A truly tremendous piece of art which moves the entirebeing in a way little else does.’ – Clara Schumann

Soloists Teddy Tahu Rhodes and Nicole Car join theMelbourne Symphony Orchestra and Chorus(Chorusmaster: Jonathan Grieves-Smith) in this newstudio recording of Brahms’s greatest choral work,conducted by Johannes Fritzsch.

Rachmaninoff: Symphony No. 2 The latest addition to the MSO Livecollection: Rachmaninoff’s glorious SecondSymphony, conducted by Tadaaki Otaka.This rich, Romantic symphony is one of themost popular of all Russian orchestral works.

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ABOUT THE ARTISTS

BENJAMIN NORTHEYconductor

Benjamin Northey made his debut with the Melbourne Symphony Orchestra in 2003 and currently holds the MSO’s chair of Patricia Riordan Associate Conductor.

He studied conducting with John Hopkins at the University of Melbourne, graduating in 1999 with first class honours in Performance, followed by a Master of Music in Conducting. He was a participant in the Symphony Australia Conductor Development Program and studied with Leif Segerstam at the Sibelius Academy in Helsinki and at the Royal College of Music, Stockholm with Jorma Panula. In 2007 he was selected as one of three participants worldwide to the International Conductor’s Academy of the Allianz Cultural Foundation, which entailed a year-long mentorship with the London Philharmonic Orchestra and the Philharmonia Orchestra under conductors Christoph von Dohnányi and Vladimir Jurowski, and culminated in an acclaimed performance of Stravinsky’s Symphony in C at Royal Festival Hall.

He returned permanently to Australia in 2006 and has since been a regular guest with all the Australian state symphony orchestras and has led ballet and opera productions including Don Giovanni and Così fan tutte for Opera Australia, and The Elixir of Love, The Tales of Hoffmann and La sonnambula for State Opera of South Australia.

Recent engagements include a major program with the London Philharmonic and his debut with the Southbank Sinfonia, and concert appearances with the Melbourne, Sydney, Queensland, Adelaide, West Australian and Tasmanian Symphony orchestras, Orchestra Victoria, the New Zealand and Christchurch Symphony orchestras and the Hong Kong Philharmonic.

JULIAN RACHLINviolin

During the course of his 23-year professional career, Julian Rachlin has established close relationships with many leading conductors and orchestras. He is also an accomplished violist and conductor, and this year marks the 12th anniversary of the Julian Rachlin and Friends Festival held annually in Dubrovnik.

This season’s engagements have included his debut with The Cleveland Orchestra, the opening of The Philadelphia Orchestra season, and concerts with the Detroit Symphony, Israel Philharmonic, Leipzig Gewandhaus Orchestra, Philharmonic Orchestra of La Scala, Rotterdam Philharmonic and the Sydney Symphony. Play/direct performances have included collaborations with the Camerata Salzburg, the Moscow Virtuosi, Heliopolis Symphony (Brazil), Taipei Symphony and the RTÉ National Symphony Orchestra. Forthcoming is the premiere of Krzysztof Penderecki’s new Double Concerto with Janine Jansen and the Bavarian Radio Symphony at the Vienna Musikverein.

Born in Lithuania in 1974, Julian Rachlin moved to Vienna in 1978. He studied at the Vienna Conservatory with Boris Kuschnir and privately with Pinchas Zukerman. In 1988 he won the Eurovision Young Musicians’ Competition, and afterwards became the youngest ever soloist to play with the Vienna Philharmonic, making his debut under Riccardo Muti.

Among his acclaimed recordings is Dmitri Sitkovetsky’s arrangement for string trio of Bach’s Goldberg Variations, recorded with Nobuko Imai and Mischa Maisky.

Since September 1999, Julian Rachlin has been on the faculty of the Vienna Conservatory Private University. In addition to his educational outreach activities, he is a UNICEF Goodwill Ambassador.

He plays the 1704 ‘Ex-Liebig’ Stradivari, on loan from the Dkfm. Angelika Prokopp Privatstiftung.

© Julia WeSely

ABOUT THE ARTISTS

EMMA MATTHEwSsoprano

Soprano Emma Matthews is a highly acclaimed and awarded coloratura soprano, having received more Helpmann Awards than any other individual artist, as well as nine Green Room Awards, the Mo Award and the Remy Martin Australian Opera Award. Equally at home on the opera stage and the concert platform, she has performed with all the major Australian symphony orchestras, the Australian Chamber Orchestra, Melbourne Chamber Orchestra, Ensemble Liaison, Orchestre Philharmonique de Monte Carlo, at the Royal Opera House Covent Garden, and at the Sydney, Melbourne, Adelaide and Huntington Festivals, with such conductors as Vladimir Ashkenazy, Sir Charles Mackerras, Marko Letonja and Yakov Kreizberg. She has also appeared as special guest with José Carreras in Sydney.

Known for her interpretations in the lyric coloratura repertoire, recent highlights include the title roles in Partenope, Lakmé, Lucia di Lammermoor, The Cunning Little Vixen (Royal Opera House, Covent Garden), Léïla (The Pearlfishers), Amina (La Sonnambula), Gilda (Rigoletto) and Philomele (The Love of the Nightingale by Richard Mills) as well as return engagements with the Sydney Symphony and the Orchestre Philharmonique de Monte Carlo.

Earlier this year, Emma made her role debut as Violetta (La traviata) for Handa Opera on Sydney Harbour. Further engagements in 2012 include Brahms’ German Requiem (WASO and Simone Young), concerts and recitals in Brisbane (with AYO and Simone Young) and Sydney, Opera in the Vineyard and the title role in Lucia di Lammermoor for both Opera Australia and West Australian Opera.

Her solo album of bel canto arias, Emma Matthews in Monte Carlo, is available on Universal/ABC Classics.

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Like attracts like. Mercedes-Benz Australia/Pacific, official automotive partner to the Melbourne Symphony Orchestra.

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We are the sum ofmany perfect parts.

When we come together in perfect harmony,

the results will move you in a way you’ve never

been moved before. Our passion for excellence

gives us the impetus to innovate.

Our versatility allows us to surprise.

We proudly invite you to take a seat

and enjoy what we do best.

We are the sum ofmany perfect parts. When we come together in perfect harmony, the results will move you in a way you’ve never been moved before. Our passion for excellence gives us the impetus to innovate. Our versatility allows us to surprise. We proudly invite you to take a seat and enjoy what we do best.

© briDGet elliOt

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Flamboyant organist Cameron Carpenter will put the renowned Melbourne Town Hall organ through its paces in Poulenc’s popular Organ Concerto.

Friday 22 June at 7.30pmMonday 25 June at 6.30pmMelbourne Town Hall

ORGAN CLASSICS AT TOwN HALL

THE ORCHESTRAMELBOURNE SYMPHONY ORCHESTRATadaaki Otaka principal Guest Conductor Benjamin Northey patricia riordan associate Conductor Chair

FIRST VIOLINSWilma SmithHarold Mitchell AC Concertmaster Chair

Roy TheakerAssociate Concertmaster

Michael KisinPrincipal

Peter EdwardsAssistant Principal

Kirsty BremnerMSO Friends Chair

Sarah CurroLerida DelbridgePeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniAnne MartonyiMark Mogilevski Michelle RuffoloKathryn TaylorAlice Rickards*†

SECOND VIOLINSMatthew TomkinsPrincipal

Robert MacindoeAssociate Principal

Monica CurroAssistant Principal

Mary AllisonIsin CakmakciogluCong GuAndrew HallRachel Homburg Christine JohnsonPhilip LajtaDavid ShafirIsy WassermanPhilippa WestPatrick WongRoger YoungLynette Rayner*Emily Long*

VIOLASFiona SargeantActing Principal

Julia Joyce*^^Guest Principal

Justin Williams Acting Associate Principal

Trevor JonesAssistant Principal

Katie Betts Christopher CartlidgeLauren Brigden

Katharine BrockmanSimon CollinsGabrielle HalloranCindy WatkinCaleb WrightIsabel Morse*Rosia Pasteur*

CELLOSDavid BerlinPrincipal

Sarah MorseAssociate Principal

Nicholas BochnerAssistant Principal

Miranda BrockmanRohan de KorteSharon DraperJoan EvansKeith JohnsonAngela SargeantMichelle Wood

DOUBLE BASSESSteve ReevesPrincipal

Andrew MoonAssociate Principal

Sylvia HoskingAssistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton

FLUTESPrudence DavisPrincipal

Wendy ClarkeAssociate Principal

Sarah Beggs

PICCOLOAndrew Macleod Principal

OBOESJeffrey CrellinPrincipal

Vicki PhilipsonAssociate Principal

Ann Blackburn*

COR ANGLAISMichael PisaniPrincipal

CLARINETSDavid ThomasElisabeth Murdoch Principal Clarinet Chair

Philip ArkinstallAssociate Principal

Craig Hill

BASS CLARINETJon CravenPrincipal

BASSOONSMatthew Ockenden*^Guest Principal

Elise MillmanAssociate Principal

Natasha Thomas

CONTRABASSOONBrock ImisonPrincipal

HORNSAndrew BainPrincipal

Geoff Lierse Associate Principal

Saul LewisPrincipal 3rd

Trinette McClimontRachel SilverSarah Willis*

TRUMPETSGeoffrey Payne Principal

Shane HootonAssociate Principal

William EvansJulie Payne

TROMBONESBrett KellyPrincipal

Kenneth McClimontAssociate Principal

Michael Bertoncello

BASS TROMBONEEric KlayPrincipal

David Bobroff*††Guest Principal

TUBATim BuzbeePrincipal

TIMPANIChristine TurpinPrincipal

PERCUSSIONRobert Clarke Principal

John ArcaroRobert CossomShaun Trubiano*^

HARPJulie Raines Principal

Delyth Stafford*

CELESTELouisa Breen

BOARDHarold Mitchell ACChairman

Dr Bronte AdamsPeter BiggsHon. Alan Goldberg AO QCAnn PeacockJennifer KanisAlastair McKeanMichael UllmerKee Wong

COMPANY SECRETARYOliver Carton

ExECUTIVEWayne BoxActing Chief Executive Officer

Julia BryndziaExecutive Assistant

BUSINESSNerolie GrantActing Chief Financial Officer

Raelene KingPersonnel Manager

Kaanji SkandakumarAccountant

Nathalia Andries Finance Officer

Dale BradburyProject Manager – Tessitura

ARTISTICHuw Humphreys Director, Artistic Planning

Andrew Pogson Assistant Artistic Administrator

Anna MelvilleArtistic Coordinator

Bronwyn LobbEducation Manager

Jonathan Grieves-SmithChorus Master

Helena BalazsChorus Coordinator

Lucy BardoelEducation Assistant

OPERATIONSLou OppenheimDirector of Operations

Angela ChilcottAssistant Orchestra Manager

Paul FreemanProduction Manager

Luke CampbellProduction Coordinator

Andrew KileyProduction Technician

Kerstin Schulenburg Artist Liaison

Alastair McKeanOrchestra Librarian

Kathryn O’BrienAssistant Librarian

Michael StevensOperations Assistant

MARkETINGMichael BucklandActing Director of Marketing

Joanna Krezel Marketing Manager

Dana NikanpourMarketing Manager

Phillip Sametz Communications Manager

Alison Macqueen Publicist

Simon Wilson Interactive Marketing Manager

Nina DubeckiFront of House Supervisor

Jennifer PollerMarketing Coordinator

Gabriela RamosAssistant Marketing Coordinator

Eileen NesbittCRM Coordinator

Stella BarberConsultant Historian

BOx OFFICEMartine O’ConnorBox Office Manager

Paul ClutterbuckSenior Subscriptions Officer

Scott CampbellSubscriptions Officer

DEVELOPMENTCameron Mowat Director of Development

Jessica Frean Philanthropy Manager

Jennifer Tighe Sponsorship and Events Manager

Arturs Ezergailis Development Officer

Rosemary ShawDevelopment Coordinator

MANAGEMENT

HONORARY LIFE MEMBERSJohn Brockman OAM Professor John Hopkins OBE Sir Elton John

* Guest Musician† Courtesy of BBC Scottish Symphony Orchestra†† Courtesy of Iceland Symphony Orchestra^ Courtesy of Australian Opera and Ballet Orchestra^^ Courtesy of New Zealand Symphony Orchestra

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MSO FOuNdaTiONThe MSO Foundation will permanently strengthen the MSO for an inspiring future in our community.

The MSO’s work can be attributed to the generosity of many collaborators, individuals, trusts and foundations. We are grateful for your support, which helps us enrich people’s lives through inspiring music now and for the future. To support us with a tax-deductible private gift, or bequest, please contact Jessica Frean on 03 9626 1107 or philanthropy@mso.com.au.

ORCheSTRa ChaiR LeadeRShiP CaMPaiGN (In recognition of outstanding support)

Harold Mitchell AC – Harold Mitchell AC Concertmaster ChairThe Cybec Foundation – Patricia Riordan Associate Conductor Chair

PLayeR PaTRONS (pledging $1000+ annually)

Marlyn and Peter Bancroft OAM Mr Marc Besen AO and Mrs Eva Besen AOStephen and Caroline BrainM Ward BrehenyJennifer Brukner Jill and Christopher BuckleyBill and Sandra BurdettJan and Peter Clark Judith M ConnellyAnn Darby in memory of Leslie J. DarbyPanch Das and Laurel Young-DasPat and Bruce Davis Sandra DentLisa Dwyer and Dr Ian DicksonJohn and Anne Duncan William J Forrest AMJoanna FoulkesDavid I Gibbs and Susie O’NeillMerwyn and Greta Goldblatt

The Pratt Family FoundationThe Cybec Foundation: Cybec 21st Century Australian Composers ProgramSchapper Family Foundation

Rob Cossom: Snare Drum AwardThe Trust Company as trustee of the Fred P. Archer TrustThe RM Ansett Trust as administered by Equity Trustees

Jenny AndersonJoyce Bown Kenneth BullenLuci and Ron Chambers Sandra Dent Lyn EdwardAlan Egan JPLouis Hamon OAMTony Howe

MSO PROjeCTS

MSO CONduCTOR’S CiRCLeWe are privileged to be included in the bequest planning of our Conductor’s Circle members.

To find out more about these and other special projects, such as the MSO Instrument Fund, please visit www.mso.com.au.

Many projects need specific support. We sincerely thank the following for their vital support for the MSO’s Education and Emerging Artist Programs.

Colin Golvan SCGeorge H Golvan QC Dr Marged Goode Jean Hadges Stuart and Sue HamiltonTilda and Brian HaughneyJulian and Gisela Heinze Hans and Petra Henkell Dr Alastair JacksonStuart Jennings and Diana MummëDr Elizabeth A Lewis AMNorman Lewis in memory of Dr Phyllis LewisDr Anne Lierse Jeff LoewensteinChristopher and Anna LongVivienne Hadj and Rosemary MaddenSandra and Leigh MaselTrevor and Moyra McAllister

Allan and Evelyn McLaren Dr Gabriele Medley AM John and Isobel Morgan The Novy FamilyLaurence O’Keefe and

Christopher JamesLady Potter ACPeter PriestDr Sam RicketsonHugh T Rogers AMTom and Elizabeth Romanowski Delina Schembri-HardyMax and Jill Schultz David Shavin QC Chris and Jacci SimpsonGary Singer and Geoffrey A SmithDr Robert Sloane and Denise Sloane Mr Sam Smorgon AO and

Mrs Minnie Smorgon

Mrs Suzy and Dr Mark SussMargaret TritschMrs Barbara Tucker P and E TurnerMary Vallentine AOHon. Rosemary Varty Wah Yeo AM Sue Walker AM Pat and John WebbErna Werner and Neil Werner OAMNic and Ann WillcockMarian and Terry Wills Cooke Ruth Wisniak and Prof John Miller AO Peter and Susan YatesMark YoungAnonymous (8)

Dame Elisabeth Murdoch AC OBE – Elisabeth Murdoch Principal Clarinet ChairMSO Friends – MSO Friends Chair

John and Joan JonesElizabeth Proust AOPenny Rawlins Joan P Robinson Molly StephensPamela SwanssonDr Cherilyn TillmanMr and Mrs R P TrebilcockMichael Ullmer

Mr Tam VuMarian and Terry Wills CookeMark YoungAnonymous (15)

The MSO gratefully acknowledges the support received from the Estates of:Gwen HuntC P KempPeter Forbes MacLarenProf Andrew McCredieJean TweedieHerta and Fred B Vogel

WE BELIEVE IN THE POWER OF TOGETHER. BY COMBINING OUR PASSION AND SKILLS WITH THAT OF OUR CLIENTS, WE CAN ACHIEVE AMAZING THINGS.

KING & WOOD MALLESONS IS DELIGHTED TO BE AN ONGOING SUPPORTER OF THE MELBOURNE SYMPHONY ORCHESTRA.

www.kwm.com

A new season begins with a wonderful collection of

Australian Designers at MyerNEW SEASON at myer.com.au

Myer – proud sponsor of the Melbourne Symphony Orchestra