CONCERT PROGRAMCONCERT PROGRAM

PLAYS RAVEL

21–23 SEPTEMBER 2017

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mso.com.au (03) 9929 9600

Running time: 2 hours, including 20-minute interval

Please note, Saturday’s pre-concert talk by MSO’s 2018 Young Composer in Residence, Ade Vincent will be recorded for podcast by 3MBS Fine Music Melbourne.

In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone.

The MSO acknowledge the Traditional Owners of the land on which we are performing. We pay our respects to their Elders, past and present, and the Elders from other communities who may be in attendance.

Melbourne Symphony Orchestra

André de Ridder conductor

Jean-Efflam Bavouzet piano

Mozart Symphony No.34

Chin Mannequin

INTERVAL

Ravel Piano Concerto

Ravel La Valse

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MELBOURNE SYMPHONY ORCHESTRA

Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 2.5 million people each year, and as a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world.

The MSO performs a variety of concerts ranging from core classical performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl. The MSO also delivers innovative and engaging programs to audiences of all ages through its Education and Outreach initiatives.

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

ANDRÉ DE RIDDER CONDUCTOR

André de Ridder works across many musical forms. In Australia he has conducted the soundtrack of 2001: A Space Odyssey and conducted the MSO in the 2015 Metropolis Festival. He was Artistic Director of Helsinki’s Musica Nova festival in early 2017. His own musicians’ collective, s t a r g a z e, made their BBC Proms debut in 2016 interpreting the music of David Bowie.

André de Ridder has appeared with include the BBC Philharmonic, Orchestre de Paris, Tokyo Metropolitan Orchestra and New York Philharmonic. He has conducted operas by Mozart, Janáček and Henze, among others. Spring 2016 saw him premiere Kaajia Saariaho’s Only the Sound Remains at Netherlands Opera. Recordings include Robert Saxton’s The Wandering Jew with the BBC Symphony and Vivaldi’s Four Seasons recomposed by Max Richter. He has worked with Melbourne-born director Barrie Kosky at the Komische Oper for the three Monteverdi operas in new orchestrations by Elena Kats-Chernin.

André de Ridder studied conducting with Leopold Hager at the University of Music and Performing Arts, Vienna and Sir Colin Davis at the Royal Academy of Music, London.Image courtesy Marco Borggreve

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JEAN-EFFLAM BAVOUZET PIANO

A former student of Pierre Sancan at the Paris Conservatoire, Jean-Efflam Bavouzet was invited by Sir George Solti to give his debut with the Orchestre de Paris in the late 1990s. Conductors with whom he has worked include Pierre Boulez, Vladimir Jurowski, Valery Gergiev, Kirill Karabits, Neeme Järvi, Andris Nelsons, and Ingo Metzmacher.

Recent orchestral performances have included the New Japan Philharmonic and Junichi Hirokami, the BBC National Orchestra of Wales and Thomas Søndergård, the Orquesta Sinfónica de Navarra and Alexander Anissimov and the Toronto Symphony with Sir Andrew Davis.

As a recitalist, Jean-Efflam Bavouzet regularly performs at London’s Southbank Centre, Wigmore Hall, La Roque d’Anthéron and Cité de la Musique. He is Artistic Director of Norway’s Lofoten Piano Festival. Recent recital venues have included Hungary’s Kaposvár Chamber Music Festival, the Cheltenham Festival, Kumho Hall (Seoul), Vancouver Playhouse and California’s Bay Area.

He has won awards for his recordings of works by Debussy, Ravel, Haydn and Bartók and was nominated for Gramophone Artist of the Year 2017.

Image courtesy Paul Mitchell

WOLFGANG AMADEUS MOZART (1756–1791)

Symphony No.34 in C, K338

Allegro vivaceAndante di moltoFinale (Allegro vivace)

This symphony was composed in Salzburg and bears the date 29 August 1780. As Mozart played at court on 2, 3 and 4 September, it may have been first heard there. Most likely, as Neal Zaslaw observes, Mozart wanted to have a new symphony in his baggage when he went to Munich to supervise the rehearsals of his opera Idomeneo, in case a concert opportunity presented itself as well. Idomeneo is the great masterpiece of Mozart’s early manhood, and the surrounding compositions share his excitement at writing for the orchestra which first played it, the famous Mannheim orchestra, whose princely employer had just removed it to Munich. The opening movement of Symphony No.34 contains Mozart’s version of one of this orchestra’s trademarks, the ‘Mannheim’ crescendo.

The first movement is very grand and symphonic, with the contrasting drama of tonality and themes which is the essence of the Viennese Classical style. Contrast also motivates the dark, minor-key character of the development section – the kind of Mozart the Romantics hailed as anticipating their own music. Zaslaw, surveying Mozart’s symphonies as a whole, comments that this movement reveals Mozart’s developing interest

PROGRAM NOTES

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Dance of the Clockwork GirlThe Stolen Eyes

Following Unsuk Chin's excursions into street theatre (Gougalon), pantomime (cosmigimmicks), and street art (Graffiti), the orchestral work Mannequin – Tableaux vivants for orchestra is the composer's first referring to dance. It could be likened to an 'imaginary choreography', reflecting as it does a fascination for the movement potential of the human body and its expressive capabilities, with a special stress on high-energy physicality. It is highly gestural music intended to be danced, but 'without feet', as it were; a particular inspiration came from the great choreographers' and dancers' pursuit of making the impossible appear possible, of defying natural physical laws; in short: their ability to challenge perceptions of time and space. The work has no relation whatsoever to the codified structures of classical ballet; instead, it explores extreme contrasts of colour, speed and gesture with a constant tension between forces.

Mannequin tells a story, though neither in the form of a linear narrative nor in the manner of illustrative programme music: the line between dreams and reality is being crossed in a surreal manner, with the main themes of the scenario being problems of perception and of personal identity. It is freely based on the fantastical novella The Sandman, written by German writer, composer, music critic, lawyer, cabaret artist and draughtsman E. T. A. Hoffmann (1776-

in longer ‘paragraphs’, replacing the ‘shorter-breathed, patchwork-quilt designs of his earlier symphonies’.

Mozart began a minuet for this symphony, on the back of the final page of the opening movement, which suggests it was to come second. If he completed the minuet at all, it is lost except for the first 14 bars.

In the second movement the winds and brass are silent, with the exception of the bassoon, which doubles the cellos and double basses. The string writing, however, is outstandingly subtle and multicoloured. At the beginning of the movement Mozart writes ‘sotto voce’ (literally: under the voice) and this establishes the mood: the impression is of a conversation conducted in hushed tones, between two violin parts and two (!) viola parts.

The finale is in the unceasing dance rhythm of the jig, virtually a tarantella (a dance to exhaustion). Like the first movement, it is in sonata form, a sign of the breadth of conception of this symphony. David Garrett © 2003

The Melbourne Symphony Orchestra first performed this symphony in July 1940 with Sir Thomas Beecham, and most recently on 18-20 September 2014 with Michael Collins.

UNSUK CHIN (born 1961)

Mannequin AUSTRALIAN PREMIERE, CO-COMMISSIONED BY THE MELBOURNE SYMPHONY ORCHESTRA

Music Box – Fever DreamSandman and Child

PROGRAM NOTES

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1822). As a writer, he was rejected by his contemporaries: Johann Wolfgang von Goethe and Sir Walter Scott, among many others, called Hoffmann's fiction 'sick', insinuating that he should undergo medical treatment. Posthumously, however, Hoffmann has been recognized as the master of the uncanny and the ambiguous, influencing figures as diverse as Robert Schumann, Richard Wagner, Edgar Allan Poe, Nikolai Gogol, Franz Kafka, Sigmund Freud, Alfred Hitchcock, Ingmar Bergman, Andrei Tarkovsky and David Lynch. The Sandman might well be Hoffmann's most forward-looking and daring creation: in this almost magical realist story, the author constantly leaves the reader unsure of what is actually happening and why, and it is possible to be read in a number of (mutually exclusive) ways.

Nathanael, the young protagonist in The Sandman, seems torn between delusions and reality and is not conforming to society. But whether it is him who is 'mad', or the society around him, is left open as well as so much more. This ambiguity and relativism much horrified the author's contemporaries but it is precisely these aspects, combined with Hoffmann's experimental and highly elliptical style, that explain the story's modernity and its spell. Many contradictory interpretations have been written about this labyrinthine novella, but most of them miss the point by forcing it into a Procrustean bed of either-or by clearly distinguishing good and evil, real and unreal. Indeed, it would be senseless

to attempt to find a moral or a clear-cut plot, for it is precisely his “wisdom of uncertainty” and his exploration of “the essential relativity of things human” (Milan Kundera) where Hoffmann's achievement lies: The Sandman hauntingly illuminates what a subjective affair reality is.

Mannequin consists of four movements. The first two movements, respectively titled Music Box – Fever Dream and Sandman and Child, refer to Nathanael's childhood and how his nanny used to instil terror in him by a cautionary tale about the Sandman who steals misbehaving children's eyes and feeds them to his offspring who live in the crescent moon. Nathanael associates the Sandman's figure with a half-mythical and sinister person named Coppelius, who seems in some way connected with the decline of Nathanael's family and who continues to haunt the adult Nathanael's life in the guise of a number of grotesque 'doppelgangers'. The third movement, Dance of the Clockwork Girl, refers to Olimpia, a female life-size automaton, with whom Nathanael falls in love, without realizing its true nature until it is being destroyed during a fight between its inventor Spalanzani and Coppola, a dubious seller of optical aids (both apparently being doubles of Sandman/Coppelius). The title of the last movement, The Stolen Eyes, refers to the ubiquitous 'eye leitmotif': throughout Hoffmann's tale, Sandman and his 'doppelgangers' (Spalanzani, Coppelius and Coppola) are stealing, inventing or selling eyes – a motive

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that, similarly to the title of Chin's work (Mannequin), might of course also be understood allegorically.

Mannequin was jointly commissioned by the Southbank Centre, Boston Symphony Orchestra, Danish National Symphony Orchestra and the Melbourne Symphony Orchestra. The work was given first performances by the National Youth Orchestra of Great Britain under Ilan Volkov's direction at Sage Gateshead and at the Southbank Centre in London.© Gordon Kerry 2017

This is the first performance of Mannequin by the Melbourne Symphony Orchestra.

MAURICE RAVEL (1875–1937)

Piano Concerto in G

Allegramente Adagio assai Presto

Jean-Efflam Bavouzet piano

It is scarcely surprising that Ravel wrote two of the greatest piano concertos of the 20th century. He was, after all, a concert pianist himself, as well as a composer of the highest calibre for solo piano, and arguably the greatest orchestrator of his generation. What was unexpected, however, was that he took so long to get around to the task, only writing the Piano Concerto for the Left Hand and the Piano Concerto in G simultaneously at the end of his career.

During the 1920s Ravel began frequenting Paris’ jazz clubs, and in

1928, while on a concert tour in America, he encountered Gershwin’s Rhapsody in Blue and met the composer. This influence is most clearly observable in the G major Piano Concerto. His admiration for Rhapsody is obvious in the first movement of his concerto, where the themes have a distinctly Gershwin-esque feel. Ravel originally intended to perform the solo part of the concerto himself (which may explain why it is written with much more of a jazz feel than the Left Hand Concerto written for Paul Wittgenstein), but in the end his ailing health prevented him from doing so. Instead, the concerto was premiered by Marguerite Long at the Salle Pleyel in 1932, with Ravel conducting.

For all its hipness, there is no mistaking that this is a ‘classical’ concerto in the strict, Mozartian sense of the term. Ravel believed that ‘the music of a concerto should…be light-hearted and brilliant, and not aim at profundity or dramatic effects’. In any case, it became a true concerto in which fun, self-parody and exquisite beauty all play their part; but there is a ‘brittleness’ in the concerto’s high spirits, not to mention a pervasive and ‘in-spite-of-itself’ sadness to the slow movement.

It begins, appropriately enough, with a crack-of-the-whip and it barely stops racing during the entire first movement. Scored with virtuosic dexterity and lightness, the jazzy rhythm drives on through spiky arpeggios in the piano, a piccolo solo, tremolos and pizzicati in the strings, and a trumpet solo. Even the harp takes the spotlight, while a

PROGRAM NOTES

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mixture of broad, lurching, Gershwin-esque themes dominates the middle section. The sense of purpose never falters, and before breath can be drawn, the movement hurtles to its abrupt conclusion.

The sublime Adagio was modelled on the equivalent movement in Mozart’s Clarinet Quintet. Writing painstakingly, Ravel agonised over this movement for months, confessing later that it ‘almost killed him’. Its prevailing mood is that of a nocturne, and the piano’s achingly beautiful main theme seems almost hesitant, yet somehow inexorable and assured.

The finale is supposedly a rondo (although at this frenetic pace it’s not easy to tell), and is filled with jazz sounds and dazzling piano effects. It presents percussive flourishes, trombone glissandi and brief snatches of big band imitations from brass and woodwind, before racing on to its sudden but emphatic end. Abridged from a note by Martin Buzacott © Symphony Australia

The first performance of Ravel’s Piano Concerto in G by the Melbourne Symphony Orchestra took place on 16 October 1954 with conductor Sir Eugene Goossens and soloist Natasha Litvin. The Orchestra most recently performed it in October 2015 with Nicholas Milton and David Fung.

MAURICE RAVEL (1875–1937)

La Valse

If in his G major Piano Concerto Ravel expressed his admiration for American jazz, in La Valse he pays tribute to the Viennese waltz. Ravel had a great love for the waltz and in 1906 began

a homage to Johann Strauss II, at one stage entitled Wien (Vienna). This was never completed, and in 1911, following Schubert’s precedent (and Schubert’s use of a French title), he composed his Valses nobles et sentimentales.

After service in the First World War, Ravel wished to renew the successes he had previously enjoyed with Sergei Diaghilev’s Ballets Russes. He rewrote Wien under the title La Valse (subtitling it a ‘choreographic poem’) and completed it in the summer of 1920. Diaghilev turned it down, however, and the work was first performed as an orchestral piece at the Concerts Lamoureux in December 1920. It was eventually staged as a ballet, and performed by Ida Rubinstein’s troupe at the Paris Opéra in 1928.

La Valse has been criticised by some as a pastiche, but Ravel’s own comments on the work suggest that he was trying to do something subtler than simply imitate the Strauss family: ‘I had intended this as a kind of apotheosis of the Viennese waltz, linked in my mind with the impression of a fantastic and fatal whirling.’

The score bears the following preface:

Through rifts in eddying clouds waltzing couples can be glimpsed. The clouds disperse little by little; one makes out an immense hall filled with a whirling crowd. The scene progressively lightens. The light of the chandeliers bursts forth. An Imperial Court about 1855.© Symphony Australia

The MSO first performed La Valse on 4 September 1941 under the direction of Bernard Heinze, and most recently on 15 February 2017, as part of the Sidney Myer Free Concerts, with Kazuki Yamada.

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MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor

Tianyi Lu Cybec Assistant Conductor

Hiroyuki Iwaki Conductor Laureate (1974-2006)

FIRST VIOLINS

Dale Barltrop Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell Associate ConcertmasterThe Ullmer Family Foundation#

John Marcus Principal

Peter Edwards Assistant Principal

Kirsty BremnerSarah Curro Michael Aquilina#

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

Mark Mogilevski Michelle RuffoloKathryn TaylorMichael Aquilina#

Tiffany Cheng*Jennen Ngiau-Keng*Kana Ohashi*Lynette Rayner*Oksana Thompson*

SECOND VIOLINS

Matthew Tomkins Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro Assistant PrincipalDanny Gorog and Lindy Susskind#

Mary AllisonIsin CakmakciogluFreya Franzen Anonymous#

Cong GuAndrew HallAndrew and Judy Rogers#

Rachel Homburg Isy WassermanPhilippa WestPatrick WongRoger YoungJacqueline Edwards*Karla Hanna*Madeline Jevons*Michael Loftus-Hills*Susannah Ng*

VIOLAS

Christopher Moore PrincipalDi Jameson#

Fiona Sargeant Associate Principal

Lauren BrigdenTam Vu, Peter and Lyndsey Hawkins#

Katharine BrockmanChristopher CartlidgeMichael Aquilina#

Anthony ChatawayGabrielle HalloranTrevor Jones Cindy WatkinElizabeth WoolnoughCaleb WrightWilliam Clark*Gregory Daniel*Justin Julian*Matthew Laing*Isabel Morse*

CELLOS

David Berlin Principal MS Newman Family#

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de Korte Andrew Dudgeon#

Keith JohnsonSarah MorseAngela SargeantMichelle WoodAndrew and Theresa Dyer#

Svetlana Bogosavljevic*Yelian He*Molly Kadarauch*Zoe Wallace*

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser#

Emma Sullivan*

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke Associate Principal

Sarah Beggs

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PICCOLO

Andrew Macleod Principal

Katie Zagorski*

OBOES

Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann BlackburnThe Rosemary Norman Foundation#

COR ANGLAIS

Michael Pisani Principal

CLARINETS

David Thomas Principal

Philip Arkinstall Associate Principal

Craig HillMitchell Jones*

BASS CLARINET

Jon Craven Principal

BASSOONS

Jack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

CONTRABASSOON

Brock Imison Principal

Colin Forbes-Abrams*

HORNS

Eirik Haaland* Guest Principal

Saul Lewis Principal Third

Abbey Edlin Nereda Hanlon & Michael Hanlon AM#

Trinette McClimontJosiah Kop*Ian Wildsmith*

TRUMPETS

Geoffrey Payne Principal

Shane Hooton Associate Principal

William EvansRosie TurnerTristan Rebien*

TROMBONES

Brett Kelly Principal

Richard Shirley

BASS TROMBONE

Mike Szabo Principal

TUBA

Timothy Buzbee Principal

Aaron Tindall*

PERCUSSION

Robert Clarke Principal

John ArcaroTim and Lyn Edward#

Robert CossomTimothy Hook*Shanie Klas*Brent Miller*

HARP

Yinuo Mu Principal

Melina van Leeuwen*

PIANO

Jacob Abela*

CELESTE

Leigh Harrold*

MSO BOARD

Chairman

Michael Ullmer

Managing Director

Sophie Galaise

Board Members

Andrew DyerDanny GorogMargaret Jackson ACBrett KellyDavid KrasnosteinDavid LiHyon-Ju NewmanHelen Silver AO

Company Secretary

Oliver Carton

# Position supported by

* Guest Musician

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SUPPORTERS

MSO PATRONThe Honourable Linda Dessau AC, Governor of Victoria

ARTIST CHAIR BENEFACTORSAnthony Pratt Associate Conductor Chair

Joy Selby Smith Orchestral Leadership Chair

The Cybec Foundation Cybec Assistant Conductor Chair

The Ullmer Family Foundation Associate Concertmaster Chair

Anonymous Principal Flute Chair

The Gross Foundation Principal Second Violin Chair

Di Jameson Principal Viola Chair

MS Newman Family Foundation Principal Cello Chair

Marc Besen AC and Eva Besen AO 2018 Soloist in Residence Chair

PROGRAM BENEFACTORS

Cybec 21st Century Australian Composers Program The Cybec Foundation

Cybec Young Composer in Residence made possible by The Cybec Foundation

East Meets West supported by the Li Family Trust

Meet The Orchestra made possible by The Ullmer Family Foundation

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MSO Education supported by Mrs Margaret Ross AM and Dr Ian Ross

MSO International Touring supported by Harold Mitchell AC

MSO Regional Touring Creative Victoria The Robert Salzer Foundation

The Pizzicato Effect Collier Charitable Fund The Marian and E.H. Flack Trust Schapper Family Foundation Scobie and Claire Mackinnon Trust Supported by the Hume City Council’s Community Grants Program (Anonymous)

Sidney Myer Free Concerts Supported by the Myer Foundation and the University of Melbourne

CHAIRMAN’S CIRCLE $100,000+Marc Besen AC and Eva Besen AOJohn Gandel AC and Pauline Gandel The Gross Foundation ◊

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Anthony Pratt ◊

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Anonymous (1)

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SUPPORTING PARTNERS

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TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

The Scobie and Claire Mackinnon Trust

� e Gross Foundation, Li Family Trust, MS Newman Family Foundation, � e Ullmer Family Foundation

SUPPORTERS

The Hon. Rosemary VartyLeon and Sandra VelikSue Walker AMElaine Walters OAM and Gregory WaltersEdward and Paddy WhiteNic and Ann WillcockMarian and Terry Wills CookeLorraine WoolleyRichard YePanch Das and Laurel Young-DasAnonymous (21)

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

TRUSTS AND FOUNDATIONSKen and Asle Chilton Trust, managed by PerpetualCollier Charitable FundCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Marian and E.H. Flack TrustGandel PhilanthropyLinnell/Hughes Trust, managed by PerpetualThe Scobie and Claire Mackinnon TrustThe Harold Mitchell FoundationThe Myer FoundationThe Pratt FoundationThe Robert Salzer Foundation

Alan (AGL) Shaw Endowment, managed by PerpetualTelematics Trust

CONDUCTOR’S CIRCLEJenny AndersonDavid AngelovichG C Bawden and L de KievitLesley BawdenJoyce BownMrs Jenny Brukner and the late Mr John BruknerKen BullenLuci and Ron ChambersBeryl DeanSandra DentLyn EdwardAlan Egan JPGunta EgliteMr Derek GranthamMarguerite Garnon-WilliamsLouis Hamon OAMCarol HayTony HoweLaurence O'Keefe and Christopher JamesAudrey M JenkinsJohn and Joan JonesGeorge and Grace KassMrs Sylvia LavellePauline and David LawtonCameron MowatRosia PasteurElizabeth Proust AOPenny RawlinsJoan P RobinsonNeil RoussacAnne Roussac-Hoyne Suzette SherazeeMichael Ryan and Wendy MeadAnn and Andrew SerpellJennifer ShepherdProfs. Gabriela and George StephensonPamela SwanssonLillian TarryDr Cherilyn TillmanMr and Mrs R P TrebilcockMichael Ullmer

Ila VanrenenThe Hon. Rosemary VartyMr Tam VuMarian and Terry Wills CookeMark YoungAnonymous (23)

The MSO gratefully acknowledges the support received from the estates of

Angela BeagleyNeilma GantnerGwen HuntAudrey JenkinsPauline Marie JohnstonC P KempPeter Forbes MacLarenJoan Winsome MaslenLorraine Maxine MeldrumProf Andrew McCredieMiss Sheila Scotter AM MBEMarion A I H M SpenceMolly StephensJean TweedieHerta and Fred B VogelDorothy Wood

HONORARY APPOINTMENTSSir Elton John CBELife Member

The Hon. Alan Goldberg AO QCLife Member

Geoffrey Rush ACAmbassador

The Late John Brockman OAMLife Member

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The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows:

$1,000+ (Player)

$2,500+ (Associate)

$5,000+ (Principal)

$10,000+ (Maestro)

$20,000+ (Impresario)

$50,000+ (Virtuoso)

$100,000+ (Chairman’s Circle)

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

ENQUIRIES Phone (03) 8646 1551

Email philanthropy@ mso.com.au

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PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

� e CEO InstituteQuest Southbank Bows for StringsErnst & Young

TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

The Scobie and Claire Mackinnon Trust

� e Gross Foundation, Li Family Trust, MS Newman Family Foundation, � e Ullmer Family Foundation

SUPPORTERS

*For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.

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