Friday 20 and Saturday 21 July at 8pm Melbourne Town Hall

Tadaaki Otaka conductorKatarina Karnéus mezzo-sopranoJean-Efflam Bavouzet piano

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Ravel Daphnis and Chloe: Suite No.2

RavelShéhérazade

INTERVAL

Ravel Piano Concerto in G

Ravel Bolero

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BOLERO

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about the music

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

Saturday evening’s performance will be broadcast for later broadcast around Australia on ABC Classic FM (on analogue and digital radio), and for streaming 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.

CONCERT INFORMATION

MAURICE RAVEL (1875–1937)

Daphnis and Chloe: Suite No. 2

Daybreak –Pantomime – General Dance (Bacchanale)

The performing arts owe a great debt to Sergei Diaghilev, who commissioned so many of the orchestral scores which have become modern classics. Diaghilev first brought his Ballets Russes to Paris in 1909, and commissioned Ravel to write a ballet to a scenario by Michel Fokine based on Longus’ Daphnis and Chloe.

Ravel lingered over this, arguably his greatest score. In it, he sought to depict the Greece of his dreams which, he said, ‘is very similar to that imagined and painted by French artists at the end of the 18th century’. But he stressed also that the work was ‘constructed symphonically, according to a strict plan of key sequences, out of a small number of themes, the development of which ensure the work’s homogeneity’. Diaghilev had wanted music which would be important but not dominant. Ravel felt that his music should be supreme. He had refused the smallest cuts. To underline the point he subtitled the piece ‘a choreographic symphony in three parts’.

Daphnis and Chloe was first presented at the Théâtre du Châtelet on 8 June 1912, but it was not a success and was soon dropped from the company’s repertoire. Fortunately its music has become a staple of the concert hall, where it is usually heard in the form of two suites. Tonight you will hear Suite No. 2, comprising the last 20 minutes or so of the full work.

The opening of the ballet introduces Daphnis and Chloe and their shepherd and shepherdess friends. We follow their games, the flirting and rivalry between them and their companions, and the awakening of Daphnis and Chloe’s love. Chloe is abducted by pirates and Daphnis collapses in despair. Three nymphs invoke the god Pan to come to Daphnis’ aid. As Chloe, captive in the pirates’ camp, is ordered to dance, all hope of escape gone, the atmosphere suddenly seems to be full of strange elements. As Fokine’s scenario goes on:

Here and there, lit by invisible hands, little fires appear. All about, fantastic beings creep and jump. Fauns appear everywhere and surround the pirates. The ground opens, and the formidable profile of Pan can be seen on the mountains in the background, making a menacing gesture. All flee in bewilderment. The scenery seems to melt away...

about the musicRAVELShéhérazade

I AsieII La Flute enchantéeIII L’Indifférent

Katarina Karnéus mezzo- soprano

Maurice Ravel, like the rest of Paris, attended the World Exposition of 1889 and was captivated by the sights and sounds of the Javanese gamelan musicians, and other ‘curiosities’ from all over the globe. To a society leaving behind the constraints of the Victorian era, the extreme foreignness of the visitors from the East is almost unimaginable now to those brought up with a sense of the global village. Aided by a translation of the Tales of the Arabian Nights, Ravel – inspired by the welter of exotic influences that swept through the city – planned to write an entire Shéhérazade opera. In the end it only amounted to an overture. His friend, known as Tristan Klingsor, produced a rather more successful book of verse.

Shéhérazade is the teller of the Tales of the Arabian Nights, a young girl who by her gift for wonderful stories alters the stony heart of the Sultan for the better. The tales give the reader quite a detailed picture of what life in the Orient once might have been like. From Klingsor’s verses on these themes, Ravel selected three poems: Asie, La Flûte enchantée and L’Indifférent.

‘Asia, Asia, Asia, Marvellous old land of fairy-tales….I should like to see Damascus and the cities of Persia/ With their slender minarets in the air…./ I should like to see Persia, and India, and then China…’ In the first song, Asie, the shawm-like oboe solo uses intervallic patterns of ‘semitone – augmented second – semitone’. This is a sequence which is stereotypically associated with traditional music from the Middle East, and would therefore have seemed to Ravel a natural choice for those sections of the poem which deal with that region. When China becomes the focus, he uses much the same kind of aural allusion, this time involving pentatonic scales

and ‘open’ fifths. Ravel’s choice of instrumentation for the ‘Chinese’ verses is evocative, too, introducing celeste and gong. Word-painting is evident in his choice of a rocking, arpeggiated theme for moments where the narrator dreams of ships and sailing away to foreign climes.

The principal distinguishing feature of La Flûte enchantée is the drowsily beautiful flute solo which drapes itself around the soprano line, but the composer also gives us little touches of the oriental motifs presented in the first song (the ‘augmented second’ interval, for example). Ravel holds the dream-like quality of the poetry to the very end, leaving listeners hanging on an interrupted cadence.

From the beginning of L’Indifférent, the listener is lulled into the warm, seductive evening of a land where attractive strangers might sing in an ‘unknown and charming’ language on one’s doorstep, but ‘then pass on [their] way’. Ravel once indicated that the key to his personality lay hidden in this song; perhaps this was a reference to the continuing debate about his sexual orientation, or the real reason why he never married, or just his occasional periods of loneliness…

K.P. Kemp © Symphony Australia

The MSO was the first of the former ABC orchestras to perform Ravel’s Shéhérazade, on 17 September 1956, with conductor Kurt Woess and soprano Victoria de los Angeles. The Orchestra most recently performed the work in May 1991 with Edward Downes and Yvonne Minton.

INTERVAL

It is at this point that Suite No. 2 begins, with the sunrise (Daybreak) masterfully derived from a simple rising sequence. The pastoral atmosphere of the scene is emphasised by imitation of birdsongs and the piping of the two shepherds who unite Daphnis with Chloe. Daphnis knows from Chloe’s crown that she has been saved by Pan in remembrance of his love for Syrinx. Daphnis and Chloe mime the courtship of Syrinx by Pan, accompanied appropriately enough by a florid solo flute (Pantomime). The concluding General Dance, originally designated bacchante, represents the joyful celebration of the lovers and shepherds. Composed in 5/4, this metre initially posed some difficulty for Diaghilev’s dancers – until they found a way of using their boss’s name as a mnemonic (DIA-ghi-lev, SER-gei DIA-ghi-lev...).

Gordon Kalton Williams Symphony Australia © 1997

The MSO was the first of the former ABC orchestras to perform either of the suites from Daphnis and Chloe, on 4 May 1940 under conductor Antal Dorati. The Orchestra most recently performed Suite No. 2 at the Sidney Myer Free Concert on 14 February 2009, conducted by Oleg Caetani.

THE FOKINES IN DAPHNIS AND CHLOE, 1912

about the music1. Asie

Asie, Asie, AsieVieux pays merveilleux des contes de nourriceOù dort la fantaisie comme une impératrice,En sa forêt tout emplie de mystère…Asie, je voudrais m’en aller avec la goëletteQui se berce ce soir dans le portMystérieuse et solitaire,Et qui déploie enfin ses voiles violettesComme un immense oiseau de nuit dans le ciel d’or.Je voudrais m’en aller vers des îles de fleurs,En ecoutant chanter la mer perverseSur un vieux rythme ensorceleur.

Je voudrais voir Damas et les villes de PerseAvec les minarets légers dans l’air.Je voudrais voir de beaux turbans de soieSur des visages noirs aux dents claires;Je voudrais voir des yeux sombres d’amourEt des prunelles brillantes de joie,En des peaux jaunes comme des oranges;Je voudrais voir des vêtements de veloursEt des habits à longues franges.Je voudrais voir des calumets entre des bouchesTout entourées de barbe blanche;Je voudrais voir d’âpres marchands aux regards louches,Et des cadis, et des vizirsQui du seul mouvement de leur doigt qui se pencheAccordent vie ou mort au gré de leur désir.

Je voudrais voir la Perse, et l’Inde, et puis la Chine,Les mandarins ventrus sous les ombrelles,Et les princesses aux mains fines,Et les lettrés qui se querellentSur la poésie et sur la beauté;Je voudrais m’attarder au palais enchantéEt comme un voyageur étrangerContempler à loisir des paysages peintsSur des étoffes en des cadres de sapin,Avec un personnage au milieu d’un verger;Je voudrais voir des assassins souriantDu bourreau qui coupe un cou d’innocentAvec son grand sabre courbé d’Orient.Je voudrais voir des pauvres et des reines;Je voudrais voir des roses et du sang;Je voudrais voir mourir d’amour ou bien de haine…

Et puis m’en revenir plus tardNarrer mon aventure aux curieux de rêves,En élevant comme Sindbad ma vieille tasse arabeDe temps en temps jusqu’à mes lèvresPour interrompre le conte avec art…

1. Asia

Asia, Asia, Asia,Marvellous old land of childhood talesWhere fantasy sleeps like an empressIn her forest full of mystery…Asia, I would like to sail away with the schoonerThat sits rocking this evening in the port,Mysterious and solitary,And which at last unfurls its violet sailsLike an enormous night bird in the golden sky.I would like to go to the islands of flowers, Listening to the perverse sea singingTo an old, bewitching rhythm.

I would like to see Damascus and the cities of PersiaWith their delicate minarets in the air.I would like to see fine silk turbansAtop dark faces with sparkling teeth;I would like to see eyes dark with loveAnd pupils shining bright with joyIn skin yellow as oranges;I would like to see velvet robesAnd clothes with long fringes.I would like to see pipes in mouths Surrounded by white beards;I would like to watch shady-looking merchants,And cadis, and viziersWho with a crook of a fingerGrant life or death at their whim.

I would like to see Persia, and India, and then China,Pot-bellied mandarins under their parasolsAnd princesses with delicate handsAnd scholars debatingOn poetry and beauty;I would like to linger in the enchanted palaceAnd, like a foreign traveller,Leisurely contemplate landscapes paintedOn cloth in pine frames With one person in the middle of an orchard;I would like to see smiling assassins The executioner who slices an innocent neckWith his great curved oriental sword.I would like to see paupers and queens;I would like to see roses and blood;I would like to see people dying of love or of hatred…

And then, on my return,Tell my adventures to those fascinated by dreams,Raising, like Sinbad, my old Arab cupTo my lips from time to time,to interrupt the tale artfully…

about the music

RAVELPiano Concerto in G

I Allegramente II Adagio assai III Presto

Jean-Efflam Bavouzet piano

Given Ravel was a concert pianist, it is surprising not that he wrote two great piano concertos (the Concerto for the Left Hand and tonight’s work) but that he wrote them at the end of his career.

During the 1920s, Ravel became a frequenter of Paris’ late-night jazz clubs, and that influence is most clearly observable in the G major Piano Concerto. The idea for the opening theme came to him in 1927

as he was travelling by train from Oxford to London. He then lifted themes from an aborted Basque Rhapsody he had intended for piano and orchestra in 1919, and reworked them into a more distinctively modern idiom. Perhaps the biggest impetus of all came in America in 1928 when Ravel met George Gershwin and heard his Rhapsody in Blue, whose influence is obvious in the middle of the first movement.

Ravel originally intended to perform the solo part of the concerto himself, 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 the composer conducting. (The left-hand concerto had always been intended for Paul Wittgenstein.)

For all its jazziness, Ravel thought of this as a ‘classical’ concerto. As he wrote when he still thought of himself as the soloist:

Planning the two concertos simultaneously was an interesting experience. The one in which I shall appear as the interpreter is a concerto in the true sense of the word: I mean that it is written very much in the same spirit as those of Mozart and Saint-Saëns. The music of a concerto should, in my opinion, be lighthearted and brilliant, and not aim at profundity or dramatic effects.

Indeed Ravel considered calling it a ‘Divertissement’, so keen was he to keep the concerto from self-indulgent solemnity. 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’

2. La Flûte enchantée

L’ombre est douce et mon maître dortCoiffé d’un bonnet conique de soie,Et son long nez jaune en sa barbe blanche.

Mais moi, je suis éveillée encoreEt j’écoute au dehorsUne chanson de flûte où s’épancheTour à tour la tristesse ou la joie…Un air tour à tour langoureux ou frivole,Que mon amoureux chéri joue.Et quand je m’approche de la croiséeIl me semble que chaque note s’envole De la flûte vers ma joueComme un mystérieux baiser.

3. L’Indifférent

Tes yeux sont doux comme ceux d’une fille,Jeune étranger,Et la courbe fineDe ton beau visage de duvet ombragéEst plus séduisante encore de ligne.

Ta lèvre chante sur le pas de ma porteUne langue inconnue et charmanteComme une musique fausse.Entre! Et que mon vin te réconforte…

Mais non, tu passesEt de mon seuil je te vois t’éloignerMe faisant un dernier geste avec grâce,Et la hanche légèrement ployéePar ta démarche féminine et lasse…

Text by Tristan Klingsor

2. The Enchanted Flute

The shade is sweet, and my master sleeps,Wearing a conical silk bonnetWith his long yellow nose in his white beard.

But I, I am still awakeAnd I listen, outside,To the song of a flute pouring forthAlternately sadness and joy…A melody alternately languorous and gayPlayed by my dear lover.And when I approach the windowIt seems that each note fliesFrom the flute towards my cheekLike a mysterious kiss.

3. The Indifferent One

Your eyes are soft as those of a girl,Young stranger,And the fine curveOf your handsome, down-shadowed face, Is even more seductive in outline.

Your lip sings on my doorstepAn unfamiliar and charming languageLike music out of tune.Enter! And let my wine refresh you…

But no, you pass byAnd from my doorway I see you move on,Making one last graceful gesture to me,With your hips slightly bentIn your loose, girlish gait…

English translation © Symphony Australia

about the musicin the concerto’s high spirits, not to mention a pervasive and ‘in-spite-of-itself’ sadness to the slow movement.

The work begins with the crack-of-a-whip and it barely stops racing during the entirety of its 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. The Adagio – one of Ravel’s most sublime achievements – was modelled on the equivalent movement in Mozart’s Clarinet Quintet. Writing painstakingly, two bars at a time, Ravel agonised over this movement for many 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. Amidst trills on the piano, this most astonishing of slow movements draws to a close.

Ravel told Marguerite Long that he was going to end the concerto on those trills, but in fact he added a finale – one which exceeds the frenetic pace of the opening movement.

Martin Buzacott Symphony Australia © 1997

The first performance of Ravel’s Piano Concerto in G by the Melbourne Symphony Orchestra took place on 16 October 1954 with conductor Eugene Goossens and soloist Natasha Litvin. The Orchestra’s most recent performance was in September 2007; the conductor was Marko Letonja and the soloist Ewa Kupiec.

RAVELBolero

Poor Ravel. He was joking when he described Bolero as a ‘masterpiece without any music in it’, so was very annoyed when the piece became one of his most popular works. In fact Bolero came about when he was asked by the Russian dancer Ida Rubenstein to orchestrate parts of Albéniz’s Iberia for a ballet with a ‘Spanish’ character in 1928. Rubinstein had founded her own company in Paris that year.

It is a common and inaccurate cliché that the ‘best Spanish music was written by non-Spaniards’, but it does contain a grain of truth. Musicians from all over Europe were drawn to Spain – or to an idea of Spain – because of its relative exoticism and its musical traditions that include an estimated 1000 different dance forms. French composers in particular, such as Bizet, Chabrier and Debussy, all wrote ‘Spanish’ works. Unlike them, though, Ravel was actually of Spanish – or, to be more specific, Basque – heritage: his mother was Basque and his father Swiss, and though born in the Basque regions of south-western France, Ravel spent his entire life in Paris. But Hispanic music was of great importance to him, and Ravel explores Spanish sounds and manners especially in works like the opera L’heure espagnole (The Spanish Hour – which, with its ticking-clock

music, might also have satisfied his Swiss side!), several pieces ‘en forme de habanera’, the Rapsodie espagnole and the late ‘Don Quixote’ songs.

In the case of the ballet envisaged by Ida Rubinstein, though, it turned out that the rights to Albéniz’s music were not available, so Ravel composed his Bolero, based on an 18th-century Spanish dance-form that is characterised by a moderate tempo and three beats to a bar. It has ‘no music’ in that, having established a two-bar rhythmic ostinato, with its characteristic upbeat triplet and sextuplet figures tapped out by the snare drum, Ravel introduces his simple theme, which he described as of the ‘usual Spanish-Arabian kind’. Where the rhythmic ostinato, however, is relatively terse, the C major melody is in fact very expansive, unfurling over 16 bars and often pausing on a sustained G between its ornate arabesque motifs. It is reiterated over and over again, embodied in different orchestral colours each time, including a marvellous moment where it appears simultaneously in three keys moving in sinuous parallel. The work’s shifting palette of colour and inexorable rhythmic tread builds massive tension, which is released explosively in its final bars as the music suddenly reaches the new key of E major.

RAVEL AT PIANO wITH GERSHwIN (RIGHT) NEw YORK 1928

ABOUT THE ARTISTS

TADAAKI OTAKA conductor

Tadaaki Otaka has been Principal Guest Conductor of the MSO since 2010, when he also became Artistic Director of the New National Theatre in Tokyo.

His activities include concert, opera, radio and television, and also premieres of works by such composers as Toru Takemitsu and Akira Miyoshi.

He made his debut in 1971 with the NHK Symphony Orchestra and was Permanent Conductor of the Tokyo Philharmonic for 20 years, becoming their Conductor Laureate in 1991. He is Principal Conductor of the Sapporo Symphony and of the Kioi Sinfonietta, which he founded in 1995. In 1987 he was made Music Director of the BBC National Orchestra of Wales, and became their Conductor Laureate in 1996. His extensive guest conducting has included many visits to Australia, Asia, Europe and North America, and he is a well-known figure in the UK through his work with the BBC NOW, his many Proms appearances, and his engagements with most of the major British orchestras.

Forthcoming highlights include the 2012 Proms at the Royal Albert Hall, where he will conduct the BBC NOW in a performance, with Jonathan Lemalu, of Ireland’s These Things Shall Be and Walton’s Belshazzar’s Feast.

Tadaaki Otaka is a recipient of the Suntory Medal, the Elgar Medal, and an honorary Fellowship from the Royal Welsh College of Music and Drama. He was awarded the CBE in 1997 in recognition of his contribution to music in the UK.

Meet the MSO’S New ObOe D’aMOre!The Melbourne Symphony Orchestra’s new oboe d’amore features in this performance of Ravel’s Bolero. Alongside the Orchestra’s new wooden flutes and contrabass clarinet, the purchase of these new instruments has been achieved entirely through donor support, and we extend a deep thank you to all who gave us a hand – please visit mso.com.au/give to see our Instrument Appeal Donor List.

Your generous contributions help us to present music at the very highest level. Thank you!

Make your personal contribution and become a welcome member of our donor community. Please contact The Philanthropy Manager, T 03 9626 1107, or email philanthropy@mso.com.au or donate online at www.mso.com.au/give.

The music’s erotic charge of constraint and release mirrors the scenario for Ida Rubinstein’s ballet, choreographed by Bronislava Nijinska (Nijinsky’s sister). Ravel had, by no means idly, suggested Bolero could accompany a story where passion is contrasted by the mechanised environment of a factory. Nijinska, however, had the dancer in an empty café, dancing alone on a table as the room gradually fills with men overcome, as Michael J. Puri notes, ‘by their lust for her,’ which they express through ever more frenetic dance.

Gordon Kerry © 2007/12

The Melbourne Symphony Orchestra first performed Ravel’s Bolero in September 1946 at a Young People’s concert under conductor Bernard Heinze, and most recently in June 2010 with Anthony Inglis.

RAVEL (RIGHT) wITH VASLAV NIJINSKY

KATARINA KARNéUS mezzo-soprano

Born in Stockholm, Katarina Karnéus studied at Trinity College of Music in London, and at the National Opera Studio. In 1995 she won the BBC Cardiff Singer of the World Competition. Since then she has appeared throughout the world in opera, concert and recital and worked with many leading conductors including Rattle, Mackerras, Elder, Norrington, Pappano, Tilson Thomas, Welser-Möst, Runnicles and Bolton.

She has appeared with the Metropolitan Opera, Royal Opera House Covent Garden, Glyndebourne Festival Opera, Paris Opera, Netherlands Opera, La Monnaie, Geneva Opera, Frankfurt Opera, and the Berlin and Bavarian State Operas.

Highlights of recent seasons have included Brangäne (Tristan und Isolde) in Glyndebourne, Ariane (Ariane et Barbe-bleu) in Frankfurt, Elisabetta (Maria Stuarda) in Berlin, The Composer (Ariadne auf Naxos) in Geneva, and the title role in Xerxes in Stockholm.

Her recordings include a recital disc of songs by Mahler, Strauss and Marx with Roger Vignoles; Ravel’s Chansons madécasses with Stephen Kovacevich, Emmanuel Pahud and Truls Mørk; orchestral songs by Schreker with the BBC Philharmonic and Sinaisky; Szymanowski’s The Love Songs of Hafiz with the City of Birmingham Symphony and Rattle; three Mahler song cycles with the Gothenburg Symphony Orchestra and Susanna Mälkki; and Mahler’s Symphony No.8 with the San Francisco Symphony conducted by Tilson Thomas, which received Grammy Awards for Best Album and Best Choral Performance 2009. Her performance of Brangäne in Tristan und Isolde from Glyndebourne can be seen on DVD.

JEAN-EFFLAM BAVOUzETpiano

A former student of Pierre Sancan at the Paris Conservatoire, Jean-Efflam Bavouzet won first prize in the International Beethoven Competition in Cologne as well as the Young Concert Artists Auditions in New York in 1986. In 1995 he was invited by Sir Georg Solti to give his debut with the Orchestre de Paris and is widely considered to be Solti’s last discovery.

Recent highlights include his debut with the New York Philharmonic, a US tour with Daniele Gatti and the National Orchestra of France, a 2011 BBC Prom with Vladimir Jurowski and the London Philharmonic, and concerts with the Boston Symphony, Deutsches Symphonie-Orchester Berlin, Philharmonia Orchestra, and the Adelaide and Sydney Symphony orchestras, among others.

An active recitalist, he regularly performs at venues including the Southbank Centre, Wigmore Hall, Concertgebouw, and La Roque d’Anthéron and Piano aux Jacobins Festivals in France. He recently received the annual Classical Elites Beijing Instrumental Recital of the Year award for his complete Beethoven sonatas cycle at the Forbidden City Concert Hall in Beijing.

As well as his performing activities, he is Artistic Director of the Lofoten Piano Festival in Norway and also recently completed a piano transcription of Debussy’s Jeux, which he performed during his first visit to Australia in 2011.

His award-winning discography includes a CD of works by Debussy and Ravel with the BBC Symphony and Tortelier; the Bartók Piano Concertos with the BBC Philharmonic and Noseda; and multi-volume CD sets of Haydn piano sonatas and the complete piano works of Debussy.

ABOUT THE ARTISTS©

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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 Taylor

SECOND VIOLINSMatthew TomkinsPrincipal

Robert MacindoeAssociate Principal

Monica CurroAssistant Principal

Mary AllisonIsin CakmakciogluCong GuAndrew HallRachel Homburg Christine JohnsonDavid ShafirIsy WassermanPhilippa WestPatrick WongRoger YoungJenny Khafagi* Jacqueline Edwards*Markiyan Melnychenko*Lynette Rayner*Matthew Rigby*

VIOLASChristopher CartlidgePrincipal

Fiona Sargeant Associate Principal

Trevor JonesAssistant Principal

Katie BettsLauren BrigdenKatharine BrockmanSimon CollinsGabrielle HalloranCindy WatkinJustin WilliamsCaleb WrightCeridwen Davies*Caroline Henbest*Simon Oswell*

CELLOSDavid BerlinPrincipal

Sarah MorseAssociate Principal

Nicholas BochnerAssistant Principal

Miranda BrockmanRohan de KorteSharon DraperJoan EvansKeith JohnsonAngela SargeantMichelle WoodRachel Atkinson*Kalina Krusteva-Theaker*Zoe Wallace*

DOUBLE BASSESSteve ReevesPrincipal

Andrew MoonAssociate Principal

Sylvia HoskingAssistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen NewtonBonita Williams*Esther Wright*

FLUTESPrudence DavisPrincipal

Wendy ClarkeAssociate Principal

Sarah BeggsCarolyn Berlin*

PICCOLOAndrew Macleod Principal

OBOESJeffrey CrellinPrincipal

Vicki PhilipsonAssociate Principal

Ann Blackburn*Rachel Cashmore*

COR ANGLAISMichael PisaniPrincipal

CLARINETSDavid ThomasElisabeth Murdoch Principal Clarinet Chair

Philip ArkinstallAssociate Principal

Craig Hill

BASS CLARINETJon CravenPrincipal

BASSOONSElise MillmanActing Principal

Brock Imison Acting Associate Principal

Natasha Thomas

CONTRABASSOONChloe Turner*

HORNSAndrew BainPrincipal

Stefan Bernhardsson*#Guest Principal

Geoff Lierse Associate Principal

Saul LewisPrincipal 3rd

Trinette McClimontRachel SilverGeorgia Ioakimidis-MacDougall*

TRUMPETSGeoffrey Payne Principal

Shane HootonAssociate Principal

William EvansJulie Payne

TROMBONESBrett KellyPrincipal

Jason Redman*^Guest Principal

Kenneth McClimontAssociate Principal

Michael Bertoncello

BASS TROMBONEEric KlayPrincipal

TUBATim BuzbeePrincipal

TIMPANIChristine TurpinPrincipal

PERCUSSIONRobert Clarke Principal

John ArcaroRobert CossomEvan Pritchard* Daniel Richardson*Leah Scholes* Greg Sully*

HARPJulie Raines Principal

Delyth Stafford*

CELESTELeigh Harrold*

SOPRANO SAxOPHONETom Martin*

TENOR SAxOPHONEJason Xanthoudakis*

THE ORCHESTRAMELBOURNE SYMPHONY ORCHESTRASir Andrew Davis Chief Conductor Designate Tadaaki Otaka Principal Guest Conductor Benjamin Northey Patricia riordan associate Conductor Chair

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

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

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 Iceland Symphony Orchestra^ Courtesy of Queensland Symphony Orchestra

DONORS

MaeSTro PaTroNS (pledging $10,000+ annually)

M P Chipman, Andrew and Theresa Dyer, Tim and Lyn Edward, Rachel and Hon. Alan Goldberg AO QC, Tom Jacob, Ilma Kelson Music Foundation, Mimie MacLaren, Onbass Foundation, Elizabeth Proust AO, The Ullmer Family Endowment, Lyn Williams AM, Anonymous (2)

IMPreSarIo PaTroNS (pledging $20,000+ annually)

John McKay and Lois McKay, Bevelly and Harold Mitchell AC, Dame Elisabeth Murdoch AC DBE, Inés Scotland

PrINCIPaL PaTroNS (pledging $5000+ annually)

Kaye and David Birks, Jennifer Bruckner, The Cuming Bequest, Mr Dominic Dirupo and Ms Natalie Dwyer, Susan Fry and Don Fry AO, Jill and Robert Grogan, Louis Hamon OAM, Nereda Hanlon and Michael Hanlon AM, Hartmut and Ruth Hofmann, Peter and Jenny Hordern, Mr Greig Gailey and Dr Geraldine Lazarus, Norman and Betty Lees, Mr and Mrs D R Meagher, Wayne and Penny Morgan, Ian and Jeannie Paterson, Mrs Margaret S. Ross AM and Dr Ian C. Ross, Joy Selby Smith, Maria Sola and Malcolm Douglas, Kee Wong and Wai Tang, Anonymous (1)

aSSoCIaTe PaTroNS (pledging $2500+ annually)

Dr Bronte Adams, Will and Dorothy Bailey Bequest, Peter and Mary Biggs, Mrs S Bignell, Mr John Brockman OAM and Mrs Pat Brockman, David and Emma Capponi, Paul Carter, Peter and Leila Doyle, Dr Helen M Ferguson, Robert and Jan Green, John and Agita Haddad, Susan and Gary Hearst, Gillian and Michael Hund, Peter Lovell, Jan Minchin, Marie Morton, Dr Paul Nisselle AM, Rae Rothfield, Craig and Jennifer Semple, Gai and David Taylor, Mr Tam Vu and Dr Cherilyn Tillman, Bert and Ila Vanrenen, Hon. Michael Watt QC and Cecilie Hall, Barbara and Donald Weir KSJ, Joanne Wolff, Brian and Helena Worsfold, Anonymous (2)

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 BrehenyJill and Christopher BuckleyBill and Sandra BurdettJan and Peter Clark Judith M ConnellyJohn and Lyn Coppock Ann Darby in memory of Leslie J. DarbyPanch Das and Laurel Young-DasMary and Frederick Davidson Pat and Bruce Davis Sandra DentLisa Dwyer and Dr Ian DicksonJohn and Anne Duncan William J Forrest AMJoanna FoulkesDavid I Gibbs and Susie O’Neill

The Pratt Family FoundationThe Cybec Foundation: Cybec 21st Century Australian Composers ProgramSchapper Family FoundationRob Cossom: Snare Drum Award

The Trust Company as trustee of the Fred P. Archer TrustThe Phyllis Connor Memorial Trust, as administered by Equity Trustees The 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.

Merwyn and Greta Goldblatt 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 JenningsDr Elizabeth A Lewis AMNorman Lewis in memory of Dr Phyllis LewisDr Anne Lierse Violet and Jeff LoewensteinChristopher and Anna LongVivienne Hadj and Rosemary MaddenSandra and Leigh Masel

Trevor and Moyra McAllisterAllan 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 SmorgonMrs 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

SHANGHAI • BEIJING • HANGZHOU

13–27 October 2012 (15 days)Spend a week at the 15th Beijing Music Festival, now established as

China’s premier performing arts festival. Whilst in Beijing see Vladimir Ashkenazy and the Sydney Symphony perform with acclaimed

Chinese cellist Jian Wang in the National Centre for the Performing Arts (‘Bird’s Egg’).

In Shanghai, attend performances at the Grand Theatre and Oriental Arts Centre. You will also visit Hangzhou, famous for its beautiful West Lake, tea villages and temples, and home to the

Hangzhou Grand Theatre.

Beijing Music Festival and thePerforming Arts in China

For detailed information call 1300 727 095 or visit www.renaissancetours.com.au

with Damien Beaumont