Thomas Hampson Sings Mahler Concert Program

THOMAS HAMPSON SINGS MAHLER 7 JUNE 2018 Arts Centre Melbourne, Hamer Hall 8 JUNE 2018 Costa Hall, Geelong

CONCERT PROGRAM

Melbourne Symphony Orchestra Andrea Molino conductor Thomas Hampson baritone Mahler Totenfeier Mahler Lieder eines fahrenden Gesellen INTERVAL Messiaen Le Tombeau Resplendissant R. Strauss Tod und Verklärung

Pre-Concert conversation Join us for a pre-concert conversation with Matthew Lorenzen inside Hamer Hall (Thursday) and Costa Hall (Friday) from 6.15pm.

Running time: 2 hours, including a 20-minute interval In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your 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.

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MELBOURNE SYMPHONY ORCHESTRA

ANDREA MOLINO CONDUCTOR

Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s longestrunning professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013.

Engaging more than 4 million people each year, the MSO reaches diverse audiences through live performances, recordings, TV and radio broadcasts and live streaming.

Andrea Molino recently conducted Shostakovich’s The Nose and Szymanowski’s King Roger for Opera Australia. At home in 20th century and 21st century repertoire, he has also conducted Verdi’s Rigoletto, Il Trovatore, and La Traviata as well as works by Rossini, Mozart, Haydn and Richard Strauss. He opened La Fenice’s 2010 concert season in Venice with the world premiere of Maderna’s Requiem (which he has also recorded). He has conducted world premiere productions such as Mosca’s Signor Goldoni.

The MSO works with Associate Conductor Benjamin Northey and Cybec Assistant Conductor Tianyi Lu, as well as with such eminent recent guest conductors as Tan Dun, John Adams, Jakub Hrůša and Jukka-Pekka Saraste. It also collaborates with nonclassical musicians such as Elton John, Nick Cave and Flight Facilities.

Andrea has conducted the Brussels Philharmonic, Dresden Symphony (with the project aghet, dedicated to the 100th anniversary of the Armenian genocide), and the BBC Scottish Symphony Orchestras. As a composer, his main interest is innovative, multimedia-oriented music theatre.

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THOMAS HAMPSON BARITONE

Thomas Hampson’s honours include France’s Commandeur dans l’Ordre des Arts et des Lettres, induction into Gramophone’s Hall of Fame and a Living Legend Award from the Library of Congress.

Having appeared in the world’s major houses, Thomas Hampson has a repertoire of over 80 roles.

His discography comprises more than 170 albums. Recently he has appeared at the Vienna State Opera reprising a signature-role, Verdi’s Simon Boccanegra and given concerts in Stuttgart, Cologne, Budapest, BadenBaden, Paris and Lisbon.

Thomas also gave the Russian premiere in Moscow of Michael Daugherty’s song-cycle Letters from Lincoln, written specially for him, and conducted music from Bernstein’s On the Town. Through the Hampsong Foundation (founded 2003), he employs the art of song to promote intercultural dialogue and understanding.

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PROGRAM NOTES GUSTAV MAHLER

(1860-1911)

Totenfeier ‘If this is music, then I know nothing of music,’ said Hans von Bülow, the legendary conductor, when, in 1891, Mahler played through a long symphonic poem entitled Todtenfeier (funeral rites) to him at the piano.

Todtenfeier, to give it its original (and deliberately archaic) spelling, was conceived as a sequel to the First Symphony, on which Mahler was still working when he conceived of the new piece. Like Beethoven’s Eroica and numerous works by Richard Strauss, the First Symphony was intended as the musical portrait of a hero. Composed in 1888, Totenfeier was to be the hero’s funeral rites; it is almost inevitable that the movement should be in C minor, like the Funeral March in Beethoven’s Symphony.

Totenfeier sought, as Mahler later put it, to ask: ‘Why did you live, why suffer? Is it all nothing but a huge, terrible joke?’ The original version of Totenfeier is an only very slightly shorter version of what would become the first movement of the Symphony No.2, the ‘Resurrection’, so Mahler’s note for an early performance of the whole symphony is germane to this version: We are standing beside the coffin of a man beloved. For the last time his life, his battles, his sufferings and his purpose pass before the mind’s eye. And now, at this deeply stirring moment, when we are released from the paltry distractions of everyday

life, our hearts are gripped by a voice of awe-inspiring solemnity, which we seldom or never hear above the deafening traffic of mundane affairs.

It opens with the same dramatic gesture. One theme, which strides through the stormy texture, often as a trumpet call, returns in the finale to depict the resurrection of the dead. The second subject, as in the more familiar version, is a limpid and lyrical theme. The movement is long and structurally complex, with the allusion to the Dies irae plainchant warning of the Last Judgement still in evidence during the development.

Occasionally Totenfeier shows seams that are more skilfully disguised in the final version. Mahler calls for a standard late-Romantic orchestra for Totenfeier – large, but still much smaller than that required for the Symphony: here, along with the regular string band, he restricts himself to triple, not quadruple winds, and a regular complement of brass, including only four horns, three trumpets and trombones, tuba, a single harp, no organ and a modest percussion section of only one timpanist and two percussionists.

The enormous tonal palette to which we are now accustomed is thus a little restricted, but Mahler nevertheless manages a considerable variety of colours, and, indeed, his orchestration here, as everywhere, is as notable for its kaleidoscope of delicate effects as for its monumental ones, such as the crashing chords that seem to threaten total collapse later in the movement. One may miss moments of sheer volume – for instance, the later enhancement provided by the 5

tam-tam when the opening gesture is reprised halfway through the piece – and there is a moment before the final recapitulation of the opening where the energy trails off in a way that Mahler has overcome in the later version. Nonetheless, Totenfeier’s range of mood asks those searching questions, and reflects Mahler’s remark that ‘You are battered to the earth with clubs and lifted to the heights on angels’ wings’.

Mahler was for a time stuck with Totenfeier, and even when he resolved to make it the first movement of a symphony. It was only with von Bülow’s death and burial in 1894 that the idea of a choral finale celebrating the Resurrection would come to him. © Gordon Kerry 2018 The Melbourne Symphony Orchestra gave the first Australian performance of Totenfeier, under Karl Anton Rickenbacher on 10 February 1988. This is the Orchestra’s only performance since then.

GUSTAV MAHLER

(1860-1911)

Lieder eines fahrenden Gesellen Songs of a Wayfarer Wenn mein Schatz Hochzeit macht (On my sweetheart’s wedding day) Ging heut’ Morgen über’s Feld (I went out this morning into the fields) Ich hab’ ein glühend Messer (I have a red-hot knife) Die zwei blauen Augen (The two blue eyes) The head of the opera house at Kassel in the early 1880s was Wilhelm Treiber, a former army officer who ran the company on military lines. Gustav 6

Mahler (the music and chorus director at the time) appears twice in the Director’s Register of Fines. The first time was for ‘…the most annoying habit of walking very noisily on the heels of his boots during rehearsals and performances’.

The second offence involved causing female members of the company to break out in ‘peals of laughter’ during conversation with them.

It is tempting to suppose that one of those giggling female singers was Johanna Richter, a blue-eyed coloratura soprano with whom Mahler was completely besotted. It is unclear when or at whose instigation their relationship soured. Some of his letters imply he had tried to break things off; but when the young composer turned to his music, the tone is of a jilted lover.

He wrote to a friend: I have composed a song cycle, presently of six songs [later four], dedicated to her. She has not seen them. What could they tell her beyond what she already knows?

I will enclose [to you] the last song, although the inadequate words cannot say even a small part. The songs are a sequence, in which a wayfaring journeyman, who has had a great sorrow, goes out into the world and wanders aimlessly…

The term ‘journeyman’ (Gesellen in German) is not frequently heard these days. Technically, it is someone who has completed their apprenticeship but is not self-employed, perhaps requiring further practical experience before being admitted to a professional organisation. Mahler’s title, which could be literally translated as Songs of a Travelling Journeyman, therefore

already implies a certain pathos: someone looking for work, for a home; someone who has left their master and not found another. Gesell can also mean ‘companion’, lending an ironic touch to this solitary subject.

Mahler was reiterating a principal recurring theme of 19th-century German Lieder: the world-weary solo traveller, roaming unloved and unmissed. Many of the great song cycles (Schubert’s Die Winterreise and Die schöne Müllerin, to name two) have a similar protagonist, disappointed in love. It’s also remarkable how often these characters, as well as Mahler’s wayfarer, find consolation under a tree.

Mahler chose to write his own poetry, rather than (as others had done before him) selecting some of the famous works on this topic by Goethe, Heine or Schiller, all of whom would have been considered a little old-fashioned by this time anyway. In doing so, the young composer paralleled Richard Wagner, whom he idolised and who spent most of his artistic life searching for the ‘totally unified artwork’. Mahler was less confident of his ‘inadequate words’ than of his music. He worried they might be perceived as naïve or even trite.

What he in fact produced was a fourmovement song cycle, equivalent in scale and form to a miniature symphony. Indeed, echoes of certain phrases in Songs of a Wayfarer can be found in Mahler’s Symphony No.1.

The earliest autograph, for voice and piano, is from 1884 but written above the score are the words ‘for a deep voice with orchestral accompaniment’, which suggests he always had

certain instruments in mind. Mahler orchestrated the work probably in the summer of 1896, shortly before its official premiere.

The opening motif of On my Sweetheart’s Wedding Day possibly reflects the composer’s Moravian heritage in its folk-like character.

(A similar phrase is heard in the third movement of the First Symphony.)

The singer, although melancholy, still notices the beauty of the birds and flowers, but can only think of them in terms of what is lost.

The second song has a similar idea: the wayfarer responds to the heartening sounds of the finch and the bluebells merely by way of comparison with his own situation. The central musical idea of this song, outlined in the opening phrase ‘Ging heut’ Morgen über’s Feld’ (I went out this morning into the fields), later provided a musical starting point for the First Symphony. The sorrowful, resigned coda is an ideal transition, elegantly bridging the gap between the joyous opening of the second song and the almost shocking violence of the third.

I have a Red-Hot Knife moves the protagonist beyond gentle sorrow and into extremes of torment, marked most obviously by the repeated plaint ‘O weh!’ and the energy of the orchestration.

Trembling strings and winds keep the emotional level high even when the dynamic is low. A calm moment in C major is only a warning pause before the storm breaks loose again.

One of the most famous elements of Mahler’s Symphony No.1 is a funeral march, often known as a minor-key 7

version of Frère Jacques; it contrasts with a G major section. The Two Blue Eyes presages this contrasting section, in a portion of the song which begins ‘Auf der Strasse’ (By the road). Overwhelming sadness eventually gets the better of this gentle tune, twisting it back into a minor key, leaving the audience to wonder if the journeyman has indeed found restful sleep – or death.

Katherine Kemp Symphony Australia © 1998 The Melbourne Symphony Orchestra first performed Mahler’s Songs of a Wayfarer on 25 October 1958 with conductor Kurt Woess and mezzo-soprano Elena Nikolaidi, and most recently in September 1986 with Hiroyuki Iwaki and Margreta Elkins.

OLIVIER MESSIAEN

(1908-1992)

Le Tombeau resplendissant (The resplendent tomb) Vif – modéré – presque lent – vif – lent Late in life Messiaen offered this muchquoted defence of his life’s work: The first idea that I wished to express…is the existence of the truths of the Catholic faith. This is the main aspect of my work, the most noble, without doubt the most useful, the most valid.

It is an extremely medieval aesthetic, but the fact that Messiaen’s whole output stems from his religious conviction creates some wonderful paradoxes. One of the towering figures of the 20th century’s music, he dutifully played the organ at weekly services in a Parisian church for some 60 years, yet published only one short piece for specifically liturgical use. He developed an intensely personal musical idiom 8

to reflect his unfashionable theological meditations, yet was the revered teacher of generations of composers as diverse as Stockhausen, Pierre Boulez, Iannis Xenakis through to the much feted (and much younger) George Benjamin; he went ‘back to nature’ and explored birdsong to create a music anything but faux-naif; his religion presented no impediment to representing erotic love as a reflection of divine love in works like the Turangalîla-symphonie.

The convergence of divine and erotic love was hard-won for Messiaen though. In works from the 1930s there is still a more traditionally ascetic sense of the opposition of spirit and flesh. In the ‘combat between death and life’, to borrow another Messiaen title, mystical union comes only with the denial of the flesh and passion.

Le Tombeau resplendissant dates from 1931 and reflects this, as seen in Messiaen’s preface to the work: My youth is dead: I am its executioner.

Anger bounding, anger overflowing!

Anger like a spurt of blood, anger like a hammer blow! A circle at the throat, hands full of rage, a face of cold hate!

Despair and weeping!

My youth passed within a music of flowers. I had in view an enchanted stairway. On it shone the plumage of the bluebird of illusions. The melody of the atmosphere rose up, joyously sad.

My youth is dead: I am its executioner. Where, fury, are you leading me? Why, trees, do you gleam through the night? Advance, retreat, hold out your arms! A sea swells at my ears! And it cracks, spins, dances, shouts, yells: the void enters into me!

What is this resplendent tomb? It is the tomb of my youth, it is my heart.

Lit by the flame forever surging, lit by the blinding clarity of an inner voice: ‘Come unto me, all ye that labour and are heavy laden, and I will give you rest. Blessed are the meek: for they shall inherit the earth. Blessed are they that mourn: for they shall be comforted. Blessed are the pure in heart: for they shall see God.’ The verbal rhetoric is matched musically by implacably energetic music, challenged and gradually superseded by the final extended, meditative slow section in E major for muted strings. The work is an image of the theological processes of purgation, illumination and finally, union. © Gordon Kerry This is the first performance of this work by the Melbourne Symphony Orchestra.

RICHARD STRAUSS (1864-1949)

Tod und Verklärung (Death and Transfiguration), Op.24 On his deathbed, Strauss famously remarked to his daughter-in-law that he ‘heard so much music’. She offered him manuscript paper but he replied that he had ‘composed it 60 years before in Tod und Verklärung. This is just like that.’ In 1888, however, Strauss was 24 years old and in perfect health.

His career was beginning to take wing, and as a relatively recent convert to the ideals of the ‘New German’ school of music – represented by Liszt, Wagner and their followers – Strauss largely abandoned the classicising, Brahmsian aesthetic which had been

drilled into him by his father, horn player and composer Franz Strauss.

Following Liszt, Strauss explored frankly descriptive music in his Aus Italien, and embarked on a series of symphonic poems such as Don Juan and Macbeth, in which his music embodied the events and characters in literary works of Lenau and Shakespeare respectively. In these and following works in the genre Strauss honed a musical idiom that enabled him to write music of great scenic and psychological immediacy in the great series of operas that he began, with Guntram, at around the time of Tod und Verklärung. But he did so by modifying the ‘symphonic’ principles of thematic contrast, key relationships and motivic development that had sustained both Brahms’ symphonies and the ‘endless melody’ of Wagner.

The program, or narrative structure, of Tod und Verklärung was Strauss’ own. He explained to a friend that the work depicts ‘the dying hours of a man who had striven towards the highest idealistic aims, maybe indeed those of an artist’. First, we hear the man’s ‘irregular breathing’ and heartbeat, softly sounded in strings and timpani.

The harp introduces two motifs, a dipping melody from high on the flute and a rising chromatic figure from the oboe, perhaps representing the man regaining consciousness. The breathing music returns, followed by a melody, consisting of a rising octave and stepwise descent, which presages the music’s later depiction of the man’s memories of childhood and youth.

The immobile opening section is shattered by music of sudden agony 9

that introduces a new urgent theme and reaches a forceful climax. There follows a series of reminiscences, with development of some of the themes heard in the opening section. It’s not hard to imagine the dying man remembering childhood, love, physical vigour; but increasingly a baleful syncopated figure, based on the irregular breathing of the start, seeks to interrupt these reveries. The suffering man refuses to bow to the pain, insisting on the ‘memory’ themes in the face of the assault of pain. He is rewarded by three statements of the theme representing the Ideal: a simple upward-moving major melody brightened by the harmonic step from the tonic to a major chord one degree higher. The third statement combines with one of the heroic themes from earlier, but even here at what would be the climax of a symphonic movement, the resolution is withheld and the music sinks back to earth. The fast agonised music returns; brutal rhythms and a sudden upward rush of string and woodwind figures tell us that the man has died.

From the depths of the orchestra, the tam-tam (the only percussion in this score) sounds softly. The music, based on the ‘childhood’ theme, very gradually billows like cloud, finally reaching a stratospheric high G in the violins. The final coda is an ecstatic rhapsody on the ‘Ideal’ motif, passing through different keys and colours.

Unlike its first appearances, the motif here reaches a climax, but then gradually fades away. Strauss has been criticised for failing to depict this blissful moment convincingly, but he himself fully understood that the 10

Ideal can only be ‘gloriously achieved in everlasting space’; such a thing ‘could not be achieved here below’.

Like poets who have fallen silent throughout the ages when asked to put the ineffable into words, Strauss’ music points the way, and produces a work of great beauty as it does so.

In one of his last major utterances, ‘Im Abendrot’ (At dusk) from the Four Last Songs, Strauss quotes the ‘Ideal’ theme when the singer, watching the unbearably beautiful sunset with her partner of many years, asks, ‘Is this, perhaps, death?’ © Gordon Kerry 2014 The Melbourne Symphony Orchestra first performed this work on 23 August 1941 under conductor Edgar Bainton, and most recently in November 2012 with Tadaaki Otaka.

TEXT GUSTAV MAHLER Lieder eines fahrenden Gesellen (Songs of a Wayfarer)

1. Wenn mein Schatz Hochzeit macht

On my sweetheart’s wedding day

Wenn mein Schatz Hochzeit macht, Fröhliche Hochzeit macht, Hab’ ich meinen traurigen Tag! Geh’ ich in mein Kämmerlein, Dunkles Kämmerlein, Weine, wein’ um meinen Schatz, Um meinen lieben Schatz!

On my sweetheart’s wedding day, joyful wedding day, it will be a sad day for me!

I will go to my little room, my dark little room and weep for my sweetheart, my dear sweetheart!

Blümlein blau! Blümlein blau!

Verdorre nicht! Verdorre nicht!

Vöglein süss, Vöglein süss, Du singst auf grüner Heide!

Ach, wie ist die Welt so schön!

Ziküth! Ziküth!

Little blue flower! Little blue flower!

Do not fade! Do not fade!

Sweet little bird, sweet little bird, you sing on the green heath.

Ah! How beautiful the world is!

La-la! La-la!

Singet nicht! Blühet nicht!

Lenz ist ja vorbei!

Alles Singen ist nun aus.

Des Abends, wenn ich schlafen geh’ Denk’ ich an mein Leide.

An mein Leide!

Do not sing! Do not bloom!

Spring is over and gone!

All singing is now over.

At evening, when I go to sleep, I think of my sorrow!

Of my sorrow!

2. Ging heut’ Morgen über's Feld

I went out this morning into the fields

Ging heut morgen übers Feld, Tau noch auf den Gräsern hing; Sprach zu mir der lust’ge Fink: ‘Ei du! Gelt? Guten Morgen! Ei gelt?

Du! Wird’s nicht eine schöne Welt?

Zink! Zink! Schön und flink!

Wie mir doch die Welt gefällt!’

I went out this morning into the fields, the dew was still hanging on the grass, the happy finch said to me: ‘Hey, you! Good morning! Yes, you!

Right! Isn’t it a beautiful world?

Chirrup! Chirrup! Lovely and lively!

How I love the world!’

Auch die Glockenblum’ am Feld Hat mir lustig, guter Ding’, Mit den Glöckchen, klinge, kling, klinge, kling, Ihren Morgengruss geschellt: ‘Wird’s nicht eine schöne Welt?

Kling, kling! Schönes Ding!

Wie mir doch die Welt gefällt!

Heia!’

Even the bluebells in the field merrily and with good spirits ring out to me with their little bells, ting, ting, ting, their morning greeting: ‘Isn’t it a beautiful world?

Ting, ting! What a lovely thing!

How I love the world!

Hey-ho!’

Please turn your page quietly 11

Und da fing im Sonnenschein Gleich die Welt zu funkeln an; Alles Ton und Farbe gewann Im Sonnenschein!

Blum’ und Vogel, gross und klein!

‘Guten Tag, ist’s nicht eine schöne Welt?

Ei du, gelt! Schöne Welt!’

Nun fängt auch mein Glück wohl an?

Nein, nein, das ich mein’, Mir nimmer blühen kann!

And then in the sunshine, the world began to sparkle; everything took on sound and colour in the sunshine!

Flowers and birds, great and small!

‘Good morning! Isn’t this a beautiful world?

Hey! You! It’s a lovely world!’

Now will my happiness also begin?

No, no, that happiness can never bloom for me!

3. Ich hab’ ein glühend Messer

I have a red-hot knife

Ich hab’ ein glühend Messer, Ein Messer in meiner Brust, O weh! O weh! Das schneid’t so tief In jede Freud’ und jede Lust, So tief, so tief!

I have a red-hot knife, A knife in my chest, Ah, pain! Ah, pain! It cuts so deep through every joy and pleasure.

So deep, so deep.

Ach, was ist das für ein böser Gast!

Nimmer hält er Ruh’, Nimmer hält er Rast, Nicht bei Tag, nicht bei Nacht Wenn ich schlief!

O weh! O weh!

Alas, what an evil guest!

It is never still, it never rests, not by day, not by night when I sleep.

Oh, woe! Oh, woe!

Wenn ich in dem Himmel seh’, Seh’ ich zwei blaue Augen steh’n.

O weh! O weh!

Wenn ich im gelben Felde geh’, Seh’ ich von Fern das blonde Haar Im Winde weh’n.

O weh! O weh!

Wenn ich aus dem Traum auffahr’ Und höre klingen ihr silbern Lachen, O weh! O weh!

Ich wollt’, ich läg auf der schwarzen Bahr’, Könnt’ nimmer, nimmer die Augen aufmachen!

When I look up at the sky, I see there two blue eyes.

Oh woe! Oh, woe!

When I go through the golden fields I see from far away blond hair rippling in the wind.

Oh, woe! Oh, woe!

When I wake up from a dream and hear the ringing of her silver laughter, Oh, woe! Oh, woe!

I wish I were lying on a blackened bier, and could never ever open my eyes again!

4. Die zwei blauen Augen

The two blue eyes

Die zwei blauen Augen von meinem Schatz, Die haben mich in die weite Welt geschickt.

Da musst ich Abschied nehmen Vom allerliebsten Platz!

O Augen blau, Warum habt ihr mich angeblickt?

Nun hab’ ich ewig Leid und Grämen!

The two blue eyes of my sweetheart have sent me out into the world.

I must take my leave of the place I love more than anywhere!

O blue eyes, Why did you ever look at me?

Now I have only eternal grief and pain!

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Ich bin ausgegangen in stiller Nacht In stiller Nacht wohl über die dunkle Heide.

Hat mir Niemand Ade gesagt, Ade, Ade! Mein Gesell’ war Lieb’ und Leide!

I went out in the still night, in the still night across the dark heath.

No one said farewell to me, farewell, farewell!

Love and Sorrow were my companions!

Auf der Strasse steht ein Lindenbaum, Da hab’ ich zum ersten Mal im Schlaf geruht!

Unter dem Lindenbaum, Der hat seine Blüten über mich geschneit, Da wusst’ ich nicht, wie das Leben tut, War alles, alles wieder gut!

Alles! Alles!

Lieb’ und Leid!

Und Welt und Traum!

By the road stands a linden tree, and there for the first time I slept peacefully.

Under the linden tree, whose blossoms snowed gently down on me, I no longer knew what life was like, everything, everything was good again!

Everything! Everything!

Love and pain and world and dream!

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MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor Anthony Pratt#

Tianyi Lu

Assistant Conductor The Cybec Foundation#

SECOND VIOLINS

CELLOS

Matthew Tomkins

David Berlin

Robert Macindoe

Rachael Tobin

Monica Curro

Nicholas Bochner

Principal The Gross Foundation# Associate Principal

Hiroyuki Iwaki

Assistant Principal Danny Gorog and Lindy Susskind#

FIRST VIOLINS

Mary Allison Isin Cakmakcioglu Freya Franzen

Conductor Laureate (1974–2006)

Dale Barltrop Concertmaster

Sophie Rowell

Concertmaster The Ullmer Family Foundation#

Peter Edwards

Assistant Principal John McKay and Lois McKay#

Kirsty Bremner Sarah Curro

Michael Aquilina#

Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Kirstin Kenny Ji Won Kim Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor Michael Aquilina#

Amy Brookman* Michael Loftus-Hills*

Anonymous#

Zoe Freisberg Cong Gu Andrew Hall

Andrew and Judy Rogers#

Associate Principal Assistant Principal

Miranda Brockman

Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon#

Keith Johnson Sarah Morse Angela Sargeant Maria Sola#

Michelle Wood

Andrew and Theresa Dyer#

Isy Wasserman Philippa West Patrick Wong Roger Young Jacqueline Edwards*

Sharon Grigoryan^*

VIOLAS

Associate Principal

Christopher Moore

Assistant Principal

Principal Di Jameson#

DOUBLE BASSES Steve Reeves Principal

Andrew Moon

Sylvia Hosking

Lauren Brigden

Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton

Katharine Brockman Christopher Cartlidge

Emma Sullivan* Axel Ruge*

Anthony Chataway

FLUTES

Fiona Sargeant

Associate Principal Mr Tam Vu and Dr Cherilyn Tillman#

Michael Aquilina#

Dr Elizabeth E Lewis AM#

Gabrielle Halloran Maria Sola#

Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Matthew Laing* 14

Principal MS Newman Family#

Sophie Galaise and Clarence Fraser#

Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs PICCOLO Andrew Macleod Principal

OBOES

TRUMPETS

MSO BOARD

Jeffrey Crellin

Shane Hooton

Thomas Hutchinson

Tristan Rebien*

Chairman Michael Ullmer

Principal

Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

COR ANGLAIS Michael Pisani Principal

CLARINETS David Thomas Principal

Philip Arkinstall

Associate Principal

Craig Hill BASS CLARINET Jon Craven

Associate Principal Guest Associate Principal

William Evans Rosie Turner TROMBONES Brett Kelly Principal

Richard Shirley Mike Szabo

Principal Bass Trombone

TUBA Timothy Buzbee Principal

David J. Saltzman* TIMPANI**

Principal

Christopher Lane

BASSOONS

PERCUSSION

Jack Schiller

Robert Clarke

Elise Millman

John Arcaro

Associate Principal

Tim and Lyn Edward#

Natasha Thomas

Robert Cossom Evan Pritchard* Greg Sully*

Principal

CONTRABASSOON Brock Imison

HARP

HORNS

Yinuo Mu

Guest Principal

Saul Lewis

Principal Third

Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

Trinette McClimont Alexander Morton* Rachel Shaw*‡ Ian Wildsmith*

Board Members Andrew Dyer Danny Gorog Margaret Jackson AC Di Jameson David Krasnostein David Li Hyon-Ju Newman Glenn Sedgwick Helen Silver AO Company Secretary Oliver Carton

Principal

Principal

David Evans*†

Managing Director Sophie Galaise

Principal

Bronwyn Wallis*

# Position supported by * Guest Musician ^ Courtesy of Australian String Quartet † Courtesy of West Australian Symphony Orchestra ‡ Courtesy of Orchestra Victoria ** Timpani Chair position supported by Lady Potter AC 15

Supporters MSO PATRON

PROGRAM BENEFACTORS

The Honourable Linda Dessau AC, Governor of Victoria

Cybec 21st Century Australian Composers Program The Cybec Foundation

CHAIRMAN’S CIRCLE Marc Besen AC and Eva Besen AO The Gross Foundation Harold Mitchell Foundation David and Angela Li Harold Mitchell AC MS Newman Family Foundation Lady Potter AC CMRI Joy Selby Smith The Cybec Foundation The Pratt Foundation The Ullmer Family Foundation Anonymous (1)

ARTIST CHAIR BENEFACTORS Associate Conductor Chair Benjamin Northey Anthony Pratt Orchestral Leadership Chair Joy Selby Smith

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 MSO Audience Access Crown Resorts Foundation, Packer Family Foundation MSO Building Capacity Gandel Philanthropy (Director of Philanthropy) 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, Freemasons Foundation Victoria, The Robert Salzer Foundation The Pizzicato Effect (Anonymous), 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 Sidney Myer Free Concerts Supported by the Myer Foundation and the University of Melbourne

Cybec Assistant Conductor Chair Tianyi Lu The Cybec Foundation

PLATINUM PATRONS $100,000+

Associate Concertmaster Chair Sophie Rowell The Ullmer Family Foundation

Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel The Gross Foundation David and Angela Li MS Newman Family Foundation Anthony Pratt The Pratt Foundation Joy Selby Smith Ullmer Family Foundation Anonymous (1)

2018 Soloist in Residence Chair Anne-Sophie Mutter Marc Besen AC and Eva Besen AO Young Composer in Residence Ade Vincent The Cybec Foundation Cybec

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VIRTUOSO PATRONS $50,000+

PRINCIPAL PATRONS $5,000+

Di Jameson David Krasnostein and Pat Stragalinos Harold Mitchell AC Kim Williams AM

Christine and Mark Armour John and Mary Barlow Barbara Bell, in memory of Elsa Bell Stephen and Caroline Brain Prof Ian Brighthope David and Emma Capponi May and James Chen Wendy Dimmick Andrew Dudgeon AM Andrew and Theresa Dyer Tim and Lyn Edward Mr Bill Fleming John and Diana Frew Susan Fry and Don Fry AO Sophie Galaise and Clarence Fraser Geelong Friends of the MSO Jennifer Gorog HMA Foundation Louis Hamon OAM Hans and Petra Henkell Hartmut and Ruth Hofmann Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson Dr Elizabeth A Lewis AM Norman Lewis, in memory of Dr Phyllis Lewis Peter Lovell Lesley McMullin Foundation Mr Douglas and Mrs Rosemary Meagher Dr Paul Nisselle AM The Rosemary Norman Foundation Ken Ong, in memory of Lin Ong Bruce Parncutt AO Jim and Fran Pfeiffer Pzena Investment Charitable Fund Andrew and Judy Rogers Rae Rothfield Max and Jill Schultz Mr Tam Vu and Dr Cherilyn Tillman The Hon. Michael Watt QC and Cecilie Hall Lyn Williams AM Anonymous (2)

IMPRESARIO PATRONS $20,000+ Michael Aquilina The John and Jennifer Brukner Foundation Mary and Frederick Davidson AM Rachel and the late Hon. Alan Goldberg AO QC Margaret Jackson AC Andrew Johnston Mimie MacLaren John and Lois McKay

MAESTRO PATRONS $10,000+ Kaye and David Birks Mitchell Chipman Sir Andrew and Lady Davis Danny Gorog and Lindy Susskind Robert & Jan Green Hilary Hall, in memory of Wilma Collie Nereda Hanlon and Michael Hanlon AM The Hogan Family Foundation International Music and Arts Foundation Suzanne Kirkham The Cuming Bequest Ian and Jeannie Paterson Lady Potter AC CMRI Elizabeth Proust AO Xijian Ren and Qian Li Glenn Sedgwick Helen Silver AO and Harrison Young Maria Solà Profs. G & G Stephenson, in honour of the great Romanian musicians George Enescu and Dinu Lipatti Gai and David Taylor Juliet Tootell Alice Vaughan Harry and Michelle Wong Jason Yeap OAM

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ASSOCIATE PATRONS $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest David Blackwell OAM Anne Bowden Bill Bowness Julia and Jim Breen Lynne Burgess Oliver Carton John and Lyn Coppock Ann Darby, in memory of Leslie J. Darby Natasha Davies, for the Trikojus Education Fund Merrowyn Deacon Sandra Dent Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson Duxton Vineyards Jane Edmanson OAM Dr Helen M Ferguson Mr Peter Gallagher and Dr Karen Morley Dina and Ron Goldschlager Louise Gourlay OAM Peter and Lyndsey Hawkins Susan and Gary Hearst Colin Heggen, in memory of Marjorie Drysdale Heggen Rosemary and James Jacoby Jenkins Family Foundation C W Johnston Family John Jones George and Grace Kass Irene Kearsey and M J Ridley The Ilma Kelson Music Foundation Kloeden Foundation Bryan Lawrence Ann and George Littlewood John and Margaret Mason H E McKenzie Allan and Evelyn McLaren Don and Anne Meadows Marie Morton FRSA Annabel and Rupert Myer AO Sue and Barry Peake Mrs W Peart Graham and Christine Peirson Julie and Ian Reid Ruth and Ralph Renard S M Richards AM and M R Richards Tom and Elizabeth Romanowski Jeffrey Sher QC and Diana Sher OAM 18

Diana and Brian Snape AM Dr Norman and Dr Sue Sonenberg Geoff and Judy Steinicke Elisabeth Wagner Brian and Helena Worsfold Peter and Susan Yates Anonymous (8)

PLAYER PATRONS $1,000+ David and Cindy Abbey Christa Abdallah Dr Sally Adams Mary Armour Arnold Bloch Leibler Philip Bacon AM Marlyn and Peter Bancroft OAM Adrienne Basser Prof Weston Bate and Janice Bate Janet Bell Michael F Boyt Patricia Brockman Dr John Brookes Suzie Brown OAM andHarvey Brown Roger and Col Buckle Jill and Christopher Buckley Shane Buggle Bill and Sandra Burdett Peter Caldwell Joe Cordone Andrew and Pamela Crockett Beryl Dean Rick and Sue Deering Dominic and Natalie Dirupo Marie Dowling John and Anne Duncan Kay Ehrenberg Jaan Enden Valerie Falconer and the Rayner Family in memory of Keith Falconer Amy & Simon Feiglin Grant Fisher and Helen Bird Barry Fradkin OAM and Dr Pam Fradkin Applebay Pty Ltd David Frenkiel and Esther Frenkiel OAM David Gibbs and Susie O’Neill Merwyn and Greta Goldblatt Colin Golvan QC and Dr Deborah Golvan George Golvan QC and Naomi Golvan Dr Marged Goode Prof Denise Grocke AO Max Gulbin

Dr Sandra Hacker AO and Mr Ian Kennedy AM Jean Hadges Michael and Susie Hamson Paula Hansky OAM Merv Keehn & Sue Harlow Tilda and Brian Haughney Anna and John Holdsworth Penelope Hughes Basil and Rita Jenkins Stuart Jennings Dorothy Karpin Brett Kelly and Cindy Watkin Dr Anne Kennedy Julie and Simon Kessel Kerry Landman William and Magdalena Leadston Andrew Lee Dr Anne Lierse Gaelle Lindrea Andrew Lockwood Violet and Jeff Loewenstein Elizabeth H Loftus Chris and Anna Long The Hon Ian Macphee AO and Mrs Julie Macphee Eleanor & Phillip Mancini Dr Julianne Bayliss In memory of Leigh Masel Ruth Maxwell Jenny McGregor AM and Peter Allen Glenda McNaught Ian Morrey and Geoffrey Minter Patricia Nilsson Laurence O’Keefe and Christopher James Alan and Dorothy Pattison Margaret Plant Kerryn Pratchett Peter Priest Treena Quarin Eli Raskin Raspin Family Trust Bobbie Renard Peter and Carolyn Rendit Dr Rosemary Ayton and Dr Sam Ricketson Joan P Robinson Cathy and Peter Rogers Doug and Elisabeth Scott Martin and Susan Shirley Penny Shore Dr Sam Smorgon AO and Mrs Minnie Smorgon John So Dr Michael Soon

Lady Southey AC Jennifer Steinicke Dr Peter Strickland Pamela Swansson Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher The Hon. Rosemary Varty Leon and Sandra Velik Sue Walker AM Elaine Walters OAM and Gregory Walters Edward and Paddy White Nic and Ann Willcock Marian and Terry Wills Cooke Lorraine Woolley Richard Ye Panch Das and Laurel Young-Das Anonymous (21)

THE MAHLER SYNDICATE David and Kaye Birks Mary and Frederick Davidson AM Tim and Lyn Edward John and Diana Frew Francis and Robyn Hofmann The Hon Dr Barry Jones AC Dr Paul Nisselle AM Maria Solà The Hon Michael Watt QC and Cecilie Hall

TRUSTS AND FOUNDATIONS Collier Charitable Fund Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation The Marian and E.H. Flack Trust Freemasons Foundation Victoria Gandel Philanthropy The Scobie and Claire Mackinnon Trust The Harold Mitchell Foundation The Myer Foundation The Pratt Foundation The Robert Salzer Foundation Telematics Trust

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CONDUCTOR’S CIRCLE Current Conductor’s Circle Members Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Mrs Jenny Brukner and the late Mr John Brukner Ken Bullen Peter A Caldwell Luci and Ron Chambers Beryl Dean Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite Mr Derek Grantham Marguerite Garnon-Williams Drs Clem Gruen and Rhyl Wade Louis Hamon OAM Carol Hay Tony Howe Laurence O’Keefe and Christopher James Audrey M Jenkins John Jones George and Grace Kass Mrs Sylvia Lavelle Pauline and David Lawton Cameron Mowat Rosia Pasteur Elizabeth Proust AO Penny Rawlins Joan P Robinson Neil Roussac Anne Roussac-Hoyne Suzette Sherazee Michael Ryan and Wendy Mead Anne Kieni-Serpell and Andrew Serpell Jennifer Shepherd Profs. Gabriela and George Stephenson Pamela Swansson Lillian Tarry Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Michael Ullmer Ila Vanrenen The Hon. Rosemary Varty Mr Tam Vu Marian and Terry Wills Cooke Mark Young Anonymous (26) 20

The MSO gratefully acknowledges the support of the following Estates: Angela Beagley Neilma Gantner The Hon Dr Alan Goldberg AO QC Gwen Hunt Audrey Jenkins Joan Jones Pauline Marie Johnston Joan Jones C P Kemp Peter Forbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Jennifer May Teague Jean Tweedie Herta and Fred B Vogel Dorothy Wood

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

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $1,000+ (Player) $2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario) $50,000+ (Virtuoso) $100,000+ (Platinum) The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will.

Enquiries P (03) 8646 1551 E philanthropy@mso.com.au

Honorary Appointments Sir Elton John CBE Life Member Lady Potter AC CMRI Life Member Geoffrey Rush AC Ambassador THE MSO HONOURS THE MEMORY OF

John Brockman OAM Life Member The Honourable Alan Goldberg AO QC Life Member Ila Vanrenen Life Member

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‘ We are the music makers, and we are the dreamers of dreams.'

– Arthur O’Shaughnessy

Come dream with us by adopting your own MSO musician!

Support the music and the orchestra you love while getting to know your favourite player. Honour their talent, artistry and life-long commitment to music, and become part of the MSO family.

Adopt Principal Harp, Yinuo Mu, or any of our wonderful musicians today.

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PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS

VENUE PARTNER

MAJOR PARTNERS

EDUCATION PARTNERS MELBOURNE CONSERVATORIUM OF MUSIC

SUPPORTING PARTNERS

Quest Southbank

The CEO Institute

Ernst & Young

Bows for Strings

TRUSTS AND FOUNDATIONS

The Scobie and Claire Mackinnon Trust, Sidney Myer MSO Trust Fund

The Gross Foundation, Li Family Trust, MS Newman Family Foundation, The Ullmer Family Foundation MEDIA AND BROADCAST PARTNERS