Christopher Moore Concert Program

CHRISTOPHER MOORE 11 OCTOBER 2018 Melbourne Recital Centre

12 OCTOBER 2018 Monash University, Robert Blackwood Hall

CONCERT PROGRAM

Melbourne Symphony Orchestra Christopher Moore viola, director Sophie Rowell violin Brahms Serenade No.2 INTERVAL

Grandage All the World’s a Stage WORLD PREMIERE

Mozart Sinfonia Concertante for violin and viola

Pre-concert talk Join us for a pre-concert conversation with Australian composer Lisa Cheney inside Elisabeth Murdoch Hall (Thursday) and Robert Blackwood Hall balcony foyer (Friday) from 6.30pm.

Running time: One hour and 45 minutes, 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 acknowledges the Traditional Owners of the land on which it is performing. MSO pays its respects to their Elders, past and present, and the Elders from other communities who may be in attendance.

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mso.com.au

(03) 9929 9600

MELBOURNE SYMPHONY ORCHESTRA

CHRISTOPHER MOORE VIOLA, DIRECTOR

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 4 million people each year, the MSO reaches diverse audiences through live performances, recordings, TV and radio broadcasts and live streaming. Its international audiences include China, where MSO has performed in 2012, 2016 and most recently in May 2018, Europe (2014) and Indonesia, where in 2017 it performed at the UNESCO World Heritage Site, Prambanan Temple.

Christopher Moore, Principal Viola of the MSO, spent nine years travelling the globe as Principal Viola of Australian Chamber Orchestra. As romantic as that sounds, he missed his old chums Mahler, Schoenberg and Adès, and so has returned to these and other old friends at the MSO.

The MSO performs a variety of concerts ranging from symphonic 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 and digital tools to audiences of all ages through its Education and Outreach initiatives.

Not surprisingly, Christopher’s wife and two daughters are pleased that Papa has hung up his rock star garb and come home to roost like their pet chickens. If you’re lucky, he may hand you a bona fide free-range egg; if you’re unlucky, you’ll be stuck hearing about how much he loves brewing beer and riding his bike into town from the suburbs, in an attempt to prevent his waistline expanding to the size of his chickens’ coop.

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SOPHIE ROWELL VIOLIN

IAIN GRANDAGE COMPOSER

Sophie Rowell has had an extensive performing career as a soloist, chamber musician and principal orchestral violinist both in Australia and abroad. After winning the ABC Young Performer’s Award in 2000, Sophie founded the Tankstream Quartet. Having studied in Germany with the Alban Berg Quartet the quartet moved back to Australia in 2006 when they were appointed to the Australian String Quartet.

Iain Grandage is one of Australia’s most highly regarded collaborative artists, having won Helpmann Awards for his compositions for theatre, dance, opera and silent film, including Secret River, When Time Stops, The Rabbits, and Satan Jawa, as well as a music director for Meow Meow’s Little Match Girl and Secret River. He has received the prestigious Sidney Myer Performing Arts Award for an Individual, and the APRA/AMC award for Vocal Work of the Year for his opera based on Tim Winton’s novel The Riders. He has been Artistic Director of the Port Fairy Spring Music Festival since 2016, and was recently appointed Artistic Director of the Perth Festival 2020-2023. He has been Composer-in-Residence with the WA Symphony Orchestra, and has an extensive track record of collaboration with indigenous artists across the country. His works are regularly played in Australia and overseas by performers including the LPO, Rundfunk Sinfonieorchester Berlin, ACO and Australian String Quartet.

He is a UWA graduate, and the proud recipient of an honorary Doctorate from that institution.

Since 2012 Sophie has travelled the world playing in principal violin positions with orchestras including the Vancouver, Sydney & Tasmanian Symphony Orchestras, as well as participating in many chamber music festivals in Australia. She now teaches at the Australian National Academy of Music having previously taught at the Elder Conservatorium in Adelaide and the Australian Institute of Music in Sydney.

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PROGRAM NOTES JOHANNES BRAHMS

(1833–1897)

Serenade No.2 in A, Op.16 Allegro moderato Scherzo (Vivace) Adagio non troppo Quasi menuetto Rondo (Allegro) Brahms suffered terrible performance anxiety. Keenly aware of Beethoven’s legacy, he famously wrote that he would ‘never get a symphony written.

You’ve no conception of what it’s like to hear a giant’s footsteps marching behind you.’ Brahms would be 43 years old before his First Symphony appeared. But despite this diffidence, he had been composing for orchestra since the mid- to late 1850s, when he produced the Piano Concerto No.1 and the two Serenades for orchestra.

In 1853 the 20-year-old Brahms met Robert and Clara Schumann, who quickly became his mentors. Less than a year later, Robert Schumann developed the mental illness from which he would never emerge, and the relationship between Brahms and Clara Schumann became deeper if more complicated. That Clara represented the ideal woman for Brahms is generally accepted and there has been much speculation that, after Robert died in July 1856, Brahms entertained the idea of marrying her.

It appears, however, that she made it clear that they would have to remain apart, though they stayed the best of friends, and for the rest of Clara’s life

Brahms would seek her views on many of his new works. Brahms scholar Karl Geiringer notes, however, not only that ‘the tone of Brahms’ letters grew imperceptibly more reserved’, but that ‘the delicate tenderness, the romantic exuberance gradually vanished from his compositions’ from this time onward.

In 1857 Brahms received his first professional position. For three months’ work each year in the prince’s court at Detmold, Brahms received the equivalent of a year’s salary: his duties included performing as pianist at court concerts, giving lessons to the Princess Friederike and conducting the amateur choral society which Brahms described as ‘richly adorned with Serene Highnesses’ and other music-loving aristocrats. While Brahms was intensely lonely at the time, he had plenty of time to study scores and compose, and to enjoy the beauties of the Teutoburger Forest in which the prince’s Residenz was situated.

The First Piano Concerto reflects much of Brahms’ emotional turbulence during Schumann’s last years, and, significantly, was one of those works of Brahms whose material went through various incarnations – as a two-piano work and a symphonic movement – before reaching its final form. So, too, in the first Serenade did Brahms experiment, composing the work as a chamber piece at first and only then feeling that it needed expression by a large orchestra. When the leader of the orchestra at Detmold suggested that it would therefore be a symphony, Brahms characteristically demurred, saying that if one dared to write symphonies after Beethoven they should look very different.

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In the Serenade No.2, however, Brahms more or less arrived at the ideal version straight away and composed it at greater than usual speed. Although he did revise the score for re-publication in the 1870s, most of the work’s salient features are there right from the start.

Brahms had heard a number of classical serenades at Detmold, so was aware of their usually ‘informal’ context, avoidance of overly rigorous design and emphasis on dance movements.

Moreover, maybe as a result of those walks in the Teutoburger Forest, Brahms was happy. Composing the Serenade, he wrote to his friend the violinist Joseph Joachim, ‘I was in a perfectly blissful mood. I have seldom written music with such delight.’

sounds. Brahms makes particular use of the lower register of the clarinets, often with the added richness of bassoons, as we hear in the very opening bars of the first movement. For contrast, Brahms often uses cooler, more hard-edged combinations of oboe and flute (or piccolo), perhaps remembering the wind serenades and other divertimentos of Mozart. Characteristic gestures abound: the tension between duple and triplet figures in the outer movements and, related to this, the rhythmic ambiguity of the Scherzo; themes made up of short, often falling figures are common, notably in the Adagio which is also noteworthy for the way in which Brahms disguises an often complex counterpoint and unorthodox harmony.

Like the classical models, Brahms’ Serenade No.2 is a multi-movement work, with two dances – the second movement is a Scherzo which is balanced by the Quasi menuetto of the fourth – framing an extended and beautiful Adagio. Furthermore, as in many a serenade of Haydn or Mozart, at least one of the outer movements is a march – here the final Rondo. But where the models are arguably less integrated in the first Serenade, here the music has a Brahmsian sound that is immediately recognisable.

Brahms returned to his home town of Hamburg after three years in Detmold (the Serene Highnesses and other members of the choral society having presented him with a silver ink-stand).

The Serenade No.2 was premiered in Hamburg in February 1860. If Brahms were suffering from the anxiety of influence in writing this work, it is hard to spot the evidence.

This is in large part the result of Brahms’ individual scoring: his ‘small orchestra’ here uses only two horns and omits trumpets and drums and, most unusually, violins altogether.

(As Geiringer has noted, this was the original orchestration, and not, as some have claimed, the results of Brahms’ later revisions.) The piece’s palette is therefore weighted towards warmer 6

Gordon Kerry © 2002 The Melbourne Symphony Orchestra first performed Brahms’ Serenade No.2 on 17 September 1956 with conductor Kurt Woess, and most recently on 29 January 1988 with Pinchas Zukerman.

IAIN GRANDAGE

(born 1970)

All the World’s a Stage I. The Infant II. The Schoolboy III. The Lover IV. The Soldier V. The Judge VI. The Pantaloon VII. Sans Everything Commissioned by Mary Davidson in honour of her husband Frederick Davidson AM.

This composition grew out of a long and deeply rewarding conversation with Mary Davidson, who wished to commission a work as a gift to her husband Frederick in celebration of their 50 years of marriage. As our conversation unfolded, the many chapters of their lives together – in Europe, Canada and Australia – each held a uniquely different character, and I was reminded of one of my favourite passages of Shakespeare from As You Like It – Jacques’ meditation on the seven chapters of human life - ‘All the World’s a Stage’. Now whilst Mary and Jacques might share the gift of philosophical insight, I must reassure you that she is far more affirmative in her world view than Shakespeare’s melancholy character.

Shakespeare wrote the text for As You Like It immediately before the new Globe theatre opened in 1599, and as Anthony Burgess describes in his book Shakespeare, Jacques’ speech “expands the motto of the Globe [‘Totus mundus agit histrionem’ (The whole world acts the actor)] into a philosophical meditation on the parts

man plays from babyhood to senility, for if the globe is the world and the Globe is a theatre, then the world must be a theatre.”

The composition is in seven movements, for clear reasons, with the tonal centres of each of the movements shifting through the cycle of 5ths from B through to F. A series of interconnected motifs, both rhythmic and melodic weave their way through the work, as do certain techniques, most notably extensive use of glissandi, clusters and artificial harmonics.

Iain Grandage © 2018 This is the world premiere of this work.

WOLFGANG AMADEUS MOZART

(1756–1791)

Sinfonia concertante in E flat for violin, viola and orchestra, K364 Allegro maestoso Andante Presto Mozart was an accomplished violinist – good enough to play his own concertos in public – but it was mainly pressure from his father, a famous violin teacher, which led him to write the concertos and to keep up his practising. His main instrument was the piano, and in string quartets, like many a string-playing composer, he preferred to play the viola. If his violin concertos were a duty, this ‘Concertante Symphony’ for violin with viola was obviously a labour of love. It is one of a sheaf of masterpieces written in 1778-79, including the opera Idomeneo. During his travels of 1778, Mozart had begun writing for musicians outside Salzburg, at Mannheim and in 7

Paris. He was hoping for a professional position which would free him from his native city; clearly this aim was a great stimulus. This Sinfonia concertante, however, like Mozart’s violin concertos of 1775, was probably intended for musicians in Salzburg, most likely the concertmaster of the orchestra there, Antonio Brunetti, and violinist Joseph Hafeneder.

The sinfonia concertante was an enormously popular form at the time, showing off the skills of a group of instrumentalists from within the fine orchestras which were developing for public concerts. Mozart had recently been in Paris, where the sinfonia concertante craze was at its height, and had there composed a work of this kind featuring his new friends, the wind soloists of the Mannheim orchestra.

Usually such works were less tightly written than a symphony, and made more concessions to virtuosity, but Mozart’s K364 is an exception. It reveals elements of the Baroque concerto grosso in the close interplay between the soloists and the band, but the writing is on the scale of a symphony.

Combining violin and viola as soloists was a risky procedure, and especially in the key of E flat major, which doesn’t make many open strings available on either violin or viola. Mozart notated the viola part in D major, and intended the instrument to be retuned a semitone higher, bringing the sounding pitches in line with those of the normally tuned violin. The violist can use many more open strings when fingering in D major, and the extra tension brightens the tone of the viola, helping it to balance the violin and to stand out from the orchestral 8

violas. This technique (scordatura) is less necessary on modern, more highly strung violas, and few soloists adopt it, being reluctant to put their instruments temporarily under additional tension.

Christopher Moore will not retune his instrument for these performances.

The first movement, marked ‘majestically’, includes a lengthy orchestral build-up of the kind then being made famous by the Mannheim Orchestra. This is preceded by a marvellous passage where horns and oboes indulge in dialogue with pizzicato strings. A magical moment is the emergence of the two solo instruments from the orchestral mass, and their interplay affectionately and songfully explores the characteristic sound registers of violin and viola in turn.

As in several of Mozart’s great piano concertos in E flat, the slow movement is in the relative minor key, C minor, for Mozart a key of brooding and profound pathos. Here the dialogue of the instruments reaches accents of deep feeling, even pain, yet ever songfully.

The finale is lighter, in the rhythm of a contredanse, and its high spirits include many unexpected touches. The two soloists bid farewell in turn in a rising passage of considerable virtuosity.

Mozart himself wrote the eloquent cadenzas for this greatest of his string concertos. © David Garrett The Melbourne Symphony Orchestra first performed this work on 3 March 1956 with conductor Sir Bernard Heinze and soloists Sybil Copeland (violin) and John Glickman (viola). The MSO’s most recent performances, conducted

by Brett Kelly, took place during a regional tour in October 2016 with Sophie Rowell (violin) and Christopher Cartlidge (viola).

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MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor Anthony Pratt#

Tianyi Lu

Cybec Assistant Conductor

Tan Dun

Artistic Ambassador

Hiroyuki Iwaki

Conductor Laureate (1974–2006)

FIRST VIOLINS 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 Chisholm & Gamon#

Mark Mogilevski Michelle Ruffolo Kathryn Taylor Michael Aquilina#

Amy Brookman* Natalia Harvey* Michael Loftus-Hills* Matthew Rigby*

SECOND VIOLINS

CELLOS

Matthew Tomkins

David Berlin

Robert Macindoe

Rachael Tobin

Monica Curro

Nicholas Bochner

Principal The Gross Foundation# Associate Principal

Assistant Principal Danny Gorog and Lindy Susskind#

Mary Allison Isin Cakmakcioglu Tiffany Cheng Freya Franzen Cong Gu Andrew Hall Isy Wasserman Philippa West Patrick Wong Roger Young VIOLAS Christopher Moore

Principal MS Newman Family# Associate Principal Assistant Principal

Miranda Brockman

Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon#

Keith Johnson Sarah Morse Angela Sargeant Maria Solà#

Michelle Wood

Andrew and Theresa Dyer#

DOUBLE BASSES Steve Reeves Principal

Andrew Moon

Associate Principal

Principal Di Jameson#

Sylvia Hosking

Fiona Sargeant

Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton

Associate Principal

Lauren Brigden

Mr Tam Vu and Dr Cherilyn Tillman#

Katharine Brockman Christopher Cartlidge Michael Aquilina#

Anthony Chataway

Dr Elizabeth E Lewis AM#

Gabrielle Halloran Maria Solà#

Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Gaëlle Bayet* Beth Condon*

Assistant Principal

Sophie Galaise and Clarence Fraser#

Jaan Pallandi*† FLUTES Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs Paula Rae* PICCOLO Andrew Macleod Principal

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OBOES

TRUMPETS

MSO BOARD

Jeffrey Crellin

Shane Hooton

Thomas Hutchinson

William Evans Rosie Turner

Chairman Michael Ullmer

Principal

Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

Emmanuel Cassimatis* COR ANGLAIS Michael Pisani Principal

Associate Principal

John and Diana Frew#

TROMBONES Brett Kelly Principal

Richard Shirley

Tim and Lyn Edward#

Mike Szabo

CLARINETS

Principal Bass Trombone

David Thomas

TUBA

Principal

Philip Arkinstall

Associate Principal

Craig Hill Jason Xanthoudakis*

Timothy Buzbee Principal

TIMPANI** Christopher Lane

BASS CLARINET

PERCUSSION

Jon Craven

Robert Clarke

Principal

BASSOONS Jack Schiller

Principal

Elise Millman

Associate Principal

Natasha Thomas Jenna Schijf*

Managing Director Sophie Galaise 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

John Arcaro

Tim and Lyn Edward#

Robert Cossom HARP Yinuo Mu Principal

CONTRABASSOON Brock Imison Principal

HORNS Saul Lewis

Acting Associate Principal

Ian Wildsmith*

Guest Principal Third

Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

Trinette McClimont

# Position supported by * Guest Musician ** Timpani Chair position supported by Lady Potter AC CMRI †Courtesy of Sydney Symphony Orchestra 11

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SUPPORTERS MSO PATRON

PROGRAM BENEFACTORS

The Honourable Linda Dessau AC, Governor of Victoria

Cybec 21st Century Australian Composers Program 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, Anonymous The Pizzicato Effect (Anonymous), Collier Charitable Fund, The Marian and E.H. Flack Trust, 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

CHAIRMAN’S CIRCLE Marc Besen AC and Eva Besen AO Gandel Philanthropy 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 Joy Selby Smith Cybec Assistant Conductor Chair Tianyi Lu The Cybec Foundation Associate Concertmaster Chair Sophie Rowell The Ullmer Family Foundation 2018 Soloist in Residence Chair Anne-Sophie Mutter Marc Besen AC and Eva Besen AO Young Composer in Residence Ade Vincent The Cybec Foundation

PLATINUM PATRONS $100,000+ 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 Lady Potter AC CMRI Joy Selby Smith Ullmer Family Foundation Anonymous (1) VIRTUOSO PATRONS $50,000+ Di Jameson David Krasnostein and Pat Stragalinos Harold Mitchell AC Kim Williams AM IMPRESARIO PATRONS $20,000+ Michael Aquilina The John and Jennifer Brukner Foundation Mary and Frederick Davidson AM Margaret Jackson AC Andrew Johnston Mimie MacLaren John and Lois McKay Maria Solà Anonymous (1) MAESTRO PATRONS $10,000+ Kaye and David Birks Mitchell Chipman Tim and Lyn Edward Danny Gorog and Lindy Susskind Robert & Jan Green Hilary Hall, in memory of Wilma Collie The Hogan Family Foundation Peter Hunt AM and Tania de Jong AM International Music and Arts Foundation Suzanne Kirkham The Cuming Bequest 13

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Hartmut and Ruth Hofmann Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson AM Rosemary and James Jacoby Dr Elizabeth A Lewis AM Norman Lewis, in memory of Dr Phyllis Lewis Peter Lovell Lesley McMullin Foundation Mr Douglas and Mrs Rosemary Meagher Marie Morton FRSA 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 Jeffrey Sher QC and Diana Sher OAM Diana and Brian Snape AM Profs. G & G Stephenson, in honour of the great Romanian musicians George Enescu and Dinu Lipatti Tasco Petroleum Mr Tam Vu and Dr Cherilyn Tillman The Hon. Michael Watt QC and Cecilie Hall Lyn Williams AM Anonymous (5) ASSOCIATE PATRONS $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest

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SUPPORTERS 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 Anonymous (16) 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 COMMISSIONS 2018 All the World’s a Stage Iain Grandage Commissioned by Mary Davidson in honour of her husband Frederick Davidson AM, on occasion of their 50th wedding anniversary Clarinet Concerto Paul Dean Commissioned by Andrew Johnston and premiered by the MSO to mark the 65th Wedding Anniversary of Andrew Johnston’s parents, Stephanie and David Johnston Missed Tales III – The Lost Mary Finsterer Commissiond by Kim Williams AM Snare Drum Award test piece 2018 Commissioned by Tim and Lyn Edward

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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 David Orr 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 (27) 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 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

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CALENDAR

OF EVENTS Chamber 4 21 October

Iwaki Auditorium, ABC Southbank

S OL D

OU T

Ears Wide Open: Debussy 22 October Melbourne Recital Centre

Presenter Tianyi Lu leads a guided musical journey through Debussy’s Prelude to the Afternoon of a Faun.

Stravinsky's Firebird 25-27 October Arts Centre Melbourne, Hamer Hall

Finnish conductor Jukka-Pekka Saraste leads a hair-raising performance of the complete score to the Firebird ballet.

A Night of Romantic Classics 2 November Melbourne Town Hall

Benjamin Northey conducts Brahms’ Symphony No.1 and Harry Bennetts makes his MSO debut with Korngold’s Violin Concerto.

Harry Potter and the Prisoner of Azkaban™ – In Concert 8–10 November Plenary, MCEC

Tickets for these shows and more at mso.com.au 18

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