Stravinsky's Firebird Concert Program

STRAVINSKY’S FIREBIRD 25 & 27 OCTOBER 2018 Arts Centre Melbourne, Hamer Hall

CONCERT PROGRAM

Melbourne Symphony Orchestra Jukka-Pekka Saraste conductor Dejan Lazić piano Stravinsky Funeral Song Bartók Piano Concerto No.3 INTERVAL

Stravinsky The Firebird

Pre-concert talk Join us for a pre-concert talk from the stage with MSO Education Manager Lucy Rash; Thursday at 6.15pm and Saturday at 12.45pm.

Running time: One hour and 50 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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MELBOURNE SYMPHONY ORCHESTRA

JUKKA-PEKKA SARASTE CONDUCTOR

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.

Jukka-Pekka Saraste has established himself as one of the outstanding conductors of his generation. An artist of exceptional versatility and breadth, Saraste feels a special affinity with the sound and style of late Romantic music.

Equally, he maintains a strong connection with the music of our time. Saraste founded the Finnish Chamber Orchestra, and is co-founder of the Avanti! Chamber Orchestra, which has a strong emphasis on contemporary music.

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.

Jukka-Pekka Saraste is currently Chief Conductor of the WDR Sinfonieorchester, Cologne, and Conductor Laureate of the Oslo Philharmonic. Recent guest engagements have included conducting the Royal Concertgebouw Orchestra, Chicago Symphony Orchestra, New York Philharmonic and Orchestre symphonique de Montréal.

Saraste’s extensive discography includes the complete symphonies of Sibelius and Nielsen with the Finnish Radio Symphony Orchestra. Most recently, he and the WDR Sinfonieorchester recorded a complete cycle of Beethoven’s symphonies. The first CD with symphonies No.4 and 5 has been released in June 2018, and the box with the complete cycle will follow in October 2018.

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DEJAN LAZIĆ PIANO

Dejan Lazić has performed with orchestras such as the Rotterdam Philharmonic, Boston Symphony, and Chicago Symphony, and built close collaborations with conductors including Iván Fischer, Andris Nelsons, and John Storgårds. Lazić enjoys a significant following in Asia having toured China with the Budapest Festival Orchestra, and appeared with orchestras such as the NHK Symphony and Seoul and Hong Kong Philharmonics.

Dejan Lazić’s recent concerts have included returning to the Atlanta Symphony Orchestra with Robert Spano to perform his Piano Concerto in Istrian Style (premiered in 2014). His CD, The London Connection (music of Beethoven, Cramer and Clementi), was released in May 2018.

Dejan Lazić was born in Zagreb, Croatia and studied at Salzburg’s Mozarteum.

He now lives in Amsterdam.

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PROGRAM NOTES IGOR STRAVINSKY

(1882–1971)

Petersburg’s Mariinsky Orchestra in the work’s second-only performance at the Concert Hall of the Mariinsky Theatre in December 2016.

Stravinsky described it in his 1960 Memories and Commentaries as ‘the best of my works before The Firebird’, but had limited recollection of it. By then living in the United States, the 78-year-old composer wished that people in his hometown of Leningrad (as it then was) might look for the parts, as he was curious to be reminded of what he was composing just before the work that had made his name.

It is easy to understand the historical significance of this discovery, but what is the Funeral Song like? Stravinsky wrote it as a memorial for his teacher Nikolai Rimsky-Korsakov, who had died in June 1908. In Memories and Commentaries, Stravinsky says that Rimsky-Korsakov was like an ‘adopted parent’ to him. But he also complained about Rimsky’s limited views on composition (‘the most important tools of my art I had to discover for myself’) and – given the nature of this piece – the way their views on religion and philosophy diverged. ‘I remember,’ writes Stravinsky, ‘someone introducing “Resurrection” as a table topic, and Rimsky drawing a zero on the tablecloth as he said, “there is nothing after death, death is the end”.’

Over the years, Russian musicologist Dr Natalia Braginskaya had searched for Funeral Song. But only when the St Petersburg Conservatory building was being cleaned out for repairs did parts resembling the work Braginskaya had been looking for surface in a back room. According to the Conservatory’s rector Alexei Vasiliev, Braginskaya’s report of the find caused the phones to run hot. After discussions between the Stravinsky family who owned the intellectual rights, Stravinsky’s publisher Boosey & Hawkes, and the Conservatory (and by extension, the Russian State) who owned the physical material, a new full score was reconstructed and Valery Gergiev finally conducted St

It is tempting to see in the opening bars of Funeral Song a foreshadowing of the atmospheric opening of The Firebird, which would launch Stravinsky’s international career when presented by Diaghilev’s Ballets Russes in Paris the following year. The French horn next introduces a modal melody. In later life, Stravinsky remembered that ‘all the solo instruments of the orchestra [then] filed past the tomb of the master in succession, each laying down its own melody as its wreath against a deep background of tremolo murmurings simulating the vibrations of bass voices singing in chorus.’ But, as it turns out, the horn’s modal melody predominates, subjected to colouristic changes.

Funeral Song, Op.5 The rediscovery in 2015 of Stravinsky’s youthful Funeral Song (presumed lost in the Russian Revolution) caused a stir in the musical world. It had not been heard since its premiere in St Petersburg in 1909.

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The slow tread of Funeral Song is perfectly judged, given the purpose of the piece; in this respect there’s no glimpse of the Firebird’s future flight.

The most rhythmically active element is the trumpet’s triplet chromatic figure answering the horn melody, a device that becomes structurally important later. What is truly surprising, however, is what the piece reveals about Stravinsky’s influences. Of course we might expect the tint of Russian forebears, but there are unmistakable echoes of Wagner, a composer Stravinsky later professed to loathe. (Stravinsky had attended Götterdämmerung with RimskyKorsakov two months before the older composer’s death.)

Musicologists are often thrilled when a piece like this re-emerges. It answers questions about a composer’s development. But listening to this piece deepens the mystery. Where did the composer of Firebird, Petrushka and The Rite of Spring spring from? Was it the influence of the next father-figure in Stravinsky’s life: Diaghilev? Or because Stravinsky, who had already written some effervescent scherzos, discovered the ‘tools of my art’ for himself?

Gordon Kalton Williams Symphony Australia © 2017 This is the first performance of Stravinsky’s Funeral Song by the Melbourne Symphony Orchestra.

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BÉLA BARTÓK

(1881–1945)

Piano Concerto No.3 Allegretto Adagio religioso Allegro vivace In 1945 the Musical Times ran an obituary of Béla Bartók, saying that his death ‘ in New York at the end of September deprives 20th-century music of one of its greatest masters. In depth and range his influence can be compared only with that of Schoenberg and Stravinsky, but it was more secret than theirs and far less apparent.

Bartók’s music has never become widely or thoroughly known; it has never been a battle-cry; which has at least saved it from the grosser forms of misunderstanding.’

Bartók and his wife, Ditta, had taken refuge from Nazism in the United States in 1940. The composer was distressed by political developments in Europe, not only on his own account, but on that of the ethnic groups of Eastern Europe whose music he had done so much to document and preserve, and which had been such a great influence on his own work. His New York agent had promised him great opportunities as a performer, composer and ethnomusicologist, but most of these, sadly, failed to materialise; Bartók, for whatever reason, turned down a number of teaching positions. The Bartóks’ financial situation was precarious, and matters became much worse when Béla’s health suddenly worsened in 1942. He made what was to be his last public concert appearance in January 1943, performing the Concerto

for Two Pianos and Percussion (which he had transcribed from the more familiar Sonata for Two Pianos and Percussion) with Ditta as the other piano soloist.

To its credit, the American Society of Composers, Authors and Publishers paid for Bartók’s medical expenses, and he was able to spend three summers recuperating in upstate New York and at a sanatorium in North Carolina where he wrote a number of his late masterpieces.

Much of Bartók’s music, particularly later works, shows a fondness for symmetrical or ‘arch’ forms, and viewing his output as a whole it is tempting to see it the same way. His late works often evoke the same worlds as his early period music in their seemingly simple and highly lyrical manners, contrasting with the more acerbic and rhythmically complex middle-period pieces. The late Concerto for Orchestra goes so far as to quote Bartók’s early opera, Bluebeard’s Castle.

The Third Piano Concerto is the last piece that Bartók completed, but despite being written in the full knowledge of his having leukaemia it sounds nothing like the last work of a dying man. Written for Ditta to perform, its relative simplicity reflects, in part, the fact that she was not the virtuoso that her husband had been.

Seen, however, in the context of other works from this period – the Concerto for Orchestra and the unfinished Viola Concerto, for instance – the work is a document of the resilience of a human spirit, and in that respect might be compared with late Beethoven.

that Bartók assiduously collected in the rural regions of Hungary and various former Yugoslav republics, and the orchestration has a finely etched lucidity. Beethoven is evoked explicitly in the extended second movement – the marking ‘religioso’ and the formal scheme of the work relate to the ‘Holy song of thanksgiving to the godhead from a convalescent’ from Beethoven’s String Quartet Op.132. The finale dances to the uninhibited rhythms of folk music, insisting that life goes on.

Bartók’s music, like Mozart’s, experienced a surge in popularity shortly after his death. As the Musical Times concluded: ‘ It is indeed a tragedy for music that Bartók should die in the midst of this new period, his creative powers going from strength to strength, and just as he was making some contact with audiences.’

Gordon Kerry © 2003 The Melbourne Symphony Orchestra first performed this concerto on 12 September 1950 with conductor Otto Klemperer and pianist György Sandor, and most recently on 13 February 2013 with Ainārs Rubiķis and Alexey Yemtsov.

The first movement begins with a long-breathed melody given out by the piano, reminiscent of the folk melodies 7

IGOR STRAVINSKY

(1882–1971)

The Firebird – Complete ballet Introduction Tableau I Kashchei’s enchanted garden The Firebird appears, pursued by Ivan Tsarevich Dance of the Firebird Ivan Tsarevich captures the Firebird Supplication of the Firebird Appearance of thirteen enchanted princesses The princesses play with the golden apples Sudden appearance of Ivan Tsarevich Khorovod (Round Dance) of the princesses Daybreak – Ivan Tsarevich enters the palace of Kashchei Fairy carillon – Appearance of Kashchei’s guardian monsters – Capture of Ivan Tsarevich Arrival of the Demon King Kashchei – Dialogue of Kashchei and Ivan Tsarevich – Intercession of the princesses Appearance of the Firebird Dance of Kashchei’s retinue under the magic spell of the Firebird Infernal dance of the subjects of Kashchei Berceuse of the Firebird Kashchei awakens – Death of Kashchei – Profound darkness Tableau II Disappearance of Kashchei’s palace and sorcery – Reanimation of the Knights who had been turned to stone – General rejoicing

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With the music for The Firebird, the 28-year-old Stravinsky rose from obscurity to celebrity. Scarcely known in his native St Petersburg, where he was perhaps Rimsky-Korsakov’s most gifted student, and quite unknown in Russia as a whole, Stravinsky’s first works were performed, if at all, in small venues and for smaller audiences. But in February 1909 Stravinsky’s short orchestral piece Scherzo fantastique was conducted by Alexander Siloti as part of St Petersburg’s main orchestral series. This was to prove a crucial turning-point in the young composer’s career – in the audience was Sergei Diaghilev, who was forming a new ballet company, the Ballets Russes, that would combine the creative daring of dancers, choreographers, painters, composers and writers in a bold new artistic venture.

Impressed by Stravinsky’s music, Diaghilev immediately put the young composer to the test, commissioning him to orchestrate some short pieces

by Chopin and Grieg for two separate productions in the opening season of the Ballet Russes. When Stravinsky fulfilled this first commission to Diaghilev’s satisfaction, a bolder collaboration was offered. In preparation for the Ballets Russes’ second season in Paris in 1910, Diaghilev had approached the more celebrated composer Anatol Liadov to write a ballet based on The Firebird scenario. When this fell through, at the end of the 1909 northern summer Stravinsky received a telegram inviting him to take on the ballet. It would not be overstating the case to say that, in the longer term, this telegram changed the course of 20th-century musical history.

For all its virtuosity and innovation, Stravinsky’s score for The Firebird was only the starting-point for the rapid stylistic journey that Stravinsky undertook with Diaghilev and the Ballets Russes. Following on from the ballet’s success, Stravinsky completed the vastly divergent Petrushka and The Rite of Spring in rapid succession, taking his music into new realms that certainly surprised, and in some cases frightened, its audiences. Indeed, there were times throughout his career when Stravinsky became annoyed at well-wishers who lamented that he had abandoned the lush Romantic sounds of The Firebird so soon, and he was known to refer contemptuously to The Firebird as ‘the lollipop for audiences’.

And yet at the time Stravinsky was doubtful that he could complete such a high-profile – and, for a young, largely untried composer, risky – commission at short notice. But it was an offer which he could not refuse. Not only would it expose his work to an international audience, but he would be collaborating with the legendary dancer and choreographer Michel Fokine and other great artists of the day. He accepted the commission and finished the manuscript score on 18 May 1910, just five weeks before the ballet’s premiere.

Predictably, Diaghilev was impressed.

‘Keep a close eye on him,’ Diaghilev is reported to have told his leading dancer Tamara Karsavina during a rehearsal at the Paris Opera. ‘He is about to become famous.’ And so it was to prove. Perhaps indicating that at the time of this surprisingly innovative work Stravinsky was still effectively a student, the score is dedicated to his teacher, Rimsky-Korsakov. And, as was the case so often with Rimsky-Korsakov himself, Stravinsky’s source of inspiration was Russia’s folk heritage: the story of the Firebird is based on a conflation of the various Russian legends concerning

the young Ivan Tsarevich who, with the assistance of the Firebird, liberates the Princess from the evil sorcerer Kashchei.

Gabriel Pierné conducted the premiere at the Paris Opera on 25 June 1910, with the choreography by Fokine (who himself danced the part of Ivan Tsarevich) and with Tamara Karsavina as the Firebird. The Romantically inclined score is filled with the most extraordinary orchestral colours and lavish instrumental effects, outdoing even the master Rimsky-Korsakov himself, and it remains one of Stravinsky’s most popular works.

The Introduction begins deep in the muted lower strings, suggesting an eerie night near the castle of the monster. As the curtain rises on the hauntingly dark scene, a glint of light catches the eye of Ivan Tsarevich who is wandering in the forest. A flourish from the celeste and a shuddering figure that spreads through the strings announces the arrival of the Firebird.

Some of Stravinsky’s most exquisite orchestral writing accompanies the Firebird’s solo, with the fluttering effects on the strings set against the upper registers of the woodwind,

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suggesting the extravagant gestures of flight and proud display. On being captured by Ivan, however, the exuberance gives way to a lyrical passage for violas and woodwind in which the Firebird’s pleading is beautifully illustrated. Like the listener, Ivan is moved to pity, and the Firebird promises to come to his aid if ever he should need it. She gives him a fiery plume as a token of this pledge and he allows her her freedom.

When next we see Ivan, he is in the grounds of a daunting fortress known as the castle of Kashchei. Here he encounters twelve beautiful women, arrayed in such finery, and carrying themselves with such dignity that he assumes them to be princesses. Then a thirteenth princess appears and Ivan is particularly enchanted by her demeanour.

The princesses play a game with golden apples, innocently suggested in the orchestra by darting figures high up in the woodwinds and staccato bowing from the strings. Unable to hide himself any longer, the enchanted Ivan emerges from the shadow of his hiding place while the princesses dance the Khorovod, an exquisite, tender and lyrical form of round dance bearing all the hallmarks of Russian folk music.

The bulk of the melody is carried in the woodwind, while the refrain appears later in the violins.

But such beauty cannot last, and as clarinet and oboe against muted strings fade away, day breaks and the ugly monsters of Kashchei approach, with the music now transformed into violent, primitive crashes which, perhaps more than any other passage in the work, points the way toward the musical 10

revolution which was to follow in The Rite of Spring just a few years later.

Ivan is captured and the monsters perform their grotesque dance as they attempt to turn him to stone. But Ivan produces the Firebird’s plume and the Firebird herself appears instantly. She instructs Ivan to find and destroy the egg that represents Kashchei’s soul, and, with the death of Kashchei, the forces of darkness are banished and their works destroyed.

As in all good fairy tales, Ivan and the enchanting (but no longer enchanted) thirteenth Princess are married in the final tableau amid great pomp and circumstance – thereby providing the opportunity for Stravinsky to conclude the score with a virtuosic display of rich orchestral sonorities. © Symphony Services Australia The Melbourne Symphony Orchestra first performed The Firebird ballet on 29 June 1978 under the direction of MSO Conductor Laureate, Hiroyuki Iwaki, and most recently on 28 November 2008 under Oleg Caetani.

PRESENTS

Handel’s Messiah Join us for a timeless holiday celebration – the MSO’s annual performance of Handel’s Messiah. Witness some of the most glorious choral writing ever, performed by the MSO Chorus.

15–16 DECEMBER Arts Centre Melbourne, Hamer Hall

Book now mso.com.au 9929 9600 11

MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor Anthony Pratt#

Tianyi Lu

Cybec Assistant Conductor

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* Avodtia Lavrova-Fleury* Michael Loftus-Hills* Susannah Ng*

SECOND VIOLINS Matthew Tomkins

Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro

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 Jacqueline Edwards* Cameron Jamieson* Madeleine Jevons* Matthew Rigby* VIOLAS Christopher Moore

CELLOS David Berlin

Principal MS Newman Family#

Rachael Tobin

Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman

Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon#

Keith Johnson Sarah Morse Angela Sargeant Maria Solà#

Michelle Wood

Andrew and Theresa Dyer#

Rachel Atkinson* Molly Kadarauch* DOUBLE BASSES

Principal Di Jameson#

Steve Reeves

Fiona Sargeant

Andrew Moon

Lauren Brigden

Sylvia Hosking

Katharine Brockman Christopher Cartlidge

Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton

Associate Principal Mr Tam Vu and Dr Cherilyn Tillman#

Michael Aquilina#

Anthony Chataway

Dr Elizabeth E Lewis AM#

Gabrielle Halloran Maria Solà#

Trevor Jones

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Cindy Watkin Elizabeth Woolnough Gaëlle Bayet* William Clark* Lisa Grosman*

Principal

Associate Principal Assistant Principal

Sophie Galaise and Clarence Fraser#

David Barlow* Emma Sullivan* Esther Toh*

FLUTES

CONTRABASSOON

TIMPANI**

Prudence Davis

Brock Imison

Christopher Lane

Principal Anonymous#

Wendy Clarke

Principal

Colin Forbes-Abrams*

Associate Principal

HORNS

Sarah Beggs

Nicolas Fleury*† Guest Principal Saul Lewis

PICCOLO Andrew Macleod Principal

OBOES Jeffrey Crellin

Principal

Thomas Hutchinson Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

Acting Associate Principal

Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

Trinette McClimont Carla Blackwood* Josiah Kop* Alexander Morton* William Tanner* Philip Wilson*

COR ANGLAIS

TRUMPETS

Michael Pisani

Shane Hooton

Principal

CLARINETS David Thomas

Principal

Philip Arkinstall

Associate Principal

Craig Hill

John Arcaro

Tim and Lyn Edward#

Robert Cossom Greg Sully* Lara Wilson* HARP Yinuo Mu Principal

Melina van Leeuwen* Natalie Wong* KEYBOARD Calvin Bowman* Louisa Breen*

William Evans Rosie Turner

John and Diana Frew#

Tristan Rebien* Michael Olsen* Allison Wright*

BASS CLARINET

TROMBONES Brett Kelly

BASSOONS

Richard Shirley

Jack Schiller

Mike Szabo

Principal

Principal

Associate Principal

Jon Craven Principal

PERCUSSION Robert Clarke

Principal

Tim and Lyn Edward# Principal Bass Trombone

# Position supported by

Associate Principal

TUBA

* Guest Musician

Natasha Thomas

Timothy Buzbee

Elise Millman

Principal

** Timpani Chair position supported by Lady Potter AC CMRI † Courtesy of Royal Philharmonic Orchestra

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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 The Cybec Foundation The Pratt Foundation The Ullmer Family Foundation Anonymous (2) 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

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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 MSO PATRON COMMISSIONS All the World’s a Stage Iain Grandage Commissioned by Mary Davidson Clarinet Concerto Paul Dean Commissioned by Andrew Johnston Missed Tales III – The Lost Mary Finsterer Commissioned by Kim Williams AM Snare Drum Award test piece 2018 Commissioned by Tim and Lyn Edward

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 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

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SUPPORTERS TRUSTS AND FOUNDATIONS

HONORARY APPOINTMENTS

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 International Music and Arts Foundation The Scobie and Claire Mackinnon Trust The Harold Mitchell Foundation The Sidney Myer MSO Trust Fund The Pratt Foundation The Robert Salzer Foundation Telematics Trust Anonymous

Marc Besen AC and Eva Besen AO Life Members John Gandel AC and Pauline Gandel Life Members Sir Elton John CBE Life Member Lady Potter AC CMRI Life Member Mrs Jeanne Pratt AC 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

MSO BOARD Chairman Michael Ullmer Managing Director Sophie Galaise Board Directors Andrew Dyer Danny Gorog Lorraine Hook Margaret Jackson AC Di Jameson David Krasnostein David Li Hyon-Ju Newman Glenn Sedgwick Helen Silver AO Company Secretary Oliver Carton

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)

$20,000+ (Impresario)

$2,500+ (Associate)

$50,000+ (Virtuoso)

$5,000+ (Principal)

$100,000+ (Platinum)

$10,000+ (Maestro) 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

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Principal Partner

Government Partners

Premier Partners

Major Partners

Venue Partner

Education Partners

Supporting Partners

Quest Southbank

The CEO Institute

Ernst & Young

Bows for Strings

The Observership Program

Trusts and Foundations

Sidney Myer MSO Trust Fund, The Gross Foundation, MS Newman Family Foundation, The Ullmer Family Foundation, Erica Foundation Pty Ltd

Media and Broadcast Partners