MSO Season Finale with Maxim Vengerov Concert Program

MONASH SEASON FINALE 30 NOVEMBER 2018 Monash University, Robert Blackwood Hall

SEASON FINALE GALA 1 DECEMBER 2018 Arts Centre Melbourne, Hamer Hall

CONCERT PROGRAM

Melbourne Symphony Orchestra Markus Stenz conductor Maxim Vengerov violin Wagner Parsifal: Prelude and Transformation Music Qigang Chen Violin Concerto La Joie de la souffrance MSO CO-COMMISSION AND AUSTRALIAN PREMIERE

INTERVAL

Stravinsky The Rite of Spring

Pre-concert talk Join us for a pre-concert talk with composer and ABC Classic FM producer, Andrew Aronowicz. Friday at 6.30pm, Robert Blackwood Hall balcony foyer; Saturday at 6.15pm, Hamer Hall stage.

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. The 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

MARKUS STENZ 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 the 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.

Chief Conductor of the Netherlands Radio Philharmonic Orchestra, Principal Guest Conductor of the Baltimore Symphony and Conductor in Residence of the Seoul Philharmonic, Markus Stenz was Artistic Director and Chief Conductor of the Melbourne Symphony Orchestra from 1998 to 2004. Markus Stenz’s repertoire ranges from Rameau to Berio. He has recently conducted the world premiere of Kurtág’s opera Fin de partie at La Scala, Milan. Forthcoming appearances include concerts with the Pittsburgh Symphony, Baltimore Symphony and Oregon Symphony.

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.

Markus Stenz’s recordings include Glanert’s Requiem for Heironymous Bosch with Amsterdam’s Concertgebouw Orchestra, works of Hans Werner Henze, complete Mahler symphonies and Schoenberg’s Gurrelieder with the Gürzenich-Orchester, Cologne. He made several recordings during his Melbourne tenure and led this Orchestra on its firstever tour of Europe.

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MAXIM VENGEROV VIOLIN

PROGRAM NOTES RICHARD WAGNER

(1813–1883)

Parsifal: Prelude and Transformation Music

Maxim Vengerov began his career as a solo violinist at five, winning the Wieniawski and Carl Flesch international competitions at ages ten and 15 respectively. A GRAMMY® Award winner, he made his first recording when ten.

In recent seasons Maxim Vengerov has performed as soloist and/or conductor with orchestras including the New York Philharmonic, Berlin Philharmonic, London Symphony, BBC Symphony, Mariinsky Theatre Orchestra, and Chicago, Montreal and Toronto Symphony Orchestras. In 2017 he conducted the Melbourne Symphony Orchestra in Rimsky-Korsakov’s Scheherazade after featuring as soloist in Tchaikovsky’s Violin Concerto.

In the 2017–18 season Maxim Vengerov premiered Qigang Chen’s new concerto at the Beijing Music Festival. He also toured Europe, China and the US in recital. Maxim Vengerov plays the ex-Kreutzer Stradivari (1727).

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‘In fernem Land,’ sings Lohengrin at the end of Wagner’s 1848 opera of the same name, ‘there stands a castle called Montsalvat holding an immortal cup, the Grail. My father Parsifal wears its crown.’ Thus in 1848 Wagner names the character who will form the subject matter of a work completed nearly 35 years later.

Parsifal was Wagner’s last opera, or music drama, as his later operas are often designated. There is evidence to suggest that he knew it would be his last statement on themes that had intrigued him throughout his career – the evil which comes from the eschewal of love; the conflicts of maddening desire; redemption through understanding and renunciation. The idea of the burdened master coming face to face with an heir who is not yet up to the immensity of the task facing him is a theme also in Wagner’s comic opera The Mastersingers of Nuremberg.

Parsifal was his ‘last card’, as Wagner apparently told Cosima, his wife. The term Bühnenweihfestpiel (‘festival play for the consecration of a stage’), used by Wagner to describe the work, indicated that he considered this opera perfectly suited to the unique theatre he had specially built for his drama. But Parsifal also contains some of Wagner’s most ravishingly beautiful pure music. Indeed Wagner later claimed that he chose Parsifal because the story matched the musical processes he had developed.

In his final opera, Parsifal, Wagner wrestled with themes that had intrigued him since The Flying Dutchman. Using the advanced chromatic musical language that in Tristan and Isolde expressed sexual satiety, Wagner here proposes an alternative: renunciation of longing. Long before the start of the action Amfortas succumbed to a passion which has given rise to almost unbearable suffering, and he awaits a saviour. Will that be Parsifal?

Wagner first became interested in the Parsifal legend in 1845 after reading Wolfram von Eschenbach’s medieval epic poem Parzival, about the legendary Arthurian knight and his quest for the Holy Grail. Having made his first sketches of the scenario in 1857, and a prose sketch of the libretto in four days in 1865, Wagner worked on the score from August 1877 to April 1879. Orchestration of the Prelude (its first version, with concert ending) was completed in autumn 1878. Nearly 40 years were to elapse between Wagner’s first thoughts on the subject and the premiere of this, his last opera, at Bayreuth in 1882, a gestation period surpassing that of his four-opera Ring cycle, but in keeping with the story of Parsifal’s growth to awareness and maturity through empathy and compassion.

If there is any single theme which could be isolated from the knot of sacred and secular concerns in this opera, it is probably this idea of the maturing of an individual and the way a broader community benefits from this process, but it is difficult to know what Wagner meant exactly. Ambivalent symbolism and intimations of an underlying ideology shrouded in extraordinarily beautiful music make this the most compelling, beguiling, yet disturbing of Wagner’s operas. People either love or hate it. Wagner biographer Robert Gutman saw in it a proto-Nazi ‘religion

of racism’; yet even so anti-Wagnerian a critic as Eduard Hanslick described it as ‘a superior magic opera’. Others wonder how such noxious ideas as Gutman describes can be clothed in what Barry Millington describes as ‘a diaphanous score of unearthly beauty and refinement’.

Tonight’s extracts are from Act I of the opera. Amfortas’s father, Titurel, the former ruler of Montsalvat, lies entombed, though not yet dead.

Amfortas has inherited care of the Grail, the cup from which Jesus drank at the Last Supper, but he lies stricken with a wound that won’t heal. Many years before, he went out with the Holy Spear (which had wounded Christ on the cross) to vanquish a knight who had been refused the company of the Knights of the Grail. In Klingsor’s magic kingdom Amfortas, entranced

by Kundry’s beauty, accepted a passionate kiss. As he succumbed to sexual passion, Klingsor stole the Holy Spear and dealt him a wound. He now lies in an unbearable limbo, obliged to reveal the Grail at periodic ceremonies which sustain him, though suffering, and awaits the ‘pure fool’ awakened by compassion who will redeem him, as has been foretold.

The Prelude sets out some of the principal themes of the impending drama. The opening phrase contains 5

three ideas of later significance: a rising sequence of seemingly indeterminate rhythm; its chromatic turning back on itself, generally associated in the plot with suffering; and its stepwise close, associated with ‘the Spear’. Against a shimmering background this theme is repeated by trumpet, oboe and violins, a distinctive orchestration which seems to give colour to the maturing emotions suffered by the opera’s characters.

This theme is established in A flat, and simply repeated in C minor, before the introduction of two other significant themes: the ‘Dresden Amen’ associated with the Holy Grail, and a pronounced stepwise (and steadfast) theme often dubbed ‘faith’. A climax is reached simply by extending the durations of the ‘faith’ theme, and there is chromatic intensification of the opening theme before ‘the curtain rises’.

Parsifal, an innocent simpleton, arrives at the forest outside Montsalvat, and is hauled before the old knight Gurnemanz for having unthinkingly shot a swan in the precincts of the castle. Parsifal knows nothing, and Gurnemanz invites him to the ceremony, where a reluctant Amfortas will reveal the Grail. ‘Time here becomes space,’ says Gurnemanz as the set magically transforms to a dark interior in one of Wagner’s great theatrical moments.

G.K. Williams © Symphony Australia The Melbourne Symphony Orchestra first performed music from tonight’s selection in July 1949 (Act I Prelude with Rafael Kubelik). The Orchestra’s most recent performance of the Prelude took place on 19 October 2013 with Asher Fisch; the last performances of the Transformation Music were in April 2004 under Markus Stenz.

QIGANG CHEN

born 1951

La Joie de la souffrance (The joy of suffering) Commissioned by Melbourne Symphony Orchestra, Beijing Music Festival, Orchestre National du Capitol de Toulouse, New Jersey Symphony Orchestra, and the Shanghai Isaac Stern International Violin Competition.

Maxim Vengerov violin Those who have not tasted the bitterness of life do not know how to cherish the happiness that follows, nor will they understand that the arrival of joy is usually connected with the enduring of pain. Such joy will not last; rather, it will gradually cease to exist.

One cannot separate joy from suffering, and experience one without feeling the other. It is a matter of ‘Yin’ and ‘Yang’, inseparable, and hence all things should contain both. Suffering and joy are like loss and gain – they are bound to balance out. To some extent, these polarized conceptions can be interchangeable. Merely fractions of life, what we’ve gained will eventually be left behind, leaving ourselves nothing but nil.

Nevertheless, I intend to retain the joy and happy memories that have been enriched by torturous suffering, while sharing with audiences love, rooted deep down inside.

The theme of this work is a variation of the ancient Chinese melody ‘Yang Guan’, originating with the poem ‘Seeing off Yuan'er on a Mission to Anxi’ by Wang Wei (699-789) from the Tang Dynasty.

But, the work itself only quotes from the original melody in a limited fashion.

Qigang Chen, 2017 This is the Australian premiere of this work.

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IGOR STRAVINSKY

(1882–1971)

Le Sacre du printemps (The Rite of Spring) Part 1 L’Adoration de la terre (Adoration of the Earth) Introduction Danse des adolescentes (Dance of the Young Girls) Jeu du rapt (Ritual of Abduction) Rondes printanières (Spring Rounds) Jeux des cités rivales (Games of the Rival Tribes) Cortège du sage (Procession of the Sage) L’Adoration de la terre (Adoration of the Earth) Danse de la terre (Dance of the Earth) Part 2 Le Sacrifice Introduction Cercles mystérieux des adolescentes (Mystic Circles of Young Girls) Glorification de l’élue (Glorification of the Chosen Virgin) Evocation des ancêtres (Evocation of the Ancestors) Action rituelle des ancêtres (Ritual of the Ancestors) Danse sacrale – L’élue (Sacrificial dance – The Chosen Virgin) The first performance of Stravinsky’s Le Sacre du printemps was one of the greatest scandals in the history of any of the arts, not just music. An evening in 1913 remains the defining date of ‘modern’ music. More than a century has since passed, and there still hasn’t been anything to top it. The ballet,

whose completely novel choreography was part of the offence it gave to traditionalists, is only occasionally restaged. It is Stravinsky’s music which has endured as an icon of modernism, and its power and originality can still be felt, even now that its lessons have been absorbed by so much music that followed. Stravinsky’s assistant Robert Craft called The Rite of Spring the prize bull that inseminated the whole modern movement. Although Stravinsky later composed two orchestral works called symphonies, it is his music for this ballet which has achieved ‘symphonic’ status in the world’s concert halls.

The Rite of Spring is composed for a very large orchestra, including five of each of the wind instruments, eight horns, and five trumpets. The Russian impresario Sergei Diaghilev had very generous financial backing for the 1913 season of his Ballets Russes in Paris, and Stravinsky had an orchestral palette even richer than for his two previous full-scale ballets for Diaghilev, The Firebird and Petrushka. Even so, and in spite of the clear acoustic of the then-new Théâtre des ChampsElysées, the playing of the music was almost drowned out by the noise which broke out in the auditorium, as people shouted insults, howled and whistled.

There were even punches thrown, as the supporters of artistic novelty confronted well-dressed patrons who were shocked by what they heard and saw. The dancers could hardly hear the music, and the choreographer, Nijinsky, had to shout numbers to them from the wings. Conductor Pierre Monteux, with admirable sang-froid, piloted his musicians through to the end.

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The curtain had risen on Nicholas Roerich’s setting for the tableaux of pagan Russia which were his scenario (argument, sets and costumes) for the ballet. He and Stravinsky were later to dispute who first had the idea of a primitive, pagan sacrifice as a subject for a ballet, with Stravinsky’s vision (in a dream) of a maiden sacrificed and dancing herself to death given priority. But The Rite was a collaborative project, and Nijinsky’s choreography was, in its way, as radical as Stravinsky’s music. The stylised gestures, the spare, restricted dancing, with heads in profile contrasted with bodies full-on, elbows hugged into the waist, the convulsions of the Chosen Virgin, the renouncing of conventional dance ensembles and story-telling in favour of primitive immediacy – these were Nijinsky’s inventions, and many of the public thought he was pulling their leg, or that the dancers were imitating epileptic fits. Admirers accepted

Nijinsky’s choreography as spring seen from inside – biological ballet, with surges, spasms and fissions.

Stravinsky’s music had required Nijinsky to develop a new way of rehearsing the dancers by numbers, and his preparations seemed to one observer like arithmetic classes. Stravinsky claimed later that the music, which broke every mould of convention, had to be written that way, that it transcended him: ‘I was the vessel through which The Rite passed.’ Rhythm was one basis of The Rite’s innovation, not surprisingly since it developed within the bosom of an adventurous ballet company.

Stravinsky was to say, ‘There is music wherever there is rhythm, as there is life wherever there beats a pulse.’ The rhythmic novelties in The Rite of Spring include its static ostinati: repeated figures, which are nevertheless not regular, but additive in rhythm, so that the strong beats are irregularly spaced, and the time signature for the musicians

Stravinsky has often been compared with his near-contemporary Picasso: both men left their native country to become universal symbols of modernism in the arts, yet both were deeply marked by their native culture – Picasso by Spain’s, Stravinsky by Russia’s. ‘Not art!’, ‘Not music!’ was a common early reaction to both. In the work of both men style became a leading consideration in itself, and both startled their own admirers and dismayed their critics by repeatedly re-inventing themselves.

Yet Stravinsky, like Picasso, is immediately recognisable through all his stylistic disguises. He began by crowning the achievements of Russian composers in vivid, colourful music for dance (The Firebird, Petrushka). The Rite of Spring, a musical earthquake, foretold his break with Russia, enforced by exile after the Revolution.

In France in the 1920s and 30s Stravinsky ‘invented’ neo-classicism for music, with Pulcinella, and continued to be one step ahead of the avant-garde. His last startling surprise, after he moved to the USA in World War II, was to embrace twelve-tone serial music, in works such as Threni. Stravinsky was the most famous ‘serious’ composer of the 20th century, a position into which he leapt at one bound in 1913.

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is constantly changing, often from bar to bar. Even the composer was baffled as to how to write out the final Danse sacrale. These patterns, thrillingly projected with almost unprecedented orchestral impact, reach a state of hypnotic motion, which can only be broken by the start of the next dance.

This was music which made a quantum leap into a new sound-world. The discordant effect heard through the growing fracas in the theatre resulted from Stravinsky’s harmonic innovations.

These are linked to his rhythmic inventions, since they also function by accumulation: of notes and chords, creating polyharmonies which textbook writers have been busy trying to codify ever since. The paradox is that this complexity was really simplicity – the reduction of harmonic language to essentials allowed rhythmic subtlety to claim a dominant place. As a modernist composer much influenced by Stravinsky, Pierre Boulez, explains, ‘Before worrying about what chord we are hearing, we are sensitive to the pulse emitted by this chord.’

It was clever of Diaghilev to capitalise on fashionable Paris’ fascination with the Russian and the primitive.

Stravinsky later emphasised the newness and musical necessity of The Rite of Spring, and played down its Russianness. But this work, the fountainhead of international modernism, with which Stravinsky left Russia for good, was Russian in every way. The leading revisionist among students of Stravinsky’s works, Richard Taruskin, has proved this against Stravinsky’s own mythologising.

The bad reception The Rite received in Russia, his home, where he expected it to be received with joy, was, according to Stravinsky himself, the greatest rebuff of his career. It was this which encouraged him to deny its Russianness.

The opening bassoon solo, said Stravinsky, ‘is the only folk melody in The Rite’, concealing the indebtedness of most of its musical material to Russian folksongs, to which Taruskin traces the limited range of the melodies, the ostinato structure, and the modal formulas. Even the instrumentation is based on Stravinsky and Roerich’s ethnological research, particularly the ‘reed pipes’ of the Introduction scored for wind instruments.

It was the Russian spring which Stravinsky celebrated – that spring which bursts out so quickly with a terrifying noise. The libretto really boiled down to the succession of episodes described by the titles in the score, and listed above. The music took over, and created the dance. As Boulez says, the composition doesn’t depend on the argument of the ballet, which is why it transfers so well to the concert hall: ‘This ritual of “Pagan Russia” attains by itself a dimension quite beyond its formal point of departure: it has become the ritual – and the myth – of modern music.’ © David Garrett The Melbourne Symphony Orchestra first performed The Rite of Spring in July 1952 with Juan José Castro, and most recently on 13 August 2013 with Diego Matheuz.

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MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis

Concertmaster

Mary Allison Isin Cakmakcioglu Tiffany Cheng Freya Franzen Cong Gu Andrew Hall Isy Wasserman Philippa West Patrick Wong Roger Young Amy Brookman* Madeleine Jevons*

Sophie Rowell

VIOLAS

Chief Conductor

Benjamin Northey Associate Conductor Anthony Pratt#

Tianyi Lu

Cybec Assistant Conductor

Hiroyuki Iwaki

Conductor Laureate (1974–2006)

FIRST VIOLINS Dale Barltrop 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

#

Harry Bennetts* Francesca Hiew*† Nicholas Waters* SECOND VIOLINS Matthew Tomkins

Christopher Moore Principal Di Jameson#

Lauren Brigden

Acting Associate Principal 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 Fiona Sargeant Cindy Watkin William Clark* Simon Collins* Helen Ireland* Isabel Morse* CELLOS David Berlin

Principal MS Newman Family#

Principal The Gross Foundation#

Rachael Tobin

Robert Macindoe

Nicholas Bochner

Associate Principal

Monica Curro

Assistant Principal Danny Gorog and Lindy Susskind# 10

Associate Principal Assistant Principal Anonymous*

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#

Zoe Knighton* DOUBLE BASSES Steve Reeves Principal

Andrew Moon

Associate Principal

Sylvia Hosking

Assistant Principal

Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton

Sophie Galaise and Clarence Fraser#

Vivian Qu Siyuan* Axel Ruge* FLUTES Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs Helen Hardy* PICCOLO Andrew Macleod Principal

OBOES Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

Rachel Curkpatrick*

COR ANGLAIS Michael Pisani

Principal

Annabelle Farid* CLARINETS David Thomas Principal

Philip Arkinstall

Shane Hooton

Associate Principal

William Evans Rosie Turner

John and Diana Frew#

Julie Payne* Tristan Rebien* TROMBONES

Associate Principal

Brett Kelly

Craig Hill Mitchell Jones* Lloyd Van’t Hoff*

Principal

Richard Shirley

BASS CLARINET

Principal Bass Trombone

Jon Craven Principal

Tim and Lyn Edward#

Mike Szabo

Robert Collins* Bass Trumpet

BASSOONS

TUBA

Jack Schiller

Timothy Buzbee

Elise Millman

Nelson Woods*

Principal

Associate Principal

Natasha Thomas CONTRABASSOON

Principal

Robert Clarke

HORNS

Tim and Lyn Edward#

Saul Lewis

Acting Associate Principal

Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

Trinette McClimont Alexander Morton* Rachel Shaw*^ Rachel Silver*+ Ian Wildsmith* TRUMPETS Geoffrey Payne* Guest Principal

Company Secretary Oliver Carton

Principal

Colin Forbes-Abrams* Jackie Newcomb*‡

Guest Principal

Board Directors Danny Gorog Lorraine Hook Margaret Jackson AC Di Jameson David Krasnostein David Li Hyon-Ju Newman Glenn Sedgwick Helen Silver AO

Christopher Lane PERCUSSION

Stefan Bernhardsson*

Managing Director Sophie Galaise

TIMPANI**

Brock Imison Principal

MSO BOARD Chairman Michael Ullmer

Principal

John Arcaro

Robert Cossom Evan Pritchard* Leah Scholes* HARP Yinuo Mu Principal

PIANO Leigh Harrold*

# Position supported by * Guest Musician ** Timpani Chair position supported by Lady Potter AC CMRI † Courtesy of Australian String Quartet ‡ Courtesy of Adelaide Symphony Orchestra ^ Courtesy of Orchestra Victoria + Courtesy of Sydney Symphony Orchestra 11

Supporters MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria

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

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

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Anonymous (2)

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Lady Potter AC CMRI

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PROGRAM BENEFACTORS

David and Angela Li Anthony Pratt The Pratt Foundation Ullmer Family Foundation Anonymous (2)

VIRTUOSO PATRONS $50,000+ Di Jameson David Krasnostein and Pat Stragalinos Harold Mitchell AC Kim Williams AM

IMPRESARIO PATRONS $20,000+

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PLAYER PATRONS $1,000+

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The Hon Michael Watt QC and Cecilie Hall

Wayne and Penny Morgan Anne Neil Patricia Nilsson Laurence O’Keefe and Christopher James Kerryn Pratchett Peter Priest Treena Quarin Eli Raskin Raspin Family Trust Joan P Robinson Cathy and Peter Rogers Peter Rose and Christopher Menz Liliane Rusek Elisabeth and Doug Scott

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

Martin and Susan Shirley Penny Shore Dr Sam Smorgon AO and Mrs Minnie Smorgon Dr Norman and Dr Sue Sonenberg Lady Southey AC Geoff and Judy Steinicke Jennifer Steinicke Dr Peter Strickland Pamela Swansson Ann and Larry Turner David Valentine Mary Valentine AO The Hon. Rosemary Varty Leon and Sandra Velik David and Yazni Venner Sue Walker AM

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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

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

Mrs Sylvia Lavelle

TRUSTS AND FOUNDATIONS

Pauline and David Lawton

Collier Charitable Fund

Cameron Mowat

Crown Resorts Foundation and the Packer Family Foundation

John Jones George and Grace Kass

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 The Hon. Rosemary Varty Mr Tam Vu Marian and Terry Wills Cooke 16

The Cybec Foundation The Marian and E.H. Flack Trust Freemasons Foundation Victoria The Gall Family Foundation Gandel Philanthropy The International Music and Arts Foundation The Archie & Hilda Graham Foundation The Ern Hartley Foundation Gwen & Edna Jones Foundation The A.L. Lane 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 The Ray & Joyce Uebergang Foundation Anonymous

Honorary Appointments Marc Besen AC and Eva Besen AO Life Members John Gandel AC and Pauline Gandel Life Members

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:

Sir Elton John CBE Life Member

$1,000+ (Player)

Harold Mitchell AC Life Member

$10,000+ (Maestro)

Lady Potter AC CMRI Life Member Mrs Jeanne Pratt AC Life Member Tan Dun Artistic Ambassador

$2,500+ (Associate) $5,000+ (Principal) $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

Geoffrey Rush AC Artistic 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

Major Partners

Venue Partner

Education Partners

Supporting Partners

Quest Southbank

The CEO Institute

Ernst & Young

Bows for Strings

The Observership Program

Trusts and Foundations

Erica Foundation Pty Ltd Gall Family Foundation, The Archie & Hilda Graham Foundation, The Gross Foundation, Ern Hartley Foundation The A.L. Lane Foundation, Gwen & Edna Jones Foundation, Sidney Myer MSO Trust Fund MS Newman Family Foundation, The Ray & Joyce Uebergang Foundation, The Ullmer Family Foundation

Media and Broadcast Partners