Cheetham and Beethoven | Brahms' Symphony No.2

PROGRAM

JAIME MARTÍN

CONDUCTS

Cheetham and Beethoven Brahms’ Symphony No.2 26 FEBRUARY – 1 MARCH

CONTENTS

04

THE MELBOURNE SYMPHONY ORCHESTRA Guest Soloists Your MSO Guest Musicians

10 14 18

Acknowledging Country CHEETHAM AND BEETHOVEN

BRAHMS’ SYMPHONY NO.2

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Jaime Martín

Aaron Wyatt

In September 2019 Jaime Martín became Chief Conductor of the RTE National Symphony Orchestra and Music Director of the Los Angeles Chamber Orchestra.

He has been Artistic Director and Principal Conductor of Gävle Symphony Orchestra since 2013, and his time there has brought the orchestra a new level of international recognition through highly acclaimed recordings and touring performances.

Originally from Perth where he had an extensive career as a freelance musician, Aaron is now an assistant lecturer at The Sir Zelman Cowen School of Music at Monash University. He is a violist, violinist, conductor and programmer of Noongar, Yamatji and Wongi heritage.

conductor

Melbourne Symphony Orchestra The Melbourne Symphony Orchestra is a leading cultural figure in the Australian arts landscape, bringing the best in orchestral music and passionate performance to a diverse audience across Victoria, the nation and around the world.

Each year the MSO engages with more than 5 million people through live concerts, TV, radio and online broadcasts, international tours, recordings and education programs.

The MSO is a vital presence, both onstage and in the community, in cultivating classical music in Australia. The nation’s first professional orchestra, the MSO has been the sound of the city of Melbourne since 1906.

The MSO regularly attracts great artists from around the globe including Anne-Sophie Mutter, Lang Lang, Renée Fleming and Thomas Hampson, while bringing Melbourne’s finest musicians to the world through tours to China, Europe and the United States.

The Melbourne Symphony Orchestra acknowledges the Traditional Owners of the Land on which we perform and would like to pay our respects to their Elders and Community both past and present.

JAIME MARTÍN CONDUCTS – 4

viola

Having spent many years as a highly regarded flautist, Jaime turned to conducting full-time in 2013 and has become very quickly sought after at the highest level. In recent years Martín has conducted an impressive list of orchestras and has recorded various discs, both as a conductor and as a flautist.

Martín is the Artistic Advisor and previous Artistic Director of the Santander Festival. He was a founding member of the Orquestra de Cadaqués, where he was Chief Conductor from 2012 to 2019. He is also a Fellow of the Royal College of Music, London, where he was a flute professor.

Playing across a range of genres with many different ensembles, he was a long time, regular casual with the West Australian Symphony Orchestra, and recently toured with them to China and Abu Dhabi. He has performed internationally with a number of other groups and productions, including the award winning fringe show City of Shadows by Rachael Dease.

He is also the developer behind the Decibel ScorePlayer app, an animated graphic notation software for the iPad. Aaron was recently nominated for a Helpmann Award for his musical direction of Cat Hope’s new noise opera Speechless, presented as part of the 2019 Perth International Arts Festival.

JAIME MARTÍN CONDUCTS – 5

Your MSO Xian Zhang

Principal Guest Conductor

Benjamin Northey Principal Conductor in Residence

Nicholas Bochner

Cybec Assistant Conductor

Sir Andrew Davis Conductor Laureate

Hiroyuki Iwaki †

Conductor Laureate (1974–2006)

FIRST VIOLINS Dale Barltrop Concertmaster

Sophie Rowell

Concertmaster The Ullmer Family Foundation#

Tair Khisambeev

Assistant Concertmaster

Peter Edwards

Assistant Principal

Kirsty Bremner Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Barbara Bell, in memory of Elsa Bell#

Kirstin Kenny Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor

SECOND VIOLINS

CELLOS

OBOES

HORNS

Matthew Tomkins

David Berlin

Thomas Hutchinson

Nicolas Fleury

Rachael Tobin

Ann Blackburn

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 Danny Gorog and Lindy Susskind#

Cong Gu Andrew Hall Isy Wasserman Philippa West Patrick Wong Roger Young VIOLAS Christopher Moore Principal Di Jameson#

Christopher Cartlidge Associate Principal

Lauren Brigden Katharine Brockman Anthony Chataway

Dr Elizabeth E Lewis AM#

Gabrielle Halloran Trevor Jones Anne Neil#

Fiona Sargeant Cindy Watkin

Principal

Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman

Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon#

Sarah Morse Angela Sargeant Michelle Wood

Andrew and Judy Rogers#

DOUBLE BASSES Damien Eckersley Benjamin Hanlon

Associate Principal

The Rosemary Norman Foundation#

Principal Margaret Jackson AC#

Saul Lewis

COR ANGLAIS

Principal Third The Hon Michael Watt QC and Cecilie Hall#

Michael Pisani

Abbey Edlin

Principal Beth Senn#

Nereda Hanlon and Michael Hanlon AM#

CLARINETS

Trinette McClimont Rachel Shaw

David Thomas Principal

TRUMPETS

Philip Arkinstall

Owen Morris

Associate Principal

Craig Hill BASS CLARINET

BASSOONS

John and Diana Frew#

Jack Schiller

TROMBONES

FLUTES

Elise Millman

Prudence Davis

Natasha Thomas

Principal Anonymous#

Wendy Clarke

Associate Principal Dr Martin Tymms and Patricia Nilsson#

Associate Principal

CONTRABASSOON

Sarah Beggs

Brock Imison

Sophia Yong-Tang#

Drs Rhyl Wade and Clem Gruen#

HARP Yinuo Mu

Principal

William Evans Rosie Turner

Richard Shirley Anonymous#

Mike Szabo

Principal Bass Trombone

TUBA Timothy Buzbee Principal

Principal

PICCOLO Andrew Macleod

Principal John McKay and Lois McKay#

Learn more about our musicians on the MSO website.

JAIME MARTÍN CONDUCTS – 6

Robert Cossom

Associate Principal Glenn Sedgwick#

Suzanne Lee Stephen Newton

Principal

John Arcaro

Anonymous#

Shane Hooton

Jon Craven

Sophie Galaise and Clarence Fraser#

PERCUSSION

Principal

Frank Mercurio and Di Jameson#

Principal

TIMPANI

# Position supported by

JAIME MARTÍN CONDUCTS – 7

Guest Musicians CHEETHAM AND BEETHOVEN First violins Ioana Tache Nicholas Waters Second violins Michael Loftus-Hills Oksana Thompson

Violas Molly Collier-O’Boyle

Horn Anton Schroeder

William Clark Ceridwen Davies

Trombone Jessica Buzbee

Double bass Rohan Dasika,

Percussion Greg Sully Lara Wilson

Assistant Principal

Assistant Principal

BRAHMS’ SYMPHONY NO.2 First violins Ioana Tache Nicholas Waters Second violins Michael Loftus-Hills Oksana Thompson Violas Molly Collier-O’Boyle Assistant Principal

William Clark Ceridwen Davies

Double bass Rohan Dasika,

Assistant Principal

Oboe Rachel Curkpatrick Horn Peter Luff

Associate Principal

Trombone Jessica Buzbee

Percussion Greg Sully Lara Wilson

Acknowledging Country In the first project of its kind in Australia, the MSO has developed a musical Acknowledgment of Country with music composed by Yorta Yorta composer Deborah Cheetham AO, featuring Indigenous languages from across Victoria. Generously supported

by Helen Macpherson Smith Trust and the Commonwealth Government through the Australian National Commission for UNESCO, the MSO is working in partnership with Short Black Opera and Indigenous language custodians who are generously sharing their cultural knowledge.

The Acknowledgement of Country allows us to pay our respects to the traditional owners of the land on which we perform in the language of that country and in the orchestral language of music.

Boon Wurrung language generously supplied by Aunty Carolyn Briggs and the Boon Wurrung Foundation.

Australian National Commission for UNESCO United Nations Educational, Scientific and Cultural Organization

About Long Time Living Here In all the world, only Australia can lay claim to the longest continuing cultures and we celebrate this more today than in any other time since our shared history began. We live each day drawing energy from a land which has been nurtured by the traditional owners for more than 2000 generations. When we acknowledge country we pay respect to the land and to the people in equal measure.

As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music. In order to compose the music for this Acknowledgement of Country Project I have had the great privilege of working with no fewer than eleven ancient languages from the state of Victoria, including the language of my late Grandmother, Yorta Yorta woman Frances McGee. I pay my deepest respects to the elders and ancestors who are represented in these songs of acknowledgement and to the language custodians who have shared their knowledge and expertise in providing each text.

I am so proud of the MSO for initiating this landmark project and grateful that they afforded me the opportunity to make this contribution to the ongoing quest of understanding our belonging in this land.

Information correct as of 22 February 2021.

JAIME MARTÍN CONDUCTS – 8

— Deborah Cheetham AO JAIME MARTÍN CONDUCTS – 9

Cheetham and Beethoven Friday 26 February / 6pm Saturday 27 February / 6pm Monday 1 March / 6pm Arts Centre Melbourne, Hamer Hall

Melbourne Symphony Orchestra Jaime Martín conductor Aaron Wyatt viola CHEETHAM Nanyubak

WORLD PREMIERE OF AN MSO COMISSION

BEETHOVEN Symphony No.3

A musical Acknowledgement of Country, Long Time Living Here by Deborah Cheetham AO, will be performed before the start of this concert.

Running time: Approximately 1 hour, no interval.

About the Music DEBORAH CHEETHAM AO

The composer writes: Yorta Yorta - To dream.

and uncertainty his voice is subsumed by the forces around him. Straining to break free and to be heard until finally joining forces with the ripieno (tutti orchestra) to acknowledge the combined effort of a community. No single voice but a community of voices striving, sacrificing and succeeding together.

In January 2020 this work was still forming in my imagination. It was destined for exciting performances on distant shores, Edinburgh Festival, the BBC Proms. Audiences in Spain would hear this work and connect to the oldest music practice in the world, even if only by virtue of the title and a brief program note – such as the one you are reading.

Nanyubak is the musical articulation of a year I can barely define. It is the first movement of my first concerto and is brought to life by for the first time by Noongar Violist Aaron Wyatt Director of Ensemble Dutala, Australia’s newly formed First Nations Orchestral ensemble. A night of firsts and a chance to reimagine our dream.

That was January. By late February the winds of change had blown away the smoke haze from our streets bringing with them a new threat. When the door slammed shut on our industry it felt to me like a physical blow. It resounded in my ears. Nanyubak begins with this shock sudden and percussive and is punctuated twice more throughout the course of the movement, each time with increasing intensity. As lock downs deepened and restrictions closed in around us, curfews and permits were imposed the city fell silent and the silence was deafening. A year of loss, sorrow and confusion. We bore witness to the global Human spirit rising, stumbling and rising again. We staggered forward into 2021.

Deborah Cheetham AO

(born 1964) Nanyubak

Aaron Wyatt viola

In spite of the darkness which inhabits sections of Nanyubak I found the urge to move towards the celebration of our resilience – particularly as Victorians and even more so as residents of Melbourne – irresistible. As the soloist deals with doubt

This is the MSO’s first performance of this work.

LUDWIG VAN BEETHOVEN

(1770–1827)

Symphony No.3 in E flat, Op.55 Eroica Allegro con brio Marcia funebre (Adagio assai) Scherzo (Allegro vivace) Finale (Allegro molto – Poco andante – Presto) If the Second Symphony reflects Beethoven’s sheer professional commitment to his work in the face of overwhelming personal calamities, in the Third he seems to take arms against his sea of troubles. The realisation in 1802 that his deafness was a progressive affliction and incurable, that it presaged, sooner rather than later, the end of his career as a piano virtuoso, prompted his outpouring of anguish in the Heiligenstadt

JAIME MARTÍN CONDUCTS: CHEETHAM AND BEETHOVEN – 11

Testament. Yet about the same time he was writing to friends: ‘I shall take Fate by the throat; it shall not wholly overcome me.’ The Eroica embodies this spirit.

But the Eroica also reflects the turbulence of the age — not just in politics but in the arts and literature. The intended dedication to Napoleon and its dramatic abandonment when Bonaparte declared himself Emperor are facts of history but are not fundamental to the symphony.

Beethoven was ready to honour a popular hero in a dedication, but the Eroica is not essentially about Napoleon or any particular individual. Rather it is the idealised embodiment of heroic values, the selfless battle of the idealist for his fellow human beings against the hostilities of the material world, and the inevitable mortality of heroes, equally with the rest of mankind. It might be argued that Beethoven’s music suffices to be its own hero.

In the Eroica, Beethoven departs from his earlier methods of beginning a symphony.

No longer the tonally ambiguous opening of the First, nor the slow introduction of the Second: Beethoven launches straight into the Allegro with two emphatic chords of the tonic E flat. Such complex adventures are to follow that the opening demands absolute directness. The first movement, nearly 700 bars in length, immediately establishes the scale of the symphony. Perhaps the most characteristic features of this music are its great architectural strength, deriving from Beethoven’s sure grasp of sonata form as handed down from Haydn and Mozart, and his wide-ranging, actionpacked exploration of tonality in which no event is mere routine. His exposition ends firmly in the dominant key of B flat, and in the development he constantly

ventures to new keys. The gigantic coda begins with such dramatic strides to remote tonalities that when E flat is eventually reached at the end of the movement it is a supremely majestic homecoming.

The slow movement, which Beethoven headed ‘Funeral March’, is the centrepiece and arguably spiritual climax of the symphony. Beginning with solemn gravity, the music proceeds to encompass one after another of the moods of human grief and comes to a climax in a powerful fugato section. Thereafter the music disintegrates into desolate, short fragments before eventually resolving itself in a conclusion of calm, yet bleak, acceptance.Funeral marches bring no finality. A further two movements affirm, perhaps, that heroes come and go but the world and the eternal spirit of heroism go on.

The purposeful bustle of the Scherzo brings release from the Funeral March.

But there is no evidence that Beethoven in the great set of variations which make up his Finale did more than simply make ultimate use of a theme first heard in his ballet The Creatures of Prometheus some three years before; nothing to suggest that he was in any sense carrying over the idea of a heroic godhead in the image of Prometheus who, saving humanity from destruction by Zeus, presented it with the gift of fire stolen from heaven. This was the fourth and last time Beethoven used the theme, and if the three earlier versions (ballet, contredanse and piano variations) had served no other purpose than as sketches for the Eroica, they served the cause of music bountifully. A carefree 18 th century rondo would never have done to end a symphony of such unprecedented stature.

Anthony Cane © 2001

JAIME MARTÍN CONDUCTS: CHEETHAM AND BEETHOVEN – 12

Brahms’ Symphony No.2 Friday 26 February / 8.30pm Saturday 27 February / 8.30pm Monday 1 March / 8.30pm Arts Centre Melbourne, Hamer Hall

About the Music DEBORAH CHEETHAM AO

(born 1964) Nanyubak

Aaron Wyatt viola See program note page 11.

JOHANNES BRAHMS

(1833–1897)

Melbourne Symphony Orchestra Jaime Martín conductor Aaron Wyatt viola CHEETHAM Nanyubak

WORLD PREMIERE OF AN MSO COMISSION

BRAHMS Symphony No.2

A musical Acknowledgement of Country, Long Time Living Here by Deborah Cheetham AO, will be performed before the start of this concert.

Running time: Approximately 1 hour, no interval.

Symphony No.2 in D, Op.73 Allegro non troppo Adagio non troppo Allegretto grazioso (Quasi andantino) – Presto ma non assai Allegro con spirito Composed in the summer of 1877 at his favourite resort village of Pörtschach, on the edge of Lake Worth in the Austrian Alps, the Second Symphony is the sunniest of Brahms’ symphonies. There, in solitude and in between dawn swims and long daily walks, Brahms composed this bucolically joyous work with rare swiftness. Four months is all it took, nothing like the tortuous, two decades’ struggle of the First Symphony.

A personal tone and easy lyrical warmth immediately sets the Second Symphony apart from the First. Brahms seems at last able to put the weighty symphonic inheritance of Beethoven behind him and arrive at a more individual position. Clara Schumann was one of the first to cast comment: on hearing Brahms play parts of the score on piano, she remarked that the new symphony was more original than its predecessor, and she predicted correctly that the public would prefer it.

The premiere by the Vienna Philharmonic

under conductor Hans Richter on 30 December was a resounding success, critics praising the work as ‘attractive’, ‘understandable’ and refreshingly unBeethovenian.

Paradoxically, the Second’s originality lies partly in its mild, backward-looking stance. Gentle pastoral imagery and a compressed, Haydnesque expressive scale seem to evoke a past world.

The work’s character is genial: all four movements are like companions, not dramatically set against one another – and all are in major keys.

More than anything else, it is a melodic symphony. Brahms wrote to Eduard Hanslick about Pörtschach: ‘The melodies fly so thick here that you have to be careful not to step on one.’ Indeed each movement abounds with lyricism. In the first movement a leisurely, lilting waltz serves as the main subject, followed by an equally lilting ‘lullaby’ second subject in the cellos. No doubt the birdsong later in the flute, decorating the main subject’s return, helped this to become ‘Brahms’ Pastoral Symphony’ – which label greatly annoyed the composer. The flowing melodic vein continues in a noble, expansively romantic Adagio, one of Brahms’ finest symphonic movements. Tuneful in a different way is the diminutive third movement, which consists of a suite of elegant Baroquesounding dances. The finale is the only outrightly dramatic movement: it bursts out with resplendent melody as if proclaiming victory.

But a victory over what? If one listens with different ears to the Second Symphony, its radiantly lit landscape

JAIME MARTÍN CONDUCTS: BRAHMS’ SYMPHONY NO.2 – 15

seems continually threatened. A brooding quality seems to grow out of the first movement’s initial three-note motif, heard in the cellos, and it is emphasised by this motif’s numerous reappearances not only in this movement but in the second as well. Even the third and fourth movements with their lighter mood have a shadowy side, in wistful major-minor inflections and moments of muted introspection.

So maybe all is not so sunny after all. One perceptive listener of the time, Vincenz Lachner, questioned Brahms about his intent in the symphony, in particular on why he introduces the gloomy sounds of tremolo timpani and low trombones so early in the first movement – just one minute in. Brahms’ reply is extraordinary for what it reveals about himself and the work: I would have to confess that I am…a severely melancholic person, that black wings are constantly flapping above us, and that in my output – perhaps not entirely by chance – this symphony is followed by a little essay about the great ‘Why’. If you don’t know this [motet, Warum] I will send it to you. It casts the necessary shadow on the serene symphony and perhaps accounts for those timpani and trombones.

as Hermann Levi put it to Clara, the ‘demon of abruptness, of coldness and of heartlessness’ would finally snatch his ‘better self’ away. That cold-warmth, or warmth at a distance, is felt particularly in this work; but with granite-like creative strength Brahms turns his own frailties into human universalities.

The Second is too amiable to be revolutionary. But in its tone-painting without glory, its fatalism and its ‘taint of the real’, Brahms points the way toward the symphonies of Mahler. Reinhold Brinkmann calls the Second ‘an emphatic questioning of the pastoral world, a firm denial of the possibility of pure serenity’.

Its revelation is of a composer, a nature lover, for whom there was no joy without sadness, and no sadness without joy.

Graham Strahle © 2004

Thus it is a Janus-faced Brahms who found his idyll in the mountainous retreat of Pörtschach: the sombre-sounding motet he mentions, Warum ist das Licht gegeben, Op.74, dates from his same summer there.

All of which has led Malcolm MacDonald to suggest that the Second is ‘one of the darkest of major-key symphonies’.

The Second does not easily disclose itself but is like the man himself, wrapped in ambiguity and internal contradictions. Friends loved him yet found him insufferable, fearing that,

JAIME MARTÍN CONDUCTS: BRAHMS’ SYMPHONY NO.2 – 16

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Prue Gill

Rod Home

Wayne McDonald and Kay Schroer

Jacob and Mavis Varghese

Sandra Gillett and Jeremy Wilkins

Doug Hooley

Margaret McGrath

The Hon Rosemary Varty

Richard Gubbins

Anne Huffam

Don and Anne Meadows

Leon and Sandra Velik

R J Harden

Penelope Hughes

Dr Eric Meadows

Sue Walker AM

Amir Harel and Dr Judy Carman

Judi Humberstone

Wayne and Penny Morgan

Elaine Walters OAM and Gregory Walters

Katherine Horwood

Geoff and Denise Illing

Dr Rosemary Nixon AM

The Rev Noel Whale

Elspeth and Roald de Wit

Rosemary and James Jacoby

David O’Connell

Edward and Paddy White

Basil and Rita Jenkins

Kay Jackson

Timothy O’Connell

Barry and Julie Wilkins

Wendy Johnson

Peter Jaffe and Judy Gold

Laurence O’Keefe and Christopher James

Dorothy Kiers

Andrew Jamieson

Roger Parker

Marian Wills Cooke and Terry Wills Cooke OAM

Paul and Amy Jasper

Adriana and Sienna Pesavento

Richard Withers

Paschalina Leach

Basil and Rita Jenkins

Wilma Plozza-Green

David and Dr Elizabeth Judd

Kerryn Pratchett

Dorothy Karpin

Peter Priest

Angela Kayser

Treena Quarin

Irene Kearsey and Michael Ridley

Eli Raskin

Bruce and Natalie Kellett

Tony and Elizabeth Rayward

Jane Allan

Prof Charles Qin and Kate Ritchie

Dr Anne Kennedy

Peter and Carolyn Rendit

Ellen Alleny

Michael Ryan and Wendy Mead

Julie and Simon Kessel

Brian and June Roberts

Judith Armstrong

The Schapper Family Foundation

Jeanette King

Cathy and Peter Rogers

Elvala Ayton and Maxine Wain

Mark and Jan Schapper

Anthony Klemm

Peter Rose and Christopher Menz

Margaret Bainbridge

Valerie Silberberg

Graham and Jo Kraehe

Marie Rowland

Liz and Charles Baré

Paul Schneider and Margarita Schneider

Ann Lahore

Fred and Patricia Russell

Heather and David Baxter

Geoff and Judy Steinicke

Kerry Landman

Jan Ryan

Bill Bowness AO

Profs Gabriela and George Stephenson

Bryan Lawrence

Elisabeth and Doug Scott

Errol Broome

Rowan Streiff and Dr Murray Sandland

Diedrie Lazarus

Dr Nora Scheinkestel

Bill and Sandra Burdett

Nancy Sturgess

Jane Leitinger

Martin and Susan Shirley

Prof Jan Carter AM

Helen M Symons

Dr Anne Lierse

Penny Shore

Rosemary Cromby

Tam Vu and Dr Cherilyn Tillman

Norman Lewis, in memory of Dr Phyllis Lewis

John E Smith

Carol des Cognets

Noel and Jenny Turnbull

Dr Susan Linton

Dr Sam Smorgon AO and Minnie Smorgon

The Dougall and Morey families

Dr Elsa Underhill and Prof Malcolm Rimmer

Dr Emily Lo

Sparky Foundation

Mike and Nina Dow

Amanda Watson

Andrew Lockwood

Dr Vaughan Speck

Lisa Dwyer and Dr Ian Dickson

Angela Westacott

Elizabeth H Loftus

Geoff and Judy Steinicke

Jane Edmanson OAM

The Rev Noel Whale

Chris and Anna Long

Dr Peter Strickland

Mary Gaidzkar

Prof Barbara Workman

Margaret Long

Dr Norman and Dr Sue Sonenberg

June and Simon Lubansky

Pamela Swansson

Shane Mackinlay

Stephanie Tanuwidjaja

The Hon Ian Macphee AO and Julie Macphee

Tara, Tessa, Melinda and Terrence Teh

Pete Masters

Ann and Larry Turner

Ruth Maxwell

Geoffrey Thomlinson

Jeffrey and Shirley Zajac Susan Zheng Anonymous (25)

OVERTURE PATRONS $500+*

Prof David Knowles and Dr Anne McLachlan Fred and Alta McAnda Shirley A McKenzie Jennifer Meister Dr Bruce and Judy Munro Conrad O’Donohue and Dr Rosemary Kiss

* The MSO has introduced a new tier to its annual Patron Program in recognition of the donors who supported the Orchestra during 2020, many for the first time.

Moving forward, donors who make an annual gift of $500–$999 to the MSO will now be publicly recognised as an Overture Patron. For more information, please contact Donor Liaison, Keith Clancy on (03) 8646 1109 or clancyk@mso.com.au

Mary Valentine AO Supporters – 22

Supporters – 23

Lorna Wyatt

Anne Kieni-Serpell and Andrew Serpell

Harold Zwier

Jennifer Shepherd

Add: Anonymous (16)

Prof Gabriela Stephenson and Prof George Stephenson

CONDUCTOR’S CIRCLE

Pamela Swansson

Jenny Anderson

Lillian Tarry Tam Vu and Dr Cherilyn Tillman

David Angelovich

Mr and Mrs R P Trebilcock

G C Bawden and L de Kievit

Michael Ullmer AO

Lesley Bawden

The Hon Rosemary Varty

Joyce Bown Jenny Brukner and the late Mr John Brukner Ken Bullen

Mark Young

Peter A Caldwell

Anonymous (29)

Luci and Ron Chambers

The MSO gratefully acknowledges the support of the following Estates:

Beryl Dean Sandra Dent

Norma Ruth Atwell

Alan Egan JP

Angela Beagley

Gunta Eglite

Christine Mary Bridgart

Mr Derek Grantham Marguerite Garnon-Williams Dr Rhyl Wade and Dr Clem Gruen Louis Hamon OAM Carol Hay Graham Hogarth Rod Home Tony Howe Laurence O’Keefe and Christopher James Audrey M Jenkins

Neil Roussac and Anne Roussac-Hoyne Michael Ryan and Wendy Mead

Asia Society Australia TarraWarra Estate Executive Wealth Circle David’s Hot Pot Chin Communications Xiaojian Ren & Qian Li

HONORARY APPOINTMENTS

Harold Mitchell AC Lady Potter AC CMRI

Audrey Jenkins

Jeanne Pratt AC

Joan Jones

Artistic Ambassadors Tan Dun

Pauline Marie Johnston

Jennifer May Teague

Joan P Robinson

Hengyi

Gwen Hunt

Halinka Tarczynska-Fiddian

Penny Rawlins

Swisse

Sir Elton John CBE

Molly Stephens

Rosia Pasteur

Biostime

Enid Florence Hookey

Marion A I H M Spence

Matthew O’Sullivan

Seven Network

John Gandel AC and Pauline Gandel AC

Miss Sheila Scotter AM MBE

David Orr

Austin Land

The Hon Dr Alan Goldberg AO QC

Jean Moore

Cameron Mowat

Li Family Trust

Marc Besen AC and Eva Besen AO

Prof Andrew McCredie

Pauline and David Lawton

The Ministry of Culture and Tourism, China

Neilma Gantner

Lorraine Maxine Meldrum

Sylvia Lavelle

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

Life Members

Joan Winsome Maslen

Bruce and Natalie Kellett

Consulate General of the People’s Republic of China

Margaret Davies

Peter Forbes MacLaren

George and Grace Kass

MSO BOARD

The Cuming Bequest

C P Kemp

John Jones

Suzette Sherazee

Marian Wills Cooke and Terry Wills Cooke OAM

CHINESE NEW YEAR SUPPORTERS

Albert Henry Ullin Jean Tweedie Herta and Fred B Vogel Dorothy Wood

Supporters – 24

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

Lu Siqing MSO Ambassador Geoffrey Rush AC The MSO honours the memory of Life Members John Brockman OAM The Honourable Alan Goldberg AO QC Roger Riordan AM Ila Vanrenen

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $500+ (Overture) $1,000+ (Player) $2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario) $50,000+ (Virtuoso) $100,000+ (Platinum)

Supporters – 25

Thank you to our Partners Principal Partner

Premier Partners

Major Partners

Government Partners

Education Partners

Premier Production Partner

Venue Partner

Supporting Partners

We have a real appreciation for things that are well orchestrated.

Quest Southbank

The CEO Institute

Ernst & Young

Bows for Strings

Trusts and Foundations

Northern Trust is proud to support the Melbourne Symphony Orchestra.

For 130 years, we’ve been meeting our clients’ financial needs while nurturing a culture of caring and a commitment to invest in the communities we serve. Our goal is to help you find perfect harmony.

Sir Andrew and Lady Fairley, Erica Foundation Pty Ltd, Flora & Frank Leith Trust, Scobie & Claire MacKinnon Trust, Sidney Myer MSO Trust Fund, The Alison Puzey Foundation part of Equity Trustees Sector Capacity Building Fund, Perpetual Foundation – Alan (AGL) Shaw Endowment, The Ray & Joyce Uebergang Foundation, The Ullmer Family Foundation

TO LEARN MORE VISIT

northerntrust.com Media and Broadcast Partners A SSET SERVICING | A SSET MANAGEMENT

BEST SEAT in the house

As Principal Partner of the Melbourne Symphony Orchestra, we know the importance of delighting an audience. That’s why when you’re in Emirates First, you’ll enjoy the ultimate flying experience with fine dining at any time in your own private suite.

*Emirates First Class Private Suite pictured. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.