MSO Plays Pastoral

PLAYS PASTORAL 23–26 JUNE 2017

CONCERT PROGRAM

The perfect Saturday MSO PLAYS DAS LIED VON DER ERDE Saturday 1 July | 2pm MSO PLAYS SHOSTAKOVICH 5 Saturday 12 August | 2pm SIR ANDREW DAVIS UNCOVERS BRUCKNER 7 Saturday 2 September | 2pm MSO PLAYS RAVEL Saturday 23 September | 2pm MSO PLAYS RACHMANINOV 2 Saturday 25 November | 2pm Arts Centre Melbourne, Hamer Hall

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Melbourne Symphony Orchestra Sir Andrew Davis conductor Daniel MĂźller-Schott cello Christopher Moore viola

Strauss Don Quixote INTERVAL

Beethoven arr. Dean Adagio molto e mesto Beethoven Symphony No.6 Pastoral

Running time: 2 hours, including 20-minute interval In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone.

The MSO acknowledge the Traditional Owners of the land on which we are performing. We pay our respects to their Elders, past and present, and the Elders from other communities who may be in attendance.

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MELBOURNE SYMPHONY ORCHESTRA Established in 1906, the Melbourne Symphony Orchestra (MSO) is Australia’s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of the MSO since 2013. Engaging more than 2.5 million people each year, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming.

As a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world. Its international audiences include China, where the MSO performed in 2016 and Europe where the MSO toured in 2014.

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

The MSO also works with Associate Conductor, Benjamin Northey, and the Melbourne Symphony Orchestra Chorus, as well as with such eminent recent guest conductors as Thomas Ades, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Nick Cave, Sting, Tim Minchin, Ben Folds, DJ Jeff Mills and Flight Facilities. Tonight’s concert concludes the MSO’s acclaimed Richard Strauss cycle, which has been recorded for CD (ABC Classics).

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SIR ANDREW DAVIS CONDUCTOR Sir Andrew Davis is Music Director and Principal Conductor of the Lyric Opera of Chicago and Chief Conductor of the Melbourne Symphony Orchestra. In a career spanning over 40 years, he has been the musical and artistic leader at several of the world's most distinguished opera and symphonic institutions, including the BBC Symphony Orchestra (1991-2004), Glyndebourne Festival Opera (1988-2000), and the Toronto Symphony Orchestra (1975-1988). He recently received the honorary title of Conductor Emeritus from the Royal Liverpool Philharmonic Orchestra.

One of today's most recognised and acclaimed conductors, Sir Andrew has conducted virtually all the world's major orchestras, opera companies, and festivals. Born in 1944 in Hertfordshire, England, Sir Andrew studied at King’s College, Cambridge, where he was an organ scholar before taking up conducting. His wide-ranging repertoire encompasses the Baroque to contemporary, and his vast conducting credits span the symphonic, operatic and choral worlds.

In 1992 Maestro Davis was made a Commander of the British Empire, and in 1999 he was made a Knight Bachelor in the New Year Honours List.

Image courtesy Dario Acosta Photography

DANIEL MÜLLER-SCHOTT CELLO

CHRISTOPHER MOORE VIOLA

With technical brilliance and authority, with intellect and emotional esprit, Daniel Müller-Schott has been guest soloist with the Berlin Philharmonic under Alan Gilbert, the New York Philharmonic and the Boston Symphony Orchestra under Charles Dutoit and the Munich Philharmonic under Lorin Maazel.

Born in Newcastle, Christopher Moore's strongest memory from childhood was seeing his mother pulling up in the driveway of his home with a tiny blue violin case on the back seat. After studying with two prominent Sydney Suzuki teachers, Marjorie Hystek and the late Harold Brissendon, he completed his Bachelor of Music in Newcastle with violinist and pedagogue Elizabeth Holowell.

He is also a regular guest of the City of Birmingham Symphony Orchestra, Philharmonia Orchestra, London Philharmonic Orchestra, at London’s BBC Proms, Leipzig Gewandhaus Orchestra, and in the US with the orchestras of Cleveland, Chicago and Philadelphia. He performs with NHK Symphony Orchestra, Sydney Symphony and Seoul Philharmonic.

He works with conductors including Jakub Hrůša, Neeme Järvi, Jun Märkl, Andris Nelsons, André Previn, Jukka-Pekka Saraste and Dima Slobodeniouk.

Müller-Schott studied with Walter Nothas, Heinrich Schiff and Steven Isserlis and was recipient of the 2013 Aida Stucki Award awarded from the Anne-Sophie Mutter Foundation.

Through this support he studied with the late Mstislav Rostropovich.

He plays the “Ex Shapiro” Matteo Goffriller cello, Venice, 1727.

After working with Adelaide and New Zealand Symphony Orchestras as a violinist, Chris decided to take up a less highly strung string instrument and moved his musical focus and energy to the viola. He accepted a position with the Melbourne Symphony Orchestra – a position he held for one and a half years before successfully auditioning for the position of Associate Principal Viola with the orchestra. During his association with MSO, Chris has performed regularly as a chamber musician with other colleagues from the MSO and counts among his many highlights sharing the stage with KISS. In his current position as Principal Viola of the MSO, Chris is supported

by Di Jameson.

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PROGRAM NOTES

RICHARD STRAUSS (1864–1949) Don Quixote – Fantastic Variations on a Theme of Knightly Character, Op.35 Daniel Müller-Schott cello Christopher Moore viola

Cervantes’ 17th-century novel would become the greatest work of Spanish literature, with Don Quixote and Sancho Panza two of the greatest characters in all literature – up there with Faust, Hamlet and Milton’s Satan.

And the number of musical settings over the years has surely adorned Cervantes’ comic classic beyond his humblest dreams – suites by Purcell and Telemann, song cycles by Ravel and Ibert, operas by Mendelssohn, Donizetti, Massenet and Paisiello, and works by fellow Spaniards like Roberto Gerhard and Manuel de Falla.

Richard Strauss’ tone-poem, the most popular orchestral work on the subject, was his third character study after Don Juan and Till Eulenspiegel.

It was largely written during December 1897 while Strauss was Hofkapellmeister back in his home town of Munich, and first performed in Cologne on 8 March 1898.

Strauss’ Don Quixote is a symphonic poem but takes the form of theme and variations (representing adventurous episodes). Strauss’ designation of the work as being for grosses Orchester conceals the extent of soloistic work.

The oboe is immediately noticeable in the Introduction, but, more significantly, a solo cello represents 6

the Don, and a solo viola embodies his squire, Sancho Panza. Other sides to these characters are presented by solo violin (for Quixote), and bass clarinet and tenor tuba (for Sancho).

The opening theme consists of a wind flourish and then a galant violin theme suggesting the Don’s chivalric nature.

A clarinet figure expresses the Don’s dreamy personality. Strauss next pursues the events leading to Quixote’s insanity, with violas playing a variant of the opening theme until the oboe presents his idealised woman, the farm girl whom the Don has christened Dulcinea. Trumpets summon the Don to exploits. From this point a certain nightmarish quality invests the Introduction.

Strauss now presents his themes for variation – a character study by solo cello of the famous ‘Knight of the Sorrowful Countenance’; Sancho is depicted by three themes: a rolling figure on bass clarinet and tuba, a scampering theme on viola, and finally, Sancho’s proverbs and platitudes.

Variation I: The Adventure with the Windmills comes from the famous episode where Don Quixote mistakes windmills for giants and attacks them.

You can hear the breeze stirring the windmills’ arms in the quick repeated notes on piccolo and flute and trilling violins. The Don’s failure is sharp and the music depicts his limping recovery.

Variation II: The Battle with the Sheep.

Against ‘bleating’ flutter-tonguing on winds and brass, a pastoral

theme suggests sheep which the Don mistakes for mighty armies and attacks. A victorious outcome fits in nicely with Strauss’ musical scheme, but Cervantes’ shepherds threw stones at his hero.

Strauss called Variation III: Dialogue between Knight and Servant: Sancho’s demands, questions and proverbs, Don Quixote’s instructions, appeasings and promises. It is an amusing picture of the two of them bantering for miles. Finally the Don ‘explodes’ and Strauss shifts the scene, giving us a portrait of Knight Errantry through Don Quixote’s eyes.

Off goes Rocinante, Quixote’s tired old nag, in a decrepit gallop (Variation IV: The Adventure with the procession of Penitents). The Don mistakes penitents carrying a statue of the Virgin for ‘villainous and unmannerly scoundrels’ abducting a lady. We hear a liturgical chant and little ‘Ave Marias’ in the woodwinds.

Variation V: Don Quixote’s Vigil during the summer night depicts the Don’s vigil over his armour.

Variation VI: Meeting with a country lass: Sancho tells his master she is Dulcinea bewitched portrays the episode of Dulcinea’s ‘enchantment’.

The Don commands Sancho to find his Lady, and Sancho passes off three peasant girls on donkeys as Dulcinea and her serving girls.

In Variation VII: The Flight through the air the audience is taken on an entertaining orchestral ride as the

Don imagines himself travelling 9,681 leagues on a flying horse.

Variation VIII: The Adventure of the Enchanted Boat (Barcarolle) contains one of Strauss’ most graphic pieces of tone-painting. A boat Quixote and Sancho take from a riverbank drifts amidst water mills and is smashed to pieces. Uncannily appropriate pizzicatos depict the Don and Sancho shaking off drops of water after they are fetched ashore.

In Variation IX: The Contest with the supposed Magician: The Attack of the Monks the Don thinks two Benedictine monks, masked against a dust storm, are sorcerers bearing off a princess, and puts them to flight. (The monks’ intense conversation is conveyed by two bassoons in close counterpoint.)

Variation X: Duel with the Knight of the White Moon: The defeated Don Quixote decides to give up fighting, contemplates being a shepherd, and goes home follows. Fellow-villager Sampson Carrasco disguises himself as the Knight of the White Moon and defeats the Don in battle, shattering his illusions. The orchestra depicts the Don's leaden-footed return home.

The piece ends with the Finale: Death of Don Quixote, which sees one of Strauss' most sublime melodies express the Don's death.

Gordon Kalton Williams Symphony Services International © 1998/2015 The Melbourne Symphony Orchestra first performed this work on 20 May 1939 under conductor Georg Szell, and most recently in April 2000 with Yaron Traub.

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PROGRAM NOTES

LUDWIG VAN BEETHOVEN

LUDWIG VAN BEETHOVEN

(1770–1827)

(1770–1827)

(born 1961)

Symphony No.6 in F major Op.68, Pastoral

arr. BRETT DEAN Adagio molto e mesto from String Quartet in F, Op.59 No.1 (Rasumovsky) for flute, clarinet and string orchestra

Several of Brisbane-born Brett Dean’s pieces have been inspired by the lives and works of great composers.

2003’s Testament, a response to a call for a piece that in some way related to Beethoven’s life and music, was composed for Dean’s former colleagues in the Berlin Philharmonic’s viola section. That work was inspired by Beethoven’s Heiligenstadt Testament (1802), a document in which the composer poured out his anguish about his encroaching deafness, and whose sense of pathos, despair and selfpity Dean found particularly moving.

Throughout the music of Testament, Dean wove quotations from the first of Beethoven’s Rasumovsky Quartets (Op.59), completed four years after his Heilingenstadt crisis during what was for the composer a period of intense growth and creativity. It was to this source that Dean returned in 2013 to create his arrangement for flute, clarinet and strings of that quartet’s expansive Adagio, a movement which has been described as ‘one of Beethoven’s great tragic pieces’. © Symphony Services International This work was commissioned by the Royal Northern Sinfonia who performed the world premiere on 9 May 2013 at Sage Gateshead. Tonight’s performance by the Melbourne Symphony Orchestra is the Australian premiere.

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Awakening of happy feelings on arrival in the country (Allegro ma non troppo) Scene by the brook (Andante molto mosso) Peasants’ merrymaking (Allegro) – Thunderstorm (Allegro) – Shepherd’s song: Thanksgiving after the storm (Allegretto)

In the summer of 1802 Beethoven, as usual, retired to the country for a vacation. His preferred holiday spot was the village of Heiligenstadt just outside Vienna, but this particular summer saw a major crisis in the composer’s life.

After his death, a document was found among his papers: now known as the Heiligenstadt Testament, it is a kind of will written in 1802 and addressed, but never sent to, Beethoven’s brothers. The document describes Beethoven’s anguish on realising that the deterioration of his hearing was incurable. It describes his humiliation at not hearing what others around him took for granted, such as the distant sound of a shepherd’s flute. As he famously expressed it in a letter to a friend, Beethoven’s response to this crisis was a resolve to ‘take Fate by the throat’.

The Heiligenstadt Testament was obviously written after the crisis had past, and in his new frame of mind Beethoven launched into the works of what scholars call his ‘heroic’ period. The first of the Rasumovsky

Quartets and the Eroica Symphony each expanded the sheer scale of its genre beyond anything previously imaginable, and in works like the Fifth Symphony Beethoven dramatises a titanic struggle and victory.

Beethoven spent subsequent summers in Heiligenstadt but in the Pastoral Symphony of 1808 he returns in his music to the scene of his existential crisis. Beethoven once wrote in a notebook of his desire to remain in the country: ‘My unfortunate hearing does not plague me there. It is as if every tree spoke to me in the country: holy! holy! Ecstasy in the woods!’ This might give the impression of the work being a kind of Romantic or pantheist hymn, but that is far from being the case.

There is no lone Caspar David Friedrich figure dwarfed by a forbidding forest. In fact, Beethoven’s Sixth is the fulfilment of certain Baroque and Classical conventions; perhaps Haydn’s Creation and Seasons are the immediate begetters of this work.

Beethoven was very precise in describing the symphony as about feeling rather than painting. The first movement expresses feelings of joy at arriving in the country through its seemingly simple, diatonic melody and moments where the harmony seems static but is enlivened by joyously repeated motifs. We may well picture Beethoven sitting alone by a brook in the second movement, enabled by the miracle of art to hear the bird calls.

Like Haydn, though – who admitted that his tone-painting of frogs in

The Seasons was ‘frenchified trash’ – Beethoven was mistrustful of art imitating nature. The bird calls were an afterthought, and perhaps an ironic one at that.

But the third movement is social as well as pastoral. It is collective humanity which celebrates to the strains of the town band – and that prefigures the use of ‘pop music’ elements in the all-embracing context of the finale of the Ninth Symphony. It is collective humanity which experiences the storm – the last gasp of the figure of Fate who is wrestled to the ground in the works between 1802 and the time of the Pastoral Symphony – and it is the universe at large which gives thanks in the finale. The simple arpeggios of the ‘thanksgiving’ theme may well evoke a shepherd’s artless tune – which Beethoven could no longer hear in reality – but they also reflect, in repose, the striving arpeggios of the Eroica’s main theme.

The Pastoral Symphony, then, lays the ghosts that besieged Beethoven in Heiligenstadt in 1802. It allows him to ‘hear’ birds’ calls and shepherd’s flutes, and reduces the fearsome figure of fate to nothing scarier than a thunderstorm.

Not surprisingly, Beethoven felt he could leave the symphonic genre for some years after this. When he returned to it, it was with the cosmic dance of the Seventh.

Gordon Kerry © 2008 The first performance of Beethoven’s Sixth Symphony by the Melbourne Symphony Orchestra took place on 25 July 1942, under conductor Bernard Heinze. The Orchestra most recently performed it in May 2015 with Diego Matheuz.

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MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor

Freya Franzen

Benjamin Northey Associate Conductor

Cong Gu Andrew Hall

Hiroyuki Iwaki Conductor Laureate (1974-2006)

Anonymous#

Andrew and Judy Rogers#

Francesca Hiew Tam Vu, Peter and Lyndsey Hawkins#

FIRST VIOLINS

Dale Barltrop Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell

Associate Concertmaster The Ullmer Family Foundation#

John Marcus Principal

Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Aaron Barnden* Amy Brookman* Lynette Rayner*

Peter Edwards

Assistant Principal

VIOLAS

Kirsty Bremner Sarah Curro

Christopher Moore

Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini

Fiona Sargeant

Michael Aquilina#

David and Helen Moses#

Mark Mogilevski Michelle Ruffolo Kathryn Taylor #

Michael Aquilina

Oksana Thompson* 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 10

Principal Di Jameson#

Associate Principal

Lauren Brigden Katharine Brockman Christopher Cartlidge Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Gaëlle Bayet† William Clark* Ceridwen Davies* Isabel Morse* 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 Keith Johnson Sarah Morse Angela Sargeant Michelle Wood

Andrew and Theresa Dyer#

Yelian He* 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#

Lauren Pierce* Stuart Riley* Esther Toh* FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs PICCOLO

Andrew Macleod Principal OBOES

Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn

COR ANGLAIS

TROMBONES

MSO BOARD

Michael Pisani

Brett Kelly

Chairman

Principal

Principal

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David Thomas Principal

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Board Members

Principal

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TUBA

Associate Principal

Jon Craven Principal

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Jack Schiller Principal

Elise Millman

Associate Principal

Natasha Thomas CONTRABASSOON

Brock Imison

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EUPHONIUM

Matthew Van Emmerik* TIMPANI

John Arcaro

Andrew Dyer Danny Gorog Brett Kelly David Krasnostein David Li Helen Silver AO Margaret Jackson AC Hyon-Ju Newman Company Secretary

Oliver Carton

PERCUSSION

Robert Clarke Principal

Robert Cossom

Principal

HARP

HORNS

Yinuo Mu

David Evans*^

Managing Director

BASS TROMBONE

Philip Arkinstall

BASS CLARINET

Michael Ullmer

Principal

Guest Principal

Saul Lewis

Principal Third

Jenna Breen Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

Trinette McClimont Julia Brooke*^ Ian Wildsmith* TRUMPETS

Geoffrey Payne Principal

Shane Hooton

Associate Principal

William Evans Joshua Rogan*

# Position supported by * Guest Musician †On exchange from West German Radio Symphony ^ Courtesy of West Australian Symphony Orchestra 11

SUPPORTERS MSO PATRON The Honourable Linda Dessau AC Governor of Victoria

ARTIST CHAIR BENEFACTORS Anonymous Principal Flute Chair Di Jameson Principal Viola Chair Joy Selby Smith Orchestral Leadership Chair The Gross Foundation Principal Second Violin Chair The Newman Family Foundation Principal Cello Chair The Ullmer Family Foundation Associate Concertmaster Chair The Cybec Foundation Cybec Assistant Conductor Chair

PROGRAM BENEFACTORS The Cybec Young Composer in Residence Made possible by the Cybec Foundation Meet The Orchestra Made possible by The Ullmer Family Foundation East Meets West Supported by the Li Family Trust The Pizzicato Effect (Anonymous) Collier Charitable Fund The Marian and E.H. Flack Trust Schapper Family Foundation Supported by the Hume City Council’s Community Grants Program MSO Education Supported by Mrs Margaret Ross AM and Dr Ian Ross 12

MSO Audience Access Crown Resorts Foundation Packer Family Foundation MSO International Touring Supported by Harold Mitchell AC Satan Jawa Australia Indonesia Institute (DFAT) MSO Regional Touring Creative Victoria Cybec 21st Century Australian Composers Program The Cybec Foundation

CHAIRMAN’S CIRCLE $100,000+ Marc Besen AC and Eva Besen AO The Gross Foundation◊ David and Angela Li MS Newman Family Foundation◊ Joy Selby Smith Ullmer Family Foundation◊ Anonymous (1)

VIRTUOSO PATRONS $50,000+ Di Jameson◊ Mr Ren Xiao Jian and Mrs Li Quian Harold Mitchell AC Kim Williams AM

IMPRESARIO PATRONS $20,000+ Michael Aquilina◊ The John and Jennifer Brukner Foundation Perri Cutten and Jo Daniell Mary and Frederick Davidson AMv Rachel and the late Hon. Alan Goldberg AO QC Hilary Hall, in memory of Wilma Collie Margaret Jackson AC David Krasnostein and

Pat Stragalinos Mimie MacLaren John and Lois McKay

MAESTRO PATRONS $10,000+ Kaye and David Birks Mitchell Chipman Sir Andrew and Lady Davis John Gandel AO and Pauline Gandel Danny Gorog and Lindy Susskind◊ Robert & Jan Green Suzanne Kirkham The Cuming Bequest Ian and Jeannie Paterson Lady Potter AC CMRI◊ Elizabeth Proust AO Rae Rothfield Glenn Sedgwick Helen Silver AO and Harrison Young Maria Solà Profs. G & G Stephenson, in honour of the great Romanian musicians George Enescu and Dinu Lipatti Gai and David Taylor Juliet Tootell Alice Vaughan Kee Wong and Wai Tang Jason Yeap OAM

PRINCIPAL PATRONS $5,000+ Christine and Mark Armour John and Mary Barlow Stephen and Caroline Brain Prof Ian Brighthope Linda Britten David and Emma Capponi Wendy Dimmick Andrew and Theresa Dyer ◊ Mr Bill Fleming John and Diana Frew Susan Fry and Don Fry AO Sophie Galaise and Clarence Fraser ◊ Geelong Friends of the MSO◊

Jennifer Gorog Louis Hamon OAM Nereda Hanlon and Michael Hanlon AM ◊ Hans and Petra Henkell Francis and Robyn Hofmann Hartmut and Ruth Hofmann Jack Hogan Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson Dr Elizabeth A Lewis AM Peter Lovell Lesley McMullin Foundation Mr and Mrs D R Meagher David and Helen Moses◊ Dr Paul Nisselle AM Ken Ong, in memory of Lin Ong Bruce Parncutt and Robin Campbell Jim and Fran Pfeiffer Pzena Investment Charitable Fund Andrew and Judy Rogers◊ Max and Jill Schultz Stephen Shanasy HMA Foundation D & CS Kipen on behalf of Israel Kipen Mr Tam Vu and Dr Cherilyn Tillman◊ The Hon. Michael Watt QC and Cecilie Hall Lyn Williams AM Anonymous (1)

ASSOCIATE PATRONS $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest Barbara Bell, in memory of Elsa Bell Bill Bowness Oliver Carton John and Lyn Coppock Miss Ann Darby, in memory of Leslie J. Darby Natasha Davies, for the Trikojus Education Fund

Merrowyn Deacon Beryl Dean Sandra Dent Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson Jane Edmanson OAM Tim and Lyn Edward Dr Helen M Ferguson Mr Peter Gallagher and Dr Karen Morley Dina and Ron Goldschlager Colin Golvan QC and Dr Deborah Golvan Louise Gourlay OAM Peter and Lyndsey Hawkins ◊ Susan and Gary Hearst Colin Heggen, in memory of Marjorie Drysdale Heggen Rosemary and James Jacoby Jenkins Family Foundation C W Johnston Family John Jones George and Grace Kass Irene Kearsey and M J Ridley Kloeden Foundation Bryan Lawrence Ann and George Littlewood H E McKenzie Allan and Evelyn McLaren Don and Anne Meadows Marie Morton FRSA Annabel and Rupert Myer AO Ann Peacock with Andrew and Woody Kroger Sue and Barry Peake Mrs W Peart Graham and Christine Peirson Ruth and Ralph Renard S M Richards AM and M R Richards Tom and Elizabeth Romanowski Jeffrey Sher QC and Diana Sher OAM Diana and Brian Snape AM

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PLAYER PATRONS $1,000+ David and Cindy Abbey Christa Abdallah Dr Sally Adams Mary Armour Arnold Bloch Leibler Philip Bacon AM Marlyn and Peter Bancroft OAM Adrienne Basser Prof Weston Bate and Janice Bate David Blackwell Anne Bowden Michael F Boyt The Late Mr John Brockman OAM and Mrs Pat Brockman Dr John Brookes Suzie and Harvey Brown Jill and Christopher Buckley Bill and Sandra Burdett Lynne Burgess Peter Caldwell Joe Cordone Andrew and Pamela Crockett Pat and Bruce Davis Marie Dowling John and Anne Duncan Ruth Eggleston Kay Ehrenberg Jaan Enden Amy & Simon Feiglin Grant Fisher and Helen Bird Barry Fradkin OAM and Dr Pam Fradkin Applebay Pty Ltd David Frenkiel and Esther Frenkiel OAM David Gibbs and Susie O'Neill

Merwyn and Greta Goldblatt George Golvan QC and Naomi Golvan Dr Marged Goode Max Gulbin Dr Sandra Hacker AO and Mr Ian Kennedy AM Jean Hadges Michael and Susie Hamson Paula Hansky OAM Merv Keehn and Sue Harlow Tilda and Brian Haughney Penelope Hughes Basil and Rita Jenkins Stuart Jennings Brett Kelly and Cindy Watkin Dr Anne Kennedy Julie and Simon Kessel Kerry Landman William and Magdalena Leadston Andrew Lee Norman Lewis, in memory of Dr Phyllis Lewis Dr Anne Lierse Andrew Lockwood Violet and Jeff Loewenstein Elizabeth H Loftus Chris and Anna Long The Hon Ian Macphee AO and Mrs Julie Macphee Vivienne Hadj and Rosemary Madden Eleanor and Phillip Mancini Dr Julianne Bayliss In memory of Leigh Masel John and Margaret Mason Ruth Maxwell Jenny McGregor AM and Peter Allen Glenda McNaught Wayne and Penny Morgan Ian Morrey and Geoffrey Minter JB Hi-Fi Ltd Patricia Nilsson

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

TRUSTS AND FOUNDATIONS Alan (AGL) Shaw Endwoment, managed

by Perpetual Collier Charitable Fund Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation The Marian and E.H. Flack Trust Gandel Philanthropy The Scobie and Claire Mackinnon Trust The Harold Mitchell Foundation Ken & Asle Chilton Trust, managed by Perpetual Linnell/Hughes Trust, managed by Perpetual The Pratt Foundation Telematics Trust

CONDUCTOR’S CIRCLE Current Conductor’s Circle Members Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown

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Mrs Jenny Brukner and the late Mr John Brukner Ken Bullen Luci and Ron Chambers Beryl Dean Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite Marguerite GarnonWilliams Louis Hamon OAM Carol Hay Tony Howe Laurence O'Keefe and Christopher James Audrey M Jenkins John and Joan Jones George and Grace Kass Mrs Sylvia Lavelle Pauline and David Lawton Cameron Mowat Rosia Pasteur Elizabeth Proust AO Penny Rawlins Joan P Robinson Neil Roussac Anne Roussac-Hoyne Ann 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 (23)

The MSO gratefully acknowledges the support received from the Estates of: Angela Beagley Gwen Hunt Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Lorraine Maxine Meldrum Prof Andrew McCredie Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Jean Tweedie Herta and Fred B Vogel Dorothy Wood

HONORARY APPOINTMENTS Ambassador Geoffrey Rush AC Life Members Sir Elton John CBE Ila Vanrenen The Late John Brockman AO The Late Alan Goldberg AO QC

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