Petrushka

PLAYS PETRUSHKA 25–27 MAY 2017

CONCERT PROGRAM

ARTISTS

Melbourne Symphony Orchestra Bramwell Tovey conductor Alexander Gavrylyuk piano REPERTOIRE

Kats-Chernin Big Rhap World Premiere

Tchaikovsky Piano Concerto No.1 INTERVAL

Stravinsky Petrushka (1947 version)

Running time: 1 hour 40 minutes including a 20-minute interval

The MSO is delighted to welcome Alexander Gavrylyuk replacing the previously announced soloist Jorge Luis Prats, who had to withdraw due to a hand injury.

mso.com.au

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MELBOURNE SYMPHONY ORCHESTRA 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 over 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 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.

Sir Andrew Davis gave his inaugural concerts as the MSO’s Chief Conductor in 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists such as Bryn Terfel, Emanuel Ax, Truls Mork and Renee Fleming, and the Orchestra’s European Tour in 2014 which included appearances at the Edinburgh Festival, the Amsterdam Concertgebouw, the

Mecklenburg-Vorpommern Festival and Copenhagen’s Tivoli Concert Hall. Further current and future highlights with Sir Andrew Davis include a complete cycle of the Mahler symphonies. Sir Andrew will maintain the role of Chief Conductor until the end of 2019.

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, Mark Wigglesworth, Markus Stenz and Simone Young.

It has also collaborated with nonclassical musicians including Burt Bacharach, Nick Cave, Sting, Tim Minchin, Ben Folds, DJ Jeff Mills and Flight Facilities.

The MSO reaches a wider audience through regular radio broadcasts, recordings and CD releases, including a Strauss cycle on ABC Classics which includes Four Last Songs, Don Juan and Also sprach Zarathustra, as well as Ein Heldenleben and Four Symphonic Interludes from Intermezzo, both led by Sir Andrew Davis. On the Chandos label the MSO has released Berlioz’ Harold en Italie with James Ehnes and music

by Charles Ives, which includes the complete symphonies as well as a range of orchestral works, again led by Sir Andrew Davis.

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BRAMWELL TOVEY CONDUCTOR GRAMMY and Juno Award-winning conductor/composer Bramwell Tovey was appointed Music Director of the Vancouver Symphony Orchestra in 2000. Under his leadership the VSO have toured China, Korea, across Canada and the United States. His tenure at the VSO has included complete symphony cycles of Beethoven, Mahler, Brahms as well as the establishment of an annual festival dedicated to contemporary music.

He is Artistic Adviser of the VSO School of Music. In 2018, the VSO’s centenary year, he will become the orchestra’s Music Director Emeritus.

This year Bramwell Tovey has made return appearances with the Chicago Symphony, Boston Symphony, Los Angeles Philharmonic and Philadelphia Orchestra (whose 2016-2017 New Year’s celebrations he directed). In 2016 he conducted Korngold’s Die Tote Stadt with the Calgary Opera. Recent appearances have also included the Montreal, New Zealand, and Pacific Symphony Orchestras, and the Philadelphia Orchestra and New York Philharmonic, reprising his programs with both at Bravo! Vail Valley Music Festival. He also conducted at the Blossom Music Center, Ravinia Festival, and the Hollywood Bowl.

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In 2003 Bramwell Tovey won the Juno Award for Best Classical Composition for his choral and brass work Requiem for a Charred Skull. Commissions include the New York and Los Angeles Philharmonics, the Toronto Symphony and Calgary Opera who in 2011 premiered his first full length opera, The Inventor (recorded by Naxos).

A talented pianist as well as conductor and composer, he has appeared as soloist with many major orchestras.

He has performed his own Pictures in the Smoke with the Melbourne and Helsingborg Symphony Orchestras and the Royal Philharmonic Orchestra.

Bramwell Tovey was Music Director of the Winnipeg Symphony Orchestra 1989-2001 where he founded the WSO’s now celebrated New Music Festival. From 2002-2006 he was Music Director of Orchestre Philharmonique du Luxembourg.

He opened Luxembourg’s Salle Philharmonie with the world première of Penderecki’s Eighth Symphony.

Mr. Tovey is a Fellow of London’s Royal Academy of Music, the Royal Conservatory of Music in Toronto and holds honorary degrees from the universities of British Columbia, Manitoba, Kwantlen and Winnipeg.

In 2013 he was appointed an honorary Officer of the Order of Canada for services to music.

ALEXANDER GAVRYLYUK PIANO Born in 1984, Alexander Gavrylyuk began his piano studies at the age of seven and gave his first concerto performance when he was nine years old. He went on to win first prize and Gold Medal at the 1999 Horowitz International Piano Competition, first prize at the Hamamatsu International Piano Competition in Japan in 2000 where the Japanese press lauded him as the 'most talented 16-year old pianist of the second half of the 20th Century' and, in 2005, he took both the coveted Gold Medal as well as the award for Best Performance of a Classical Concerto at the internationally renowned Arthur Rubinstein International Piano Masters Competition.

Following his debut in 2010 with the Royal Concertgebouw Orchestra, Gavrylyuk has returned to Amsterdam each year, either in recital in the Master Pianist’s Series with the RCO, or as part of the Zaterdag Matinee at the Concertgebouw. He is now increasingly in demand by orchestras and conductors for his noble and compelling interpretations and has appeared with, among others, the Philharmonic Orchestras of New York, Los Angeles, Warsaw, Moscow, Israel and Rotterdam as well as the Royal Scottish National, Cincinnati

Symphony and the Vancouver Symphony Orchestras. He has collaborated with conductors such as Vladimir Ashkenazy, Alexandre Bloch, Vladimir Fedoseyev, Markus Stenz and Osmo Vänska. His solo recitals are also highly acclaimed and he has performed in venues such as Vienna Musikverein, Wigmore Hall, Tonhalle Zurich and Victoria Hall Geneva.

He regularly visits Japan and Asia, performing with orchestras such as NHK Symphony and Seoul Philharmonic as well as regular recital tours, often playing to sell-out audiences in Suntory Hall and Tokyo Opera City. He returns to Russia on a regular basis and has performed with the National Philharmonic of Russia under Vladimir Spivakov and the Svetlanov Russian State Symphony Orchestra, as well as recitals at the Great Hall of Moscow Conservatory and at the Kremlin.

At the age of 13, Alexander moved to Sydney where he lived until 2006.

He has performed with all the main Australian orchestras including Melbourne and Sydney Symphony Orchestras, returning each year for concerts and recitals.

Alexander is Artist in Residence at Chautauqua Institution where he leads the piano program as an artistic advisor. He supports a number of charities including Theme and Variations Young Pianist Trust which aims to provide support and encouragement to young, aspiring Australian pianists as well as Opportunity Cambodia, which has built a residential educational facility for Cambodian children. Alexander is a Steinway Artist.

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PROGRAM NOTES

ELENA KATS-CHERNIN

PYOTR ILYICH TCHAIKOVSKY

(born 1957)

(1840-1893)

Big Rhap (World Premiere)

Piano Concerto No.1 in B flat minor, Op.23

When I think of Franz Liszt, I think of a virtuoso with an open and seductive nature, and an intriguing composer who was unambiguously dramatic. His music always reminds me of elements like wind, fire and water. My mother used to play the Second Hungarian Rhapsody when we lived in Yaroslavl in Russia. In writing this piece I am transferring my early memories of the spectacle, the merriness and the hyperbole of what I saw and heard in my living room to paper!

I didn’t actually consult the score of Rhapsody No.2 so this is not a transcription or an arrangement of the actual notes but a sketch from my young self whose enthusiastic mind’s ear was indeed seduced and enlivened by the high spirits of Liszt’s vision.

Certain things imprinted themselves indelibly on my imagination; the noble (and a bit scary) opening that suggests both triumph and treachery, the motoric regularity of the ‘friska’ and the way the ‘lassan’ made me feel the pain of a shivering and wounded heart.

Elena Kats-Chernin, MSO Composer in Residence © 2017

Allegro non troppo e molto maestoso – Allegro con spirito Andantino semplice – Prestissimo – Andantino semplice Allegro con fuoco Alexander Gavrylyuk piano

If it was fortuitous that Tchaikovsky succeeded at his first attempt, writing perhaps the ‘greatest piano concerto of all time’, then it is remarkable that he simultaneously created a new Russian genre. The striking mix of lyricism and virtuosity in his First Piano Concerto, written over six weeks late in 1874, would later be emulated by many Russian composers.

The dedicatee of the concerto, Hans von Bülow, performed the premiere in Boston, Massachusetts in 1875 to positive reviews, yet one wonders if the small band, consisting of only four first violins, were a match for the music’s potential. (A critic noted that, after a missed entry of the trombones in the first movement, von Bülow cried out, ‘the brass may go to hell!’)

Rather, it is likely that the potential of the new concerto was first realised in a performance in Moscow by Sergei Taneyev later that year, following an apparently mediocre performance given by Gustav Kross in St Petersburg.

It had been to Anton Rubinstein’s younger brother, Nikolai, who

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Tchaikovsky had turned within days of the score’s completion, seeking advice about piano composition that only a professional could offer. Instead, and quite notoriously, he savaged the concerto, devastating its composer with comments suggesting that, in all, only a few pages could be salvaged and that the remainder should be discarded. There has been speculation ever since over the reason for Rubinstein’s reaction – ranging from jealousy to a tempestuous personality – but the defiant young Tchaikovsky remained true to his word, publishing the work exactly as it stood. Rubinstein was soon to recant his position, however: as well as conducting the first Moscow performance with Taneyev, he performed it often as soloist in the years before his early death.

In hindsight, it may have been over the demanding solo part that he had voiced concerns, or about sections where piano textures might be lost beneath the orchestration. Similarly, it could have been about structural matters that are still difficult to explain today, chief of which is the famous melody that begins the concerto but which, inexplicably, never returns. In this opening passage, Tchaikovsky eventually relented to advice, replacing lightweight arpeggios that had previously accompanied the soaring melody with the now-famous double-octave chords. In terms of structure, it is the brisk, dotted theme that quietly follows which is the real first subject in this sonata-form

movement. And here, as if to indicate to the world the ethnic authenticity of his music, Tchaikovsky follows in the style of the newly formed nationalist group of composers (the so-called ‘Mighty Handful’) by using a Ukrainian folksong, Oy, kryatshe, kryatshe.

The simple theme that opens the second movement typifies Tchaikovsky’s innate gift for melody, the solo flute conjuring folk-like affinities. A central section briefly quotes a café waltz, Il faut s’amuser, danser et rire, well known to the composer’s circle of friends. And it is to another Ukrainian folksong, Vïdy, vïdy, Ivan’ku, which Tchaikovsky turns for the principal theme of the finale, its dance-like cross-rhythms again evoking national character. The broadly lyrical melody that contrasts with this material twice succeeds in holding back the momentum, before the concerto arrives at a seemingly inevitable conclusion: a forceful octave cadenza traverses the entire keyboard, and moves headlong into an apotheosised statement of the movement’s main lyrical theme. With the pianist indefatigably leading the entire orchestra with fortissimo treble chords, it is a famous and satisfying ending. (And for more than a few composers who followed, one that proved irresistible to copy!)

Scott Davie © 2011/2013 The Melbourne Symphony Orchestra first performed this concerto on 30 August 1939 with conductor Sir Malcolm Sargent and soloist Edward Goll. The Orchestra’s most recent performance took place in August 2015 with Vasily Petrenko and Simon Trpčeski.

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PROGRAM NOTES

IGOR STRAVINSKY (1882-1971) Petrushka – Burlesque in Four Scenes (1947 version) The Shrove-tide Fair – Danse Russe Petrushka The Moor – Valse The Shrove-tide Fair – Wet-Nurses Dance – Peasant with Bear – Gypsies and a Rake-Vendor – Dance of the Coachmen – Masqueraders – The Scuffle (Moor and Petrushka) – Death of Petrushka – Police and the Juggler – Apparition of Petrushka's Double

Petrushka, first staged in Paris in 1911, may well be the most representative and successful collaboration between Stravinsky and Diaghilev’s Ballets Russes. The visual appearance of the ballet was Russian. Its scenario, by Alexander Benois and the composer, dealt with the universal world of the theatre, and the puppet-with-a-soul Petrushka, as danced by Nijinsky, was pathetic, moving, and brilliant. The music matched all this with a sense of gesture which built on the colouristic inventions of the Russian nationalist composers, but with an originality and modernity all Stravinsky’s own.

Petrushka originated in a musical idea of Stravinsky’s, as he explains: I had a vision of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios, the orchestra in its turn retaliating with 8

menacing fanfares of brass…ending in the sorrowful and querulous collapse of the poor puppet.

Stravinsky began to sketch this music in 1910, as a piece for piano and orchestra, which he described as a Konzertstück (‘Concert-piece’). It lacked a title, until one day Stravinsky ‘jumped for joy – Petrushka! The immortal and unhappy hero of all the fairs of all countries: I had found my title!’ The impresario Diaghilev, as soon as Stravinsky described the idea to him, saw its potential as a ballet, and persuaded the composer to transform the music into a full-scale choreographic work. They agreed to set the action of the ballet in the Shrove-tide Fair, the Mardi Gras in St Petersburg, where they both grew up. (Benois, in particular, retained a strong affection for this event in which he had participated as a child.)

Petrushka is the Russian version of Punch, who, in a stroke of genius on the part of the ballet’s creators, assumes the soulfulness of Pierrot.

Although the character is universal, the ballet inhabits the world of Russian folklore, and Stravinsky makes use of Russian tunes and street songs. The dual nature of Petrushka as puppet and sensitive human being is conveyed by bitonality, using unrelated keys and derivations from Rimsky-Korsakov’s synthetic scales. The origins of this seem to be pianistic (one hand on the white keys, one on the black), and the piano part remains very

important in the full ballet score, both in the original version and in the revision of the instrumentation and reduction of the number of instruments Stravinsky made in 1947, which is heard in this concert.

In a square in St Petersburg during the carnival in 1830 a showman has set up his puppet theatre. A hurdy-gurdy and a music box compete and clash, before the showman, gaining attention by a cadenza on his flute, brings three puppets to life: Petrushka, the Ballerina, and the Moor. Beginning the Russian Dance, they leave their hooks and join the crowd. In the second tableau Petrushka woos the Ballerina, but she is repelled by his ugliness and uncouth gestures. In despair Petrushka hurls himself at a portrait of the Showman, tearing a hole in the cardboard wall of his cell. The third tableau opens with the Moor playing with a coconut. He tries to break it with his scimitar. The Ballerina is attracted to the Moor despite his stupidity; she dances to attract him, to a cornet solo and then a waltz; the Moor tries to join in, but cannot manage the triple time!

Petrushka, mad with jealousy, bursts in on the love scene which follows.

chased by the Moor, who kills him with his scimitar. The Showman, picking up Petrushka, easily convinces everyone that the body is only wood and sawdust. The crowd disperses, but the Showman is terrified to see, above his booth, the ghost of Petrushka threatening and jeering at him. © David Garrett Bernard Heinze conducted the Melbourne Symphony Orchestra’s first performance, on 18 and 20 August 1945. The MSO’s most recent performance (1947 version), conducted by Kazuki Yamada, took place in February 2017.

Finally we are back at the fair, in the evening; nursemaids dance, as do a peasant’s performing bear, a rich merchant with two gypsy girls, a group of coachmen, joined by the nursemaids, then some masqueraders.

Suddenly a commotion is noticed in the little theatre: Petrushka runs out,

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MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor Benjamin Northey Associate Conductor Hiroyuki Iwaki Conductor Laureate (1974-2006) FIRST VIOLINS

Dale Barltrop Concertmaster

Monica Curro

Assistant Principal Danny Gorog and Lindy Susskind#

Mary Allison Isin Cakmakcioglu Freya Franzen Anonymous#

Sophie Rowell

Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Aaron Barnden* Amy Brookman* Jacqueline Edwards* Hillary Hayes* Madeline Jevons*

Principal

Peter Edwards

Assistant Principal

Kirsty Bremner Sarah Curro

Michael Aquilina#

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

David and Helen Moses#

Mark Mogilevski Michelle Ruffolo Kathryn Taylor Michael Aquilina#

Anne Martonyi* Oksana Thompson* Nicholas Waters* SECOND VIOLINS

Matthew Tomkins

Principal The Gross Foundation#

Robert Macindoe Associate Principal

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Associate Principal

Nicholas Bochner Assistant Principal

Rohan de Korte Keith Johnson Sarah Morse Angela Sargeant Michelle Wood

Tam Vu, Peter and Lyndsey Hawkins#

John Marcus

Rachael Tobin

Francesca Hiew

Ike See*‡

Associate Concertmaster The Ullmer Family Foundation#

Principal MS Newman Family#

Miranda Brockman

Andrew and Judy Rogers#

Guest Concertmaster

David Berlin

Cong Gu Andrew Hall

Eoin Andersen Concertmaster

CELLOS

VIOLAS

Christopher Moore Principal Di Jameson#

Fiona Sargeant

Associate Principal

Lauren Brigden Katharine Brockman Christopher Cartlidge Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Gaëlle Bayet† William Clark* Helen Ireland* Isabel Morse*

Geelong Friends of the MSO#

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#

Hugh Kluger* Stuart Riley* FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs PICCOLO

Andrew Macleod Principal

OBOES

TRUMPETS

MSO BOARD

Jeffrey Crellin

Geoffrey Payne

Chairman

Thomas Hutchinson

Shane Hooton

Associate Principal

Board Members

Ann Blackburn

William Evans Tristan Rebien* Joshua Rogan*

Andrew Dyer Danny Gorog Brett Kelly David Krasnostein David Li Helen Silver AO Margaret Jackson AC Hyong Ju Sophie Galaise

Principal

Associate Principal

COR ANGLAIS

Michael Pisani Principal

CLARINETS

Principal

TROMBONES

Brett Kelly Principal

David Thomas

Jason Redman*^

Principal

Guest Principal

Philip Arkinstall

Iain Faragher*

Craig Hill

BASS TROMBONE

Associate Principal

BASS CLARINET

Jon Craven Principal

BASSOONS

Jack Schiller

TUBA

Timothy Buzbee Principal

Elise Millman

Tim Corkeron*^

Natasha Thomas

PERCUSSION

Brock Imison Principal HORNS

Adrian Uren*§

Guest Principal

Saul Lewis

Principal Third

Jenna Breen Abbey Edlin

Oliver Carton

Principal

TIMPANI

CONTRABASSOON

Company Secretary

Mike Szabo

Principal

Associate Principal

Michael Ullmer

Robert Clarke Principal

John Arcaro Robert Cossom Brent Miller* HARP

# Position supported by

Yinuo Mu

* Guest Musician

Principal

† On exchange from West German Radio Symphony

PIANO

‡ Courtesy of Australian Chamber Orchestra

Nereda Hanlon and Michael Hanlon AM#

Leigh Harrold

Trinette McClimont Deborah Hart*

CELESTE

Jacob Abela

§ Courtesy of Adelaide Symphony Orchestra ^ Courtesy of Queensland Symphony Orchestra

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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+ John and Mary Barlow 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 The Cuming Bequest Ian and Jeannie Paterson Lady Potter AC CMRI ◊ Elizabeth Proust AC 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 Will and Dorothy Bailey Bequest Stephen and Caroline Brain Prof Ian Brighthope Linda Britten David and Emma Capponi 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 Suzanne Kirkham 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 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 â—Š 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

Dr Norman and Dr Sue Sonenberg Geoff and Judy Steinicke William and Jenny Ullmer Elisabeth Wagner Brian and Helena Worsfold Peter and Susan Yates Anonymous (8)

PLAYER PATRONS $1,000+ 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 Wendy Dimmick 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 & Sue Harlow Tilda and Brian Haughney Penelope Hughes Basil and Rita Jenkins Stuart Jennings Irene Kearsey & M J Ridley Brett Kelly and Cindy Watkin Dr Anne Kennedy Julie and Simon Kessel William and Magdalena Leadston Chris and Anna Long Andrew Lee Norman Lewis, in memory of Dr Phyllis Lewis Dr Anne Lierse Andrew Lockwood Violet and Jeff Loewenstein Elizabeth H Loftus The Hon Ian Macphee AO and Mrs Julie Macphee Vivienne Hadj and Rosemary Madden Eleanor & Phillip Mancini Dr Julianne Bayliss In memory of Leigh Masel John and Margaret Mason Ruth Maxwell Jenny McGregor AM & Peter Allen Glenda McNaught Wayne and Penny Morgan Ian Morrey and Geoffrey Minter JB Hi-Fi Ltd Patricia Nilsson Laurence O'Keefe and

Christopher James Alan and Dorothy Pattison Margaret Plant Kerryn Pratchett Peter Priest Eli Raskin Bobbie Renard Peter and Carolyn Rendit Dr Rosemary Ayton and Dr Sam Ricketson Joan P Robinson Cathy and Peter Rogers Doug and Elisabeth Scott Martin and Susan Shirley Dr Sam Smorgon AO and Mrs Minnie Smorgon John So Dr Michael Soon Jennifer Steinicke Dr Peter Strickland Pamela Swansson Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher P and E Turner The Hon. Rosemary Varty Leon and Sandra Velik Sue Walker AM Elaine Walters OAM and Gregory Walters Edward and Paddy White Nic and Ann Willcock Marian and Terry Wills Cooke Lorraine Woolley Panch Das and Laurel Young-Das Anonymous (19)

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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

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

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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 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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