MSO Plays Schubert 9

PLAYS SCHUBERT 9 27–30 OCTOBER 2017

CONCERT PROGRAM

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SEASON 2018

G R E AT PA S S I O N S Featuring Anne-Sophie Mutter | Maxim Vengerov Thomas Hampson | Eva-Maria Westbroek

mso.com.au Image Michelle Wood, cello Anne-Sophie Mutter supported by Mr Marc Besen AC and Mrs Eva Besen AO

Melbourne Symphony Orchestra Andrew Manze conductor Isabelle van Keulen violin Beethoven Coriolan: Overture Prokofiev Violin Concerto No.1 INTERVAL

Schubert Symphony No.9 The Great

Running time: 1 hour 50 minutes, including a 20-minute interval Please note, Saturday’s pre-concert talk by MSO’s Education Manager, Lucy Rash, will be recorded for podcast by 3MBS Fine Music Melbourne.

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

ANDREW MANZE 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 2.5 million people each year, and as a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world.

Andrew Manze is Principal Conductor of the NDR Radio Philharmonic Orchestra, Hannover. From 2006 until 2014, he was Principal Conductor and Artistic Director of Sweden’s Helsingborg Symphony Orchestra.

Prior to that he was Associate Guest Conductor of the BBC Scottish Symphony Orchestra and Principal Guest Conductor of the Norwegian Radio Symphony Orchestra. Following these concerts he appears with the Royal Liverpool Philharmonic, NDR Elbphilharmonie in Hamburg and Kiel, Oslo Philharmonic and New York Philharmonic.

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 guest conductors as John Adams, Tan Dun, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Nick Cave, Sting, Tim Minchin, DJ Jeff Mills and Flight Facilities.

Image courtesy Daniel Aulsebrook

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After reading Classics at Cambridge University, Andrew Manze studied violin and became a leading specialist in historical performance practice.

He became Associate Director of the Academy of Ancient Music in 1996 and Artistic Director of The English Concert, 2003-2007. He has contributed to new editions of sonatas and concertos by Mozart and Bach and is also a broadcaster and television presenter. Recordings include Beethoven’s Eroica, Brahms’ symphonies and works by Britten. Most recently he embarked on a recording project with the symphonies of English composer Ralph Vaughan Williams.

Image courtesy Ben Ealovega

PROGRAM NOTES

LUDWIG VAN BEETHOVEN (1770–1827) Coriolan: Overture, Op.62

ISABELLE VAN KEULEN VIOLIN Since winning the Eurovision Young Musician of the Year competition in 1984, a competition that was broadcast all over Europe and watched live on television by millions, Isabelle van Keulen has had a varied career.

Her versatility lies in the fact that she not only plays the violin, but viola with the same energy, performing chamber music in any thinkable combination and directing chamber orchestra performances. Chamber music partners include pianist Ronald Brautigam and Gidon Kremer. She was Artistic Director of the Delft Chamber Music Festival (which she founded), 1997–2006. Forthcoming performances include the Mendelssohn concerto in Auckland, chamber music at Wigmore Hall, and the Prokofiev Violin Concerto No.1 with the Oslo Philharmonic (Andrew Manze once again conducting).

Isabelle van Keulen has had concertos written for her by contemporary composers such as Erkki Sven-Tüür and Theo Loevendie. Recordings include Berg’s Violin Concerto, the complete works for violin and piano

by Prokofiev and music of Astor Piazzolla, Tango! She is professor for violin, viola and chamber music at the Luzern University of Arts.

Image courtesy Marco Borggreve

Beethoven composed the Coriolan Overture (1807) for a drama by Heinrich Collin, a contemporary poet doubtless familiar with Shakespeare’s Coriolanus.

The title character is one Gaius Marcius, a Roman general who was bestowed the honorary name of Coriolanus following his conquest of the Volsci people of Corioli. When he is banished from Rome for tyrannical conduct, he leads the Volsci against Rome and is executed (in Collin’s version he commits suicide).

Powerful chords in the Overture’s introduction reflect the hero’s determination to reconquer and restore peace to Rome, which he now holds under siege. Vacillating figures reveal his self-doubt at the thought of the famine-stricken Roman people and the pleadings of his family. This conflict is worked out in a powerful development which leads to gradual disintegration and a swift final collapse at the recognition that only the sacrifice of his own life will bring peace without loss of honour.

The Overture was premiered in March 1807 at a private concert at the palace of Prince Franz Joseph von Lobkowitz.

Beethoven's Fourth Piano Concerto and Fourth Symphony were premiered at the same concert. © Anthony Cane The Melbourne Symphony Orchestra first performed this overture on 9 January 1941, with Harold Beck conducting, and most recently in May 2017 with Benjamin Northey.

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PROGRAM NOTES

SERGEI PROKOFIEV (1891–1953) Violin Concerto No.1 in D, Op.19 Andantino – Andante assai Scherzo (Vivacissimo) Moderato – Allegro moderato – Moderato – Più tranquillo

Above the first solo entry in this concerto stands the word sognando – dreamily. It describes an exquisite melody, revealing the often forgotten lyrical aspect of Prokofiev’s style. But when the concerto was premiered in Paris in 1923, the musical avant-garde found the work too lyrical – shot through, wrote émigré critic Boris de Schloezer, with ‘Mendelssohnism’. The accusation, although malicious, was apt: the lyricism and pensive mood, and the absence of ostentatious display, is indeed reminiscent of Mendelssohn.

There’s another parallel: just as Mendelssohn had been plagued for years by the opening theme of his own violin concerto, so Prokofiev’s meditative opening had been in his head since he’d developed it for a concertino in 1915. Two years later, in the countryside outside St Petersburg (by then Petrograd), it grew into a concerto.

Initially, soloists could see only that the concerto lacked a cadenza, and some celebrated violinists declined to learn it. It was not until 1924 – when Joseph Szigeti performed it in Prague – that it began to attract recognition.

Szigeti thought the sognando opening was ‘a clue to the day-dreaming expression of the “the little boy listening 6

to a story” feeling’ of the exposition.

A short way into the first movement a second word appears above the solo part: narrante (in the manner of a narration). The music is now all sparkle and bite. No longer is Prokofiev setting the scene for day-dreams – we’re thrown headlong into a tale, one told in symphonic dialogue between violin and orchestra.

Unusually, the concerto inverts the usual tempo sequence so that two slow lyrical movements surround a fast, rhythmic one. The mercurial Scherzo with its abrupt ending has been cited as an example of the ‘grotesque’ or ‘sarcastic’ aspect of Prokofiev’s style. But the composer himself preferred that it be described as ‘“scherzo-ish” in quality, or else by three words describing various degrees of the scherzo – whimsicality, laughter, mockery’.

The Scherzo is a catalogue of violin trickery: extreme leaps, doublestopping, slides, harmonics and rapid figuration alternating with accented rhythms. Remarkably, Prokofiev’s capricious exposition of technical effects draws attention to their expressive possibilities – from the buoyant ascent of the opening theme above a clockwork accompaniment to sinuous passage work in the violin’s low register.

The third movement begins with a theme on the bassoon, developed by each of the woodwind instruments in turn. This sets the scene for the soloist’s combination of staccato and

sustained ideas, suspended above scoring of the utmost economy. In the coda the opening theme from the first movement returns in the violins above a shimmer of tremolos and harp arpeggios. The soloist traces the melody with ‘altitudinous trills’ before coming to rest – exactly as it had at the end of the first movement – on a top D in unison with the piccolo.

Abridged from a note by Yvonne Frindle Symphony Australia © 1997/2016 The Melbourne Symphony Orchestra first performed this concerto on 9 May 1939 with conductor Georg Szell and soloist Ernest Llewellyn, and most recently in August 2001 with Paavo Järvi and Jane Peters.

FRANZ SCHUBERT (1797–1828) Symphony No.9 in C, D.944 (The Great) Andante – Allegro ma non troppo Andante con moto Scherzo (Allegro vivace – Trio) Allegro vivace

Among papers found after Schubert’s death was a score of his ‘Great’ Symphony in C, which the composer’s brother showed to Robert Schumann in 1838. Fired with enthusiasm, Schumann sent it to Mendelssohn in Leipzig, and in 1839 the work was performed there by the Gewandhaus Orchestra. In a letter to his then fiancée, Clara Wieck, Schumann described the rehearsal he had attended: I have been in paradise today!…I was supremely happy, and had nothing left to wish for, except that you were my wife, and that I could write such symphonies myself.

Schumann’s enthusiasm was generated in part by the ‘heavenly length’ of the piece, which he compared to a novel in four volumes; Schubert had, clearly, hit on a new way of structuring large spans of symphonic time, and this would have radical implications for the form as cultivated by composers from Schumann to Mahler.

The magic number ‘nine’, the fact of Schubert’s tragically early death, and existence of at least one ‘Unfinished Symphony’ in Schubert’s oeuvre have conspired to create a number of myths about the ‘Great’ C major symphony.

First, far from being Schubert’s last word in the medium, it was completed in 1826 – well before his death – and indeed was at one time numbered ‘seven’ in the Schubert canon. Second, while the Leipzig performance was the work’s public premiere, in fact the Symphony hadn’t sat under Schubert’s bed all that time: the composer had sent a copy to Vienna’s Gesellschaft der Musikfreunde in 1826, and the orchestra, which paid Schubert a small gratuity, had read through the work but decided it was too long and ‘difficult’ for players and audiences alike. Finally, the nickname refers in part to the work’s generous dimensions, but also distinguishes it from the earlier Symphony D.589 (No.6), also in C major.

The Symphony’s challenges and joys both stem from its balance of Classical principles and, for want of a better term, Romantic aspirations – it is, after all, roughly contemporary 7

PROGRAM NOTES

with Beethoven’s Ninth and Berlioz’s Symphonie fantastique. The work is cast in the conventional fourmovement layout of the classical Viennese symphony, and Schubert uses some kind of sonata design in three of the movements; his orchestration, with its use of horn calls and distant, soft trombones, evokes the Romanticism of Mendelssohn and Weber.

The first movement begins with a slow introduction that creates added tension before the outbreak of the faster material in the main body of the movement. So far, so Classical, but in addition the theme (on unison horns) which begins the work also contains the seeds of much of the Symphony’s subsequent material – especially the dotted rhythm in the theme’s second bar, which pervades the whole work.

This elaboration of material from a small cell recalls the examples of Haydn and Beethoven, though Schubert balances this concentration with his characteristic spinning of apparently endlessly new melodies.

But from Beethoven, too, he learned the rhetorical power of reiteration, and at various points in the piece creates long stretches of increasingly exciting music out of the forceful repetition of short, strongly profiled motives. The tremendous tension built up during the first movement is resolved in a way uncharacteristic of Schubert: he brings back the opening horn theme, now transformed by the prevailing fast tempo into something much less dreamy in character.

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The slow movement begins in A minor, the work’s relative minor key, and its main theme, characterised by the pervasive dotted rhythm, has been described by Donald Tovey as a ‘heartbreaking show of spirit in adversity’. Certainly Schubert’s health was, at this time, deteriorating due to syphilis and the then common treatments for the disease, but the work is in no way a document of self-pity.

The Scherzo maintains the large-scale thinking of the rest of the work, and in this regard anticipates the massive structures of Bruckner’s symphonic scherzos. Like Bruckner, Schubert generates great energy by the use of inexorably buoyant rhythms and a string of beautiful themes. As the symphony moves into its trio section, Schubert repeats a single note to the point where it’s removed from its harmonic context, allowing him to slip into a totally different key, from C major to A major as if by magic.

The finale is likewise of a proportion to match the previous movements and is as full of thematic invention. It encompasses material and emotional states as different as what Tovey identifies as ‘fairy music’ and gestures ‘as terrible as anything in Beethoven or Michelangelo’. Listen closely and you may hear echoes of the Ode to Joy from the last movement of Beethoven’s Ninth Symphony – a fitting spiritual connection for two earth-shatteringly powerful ninth symphonies.

Gordon Kerry © 2009 The MSO first performed Schubert’s Ninth Symphony on 1 October 1938 under the direction of Sir Malcolm Sargent, and most recently in May 2013 with Douglas Boyd.

MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Chief Conductor Benjamin Northey Associate Conductor Tianyi Lu Cybec Assistant Conductor Hiroyuki Iwaki Conductor Laureate (1974-2006) FIRST VIOLINS

Dale Barltrop Eoin Andersen Concertmaster

John Marcus Peter Edwards

Assistant Principal

Kirsty Bremner Sarah Curro

Michael Aquilina#

Associate Principal

Monica Curro

Nicholas Bochner

Assistant Principal Danny Gorog and Lindy Susskind#

Cong Gu Andrew Hall

Andrew and Judy Rogers#

VIOLAS

Christopher Moore Principal Di Jameson#

Fiona Sargeant #

David and Helen Moses

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Rachael Tobin

Associate Principal

Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Jenny Khafagi*

Principal

Oksana Thompson*

Robert Macindoe

Anonymous

Associate Concertmaster The Ullmer Family Foundation#

Michael Aquilina#

David Berlin

Principal The Gross Foundation#

#

Sophie Rowell

Mark Mogilevski Michelle Ruffolo Kathryn Taylor

CELLOS

Matthew Tomkins

Mary Allison Isin Cakmakcioglu Freya Franzen

Concertmaster

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

SECOND VIOLINS

Associate Principal

Lauren Brigden

Tam Vu, Peter and Lyndsey Hawkins#

Principal MS Newman Family#

Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon#

Keith Johnson Sarah Morse Angela Sargeant Michelle Wood

Andrew and Theresa Dyer# 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# FLUTES

Katharine Brockman Christopher Cartlidge

Prudence Davis

Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright

Wendy Clarke

Michael Aquilina#

Principal Anonymous#

Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal OBOES

TRUMPETS

MSO BOARD

Geoffrey Payne

Chairman

Principal

Shane Hooton

Michael Ullmer

Associate Principal

Managing Director

William Evans Rosie Turner

Sophie Galaise

Associate Principal

TROMBONES

Ann Blackburn

Brett Kelly

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

Jeffrey Crellin Principal

Thomas Hutchinson The Rosemary Norman Foundation# COR ANGLAIS

Michael Pisani Principal

CLARINETS

David Thomas Principal

Philip Arkinstall

Associate Principal

Principal

Richard Shirley BASS TROMBONE

Mike Szabo Principal TUBA

Timothy Buzbee

BASS CLARINET

Robert Clarke Principal

John Arcaro

Tim and Lyn Edward#

BASSOONS

Robert Cossom

Jack Schiller

HARP

Principal

Elise Millman

Associate Principal

Oliver Carton

Nelson Woods* PERCUSSION

Principal

Company Secretary

Principal

Craig Hill

Jon Craven

Board Members

Yinuo Mu Principal

Natasha Thomas CONTRABASSOON

# Position supported by * Guest Musician

Brock Imison Principal HORNS

Saul Lewis

Principal Third

Abbey Edlin

Nereda Hanlon & Michael Hanlon AM#

Trinette McClimont Ian Wildsmith* 11

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

ARTIST CHAIR BENEFACTORS

MSO Audience Access Crown Resorts Foundation Packer Family Foundation

Anthony Pratt Associate Conductor Chair

MSO Education supported by Mrs Margaret Ross AM and Dr Ian Ross

Joy Selby Smith Orchestral Leadership Chair

MSO International Touring supported by Harold Mitchell AC

The Cybec Foundation Cybec Assistant Conductor Chair

MSO Regional Touring Creative Victoria The Robert Salzer Foundation

The Ullmer Family Foundation Associate Concertmaster Chair Anonymous Principal Flute Chair The Gross Foundation Principal Second Violin Chair Di Jameson Principal Viola Chair MS Newman Family Foundation Principal Cello Chair

The Pizzicato Effect Collier Charitable Fund The Marian and E.H. Flack Trust Schapper Family Foundation Scobie and Claire Mackinnon Trust Supported by the Hume City Council’s Community Grants Program (Anonymous)

Marc Besen AC and Eva Besen AO 2018 Soloist in Residence Chair

Sidney Myer Free Concerts Supported by the Myer Foundation and the University of Melbourne

PROGRAM BENEFACTORS

CHAIRMAN’S CIRCLE $100,000+

Cybec 21st Century Australian Composers Program The Cybec Foundation

Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel The Gross Foundation ◊ David and Angela Li MS Newman Family Foundation ◊ Anthony Pratt ◊ The Pratt Foundation Joy Selby Smith Ullmer Family Foundation ◊ Anonymous (1)

Cybec Young Composer in Residence made possible by The Cybec Foundation East Meets West supported by the Li Family Trust Meet The Orchestra made possible by The Ullmer Family Foundation 12

VIRTUOSO PATRONS $50,000+

PRINCIPAL PATRONS $5,000+

Di Jameson ◊ David Krasnostein and Pat Stragalinos Mr Ren Xiao Jian and Mrs Li Quian Harold Mitchell AC Kim Williams AM

Christine and Mark Armour John and Mary Barlow Stephen and Caroline Brain Prof Ian Brighthope David and Emma Capponi Wendy Dimmick Andrew Dudgeon ◊ Andrew and Theresa Dyer ◊ Tim and Lyn Edward ◊ 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 HMA Foundation Louis Hamon OAM Nereda Hanlon and Michael Hanlon AM ◊ Hans and Petra Henkell Hartmut and Ruth Hofmann Jack Hogan Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson D & CS Kipen on behalf of Israel Kipen Dr Elizabeth A Lewis AM Peter Lovell Lesley McMullin Foundation Mr Douglas and Mrs Rosemary Meagher David and Helen Moses ◊ Dr Paul Nisselle AM The Rosemary Norman Foundation ◊ 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

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

MAESTRO PATRONS $10,000+ Kaye and David Birks Mitchell Chipman Sir Andrew and Lady Davis 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

Stephen Shanasy 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 Lynne Burgess 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 Dr Helen M Ferguson Mr Peter Gallagher and Dr Karen Morley Dina and Ron Goldschlager 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 The Ilma Kelson Music Foundation 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+ 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

Roger and Col Buckle 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 and 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 Colin Golvan QC and Dr Deborah Golvan 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 Dorothy Karpin 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 Laurence O'Keefe and Christopher James Alan and Dorothy Pattison Margaret Plant Kerryn Pratchett Peter Priest Treena Quarin Eli Raskin Raspin Family Trust 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 Lady Southey AC Jennifer Steinicke Dr Peter Strickland Pamela Swansson Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher P and E Turner 13

SUPPORTERS 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 Richard Ye Panch Das and Laurel Young-Das Anonymous (21)

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 Ken and Asle Chilton Trust, 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 Linnell/Hughes Trust, managed by Perpetual The Scobie and Claire Mackinnon Trust The Harold Mitchell Foundation The Myer Foundation The Pratt Foundation The Robert Salzer Foundation

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Alan (AGL) Shaw Endowment, managed

by Perpetual Telematics Trust

CONDUCTOR’S CIRCLE 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 Luci and Ron Chambers Beryl Dean Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite Mr Derek Grantham 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 Suzette Sherazee Michael Ryan and Wendy Mead 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 Neilma Gantner Gwen Hunt Audrey Jenkins Pauline Marie Johnston 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 Jean Tweedie Herta and Fred B Vogel Dorothy Wood

HONORARY APPOINTMENTS Sir Elton John CBE Life Member The Hon. Alan Goldberg AO QC Life Member Geoffrey Rush AC Ambassador The Late John Brockman OAM Life Member Ila Vanrenen Life Member ◊ Signifies Adopt an MSO Musician supporter

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

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $1,000+ (Player) $2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario) $50,000+ (Virtuoso) $100,000+ (Chairman’s Circle) The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will.

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