MSO Plays Tchaikovsky

PLAYS TCHAIKOVSKY 17–20 MARCH 2017

CONCERT PROGRAM

WELCOME

ABOUT THE MSO

I am delighted to welcome you to the first program in our Great Classics Series.

Tonight’s performance, led by Chief Conductor Sir Andrew Davis, takes you on a storytelling adventure through Strauss’ cheeky tone poem Till Eulenspeigels lustige Streiche, then introduces you to the pianist of the moment, Daniil Trifonov, who performs Rachmaninov’s great Piano Concerto No.1.

The Great Classics Series features music that acts as a wonderful reminder that they are not just musical pieces, but stories of the composer, of the performer and of the orchestra.

Carmina Burana, Beethoven’s Pastoral, Schumann’s Third Symphony and Schubert’s Ninth Symphony all form the 2017 Classics Series, providing the perfect excuse for a night out in the city.

I would like to thank our partners at BMW for their generous support of this series.

The Melbourne Symphony Orchestra is dedicated to providing the best live music for Victoria and through the support of our partners we are able to deliver classical music to the wider cultural life of this city.

As part of the MSO’s Month of Giving, I invite you to consider supporting your orchestra through a donation of any size so that we can continue to bring you music that inspires, educates and engages the future.

Sophie Galaise

Managing Director Melbourne Symphony Orchestra 2

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 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 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 John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young.

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

ARTISTS

Melbourne Symphony Orchestra Conductor Sir Andrew Davis Piano Daniil Trifonov REPERTOIRE

Strauss Till Eulenspiegels lustige Streiche Rachmaninov Piano Concerto No.1 INTERVAL

Tchaikovsky Symphony No.6

Running time 1 hour and 50 minutes 3

SIR ANDREW DAVIS CONDUCTOR Sir Andrew Davis began his tenure as Chief Conductor of the Melbourne Symphony Orchestra in January 2013.

Engagements this season include the MSO, the Montreal Symphony Orchestra, the Cleveland Symphony Orchestra, the Toronto Symphony Orchestra, the BBC Symphony Orchestra, and the Bergen and Royal Liverpool Philharmonics, as well as the Edinburgh International Festival.

Recently, at Lyric Opera the English conductor led Massenet’s Don Quichotte and Berlioz’s epic Les Troyens. Sir Andrew joined the Toronto Symphony Orchestra in performances of his own reorchestration of Handel’s Messiah, which has just been released on Chandos Records.

Following the end of the Lyric season, Sir Andrew made return appearances with the orchestras of Bergen, Liverpool, Melbourne (including the MSO’s tour to China), Detroit, and Frankfurt.

Conductor Laureate of the Toronto Symphony Orchestra (he was previously that ensemble's Principal Conductor), Sir Andrew is also Conductor Laureate of

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the BBC Symphony Orchestra, Conductor Emeritus of the Royal Liverpool Philharmonic and former Music Director of the Glyndebourne Festival Opera.

In addition, he has appeared with virtually every other internationally prominent orchestra, including the Berlin Philharmonic, the Royal Concertgebouw, the Rotterdam Philharmonic, and all the major British orchestras.

A vast discography documents Sir Andrew's artistry, with recent CDs including works of Berlioz, Elgar, Grainger, Delius, Ives, Holst (nominated for a Grammy in 2015 for Best Choral Performance), and York Bowen (nominated for a Grammy in 2012 for Best Orchestral Performance).

Image courtesy Dario Acosta Photography.

DANIIL TRIFONOV PIANO Since winning the Rubinstein and Tchaikovsky Competitions in 2011, Daniil Trifonov has travelled the world as recitalist and concerto soloist. He has appeared with many of the world’s major orchestras and at leading venues and festivals.

Born to professional musician parents in Nizhny Novgorod in 1991, Daniil Trifonov performed his first concert with orchestra at the age of eight. He attended Moscow’s Gnessin School of Music and currently studies at the Cleveland Institute of Music.

Recent highlights include the complete Rachmaninov Piano Concerto cycle with the New York Philharmonic, Munich Philharmonic and the Philharmonia Orchestra; the premiere of Trifonov’s own piano concerto with the Pittsburgh Symphony Orchestra; a four-concert residency at Wigmore Hall; and a performance with the Royal Stockholm Philharmonic as part of the Nobel Prize Awards. In May 2016 he received a Royal Philharmonic Society Award.

This tour, which includes performances with the Sydney Symphony and West Australian Symphony Orchestra, is his Australian debut.

Image courtesy Dario Acosta Photography.

This season he is Capell-Virtuos with the Staatskapelle Dresden, with associated concerts at the BBC Proms, Salzburg Easter Festival and Vienna Musikverein.

Trifonov signed with Deutsche Grammophon in 2013, and his recordings on that label include works by Liszt, Rachmaninov, Chopin, Scriabin and Medtner.

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PROGRAM NOTES

RICHARD STRAUSS (1864–1949)

Till Eulenspiegels lustige Streiche (Till Eulenspiegel’s Merry Pranks), Op.28 Originally conceived as a staged work, Strauss’ 1895 symphonic poem Till Eulenspiegel tells the story of the eponymous character of German folklore, who is said to have lived during the 14th century. His exploits reflect the growing self-assertiveness of the peasants against the authority of the upper classes at that time, and he became the hero of an expanding pool of anecdotes.

‘Once upon a time there was a roguish jester,’ wrote Strauss in the score above the opening phrases; and above the horn call, ‘whose name was Till Eulenspiegel.’ Strauss uses rondo form, describing Till’s adventures in the episodes which contrast with the reappearing signature material. Our hero is unlucky in love; dressed as a priest he ‘oozes unction and morality’.

He commits any number of pranks, but the main theme continues to return, and Till is restored to where he started.

Finally, our hero’s antics catch up with him and he is punished in a rather terminal way: ‘There he dangles, the breath leaves his body, the last convulsion and Till’s mortal self is finished.’ A gory ending, but we sense the composer’s delight even in this, as he leaves us, smiling, with Till’s death throes, and an echo of the beginning.

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© Symphony Australia The Melbourne Symphony Orchestra first performed Till Eulenspiegel’s Merry Pranks on 10 November 1945, with Joseph Post conducting, and most recently in August 2013 under Johannes Fritzsch.

SERGEI RACHMANINOV (1875–1943) Piano Concerto No.1 in F sharp minor, Op.1 Vivace Andante Allegro vivace

Daniil Trifonov Piano ‘It’s incredible how many stupid things I did at the age of 19. All composers do it.’ That was Rachmaninov’s view, in 1931, of the piano concerto – his first – that he had written 40 years earlier.

If we look at the title of the work we see Opus 1 and assume that we have before us the first official fruit of Rachmaninov’s musical imagination.

It was a graduation piece and he played the first movement with some success as part of a very long student’s concert conducted by the Moscow Conservatory’s director V. I. Safonov.

Not in Safonov’s good books at the time, Rachmaninov still felt sufficiently confident about the piece to challenge some of the maestro’s interpretative ideas.

The work was published immediately – and therein lay the seed of Rachmaninov’s growing concern. Had the work remained in manuscript it would probably not

PROGRAM NOTES

have haunted him so, but its status as his first opus number began to irritate him more and more.

How hard on himself Rachmaninov could be when he was in a dark mood! His embarrassment lay in what he saw as the concerto’s structural weaknesses, its technical clumsiness and the formal problems that compromised the presentation of his melodic ideas, particularly in the finale.

The moment Rachmaninov chose to undertake his long-awaited revision of the concerto was, to say the least, historically charged. In the Russian summer of 1917 he experienced some unpleasant encounters with Bolshevist agitators at his country estate, Ivanovka. (After the revolution his house would be virtually destroyed.)

His deep sorrow at the political turmoil in his homeland was a major preoccupation – he found it impossible to concentrate on new composition.

Returning to Moscow, he shut himself up in his flat and decided that this was the moment to put the First Concerto’s demons to rest. In so doing he kept himself oblivious to the shouting and sounds of gunfire in the surrounding streets. By the time he completed his revision in November Russia’s revolutionary government was in place.

Only a few weeks later Rachmaninov and his family would leave Russia for the last time.

His re-examination of his teenage concerto did not result in an overhaul of the work’s musical language.

Those passages that do suggest the Rachmaninov of the Op.39 Etude‑Tableaux (1916–17) – and this is principally in sections of the finale – do not alter the status of the work as a young man’s achievement. He altered many aspects of the piece, making thematic presentation, orchestration and the solo part more subtle and sophisticated (yet still very demanding and virtuosic – tailor-made for a pianist of Rachmaninov’s fearsomely complete technique and romantic disposition).

But some things he left alone; the concerto has a freshness and impulsiveness Rachmaninov was not to capture again. These qualities are evident throughout the revised version.

Rachmaninov was always a rhapsodic composer but, in its outer movements, this concerto is distinguished by the high level of contrast in tempo between its major musical statements.

After the grim call to action which opens the work, the bravura flourish which follows it and the lyrical opening idea for the strings, the second major theme sets off at a scampering Vivace. The movement continues in this way, each theme – and its development – given its own very distinct setting until the cadenza, a brilliant, lengthy showpiece that takes up around a quarter of the movement.

Here all the important melodic material reaches a point of bravura summation before the orchestra joins for the breathless final bars.

The slow movement emerged largely intact from Rachmaninov’s revisions.

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PROGRAM NOTES

It is an oasis of lyrical simplicity, in which the lovely theme is presented by the soloist without accompaniment, before the orchestra takes it up, now accompanied with decorative figurations from the piano. Throughout the concerto, Chopin’s influence is very evident in the voicing of the slower music for the piano, and this movement is the closest Rachmaninov came to inhabiting the world of a Chopin nocturne.

Like the first movement, the finale opens with an orchestral call to arms, but the results are more dashing, as the piano leaps in almost immediately with a playful response that turns out to be the movement’s major theme. This idea develops by way of particularly incisive dialogue between piano and orchestra, much of it the result of Rachmaninov’s revisions. In fact this movement received the greatest overhaul in the 1917 version. The languorous central episode for the strings, with filigree commentary from the piano at the end of each phrase, was originally transformed into a grandiose final statement to conclude the movement.

Now the closing section is a highly accented Russian dance of great rhythmic exhilaration. © Phillip Sametz The Melbourne Symphony Orchestra first performed this concerto during a country tour in November 1960 with conductor Henry Krips and soloist Max Olding. The Orchestra most recently performed it in June 2011 with Jakub Hrůša and Simon Trpčeski.

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PETER ILYICH TCHAIKOVSKY (1840–1893) Symphony No.6 in B minor, Op.74, Pathétique Adagio – Allegro non troppo Allegro con grazia Allegro molto vivace Finale (Adagio lamentoso – Andante)

The myth of the-Pathétique-as-suicidenote (not to mention Tchaikovsky’s ‘suicide’ itself) has been more or less debunked in the past two decades.

There are no grounds for doubting that Tchaikovsky died from post-choleric complications; the theory that his old classmates decided in a ‘court of honour’ that he should commit suicide to avoid disgrace has been undermined; and his social, financial and artistic situation all speak against any other motivation for suicide, even if he continued to be troubled by his homosexuality.

The Sixth Symphony, specifically, seems to have been a source of immense pride, satisfaction and joy to him. And shortly after its premiere he’s reported to have said, ‘I feel I shall live a long time.’

He was wrong. His audience, now in mourning and seeking ‘portents’, immediately heard the Sixth Symphony (the Pathétique) in a new way.

New significance was given to the appearance in the first movement of an Orthodox burial chant, ‘Repose the Soul’ – a hymn sung only when someone has died – and to the otherworldly, dying character of the adagio finale.

PROGRAM NOTES

Even if the symphony is not a suicide note, there is a programmatic and semi-autobiographical underpinning to the symphony that is the source of its unusual form and turbulent emotions.

Tchaikovsky admitted the existence of a program but was cagey about the details, perhaps because it reflected his romantic feelings for his nephew and the dedicatee, ‘Bob’ Davidov. The closest we have is a sketched scenario, devised originally for an abandoned symphony in E flat but appearing to correspond with much of the Sixth Symphony: 'Following is essence of plan for a symphony Life! First movement – all impulse, confidence, thirst for activity.

Must be short (Finale death – result of collapse). Second movement love; third disappointment; fourth ends with a dying away (also short).'

There are aspects of this program and the Sixth Symphony that suggest suffering, but for Tchaikovsky the composition of the symphony was a cathartic experience rather than an expression of current sufferings.

In its art this is Tchaikovsky’s most innovative symphony. He dares to conclude with a brooding slow movement and uses boldly dramatic gestures to give the music its emotional impulse. The ‘limping’ elegance of the second-movement waltz would have been less surprising, to Russians at least – its five-beat metre was a part of a tradition that was embraced by Borodin, RimskyKorsakov and Mussorgsky (in his

Pictures at an Exhibition), and later Rachmaninov (in The Isle of the Dead).

In the Sixth Symphony Tchaikovsky comes to terms with his professed inadequacies in structural matters.

His solution in the first movement was to extend the exposition section, so well suited to his melodic gifts, and to compress the development section in which he felt his skills inadequate.

The music begins in the depths with the dark colour of the bassoon and yet somehow Tchaikovsky sustains a downward trajectory, or the impression of one, for the whole work.

In the third movement the idea of ‘disappointment’ is replaced by something more malevolent. In purely musical terms it conflates two musical figures – feverish tarantella triplets and a spiky march – but the juxtapositions and incursions into each other’s thematic territory create a disturbing sense of antagonism. The movement’s applause-provoking conclusion could be triumphant, or it could be the crash of self-delusion.

The finale may not fit the formula established by Tchaikovsky’s classical predecessors, but within the emotional journey of the symphony its stark sense of tragedy provides an inevitable conclusion – all the more powerful for the grace and jauntiness of the preceding movements.

Yvonne Frindle © 2008 The Melbourne Symphony Orchestra was the first of the Australian state symphony orchestras to perform this work, on 19 September 1939 under Bernard Heinze. The Orchestra most recently performed it in September 2014 with Diego Matheuz.

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MELBOURNE SYMPHONY ORCHESTRA FIRST VIOLINS

SECOND VIOLINS

CELLOS

Dale Barltrop

Matthew Tomkins

David Berlin

Robert Macindoe

Rachael Tobin

Concertmaster

Principal MS Newman Family#

Eoin Andersen

Principal The Gross Foundation#

Sophie Rowell

Associate Principal

Associate Principal

Monica Curro

Nicholas Bochner

Peter Edwards

Assistant Principal Danny Gorog and Lindy Susskind#

Kirsty Bremner Sarah Curro

Mary Allison Isin Cakmakcioglu Freya Franzen

Concertmaster

Associate Concertmaster The Ullmer Family Foundation# Assistant Principal

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#

Jacqueline Edwards* Oksana Thompson*

Anonymous#

Cong Gu Andrew Hall

Andrew and Judy Rogers#

Francesca Hiew Tam Vu, Peter and Lyndsey Hawkins#

Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Amy Brookman* Madeleine Jevons* VIOLAS

Christopher Moore Principal Di Jameson#

Fiona Sargeant

Associate Principal

Lauren Brigden Katharine Brockman Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Katie Yap*

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Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de Korte Keith Johnson Sarah Morse Angela Sargeant Michelle Wood

Andrew and Theresa Dyer#

Rachel Atkinson* 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 Frase#

Emma Sullivan* Esther Toh* FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal OBOES

Jeffrey Crellin Principal

Thomas Hutchinson

TRUMPETS

MSO BOARD

Geoffrey Payne

Chairman

Principal

Shane Hooton

Michael Ullmer

Associate Principal

Managing Director

Julie Payne William Evans Rosie Turner*

Sophie Galaise Board Members

Principal

BASS TROMBONE

Andrew Dyer Danny Gorog Brett Kelly David Krasnostein David Li Helen Silver AO Margaret Jackson AC

Philip Arkinstall

Mike Szabo

Company Secretary

Associate Principal

Ann Blackburn Michael Pisani

TROMBONES

Brett Kelly Principal

CLARINETS

David Thomas

Associate Principal

Ben Lovell-Greene

Principal

Craig Hill

Oliver Carton

TUBA BASS CLARINET

Jon Craven

Timothy Buzbee Principal

Principal

TIMPANI BASSOONS

Jack Schiller Principal

Elise Millman

Associate Principal

Natasha Thomas CONTRABASSOON

Brock Imison Principal HORNS

Brent Miller PERCUSSION

Robert Clarke Principal

John Arcaro Robert Cossom HARP

Yinuo Mu Principal

Grzegorz Curyla*‡

Guest Principal

Saul Lewis

Principal Third

Jenna Breen Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

# Position supported by * Guest Musician † On exchange from West German Radio Symphony ‡ Courtesy of Malaysian Philharmonic Orchestra

Trinette McClimont Robert Shirley* 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

PROGRAM BENEFACTORS Meet The Orchestra Made possible by The Ullmer Family Foundation East Meets West Supported by the Li Family Trust The Pizzicato Effect (Anonymous) Schapper Family Foundation Collier Charitable Fund Supported by the Hume City Council’s Community Grants Program MSO Education Supported by Mrs Margaret Ross AM and Dr Ian Ross MSO Audience Access Crown Resorts Foundation Packer Family Foundation MSO International Touring Supported by Harold Mitchell AC 12

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+

John Gandel AO and Pauline Gandel Danny Gorog and Lindy Susskind◊ Robert & Jan Green Dr Geraldine Lazarus and Mr Greig Gailey The Cuming Bequest Ian and Jeannie Paterson Lady Potter AC◊ 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 Onbass Foundation Juliet Tootell Alice Vaughan Kee Wong and Wai Tang Jason Yeap OAM

Di Jameson◊ Harold Mitchell AC

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Prof Ian Brighthope Linda Britten David and Emma Capponi 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 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 Suzanne Kirkham Dr Elizabeth A Lewis AM

Michael Aquilina◊ The John and Jennifer Brukner Foundation Perri Cutten and Jo Daniell 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 Mary and Frederick Davidson AM Sir Andrew and Lady Davis

Peter Lovell Lesley McMullin Foundation Mr and Mrs D R Meagher Marie Morton FRSA David and Helen Moses◊ Dr Paul Nisselle AM Ken Ong, in memory of Lin Ong Bruce Parncutt and Robin Campbell James and Frances 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 Gai and David Taylor Mr Tam Vu and Dr Cherilyn Tillman◊ The Hon. Michael Watt QC and Cecilie Hall Lyn Williams AM Anonymous (3)

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

SUPPORTERS Dr Karen Morley Dina and Ron Goldschlager Colin Golvan QC and Dr Deborah Golvan Louise Gourlay OAM Peter and Lyndsey Hawkinsâ—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 Kloeden Foundation Sylvia Lavelle Bryan Lawrence H E McKenzie Allan and Evelyn McLaren Don and Anne Meadows 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 Joan P Robinson Tom and Elizabeth Romanowski Jeffrey Sher QC and Diana Sher OAM Diana and Brian Snape AM Geoff and Judy Steinicke William and Jenny Ullmer Kate and Blaise Vinot Elisabeth Wagner Barbara and Donald Weir Brian and Helena Worsfold Anonymous (8)

PLAYER PATRONS $1,000+ Christa Abdallah Anita and Graham Anderson Christine and Mark Armour Philip Bacon AM Arnold Bloch Leibler Marlyn and Peter Bancroft OAM Adrienne Basser Prof Weston Bate and Janice Bate David Blackwell Michael F Boyt Anne Bowden The Late Mr John Brockman OAM and Mrs Pat Brockman Dr John Brookes Suzie and Harvey Brown Jill and Christopher Buckley Lynne Burgess Peter Caldwell Joe Cordone Andrew and Pamela Crockett Pat and Bruce Davis Merrowyn Deacon 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 Paula Hansky OAM Merv Keehn and Sue Harlow Tilda and Brian Haughney Penelope Hughes Basil and Rita Jenkins Stuart Jennings Irene Kearsey and M J Ridley Brett Kelly and Cindy Watkin Dr Anne Kennedy Julie and Simon Kessel George and Patricia Kline William and Magdalena Leadston Andrew Lee Norman Lewis, in memory of Dr Phyllis Lewis Dr Anne Lierse Ann and George Littlewood 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 In honour of Norma and Lloyd Rees Ruth Maxwell Jenny McGregor AM and Peter Allen Glenda McNaught David Menzies 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 Cathy and Peter Rogers Zelda Rosenbaum OAM Doug and Elisabeth Scott Dr Sam Smorgon AO and Mrs Minnie Smorgon John So Dr Norman and Dr Sue Sonenberg Dr Michael Soon Pauline Speedy 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 Peter and Susan Yates Panch Das and Laurel Young-Das Anonymous (16)

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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 Anonymous (1)

MSO ROSES Roses Mary Barlow Linda Britten Wendy Carter Annette Maluish Lois McKay Pat Stragalinos Jenny Ullmer Rosebuds Maggie Best Penny Barlow Lynne Damman Francie Doolan Lyn Edward Penny Hutchinson Elizabeth A Lewis AM Sophie Rowell Dr Cherilyn Tillman

TRUSTS AND FOUNDATIONS Alan (AGL) Shaw Endwoment, managed

by Perpetual Collier Charitable Fund Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation Gandel Philanthropy The Harold Mitchell Foundation Ken & Asle Chilton Trust, managed by Perpetual

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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 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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