Marvellous Mozart

MARVELLOUS MOZART

7 MARCH Melbourne

THE MEASURE OF A FUN NIGHT OUT IS SLEEPING IN AS LONG AS YOU LIKE

TOMORROW

Go out with new friends to one of our dining rooms, or have a big night out on the town. Then spend the next morning in your luxurious Ryman apartment, knowing it’s nothing but you and 1000 thread count cotton for as long as you like.

Drop in to rymanhealthcare.com.au

ARTISTS

Melbourne Symphony Orchestra

Paavali Jumppanen director / piano

PROGRAM

MOZART Concert-Rondo in D for Piano and Orchestra

MOZART Piano Concerto No.23

– Interval –

MOZART Piano Concerto No.24

Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham Fraillon AO, will be performed at this concert.

CONCERT EVENTS

7 November at 6.45pm at Melbourne Recital Centre.

Want to learn more about the music being performed? Arrive early for an informative and entertaining pre-concert talk with MSO violinist Monica Curro.

This concert may be recorded for future broadcast on MSO.LIVE

Duration 1 hour and 45 minutes including interval.

In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.

ACKNOWLEDGING COUNTRY

In the first project of its kind in Australia, the MSO has developed a musical Acknowledgment of Country with music composed by Yorta Yorta composer Deborah Cheetham Fraillon AO, featuring Indigenous languages from across Victoria. Generously supported by Helen Macpherson Smith Trust and the Commonwealth Government through the Australian National Commission for UNESCO, the MSO is working in partnership with Short Black Opera and Indigenous language custodians who are generously sharing their cultural knowledge.

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

About Long Time Living Here

In all the world, only Australia can lay claim to the longest continuing cultures and we celebrate this more today than in any other time since our shared history began. We live each day drawing energy from a land which has been nurtured by the traditional owners for more than 2000 generations. When we acknowledge country we pay respect to the land and to the people in equal measure. As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music. In order to compose the music for this Acknowledgement of Country Project I have had the great privilege of working with no fewer than eleven ancient languages from the state of Victoria, including the language of my late Grandmother, Yorta Yorta woman Frances McGee. I pay my deepest respects to the elders and ancestors who are represented in these songs of acknowledgement and to the language custodians who have shared their knowledge and expertise in providing each text.

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

— Deborah Cheetham Fraillon AO

MELBOURNE SYMPHONY ORCHESTRA

Committed to shaping and serving the state it inhabits, the Melbourne Symphony Orchestra is Australia’s preeminent orchestra and a cornerstone of Victoria’s rich, cultural heritage.

Each year, the MSO and MSO Chorus present more than 180 public events across live performances, TV, radio and online broadcasts, and via its online concert hall, MSO.LIVE, engaging an audience of more than five million people in 56 countries. In 2024 the organisation will release its first two albums on the newly established MSO recording label.

With an international reputation for excellence, versatility and innovation, the MSO works with culturally diverse and First Nations artists to build community and deliver music to people across Melbourne, the state of Victoria and around the world.

In 2024, Jaime Martín leads the Orchestra for his third year as MSO Chief Conductor. Maestro Martín leads an Artistic Family that includes Principal Conductor in Residence Benjamin Northey, Cybec Assistant Conductor Leonard Weiss, MSO Chorus Director Warren Trevelyan-Jones, Composer in Residence Katy Abbott, Artist in Residence Erin Helyard, MSO First Nations Creative Chair Deborah Cheetham Fraillon AO, Young Cybec Young Composer in Residence Naomi Dodd, and Artist in Association Christian Li.

The Melbourne Symphony Orchestra respectfully acknowledges the people of the Eastern Kulin Nations, on whose un‑ceded lands we honour the continuation of the oldest music practice in the world.

MUSICIANS PERFORMING IN THIS CONCERT

FIRST VIOLINS

Tair Khisambeev

Acting Associate

Concertmaster

Di Jameson and Frank Mercurio#

Peter Fellin

Deborah Goodall

Karla Hanna

Anne-Marie Johnson

David Horowicz#

Kathryn Taylor

SECOND VIOLINS

Matthew Tomkins

Principal

The Gross Foundation#

Monica Curro

Assistant Principal

Dr Mary Jane Gething AO#

Mary Allison

Isin Cakmakçioglu

Tiffany Cheng

Glenn Sedgwick#

Freya Franzen

Isy Wasserman

Philippa West

Andrew Dudgeon AM#

Roger Young

Shane Buggle and Rosie Callanan#

VIOLAS

Christopher Moore

Principal

Di Jameson and Frank Mercurio#

Lauren Brigden

Katharine Brockman

Fiona Sargeant

Ceridwen Davies*

Isabel Morse*

CELLOS

David Berlin

Principal

Rebecca Proietto

Angela Sargeant

Alexandra Partridge*

Anna Pokorny*

DOUBLE BASSES

Jonathan Coco

Principal

Stephen Newton

Acting Associate Principal

Sophie Galaise and Clarence Fraser#

Emma Sullivan*

FLUTES

Wendy Clarke

Associate Principal

OBOES

Ann Blackburn

The Rosemary Norman Foundation#

Alexandra Allan^

COR ANGLAIS

Michael Pisani

Principal

CLARINETS

David Thomas

Principal

Craig Hill

Rosemary and the late Douglas Meagher#

BASSOONS

Jack Schiller

Principal

Dr Harry Imber#

Tasman Compton^

CONTRABASSOON

Brock Imison

Principal

HORNS

Nicolas Fleury

Principal

Margaret Jackson AC#

Josiah Kop

TRUMPETS

Owen Morris

Principal

William Evans

TIMPANI

Matthew Thomas Principal

Correct as of 22 February 2024

Learn more about our musicians on the MSO website

*

^

Are you our next Guardian of the MSO?

A great Orchestra takes us on a voyage, an exploration of art, ideas and stories. And having your support makes all the difference in ensuring we achieve the standards of excellence we live by.

As we look to the future, and all the amazing possibilities ahead, we look to the vital role you play in building the MSO.

We ask you to consider becoming an MSO Guardian by leaving a gift in your Will. Even just leaving 1% to the Orchestra you love can make an incredible impact, allowing us to invest in learning and access programs, groundbreaking collaborations, revered classics and support the brilliance of our performers, and ensure that MSO is part of Melbourne for the decades to come.

To learn more about becoming an MSO Guardian, or to have a confidential discussion on including a gift in your Will, please contact MSO Philanthropy on (03) 8646 1551 or by scanning the QR code.

PAAVALI JUMPPANEN DIRECTOR/PIANO

In recent seasons, Finnish virtuoso Paavali Jumppanen has cut a wide swath internationally as a solo recitalist, orchestral collaborator, recording artist, artistic director, and performer of contemporary and avant-garde music.

Jumppanen has performed extensively in the United States, Europe, Japan, China, and Australia alongside conductors as David Robertson, Sakari Oramo, Susanna Mälkki, Esa-Pekka Salonen, and Jaap van Zweden. He has commissioned numerous works and collaborated with such composers as Boulez, Murail, Dutilleux, Penderecki, as well as many Finnish composers. He has been praised by the Boston Globe for the “overflowing energy of his musicianship” and for his “power and ... extraordinary range of colors” by The New York Times.

Jumppanen has performed acclaimed cycles of the complete Mozart piano sonatas and the complete Beethoven piano soncertos and chamber sonatas. His expanding discography includes the complete Beethoven piano sonatas for Ondine and “the best recorded disc of Boulez’s piano music so far” (The Guardian). Jumppanen spent the 2011–12 season as a visiting scholar in Harvard University’s Music Department studying musicology and theory, and since 2021 has been Artistic Director at the Australian National Academy of Music (ANAM) in Melbourne.

Recent highlights include curating and performing at the Adelaide Festival’s Chamber Landscapes program, along with soloist appearances with the West Australian and Tasmanian Symphony Orchestras, Melbourne Chamber Orchestra, Helsinki Philharmonic Orchestra, Kuhmo and Naantali Music Festivals, and multiarts festival Väyläfestival. 2024 engagements include concerto performances with the Melbourne Symphony Orchestra, and Kymi Simfonietta (Finland), and recitals in Europe, the USA, Hong Kong, and for Melbourne Recital Centre, UKARIA Cultural Centre, and Musica Viva Tasmania.

TarraWarra Estate provides you with the perfect backdrop for a day of wine tasting, lunch or simply taking in the views from the deck. Only an hour from Melbourne and you’ll find yourself enjoying our cool climate Chardonnay and Pinot Noir in our subterranean cellar door.

311 Healesville - Yarra Glen Road, Yarra Glen, VIC 3775 Australia

+61 3 5962 3311

www.tarrawarra.com.au

enq@tarrawarra.com.au _tarrawarra_

PROGRAM NOTES

WOLFGANG AMADEUS MOZART

(1756–91)

Concert Rondo in D Major for Piano and Orchestra, K. 382

Wolfgang Amadeus Mozart wrote the Rondo in D major in 1782 as an alternate finale to his Piano Concerto No.5, K.175, which he had composed as a teenager almost a decade earlier. In the intervening years, he had quit his job at the Salzburg court (the Archbishop sent him off with “a kick on my arse,” as Mozart put it) and moved to Vienna to pursue a freelance career.

He was already known as the composer of the opera Idomeneo, and was at work on Die Entführung aus dem Serail, but he wanted opportunities in concert as well as in the theatre. So on March 3, 1782, he gave his first solo program in Vienna, which included the Piano Concerto No.5 (really his first mature concerto – the other four were juvenile arrangements). For this occasion, he wrote the new finale, perhaps thinking it was a more stylish fit for the Viennese audience, or perhaps simply thinking he could do better at age 26 than he had at 17. Today, the Piano Concert No.5 is usually performed with its original finale, and the Rondo is treated as a short standalone work for piano and orchestra.

To Mozart and his first listeners, it was a great success. Sending the score back to Salzburg later that March, he noted the Rondo made “such a furore in Vienna” and asked his father to “guard it like a jewel – and not give it to a soul to play…. I composed it specially for myself.” This initiated a period of piano-concerto writing; nearly every year through 1788, Mozart turned out between three to six more.

A Rondo is a common last-movement form, especially for concertos, in which a recurring main theme alternates with contrasting episodes. This piece, however, is really a Rondo in name only – coming closer to a variation form.

The orchestra presents the main theme, marked Allegretto grazioso (moderately fast, graceful), before the piano responds with a solo variation. The orchestra reprises the tune, and then joins with the piano for a rippling triplet variation, picking up to rapid demisemiquavers. A D-minor variation is dusky and expressive, before a return to D major decorates with trills. Then a tempo change – to a lilting Adagio that briefly drifts through minor again, followed by a quick Allegro and piano cadenza. Finally, the theme returns again (this time with pizzicato strings). It’s everything you could want from Mozart in its most concise form – classical poise and playful virtuosity draped over a sense of aspiration and longing.

© Benjamin Pesetsky 2024

MOZART

Piano Concerto No.23 in A, K488

I. Allegro

II. Adagio

III. Allegro assai

The key of A major is a wonderful thing in Mozart’s music. It is the key of the joyous, coming-of-age Symphony K201, the wise and transcendent Clarinet Concerto K622, and the key of this concerto, one of Mozart’s most alluring creations.

If we were to apply the words ‘pleasing’ and ‘agreeable’ to the first movement, Allegro, it would not be to suggest that the music is featureless and bland, but to highlight the skilful way in which the concerto captures the sound ideal of late 18th century music. It opens with a melody in the ‘singing style’; that is

to say, a gently flowing theme that, although played on instruments, is eminently singable. Mozart was without peer when it came to fashioning themes of this kind: pithy and melodious, varied yet beautifully balanced. For all of these reasons, it is memorable (which is just as well, given that it is the principal theme!). To really hammer the melody home, Mozart offers it twice at the beginning – strings alone in the first instance, winds in the second – and then delivers it a third time, albeit in slightly embellished form, when the piano soloist enters. This is a marvellous example of Mozart taking the listener by the hand and guiding them through the music. Listen up, he seems to be saying, this is the building block at the centre of our work. Other themes are heard in the first few minutes – the opening movement presents at least five clearly differentiated themes – all of which are kept in play as the movement unfolds. As for the piano writing, it is glittering and dextrous with featherlight runs up and down the keyboard in the transition passages. In a departure from convention, Mozart wrote out the first-movement cadenza in full rather than have the performer improvise it on the spot.

Mozart did something very bold in the second movement, Adagio, when he turned to the rarely used key of F sharp minor, the relative minor of A major. This ushers us into a sombre realm. The opening piano theme, one of Mozart’s most soulful, is in siciliana rhythm and conjures up a sorrowful mood with chromatic inflections, accented dissonances and shifts in register. The orchestra answers the opening melody with a poignant theme of its own. Mozart’s tasteful and discreet orchestration is exemplary, particularly his colouristic use of woodwind instruments. This concerto, which dates from 1786, was written towards the end of Mozart’s most concentrated

period of composing piano concertos and, as in the majority of his other so-called ‘Vienna piano concertos’, he liberates the winds from a background role, highlighting the entire section and individual instruments. Unusually, there are no oboes in this concerto. Instead, Mozart includes two clarinets, the wind instrument he prized above all others.

After the introspective middle movement, the finale, which is back in the key of A major, is unabashedly exuberant. Mozart juggles an astonishing variety of themes reminding us that, at a fundamental level, a concerto aims to dazzle and delight.

Robert Gibson © 2017

MOZART

Piano Concerto No.24 in C minor, K.491

I. Allegro

II. Larghetto

III. Allegretto

Mozart was so busy between October 1785 and April 1786 that he didn’t even have time to write letters home. Even by his own standards he got through a huge number of major works: a violin sonata, several pieces for the Masonic Lodge of which he was an active member, various ‘insert’ pieces for other operas, some works for wind ensembles, a ‘musical comedy’ Der Schauspieldirektor (The Impresario), three piano concertos and his epochal opera, The Marriage of Figaro. And he found the time to appear as conductor or soloist in at least seven concerts during those six months.

It is true, however, that this period marked the end, for a time at least, of Mozart’s prominence as a soloist. He gave his annual ‘academy’ – a concert where he would present his newest works – on 7 April in Vienna’s Burgtheater, featuring the C minor concerto, but, unusually for him, did not

plan a series of subscription concerts for the season of Lent as he had in previous years. Mozart’s withdrawal from concerto performance inevitably spawned a number of more or less fanciful theories in the decades which followed, especially given the nature of the C minor concerto: one is the old myth about his falling from favour with the Viennese public – the concerto’s uncompromising nature was supposedly not to Viennese taste. Another, more curious, is the notion that Mozart’s hands were damaged: it was said, by Karl Beethoven for one, that Mozart’s fingers were so bent from constant playing that he was unable to use a knife at table. It is true that bouts of rheumatic fever, from which Mozart suffered on several occasions, can cause arthritis, but as Mozart biographer Maynard Solomon points out, the ‘fine calligraphy’ of Mozart’s scores, not to mention his excellence at billiards, make this hard to believe.

Politically, things were a little strained in Vienna at the time. The Emperor Joseph II was determined to modernise his realm, curtailing the power of the church and nobility (for which reason he supported Mozart’s proposal to make Figaro into an opera), reforming the legal system, abolishing torture, offering a greater degree of liberty than his predecessor. Sadly he was inconsistent in his practice, and about the middle of the decade passed the Freemasonry Act in order to monitor the activities of its members. More disturbingly, in early 1786, the emperor intervened in a murder case with the result that the defendant was publicly and gruesomely executed over a four hour period. As German scholar Volkmar Braunbehrens points out, this all took place a few hundred yards from Mozart’s home, and the composer, about to spend two weeks writing this concerto, can hardly have been unaware of the 30,000-strong crowd in the streets below.

To what extent might all this bear on the music? It is unique in Mozart’s output in several ways: it uses a large orchestra for a vast range of effects; it avoids virtuosic display for its own sake; its first movement is in triple time (itself unusual); the opening theme, characterised by downward steps followed by wide upward leaps, is broken into progressively smaller units by short, gasping silences. The turbulence this creates prefigures Beethoven (who declared he could never surpass this piece), and has led commentators ever since to describe the piece as ‘tragic’ or ‘demonic’. Solomon has noted that in the slow movement of this, as in other works of this time, Mozart summons up ‘every gradation of emotion – from terror to vague feelings of unease, from unbearable intense pleasures bordering on ecstasy to a floating placidity and contentment’. And again, in the finale Mozart uses a form beloved of Beethoven and puts his theme through a set of eight variations, exploring a wide range of emotional worlds in the process.

The other factor in the equation is Figaro, of whose importance (both musically and politically) Mozart was well aware. Whether the turmoil and glimpses of beatific peace in this work are the result of Mozart’s response to his circumstances and the times will remain an open question. We can however point out that this work issues from the composer who was in the process of revolutionising the way in which human emotions and relationships could be depicted in music.

Gordon Kerry © 2002

SUPPORTERS

MSO PATRON

Her Excellency Professor, the Honourable

Margaret Gardner AC, Governor of Victoria

CHAIRMAN’S CIRCLE

The Gandel Foundation

The Gross Foundation

Di Jameson OAM and Frank Mercurio

Harold Mitchell Foundation

Lady Primrose Potter AC CMRI

Cybec Foundation

The Pratt Foundation

The Ullmer Family Foundation

Anonymous (1)

ARTIST CHAIR BENEFACTORS

Concertmaster Chair

David Li AM and Angela Li

Cybec Assistant Conductor Chair

Leonard Weiss Cybec Foundation

Assistant Concertmaster

Tair Khisambeev

Di Jameson OAM and Frank Mercurio

Cybec Young Composer in Residence

Naomi Dodd

Cybec Foundation

PROGRAM BENEFACTORS

MSO Now & Forever Fund: International Engagement Gandel Foundation

Cybec 21st Century Australian Composers Program Cybec Foundation

Digital Transformation Perpetual Foundation – Alan (AGL) Shaw

Endowment

First Nations Emerging Artist Program

The Ullmer Family Foundation

East meets West The Li Family Trust, National Foundation for Australia-China Relations

Ears Wide Open and Music & Ideas

City of Melbourne, Crown Resorts Foundation and Packer Family Foundation.

MSO Live Online Crown Resorts Foundation, Packer Family Foundation

MSO Education Anonymous

MSO Academy Di Jameson OAM and Frank Mercurio, Mary Armour, Christopher Robinson in memory of Joan P Robinson

MSO For Schools Crown Resorts Foundation, Packer Family Foundation Jams in Schools Department of Education, Victoria, through the Strategic Partnerships Program, Marian and E.H. Flack Trust, Flora & Frank Leith Charitable Trust, Hume City Council

MSO Regional Touring Angior Foundation, Creative Victoria, Freemasons Foundation

Victoria, Robert Salzer Foundation, The Sir Andrew & Lady Fairley Foundation

Sidney Myer Free Concerts Sidney Myer

MSO Trust Fund and the University of Melbourne, City of Melbourne Event Partnerships Program

PLATINUM PATRONS $100,000+

The late Marc Besen AC and the late Eva Besen AO

The Gandel Foundation

The Gross Foundation

Di Jameson OAM and Frank Mercurio

David Li AM and Angela Li

Lady Primrose Potter AC CMRI

Anonymous (1)

VIRTUOSO PATRONS $50,000+

Dr Harry Imber

Margaret Jackson AC

Packer Family Foundation

Ullmer Family Foundation

Weis Family

Anonymous (1)

IMPRESARIO PATRONS $20,000+

The Aranday Foundation

H Bentley

The Hogan Family Foundation

David Krasnostein AM and Pat Stragalinos

Elizabeth Proust AO and Brian Lawrence

Lady Marigold Southey AC

Kim Williams AM

The Yulgilbar Foundation

Anonymous (2)

MAESTRO PATRONS $10,000+

Christine and Mark Armour

Margaret Billson and the late Ted Billson

Shane Buggle and Rosie Callanan

Krystyna Campbell-Pretty AM

Andrew Dudgeon AM

Jaan Enden

Dr Mary-Jane H Gething AO

David R Lloyd

Peter Lovell

Maestro Jaime Martín

Rosemary and the late Douglas Meagher

Farrel and Wendy Meltzer

Nereda Hanlon and Michael Hanlon AM

Paul Noonan

Opalgate Foundation

Ian and Jeannie Paterson

Christopher Robinson and the late Joan P Robinson

Yashian Schauble

Glenn Sedgwick

The Sun Foundation

Gai and David Taylor

Athalie Williams and Tim Danielson

Lyn Williams AM

The Wingate Group

Anonymous (3)

PRINCIPAL PATRONS $5,000+

Mary Armour

John and Lorraine Bates

Barbara Bell in memory of Elsa Bell

Bodhi Education Fund

Julia and Jim Breen

Jannie Brown

Lynne Burgess

John Coppock OAM and Lyn Coppock

Perri Cutten and Jo Daniell

Ann Darby in memory of Leslie J. Darby

Mary Davidson and the late Frederick Davidson AM

The Dimmick Charitable Trust

Tim and Lyn Edward Equity Trustees

Bill Fleming

Dr John and Diana Frew

Sophie Galaise and Clarence Fraser

Carrillo Gantner AC and Ziyin Gantner

Dr Rhyl Wade and Dr Clem Gruen

Cecilie Hall and the late Hon Michael Watt KC

Louis J Hamon OAM

Merv Keehn and Sue Harlow

David Horowicz

Dr Alastair Jackson AM

Suzanne Kirkham

The late Dr Elizabeth Lewis AM

Lucas Family Foundation

Dr Jane Mackenzie

Gary McPherson

The Mercer Family Foundation

Anne Neil in memory of Murray A. Neil

Newton Family in memory of Rae Rothfield

Ken Ong OAM

Bruce Parncutt AO

David Ponsford

Professor Sam Ricketson AM and Dr Rosemary Ayton

Andrew and Judy Rogers

The Rosemary Norman Foundation

Guy Ross

Helen Silver AO and Harrison Young

Brian Snape AM

Dr Michael Soon

Mary Waldron

Janet Whiting AM

Dawna Wright and Peter Riedel

Igor Zambelli

Anonymous (1)

ASSOCIATE PATRONS $2,500+

Carolyn Baker

Marlyn Bancroft and Peter Bancroft OAM

Sascha O Becker

Janet H Bell

Alan and Dr Jennifer Breschkin

Patricia Brockman

Nigel and Sheena Broughton

Dr Lynda Campbell

Oliver Carton

Janet Chauvel and the late Dr Richard Chauvel

Kaye Cleary

Michael Davies and Drina Staples

Leo de Lange

Sophie E Dougall in memory of Libby Harold

Barry Fradkin OAM and Dr Pam Fradkin

Kim and Robert Gearon

Janette Gill

R Goldberg and Family

Goldschlager Family Charitable Foundation

Colin Golvan AM KC and Dr Deborah Golvan

Jennifer Gorog

C M Gray

Marshall Grosby and Margie Bromilow

Ian Kennedy AM & Dr Sandra Hacker AO

Susan and Gary Hearst

Dr Keith Higgins and Dr Jane Joshi

Hartmut and Ruth Hofmann

Doug Hooley

Gillian Hund OAM and Michael Hund

Geoff and Denise Illing

Paul and Amy Jasper

Sandy Jenkins

John Jones

Ann Lahore

Qian Li

Carolynne Marks

Margaret and John Mason OAM

H E McKenzie

Dr Isabel McLean

Christopher Menz and Peter Rose

Ian Merrylees

Suzie and Edgar Myer

Dr Paul Nisselle AM

Alan and Dorothy Pattison

Ruth and Ralph Renard

Peter and Carolyn Rendit

James Ring

Tom and Elizabeth Romanowski

Liliane Rusek and Alexander Ushakoff

The Sage Foundation

Jeffrey Sher KC and Diana Sher OAM

Barry Spanger

Steinicke Family

Caroline Stuart

Robert and Diana Wilson

Shirley and Jeffrey Zajac

Anonymous (3)

PLAYER PATRONS $1,000+

Dr Sally Adams

Helena Anderson

Margaret Astbury

Robbie Barker

Michael Bowles & Alma Gill

Allen and Kathryn Bloom

Joyce Bown

Youth Music Foundation

Professor Ian Brighthope

Miranda Brockman

Drs John D L Brookes and Lucy V Hanlon

Stuart Brown

Suzie Brown OAM and the late Harvey Brown

Jill and Christopher Buckley

Dr Robin Burns and Dr Roger Douglas

Ronald and Kate Burnstein

Peter A Caldwell

Breen Creighton and Elsbeth Hadenfeldt

Mrs Nola Daley

Panch Das and Laurel Young-Das

Caroline Davies

Natasha Davies, for the Trikojus Education Fund

Rick and Sue Deering

John and Anne Duncan

Jane Edmanson OAM

Diane Fisher

Alex Forrest

Grant Fisher and Helen Bird

Chris Freelance

Applebay Pty Ltd

David Frenkiel and Esther Frenkiel OAM

Mary Gaidzkar

Simon Gaites

Anthony Garvey and Estelle O’Callaghan

David I Gibbs AM and Susie O’Neill

Sonia Gilderdale

Dr Celia Godfrey

Dr Marged Goode

Hilary Hall in memory of Wilma Collie

David Hardy

Tilda and the late Brian Haughney

Cathy Henry

Dr Jennifer Henry

Rod Home

Lorraine Hook

Jenny and Peter Hordern

Katherine Horwood

Penelope Hughes

Geoff and Denise Illing

Jordan Janssen

Shyama Jayaswal

Basil and Rita Jenkins

Emma Johnson

Wendy Johnson

Sue Johnston

John Kaufman

Angela Kayser

Drs Bruce and Natalie Kellett

Dr Anne Kennedy

Akira Kikkawa

Dr Judith Kinnear

Dr Richard Knafelc and Mr Grevis Beard

Tim Knaggs

Dr Jerry Koliha and Marlene Krelle

Jane Kunstler

Kerry Landman

Kathleen and Coran Lang

Bryan Lawrence

Lesley McMullin Foundation

Dr Jenny Lewis

Phil Lewis

Dr Kin Liu

Andrew Lockwood

Elizabeth H Loftus

Chris and Anna Long

John MacLeod

Marshall Segan in memory of Berek Segan

OBE and Marysia Segan

Ian McDonald

Wayne McDonald and Kay Schroer

Lois McKay

Dr Eric Meadows

Professor Geoffrey Metz

Sylvia Miller

Ian Morrey and Geoffrey Minter

Dr Anthony and Dr Anna Morton

Anthony and Karen Ho

Dr Judith S Nimmo

Laurence O’Keefe and Christopher James

Susan Pelka

Ian Penboss

Peter Priest

John Prokupets

Professor Charles Qin OAM and Kate Ritchie

Eli Raskin

Jan and Keith Richards

Roger Parker and Ruth Parker

Dr Peter Rogers and Cathy Rogers OAM

Dr Ronald and Elizabeth Rosanove

Marie Rowland

Viorica Samson

P Shore

Janet and Alex Starr

Dr Peter Strickland

Dr Joel Symons and Liora Symons

Russell Taylor and Tara Obeyesekere

Geoffrey Thomlinson

Frank Tisher OAM and Dr Miriam Tisher

Andrew and Penny Torok

Christina Turner

Leon and Sandra Velik

Edward & Paddy White

Nic and Ann Willcock

Lorraine Woolley

Dr Kelly and Dr Heathcote Wright

Anonymous (16)

OVERTURE PATRONS $500+

Jane Allan and Mark Redmond

Mario M Anders

Jenny Anderson

Dr Judith Armstrong and Robyn Dalziel

Doris Au

Lyn Bailey

Mr Robin Batterham

Dr William Birch AM

Richard Bolitho

Dr Robert Brook

Elizabeth Brown

Roger and Coll Buckle

Daniel Bushaway

Jungpin Chen

Linda Clifton

Dr John Collins

Judith Cowden in memory of violinist

Margaret Cowden

Gregory Crew

Sue Cummings

Dr Oliver and Matilda Daly

Suzanne Dembo

Carol des Cognets

Margaret Flatman

Brian Florence

M C Friday

David and Geraldine Glenny

Louise Gourlay OAM

Christine Grenda

Dawn Hales

George Hampel AM KC and Felicity Hampel AM SC

John Hill

William Holder

Rod Home

Gillian Horwood

Noelle Howell and Judy Clezy

Rob Jackson

Irene Kearsey & Michael Ridley

Peter Kempen AM

John Keys

Lesley King

Professor David Knowles and Dr Anne McLachlan

Dr Kim Langfield-Smith

Pauline and David Lawton

Paschalina Leach

Kay Liu

David Loggia

Eleanor & Phillip Mancini

Joy Manners

Morris and Helen Margolis

Sandra Masel in memory of Leigh Masel

Janice Mayfield

Gail McKay

Shirley A McKenzie

Dr Alan Meads and Sandra Boon

Joan Mullumby

Adrian and Louise Nelson

Marian Neumann

Ed Newbigin

Valerie Newman

Amanda O’Brien

Brendan O’Donnell

Jillian Pappas

Phil Parker

Sarah Patterson

The Hon Chris Pearce and Andrea Pearce

Peter Berry and Amanda Quirk

William Ramirez

Geoffrey Ravenscroft

Dr Christopher Rees

Professor John Rickard

Michael Riordan and Geoffrey Bush

Fred and Patricia Russell

Carolyn Sanders

Dr Marc Saunders

Dr Nora Scheinkestel

Julia Schlapp

Hon Jim Short and Jan Rothwell Short

Madeline Soloveychik

Tom Sykes

Allison Taylor

Reverend Angela Thomas

Mely Tjandra

Chris and Helen Trueman

Rosemary Warnock

Amanda Watson

Michael Whishaw

Deborah and Dr Kevin Whithear OAM

Charles and Jill Wright

Anonymous (14)

MSO GUARDIANS

Jenny Anderson

David Angelovich

G C Bawden and L de Kievit

Lesley Bawden

Joyce Bown

Patricia A Breslin

Mrs Jenny Bruckner and the late Mr John Bruckner

The late Ken Bullen

Peter A Caldwell

Luci and Ron Chambers

Beryl Dean

Sandra Dent

Alan Egan JP

Gunta Eglite

Marguerite Garnon-Williams

Drs L C Gruen and R W Wade

Louis J Hamon AOM

Charles Hardman

Carol Hay

Jennifer Henry

Graham Hogarth

Rod Home

Lyndon Horsburgh

Tony Howe

Lindsay and Michael Jacombs

Laurence O’Keefe and Christopher James

John Jones

Sylvia Lavelle

Pauline and David Lawton

Cameron Mowat

Ruth Muir

David Orr

Matthew O’Sullivan

Rosia Pasteur

Penny Rawlins

Anne Roussac-Hoyne and Neil Roussac

Michael Ryan and Wendy Mead

Andrew Serpell and Anne Kieni Serpell

Jennifer Shepherd

Suzette Sherazee

Dr Gabriela and Dr George Stephenson

Pamela Swansson

Lillian Tarry

Tam Vu and Dr Cherilyn Tillman

Mr and Mrs R P Trebilcock

Peter and the late Elisabeth Turner

Michael Ulmer AO

The Hon. Rosemary Varty

Terry Wills Cooke OAM and the late Marian Wills Cooke

Mark Young

Anonymous (20)

The MSO gratefully acknowledges the support of the following Estates:

Norma Ruth Atwell

Angela Beagley

Barbara Bobbe

Michael Francois Boyt

Christine Mary Bridgart

Margaret Anne Brien

Deidre and Malcolm Carkeek

The Cuming Bequest

Margaret Davies

Blair Doig Dixon

Neilma Gantner

Angela Felicity Glover

The Hon Dr Alan Goldberg AO QC

Derek John Grantham

Delina Victoria Schembri-Hardy

Enid Florence Hookey

Gwen Hunt

Family and Friends of James Jacoby

Audrey Jenkins

Joan Jones

Pauline Marie Johnston

Christine Mary Kellam

C P Kemp

Jennifer Selina Laurent

Sylvia Rose Lavelle

Peter Forbes MacLaren

Joan Winsome Maslen

Lorraine Maxine Meldrum

Prof Andrew McCredie

Jean Moore

Joan P Robinson

Maxwell and Jill Schultz

Miss Sheila Scotter AM MBE

Marion A I H M Spence

Molly Stephens

Gwennyth St John

Halinka Tarczynska-Fiddian

Jennifer May Teague

Elisabeth Turner

Albert Henry Ullin

Jean Tweedie

Herta and Fred B Vogel

Dorothy Wood

Joyce Winsome Woodroffe

COMMISSIONING CIRCLE

Cecilie Hall and the Late Hon Michael Watt KC

Tim and Lyn Edward

Weis Family

FIRST NATIONS CIRCLE

John and Lorraine Bates

Colin Golvan AM KC and Dr Deborah Golvan

Sascha O. Becker

Maestro Jaime Martín

Elizabeth Proust AO and Brian Lawrence

Guy Ross

The Sage Foundation

The Kate and Stephen Shelmerdine Family Foundation

Michael Ullmer AO and Jenny Ullmer

Jason Yeap OAM – Mering Management Corporation

ADOPT A MUSICIAN

Shane Buggle and Rosie Callanan

Roger Young

Andrew Dudgeon AM

Rohan de Korte, Philippa West

Tim and Lyn Edward

John Arcaro

Dr John and Diana Frew

Rosie Turner

Sophie Galaise and Clarence Fraser

Stephen Newton

Dr Mary-Jane Gething AO

Monica Curro

The Gross Foundation

Matthew Tomkins

Dr Clem Gruen and Dr Rhyl Wade

Robert Cossom

Cecilie Hall and the late Hon Michael Watt KC

Saul Lewis

Nereda Hanlon and Michael Hanlon AM

Abbey Edlin

David Horowicz

Anne Marie Johnson

Dr Harry Imber

Sarah Curro, Jack Schiller

Margaret Jackson AC

Nicolas Fleury

Di Jameson OAM and Frank Mercurio

Elina Fashki, Benjamin Hanlon, Tair Khisambeev, Christopher Moore

The late Dr Elizabeth A Lewis AM

Anthony Chataway

David Li AM and Angela Li

Concermaster Chair

Rosemary and the late Douglas Meagher

Craig Hill

Gary McPherson

Rachel Shaw

Anne Neil

Eleanor Mancini

Newton Family

in memory of Rae Rothfield

Cong Gu

The Rosemary Norman Foundation

Ann Blackburn

Andrew and Judy Rogers

Michelle Wood

Glenn Sedgwick

Tiffany Cheng, Shane Hooton

Dr Martin Tymms and Patricia Nilsson

Natasha Thomas

Anonymous

Prudence Davis

Anonymous

Rachael Tobin

HONORARY APPOINTMENTS

Life Members

John Gandel AC and Pauline Gandel AC

Sir Elton John CBE

Lady Primrose Potter AC CMRI

Jeanne Pratt AC

Michael Ullmer AO and Jenny Ullmer

Anonymous

MSO Ambassador

Geoffrey Rush AC

The MSO honours the memory of Life Members

Marc Besen AC

Mrs Eva Besen AO

John Brockman OAM

The Honourable Alan Goldberg AO QC

Harold Mitchell AC

Roger Riordan AM

Ila Vanrenen

MSO ARTISTIC FAMILY

Jaime Martín

Chief Conductor

Benjamin Northey

Principal Conductor in Residence

Leonard Weiss

Cybec Assistant Conductor

Sir Andrew Davis CBE

Conductor Laureate

Hiroyuki Iwaki †

Conductor Laureate (1974–2006)

Warren Trevelyan-Jones

MSO Chorus Director

Erin Helyard

Artist in Residence

Karen Kyriakou

Artist in residence, Learning and Engagement

Christian Li

Young Artist in Association

Katy Abbott

Composer in Residence

Naomi Dodd

Cybec Young Composer in Residence

Deborah Cheetham Fraillon AO

First Nations Creative Chair

Dr Anita Collins

Learning and Engagement Creative Chair

Xian Zhang

East meets West Ambassador

Artistic Ambassadors

Tan Dun

Lu Siqing

MSO BOARD Chairman

David Li AM

Co-Deputy Chairs

Margaret Jackson AC

Di Jameson OAM

Managing Director

Sophie Galaise Board Directors

Shane Buggle

Andrew Dudgeon AM

Martin Foley

Lorraine Hook

Gary McPherson

Farrel Meltzer

Edgar Myer

Glenn Sedgwick

Mary Waldron

Company Secretary

Demetrio Zema

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

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows:

$500+ (Overture)

$1,000+ (Player)

$2,500+ (Associate)

$5,000+ (Principal)

$10,000+ (Maestro)

$20,000+ (Impresario)

$50,000+ (Virtuoso)

$100,000+ (Platinum)

MAJOR

MEDIA AND BROADCAST PARTNERS

TRUSTS AND FOUNDATIONS

Freemasons Foundation Victoria

The Sir Andrew and Lady Fairley Foundation, The Angior Family Foundation, Flora & Frank Leith Trust, Perpetual Foundation – Alan (AGL) Shaw Endowment, Sidney Myer MSO Trust Fund