Jaime conducts Mahler 3

CONCERT PROGRAM

JAIME CONDUCTS

MAHLER 3

14 & 16 MARCH

Arts Centre Melbourne, Hamer Hall

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 Jaime Martín conductor Raehann Bryce-Davis mezzo-soprano Upper voices of the MSO Chorus Warren Trevelyan-Jones chorus director Young Voices of Melbourne Young Voices of Melbourne is joined by singers from St Catherine’s School, prepared by Juliana Kay.

PROGRAM MAHLER Symphony No.3 Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham Fraillon AO, will be performed at these concerts.

CONCERT EVENTS 14 & 16 March at 6.45pm in the Stalls Foyer on Level 2 at Hamer Hall.

Want to learn more about the music being performed? Arrive early for an informative and entertaining pre-concert talk by composer and multidisciplinary artist Stéphanie Kabanyana Kanyandekwe.

These concerts may be recorded for future broadcast on MSO.LIVE.

Duration 100 minutes, no 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 music.

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.

Australian National Commission for UNESCO United Nations Educational, Scientific and Cultural Organization

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.

4

— 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.

5

JAIME CONDUCTS MAHLER 3 | 14 & 16 March

MUSICIANS PERFORMING IN THIS CONCERT FIRST VIOLINS

SECOND VIOLINS

Dale Barltrop*

Matthew Tomkins

Guest Concertmaster

Tair Khisambeev

Principal The Gross Foundation#

Acting Associate Concertmaster Di Jameson and Frank Mercurio#

Robert Macindoe

Anne-Marie Johnson

Monica Curro

Acting Assistant Concertmaster David Horowicz#

Peter Edwards

Assistant Principal Margaret Billson and the late Ted Billson#

Kirsty Bremner Sarah Curro Dr Harry Imber#

Peter Fellin Deborah Goodall Karla Hanna Lorraine Hook Kirstin Kenny Mark Mogilevski Kathryn Taylor Michael Loftus-Hills* Oksana Thompson*

Associate Principal

Assistant Principal Dr Mary-Jane Gething AO#

Mary Allison Isin Cakmakçioglu Freya Franzen Cong Gu

VIOLAS Christopher Moore

Principal Di Jameson and Frank Mercurio#

Lauren Brigden Katharine Brockman Anthony Chataway

The late Dr Elizabeth E Lewis AM#

William Clark Gabrielle Halloran Jenny Khafagi Fiona Sargeant Karen Columbine* Ceridwen Davies* Isabel Morse*

CELLOS David Berlin Principal

Rachael Tobin

Associate Principal Anonymous#

Newton Family in memory of Rae Rothfield#

Rohan de Korte

Andrew Hall Isy Wasserman Philippa West

Angela Sargeant Caleb Wong Michelle Wood

Andrew Dudgeon AM#

Patrick Wong Roger Young

Shane Buggle and Rosie Callanan#

Clare Carrick*

Andrew Dudgeon AM#

Andrew and Judy Rogers#

Jonathan Chim* Alexandra Partridge* Anna Pokorny*

DOUBLE BASSES Jonathan Coco Principal

Stephen Newton

Acting Associate Principal Sophie Galaise and Clarence Fraser#

Rohan Dasika

Acting Assistant Principal

Suzanne Lee Caitlin Bass* Siyuan Vivian Qu* Emma Sullivan*

6

Correct as of 4 March 2024.

Learn more about our musicians on the MSO website.

* Denotes Guest Musician # Position supported by

BASSOONS

TROMBONES

Prudence Davis

Jack Schiller

Mark Davidson

Wendy Clarke

Elise Millman

Richard Shirley Mike Szabo

Sarah Beggs

Tasman Compton^

PICCOLO

CONTRABASSOON

Andrew Macleod

Brock Imison

OBOES

HORNS

Michael Pisani

Nicolas Fleury

Principal Anonymous#

Associate Principal

Principal

Acting Associate Principal

Ann Blackburn

Principal Dr Harry Imber# Associate Principal

Principal

Principal Margaret Jackson AC#

The Rosemary Norman Foundation#

Andrew Young

Emmanuel Cassimatis*

Saul Lewis

COR ANGLAIS Rachel Curkpatrick* Acting Principal

CLARINETS David Thomas Principal

Philip Arkinstall

Associate Principal Principal Third The late Hon Michael Watt KC and Cecilie Hall#

Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

Josiah Kop Rachel Shaw

Gary McPherson#

Craig Hill

Aidan Gabriels* Rebecca Luton* Ian Wildsmith*

Oliver Crofts*

TRUMPETS

Associate Principal Rosemary and the late Douglas Meagher#

BASS CLARINET Mitchell Berick* Guest Principal

Owen Morris Principal

Shane Hooton

Associate Principal Glenn Sedgwick and Dr Anita Willaton#

Principal

Principal Bass Trombone

TUBA Timothy Buzbee Principal

TENOR TUBA Brett Page*

Guest Principal

TIMPANI Matthew Thomas Principal

JAIME CONDUCTS MAHLER 3 | 14 & 16 March

FLUTES

John Arcaro

Tim and Lyn Edward#

PERCUSSION Shaun Trubiano Principal

Robert Cossom

Drs Rhyl Wade and Clem Gruen#

Kevin Man* Peter Neville* Greg Sully* Hugh Tidy*

HARP Yinuo Mu Principal

Delyth Stafford*

Rosie Turner

John and Diana Frew#

Callum G’Froerer* Tim Keenihan*

* Denotes Guest Musician ^ Denotes MSO Academy # Position supported by

7

JAIME CONDUCTS MAHLER 3 | 14 & 16 March

JAIME MARTÍN CONDUCTOR

Chief Conductor of the Melbourne Symphony Orchestra since 2022, Jaime Martín is also Chief Conductor of the National Symphony Orchestra (Ireland) and Music Director of the Los Angeles Chamber Orchestra. He is the Principal Guest Conductor of the Orquesta y Coro Nacionales de España (Spanish National Orchestra) for the 22/23 season and was Artistic Director and Principal Conductor of Gävle Symphony Orchestra from 2013 to 2022.

Having spent many years as a highly regarded flautist, Jaime turned to conducting full-time in 2013, and has become very quickly sought after at the highest level. Recent and future engagements include appearances with the London Symphony Orchestra, Dresden Philharmonic, Netherlands Philharmonic, Royal Stockholm Philharmonic, Colorado Symphony, Dallas Symphony, Antwerp Symphony, Orquesta Sinfónica y Coro de RTVE (ORTVE) and Galicia Symphony orchestras, as well as a nine-city European tour with the London Philharmonic Orchestra.

Martín is the Artistic Advisor and previous Artistic Director of the Santander Festival.

He was also a founding member of the Orquestra de Cadaqués, where he was Chief Conductor from 2012 to 2019.

8

JAIME CONDUCTS MAHLER 3 | 14 & 16 March

RAEHANN BRYCE-DAVIS MEZZO-SOPRANO

Raehann Bryce-Davis is hailed by The New York Times as a “striking mezzo soprano” and by the San Francisco Chronicle for her “electrifying sense of fearlessness.”

In the 2023–2024 season, she debuts at Santa Fe Opera as Ježibaba in Rusalka in a new production directed by Sir David Pountney and conducted by Lidiya Yankovskaya, and at Opera Philadelphia as Lizzie in the world premiere of 10 Days in a Madhouse. Raehann returns to the Metropolitan Opera as Ella in X: The Life and Times of Malcom X and Dutch National Opera to sing La Zia Principessa in Il Trittico a new Barrie Kosky production conducted by Lorenzo Viotti.

As a producer/performer, her second digital short, Brown Sounds, was co-produced with Los Angeles Opera and Aural Compass Projects. It won Best Music Video at film festivals including the New York International Film Awards, New York Cinematography Awards, Hollywood Boulevard Film Awards, and the Silk Road Film Awards – Cannes.

Ms. Bryce-Davis is a recipient of the George London; the 1st Place and Audience Prize-winner of the Concorso Lirico Internazionale di Portofino, chaired by Dominique Meyer; winner of the 2016 Richard F. Gold Career Grant at the Merola Opera Program; winner of the 2015 Hilde Zadek Competition at the Musikverein in Vienna; and the 2015 Sedat Gürel – Güzin Gürel International Voice Competition in Istanbul. She holds a Master of Music and Professional Studies certificate from the Manhattan School of Music and a Bachelor of Music from the University of Texas at Arlington.

9

JAIME CONDUCTS MAHLER 3 | 14 & 16 March

UPPER VOICES OF THE MSO CHORUS For more than 50 years the Melbourne Symphony Orchestra Chorus has been the unstinting voice of the Orchestra’s choral repertoire. The MSO Chorus sings with the finest conductors including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, Bernard Labadie, Vladimir Ashkenazy, Manfred Honeck, Xian Zhang and Nodoko Okisawa, and is committed to developing and performing new Australian and international choral repertoire.

Commissions include Brett Dean’s Katz und Spatz, Ross Edwards’ Mountain Chant, and Paul Stanhope’s Exile Lamentations. Recordings by the MSO Chorus have received critical acclaim. It has performed across Brazil and at the Cultura Inglese Festival in Sao Paolo, with The Australian Ballet, Sydney Symphony Orchestra, at the AFL Grand Final and at the Anzac Day commemorative ceremonies.

The MSO Chorus is always welcoming new members. If you would like to audition, please visit mso.com.au/chorus for more information.

WARREN TREVELYAN-JONES CHORUS DIRECTOR Melbourne Symphony Orchestra Chorus Director Warren Trevelyan-Jones is the Head of Music at St James’, King Street in Sydney and is regarded as one of the leading choral conductors and choir trainers in Australia. Warren has had an extensive singing career as a soloist and ensemble singer in Europe, including nine years in the Choir of Westminster Abbey, and regular work with the Gabrieli Consort, Collegium Vocale (Ghent), the Taverner Consort, The Kings Consort, Dunedin Consort, The Sixteen and the Tallis Scholars.

Warren is also Director of the Parsons Affayre, Founder and Co-Director of The Consort of Melbourne and, in 2001 with Dr Michael Noone, founded the Gramophone award-winning group Ensemble Plus Ultra. Warren is also a qualified music therapist.

10

SOPRANO

ALTO

Shirin Albert

Judy Anderson

Philippa Allen

Cecilia Björkegren

Sheila Baker

Kate Bramley

Anne-Marie Brownhill

Mari Eleanor-Rapp

Aliz Cole

Nicola Eveleigh

Laura Fahey

Debbie Griffiths

Rita Fitzgerald

Ros Harbison

Catherine Folley

Helen Hill

Susan Fone

Helen MacLean

Penny Huggett

Charlotte Midson

Gwen Kennelly

Alison Ralph

Amanda Powell

Helen Rommelaar

Tanja Redl

Melvin Tan

Danielle Rosenfeld-Lovell

Libby Timcke

Jodi Samartgis

Natasha Pracejus

Jemima Sim

Yvonne Ho

Chiara Stebbing

Juliarna Clark

JAIME CONDUCTS MAHLER 3 | 14 & 16 March

MSO CHORUS PERFORMING IN THIS CONCERT

Rachel Sztanski Tara Zamin

11

JAIME CONDUCTS MAHLER 3 | 14 & 16 March

YOUNG VOICES OF MELBOURNE

Young Voices of Melbourne was founded by Mark O’Leary OAM in 1990, and is now regarded as one of Australia’s finest choral programs for young singers. Its choirs are admired for their passionate performances, engaging repertoire and outstanding Kodály based music education program (Sight Singing School) which is now used in over 50 countries.

Young Voices of Melbourne performs regularly in and around Melbourne, and has released 13 recordings. The choir has performed for major events such as the opening ceremony of the Commonwealth Games in Melbourne in 2006, as well as at popular events such as the National Folk Festival in Canberra, and Festival of Voices in Hobart.

It regularly hosts visiting choirs from overseas and interstate, and its voice was widely heard singing the theme song of Chris Lilley’s popular television shows We Can be Heroes, and Summer Heights High.

The choir has a proud history of touring, having undertaken 40 tours to all states and territories of Australia as well as to Europe, the United Kingdom, South Africa, Canada, the USA, Ireland, Singapore, Thailand, Malaysia, Samoa, New Zealand and Japan.

12

Adele Finn

Gabrielle Scully

Oliver Yeo

Alex Brown

Hailey Wu

Pascal Franco Sageman

Arielle Dekterev

Hilary Dennis

Pearl Lee

Ava Loke

Isabella Moore

Qian-Yi Dawson

Beatrice Langley

Kian Carter-Fourcroy

Ryan Carter-Fourcroy

Bella Xie

Leo McKaskill

Sabrina Mott

Benjamin Fullarton

Lila Chatfield

Sophie Mallet

Carson Mott

Lulu Chiappi

Teresa Anthony

Celia Langley

Madeleine Caruso

Xanthe Bowden

Chloe Close

Marcus Harders

Zoe Kalanis

Claire Leibel

Marianne Panas

Dorothea Moore

Nyah Trewin

JAIME CONDUCTS MAHLER 3 | 14 & 16 March

YOUNG VOICES OF MELBOURNE PERFORMING IN THIS CONCERT

ST CATHERINE’S SCHOOL SINGERS PERFORMING IN THIS CONCERT Kathrina Ang

Jennifer Gao

Alison Prendergast

Phoebe Butterfield

Olivia Grasso

Adele Wu

Alexis Chew

Annabelle Hou

Helen Yu

Pernilla Coleman

Gladys Lam

Elsa Zhou

Asha d’Souza

Isabel Lu

Millie Esposito

Sahara Pender

13

RECO

EN EVEN

N

CTIO

N

THE

EVEN

TM

ERFO CAM

RATE

ROD

NIC MMU

EM ANAG

NCE RMA TO

ERA

ROD COM

UCTI

ON

MUN

I

O PR

O

ECO

A

EN SCRE

G

VIDE

ROD EO P

EM

PROD

O PR

PROJ

MU

UC

SCRE

TION

C

TRE

ECTI

ON

CORP

ON C ATI

N

PERF

O

LIVE

C

POS

TO S

RA AME

OD T PR

UCTI

CREE

PERF

N

M

E CO

ORM

ICA MUN

PR

TRE

ANAG

PRO

POST

TO S

RA AME

C

LIVE

TION

EM

ANCE RA

TO S

DIN ECOR

CREE

IO DUCT

CREE

N

UCTI

OJEC

ON

CORP

RD RECO

CRE TO S

ORAT

ING

EN

EVEN

CTIO

N TM EVEN

ANAG

PERF

N

ATIO

M E CO

OS

RA T

UCTI

ROD

EMEN

ORM

EMEN

EVEN

O

OM TE C

VIDE

T

ECO CE R

AN

EN SCRE

TO

ERA

ATE

VIDE

G RDIN

IC AT

UCT PROD

O

PR ATRE

NAG

MER

PROD

POST

OR CORP

MUN

PERF

IO

ORM

POST

TION CO

T

CAM

LIVE

ATE RPOR

VID

G

AG

IO DUCT

PRO COM

IC

MUN

O PR

O

ING

RD RECO

CRE TO S

ON

CORP

T EMEN

ANCE

ERA

ECTI

PROJ

RE HEAT

MAN

T EVEN

ION

OJEC

RDIN

VID

EVEN

N T MA

PERF

N ATIO

LIVE

ION DUCT

TR

THEA

EN

N

ORAT

POST

ORM

CAM

PROD

SR E TC ORR DEI N GA M ITNR E P R O J E C R P O R A T E C O M M E V E CO C O THEA G I N MA VIDE T R F OLR EEN MEN

T MA

CA LIVE

ON

TION

T

PE

TION

AM IVE C

THE

N CREE

ON

UCTI

OJEC

RA

ING CORD

ICA MUN

PR ATRE

NAG T MA

RE

N

O CORP

ENT

NCE

AME

OP VIDE

THE

TR

PROD

POST

OJE E PR

AGEM

MA RFOR

C LIVE

TION

ENT

THEA

AN NT M

PE

TION

NIC MMU

VID

G

N

EVE

ON UCTI

ROD EO P

VID

TM EVEN

ON

C

O

R

NCE RMA

RA AME

PROD

THEA

UC

ORM

PERF

ION IC AT

O ANAGEMEN

LIVE

N

ROD

ON

OO JOE C TRI O N EOVR PEO RNA T E C O D U C T I O N L R O D U C T I O N EDP R T C P TE O P R O U N POST T

OP VIDE

PERF

ORAT

UN

TM EVEN

POST

UCTI

TR THEA

N

EAL A L G ERM E N T I T YG

THEA

EN

OMM

EC ORAT

G

TION

TIO NICA

ODU

N

RDIN

ECO CE R

PROD

POST

CORP

ENT

TO ERA

L

ON

CTIO

OJE E PR

TR

AN

COM

UCTI

T UT M A N AR M A N C E R E C O R D IN

EVEN

IO DUCT

COR

AM

POST

TE PORA

MMU

NAG

ORM

C LIVE

TION

RDIN

T MA

PERF

ON

OJEC

RECO

EVEN

TION

VID

THEA

N

CREE

E CO

ORAT

G RDIN

ON

UCTI

ENT

CORP

TO S

UCTI

PR ATRE

CTIO

T

CE R

ERA

ROD EO P

VID

N

P OST

E CO

ORAT

DING

LIVE

AM IVE C

P POST

CORP

EMEN

AN FORM

PER L

TION

P

AG MAN

T

ROJE

RE P

S

ATIO

CREE

T THEA

VIR

SCRE

G

RDIN

CO

SCR

A TO

UC

TION

NIC MMU

O PR R

T EMEN

TIO OJEC

T MA

EVEN

ATIO

CTI ODU

VIDE

P

N

ON

ERFO

CA LIVE

POST

N

NAG

C

E

UCT PROD

UN OMM

RECO

NCE RMA

SCRE

A TO

MER

TION

EN

T EVEN

ION

IC AT

RDIN

G

THEA

MAN

OR PERF

ION

AGEM

EN

CE R

EC

MAN

CAM

LIVE

P

TRE

TO S

ERA

UCTI

C

ON

P E EC ON TRE PROD ORAT We CE R UCTI THEA CORP POST MAN ROD AT CO N RFOR EO P DUC T E E N ROJ N E UNIC D O T N E I P P O O R E A I R I V P E T T C present C OR OMM EM TR TO S OJEC G ODU POST NAG TE C ON R I A R CORP N A A THEA P I T P R R M A D E E C O O R T IC U TI TR N A M business VIDE CORP ROD ENT RECO EVEN MUN CTIO VE C THEA L Iyour COM EO P AGEM T G ROJE ANCE D E N I N N P T M N I O V E A I E R E D N T M MAN E O O R O C E R TR OR G at ECTI NAG PERF O D U its best…

UCTI RECO O SC THEA CORP RDIN ROD PROJ T PR T MA RA T NCE

PROD

MMU

ROD OJE

MEN

UCTI

NICA

UCTI

RECO

CREE

N

O ECTI

ING

E

AN NT M

POST

N

CORP

THE

ORAT

E CO

VIDE

THE

PROD

OD O PR

NAG

EMEN

TION

RE ANCE

CORD

VENT

ION

A RPOR

CO

OM TE C

N

EMEN

CTIO

POS

N

CORP

T

EC ORAT

IC AT

PERF

ION

OMM

VIDE

T

MUN

HEAT

O

UNIC

O PR

O

ATIO

ROJ RE P

NCE RMA

N

ECTI

RECO

COR

TE PORA

EN

ENT

E

U PROD

POST

ON

RDIN

CAM

LIVE

ION DUCT

COM

MUN

EVEN

CA LIVE P POST

TM

MER

ROD

A

UCTI

EVEN

ON ION IC AT

T MA

PERF

OR

CE MAN

ER CAM

RECO

A TO

SCRE

CAM

PRO

E

RA T

O SC

CA

ION DUCT

ICA MUN

THEA

EN T EVEN

IC AT

PERF

ION

ORM

CAM

LIVE

E

ANCE

RA T

RECO

REE O SC

MAN

TRE

AGEM

TRE

THEA

N EVEN

NAG T MA PERF

TION

ENT RD RECO

CORP

REEN

ORAT

EC

VIDE

THEA

UN OMM

O PR TRE

EMEN

ORM

I

R RECO SCRE

ON

CTIO

E

EV

PE

ON C ATI

ODU

PRO

A TO

UCTI

C

T

ANCE

MER

PROD

POST

POST

R

EVEN

N

CA LIVE

LIV

N

PO

ION JECT

CORP

ORA

R G M E R A T ON S CE V E N T M A NM A N C E R E C O R D I N T H E O R N UCTI EEN ERFO

E N RECORDING EC O R P O R A T E C O MO P R O D U C T I O CE T N M A MN A N AG EGM E NET ORM VIDE ON PERF ECTI CREE NA DING PROJ TO S EM ANAG

CTIO

G

LIVE

ING CORD

POST

CORP

ORAT

ING

PROD

E CO

VID

NIC MMU

ROD EO P

EP EATR

ATIO

UCTI

ROJE

P

N

CA LIVE

ON

CTIO

N

POST

OR CORP

EN AGEM

MER

PROD

ATE

A TO

U

COM

T

SCR

N CTIO

M

ATI UNIC

CTI ODU

EVEN ON

ON

T MA

PERF

LIVE

C

PRO

TH CVP FilmR M& O PR L I V E Events, POST T A N C ETelevision N VIDE N O EMEN CTIO ION U CREE NAG T ODU PERF G S A C R N E I P M O OMM T OJ AT is Australia’s leading complete solutions PR CORD POST TE C E Rvision ION Ecompany E PR EVEN CAM IC AT IDEO CE R PORA EATR

ORA CORP

T

AG MAN

OJE E PR

ON

CRE TO S

ATIO ON

E

T

N

R HEAT

OP

TION

ON UCTI

UCTI

OJEC

RE

ERA

CREE

CTI ODU

ENT

NCE

CAM

NICA

ECT PROJ

AGEM

NIC MMU

PR ATRE

MA VENT

O PR

ATRE

RMA

LIVE

ION DUCT

E

UC

TION

MU COM

VIDE

O PERF

ON

PROD

OS RA T

VIDE

ING

EV

O

RAT ORPO

EVE

ION

C ATI

POST

C

AME

RD RECO

ANCE

ORM

ENT

AGEM

TION

E

TO S

LIVE

G RDIN

MAN

T EVEN PERF

ON

C

REEN

ON

TION

N CTIO

T

O SC

AME

LIV

CE

RA T

C LIVE

N

V

A

ME E CA

ATIO

NIC MMU

EE

ORM

ON ECTI

NT

VIDE

ING

TE C

OMM

V

TR THEA

UN

E PR

CTI ODU

OJEC

ON

TION

O CORP

RATE

COM

MUN

U PROD

CTIO

N

LIVE

POST

PROD

UCTI

ON

N ATIO

PERF

ORM

AN

OS RA T

CREE

N

TH

AG MAN

EMEN

T

COR

DING

VIDE

O PR

O

PR E O we’reI Omaking R T TRE N NIC Whether a television commercial CAM VIDE RECO E V E Nor a piece THEA MMU ECT LIVE G ANCE E CO N PROJ T M N I Nof O A I E R E D N T M E R O R R O E E T O corporate communication, CR U C your performance, PERF U C T I recording RECO CA THEA ANAG ROD CORP EVE TO S PROD ST P LIVE NT M ERA N ANCE O E T N O O N M M P V I E E N A O R T E E E I D using multiple projectors to create a 60metre wide image, C O VI CR ICA UCT ANCE LIVE AGEM PERF N TO S MUN TION PROD ORM MAN CTIO ING ERA N COM N OJEC or PERF ODU POST O R D to screen CAM VENT A T Eat yourD Uconcert Rmanaging CTIO ATIO Eproviding E P R services R E Clive P E C O R I V R O T I T P N S L O E N A C E RA T OR N PR PO T Hfor MMU ATIO MAN AME Rentire CTIO D E Oeach component the event you — Cat CVPV I— ON E CO U N I Cthe ION Mof IVE C ODU EN ERFO ENT T UCTI L R E M P C M D P ORAT R O E E O C I C J G T O AG CT O TE POS T O Shandled O PR R D I N are specialists ION E PR event who inR Atheir field.

ION ODU M A Nby staff R A is VIDE RECO DUCT IC AT EATR T PR ENT ORPO AME ON O S V N E H C I C E T R C O U T P P N E C M G I E O M LIV RMA N N MUN ENT N PROJ VIDE E CO R E Eit’s CTIO ERFO N We in Pexcellence reflected inI Neverything TRE Ubelieve C T I O do. A T E C O M S C— AGEM ORAT Ewe CTIO THEA MAN PROD A TO D G OR PROJ CORP N R T R T P C ODU O E E S I N O R R U R T M E C O P O T A P C OD EV CA RE O ENT THEA UNIC O PR NCE VIDE LIVE ENT AGEM OMM ION TION RMA VIDE M C T N C O E C E E G N F E E J G U N T MAN R O O R A I N TI PE SC CTI PRO RD ORA PROD DING T MA OJEC ODU TRE A TO RECO CORP POST ECOR E PR EVEN TION O PR MER THEA NCE CE R EATR NT VIDE NICA E CA N N RMA H E V N U O A T OR N I I M O C L M E M T I E M CT | INF O@CV | R 9-11M ARICKETT S RD,R DMT NAG SCRE O J E C3149 | A TTEL I N G WAVERLEYP RVIC T E N .A U E C O 03 9558T I8000 O D U P.COM .A U P E R F OW W W.CV CP.COM ON T A TO S RE OR T PR EMEN ECO TRE UC P S G A R O D R O A N E EVEN T MER G O E P O N O H I A C T ANC O PR RDIN T MA MER N IC AT EN VIDE FORM TION E CA ENT RECO CTIO EVEN MUN PERF

ORM

AT MER

O SC

REEN

AN NT M

AGEM

ENT

O PR

ODU

C

Are you our next Guardian of the MSO?

TION

NT

E EATR

FO

PROJ

NCE RMA

ER CAM

A TO

ECTI

ON

RECO SCRE

RDIN

G

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.

EN

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.

JAIME CONDUCTS MAHLER 3 | 14 & 16 March

PROGRAM NOTES GUSTAV MAHLER

(1860–1911)

Symphony No.3 in D minor I. Kräftig. Entschieden [Vigorous, decisive] II. Tempo di menuetto. Sehr mässig [Very moderately] III. Comodo. Scherzando. Ohne Hast [Without haste] IV. Sehr langsam. Misterioso [Very slowly, mysteriously] – V. Lustig im tempo und keck im Ausdruck [Lively in tempo and jaunty in expression] – VI. Langsam. Ruhevoll. Empfunden [Slowly, with serenity, expressively] Raehann Bryce-Davis mezzo-soprano Upper voices of the MSO Chorus Young Voices of Melbourne Mahler’s Second, Third and Fourth Symphonies form a trilogy depicting the composer’s search for spiritual meaning in a tragi-comic universe. Each of them employs vocal texts from Des Knaben Wunderhorn (The Youth’s Magic Horn) and lunges back and forth between the most profound philosophical insights and absurd banality, as they attempt to achieve Mahler’s stated symphonic ambition of ‘embracing the world’.

16

Dating from the 1890s, they were all composed at a time of great spiritual uncertainty, both for Mahler himself and for European society in general.

Reflecting the broader cultural trends, that final decade of the 19th century was a time of innovation and anxiety in the arts. The Expressionist movement in the visual arts (characterised by Edvard Munch’s lithograph The Scream which was directly contemporary with

Mahler’s Third Symphony) and in drama (Wedekind’s Lulu plays and Strindberg’s most extreme symbolist works date from around this time) was at its height, and in the heady post-Romantic musical era the young Arnold Schoenberg was just beginning to push the boundaries of tonal harmony.

All this was in response to a world in which increasing mechanisation was seen as dehumanising – the whited-out faces in the visual arts and the theatre sought to dramatise this condition – and where the increasing decay of corrupt 19th century political institutions was to result in the first Russian Revolution of 1905.

Dreams and the role of the unconscious became means of establishing a higher truth within the arts. And as reality and the world of illusion collided (never more dramatically than in Frank Wedekind’s Spring Awakening where a character appears carrying his head under his arm), nightmare visions became mixedup with nostalgic reminiscences of innocence. Death became the only philosophical certainty.

Owing to his personal circumstances, Mahler felt particularly keenly these psychological and spiritual crises of alienation and anxiety deriving from the prevailing Zeitgeist. The second of 12 children, as a child he witnessed the death in infancy of five of his brothers and sisters. He grew up treating every moment as if it were his last, terrorised those who wasted his time, and was relentless in his quest to discover a greater order within the universe.

Although he was born and raised Jewish, he converted to Catholicism around the time the Third Symphony was completed. While this conversion was ostensibly to secure his conducting post at the Vienna State Opera, there is no doubt that in his later years Mahler became genuinely attracted to the fundamental principles of Christian

Like so many of his scores, Mahler’s Second, Third and Fourth Symphonies contain all the symptoms of his anxieties – the death-obsession and the paradoxical but understandable celebrations of life and the innocence of childhood, the virtual worship of nature, and the desire to depict all human experience within the confines of the symphonic form. Within the Third Symphony, these ambitions are encapsulated in a massive journey which effectively retraces human spiritual evolution, beginning deep in the primeval dust, working its way up through vegetation and the animal world, on to humanity and then finally up to the angels and heaven, existing within the broader category of absolute love.

It’s no small ambition, which is why the Third Symphony takes more than an hour and a half to perform. (It has its own entry in the Guinness Book of Records as the longest regularly-programmed symphony ever composed.) Indeed just the first of its six movements by itself is longer than most ‘normal’ symphonies by composers of the Classical era. In fact the symphony was going to be even longer, but Mahler removed the seventh and final movement, saving it for the finale of his Fourth Symphony instead.

Writing the symphony Mahler never felt comfortable with ‘programs’ being attributed to his nine symphonies, but in many ways he was his own worst enemy in this regard.

To maintain intellectual control of the massive architecture of the symphonies, he himself often created ‘programs’ which he described in detail to friends.

Then, when the works came to be

published, he removed the programs altogether and denied that they had any role to play in audiences’ appreciation of the music.

Perhaps because of the size of the Third Symphony, it received more in-depth programmatic analysis by Mahler than any of his other works. It went through countless changes of title and subtitle: at various times he referred to it as Pan, The Happy Life, The Happy Science, My Happy Science, A Midsummer Night’s Dream, A Midsummer Noonday’s Dream, A Summer Morning Dream, and further variations on these themes. In the end, he chose to call it Symphony No.3 in D minor.

But even that uncomplicated title failed to satisfy him completely. He wrote to Natalie Bauer-Lechner, ‘Calling it a symphony is actually incorrect because in no way does it adhere to the usual form. But, in my opinion, creating a symphony means to construct a world with all manner of techniques available.

The constantly new and changing content determines its own form.’

So perhaps the modern shorthand of ‘Mahler 3’ is the best solution of all.

JAIME CONDUCTS MAHLER 3 | 14 & 16 March

mysticism. Throughout his life he had been plagued by spiritual doubt and a fear of death – a fear that was amply justified by his declining health during his forties and eventually his premature death at the age of 50.

Aside from the overall title, each of the movements also went through a variety of name and program changes, with Mahler eventually settling on a structure which addressed the awakening of Pan, the flowers, the animals, mankind, the angels and love – in that order. Mahler wrote to Friedrich Löhr at the end of August 1895 telling him: ‘My new symphony…is all in large symphonic form. The emphasis on my personal emotional life (in the form of “what things tell me”) is appropriate to the work’s singular intellectual content.’ He then went on to characterise the movements: 1. Pan awakes – Summer marches in 2. What the flowers in the meadow tell me 3. What the beasts in the wood tell me

17

JAIME CONDUCTS MAHLER 3 | 14 & 16 March

4. What Man tells me 5. What the angels tell me 6. What love tells me None of these descriptive titles would end up in the published score. Evidently, Mahler needed them intellectually as he structured the magnificent edifice of the symphony, but they are unnecessary for an audience for whom the entire sound world of the symphony is narrative enough. As Mahler himself said, ‘Just as it seems trivial to me to invent music to a preconceived program, I find it unsatisfactory and sterile to add one to an existing musical composition; notwithstanding the fact that the creative urge for a musical organism certainly springs from an experience of its author.’

In other words, he wasn’t Richard Strauss. Mahler knew that whatever its origins in personal experience, and whatever its ability to create spiritual exaltation, music ultimately remained an abstract construct.

Mahler may have begun working on the Third Symphony as early as 1892.

In typical fashion he worked backwards on it, completing the first movement last (he did the same with his Fourth Symphony). The bulk of the final five movements, together with some sketches for the first, were written during the summer of 1895 in Steinbach – his Alpine summer retreat near Salzburg, where he found peace after his gruelling winter seasons as musical director of the Hamburg Opera.

18

Those same opera commitments in Hamburg kept him from completing the first movement until the following summer of 1896, when once more he returned to Steinbach. But unfortunately he’d left the sketches for the first movement behind. So he sent an urgent letter to a friend to break into his Hamburg apartment and retrieve the sketches, which were duly delivered to him. ‘To you those few sheets of music

must have seemed quite unimportant,’ he wrote back to his friend in gratitude, ‘but in fact they contained (according to my way of sketching) all the seeds for the now fully grown tree.’ Once in possession of those few pages of sketches, Mahler completed the massive 40-minute first movement in just a few weeks.

The symphony’s final structure is bizarre. It is effectively divided into two parts. The gargantuan first movement alone forms the first part and the final five movements the second. That first movement itself, however, is a combination of two individual movements (the difference in tone is still evident), while the final three movements run on without a break, before ending, unusually, with a slow movement. There had been precedents of course – Tchaikovsky’s Pathétique Symphony also ends with a slow movement, and many previous symphonies had run their movements into each other. But no one had ever previously conceived a symphony on such a grand scale and with such an apparent disregard for traditional symphonic form.

Not only the form, but the orchestra too was inflated. The score calls for four flutes, four oboes (plus cor anglais), five clarinets with bass clarinet, four bassoons (plus contrabassoon), eight horns, four trumpets, four trombones with tuba, two harps, a myriad of percussion, large forces of strings to balance them all, not to mention a solo contralto, choirs of women and boys – and a conductor. Small wonder then that it took some years before the work was first performed in its entirety.

While Mahler’s conducting mentor Artur Nikisch and also Felix Weingartner conducted individual movements of the work soon after its completion (the audience was bewildered and unappreciative), the work was first performed in its entirety at a music

The Symphony – musical analysis The Third is a ‘nature’ symphony. Shortly after its completion, Mahler’s student and great champion Bruno Walter visited him at Steinbach. As Walter gazed at the magnificent Alpine scenery Mahler told him, ‘No need to look. I have composed all this already.’

The opening movement is Mahler’s own ‘rite of spring’, composed nearly two decades before Stravinsky’s masterpiece. As he was composing it, Mahler wrote to Natalie Bauer-Lechner: ‘This almost ceases to be music, containing mostly sounds from nature.

And it is eerie how from lifeless matter… life gradually breaks forth, developing step by step into ever-higher forms of life.’ In another context he wrote, ‘Here it is the world, nature as a whole, that is awakened out of unfathomable silence and sings and rings.’

Nature’s singing and ringing begins with a call to attention by the eight horns, and indeed the opening minutes of the symphony as a whole are decidedly ‘brass-heavy’, with trombones and tuba depicting the darkness before the arrival of life on earth. Of course no matter how primeval the subject matter, it wouldn’t be a large-scale Mahler movement if it didn’t have a marching band thrown in – and here one duly appears, as if emerging unconcerned from the prehistoric swamp.

This is summer coming in, and its arrival corresponds with what would

be regarded as ‘the opening Allegro proper’ in a traditional symphony.

Richard Strauss was unkind enough to suggest that the marching band, which he found ‘tasteless’, reminded him of the procession of socialist workers through Vienna on May Day. In any case, the ‘rite of spring’ primitive quality never leaves the movement entirely and the marching band is soon swallowed up once more by the primordial swamp, as Mahler’s evolving world continues its process of creation and decay.

It’s such a massive movement, both in size and spiritual concerns, that even Mahler himself was frightened by it. He said that he was grateful he composed it last, because if he hadn’t, he would never have dared to finish the symphony as a whole! In the score, he directed that there should be a long pause following its conclusion, clearly delineating the end of the first part of the symphony.

JAIME CONDUCTS MAHLER 3 | 14 & 16 March

festival in Crefeld only in 1902, with Mahler himself conducting. And it took much longer than that for it to reach the ‘outside’ world. It was only premiered in England in 1961 and in Australia in 1967 – a phenomenal demonstration of neglect, particularly given that more than 30 commercial recordings of it are now available. But then Mahler always did say that it would be some time before his music was understood.

The second part of the symphony begins a world away from the first – purportedly with the flowers in the meadow, but musically very much within the confines of the Viennese salons, not to mention in a similar sound-world to parts of the Fourth Symphony. For the listener, this second movement (which was actually the first part of the symphony which Mahler composed) comes as quite a shock. But that in itself says a lot about the invigorating effect of Mahler’s music, for this otherwise innocuous little minuet remains somehow disturbing and unsettling in the context in which it appears.

Undoubtedly it was inspired in part by the beautiful summer displays of flowers in the meadows outside Mahler’s workroom in Steinbach (to which he referred in correspondence).

But Mahler never just saw the beauty of nature divorced from its terror. As he himself wrote: ‘Suddenly a stormy wind blows across the meadow and shakes the leaves and flowers, which whimper

19

JAIME CONDUCTS MAHLER 3 | 14 & 16 March

and moan on their stems as if begging for salvation.’ Perhaps this witnessing of beautiful flowers undergoing torture explains not just Mahler’s approach to this second movement of the symphony, but our acute appreciation of his music after the most violent century in history.

The third movement (in the world of animals now, according to Mahler’s correspondence) introduces an instrumental version of Mahler’s setting of ‘Ablösung im Sommer’ (Relief in Summer) from Des Knaben Wunderhorn. Opening with a jaunty little wind melody over pizzicato accompaniment in the strings, it forms a kind of scherzo and trio. Again, it’s superficially happy and playful – as if the animals are scurrying about in the summer warmth accompanied by chirping birdsong. But the darkness (and the minor tonality) is never far away. The trio section is famous for its beautiful solo for posthorn, an unusual brass instrument which lends its name to Mozart’s Serenade K.320. It appears in the distance and then gradually draws closer, ending with a bright fanfare. The dancing and play resume, but towards its end the movement relapses violently into the eerie, unformed sound-world of the symphony’s opening. Nothing ever remains unchallenged in Mahler’s world.

The final three movements then proceed without a break. The first of these (i.e. the fourth) introduces the human element into the symphony – and the human voice itself. There is a rapt stillness marking the contralto’s entry, as if humanity is rising from the ashes. The text is from Nietzsche’s Also sprach Zarathustra, and the voice longs for eternity.

20

O Mensch, gib Acht!

Was spricht die tiefe Mitternacht?

Ich schlief! Aus tiefem Traum bin ich erwacht!

Die Welt ist tief!

Und tiefer, als der Tag gedacht!

Tief ist ihr Weh! Lust tiefer noch als Herzeleid!

Weh spricht: Vergeh!

Doch alle Lust will Ewigkeit, Will tiefe, tiefe Ewigkeit.

O Man, take heed!

What does the deep midnight say?

I slept. From deep dreaming I was wakened!

The world is deep, And deeper than the day imagined!

Deep is its grief!

Longing, deeper still than heartache!

Grief says: Go hence!

But all longing craves eternity, Craves deep, deep eternity.

We know from his correspondence that Mahler had read Nietzsche quite extensively – indeed one of the symphony’s original titles, The Happy Science, derived directly from him. But later in his life Mahler declared himself an opponent of Nietzsche’s godless philosophy. In any case, in this everso-slow slow movement he gives us one of his most sublime creations – a world where time stands still. Given the proximity of their sound worlds, and their mutually deep humanity, one can only wonder if Górecki modelled his own Third Symphony on this movement from Mahler’s Third.

After a return to the deep bass of the opening, the fifth movement then enters with astonishing contrast, marked by the voices of boys, the sound of bells and woodwind, and the setting of another poem from the Wunderhorn collection.

Es sungen drei Engel einen süssen Gesang; Mit Freuden es selig in dem Himmel klang, Sie jauchzten fröhlich auch dabei, Dass Petrus sei von Sünden frei, Und als der Herr Jesus zu Tische sass,

Hast du denn übertreten die zehen Gebot, So fall auf die Knie und bete zu Gott!

Liebe nur Gott in alle Zeit!

So wirst du erlangen die himmlische Freud’.

Die himmlische Freud’ ist eine selige Stadt, Die himmlische Freud’, die kein Ende mehr hat!

Die himmlische Freude war Petro bereit’t, Durch Jesum und Allen zur Seligkeit.

Three angels were singing a sweet song, With blessing and joy it rang in Heaven, They shouted for joy, too, That Peter was set free from sin.

And as the Lord Jesus sat at table, With his twelve disciples at the evening meal, Lord Jesus said: ‘Why stand you here?

When I look at you, you weep before me.’

‘And should I not weep, thou God of goodness, I have broken the ten commandments.

I go my way and weep bitterly, Ah, come and have mercy on me!’

‘If you have broken the ten commandments Then fall on your knee and pray to God, Love only God for all time!

So you will attain heavenly joy.’

Heavenly joy is a blessed city, Heavenly joy, that knows no end!

Heavenly joy was granted to Peter, Through Jesus, and for the delight of all.

It’s a radiant sound, soon joined by choral and solo women’s voices, harps, horns and trumpets. Those who know the Fourth Symphony will instantly recognise the descending melody from the soprano’s solo at the end of that symphony. This music was how Mahler imagined Heaven.

And then at last, as we head toward the hour-and-a-half mark, the finale emerges, and we are in the world of love. In speaking of his original idea for this movement, Mahler wrote: ‘It is the zenith, the highest level from which the world can be viewed. I could also name the movement something like “What God tells me”, in the sense that God can only be comprehended as “Love”.’

JAIME CONDUCTS MAHLER 3 | 14 & 16 March

Mit seinen zwölf Jüngern das Abendmahl ass: Da sprech der Herr Jesus: Was stehst du denn hier?

Wenn ich dich anseh’, so weinest du mir!

Und sollt’ ich nicht weinen, du gütiger Gott, Ich hab’ übertreten die zehn Gebot.

Ich gehe une weine ja bitterlich.

Ach komm und erbarme dich über mich!

It’s a magnificent slow movement with the strings (whose role in the previous movement had been restricted) carrying the broad, achingly poignant melody, and solo wind instruments later taking it over. He based the movement on the words of Christian reconciliation and forgiveness – ‘Father, look on these my wounds – let not one creature be lost!’

The movement proceeds as a series of variations which occasionally touch on the drama of the symphony’s opening, but which ultimately lead to a climax in which fear is confronted with a steadfast faith. And here at last, at the conclusion of one of the truly monumental works of Western civilisation, that faith triumphs, and an absolute love wins out over all that would dare to destroy it.

Martin Buzacott © 1998

21

Supporters

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

22

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

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)

Supporters

Kim Williams AM The Yulgilbar Foundation Anonymous (2)

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

23

Supporters

24

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

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)

Supporters

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

OVERTURE PATRONS $500+ Jane Allan and Mark Redmond Mario M Anders Jenny Anderson Dr Judith Armstrong and Robyn Dalziel

25

Supporters

26

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

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

Supporters

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 Christina Turner Peter and the late Elisabeth Turner

27

Supporters

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

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

ADOPT A MUSICIAN

Natasha Thomas

Shane Buggle and Rosie Callanan

Prudence Davis

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

28

Abbey Edlin

Nereda Hanlon and Michael Hanlon AM

Anonymous 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

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

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

Supporters

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

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

Xian Zhang

East meets West Ambassador

Artistic Ambassadors Tan Dun Lu Siqing

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)

29

Thank you to our Partners PRINCIPAL PARTNER

INTERNATIONAL LAW FIRM PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS

VENUE PARTNER

EDUCATION PARTNERS

ORCHESTRAL TRAINING PARTNER

MAJOR PARTNERS

SUPPORTING PARTNERS

Quest Southbank

Ernst & Young

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