Side by Side with Melbourne Youth Orchestra

CONCERT PROGRAM

Side by Side

with Melbourne Youth Orchestra

8 June Arts Centre Melbourne, Hamer Hall

Artists Featuring Melbourne Youth Orchestra side by side with members of the MSO Johannes Fritzsch conductor

Program WAGNER Lohengrin: Prelude STRAVINSKY The Firebird Suite (1911) HOLLY HARRISON Jammed Running time: approximately 1 hour with no interval Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham Fraillon AO, will be performed at this concert.

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

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

Acknowledging Country

About Long Time Living Here

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.

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

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

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SIDE BY SIDE: MELBOURNE YOUTH ORCHESTRA | 8 June

Melbourne Symphony Orchestra Established in 1906, the Melbourne Symphony Orchestra is Australia’s pre-eminent orchestra and a cornerstone of Victoria’s rich, cultural heritage.

Each year, the MSO engages with more than 5 million people, presenting in excess of 180 public events across live performances, TV, radio and online broadcasts, and via its online concert hall, MSO.LIVE, with audiences in 56 countries.

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

In 2023, the MSO’s Chief Conductor, Jaime Martín continues an exciting new phase in the Orchestra’s history. Maestro Martín joins an Artistic Family that includes Principal Guest Conductor, Xian Zhang, Principal Conductor in Residence, Benjamin Northey, Conductor Laureate, Sir Andrew Davis CBE, Cybec Assistant Conductor Fellow, Carlo Antonioli, MSO Chorus Director, Warren Trevelyan-Jones, Soloist in Residence, Siobhan Stagg, Composer in Residence, Mary Finsterer, Ensemble in Residence, Gondwana Voices, Cybec Young Composer in Residence, Melissa Douglas and Young 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.

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SIDE BY SIDE: MELBOURNE YOUTH ORCHESTRA | 8 June

MSO Musicians Performing in this Concert FIRST VIOLINS

CELLOS

HORNS

Tair Khisambeev

Elina Faskhi

Rebecca Luton* Ian Wildsmith*

Sarah Curro Deborah Goodall Kirstin Kenny Eleanor Mancini

Sarah Morse Anna Pokorny

Assistant Concertmaster Di Jameson and Frank Mercurio#

Anne Neil#

Kathryn Taylor

Assistant Principal Di Jameson and Frank Mercurio#

DOUBLE BASSES Caitlin Bass* Stephen Newton

TROMBONE Richard Shirley PERCUSSION

SECOND VIOLINS

Sophie Galaise and Clarence Fraser#

John Arcaro

Robert Macindoe

Emma Sullivan*

Shaun Trubiano

Associate Principal

Isin Cakmakçioglu Tiffany Cheng Glenn Sedgwick#

Isy Wasserman Roger Young

Shane Buggle and Rosie Callanan#

VIOLAS Christopher Moore Principal Di Jameson and Frank Mercurio#

Lauren Brigden Will Clark Isabel Morse

Tim and Lyn Edward#

FLUTE

HARP

Wendy Clarke

Yinuo Mu

Associate Principal

Principal

OBOE

PIANO & CELESTE

Michael Pisani

Louisa Breen Laurence Matheson

Acting Principal

CLARINET David Thomas Principal

BASSOON Elise Millman

Associate Principal

CONTRABASSOON Brock Imison Principal

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TRUMPET Yoram Levy

Correct as of 25 May 2023 Learn more about our musicians on the MSO website.

FIRST VIOLINS

DOUBLE BASSES

TROMBONES

Edgar Chen Naamah Hanna Paulina Huang Autumn Lee Adel Kalnoki Katherine Ma Rianah McInnes Holly Sutton Claire Yeung

Ella Evans Maxwell Harders Wei Keat Lim Will Murphy Grace Reynolds

Angus Hood Oscar Milic

SECOND VIOLINS Raistlin Chan Matilda Daly Eric Dao Anna Davidson Najia Hanna Eliza Henson Gregg Avelyn Reynolds VIOLAS Emma Amery Cyrus Cheng Millie Davidson Charlotte Parker George Pourpouras Tom Protat Max Topor CELLOS Christopher Cheng Madeleine Davies Rowan Parr Mahalia Shelton Ryan Tan Katelyn Woodyatt

FLUTES Laura Dickie Anushi Fernandopulle Dennis Wang OBOES

TUBA Jancia Schepisi TIMPANI Felix Gilmour PERCUSSION Jasmine Lai Sasha Wee

Michael Beech Kenneth Li COR ANGLAIS

SIDE BY SIDE: MELBOURNE YOUTH ORCHESTRA | 8 June

MYO Musicians Performing in this Concert

Harry Chen CLARINETS Ben Fitzsimons Freya Parr Jorja Withall BASSOONS Josh Elrom Jake Newman HORNS Scott Plenderleith Cecilia Xu TRUMPETS Ben Ball Rebekka Walker

* Denotes Guest Musician # Position supported by

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SIDE BY SIDE: MELBOURNE YOUTH ORCHESTRA | 8 June

Johannes Fritzsch conductor Johannes Fritzsch was appointed Principal Conductor and Artistic Adviser of the Queensland Symphony Orchestra in February, 2021 having previously served as their Chief Conductor (2008-2014). Since 2018, Johannes has held the position of Principal Guest Conductor of the Tasmanian Symphony Orchestra.

From 2006–2013 he was Chief Conductor and Artistic Director of the Oper Graz, Grazer Philharmonisches Orchester (Austria). Prior to his appointment in Graz, Johannes held the position of Chief Conductor and Artistic Director of the Staatsoper Nürnberg. From 1993 until 1999, he was Chief Conductor and Artistic Director of the Städtische Bühnen and the Philharmonic Orchestra in Freiburg.

Johannes was born in 1960 in Meissen, near Dresden, Germany, where he completed his musical education. He has conducted many leading orchestras, both within Germany and internationally. He regularly conducts the major Australasian orchestras as well as leading productions for Opera Australia, Opera Queensland, West Australian Opera and State Opera of South Australia.

In January 2015, Johannes was appointed Adjunct Professor, The Conservatorium of Music, School of Creative Arts and Media at the University of Tasmania; in June 2019, he joined the Queensland Conservatorium, Griffith University as Professor of Opera and Orchestral Studies.

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SIDE BY SIDE: MELBOURNE YOUTH ORCHESTRA | 8 June

Melbourne Youth Orchestras Melbourne Youth Orchestras (MYO) brings young Victorian musicians together to participate in ensemble music-making. Through their educational program, MYO continues to unleash creativity and empower tomorrow’s leaders through a commitment to excellence, ultimately inspiring its members to reach their potential through music.

MYO plays a leadership role in collaborating with education and music partners to ensure that a high-quality music education is available for all students in Victoria.

MYO is recognised as one of Australia’s leading centres for ensemble music making and training, and a meeting place for young musicians and their families who travel from all over metropolitan and regional Victoria to participate.

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SIDE BY SIDE: MELBOURNE YOUTH ORCHESTRA | 8 June

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Program Notes RICHARD WAGNER

(1813–1883)

Lohengrin, Act I: Prelude Divided strings high in their compass alternating with four solo violins and a chorus of flutes and oboes begin Lohengrin, Wagner’s sixth opera and the last of his works that could be considered opera as distinct from music drama, his preferred designation.

This is not an operatic curtain-raiser that parades the themes we will hear in the ensuing work; it is a poetic introduction to the work, creating in one breath an image against which the ensuing plot may be compared. Here, as Wagner says in his own program note: ‘Out of the clear blue ether of the sky there seems to condense a wonderful yet at first hardly perceptible vision; and out of this there gradually emerges, ever more and more clearly, an angel host bearing in its midst the sacred Grail.’

The shimmering instrumental effect well illustrates Wagner’s image.

Gradually a theme emerges which will gain significance later as the Grail theme. Skilfully introducing deeper and deeper instruments, Wagner suggests a long descent. The horns and brass gradually enter and the Prelude gathers force, until ‘the Grail is revealed in all its glorious reality.’ Having reached a climax the music returns to its quiet origins in the rarefied atmosphere of the higher strings. The angels return to heaven, says Wagner, ‘having once more made pure the hearts of men.’

The story of Lohengrin concerns the knight of the Grail, Lohengrin, who arrives in Brabant to champion the falsely-accused Elsa. In return he asks her never to ask his name or origin, and they pledge themselves to each other.

Elsa’s accuser Friedrich of Brabant

is defeated, but he and his wife later sow doubt in Elsa’s mind, and on their wedding day Elsa asks Lohengrin to reveal his identity. Publicly he reveals that he is the son of Parsifal; he is a knight of the Grail whose assistance to Elsa and the German people was conditional on his anonymity. His anonymity destroyed, he leaves Brabant and Elsa, who falls lifeless to the ground.

Lohengrin stands at the midpoint between Wagner’s experiments with traditional opera forms (grand opera, comic opera) and the development of his music dramas. He had previously based his operas on histkjhorical fiction, Shakespeare and a Gozzi fairy tale.

Now he turned to German myth, as a way of speaking to his audience’s inmost being. In 1845 Wagner read the epic poems Parzival and Titurel

by Wolfram von Eschenbach and the anonymous Lohengrin. Much of the material of Parzival would surface in his last opera. By 3 August 1845 he had sketched a prose scenario of Lohengrin; the verse version followed almost four months later. Wagner drafted the music on two staves by the middle of 1846, and completed the full score 28 April 1848. He could not attend the 1850 premiere in Weimar under Liszt because he was in exile for his part in the 1848 disturbances, so he did not hear the work until 1861 in Vienna.

Wagner intended his music dramas to elevate the dramatic side of opera, as a way of making opera more significant and socially influential.

He was revolted by the contemporary operas of Meyerbeer or Rossini which were, respectively, pompous or had degenerated into superficial vocal virtuosity hung on absurdly slender plots. But Wagner did not fully succeed in balancing the musical and dramatic elements in Lohengrin. He had, for example, begun using leitmotifs, those musical ideas associated with

Lohengrin was one of the first Wagner operas to be performed in Australia. Mr Emil Sander wrote to Wagner about the production of Lohengrin in Melbourne in 1877 and Wagner wrote back to him (22 October 1877) to thank him but also to say that he would have preferred the production to have been in English so that the English-speaking audience could understand the plot: ‘I hope to be able to have this done in London. The views you have sent us from Melbourne have greatly interested me and my family.’ Wagner may have considered the plot of paramount importance, but this Prelude is among those musical extracts that suggest we attend Wagner’s theatre principally because of the magnificence of the music.

G.K. Williams Symphony Australia © 2003

IGOR STRAVINSKY

(1882–1971)

The Firebird (1911 Suite) Just a few years before The Firebird premiered in Paris, Igor Stravinsky was an undistinguished law student in Saint Petersburg wishing he was a composer instead. By chance he met the son of Nikolai Rimsky-Korsakov, who was the reigning tsar of Russian composers, ingratiated himself with the family, and soon was taking lessons with the master himself.

Meanwhile, Serge Diaghilev was developing plans to bring Russian art to Western European capitals, beginning with painting and sculpture, then experimenting with opera, and finally settling on ballet. Together with the dancer Michel Fokine, he established the Ballets Russes in Paris, which at first mostly choreographed to existing works

by Robert Schumann, Frédéric Chopin, and 19th century Russian composers. To repurpose non-ballet music for dance was itself an innovative idea, but soon Parisians were clamoring for fresh sounds. Diaghilev and Fokine began to develop an ambitious new ballet with an original score for their French audience, and they paired two Russian folk characters – the magical Firebird and the evil Kashchei the Deathless – for the story.

The ballet follows Prince Ivan Tsarevich, who walks through the garden of Kashchei, a monstrous king. The prince sees the Firebird near a golden apple tree and captures it, only releasing it in exchange for a feather. Soon he meets 13 maidens and falls in love with one, who turns out to be under Kashchei’s evil spell and lures the prince into a trap. The captured prince summons the Firebird with its feather, and the creature reveals that Kashchei’s immortality derives from a magical egg he keeps in a box. The prince smashes

SIDE BY SIDE: MELBOURNE YOUTH ORCHESTRA | 8 June

characters and concepts whose musical development in the later Ring dramas would map, underscore and enhance the developments of the plot. (The main theme of the Lohengrin Prelude, for example, is identified by Lohengrin in Act III as representing the ‘vessel of wondrous blessing [in Montsalvat] that is watched over as a sacred relic’.)

But he had yet to find a way to make those musical elements terse, concise or plastic enough to allow an economic telling of the plot: we wait until each musical phrase is finished, long having already twigged to the dramatic point. Fortunately, Lohengrin is one of Wagner’s most beautifully melodic scores containing many fine musical moments.

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SIDE BY SIDE: MELBOURNE YOUTH ORCHESTRA | 8 June

the egg, Kashchei dies, the maidens are liberated, and everyone rejoices.

At least three established composers turned down the project before Diaghilev tried the 27-year-old Stravinsky, who had previously only orchestrated a few Chopin piano pieces for the Ballets Russes. He was the last choice, and Diaghilev could not have had particularly high expectations for the untested composer. Stravinsky set to work writing in his Saint Petersburg apartment between December 1909 and May the following year, sometimes meeting with Fokine to improvise music and dance together.

The Firebird was Stravinsky’s first major piece, and it set him on course to write The Rite of Spring and other innovative works over the next five decades. An original voice already comes through in The Firebird, but current scholarship has emphasised its links to earlier Russian music – links that Stravinsky himself downplayed, not wanting to appear indebted to the country of his birth, or to the past.

But many of the melodies are borrowed from Russian folk music, and even his harmonic sleights-of-hand and modern orchestrational wizardries don’t stray far from those of RimskyKorsakov. The Firebird’s distinctive sound is largely created through the contrast of murky, chromatic harmonies (representing supernatural evil) against bright, singable melodies (representing human good). It’s a vivid effect, but one borrowed from 19th century Russian opera – not a 20th century innovation.

What really distinguishes Stravinsky is the shaping of melodies and his rhythmic sense – how he trims and arranges the sinewy phrases, creating jagged exclamations in fast sections and undulating tension in slow ones.

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So what if The Firebird wasn’t quite as original as it might at first seem, when

it has such an irresistible pull? The French critic Robert Brussel visited a piano rehearsal in Saint Petersburg in the winter of 1910. Perhaps the very first member of the public to hear it, he immediately recognised: “the moment [Stravinsky] began to play, the modest and dimly lit dwelling glowed with a dazzling radiance. By the end of the first scene, I was conquered: by the last, I was lost in admiration. The manuscript on the music stand, scored over with fine penciling, revealed a masterpiece.”

Stravinsky traveled to Paris that spring for the premiere at the Palais Garnier, and it was met with universal acclaim.

Nearly every musical and literary figure in Paris attended the first night – and suddenly Stravinsky, who the day before had been a complete unknown, was shaking hands with Claude Debussy and Marcel Proust.

Stravinsky revisited the Firebird three times (in 1911, 1919, and 1945) to create suites for concert performance.

Of these, the 1919 suite is the most frequently performed – but on today’s concert, we hear the 1911 version. This suite omits a few popular numbers like the gorgeous lullaby, but it maintains the original lavish scoring with a huge brass section, three harps, and two keyboards – forces Diaghilev could afford at the Ballets Russes, but which Stravinsky pared back in 1919 to accommodate more modest organisations.

The music emerges from the dark in the lowest depths of the orchestra (Introduction), setting the stage as Kashchei’s cursed domain. In Scene I, the Firebird appears and dances against glittering violins, chirping clarinet and flutes (Dance of the Firebird). Soon Prince Ivan encounters the thirteen princesses, who dance a khorovod – a Russian circle dance – warmly accompanied by solo violin, winds, and cello (Khorovod of the Princesses). In a

© Benjamin Pesetsky 2023

HOLLY HARRISON

(born 1988) Jammed

The title Jammed has two meanings. It refers to the main musical riff which is repeated and reimagined throughout: it is implied that the players are part of an improvised jam session, freely drawing from funk, rock, and metal styles. The work also embraces the idea of ‘jam’ as something which is ‘stuck’. This is heard in the piece through jarring brass chords and rapid changes between sections, which could be likened to a CD skipping or vinyl warping. © Holly Harrison

SIDE BY SIDE: MELBOURNE YOUTH ORCHESTRA | 8 June

sudden eruption of timpani, brass, and xylophone, Kaschei is forced to dance (Infernal Dance) before his destruction.

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Supporters

Supporters MSO PATRON The Honourable Linda Dessau AC CVO, Governor of Victoria

CHAIRMAN’S CIRCLE Mr Marc Besen AC and the late Mrs Eva Besen AO Gandel Foundation The Gross Foundation Di Jameson and Frank Mercurio Harold Mitchell Foundation Lady Potter AC CMRI Cybec Foundation The Pratt Foundation The Ullmer Family Foundation Anonymous

ARTIST CHAIR BENEFACTORS Cybec Assistant Conductor Chair Carlo Antonioli Cybec Foundation Concertmaster Dale Barltrop David Li AM and Angela Li Assistant Concertmaster Tair Khisambeev Di Jameson and Frank Mercurio Young Composer in Residence Melissa Douglas Cybec Foundation 2023 Composer in Residence Mary Finsterer Kim Williams AM

PROGRAM BENEFACTORS

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MSO Now & Forever Fund: International Engagement Gandel Foundation Cybec 21st Century Australian Composers Program Cybec Foundation Digital Transformation The Margaret Lawrence Bequest – Managed by Perpetual, 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

MSO Live Online Crown Resorts Foundation, Packer Family Foundation MSO Education Anonymous MSO Academy Di Jameson and Frank Mercurio MSO For Schools Crown Resorts Foundation, Packer Family Foundation, Department of Education, Victoria, through the Strategic Partnerships Program Melbourne Music Summit Department of Education, Victoria, through the Strategic Partnerships Program MSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, Robert Salzer Foundation, The Sir Andrew & Lady Fairley Foundation The Pizzicato Effect Hume City Council’s Community Grants program, The Marian and E.H. Flack Trust, Flora & Frank Leith Charitable Trust, Australian Decorative And Fine Arts Society, Anonymous Sidney Myer Free Concerts Sidney Myer MSO Trust Fund and the University of Melbourne

PLATINUM PATRONS $100,000+ Mr Marc Besen AC and the late Mrs Eva Besen AO The Gandel Foundation The Gross Foundation Di Jameson and Frank Mercurio David Li AM and Angela Li Lady Primrose Potter AC CMRI The Ullmer Family Foundation Anonymous (1)

VIRTUOSO PATRONS $50,000+ Margaret Jackson AC Weis Family Anonymous (1)

H Bentley The Hogan Family Foundation David Krasnostein AM and Pat Stragalinos Opalgate Foundation Elizabeth Proust AO and Brian Lawrence Lady Marigold Southey AC Di Jameson and Frank Mercurio Kim Williams AM Anonymous (2)

MAESTRO PATRONS $10,000+ Christine and Mark Armour Margaret Billson and the late Ted Billson Krystyna Campbell-Pretty AM Andrew Dudgeon AM Dr Mary-Jane H Gething AO Colin Golvan AM KC and Dr Deborah Golvan Danny Gorog and Lindy Susskind David R Lloyd Peter Lovell Maestro Jaime Martin 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 Wingate Group Jason Yeap OAM – Mering Management Corporation Anonymous (2)

PRINCIPAL PATRONS $5,000+ Mary Armour Barbara Bell in memory of Elsa Bell Bodhi Education Fund Julia and Jim Breen Shane Buggle and Rosie Callanan Oliver Carton

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 Jaan Enden Bill Fleming Dr John and Diana Frew Susan Fry and Don Fry AO Sophie Galaise and Clarence Fraser Geelong Friends of the MSO Dr Rhyl Wade and Dr Clem Gruen Cecilie Hall and the late Hon Michael Watt KC Hilary Hall in memory of Wilma Collie Louis J Hamon OAM Nereda Hanlon and Michael Hanlon AM Merv Keehn and Sue Harlow Dr Alastair Jackson AM Paul and Amy Jasper Suzanne Kirkham Hyon-Ju Newman Dr Elizabeth A Lewis AM Sherry Li Dr Caroline Liow Gary McPherson Rosemary and the late Douglas Meagher The Mercer Family Foundation Marie Morton FRSA Anne Neil in memory of Murray A. Neil Newton Family in memory of Rae Rothfield Ken Ong OAM Bruce Parncutt AO Professor Sam Ricketson and Dr Rosemary Ayton Andrew and Judy Rogers Rosemary and the late Douglas Meagher The Rosemary Norman Foundation Guy Ross The Kate and Stephen Shelmerdine Family Foundation Helen Silver AO and Harrison Young Anita Simon

Supporters

IMPRESARIO PATRONS $20,000+

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Supporters

Brian Snape AM Dr Michael Soon Dawna Wright and Peter Riedel

ASSOCIATE PATRONS $2,500+

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Carolyn Baker Marlyn Bancroft and Peter Bancroft OAM Sue and Barry Peake Sascha O. Becker Janet H Bell Alan and Dr Jennifer Breschkin Patricia Brockman Drs John D L Brookes and Lucy V Hanlon Stuart Brown Lynne Burgess Dr Lynda Campbell Janet Chauvel and the late Dr Richard Chauvel Katherine Cusack Leo de Lange Dr Paul Nisselle AM Elaine Walters OAM Barry Fradkin OAM and Dr Pam Fradkin Carrillo Gantner AC and Ziyin Gantner Kim and Robert Gearon Steinicke Family Janette Gill Goldberg Family Goldschlager Family Charitable Foundation Jennifer Gorog Catherine Gray Susan and Gary Hearst Hartmut and Ruth Hofmann Jenny Tatchell John Jones Mrs Qian Li The Cuming Bequest Margaret and John Mason OAM H E McKenzie Dr Isabel McLean Ian Merrylees Alan and Dorothy Pattison David and Nancy Price Peter Priest

Ruth and Ralph Renard Peter and Carolyn Rendit Tom and Elizabeth Romanowski Liliane Rusek and Alexander Ushakoff Jeffrey Sher KC and Diana Sher OAM Barry Spanger Peter J Stirling Clayton and Christina Thomas Janet Whiting AM Shirley and Jeffrey Zajac Anonymous (4)

PLAYER PATRONS $1,000+ Dr Sally Adams Anita and Graham Anderson Australian Decorative & Fine Arts Society Geoffrey and Vivienne Baker Allen and Kathryn Bloom Michael Bowles and Alma Gill Joyce Bown Youth Music Foundation Professor Ian Brighthope Miranda Brockman Nigel Broughton and Sheena Broughton Suzanne Brown OAM and the late Harvey Brown Jill and Christopher Buckley Dr Robin Burns and Dr Roger Douglas Ronald and Kate Burnstein Kaye Cleary John and Mandy Collins Dr Daryl Daley and Nola Daley Panch Das and Laurel Young-Das Caroline Davies Michael Davies Natasha Davies for the Trikojus Education Fund Rick and Sue Deering Suzanne Dembo John and Anne Duncan Jane Edmanson OAM Diane Fisher Grant Fisher and Helen Bird Alex Forrest Frank Tisher OAM and Dr Miriam Tisher

Ray McHenry John and Rosemary McLeod Don and Anne Meadows Dr Eric Meadows Professor Geoffrey Metz Sylvia Miller Ian Morrey and Geoffrey Minter Anthony and Anna Morton Laurence O’Keefe and Christopher James Roger Parker Ian Penboss Kerryn Pratchett Professor Charles Qin OAM and Kate Ritchie Eli Raskin Jan and Keith Richards James Ring Dr Peter Rogers and Cathy Rogers OAM Dr Ronald and Elizabeth Rosanove Marie Rowland Marshall Segan in memory of Berek Segan OBE and Marysia Segan Martin and Susan Shirley P Shore John E Smith Dr Peter Strickland Dr Joel Symons and Liora Symons Russell Taylor and Tara Obeyesekere Geoffrey Thomlinson Andrew and Penny Torok Christina Turner Ann and Larry Turner Leon and Sandra Velik The Reverend Noel Whale Edward & Paddy White Nic and Ann Willcock Terry Wills Cooke OAM and the late Marian Wills Cooke Robert and Diana Wilson Richard Withers Lorraine Woolley Anonymous (12)

Supporters

Applebay Pty Ltd David and Esther Frenkiel OAM Anthony Garvey and Estelle O’Callaghan David I Gibbs AM and Susie O’Neill Sonia Gilderdale Dr Celia Godfrey Dr Marged Goode Dr Sandra Hacker AO and Mr Ian Kennedy AM Dawn Hales David Hardy Tilda and the late Brian Haughney Cathy Henry Dr Jennifer Henry Dr Keith Higgins Anthony and Karen Ho Jenny and Peter Hordern Katherine Horwood Penelope Hughes Shyama Jayaswal Basil and Rita Jenkins Sandy Jenkins Sue Johnston John Kaufman Angela Kayser Drs Bruce and Natalie Kellett Anne and Leonard Kennedy Tim Knaggs Professor David Knowles and Dr Anne McLachlan Dr Jerry Koliha and Marlene Krelle Jane Kunstler Ann Lahore Kerry Landman Kathleen and Coran Lang Bryan Lawrence Phil Lewis Andrew Lockwood Elizabeth H Loftus Chris and Anna Long Gabe Lopata John MacLeod Eleanor & Phillip Mancini Aaron McConnell Wayne McDonald and Kay Schroer

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Supporters

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OVERTURE PATRONS $500+ Margaret Abbey PSM Jane Allan and Mark Redmond Mario M Anders Jenny Anderson Dr Judith Armstrong and Robyn Dalziel Benevity Australia Online Giving Foundation Mr Peter Batterham Peter Berry and Amanda Quirk Linda Brennan Dr Robert Brook Elizabeth Brown Suzie Brown OAM and the late Harvey Brown John Brownbill Roger and Coll Buckle Cititec Systems Charmaine Collins Dr Sheryl Coughlin and Paul Coughlin Judith Cowden in memory of violinist Margaret Cowden Dr Oliver Daly and Matilda Daly Merrowyn Deacon Bruce Dudon Melissa and Aran Fitzgerald Brian Florence Elizabeth Foster Mary Gaidzkar Simon Gaites David and Geraldine Glenny Hugo and Diane Goetze Louise Gourlay OAM Jan and the late Robert Green George Hampel AM KC and Felicity Hampel AM SC Geoff Hayes Jim Hickey William Holder Clive and Joyce Hollands Rod Home R A Hook Gillian Horwood Geoff and Denise Illing

Wendy Johnson John Keys Belinda and Malcolm King Janet and Ross Lapworth Paschalina Leach Dr Jenny Lewis Sharon Li Dr Susan Linton The Podcast Reader Janice Mayfield Shirley A McKenzie Dr Alan Meads and Sandra Boon Marie Misiurak Joan Mullumby Dr Judith S Nimmo Estelle O’Callaghan Brendan O’Donnell David Oppenheim Sarah Patterson Pauline and David Lawton Adriana and Sienna Pesavento Geoffrey Ravenscroft Alfonso Reina and Marjanne Rook Professor John Rickard Dr Anne Ryan Viorica Samson Carolyn Sanders Dr Nora Scheinkestel Julia Schlapp Madeline Soloveychik Dr Alex Starr Dyan Stewart Ruth Stringer Tom Sykes Reverend Angela Thomas Rosemary Warnock Amanda Watson Deborah Whithear and Dr Kevin Whithear OAM Dr Susan Yell Daniel Yosua Anonymous (15)

Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Mrs Jenny Bruckner and the late Mr John Bruckner 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 Grace Kass and the late George Kass Sylvia Lavelle Pauline and David Lawton Cameron Mowat Ruth Muir David Orr Matthew O’Sullivan Rosia Pasteur Penny Rawlins Joan P Robinson 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 Elisabeth Turner Michael Ulmer AO The Hon. Rosemary Varty Terry Wills Cooke OAM and the late Marian Wills Cooke Mark Young Anonymous (19) The MSO gratefully acknowledges the support of the following Estates: Norma Ruth Atwell Angela Beagley Christine Mary Bridgart The Cuming Bequest Margaret Davies Neilma Gantner The Hon Dr Alan Goldberg AO QC Enid Florence Hookey Gwen Hunt Family and Friends of James Jacoby Audrey Jenkins Joan Jones Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Jean Moore Joan P Robinson Maxwell Schultz Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Gwennyth St John Halinka Tarczynska-Fiddian Jennifer May Teague Albert Henry Ullin Jean Tweedie Herta and Fred B Vogel Dorothy Wood

Supporters

CONDUCTOR’S CIRCLE

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Supporters

COMMISSIONING CIRCLE

Dr Elizabeth A Lewis AM

Mary Armour Cecilie Hall and the Late Hon Michael Watt KC Tim and Lyn Edward Kim Williams AM Weis Family

David Li AM and Angela Li

FIRST NATIONS CIRCLE

Eleanor Mancini

John and Lorraine Bates Colin Golvan AM KC and Dr Deborah Golvan Sascha O. Becker Maestro Jaime Martín Elizabeth Proust AO and Brian Lawrence The Kate and Stephen Shelmerdine Family Foundation Michael Ullmer AO and Jenny Ullmer Jason Yeap OAM – Mering Management Corporation

Patrick Wong

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

Margaret Jackson AC Nicolas Fleury

Di Jameson and Frank Mercurio

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Elina Fashki, Benjamin Hanlon, Tair Khisambeev, Christopher Moore

Anthony Chataway Dale Barltrop

Gary McPherson Rachel Shaw

Rosemary and the late Douglas Meagher Craig Hill

Anne Neil

Hyon-Ju Newman 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, Rachel Tobin

HONORARY APPOINTMENTS Life Members Mr Marc Besen AC John Gandel AC and Pauline Gandel AC Sir Elton John CBE Harold Mitchell AC Lady 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 Mrs Eva Besen AO John Brockman OAM The Honourable Alan Goldberg AO QC Roger Riordan AM Ila Vanrenen

MSO BOARD

Jaime Martín

Chairman David Li AM

Chief Conductor

Xian Zhang

Supporters

MSO ARTISTIC FAMILY

Co-Deputy Chairs Di Jameson Helen Silver AO

Principal Guest Conductor

Benjamin Northey

Principal Conductor in Residence

Carlo Antonioli

Managing Director Sophie Galaise Board Directors Shane Buggle Andrew Dudgeon AM Martin Foley Lorraine Hook Margaret Jackson AC David Krasnostein AM Gary McPherson Farrel Meltzer Edgar Myer Glenn Sedgwick Mary Waldron

Cybec Assistant Conductor

Sir Andrew Davis CBE Conductor Laureate

Hiroyuki Iwaki †

Conductor Laureate (1974–2006)

Warren Trevelyan-Jones MSO Chorus Director

Siobhan Stagg

Soloist in Residence

Gondwana Voices

Ensemble in Residence

Christian Li

Young Artist in Association

Mary Finsterer

Composer in Residence

Melissa Douglas

Company Secretary Oliver Carton

Cybec Young Composer in Residence

Christopher Moore

Creative Producer, MSO Chamber

Deborah Cheetham Fraillon AO MSO First Nations Creative Chair

Dr Anita Collins

Creative Chair for Learning and Engagement

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)

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Thank you to our Partners Principal Partner

Premier Partners

Education Partner

Major Partners

Orchestral Training Partner Government Partners

Venue Partner

Supporting Partners

Quest Southbank

Ernst & Young

Bows for Strings

Media and Broadcast Partners

Trusts and Foundations

Freemasons Foundation Victoria

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