Reflected Light

CONCERT PROGRAM

Reflected Light

27–28 July

Melbourne Recital Centre and Geelong

Artists

Melbourne Symphony Orchestra

Christopher Moore viola / director

Carlo Antonioli conductor*

Program

STRAVINSKY Concerto in D

MARY FINSTERER Lumen Symphony

WORLD PREMIERE OF AN MSO COMMISSION

– INTERVAL –

ZELENKA Sinfonia à 8 concertanti

VAUGHAN WILLIAMS Fantasia on a Theme of Thomas Tallis

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

Concert events

Pre-concert talk: 27 July at 6.45pm in the Melbourne Recital Centre. 28 July at 6.45pm in Costa Hall, Geelong.

Learn more about the music with a pre-concert talk with the composer of the world premiere of an MSO commission, Lumen Symphony, Mary Finsterer, and MSO Head of Learning and Engagement, Nicholas Bochner.

Duration

2 hours including interval

* Lumen Symphony only

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

Acknowledging Country

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.

from a land which has been nurtured by the traditional owners for more than 2000 generations. When we acknowledge country we pay respect to the land and to the people in equal measure.

As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music. In order to compose the music for this Acknowledgement of Country Project I have had the great privilege of working with no fewer than eleven ancient languages from the state of Victoria, including the language of my late Grandmother, Yorta Yorta woman Frances McGee. I pay my deepest respects to the elders and ancestors who are represented in these songs of acknowledgement and to the language custodians who have shared their knowledge and expertise in providing each text.

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

— Deborah Cheetham Fraillon AO

Melbourne Symphony Orchestra

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.

Musicians Performing in this Concert

FIRST VIOLINS

Zoe Black*

Guest Concertmaster

Tair Khisambeev

Acting Associate

Concertmaster

Di Jameson OAM and Frank Mercurio#

Kirsty Bremner

Deborah Goodall

Karla Hanna

Lorraine Hook

Anne-Marie Johnson

Kirstin Kenny

Mark Mogilevski

Michelle Ruffolo

SECOND VIOLINS

Matthew Tomkins Principal

The Gross Foundation#

Robert Macindoe

Associate Principal

Mary Allison

Freya Franzen

Andrew Hall

Cameron Jamieson*

Isy Wasserman

Philippa West

Andrew Dudgeon AM#

Patrick Wong

Hyon Ju Newman#

Roger Young

Shane Buggle and Rosie Callanan#

VIOLAS

Christopher Moore

Principal

Di Jameson OAM and Frank Mercurio#

Katharine Brockman

Anthony Chataway

Dr Elizabeth E Lewis AM#

Molly Collier-O’Boyle*

Gabrielle Halloran

Caroline Henbest*

Jenny Khafagi

CELLOS

Rachael Tobin

Associate Principal

Anonymous#

Elina Faskhi

Assistant Principal

Di Jameson OAM and Frank Mercurio#

Anna Pokorny*

Rebecca Proietto

Caleb Wong

Michelle Wood

Andrew and Judy Rogers#

DOUBLE BASSES

Rohan Dasika

Benjamin Hanlon

Di Jameson OAM and Frank Mercurio#

Stephen Newton

Sophie Galaise and Clarence Fraser#

Emma Sullivan*

Correct as of 13 July 2023

Learn more about our musicians on the MSO website

FLUTES

Paula Rae*

Guest Principal

Sarah Beggs

OBOES

Michael Pisani

Acting Associate Principal

COR ANGLAIS

Rachel Curkpatrick

Acting Principal Cor Anglais

BASSOONS

Jack Schiller Principal

Natasha Thomas

Dr Martin Tymms and Patricia Nilsson#

HORNS

Nicolas Fleury Principal

Margaret Jackson AC#

Rebecca Luton

PERCUSSION

Shaun Trubiano Principal

HARPSICHORD

Peter de Jager*

* Denotes Guest Musician # Position supported by

Christopher Moore viola / director

Principal Viola of the Melbourne Symphony Orchestra, Christopher Moore spent nine years travelling the globe as Principal Viola of Australian Chamber Orchestra. As romantic as that sounds, he missed his old chums Mahler, Schoenberg and Adès, and so returned to these and other old friends at the MSO.

Not surprisingly, Christopher’s wife and two daughters are pleased that Papa has hung up his rock star garb and come home to roost like their pet chickens. If you’re lucky, he may hand you a bona fide free-range egg; if you’re unlucky, you’ll be stuck hearing about how much he loves brewing beer and riding his bike into town from the suburbs, in an attempt to prevent his waistline expanding to the size of his chickens’ coop.

Christopher Moore plays a viola attributed to Giovanni Paolo Maggini dating from circa 1600-10 AD, loaned anonymously to the MSO

Carlo Antonioli conductor

Cybec Assistant Conductor Fellow at the Melbourne Symphony Orchestra, Carlo Antonioli, was previously Assistant Conductor to Principal Conductor Asher Fisch at the West Australian Symphony Orchestra where he regularly conducted the orchestra and led them on their 2019 regional tour. Carlo has also worked with the Sydney Symphony Orchestra, assisting Vladimir Ashkenazy, Principal Conductor and Artistic Advisor, and Chief Conductor Simone Young.

Rapidly establishing himself both with Australia’s leading symphony orchestras, and with vibrant, cutting-edge ensembles, some of Carlo’s most recent and upcoming engagements include Book of Longing (Philip Glass), The Loser (Lang) and To Hell and Back (Heggie) for the Australian Contemporary Opera Company, MSO on regional tour, return invitations to the Queensland, Tasmanian and Canberra Symphony Orchestras, Orchestra Victoria, the Australian, Sydney and Melbourne Youth Orchestras, Australian National Academy of Music, Ensemble Apex Sydney and the Stonnington Symphony. Carlo is also a composer and member of the Sydneybased Dreambox Collective.

Carlo holds a Master of Music Studies (Conducting) from the Sydney Conservatorium of Music and is a member of the Australian Conducting Academy.

Mary Finsterer 2023 MSO Composer in Residence

Mary Finsterer is recognised as one of Australia’s most innovative composers. Having received international recognition for her music in Europe, Britain, USA and Canada, Mary has received many awards both nationally and abroad including representing Australia in five International Society for Contemporary Music Festivals, the prestigious Paul Lowin Orchestral Prize and numerous Australian Art Music Awards throughout her career. A featured composer in the ABC Classic FM Pedestal Programme, Finsterer’s award-winning work can be heard not only on concert stages, she has also composed for the screen, including the Australian feature film score, South Solitary, which was a finalist in the 2011 Film Critics Circle Awards, and the Hollywood blockbuster Die Hard 4.

Her style takes its musical cues from contemporary practice and the Renaissance with equal ease. Her first opera, Biographica, premiered in 2017 and was described as “an outstanding new opera that deserves a permanent place in the repertoire”. Her second opera, Antarctica, having recently received its premiere at the Holland Festival in 2022 and Sydney Festival in 2023, was described as “magnificent, a milestone for Australian opera”. Finsterer is published by the distinguished publishing house, Schott Music, and holds the position of CALE Creative Fellow at the College of Arts, Law and Education at the University of Tasmania.

Mary Finsterer’s position as 2023 MSO Composer in Residence is generously supported by Kim Williams AM.

Program Notes

IGOR STRAVINSKY (1882–1971)

Concerto in D for String Orchestra

I. Vivace

II. Arioso (Andantino)

III. Rondo (Allegro)

The interest so many composers showed in the string orchestra medium in the years following World War I can be explained in several ways: a new appreciation of what composers of the Baroque era had achieved; a determination to make the strings which had formed the basis of the 19th century orchestra yield new sonorities and new techniques; and, hand in hand with these aesthetic concerns, the flourishing of small orchestral ensembles, including string orchestras, such as the Boyd Neel Orchestra in England and in Switzerland the Basle Chamber Orchestra formed by Paul Sacher.

It was Sacher who commissioned Bartók’s Divertimento for strings of 1939, and after World War II he included Stravinsky in the inspired patronage which had already elicited so many masterpieces. The commission was for a work to celebrate the 20th anniversary of the Basle Chamber Orchestra, and it became Stravinsky’s major project for the first half of 1946. He worked on the Concerto in D (also known as the Concerto basiliensis, or ‘Basle Concerto’) with the typical fastidiousness of the craftsman, as though he wanted to make a definitive statement about composing for strings. Paul Sacher conducted the premiere in Basle on 27 January 1947, and the Concerto has ever since been a mainstay of every string orchestra’s repertoire.

Like the Concerto for 15 instruments, Dumbarton Oaks (1937–38), the

Concerto in D is a cross between the Classical divertimento and the Baroque concerto grosso. Baroque features include the opposition of a small concertino group to the main body of strings. The piece is concise – lasting about 12 minutes – and predominantly light and divertimento-like in mood. The ostinato principle of repeated musical patterns dominates most of the writing in the two fast movements, as in a rather similar piece, Bach’s third Brandenburg Concerto: a rarely interrupted flow of quavers and semiquavers in various rhythms. When Stravinsky breaks the flow, with telling effect, it is usually to emphasise the thematic germ of the work, an alternation between two notes a semitone apart. This fingerprint appears immediately in the opening theme of the first movement, which also features an accompaniment containing a chord of D which is ambiguously major and minor, engendering considerable dissonance throughout the work. A slight suggestion of harshness about the first movement is mitigated by a middle section which is at once harmonically more comfortable and less regular, more tentative in rhythm.

In the second movement, an Arioso, Stravinsky composes an extended melody, but, lest we should indulge in it, punctuates it with chords re-stating the semitone interval, followed by new departures in surprising keys. The ostinato patterns return in the virtual perpetual motion of the last movement – it was no doubt this feature which made Jerome Robbins find the music ‘terribly driven and compelled’ when he used it for a harrowing ballet scenario, The Cage (1951).

Stravinsky’s concern was obviously to make the most of the possibilities of string ensembles which had been missed by 19 th century composers. Simply, perhaps over-simply stated, this meant getting the bow off the string

more often and in a greater variety of ways, making precise distinctions between staccato, spiccato and ben articulato playing. This composer was never happier than when sitting at his music desk adjusting his solutions to self-imposed problems. This craft, in the Concerto in D, produces stimulating challenges to players and diversion to listeners.

© David Garrett

MARY FINSTERER (born 1962)

Lumen Symphony : Concertante for viola solo and orchestra

World premiere of an MSO Commission

Carlo Antonioli conductor

Christopher Moore viola

Inspired by the profound poetic verses of Hildegard von Bingen’s ‘O Verbum Patris’, Lumen Symphony emerges as a musical response to themes of wisdom, creation and the radiant power of light.

Composed for the MSO in 2023 as part of my composer-in-residency, this symphony encompasses Lumen Prime Aurore, an orchestral work I composed for the MSO in 2021. Derived from the evocative words of Hildegard von Bingen’s poem, the title of this short work encapsulates the essence of “first dawn’s light” and pays homage not only to the poet’s inspiring verse but also bears a direct connection to the research that I undertook for my opera about Antarctica where, within the South Polar Circle, a miraculous display of colourful lights known as the Aurora is created as a result of electrically charged particles from solar winds interacting with meteorological gases as they enter the Earth’s atmosphere. Within the larger symphonic framework, Lumen Prime Aurore becomes a vital thread that weaves its own narrative to serve as a catalyst for further

development and contrast, enhancing thematic unity and contributing to the overall musical journey.

A defining feature of the Lumen Symphony is its concertante structure, with the solo viola taking on a prominent role in Movements I, III and V. Throughout these movements, the solo viola engages in a dialogue with the orchestra, showcasing its expressive capabilities and intertwining its voice with the symphonic fabric. As the symphony unfolds, it invites the audience on an exploration of colour and texture, where the luminous themes of Hildegard von Bingen’s poem find musical resonance.

Lumen Symphony is dedicated to Brenton Broadstock on the momentous occasion of his 70 th Birthday and is commissioned by the Melbourne Symphony Orchestra with generous support from Kim Williams AM.

© Mary Finsterer 2023

JAN DISMAS ZELENKA (1679–1745)

Sinfonia à 8 concertani in A minor

A number of questions may occur to you as you listen to this extraordinary piece of music. Who is Zelenka? And why have I never heard this piece before?

Jan Dismas Zelenka was a contemporary of JS Bach, who held him in high esteem. Most of his career was spent in Dresden where played the double bass in the court orchestra of Augustus II, the Elector of Saxony and King of Poland.

As a composer, Zelenka’s focus was firmly on sacred music. In order to be eligible for the throne of Poland, Augustus had converted to Catholicism, and the liturgy in the royal chapel was clothed in music of great splendour. Zelenka wrote more than 20 mass settings, four requiems and dozens of

psalms, hymns, antiphons and litanies. His secular instrumental output was more slender: six sonatas for oboe duet, five caprices for horns, oboes, bassoon, violins and viola, a set of nine two-part canons, and, in 1723, four orchestral works marked ‘à Praga’ and likely intended to be performed as part of the celebrations in Prague marking the coronation of Charles VI and Elizabeth Christine as King and Queen of Bohemia. Zelenka also wrote an extensive music-drama on the subject of St Wenceslas, which was performed before the royal couple to great acclaim, but there are no accounts of where, when or even if the orchestral pieces were performed.

The Sinfonia à 8 that we are hearing in this concert is one of those four mystery orchestral works. The first movement is the longest: an Allegro full of verve and good humour, in which virtuosic solos for violin and oboe alternate with declamatory passages for full orchestra in which the instruments take great delight in imitating one another. The leisurely Andante which follows is a trio for solo violin, oboe and bassoon over a simple bass line.

The next two movements show us Zelenka in a light-hearted mood. They both feature the word capriccio (in English, ‘caprice’) in their titles, and the music is correspondingly whimsical. In the third movement Tempo di gavotta the quicksilver rising flourishes set the tone; the fourth movement is slower and more lyrical but there is a delightful sense of good humour in the opening duet for cello and bassoon, over a plucked accompaniment from the strings.

The Sinfonia closes not with fast, jolly music, but with a pair of stately minuets – one in a minor key, the other in the major mode, before returning to the minor to finish. Here Zelenka uses the

contrasts between soloists and full ensemble, and between the timbres of the individual instrumental voices, to keep us smiling right to the end.

Zelenka was held in high regard during his lifetime, and after his death his scores were jealously guarded by the Dresden court – but his music, while never lost, fell out of favour in the 19th century, probably due to rising hostility towards Catholicism in Lutheran Germany. As late as the 1960s, the bulk of Zelenka’s music remained in manuscript. It was the publication of Zelenka’s secular, instrumental works, including this Sinfonia, which led the revival of interest in this unjustly neglected master.

Natalie Shea © 2023

RALPH VAUGHAN WILLIAMS (1872–1958)

Fantasia on a Theme of Thomas Tallis

Ralph Vaughan Williams (incidentally, pronounced: “Rayf, not Ralf”) is perhaps Britain’s most important and influential composer of the first half of the twentieth century. Prolific in most musical genres, he was an active composer from his student days right up until his death in 1958, at the age of eighty-six. He composed dozens of works that are part of the core repertory of British music of the last century, including the important series of nine symphonies. He lived a long life—long enough to have written in a number of rather different styles, all of them authentic and reflective of his changing interests and the times. He was born into an educated, upper middle class family, attended Cambridge University, and studied with eminent musicians and scholars, including a stint with Maurice Ravel. Among his early close friends and fellow students were such luminaries as Bertram Russell, Leopold Stokowski, and, of course, Gustav Holst.

In addition to his early activities as a rising composer, he and Holst were among the leaders in the efflorescence of serious study and collection of English folksong that arose in the late nineteenth century. He and Holst frequently spent time in the countryside tracking the rapidly vanishing body of song, writing them down, and preserving them. He later served as president of the English Folk Dance and Song Society. And, inevitably, his appreciation of this great literature became a major influence on one facet of his musical style— evidenced by every American band student’s encounter with his English Folksong Suite.

Another important interest and activity of his early on was his editorship of the English Hymnal (1906), his interest in the great English composer, Henry Purcell, and of all of the music, in general, of the Renaissance in England. It is the latter that is the inspiration for one his early and most beloved compositions, the Fantasia on a Theme by Thomas Tallis.

Thomas Tallis, along with William Byrd, was the most important of English composers of the Tudor era. He served under English monarchs from Henry VIII to Elizabeth I, dying in 1585. If you were quick you would have seen his character on the television show, “The Tudors,” so he certainly was not obscure. And he was resourceful, for though he openly maintained his faith as a Roman Catholic, he served under various religious regimes. One of his important publications (with his partner, Byrd, he enjoyed a monopoly granted by Elizabeth I printing any kind of music) was his 1567 collection of polyphonic settings of Psalm tunes.

In 1910 Vaughan Williams chose the third one of these as the basis for his own composition. He was familiar with it, for he had included it in the 1906 English Hymnal. The tune’s original title

is simply “Third Mode Melody,” which refers to it being in the Phrygian church mode. Not major, and not minor, it is a marvelously mysterious mode that can be heard by playing the scale from “e” to “e” on the white notes of the piano. Written for strings, alone, the composer divides the orchestra into three groups of varying sizes, thus providing some interesting textural changes. The main tune is heard several times, but like any good composer, Vaughan Williams take various elements of the melody and creates the “fantasy,” which of course was a typical musical procedure during the sixteen century. A winsome diversion takes place not too long after the beginning in the form of a viola solo, this theme appearing in the full orchestra towards the end. A dry description this is, doing little justice to a sonorous, timeless evocation of the genius of an earlier musical style that is rarely heard in the modern concert hall. Vaughan Williams simultaneously created a tribute to one of the high points in the English arts, along with a perfect reflection of his own twentieth-century musical æsthetic.

© Wm. E. Runyan 2023

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Youth Music Foundation

Anonymous (13)

OVERTURE PATRONS $500+

Margaret Abbey PSM

Jane Allan and Mark Redmond

Mario M Anders

Jenny Anderson

Dr Judith Armstrong and Robyn Dalziel

Doris Au

Lyn Bailey

Mr Peter Batterham

Peter Berry and Amanda Quirk

Dr William Birch AM

Richard Bolitho

Dr Robert Brook

Elizabeth Brown

John Brownbill

Roger and Coll Buckle

Jungpin Chen

Charmaine Collins

Dr John Collins

Dr Sheryl Coughlin and Paul Coughlin

Judith Cowden in memory of violinist

Margaret Cowden

Gregory Crew

Dr Oliver Daly and Matilda Daly

Merrowyn Deacon

Carol des Cognets

Bruce Dudon

Melissa and Aran Fitzgerald

Brian Florence

Chris Freelance

Mary Gaidzkar

Simon Gaites

David and Geraldine Glenny

Hugo and Diane Goetze

Louise Gourlay OAM

Jan and the late Robert Green

Christine Grenda

George Hampel AM KC and Felicity Hampel AM SC

Geoff Hayes

William Holder

Rod Home

Gillian Horwood

Noelle Howell and Judy Clezy

Geoff and Denise Illing

Rob Jackson

Wendy Johnson

Irene Kearsey & Michael Ridley

Peter Kempen AM

John Keys

Belinda and Malcolm King

Dr Kim Langfield-Smith

Janet and Ross Lapworth

Pauline and David Lawton

Paschalina Leach

Sharon Li

Dr Susan Linton

The Podcast Reader

Morris and Helen Margolis

Sandra Masel in memory of Leigh Masel

Janice Mayfield

Gail McKay

Shirley A McKenzie

Dr Alan Meads and Sandra Boon

Marie Misiurak

Joan Mullumby

Marian Neumann

Ed Newbigin

Valerie Newman

Brendan O’Donnell

David Oppenheim

Jillian Pappas

Phil Parker

Sarah Patterson

The Hon Chris Pearce and Andrea Pearce

Adriana and Sienna Pesavento

William Ramirez

Geoffrey Ravenscroft

Dr Christopher Rees

Professor John Rickard

Michael Riordan and Geoff Bush

Carolyn Sanders

Dr Nora Scheinkestel

Julia Schlapp

Hon Jim Short and Jan Rothwell Short

Madeline Soloveychik

Dr Alex Starr

Dyan Stewart

Ruth Stringer

Tom Sykes

Reverend Angela Thomas

Mely Tjandra

Rosemary Warnock

Amanda Watson

Michael Whishaw

Deborah and Dr Kevin Whithear OAM

Charles and Jill Wright

Dr Susan Yell

Anonymous (17)

CONDUCTOR’S CIRCLE

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

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

The Kate and Stephen Shelmerdine Family Foundation

Michael Ullmer AO and Jenny Ullmer

Jason Yeap OAM – Mering Management Corporation

ADOPT A MUSICIAN

Mr Marc Besen AC and the late Mrs Eva Besen AO

Chief Conductor Jaime Martín

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 OAM and Frank Mercurio

Elina Fashki, Benjamin Hanlon, Tair Khisambeev, Christopher Moore

Dr Elizabeth A Lewis AM

Anthony Chataway

David Li AM and Angela Li

Dale Barltrop

Gary McPherson

Rachel Shaw

Anne Neil

Eleanor Mancini

Hyon-Ju Newman

Patrick Wong

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

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 ARTISTIC FAMILY

Jaime Martín

Chief Conductor

Xian Zhang

Principal Guest Conductor

Benjamin Northey

Principal Conductor in Residence

Carlo Antonioli

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

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

MSO BOARD

Chairman

David Li AM

Co-Deputy Chairs

Di Jameson

Helen Silver AO

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

Company Secretary

Oliver Carton

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)

Principal Partner

Premier Partners

Education Partner

Major Partners

Orchestral Training

Partner

Government Partners

Venue Partner

Supporting Partners

Quest Southbank

Bows for Strings

Ernst & Young

Media and Broadcast Partners

Trusts and Foundations

The Sir Andrew and Lady Fairley Foundation, The Angior Family Foundation, The William and Lindsay Brodie Foundation, Flora & Frank Leith Trust, The Gwen and Edna Jones Foundation, The Ray and Joyce Uebergang Foundation, Perpetual Foundation – Alan (AGL) Shaw Endowment, Sidney Myer MSO Trust Fund