Ben Northey conducts Kaleidoscopic Splendour | Concert Program

CONCERT PROGRAM

BENJAMIN NORTHEY CONDUCTS KALEIDOSCOPIC SPLENDOUR 1 5–1 6 S E P T E M B E R / 7.30 P M M E L B O U R N E & G E E LO N G

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Artists Melbourne Symphony Orchestra Chorus Benjamin Northey conductor Emily Sun violin

Program HYDE Village Fair KORNGOLD Violin Concerto DVOŘÁK Symphony No.8 Running time: approximately 105 minutes including interval.

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

Pre-concert and Post-concert events Arrive early to enjoy a free recital performed by Calvin Bowman on the mighty Grand Organ from 6.30pm (Melbourne only).

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

Please note audience members are strongly recommended to wear face masks where 1.5m distancing is not possible.

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 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

About Long Time Living Here In all the world, only Australia can lay claim to the longest continuing cultures and we celebrate this more today than in any other time since our shared history began. We live each day drawing energy from a land which has been nurtured by the traditional owners for more than 2000 generations. When we acknowledge country we pay respect to the land and to the people in equal measure.

As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music.

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

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

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— Deborah Cheetham AO

Benjamin Northey conducts Kaleidoscopoic Splendour | 15 September

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 2022, the MSO ‘s new Chief Conductor, Jaime Martín has ushered in 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, Composer in Residence, Paul Grabowsky 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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Benjamin Northey conducts Kaleidoscopoic Splendour | 15 September

Your MSO Jaime Martín

Chief Conductor Mr Marc Besen AC and the late Mrs Eva Besen AO#

Xian Zhang

Principal Guest Conductor

Benjamin Northey Principal Conductor in Residence

Carlo Antonioli Cybec Assistant Conductor Fellow

Sir Andrew Davis Conductor Laureate

Hiroyuki Iwaki †

Conductor Laureate (1974–2006)

FIRST VIOLINS Dale Barltrop

Concertmaster David Li AM and Angela Li#

Sophie Rowell Concertmaster

Tair Khisambeev

Assistant Concertmaster Di Jameson and Frank Mercurio#

Peter Edwards

Assistant Principal

Kirsty Bremner Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Kirstin Kenny Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor Jacqueline Edwards* Karla Hanna*

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SECOND VIOLINS

CELLOS

Matthew Tomkins

David Berlin

Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro

Assistant Principal Danny Gorog and Lindy Susskind#

Mary Allison Isin Cakmakcioglu Tiffany Cheng Glenn Sedgwick#

Freya Franzen Cong Gu Andrew Hall Isy Wasserman Philippa West

Andrew Dudgeon AM#

Patrick Wong

Hyon Ju Newman#

Roger Young

Shane Buggle and Rosie Callanan#

Michael Loftus-Hills* Lynette Rayner* VIOLAS Christopher Moore Principal Di Jameson and Frank Mercurio#

Lauren Brigden Katharine Brockman Anthony Chataway

Dr Elizabeth E Lewis AM#

Gabrielle Halloran Trevor Jones Anne Neil#

Fiona Sargeant Molly Collier-O’Boyle* Jenny Khafagi*

Learn more about our musicians on the MSO website.

Principal

Rachael Tobin

Associate Principal

Nicholas Bochner Miranda Brockman

Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon AM#

Sarah Morse Angela Sargeant Michelle Wood

Andrew and Judy Rogers#

Nils Hobiger* Alexandra Partridge* DOUBLE BASSES Benjamin Hanlon

Frank Mercurio and Di Jameson#

Rohan Dasika Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#

Caitlin Bass* Vivian Qu Siyuan* Stuart Thomson* Nemanja Petkovic*

Prudence Davis

HORNS

TIMPANI

Principal Anonymous#

Principal Margaret Jackson AC#

Nicolas Fleury

Matthew Brennan*

Wendy Clarke

Saul Lewis

John Arcaro

Sarah Beggs

Principal Third The Hon Michael Watt KC and Cecilie Hall#

PICCOLO

Abbey Edlin

Associate Principal

Andrew Macleod

Nereda Hanlon and Michael Hanlon AM#

OBOES

Trinette McClimont Rachel Shaw

Principal

Ann Blackburn

Gary McPherson#

The Rosemary Norman Foundation#

Anton Schroeder* Josiah Kop*

COR ANGLAIS

TRUMPETS

Michael Pisani

Owen Morris

Principal

CLARINETS

Philip Arkinstall

Associate Principal

William Evans Rosie Turner

Craig Hill Thomas D’Ath*

TROMBONES

Jon Craven Principal

BASSOONS Jack Schiller

Principal

Elise Millman

Robert Cossom

Drs Rhyl Wade and Clem Gruen#

Greg Sully* HARP Yinuo Mu Principal

CELESTE Laurence Matheson*

Shane Hooton

Associate Principal Glenn Sedgwick#

BASS CLARINET

Anonymous#

Principal

David Thomas

Principal

PERCUSSION

Benjamin Northey conducts Kaleidoscopoic Splendour | 15 September

FLUTES

John and Diana Frew#

Richard Shirley Mike Szabo

Principal Bass Trombone

Brian Santero* TUBA Timothy Buzbee Principal

Associate Principal

Natasha Thomas

Dr Martin Tymms and Patricia Nilsson#

CONTRABASSOON Brock Imison Principal

* Denotes Guest Musician # Position supported by

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Benjamin Northey conducts Kaleidoscopoic Splendour | 15 September

Benjamin Northey conductor Since returning to Australia from Europe, Benjamin Northey has rapidly emerged as one of the nation’s leading musical figures. He is currently the Principal Resident Conductor of the Melbourne Symphony Orchestra and was appointed Chief Conductor of the Christchurch Symphony Orchestra in 2015.

His international appearances include concerts with the London Philharmonic Orchestra, the Tokyo Philharmonic Orchestra, the Mozarteum Orchestra Salzburg, the Hong Kong Philharmonic, the National Symphony Orchestra of Colombia, the Malaysian Philharmonic and the New Zealand Symphony and Auckland Philharmonia.

He has conducted L’elisir d’amore, The Tales of Hoffmann and La sonnambula for SOSA and Turandot, Don Giovanni, Carmen and Cosi fan tutte for Opera Australia.

Limelight Magazine named him Australian Artist of the Year in 2018. In 2021, he conducts the Hong Kong Philharmonic, the Christchurch Symphony and all six Australian state symphony orchestras.

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Benjamin Northey conducts Kaleidoscopoic Splendour | 15 September

Emily Sun violin ‘Possessed of a superb talent’ (The Australian), with ‘a searing and poetic tone’ (The Guardian), Emily Sun’s powerful sound and compelling interpretations have earned her international renown, winning the Royal Overseas League Competition (UK), ABC Young Performers Award (Australia), and violin competitions Italy, Austria and Russia.

Emily’s debut album, Nocturnes, was released on ABC Classics to critical acclaim and nominated for ‘Best Classical Album’ in the 2021 ARIA Awards.

In 2022, Emily performs with the Adelaide, West Australian, and Melbourne Symphony Orchestras and London Mozart Players with conductors Vasily Petrenko, Benjamin Northey and Howard Griffiths, alongside engagements in Wigmore Hall, UKARIA Cultural Centre and Melbourne’s Federation Square.

Recent highlights include with Sydney and Queensland Symphony Orchestras, European Union Chamber Orchestra, Orchestre de Royal Wallonie, Arizona Symphony Orchestra, Qingdao Symphony Orchestra, and Bach’s Double Violin Concerto with Maxim Vengerov at Buckingham Palace by invitation from HRH Prince of Wales. Recital debuts include Royal Albert Hall (London), Tchaikovsky Hall (Moscow), Sydney Opera House and Seoul Arts Centre.

Emily is a Violin Professor at the Royal College of Music London, and plays on a 1760 Nicolò Gagliano violin, kindly loaned by Beares International Violin Society.

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Program Notes MIRIAM HYDE

(1913–2005) Village Fair

The composer writes: Village Fair was started on January 16, 1943, and the actual musical material completed in about a fortnight, though the orchestration and the writing of the individual parts were spread over a much longer period.

The unifying theme is “Oh Dear! What can the Matter Be?” of which the bright opening section presents a variation in common time. Some brass colouring with occasional solo trumpet phrases suggests the festive air of a village fair, and, as a ballet, this would require general activity on the stage. This gives place to the entry of a pieman. Though no words are used, there being no vocal part, the orchestra does suggest the cry “Hot pies”, imitated between the various sections. The village girls dance around his little stall, the original trumpet rhythm of the “Oh Dear!” theme being clearly utilised here against the “Hot pies” of the horns. Then follows a slow section in G minor. The principal girl is melancholy at Johnnie’s tardy return from the fair. The melody (again based on “Oh Dear!”) is given to a solo violin and later to the cellos accompanied by a canopy of woodwind. This leads into a flower waltz – chromatic passages in the woodwind suggesting the scintillating effect of petals thrown high and then falling together in their many colours.

A flower seller plucks the petals of a large daisy, while the onlookers watch whether the result will be “He loves me” or “He loves me not” – suggested by alternate major and minor harmonies and by appropriate rhythms.

A country dance follows, faintly “modal” at times, and lightly scored for

flute and pizzicato accompaniment.

The “Oh Dear!” theme here is clearly recognisable, but in a minor mode. After this there is a gipsy fortuneteller, the music being in a more Eastern almost Spanish, idiom; a solo violin and solo oboe are conspicuous above a persistent rhythmical bass. A hurdy-gurdy man passes, grinding out his popular tune, with a few notes characteristically missing and out of tune.

Johnnie is still not in sight, and the “Oh Dear!” theme forms a wistful link between the hurdy-gurdy man and a portrayal of a juggling scene; staccato woodwind making cross rhythms with the lower strings and representing the intricate patterns of balls being thrown at different heights. Trumpets and horns lead back strongly to the “Oh Dear!” theme, which at this point most clearly approaches its original outline.

A coda, gay and bright in colouring, is reminiscent of the opening scene, though in the key a fifth higher for greater brilliance. Johnnie has returned with bunches of blue ribbons. A penetrating re-entry of the pieman theme (on horns and violas) is combined with “Oh Dear!” to which three timpani make a final reference in the notes of B flat, G, and up to E flat. © Miriam Hyde, annotations published in Radio Call. March 15, 1944

ERICH WOLFGANG KORNGOLD

(1897­–1957)

Violin Concerto in D I. Moderato nobile II. Romance (Andante) III.Finale (Allegro assai vivace) Emily Sun violin Korngold was born in the Czech city of Brno, then called Brünn and part of Austria. The son of the later famous Viennese music critic Julius Korngold,

The first feeling I had was one of awe and apprehension, succeeded by a fervent wish that so precocious a manifestation of genius may have an opportunity for normal development.

What assurance of style, mastery of form, individuality of expression… it is all genuinely astounding.

Mature success came with the operas Violanta (1916), and, above all, with the 1920 psychodrama Die tote Stadt (The Dead City, to a libretto by the composer’s father, Julius), which within a year of its simultaneous premiere in Hamburg and Cologne had also been performed at the Vienna State Opera and the Metropolitan Opera in New York, winning the admiration of two notable composer colleagues, Puccini and Berg.

Largely due to Die tote Stadt, by the early 1930s Korngold was being described as the ‘Viennese Puccini’, and by some as a ‘great hope of German music’.

But Korngold was Jewish, and Die tote Stadt, along with the rest of his music,

would be banned by the Nazi regime.

So rife was the spirit of anti-semitism, even in free Europe, that his Die Kathrin was derided by a Swedish reviewer in 1939 as ‘that emigrant Jew Korngold’s disgusting opera’. Perhaps unwittingly, Korngold’s personal salvation came early on, when in 1934 director Max Reinhardt first lured him to Hollywood, to arrange a score out of Mendelssohn’s famous incidental music for his Warner Bros film of A Midsummer Night’s Dream (starring the young Mickey Rooney as Puck, and Olivia de Havilland as Hermia). For the next four years until Hitler’s annexation of Austria forced him into permanent exile, Korngold commuted between Warner Bros’ Hollywood studios and his home in Vienna, remaking himself as arguably the most acclaimed movie composer of the 1930s. He won his first Oscar for the score of Anthony Adverse (1936), and his second for The Adventures of Robin Hood (1938), presented to him at the award ceremony by Jerome Kern. Probably his most famous and characteristic score of all was that for the swashbuckling romance The Sea Hawk (1940) starring Errol Flynn.

Benjamin Northey conducts Kaleidoscopoic Splendour | 15 September

young Korngold was mentored by Gustav Mahler, and took lessons from Alexander Zemlinsky, quickly developing his prodigious natural talents. He was only 13 years old when, in 1910, his Piano Trio, shortly to be published as his Opus 1 in the prestigious Austrian imprint Universal Edition, received its first Vienna performance by an eminent trio that included Bruno Walter (piano) and Arnold Rosé (violin). Rosé (Mahler’s brotherin-law) already knew the work of this young prodigy, for two months earlier he had led the Vienna Court Opera orchestra in the premiere of Korngold’s ballet-pantomime Der Schneemann (The Snowman, to the composer’s own scenario). Richard Strauss, who had also composed his first published work at the age of 12, responded with a much-quoted appreciation of the ‘boy genius’, reprinted even half a world away in Adelaide, in the Advertiser of 27 May 1910:

Almost inevitably, his American movie scores did little to further Korngold’s reputation as a serious German composer and conductor, a point of particular conflict with his father, Julius, who nagged Erich relentlessly to return to the opera and concert stage. And sadly, on one occasion when Korngold did so, producing this Violin Concerto for first performance early in 1947, the New York reviewer Irving Kolodin could not pass up the opportunity for an easy dig, describing the result as ‘more corn than gold’.

Curiously, according to one version of the story, it was Korngold’s anti-Hollywood father who suggested that his beautiful title music for a forgotten Errol Flynn adventure, Another Dawn (1937), might make a good opening theme for a violin

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Benjamin Northey conducts Kaleidoscopoic Splendour | 15 September 12

concerto. Having long ago promised such a work to violinist Bronislaw Huberman, Korngold began sketching the concerto on a trip back to Vienna in summer 1937.

Alban Berg’s Violin Concerto was new at the time, dedicated to the memory of the young Manon Gropius, daughter of architect Walter Gropius and Alma Mahler, who had died recently of polio, and there is a fleeting tonal echo of Berg’s open-string initial gambit in Korngold’s concerto. Korngold would go on to dedicate his concerto, after completion in 1945, to Manon’s mother, by then herself a Hollywood refugee, and recently widow of Korngold’s friend, the novelist Franz Werfel.

After the arching opening from Another Dawn, the first movement moves on to a second idea borrowed from the love theme for his score for the 1939 film Juarez, based – fittingly for the concerto’s dedicatee – on a novel

by Franz Werfel. With this second theme, the movement first comes fully into the ‘nobile’ of its initial tempo direction, before continuing through a closely worked development towards its fullest realisation in the virtuosic coda. Korngold’s Oscar-winning score to Anthony Adverse supplies the main melody for the luminously scored second movement, though the central section, marked ‘misterioso’ was new and remained unique to the concerto.

The virtuosic third movement is based on the puckishly athletic jig theme from Korngold’s 1937 score for The Prince and the Pauper, the skittering 6/8 melody also transformed in several briefly intervening brass-laden orchestral tuttis into a rambunctious 2/4 American hoedown that momentarily seems to naturalise Korngold into the musical world of his new fellow countrymen, Aaron Copland and Roy Harris. Almost a decade on from its inception, Korngold was still saving the first performance of the concerto for Huberman. But the violinist

was repeatedly unable to commit to a suitable date, and a new friend, Jascha Heifetz, eventually gave the premiere, to warm response, in St Louis (with repeats in Chicago and New York) in February 1947. Contrary to a warning attached to an earlier Hollywood refugee violin concerto, about which its composer Arnold Schoenberg reportedly said: ‘I am delighted to add another unplayable work to the repertoire’, Korngold advised listeners in his own original program note: ‘In spite of its demand for virtuosity in the finale, the work with its many melodic and lyric episodes was contemplated rather for a Caruso of the violin than for a Paganini.’ In the concerto, as he testified elsewhere, Korngold remained faithful to his aim ‘that music should be melodic’, ‘wohllautend’ (well-sounding), and ‘conceived in the heart’.

Graeme Skinner © 2010

ANTONÍN DVOŘÁK

(1841–1904)

Symphony No.8 in G I. Non Allegro II. Andante con moto (Tempo di valse) III.Lento assai – Allegro vivace IV. Allegro ma non troppo The success that Dvořák enjoyed, thanks to Brahms’ advocacy in the late 1870s, made his name beyond Vienna and Prague, and in 1884 he made the first of nine visits to England where his music became – and remained – extremely popular. In 1890, now a regular visitor, Dvořák arrived with the score of his Eighth Symphony (published originally as No.4), which he had recently premiered in Prague but which for some time was colloquially known as the ‘English Symphony’.

In fact, the piece has, even for Dvořák, an especially Bohemian accent; its immediate popularity with the British audience perhaps has more to do with

In fact, the formal freedom and melodic richness are precisely what makes this work special. According his early biographer, Otakar Šourek, Dvořák aimed ‘to write something different from his other symphonies and shape the musical content of his ideas in a new manner’. He did so not by piling up beautiful incidents, as Brahms suggests, though; as he is said to have told his student, Josef Michl: ‘To have a beautiful idea is nothing special.

The idea comes from itself and if it is beautiful and great, man can take no credit for that. But to develop the idea well and make something great from it, that is the most difficult, that is – art!’

While the Symphony is a work of absolute music, it was composed in close proximity to a series of concert overtures originally known as Nature, Life and Love – the more customary titles In Nature’s Realm, Carnival and Othello came later. This triptych shows Dvořák’s essential Romanticism in his adherence to the cult of Nature and his delight in celebrating his ethnic musical roots, and in similar musical language to that of the Eighth Symphony.

The first movement is in G major and marked Allegro con brio, but Dvořák disguises both speed and tonality by beginning with a slow-moving minor-

mode melody in the cellos, richly doubled by horn, clarinet and bassoon.

When the music makes it to the home key of G major it is with a chirping melody for the flute. In a breathtaking display of orchestration that ranges from translucent shimmering to the richness of divided violas and cellos, Dvořák elaborates his themes through an audacious series of key changes; the conventional recapitulation is here a shining G major chord with the flute melody now given to a more introspective cor anglais. The Adagio, in C minor, is often brightened with rapid, falling major scales like pealing bells, and has an impassioned central section. The scherzo begins with a lyrical G minor dance contrasting with a more buoyant G major trio and fast coda. The finale is a set of variations on the bright fanfare announced by the trumpet as the movement opens.

What Brahms, of all people, failed to hear in this music is how the varying episodes, across the movements, are unified by pervasive rhythmic cells. The long-short-short figure with which the work opens also dominates the slow movement’s main theme. Groups of four repeated even notes – crotchets or quavers – appear at structural points; groups of triplets can appear as distant drum taps, or the opening gesture of an important melody (like that of the w), and be transformed into the three-note up-beat of the third movement; the dotted rhythm of the third movement’s trio is transmuted in the rhythm of the fourth movement’s fanfare, and when that theme is stated by the orchestra its rising arpeggio reveals it to be related to the flute’s theme from the first movement. This almost subliminal motivic manipulation gives coherence to some of Dvořák’s most expansive and poetic music.

Benjamin Northey conducts Kaleidoscopoic Splendour | 15 September

its relaxed attitude to the formal rigours of Germanic symphonism, and an abundance of memorable, folk-inflected melody. For Brahms, normally a great supporter, this was a major flaw. He argued (offering, in passing, a seriously backhanded compliment to his rival Anton Bruckner) that too much that’s fragmentary, incidental, loiters about in the piece. Everything fine, musically captivating and beautiful – but no main points! When one says of Dvořák that he fails to achieve anything great and comprehensive with his pure, individual ideas, this is correct. Not so with Bruckner, all the same he offers so little.

Gordon Kerry © 2013 13

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Supporters

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

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

ARTIST CHAIR BENEFACTORS Chief Conductor Jaime Martín Mr Marc Besen AC and the late Mrs Eva Besen AO Cybec Assistant Conductor Chair Carlo Antonioli The Cybec Foundation Concertmaster Chair Dale Barltrop David Li AM and Angela Li Assistant Concertmaster Tair Khisambeev Di Jameson and Frank Mercurio Young Composer in Residence Alex Turley The Cybec Foundation 2023 Composer in Residence Mary Finsterer Kim Williams AM

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◊ Denotes Adopt a Musician supporter

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Supporters

Paul and Amy Jasper Shyama Jayaswal Basil and Rita Jenkins Sandy Jenkins Sue Johnston John Kaufman Angela Kayser Irene Kearsey & Michael Ridley Drs Bruce and Natalie Kellett Dr Anne Kennedy Tim Knaggs Jane Kunstler Ann Lahore Kerry Landman Janet and Ross Lapworth Diana Lay Phil Lewis Andrew Lockwood Elizabeth H Loftus Chris and Anna Long Gabe Lopata Eleanor & Phillip Mancini Aaron McConnell Wayne McDonald and Kay Schroer Margaret Mcgrath John and Rosemary McLeod Don and Anne Meadows Dr Eric Meadows Sylvia Miller Ian Morrey and Geoffrey Minter Dr Anthony and Dr Anna Morton Laurence O’Keefe and Christopher James Roger Parker Ian Penboss Eli Raskin Jan and Keith Richards James Ring Dr Peter Rogers and Cathy Rogers OAM Dr Ronald and Elizabeth Rosanove Marie Rowland Elisabeth and Doug Scott Martin and Susan Shirley P Shore John E Smith Barry Spanger

OVERTURE PATRONS $500+* Margaret Abbey PSM Jane Allan and Mark Redmond Mario M Anders Jenny Anderson Benevity Mr Peter Batterham Heather and David Baxter Peter Berry and Amanda Quirk Dr William Birch AM Allen and Kathryn Bloom Graham and Mary Ann Bone Stephen Braida Linda Brennan Dr Robert Brook Roger and Coll Buckle Ian and Wilma Chapman Cititec Charmaine Collins Dr Sheryl Coughlin and Paul Coughlin Gregory Crew Michael Davies Nada Dickinson Bruce Dudon Cynthia Edgell Melissa and Aran Fitzgerald

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Supporters

Brian Florence Elizabeth Foster Mary Gaidzkar Simon Gaites Mary-Jane Gething Sandra Gillett and Jeremy Wilkins David and Geraldine Glenny Hugo and Diane Goetze Pauline Goodison Louise Gourlay OAM Geoff Hayes Jim Hickey Clive and Joyce Hollands R A Hook Gillian Horwood Rob Jackson Wendy Johnson Fiona Keenan John Keys Belinda and Malcolm King Conrad O’Donohue and Rosemary Kiss Professor David Knowles and Dr Anne McLachlan Paschalina Leach Dr Jenny Lewis Dr Susan Linton The Podcast Reader Janice Mayfield Shirley A McKenzie Marie Misiurak Joan Mullumby Adrian and Louise Nelson Dr Judith S Nimmo Rosemary O’Collins David Oppenheim Sarah Patterson Pauline and David Lawton Adriana and Sienna Pesavento

Kerryn Pratchett Professor Charles Qin OAM and Kate Ritchie Alfonso Reina and Marjanne Rook Professor John Rickard Viorica Samson Carolyn Sanders Julia Schlapp Dr Frank and Valerie Silberberg Brian Snape AM and the late Diana Snape Colin and Mary Squires Allan and Margaret Tempest Reverend Angela Thomas Max Walters Rosemary Warnock Amanda Watson Deborah Whithear and Dr Kevin Whithear OAM Fiona Woodard Dr Kelly and Dr Heathcote Wright Dr Susan Yell Daniel Yosua

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

* The MSO has introduced a new tier to its annual Patron Program in recognition of the donors who supported the Orchestra during 2020, many for the first time.

Moving forward, donors who make an annual gift of $500–$999 to the MSO will now be publicly recognised as an Overture Patron. For more information, please contact Donor Liaison, Keith Clancy on (03) 9929 9609 or clancyk@mso.com.au 20

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 Maxwell Schultz Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Halinka Tarczynska-Fiddian Jennifer May Teague Albert Henry Ullin Jean Tweedie Herta and Fred B Vogel Dorothy Wood

Supporters

Marguerite Garnon-Williams Drs L C Gruen and R W Wade Louis J Hamon AOM Carol Hay Graham Hogarth Rod Home 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 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)

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Supporters

COMMISSIONING CIRCLE

MSO BOARD

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

Chairman David Li AM Co-Deputy Chairs Di Jameson Helen Silver AO Managing Director Sophie Galaise Board Directors Shane Buggle Andrew Dudgeon AM Danny Gorog Lorraine Hook Margaret Jackson AC David Krasnostein AM Gary McPherson Hyon-Ju Newman Glenn Sedgwick Company Secretary Oliver Carton

FIRST NATIONS CIRCLE John and Lorraine Bates Colin Golvan AM KC and Dr Deborah Golvan Sascha O. Becker 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

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 Artistic Ambassadors Tan Dun Lu Siqing 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

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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)

Get closer to the Music Become an MSO Patron

Help us deliver an annual Season of musical magic, engage world-renowned artists, and nurture the future of Australian orchestral music by becoming an MSO Patron.

Through an annual gift of $500 or more, you can join a group of like-minded musiclovers and enhance your MSO experience. Be the first to hear news from the MSO and enjoy exclusive MSO Patron activities, including behind-the-scenes access, special Patron pre-sales, and events with MSO musicians and guest artists.

To find out more, please call MSO Philanthropy on (03) 8646 1551, or join online by clicking the button below.

Thank you for your support.

BECOME AN MSO PATRON

Thank you to our Partners Principal Partner

Education Partner

Premier Partners

Venue Partner

Major Partners

Government Partners

Supporting Partners

Quest Southbank

Ernst & Young

Bows for Strings

Media and Broadcast Partners

Trusts and Foundations

Freemasons Foundation Victoria

Erica Foundation Pty Ltd, The Sir Andrew and Lady Fairley Foundation, John T Reid Charitable Trusts, Scobie & Claire Mackinnon Trust, Perpetual Foundation – Alan (AGL) Shaw Endowment, Sidney Myer MSO Trust Fund, The Ullmer Family Foundation

East meets West Program Supporters Consulate General of the People’s Republic of China in Melbourne

Prestigious Partner

Consortium Partners

Ministry of Culture and Tourism China

Concert Partners

Supporting Partners

Supporters Ken Ong OAM

BEST SEAT in the house

As Principal Partner of the Melbourne Symphony Orchestra, we know the importance of delighting an audience. That’s why when you’re in Emirates First, you’ll enjoy the ultimate flying experience with fine dining at any time in your own private suite.

*Emirates First Class Private Suite pictured. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.