The 20s, and all that dissonance | Concert Program

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Artists

Melbourne Symphony Orchestra

Christopher Moore co-curator, violist & conductor

Meow Meow co-curator, vocalist & narrator

Aura Go piano

Program

HINDEMITH Chamber Music No.2 for Piano & 12 Solo Instruments

WALTON Façade (Selections)

STRAVINSKY The Soldier’s Tale

Program may also include:

PICABIA La Nourrice Americaine (‘The American Nurse’)

SCHWITTERS TRANS. JORIS/ROTHENBERG (what art is, you know..)

SCHWITTERS Cigarren

SCHWITTERS Simultaneous Poem

TZARA Chanson Dada: Pour faire un poème dadaïste

BRECHT/WEILL The Ballad of the Drowned Girl

BRECHT/WEILL The Threepenny Opera: Pirate Jenny

SCHIFFER/HERCZEG/KLEIN/SPOLIANSKY Ich bin ein Vamp

HOLLAENDER Wenn ick mal tot bin

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

Running time: approximately 2 hours with a 20 minute interval.

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

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.

About Long Time Living Here

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

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

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

— Deborah Cheetham 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 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.

The 20s, and all that dissonance

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

SECOND VIOLINS

Matthew Tomkins

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#

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

CELLOS

David Berlin

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# Alexandra Partridge*

DOUBLE BASSES

Benjamin Hanlon Frank Mercurio and Di Jameson# Rohan Dasika

Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#

FLUTES

Prudence Davis Principal Anonymous# Wendy Clarke Associate Principal Sarah Beggs

PICCOLO

Andrew Macleod Principal

Correct as of 26 September 2022. Learn more about our musicians on the MSO website

OBOES

Ann Blackburn

The Rosemary Norman Foundation#

Emmanuel Cassimatis*

COR ANGLAIS

Michael Pisani Principal CLARINETS

David Thomas Principal

Philip Arkinstall Associate Principal Craig Hill

BASS CLARINET

Jon Craven Principal BASSOONS

Jack Schiller

Principal Elise Millman Associate Principal Natasha Thomas Dr Martin Tymms and Patricia Nilsson#

CONTRABASSOON

Brock Imison

Principal

HORNS

Nicolas Fleury

Principal Margaret Jackson AC#

Saul Lewis

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

Abbey Edlin Nereda Hanlon and Michael Hanlon AM# Trinette McClimont

Rachel Shaw Gary McPherson#

TRUMPETS

Owen Morris Principal Shane Hooton Associate Principal Glenn Sedgwick# William Evans Rosie Turner John and Diana Frew#

TROMBONES

Richard Shirley Mike Szabo Principal Bass Trombone

TUBA

Timothy Buzbee Principal

TIMPANI PERCUSSION

John Arcaro Anonymous#

Robert Cossom Drs Rhyl Wade and Clem Gruen#

HARP

Yinuo Mu Principal

SAXOPHONE

Jason Xanthoudakis*

The 20s, and all that dissonance | 6–8 October

* Denotes Guest Musician

# Position supported by

The 20s, and all that dissonance

Christopher Moore co-curator, violist & conductor

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.

Meow Meow co-curator, vocalist & narrator

Post-post-modern diva Meow Meow has hypnotised, inspired, and terrified audiences globally with unique creations and sell-out seasons from New York’s Lincoln Center and Berlin’s Bar Jeder Vernunft to London’s West End and the Sydney Opera House.

Named one of the “Top Performers of the Year” by The New Yorker, the spectacular crowd-surfing artist has been called “sensational” (The Times, UK ), a “diva of the highest order” (New York Post), “The Queen of Chanson” (Berliner Zeitung), and “a phenomenon” by the Australian press. Her awardwinning works have been curated by David Bowie, Pina Bausch, Mikhail Baryshnikov and numerous international arts festivals.

Aura Go piano

Aura Go is an Australian pianist whose practice encompasses performance, collaboration, curation, education and creative practice research. Her curiosity and diverse musical interests have taken her across the globe. As a performer, Aura has been soloist in concertos from Bach to Gubaidulina, has directed concertos and large-scale collaborative works from the keyboard, is a passionate advocate for new and underrepresented music, and brings her imagination and adventurous spirit to older music with a special affinity with the music of Mozart and Beethoven. A frequent artist at international music festivals, Aura has performed at the Melbourne International Arts Festival, Edinburgh Festival, Metropolis New Music Festival, Australian Festival of Chamber Music, Huntington Estate Music Festival, Kuhmo Chamber Music Festival, Rauma Festivo and PianoEspoo Festival, among others.

Aura is a member of the acclaimed KIAZMA Piano Duo with Tomoe Kawabata, and enjoys a regular collaboration with Australian Chamber Orchestra principal cellist Timo-Veikko (‘Tipi’) Valve. Recently she took a lead role as pianist-actor in the filmed stage adaptation of Paul Kildea’s book Chopin’s Piano, directed and co-written by Richard Pyros. Aura is Head of Piano at the Sir Zelman Cowen School of Music and Performance at Monash University.

Program Notes

PAUL HINDEMITH (1895–1963)

Chamber Music No. 2 for Piano & 12 Solo Instruments

I. Sehr lebhafte Achtel (very lively)

II. Sehr langsame Achtel (very slow)

III. Kleines Potpourri (small potpourri) –Sehr lebhafte Viertel (very lively)

IV. Finale – Schnelle Viertel (fast)

Aura Go piano

Paul Hindemith’s Kammermusik Nr. 2, subtitled “Klavierkonzert,” is neither chamber music nor exactly a piano concerto, but the title does reflect Hindemith’s knack for recontextualisation and revival—evoking something modern and old at the same time. It was part of a series of seven works for chamber orchestra and soloists he wrote through the 1920s in the mold of the Baroque concerto grosso. All the musicians get moments to shine, and they interact collaboratively with different sub-groupings frequently playing off one another.

Hindemith was born in Hanau, near Frankfurt, in 1895, played violin and viola professionally as a young man, and was drafted into the German Army in 1917, serving for a time in the trenches of Flanders. He gained notice as a composer in the interwar years, part of the same generation as Kurt Weill and Erich Korngold. Hindemith, however, began to push away from their late Romantic and Expressionist influences, embracing Neue Sachlichkeit (new objectivity)— the German version of Neoclassicism championed elsewhere by Sergei Prokofiev, Igor Stravinsky, and Francis Poulenc. In the mid-1930s, Hindemith struggled to accommodate the Nazi Party’s stylistic demands, but after most of his music was denounced and banned anyways, he fled to

The 20s, and all that dissonance

Switzerland and then immigrated to the United States in 1940, where he taught for a decade at Yale University.

Kammermusik Nr. 2 dates from 1924 and was written for Emma Lübbecke-Job, a pianist who shared a warm friendship with Hindemith and premiered several of his works. The solo part is clean and spritely –mostly contrapuntal with running notes in both hands, and with few chords, sonorous textures, or other hallmarks of typical modern piano virtuosity.

The first movement opens strikingly with Bach-like keyboard writing set against a droning low G in the orchestra, held steady for 16 measures. In Baroque music, a pedal point like this is often used to create a sense of tension and trajectory, but here it feels strangely disconnected from the changing harmonies of the solo line, an uncomfortable side-byside that could only be modern. After a quick cadenza, the orchestra enters in a scramble of notes echoing the piano, and they jump back and forth in an intense call-and-response.

The second movement, by far the longest and most elaborate at around eight minutes, begins broodily with the strings and winds in dialogue. Then the piano adds a new element, decorating with trills while the strings play muscularly below and the winds chirp and lament in reply. The middle section is more pensive with gossamer textures, and a surprise up-tempo episode leads back to an ending much like the beginning.

Though Hindemith was known for gruffness in both his music and teaching (he acknowledged only one student over many years as having any talent), the third movement “Small Potpourri” suggests a sense of humor and good fun after all. The Finale takes it even farther with madcap counterpoint and fugue, running through a series of noisy variations on a lighthearted theme.

© Benjamin Pesetsky 2022

WILLIAM WALTON (1902–1983)

Façade (selections)

1. Hornpipe

4. Long Steel Grass

5. Through Gilded Trellises

6. Tango Pasodoble

8. Black Mrs. Behemoth

9. Tarantella

11. By the Lake

15. Something Lies beyond the Scene

16. Valse

20. Fox trot ‘Old Sir Faulk’

21. Sir Beelzebub

Meow Meow vocalist

‘Sir William Walton,’ says Michael Kennedy in his Portrait of Walton, ‘had the misfortune to compose an inimitable, unique masterpiece – Façade – at the start of his career, and although he wrote superb examples in the traditional forms of symphony, concerto, and cantata, [Portsmouth Point, the Sinfonia concertante and the Viola Concerto being written around the same time] he carried that early and deserved success (and notoriety) like an incubus for the rest of his life.’

Façade exists in various forms. It started out in 1921 as a collection of accompaniments to Edith Sitwell’s poems. The actual contents of the collection changed over a number of years, not being settled until 1942, but there are also two orchestral suites, a ballet, and a collection of left-over Sitwell poems set to music in a collection called Façade 2.

Façade dates from the years of Walton’s association with the Sitwells. He had met Sacheverell Sitwell at Oxford in 1919. After failing exams, as Walton later recalled, ‘I said to Sachie, “What the hell am I going to do?” So he said, “Why not

come to stay with us?” I went for a few weeks and stayed about 15 years.’

The Sitwells claimed credit for keeping Walton out of the Royal College of Music or Royal Academy of Music and doing him the greater artistic service of bringing him into contact with inspiring company – the likes of conductor Ernest Ansermet, composer Ferruccio Busoni, and the poets T.S. Eliot, Ezra Pound and Wyndham Lewis. This artistic family, contemporaneous with and as significant as the Bloomsbury Group, provided Walton with heady artistic stimulation. Ten years earlier, Walton remarked, he had been playing marbles in Oldham, Lancashire.

Edith Sitwell wrote her Façade poems as studies in word-rhythms and onamatopoeia:

Tarantella

Where the satyrs are chattering, nymphs with their flattering Glimpse of the forest enhance All the beauty of marrow and cucumber narrow

And Ceres will join in the dance...

They may have appeared to be nonsensical, connecting sometimes only through assonance or image, but there was a continuous thread of allusions and images evoking the bourgeois culture of turn-of-thecentury England – references including Queen Victoria, Tennyson, the greek goddesses, flowers, trees, musichalls and Spanish lovers. Satire and parody alternated with nostalgia and melancholy.

Edith’s poems were intended to be recited for the Sitwells’ own entertainment – a highbrow extension of country house charades – but the idea of setting them to music came from her brothers. Edith would read things like The Hornpipe and Sacheverell would say, ‘This would be much better if you

had music with it.’

They had a tame composer on the premises, who was uncertain of his ability to fulfil their expectations – until they said they’d ask Constant Lambert to do it instead! This fired up Walton’s competitive streak. (Incidentally, Walton later remembered Lambert as the best of Façade’s reciters; and the work is dedicated to him.) From that point, according to Walton, the idea of having an independent musical score against which the words were recited ‘just grew.’

‘I remember so well,’ wrote Osbert, ‘the long sessions that my sister and William had in the rather small room he occupied upstairs and her going over and over the words with him, to show their rhythm and exactly how they went.’ Yet the point of describing the music as an independent score is significant: the music exists independently of the words; it can be detached.

Façade was first performed at No.2 Carlyle Square, London (Osbert Sitwell’s house), on 24 January 1922. Edith Sitwell was the reciter and the instruments consisted solely of clarinet, cello, trumpet and percussion. Only six of the original items from this version have come down to us. The first public performance took place at the Aeolian Hall on 12 June 1923. Alto saxophone, piccolo and flute, as well as ten more songs were added for this premiere. Edith Sitwell delivered the verse, with typical studied detachment, from behind a curtain through which she poked a Spengerphone, the type of megaphone that was invented for the bass-baritone who sings Fafner the dragon in Wagner’s Ring.

The Sitwells and Walton claimed to have heard boos, but these are not mentioned in the diaries of Evelyn Waugh or Virginia Woolf, though some of the press were hostile: ‘Drivel they paid to hear,’ said one critic. Only the critic of Vogue

The 20s, and all that dissonance

perceived that the music ‘sprinkled jewels and flowers with an apt hand on the pathway of Miss Sitwell’s poetry.’ Noel Coward was in the audience and later satirised the poems in a skit about The Swiss Family Whittlebot, in which sister Hernia recites twee poems with her brothers Gob and Sago.

One of the first things Façade proves is the number of influences Walton had absorbed. Some have heard Façade as a spoof on Schoenberg’s Pierrot Lunaire. The instrumental style is more Parisian, somewhat in the line of Satie’s Parade (which Walton had heard in November 1919) and the music of Auric, Poulenc, Tailleferre and Milhaud. Nevertheless, in comparing the 1926 Façade with the earlier version, Constant Lambert said ‘In the original version, which dates from [Walton’s] Central European period, the instruments were mainly occupied by complicated arabesques and the melodic interest was slight – the second version, however, is one good tune after another and each number is a gem of stylisation and parody.’

Florid Schoenbergian figures in the original version may have prompted clarinettist Paul Draper’s forlorn query at the first rehearsal, ‘Mr Walton, has a clarinet player ever done you an injury?’ But Walton’s grasp of the idiom of popular dance forms may have derived from his workouts with Debroy Somers’ hotel band, the Savoy Orpheans. Walton noted later, ‘I wasn’t quick enough really to be of any use [to them]. I used to be allowed a free tea. Quite a help in those days.’

It could be said that this exposure to popular music helped him find his sure melodic aim. Façade, in whatever form, has remained Walton’s most popular piece. Though Walton was to go on to write some of the century’s most significant British music (the Symphony No.1 , Henry V, Belshazzar’s Feast), Façade, writes Hugh Ottaway, ‘with its

sharply contrasting moods of spirited parody and languorous melancholy, is a clear pointer to the mature composer.’

Gordon Kalton Williams © Symphony Australia

IGOR STRAVINSKY (1882–1971)

The Soldier’s Tale

Meow Meow vocalist

After being catapulted to stardom with his three Parisian ballets, Igor Stravinsky might have thought his future was secure. But two events intervened which led to more straitened circumstances. In early 1914 his wife, Katya, succumbed to tuberculosis necessitating a move to Switzerland with their four young children. Then, the outbreak of war in August of that year rendered them exiles. As the war dragged on, commissions dried up and so did Stravinsky’s savings. In early 1918, when his financial situation had reached a critical low, he had the idea of creating a work which would be easy to stage and inexpensive to tour, and began a collaboration with Swiss poet Charles Ferdinand Ramuz. Ramuz fashioned a libretto for three actors and a dancer based on a Russian folk tale, The Runaway Soldier and the Devil. Stravinsky matched Ramuz’s economical mise en scène with a score for seven musicians and no singing. He was no doubt influenced by Schoenberg’s Pierrot Lunaire (1912), a cabaret piece of sorts which similarly contained a large theatricality within small forces. The Soldier’s Tale demonstrated beyond doubt that small could not only be beautiful, but epic, in a gutsy, roughhewn way.

In Ramuz and Stravinsky’s treatment, the Soldier, Joseph, is not a runaway but simply on leave. He is also an adept fiddler, and his violin becomes an object of desire for the Devil who stalks

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The 20s, and all that dissonance

Joseph in many different guises. It is a haunting image, and although Ramuz’s libretto has been criticised over the years for being too wordy, its central theme continues to throw up questions which fascinate us. Can we recognise evil when we encounter it? Can evil be bargained with?

But the real enduring power of The Soldier’s Tale lies in Stravinsky’s score, one of his most varied and inventive. From a limited palette Stravinsky conjures a dazzling spectrum of colours, and the music covers a vast range of moods. The opening march is highly sardonic, which is exactly what we would expect of a march composed towards the end of the Great War, and yet the Royal March from Part II is festive and joyous. The three dances which mark Joseph’s momentary triumph (Tango – Waltz – Ragtime) are also triumphs of Stravinsky’s skill as he transitions seamlessly from one dance to the next. The pivotal violin part is fearsomely difficult, full of double and triple stops which evoke the type of rustic virtuosity a simple soldier might be expected to have, but it is also a new kind of virtuosity, entirely removed from the singing legato of the previous century. In The Soldier’s Tale the violin sings with a ragged, raucous edge, befitting music for a continent bent on self-destruction. We are a long way from Tchaikovsky.

The Soldier’s Tale did not end up being the financial rescue Stravinsky had hoped for, for although its initial season was financed by Swiss millionaire Werner Reinhart, only the premiere in September 1918 took place, the remaining performances cancelled due to the Spanish flu epidemic. As the French say, plus ça change, plus c’est la même chose.

© Philip Lambert

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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

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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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MSO Now & Forever Fund: International Engagement Gandel Foundation

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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

Dr Joel Symons and Liora Symons

Russell Taylor and Tara Obeyesekere Geoffrey Thomlinson

Frank Tisher OAM and Dr Miriam Tisher Andrew and Penny Torok Christina Turner Ann and Larry Turner

The Hon Rosemary Varty Leon and Sandra Velik

The Reverend Noel Whale Edward and Patricia White Edward and Paddy White

Terry Wills Cooke OAM and the late Marian Wills Cooke Robert and Diana Wilson

Richard Withers

Shirley and Jeffrey Zajac Anonymous (15)

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

SupportersBrian 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

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)

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

COMMISSIONING CIRCLE

Mary Armour

The late Hon Michael Watt KC and Cecilie Hall

Tim and Lyn Edward Kim Williams AM

Weis Family

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

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 Danny Gorog Lorraine Hook

Margaret Jackson AC

David Krasnostein AM

Gary McPherson Hyon-Ju Newman

Glenn Sedgwick

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)

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 click below.

Thank you for your support.

BECOME AN MSO PATRON

Thank you to

Media and Broadcast Partners

Trusts and Foundations

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

Freemasons Foundation Victoria

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.