CONCERT PROGRAM
Season Finale Gala Boléro! Proudly presented by MSO Premier Partner Ryman Healthcare 11 –1 2 N OV E M B E R ARTS CENTRE MELBOURNE, HAMER HALL
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THE MEASURE OF RETIREMENT LIVING
Melbourne Symphony Orchestra Jaime Martín conductor Pablo Sáinz-Villegas guitar
Program RAVEL Rapsodie Espagnole RODRIGO Concierto de Aranjuez DE FALLA Three Cornered Hat: Suites 1 & 2
Season Finale Gala: Boléro! | 10–11 November
Artists
RAVEL Boléro *Please note: de Falla’s El Amor Brujo will no longer be performed as part of this program. 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.
These concerts 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.
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Season Opening Gala:
Zenith of Life Melbourne Symphony Orchestra Jaime Martín conductor Siobhan Stagg soprano Season 2023 opens with a new commission by MSO Composer in Residence Mary Finsterer and some of the most achingly beautiful music ever written – R. Strauss’ Four Last Songs and Mahler’s Symphony No.5.
Friday 24 February / 7.30pm Saturday 25 February / 2pm Arts Centre Melbourne, Hamer Hall
B O O K N OW
M S O.C O M . AU
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
Season Finale Gala: Boléro! | 10–11 November
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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Season Finale Gala: Boléro! | 10–11 November
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
Matthew Tomkins
Principal The Gross Foundation#
Robert Macindoe
CELLOS David Berlin
Assistant Principal Danny Gorog and Lindy Susskind#
Mary Allison Isin Cakmakcioglu Tiffany Cheng Glenn Sedgwick#
Jacqueline Edwards* Freya Franzen Cong Gu
Sophie Rowell
Andrew Hall Isy Wasserman Philippa West
Tair Khisambeev
Andrew Dudgeon AM#
Assistant Concertmaster Di Jameson and Frank Mercurio#
Patrick Wong
Peter Edwards
Shane Buggle and Rosie Callanan#
Assistant Principal
Kirsty Bremner Sarah Curro Peter Fellin Deborah Goodall Karla Hanna* Lorraine Hook Anne-Marie Johnson Kirstin Kenny Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor
Jenny Khafagi* Isabel Morse* Fiona Sargeant
Monica Curro
Dale Barltrop
Concertmaster
Anne Neil#
Associate Principal
Newton Family in memory of Rae Rothfield#
Concertmaster David Li AM and Angela Li#
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SECOND VIOLINS
Principal
Rachael Tobin
Associate Principal
Elina Faskhi*
Assistant Principal
Nicholas Bochner Miranda Brockman
Geelong Friends of the MSO#
Rohan de Korte
Andrew Dudgeon AM#
Sarah Morse Alexandra (Aly) Partridge* Rebecca Proietto* Angela Sargeant Michelle Wood Andrew and Judy Rogers#
Hyon Ju Newman#
DOUBLE BASSES
Roger Young
Benjamin Hanlon
VIOLAS Christopher Moore Principal Di Jameson and Frank Mercurio#
Frank Mercurio and Di Jameson#
Rohan Dasika Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#
Lauren Brigden Katharine Brockman Anthony Chataway
Siyuan Vivian Qu* Emma Sullivan*
William Clark* Molly Collier-O’Boyle* Karen Columbine* Ceridwen Davies* Gabrielle Halloran Trevor Jones
Prudence Davis
Dr Elizabeth E Lewis AM#
Correct as of 2 November 2022. Learn more about our musicians on the MSO website.
FLUTES Principal Anonymous#
Wendy Clarke
Associate Principal
Sarah Beggs PICCOLO
HORNS
TIMPANI
OBOES
Principal Margaret Jackson AC#
Nicolas Fleury
Matthew Thomas*
Principal
Stephane Rancourt*
Guest Principal
Ann Blackburn
The Rosemary Norman Foundation#
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
Saul Lewis
Principal Third The late Hon Michael Watt KC and Cecilie Hall#
Abbey Edlin
Nereda Hanlon and Michael Hanlon AM#
Trinette McClimont Eve McEwen* Rachel Shaw
Guest Principal
PERCUSSION Robert Allan* John Arcaro
Tim and Lyn Edward#
Robert Cossom
Drs Rhyl Wade and Clem Gruen#
Gary McPherson#
Greg Sully* Scott Weatherson* Lara Wilson*
TRUMPETS
HARP
Owen Morris
Yinuo Mu
Principal
Season Finale Gala: Boléro! | 10–11 November
Andrew Macleod
Principal
Shane Hooton
Associate Principal Glenn Sedgwick#
William Evans Rosie Turner
John and Diana Frew#
TROMBONES José Milton Vieira*
Guest Principal Trombone
Richard Shirley Mike Szabo
Principal Bass Trombone
TUBA Timothy Buzbee
Principal
* Denotes Guest Musician # Position supported by
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Season Finale Gala: Boléro! | 10–11 November
Jaime Martín conductor Chief Conductor of the Melbourne Symphony Orchestra since 2022, Jaime Martín is also Chief Conductor of the National Symphony Orchestra (Ireland) and Music Director of the Los Angeles Chamber Orchestra. He is the Principal Guest Conductor of the Orquesta y Coro Nacionales de España (Spanish National Orchestra) for the 22/23 season and was Artistic Director and Principal Conductor of Gävle Symphony Orchestra from 2013 to 2022. Having spent many years as a highly regarded flautist, Jaime turned to conducting full-time in 2013, and has become very quickly sought after at the highest level. Recent and future engagements include appearances with the London Symphony Orchestra, Dresden Philharmonic, Netherlands Philharmonic, Royal Stockholm Philharmonic, Colorado Symphony, Dallas Symphony, Antwerp Symphony, Orquesta Sinfónica y Coro de RTVE (ORTVE) and Galicia Symphony orchestras, as well as a nine-city European tour with the London Philharmonic Orchestra. Martín is the Artistic Advisor and previous Artistic Director of the Santander Festival. He was also a founding member of the Orquestra de Cadaqués, where he was Chief Conductor from 2012 to 2019. The Chief Conductor is supported by Mr Marc Besen AC and the late Mrs Eva Besen AO.
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Season Finale Gala: Boléro! | 10–11 November
Pablo Sáinz-Villegas guitar Pablo Sáinz-Villegas has been acclaimed by the international press for his “virtuous and moving performance, with an irresistible exuberance and a range of bright colors” The New York Times. Since his debut at Lincoln Center with the New York Philharmonic, he has become a benchmark in today’s symphonic guitar, playing with conductors and orchestras such as the Los Angeles, Boston, San Francisco, Toronto, Israel Philharmonics, the National Orchestra of France and Spain and performing in historic venues such as Carnegie Hall in New York, the Philharmonie in Berlin, the Concertgebouw in Amsterdam, the National Auditorium in Madrid and the Suntory Hall in Tokyo. His milestones include his interpretation of the Aranjuez Concert with the Berlin Philharmonic Orchestra and its principal conductor Kirill Petrenko on the occasion of the New Year’s concert broadcast in Europe by the television channel ARTE, the Princess of Asturias Awards Concert, and his participation in the Metropolitan Opera Gala last May at the Palace of Versailles. He is the creator and artistic director of La Rioja Festival, an initiative born in 2022. His commitments for the 2022/2023 season include, among others, tours with the Berliner Baroque Solisten, with the mezzo-soprano Isabel Leonard, with the Madrid Community Orchestra in Switzerland, and with the Belgian National Orchestra and conductor Josep Vicent, as well as his participation in the New Year’s Concert of the Czech Philharmonic with the conductor Juanjo Mena. Pablo Sáinz-Villegas has been awarded more than thirty international prizes including the Andrés Segovia, the Riojan Arts Award, the RNE Critical Eye Award, and the Trelles Villademoros awarded by the Royal Body of the Nobility of the Principality of Asturias. He is also Doctor Honoris Causa from the University of La Rioja. He has played for world leaders such as the Dalai Lama and has made numerous world premieres including the first work written for guitar by John Williams. Pablo Sáinz-Villegas was born in La Rioja (Spain) and since 2001 lives in New York City.
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Season Finale Gala: Boléro! | 10–11 November
Program Notes MAURICE RAVEL
(1875–1937)
Rapsodie espagnole I. Prélude à la nuit (Très modéré) – II. Malagueña (Assez vif) III. Habanera (Assez lent et d’un rythme las) IV. Feria (Assez animé) Rapsodie espagnole dates from 1907 – a year in which the composer also produced the opera L’Heure espagnole (it was Ravel’s ‘Spanish year’, according to biographer Arbie Orenstein). Though born only a short distance from the Spanish border, in a little south-western town in France’s Basque territory, Ravel only set foot in Spain two or three times (once, in 1911, for little more than a daytrip). His ability to sound ‘more Spanish than the Spanish’ has delighted yet bewildered many admirers, and astonished even so Spanish a composer as Manuel de Falla, who finally ascribed Ravel’s ability to an ‘ideal Spain’ represented by his mother, undoubtedly the strongest emotional tie of his life. Marie Ravel’s singing of Spanish folksongs had been among Ravel’s earliest memories. The four movement headings of this work promise a suite of Spanish dances. There is more to Rapsodie espagnole than ‘Spanish flavour’. The first movement functions as mood setting. ‘Nuance accounts for a great deal in this exceedingly beautiful piece of nocturnal music,’ says musicologist Laurence Davies. ‘An enormously large orchestra is at hand throughout, but… the listener rarely gets the sensation – inevitable in the closing Feria – of being overwhelmed by a sheer mass of sound.’ Indeed, the almost inaudible taps of the celeste, combining with the cellos and
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double basses, in the dying seconds of the movement testify to the discretion of Ravel’s intentions. Ravel’s love of cross-rhythms is expressed right from the outset. Hearing the descending four-note figure in the strings, the listener assumes a movement in duple time, but iambic ‘short-long’ patterns of emphasis in the woodwinds reveal an overriding 3/4. With barely a breath we are bundled into the Malagueña. Subtle similarities in tonecolour and rhythm echo the preceding movement. The Assez vif opening tempo slows down as the cor anglais enters for a brief solo, more an arabesque than a fully stated melody. There is the briefest glimpse of the four-note descending figure and the spectacularly brief movement ends, almost by sleight of hand, with an upward flourish. Ravel took care to have the date 1895 printed above the Habañera movement in the score. Rapsodie espagnole came out five years after Debussy had written Soirée dans Grenade, another Spanish inspiration, and Ravel was accused of plagiarism. Notwithstanding the fact that Rapsodie espagnole is actually closer in style to two works written later – Debussy’s Ibéria and Falla’s Nights in the Gardens of Spain – this movement is virtually a transcription of a student work of Ravel’s from 20 years earlier. The Hispanic was in Ravel’s blood, and habañeras were an early passion. The Habañera serves as an andante before the whirling atmosphere of the final Feria, which is the longest movement. With its carnival associations, the Feria is also the most cheerful movement. Ravel uses five popular tunes in a real whirling divertissement. A slow intermezzo, introduced by the much-favoured cor anglais, calms proceedings temporarily.
Gaston Carraud at the first performance (on 16 March 1908) dismissed Rapsodie espagnole as ‘slender, inconsistent and fugitive’, but it is the combination of effervescent, sharply defined Spanish rhythms and some of the subtlest orchestration in the repertoire (‘nervous and feline…as smooth as silk’, in RolandManuel’s words) which contributes to the charm of this work. Gordon Kalton Williams Symphony Australia © 1998
JOAQUÍN RODRIGO
(1901–1999)
Concierto de Aranjuez for guitar and orchestra I. Allegro con spirito II. Adagio III. Allegro gentile Pablo Sáinz-Villegas guitar The cliché is that the best Spanish music was written by French composers, but in 1939 a Spanish composer living in Paris wrote the most instantly recognisable Spanish work of the 20th century – and its single most popular concerto. Blinded by diphtheria at the age of three, Joaquín Rodrigo showed an early and impressive talent for music as pianist and composer. After study at the Conservatory in Valencia he travelled to Paris where he studied with Paul Dukas from 1927, and then, after marrying the Turkish pianist Victoria Kamhi in Valencia in 1933, returned to Paris, and remained an expatriate until the end of the Spanish Civil War, returning in 1939. The Concierto de Aranjuez had its first
performance in Barcelona in 1940, and it made Rodrigo’s name. The piece takes its title from the summer palace of Spain’s Bourbon Kings, built by Philip II in the 16th century near Madrid, but given an extensive Baroque makeover in the 18th. For Rodrigo it became a mental image of an idealised Spain, evoking ‘the fragrance of magnolias, the singing of birds and the gushing of fountains’, which as Barbara Heninger notes, are ‘beauties that a blind man such as he could appreciate’. The work is neoBaroque in form, suffused with a handful of the thousands of demotic dance-songs of Spanish folk music.
Season Finale Gala: Boléro! | 10–11 November
The four-note descending figure heard previously returns, helping to build tension before a restoration of the opening mood and tempo; but tidy though Ravel undoubtedly was, this figure is far too cleverly allusive to be merely a form of tight structural binding.
The first movement quickly establishes two things: Rodrigo’s essentially conservative but lively musical language and his mastery of orchestral colour and balance. The guitar’s strumming sets up the simple rhythmic engine of alternating 3/4 and 6/8 patterns derived from the fandango. Rodrigo is careful never to let the delicate timbre of the guitar become submerged in orchestral sounds: at first, for instance, the guitar is accompanied by a light woodwind texture, and even in larger tutti passages, he leaves gaps through which the guitar can be heard. The central Adagio, nearly as long as the outer movements combined, has taken on a life of its own in a great many incarnations. The beautiful melody sung by the cor anglais has been ‘covered’ by performers as diverse as Miles Davis, Fairuz, Demis Roussos and the Grimethorpe Colliery Band. Its deep melancholy led to a legend that it represented Rodrigo’s response to the destruction of Guernica as immortalised in Picasso’s painting, but Victoria Kamhi maintained that its origins were in the death of their first child. In any event it is based on an Andalusian lament sung during processions in Holy Week; it is sometimes used to set the Mourner’s Kaddish in some Sephardic synagogues.
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Season Finale Gala: Boléro! | 10–11 November
The third movement returns to the genial world of the first, though with a rather more aristocratic edge in the heraldic writing for brass. Here again contrasting dance rhythms – this time 2/4 alternating with 3/4 – power the music along. The composer liked to describe his work generally as neocasticista or ‘faithful to a tradition’; on his 90th birthday he was ennobled as Marquis of the Gardens of Aranjuez. Gordon Kerry © 2010
MANUEL DE FALLA The Three-Cornered Hat: Suite No.1 Introduction Afternoon Dance of the Miller’s Wife The Magistrate The Grapes Suite No.2 The Neighbours’ Dance The Miller’s Dance Final Dance In 1907 Falla had left his native Spain in some frustration. Two years before, he had won a prize for his opera La vida breve (‘Life is short’), a work in which he established the principles of working with distinctly Spanish sounds and forms; but when the promised production failed to eventuate, the composer left for Paris.
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Sergei Diaghilev, impresario of the Ballets Russes, was keen to add Falla to a stable of composers that included Stravinsky and Ravel and suggested a ballet of El corregidor y la molinera (‘The Magistrate and the Miller’s Wife’), a novel by Pedro de Alarcón. The war (and the Russian revolution, which meant that Diaghilev was forbidden to enter
Spain) intervened, but by way of a ‘dry run’ Falla produced a pantomime of the story for performance in Madrid. When Diaghilev finally saw the pantomime he suggested several major revisions out of which the ‘ballet with songs’ El sombrero de tres picos (‘The Three-Cornered Hat’) was born. The new work, which was premiered in London in 1919, had sets by Pablo Picasso and choreography by Léonide Massine. Alarcón’s story tells of an ugly miller and his beautiful wife who are devoted to each other. In Act 1, which more or less corresponds to the first of the suites, a distant song warns that all women should lock their door. The suite itself begins with an evocation of afternoon with its shrill bird calls. The local magistrate passes in a procession past the mill, and returns shortly thereafter to try and seduce the miller’s wife. She dances a provocative fandango, colluding with her husband to lead the magistrate on and humiliate him, and then teases him with a bunch of grapes. The magistrate realises that he is being set up and leaves angrily. (The Magistrate’s Dance in Suite No.1 actually occurs in Act 2.) Act 2, from which the second suite is drawn, begins with the miller, his wife and their neighbours dancing the seguidillas, in celebration of St John’s Night. The miller then dances a vibrant farruca before being arrested by the magistrate’s bodyguard (who has a rather Beethovenian way of knocking on the door…). The magistrate returns and chases the miller’s wife; she takes advantage of his falling into the millstream to disappear into the night. The magistrate gets out of those wet things, and leaves them to dry while he takes shelter in the miller’s empty hut. The miller escapes from the bodyguards and returns, puts on the magistrate’s clothes (including his three-cornered hat, a symbol of authority) and goes
off vowing to seduce the magistrate’s wife; the magistrate puts on the miller’s clothes. The miller’s wife returns, as do the townsfolk (with an effigy of the magistrate they propose to burn). Predictably enough, confusion and remonstrances ensue, but once who’s who is sorted out, the magistrate is tossed in a blanket and the townsfolk launch into an energetic and triumphant final jota – complete with castanets. © Gordon Kerry 2005
MAURICE RAVEL Boléro Poor Ravel. He was joking when he described Boléro as a ‘masterpiece without any music in it’, so was very annoyed when the piece became one of his most popular works. In fact it came about when he was asked by the Russian dancer Ida Rubinstein to orchestrate parts of Albéniz’s Iberia for a ballet with a ‘Spanish’ character in 1928. Rubinstein had founded her own company in Paris that year. It is a common and inaccurate cliché that the ‘best Spanish music was written by non-Spaniards’, but it does contain a grain of truth. Musicians from all over Europe were drawn to Spain – or to an idea of Spain – because of its relative exoticism and its musical traditions that include an estimated 1000 different dance forms. French composers in particular, such as Bizet, Chabrier and Debussy, all wrote ‘Spanish’ works. Unlike them, though, Ravel was actually of Spanish – or, to be more specific, Basque – heritage: his mother was Basque and his father Swiss, and though born in the Basque regions of south-western France, Ravel spent his entire life in Paris. But Hispanic music was of great importance to him, and Ravel explores Spanish sounds and manners especially in works like the opera L’heure espagnole (‘The Spanish Hour’, which, with its ticking-
clock music might also have satisfied his Swiss side!), several pieces ‘en forme de habanera’, the Rapsodie espagnole and the late ‘Don Quixote’ songs. In the case of the ballet envisaged by Ida Rubinstein, though, it turned out that the rights to Albéniz’s music were not available, so Ravel composed his Boléro, based on an 18th century Spanish dance-form that is characterised by a moderate tempo and three beats to a bar. It has ‘no music’ in that, having established a two-bar rhythmic ostinato, with its characteristic upbeat triplet and sextuplet figures tapped out by the snared drum, Ravel introduces his simple theme, which he described as of the ‘usual Spanish-Arabian kind’. Where the rhythmic ostinato, however, is relatively terse, the C major melody is in fact very expansive, unfurling over 16 bars and often pausing on a sustained ‘G’ between its ornate arabesque motifs. It is reiterated over and over again, embodied in different orchestral colours each time, including a marvellous moment where it appears simultaneously in three keys moving in sinuous parallel. The work’s shifting palette of colour and inexorable rhythmic tread builds massive tension, which is released explosively in its final bars as the music suddenly reaches the new key of E major. The music’s erotic charge of constraint and release mirrors the scenario for Ida Rubinstein’s ballet, choreographed by Bronislava Nijinska (Nijinsky’s sister). Ravel had, by no means idly, suggested Boléro could accompany a story where passion is contrasted by the mechanised environment of a factory. Nijinska, however, had the dancer in an empty café, dancing alone on a table as the room gradually fills with men overcome, as Michael J. Puri notes, ‘by their lust for her’ which they express through ever more frenetic dance. Gordon Kerry © 2007/12
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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 Gandel Foundation The Gross Foundation Di Jameson and Frank Mercurio Harold Mitchell Foundation Lady Potter AC CMRI The Cybec Foundation The Pratt Foundation 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
PROGRAM BENEFACTORS
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MSO Now & Forever Fund: International Engagement Gandel Foundation Cybec 21st Century Australian Composers Program The Cybec Foundation Digital Transformation The Ian Potter Foundation, The Margaret Lawrence Bequest – Managed by Perpetual, Perpetual Foundation – Alan (AGL) Shaw Endowment ◊ Denotes Adopt a Musician supporter
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Barry Spanger Peter J Stirling Jenny Tatchell Dr Clayton and Christina Thomas Janet Whiting AM Nic and Ann Willcock Anonymous (5)◊
PLAYER PATRONS $1,000+ Dr Sally Adams Anita and Graham Anderson Australian Decorative & Fine Arts Society (ADFAS) Geoffrey and Vivienne Baker Joyce Bown Nigel Broughton and Sheena Broughton Elizabeth Brown Suzie Brown OAM and the late Harvey Brown Ronald and Kate Burnstein Dr Lynda Campbell Kaye Cleary John and Mandy Collins Andrew Crockett AM and Pamela Crockett Panch Das and Laurel Young-Das Natasha Davies, for the Trikojus Education Fund Rick and Sue Deering John and Anne Duncan Jane Edmanson OAM Diane Fisher Grant Fisher and Helen Bird Applebay Pty Ltd David and Esther Frenkiel OAM Anthony Garvey and Estelle O’Callaghan David I Gibbs AM and Susie O’Neill Sonia Gilderdale Dr Marged Goode Chris Grikscheit and Christine Mullen Margie and Marshall Grosby Dr Sandra Hacker AO and Mr Ian Kennedy AM Dawn Hales
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 Paddy White Terry Wills Cooke OAM and the late Marian Wills Cooke Robert and Diana Wilson Richard Withers Shirley and Jeffrey Zajac Anonymous (11)
Supporters
David Hardy Tilda and the late Brian Haughney Cathy Henry Dr Keith Higgins Anthony and Karen Ho Jenny and Peter Hordern Katherine Horwood Penelope Hughes 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 Shirley A McKenzie 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
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
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Supporters 22
Ian and Wilma Chapman Cititec Systems Pty Ltd Charmaine Collins Dr Sheryl Coughlin and Paul Coughlin Gregory Crew Michael Davies Nada Dickinson Bruce Dudon Cynthia Edgell Melissa and Aran Fitzgerald Brian Florence Elizabeth Foster Mary Gaidzkar Simon Gaites Mary-Jane Gething Sandra Gillett and Jeremy Wilkins David and Geraldine Glenny Hugo and Diane Goetze Louise Gourlay OAM Robert and Jan Green Geoff Hayes Jim Hickey William Holder Clive and Joyce Hollands R A Hook Gillian Horwood Peter Huntsman Geoff and Denise Illing 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 Joy Manners Janice Mayfield Dr Alan Meads and Sandra Boon Marie Misiurak
Joan Mullumby Adrian and Louise Nelson Dr Judith S Nimmo Rosemary O’Collins David Oppenheim Howard and Dorothy Parkinson 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 Anonymous (18)
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
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
Sandra Dent Alan Egan JP Gunta Eglite Marguerite Garnon-Williams Drs L C Gruen and R W Wade Louis J Hamon AOM Carol Hay Jennifer Henry 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 late 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 Jaime Martín, Chief Conductor Melbourne Symphony Orchestra
Thank you to our Partners Principal Partner
Education Partner
Premier Partners
Orchestral Training Partner
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