Ryman Healthcare Spring Gala: Symphonic Tales by Melbourne Symphony Orchestra

CONCERT PROGRAM

Ryman Healthcare Spring Gala: Symphonic Tales

9–13 November Arts Centre Melbourne, Hamer Hall

Artists Melbourne Symphony Orchestra Jaime Martín conductor Haochen Zhang piano With Musicians from Orchestral Training Partner, Australian National Academy of Music (ANAM)

Program DUKAS The Sorcerer’s Apprentice* TCHAIKOVSKY Piano Concerto No.1* – Interval – RIMSKY-KORSAKOV Scheherazade Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham Fraillon AO, will be performed at these concerts. *These pieces will only be performed on November 9 and 11.

Concert Events Want to learn more about the music being performed? Pre-concert talk: 9 & 11 November at 6.45pm in the Stalls Foyer on Level 2 at Hamer Hall. Arrive early for an informative and entertaining pre-concert talk with MSO Head of Learning and Engagement, Nicholas Bochner, ANAM flautist Laura Cliff and Cybec Assistant Conductor, Carlo Antonioli.

Post-concert talk: 13 November at 7.45pm in the Stalls Foyer on Level 2 at Hamer Hall. Stay after the performance for an informative and entertaining post-concert talk with MSO Head of Learning and Engagement, Nicholas Bochner and MSO Chief Conductor Jaime Martín.

Duration 9–11 November: 2 hours and 10 minutes including interval. 13 November: 50 minutes with no interval.^

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

In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone. ^ Quick Fix at Half Six is proudly presented by TarraWarra Estate

Acknowledging Country

About Long Time Living Here

In the first project of its kind in Australia, the MSO has developed a musical Acknowledgment of Country with music composed by Yorta Yorta composer Deborah Cheetham Fraillon AO, featuring Indigenous languages from across Victoria. Generously supported by Helen Macpherson Smith Trust and the Commonwealth Government through the Australian National Commission for UNESCO, the MSO is working in partnership with Short Black Opera and Indigenous language custodians who are generously sharing their cultural knowledge. The Acknowledgement of Country allows us to pay our respects to the traditional owners of the land on which we perform in the language of that country and in the orchestral language of music.

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

In all the world, only Australia can lay claim to the longest continuing cultures and we celebrate this more today than in any other time since our shared history began. We live each day drawing energy from a land which has been nurtured by the traditional owners for more than 2000 generations. When we acknowledge country we pay respect to the land and to the people in equal measure. As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music. In order to compose the music for this Acknowledgement of Country Project I have had the great privilege of working with no fewer than eleven ancient languages from the state of Victoria, including the language of my late Grandmother, Yorta Yorta woman Frances McGee. I pay my deepest respects to the elders and ancestors who are represented in these songs of acknowledgement and to the language custodians who have shared their knowledge and expertise in providing each text. I am so proud of the MSO for initiating this landmark project and grateful that they afforded me the opportunity to make this contribution to the ongoing quest of understanding our belonging in this land. — Deborah Cheetham Fraillon AO

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

RYMAN HEALTHCARE SPRING GALA: SYMPHONIC TALES | 9–13 November

Melbourne Symphony Orchestra Each year, the MSO engages with more than 5 million people, presenting in excess of 180 public events across live performances, TV, radio and online broadcasts, and via its online concert hall, MSO.LIVE, with audiences in 56 countries. With a reputation for excellence, versatility and innovation, the MSO works with culturally diverse and First Nations leaders to build community and deliver music to people across Melbourne, the state of Victoria and around the world. In 2023, the MSO’s Chief Conductor, Jaime Martín continues an exciting new phase in the Orchestra’s history. Maestro Martín joins an Artistic Family that includes Principal Guest Conductor, Xian Zhang, Principal Conductor in Residence, Benjamin Northey, Conductor Laureate, Sir Andrew Davis CBE, Cybec Assistant Conductor Fellow, Carlo Antonioli, MSO Chorus Director, Warren Trevelyan-Jones, Soloist in Residence, Siobhan Stagg, Composer in Residence, Mary Finsterer, Ensemble in Residence, Gondwana Voices, Cybec Young Composer in Residence, Melissa Douglas and Young Artist in Association, Christian Li. The Melbourne Symphony Orchestra respectfully acknowledges the people of the Eastern Kulin Nations, on whose un-ceded lands we honour the continuation of the oldest music practice in the world.

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Musicians Performing in this Concert FIRST VIOLINS Rebecca Chan*

Guest Concertmaster

Peter Edwards

Assistant Principal Margaret Billson and the late Ted Billson#

Kirsty Bremner Peter Fellin Deborah Goodall Karla Hanna Lorraine Hook Anne-Marie Johnson David Horowicz#

Kirstin Kenny Eleanor Mancini Anne Neil#

Michelle Ruffolo Kathryn Taylor Emily Beauchamp^ Jacqueline Edwards* Michael Loftus-Hills* Susannah Ng* Adrian Biemmi+ Louise Turnbull+ SECOND VIOLINS Matthew Tomkins

Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro

Cong Gu

Newton Family in memory of Rae Rothfield#

Andrew Hall Isy Wasserman Patrick Wong Roger Young

Shane Buggle and Rosie Callanan#

Jos Jonker* Oksana Thompson* Lynda Latu+ Natalie Mavridis+ VIOLAS Christopher Moore

Principal Di Jameson and Frank Mercurio#

Alexandru-Mihai Bota* Guest Associate Principal

Lauren Brigden Katharine Brockman William Clark Gabrielle Halloran Jenny Khafagi Isabel Morse Fiona Sargeant Ceridwen Davies* Caroline Henbest* Heidi von Bernewitz* Jamie Miles+ Ariel Postmus+

Assistant Principal Dr Mary-Jane Gething AO#

Mary Allison Isin Cakmakçioglu Freya Franzen

Correct as of 17 October 2023 Learn more about our musicians on the MSO website.

CELLOS David Berlin Principal

Rachael Tobin

Associate Principal Anonymous#

Elina Faskhi

Assistant Principal Di Jameson and Frank Mercurio#

Rohan de Korte

Andrew Dudgeon AM#

Sarah Morse Rebecca Proietto Angela Sargeant Caleb Wong Michelle Wood

Andrew and Judy Rogers#

Alexandra Partridge* Nadia Barrow+ Jack Overall+ DOUBLE BASSES Jonathon Coco Principal

Rohan Dasika Benjamin Hanlon

Di Jameson and Frank Mercurio#

Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#

Caitlin Bass* Siyuan Vivian Qu* Emma Sullivan* Oakley Paul+ Adrian Whitehall+

* Denotes Guest Musician # Position supported by

Prudence Davis

HORNS

TIMPANI

Principal Anonymous#

Principal Margaret Jackson AC#

Nicolas Fleury

Matthew Thomas

Wendy Clarke

Andrew Young

Shaun Trubiano

Maria Zhdanovich+

Saul Lewis

Associate Principal

PICCOLO Andrew Macleod Principal

OBOES Michael Pisani

Acting Principal

Alexandra Allan+ Ann Blackburn

The Rosemary Norman Foundation#

CLARINETS David Thomas

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

Josiah Kop Rachel Shaw

Gary McPherson

Rosemarry Yang+ TRUMPETS Owen Morris Principal

Shane Hooton

Callum G’Froerer* Nicholas Corkeron+

BASS CLARINET

TROMBONES

Jon Craven

Mark Davidson

BASSOONS

Richard Shirley Harrison Steele-Holmes+ Mike Szabo

Principal

Jack Schiller

Principal Dr Harry Imber#

Tasman Compton+ Chris Martin* CONTRABASSOON

Principal

Robert Allan John Arcaro

Tim and Lyn Edward#

Robert Cossom

Drs Rhyl Wade and Clem Gruen#

Steven Bryer+ Jesse Vivante+ HARP Yinuo Mu Principal

Associate Principal Glenn Sedgwick and Dr Anita Willaton#

Clare Fox+

Principal

PERCUSSION

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FLUTES

Principal

Principal Bass Trombone

TUBA Timothy Buzbee

Principal

Brock Imison Principal

* Denotes Guest Musician ^ Denotes MSO Academy + Denotes ANAM musician # Position supported by

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RYMAN HEALTHCARE SPRING GALA: SYMPHONIC TALES | 9–13 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.

Since winning the gold medal at the Thirteenth Van Cliburn International Piano Competition in 2009, Haochen Zhang has captivated audiences in the United States, Europe, Asia and Australia with a unique combination of deep musical sensitivity, fearless imagination, and spectacular virtuosity.

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Haochen Zhang piano

Haochen Zhang has already appeared with prestigious orchestras all over the world including the New York Philharmonic, The Philadelphia Orchestra, London Symphony Orchestra, Frankfurt Radio Symphony Orchestra, Munich Philharmonic, San Francisco Symphony, Los Angeles Philharmonic, Israel Philharmonic Orchestra, NHK Symphony Orchestra and China Philharmonic Orchestra. In July 2019, Haochen Zhang released his début concerto album on BIS Records performing Prokofiev’s Second Piano Concerto and Tchaikovsky’s First Piano Concerto with the Lahti Symphony Orchestra under Dima Slobodeniouk. In October 2022, Haochen recorded the five Beethoven concertos with the Philadelphia Orchestra under Nathalie Stutzmann. He is a graduate of the Curtis Institute of Music in Philadelphia where he studied under Gary Graffman. He was previously trained at the Shanghai Conservatory of Music and the Shenzhen Arts School with Professor Dan Zhaoyi.

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The Australian National Academy of Music (ANAM) is a dynamic and outward-facing cultural institution; a training and performance company committed to engaging with its communities. It is recognised as the only professional performance training institute of its kind in Australia, and one of few in the world. ANAM has industry partnerships with over 20 organisations across Australia and internationally. It is a member of the Australian Government-funded Arts8 group of training organisations committed to providing the high level studio-based training necessary to ensure that the national performing arts sector can continue telling Australian stories for generations. ANAM’s intensive program provides a global network of artists and performers who provide mentorship and guidance for emerging young musicians. ANAM alumni are found in many of the world’s leading orchestras, ensembles and as independent artistic leaders. This performance is part of ANAM and MSO’s Orchestral Training Partnership.

TRAINING THE NEXT GENERATION “Today’s world is in need of musicians who are creative, independent, and ready to be the torchbearers for the art we all love. We pledge to guide them wisely during what is possibly the most exciting chapter in their artistic lives so far – the time when talented students transform into young professional artists.” – Paavali Jumppanen, ANAM Artistic Director FIND OUT MORE anam.com.au

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Program Notes PAUL DUKAS

(1865–1935)

The Sorcerer’s Apprentice In 1894, writing in one of his regular columns in La Revue hebdomadaire, Dukas observed that ‘the question of the pictorial in music has been much discussed, but the study of its potential for the comic has, on the contrary, been left almost completely in the shade’. He goes on to explore various examples of humour in music from the ‘primitives’ (that is, the Renaissance) to his own day, and concludes that ‘nothing, in the category of human feelings, is a stranger to music’. As if to prove his point, in 1897 he produced one of the great comic masterpieces of music: The Sorcerer’s Apprentice, which enjoyed instant popularity after its premiere in 1897 and was the vehicle for one of Walt Disney’s most memorable cartoons. Dukas’ reputation as a composer rests largely on this piece and the very few others that survived his self-critical purges, and, indeed, after 1912 he composed practically nothing, concentrating instead on teaching a generation of composers that included Messiaen and Duruflé and producing sophisticated musical commentary. In this scherzo (‘joke’), Dukas returns to an early love, the poetry of Goethe. The ballad, written a century earlier, is essentially a fable of the misuse of partially understood power. The apprentice, left alone by his master, enchants a broom, endowing it with limbs to draw water from the well. Not knowing the spell to stop the broom, the apprentice chops it in half but now has two creatures inexorably filling the house with water. The sorcerer returns in time to set things right with a short, emphatic spell.

Dukas begins mysteriously, with a gradual crystallisation of short motifs into themes. The comically lumbering bassoon, the washes of sound suggesting inundation and the sorcerer’s magisterial intervention are sheer orchestral magic. Gordon Kerry © 2013

PYOTR ILYICH TCHAIKOVSKY

(1840–1893)

Piano Concerto No.1 in B flat minor, Op.23 I. Allegro non troppo e molto maestoso – Allegro con spirito II. Andantino semplice – Prestissimo – Andantino semplice III. Allegro con fuoco Haochen Zhang piano If it was fortuitous that Tchaikovsky succeeded at his first attempt, writing perhaps the ‘greatest piano concerto of all time’, then it is remarkable that he simultaneously created a new Russian genre. The striking mix of lyricism and virtuosity in his First Piano Concerto, Op.23, which was written over six weeks late in 1874, would later be emulated by many Russian composers. The concerto is not Tchaikovsky’s only youthful work to find a permanent place in the repertoire – Romeo and Juliet (1869, but later revised) and Swan Lake (1876) are distinguished inclusions – but it was the first to receive an international premiere. The dedicatee of the concerto, Hans von Bülow, performed it in Boston, Massachusetts in 1875 to positive reviews, yet one wonders if the small band, consisting of only four first violins, were a match for the music’s potential. (A critic noted that, after a missed entry of the trombones in the first movement, von Bülow cried out ‘the brass may go to hell!’) Rather, it is likely that the potential of the new concerto was first realised in a performance in Moscow by Sergei

nationalist group of composers (the so-called kuchka) by using a Ukrainian folksong, ‘Oy, kryatshe, kryatshe’.

It had been to Anton Rubinstein’s younger brother, Nikolai – equally as gifted by all accounts – that Tchaikovsky had turned within days of the score’s completion, seeking advice about piano composition that only a professional could offer. Instead, and quite notoriously, he savaged the concerto, devastating its composer with comments suggesting that, in all, only a few pages could be salvaged and that the remainder should be discarded. There has been speculation ever since over the reason for Rubinstein’s reaction – ranging from jealousy to a tempestuous personality – but the defiant young Tchaikovsky remained true to his word, publishing the work exactly as it stood. Nikolai Rubinstein was soon to recant his position, however: as well as conducting the first Moscow performance with Taneev, he performed it often as soloist in the years before his early death.

The simple theme that opens the second movement typifies Tchaikovsky’s innate gift for melody, the solo flute conjuring folk-like affinities. A central section – originally marked Allegro vivace assai but later escalated to Prestissimo, no doubt capitalising on the concerto’s virtuosic appeal – briefly quotes a café waltz, Il faut s’amuser, danser et rire, well-known to the composer’s circle of friends. And it is to another Ukrainian folksong, ‘Vïdy, vïdy, Ivan’ku’, that Tchaikovsky turns for the principal theme of the finale, its dance-like cross-rhythms again evoking national character. The broadly lyrical melody that contrasts with this material twice succeeds in holding back the momentum, before the concerto arrives at a seemingly inevitable conclusion: a forceful octave cadenza traverses the entire keyboard, and moves head-long into an apotheosised statement of the movement’s main lyrical theme. With the pianist indefatigably leading the entire orchestra with fortissimo treble chords, it is a famous and satisfying ending. (And for more than a few composers who followed, one that proved irresistible to copy!)

In hindsight, it may have been over the demanding solo part that he had voiced concerns, or about sections where piano textures might be lost beneath the orchestration. Similarly, it could have been about structural matters that are still difficult to explain today, chief of which is the famous melody that begins the concerto but which, inexplicably, never returns. In this opening passage, Tchaikovsky eventually relented to advice, replacing lightweight arpeggios that had previously accompanied the soaring melody with the now-famous double-octave chords (revised version, 1889). In terms of structure, it is the brisk, dotted theme that quietly follows which is the real first subject in this sonata-form movement. And here, as if to indicate to the world the ethnic authenticity of his music, Tchaikovsky follows in the style of the newly formed

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Taneev later that year, following an apparently mediocre performance given by Gustav Kross in St Petersburg.

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NIKOLAI RIMSKY-KORSAKOV

(1844–1908)

Scheherazade – Symphonic Suite, Op.35 I.

Largo e maestoso – Lento – Allegro non troppo (The Sea and Sinbad’s Ship)

II. Lento (The Tale of Prince Kalendar) III. Andantino quasi allegretto (The Young Prince and the Young Princess) IV. Allegro molto – Vivo – Allegro non troppo e maestoso – Lento (Festival at Baghdad – The Sea – The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior – Conclusion) Rimsky-Korsakov composed this symphonic suite in the winter of 1887–88. He and Alexander Glazunov were just then completing Borodin’s opera Prince Igor. Not long before, Rimsky had completed Mussorgsky’s opera, Khovanshchina. But Rimsky-Korsakov was now a long way from the ideals that had spurred on Russia’s ‘Mighty Handful’ in the 1860s. While Balakirev, Borodin, Mussorgsky, César Cui and Rimsky himself had once made a virtue of amateurism, roughness, and earthy nationalism in the name of a certain authenticity, Rimsky’s music had become increasingly polished. He had, after all, become professor of composition at the St Petersburg Conservatory. Scheherazade is probably the most spectacular example of his orchestral expertise. Scheherazade has been described as ‘a kaleidoscope of fairytale images and designs of Oriental character’. Though based on some of the stories in the classic of Arabic literature, The Thousand and One Nights, it’s not strictly program music. The movement headings, says the composer in his autobiography, are meant ‘to direct but

slightly the hearer’s fancy on the path which my own fancy had travelled’. Nevertheless you can hear certain obvious features. The various stories in the Thousand and One Nights are bound together by a framing device: a tale about the vengeful sultan Shahryar who marries a new wife each day and puts her to death the following morning until he marries Scheherazade who beguiles him with a story ‘to be continued’ each night, until a thousand tales have been told and he’s forgotten his original murderous intention. In RimskyKorsakov’s orchestra you can hear the severe sultan in the trombone-heavy introduction of the principal theme. Scheherazade’s way of weaving a story is expressed by a solo violin whose arabesques preface the first, second and fourth movements and appear toward the end of the third. ‘To orchestrate is to create,’ said Rimsky-Korsakov, meaning that orchestration is as much musical creation as the invention of melodies or counterpoint and harmonisation. Though Scheherazade possesses delightful melodies and rhythmic vitality and crispness (such as the triple-tonguing trumpets in the last movement), it is the orchestration which guarantees the luminosity of this work. After the stern opening cedes to the sweetness of Scheherazade’s talespinning violin, the first movement depicts The Sea and Sinbad’s Ship. Through repetitions of the simplest material, Rimsky uncannily depicts the billowing and undulating of the ocean. Perhaps here we can glimpse the composer who began adult life as a naval midshipman who took Berlioz’s treatise on orchestration aboard ship. The Thousand and One Nights contains tales within tales. In The Story of the Kalender Prince a fakir tells Sinbad how he was buffeted between veiled

Rimsky-Korsakov considered this work among the finest examples of his orchestral virtuosity before coming under the influence of Wagner. But it is the work by which he best became known and from the time Diaghilev toured a choreographed version of it to Paris in 1910 it became one of the bestloved examples of Russian music in the West.

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women and a monstrous genie. RimskyKorsakov’s ternary form – a peaceful opening with more tempestuous middle section – is largely based on the same theme, subjected to the form of variation traditional in Russian music since the time of Glinka: graphic changes in orchestral colouring. The Young Prince and the Young Princess provides the inspiration for Rimsky’s slow movement. The final movement conveys the teeming activity of an Oriental festival before segueing into a reprise of the opening movement’s depiction of the sea, this time with crashing cymbals as the ‘ship goes to pieces on a rock surmounted by a bronze warrior’. Finally, Scheherazade has the last word.

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Supporters

Supporters MSO PATRON Her Excellency Professor the Honourable Margaret Gardner 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 OAM and Frank Mercurio Harold Mitchell Foundation Lady Potter AC CMRI Cybec Foundation The Pratt Foundation The Ullmer Family Foundation Anonymous

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

PROGRAM BENEFACTORS

MSO Now & Forever Fund: International Engagement Gandel Foundation Cybec 21st Century Australian Composers Program Cybec Foundation Digital Transformation Perpetual Foundation – Alan (AGL) Shaw Endowment First Nations Emerging Artist Program The Ullmer Family Foundation East meets West The Li Family Trust, National Foundation for Australia-China Relations MSO Live Online Crown Resorts Foundation, Packer Family Foundation

MSO Education Anonymous MSO Academy Di Jameson OAM and Frank Mercurio, Mary Armour, Christopher Robinson in memory of Joan P Robinson MSO For Schools Crown Resorts Foundation, Packer Family Foundation, Department of Education, Victoria, through the Strategic Partnerships Program Melbourne Music Summit Department of Education, Victoria, through the Strategic Partnerships Program MSO Regional Touring Angior Foundation, William & Lindsay Brodie Foundation Creative Victoria, Freemasons Foundation Victoria, Gwen and Edna Jones Foundation, Robert Salzer Foundation, The Sir Andrew & Lady Fairley Foundation, Uebergang Foundation The Pizzicato Effect Hume City Council’s Community Grants program, The Marian and E.H. Flack Trust, Flora & Frank Leith Charitable Trust, Australian Decorative And Fine Arts Society, Anonymous Sidney Myer Free Concerts Sidney Myer MSO Trust Fund and the University of Melbourne

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OVERTURE PATRONS $500+ Margaret Abbey PSM Jane Allan and Mark Redmond Mario M Anders

Supporters

Jenny Anderson Dr Judith Armstrong and Robyn Dalziel Doris Au Lyn Bailey Robin Batterham Richard Bolitho Dr Robert Brook Elizabeth Brown Suzie Brown OAM and the late Harvey Brown John Brownbill Daniel Bushaway Jungpin Chen Linda Clifton Dr John Collins Dr Sheryl Coughlin and Paul Coughlin Judith Cowden in memory of violinist Margaret Cowden Gregory Crew Sue Cummings Merrowyn Deacon Suzanne Dembo Carol des Cognets Bruce Dudon Margaret Flatman Brian Florence Martin Foley Chris Freelance M C Friday David and Geraldine Glenny Hugo and Diane Goetze Louise Gourlay OAM Jan and the late Robert Green Christine Grenda Dawn Hales George Hampel AM KC and Felicity Hampel AM SC Dr Neville Hathaway Geoff Hayes William Holder Rod Home Gillian Horwood Noelle Howell and Judy Clezy Geoff and Denise Illing Rob Jackson

Wendy Johnson Irene Kearsey & Michael Ridley John Keys Lesley King Professor David Knowles and Dr Anne McLachlan Dr Kim Langfield-Smith Janet and Ross Lapworth Pauline and David Lawton Paschalina Leach Sharon Li Dr Susan Linton Kay Liu Joy Manners Morris and Helen Margolis Sandra Masel in memory of Leigh Masel Janice Mayfield Gail McKay Shirley A McKenzie Alan Meads Joan Mullumby Marian Neumann Ed Newbigin Valerie Newman Brendan O’Donnell Jillian Pappas Phil Parker The Hon Chris Pearce and Andrea Pearce Peter Berry and Amanda Quirk Kerryn Pratchett William Ramirez Geoffrey Ravenscroft Dr Christopher Rees Professor John Rickard Peter Riedel Michael Riordan and Geoffrey Bush Fred and Patricia Russell Carolyn Sanders Dr Marc Saunders Dr Nora Scheinkestel Julia Schlapp Madeline Soloveychik Dr Alex Starr Dylan Stewart Tom Sykes

MSO GUARDIANS Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Patricia A Breslin Mrs Jenny Bruckner and the late Mr John Bruckner Ken Bullen Peter A Caldwell Luci and Ron Chambers Beryl Dean Sandra Dent Alan Egan JP Gunta Eglite Marguerite Garnon-Williams Drs L C Gruen and R W Wade Louis J Hamon AOM Charles Hardman Carol Hay Jennifer Henry Graham Hogarth Rod Home Lyndon Horsburgh Tony Howe Lindsay and Michael Jacombs Laurence O’Keefe and Christopher James John Jones Sylvia Lavelle Pauline and David Lawton Cameron Mowat Ruth Muir David Orr Matthew O’Sullivan Rosia Pasteur

Penny Rawlins Joan P Robinson Anne Roussac-Hoyne and Neil Roussac Michael Ryan and Wendy Mead Andrew Serpell and Anne Kieni Serpell Jennifer Shepherd Suzette Sherazee Dr Gabriela and Dr George Stephenson Pamela Swansson Lillian Tarry Tam Vu and Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Peter and Elisabeth Turner Michael Ulmer AO The Hon. Rosemary Varty Terry Wills Cooke OAM and the late Marian Wills Cooke Mark Young Anonymous (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 Joan P Robinson Maxwell and Jill Schultz Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens

Supporters

Allison Taylor Reverend Angela Thomas Mely Tjandra Chris and Helen Trueman Amanda Watson Michael Whishaw Charles and Jill Wright Anonymous (13)

Supporters

Gwennyth St John Halinka Tarczynska-Fiddian Jennifer May Teague Albert Henry Ullin Jean Tweedie Herta and Fred B Vogel Dorothy Wood

COMMISSIONING CIRCLE Cecilie Hall and the Late Hon Michael Watt KC Tim and Lyn Edward Weis Family

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

ADOPT A MUSICIAN Shane Buggle and Rosie Callanan Roger Young

Andrew Dudgeon AM

Rohan de Korte, Philippa West

Tim and Lyn Edward John Arcaro

Dr John and Diana Frew Rosie Turner

Sophie Galaise and Clarence Fraser Stephen Newton

Dr Mary-Jane Gething AO Monica Curro

The Gross Foundation Matthew Tomkins

Dr Clem Gruen and Dr Rhyl Wade Robert Cossom

Cecilie Hall and the late Hon Michael Watt KC

Saul Lewis

Nereda Hanlon and Michael Hanlon AM Abbey Edlin

David Horowicz

Anne-Marie Johnson

Dr Harry Imber

Sarah Curro, Jack Schiller

Margaret Jackson AC Nicolas Fleury

Di Jameson OAM and Frank Mercurio

Elina Fashki, Benjamin Hanlon, Tair Khisambeev, Christopher Moore

The late Dr Elizabeth A Lewis AM Anthony Chataway

David Li AM and Angela Li Dale Barltrop

Rosemary and the late Douglas Meagher Craig Hill

Gary McPherson Rachel Shaw

Anne Neil

Eleanor Mancini

Newton Family in memory of Rae Rothfield Cong Gu

The Rosemary Norman Foundation Ann Blackburn

Andrew and Judy Rogers Michelle Wood

Glenn Sedgwick

Tiffany Cheng, Shane Hooton

Dr Martin Tymms and Patricia Nilsson Natasha Thomas

Anonymous

Prudence Davis

HONORARY APPOINTMENTS Life Members Mr Marc Besen AC John Gandel AC and Pauline Gandel AC Sir Elton John CBE Harold Mitchell AC Lady Potter AC CMRI Jeanne Pratt AC Michael Ullmer AO and Jenny Ullmer Anonymous MSO Ambassador Geoffrey Rush AC

MSO BOARD Chairman David Li AM Co-Deputy Chairs Di Jameson OAM Helen Silver AO

Warren Trevelyan-Jones

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

Siobhan Stagg

Company Secretary Oliver Carton

MSO ARTISTIC FAMILY Jaime Martín

Chief Conductor

Xian Zhang

Principal Guest Conductor

Benjamin Northey

Principal Conductor in Residence

Carlo Antonioli

Cybec Assistant Conductor

Sir Andrew Davis CBE Conductor Laureate

Hiroyuki Iwaki †

Conductor Laureate (1974–2006) MSO Chorus Director Soloist in Residence

Supporters

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

Gondwana Voices

Ensemble in Residence

Christian Li

Young Artist in Association

Mary Finsterer

Composer in Residence

Melissa Douglas

Cybec Young Composer in Residence

Christopher Moore

Creative Producer, MSO Chamber

Deborah Cheetham Fraillon AO MSO First Nations Creative Chair

Dr Anita Collins

Creative Chair for Learning and Engagement

Artistic Ambassadors Tan Dun Lu Siqing

The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our supporters to get close to the MSO through a range of special events. The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $500+ (Overture) $1,000+ (Player) $2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario) $50,000+ (Virtuoso) $100,000+ (Platinum)

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JAIME CONDUCTS THE PLANETS

Join the MSO and conductor Jaime Martín for two of the most emotionally-stirring works of all time: Elgar’s Cello Concerto with soloist Alban Gerhardt, and Holst’s magnificent The Planets. THURSDAY 21 MARCH / 7.30pm SATURDAY 23 MARCH / 7.30pm Arts Centre Melbourne, Hamer Hall B O O K N OW

M S O.C O M . AU

Thank you to our Partners PRINCIPAL PARTNER

PREMIER PARTNERS

GOVERNMENT PARTNERS

VENUE PARTNER

EDUCATION PARTNERS

MAJOR PARTNERS

ORCHESTRAL TRAINING PARTNER

SUPPORTING PARTNERS

Quest Southbank

Ernst & Young

Bows for Strings

MEDIA AND BROADCAST PARTNERS

TRUSTS AND FOUNDATIONS

Freemasons Foundation Victoria

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