Rachmaninov's Rhapsody

CONCERT PROGRAM

Rachmaninov’s Rhapsody

30 November – 2 December Arts Centre Melbourne, Hamer Hall and Costa Hall, Geelong

Artists Melbourne Symphony Orchestra Jaime Martín conductor Andrea Lam piano

Program BACEWICZ Overture RACHMANINOV Rhapsody on a Theme of Paganini – Interval – SHOSTAKOVICH Symphony No.10 Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham Fraillon AO, will be performed at these concerts.

Concert Events Want to learn more about the music being performed?

30 November at 6.45pm in the Stalls Foyer on Level 2 at Hamer Hall.

2 December at 6.45pm in the Stalls Foyer on Level 2 at Hamer Hall.

Arrive early for an informative and entertaining pre-concert talk with Dr John Gabriel, Lecturer in Musicology at the University of Melbourne.

1 December at 6.45pm in Costa Hall Arrive early for an informative and entertaining post-concert talk with soloist Joyce Yang and MSO Head of Artistic Planning, Katharine Bartholomeusz-Plows.

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

Duration: 2 hours including interval In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.

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

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RACHMANINOV’S RHAPSODY | 30 November – 2 December

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

Each year, the MSO engages with more than 5 million people, presenting in excess of 180 public events across live performances, TV, radio and online broadcasts, and via its online concert hall, MSO.LIVE, with audiences in 56 countries.

With a reputation for excellence, versatility and innovation, the MSO works with culturally diverse and First Nations leaders to build community and deliver music to people across Melbourne, the state of Victoria and around the world.

In 2023, the MSO’s Chief Conductor, Jaime Martín continues an exciting new phase in the Orchestra’s history. Maestro Martín joins an Artistic Family that includes Principal Guest Conductor, Xian Zhang, Principal Conductor in Residence, Benjamin Northey, Conductor Laureate, Sir Andrew Davis CBE, Cybec Assistant Conductor Fellow, Carlo Antonioli, MSO Chorus Director, Warren Trevelyan-Jones, Soloist in Residence, Siobhan Stagg, Composer in Residence, Mary Finsterer, Ensemble in Residence, Gondwana Voices, Cybec Young Composer in Residence, Melissa Douglas and Young Artist in Association, Christian Li. The Melbourne Symphony Orchestra respectfully acknowledges the people of the Eastern Kulin Nations, on whose un-ceded lands we honour the continuation of the oldest music practice in the world.

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RACHMANINOV’S RHAPSODY | 30 November – 2 December

Musicians Performing in this Concert FIRST VIOLINS

SECOND VIOLINS

CELLOS

Natalie Chee*

Matthew Tomkins

David Berlin

Guest Concertmaster

Tair Khisambeev

Principal The Gross Foundation#

Principal

Rachael Tobin

Acting Associate Concertmaster Di Jameson and Frank Mercurio#

Robert Macindoe Associate Principal

Associate Principal Anonymous#

Peter Edwards

Monica Curro

Elina Faskhi

Mary Allison Freya Franzen Cong Gu

Rohan de Korte

Assistant Principal Margaret Billson and the late Ted Billson#

Peter Fellin Deborah Goodall Karla Hanna Lorraine Hook Kirstin Kenny Eleanor Mancini Anne Neil#

Mark Mogilevski Michelle Ruffolo Kathryn Taylor Jacqueline Edwards* Susannah Ng*

Assistant Principal Dr Mary-Jane Gething AO#

Newton Family in memory of Rae Rothfield#

Andrew Hall Isy Wasserman Philippa West

Andrew Dudgeon AM#

Patrick Wong Roger Young

Shane Buggle and Rosie Callanan#

Madeleine Jevons* Jos Jonker* VIOLAS Christopher Moore

Principal Di Jameson and Frank Mercurio#

Katharine Brockman William Clark Jenny Khafagi Fiona Sargeant Molly Collier-O’Boyle* Andrew Crothers* Ceridwen Davies* Lucas Levin* Isabel Morse*

Assistant Principal Di Jameson and Frank Mercurio# Andrew Dudgeon AM#

Sarah Morse Rebecca Proietto Angela Sargeant Caleb Wong Michelle Wood

Andrew and Judy Rogers#

DOUBLE BASSES Jonathan Coco Principal

Rohan Dasika Benjamin Hanlon

Di Jameson and Frank Mercurio#

Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#

Caitlin Bass* Emma Sullivan* FLUTES Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs PICCOLO Andrew Macleod Principal

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Correct as of 13 November 2023 Learn more about our musicians on the MSO website.

* Denotes Guest Musician # Position supported by

Michael Pisani

Acting Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

COR ANGLAIS Rachel Curkpatrick*

Acting Principal

CLARINETS Philip Arkinstall

Associate Principal

Craig Hill

Rosemary and the late Douglas Meagher#

Justin Beere*

HORNS

TIMPANI

Nicolas Fleury

Matthew Thomas

Principal Margaret Jackson AC#

Andrew Young

Associate Principal

Saul Lewis

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

Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

Josiah Kop Rachel Shaw

Gary McPherson#

TRUMPETS Principal

Jon Craven

Rosie Turner

BASSOONS

Callum G’Froerer*

Jack Schiller

TROMBONES

Principal Dr Harry Imber#

Natasha Thomas

Dr Martin Tymms and Patricia Nilsson#

CONTRABASSOON Brock Imison

Principal

PERCUSSION Shaun Trubiano Principal

John Arcaro

Tim and Lyn Edward#

Robert Cossom

Drs Rhyl Wade and Clem Gruen#

Robert Clarke* HARP Yinuo Mu Principal

Owen Morris

BASS CLARINET Principal

Principal

RACHMANINOV’S RHAPSODY | 30 November – 2 December

OBOES

John and Diana Frew#

Mark Davidson Principal

Richard Shirley Mike Szabo

Principal Bass Trombone

TUBA Timothy Buzbee

Principal

* Denotes Guest Musician # Position supported by

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RACHMANINOV’S RHAPSODY | 30 November – 2 December

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.

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RACHMANINOV’S RHAPSODY | 30 November – 2 December

Andrea Lam piano Pronounced a “real talent” by the Wall Street Journal, Australian pianist Andrea Lam performs with orchestras and leading conductors in Australasia, Japan, China and the United States, including the San Francisco Ballet Orchestra, Hong Kong Philharmonic, and all major Australian symphony orchestras. Recently returned after two decades in New York, Andrea has played venues from Carnegie Hall and the Lincoln Center to the Sydney Opera House, with works from Bach, Mozart and Schumann to Aaron Jay Kernis, Matthew Hindson and Nigel Westlake.

Current season engagements include concertos with the Sydney and Melbourne Symphony Orchestras with conductors Sir Donald Runnicles and Jaime Martín, Sydney Opera House’ Utzon Music Series, Adelaide Festival in both Chamber Landscapes and the Ngapa William Cooper Project composed by Lior and Nigel Westlake (commissioned by UKARIA and Finding Our Voice). In 2022, Andrea toured nationally for Musica Viva Australia performing Bach’s Goldberg Varations, performed as soloist with the Sydney, Adelaide and Tasmanian Symphony Orchestras, as pianist alongside renowned baritone Bo Skovhus at Sydney Opera House and as solo pianist for Musica Viva, Melbourne Recital Centre, Phoenix Central Park (Sydney) and Sydney Opera House’ International Piano Day. Andrea Lam was a Semifinalist in the 2009 Van Cliburn Competition, Silver Medalist in the 2009 San Antonio Piano Competition, and winner of the ABC’s ‘Young Performer of the Year’ Award in the Keyboard section, and the Yale Woolsey Hall Competition. She holds degrees from both the Yale, and the Manhattan Schools of Music. Recordings include Mozart concerti with the Tasmanian Symphony Orchestra, with cellist Matt Haimovitz (Pentatone Oxingale), and as part of New York’s acclaimed Claremont Trio. Pianist for violinist Emily Sun on the ARIAnominated album Nocturnes (ABC Classics), Andrea most recently recorded solo piano works by Matthew Hindson, due for 2023/2024 release.

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RACHMANINOV’S RHAPSODY | 30 November – 2 December

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Program Notes GRAŻYNA BACEWICZ

(1909–69) Overture

Grażyna Bacewicz is evidence that talent, training, a substantial body of work, and even recognition and awards during one’s life do not guarantee a consistent place among frequentlyperformed composers. Born in Poland, she was educated at the Warsaw Conservatory as a violinist, and then went to Paris, where in the mid 1930s she studied composition with the famed pedagogue Nadia Boulanger.

She spent the second half of her career in the Soviet sphere, which in theory promoted total gender equality, and she gained international exposure with performances and prizes in the United States and Western Europe. And yet she mostly disappeared from concert programs until recently. If there’s a bright spot to end this story, it’s that we now have a chance to hear excellent music from the recent past almost as if brand new.

Bacewicz wrote her Overture (Uwertura in Polish) in Warsaw in 1943 under German occupation. It was not premiered until September 1945, in a very different world. On August 1, 1944, the underground Polish Home Army began to strike Nazi positions in Warsaw. Encouraged by Moscow Radio, and expecting imminent support from the Red Army, tens of thousands of citizens took up arms. But anticommunist factions in the resistance posed a threat to Soviet postwar plans, so the Red Army halted on the outskirts of Warsaw, allowing the Germans to kill 250,000 more people and raze the city. “Suffice to say that Warsaw is no more,” Bacewicz wrote to her brother the following year, three months after Germany’s surrender. “The city is gone

for but a few houses … there is no railway station there, not a single bridge, nothing but heaps of ruins.” In the same letter, she noted that she’d saved all her compositions “apart from Overture, which I’ve recently reconstructed.” She published it in 1947.

The six-minute piece begins with timpani and a scrubby romp in the strings. It’s a typical Bacewicz effect – dissonant and noisy in the details, but cogent and lively in shape and attitude.

A more lyrical middle section features the flute, recalling her French training.

The end is an exhilarating, optimistic, and brilliantly orchestrated rush. © Benjamin Pesetsky 2023

SERGEI RACHMANINOV

(1873–1943)

Rhapsody on a Theme of Paganini, Op.43 Andrea Lam piano Both Sergei Rachmaninov and Niccolò Paganini (1782–1840) were virtuosos of their eras. There the similarities seem to end. In the 20th century, Rachmaninov, a pianist, was criticized as a sentimental tunesmith and too-late Romantic, and even today diehard modernists give his pieces the stink eye. In the 19th century, people said Paganini sold his soul to the devil for superhuman violin chops – or, in another legend, strangled his wife and learned to fiddle in prison.

The common theme is discomfort with the intersection of art and entertainment, which is exactly where Rhapsody on a Theme of Paganini lives – but not cheaply so. The variation form is especially appropriate, as it led a kind of dual life as a vehicle for flashy salon showpieces on the one hand, and a technique for radical experimentation and expression on the other. Rachmaninov knew he could do both at the same time.

discovered this secret, and marveled at it. But supposedly he just said, “this one is for my agent.”

The 24 variations are played without pause, but can be divided into three sections: fast, slow, and fast (roughly speaking). The Rhapsody starts with a quick introduction and Variation I for the orchestra alone. Only then is the theme presented – in the violins, naturally.

Variations II–VI explore different elements of theme at a brisk pace, while VII steps back into a choralelike refection. Variation X introduces a second theme: the Dies irae chant from the Requiem Mass, finished off with a jazzy sparkle.

(1906–75)

Variation XI enters a new world of eerie tremolo and languid impressionism.

XII is a minuet, while XIII is a heavy plod, with the theme reemerging more audibly in the strings. Soon enough, the moment we’ve all been waiting for is here… Variation XVIII, Andante cantabile. It sounds like an original Rachmaninov melody inserted into the variations, but it derives directly from an inversion of the main theme.

Where Paganini goes up a minor third, Rachmaninov goes down a minor third.

Where Paganini goes down a half step, Rachmaninov goes up a half step. Down a whole step, up a whole step. Up a fifth, down a fifth. Slow it all down and make a few adjustments, and out pours this gorgeous expanse. Rachmaninov must have sat at his piano at Senar,

The last set of variations clears the air with a pizzicato intro. XIX is a hollowedout contour of the theme, XX rushes with brassy touches. XXI–XXIII tumble down Ride of the Valkyries style, before the Dies irae returns out of the fairy chorus of XXIV. A big glissando and a tight punchline. © Benjamin Pesetsky 2023

DMITRI SHOSTAKOVICH

Symphony No.10 in E minor, Op.93 I. Moderato II. Allegro III. Allegretto–Largo–Più mosso

RACHMANINOV’S RHAPSODY | 30 November – 2 December

The theme comes from Paganini’s 24th Caprice in A minor for solo violin, published in 1818. Though Paganini presumably devised the tune himself, the theme feels obvious and inevitable – like common property – and Schumann, Liszt, and Brahms all wrote solo piano variations on it before Rachmaninov made his version as a quasi-concerto.

He composed it over the summer of 1934 at Senar, his Lake Lucerne estate, and premiered it on November 7 of the same year, in Baltimore, Maryland, with Leopold Stokowski and the Philadelphia Orchestra.

IV. Andante–Allegro The longest gap in Dmitri Shostakovich’s symphonic output was the eight years between his Symphony No.9, in 1945, and No.10, in 1953. In between, he was denounced by Soviet authorities for a second time, accused of “formalism” – writing music without a proper social purpose. For a time he lost his teaching posts at the Leningrad and Moscow conservatories and many of his pieces were blacklisted. In need of money, he turned to writing film music, and also recommitted himself to grand, politically correct (in the original sense) cantatas with an eye toward rehabilitation.

Then on March 5, 1953, Joseph Stalin died, ushering in what eventually became known as the Khrushchev Thaw.

That summer, Shostakovich set to work on his Tenth Symphony, finishing the first movement on August 5 and the last on October 25. Some elements seem to date earlier – a colleague said he showed her portions in 1951, and an unfinished violin sonata from 1945 has similar material. The symphony was

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RACHMANINOV’S RHAPSODY | 30 November – 2 December

14

premiered on December 17, 1953, by the Leningrad Philharmonic.

Solomon Volkov’s 1979 book Testimony, which claims to be Shostakovich’s memoir smuggled out of the Soviet Union, pinpoints the symphony as a “portrait of Stalin and the Stalin years.”

The veracity of the book, which paints Shostakovich as a secret dissident writing cryptic protests, is widely disputed. In any political system, it’s possible for someone to recognize the evil and ludicrous nature of a particular regime – even be personally subjected to it – without rejecting the entire premise of the only society they know.

As the harshest restrictions lessened, Shostakovich found that while adhering to the letter of Socialist Realism, he could still express a sweep of “human emotions and passions,” as he called it – including, probably, thoughts and feelings that couldn’t be said out loud.

In April 1945, the Composers’ Union combed through the Tenth Symphony, and after Shostakovich made some obligatory apologies, they gave it a reluctant stamp of approval. It certainly emerged from the circumstances and experiences of the late Stalin era, but if anyone could point to a clear effigy of Stalin in the second movement, it never would have been heard again.

The first movement is a magnificently paced Moderato that builds tension in a single-minded expanse through a series of harrowing climaxes. It begins in the cellos and basses and grows into a string chorale that is somehow both calm and deeply uneasy at the same time. A winding clarinet solo feels like the first utterance of what had so far only been internal; a horn cry introduces fuller symphonic writing, before falling back with a quiet brass chorale and the lonesome clarinet again. Then a new element: a wry little flute solo, accompanied by plucked strings. Slowly this builds up to more than 30 score

pages of overwhelming fortissimo, and just when it seems like there’s no more room to crescendo, Shostakovich brings in military drums and then three devastating crashes on the tam-tam.

He follows with a gradual falloff, almost organ-like, before touching on the opening again (now in the bassoons).

This time, instead of clarinet, the movement dissolves in the eerie whistle of piccolo and timpani.

The seething scherzo reworks material from the first movement at about five times the speed and in one-sixth the time. Pages of fortissimo rush across the conductor’s desk as the orchestra drives relentlessly forward. In a stomachdropping instant, the strings are hushed into near silence without breaking their frantic flight. They re-crescendo to a savage cutoff.

The third movement, Allegretto, cautiously peaks its head out to look around. Along comes an ironic parade, with piccolo and flute accompanied by timpani and triangle. The pitches spell out a kind of emblem – D-SC-H. Dmitri Schostakowitsch. (All in German spelling, where S = E-flat and H = B-natural.) It became a recurring hallmark in his later works, and appears prominently for the first time here.

There’s also a second name hidden in lonesome horn calls: E-La-Mi-Re-La. Elmira. (This one in a mix of German and French notation.) She was Elmira Nazirova, a 25-year-old Jewish Azerbaijani pianist and composer who had studied with Shostakovich in the late ’40s. They reconnected when he visited Baku in 1952, and in April 1953 he started writing her regularly, initiating a mostly one-sided emotional affair by mail. She accepted his invitation to attend the symphony’s first Moscow performance, and he gave her an autographed copy of the score. Between its pages, their musical monograms mingle and then slip apart.

© Benjamin Pesetsky 2023

RACHMANINOV’S RHAPSODY | 30 November – 2 December

The last movement, like the first, begins with cellos and basses. A familiar color, but this time with different, vaguer music. Then we hear the oboe – an instrument hardly used lyrically in the previous movements, but one that often appears in Shostakovich’s music at moments of transformation or rebirth.

From the Andante introduction, a flute solo (reminiscent of the piccolo ending of the first movement) bridges into a darting Allegro, channeling a klezmer wedding dance. Yet its materials are not so different from those of the terrifying Scherzo, just as the cathartic D-S-C-H ending recontextualizes calamitous elements from the first and third movements. In music, small alterations can turn tragedy into triumph, violence into victory.

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Dr Jennifer Henry Anthony and Karen Ho Lorraine Hook Jenny and Peter Hordern Katherine Horwood Jordan Janssen Shyama Jayaswal Basil and Rita Jenkins Sue Johnston John Kaufman Angela Kayser Drs Bruce and Natalie Kellett Akira Kikkawa Dr Judith Kinnear Dr Richard Knafelc and Mr Grevis Beard Dr Jerry Koliha and Marlene Krelle Kerry Landman Bryan Lawrence Lesley McMullin Foundation Dr Jenny Lewis Phil Lewis Dr Kin Liu Andrew Lockwood

Eli Raskin Jan and Keith Richards Roger Parker and Ruth Parker Dr Peter Rogers and Cathy Rogers OAM Dr Ronald and Elizabeth Rosanove Marie Rowland Martin and Susan Shirley P Shore John E Smith Dr Peter Strickland 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 Leon and Sandra Velik The late Reverend Noel Whale Edward & Paddy White Nic and Ann Willcock Lorraine Woolley Dr Kelly and Dr Heathcote Wright

Elizabeth H Loftus

Anonymous (15)

Chris and Anna Long

OVERTURE PATRONS $500+

John MacLeod

Supporters

Mary Gaidzkar

Eleanor & Phillip Mancini

Margaret Abbey PSM

Marshall Segan in memory of Berek Segan OBE and Marysia Segan

Jane Allan and Mark Redmond Mario M Anders

Ian McDonald

Jenny Anderson

Wayne McDonald and Kay Schroer

Dr Judith Armstrong and Robyn Dalziel

Lois McKay

Doris Au

Dr Eric Meadows

Lyn Bailey

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Supporters

Peter Batterham

Dr Kim Langfield-Smith

Peter Berry and Amanda Quirk

Janet and Ross Lapworth

Dr William Birch AM

Pauline and David Lawton

Richard Bolitho

Paschalina Leach

Dr Robert Brook

Sharon Li

Elizabeth Brown

Dr Susan Linton

Suzie Brown OAM and the late Harvey Brown

Kay Liu

John Brownbill

Joy Manners

Daniel Bushaway Jungpin Chen Linda Clifton Dr John Collins Judith Cowden in memory of violinist Margaret Cowden Gregory Crew Sue Cummings Dr Oliver Daly and Matilda Daly Carol des Cognets Bruce Dudon Margaret Flatman Brian Florence Chris Freelance M C Friday David and Geraldine Glenny Louise Gourlay OAM Jan and the late Robert Green Christine Grenda Dawn Hales George Hampel AM KC and Felicity Hampel AM SC Geoff Hayes John Hill William Holder Rod Home Gillian Horwood Noelle Howell and Judy Clezy Geoff and Denise Illing Rob Jackson Wendy Johnson Irene Kearsey & Michael Ridley Peter Kempen AM John Keys

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Professor David Knowles and Dr Anne McLachlan

David Loggia Morris and Helen Margolis Sandra Masel in memory of Leigh Masel Janice Mayfield Gail McKay Shirley A McKenzie Joan Mullumby Marian Neumann Ed Newbigin Valerie Newman Brendan O’Donnell Jillian Pappas Phil Parker The Hon Chris Pearce and Andrea Pearce 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 Julia Schlapp Hon Jim Short and Jan Rothwell Short Madeline Soloveychik Dr Alex Starr Dylan Stewart Tom Sykes Allison Taylor Reverend Angela Thomas Mely Tjandra Chris and Helen Trueman Rosemary Warnock Amanda Watson

Michael Ryan and Wendy Mead

Deborah and Dr Kevin Whithear OAM

Andrew Serpell and Anne Kieni Serpell

Charles and Jill Wright

Jennifer Shepherd

Anonymous (11)

Suzette Sherazee

MSO GUARDIANS

Supporters

Michael Whishaw

Dr Gabriela and Dr George Stephenson Pamela Swansson

Jenny Anderson

Lillian Tarry

David Angelovich

Tam Vu and Dr Cherilyn Tillman

G C Bawden and L de Kievit

Mr and Mrs R P Trebilcock

Lesley Bawden

Peter and Elisabeth Turner

Joyce Bown

Michael Ulmer AO

Patricia A Breslin

The Hon. Rosemary Varty

Mrs Jenny Bruckner and the late Mr John Bruckner

Terry Wills Cooke OAM and the late Marian Wills Cooke

The late Ken Bullen

Mark Young

Peter A Caldwell

Anonymous (20)

Luci and Ron Chambers Beryl Dean

The MSO gratefully acknowledges the support of the following Estates:

Sandra Dent

Norma Ruth Atwell

Alan Egan JP

Angela Beagley

Gunta Eglite

Christine Mary Bridgart

Marguerite Garnon-Williams

The Cuming Bequest

Drs L C Gruen and R W Wade

Margaret Davies

Louis J Hamon AOM

Neilma Gantner

Charles Hardman

The Hon Dr Alan Goldberg AO QC

Carol Hay

Enid Florence Hookey

Jennifer Henry

Gwen Hunt

Graham Hogarth

Family and Friends of James Jacoby

Rod Home

Audrey Jenkins

Lyndon Horsburgh

Joan Jones

Tony Howe

Pauline Marie Johnston

Lindsay and Michael Jacombs

C P Kemp

Laurence O’Keefe and Christopher James

Peter Forbes MacLaren

John Jones

Joan Winsome Maslen

Sylvia Lavelle

Lorraine Maxine Meldrum

Pauline and David Lawton

Prof Andrew McCredie

Cameron Mowat

Jean Moore

Ruth Muir

Joan P Robinson

David Orr

Maxwell and Jill Schultz

Matthew O’Sullivan

Miss Sheila Scotter AM MBE

Rosia Pasteur

Marion A I H M Spence

Penny Rawlins

Molly Stephens

Joan P Robinson

Gwennyth St John

Anne Roussac-Hoyne and Neil Roussac

Halinka Tarczynska-Fiddian

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Supporters

Jennifer May Teague Albert Henry Ullin Jean Tweedie Herta and Fred B Vogel Dorothy Wood

Anne-Marie Johnson

Dr Harry Imber

Sarah Curro, Jack Schiller

Margaret Jackson AC Nicolas Fleury

COMMISSIONING CIRCLE

Di Jameson OAM and Frank Mercurio

Cecilie Hall and the Late Hon Michael Watt KC

The late Dr Elizabeth A Lewis AM

Tim and Lyn Edward Weis Family

Elina Fashki, Benjamin Hanlon, Tair Khisambeev, Christopher Moore Anthony Chataway

David Li AM and Angela Li Dale Barltrop

FIRST NATIONS CIRCLE

Rosemary and the late Douglas Meagher

John and Lorraine Bates

Gary McPherson

Colin Golvan AM KC and Dr Deborah Golvan

Anne Neil

Sascha O. Becker Maestro Jaime Martín Elizabeth Proust AO and Brian Lawrence Guy Ross

Craig Hill

Rachel Shaw

Eleanor Mancini

Newton Family in memory of Rae Rothfield Cong Gu

The Rosemary Norman Foundation Ann Blackburn

The Kate and Stephen Shelmerdine Family Foundation

Andrew and Judy Rogers

Michael Ullmer AO and Jenny Ullmer

Glenn Sedgwick

Jason Yeap OAM – Mering Management Corporation

Dr Martin Tymms and Patricia Nilsson

ADOPT A MUSICIAN Shane Buggle and Rosie Callanan Roger Young

Andrew Dudgeon AM

Rohan de Korte, Philippa West

Michelle Wood

Tiffany Cheng, Shane Hooton Natasha Thomas

Anonymous

Prudence Davis

HONORARY APPOINTMENTS Life Members

Tim and Lyn Edward

Mr Marc Besen AC

John Arcaro

John Gandel AC and Pauline Gandel AC

Dr John and Diana Frew

Sir Elton John CBE

Rosie Turner

Sophie Galaise and Clarence Fraser Stephen Newton

Dr Mary-Jane Gething AO

Harold Mitchell AC Lady Potter AC CMRI Jeanne Pratt AC

Monica Curro

Michael Ullmer AO and Jenny Ullmer

The Gross Foundation

Anonymous

Dr Clem Gruen and Dr Rhyl Wade

MSO Ambassador Geoffrey Rush AC

Matthew Tomkins Robert Cossom

Cecilie Hall and the late Hon Michael Watt KC Saul Lewis

Nereda Hanlon and Michael Hanlon AM

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David Horowicz

Abbey Edlin

Mrs Eva Besen AO

MSO BOARD Chairman

John Brockman OAM

David Li AM

The Honourable Alan Goldberg AO QC

Co-Deputy Chairs

Roger Riordan AM

Di Jameson OAM

Ila Vanrenen

Helen Silver AO

MSO ARTISTIC FAMILY Jaime Martín

Chief Conductor

Xian Zhang

Principal Guest Conductor

Managing Director Sophie Galaise Board Directors Shane Buggle Andrew Dudgeon AM

Benjamin Northey

Martin Foley

Principal Conductor in Residence

Lorraine Hook

Carlo Antonioli

Margaret Jackson AC

Cybec Assistant Conductor

Sir Andrew Davis CBE Conductor Laureate

Hiroyuki Iwaki †

Gary McPherson Farrel Meltzer Edgar Myer

Conductor Laureate (1974–2006)

Glenn Sedgwick

Warren Trevelyan-Jones

Mary Waldron

MSO Chorus Director

Siobhan Stagg

Soloist in Residence

Supporters

The MSO honours the memory of Life Members

Company Secretary Oliver Carton

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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Thank you to our Partners PRINCIPAL PARTNER

INTERNATIONAL LAW FIRM PARTNER

VENUE PARTNER

PREMIER PARTNERS

ORCHESTRAL TRAINING PARTNER

GOVERNMENT PARTNERS

EDUCATION PARTNERS

MAJOR PARTNERS

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