1

MONDAY 9 APRIL 2018

MELBOURNE RECITAL CENTRE PRESENTS

GREAT PERFORMERS CONCERT SERIES 2018

JAMES EHNES

PHOTO:BENJAMIN EALOVEGA

‘ A lone figure on a completely empty stage, Ehnes required nothing but his performance with which to captivate the audience.’ THE AGE

VIOLIN

MONDAY 9 APRIL 2018, 7.30PM Elisabeth Murdoch Hall

6.45PM Free pre-concert talk with John Weretka

DURATION One hour & 50-minutes including a 20-minute interval

This concert is being recorded by ABC Classic FM for a deferred broadcast.

Melbourne Recital Centre acknowledges the people of the Kulin nation on whose land this concert is being presented.

PEFC Certified

This product is from sustainably managed forests and controlled sources.

www.pfc.org

SERIES PARTNER

LEGAL FRIENDS OF MELBOURNE RECITAL CENTRE

JAMES EHNES

CANADA

JAMES EHNES

JOHANN SEBASTIAN BACH (1685-1750)

Partita No.3 for solo violin in E, BWV 1006 Preludio Loure Gavotte en Rondeau Menuett I Menuett II Bourrée Gigue

Sonata No.3 for solo violin in C, BWV 1005 Adagio Fuga Largo Allegro assai

INTERVAL 20-minutes

Partita No.2 for solo violin in D minor, BWV 1004 Allemanda Corrente Sarabanda Giga Ciaconna

PROGRAM

4

JAMES EHNES

GREAT PERFORMERS 2018

5

JOHANN SEBASTIAN BACH (1685-1750)

Partita No.3 for solo violin in E, BWV 1006 Preludio Loure Gavotte en Rondeau Menuett I Menuett II Bourrée Gigue

Sonata No.3 for solo violin in C, BWV 1005 Adagio Fuga Largo Allegro assai

INTERVAL 20-minutes

Partita No.2 for solo violin in D minor, BWV 1004 Allemanda Corrente Sarabanda Giga Ciaconna

Sei Solo a Violino senza Basso accompagnato

The early evolution of the violin, in terms of its construction, repertoire and playing styles, was centred in Italy during the 16th and early 17th centuries. However, a distinctive tradition of violin making and performance began to emerge in German-speaking lands around 1650. The luthier Jacob Stainer, who was based in the Tyrol region of Austria, produced a series of finely crafted instruments, and a number of contemporaneous composer-performers contributed notable works to the expanding literature for the instrument. These included influential Sonatas by Johann Heinrich Schmelzer and Heinrich Ignaz Franz Biber. In Dresden, the repertoire for unaccompanied violin began to flourish. Significant sets of Scherzi by Johann Jakob Walther and solo Partitas by Johann Paul von Westhoff were composed there during the 1670s and 1680s.

These compositions were, to varying degrees, important precursors to J.S. Bach’s monumental Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin without accompanying Bass) which, according to the manuscript, were completed in 1720 in Cöthen. Bach learnt to play the violin as a young boy and his first professional position in Weimar in

1703 included directing and leading the court orchestra from the violin or viola. He owned a fine Jacob Stainer violin, which he probably used in Cöthen and later in Leipzig. Although he achieved greater fame as an organist, he continued to play the violin throughout his life. His son Carl Philip Emmanuel Bach said of his father’s violin playing: ‘In his youth, and until the approach of old age, he played the violin cleanly and penetratingly, and thus kept the orchestra in better order than he could have done with the harpsichord. He understood to perfection the possibilities of all stringed instruments.’

Bach inherited many aspects of the German violin school. The aforementioned works were all in public circulation at the end of the 17th century, and Bach would have certainly encountered them in his training. Bach’s set of Sei Solo grew out of this tradition, though the extensive expressive demands and structural innovations he used are unprecedented. It is interesting to note that the seriousness, intensity and polyphonic complexity of the solo works show his debt to his German forebears, whilst his more public violin concertos display the influence of the Italian Antonio Vivaldi’s lighter dramatic style.

ABOUT THE MUSIC

6

JAMES EHNES

We do not know for what purpose Bach composed his works for unaccompanied violin. Like almost all his music they remained unpublished during his own lifetime and they had to wait until 1802 to receive their first printing. Despite this, several manuscript copies were disseminated in musical circles in the decades immediately following their composition, so they were not totally neglected. A prominent violinist in the Dresden court orchestra, Johann Georg Pisendel (who had also written a Solo Sonata in A minor for violin in 1717) was well acquainted with Bach, and perhaps Bach’s own solo violin works found their way into his hands. However, it is most likely that they were used privately in a pedagogical format, in order to inspire students to master and conquer exceptional musical and technical challenges. On the title page of the first book of the Well-Tempered Clavier, a set of preludes and fugues for keyboard compiled just two years after the violin solos, Bach proclaims ‘for the use and profit of the studious musical youth, and also of the special diversion of those already skillful in this study.’ This statement of intent from the composer applies equally well to the violin works.

Bach was preoccupied with the composition of instrumental music during the six years (1717-1723) he spent in Cöthen. As music was not allowed at worship at the Calvinist Court, his duties did not require the production of religious works. The six violin solos were completed there alongside such compositions as the Brandenburg Concertos, the first

Orchestral Suites, the Violin Concertos, a large number of keyboard works, duo sonatas involving the flute, violin and viola da gamba with harpsichord and the Six Suites for solo cello. These latter works are companion pieces to the solo violin compositions, though they do not explore the same variety of forms and are perhaps less bold in their conception.

The six violin works are to be played without an accompanying bass instrument. The bass in Baroque music was of profound and decisive importance. It could be realised on a variety of keyboard or stringed instruments and would define and embody the entire harmonic framework of the music. In dispensing with the supportive bass, Bach found innovative methods to imply the background harmonic plan in a single monodic line, or, to actualize it sonically in complex double-stopping. The set of works thus covers a wide range of textural approaches, from economical and unadorned melodic lines to rich and full resonances resulting from the violin’s three or four strings sounding together. The violinist is presented with the formidable technical tasks of accompanying him or herself in the fashion of a duet in slow cantabile movements, delineating several voices simultaneously in the fugues, stating single voiced passages with purity, providing distinctive rhythmic characterisation in the dance movements, and reeling off virtuosic finales and gigues with abandon.

GREAT PERFORMERS 2018

7

The collection of six works comprises three Sonatas and three Partitas. They are arranged in a carefully ordered alternating sequence. The Sonatas all possess four movements and the same overall design, with a slow rhapsodical introduction leading to a fugue, a song-like contemplative interlude in a related key and a binary form finale in constant running motion. The Partitas are more varied in pattern, with each having a different weight and number of movements. The Partitas are essentially dance suites, though the stylistic origins and character of these are often stretched, abstracted and transcended to an extraordinary degree.

Partita No.3 in E, BWV 1006 Preludio Loure Gavotte en Rondeau Menuett I Menuett II Bourrée Gigue

Of the set of Sei Solo, the last is the lightest in character. It is the Partita that comes closest to the traditional dance suite and it dispenses with polyphonic complexity entirely. All the dances are comparatively short in duration and are in the bright tonic key of E major.

Before the sequence of dances begins, a vigorous Preludio in constant running notes initiates the joyous Partita No.3. This Preludio became particularly famous during the 19th century and was frequently performed in

isolation from the rest of the Partita. Bach made various transcriptions of this movement, including one for solo organ accompanied by an orchestra of oboes, trumpets, timpani and strings in Leipzig in 1731, where it forms the opening Sinfonia to his Cantata ‘Wir danken dir Gott, wir danken dir’, BWV 29.

The first dance, a French Loure, is an unusual choice for Bach. He appears to have written only one other example, in his French Suite in G major BWV 816 for keyboard, of this slow lilting dance. The well-known Gavotte en Rondeau, with its memorable refrain that appears five times, is frequently separated from its neighbouring movements in concert performances. The final three dances – a pair of contrasting Minuettos, a rapid Bourrée and a lively Gigue – round off the Partita with a cheerful and untroubled touch.

Sonata No.3 in C, BWV 1005 Adagio Fuga Largo Allegro assai

The grand Sonata No.3 commences with an introductory Adagio characterised by a rocking yet insistent dotted rhythm. It steadily traverses its harmonic plan before settling on an expectant dominant chord. This leads without pause into the immense Fuga, one of the largest and most ambitious fugal structures Bach composed for any instrument.

8

JAMES EHNES

The stately theme is based on the first line of the Lutheran chorale, ‘Komm, heiliger Geist’ (Come, Holy Ghost). As the complex polyphonic part-writing naturally requires almost constant double, triple and quadruple stopping, Bach plants single line episodes at several junctures to provide essential contrast and release. Most of the devices found in his long keyboard fugues are also employed here, including inversions, simulation of organ pedals (with the lower open strings used as drones) and stretto (strict imitation with a minimum of delay). Around two-thirds of the way through the theme appears upside down (clearly marked al riverso in the score) and Bach triumphantly concludes the broadly proportioned Fuga with an almost exact repetition of the opening exposition.

The peaceful song-like Largo that follows provides emotional relief and is in the closely related key of F major. It has the character of an intermezzo with delicate double stopping on the lower strings supporting a lyrical melodic line above. The virtuosic final Allegro assai is in a brilliant concertante style that recalls some of the single line episodes of the Fuga. The uninterrupted cascade of semiquavers necessitates some intricate string crossings in order to outline the harmonic scheme.

Partita No.2 in D minor, BWV 1004 Allemanda Corrente Sarabanda Giga Ciaconna

The structural balance of the Partita No.2 is highly unusual in that the mighty final Ciaccona (or Chaconne, a form based on a recurring bassline pattern) possesses a weight and grandeur that risks overshadowing the four preceding dances. In terms of duration, it is roughly the same length as the other movements combined. Its presence at the end gives the entire work a strong forward trajectory and, having experienced the movements unfold in sequence, a sense of resolution that convinces retrospectively.

All five movements share a similar opening harmonic gambit that helps integrate the Partita into an organic whole. The Allamanda, a moderately paced German dance in quadruple meter, comprises a steady stream of semiquavers that gives the work a seriousness of intent from the start. The pace quickens with the flowing triplets and jagged intervals of the Corrente. The Sarabanda is particularly sorrowful, and beautifully combines three and four-part chordal writing with winding single

GREAT PERFORMERS 2018

9

line arabesques. It typically follows earlier models in consisting of two repeated parts, but the addition of a small coda imparts a special feeling of pathos. With the lively yet stern Giga that follows, the listener could be forgiven for thinking that the entire Partita is coming to a conclusion.

The colossal closing Ciaconna contains more than 60 variations on a solemn chordal progression and is organised in a panel-like triptych. The central group of variations provide emotional relief as they are cast in the radiant tonic major key. It is the only significant shift out of the dark minor mode in the entire Partita. The Ciaccona has inspired many later composers, including Brahms, Busoni, Raff and Stokowski to transcribe it for various instrumental forces. In 1877, in a letter to Clara Schumann, Brahms made the following admiring comment regarding this movement: ‘For me, the Chaconne is one of the most wonderful, unfathomable pieces of music. On just one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings.’

James Cuddeford © 2018

Australian violinist and composer James Cuddeford is concertmaster of the Hong Kong Sinfonietta.

JOHANN SEBASTIAN BACH

10

JAMES EHNES

James Ehnes has established himself as one of the foremost violinists of his generation. Gifted with a rare combination of stunning virtuosity, serene lyricism and an unfaltering musicality, Ehnes is a favourite guest of many of the world’s most respected conductors including Ashkenazy, Alsop, Sir Andrew Davis, Denève, Elder, Ivan Fischer, Gardner, Paavo Järvi, Noseda, Robertson and Runnicles. Ehnes’s long list of orchestras includes, amongst others, the Boston, Chicago, Cleveland, Philadelphia, Los Angeles, Pittsburgh, New York, London Symphony, Philharmonia, BBC Philharmonic, Czech Philharmonic, DSO Berlin and the NHK Symphony orchestras.

Recent and future orchestral highlights include the MET Orchestra at Carnegie Hall with Noseda, London Symphony with Alsop, Gewandhausorchester Leipzig with Shelley, Vienna Symphony with Elder, New York Philharmonic with Mena, Deutsches Symphonie-Orchester Berlin with Slatkin, Chicago Symphony with Gaffigan, Orchestre National de France with Gardner, Cleveland, Philadelphia and Boston Symphony Orchestras with Denève, Frankfurt Radio Symphony with Orozco-Estrada, Pittsburgh Symphony with Honeck, Minnesota Orchestra with Vänskä, Sydney Symphony with Søndergård,

ABOUT THE ARTIST

GREAT PERFORMERS 2018

11

Hong Kong Philharmonic with van Zweden and Oslo Philharmonic with Petrenko. In 2017, Ehnes premiered the Aaron-Jay Kernis Violin Concerto with the Toronto, Seattle and Dallas Symphony Orchestras; future performances of the piece include with the Deutsches Symphonie-Orchester and Melbourne Symphony Orchestra. Ehnes was awarded the 2017 Royal Philharmonic Society Award in the Instrumentalist category.

Alongside his concerto work, James Ehnes maintains a busy recital schedule. He performs regularly at the Wigmore Hall, Carnegie Hall, Symphony Center Chicago, Amsterdam Concertgebouw, Ravinia, Montreux, Chaise-Dieu, the White Nights Festival in St Petersburg, Festival de Pâques in Aix, and in 2009 he made a sensational debut at the Salzburg Festival performing the Paganini Caprices. In 2016, Ehnes undertook a cross-Canada recital tour, performing in each of the country’s provinces and territories, to celebrate his 40th birthday.

As a chamber musician, he has collaborated with leading artists such as Andsnes, Lortie, Vogler and Yo-Yo Ma. In summer 2017, Ehnes made his debut at the Verbier Festival performing with artists including Antonio Pappano, Yuja Wang, Nikolaï Lugansky, Antoine Tamestit and Mischa Maisky. In 2010, he formally established the Ehnes Quartet, with whom he has performed in Europe at venues including the Wigmore Hall, Auditorium du Louvre in Paris and Théâtre du Jeu de Paume in Aix, amongst others. Ehnes is the Artistic Director of the Seattle Chamber Music Society.

Ehnes has an extensive discography and has won many awards for his recordings including a Gramophone Award for his live recording of the Elgar Concerto with Sir Andrew Davis and the Philharmonia Orchestra. His recording of the Korngold, Barber and Walton violin concertos won a Grammy Award for ‘Best Instrumental Soloist Performance’ and a JUNO award for ‘Best Classical Album of the Year’. His recording of the Paganini Caprices earned him universal praise, with Diapason writing of the disc, “Ehnes confirms the predictions of Erick Friedman, eminent student of Heifetz: ‘there is only one like him born every hundred years’.” Ehnes’s recent recording of the Bartók concertos was nominated for a Gramophone Award in the Concerto category. Recent releases include sonatas by Beethoven, Debussy, Elgar and Respighi, and concertos by Britten, Shostakovich and Prokofiev, as well as the Beethoven Violin Concerto with the Royal Liverpool Philharmonic Orchestra and Andrew Manze, which was released in October 2017 (Onyx Classics).

Ehnes began violin studies at the age of four, became a protégé of the noted Canadian violinist Francis Chaplin aged nine, made his orchestral debut with Orchestre Symphonique de Montréal aged 13 and graduated from The Juilliard School in 1997, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music. He is a Fellow of the Royal Society of Canada and in 2010 was appointed a Member of the Order of Canada.

James Ehnes plays the ‘Marsick’ Stradivarius of 1715.

12

INSPIRED GIVINGA PLACE OF UNPARALLELED MUSICAL VIBRANCYLOCAL HEROES LEADERSHIP CIRCLEInaugural Local Heroes BenefactorThe Klein Family FoundationMajlis PtyMaria Sola

MUSIC CIRCLE PATRONS PROGRAMMagnum Opus Circle ($20,000+)Melbourne Recital Centre Board of Directors Kathryn Fagg Peter & Cally Bartlett Stephen Carpenter & Leigh Ellwood Joseph Corponi The Hon Mary Delahunty Paul Donnelly & Brigitte Treutenaere Margaret Farren-Price & Prof Ronald Farren-Price AM

Eda Ritchie AM

Composers Circle ($4000+)Anonymous (1)John & Lorraine BatesRobert & Jan GreenJenny & Peter HordernDiana LempriereMessage Consultants Australia James Ostroburski & Leo OstroburskiDrs Victor & Karen Wayne Musicians Circle ($2500+)Liz & Charles BaréAnn LahoreJoyce Marks & Danielle DavisShelley & Euan MurdochGreg NoonanSirius FoundationMary Vallentine AO

Prelude Circle ($1000+)Adrienne BasserHelen BrackSandra Burdett & Bill Burdett AM

Maggie CashJohn Castles AM & Thelma Castles OAM

Julie Ann Cox AM & Laurie Cox AO

Kathy & George DeutschMary DraperLord Francis Ebury & Lady Suzanne EburyMaggie EdmondSusan FallawThe Leo & Mina Fink FundAngela GloverAnn GordonJan GrantNance Grant AM MBE & Ian HarrisSue Hamilton & Stuart Hamilton AO

Henkell Family Fund In memory of Beryl HooleyStuart JenningsDr Garry Joslin & Prof Dimity Reed AM

George & Grace KassSnowe LiMaria MercurioBaillieu Myer AC & Sarah MyerStephen Newton AO

Dr Paul Nisselle AM

Elizabeth O’KeeffeHelen PerlenDr Robert PiaggioKerryn PratchettSandra Robertson & Philip CachiaDr Peter Rogers & Cathy RogersPeter Rose & Christopher MenzIn Memory of Pauline SpeedyRob & Philippa SpringallBarbara & Duncan SutherlandPamela SwanssonSally WebsterJanet Whiting AM & Phil LukiesSupporters ($500+)Anonymous (1)Jenny AndersonPeter J ArmstrongMin Li ChongProf John Daley & Rebecca CoatesSylvia GeddesPenelope HughesAngela & Richard Kirsner

Barbara Kolliner & Peter Kolliner OAM

Dr Anne LierseJane MorrisDr Diane Tibbits

ACCESS TO THRILLING MUSIC FOR EVERYONE SHARE THE MUSICSHARE THE MUSIC($10,000+)Krystyna Campbell-PrettyJohn & Susan Davies($4000+)Helen & Michael GannonLinda Herd($2500+)Anne Burgi & Kerin Carr($1000+)Keith & Debby BadgerKaye & David BirksMaria HansenIn memory of Beryl HooleyProf John Langford AM & The Late Christina McCallumAnn Miller Greg Shalit & Miriam FaineProf Richard Smallwood AO & Carol Smallwood($500+)Anonymous (4)Caroline & Robert ClementeVivien & Jacob FajgenbaumShulan Guo & Morris WatersDr Robert HetzelDr Kingsley GeeWendy Kozica, Alan Kozica & David OÇallaghanDr Marion LustigMaria McCarthyDennis & Fairlie NassauAndrew & Georgina PorterBarry & Barbara ShyingRosemary Walls

A PLATFORM FOR THE VERY BESTGREAT PERFORMERS LEADERSHIP CIRCLEAnonymous (1)Brian & Esther BenjaminPaulette & Warwick BisleyThe John & Jennifer Brukner FoundationGeorge & Laila EmbeltonGeoff & Jan PhillipsMaria Sola

SIGNATURE EVENTS LEADERSHIP CIRCLEInaugural Signature Events BenefactorsYvonne von Hartel AM & Robert Peck AM of peckvonhartel architectsLEGAL FRIENDSLegal Friends Inaugural PatronsThe Hon Justice Michelle Gordon & The Hon Kenneth M Hayne AC QC

($4000+)Naomi Golvan & George Golvan QC

The Hon Justice Michelle Gordon & The Hon Kenneth M Hayne AC QC

Peter & Ruth McMullinPeter B Murdoch QC & Helen MurdochMaya Rozner & Alex King($2500+)Anonymous (1)Meredith SchillingPeter J Stirling & Kimberley Kane($1000+)Anonymous (3)Marcia & John K ArthurJames BarberPeter BartlettAnnette Blonski & Martin Bartfeld QC David ByrneThe Hon Alex Chernov AC QC & Mrs Elizabeth ChernovLeslie G ClementsChristine CloughThe Hon Julie Dodds-StreetonColin Golvan QC & Dr Deborah GolvanTimothy GoodwinThe Hon Hartley Hansen QC & Rosalind HansenRobert Heathcote & Meredith KingThe Hon Peter Heerey AM QC & Sally HeereyJudge Sara Hinchey & Tom PikusaJohn Howie AM & Dr Linsey HowiePandora Kay & John LarkinsAnthony J & Philippa M KellyMaryanne B Loughnan QC

GREAT PERFORMERS 2018

13

Banjo McLachlan & Paul MahonyElizabeth O’KeeffeRalph & Ruth RenardMichael Shand QC

Tom SmythThe Hon Judge Josh Wilson & Dr Silvana Wilson($500+)Ingrid BraunElizabeth BorosKatherine BrazenorThe Hon Stephen Charles & Jennifer CharlesGeorgie ColemanThe Hon David L Harper AM

The Hon Chris Maxwell AC

The Hon Justice O’CallaghanMichael & Penny Rush

NURTURING YOUNG ARTISTS ARTIST DEVELOPMENT LEADERSHIP CIRCLEInaugural Artist Development & Music Education BenefactorThe Late Betty Amsden AO

Anonymous (1)Peter Jopling AM QC

Mrs Margaret S Ross AM & Dr Ian C RossCHILDREN & FAMILIES LEADERSHIP CIRCLEThe Late Betty Amsden AO

MASTER CLASS LEADERSHIPS CIRCLEEnsemble GiovaneELISABETH MURDOCH CREATIVE DEVELOPMENT FUND($20,000+)Annamila Pty LtdThe John & Jennifer Brukner FoundationKrystyna Campbell-PrettyYvonne von Hartel AM & Robert Peck AM of peckvonhartel architectsAnne Kantor AO & Dr Milan Kantor OAM

($10,000+)The Pratt FoundationAngelina & Graeme Wise($4000+)Julian Burnside QC AO & Kate Durham

John Calvert-Jones AM & Janet Calvert-Jones AO

Andrew & Theresa DyerKathryn Fagg*Jo Fisher*Lyndsey & Peter HawkinsKatrina & Simon Holmes à CourtDr Alastair JacksonSylvia & Michael Kantor Christine Sather*The Sentinel FoundationSusan ThacoreDr Cherilyn Tillman & Tam VuLyn Williams AM

YMF AustraliaIgor Zambelli($2500+)Susan Alberti AC & Colin North OAM

John & Mary BarlowArnold & Mary BramJacinta Carboon*Dr Shirley Chu & Wanghua William ChuChristine & Michael CloughJoyce Marks & Danielle Davis*($1000+)Anonymous (2)ARM ArchitecturePeter J Armstrong*Bailey-Lord Family*Adrienne BasserCarolyn & Tony BaumMary Beth Bauer*Fiona Bennett*Jane BloomfieldHelen BrackNorah Breekveldt*Zoe Brinsden*Barbara BurgeJohn Castles AM & Thelma Castles OAM

W K Clark & B Heilemann*The Hon Mary Delahunty Paul Donnelly & Brigitte TreutenaereDr Jane Gilmour OAM & Terry Brain*Andrea GoldsmithColin Golvan QC & Dr Deborah GolvanNaomi Golvan & George Golvan QC

Peter Grayson

Robert & Jan GreenHeathcote Wines*Prof Andrea Hull AO*In memory of Beryl Hooley Dr Garry Joslin & Prof Dimity Reed AM

Liane Kemp*Sally MacIndoeAnnette MaluishJustice Jane Matthews AO

Norene Leslie McCormac*Message Consultants AustraliaDr Richard Mills AM

Rosemary O’Connor*Tim Orton & Barbara DennisJames Ostroburski & Leo OstroburskiProf David Penington AC & Dr Sonay PeningtonHoward PennyGeoff & Jan PhillipsShelley RowlandsLaura Thomas*The Ullmer Family Foundation Mary Vallentine AO

Janet Whiting AM & Phil Lukies($500+)Dr Russell BasserBrian & Esther BenjaminMarc Besen AC & Eva Besen AO

Ann BryceSir Rodrick Carnegie AC & Eve McGlashanAdrian Collette AM & Rachel SlatteryJim Cousins AO & Libby CousinsJulie Anne Cox & Laurie Cox AO

George & Laila EmbeltonJoshua Evans°Margaret Farren-Price & Prof Ronald Farren-Price AM

Nance Grant AM MBE & Ian HarrisThe Hon Justice Michelle Gordon & The Hon Kenneth M Hayne AC QC

Jean HadgesDr Robert HetzelDavid & Rosemary HousemanJohn Howie AM & Dr Linsey HowiePenny HutchinsonPeter Jopling AM QC & Dr Sam Mandeng

Stirling Larkin, Australian Standfirst°Snowe Li°Simon & Jodie MaddenSusan & Peter Mahler Peter & Ruth McMullinPeter B Murdoch QC & Helen MurdochShelley & Euan MurdochChristine Rodan & Erskine Rodan OAM

Campbell Rose & Georgette TooheyMrs Margaret S Ross AM & Dr Ian C RossKim & Graham Sherry OAM

Prof Richard Smallwood AO & Mrs Carol SmallwoodPeter J Stirling & Kimberley KaneLady Marigold Southey AC

Felicity Teague

REACHING BEYOND THE CENTREMARY VALLENTINE LIMITLESS STAGE FUND($20,000+)Naomi Milgrom AO

Kim Williams AM

($10,000+)The Late Betty Amsden AO

Lady Marigold Southey AC

($4000+)Kathryn Greiner AO

Peter & Ruth McMullin($2500+)Lady Primrose Potter AC

($1000+)Jenny & Peter HordernThe Ullmer Family FoundationJanet Whiting AM & Phil LukiesIgor Zambelli($500+)Susan M Renouf

List of patrons at 28 March 2018.

14

THANK YOU

Melbourne Recital Centre acknowledges the generous support of its business partners, philanthropic supporters and patrons.

Founding BenefactorsThe Kantor Family Helen Macpherson Smith Trust The Calvert-Jones Family Robert Salzer Foundation Lyn Williams am The Hugh Williamson Foundation

Learning Partner

Founding PatronThe Late Dame Elisabeth Murdoch ac dbe

ENCORE BEQUEST PROGRAM

Anonymous (3)The Late Betty Amsden AO

Jenny Anderson Barbara BlackmanJennifer Brukner

Ken BullenJim Cousins AO & Libby CousinsDr Garry JoslinJanette McLellanElizabeth O’Keeffe

Prof Dimity Reed AM

The Estate of Beverley Shelton & Martin SchönthalMary Vallentine AO

Principal Government Partner

Program Partners

Foundations

Business Partners

Board MembersKathryn Fagg, Chair Peter Bartlett Stephen Carpenter

Joseph Corponi The Hon Mary Delahunty Paul Donnelly

Margaret Farren-Price Eda Ritchie amMargaret Taylor

Presenting Partner

Supporting Partners

THE PEGGY & LESLIE CRANBOURNE FOUNDATION

GREAT PERFORMERS LEADERSHIP CIRCLE

ETHEL HERMANCHARITABLE TRUST

THE JACK & HEDY BRENT FOUNDATION

Providing sustained support for all aspects of the Centre’s artistic program through its Public Fund.

TO BOOK VISIT MELBOURNERECITAL.COM.AU | 03 9699 3333

MELBOURNE RECITAL CENTRE PRESENTS

‘Hampson’s voice retains its clarion power, burnished tone and pellucid clarity.’LA TIMES

THOMAS HAMPSON

U.S.A. Maciej Pikulski, piano

Acclaimed baritone Thomas Hampson heads to Australia for the first time.

He is acknowledged as a leading interpreter of Mahler, and also a

champion of the American songbook.

THU 31 MAY, 7.30PM Elisabeth Murdoch Hall

Songs by SCHUBERT, MAHLER, ROSSINI, SAINT-SAËNS, COPLAND and others.

16

JAMES EHNES

CNR SOUTHBANK BLVD & STURT ST, SOUTHBANK, VICTORIA

MELBOURNERECITAL.COM.AU

PRINCIPAL GOVERNMENT PARTNER