Mozart’s Piano Concerto No · are balanced by Mozart’s final Violin Concerto and the ......

PRINCIPAL PARTNER

Mozart’s Piano Concerto No.17

Geelong SeriesFriday 28 August at 8pm

Costa Hall, Deakin University Geelong

Saturday Matinees Saturday 29 August at 2pm

Arts Centre Melbourne Hamer Hall

Great Classics on MondayMonday 31 August at 6.30pm

Arts Centre Melbourne Hamer Hall

What’s On September — November

MelbourneSymphony

@MelbSymphony

@MelbourneSymphonyOrchestra

TheMSOrchestra

Download our free app at mso.com.au/msolearn

Sign up for our monthly e-news at mso.com.au and receive special offers from the MSO and our partners.

AN AMERICAN IN PARISFriday 30 OctoberGershwin’s An American in Paris evokes a journey through the bustling streets of the French capital, punctuated by taxi horns and a bluesy trumpet solo. Also featured in this program is Ravel’s Piano Concerto in G and Saint-Saëns Symphony No.3 Organ.

MOZART SYMPHONY No.40Thursday 17 September Friday 18 September Saturday 19 September Monday 21 SeptemberFeaturing MSO Concertmaster Eoin Andersen, works by Stravinsky are balanced by Mozart’s final Violin Concerto and the unmistakeable melancholic strains of Symphony No.40.

PICTURES AT AN EXHIBITIONMUSSORGSKY, LISZT, REGERFriday 11 SeptemberFeaturing works inspired by art: Reger’s Four Tone Poems after Arnold Böcklin and Mussorgsky’s Pictures at an Exhibition. Liszt’s Piano Concerto No.1 makes for a breathtaking interlude.

SCHEHERAZADEThursday 1 October Friday 2 October Monday 5 OctoberUnder the baton of Jakub Hrůša, the overture to Smetana’s comic opera The Bartered Bride opens a dazzling night of music. Dvořák’s Violin Concerto is followed by Rimsky-Korsakov’s Scheherazade, a vivid orchestral work inspired by the tales of the Arabian Nights.

AN EVENING WITH RENÉE FLEMINGThursday 3 September Saturday 5 SeptemberFamed for her magnetic performances and sheer beauty of tone, celebrated American soprano Renée Fleming joins the MSO and Sir Andrew Davis for two Melbourne exclusive orchestral concerts.

Presented by MSO and Arts Centre Melbourne

TCHAIKOVSKY & GRIEGFriday 13 November Saturday 14 NovemberAsher Fisch conducts three masterworks that defined the Romantic era. Tchaikovsky’s stirring Romeo and Juliet is followed by Grieg’s poignant Piano Concerto, with the high-voltage intensity of Tchaikovsky’s Fourth Symphony.

Venue Partner

Birdsong is the unlikely link between the first three items, by Rossini, Mozart and Messiaen, on this intriguing program under MSO Chief Conductor, Sir Andrew Davis. The overture to Rossini’s La gazza ladra (The Thieving Magpie) is self-descriptive. The avian connection to Mozart’s Piano Concerto No.17 was the composer’s pet starling, who could whistle the opening bars of the finale. Tonight’s soloist, Jean-Efflam Bavouzet, prefers the piano. Messiaen’s Oiseaux exotiques conjures up no fewer than 18 species of birds, including rare ones from India, China, Malaysia and the Americas. These are depicted variously by woodwind, brass, percussion and solo piano performed by Bavouzet again. For those of you who are ornithophobic, rest assured: the final work, Brahms’ Symphony No.3, contains no traces of starlings, prairie chickens, bobolinks or mynah birds!

André Gremillet Managing Director

With a reputation for excellence, versatility and innovation, the Melbourne Symphony Orchestra is Australia’s oldest orchestra, established in 1906. The Orchestra currently performs live to more than 200,000 people annually, in concerts ranging from subscription performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl.

Sir Andrew Davis gave his inaugural concerts as Chief Conductor of the MSO in April 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists including Bryn Terfel, Emanuel Ax and Truls Mørk, the release of recordings of music by Percy Grainger and Eugene Goossens, a 2014 European Festivals tour, and a multi-year cycle of Mahler’s Symphonies.

The MSO also works each season with Principal Guest Conductor Diego Matheuz, Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus. Recent guest conductors to the MSO have included Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and

Simone Young. The Orchestra has also collaborated with non-classical musicians including Burt Bacharach, Ben Folds, Nick Cave, Sting and Tim Minchin.

The MSO reaches an even larger audience through its regular concert broadcasts on ABC Classic FM, also streamed online, and through recordings on Chandos and ABC Classics. The MSO’s Education and Community Engagement initiatives deliver innovative and engaging programs to audiences of all ages, including MSO Learn, an educational iPhone and iPad app designed to teach children about the inner workings of an orchestra.

The Melbourne Symphony Orchestra is funded principally by the Australian Government through the Australia Council, its arts funding and advisory body, and is generously supported by the Victorian Government through Creative Victoria, Department of Economic Development, Jobs, Transport and Resources. The MSO is also funded by the City of Melbourne, its Principal Partner, Emirates, corporate sponsors and individual donors, trusts and foundations.

Welcome to Mozart’s Piano Concerto No.17

MELBOURNE SYMPHONY ORCHESTRA

3MOZART’S PIANO CONCERTO No.17

4 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

Sir Andrew Davisconductor

Sir Andrew Davis is Music Director and Principal Conductor of the Lyric Opera of Chicago and Chief Conductor of the Melbourne Symphony Orchestra. In a career spanning over 40 years, he has been the musical and artistic leader at several of the world’s most distinguished opera and symphonic institutions, including the BBC Symphony Orchestra (1991-2004), Glyndebourne Festival Opera (1988-2000), and the Toronto Symphony Orchestra (1975-1988). He recently received the honorary title of Conductor Emeritus from the Royal Liverpool Philharmonic Orchestra.

One of today’s most recognised and acclaimed conductors, Sir Andrew has conducted virtually all the world’s major orchestras, opera companies, and festivals. This year he celebrates his 40-year association with the Toronto Symphony, and aside from performances with the Melbourne Symphony, he will conduct the BBC Symphony Orchestra at the Proms, Philharmonia Orchestra at the Three Choirs Festival, and the Scottish Chamber Orchestra at the Edinburgh International Festival.

Born in 1944 in Hertfordshire, England,Sir Andrew studied at King’s College, Cambridge, where he was an organ scholar before taking up conducting. His wide-ranging repertoire encompasses the Baroque to contemporary, and his vast conducting credits span the symphonic, operatic and choral worlds.

Sir Andrew was made a Commander of the British Empire in 1992, and a Knight Bachelor in 1999.

Jean-Efflam Bavouzet piano

Award-winning pianist Jean-Efflam Bavouzet enjoys a prolific recording and international concert career, and is Artistic Director of a new biennial piano festival set in the stunning scenery of Norway’s Lofoten Islands.

Recent highlights include a US tour with the London Philharmonic Orchestra, and his debut with the Luxembourg Philharmonic Orchestra, Cincinnati Symphony Orchestra and the Orchestra della Svizzera italiana. He has also appeared with the Orchestre National de France, Hong Kong Philharmonic Orchestra, NHK Symphony Orchestra and the Auckland Philharmonia Orchestra. His Residency at the Orquestra Sinfônica do Estado de São Paulo concluded with a week of chamber music, recitals and master classes.

An active recitalist, he returns this season to the Louvre and Wigmore Hall, and to give recitals in Munich, Budapest, Taiwan and Adelaide. He is a champion of lesser-known French music, notably that of Gabriel Pierné and Albéric Magnard.

Jean-Efflam’s recording of the complete Prokofiev Piano Concertos with the BBC Philharmonic and Gianandrea Noseda won the Concerto category of the 2014 Gramophone Awards. His earlier recordings have earned him multiple prizes, including two Gramophone Awards, two BBC Music Magazine Awards, a Diapason d’Or and Choc de l’année.

ABOUT THE ARTISTS

Pre-Concert Talks

7pm Friday 28 August Costa Hall, Deakin University

1pm Saturday 29 August Stalls Foyer, Hamer Hall

MSO Orchestra Librarian Alastair McKean will present a talk on the artists and works featured in the program.

Post-Concert Conversation

8.30pm Monday 31 August Stalls Foyer, Hamer Hall

Join MSO Director of Artistic Planning Ronald Vermeulen for a post-concert conversation with tonight’s artists.

Melbourne Symphony Orchestra

Sir Andrew Davisconductor

Jean-Efflam Bavouzetpiano---ROSSINILa gazza ladra: Overture---MOZARTPiano Concerto No.17---Interval 20 minutes---MESSIAENOiseaux exotiques---BRAHMSSymphony No.3This concert has a duration of approximately 2 hours including one 20 minute interval.

Saturday afternoon’s performance will be recorded for delayed broadcast on ABC Classic FM.


ABOUT THE MUSIC

Gioachino Rossini (1792-1868)

La gazza ladra (The Thieving Magpie): Overture

Rossini’s semi-serious opera The Thieving Magpie was first produced at La Scala, Milan, in 1817. The libretto, adapted by Giovanni Gherardini from a French play of the same name, is the story of a servant girl who is condemned to death on circumstantial evidence for stealing a silver spoon. As she is being taken to the scaffold, someone in the crowd catches sight of a magpie overhead making off with a silver spoon in its beak. The girl is released amid great jubilation.

The opera represented in some respects a new departure for the composer. Rossini, two of whose works had previously failed in Milan, made a point of settling in that city two months before the new piece was produced, to study at first hand the taste of the Milanese. This public, which prided itself on its intellectual superiority, had developed a strong liking for German opera, with its emphasis on orchestral values. Rossini accordingly resolved to elaborate his instrumentation beyond his usual custom. The French writer Stendhal, who later wrote a biography of Rossini, remarked that the premiere

was the most successful first night he had ever attended, and the opera became the most popular feature of La Scala’s repertoire throughout the season.

The overture, widely considered Rossini’s best (after William Tell), opens with loud rolls on two snare drums before launching into a swinging march tune. The chief theme of the overture is taken from a duet in the third act. The rest of the melodic material is typical of the composer in character. There are striking examples of the ‘Rossini crescendo’, particularly as the pace of the music quickens in a brief coda for a thrilling curtain raiser.

© Symphony Australia

The Overture from The Thieving Magpie was first performed by the Melbourne Symphony Orchestra on 20 December 1953 under Clive Douglas, and most recently at the 2006 Classical Spectacular concert, conducted by Anthony Inglis.


ABOUT THE MUSIC

Wolfgang Amadeus Mozart (1756-1791)

Piano Concerto No.17 in G, K.453

Allegro

Andante

Allegretto

Jean-Efflam Bavouzet piano

Mozart had periods of low creative productivity, but 1784 was not one of them – it is generally agreed that this was the year in which he wrote the greatest number of first-rate works, including six of his piano concertos (K.449, 450, 451, 453, 456 and 459).

Mozart composed the Concerto in G, K.453 for his pupil Barbara (Babette) von Ployer, daughter of an agent of the Salzburg court in Vienna. Her father not only paid him handsomely for it, but hired an orchestra for the premiere at the family’s summer house in Döbling on 13 June 1784. Mozart brought along the composer Giovanni Paisiello to show off his pupil and his music.

The first movement’s somewhat march-like character is disguised by the trill on the second note and the semitone it emphasises. The expression here is to be subtle, the mood ever shifting, the harmony often chromatic and hesitating between major and minor, as in the second subject, which is led in by arpeggio figures for the winds, and followed by a dramatic plunge into a distant key. The solo piano subject includes an important winding figure, and is followed by a beautiful transition featuring the winds and especially the bassoon, which plays a large role in this concerto. The development, after a pause, sets off for far shores with great fantasy, seeming to have nothing to do with

the themes. A cadenza by Mozart for this movement survives (in this evening’s performance Jean-Efflam Bavouzet will play his own cadenzas).

The opening of the very expressive slow movement ends with a pause, then the oboe begins a series of almost vocal woodwind phrases. After the piano has its turn with the music, and reaches the same pause, it continues passionately and surprisingly with a powerful chord introducing G minor. Yet another pause brings a development leading to distant keys. The recapitulation is even more dramatic, but some relief comes with the reappearance of the woodwind phrases in E flat.

The finale is based on a bourrée or contredanse theme which Mozart liked so much that he taught his pet starling to sing it, which it did with endearing mistakes. It is followed by five variations of which the fourth is in the minor. After the final variation, and a cadenza, a coda begins which is virtually a new movement, full of the spirit of an opera buffa finale.

© David Garrett

The Melbourne Symphony Orchestra first performed this concerto on 8 February 1962 with conductor Charles Mackerras and soloist Fou Ts’ong, and most recently in July 2000 with Christopher Hogwood and soloist Marina Kolomiytseva.


Mozart and money are not generally thought to have been good companions, however at the time he wrote the Concerto No.17 (K.453) that you will hear today, it seems the young composer was in a good place financially. This was thanks to a series of commissions and a very healthy number of patrons attending his 1784 series of spring concerts at the Trattnerhof, as well as a successful self-staged concert at the Burgtheater in Vienna.

The first performance of K.453 by Babette Ployer seems to have taken place in June 1784 at her country estate, following her commissioning of this work and an earlier concerto, K.449. Mozart’s ability to support his family as a successful ‘freelancer’ (before that term was invented), was owed to music loving patrons like Ployer, Countess Maria von Thun, Baron Gottfried Van Swieten, who commissioned him to re-score some Handel pieces for his personal use, Count Joseph Nepomuk von Deym who commissioned the Fantasias for Mechanical Organ, and of course Count Esterházy, whose palace hosted some of Mozart’s most successful subscription concerts in 1783-4.

Without these and many other generous supporters, Mozart’s output would have been vastly different. Never unaware of the importance of money, Mozart allowed contemporaries to see him as a quill for hire – someone who

only wrote for remuneration. No matter, for as the great scientist’s cousin, musicologist Alfred Einstein said in his scholarly work on Mozart: ‘Mozart’s music, which to so many of his contemporaries still seemed to have the brittleness of clay, has long since been transformed into gold, gleaming in the light, [taking on] a different lustre for each new generation. Without it, each generation would be infinitely poorer.’

—

If you would like to offer your support to MSO, our Philanthropy Team would love to talk with you. Contact Judy Turner on (03) 9626 1551 or by email [email protected] for a confidential discussion.

Mozart: The Money Manager


ABOUT THE MUSIC

Olivier Messiaen (1908–1992)

Oiseaux exotiques (Exotic Birds) Birds, for Olivier Messiaen, were the first musicians of the planet. He began to take a systematic interest in birdsong in 1952 after lessons from enthusiast Jacques Delamain, author of the popular book Why Birds Sing. Messiaen took every opportunity to notate birdsong out of doors, as if from ‘dictation’. By 1958 he had completed a comprehensive piano composition, Catalogue d’oiseaux. His collaborator was his future second wife, pianist Yvonne Loriod (who followed him with a tape recorder). But he was disappointed when she let him hear her part in his first birdsong-dominated orchestral work, Réveil des oiseaux (Awakening of the Birds – 1953): ‘you haven’t got the timbres’. Pianists, Messiaen suggested, should listen to the birds before attempting his music. At first he effaced himself and wanted the birds credited as the true composers.

In Oiseaux exotiques three years later, Messiaen was freer and more daring – the musician was taking over from the ornithologist. He combined songs of different birds and moved them about at will.

His program notes explain the title: ‘Unlike the Réveil des oiseaux [whose birds are French], Oiseaux exotiques is based on the singing of exotic birds of India, China, Malaysia, North and South America, taking note as much of their colours as of their singing.’ Messiaen had heard only some of these birds ‘live’. He was always excited to hear birds for the first time in their native habitat (in Australia in 1988, lyrebirds were a highlight, and the kookaburra). In France he heard exotic birds in private aviaries and at market stalls, as well as on recordings. Altogether, the calls of 47 species of bird feature in Oiseaux exotiques.

The colours of the birds’ plumage, like their song, have their counterpart in Messiaen’s music. Hearing certain chordal combinations caused him to see corresponding colours. Another of Messiaen’s major preoccupations – ancient Greek and Hindu rhythms – underlies the work’s rhythmic structure, articulated by percussion instruments.

9

Oiseaux exotiques is scored for solo piano, winds, brass and percussion. Messiaen’s synopsis follows, amplified (in italics) by his descriptions of some of the birds and their song.

1. Introduction.

2. Piano cadenza. Indian Minah – black with a yellow neck – singular cries; Wood Thrush – bursting sunlit fanfare.

3. Interlude of four birds (Lesser Green Leafbird, Baltimore Oriole, Red-billed Mesia and Californian Thrush) entrusted to woodwind, glockenspiel, and xylophone.

4. Short piano cadenza based on the Cardinal (red).

5. The rest of the interlude of the four birds (woodwind).

6. Third piano cadenza based on the Cardinal.

7. Storm thunders above the Amazonian Forest, tremendous tam-tam crescendo. The Prairie Chicken inflates its air sack, then emits a terrible shriek from high to low.

8. All the birds sing together in counterpoint while four rhythmical strophes for percussion develop the Hindu and Greek rhythms. The American Robin (two clarinets) enlivens this long tutti. Also heard: the Olive-backed Thrush, the Hermit Thrush, the Red-whiskered Bubul and the Wood Thrush.

9. Four shrieks of the Prairie Chicken, followed by tam-tam crescendo.

10. Very long piano cadenza based on the Bobolink and the Cat-bird (slate-grey – begins its strophes with a mewing). Very brilliant writing in all registers.

11. Second and final grand tutti. Principal soloist the White-rumped Shama (bluish-black, orange body, long tail with white and black feathers; a marvellous singer – rhythmical percussion strokes of two disjointed sounds and bursting ringing fanfares). Great counterpoint, extremely coloured, of all the instruments.

12. Short piano cadenza calling back the Wood Thrush and the Cardinal.

13. Coda, with implacable vociferations of the White-crested Laughing Thrush (a bog bird of terrifying aspect, from the Himalayas).

David Garrett © 2015

Oiseaux exotiques was commissioned by Pierre Boulez for the Domaine Musical concerts at the Petit Théâtre Marigny in Paris, and first performed on 10 March 1956 under the direction of Rudolf Albert. Yvonne Loriod, to whom the work is dedicated, was the piano soloist. The Melbourne Symphony Orchestra’s only previous performance took place on 25 June 1975 with conductor Hiroyuki Iwaki and pianist Kaori Kimura.

In Oiseaux exotiques three years later, Messiaen was freer and more daring – the musician was taking

over from the ornithologist.

MOZART’S PIANO CONCERTO No.17


ABOUT THE MUSIC

Johannes Brahms (1833-1897)

Symphony No.3 in F, Op.90

Allegro con brio

Andante

Poco allegretto

Allegro

Brahms spent the summer of 1883 in the German spa town of Wiesbaden, where he produced his Third Symphony in a mere four months. It is the shortest of Brahms’ symphonies, but for this obsessively self-critical composer that was almost miraculous. Hans Richter, who conducted the first performance in Vienna, was perhaps a little over the top in calling it ‘Brahms’ Eroica’ (it was Richter, after all, who dubbed the First Symphony ‘Beethoven’s Tenth’) and yet it is a work that essays many emotional states in a highly dramatic fashion, and leads to a conclusion of great peace.

Thirty years earlier, Brahms had contributed to the ‘F-A-E Sonata’, a work jointly composed with Albert Dietrich and Robert Schumann in honour of violinist Joseph Joachim. The letters stand for Joachim’s personal motto ‘frei aber einsam’ (free but lonely) and provide a musical motif that unites the work. Brahms responded that his own motto was ‘frei aber froh’ (free but happy). The musical version of this, F-A-F, dominates the Third Symphony,

which was written partly as a gesture of reconciliation by Brahms, who had fallen out with Joachim over the latter’s divorce some years earlier. But the theme which the motto introduces evokes Schumann, someone dear to both Brahms’ and Joachim’s hearts.

The motto-motif provides the assertive opening gesture, where it is ‘spelled’ F-A flat-F: in F major, the A flat is chromatic, thus providing a dramatic dissonance at the work’s outset. This pattern – the first, third and eighth degrees of the scale – can be found throughout the whole work. But the major-minor tension pervades the work, giving it its moments of ‘heroic’ drama. The work’s dramatic unity is also effected by its overall tonal plan: the outer movements are, naturally, centred on the home key of F, while the inner movements focus on its polar opposite, C. This simple architecture is decorated at the more local level by much more surprising key relations. The F major/A flat opening is a case in point; the first subject, or thematic group,

11

ABOUT THE MUSIC

is a surging music in F major that derives from the opening theme of Robert Schumann’s Third Symphony, the ‘Rhenish’. Wiesbaden, where Brahms composed the piece, is on the Rhine; Brahms may have been unconscious of the resemblance, though the model of the First Symphony’s finale, which almost – and quite deliberately – quotes Beethoven’s Ninth, comes to mind. But the second subject, a serene tune sounded by clarinet and bassoon, is in the distant key of A major. A short development leads to the expected recapitulation of the opening material; more important, though, is Brahms’ gradual lowering of the temperature to conclude the movement – as he does with all four in this work – softly and calmly.

The Andante takes up the pastoral sounds of clarinet and bassoon, alternating wind textures with quiet lower-string passages at first, and such textures moderate any impassioned outbursts during the course of its sonata-design unfolding. The delicate textures at the end of the movement might support Jan

Swafford’s view that Brahms was not unaffected by the recent death of Wagner, ‘his rival, his respected enemy, his shadow’, whose sound-world they resemble.

The main theme of the third movement is characterised by gentle dissonance on the downbeats and a wave-like ebb and flow. After a contrasting central section introduced by pulsing chords that alternate with rich string scoring, the opening material is recapitulated but in different instrumentation.

The dramatic focus of the symphony, however, is the finale where, Beethoven-style, assertive, often terse, rhythmic ideas contend with athletic, long-breathed melodies, notably one that has the classic Brahmsian tension between duplet and triplet motifs. After boisterous heroics that feature a three-beat rhythm derived from the work’s opening motto, the music reaches a state of repose where, against rippling strings, the winds build in intensity to restate the opening F-A flat-F moment, now purged of any angst.

© Gordon Kerry 2014/15

The Melbourne Symphony was the first of the Australian state orchestras to perform Brahms’ Third Symphony, on 9 July 1938 under Percy Code. The MSO’s most recent performances took place in August 2010 with Johannes Fritzsch.


BOOK NOWGPAC.ORG.AU | (03) 5225 1207 MSO.COM.AU | (03) 9929 9600

CLASSIC KIDS 3The Happiness BoxBrett Kelly conductorStephen Curry narrator

The Happiness Box tells the story of three animal friends on a quest to discover the secret of happiness. This delightful tale was written for Changi Gaol’s child prisoners in 1942 by Australian Prisoner of War, David Gri� n, and illustrated by fellow POW Leslie Greener. It has been thoughtfully scored for young audiences by award-winning composer Bryony Marks with beautiful illustrations from the original book accompanying the narration and music. These concerts are the ideal introduction to the orchestra for School Students Foundation to Grade 2 and young families with children aged 3 -7 years.

GEELONG SHOWSWednesday 4 November at 12pm and 1.30pmCosta Hall, Deakin University Geelong

MELBOURNE SHOWS Thursday 5 November at 10am, 11.15am and 1pm Friday 6 November at 10am, 11.15am and 1pm Saturday 7 November at 10am, 11.15am and 1pmIwaki Auditorium, ABC Southbank Centre

Supported by the Geelong Friends of the MSO

Concerts in Geelong and Melbourne for Schools and

Families

The all newBMW 7 Series

133 BMWbmw.com.au

INTRODUCING THE ALL NEW BMW 7 SERIES. ARRIVING LATE 2015.

LUXURY AND TECHNOLOGY IN PERFECT HARMONY.

Offi cial Vehicle Partner of the Melbourne Symphony Orchestra

Rediscover the romance of travel with up to 1,600 channels of music, TV and movies. Let our inflight entertainment take you places you won’t find on a map.

Principal Partner of the Melbourne Symphony Orchestra.

Fall in love with every journey

Enjoy our generous baggage allowance w Gourmet cuisine w Over 140 destinations worldwide

‘Airline of the year’ 2013 Skytrax World Airline Awards.

emirates.com/au

EMI0310_MSO_176x121_v4.indd 1 8/05/14 3:52 PM

It takes a place to create a community, and a community to create a place.Every day Lend Lease creates places that offer some of the best things in life. Imaginative design, exceptional quality, luxury features and inspired locations. Places for people.

As a Maestro partner, we aim to collaborate with the MSO to create meaningful connections with people through performances, to shape great places in Victoria.

www.lendlease.com

PARTNERING WITH THE MSOAT VICTORIA HARBOUR

13

Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

MELBOURNE SYMPHONY ORCHESTRA

BOARDHarold Mitchell ACChairmanAndré GremilletManaging DirectorMichael UllmerDeputy ChairAndrew DyerDanny GorogMargaret Jackson ACBrett KellyDavid Krasnostein David LiAnn PeacockHelen Silver AOKee Wong

COMPANY SECRETARYOliver Carton

EXECUTIVEAndré GremilletManaging Director Catrin HarrisExecutive Assistant

HUMAN RESOURCESMiranda CrawleyDirector of Human Resources

BUSINESSFrancie DoolanChief Financial OfficerRaelene KingPersonnel ManagerLeonie WoolnoughFinancial ControllerPhil NooneAccountantNathalia Andries Finance OfficerSuzanne Dembo Strategic Communications and Business Processes Manager

ARTISTICRonald VermeulenDirector of Artistic Planning Andrew Pogson Special Projects ManagerLaura HolianArtistic CoordinatorHelena BalazsChorus Coordinator

EDUCATION AND COMMUNITY ENGAGEMENTBronwyn LobbDirector of Education and Community EngagementLucy BardoelEducation and Community Engagement CoordinatorLucy RashPizzicato Effect Coordinator

OPERATIONSGabrielle Waters Director of OperationsAngela BristowOrchestra ManagerJames FosterOperations ManagerJames PooleProduction CoordinatorAlastair McKeanOrchestra LibrarianKathryn O’BrienAssistant LibrarianMichael StevensAssistant Orchestra ManagerStephen McAllanArtist LiaisonLucy RashOperations Coordinator

MARKETINGAlice WilkinsonDirector of MarketingJennifer PollerMarketing ManagerMegan Sloley Marketing ManagerAli Webb PR ManagerKate EichlerPublicity and Online Engagement CoordinatorKieran Clarke Digital ManagerNina DubeckiFront of House SupervisorJames Rewell Graphic Designer Chloe SchnellMarketing Coordinator Claire HayesTicket and Database ManagerPaul CongdonBox Office SupervisorJennifer BroadhurstTicketing CoordinatorAngela BallinCustomer Service CoordinatorChelsie JonesCustomer Service Officer

DEVELOPMENTLeith Brooke Director of DevelopmentJessica Frean MSO Foundation ManagerBen LeeDonor and Government Relations ManagerArturs EzergailisDonor and Patron CoordinatorJudy TurnerMajor Gifts ManagerJustine KnappMajor Gifts CoordinatorMichelle MonaghanCorporate Development ManagerJames RalstonCorporate Development and Events Coordinator

MANAGEMENT

FIRST VIOLINSDale BarltropConcertmasterEoin AndersenConcertmasterSophie Rowell Associate ConcertmasterPeter EdwardsAssistant PrincipalKirsty BremnerMSO Friends ChairSarah CurroPeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn TaylorRebecca Adler*Jacqueline Edwards* Robert John* Oksana Thompson*

SECOND VIOLINSMatthew TomkinsThe Gross Foundation Principal Second Violin ChairRobert Macindoe Associate PrincipalMonica Curro Assistant PrincipalMary AllisonIsin CakmakciogluFreya FranzenCong Gu

Andrew HallFrancesca HiewRachel Homburg Christine JohnsonIsy WassermanPhilippa WestPatrick WongRoger Young

VIOLASChristopher Moore PrincipalChristopher Cartlidge Acting Associate PrincipalLauren BrigdenKatharine BrockmanSimon CollinsGabrielle HalloranTrevor Jones Fiona Sargeant Cindy WatkinCaleb WrightCeridwen Davies*Emilie Grimes*Isabel Morse*

CELLOSDavid Berlin MS Newman Family Principal Cello ChairRachael Tobin Associate PrincipalNicholas Bochner Assistant PrincipalMiranda BrockmanRohan de KorteKeith JohnsonSarah MorseAngela Sargeant

Michelle WoodNils Hobiger*

DOUBLE BASSESSteve Reeves PrincipalAndrew Moon Associate PrincipalSylvia Hosking Assistant PrincipalDamien EckersleyBenjamin HanlonSuzanne LeeStephen NewtonYoung-Hee Chan* Jonathan Heilbron*

FLUTESPrudence Davis Principal Flute Chair - AnonymousWendy ClarkeAssociate PrincipalSarah Beggs

PICCOLOAndrew Macleod Principal

OBOESJeffrey Crellin PrincipalThomas HutchinsonAssociate PrincipalAnn Blackburn

COR ANGLAISMichael Pisani Principal

CLARINETSDavid Thomas PrincipalPhilip Arkinstall Associate PrincipalCraig Hill

BASS CLARINETJon Craven Principal

BASSOONSJack Schiller PrincipalLyndon Watts*Guest PrincipalElise Millman Associate Principal Natasha Thomas

CONTRABASSOONBrock Imison PrincipalColin Forbes-Adams*

HORNS Zora Slokar Principal Peter Luff*Guest Principal†

Geoff LierseAssociate Principal Saul Lewis Principal Third Jenna BreenAbbey EdlinTrinette McClimont

TRUMPETSGeoffrey Payne PrincipalShane Hooton Associate PrincipalWilliam EvansJulie Payne

TROMBONESBrett Kelly PrincipalKieran Conrau*

BASS TROMBONEMike Szabo Principal

TUBATimothy Buzbee Principal

TIMPANIChristine Turpin Principal

PERCUSSIONRobert Clarke PrincipalJohn ArcaroRobert CossomPeter Neville*Conrad Nilsson*Greg Sully* Eugene Ughetti*

HARPYinuo Mu Principal

*Guest musician† Courtesy Queensland Symphony Orchestra



THANKS TO OUR WONDERFUL MSO SUPPORTERS

The MSO relies on your ongoing philanthropic support to sustain access, artists, education, community engagement and more. We invite our supporters to get close to the MSO through a range of special events and supporter newsletter The Full Score.

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $100 (Friend), $1,000 (Player), $2,500 (Associate), $5,000 (Principal), $10,000 (Maestro), $20,000 (Impresario), $50,000 (Benefactor)

The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will.

Enquiries: Ph +61 (03) 9626 1248 Email: [email protected] honour roll is correct at time of printing.

ARTIST CHAIR BENEFACTORSHarold Mitchell AC Chief Conductor ChairPatricia Riordan Associate Conductor ChairJoy Selby Smith Orchestral Leadership ChairMarc Besen AC and Eva Besen AO International Guest ChairMSO Friends ChairThe Gross Foundation Principal Second Violin ChairMS Newman Family Principal Cello Chair Principal Flute Chair – Anonymous

PROGRAM BENEFACTORSMeet The Music Made possible by The Ullmer Family FoundationEast meets West Supported by the Li Family TrustThe Pizzicato Effect (Anonymous)MSO UPBEAT Supported by Betty Amsden AO DSJMSO CONNECT Supported by Jason Yeap OAM

BENEFACTOR PATRONS $50,000+Betty Amsden AO DSJPhilip Bacon AM Marc Besen AC and Eva Besen AO Jennifer Brukner Rachel and Hon. Alan Goldberg AO QC The Gross FoundationDavid and Angela LiAnnette MaluishHarold Mitchell ACMS Newman FamilyRoslyn Packer AOMrs Margaret S Ross AM and Dr Ian Ross Joy Selby SmithUllmer Family Foundation

IMPRESARIO PATRONS $20,000+Michael AquilinaPerri Cutten and Jo DaniellSusan Fry and Don Fry AO John McKay and Lois McKayElizabeth Proust AO Rae Rothfield

MAESTRO PATRONS $10,000+John and Mary BarlowKaye and David BirksPaul and Wendy Carter Mitchell ChipmanJan and Peter Clark Sir Andrew and Lady Gianna DavisAndrew and Theresa Dyer

Future Kids Pty Ltd Robert & Jan GreenLou Hamon OAMMargaret Jackson AC Konfir Kabo and Monica Lim Mr Greig Gailey and Dr Geraldine LazarusNorman and Betty Lees Matsoral FoundationMimie MacLarenIan and Jeannie Paterson Onbass FoundationGlenn Sedgwick Maria Solà, in memory of Malcolm Douglas Drs G & G Stephenson. In honour of the great Romanian musicians George Enescu and Dinu LipattiLyn Williams AMKee Wong and Wai TangJason Yeap OAMAnonymous (1)

PRINCIPAL PATRONS $5,000+Lino and Di Bresciani OAM Linda BrittenDavid and Emma CapponiTim and Lyn EdwardJohn and Diana Frew Danny Gorog and Lindy SusskindNereda Hanlon and Michael Hanlon AMHartmut and Ruth HofmannJenny and Peter HordernJenkins Family Foundation Suzanne KirkhamVivien and Graham KnowlesDavid Krasnostein and Pat Stragalinos Elizabeth Kraus in memory of Bryan Hobbs Dr Elizabeth A Lewis AM Peter LovellThe Cuming BequestMr and Mrs D R MeagherWayne and Penny MorganMarie Morton FRSA Dr Paul Nisselle AM Lady Potter ACStephen Shanasy Gai and David Taylorthe Hon. Michael Watt QC and Cecilie Hall Barbara and Donald WeirAnonymous (4)

ASSOCIATE PATRONS $2,500+Dandolo PartnersPierce Armstrong Foundation Will and Dorothy Bailey BequestBarbara Bell in memory of Elsa BellPeter Biggs CNZM and Mary BiggsMrs S BignellStephen and Caroline Brain

Mr John Brockman OAM and Mrs Pat Brockman Leith and Mike BrookeRhonda Burchmore Bill and Sandra BurdettOliver CartonJohn and Lyn CoppockMiss Ann Darby in memory of Leslie J. Darby Mary and Frederick Davidson AMPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonJane Edmanson OAMDr Helen M FergusonMr Bill FlemingColin Golvan QC and Dr Deborah GolvanMichael and Susie HamsonSusan and Gary HearstGillian and Michael HundRosemary and James Jacoby John and Joan Jones Connie and Craig KimberleyKloeden Foundation Sylvia LavelleAnn and George Littlewood H.E. McKenzieAllan and Evelyn McLarenDon and Anne MeadowsAnn Peacock with Andrew and Woody KrogerSue and Barry Peake Mrs W Peart Ruth and Ralph RenardTom and Elizabeth RomanowskiMax and Jill Schultz Diana and Brian Snape AMMr Tam Vu and Dr Cherilyn TillmanWilliam and Jenny UllmerBert and Ila VanrenenBrian and Helena WorsfoldAnonymous (12)

PLAYER PATRONS $1,000+Anita and Graham Anderson, Christine and Mark Armour, Arnold Bloch Leibler, Marlyn and Peter Bancroft OAM, Adrienne Basser, Prof Weston Bate and Janice Bate, Timothy and Margaret Best, David and Helen Blackwell, Bill Bowness, Michael F Boyt, M Ward Breheny, Susie Brown, Jill and Christopher Buckley, Dr Lynda Campbell, Sir Roderick Carnegie AC, Andrew and Pamela Crockett, Natasha Davies, Pat and Bruce Davis, Merrowyn Deacon, Sandra Dent, Dominic and Natalie Dirupo, Marie Dowling, John and Anne Duncan, Kay Ehrenberg, Gabrielle Eisen, Vivien and Jack Fajgenbaum, Grant Fisher and Helen Bird, Barry Fradkin OAM and Dr Pam Fradkin, David Gibbs and Susie O’Neill,

THANKS TO OUR WONDERFUL MSO SUPPORTERS

Merwyn and Greta Goldblatt, Dina and Ron Goldschlager, Golvan QC and Naomi Golvan, Charles and Cornelia Goode, Dr Marged Goode, Louise Gourlay OAM, Ginette and André Gremillet, Max Gulbin, Dr Sandra Hacker AO and Mr Ian Kennedy AM, Jean Hadges, Paula Hansky OAM and Jack Hansky AM, Tilda and Brian Haughney, Henkell Family Fund, Penelope Hughes, Dr Alastair Jackson, Stuart Jennings, George and Grace Kass, Irene Kearsey, Ilma Kelson Music Foundation, Dr Anne Kennedy, Lew Foundation, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Violet and Jeff Loewenstein, The Hon Ian Macphee AO and Mrs Julie Mcphee, Elizabeth H Loftus, Vivienne Hadj and Rosemary Madden, Dr Julianne Bayliss, In memory of Leigh Masel, John and Margaret Mason, In honour of Norma and Lloyd Rees, Trevor and Moyra McAllister, David Menzies, Ian Morrey, The Novy Family, Laurence O’Keefe and Christopher James, Graham and Christine Peirson, Andrew Penn and Kallie Blauhorn, Kerryn Pratchett, Peter Priest, Jiaxing Qin, Eli Raskin, Peter and Carolyn Rendit, S M Richards AM and M R Richards, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, Doug and Elizabeth Scott, Jeffrey Sher, Dr Sam Smorgon AO and Mrs Minnie Smorgon, John So, Dr Norman and Dr Sue Sonenberg, Dr Michael Soon, Pauline Speedy, State Music Camp, Geoff and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Frank Tisher OAM and Dr Miriam Tisher, Margaret Tritsch, Judy Turner and Neil Adam, P & E Turner, Mary Vallentine AO, The Hon. Rosemary Varty, Leon and Sandra Velik, Sue Walker AM, Elaine Walters OAM and Gregory Walters, Edward and Paddy White, Janet Whiting and Phil Lukies, Nic and Ann Willcock, Marian and Terry

Wills Cooke, Pamela F Wilson, Joanne Wolff, Peter and Susan Yates, Mark Young, Panch Das and Laurel Young-Das, YMF Australia, Anonymous (17)

THE MAHLER SYNDICATEDavid and Kaye Birks, Jennifer Brukner, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Louis Hamon OAM, The Hon Dr Barry Jones AC, Dr Paul Nisselle AM, Maria Solà in memory of Malcolm Douglas, The Hon Michael Watt QC and Cecilie Hall, Anonymous (1)

MSO ROSESFounding Rose: Jennifer BruknerRoses: Mary Barlow, Linda Britten, Wendy Carter, Annette Maluish, Lois McKay, Pat Stragalinos, Jenny Ullmer. Rosebuds: Leith Brooke, Lynne Damman, Francie Doolan, Lyn Edward, Elizabeth A Lewis AM, Sophie Rowell, Dr Cherilyn Tillman

FOUNDATIONS AND TRUSTSThe Annie Danks TrustCollier Charitable FundCreative Partnerships AustraliaCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Harold Mitchell FoundationHelen Macpherson Smith TrustIvor Ronald Evans Foundation, managed by Equity Trustees Limited and Mr Russell BrownLinnell/Hughes Trust, managed by PerpetualThe Marian and EH Flack TrustThe Perpetual Foundation – Alan (AGL) Shaw Endowment, managed by PerpetualThe Pratt FoundationThe Robert Salzer Foundation

The Schapper Family FoundationThe Scobie and Claire Mackinnon Trust

CONDUCTOR’S CIRCLEJenny Anderson, GC Bawden and de Kievik, Lesley Bawden, Joyce Bown, Mrs Jenny Brukner and the late Mr John Brukner, Ken Bullen, Luci and Ron Chambers, Sandra Dent, Lyn Edward, Alan Egan JP, Gunta Eglite, Louis Hamon OAM, Carol Hay, Tony Howe, Audrey M Jenkins, John and Joan Jones, George and Grace Kass, Mrs Sylvia Lavelle, Pauline and David Lawton, Lorraine Meldrum, Cameron Mowat, Laurence O’Keefe and Christopher James, Rosia Pasteur, Elizabeth Proust AO, Penny Rawlins, Joan P Robinson, Neil Roussac, Anne Roussac-Hoyne, Jennifer Shepherd, Drs Gabriela and George Stephenson, Pamela Swansson, Lillian Tarry, Dr Cherilyn Tillman, Mr and Mrs R P Trebilcock, Michael Ullmer, Ila Vanrenen, Mr Tam Vu, Marian and Terry Wills Cooke, Mark Young, Anonymous (21)

THE MSO GRATEFULLY ACKNOWLEDGES THE SUPPORT RECEIVED FROM THE ESTATES OF:Angela Beagley, Gwen Hunt, Pauline Marie Johnston, C P Kemp, Peter Forbes MacLaren, Prof Andrew McCredie, Miss Sheila Scotter AM MBE, Molly Stephens, Jean Tweedie, Herta and Fred B Vogel, Dorothy Wood

HONORARY APPOINTMENTSMrs Elizabeth Chernov Education and Community Engagement PatronSir Elton John CBE Life MemberThe Honourable Alan Goldberg AO QC Life MemberGeoffrey Rush AC Ambassador

MEDIA PARTNERGOVERNMENT PARTNERS

SUPPORTING PARTNERS

ASSOCIATE PARTNERS

Golden Age Group Kabo Lawyers Linda Britten

Naomi Milgrom Foundation PwC

UAG + SJB Universal

Feature Alpha Investment (a unit of the Tong Eng Group)

Future Kids

PRINCIPAL PARTNER

MAESTRO PARTNERS

3L Alliance Elenberg Fraser

Fed Square Flowers Vasette

OFFICIAL CAR PARTNER

BOOK NOW MSO.COM.AU/RENEE | (03) 9929 9600

Presented by MSO and Arts Centre Melbourne

Venue Partner

Mozart’s Piano Concerto No · are balanced by Mozart’s final Violin Concerto and the ......

Documents

Transcript of Mozart’s Piano Concerto No · are balanced by Mozart’s final Violin Concerto and the ......