C O N C E R T P R O G R A M

Friday 30 September at 8pm Arts Centre Melbourne,

Hamer Hall Presented by Emirates

Saturday 1 October at 2pm Arts Centre Melbourne,

Hamer Hall

Monday 3 October at 6.30pm Arts Centre Melbourne,

Hamer Hall

Fountains of Rome Respighi’s

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WHAT’S ON OCTOBER – DECEMBER 2016

SIBELIUS & SHOSTAKOVICH Thursday 17 November Friday 18 November Saturday 19 November

MSO Concertmaster Dale Barltrop directs members of the Orchestra in two Sibelius works: the intimate Rakastava (The Lover), and the sweeping Impromptu. Completing the program is one of Shostakovich’s anguished Chamber Symphonies, and Ian Munro’s new Flute Concerto.

HOLST’S THE PLANETS Friday 21 October

Two English masterworks feature in this concert: Vaughan Williams’ Overture to The Wasps is abuzz with activity, while Gustav Holst’s suite The Planets is indeed out of this world. Australian pianist Andrea Lam is soloist in Chopin’s Piano Concerto No.2.

SIMONE YOUNG CONDUCTS WAGNER & BRUCKNERThursday 1 December Saturday 3 December

The MSO plays two majestic final works – Wagner’s Parsifal and Bruckner’s unfinished Symphony No.9 – conducted by Simone Young. Excerpts from Act II of Parsifal are sung by Australian tenor Stuart Skelton and American mezzo-soprano Michelle de Young.

INDIANA JONES IN CONCERT Thursday 3 November Friday 4 November Saturday 5 November

The film that gave the world one of its greatest movie heroes, Indiana Jones, is back and better than ever before! Relive the magic on the silver screen with the original great adventure – Raiders of the Lost Ark – with John Williams’ epic score performed live to picture by the MSO!

MESSIAH Saturday 10 December Sunday 11 December

Hallelujah! Where would the joyous season be without the MSO’s year-end performance of Handel’s Messiah? This life-affirming spiritual masterpiece with its exquisite choral writing offers many treasured musical moments including the exultant Hallelujah chorus, one of the most popular refrains in Western music.

DVOŘÁK CELLO CONCERTO Friday 11 November Monday 14 November

The American maestro Andrew Litton returns to the MSO for this exciting program that features Prokofiev’s Symphony No.6, a heartfelt elegy to World War II. German cellist Alban Gerhardt is soloist in Dvořák’s well-loved Cello Concerto.

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Pre-Concert Talk 7pm Friday 30 September, Stalls Foyer, Hamer Hall 7pm Saturday 1 October, Stalls Foyer, Hamer Hall

MSO Second Violinist Andrew Hall will present a talk on the artists and works featured in the program.

This concert has a duration of approximately 1 hour and 50 minutes, including a 20-minute interval.

Post-Concert Conversation 8.30pm Monday 3 October, Stalls Foyer, Hamer Hall

Join MSO Director of Artistic Planning Ronald Vermeulen for a post-concert conversation.

Series Presenters

ARTISTS

Melbourne Symphony Orchestra

Marcelo Lehninger conductor Nelson Freire piano

REPERTOIRE

Szymanowski Concert Overture

Schumann Piano Concerto — Interval —

Respighi Fountains of Rome

Respighi Pines of Rome

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MELBOURNE SYMPHONY ORCHESTRA

The Melbourne Symphony Orchestra (MSO) was established in 1906 and is Australia’s oldest orchestra. It currently performs live to more than 250,000 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. The Orchestra also delivers innovative and engaging programs to audiences of all ages through its Education and Outreach initiatives.

Sir Andrew Davis gave his inaugural concerts as the MSO’s Chief Conductor in 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists such as Bryn Terfel, Emanuel Ax, Truls Mørk and Renée Fleming, and the Orchestra’s European Tour in 2014 which included appearances at the Edinburgh Festival, the Amsterdam Concertgebouw, the Mecklenburg-Vorpommern Festival and Copenhagen’s Tivoli Concert Hall. Further current and future highlights with Sir Andrew Davis include a complete cycle of the Mahler symphonies. Sir Andrew will maintain the role of Chief Conductor until the end of 2019.

The MSO also works with Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus, as well as with such eminent recent guest conductors as Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Burt Bacharach, Nick Cave, Sting, Tim Minchin, Ben Folds, DJ Jeff Mills and Flight Facilities.

The Melbourne Symphony Orchestra reaches a wider audience through regular radio broadcasts, recordings and CD releases, including a Strauss cycle on ABC Classics which includes Four Last Songs, Don Juan and Also sprach Zarathustra, as well as Ein Heldenleben and Four Symphonic Interludes from Intermezzo, both led by Sir Andrew Davis. On the Chandos label the MSO has recently released Berlioz’ Harold en Italie with James Ehnes and music by Charles Ives which includes Symphonies Nos. 1 and 2, as well as a range of orchestral works including Three Places in New England, again led by Sir Andrew Davis.

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.

The Melbourne Symphony Orchestra acknowledges the Traditional Owners of the Land on which we perform – The Kulin Nation – and would like to pay our respects to their Elders and Community both past and present.

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Brazilian-born Marcelo Lehninger is the newly-appointed Music Director of the Grand Rapids Symphony. He previously served as Music Director of the New West Symphony in Los Angeles, for which the League of American Orchestras awarded him the Helen H. Thompson Award for Emerging Music Conductors. Marcelo was appointed Assistant Conductor of the Boston Symphony Orchestra by James Levine, and was later promoted to Associate Conductor. Earlier in his career, Marcelo served as Associate Conductor of the Minas Gerais Philharmonic in Brazil, and Music Advisor of the Youth Orchestra of the Americas.

Marcelo Lehninger’s 2016-17 season includes debuts with the Sydney, Melbourne, Colorado, Hawaii, Toledo, and Portland Symphonies; the Colorado Springs Philharmonic; and Symphony Nova Scotia; as well as return engagements with Brazilian Symphony Orchestra, Minas Gerais Philharmonic, Slovenian Philharmonic, New Mexico Philharmonic, Winnipeg Symphony Orchestra, and the Bard Orchestra, the orchestra of his alma mater.

Career highlights include North American guest conducting engagements with the Chicago, Pittsburgh, Houston, Detroit, Baltimore, Seattle, Toronto, Milwaukee and National Symphony Orchestras; and in Europe, with the Deutsches Symphonie-Orchester Berlin, Orchestre Philharmonique de Radio France, Orchestre National de France, Lucerne Symphony, Lausanne Chamber Orchestra, and tours with the Concertgebouw Orchestra assisting Mariss Jansons; and Orchestre National de France, Leipzig Gewandhaus Orchestra, and NY Philharmonic assisting Kurt Masur. Marcelo has conducted all major orchestras of Brazil and across South America.

MARCELO LEHNINGER CONDUCTOR

NELSON FREIRE PIANO

Born in Boa Esperança, a small town in the state of Minas Gerais, Brazil, Nelson Freire is a universally acclaimed artist. He has received international honours and decorations, and regularly collaborates with top orchestras, conductors, and recital halls worldwide.

At twelve, a finalist at the first International Piano Competition of Rio de Janeiro, he received a grant from Brazilian president Juscelino Kubitschek and went to study in Vienna under Bruno Seidlhofer, teacher of Friedrich Gulda. At nineteen, Freire was awarded the Dinu Lipatti Medal in London and later won 1st Prize at the International Vianna da Motta Competition in Lisbon.

At twenty-three for his London debut, he made a sensation when The Times called him ‘The young lion of the keyboard’. The following year, after his New York debut with the New York Philharmonic, Time Magazine hailed him as ‘One of the most exciting pianists of this or any age’.

Ever since, Nelson Freire has performed with many of the world's major conductors, such as Valery Gergiev, Yuri Temirkanov, Seiji Ozawa, Pierre Boulez, Riccardo Chailly, Charles Dutoit, Eugen Jochum, André Previn, Lorin Maazel, Rudolf Kempe, Rafael Kubelik, David Zinman, Kurt Masur and Sir Colin Davis. He has appeared with the greatest orchestras: the Philharmonics of Berlin, London, New York and Israel, as well with the Amsterdam Concertgebouw, the Leipzig Gewandhaus and the orchestras of Munich, Paris, Tokyo, and St. Petersburg including the Mariinsky – Vienna, Boston, Philadelphia, Cleveland, Los Angeles, Chicago and Montreal.

Nelson Freire records exclusively for DECCA.

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The Best… with Brock Imison

Brisbane-born Brock Imison has been Principal Contrabassoon with the Melbourne Symphony Orchestra since 2004. He strives to improve

the profile of his instrument, premiering new music in solo recitals, arranging chamber music and hosting workshops for composers to learn more about the instrument. We asked him what’s The Best…

The best thing you can’t live without?

My garden in Mount Macedon.

The best thing about your instrument?

It looks like it could fire anti-aircraft missiles or whip out a decent Latte? Seriously, only a small amount of people in the world understand what's it's like to play the contrabassoon and feel what its grumbly-vibrating-lowness does to the human body.

The best concert you’ve performed in?

That question is impossible to answer but any concert I play with music composed by Schütz, Monteverdi or Rameau really gets me going.

The best venue you’ve performed in?

A New York night club called ‘Le Poisson Rouge’.

The best recording you own?

Viaggio Musicale by Il Gardino Harmonico. This recording changed the way I thought about early baroque music.

The best piece to perform?

With the MSO? La Valse by Ravel.

The best thing about Melbourne?

The Calder Freeway which leads to Mount Macedon

The best meal you cook?

I cook a mean Massaman curry from scratch.

The best thing about the baroque bassoon?

It weighs less than a modern bassoon? Seriously, baroque wind instruments are naturally more uneven sounding than their modern counterparts. Learning how to exploit these inconsistencies opens new worlds of colours and expression simply not possible on a modern instrument.

The best thing about the contrabassoon?

The contrabassoon is one of the orchestras oddest members, I find creative freedom in its unfamiliarity. That and when you play certain notes various bits of your body vibrate rather alarmingly – who needs to pay for massages?

You can see Brock Imison perform in Beethoven’s Missa Solemnis on 26 and 27 August at Arts Centre Melbourne, Hamer Hall.

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Artur Rubinstein tells us that when Karol Szymanowski died in Lausanne at the age of 54, the Polish government arranged a special train which carried his coffin, decorated with the Grand Cross of Polonia Restituta, to Poland for burial. At the funeral Ignaz Paderewski, the great pianist who had also been first president of the Polish republic, laid the first wreath. The irony of all of this is considerable: Szymanowski spent the last decade of his life in ill-health; he worked fruitlessly to reorganise the Warsaw Conservatorium from 1926 until he was summarily dismissed in 1932, a year before the Conservatorium was closed; his finances – owing partly to the destruction of his family estate in the Polish Ukraine during the Communist revolution – were precarious, and at no stage did the government offer anything more tangible than vague plaudits. And yet the music of the century past owes a great debt to Szymanowski: his undogmatic methods and ear for unorthodox and beautiful sonority have been of immense importance to composers – younger Poles like Lutosławski among them – who have sought a rapprochement with alienated audiences.

From the start of his career, Szymanowski balanced an openness to influence (from wherever it might come) with a strong sense of himself as a Polish artist. His work systematically explores the influences of Chopin, Schumann, Scriabin, Richard Strauss and Wagner, and later Debussy, Ravel and Stravinsky. Born into a wealthy family, Szymanowski was injured at the age of four, and spent a sheltered childhood learning music and immersing himself in the worlds of myth and romance. He was sent to Warsaw to study music in 1901, the year that the Warsaw Philharmonic was founded. In the same year a group of artists known

as ‘Young Poland’ emerged with the staging of exotic dramas, and a lifestyle in which drugs and sexuality were used in the development of a hyper-romantic consciousness. Szymanowski fell in with this group, and his early works show a particular affinity with the self-conscious ‘decadence’ of Richard Strauss and the mysticism of Scriabin. Indeed, Rubinstein looked over some of Szymanowski’s work in 1904 and remembers that he ‘was enraptured! [Szymanowski] was a genius, though his first opuses, preludes and studies were somehow under the influence of Scriabin. But the notes were truly original…’

Szymanowski’s first orchestral work, the Concert Overture, Op.12, was first performed at a ‘Young Poland in Music’ concert in 1906 along with works by other composers determined to bring new European sounds into the concert halls of their own country. The original version of the work is now lost; Szymanowski revised the score in 1913 for its publication by Universal Edition. It remains the work of a brilliant young composer intoxicated by the emotional possibilities of late Romanticism. Though not a tone poem as such, the Concert Overture uses the Lisztian principle of thematic transformation to elaborate a kind of sonata design. As such, and in the bold use of strings coloured by the horn section, it is clearly indebted to the tone poems of Strauss.

Gordon Kerry Symphony Australia © 2001

The only previous performances of this work by the Melbourne Symphony Orchestra took place on 11–13 July 2002 under conductor Fabio Luisi.

KAROL SZYMANOWSKI (1882–1937)

Concert Overture, Op.12

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Following their wedding in September 1840, composer Robert Schumann and Clara Wieck, a prominent piano virtuoso, set up house in Leipzig. The couple soon had children, and finding money to support a growing family was a constant worry. Clara had no intention of abandoning her successful musical life. She took pride in earning money from her performances; she also helped popularise Robert’s piano works by including them in her concert programs. Robert revered his wife’s extraordinary musicianship, but his pride struggled with the greater fame accorded Clara, especially when they travelled on concert tours together. Though a respected music journalist and an acclaimed composer of piano works, songs and chamber music, he had yet to write the symphonies and large-scale works that would later enhance his artistic reputation.

A piano concerto by Robert that Clara could perform would thus serve several purposes. Before marrying, Robert had experimented with various ideas for piano concertos, none of which evolved beyond sketches. But during the newlyweds’ first year, he completed a Phantasie for Piano and Orchestra, conceived and orchestrated during 16 days in May 1841. A private performance led to the first of several revisions, but Robert could not find a publisher for his single-movement work.

He set it aside for four years, during which time he wrote more chamber music (including his popular Piano Quintet and Piano Quartet) as well as the Spring Symphony, and moved his family to Dresden. From there he undertook a tour to Russia with Clara that left him exhausted and ill, triggering a severe nervous breakdown. He sought therapy by studying the works of Bach and writing fugues. Taking a break from counterpoint exercises, he added two movements – a final rondo and a connecting Intermezzo – to the reworked Phantasie, and thus created his Concerto for Piano and Orchestra.

Ferdinand Hiller, a conductor to whom Robert dedicated the concerto (hoping to heal a rift in their friendship), led the premiere in his Dresden subscription concert of 4 December 1845 with Clara as soloist. But the true dedicatee is Clara, for whom Robert characterised his devotion in the opening movement’s tempo indication of Allegro affettuoso, the Phantasie’s original title. Clara took pleasure in the results; she had long wanted a more brilliant vehicle for display of her virtuosity than the Phantasie. Felix Mendelssohn, the Schumanns’ great friend, who expressed high regard for

Clara’s playing and supported (with occasional private misgivings) Schumann’s work as a composer, organised and conducted the Leipzig premiere on New Year’s Day 1846. Thereafter, the concerto was performed in important cities, often with Robert conducting; it remained a central work in Clara’s repertoire, and is a lasting testament to the couple’s remarkable personal and artistic partnership, cut short by Robert’s death at age 46 in the Endenich asylum, where he recalled, in a letter to Clara, the concerto ‘that you played so splendidly’.

With an abrupt, chromatic cascade of chords, the soloist’s opening entrance commands immediate attention, heralding the oboe’s statement of the primary theme, echoed by the piano. The theme’s three-note descending motif dominates deliberations between the orchestra and soloist. The opening key of A minor yields, via the second theme, to triumphant C major, then to an expressive reverie in A flat major, showcasing the piano accompanied by radiant strings and plaintive woodwind. A return to earlier debates interrupts this dream, restores the opening theme and launches the soloist into an extended cadenza, capped by a quick coda that ends emphatically.

The second-movement Intermezzo (Andantino grazioso), hosts a more congenial but equally passionate dialogue. Short musical ideas are exchanged politely between soloist and orchestra, but as they warm to their topic, an eloquent contrasting theme sings out richly from the cellos, ornamented expansively by the piano. As the conversation fades, clarinets and bassoons recall the opening movement’s three-note motif, first in A minor, then in A major. Without pause, the piano seizes the major motif and launches into a robust, triple-metre rondo marked Allegro vivace, driven by the soloist’s extensive bravura passagework. The third-movement theme (itself a transformation of the primary first-movement theme, subtly strengthening the concerto’s structural unity) surfaces buoyantly through harmonic sequences that build to an exhilarating conclusion.

Samuel C. Dixon © 2003

The Melbourne Symphony Orchestra’s first performance of the Schumann Piano Concerto took place on 25 May 1939 with conductor George Szell and soloist Artur Schnabel. The Orchestra’s most recent performance was on 29 August 2008 with Oleg Caetani and John Chen.

ROBERT SCHUMANN (1810–1856)

Piano Concerto in A minor, Op.54 Allegro affettuoso

Intermezzo (Andantino grazioso) –

Allegro vivace

Nelson Freire piano

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Ottorino Respighi is an intriguing figure in 20th century music and perhaps a composer whose time is only now arriving. Like Vaughan Williams in England, the Italian-born, Russian-and-German-educated Respighi’s compositional influences virtually bypassed the Romantic and Classical periods altogether. As Schoenberg, Berg and Webern pushed the musical gestures of late-Romanticism into the austere realms of twelve tones, and Stravinsky rediscovered ‘pure’ Classicism, Respighi went his own quiet way, writing highly distinctive works influenced by the medieval modes, Gregorian chant, 16th and 17th century lute music, and madrigals.

Respighi’s major orchestral works have never lacked an appreciative audience, nor great conductors such as Toscanini and Karajan to champion their cause, but they have tended to be underrated by critics. The misunderstanding and critical neglect seem to stem from the fact that Respighi was an ‘ancient’ in a ‘modern’ world. Perhaps now that the ‘pre-classical’, often modal works of modern composers such as Gorecki, Pärt and Tavener are top of the pops, Respighi’s music, which shares so many of the same attributes, will find a wider audience.

Respighi spent much of his later life teaching in Rome at the Santa Cecilia Academy. His fascination with the various landscapes and lifestyles associated with the city ultimately resulted in three of his best-known pieces: Fountains of Rome (1916), Pines of Rome (1924) and Roman Festivals (1928). Despite their obviously Italian topics, all of these symphonic poems bear the direct influence of Nikolai Rimsky-Korsakov, the celebrated Russian composer with whom Respighi studied. From this teacher, Respighi developed a thorough knowledge of orchestration techniques which was coupled with his own innate ability to present strikingly visual imagery through musical forms.

Respighi left his native Bologna in early 1913 to take up the position of professor of composition at the Santa Cecilia Academy in Rome. The sheer scale of the Eternal City overwhelmed him and, although he had plenty of friends and activities to keep him occupied, Respighi struggled to settle in, enduring severe bouts of melancholy for several years.

According to Elsa Olivieri Sangiacomo, a student of Respighi’s at the Academy who became his wife and biographer, the symphonic poem Fountains of Rome (1916) proved cathartic. The success of that work put

Respighi’s career on the map in Italy and abroad. But it also marked a new chapter in the composer’s life and a newfound happiness in his adopted hometown where he would live and work until his death.

Fountains also served as the template for Pines of Rome and Roman Festivals, the subsequent instalments in the so-called Roman trilogy that reflect, in Elsa’s words, ‘how Respighi saw and felt the varied spirit of Rome’. According to Elsa, the composer had ‘for years been thinking of the Pines of Rome and that the four visions were more or less alive and complete in his mind – the sketches and themes collected and notated over time needed little more than to be translated into living material’. She wrote:

Since the birth of the Fountains of Rome (1916), five years had passed – that is, from the time he had arrived in Rome and had felt the need to express in musical language the impressions created by such beauty – and these thoughts, images, and sensations would be expressed in the new poem.

Respighi’s interest in the early and traditional music of Italy is present in Pines (witness the children’s song Madama Doré at the beginning of the first movement); evident, too, is his passion for Gregorian chant (for example, the use of the Advent plainchant Veni, veni, Emmanuel in the second movement). And his skill as an orchestrator is as obvious in Pines as in his Church Windows, his opera La fiamma, or the ballet Belkis.

Claudio Guastalla, librettist of a number of Respighi’s operas, wrote the ‘captions’ which appear at the front of the score of Pines of Rome – but only after the work was completed:

I. The pine trees of the Villa BorgheseChildren are at play in the pine groves of Villa Borghese [the traditional children’s song Madama Doré]; they dance round in circles, they play at soldiers, marching and fighting, they are wrought up by their own cries like swallows at evening, they come and go in swarms. Suddenly the scene changes, and

II. Pine trees near a catacomb...We see the shade of the pine trees fringing the entrance to a catacomb. From the depth there rises the sound of mournful psalm-singing, floating through the air like a solemn hymn [the Advent plainchant Veni, veni, Emmanuel], and gradually and mysteriously dispersing.

OTTORINO RESPIGHI (1879–1936)

Pines of Rome The Pines of the Villa Borghese

Pines Near a Catacomb

The Pines of the Janiculum

The Pines of the Appian Way

Fountains of Rome The Fountain of Valle Giulia at Dawn

The Triton Fountain in the Morning

The Fountain of Trevi at Midday

The Villa Medici Fountain at Sunset

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III. The pine trees of the JaniculumA quiver runs through the air: the pine trees of the Janiculum stand distinctly outlined in the clear light of a full moon. A nightingale is singing [this is the first instance of a pre-recorded sound forming part of a musical score].

IV. The pine trees of the Appian WayMisty dawn on the Appian Way: solitary pine trees guarding the magic landscape; the muffled, ceaseless rhythm of unending footsteps. The poet had a fantastic vision of bygone glories: trumpets sound and, in the brilliance of the newly risen sun, a consular army bursts forth towards the Sacred Way, mounting in triumph to the Capitol.

Respighi himself sanctioned a contemporary program note for Fountains of Rome, which was published with the score of the work:

In this symphonic poem the composer has endeavoured to give impression to the sentiments and visions suggested to him by four of Rome’s fountains, contemplated at the hour in which their character is most in harmony with the surrounding landscape, or in which their beauty appears most impressive to the observer.

The first part, inspired by the Fountain of Valle Giulia, depicts a pastoral landscape: droves of cattle pass and disappear in the fresh damp mists of a Roman dawn.

A sudden loud and insistent blast of horns above the trills of the whole orchestra introduces the second part, The Triton Fountain in the Morning. It is like a joyous call, summoning troops of naiads and tritons who come running up, pursuing each other and mingling in a frenzied dance between the jets of water.

Next there appears a solemn theme, borne on the undulations of the orchestra. It is the Fountain of Trevi at midday. The solemn theme, passing from the woodwind to the brass instruments, assumes a triumphal character. Trumpets peal; across the radiant surface of the water there passes Neptune’s chariot, drawn by sea-horses and followed by a train of sirens and tritons. The procession then vanishes, while faint trumpet blasts resound in the distance.

The fourth part, The Villa Medici Fountain at Sunset, is announced by a sad theme which rises above a subdued warbling. It is the nostalgic hour of sunset. The air is full of sounds of tolling bells, birds twittering, leaves rustling. Then all dies peacefully into the silence of the night.

Given Respighi’s success – he is one of the best-loved, most-often recorded and widely performed of all composers of the 20th century – it now seems extraordinary that the BBC banned his music during the Second World War for its supposedly proto-fascist connotations. The fourth movement of Pines, together with the more overtly triumphal Roman Festivals, are often pointed to as evidence of Respighi’s sympathy for the Fascist glorification of the Rome of Empire. However, any objective reading of the composer’s letters, public statements or the accounts of those who knew him suggest such claims are fanciful.

© Symphony Australia Vincent Ciccarello © 2012

The Melbourne Symphony Orchestra first performed Pines of Rome in November 1952, with conductor Eugene Goosens, and most recently in July 2012 with David Robertson. The Orchestra first performed Fountains of Rome in November 1962 with conductor Francesco Mander, and most recently in November 2009 with Alexander Shelley.

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SUPPORTERS

MSO Patron The Honourable Linda Dessau AM, Governor of Victoria

Artist Chair BenefactorsAnonymous Principal Flute Chair

Di Jameson Principal Viola Chair

Joy Selby Smith Orchestral Leadership Chair

Patricia Riordan Associate Conductor Chair

The Gross Foundation Principal Second Violin Chair

The MS Newman Family Principal Cello Chair

The Ullmer Family Foundation Associate Concertmaster Chair

Program BenefactorsMeet The Orchestra The Ullmer Family Foundation

East Meets West Li Family Trust

The Pizzicato Effect (Anonymous) Schapper Family Foundation

MSO Education Mrs Margaret Ross AM and Dr Ian Ross

MSO Audience Access Betty Amsden AO DSJ Crown Resorts Foundation Packer Family Foundation

MSO International Touring Harold Mitchell AC

Satan Jawa Australia Indonesia Institute

MSO Regional Touring Erica Foundation Pty Ltd Robert Salzer Foundation Creative Victoria

Benefactor Patrons $50,000+Betty Amsden AO DSJThe Gross FoundationDi JamesonDavid and Angela LiHarold Mitchell ACMS Newman FamilyJoy Selby SmithUllmer Family FoundationAnonymous (2)

Impresario Patrons $20,000+Michael Aquilina*The John and Jennifer Brukner FoundationPerri Cutten and Jo DaniellRachel and the Late Alan Goldberg AO QC Margaret Jackson ACDavid Krasnostein and Pat StragalinosMimie MacLarenJohn and Lois McKayAnonymous (1)

Maestro Patrons $10,000+John and Mary BarlowKaye and David BirksMitchell ChipmanJan and Peter ClarkThe Cuming BequestSir Andrew and Lady DavisGandel PhilanthropyDanny Gorog and Lindy Susskind*Robert & Jan GreenHilary Hall, in memory of Wilma CollieNaomi Milgrom AOIan and Jeannie PatersonElizabeth Proust AORae RothfieldGlenn SedgwickHelen Silver AO and Harrison YoungMaria SolàOnbass FoundationAlice VaughanKee Wong and Wai TangJuliet TootellJason Yeap OAMAnonymous (1)

Principal Patrons $5,000+Philip Bacon AMLinda BrittenDavid and Emma CapponiPaul and Wendy CarterMary and Frederick Davidson AMAndrew and Theresa Dyer*Mr Bill FlemingFuture Kids Pty LtdJohn and Diana FrewSusan Fry and Don Fry AOGeelong Friends of the MSOJennifer Gorog

Louis Hamon OAMNereda Hanlon and Michael Hanlon AMHans and Petra HenkellFrancis and Robyn HofmannHartmut and Ruth HofmannJenny and Peter HordernSuzanne KirkhamD & CS Kipen on behalf of Israel KipenVivien and Graham KnowlesDr Elizabeth A Lewis AMPeter LovellMatsarol Foundation, in honour of Norma and Lloyd ReesLesley McMullin FoundationMr and Mrs D R MeagherMarie Morton FRSAJames and Frances PfeifferPzena Investment Charitable FundHMA FoundationRuth and Ralph RenardDrs G&G StephensonGai and David TaylorThe Hon. Michael Watt QC and Cecilie HallLyn Williams AMAnonymous (5)

*Signifies Adopt an MSO Musician supporter

Associate Patrons $2,500+Dandolo PartnersWill and Dorothy Bailey, via Equity TrusteesBarbara Bell in memory of Elsa BellMrs S BignellBill BownessStephen and Caroline BrainLeith and Mike BrookeDr Mark and Mrs Ann BryceBill and Sandra BurdettOliver CartonJohn and Lyn CoppockMiss Ann Darby in memory of Leslie J. DarbyNatasha Davies, for the Trikojus Education FundEllen DaySandra DentPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonJane Edmanson OAMTim and Lyn EdwardDr Helen M FergusonMr Peter Gallagher and Dr Karen Morley

Dina and Ron GoldschlagerColin Golvan QC and Dr Deborah GolvanCharles and Cornelia GoodeLouise Gourlay OAMSusan and Gary HearstColin Heggen in memory of Marjorie Drysdale HeggenGillian and Michael HundRosemary and James JacobyJenkins Family FoundationJohn JonesGeorge and Grace KassIrene KearseyKloeden FoundationSylvia LavelleBryan LawrenceH E McKenzieAllan and Evelyn McLarenDon and Anne MeadowsAndrew and Sarah NewboldAnn Peacock with Andrew and Woody KrogerSue and Barry PeakeMrs W PeartGraham and Christine PeirsonS M Richards AM and M R RichardsJoan P RobinsonTom and Elizabeth RomanowskiMax and Jill SchultzStephen ShanasyJeffrey Sher QC and Diana Sher OAMDiana and Brian Snape AMGeoff and Judy SteinickeMr Tam Vu and Dr Cherilyn TillmanWilliam and Jenny UlmerBert and Ila VanrenenKate and Blaise VinotElisabeth WagnerBarbara and Donald WeirAthalie WilliamsBrian and Helena WorsfoldHarrison YoungAnonymous (14)

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 Blackwell, Michael F Boyt, Philip and Vivien Brass Charitable Foundation,

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SUPPORTERS

M Ward Breheny, Lino and Di Bresciani OAM, The Late Mr John Brockman OAM and Mrs Pat Brockman, Suzie Brown, Jill and Christopher Buckley, Lynne Burgess, Peter Caldwell, Dr Lynda Campbell, Andrew and Pamela Crockett, Jennifer Cunich, Pat and Bruce Davis, Merrowyn Deacon, Wendy Dimmick, Dominic and Natalie Dirupo, Marie Dowling, John and Anne Duncan, Ruth Eggleston, Kay Ehrenberg, Gabrielle Eisen, Jaan Enden, Grant Fisher and Helen Bird, Barry Fradkin OAM and Dr Pam Fradkin, Applebay Pty Ltd, David Frenkiel and Esther Frenkiel OAM, Carrillo and Ziyin Gantner, David Gibb, Max Gulbin, Ian Kennedy AM, Jean Hadges, Paula Hansky OAM, Tilda and Brian Haughney, Julian and Gisela Heinze, Penelope Hughes, Dr Alastair Jackson, Basil and Rita Jenkins, Stuart Jennings, Brett Kelly and Cindy Watkin, Dr Anne Kennedy, George and Patricia Kline, William and Magdalena Leadston, Andrew Lee, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Ann and George Littlewood, Andrew Lockwood, Violet and Jeff Loewenstein, Elizabeth H Loftus, The Hon Ian Macphee AO and Mrs Julie Macphee, Vivienne Hadj and Rosemary Madden, Eleanor & Phillip Mancini, Dr Julianne Bayliss, in memory of Leigh Masel, John and Margaret Mason, Ruth Maxwell, Trevor and Moyra McAllister, Glenda McNaught, David Menzies, Wayne and Penny Morgan, Ian Morrey, Patricia Nilsson, Andrew Penn and Kallie Blauhorn, Margaret Plant, John Pollaers, Lady Potter AC, Kerryn Pratchett, Peter Priest, Eli Raskin, Bobbie Renard, Peter and Carolyn Rendit, Dr Rosemary Ayton and Dr Sam Ricketson, Zelda Rosenbaum OAM, Antler Ltd, Doug and Elisabeth Scott, Dr Sam

Smorgon AO and Mrs Minnie Smorgon, John So, Dr Norman and Dr Sue Sonenberg, Dr Michael Soon, Pauline Speedy, State Music Camp, Jennifer Steinicke, Dr Peter Strickland, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Tennis Cares – Tennis Australia, 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, Lorraine Woolley, Peter and Susan Yates, Richard Ye, Mark Young, Panch Das and Laurel Young-Das, YMF Australia, Anonymous (18)

The Mahler SyndicateDavid and Kaye Birks, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Francis and Robyn Hofmann, The Hon Dr Barry Jones AC, Dr Paul Nisselle AM, Maria Solà, The Hon Michael Watt QC and Cecilie Hall, Anonymous (1)

MSO RosesFounding RoseJenny Brukner

RosesLois McKay, Pat Stragalinos, Jenny Ullmer

RosebudsMaggie Best, Penny Barlow, Francie Doolan, Lyn Edward, Penny Hutchinson, Elizabeth A Lewis AM, Sophie Rowell, Dr Cherilyn Tillman

Trusts and FoundationsKen & Asle Chilton Trust, managed by PerpetualCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationErica Foundation Pty Ltd

Ivor Ronald Evans Foundation, managed by Equity Trustees LtdThe Harold Mitchell FoundationLinnell/Hughes Trust, managed by PerpetualThe Pratt FoundationThe Alan (AGL) Shaw Endowment, managed by PerpetualThe Robert Salzer FoundationThe Scobie and Claire Mackinnon Trust

Conductor’s CircleJenny Anderson, David Angelovich, G C Bawden and L de Kievit, Lesley Bawden, Joyce Bown, Mrs Jenny Brukner and the late Mr John Brukner, Ken Bullen, Luci and Ron Chambers, Beryl Dean, Sandra Dent, Lyn Edward, Alan Egan JP, Gunta Eglite, Louis Hamon OAM, Carol Hay, Tony Howe, Laurence O'Keefe and Christopher James, John and the Late Joan Jones, George and Grace Kass, Mrs Sylvia Lavelle, Pauline and David Lawton, Lorraine Meldrum, Cameron Mowat, Rosia Pasteur, Elizabeth Proust AO, Penny Rawlins, Joan P Robinson, Neil Roussac, Anne Roussac-Hoyne, Suzette Sherazee, Jennifer Shepherd, Drs Gabriela and George Stephenson, Pamela Swansson, Lillian Tarry, Dr Cherilyn Tillman, Mr and Mrs R P Trebilcock, Michael Ullmer, Ila Vanrenen, Rosemary Varty, Mr Tam Vu, Marian and Terry Wills Cooke, Mark Young, Anonymous (23)

The MSO gratefully acknowledges support received from the Estates of:Angela Beagley, Neilma Gantner, Gwen Hunt, Audrey Jenkins, 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 AppointmentsSir Elton John CBE Life Member

The Late Alan Goldberg AO QC Life Member

Geoffrey Rush AC Ambassador

The Late John Brockman AO Life Member

The Honourable Linda Dessau AM Patron

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: $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 (3) 9626 1104

Email: philanthropy@mso.com.au

14

ORCHESTRA

First ViolinsDale Barltrop Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell Associate Concertmaster (The Ullmer Family Foundation0)

Peter Edwards Assistant Principal

Jo Beaumont*Kirsty BremnerSarah CurroPeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn Taylor(Michael Aquilina0)

Robert John*Oksana Thompson*

Second ViolinsMatthew Tomkins Principal(The Gross Foundation0)

Robert Macindoe Associate Principal

Monica Curro Assistant Principal (Danny Gorog & Lindy Susskind0)

Mary AllisonIsin CakmakciogluFreya FranzenCong GuAndrew HallFrancesca HiewRachel Homburg Christine JohnsonIsy WassermanPhilippa WestPatrick WongRoger YoungAaron Barnden*

ViolasChristopher Moore Principal (Di Jameson0)

Fiona Sargeant Associate Principal

Merewyn Bramble*Lauren BrigdenKatharine BrockmanChristopher CartlidgeGabrielle HalloranTrevor Jones Cindy WatkinCaleb WrightAnthony Chataway*Simon Collins*Ceridwen Davies*Isabel Morse*

CellosDavid Berlin Principal(MS Newman Family0)

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda BrockmanRohan de KorteKeith JohnsonSarah MorseAngela SargeantMichelle Wood(Andrew & Theresa Dyer0)

Rachel Atkinson*Svetlana Bogosavljevic*

Double BassesSteve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen NewtonRohan Dasika*Stuart Riley*Emma Sullivan*

FlutesPrudence Davis Principal Flute (Anonymous0)

Wendy Clarke Associate Principal

Helen Hardy* Guest Associate Principal

Sarah Beggs

PiccoloAndrew Macleod Principal

OboesJeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn

Cor AnglaisMichael Pisani Principal

ClarinetsDavid Thomas Principal

Philip Arkinstall Associate Principal

Craig Hill

Bass ClarinetJon Craven Principal

BassoonsJack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

ContrabassoonBrock Imison Principal

Colin Forbes-Abrams*

Horns Peter Luff*† Guest Principal

Saul Lewis Principal Third

Jenna BreenAbbey EdlinTrinette McClimontRobert Shirley*

TrumpetsGeoffrey Payne Principal

Shane Hooton Associate Principal

William EvansJulie Payne

TrombonesBrett Kelly Principal

Cameron Malouf*# Guest Associate Principal

Iain Faragher*Jessica Buzbee*Kieran Conrau*Ben Lovell-Greene*

Bass TrombonesMike Szabo Principal

TubaTimothy Buzbee Principal

TimpaniChristine Turpin Principal

PercussionRobert Clarke Principal

John ArcaroRobert CossomEvan Pritchard*Greg Sully*

HarpYinuo Mu Principal

Marshall McGuire* Guest Principal

Alannah Guthrie-Jones*

PianoLouisa Breen*

CelesteLaurence Matheson*

OrganCalvin Bowman*

* Guest Musician† Courtesy of Queensland Symphony Orchestra# Courtesy of Adelaide Symphony Orchestra

0 Position supported by

BOARD

Managing DirectorSophie Galaise

ChairmanMichael Ullmer

Board MembersAndrew DyerDanny GorogMargaret Jackson ACBrett Kelly

David Krasnostein David LiHelen Silver AOKee Wong

Company SecretaryOliver Carton

15

Adopt a Musician

Learn more at mso.com.au/giveor phone MSO Philanthropy on (03) 9626 1104

Develop a closer relationship with the people behind the music and enjoy being a part of the musical life of your adoptee, while you contribute to closing the MSO salary gap of $2m each year.

FUNDRAISING PROGRAM

SUPPORTERS

Government Partners

Associate Partners Venue Partner

Red Emperor Fitzroys

Li Family Trust Quest Southbank

The CEO Institute Feature Alpha Investment

Media Partners

Supporting Partners

B e a u t i f u l F l o w e r s

Official Car PartnerMaestro Partners

Sophie Rowell Associate Concertmaster

emirates.com/au

Complimentary Chauffeur-drive service* w Fine dining on demand w World-class service

Relax to music and smooth sips of Hennessy Paradis, or a good story and a glass of Dom Perignon. Savour every indulgence in our First Class Private Suites.

Principal Partner of the Melbourne Symphony Orchestra.

Master the art of me-time

*Complimentary Chauffeur-drive service available for First Class and Business Class, excluding Trans-Tasman services and codeshare flights operated by Qantas to Southeast Asia. Mileage restrictions apply. For full terms and conditions visit emirates.com/au. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.