CONCERT PROGRAMCONCERT PROGRAM

SOUNDS OF SPRING

30 NOVEMBER – 1 DECEMBER 2017

Melbourne Symphony Orchestra

Eoin Andersen violin/director

Stefan Cassomenos piano

Beethoven Violin Sonata No.5 Spring

Copland Appalachian Spring: Suite

Piazzolla The Four Seasons of Buenos Aires

mso.com.au (03) 9929 9600

Running time: 2 hours, including a 20-minute interval

In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone.

The MSO acknowledge the Traditional Owners of the land on which we are performing. We pay our respects to their Elders, past and present, and the Elders from other communities who may be in attendance.

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MELBOURNE SYMPHONY ORCHESTRA

Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s oldest professional orchestra. Chief Conductor, Sir Andrew Davis, has been at the helm of the MSO since 2013. Engaging more than 2.5 million people each year, and as a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world.

The MSO performs a variety of concerts ranging from core classical 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 MSO also delivers innovative and engaging programs to audiences of all ages through its Education and Outreach initiatives.

The MSO also works with Associate Conductor, Benjamin Northey, and the Melbourne Symphony Orchestra Chorus, as well as with such eminent guest conductors as John Adams, Tan Dun, Jakub Hrůša, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Nick Cave, Sting, Tim Minchin and Flight Facilities.

Image courtesy Daniel Aulsebrook

EOIN ANDERSEN VIOLIN / DIRECTOR

A native of Wisconsin, USA, Eoin began violin lessons at the age of five. His teachers have included Sr. Noraleen Retinger, Gerald Fischbach, David Taylor, Efim Boico, and his foremost musical influence, Nadja Salerno-Sonnenberg.

Eoin commenced the position of Co-Concertmaster of the Melbourne Symphony Orchestra in 2015, and was previously Principal Second Violin of the Orchester der Oper Zürich. He has performed as Guest Concertmaster of the Konzerthausorchester Berlin and the Swedish Radio Symphony Orchestra, and as Guest Principal with the Mahler and Australian Chamber Orchestras, Zurich Chamber Orchestra, London Philharmonic and frequently with the Rundfunk-Sinfonieorchester Berlin.

Eoin was a long-time member of the Mahler Chamber Orchestra and the Lucerne Festival Orchestra. As a founding member and director of the Mahler Chamber Soloists, he performed in South America and throughout Europe, and collaborated with the pianist Fazıl Say, the choreographer Sasha Waltz, and soprano Anna Prohaska.

Image courtesy Shara Henderson

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STEFAN CASSOMENOS PIANO

Melbourne pianist and composer Stefan Cassomenos is one of Australia’s most vibrant and versatile musicians. Stefan has performed internationally since the age of 10, and performed the premiere of his own composition Piano Concerto No.1 Aegean Odyssey with the Adelaide Symphony Orchestra at the age of 16. More recently, he has performed concertos with the Beethoven Orchestra Bonn, Melbourne Symphony Orchestra, Queensland Symphony Orchestra, and Orchestra Victoria.

Stefan’s compositions are regularly commissioned and performed throughout Australia, and his music has been performed by the Melbourne and Adelaide Symphony Orchestras, the Queensland Youth Symphony, Orchestra 21, and the Royal Melbourne Philharmonic Choir. He is also active as an artistic director of various festivals, projects and collaborations, and he is a founding member of PLEXUS.

Stefan is generously supported by Kawai Australia and by the Youth Music Foundation of Australia.

Image courtesy Belinda Strodder

PROGRAM NOTES

LUDWIG VAN BEETHOVEN (1770–1827)

Violin Sonata No.5 in F, Op.24 Spring

AllegroAdagio molto espressivoScherzo: Allegro moltoAllegro ma non troppo

Eoin Andersen violinStefan Cassomenos piano

The fifth of Beethoven’s sonatas for piano and violin was published in 1801, the same year as its predecessor, Op.23 in A minor. Whereas that work was troubled, agitated and difficult, the F major sonata is sunny, equable and fresh, so that the nickname someone has given it seems less objectionable than some other such arbitrary titles. Among near-contemporary works of the composer, one similar in mood is the Op.28 piano sonata, the Pastoral, while the key of F major was later to seem suitable to Beethoven for the development of similar sentiments on a far greater scale in the Sixth Symphony.

This is not to say that the Spring Sonata is a small-scale work. Not only is it the first of its genre in Beethoven’s output to have four movements, but each except the Scherzo is developed with considerable breadth. Breadth and flowing lyricism immediately strike the attention in the opening movement’s first subject. In fact, as with other memorable themes of his, it took Beethoven some effort to fashion its final form, which combines

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spontaneity and inevitability. The character of the movement is thus set from the outset – though there is some agitation and drama later, particularly when the recapitulation turns towards the second subject group. The basic contrast is between the essentially melodic first idea and a more broken-up, dramatically exchanged second subject. The main theme returns in the coda where its first bar is developed, setting its seal even more firmly on the movement.

The slow movement, in B flat, is again distinguished by breadth of phrase and warm feeling, while the mood is more serious. Exposition is exceptionally closely shared by the instruments, each doing what it can best – the violin detaching itself to present the first theme cantabile, the piano heightening the intensity by varying it with repeated notes. In concluding the dialogue with trills on both instruments, Beethoven provides an early example of his ability to raise a decorative device to an expressive function.

Breathtaking concision marks the Scherzo which abruptly contrasts a syncopated exchange (the violin follows the piano a beat behind) with a trio in rapidly running notes. This prepares the listener by way of contrast for a return in the last movement to the lyricism and flow of the first. Formally this is a rondo, and because of the subtlety with which the refrain is altered and

variously shaped, the effect is of almost uninterrupted development and variation. The contrast comes when, in the second couplet of the Rondo, the music shifts into D minor. When the refrain returns, some remote keys are explored before the coda uses a little virtuosity to provide an effective concert conclusion.© David Garrett

This is the first performance of this work by the Melbourne Symphony Orchestra.

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AARON COPLAND (1900–1990)

Appalachian Spring (Ballet for Martha): Suite

Version for 13 instruments

Very slowly –Allegro –Moderato –Fast – Molto moderato –Subito allegro – Presto – Meno mosso –Very slowly (as at first) –Doppio movimento (Shaker melody: The Gift to be Simple) –Moderato (like a prayer) – Andante (very calm)

Aaron Copland’s Appalachian Spring Suite originated in a ballet he wrote for the choreographer Martha Graham. Graham had already choreographed Copland’s Piano Variations (Dithyramb, 1931) when, in 1942, arts patron Elizabeth Sprague Coolidge commissioned her to produce three new ballets, and Copland was chosen to write music for one of them. Appalachian Spring premiered in Washington in October 1944 and its score won the Pulitzer Prize for Music the following year.

Appalachian Spring is one of those works which defines the American spirit in music, yet its title has attracted its fair share of misunderstandings. For one thing, springtime was not in the creators’ heads at the time of writing. ‘I could not decide on a title,’ recounted Martha Graham, ‘and the day of the first rehearsal

PROGRAM NOTES

I noticed [Aaron] had written on the title page, “Ballet for Martha”. Finally I shared with [him] the title Appalachian Spring, and he laughed that wonderful laugh and sighed, “At last!”’

The words ‘Appalachian Spring’ actually come from a book-length poem, The Bridge, by Hart Crane, and refer to a spring of water on a trail through the Appalachian Mountains:

I took the portage climb, then choseA further valley-shed; I could not stop.Feet nozzled wat’ry webs of upper flows;One white veil gusted from the very top.O Appalachian Spring!…

Despite Copland being kept in the dark over the title, much in Graham’s concept inspired this most American of scores. Her original scenario included Bible quotations, a central character who resembled Pocahontas, and several references to the Civil War. Eventually the story revolved around a pioneer farmhouse in the Pennsylvania hill country in the early 1800s – a stark symbol of American values. Graham’s unique choreographic style – spare and restrained – determined much of the expressive content of the ballet. Set designer Isamu Noguchi noted that Graham was ‘in a sense influenced by Shaker furniture, but it is also the culmination of Martha’s interest in American themes and in the Puritan American tradition’. The values of simplicity and directness led to the use of the Shaker hymn The Gift to be Simple, a song ‘previously…unknown to the general public,’ recalled Copland, ‘but…which expressed the unity of the Shaker spirit,

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[and] was ideal for Martha’s scenario, and for the kind of austere movements associated with her choreography.’

With the benefit of hindsight, however, we can tell that much of Graham’s aesthetic was in accord with Copland’s own compositional inclinations, which we associate now with the typical American sound. ‘Plain, plain, plain!…,’ said Leonard Bernstein in admiration, ‘one of those Puritan values like being fair – you’re thrifty.’

In 1944, Copland extracted a concert suite from the ballet, which he subsequently arranged for full orchestra (it is performed this evening in the ballet’s original 13-member chamber instrumentation). The suite is constructed in eight sections, played without interruption. Copland’s printed analysis for the suite’s premiere, given by the New York Philharmonic under Artur Rodzinski on 4 October 1945, enables a concert audience to retain an impression of the broader features of the original ballet:

1. Very slowly. Introduction of the characters, one by one, in a suffused light.

2. Fast. Sudden burst of unison strings in A major arpeggios starts the action. A sentiment both elated and religious gives the keynote to this scene.

3. Moderato. Duo for the Bride and her Intended – scene of tenderness and passion.

4. Quite fast. The Revivalist and his flock. Folksy feelings – suggestions of square dances and country fiddlers.

5. Still faster. Solo dance of the Bride – presentiment of motherhood. Extremes of joy and fear and wonder.

6. Very slowly (as at first). Transition scenes reminiscent of the introduction.

7. Calm and flowing. Scenes of activity for the Bride and her Farmer-husband. There are five improvisations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published later under the title The Gift to be Simple.

8. Moderato – Coda. The Bride takes her place among her neighbours. At the end the couple are left ‘quiet and strong in their new house’. Muted strings intone a hushed, prayer-like passage. We hear a last echo of the principal theme sung by a flute and solo violin.

‘Appalachian Spring had a great deal to do with bringing my name before a larger public,’ recalled Copland in later years, and his orchestration of The Gift to be Simple has become a secondary American anthem. The storyline of the original ballet implies good Yankee values – sobriety, industriousness, community spirit. Though few people these days know the ballet, there is something in Copland’s music, his Enlightened Popular style – the wide-open folksy breeziness, the stoically heroic melodies, the simple colours – which has also come to represent these qualities. Abridged from a note by Gordon Kalton Williams © 1998/2015

The Melbourne Symphony Orchestra first performed the suite from Appalachian Spring in March 1967 under conductor Moshe Atzmon, and on 19-21 March 1978 under the direction of the composer. The Orchestra most recently performed the work in July 2015 with Matthew Coorey.

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ASTOR PIAZZOLLA (1921–1992)arr. Leonid Desyatnikov (born 1955)

Las cuatro estaciones porteñas (The Four Seasons of Buenos Aires)

Primavera porteña (Spring) Allegro – Lento – Allegro

Verano porteño (Summer) Allegro – Lento – Rosso – Allegro

Invierno porteño (Winter) Andante moderato

Otoño porteño (Autumn) = 112 – Lento – Allegro – Tempo I

In 1954 Astor Piazzolla won a scholarship to study with the legendary Nadia Boulanger in Paris. He was by this stage acknowledged as a great composer of tangos and performer on the bandoneón (button-key accordion) in his native Buenos Aires (though, incidentally, he spent many of his earliest years in New York) and had already studied with Alberto Ginastera. But Piazzolla, like Gershwin, yearned to be a serious composer and played down the importance of tango at first. Boulanger, however, showed her usual perspicacity. Hearing Piazzolla play tango on the bandoneón she famously said ‘Astor, your classical pieces are well written, but the true Piazzolla is here, never leave it behind.’

Despite Piazzolla’s distinguished career, tango was originally far from high art, and while its origins are complex it was the music of the porteños and porteñas – inhabitants of the slum port areas of Buenos Aires – in the early 20th century which is the root

PROGRAM NOTES

of Piazzolla’s art. (And, we might note, plenty of people believed that Piazzolla had ruined tango by developing it into a ‘classical’ genre as he did.) These four pieces, composed between 1964 and 1970, are often referred to as the Four Seasons of Buenos Aires, but are really tango portraits of this particular aspect of the city’s life through the year.

They were originally composed for Piazzolla’s own ensemble of violin, piano, electric guitar, bass, and bandoneón. Violinist Gidon Kremer had the idea of using the pieces to complement Vivaldi’s Four Seasons (as Piazzolla’s Seasons were written in the Southern Hemisphere, the movements actually oppose Vivaldi's work, which were written in the North. For examples, Vivaldi's themes in his Autumn can be found in Piazzolla / Desyatnikov's Spring), so commissioned Ukrainian composer Leonid Desyatnikov to make this version for violin and string orchestra. They are, strictly speaking, versions rather than arrangements: Desyatnikov underlines the relationship to Vivaldi by incorporating thematic material, often to genuinely humorous effect, from the Baroque composer’s work into Piazzolla’s without disrespect to either. Desyatnikov also exploits the virtuosity of both Kremer and his orchestra.

Each movement has a strong musical and meteorological character. Spring, as in other parts of the southern hemisphere, is busy but not always comfortable; Summer, the first composed of the set, was written

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for a play and is well-known in its own right. Winter begins with a slow introduction that leads, eventually, into the main tango, but ends in a mood of quiet nostalgia with music that recalls Pachelbel’s famous canon. Autumn, composed second, begins with an implacable rhythm that gives way to an introspective solo, originally for bandoneón but here played on cello. Gordon Kerry © 2009/11

The Melbourne Symphony Orchestra’s only previous performance of this work took place on 25 February 2012 at the Sidney Myer Free Concert, under the direction of Diego Matheuz.

ABOUT THE COMPOSERBorn in Mar del Plata, Argentina in 1921, Astor Piazzolla moved with his family to New York in 1924, where he began learning his signature instrument, the bandoneón, at the age of eight. Jazz was an important formative influence, as was classical music, to which he was introduced by his Hungarian pianist neighbour, Béla Wilda, whose playing of Bach ignited Piazzolla’s lifelong passion for the composer.

After returning to Argentina in 1937, Piazzolla became an arranger for bandleader Aníbal Troilo in Buenos Aires while studying with Alberto Ginastera, but left Troilo to form Orquesta del 46, a vehicle for his own compositions. He had already been intrigued by the potential of tango as a genre, but in 1954 he travelled to Paris to study with the great pedagogue Nadia Boulanger,

who typically encouraged him to plumb his own style and traditions – which meant tango. Back in Argentina he formed the Octeto Buenos Aires and Quinteto Nuevo Tango. In 1968 he formed an association with the poet Horacio Ferrer, with whom he composed the tango operita, María de Buenos Aires. From 1976 he began to enjoy great popularity around the world, recording with, among others, Lalo Schifrin and the Orchestra of St. Luke’s and with jazz vibraphonist Gary Burton. In 1989 he formed his last group, the New Tango Sextet, which included two bandoneóns, piano, electric guitar, bass and cello.

Piazzolla's tango nuevo, incorporating elements of jazz as well as classical techniques such as fugue, earned the hostility of many traditionalist tangueros, to whom tango was dance music, not concert music; but by the 1990s, even some Argentineans conceded the revivifying effect on tango traditions of Piazzolla’s innovations. Having begun to appeal to audiences in France and the USA, his music was reaching a wider public at the time of his death, championed by such artists as Michael Tilson Thomas, Gidon Kremer, and the Kronos Quartet. Piazzolla died in July 1992, sadly before making his planned first visit to Australia as part of the Melbourne International Festival of Arts.© Symphony Australia

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MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor

Tianyi Lu Cybec Assistant Conductor

Hiroyuki Iwaki Conductor Laureate (1989-2006)

FIRST VIOLINS

Dale Barltrop Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell Associate ConcertmasterThe Ullmer Family Foundation#

John Marcus Principal

Peter Edwards Assistant Principal

Kirsty BremnerSarah Curro Michael Aquilina#

Peter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniDavid and Helen Moses#

Mark Mogilevski Michelle RuffoloKathryn TaylorMichael Aquilina#

SECOND VIOLINS

Matthew Tomkins Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro Assistant PrincipalDanny Gorog and Lindy Susskind#

Mary AllisonIsin CakmakciogluFreya Franzen Anonymous#

Cong GuAndrew HallAndrew and Judy Rogers# Isy WassermanPhilippa WestPatrick WongRoger YoungJenny Khafagi*

VIOLAS

Christopher Moore PrincipalDi Jameson#

Fiona Sargeant Associate Principal

Lauren BrigdenTam Vu, Peter and Lyndsey Hawkins#

Katharine BrockmanChristopher CartlidgeMichael Aquilina#

Anthony ChatawayGabrielle HalloranTrevor Jones Cindy WatkinElizabeth WoolnoughCaleb Wright

CELLOS

David Berlin Principal MS Newman Family#

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de Korte Andrew Dudgeon#

Keith JohnsonSarah MorseAngela SargeantMichelle WoodAndrew and Theresa Dyer#

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser#

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal

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MSO BOARD

Chairman

Michael Ullmer

Managing Director

Sophie Galaise

Board Members

Andrew DyerDanny GorogMargaret Jackson ACDavid KrasnosteinDavid LiHyon-Ju NewmanHelen Silver AO

Company Secretary

Oliver Carton

OBOES

Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann BlackburnThe Rosemary Norman Foundation#

COR ANGLAIS

Michael Pisani Principal

CLARINETS

David Thomas Principal

Philip Arkinstall Associate Principal

Craig Hill

BASS CLARINET

Jon Craven Principal

BASSOONS

Jack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

CONTRABASSOON

Brock Imison Principal

HORNS

Saul Lewis Principal Third

Abbey Edlin Nereda Hanlon & Michael Hanlon AM#

Trinette McClimont

TRUMPETS

Geoffrey Payne Principal

Shane Hooton Associate Principal

William EvansRosie Turner

TROMBONES

Brett Kelly Principal

Richard Shirley

BASS TROMBONE

Mike Szabo Principal

TUBA

Timothy Buzbee Principal

PERCUSSION

Robert Clarke Principal

John ArcaroTim and Lyn Edward#

Robert Cossom

HARP

Yinuo Mu Principal

PIANO

Louisa Breen

# Position supported by

* Guest Musician

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SUPPORTERS

MSO PATRONThe Honourable Linda Dessau AC, Governor of Victoria

ARTIST CHAIR BENEFACTORSAnthony Pratt Associate Conductor Chair

Joy Selby Smith Orchestral Leadership Chair

The Cybec Foundation Cybec Assistant Conductor Chair

The Ullmer Family Foundation Associate Concertmaster Chair

Anonymous Principal Flute Chair

The Gross Foundation Principal Second Violin Chair

Di Jameson Principal Viola Chair

MS Newman Family Foundation Principal Cello Chair

Marc Besen AC and Eva Besen AO 2018 Soloist in Residence Chair

PROGRAM BENEFACTORS

Cybec 21st Century Australian Composers Program The Cybec Foundation

Cybec Young Composer in Residence made possible by The Cybec Foundation

East Meets West supported by the Li Family Trust

Meet The Orchestra made possible by The Ullmer Family Foundation

MSO Audience Access Crown Resorts Foundation Packer Family Foundation

MSO Education supported by Mrs Margaret Ross AM and Dr Ian Ross

MSO International Touring supported by Harold Mitchell AC

MSO Regional Touring Creative Victoria The Robert Salzer Foundation

The Pizzicato Effect Collier Charitable Fund The Marian and E.H. Flack Trust Schapper Family Foundation Scobie and Claire Mackinnon Trust Supported by the Hume City Council’s Community Grants Program (Anonymous)

Sidney Myer Free Concerts Supported by the Myer Foundation and the University of Melbourne

CHAIRMAN’S CIRCLE $100,000+Marc Besen AC and Eva Besen AOJohn Gandel AC and Pauline Gandel The Gross Foundation ◊

David and Angela LiMS Newman Family Foundation ◊

Anthony Pratt ◊

The Pratt FoundationJoy Selby SmithUllmer Family Foundation ◊

Anonymous (1)

VIRTUOSO PATRONS $50,000+Di Jameson ◊

David Krasnostein and Pat StragalinosMr Ren Xiao Jian and Mrs Li QuianHarold Mitchell ACKim Williams AM

IMPRESARIO PATRONS $20,000+Michael Aquilina ◊

The John and Jennifer Brukner FoundationPerri Cutten and Jo DaniellMary and Frederick Davidson AMRachel and the late Hon. Alan Goldberg AO QCHilary Hall, in memory of Wilma CollieMargaret Jackson ACAndrew JohnstonMimie MacLarenJohn and Lois McKay

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Elizabeth Proust AORae RothfieldGlenn SedgwickHelen Silver AO and Harrison YoungMaria SolàProfs. G & G Stephenson, in honour of the great Romanian musicians George Enescu and Dinu LipattiGai and David TaylorJuliet TootellAlice VaughanKee Wong and Wai TangJason Yeap OAMAnonymous (1)

PRINCIPAL PATRONS $5,000+Christine and Mark ArmourJohn and Mary BarlowStephen and Caroline BrainProf Ian BrighthopeDavid and Emma CapponiWendy DimmickAndrew Dudgeon AM ◊

Andrew and Theresa Dyer ◊

Tim and Lyn Edward ◊ Mr Bill FlemingJohn and Diana FrewSusan Fry and Don Fry AOSophie Galaise and Clarence Fraser ◊

Geelong Friends of the MSO ◊

Jennifer GorogHMA FoundationLouis Hamon OAMHans and Petra HenkellHartmut and Ruth HofmannJack HoganDoug HooleyJenny and Peter HordernDr Alastair JacksonD & CS Kipen on behalf of Israel KipenDr Elizabeth A Lewis AMPeter LovellLesley McMullin FoundationMr Douglas and Mrs Rosemary MeagherDavid and Helen Moses ◊Dr Paul Nisselle AMThe Rosemary Norman Foundation ◊

Ken Ong, in memory of Lin OngBruce Parncutt AOJim and Fran PfeifferPzena Investment Charitable FundAndrew and Judy Rogers ◊

Max and Jill Schultz

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Stephen ShanasyMr Tam Vu and Dr Cherilyn Tillman ◊

The Hon. Michael Watt QC and Cecilie HallLyn Williams AMAnonymous (2)

ASSOCIATE PATRONS $2,500+Dandolo PartnersWill and Dorothy Bailey BequestBarbara Bell, in memory of Elsa BellBill BownessLynne Burgess Oliver CartonJohn and Lyn CoppockMiss Ann Darby, in memory of Leslie J. DarbyNatasha Davies, for the Trikojus Education FundMerrowyn DeaconBeryl DeanSandra DentPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonJane Edmanson OAMDr Helen M FergusonMr Peter Gallagher and Dr Karen Morley Dina and Ron GoldschlagerLouise Gourlay OAMPeter and Lyndsey Hawkins ◊

Susan and Gary HearstColin Heggen, in memory of Marjorie Drysdale HeggenRosemary and James JacobyJenkins Family FoundationC W Johnston FamilyJohn JonesGeorge and Grace KassIrene Kearsey and M J RidleyThe Ilma Kelson Music FoundationKloeden FoundationBryan LawrenceAnn and George Littlewood

John and Margaret MasonH E McKenzieAllan and Evelyn McLarenDon and Anne MeadowsMarie Morton FRSAAnnabel and Rupert Myer AOAnn Peacock with Andrew and Woody KrogerSue and Barry PeakeMrs W PeartGraham and Christine PeirsonRuth and Ralph RenardS M Richards AM and M R RichardsTom and Elizabeth RomanowskiJeffrey Sher QC and Diana Sher OAMDiana and Brian Snape AMDr Norman and Dr Sue SonenbergGeoff and Judy SteinickeWilliam and Jenny UllmerElisabeth WagnerBrian and Helena WorsfoldPeter and Susan YatesAnonymous (7)

PLAYER PATRONS $1,000+David and Cindy AbbeyChrista AbdallahDr Sally AdamsMary ArmourArnold Bloch LeiblerPhilip Bacon AMMarlyn and Peter Bancroft OAMAdrienne BasserProf Weston Bate and Janice BateJanet BellDavid BlackwellAnne BowdenMichael F BoytThe Late Mr John Brockman OAM and Mrs Pat Brockman

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Julie and Simon KesselKerry LandmanWilliam and Magdalena LeadstonAndrew LeeNorman Lewis, in memory of Dr Phyllis LewisDr Anne LierseAndrew LockwoodViolet and Jeff LoewensteinElizabeth H LoftusChris and Anna LongThe Hon. Ian Macphee AO and Mrs Julie MacpheeVivienne Hadj and Rosemary MaddenEleanor and Phillip ManciniDr Julianne BaylissIn memory of Leigh MaselRuth MaxwellJenny McGregor AM and Peter AllenGlenda McNaughtWayne and Penny MorganIan Morrey and Geoffrey MinterJB Hi-Fi LtdPatricia NilssonLaurence O'Keefe and Christopher JamesAlan and Dorothy PattisonMargaret PlantKerryn PratchettPeter PriestTreena QuarinEli RaskinRaspin Family Trust Bobbie RenardPeter and Carolyn RenditDr Rosemary Ayton and Dr Sam RicketsonJoan P RobinsonCathy and Peter RogersDoug and Elisabeth ScottMartin and Susan ShirleyDr Sam Smorgon AO and Mrs Minnie SmorgonJohn SoDr Michael SoonLady Southey ACJennifer Steinicke

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PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

� e CEO InstituteQuest Southbank Bows for StringsErnst & Young

TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

The Scobie and Claire Mackinnon Trust

� e Gross Foundation, Li Family Trust, MS Newman Family Foundation, � e Ullmer Family Foundation

SUPPORTERS

Dr Peter StricklandPamela SwanssonJenny TatchellFrank Tisher OAM and Dr Miriam TisherP and E TurnerThe Hon. Rosemary VartyLeon and Sandra VelikSue Walker AMElaine Walters OAM and Gregory WaltersEdward and Paddy WhiteNic and Ann WillcockMarian and Terry Wills CookeLorraine WoolleyRichard YePanch Das and Laurel Young-DasAnonymous (22)

THE MAHLER SYNDICATEDavid and Kaye BirksMary and Frederick Davidson AMTim and Lyn EdwardJohn and Diana FrewFrancis and Robyn HofmannThe Hon. Dr Barry Jones ACDr Paul Nisselle AMMaria Solà The Hon. Michael Watt QC and Cecilie Hall

TRUSTS AND FOUNDATIONSKen and Asle Chilton Trust, managed by PerpetualCollier Charitable FundCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Marian and E.H. Flack TrustGandel PhilanthropyLinnell/Hughes Trust, managed by PerpetualThe Scobie and Claire Mackinnon TrustThe Harold Mitchell Foundation

The Myer FoundationThe Pratt FoundationThe Robert Salzer FoundationAlan (AGL) Shaw Endowment, managed by PerpetualTelematics Trust

CONDUCTOR’S CIRCLEJenny AndersonDavid AngelovichG C Bawden and L de KievitLesley BawdenJoyce BownMrs Jenny Brukner and the late Mr John BruknerKen BullenPeter A CaldwellLuci and Ron ChambersBeryl DeanSandra DentLyn EdwardAlan Egan JPGunta EgliteMr Derek GranthamMarguerite Garnon-WilliamsLouis Hamon OAMCarol HayTony HoweLaurence O'Keefe and Christopher JamesAudrey M JenkinsJohn JonesGeorge and Grace KassMrs Sylvia LavellePauline and David LawtonCameron MowatRosia PasteurElizabeth Proust AOPenny RawlinsJoan P RobinsonNeil RoussacAnne Roussac-Hoyne Suzette SherazeeMichael Ryan and Wendy MeadAnn and Andrew SerpellJennifer ShepherdProfs. Gabriela and George StephensonPamela SwanssonLillian Tarry

Dr Cherilyn TillmanMr and Mrs R P TrebilcockMichael UllmerIla VanrenenThe Hon. Rosemary VartyMr Tam VuMarian and Terry Wills CookeMark YoungAnonymous (23)

The MSO gratefully acknowledges the support received from the estates of

Angela BeagleyNeilma GantnerGwen HuntAudrey JenkinsJoan JonesPauline Marie JohnstonC P KempPeter Forbes MacLarenJoan Winsome MaslenLorraine Maxine MeldrumProf Andrew McCredieMiss Sheila Scotter AM MBEMarion A I H M SpenceMolly StephensJean TweedieHerta and Fred B VogelDorothy Wood

HONORARY APPOINTMENTSSir Elton John CBELife Member

The Hon. Alan Goldberg AO QC*Life Member

Geoffrey Rush ACAmbassador

John Brockman OAM*Life Member

Ila Vanrenen*Life Member

*Deceased

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$20,000+ (Impresario)

$50,000+ (Virtuoso)

$100,000+ (Chairman’s Circle)

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

ENQUIRIES Phone (03) 8646 1551

Email philanthropy@ mso.com.au

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PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

� e CEO InstituteQuest Southbank Bows for StringsErnst & Young

TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

The Scobie and Claire Mackinnon Trust

� e Gross Foundation, Li Family Trust, MS Newman Family Foundation, � e Ullmer Family Foundation

SUPPORTERS

*For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.

EMIRATES FIRST AND BUSINESS

Start your journey on a high note in one of our 41 luxury lounges worldwide. Indulge in gourmet dining, paired with premium wines or spirits and take some time to unwind before you fly.

PERFECT PRELUDEEnjoy the

White keyline version to be usedon red background only