MELBOURNE RECITAL CENTRE PRESENTS

Tuesday 10 & Wednesday 11 March 2020  |  Elisabeth Murdoch Hall

The Complete Beethoven Piano Concertos

Freiburg Baroque Orchestra & Kristian Bezuidenhout

PAGE 2Insert image and caption: Ludwig van Beethoven

Wominjeka, Welcome

Euan Murdoch, CEO

In 2020, musicians and music-lovers around the world celebrate the 250th anniversary of Ludwig van Beethoven’s birth. Beethoven’s music has united people in moments of joy and has dignified times of sorrow; everyone can be moved by Beethoven’s appeal to our shared humanity. This Beethoven anniversary is an occasion to remind ourselves of the qualities that make the composer’s music unique: his passion, humour, tenderness and boldness. You’ll hear this tonight when we’re joined by extraordinary pianist Kristian Bezuidenhout and the Freiburg Baroque Orchestra for a complete cycle of Beethoven’s five piano concertos. The piano was Beethoven’s instrument, and his piano works speak with his authentic voice, a voice that Kristian and the Orchestra will recreate on period instruments with incredible skill and sensitivity.

We’re delighted to present the Freiburg Baroque Orchestra and Kristian Bezuidenhout in these Australian-exclusive concerts, and we’re sincerely grateful that they made the journey here for this audacious start to the Beethoven year. Thank you to our Signature Event benefactors Yvonne von Hartel AM, Robert Peck AM, Rachel Peck and Marten Peck of peckvonhartel architects. Finally, Melbourne Recital Centre thanks you, our audiences, for the role you play here at every concert: hearing, discovering and sharing music with artists and each other.

I look forward to enjoying these performances with you.

EUAN MURDOCHCEO, Melbourne Recital Centre

Cover image: Napoleon Crossing the Alps by Jacques-Louis David

3

Tuesday 10 March 2020 Elisabeth Murdoch Hall

6.45pm Free pre-concert conversation with Marshall McGuire and Gottfried von der Goltz

7.30pm Piano Concerto No.1 in C, Op.15 Allegro con brio Largo Rondo (Allegro)

Piano Concerto No.2 in B-flat, Op.19 Allegro con brio Adagio Rondo (Molto allegro)

Interval – 20-minutes

Piano Concerto No.3 in C minor, Op.37 Allegro con brio Largo Rondo (Allegro)

Duration Two hours & 10-minutes including a 20-minute interval

Kristian Bezuidenhout performs on a fortepiano handmade in 2008 in Prague by Paul McNulty modelled after a Walter & Sohn fortepiano, c.1805.

Wednesday 11 March 2020 Elisabeth Murdoch Hall

6.45pm Free pre-concert conversation with Marshall McGuire and Gottfried von der Goltz

7.30pm The Creatures of Prometheus: Overture, Op.43

Piano Concerto No.4 in G, Op.58 Allegro moderato Andante con moto – Rondo (Vivace)

Interval – 20-minutes

Coriolan Overture, Op.62

Piano Concerto No.5 in E-flat, Op.73, ‘Emperor’ Allegro Adagio un poco mosso – Rondo (Allegro)

Duration Two hours & 10-minutes including a 20-minute interval

Kristian Bezuidenhout performs on a fortepiano modelled after a C. Graf fortepiano, c.1817, Vienna, on loan from the Melbourne Conservatorium of Music.

Freiburg Baroque Orchestra (Germany) Artistic direction Kristian Bezuidenhout & Gottfried von der Goltz

Kristian Bezuidenhout fortepiano

Violin 1 Gottfried von der Goltz Brian Dean Gerd-Uwe Klein Eva Borhi Hannah Visser Judith von der Goltz

Violin 2 Peter Barczi Beatrix Hülsemann Brigitte Täubl Kathrin Tröger Jörn-Sebastian Kuhlmann Lotta Suvanto

Viola Ulrike Kaufmann Nadine Henrichs Raquel Massadas Chloe Parisot

Cello Stefan Mühleisen Guido Larisch Marie Deller

Double Bass James Munro Georg Schuppe

Flute Daniela Lieb Susanne Kaiser

Oboe Josep Domenech Ann-Kathrin Brüggemann

Clarinet Tindaro Capuano Eduardo Raimundo

Bassoon Eyal Streett Jani Sunnarborg

Horn Bart Aerbeydt Gijs Laceulle

Trumpet Jaroslav Roucek Hannes Rux

Timpani Michael Juen

Supported by Yvonne von Hartel AM, Robert Peck AM, Rachel Peck & Marten Peck of peckvonhartel architects.

Melbourne Recital Centre acknowledges the Traditional Custodians of the lands on which we work, live and learn. We pay our respects to people of the Kulin nation, their Elders past, present and emerging and to all Aboriginal and Torres Strait Islander Peoples.

‘Irrepressible imagination and vitality.’ THE GUARDIAN, U.K

ProgramLudwig van Beethoven (b. 1770 Bonn, Germany — d. 1827 Vienna, Austria) The Five Concertos for Piano & Orchestra

4 5

About the musicBeethoven’s 250th Anniversary Beethoven is as revered a man and musician as few, if any, have been before or since. His beliefs and struggles affirm the individual as important and interesting, not only for his compelling music. Romanticism made Beethoven a hero, and celebrated his milestone anniversaries. Now, in the 250th, these concerts offer a new way of appreciating Beethoven’s greatness – fruit of historical research to rediscover how his music sounded when new, using instruments such as he had, and what we know of how they were played. This way of performing his five piano concertos brings new insight to Beethoven’s mastery of piano and orchestra alike.

Beethoven piano concertos: an overviewThe piano was Beethoven’s principal instrument, his main medium for expressing himself as a performer, and arguably as a composer as well. His five concertos for piano and orchestra do not match in number or diversity the 32 piano sonatas almost spanning his career in Vienna, but they add a dimension to Beethoven as virtuoso. Coming to Vienna, his patron Count Waldstein remarked, to receive the spirit of Mozart at the hands of Haydn, Beethoven had a great model in Mozart’s piano concertos. At a rehearsal of Mozart’s C minor Concerto (K.491), Beethoven exclaimed to visiting pianist Cramer: ‘You and I will never be able to do anything like that!’ Mozart, with at least a dozen masterpieces, established the piano concerto as ‘the most extended and exalted form of instrumental music in the Viennese classical style’ (writes Robert S. Winter).

Beethoven in his early concertos would dare to ‘out-Mozart Mozart’, by being different. His own concertos are notable for the progressively increasing virtuosity of their solo parts, along with an enlargement of the orchestra, and changes in the piano’s range and power. All these are implied in Beethoven’s writing for both the solo instrument and the orchestra.

Mozart, it could be claimed, was a concerto composer who also wrote symphonies, Beethoven the reverse. The timeline on page 6 shows that Beethoven’s concertos were conceived hand-in-hand with his symphonies, and the music tells us the same.

How Beethoven played the pianoThe solo writing in his concertos matches descriptions of Beethoven’s own playing. Though he praised Mozart’s playing, Beethoven found it ‘choppy’, derived from harpsichord style. He himself is reported to have played with rounded fingers, linking notes with fingers remaining on the keys, even in fast passages. In runs the thumb often passed under – long runs are a very conspicuous feature of the first movement of Concerto No.1, notably at the end of the working out section, where a suspenseful preparation leads to a startling loud cascade of scales, from the top of the keyboard.

Whatever piano Beethoven was playing, he impressed hearers with his singing tone in sustained passages, assisted by elaborate use of the pedals. (According to his pupil Carl Czerny, Beethoven used even more pedal than he indicated in the printed music. The effect, as will be heard, is to add to the impression of sustained tone, rather than the muddle that can result if the same directions are followed exactly on a modern piano).

CadenzasCadenzas are interpolated free passages for the solo instrument on its own. The first four Beethoven piano concertos have places for cadenzas. Presumably Beethoven improvised these in his own performances. All his cadenzas for concertos No.1 - No.4 were written down after he composed No.3, from 1809 onwards (probably for his pupil Archduke Rudolph). Beethoven’s cadenzas for the first two concertos exceed the range of the pianos used for their premieres, an argument for not playing them, if authenticity and stylistic consistency are concerns, or if the piano used does not have the extended range. The cadenza for Concerto No.3 can be played on a five-and-a-half octave piano, as can the cadenzas for No.4.

In No.5 the passages corresponding to ‘cadenzas’ are fully written out: ‘do not play a cadenza’, Beethoven instructs the performer.

Piano Concertos & Beethoven’s Career

Beethoven is born in Bonn, Germany 1770

Piano Sonata in C minor (Pathétique); Symphony No.1 1799

No.2 is revised, including the addition of a new Rondo finale1793-5

Completes and premieres Piano Concerto No.3; Symphony No.21803

Piano Concerto No.5 begun and completed. Cadenzas for Concertos 1-4 composed for Beethoven’s pupil Archduke Rudolph

1809

Beethoven’s last public appearance as a pianist, in the Archduke Trio. 1814

First ideas for what becomes Piano Concerto No.21787

Plays Piano Concerto No.1 (in a concert including Symphony No.1 and the Septet). Sketches Piano Concerto No.3

1800

Piano Concerto No.4 completed. Rasumovsky Quartet No.1, Symphony No.4, Violin Concerto 1806

Beethoven completes Piano Concerto No.1, but not in time for the March concert. Beethoven plays the B-flat Concerto (No.2) at his first public concert in

Vienna on 29 March Piano Trios Op.1, 1-3 1795

First sketches for Piano Concerto No.4 and Symphony No.5 1804

Music for Goethe’s Egmont. Archduke Piano Trio 1810

Begins a sixth piano concerto, which remains as sketches1815

Beethoven arrives in Vienna, begins studies with Haydn 1793

1801

‘Mammoth’ concert, December, includes premiere of Piano Concerto No.4 and Choral Fantasy

(Beethoven’s last public appearances as a soloist), Symphonies 5 and 6, etc.

1808

1807

Ideas for Piano Concerto No.31796

Symphony No.3 (Eroica), Appassionata Piano Sonata1805

1811

Death of Beethoven. His last completed works were composed in 1826. 1827

Palais Lobkowitz in Vienna, where Beethoven regularly performed; by Canaletto (c.1760)fortepiano

First revelation by Beethoven of his hearing difficulties Prometheus

Coriolan

Piano Concerto No.5 premiered in Leipzig (soloist Friedrich Schneider)

76

Some things to listen for in each of the concertosPiano Concerto No.1 in C, Op.15 (actually the second to be completed)

Beethoven composed three alternative cadenzas for this concerto’s first movement, which suggests he remained interested in this piece long after playing it in his first all-Beethoven concert in Vienna (April 1800). As in all Beethoven’s piano concertos the first movement is in a march-like metre. As Donald Tovey points out, Beethoven begins his first three concertos as if they were symphonies, not reserving important ideas, as Mozart did, for the soloist. Mozart introduces his themes as though they were contrasting characters in an opera. Beethoven uses a basic rhythmic idea, heard at the beginning, as a unifying device.

As in many of Mozart’s concertos, the soloist eventually enters with a completely new theme, to which Beethoven, however, does not return.

In the slow movement (Largo; the slowest tempo) the pianist illustrates singing legato, then fills the gaps between notes in another way: with rich ornamentation and a dialogue with solo clarinet.

The witty, quirky theme of the Rondo finale presents Beethoven as a more boisterous Haydn.

The Creatures of Prometheus: Overture, Op.43

Beethoven’s only ballet, produced in Vienna in 1800, was conceived by the Italian dancer Salvatore Viganò. Prometheus, using the fire he stole from the gods, makes statues of a man and a woman; but all his efforts to make them human are in vain, until on Mount Parnassus, Apollo, Orpheus and the Muses teach them to think and feel. Beethoven identified Prometheus with the young Napoleon, and in the ballet a theme is heard which Beethoven used again in the finale of the ‘Eroica’ Symphony, originally dedicated to Napoleon. Beethoven commands attention at the start of the overture, with a discord leading out of the main key. The music is youthful, dashing and often brilliant.

Piano Concerto No.4 in G, Op.58

Czerny, in his notes on performance, allowed that the pianist could roll the very first chord of the Concerto, like a bard preluding his ‘song’ on a lyre. This unprecedented concerto beginning, the solo instrument playing alone, could allude to ‘preluding’, to establish the key of a piece. But Beethoven immediately seems to contradict this by having the orchestra ‘answer’ with the same idea, but not in the tonic key. At first it seems the adventure will be poetic and lyrical, but later the implicit power of the first idea is brought out, revealing an affinity with the opening motif of Symphony No.5, sketched at the same time. Dreaminess returns in the coda following the cadenza.

It may have been Liszt who first compared the second movement to Orpheus’s taming the furies with his lyre. It is a dialogue between two completely opposite personalities, the stern, gruff orchestra, and the piano’s sustained chorale, muted by those subtle pedaling effects.

From the dark minor-key music ending this movement the strings slip into the key of C, to prepare the tonic, G. This makes the slow movement seem a prelude to a Rondo rich in variety and good humour, where trumpets and drums cut through, having waited until now to play.

Coriolan Overture, Op.62

Beethoven’s overture to Heinrich von Collin’s play Coriolan was composed in 1807 (the year of Symphony No.5). The Roman general Coriolan, conqueror of the neighbouring Volscians, has so angered the Roman people that they send him into exile. Vengefully, Coriolan marshals the Volscians against Rome and scorns every emissary of peace, until his mother, wife and son soften his anger. Forswearing vengeance, Coriolan takes his own life. The Overture begins with unbending determination. Conflict is interrupted by a gently flowing theme – perhaps the gentle pleas of Coriolan’s wife. The musical development presents indecision, inner turmoil, the final collapse of pride and the stoical self-destroying victory.

Re-Live Tonight’s Performance Great concerts stay with us many days after the final round of applause. To listen to Freiburg Baroque Orchestra and Kristian Bezuidenhout perform Beethoven’s Piano Concertos No.2 and No.5, scan this code in the Spotify app.

Piano Concerto No.5 in E-flat, Op.73

The nickname ‘Emperor’ was attached to this concerto, especially in English-speaking countries. Beethoven insisted the title should be simply ‘Grand concerto’. But it was mighty and novel, causing puzzlement at its Leipzig (1811) and Vienna (1812) premieres. The opening exploits the power of enlarged pianos. Once again Beethoven has the soloist play from the beginning. Later the piano introduces a new key, B minor. This helps prepare the B major of the slow movement, which starts with strings muted, displays the new pianos’ singing capabilities, and makes magical sonorities by joining piano trills to the winds’ restatement of the theme. The transition to the last movement is without pause, as the piano discovers the outline and key, bursting forth in the triumphant Rondo, which with its long wind-down over a drum roll is a grown-up relative of the passage at the same point in Beethoven’s B-flat Concerto (No.2) of some 15 years before.

History of pianos for Beethoven’s concertosBy comparison with performances on modern instruments, the most fundamental difference in the sound of these concerts comes from the instruments used. Excited as Beethoven no doubt would be by modern instruments, they are not the instruments for which he wrote. Between his first and last concertos, within a space of less than 20 years, there was a major step in evolution of the piano. Yet Beethoven’s pianos could do things hard to replicate on a modern instrument. The instruments in these concerts are reconstructions of instruments he knew.

The most obvious difference is that the pianos are smaller. Even greater are the differences in sound projection and sustaining ability.

In the 1790s, Beethoven is known to have played instruments made in Vienna by Anton Walter. Mozart owned one and used it for concerto performances. Walter’s instruments had extra projection, power and were state-of-the-art at the end of the 18th century. Instruments like these are appropriate for Beethoven’s first two concertos. Their range is five octaves (modern grands have seven).

Beethoven’s Piano Concerto No.3, premiered in 1803, calls for notes, in its final form, higher than the ‘classical’ limit of G three octaves above middle C. Sometime after Beethoven began this concerto in 1800, he received a new piano from the Paris firm Erard. Beethoven immediately took advantage of its innovations, including an enlarged keyboard.

Piano Concerto No.2 in B-flat, Op.19

This Concerto had the longest genesis of the five, from Beethoven’s youth in Bonn to his Vienna debuts. Despite its composer’s disparaging comments (talking up his third concerto to a publisher) this concerto enjoyably blends Beethoven’s new virtuoso piano writing with his take on the Viennese Classical tradition (read: Mozart).

The first movement is especially notable for its profusion of ideas. Like that of Concerto No.1, the slow movement has affinities with the operatic aria, some passages being marked ‘with great expression’. The Rondo is the most subtle movement, and the most fun. Beethoven plays with an almost jazzy syncopation. There is a winding down at the end, followed by a final outburst, for the first but not the last time in these concertos.

Piano Concerto No.3 in C minor, Op.37

In the background is Mozart’s Concerto (K.491) in the same key, C minor. In his only minor-key concerto, Beethoven departs more frequently than Mozart from the minor mode. The intense, solemn, yet martial opening theme is full of possibilities, especially its closing dotted rhythm, eventually revealed as kettledrum strokes. The striking piano entry confirms a new breadth in the conception of a concerto, in the language of Beethoven’s ‘heroic second period’.

The key of the Largo’s first chord, announcing the distant key E major, comes as a shock. Beethoven’s long-range strategy is clarified by the out-of-the-tonic beginning of the third movement, which amidst its energetic and spirited episodes explores more fully than the other movements the key of C minor.

(Beethoven did not have time to write out his solo part in full for the 1803 premiere, and enjoyed his page-turner’s uncertainty — playing completely from memory was a later development, pioneered by Clara Schumann, among others).

From then on, Viennese makers added a fifth in the treble, as well as making the frame sturdier, allowing greater string tension, and replacing the knee-levers of pianos like Walter’s with foot pedals. The piano’s dramatic entry in double octave scales, in the third concerto, is an in-your-face statement about the new pianos. Fortepiano specialist Steven Lubin observes, in connection with Concerto No.4, that Viennese pianos of the time had transparency of sound and directness of ‘speaking’.

One feature of these mostly triple-strung pianos such as the Erard Beethoven received in 1803 is called on in the second movement of Concerto No.4: a shift pedal, enabling a change of sound from one string vibrating, two, or the full three strings (Beethoven directs the player to ‘keep the pedal lifted which enables only one string to sound’). This effect cannot be exactly achieved on a modern piano.

Beethoven’s Piano Concerto No.5 is known to have been played in Beethoven’s time on six-octave pianos, and the dialogue with the orchestra playing loudly calls for matching volume from the piano.

The very word ‘concerto’ implies a contest. The ear provides the test that Beethoven achieved equality in the contest between piano and orchestra, on the instruments available to him. Neither must hold back. Gut strings and lower tension ensure that the orchestra will not overwhelm Beethoven’s pianos, yet the sound may gain in penetration what it lacks in absolute loudness. Because the pianos have less sustaining capacity the tempo of the music should often be faster. Clarity of articulation and the sparing use of vibrato ensure transparency of texture – space around the notes.

© David Garrett 2020

David Garrett is an Australian writer, historian, music programmer and broadcaster, and is belatedly learning piano.

Beethoven by Joseph Willibrord Mähler (c.1804-5)

8 9

About the artistsKristian Bezuidenhout is one of today’s most notable and exciting keyboard artists, equally at home on the fortepiano, harpsichord and modern piano.

Born in South Africa in 1979, he began his studies in Australia, completed them at the Eastman School of Music, and now lives in London. After initial training as a pianist with Rebecca Penneys, he explored early keyboards, studying harpsichord with Arthur Haas, fortepiano with Malcolm Bilson, and continuo playing and performance practice with Paul O’Dette. Kristian first gained international recognition at the age of 21 after winning the prestigious first prize, and audience prize in the Bruges Fortepiano Competition.

Kristian is a regular guest with the world’s leading ensembles including Freiburg Baroque Orchestra, Les Arts Florissants, Orchestra of the Age of Enlightenment, Orchestre des Champs Elysées, Koninklijk Concertgebouworkest, Chicago Symphony Orchestra and the Leipzig Gewandhausorchester; and has guest-directed (from the keyboard) the English Concert, Orchestra of the Eighteenth Century, Tafelmusik, Collegium Vocale, Juilliard 415, Kammerakademie Potsdam and Dunedin Consort (St Matthew Passion).

He has performed with celebrated artists including John Eliot Gardiner, Philippe Herreweghe, Frans Brüggen, Trevor Pinnock, Giovanni Antonini, Jean-Guihen Queyras, Isabelle Faust, Alina Ibragimova, Rachel Podger, Carolyn Sampson, Anne Sofie von Otter, Mark Padmore and Matthias Goerne.

Kristian’s rich and award-winning discography on Harmonia Mundi includes the complete keyboard music of Mozart (Diapason d’Or de L’année, Preis der Deutschen Schallplattenkritik and Caecilia Prize); Mozart Violin Sonatas with Petra Müllejans; Mendelssohn and Mozart Piano Concertos with the Freiburg Baroque Orchestra (ECHO Klassik); Beethoven and Mozart Lieder, and Schumann Dichterliebe with Mark Padmore (Edison Award). In 2013 he was nominated as Gramophone magazine’s Artist of the Year. Recent releases include Winterreisse with Mark Padmore, and Bach’s sonatas for violin and harpsichord with Isabelle Faust.

As the Freiburg Baroque Orchestra, the musicians first performed in 1987 in areas around Freiburg – nowadays, the orchestra is world renowned. Alongside its own concert cycles in Freiburg, Stuttgart and Berlin, the Orchestra is also a regular guest to the best-known international concert halls and is one of the most distinguished early music ensembles worldwide. The Orchestra does not just set the standard in terms of concert performance, but also in CD recording. In collaboration with the label Harmonia Mundi, the ensemble has received countless awards for its recordings: three Jahrespreise der Deutschen Schallplattenkritik, two Gramophone Awards, three Edison Classical Music Awards, one Classical Brit Award, as well as two Grammy nominations.

It began with a spontaneous idea and developed into a unique musical success story: on a New Year’s Eve over 30 years ago, Freiburg music students decided to establish an orchestra that revolved entirely around historically informed performance.

Photo: Marco Borggreve 1110

FOUNDING BENEFACTORS

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

LIFE MEMBERS

Lin Bender AM Deborah Cheetham AO Jim Cousins AO Kathryn Fagg AO Margaret Farren-Price & Ronald Farren-Price AM

Richard Gubbins Penny Hutchinson Julie Kantor AO Jordi Savall Mary Vallentine AO

Richard Mills AM

Thank you

FOUNDING PATRON

The Late Dame Elisabeth Murdoch AC DBE

PROGRAM PARTNERS

PRINCIPAL GOVERNMENT PARTNER BUSINESS PARTNER

BOARD MEMBERS

Prof Andrea Hull AO, Chair Peter Bartlett Stephen Carpenter Deborah Cheetham AO

Joseph Corponi The Hon Mary Delahunty Paul Donnelly Assoc Prof Jody Evans

Margaret Farren-Price Eda Ritchie AM Audrey Zibelman

SUPPORTING PARTNERS

THE SENTINEL FOUNDATION

THE VIZARD FOUNDATION

THE HUGH WILLIAMSON FOUNDATION

THE MARIAN & E.H. FLACK TRUST

HAZEL PEAT CHARITABLE TRUST

THE ARANDAY FOUNDATION

THE CALVERT-JONES FOUNDATION

THE PEGGY & LESLIE CRANBOURNE FOUNDATION

THE JACK & HEDY BRENT FOUNDATION

THE SAMUEL NISSEN FOUNDATION

FOUNDATIONS

Inspired GivingMUSIC CIRCLE - A VIBRANT AND DIVERSE MUSICAL PROGRAMDonors who support the depth and vibrancy of the Centre’s musical program play a crucial role in ensuring that we can continue to present a rich diversity of the greatest musicians and ensembles from Australia and around the globeSalon Program BenefactorLady Primrose Potter AC

($30,000+)Yvonne von Hartel AM, Robert Peck AM, Rachel Peck &

Marten Peck of peckvonhartel architects (Signature Events Benefactors)

($20,000+)Melbourne Recital Centre Board of Directors Prof Andrea Hull AO Peter & Cally Bartlett Stephen Carpenter & Leigh Ellwood Joseph & Nicole Corponi The Hon Mary Delahunty Paul Donnelly & Brigitte Treutenaere Assoc Prof Jody Evans Margaret Farren-Price & Prof Ronald Farren-Price AM Eda Ritchie AM Audrey Zibelman($10,000+)John & Lorraine BatesWarwick & Paulette Bisley (Great Performers Leadership

Supporters) Maria Sola (Local Heroes & Great Performers Leadership

Supporter)Dr Michael Troy($7500+)The Benjamin Fund (Great Performers Leadership

Supporters)Message Consultants Australia($4000+)AnonymousDanielle Davis & Joyce MarksJenny & Peter HordernDiana LempriereCathy LowyGeoff & Jan Phillips (Great Performers Leadership

Supporters)Mary Vallentine AODr Victor Wayne & Dr Karen Wayne OAM

($2500+)AnonymousBallandry (Peter Griffin Family Fund)Liz & Charles BaréAlastair Campbell & Sue CampbellKathy & George Deutsch OAMAnn LahoreShelley & Euan MurdochDr Paul Nisselle AMGreg NoonanIan Nowak & Kathleen NowakJacqueline SchwarzSirius Foundation($1000+)AnonymousAdrienne BasserHelen BrackBill Burdett AM & Sandra BurdettMaggie CashJohn Castles AM & Thelma Castles OAMMin Li Chong Laurie Cox AO & Julie Ann Cox AMMary DraperLord Francis Ebury & The Late Lady Suzanne EburyMaggie EdmondSusan FallawThe Leo & Mina Fink FundAngela GloverAnn GordonJan GrantNance Grant AM MBE & Ian HarrisHenkell Family FundIn memory of Beryl HooleyPenelope HughesStuart JenningsDr Garry Joslin & Prof Dimity Reed AMGeorge & Grace KassMaria MercurioBaillieu Myer AC & Sarah MyerRupert Myer AO & Annabel MyerMary NugentStephen Newton AOElizabeth O’KeeffeHelen PerlenKerryn PratchettSandra Robertson & Philip Cachia

Dr Peter Rogers & Cathy RogersPeter Rose & Christopher MenzIn Memory of Pauline SpeedyBarbara & Duncan SutherlandPamela SwanssonPearl Tang (including matching from Pricewaterhouse Coopers)($500+)Anonymous (1)Rhonda & Ted AllenJenny AndersonPeter J ArmstrongAlistaire BowlerMrs Jean DunnAngela & Richard KirsnerDr Anne LierseMinterEllisonJane MorrisIan SurenDr Diane TibbitsACCESS TO THRILLING MUSIC AND LEARNING OPPORTUNITIES FOR EVERYBODYSupported by the Elisabeth Murdoch Creative Development Fund and the Mary Vallentine Limitless Stage Fund, donors to our learning and access programs help to share the music by bringing high-quality music and learning opportunities to people from all walks of life ($50,000+)Peter & Ruth McMullin (Public Space Activations)($40,000+)Dr Geraldine Lazarus & Mr Greig Gailey (Regional

Touring and Outreach Leadership Supporters)

($30,000+)Krystyna Campbell-Pretty AMLady Marigold Southey AC

($10,000+)Annamila Pty LtdLinda Herd($4000+)The Betty Amsden FoundationThe Jack & Hedy Brent FoundationThe John & Jennifer Brukner FoundationHelen & Michael GannonKathryn Greiner AO (Mary Vallentine Limitless Stage Fund)Silvia & Michael KantorSusan Thacore($2500+)AnonymousKaye Birks in the memory of DavidAnne Burgi & Kerin CarrMaria McCarthyMargaret Taylor($1000+)Anonymous (5)Keith & Debby BadgerJohn & Mary BarlowJane BloomfieldHelen BrackBill Burdett AM & Sandra BurdettChristine & Michael CloughPaul Donnelly & Brigitte TreutenaereDr Kingsley GeeGras Foundation TrustMaria HansenChristine HaslamIn memory of Beryl HooleyJenny & Peter Hordern (Mary Vallentine Limitless Stage Fund)John Howie AM & Dr Linsey HowieKCL LawLouise KornmanProf John Langford AM & The Late Christina McCallumCathy Lowy (Mary Vallentine Limitless Stage Fund)Sally MacIndoeAnn MillerDennis & Fairlie NassauGreg Shalit & Miriam FaineThe Ullmer Family Foundation (Mary Vallentine Limitless

Stage Fund)Mary Vallentine AOVivian Wei WangMark & Jane WilsonAudrey Zibelman($500+)Anonymous (5)Valma Angliss AMRoly BallPeter & Cally BartlettAnn Blake Arnold & Mary BramDr Margot Breidhal

Lynda CampbellStephen Carpenter & Leigh EllwoodJohn Castles AM & Thelma Castles OAMThe Hon Alex Chernov AC QC & Mrs Elizabeth ChernovCaroline & Robert ClementeLeslie G ClementsThe Hon Mary DelahuntyThe Hon Justice Julie Dodds-StreetonGeorge & Laila EmbeltonAssoc Prof Jody EvansVivien & Jacob FajgenbaumMargaret Farren-Price & Prof Ronald Farren-Price AMJo Fisher & Peter GraysonAngela GloverColin Golvan AM QC & Dr Deborah GolvanCharles B Goode AC & Cornelia GoodeThe Hon Justice Michelle Gordon AC & The Hon Kenneth

M Hayne AC QCDr Robert HetzelPeter HeffeyElizabeth HipgraveKatrina & Simon Holmes a CourtElouise HolmesDianne JacobsPeter Jopling AM QCDr Garry Joslin & Prof Dimity Reed AMGeorge & Grace KassIrene Kearsey & Michael RidleyGenevieve KennedyWendy Kozica, Alan Kozica & David O’CallaghanConnie LiSusan & Peter MahlerAnn BlakeJennifer K MarshallIan & Gill McDougallMarshall McGuireMinterEllisonJan MorrisonPeter B Murdoch QC & Helen MurdochTim Orton & Barbara DennisJames Ostroburski & Leo OstroburskiAndrew & Georgina PorterSue Robinson & Tim CartwrightMrs Margaret S Ross AM & Dr Ian C RossChristine SatherIan Baker & Cheryl SaundersMichael Shand AM QC & Claire MillerStephen Shelmerdine AM & Kate ShelmerdineBarry & Barbara ShyingDr Alison StreetDr Cherilyn Tillman & Tam VuRosemary WallsCatherine Walter AM & John WalterAndrew & Jan WheelerNUTURING ARTISTIC DEVELOPMENT - FOSTERING A BRIGHT MUSICAL FUTURESupported by the Elisabeth Murdoch Creative Development Fund, donors who support our enriching artist development programs help to create a wide range of unique opportunities for local musicians, and help to ensure a vibrant musical future for Victoria and beyond Betty Amsden Kids and Family Program BenefactorThe Late Betty Amsden AO DSJ

Merlyn Myer Music CommissionThe Aranday FoundationThe Yugilbar Foundation($50,000+)Lady Primrose Potter AC

($20,000+)Mrs Margaret S Ross AM & Dr Ian C Ross (Artist Development

Leadership Supporters)Angelina & Graeme Wise($10,000+)Warwick & Paulette BisleyMajlis Pty LtdJames Ostroburski & Leo OstroburskiJoy Selby Smith($4000+)Annamila Pty LtdAndrew & Theresa DyerLinda HerdSusan Pelka & Richard CavenVivienne RitchieVivian Wei WangLyn Williams AM

($1000+)Peter J ArmstrongLin Bender AMJohn & Chris CollingwoodIn memory of Beryl HooleyDianne JacobsIn memory of The Late Harry JohnsonMartine LettsIan & Gill McDougallDr Richard Mills AMGreg Noonan($500+)Frederic & Karen PomeranzAnne Frankenberg & Adrian McEniery2020 GALA DINNER DONORSDonations received at the 2020 gala dinner were directed to benefit Share the Music, our ticket and transport subsidy program, as well as Artist Assembly, our new pilot initiative to provide professional development opportunities for over 400 Victorian musicians.($10,000+)Simon & Mary BishopKrystyna Campbell-Pretty AMAngelina & Graeme WiseIgor & Jenny Zambelli($5,000+)The Benjamin FundKonfir Kabo & Monica LimJulie Kantor AOSilvia & Michael KantorJoy Selby SmithJohn Simpson and Cathy SimpsonAndrew & Jan Wheeler($2,500+)Jo Fisher & Peter GraysonSandra Robertson & Philip CachiaPaul Donnelly & Brigitte TreutenaereMary Vallentine AO

($1,000+)Mary Beth BauerLin Bender AMBill Burdett AM & Sandra BurdettMaggie CashChristine & Michael CloughJim Cousins AO & Libby CousinsAssoc Prof Jody EvansKathryn Fagg AOColin Golvan AM QC & Dr Deborah GolvanNance Grant AM MBE & Ian HarrisLinda HerdJohn Howie AM & Dr Linsey HowieProf Andrea Hull AO & Jeremy DrewMaria JohnsonPeter Jopling AM QCIan & Gill McDougallDr Paul Nisselle AM & Sue NisselleTim Orton & Barbara DennisProf David Penington AC & Dr Sonay HusseinLady Primrose Potter ACSusan RenoufMrs Margaret S Ross AM & Dr Ian C RossMichael Ullmer AODr Victor Wayne & Dr Karen Wayne OAMLyn WIlliams AM

($500+)Message Consultants AustraliaArnold & Mary BramAlastair Campbell & Sue CampbellThe Right Hon Sally Capp & Andrew SutherlandGeorge & Laila EmbeltonDr Garry Joslin & Prof Dimity Reed AMDavid KlempfnerSally MacIndoePeter & Ruth McMullinChristine SatherJacqueline SchwarzGIVING CIRCLESMelbourne Recital Centre Giving Circles are passionate and like-minded groups of donors who come together to collectively celebrate their love of music by supporting special projects Ensemble Giovane - Leadership Donors in support of Master classes & young artist development($10,000+)Jim Cousins AO & Libby CousinsYMF Australia($7500+)George & Laila Embelton($5000+)The Hon Susan Crennan AC QC & Dr Michael Crennan QC

Kathryn Fagg AOJo FisherLyndsey & Peter HawkinsIgor & Jenny Zambelli($3000+)Christine SatherDr Cherilyn Tillman & Tam Vu($1000+)Peter J ArmstrongBailey-Lord FamilyMary Beth BauerFiona BennettZoe BrinsdenKathryn Fagg AODr Jane Gilmour OAM & Terry BrainProf Andrea Hull AOLiane KempSimon Le PlastrierNorene Leslie McCormacRosemary O’ConnorJenny TatchellLaura ThomasLegal Friends of Melbourne Recital CentreLegal Friends Inaugural PatronsThe Hon Justice Michelle Gordon AC & The Hon Kenneth

M Hayne AC QC

($10,000+)The Hon Justice Michelle Gordon AC & The Hon Kenneth

M Hayne AC QC

($4000+)Naomi Golvan & George Golvan QCPeter B Murdoch QC & Helen MurdochMaya Rozner & Alex King($2500+)Anonymous (1)Colin Golvan AM QC & Dr Deborah GolvanPeter J Stirling & Kimberley Kane($1000+)John & Marcia ArthurPeter BartlettAnnette Blonski & Martin Bartfeld QCThe Hon Alex Chernov AC QC & Mrs Elizabeth ChernovChristine CloughThe Hon Justice Julie Dodds-StreetonTimothy GoodwinRobert Heathcote & Meredith KingThe Hon Peter Heerey AM QC & Sally HeereyJudge Sara Hinchey & Tom PikusaJohn Howie AM & Dr Linsey HowiePandora Kay & John LarkinsAnthony J & Philippa M KellyMaryanne B Loughnan QCBanjo McLachlan & Paul MahonyElizabeth O’KeeffeRalph & Ruth RenardMeredith SchillingMichael Shand AM QCTom SmythHelen Symon QC & Ian Lulham($500+)James BarberElizabeth BorosHon Justice David Byrne QCLeslie G ClementsThe Hon Hartley Hansen AM QC & Rosalind HansenThe Hon David L Harper AM

Medical Friends of Melbourne Recital Centre($2000+)Dr Charlotte Slade & Assoc Prof Sebastian King($1000+)Mr Phillip Antippa OAM & Dr Tracey HuntleyMichael Bennett & Kate StockwinProfessor Rod Hunt & Mr Michael SharpeDr Jean McMullin & Dr Catherine BrennanDr John F MillsSteinway Giving CircleBenefactor PatronGandel Philanthropy($30,000+)Krystyna Campbell-Pretty AM

($10,000+)Anonymous (1)John Calvert-Jones AM & Janet Calvert-Jones AOBrian GoddardDr Alastair Jackson AMLady Primrose Potter ACSkipp Williamson & Carol Haynes

($5000+)Warwick & Paulette BisleyArnold & Mary BramThe Hon Susan Crennan AC QC & Dr Michael Crennan QCAngelina & Graeme Wise($2500+)Bruce Parncutt AO

($1000+)Anonymous (1)Kaye ClearyTim ConradCraig K CoulsonJanine & Timothy FredmanRoger Gillard & Sohwon KimLinda HerdDavid LeeJay Lee & Muriel YangGeoff & Jan PhillipsProfessor Margaret PlantMrs Margaret S Ross AM & Dr Ian C RossSirius FoundationVivian Wei WangDr Victor Wayne & Dr Karen Wayne OAM

($500+)Jane BloomfieldIn memory of Beryl HooleyDianne JacobsMaria JohnsonDr Garry Joslin & Prof Dimity Reed AMJanet McDonaldDavid PoultonA LASTING LEGACYThrough marking a legacy, this extraordinary group of donors support the future of the Centre’s vibrant and diverse programs both now and for generations to come.Encore Bequest CircleInaugural PatronsJim Cousins AO & Libby Cousins

Anonymous (3)Jenny Anderson John & Lorraine BatesThe Late Betty Amsden AO DSJBarbara Blackman AOJennifer BruknerKen Bullen Jen Butler Kingsley Gee & Zhen Fu Guan Peter & Jenny HordernDr Garry JoslinJane KunstlerJeanette McLellanElizabeth O’KeeffePenny RawlinsProf Dimity Reed AMVivienne RitchieSandy ShawThe Estate of Beverley Shelton & Martin SchönthalMary Vallentine AO

Seat DedicationsAnnamila Pty LtdJoanna BaevskiLowina BlackmanJohn Calvert-Jones AM & Janet Calvert-Jones AOThe Hon Mary DelahuntyLord Francis EburyKathryn Fagg AORonald Farren-Price AM & Margaret Farren-PriceKristin Gill & familyColin Golvan AM QC & Dr Deborah GolvanNance Grant AM MBEBrenda Hamilton & familyLuke HeagertyCatherine HeggenLouise HeggenHans & Petra HenkellKathy HoradamMaria JohnsonAnne Kantor AO & The Late Dr Milan Kantor OAMAlex King & Sebastian KingDiana LempriereCathy LowyEvelyn PoseKatherine RechtmanRalph & Ruth RenardKiera StevensPeter J StirlingIan SurenJenny TatchellIn memory of David TongMary Vallentine AOMary WaldronVivian Wei WangList of Patrons as at 4 February 2020

12 13

Photo: Benjamin Ealovega

JAMES EHNES & ANDREW ARMSTRONG

THE COMPLETE BEETHOVEN VIOLIN SONATAS

BOOK NOW melbournerecital.com.au | 9699 3333

Series Partner

Legal Friends of Melbourne Recital Centre

Program Partner

MELBOURNE RECITAL CENTRE PRESENTS

MON 12 OCTOBER, 7PM MON 19 OCTOBER, 7PM Tickets from $64 | conc $56 Concert Packages from $216

The 250th anniversary of Beethoven’s birth brings many chances to encounter his masterpieces, but few will be as compelling as James Ehnes’s journey through all of Beethoven’s violin sonatas.

‘One of the most gifted violinists of his generation.’THE OBSERVER

PEFC CertifiedThis product is from sustainably managed forests and controlled sources.www.pefc.org

CNR SOUTHBANK BLVD & STURT STSOUTHBANK, VICTORIAmelbournerecital.com.au

PRINCIPAL GOVERNMENT PARTNER