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

Thursday 28 April at 8pm Arts Centre Melbourne,

Hamer Hall Presented by Emirates

Friday 29 April at 8pm Costa Hall,

Geelong

Saturday 30 April at 2pm Arts Centre Melbourne,

Hamer Hall

BachSuites

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WHAT’S ON MAY – JUNE 2016

BRAHMS’ FOURTH SYMPHONY Friday 27 May Saturday 28 May

German conductor Christoph König directs a program of three masterpieces. Ravel’s Le tombeau de Couperin is followed by Bartók’s rarely performed Viola Concerto with British virtuoso Lawrence Power. Brahms’ Symphony No.4 completes the program.

GLUZMAN PLAYS BRAHMS Friday 24 June Saturday 25 June Monday 27 June

The mighty challenges of the Brahms Violin Concerto are tackled by Ukrainian-born Israeli virtuoso, Vadim Gluzman, making his debut with the MSO. It is preceded by another powerful work, orchestral excerpts from Berlioz’s dramatic symphony, Romeo and Juliet. This program also features the world premiere of Australian composer James Ledger’s Hollow Kings.

PROKOFIEV’S ROMEO AND JULIET Friday 3 June Saturday 4 June Monday 6 June

Diego Matheuz returns with this program of three Russian classics, including Rachmaninov’s beloved Piano Concerto No.2, with Korean pianist Joyce Yang, and Mussorgsky’s ominous Night on Bald Mountain. It concludes with excerpts from Prokofiev’s ingenious and complex ballet score Romeo and Juliet.

RACHMANINOV’S PAGANINI RHAPSODY Thursday 16 June Friday 17 June

Music of three distinct ages and styles – Haydn’s Symphony No.6, Le matin, is followed by Rachmaninov’s famous Rhapsody on a Theme of Paganini, with the spectacular French pianist Jean-Efflam Bavouzet. Then, a work Sir Andrew Davis believes is one of the greatest of the 20th century – Ives’ Symphony No.4.

METROPOLIS NEW MUSIC FESTIVAL Saturday 14 May Wednesday 18 May Saturday 21 May

The 2016 Metropolis New Music Festival is especially metropolitan in content and spirit. Its theme, Music of the City, will examine all facets of city life, through time, place and history. The director of Metropolis 2016 is dynamic American conductor, pianist and composer Robert Spano.

MENDELSSOHN’S VIOLIN CONCERTO Thursday 9 June Friday 10 June Saturday 11 June

MSO Concertmaster Eoin Andersen directs the Orchestra in Stravinsky’s Suite from Pulcinella and Brett Dean’s arrangement of Till Eulenspiegel’s Merry Pranks. Also on the program is Strauss’ Serenade for Winds and Mendelssohn’s evergreen Violin Concerto.

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ARTISTS

Melbourne Symphony Orchestra

Paul Goodwin conductor Prudence Davis flute

REPERTOIRE

Haydn Symphony No.49

‘La Passione’ Bach, J.S.

Orchestral Suite No.2 — Interval —

Bach, J.S. Orchestral Suite No.3

Haydn Symphony No.92

‘Oxford’

This concert has a duration of approximately 2 hours, including a 20-minute interval.

This performance will be recorded for future broadcast on ABC Classic FM.

Pre-Concert Talk 7pm Thursday 28 April, Stalls Foyer, Hamer Hall 7pm Friday 29 April, Costa Hall, Geelong 1pm Saturday 30 April, Stalls Foyer, Hamer Hall

MSO Director of Artistic Planning Ronald Vermeulen will present a talk on the artists and works featured in the program.

Series Presenter Master Series Thursday

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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, which include recent discs of Strauss’ Four Last Songs, Don Juan and Also sprach Zarathustra with Sir Andrew Davis and Erin Wall on ABC Classics. On the Chandos label the MSO has recently released Berlioz’ Harold en Italie with James Ehnes and Ives’ Symphonies Nos. 1 and 2, both 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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PAUL GOODWIN CONDUCTOR

PRUDENCE DAVIS FLUTE

Artistic Director and Principal Conductor of the Carmel Bach Festival in California, Paul Goodwin is one of Britain’s most versatile conductors, renowned for historically informed interpretations of music of all periods, an interest in contemporary music and innovative programming.

He has conducted orchestras such as the BBC Philharmonic, Hallé Orchestra, Philadelphia Orchestra, Royal Stockholm Philharmonic, and several German orchestras. His opera repertoire includes Iphigénie en Tauride, The Rape of Lucretia, Orlando (including for Opera Australia), and other Handel operas.

As Associate Conductor of the Academy of Ancient Music, he made recordings of Schütz choral music, Mozart’s singspiel Zaide and two discs of music by John Tavener. Tavener is one of several contemporary composers he has commissioned. Paul was Principal Guest Conductor of the English Chamber Orchestra for six years, collaborating with artists such as Kiri Te Kanawa, Joshua Bell, Maria João Pires, Mstislav Rostropovich and Magdalena Kožená.

Paul’s dedication to educational projects has led him to work with various youth orchestras, including those of the Royal College and Royal Academy of Music, London. In 2007, he was awarded the Handel Honorary Prize of the City of Halle (Saale) in recognition of his services to performances of works by George Frederic Handel.

Prudence (Prue) Davis has held the position of Principal Flute with the Melbourne Symphony Orchestra since 1980. Growing up in Melbourne, Prue studied flute at the Victorian College of the Arts with Peter Edge, and later in Switzerland with Aurèle Nicolet.

She has performed with the Australia Ensemble, the Australian Chamber Orchestra and is also a founding member of the Australian Chamber Soloists and the Melbourne Chamber Orchestra (formerly Australia Pro Arte). She tours regularly for Musica Viva and in 1989 toured Australia with the visiting Reger Trio from West Germany.

Prue has appeared as a soloist in North and South America, Paris, Bonn, The Hague, Brussels, Berlin and Kuala Lumpur as well as on many occasions with the MSO. In January 1993 she undertook a solo tour of Japan where she performed with the Orchestra Ensemble Kanazawa and gave chamber music concerts and masterclasses.

Prue’s first flute was a Christmas present under the tree, along with a copy of ‘A Tune a Day for Flute’. She fell in love with the sound as soon as she played it: ‘There is something about the immediacy of the sound, the beauty of it being right from your breath that makes it feel as if it is a natural extension of yourself and your musical voice’.

On Bach’s Orchestral Suite No.2, Prue has this to say: ‘This Suite is iconic. Especially because of the Polonaise and Badinierie which will be instantly recognisable, but before we get to them there is so much music beforehand. Bach has written a playful interplay between the flute and the ensemble in order to emphasise where the main moments of important melodic interest are. It can feel quite overwhelming to be playing unison with the violins but it does make the contrast quite noticeable when the flute has the melody to itself, emerging from the thicker texture to float above the strings.’

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Photo by Daniel Aulsebrook

10 – 12 MARCH 2016

Sir Andrew Davis’ highly anticipated return to Melbourne delighted critics, with The Australian praising him for the ‘technically audacious and stylistically eclectic program that built steadily in emotional intensity.’

Here, the Orchestra and Chorus perform Vaughan Williams’ Serenade to Music. This was followed by Tchaikovsky’s Violin Concerto, performed by violin superstar Ray Chen, and Strauss’ An Alpine Symphony.

Visit mso.com.au/alpineblog to see the full gallery and read the reviews.

An Alpine Symphony

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The designation La Passione suggests some special purpose, presumably related to Holy Week. The title, however, is unauthentic, and there is no evidence of any such intent either within the music or in any extramusical documentation. Even if the title was current during the composer’s lifetime, as is possible, there is no knowing whether he approved it.

What can be said with certainty is that this was the last, and undoubtedly the greatest, of seven symphonies Haydn composed in the archaic ‘church sonata’ form, with a slow opening movement. While the ‘church sonata’ symphonies have no overtly religious intent, they are essentially solemn works or, as in the present case, bleak, tense and often anguished. Written in 1768, the third summer of the fabulous Eszterháza castle raised by Haydn’s princely employer on former swamplands in Hungary, La Passione is an early but archetypal product of the composer’s so-called Sturm und Drang (Storm and Stress) period, the designation of which characterises the passionate and emotional intensity of some of the music that flowed from Haydn’s pen between about 1766 and 1773. Sturm und Drang in Haydn’s symphonies share with the church sonata form a widespread use of minor or remote keys, frequent polyphonic and contrapuntal textures, dynamic contrasts, and spare, unadorned instrumentation. The Sturm und Drang symphonies are often tragic, sombre, even violent.

Among a series of unlikely key signatures, the choice for La Passione of F minor, a key Haydn reserved for just a few works, reflects a rare and special occasion. He casts every movement of the present work in the home key, providing a smidgin of relief only in the central trio section of the minuet, where a contrasting tonality in the major is virtually unavoidable. Spiritually and emotionally, therefore, the mood is dark throughout, shifting from deepest gloom to the almost hysterical energy of desperation.

JOSEPH HAYDN (1732–1809)

Symphony No.49 in F minor Hob.I:49 ‘La Passione’Adagio Allegro di molto Menuet e Trio Finale (Presto)

The opening Adagio is the biggest movement, and arguably the spiritual core of the symphony. Yet, unlike some of Haydn’s earlier ‘church sonata’ symphonies, La Passione maintains its emotional and spiritual force, without tailing off, through four equally inspired movements. The wildly leaping melody of the second movement is swept forward on an irresistible tide in the bass. The minuet is dogged, subdued, beginning not with Haydn’s customary springy upbeat but on a mechanical, hang-dog downbeat. The finale is a flight from relentless nightmare, not destined for glory in imposing cadences at the end but simply thankful to get there.

La Passione lacks none of the sureness of touch occasionally missing from Haydn’s other Sturm und Drang music. The composer is, as Haydn authority H.C. Robbins Landon puts it, ‘passing through the eye of the storm’ (a storm effectively created by himself). That experience was to prove crucial in the long-term development of his own music and the music of his successors.

© Anthony Cane

The Melbourne Symphony Orchestra first performed this symphony on 24 and 26 June 1950, under conductor Charles Groves, and most recently on 22 March 2012 under Kolja Blacher.

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Very little is known about the origins of Bach’s four orchestral suites. For many years, it was commonly believed that they dated from his time at Cöthen (1717-1723), largely because Bach’s situation there was so ideal for the composition of instrumental music: Prince Leopold of Cöthen was a great music lover, but also a Calvinist, so there was little call for church music and certainly no requirement for Bach to produce a new cantata every few weeks, as would be the case when he moved to Leipzig. But more recent studies have come to the conclusion that the orchestral suites were actually written in Leipzig, or at least heavily revised there.

Despite the heavy workload associated with his position as Kantor of the Thomasschule and Musical Director for the whole of Leipzig, in 1729 Bach took on the responsibility of directing the Collegium Musicum, a voluntary association of professional musicians and university students which gave regular weekly public concerts. The Collegium Musicum performed on Friday evenings at the coffee-house of Gottfried Zimmermann; in summer, the concerts took place outdoors in his garden outside the city walls. No programs survive to tell us what repertoire would have been performed, but there are performing parts which indicate that the orchestral suites were among the works presented.

One origin of Bach’s suites lay in the ‘French’ suite (allemande – courante – sarabande – gigue, with optional dances such as the gavotte, minuet, rigaudon and bourrée sandwiched between sarabande and gigue). Bach, however, called his orchestral suites Ouvertüren, which referred to a ‘French’ overture followed by a set of dances. The ouverture as standardised by Lully in his operas consisted of a slow, often majestic introduction, followed by a fast fugal section, then a return of the slow opening. Suites for orchestral performance arose in France when the most popular dance numbers from an opera were performed away from the stage; this was Bach’s model.

JOHANN SEBASTIAN BACH (1685–1750)

Suite No.2 is scored for a single flute and strings, and the fact that the flute – for which there is much brilliant writing – is the only non-stringed instrument gives it great prominence. It creates almost the effect of a concerto.

The surviving parts of Suite No.3 show that it was conceived for a double orchestra: two groups of four instrumental parts each. One consists of three trumpets and kettledrums, the other of two violins, violas and continuo. The two oboes play in unison with the violins throughout; there is a theory that they were an afterthought, added to give the strings more bite. The Air in this suite took on a life of its own after becoming famous in a lush Romantic arrangement for solo violin and keyboard (the Air on the G String, arranged by Wilhelmj).

© Symphony Australia

The first performance of Bach’s Orchestral Suite No.2 by the Melbourne Symphony Orchestra took place on 11 April 1945 under conductor John Farnsworth Hall. The MSO most recently performed it on 25 October 1973 with Rudolf Barshai.

The first complete performance of Orchestral Suite No.3 by the Melbourne Symphony Orchestra took place on 19 April 1952 under conductor Juan José Castro. The MSO most recently performed it on 26 November 1997 with Graham Abbott.

Orchestral Suite No.2 in B minor, BWV 1067 for flute, strings and continuoRondeau Sarabande Bourée I – II

Polonaise – Double Menuet Badinerie

Orchestral Suite No.3 in D, BWV 1068 for 3 trumpets and timpani, 2 oboes, strings and continuoOuverture Air Gavotte I – II

Bourrée Gigue

Prudence Davis flute

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The Oxford Symphony is one of Haydn’s greatest works and derives its subtitle from its performance at Oxford in July 1791 on the occasion of the composer’s admission to the honorary degree of Doctor of Music. It was not composed for that occasion, however, but was one of three symphonies (Nos 90, 91 and 92) written two years earlier at the request of the young Claude-François-Marie Rigoley, the Count d’Ogny, in Paris. It was the same Count who, as a backer of the aristocratic Concert de la Loge Olympique, had instigated the commission that resulted in Haydn’s six famous and hugely successful Paris symphonies (Nos 82-87).

When Haydn made his first visit to England in January 1791 he carried manuscript copies of Symphonies Nos 90 and 92. In July, he was invited to conduct three celebratory concerts on successive nights in the imposing Sheldonian Theatre (designed by Sir Christopher Wren) at Oxford during his doctoral festivities. The Symphony No.92 was performed in the second concert on Thursday 7 July, the evening before the ceremony in which Haydn actually received his degree. There is a stillness in the short Adagio introduction to the first movement of the Oxford Symphony, broken only by a chromatically wandering solo cello. These brief introductory cameos are typical of Haydn’s late symphonies, and as Haydn scholar H.C. Robbins Landon points out, when the main Allegro subject of the Oxford Symphony appears, it is only four bars long and not in the home key of G major. Nevertheless, Haydn develops his opening movement from this fragmentary theme.

JOSEPH HAYDN (1732–1809)

Symphony No.92 in G Hob.I:92 ‘Oxford’Adagio – Allegro spiritoso Adagio Minuet and Trio (Allegretto) Presto

The slow movement is built around a series of repetitions and variations on the eight-bar opening melody on the strings. A series of loud chords lead to the striking middle section which incorporates trumpets and drums in a powerful and unexpected dramatic turn. The principal theme returns on the oboe, accompanied by strings and horn, leading to an extended, nostalgic coda.

The minuet begins with the full orchestra stating the boisterous theme. The trio is built around a distinctively syncopated horn and bassoon motif punctuated by pizzicato strings, before the return of the first section.

The finale represents Haydn at his merriest, with the strings announcing the main theme before it is taken up first by the bassoons and then the lower strings. The second theme also appears in the strings, with the flute answering. Both themes are then put through a series of virtuosic variations, demonstrating just why Haydn is so often described as the master of the symphonic finale.

© Anthony Cane

The Melbourne Symphony Orchestra first performed Haydn’s Oxford Symphony on 12 and 13 September 1956 under conductor Kurt Woess, and most recently on 28 January 1979 with Leonard Dommett.

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Join the Orchestra from 3 - 7 May for a fun-filled adventure during MSO Education Week – a mini festival that introduces the wonderful world of classical music to people of all ages.

Internationally acclaimed music educator Paul Rissmann will direct the week, joining forces with MSO’s Associate Conductor Benjamin Northey to take audiences on a journey into the heart of the Orchestra.

Education Week will kick off with a big, bold and fun concert that showcases the sheer aural spectacle of a large-scale orchestra performing some of the greatest musical giants – John Adams, Leonard Bernstein and John Williams to name a few. An Adventurer’s Guide to the Orchestra will feature the Star Wars theme and excerpts from Prokofiev’s Romeo and Juliet, and is the perfect experience for anyone interested in learning about classical music.

Children aged 0-5 will have the chance to play with MSO musicians during Jams for Juniors: Carnival of the Animals, as children aged 3-7 are taken on a wacky adventure during Classic Kids: Crazy Creatures, with school-aged children able to meet a host of audacious characters during Meet the Orchestra: Bamboozled.

The MSO will also present Symphony in a Day, a side-by-side initiative that provides community musicians with the opportunity to perform alongside their MSO counterpart, conducted by Benjamin Northey.

Visit mso.com.au/edweek to find out more and to purchase tickets.

From Star Wars to Romeo and Juliet to Crazy Creatures,

MSO Education Week is for the young, and the young at heart.

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SUPPORTERS

Artist Chair BenefactorsHarold Mitchell AC Chief Conductor Chair

Patricia Riordan Associate Conductor Chair

Joy Selby Smith Orchestral Leadership Chair

The Gross Foundation Principal Second Violin Chair

Sophie Rowell, The Ullmer Family Foundation Associate Concertmaster Chair

MS Newman Family Principal Cello Chair

Principal Flute Chair – Anonymous

Program BenefactorsMeet The Orchestra Made possible by The Ullmer Family Foundation

East meets West Supported by the Li Family Trust

The Pizzicato Effect (Anonymous)

MSO EDUCATION Supported by Mrs Margaret Ross AM and Dr Ian Ross

MSO UPBEAT Supported by Betty Amsden AO DSJ

MSO CONNECT Supported by Jason Yeap OAM

Benefactor Patrons $50,000+Betty Amsden AO DSJPhilip Bacon AM Marc Besen AC and Eva Besen AO John and Jenny Brukner Rachel and the Hon. Alan Goldberg AO QC The Gross FoundationDavid and Angela LiHarold Mitchell ACMS Newman FamilyJoy Selby SmithUllmer Family FoundationAnonymous (1)

Impresario Patrons $20,000+Michael AquilinaPerri Cutten and Jo DaniellMargaret Jackson ACMimie MacLarenJohn McKay and Lois McKay

Maestro Patrons $10,000+John and Mary BarlowKaye and David BirksPaul and Wendy Carter Mitchell ChipmanJan and Peter ClarkSir Andrew and Lady Davis Future Kids Pty Ltd Gandel PhilanthropyRobert & Jan GreenIn memory of Wilma CollieDavid Krasnostein and Pat Stragalinos Mr Greig Gailey and Dr Geraldine LazarusThe Cuming BequestIan and Jeannie Paterson Onbass FoundationElizabeth Proust AORae Rothfield Glenn Sedgwick Maria Solà, in memory of Malcolm Douglas Drs G & G Stephenson. In honour of the great Romanian musicians George Enescu and Dinu LipattiLyn Williams AMKee Wong and Wai TangAnonymous (1)

Principal Patrons $5,000+Linda BrittenDavid and Emma CapponiTim and Lyn EdwardJohn and Diana Frew Susan Fry and Don Fry AODanny Gorog and Lindy Susskind Lou Hamon OAMNereda Hanlon and Michael Hanlon AMHans and Petra HenkellHartmut and Ruth HofmannJenny and Peter HordernJenkins Family FoundationSuzanne KirkhamVivien and Graham KnowlesDr Elizabeth A Lewis AM

Peter LovellAnnette MaluishMatsarol FoundationMr and Mrs D R MeagherWayne and Penny MorganMarie Morton FRSA Dr Paul Nisselle AM Lady Potter ACStephen Shanasy Gai and David TaylorThe Hon. Michael Watt QC and Cecilie Hall Jason Yeap OAM Anonymous (6)

Associate Patrons $2,500+Dandolo PartnersWill and Dorothy Bailey BequestBarbara Bell in memory of Elsa BellMrs S BignellBill BownessStephen and Caroline BrainLeith and Mike Brooke Bill and Sandra BurdettOliver CartonJohn and Lyn CoppockMiss Ann Darby in memory of Leslie J. Darby Mary and Frederick Davidson AMNatasha DaviesPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonJane Edmanson OAMDr Helen M FergusonMr Bill FlemingMr Peter Gallagher and Dr Karen MorleyColin Golvan QC and Dr Deborah GolvanCharles and Cornelia GoodeSusan and Gary HearstColin Heggen in memory of Marjorie HeggenGillian and Michael HundRosemary and James Jacoby John and Joan Jones Kloeden Foundation Sylvia LavelleH E McKenzieAllan and Evelyn McLarenDon and Anne MeadowsAndrew and Sarah NewboldAnn Peacock with Andrew and Woody KrogerSue and Barry Peake

Mrs W Peart Ruth and Ralph Renard S M Richards AM and M R RichardsTom and Elizabeth RomanowskiMax and Jill SchultzJeffrey Sher Diana and Brian Snape AMGeoff and Judy Steinicke Mr Tam Vu and Dr Cherilyn TillmanWilliam and Jenny UllmerBert and Ila VanrenenKate and Blaise VinotBarbara and Donald WeirBrian and Helena WorsfoldAnonymous (12)

Player Patrons $1,000+Anita and Graham Anderson,Christine and Mark Armour, Arnold Bloch Leibler, Marlyn and Peter Bancroft OAM, Adrienne Basser, Prof Weston Bate and Janice Bate, Dr Julianne Bayliss, Timothy and Margaret Best, David and Helen Blackwell, Michael F Boyt, Philip and Vivien Brass, Charitable Foundation, M Ward Breheny, Lino and Di Bresciani OAM, Mr John Brockman OAM and Mrs Pat Brockman, Suzie Brown, Jill and Christopher Buckley, Lynne Burgess, Dr Lynda Campbell, Andrew and Pamela Crockett, Jennifer Cunich, Pat and Bruce Davis, Merrowyn Deacon, Sandra Dent, Dominic and Natalie Dirupo, Marie Dowling, John and Anne Duncan, Kay Ehrenberg, Gabrielle Eisen, Vivien and Jack Fajgenbaum,Grant Fisher and Helen Bird, Barry Fradkin OAM and Dr Pam Fradkin, Applebay Pty Ltd, David Frenkiel and Esther Frenkiel OAM, Carrillo and Ziyin Gantner, David Gibbs and Susie O’Neill, Merwyn and Greta Goldblatt, Dina and Ron Goldschlager, George Golvan QC and Naomi Golvan, Dr Marged Goode, Philip and Raie Goodwach, Louise Gourlay OAM, Ginette and André Gremillet, Max Gulbin, Dr Sandra Hacker AO and

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SUPPORTERS

Mr Ian Kennedy AM, Jean Hadges, Paula Hansky OAM and Jack Hansky AM, Tilda and Brian Haughney, Julian and Gisela Heinze, Penelope Hughes, Dr Alastair Jackson, Basil and Rita Jenkins, Stuart Jennings, George and Grace Kass, Irene Kearsey, Brett Kelly and Cindy Watkin, Ilma Kelson Music Foundation, Dr Anne Kennedy, Bryan Lawrence, William and Magdalena, Leadston, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Ann and George Littlewood, Violet and Jeff Loewenstein, The Hon Ian Macphee AO and Mrs Julie Mcphee, Elizabeth H Loftus, Vivienne Hadj and Rosemary Madden, In memory of Leigh Masel, John and Margaret Mason, In honour of Norma and Lloyd Rees, Ruth Maxwell, Trevor and Moyra McAllister, David Menzies, Ian Morrey, Laurence O’Keefe and Christopher James, Graham and Christine Peirson, Margaret Plant, Kerryn Pratchett, Peter Priest, Eli Raskin, Bobbie Renard, Peter and Carolyn Rendit, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, 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, 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, Elizabeth Wagner, Sue Walker AM, Elaine Walters OAM and Gregory Walters, Edward and Paddy White, Janet Whiting and Phil Lukies, Nic and Ann Willcock, Marian and Terry Wills Cooke, Pamela F Wilson, Joanne Wolff,

Peter and Susan Yates, Mark Young, Panch Das and Laurel Young-Das, YMF Australia, Anonymous (17)

The Mahler SyndicateDavid and Kaye Birks, John and Jenny Brukner, 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 in memory of Malcolm Douglas, The Hon Michael Watt QC and Cecilie Hall, Anonymous (1)

MSO RosesFounding RoseJenny Brukner

RosesMary Barlow, Linda Britten, Wendy Carter, Annette Maluish, Lois McKay, Pat Stragalinos, Jenny Ullmer,

Rosebuds

Maggie Best, Penny Barlow, Leith Brooke, Lynne Damman, Francie Doolan, Lyn Edward, Penny Hutchinson, Elizabeth A Lewis AM, Sophie Rowell, Dr Cherilyn Tillman

Foundations and TrustsThe A.L. Lane FoundationThe Annie Danks TrustCollier Charitable FundCreative Partnerships AustraliaCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Harold Mitchell FoundationHelen Macpherson Smith TrustIvor Ronald Evans Foundation, managed by Equity Trustees Limited The Marian and EH Flack TrustThe Perpetual Foundation – Alan (AGL) Shaw Endowment, managed by PerpetualThe Pratt FoundationThe Robert Salzer FoundationThe Schapper Family FoundationThe Scobie and Claire Mackinnon Trust

Conductor’s CircleCurrent Conductor’s Circle MembersJenny 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, Sandra Dent, Lyn Edward, Alan Egan JP, Gunta Eglite, Louis Hamon OAM, Carol Hay, Tony Howe, Audrey M Jenkins, John and Joan Jones, George and Grace Kass, Mrs Sylvia Lavelle, Pauline and David Lawton, Lorraine Meldrum, Cameron Mowat, Laurence O’Keefe and Christopher James, Rosia Pasteur, Elizabeth Proust AO, Penny Rawlins, Joan P Robinson, Neil Roussac, Anne Roussac-Hoyne, Jennifer Shepherd, Drs Gabriela and George Stephenson, Pamela Swansson, Lillian Tarry, Dr Cherilyn Tillman, Mr and Mrs R P Trebilcock,Michael Ullmer, Ila Vanrenen, Mr Tam Vu, Marian and Terry Wills Cooke, Mark Young, Anonymous (23)

The MSO gratefully acknowledges the support received from the Estates of:Angela Beagley, Gwen Hunt, Pauline Marie Johnston, C P Kemp, Peter Forbes MacLaren, Prof Andrew McCredie, Miss Sheila Scotter AM MBE, Molly Stephens, Jean Tweedie, Herta and Fred B Vogel, Dorothy Wood

Honorary AppointmentsMrs Elizabeth Chernov Education and Community Engagement Patron

Sir Elton John CBE Life Member

The Honourable Alan Goldberg AO QC Life Member

Geoffrey Rush AC Ambassador

The MSO relies on your ongoing philanthropic support to sustain access, artists, education, community engagement and more.We invite our supporters to get close to the MSO through a range of special events and supporter newsletter The Full Score.The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $100 (Friend), $1,000 (Player), $2,500 (Associate), $5,000 (Principal), $10,000 (Maestro), $20,000 (Impresario), $50,000 (Benefactor).

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

Enquiries to Justine Knapp: Ph: +61 (3) 9626 1249

Email: philanthropy@mso.com.au

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*Guest musicianORCHESTRA

First ViolinsDale Barltrop Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell The Ullmer Family Foundation Associate Concertmaster Chair

Rebecca Chan* Guest Principal

Peter Edwards Assistant Principal

Kirsty Bremner Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor Robert John* Oksana Thompson*

Second ViolinsMatthew Tomkins The Gross Foundation Principal Second Violin Chair

Robert Macindoe Associate Principal

Monica Curro Assistant Principal

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

ViolasChristopher Moore Principal

Fiona Sargeant Associate Principal

Lauren BrigdenKatharine BrockmanChristopher CartlidgeGabrielle HalloranTrevor Jones Cindy WatkinCaleb WrightCeridwen Davies*

CellosDavid Berlin MS Newman Family Principal Cello Chair

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda BrockmanRohan de KorteKeith JohnsonSarah MorseAngela SargeantMichelle Wood

Double BassesSteve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton

FlutesPrudence Davis Principal Flute Chair - Anonymous

Wendy Clarke 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

Horns Geoff Lierse Associate Principal

Saul Lewis Principal Third

Jenna BreenAbbey EdlinTrinette McClimont Robert Shirley*

TrumpetsGeoffrey Payne Principal

Shane Hooton Associate Principal

William EvansJulie Payne

TrombonesBrett Kelly Principal Iain Faragher*

Bass TromboneMike Szabo Principal

TubaTimothy Buzbee Principal

TimpaniChristine Turpin Principal

PercussionRobert Clarke Principal

John ArcaroRobert Cossom

HarpYinuo Mu Principal

HarpsichordDonald Nicolson*

BoardMichael Ullmer Chairman

Andrew DyerDanny GorogMargaret Jackson ACBrett KellyDavid Krasnostein

David LiAnn PeacockHelen Silver AOKee Wong

Company SecretaryOliver Carton

15

SUPPORTERS

GOVERNMENT PARTNERS

ASSOCIATE PARTNERS

MAESTRO PARTNERS

Linda Britten Naomi Milgrom Foundation

Hardy Amies

Fitzroys Alpha Feature Investment

Red Emperor

OFFICIAL CAR PARTNER

MEDIA PARTNERS

SUPPORTING PARTNERS

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

Conductor Christoph König and violist Lawrence Power, star in this intriguing repertoire featuring Ravel’s Le tombeau de Couperin, Bart�k’s Viola Concerto and Brahms’ Symphony No.4. 28 May Arts Centre Melbourne, Hamer Hall.

Brahms’ Fourth

Tickets selling fast!Prices set to increase on Friday 11 Marchmso.com.au/unfinished (03) 9929 9600

Book nowmso.com.au (03) 9929 9600

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.

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