Brahms’ Fourth Symphony

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

Friday 27 May at 8pm Costa Hall, Geelong

Saturday 28 May at 2pm Arts Centre Melbourne, Hamer Hall

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WHAT’S ON JUNE – JULY 2016

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.

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.

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.

SIR ANDREW DAVISCONDUCTS MAHLER 6 Thursday 30 June Friday 1 July Saturday 2 July

Sir Andrew Davis and the MSO’s Mahler cycle continue with the powerful Symphony No.6, which incorporates everything from cowbells to fatalistic hammer blows. American pianist Jonathan Biss returns to the MSO to play Mozart’s Piano Concerto No.21.

CIRQUE DE LA SYMPHONIE Friday 15 July Saturday 16 July

A host of international circus performers – including aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen – join the MSO in this dazzling display. Inspired by classical masterpieces, the performers bring their acrobatic and illusory skills to new and exciting levels.

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.

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ARTISTS

Melbourne Symphony Orchestra

Christoph König conductor Lawrence Power viola

REPERTOIRE

Ravel Le tombeau de Couperin

Bartók Viola Concerto — Interval —

Brahms Symphony No.4

This concert has a duration of approximately 1 hour and 40 minutes, including a 20-minute interval.

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

Pre-Concert Talk 7pm Friday 27 May, Costa Hall, Geelong 1pm Saturday 28 May, Stalls Foyer, Hamer Hall

Lucy Rash will present a talk on the artists and works featured in the program.

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MELBOURNE SYMPHONY ORCHESTRA

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

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.

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.

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CHRISTOPH KÖNIG CONDUCTOR

LAWRENCE POWER VIOLA

Dresden-born Christoph König is Principal Conductor and Music Director of the Solistes Européens Luxembourg, and Principal Guest Conductor of the Real Filharmonía de Galicia. He was Principal Conductor of Portugal’s Orquestra Sinfónica do Porto Casa da Música from January 2009 to December 2014.

As a guest conductor, Christoph has appeared with orchestras such as the Staatskapelle Dresden, Orchestre de Paris, Royal Philharmonic Orchestra, Mozarteum Orchestra Salzburg, and the BBC Scottish Symphony Orchestra with whom he led on a tour of China (2008). He has conducted American orchestras such as the Pittsburgh Symphony Orchestra, Toronto Symphony Orchestra and Los Angeles Philharmonic.

Christoph’s reputation as an opera conductor developed quickly after stepping in at short notice to direct Zurich Opera’s 2003 production of Jonathan Miller’s The Abduction from the Seraglio. He has since led productions of The Magic Flute and Il Turco in Italia (Zurich), The Abduction from the Seraglio (Madrid), Don Giovanni (Stuttgart) and The Magic Flute and Rigoletto (Deutsche Oper, Berlin). His recordings include works by Schoenberg, Saariaho and Sibelius, piano concertos of Henryk Melcer-Szczawiński with Jonathan Plowright and the BBC Scottish Symphony Orchestra, Beethoven symphonies with the Malmö Symphony Orchestra and recordings of Prokofiev and Mozart with the Solistes Européens Luxembourg.

Lawrence Power is one of today’s leading violists. He has played with some of the world’s greatest orchestras, including the Chicago Symphony, Boston Symphony, Royal Concertgebouw Orchestra (Amsterdam), Bavarian Radio Symphony Orchestra, Stockholm Philharmonic, and Bergen Philharmonic. As a recitalist, he has performed in London, Glasgow, Cardiff and across the UK, and in Stavanger, Zurich and Vienna.

Lawrence enjoys a close relationship with the London Philharmonic Orchestra with whom he gave the world premiere of James MacMillan’s Viola Concerto. (He also gave the Australian premiere, in Adelaide, last year.) A keen champion of contemporary music, he has given the UK premiere of Olga Neuwirth’s concerto Remnants of Song and the world premieres of Luke Bedford’s Wonderful Two-headed Nightingale and Charlotte Bray’s Invisible Cities.

His Gramophone-nominated recordings include Bartók, Rózsa, Walton and Rubbra concertos, Shostakovich and Brahms sonatas, and York Bowen’s complete works for viola and piano with Simon Crawford-Phillips. His most recent release is the music of Australian Arthur Benjamin (again with Crawford-Phillips), on which he plays both violin and viola music.

Power is International Professor of Viola at the Zurich High School for the Arts. He is also founder and Artistic Director of the West Wycombe Chamber Music Festival.

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When Eleanor Mancini immigrated to Melbourne from Russia in 1979, the MSO violinist discovered

more than just a great coffee in a city arcade.

Lasting Impressions

Photography by Daniel Aulsebrook

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In 1979, Eleanor Mancini arrived in Australia, carrying just one suitcase and her violin case.

Born in Odessa, a multicultural city in the Ukraine located near the Black Sea, Eleanor had studied for 12 years at the famous Stolyarsky School, which had produced many great musicians, including renowned violinists David Oistrakh and Valery Klimov. Following this intense training, Eleanor went to study for five years at Moscow Academy of Music.

Within two weeks of arriving in Melbourne, Eleanor auditioned for the MSO and was offered a position in the violin section.

Over a decade ago. Eleanor was having coffee with her daughter in an arcade in High Street Armadale next to an antique shop, from where she noticed an old violin lying in an open case in the window.

As a musician, curiosity got the better of her. She went in to the store to take a closer look at the instrument. There it was: old and dirty with missing strings and a few minor cracks, but what Eleanor saw was a beautifully shaped instrument, just waiting to be rescued.

‘I took the violin out of the case, put it on my left shoulder and plucked two strings. It was at this very moment that I knew this was my dream violin, even before I had read the description inside.’

The description read R.J. Buck. Maker, Melbourne, Australia, 1947. Richard John Buck, an English violin maker born in 1871, spent 10 years at the workshop of luthier George Pyne before moving to Australia in 1906. Once he settled in Melbourne, Buck began working as a plumber, but resumed violin making in 1920, setting up a workshop on Drummond Street in Carlton and creating a dozen or so instruments over the next five years.

While there isn’t a lot of information readily available on Buck, the connection between the violin and the violinist was enough to make a lasting impression on Eleanor.

To this day, Eleanor performs on this violin at almost every MSO concert, with the exception of outdoor and rock concerts, where she will dust off her second violin that made the journey with her from Russia.

The Buck violin is her most trusted instrument and has become part of the MSO family, so much so, that when a concertmaster once broke a string on stage, Eleanor’s violin was passed to the first chair to lead the Orchestra.

Beyond the musicians and the sound they create are the stories of many instruments, some which have travelled very far to make it onto Melbourne’s stage. Or in Eleanor’s case, some instruments are just waiting to be discovered in a dusty store window.

Eleanor Mancini is a member of the First Violin section of the Melbourne Symphony Orchestra.

Do you know more about Richard John Buck, Melbourne luthier? Send us an email at mso@mso.com.au

The inscription on Eleanor’s violin reads R.J. Buck. Maker, Melbourne, Australia, 1947.

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The French critic André Suarès, writing in 1925, stressed that ‘nothing could be more objective than the art of Ravel, or more deliberately intended to be so. If music is capable of painting an object without first revealing the painter’s feeling towards it, then Ravel’s music achieves this more than any other. We have to go back to the 18th century, to the divertissements of Couperin and Rameau, to encounter a similar inclination.’

In Le tombeau de Couperin it is Ravel himself who takes us back to the 18th century. The music isn’t a pastiche, however, but an anachronistic tribute that proclaims Ravel’s affinity with the French Baroque masters in his conception of music as diversion, his taste for ‘artifice’, and his preference for emotionally disengaged dance forms.

In his title Ravel revived the 17th-century French literary and musical tradition of the tombeau (literally ‘tomb’ or ‘tombstone’) – originally poetry written to commemorate a mentor or colleague. The earliest musical tombeaux were by lutenists, but the genre was quickly adopted by French harpsichordists: Louis Couperin and D’Anglebert both commemorated their teacher Chambonnières with tombeaux for the harpsichord, while in the next generation François Couperin (1668-1733) honoured the tradition with his Apothéoses of Corelli and Lully.

Ravel’s tombeau was conceived towards the end of 1914, when the composer wrote to Lucien Garban (of Durand publishers): ‘I’m beginning two series of piano pieces: first, a French suite – no, it’s not what you think – the Marseillaise doesn’t come into it at all, but there’ll be a forlane and a jig; not a tango though …’

The sketches for the ‘French suite’, largely completed, were set aside on the outbreak of World War I, and it was not until 1917 that they emerged as Le tombeau de Couperin – Ravel’s last work for solo piano, each of its six movements dedicated to the memory of a friend who had died in the war. The work’s musical tribute is cast more broadly: ‘… not so much,’ said Ravel, ‘to Couperin himself as to 18th-century French music in general.’

Ravel prepared for the composition of Le tombeau by transcribing a forlane from François Couperin’s Concerts royaux. The buoyant rhythms and refrain structure of his own Forlane reveal their origins in the vigorous 16th-century Italian dance as heard through

18th-century French ears. But the melody and acid harmonies are all Ravel’s. Similarly, the flowing Menuet is more like Ravel’s own Menuet antique than any by Couperin, for all the antique mood established by its modal harmonies and classically balanced phrases.

It was the concept of the French Baroque suite – each dance with its specified character and set tempo – rather than its musical style that emerged in Le tombeau. And the apparent contradiction of a suite of dances dedicated to the memory of fallen comrades is perfectly resolved, although the muted gracefulness of the music suggests serenity, even resignation, rather than melancholy.

Shortly after Marguerite Long gave the first performance in 1919, Ravel orchestrated four of the movements – Prélude, Forlane, Menuet and – omitting the Fugue and the pianistic Toccata that had concluded the original suite. The scoring is light – pairs of winds (including piccolo and cor anglais), two horns, trumpet, harp and strings – preserving the translucence, simplicity and restrained mood of the original.

Ravel makes much of the contrast between woodwinds and strings, often passing the melodies between the two sections, but the winds are given prominence from the very beginning, with a breathless succession of rapidly articulated notes for the oboe. The orchestration takes advantage, too, of the enhanced capabilities of Erard’s double-action harp, and the feeling of perpetual motion in the Prélude is brought to a close with ravishing trills swept up in a harp glissando. The trumpet (reserved for subtle effect in Ravel’s orchestration) adds brilliance to the exuberant opening of the final movement (a vigorous Provençal Rigaudon), balancing the prominence of woodwind and strings in the preceding movements.

Thus transformed, Le tombeau de Couperin has been claimed by many to surpass the original in its ingenuity and variety – a tribute also to its composer’s infallible ear for instrumental colour.

Yvonne Frindle ©1999/2012

The Melbourne Symphony was the first of the Australian state orchestras to perform this work, on 20 December 1941 under Montague Brearley. The Orchestra most recently performed it in November 2010 with Charles Dutoit.

MAURICE RAVEL (1875–1937)

Le tombeau de CouperinPrélude Forlane Menuet Rigaudon

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We are so keen for viola and orchestral works from the big names in composition that we are apt to downplay the fact that Béla Bartók, one of the biggest names in composition in the early 20th century, did not complete this work. It was completed by his good friend Tibor Serly, drawing admittedly on a deep knowledge of Bartók’s style and 13 pages of sketches left by Bartók at his death.

1945 was shaping up to be a good year for Bartók. After several dispiriting years in the USA, the premiere of his Sonata for solo violin, together with the Boston Symphony Orchestra’s premiere of the Concerto for Orchestra, combined with the remission of his leukemia and a more settled financial situation, had left him in high spirits. Moreover he now received a number of requests for new compositions, including one for a viola concerto from the famous violist William Primrose (later to move to Wollongong, where he was an influence on Richard Tognetti).

After accepting Primrose’s commission Bartók wrote to him reassuringly on 5 August:

However embryonic the state of the work still is, the general plan and ideas are already fixed. So I can tell you that it will be in four movements: a serious Allegro, a Scherzo, a (rather short) slow movement, and a finale beginning Allegretto and developing the tempo to an Allegro molto. Each movement, or at least three of them, will be preceded by a (short) recurring introduction (mostly solo of the viola), a kind of ritornello.

He further informed Primrose on 8 September that the work was ready in draft ‘so that only the score has to be written, which means a purely mechanical work … in five or six weeks.’

But Bartók became ill again. On 21 September he was visited by Serly. Asked whether the Viola Concerto would be ready, Bartók answered enigmatically: ‘Yes, and no.’ When he died five days later, it lay beside his bed on 13 pages of densely written manuscript.

After Bartók’s death, his widow and son asked Serly to complete the Viola Concerto. While for its creator scoring the work may have been ‘purely mechanical’, only he knew what his hieroglyphics meant. Sketches were written on any available space on unnumbered pages. Corrections had been made in ink and either rewritten elsewhere on the manuscript or by scratching out the errors and writing over the existing material. Moreover, as Sándor Kovács points out in The Bartok Companion, the draft of the slow movement was only two-thirds of a page, with the closing movement in most places merely an outline of the viola part.

Yet there were clues. Bartók had calculated movement lengths: for the first movement, 10 minutes 20 seconds; 5 minutes 10 seconds for the second movement; and 4 minutes 45 seconds for the third. Clearly he had given up the idea of four movements, |but was still sticking to a ‘rather short’ second movement. Serly knew that Bartók had also mentioned to Primrose that the orchestration would be ‘rather … more transparent than in the Violin Concerto’. But it took Serly many months just to work out which was the first bar.

There are, of course, criticisms of Serly’s reconstruction, which took four years. Kovács suggests that the pounding minims which precede the final movement were intended by Bartók to precede the slow movement, but that Serly, unaware that there was meant to be a ‘kind of ritornello’ preceding each movement, could not have risked reading so much into Bartók’s manuscript. Serly also apparently ignored one of Bartók’s few specific mentions of instrumentation when he gave the strings rather than the timpani the accompaniment to the viola’s opening solo.

Serly’s reconstruction contains many of Bartók’s ‘trademark’ features – the use of cadenzas to mark important structural divisions in the first movement (one almost a recitative); the middle section of ‘night music’ (Bartók’s typical evocation of the sporadic sounds of the night) in the second movement; and a vigorous rondo finale in perpetual motion which captures the nature of Hungarian folk dance, with a central trio presenting a bagpipe tune, complete with bass drone.

Bartók scholar Halsey Stevens has said, ‘There will always be a reluctance to accept the Viola Concerto as an authentic work.’ Nevertheless, Serly was convinced that what he worked from ‘contained’ the finished draft – it’s one of the reasons why he composed no extra music to fill in what gaps there were. And what he produced has entered the repertoire as one of Bartók’s most often played works.

Gordon Kalton Williams © Symphony Australia

The Melbourne Symphony Orchestra’s only previous performance of the Bartók Viola Concerto took place at a Young Artists concert on 4 December 1997 with conductor Brett Kelly and soloist Erkki Veltheim.

BÉLA BARTÓK (1881-1945) ED. TIBOR SERLY (1833–1897)

Viola Concerto, BB 128Moderato – Adagio religioso – Allegro vivace

Lawrence Power viola

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In 1885 Brahms, as was his wont, convened a group of trusted friends to listen to a play-through of the Fourth Symphony, with the composer and his friend Ignaz Brüll at the piano. Feedback from knowledgeable people had been invaluable throughout his career, and on this occasion the listeners included the conductor Hans Richter and the critic Eduard Hanslick. But this time the response was a baffled silence. Even Hanslick, Brahms’ greatest supporter in print, tried to joke that he felt like he had been ‘beaten up by two intelligent people’ at the end of the first movement. Later, after the work’s politely received Viennese premiere, a less well-disposed wit composed a verse to the theme of the first movement to the effect that Brahms had run out of ideas.

The Third Symphony had, of course, enjoyed an unqualified success and it says much for Brahms’ artistic integrity that he was prepared to take a quite different approach in the new work; that the Fourth was written over not one but two summers suggests that Brahms had to work hard at it.

So, what baffled the listeners in the first movement? In fact the ‘run out of ideas’ guy was wrong, but nevertheless onto something, in that a large chunk of Brahms’ first theme consists of practically no material: two chains of thirds (and sixths, their inversion) are sounded in a rhythm that consists entirely of a repeated short-long pattern. Eventually a more elaborate motif is sounded, but then immediately repeated in sequence. The thirds provide the basis for a fanfare-like transition into the second theme, and here again Brahms goes against convention with a melody that is not, as expected, ‘lyrical’ but is much more assertive, sounded in the orchestra’s tenor register, and again based on sequences of a repeated rhythmic cell (long, long, short, short, short). Fragmentary patterns of thirds provide the accompaniment. All of which is to say that Brahms was writing in, to the Viennese, a disturbingly abstract and ‘modern’ way. Haydn, of course, and Beethoven – especially in the Fifth Symphony – had worked in just this way, and it is no accident that such rigorous design attracted the approval of Schoenberg in his 1933 lecture, Brahms the Progressive. But it put Brahms out of step with current musical fashion in Vienna.

The piece is frequently intensely contrapuntal (and thus requires a ‘classical’ orchestra), reflecting Brahms’ lifelong love of the Baroque, but there are profoundly poetic moments. The recapitulation of the first movement’s main theme should, by convention, be a rhetorically powerful moment of arrival; Brahms instead dwells on a distant but radiant C major chord and then, radically, continues to develop his themes.

The second movement is in what has sometimes been called Brahms’ ‘bardic’ manner. The young Richard Strauss, who regarded the ‘gigantic work’ as ‘new and original in its greatness of conception and invention, its genius in treatment of form’, captured the slow movement’s essence in his image of a ‘funeral procession moving across moonlit heights’.

This movement, which relies heavily on mysterious wind scoring and the occasional archaic inflections of the Phrygian mode, could not offer a greater contrast to the scherzo, with what Karl Geiringer calls its ‘sturdy gaiety’. In two, rather than three, beats to a bar, it has a rustic air, but its most curious feature is the way in which Brahms, again creating music out of nothing, offers a serious of monolithic chords, octaves apart, that interrupt the rhythmic drive of the movement towards its end. These chords, however, also pave the way for the finale, in which Brahms abandons any vestige of classical precedent, instead using the Baroque form of the passacaglia, in which a repeated harmonic pattern, or ground, serves as a vehicle for variations. Brahms’ ground is a series of rhythmically equal chords (adumbrated at the end of the scherzo) over which he elaborates a movement unlike anything heard in symphonic music before.

In 1886, Vienna’s response was tepid, partly as Hans Richter’s rehearsals were inadequate. But by then the work had enjoyed triumphant success in 14 German and Dutch cities under Hans von Bülow. Vienna finally embraced it, and the mortally ill Brahms, at the last concert the composer was able attend before his death in 1897.

© Gordon Kerry 2015

The Melbourne Symphony Orchestra first performed Brahms’ Fourth Symphony on 27 June 1942 under Percy Code, and most recently on 23-25 July 2015 with Diego Matheuz.

JOHANNES BRAHMS (1833–1897)

Symphony No.4 in E minor, Op.98Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

*Guest Musician† Courtesy of Tasmanian Symphony Orchestra‡ Courtesy of West Australian Symphony Orchestra

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ORCHESTRA

First ViolinsDale Barltrop Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell The Ullmer Family Foundation Associate Concertmaster Chair

Jennifer Owen*† 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 Jonathan Coco*

FlutesPrudence Davis Principal Flute Chair - Anonymous

Wendy Clarke Associate Principal

Sarah Beggs

PiccoloAndrew Macleod Principal

OboesJeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn Rachel Curkpatrick*

Cor AnglaisMichael Pisani Principal

ClarinetsDavid Thomas Principal

Philip Arkinstall Associate Principal

Craig Hill Robin Henry*

Bass ClarinetJon Craven Principal

BassoonsJack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

ContrabassoonBrock Imison Principal

Horns David Evans*‡ Guest Principal

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

BoardMichael Ullmer Chairman

Andrew DyerDanny GorogMargaret Jackson ACBrett KellyDavid Krasnostein

David LiAnn PeacockHelen Silver AOKee Wong

Company SecretaryOliver Carton

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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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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

Throughout Romeo and Juliet, Prokofiev’s distinctive style is ever present. As the composer himself remarked: ‘I detest imitation, I detest hackneyed devices’.

Next week, the MSO will perform Prokofiev’s Romeo and Juliet, alongside two other iconic Russian works - Rachmaninov’s beautiful Piano Concerto No.2, which marked the composer’s recovery from clinical depression, and Mussorgsky’s Night on Bald Mountain.

Korean pianist Joyce Yang makes a welcome return to the MSO following her successful performances in 2014, performing as soloist in Rachmaninov’s Piano Concerto.

Cherish love’s young dream with the Melbourne Symphony Orchestra

Prokofiev’s Romeo and Juliet – 3, 4 & 6 June at Arts Centre Melbourne, Hamer Hall

mso.com.au

When Russian composer Sergei Prokofiev first set out to write a ballet score based on Shakespeare’s Romeo and Juliet, he wanted to include a happy ending, with the lovers reconciling instead of dying in each other’s arms: an idea that was deemed a little extreme. Happily (or otherwise), he decided against this in the final version produced for the Kirov Ballet in 1938.

Russian Romantics

‘For never was a story of more woe than this of Juliet and her Romeo’

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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.

Book now mso.com.au/gluzman

Brahms’ passionate Violin Concerto presents a gladiatorial challenge for soloists and was once considered impossible to play. Ukrainian-born violin star Vadim Gluzman will rise to the challenge and perform the work on his 1690 Stradivarius.

24 June at 8pm Costa Hall, Geelong

25 June at 2pm 27 June at 6:30pm Arts Centre Melbourne Hamer Hall

Sir Andrew Davis conductor Vadim Gluzman violin

Gluzman Plays Brahms