CONCERT PROGRAMCONCERT PROGRAM

PLAYS DAS LIED VON DER ERDE

29 JUNE – 1 JULY 2017

MSO PLAYS SHOSTAKOVICH 5 Saturday 12 August | 2pm

SIR ANDREW DAVIS UNCOVERS BRUCKNER 7 Saturday 2 September | 2pm

MSO PLAYS RAVEL Saturday 23 September | 2pm

MSO PLAYS RACHMANINOV 2 Saturday 25 November | 2pm

Arts Centre Melbourne, Hamer Hall

Book now mso.com.au/matinees

The perfect Saturday

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Melbourne Symphony Orchestra

Sir Andrew Davis conductor

Catherine Wyn-Rogers mezzo-soprano

Stuart Skelton tenor

Schubert Symphony No.8 Unfinished

INTERVAL

Mahler Das Lied von der Erde

Running time: 2 hours, including 20-minute interval

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

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

mso.com.au (03) 9929 9600

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MELBOURNE SYMPHONY ORCHESTRA

Established in 1906, the Melbourne Symphony Orchestra (MSO) is Australia’s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 2.5 million people each year, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming. As a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world. Its international audiences include China, where the MSO performed in 2016 and Europe where the MSO toured in 2014.

The MSO performs a variety of concerts ranging from core classical performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl. The MSO also delivers innovative and engaging programs to audiences of all ages through its Education and Outreach initiatives.

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

SIR ANDREW DAVIS CONDUCTOR

Sir Andrew Davis is Music Director and Principal Conductor of the Lyric Opera of Chicago and Chief Conductor of the Melbourne Symphony Orchestra. In a career spanning over 40 years, he has been the musical and artistic leader at several of the world's most distinguished opera and symphonic institutions, including the BBC Symphony Orchestra (1991-2004), Glyndebourne Festival Opera (1988-2000), and the Toronto Symphony Orchestra (1975-1988). He recently received the honorary title of Conductor Emeritus from the Royal Liverpool Philharmonic Orchestra.

One of today's most recognised and acclaimed conductors, Sir Andrew has conducted virtually all the world's major orchestras, opera companies, and festivals. Born in 1944 in Hertfordshire, England, Sir Andrew studied at King’s College, Cambridge, where he was an organ scholar before taking up conducting. His wide-ranging repertoire encompasses the Baroque to contemporary, and his vast conducting credits span the symphonic, operatic and choral worlds.

In 1992 Maestro Davis was made a Commander of the British Empire, and in 1999 he was made a Knight Bachelor in the New Year Honours List.Image courtesy Dario Acosta Photography

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CATHERINE WYN-ROGERS MEZZO-SOPRANO

Catherine Wyn-Rogers has performed in concert with conductors such as Bernard Haitink, Gennady Rozhdestvensky, Sir Charles Mackerras, Zubin Mehta, Sir Roger Norrington and Sir Andrew Davis, and appeared at festivals such as the BBC Proms, Aldeburgh, and the Three Choirs. Recordings include The Dream of Gerontius with Vernon Handley, Mozart’s Vespers with Trevor Pinnock, Peter Grimes with the London Symphony and Sir Colin Davis, and Graham Johnson’s Complete Schubert Edition for Hyperion.

She began an ongoing relationship with the Royal Opera House, Covent Garden in 1989 as Schwertleite in Die Walküre. Catherine Wyn-Rogers has also been a regular guest at Bavarian State Opera and worked at Scottish Opera, La Scala, the Semper Opera Dresden and Houston Grand Opera, among others. Recent highlights have included a new production of Frank Martin’s Le vin herbé with Welsh National Opera, Barber’s Vanessa with the Deutsches Symphonie-Orchester, and Schoenberg’s Moses und Aron in Madrid. Future performances include Messiah with the London Handel Festival Orchestra and Peter Grimes at the Edinburgh Festival.

STUART SKELTON TENOR

Winner of the 2014 International Opera Awards for Best Male Singer and 2 Helpmann Awards, Stuart Skelton’s repertoire encompasses roles from Wagner's Lohengrin, Parsifal, Rienzi, Siegmund and Erik to Strauss’s Kaiser and Bacchus, Janacek’s Laca, Saint-Saens’ Samson, Beethoven's Florestan and Britten’s Peter Grimes.

He appears regularly on the leading concert and operatic stages of the world, including Berlin, London, Los Angeles, Munich, Paris, Tokyo and Vienna with orchestras including the Berlin Philharmonic, Boston Symphony, L.A Philharmonic, London Symphony, Vienna Philharmonic and at the BBC Proms.

He has sung with such acclaimed conductors as Vladimir Ashkenazy, Daniel Barenboim, Jiři Bèlohlavek, James Conlon, Sir Andrew Davis, Christoph von Dohnanyi, Mariss Jansons, Philippe Jordan, James Levine, Lorin Maazel, Sir Charles Mackerras, Sir Simon Rattle and Simone Young.

Recent performances have included Tristan (Tristan und Isolde) for the Metropolitan Opera, English National Opera, and at the Baden-Baden Festival with the Berlin Philharmonic, Lohengrin for Opéra National de Paris, Laca (Jenůfa) for the Bavarian State Opera.

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PROGRAM NOTES

FRANZ SCHUBERT (1797–1828)

Symphony No.8 in B minor, D759 Unfinished

Allegro moderato

Andante con moto

Schubert made something of a habit of not finishing symphonies; the B minor work is one of four of which sections or whole movements were begun and then abandoned at various times, beginning in 1811, over Schubert's life. In the case of the B minor Symphony though, the two movements we have were completed in full, and there exists a 20-bar sketch for the scherzo. These were composed in October 1822, at a time when the 25-year-old Schubert was enjoying the first intimations of success. His vocal works – solo and part-songs – were enjoying public performances, and he was actually earning decent fees from the publication of various songs beginning with Erlkönig and Gretchen am Spinnrade. Other large-scale works from this time include the opera Alfonso und Estrella and the Mass in A flat.

There are several possible explanations for Schubert leaving the work aside. He may have seen little opportunity for performance of symphonic music, though he did go on to complete the ‘Great’ C major Symphony. He wanted to pursue opera composition, though such dreams would go unfulfilled. The aesthetic and social milieu of poets and singers in which Schubert mixed may

have encouraged him to concentrate on songs. It is possible, though we can’t know, that he had begun to suffer from the disease that would kill him.

While there have been attempts to complete the scherzo and then tack on a bit of the incidental music to Rosamunde by way of finale, the piece arguably works best as a two-movement ‘torso’. In many respects it is unusual for its time. B minor, for instance, was not a common key for orchestral music (certain keys suiting certain instruments, especially brass, better than others) and an opening movement in 3/4 was relatively unusual (Beethoven’s Third and Eighth Symphonies are exceptions). Then there is the mood created by deft, and ‘unclassical’, touches of orchestration: the brooding bass-register melody at the start, answered by the shimmer of higher strings; the risky (then as now) doubling of oboe and clarinet to create the distinctive timbre of the first theme; and the sudden retraction of lavish to simple textures – a single note or throbbing syncopation, as in the transition to the cello’s second theme. Schubert is quite capable of the sort of contrapuntal elaboration that we might find in a work of Mozart, Haydn or his teacher Salieri, but in his often terse and highly gestural rhetoric we can hear his assimilation of the lessons of Beethoven.

Marked Andante con moto, the second movement is hardly slow, and in its range from weightless lyricism to the hammering of short motifs, from lucid

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textures to passages of intricate counterpoint, it provides a kind of mirror to the opening movement. Its final achievement of peace in a quietly glowing texture seems a hard act to follow, even if Schubert did start on a scherzo. Perhaps, as conductor Nikolaus Harnoncourt is convinced, the piece remained unfinished because ‘the form is perfect; there is nothing more to say’.© Gordon Kerry 2016

The Melbourne Symphony Orchestra first performed this symphony on 15 April 1939 under conductor Bernard Heinze, and most recently on 22 April 2016 with Benjamin Northey.

GUSTAV MAHLER (1860–1911)

Das Lied von der Erde(The Song of the Earth)

Symphony for contralto (or baritone), tenor and orchestra after Hans Bethge’s Die Chinesische Flöte (The Chinese Flute)

Das Trinklied vom Jammer der Erde (The Drinking Song of the Earth’s Sorrow)Der Einsame im Herbst (The Lonely Man in Autumn)Von der Jugend (Of Youth)Von der Schönheit (Of Beauty)Der Trunkene im Frühling (The Drunken Man in Spring)Der Abschie (The Farewell)

Catherine Wyn-Rogers mezzo-sopranoStuart Skelton tenor

Bruno Walter, who had conducted the world premiere of Das Lied von der Erde after the composer’s death in 1911, gave what was by all accounts a great performance of it at the 1947 Edinburgh Festival. The work ends with one of the great cathartic moments in music: the quiet repetition of the word ‘ewig’ (for ever) as the music passes into silence in a haze of bells and plucked sounds. The contralto soloist on that occasion, the incomparable Kathleen Ferrier, was so overcome by emotion that she was unable to sing the final words without weeping. In response to Ferrier’s apologies for her ‘unprofessional’ behaviour, Walter is supposed to have said, ‘My dear Miss Ferrier, if we were all as professional as you we would all be in tears.’ This

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PROGRAM NOTES

was not mere gallantry: Walter knew the power of this music. A respected colleague of Mahler’s, it was he that the composer had asked of the work, ‘Is it at all bearable? Will it drive people to do away with themselves?’

This, in turn, was not mere Romantic hyperbole. At the beginning of 1907 Mahler had been diagnosed with a heart condition which had worsened significantly over the intervening months. In addition to this, and the stress of the machinations which caused him to resign as Director of the Vienna Opera, his four-year-old daughter died of scarlet fever and diphtheria; as the coffin was being lifted into the cortege Alma Mahler’s mother suffered a heart attack, and Alma herself soon suffered emotional prostration under the strain. Mahler continued to work and to plan for the future, but it is hard to imagine that the experiences didn’t concentrate his mind somewhat.

In 1907, Mahler received a copy of Die Chinesische Flöte (The Chinese Flute) by Hans Bethge (1876-1946). Bethge’s renditions of 83 Chinese poems were somewhat removed from their source, being German versions of French translations. Furthermore, Mahler made significant alterations and interpolations of his own to the seven poems he chose to set. Neither poetry nor music claims to be authentically Chinese; philosopher Theodor Adorno argued that the work ‘does not take itself literally but grows eloquent through inauthenticity’. Broadly speaking, the piece expresses

an intense love of the physical world through images of wine, love, the moon and everyday life, and an acute sense of our limited time in that world. Scholar Michael Kennedy calls it Mahler’s ‘supreme masterpiece…filled with indefinable sadness and longing yet ultimately it is not depressing’.

The Song of the Earth was originally conceived as a song cycle but as Adorno has said, ‘symphonic expansion bursts the limits of the song’, hence its final designation as a symphony. Alma Mahler wrote in her often unreliable memoirs that ‘at first [Mahler] wrote The Song of the Earth as the ninth, but crossed the number out’, and, thinking of Beethoven and Bruckner in particular, ‘it was a superstition of Mahler’s that no great writer of symphonies got beyond his ninth.’ Michael Kennedy accepts this theory ‘with some reluctance and scepticism because Mahler…is likely to have realised that although The Song of the Earth is symphonic, it stands apart from the rest of the series’. Formally, though, the work recalls Mahler’s Third Symphony in its use of six movements of which the last is a long Adagio preceded by shorter intermezzos.

The first song, The Drinking Song of the Earth’s Sorrow, wastes no time in signalling the power and subtlety of Mahler’s art. Within the first few bars we hear distinctive touches in the scoring – a muscular fanfare from the horns, flutter-tonguing in the flutes, and the audacious use of the tenor’s high register at full volume. The text, based on a poem by the

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8th-century Li-Tai-Po, laments that in the face of the eternity of the earth and sky we have less than a hundred years each to enjoy it, so should do so with wine and music; impending death is unforgettably represented by the image of an ape howling in a graveyard.

The Lonely Man in Autumn, after a poem by Chang-Tsi, a contemporary of Li-Tai-Po, begins with a three-note motif from the oboe which pervades the whole work. The loneliness of the poet, and his yearning for spring or death, is memorably reflected in the music which, as Adorno puts it, has the colour of ‘old gold’.

Of Youth is the first of the three short intermezzos which bridge the extended slow movements. With its imagery of mirror images, Adorno described it as a song ‘which ends like a transparent mirage’.

Of Beauty presents a tableau of young women picking flowers and young men riding horses.

The ‘drunken man’ of the fifth song is perhaps the same one that Li-Tai-Po introduced in the first, though having decided that life is but a dream, he is now a happier drunk. In a central episode he hears a bird singing (represented by solo violin and piccolo) that spring has come in the night, but no matter: he’ll just drink some more and then sleep.

The Farewell sets two poems. Mong-Kao-Yen’s describes the beauties of evening, the moon ‘floating on the blue

sky-lake’. A second section reduces the orchestral sound to almost nothing as night falls and the poet waits for his friend to whom he must bid a last farewell. To represent the poet’s ‘lute’ Mahler introduces a rare visitor to the orchestra, the mandolin, used in a way which manages to be self-consciously exotic without being kitsch. This leads to an ecstatic section as the poet anticipates his friend’s arrival. The orchestra then plays a long passage without the singer, which is solemn and funereal – perhaps depicting the friend’s imminent and final journey.

The text of the final section is after a poem by Wang Wei. The friend arrives and takes a ritual farewell drink. He explains that fortune has not been kind, and that he must ride in search of his homeland. A whole-tone chord, reminiscent of Debussy, seems to dissolve in the air, introducing the overwhelming beauty of the work’s final moments, where ‘the dear earth everywhere blooms in spring’ with the promise of blue skies. These elements, such a insult to the mortality of the poet in the first song, take on a comforting and redemptive quality. Adorno said that the music ‘weeps without reason like one overcome by remembrance; no weeping had more reason’. No wonder Kathleen Ferrier wept too.Abridged from a note by Gordon Kerry © 2002

The Melbourne Symphony Orchestra first performed Das Lied von der Erde on 26 November 1960 with conductor Henry Krips and soloists Lauris Elms and Ken Neate. The Orchestra most recently performed it in April 1990 under Jorge Mester, with Elizabeth Campbell and Thomas Edmonds.

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MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor

Tianyi Lu Cybec Assistant Conductor

Hiroyuki Iwaki Conductor Laureate (1974-2006)

FIRST VIOLINS

Dale Barltrop Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell Associate ConcertmasterThe Ullmer Family Foundation#

John Marcus Principal

Peter Edwards Assistant Principal

Kirsty BremnerSarah Curro Michael Aquilina#

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

Mark Mogilevski Michelle RuffoloKathryn TaylorMichael Aquilina#

Jacqueline Edwards*Oksana Thompson*

SECOND VIOLINS

Matthew Tomkins Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro Assistant PrincipalDanny Gorog and Lindy Susskind#

Mary AllisonIsin CakmakciogluFreya Franzen Anonymous#

Cong GuAndrew HallAndrew and Judy Rogers#

Francesca HiewTam Vu, Peter and Lyndsey Hawkins#

Rachel Homburg Isy WassermanPhilippa WestPatrick WongRoger YoungAaron Barnden*Amy Brookman*

VIOLAS

Christopher Moore PrincipalDi Jameson#

Fiona Sargeant Associate Principal

Lauren BrigdenKatharine BrockmanChristopher CartlidgeAnthony ChatawayGabrielle HalloranTrevor Jones Cindy WatkinElizabeth WoolnoughCaleb WrightGaëlle Bayet†Gregory Daniel*

CELLOS

David Berlin Principal MS Newman Family#

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de KorteKeith JohnsonSarah MorseAngela SargeantMichelle WoodAndrew and Theresa Dyer#

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser#

Stuart Riley*Esther Toh*

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal

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OBOES

Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn

COR ANGLAIS

Michael Pisani Principal

CLARINETS

David Thomas Principal

Philip Arkinstall Associate Principal

Craig HillMagdalenna Krstevska

BASS CLARINET

Jon Craven Principal

BASSOONS

Jack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

CONTRABASSOON

Brock Imison Principal

HORNS

Grzegorz Curyla*§ Guest Principal

Saul Lewis Principal Third

Jenna BreenAbbey Edlin Nereda Hanlon and Michael Hanlon AM#

Trinette McClimontTimothy Skelly*

TRUMPETS

Geoffrey Payne Principal

Shane Hooton Associate Principal

William EvansJoshua Rogan*

TROMBONES

Brett Kelly Principal

Richard Shirley

BASS TROMBONE

Mike Szabo Principal

TUBA

Timothy Buzbee Principal

TIMPANI

Christine Turpin*

PERCUSSION

Robert Clarke Principal

John ArcaroRobert Cossom

HARP

Yinuo Mu Principal

Melina van Leeuwen*

CELESTE

Louisa Breen*

MANDOLIN

Doug de Vries*

MSO BOARD

Chairman

Michael Ullmer

Managing Director

Sophie Galaise

Board Members

Andrew DyerDanny GorogBrett KellyDavid KrasnosteinDavid LiHelen Silver AOMargaret Jackson ACHyon-Ju Newman

Company Secretary

Oliver Carton

# Position supported by

* Guest Musician

† On exchange from West German Radio Symphony

§ Courtesy of Malaysian Philharmonic Orchestra

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SUPPORTERS

MSO PATRON

The Honourable Linda Dessau AC Governor of Victoria

ARTIST CHAIR BENEFACTORS

AnonymousPrincipal Flute ChairDi JamesonPrincipal Viola ChairJoy Selby SmithOrchestral Leadership ChairThe Gross FoundationPrincipal Second Violin ChairThe Newman Family Foundation Principal Cello ChairThe Ullmer Family FoundationAssociate Concertmaster ChairThe Cybec Foundation Cybec Assistant Conductor Chair

PROGRAM BENEFACTORS

The Cybec Young Composer in ResidenceMade possible by the Cybec FoundationMeet The OrchestraMade possible by The Ullmer Family FoundationEast Meets WestSupported by the Li Family TrustThe Pizzicato Effect(Anonymous)Collier Charitable FundThe Marian and E.H. Flack TrustSchapper Family FoundationSupported by the Hume City Council’s Community Grants ProgramMSO EducationSupported by Mrs Margaret Ross AM and Dr Ian Ross

MSO Audience AccessCrown Resorts FoundationPacker Family FoundationMSO International TouringSupported byHarold Mitchell ACSatan JawaAustralia Indonesia Institute (DFAT)MSO Regional Touring Creative VictoriaCybec 21st Century Australian Composers ProgramThe Cybec Foundation

CHAIRMAN’S CIRCLE $100,000+

Marc Besen AC and Eva Besen AO The Gross Foundation◊

David and Angela LiMS Newman Family Foundation◊

Joy Selby SmithUllmer Family Foundation◊

Anonymous (1)

VIRTUOSO PATRONS $50,000+

Di Jameson◊

Mr Ren Xiao Jian and Mrs Li QuianHarold Mitchell ACKim Williams AM

IMPRESARIO PATRONS $20,000+

Michael Aquilina◊

The John and Jennifer Brukner FoundationPerri Cutten and Jo DaniellMary and Frederick Davidson AMvRachel and the late Hon. Alan Goldberg AO QCHilary Hall, in memory of Wilma CollieMargaret Jackson ACDavid Krasnostein and

Pat StragalinosMimie MacLarenJohn and Lois McKay

MAESTRO PATRONS $10,000+

Kaye and David BirksMitchell ChipmanSir Andrew and Lady DavisJohn Gandel AO and Pauline Gandel Danny Gorog and Lindy Susskind◊

Robert & Jan GreenSuzanne KirkhamThe Cuming BequestIan and Jeannie PatersonLady Potter AC CMRI◊

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

PRINCIPAL PATRONS $5,000+

Christine and Mark ArmourJohn and Mary BarlowStephen and Caroline BrainProf Ian BrighthopeLinda BrittenDavid and Emma CapponiWendy DimmickAndrew and Theresa Dyer◊

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

Geelong Friends of the MSO◊

Jennifer GorogLouis Hamon OAMNereda Hanlon and Michael Hanlon AM ◊Hans and Petra HenkellFrancis and Robyn HofmannHartmut and Ruth HofmannJack HoganDoug HooleyJenny and Peter HordernDr Alastair JacksonDr Elizabeth A Lewis AMPeter LovellLesley McMullin FoundationMr and Mrs D R MeagherDavid and Helen Moses◊

Dr Paul Nisselle AMKen Ong, in memory of Lin OngBruce Parncutt and Robin CampbellJim and Fran PfeifferPzena Investment Charitable FundAndrew and Judy Rogers◊

Max and Jill SchultzStephen ShanasyHMA FoundationD & CS Kipen on behalf of Israel KipenMr Tam Vu and Dr Cherilyn Tillman◊

The Hon. Michael Watt QC and Cecilie HallLyn Williams AMAnonymous (1)

ASSOCIATE PATRONS $2,500+

Dandolo PartnersWill and Dorothy Bailey BequestBarbara Bell, in memory of Elsa BellBill BownessOliver CartonJohn and Lyn CoppockMiss Ann Darby, in memory of Leslie J. DarbyNatasha Davies, for the Trikojus Education Fund

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Merrowyn DeaconBeryl DeanSandra DentPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonJane Edmanson OAMTim and Lyn EdwardDr Helen M FergusonMr Peter Gallagher and Dr Karen MorleyDina and Ron GoldschlagerColin Golvan QC and Dr Deborah GolvanLouise Gourlay OAMPeter and Lyndsey Hawkins◊

Susan and Gary HearstColin Heggen, in memory of Marjorie Drysdale HeggenRosemary and James JacobyJenkins Family FoundationC W Johnston FamilyJohn JonesGeorge and Grace KassIrene Kearsey and M J RidleyKloeden FoundationBryan LawrenceAnn and George LittlewoodH E McKenzieAllan and Evelyn McLarenDon and Anne MeadowsMarie Morton FRSAAnnabel and Rupert Myer AOAnn Peacock with Andrew and Woody KrogerSue and Barry PeakeMrs W PeartGraham and Christine PeirsonRuth and Ralph RenardS M Richards AM and M R RichardsTom and Elizabeth RomanowskiJeffrey Sher QC and Diana Sher OAMDiana and Brian Snape AM

Dr Norman and Dr Sue SonenbergGeoff and Judy SteinickeWilliam and Jenny UllmerElisabeth WagnerBrian and Helena WorsfoldPeter and Susan YatesAnonymous (8)

PLAYER PATRONS $1,000+

David and Cindy AbbeyChrista AbdallahDr Sally AdamsMary ArmourArnold Bloch LeiblerPhilip Bacon AMMarlyn and Peter Bancroft OAMAdrienne BasserProf Weston Bate and Janice BateDavid BlackwellAnne BowdenMichael F BoytThe Late Mr John Brockman OAM and Mrs Pat BrockmanDr John BrookesSuzie and Harvey BrownJill and Christopher BuckleyBill and Sandra BurdettLynne BurgessPeter CaldwellJoe CordoneAndrew and Pamela CrockettPat and Bruce DavisMarie DowlingJohn and Anne DuncanRuth EgglestonKay EhrenbergJaan EndenAmy & Simon FeiglinGrant Fisher and Helen BirdBarry Fradkin OAM and Dr Pam FradkinApplebay Pty LtdDavid Frenkiel and Esther Frenkiel OAMDavid Gibbs and Susie O'Neill

Merwyn and Greta GoldblattGeorge Golvan QC and Naomi GolvanDr Marged GoodeMax GulbinDr Sandra Hacker AO and Mr Ian Kennedy AMJean HadgesMichael and Susie HamsonPaula Hansky OAMMerv Keehn and Sue HarlowTilda and Brian HaughneyPenelope HughesBasil and Rita JenkinsStuart JenningsBrett Kelly and Cindy WatkinDr Anne KennedyJulie and Simon KesselKerry LandmanWilliam and Magdalena LeadstonAndrew LeeNorman Lewis, in memory of Dr Phyllis LewisDr Anne LierseAndrew LockwoodViolet and Jeff LoewensteinElizabeth H LoftusChris and Anna LongThe Hon Ian Macphee AO and Mrs Julie MacpheeVivienne Hadj and Rosemary MaddenEleanor and Phillip ManciniDr Julianne BaylissIn memory of Leigh MaselJohn and Margaret MasonRuth MaxwellJenny McGregor AM and Peter AllenGlenda McNaughtWayne and Penny MorganIan Morrey and Geoffrey MinterJB Hi-Fi LtdPatricia Nilsson

Laurence O'Keefe and Christopher JamesAlan and Dorothy PattisonMargaret PlantKerryn PratchettPeter PriestEli RaskinBobbie RenardPeter and Carolyn RenditDr Rosemary Ayton and Dr Sam RicketsonJoan P RobinsonCathy and Peter RogersDoug and Elisabeth ScottMartin and Susan ShirleyDr Sam Smorgon AO and Mrs Minnie SmorgonJohn SoDr Michael SoonJennifer SteinickeDr Peter StricklandPamela SwanssonJenny TatchellFrank Tisher OAM and Dr Miriam TisherP and E TurnerThe Hon. Rosemary VartyLeon and Sandra VelikSue Walker AMElaine Walters OAM and Gregory WaltersEdward and Paddy WhiteNic and Ann WillcockMarian and Terry Wills CookeLorraine WoolleyPanch Das and Laurel Young-DasAnonymous (21)

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SUPPORTERS

THE MAHLER SYNDICATE

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

TRUSTS AND FOUNDATIONS

Alan (AGL) Shaw Endwoment, managed by PerpetualCollier Charitable FundCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Marian and E.H. Flack TrustGandel PhilanthropyThe Scobie and Claire Mackinnon TrustThe Harold Mitchell FoundationKen & Asle Chilton Trust, managed by PerpetualLinnell/Hughes Trust, managed by PerpetualThe Pratt FoundationTelematics Trust

CONDUCTOR’S CIRCLE

Current Conductor’s Circle MembersJenny AndersonDavid AngelovichG C Bawden and L de KievitLesley BawdenJoyce Bown

Mrs Jenny Brukner and the late Mr John BruknerKen BullenLuci and Ron ChambersBeryl DeanSandra DentLyn EdwardAlan Egan JPGunta EgliteMarguerite Garnon-WilliamsLouis Hamon OAMCarol HayTony HoweLaurence O'Keefe and Christopher JamesAudrey M JenkinsJohn and Joan JonesGeorge and Grace KassMrs Sylvia LavellePauline and David LawtonCameron MowatRosia PasteurElizabeth Proust AOPenny RawlinsJoan P RobinsonNeil RoussacAnne Roussac-HoyneAnn and Andrew SerpellJennifer ShepherdProfs. Gabriela and George StephensonPamela SwanssonLillian TarryDr Cherilyn TillmanMr and Mrs R P TrebilcockMichael UllmerIla VanrenenThe Hon. Rosemary VartyMr Tam VuMarian and Terry Wills CookeMark YoungAnonymous (23)

The MSO gratefully acknowledges the support received from the Estates of:Angela BeagleyGwen HuntPauline Marie JohnstonC P KempPeter Forbes MacLarenLorraine Maxine MeldrumProf Andrew McCredieMiss Sheila Scotter AM MBEMarion A I H M SpenceMolly StephensJean TweedieHerta and Fred B VogelDorothy Wood

HONORARY APPOINTMENTS

Ambassador

Geoffrey Rush AC

Life Members

Sir Elton John CBE

Ila Vanrenen

The Late John Brockman AO

The Late Alan Goldberg AO QC

The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our suporters to get close to the MSO through a range of special events.

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $1,000 (Player), $2,500 (Associate), $5,000 (Principal), $10,000 (Maestro), $20,000 (Impresario), $50,000 (Benefactor).

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SUPPORTERS

Government Partners

Trusts and Foundations

Supporting Partners

Maestro Partners

Principal Partner

Venue Partner Media Partners

Quest Southbank

The Scobie and Claire Mackinnon Trust

The CEO Institute