CONCERT PROGRAMCONCERT PROGRAM

PLAYS SCHUBERT 9

27–30 OCTOBER 2017

G R E A T P A S S I O N S

S E A S O N 2 0 1 8

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FeaturingAnne-Sophie Mutter | Maxim Vengerov

Thomas Hampson | Eva-Maria Westbroek

mso.com.auImage Michelle Wood, cello Anne-Sophie Mutter supported by Mr Marc Besen AC and Mrs Eva Besen AO

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mso.com.au (03) 9929 9600

Running time: 1 hour 50 minutes, including a 20-minute interval

Please note, Saturday’s pre-concert talk by MSO’s Education Manager, Lucy Rash, will be recorded for podcast by 3MBS Fine Music Melbourne.

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.

Melbourne Symphony Orchestra

Andrew Manze conductor

Isabelle van Keulen violin

Beethoven Coriolan: Overture

Prokofiev Violin Concerto No.1

INTERVAL

Schubert Symphony No.9 The Great

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MELBOURNE SYMPHONY ORCHESTRA

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

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

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

ANDREW MANZE CONDUCTOR

Andrew Manze is Principal Conductor of the NDR Radio Philharmonic Orchestra, Hannover. From 2006 until 2014, he was Principal Conductor and Artistic Director of Sweden’s Helsingborg Symphony Orchestra. Prior to that he was Associate Guest Conductor of the BBC Scottish Symphony Orchestra and Principal Guest Conductor of the Norwegian Radio Symphony Orchestra. Following these concerts he appears with the Royal Liverpool Philharmonic, NDR Elbphilharmonie in Hamburg and Kiel, Oslo Philharmonic and New York Philharmonic.

After reading Classics at Cambridge University, Andrew Manze studied violin and became a leading specialist in historical performance practice. He became Associate Director of the Academy of Ancient Music in 1996 and Artistic Director of The English Concert, 2003-2007. He has contributed to new editions of sonatas and concertos by Mozart and Bach and is also a broadcaster and television presenter. Recordings include Beethoven’s Eroica, Brahms’ symphonies and works by Britten. Most recently he embarked on a recording project with the symphonies of English composer Ralph Vaughan Williams.Image courtesy Ben Ealovega

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ISABELLE VAN KEULEN VIOLIN

Since winning the Eurovision Young Musician of the Year competition in 1984, a competition that was broadcast all over Europe and watched live on television by millions, Isabelle van Keulen has had a varied career.

Her versatility lies in the fact that she not only plays the violin, but viola with the same energy, performing chamber music in any thinkable combination and directing chamber orchestra performances. Chamber music partners include pianist Ronald Brautigam and Gidon Kremer. She was Artistic Director of the Delft Chamber Music Festival (which she founded), 1997–2006. Forthcoming performances include the Mendelssohn concerto in Auckland, chamber music at Wigmore Hall, and the Prokofiev Violin Concerto No.1 with the Oslo Philharmonic (Andrew Manze once again conducting).

Isabelle van Keulen has had concertos written for her by contemporary composers such as Erkki Sven-Tüür and Theo Loevendie. Recordings include Berg’s Violin Concerto, the complete works for violin and piano by Prokofiev and music of Astor Piazzolla, Tango! She is professor for violin, viola and chamber music at the Luzern University of Arts.Image courtesy Marco Borggreve

PROGRAM NOTES

LUDWIG VAN BEETHOVEN (1770–1827)

Coriolan: Overture, Op.62

Beethoven composed the Coriolan Overture (1807) for a drama by Heinrich Collin, a contemporary poet doubtless familiar with Shakespeare’s Coriolanus.

The title character is one Gaius Marcius, a Roman general who was bestowed the honorary name of Coriolanus following his conquest of the Volsci people of Corioli. When he is banished from Rome for tyrannical conduct, he leads the Volsci against Rome and is executed (in Collin’s version he commits suicide).

Powerful chords in the Overture’s introduction reflect the hero’s determination to reconquer and restore peace to Rome, which he now holds under siege. Vacillating figures reveal his self-doubt at the thought of the famine-stricken Roman people and the pleadings of his family. This conflict is worked out in a powerful development which leads to gradual disintegration and a swift final collapse at the recognition that only the sacrifice of his own life will bring peace without loss of honour.

The Overture was premiered in March 1807 at a private concert at the palace of Prince Franz Joseph von Lobkowitz. Beethoven's Fourth Piano Concerto and Fourth Symphony were premiered at the same concert.© Anthony Cane

The Melbourne Symphony Orchestra first performed this overture on 9 January 1941, with Harold Beck conducting, and most recently in May 2017 with Benjamin Northey.

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PROGRAM NOTES

SERGEI PROKOFIEV (1891–1953)

Violin Concerto No.1 in D, Op.19

Andantino – Andante assaiScherzo (Vivacissimo)Moderato – Allegro moderato – Moderato – Più tranquillo

Above the first solo entry in this concerto stands the word sognando – dreamily. It describes an exquisite melody, revealing the often forgotten lyrical aspect of Prokofiev’s style. But when the concerto was premiered in Paris in 1923, the musical avant-garde found the work too lyrical – shot through, wrote émigré critic Boris de Schloezer, with ‘Mendelssohnism’. The accusation, although malicious, was apt: the lyricism and pensive mood, and the absence of ostentatious display, is indeed reminiscent of Mendelssohn.

There’s another parallel: just as Mendelssohn had been plagued for years by the opening theme of his own violin concerto, so Prokofiev’s meditative opening had been in his head since he’d developed it for a concertino in 1915. Two years later, in the countryside outside St Petersburg (by then Petrograd), it grew into a concerto.

Initially, soloists could see only that the concerto lacked a cadenza, and some celebrated violinists declined to learn it. It was not until 1924 – when Joseph Szigeti performed it in Prague – that it began to attract recognition.

Szigeti thought the sognando opening was ‘a clue to the day-dreaming expression of the “the little boy listening

to a story” feeling’ of the exposition. A short way into the first movement a second word appears above the solo part: narrante (in the manner of a narration). The music is now all sparkle and bite. No longer is Prokofiev setting the scene for day-dreams – we’re thrown headlong into a tale, one told in symphonic dialogue between violin and orchestra.

Unusually, the concerto inverts the usual tempo sequence so that two slow lyrical movements surround a fast, rhythmic one. The mercurial Scherzo with its abrupt ending has been cited as an example of the ‘grotesque’ or ‘sarcastic’ aspect of Prokofiev’s style. But the composer himself preferred that it be described as ‘“scherzo-ish” in quality, or else by three words describing various degrees of the scherzo – whimsicality, laughter, mockery’.

The Scherzo is a catalogue of violin trickery: extreme leaps, double-stopping, slides, harmonics and rapid figuration alternating with accented rhythms. Remarkably, Prokofiev’s capricious exposition of technical effects draws attention to their expressive possibilities – from the buoyant ascent of the opening theme above a clockwork accompaniment to sinuous passage work in the violin’s low register.

The third movement begins with a theme on the bassoon, developed by each of the woodwind instruments in turn. This sets the scene for the soloist’s combination of staccato and

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Schumann’s enthusiasm was generated in part by the ‘heavenly length’ of the piece, which he compared to a novel in four volumes; Schubert had, clearly, hit on a new way of structuring large spans of symphonic time, and this would have radical implications for the form as cultivated by composers from Schumann to Mahler.

The magic number ‘nine’, the fact of Schubert’s tragically early death, and existence of at least one ‘Unfinished Symphony’ in Schubert’s oeuvre have conspired to create a number of myths about the ‘Great’ C major symphony. First, far from being Schubert’s last word in the medium, it was completed in 1826 – well before his death – and indeed was at one time numbered ‘seven’ in the Schubert canon. Second, while the Leipzig performance was the work’s public premiere, in fact the Symphony hadn’t sat under Schubert’s bed all that time: the composer had sent a copy to Vienna’s Gesellschaft der Musikfreunde in 1826, and the orchestra, which paid Schubert a small gratuity, had read through the work but decided it was too long and ‘difficult’ for players and audiences alike. Finally, the nickname refers in part to the work’s generous dimensions, but also distinguishes it from the earlier Symphony D.589 (No.6), also in C major.

The Symphony’s challenges and joys both stem from its balance of Classical principles and, for want of a better term, Romantic aspirations – it is, after all, roughly contemporary

sustained ideas, suspended above scoring of the utmost economy. In the coda the opening theme from the first movement returns in the violins above a shimmer of tremolos and harp arpeggios. The soloist traces the melody with ‘altitudinous trills’ before coming to rest – exactly as it had at the end of the first movement – on a top D in unison with the piccolo.Abridged from a note by Yvonne FrindleSymphony Australia © 1997/2016

The Melbourne Symphony Orchestra first performed this concerto on 9 May 1939 with conductor Georg Szell and soloist Ernest Llewellyn, and most recently in August 2001 with Paavo Järvi and Jane Peters.

FRANZ SCHUBERT (1797–1828)

Symphony No.9 in C, D.944 (The Great)

Andante – Allegro ma non troppoAndante con motoScherzo (Allegro vivace – Trio)Allegro vivace

Among papers found after Schubert’s death was a score of his ‘Great’ Symphony in C, which the composer’s brother showed to Robert Schumann in 1838. Fired with enthusiasm, Schumann sent it to Mendelssohn in Leipzig, and in 1839 the work was performed there by the Gewandhaus Orchestra. In a letter to his then fiancée, Clara Wieck, Schumann described the rehearsal he had attended:

I have been in paradise today!…I was supremely happy, and had nothing left to wish for, except that you were my wife, and that I could write such symphonies myself.

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PROGRAM NOTES

with Beethoven’s Ninth and Berlioz’s Symphonie fantastique. The work is cast in the conventional four-movement layout of the classical Viennese symphony, and Schubert uses some kind of sonata design in three of the movements; his orchestration, with its use of horn calls and distant, soft trombones, evokes the Romanticism of Mendelssohn and Weber.

The first movement begins with a slow introduction that creates added tension before the outbreak of the faster material in the main body of the movement. So far, so Classical, but in addition the theme (on unison horns) which begins the work also contains the seeds of much of the Symphony’s subsequent material – especially the dotted rhythm in the theme’s second bar, which pervades the whole work. This elaboration of material from a small cell recalls the examples of Haydn and Beethoven, though Schubert balances this concentration with his characteristic spinning of apparently endlessly new melodies. But from Beethoven, too, he learned the rhetorical power of reiteration, and at various points in the piece creates long stretches of increasingly exciting music out of the forceful repetition of short, strongly profiled motives. The tremendous tension built up during the first movement is resolved in a way uncharacteristic of Schubert: he brings back the opening horn theme, now transformed by the prevailing fast tempo into something much less dreamy in character.

The slow movement begins in A minor, the work’s relative minor key, and its main theme, characterised by the pervasive dotted rhythm, has been described by Donald Tovey as a ‘heartbreaking show of spirit in adversity’. Certainly Schubert’s health was, at this time, deteriorating due to syphilis and the then common treatments for the disease, but the work is in no way a document of self-pity.

The Scherzo maintains the large-scale thinking of the rest of the work, and in this regard anticipates the massive structures of Bruckner’s symphonic scherzos. Like Bruckner, Schubert generates great energy by the use of inexorably buoyant rhythms and a string of beautiful themes. As the symphony moves into its trio section, Schubert repeats a single note to the point where it’s removed from its harmonic context, allowing him to slip into a totally different key, from C major to A major as if by magic.

The finale is likewise of a proportion to match the previous movements and is as full of thematic invention. It encompasses material and emotional states as different as what Tovey identifies as ‘fairy music’ and gestures ‘as terrible as anything in Beethoven or Michelangelo’. Listen closely and you may hear echoes of the Ode to Joy from the last movement of Beethoven’s Ninth Symphony – a fitting spiritual connection for two earth-shatteringly powerful ninth symphonies.Gordon Kerry © 2009

The MSO first performed Schubert’s Ninth Symphony on 1 October 1938 under the direction of Sir Malcolm Sargent, and most recently in May 2013 with Douglas Boyd.

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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#

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#

Rachel Homburg Isy WassermanPhilippa WestPatrick WongRoger YoungJenny Khafagi*

VIOLAS

Christopher Moore PrincipalDi Jameson#

Fiona Sargeant Associate Principal

Lauren BrigdenTam Vu, Peter and Lyndsey Hawkins#

Katharine BrockmanChristopher CartlidgeMichael Aquilina#

Anthony ChatawayGabrielle HalloranTrevor Jones Cindy WatkinElizabeth WoolnoughCaleb Wright

CELLOS

David Berlin Principal MS Newman Family#

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de Korte Andrew Dudgeon#

Keith JohnsonSarah MorseAngela SargeantMichelle WoodAndrew and Theresa Dyer#

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser#

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke Associate Principal

Sarah Beggs

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MSO BOARD

Chairman

Michael Ullmer

Managing Director

Sophie Galaise

Board Members

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

Company Secretary

Oliver Carton

PICCOLO

Andrew Macleod Principal

OBOES

Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann BlackburnThe Rosemary Norman Foundation#

COR ANGLAIS

Michael Pisani Principal

CLARINETS

David Thomas Principal

Philip Arkinstall Associate Principal

Craig Hill

BASS CLARINET

Jon Craven Principal

BASSOONS

Jack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

CONTRABASSOON

Brock Imison Principal

HORNS

Saul Lewis Principal Third

Abbey Edlin Nereda Hanlon & Michael Hanlon AM#

Trinette McClimontIan Wildsmith*

TRUMPETS

Geoffrey Payne Principal

Shane Hooton Associate Principal

William EvansRosie Turner

TROMBONES

Brett Kelly Principal

Richard Shirley

BASS TROMBONE

Mike Szabo Principal

TUBA

Timothy Buzbee Principal

Nelson Woods*

PERCUSSION

Robert Clarke Principal

John ArcaroTim and Lyn Edward#

Robert Cossom

HARP

Yinuo Mu Principal

# Position supported by

* Guest Musician

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SUPPORTERS

MSO PATRONThe Honourable Linda Dessau AC, Governor of Victoria

ARTIST CHAIR BENEFACTORSAnthony Pratt Associate Conductor Chair

Joy Selby Smith Orchestral Leadership Chair

The Cybec Foundation Cybec Assistant Conductor Chair

The Ullmer Family Foundation Associate Concertmaster Chair

Anonymous Principal Flute Chair

The Gross Foundation Principal Second Violin Chair

Di Jameson Principal Viola Chair

MS Newman Family Foundation Principal Cello Chair

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

PROGRAM BENEFACTORS

Cybec 21st Century Australian Composers Program The Cybec Foundation

Cybec Young Composer in Residence made possible by The Cybec Foundation

East Meets West supported by the Li Family Trust

Meet The Orchestra made possible by The Ullmer Family Foundation

MSO Audience Access Crown Resorts Foundation Packer Family Foundation

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

MSO International Touring supported by Harold Mitchell AC

MSO Regional Touring Creative Victoria The Robert Salzer Foundation

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

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

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

David and Angela LiMS Newman Family Foundation ◊

Anthony Pratt ◊

The Pratt FoundationJoy Selby SmithUllmer Family Foundation ◊

Anonymous (1)

VIRTUOSO PATRONS $50,000+Di Jameson ◊

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

IMPRESARIO PATRONS $20,000+Michael Aquilina ◊

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

MAESTRO PATRONS $10,000+Kaye and David BirksMitchell ChipmanSir Andrew and Lady DavisDanny 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 BrighthopeDavid and Emma CapponiWendy DimmickAndrew Dudgeon ◊

Andrew and Theresa Dyer ◊

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

Geelong Friends of the MSO ◊

Jennifer GorogHMA FoundationLouis Hamon OAMNereda Hanlon and Michael Hanlon AM ◊

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

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

Max and Jill Schultz

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Stephen ShanasyMr Tam Vu and Dr Cherilyn Tillman ◊

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

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

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

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

Roger and Col BuckleJill and Christopher BuckleyBill and Sandra BurdettLynne BurgessPeter CaldwellJoe CordoneAndrew and Pamela CrockettPat and Bruce DavisMarie DowlingJohn and Anne DuncanRuth EgglestonKay EhrenbergJaan EndenAmy and Simon FeiglinGrant Fisher and Helen BirdBarry Fradkin OAM and Dr Pam FradkinApplebay Pty LtdDavid Frenkiel and Esther Frenkiel OAMDavid Gibbs and Susie O'NeillMerwyn and Greta GoldblattColin Golvan QC and Dr Deborah GolvanGeorge 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 JenningsDorothy Karpin Brett Kelly and Cindy WatkinDr Anne KennedyJulie and Simon KesselKerry LandmanWilliam and Magdalena LeadstonAndrew LeeNorman Lewis, in memory of Dr Phyllis Lewis

Dr 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 NilssonLaurence O'Keefe and Christopher JamesAlan and Dorothy PattisonMargaret PlantKerryn PratchettPeter PriestTreena QuarinEli RaskinRaspin Family Trust Bobbie RenardPeter and Carolyn RenditDr Rosemary Ayton and Dr Sam RicketsonJoan P RobinsonCathy and Peter RogersDoug and Elisabeth ScottMartin and Susan ShirleyDr Sam Smorgon AO and Mrs Minnie SmorgonJohn SoDr Michael SoonLady Southey ACJennifer SteinickeDr Peter StricklandPamela SwanssonJenny TatchellFrank Tisher OAM and Dr Miriam TisherP and E Turner

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PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

� e CEO InstituteQuest Southbank Bows for StringsErnst & Young

TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

The Scobie and Claire Mackinnon Trust

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

SUPPORTERS

The Hon. Rosemary VartyLeon and Sandra VelikSue Walker AMElaine Walters OAM and Gregory WaltersEdward and Paddy WhiteNic and Ann WillcockMarian and Terry Wills CookeLorraine WoolleyRichard YePanch Das and Laurel Young-DasAnonymous (21)

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

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

Alan (AGL) Shaw Endowment, managed by PerpetualTelematics Trust

CONDUCTOR’S CIRCLEJenny AndersonDavid AngelovichG C Bawden and L de KievitLesley BawdenJoyce BownMrs Jenny Brukner and the late Mr John BruknerKen BullenLuci and Ron ChambersBeryl DeanSandra DentLyn EdwardAlan Egan JPGunta EgliteMr Derek GranthamMarguerite 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-Hoyne Suzette SherazeeMichael Ryan and Wendy MeadAnn and Andrew SerpellJennifer ShepherdProfs. Gabriela and George StephensonPamela SwanssonLillian TarryDr Cherilyn TillmanMr and Mrs R P TrebilcockMichael Ullmer

Ila VanrenenThe Hon. Rosemary VartyMr Tam VuMarian and Terry Wills CookeMark YoungAnonymous (23)

The MSO gratefully acknowledges the support received from the estates of

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

HONORARY APPOINTMENTSSir Elton John CBELife Member

The Hon. Alan Goldberg AO QCLife Member

Geoffrey Rush ACAmbassador

The Late John Brockman OAMLife Member

Ila VanrenenLife Member

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PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

� e CEO InstituteQuest Southbank Bows for StringsErnst & Young

TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

The Scobie and Claire Mackinnon Trust

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