TCHAIKOVSKY 513, 14 & 16 APRIL 2018

CONCERT PROGRAM

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Melbourne Symphony OrchestraMuhai Tang conductor

James Ehnes violin

Brahms Tragic OvertureKernis Violin Concerto*

*MSO co-commission and Australian premiere

INTERVAL

Tchaikovsky Symphony No.5

MUHAI TANGCONDUCTOR

Muhai Tang is currently Chief Conductorand Artistic Director of the Tianjin Operaand Orchestra, and Artistic Director ofthe Shanghai Philharmonic and ZhenjiangSymphony Orchestras in China.He has held Principal Conductor positionswith orchestras such as the RoyalPhilharmonic Orchestra of Flanders andChina National Symphony Orchestra.

He was Chief Conductor of the FinnishNational Opera. While Principal Conductorof the Gulbenkian Orchestra he won aGrammy for his recording with them andSharon Isbin of the guitar concertos ofTan Dun and Christopher Rouse.

Muahi was Principal Conductor ofthe Queensland Symphony Orchestra,1991 to 2001. Other orchestras he hasconducted since include the BerlinPhilharmonic, Leipzig GewandhausOrchestra, Orchestre de Paris, andSan Francisco Symphony Orchestra.

MELBOURNE SYMPHONY ORCHESTRA

Established in 1906, the MelbourneSymphony Orchestra (MSO) is an artsleader and Australia’s longest-runningprofessional orchestra. Chief ConductorSir Andrew Davis has been at the helmof MSO since 2013. Engaging more than3 million people each year, the MSOreaches a variety of audiences through liveperformances, recordings, TV and radiobroadcasts and live streaming.

The MSO also works with AssociateConductor Benjamin Northey and AssistantConductor Tianyi Lu, as well as with sucheminent recent guest conductors asTan Dun, John Adams, Jakub Hrůšaand Jukka-Pekka Saraste. It has alsocollaborated with non-classical musiciansincluding Elton John, Nick Cave andFlight Facilities.

mso.com.au

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 acknowledges 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.

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PROGRAM NOTESMEET THE ARTIST

In a loose sonata form, with three mainsubjects, the Overture justifies its ‘Tragic’title from the outset with its arrestingopening chords, strident main theme,and continued use throughout of hammerblows to underscore the drama. Some havelikened it to a mini-symphony, particularlyin a middle passage where the horns playa distinctively Brahmsian call of longingover shimmering string chords, and in itscharacteristically turbulent returns of themain themes and emphatic coda.

One of Brahms’ very few purely orchestralworks outside his four symphonies, it waspremiered by the Vienna Philharmonicunder Hans Richter in December 1880.In several performances early in thefollowing year – some conducted byBrahms himself – it appears to have baffledits audiences and didn’t gain immediateacceptance. But Brahms enjoyed it enoughto make various piano transcriptions ofit that he played with Clara Schumannand other friends, another indicationthat this avowedly ‘tragic’ work had been composed, as he himself

Martin Buzacott © 2012

The Melbourne Symphony Orchestra first performedBrahms’ Tragic Overture on 10 and 12 November 1945conducted by Joseph Post, and most recently on5-7 June 2014 with Olari Elts.

AARON JAY KERNIS (born 1960)

Violin ConcertoChaconneBalladToccatiniMSO co-commission and Australian premiere

James Ehnes violin

In 2007 I unexpectedly heard from theBBC in London asking me to write a recitalpiece for a violinist whose playing I wasn'tfamiliar with. Once supplied with somerecordings it was clear he was a great(young) master at the instrument, and Iunhesitatingly agreed. Out of that came myfirst collaboration with James Ehnes, TwoMovements (with Bells), a piece that he hasnow played many times and recorded, andfrom him followed the enthusiastic requestto write a concerto. Making (playing,writing, and listening to) music is indeeda journey, often coming when you leastexpect it, and this one leads directly to nowand this big new Violin Concerto.

The back story - I played the violin (not so well) from the time I was 10-15 but gave it up to focus on the piano and composing.But I’ve retained a great love of writing for strings and their singing quality, and many of my major pieces over the years are for strings.

Since 2009 I’ve had the good fortuneto write a whole batch of concertosfor various wonderful players andcombinations – cello, viola, flute, trumpet,chamber orchestra, piano, with one forhorn upcoming. I’ve tried to make them alldifferent, and keep their forms, content andexpression fresh for me and for listeners.

This newest work for James Ehnes isformed out of the essential three movementform that many bedrock concertos of thepast are built: 1) the largest, most searchingarguments first, followed by the 2) shorter,slower lyrical utterance, and ending withthe even shorter 3) fast, zippy, often hairraisingly difficult closer.

But here there is much that differs fromthe past.

JOHANNES BRAHMS (1833-1897)

Tragic Overture, Op.81

In 1880, Brahms spent the summer in theresort town of Ischl, where Vienna’s richand famous usually repaired in the warmermonths to enjoy the rural scenery, the localspa, and the opportunity to rub shoulderswith holidaying royalty. But Brahms hadwork to do, needing to write an orchestralpiece, the light-hearted Academic FestivalOverture based on student songs, as thanksfor an Honorary Doctorate soon to beconferred on him by Breslau University.

But during the same summer he alsocomposed a very different companionpiece, some of it based on sketchesdating back to the 1860s, and which hehad trouble naming. ‘You may include adramatic or tragic or Tragedy Overture inyour program for January 6,’ he wrote tothe Breslau concert organisers. ‘I cannotfind a proper title for it.’

Eventually he settled on Tragic Overture,but no one could say exactly what, if any,the ‘tragic’ programmatic elements were.Some thought it might bear hallmarksof incidental music originally intendedfor an abandoned stage production ofGoethe’s Faust. Others pointed towardBrahms’ fascination with Shakespeare, stillothers suggested that the juxtaposition ofcomedy and tragedy in the Greek theatretradition had inspired a ‘Tragic Overture’to accompany a ‘Festival’ one. For his part,all Brahms would say was that ‘I could notrefuse my melancholy nature the pleasureof writing a Tragic Overture as well [as theAcademic Festival Overture]. One laughs,the other weeps.’

JAMES EHNES VIOLIN

James Ehnes has appeared with orchestrassuch as the Boston Symphony, LondonSymphony, Deutsches Symphonie-Orchester Berlin and NHK SymphonyOrchestra, Tokyo, and with conductorssuch as Vladimir Ashkenazy, Marin Alsop,

Sir Andrew Davis, and David Robertson.James maintains a busy recital schedule.In 2016, he undertook a cross-Canadarecital tour for his 40th birthday. He iscurrently Artistic Director of the SeattleChamber Music Society. His recordingsreflect a repertoire ranging from Adamsto Bach. Recent live performanceshave included the World and AmericanPremieres of Aaron Jay Kernis’s ViolinConcerto. He is the Concerto’s exclusivesoloist until 2021.

James made his orchestral solo debut withthe Orchestre symphonique de Montréalat 13. He plays the ‘Marsick’ Stradivariusof 1715.

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1888 symphony, the Fifth’s main themedoes lend itself to a musical personificationof grim fate (in its minor form) and ofbeneficent providence (in its major form),and a journey from the first to the second isa plausible program, if not for the openingmovement (which ends in the minor), thenfor the whole work.

The main theme (played at the outsetby solo clarinet) also pays homage tothe man Tchaikovsky called ‘the fatherof Russian music’, Mikhail Glinka. Heborrowed the germinal first eight-notephrase from Glinka’s opera A Life for theCzar, where it opens the second half ofa melody sung in succession by all threeprincipal characters in the first act trio.But Tchaikovsky develops Glinka’s melodicfragment (first sung to the words ‘Do notturn to sorrow’) into an entirely new mottotheme whose subliminal transformationsand literal reprises bind the symphony’sfour movements together. The firsttransformation is into the dance-like themeof the Allegro con anima announced byclarinet and bassoon.

The horn melody in the second movementis one of the most beautiful in all ofTchaikovsky’s music. He actually scribbledon a sketch of this melody (in French): ‘Ilove you, my love!’ But it is more than justa love theme; it, too, is subtly related tothe motto (of the motto’s first eight notes,it is a varied reworking of the last five).This connection is made explicit when theundisguised motto returns, portentouslywith trumpets and kettledrums, just beforethe reprise of the love theme.

Tchaikovsky called the third movement a‘waltz’, a modestly understated examplecompared with his great ballet waltzes, butone whose easy mood makes it a perfectstructural foil to the slow movement’s

passionate intensity. It may well be significant that he crafted the tune out of snippets of a Tuscan folksong, called La Pimpinella, that he heard in Florence in 1877, sung by (as he noted) a ‘positivelybeautiful’ young (male) street-singer.Certainly significant, the waltz tune alsoaudibly echoes the rhythm of the precedingmovement’s soulful horn theme, of whichit is essentially a faster, lighter reworking.The same rhythm also reappears in thesinuously exotic subsidiary tune introducedby the bassoon. But only once does themotto itself intrude on this pleasant reverie,from clarinets and bassoons, right at themovement’s close.

The motto returns fully, in major mode, asa solemn march, introducing the fourthmovement, sumptuously scored with allthe violins playing down low in unison withthe cellos, passing next to the woodwinds,before trumpets and kettledrum signalthe imminent Allegro vivace. Tchaikovskyenergises the motto’s second, falling-scaleelement to create a new minor-key themethat launches further transformationsand combinations of germinal fragments,underpinned by the quick tick-tock ofbassoons, kettledrums and basses,plateauing out on a brilliantly shrill majorkey woodwind chorus. Winding down and then up again through more furious returns of the minor-key theme, a massive climax builds, breaking back into the now almost unbearably splendid march, the motto’s apotheosis capped at the last possible moment by a trumpet reprise of the first movement’s allegro theme.

© Graeme Skinner 2014

The Melbourne Symphony Orchestra first performed thissymphony on 9 May 1942 under the baton of Sir BernardHeinze, and most recently at the Sidney Myer FreeConcert on 20 February 2016 with Joshua Weilerstein.

Zweden; and the Melbourne Symphonyand Sir Andrew Davis.

© Aaron Jay Kernis 2017

PETER ILYICH TCHAIKOVSKY (1840-1893)

Symphony No.5 in E minor, Op.64

Andante – Allegro con animaAndante cantabile, con alcuna licenzaValse (Allegro moderato)Andante maestoso – Allegro vivace

After completing his Fourth Symphony(1877), Tchaikovsky wrote to his formerpupil Sergey Taneyev: ‘I should be sorryif symphonies that mean nothing shouldflow from my pen.’ He insisted that theFourth definitely followed a ‘program’, eventhough, like Beethoven’s Fifth Symphonyon which he had partly modelled thework, it could not be expressed in words.Circumstantial evidence suggests thatTchaikovsky’s own Fifth Symphony,composed in summer 1888, likewise couldnot ‘mean nothing’, and even if a precisemeaning will probably never emerge,Tchaikovsky did leave clues as to thedirection of his thoughts.

Fate and providence were certainly onhis mind, having in mid-1887 spent twodistressing months at the bedside of adying friend. Later in his sketchbookhe verbally outlined a first movementwhose slow introduction began with ‘totalsubmission to fate’, followed by an allegrothat introduced ‘murmurs, doubts, laments,reproaches’ before considering succumbingto ‘the embrace of faith’. He describedthis as ‘a wonderful program, if only itcan be fulfilled’. Although no irrefutableevidence links this plan directly with the

The first movement is Chaconne, andcomes distantly from the Baroque form ofa set of variations over a repeated seriesof chords. This is the most dramaticallycharged and changeable movement, withthe opening downward melody/chordprogression in the violin being the basis ofall that follows. This theme is constantlyvaried in character and colour over theentire movement, and returns in its original,most dramatic statement at its end.

Ballad is the songful, jazz/French-tingedlyrical middle movement, with an angular,wrenching center. The language of TwoMovements (with Bells) returns here withhints of the blues and the influence of theharmony of composer Olivier Messiaen, an idol of mine.

Finally, the energy of Toccatini closesthe piece. A Toccata is a virtuoso, fast“touch-piece” from the Baroque. I thoughtthis would be a tiny or teeny toccata, andthe idea of creating a new martini – theToccatini (I’ll suggest it to the managementfor this premiere week) helped get methrough the post-U.S. election torpor. Thisis a not-atypical Kernis-ian mashup – bitsof jazz, hints of Stravinsky/Messaien,machine-music, wild virtuoso strings ofnotes all over the violin give James evermore chances to show his mettle – itsshowcases his great ability to shape manythousands of notes with flair and joy.

The Concerto is dedicated to James Ehnes,with great admiration and friendship, andwas generously commissioned by foursplendid Orchestras and Music Directorsfor James Ehnes: the Toronto Symphonyand Peter Oundjian; Seattle Symphony andLudovic Morlot with the generous supportof the Norma and Don Stone Fund for NewMusic; the Dallas Symphony and Jaap Van

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Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor Anthony Pratt #

Tianyi Lu Cybec Assistant Conductor

Hiroyuki Iwaki Conductor Laureate (1974-2006)

FIRST VIOLINS

Dale Barltrop Concertmaster

Sophie Rowell Concertmaster The Ullmer Family Foundation#

Natsuko Yoshimoto*^ Guest Concertmaster

Peter Edwards Assistant Principal John McKay and Lois McKay#

Kirsty BremnerSarah Curro Michael Aquilina#

Peter FellinDeborah GoodallLorraine HookAnne-Marie JohnsonKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn Taylor Michael Aquilina#

Tiffany Cheng*Nicholas Waters*

SECOND VIOLINS

Matthew Tomkins Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro Assistant Principal Danny Gorog and Lindy Susskind #

Mary AllisonIsin CakmakciogluFreya Franzen Anonymous#

Zoe Freisberg Cong GuAndrew Hall Andrew and Judy Rogers#

Isy WassermanPhilippa WestPatrick WongRoger YoungMadeleine Jevons*

VIOLAS

Christopher Moore Principal Di Jameson#

Fiona Sargeant Associate Principal

Lauren Brigden Mr Tam Vu and Dr Cherilyn Tillman

Katharine BrockmanChristopher Cartlidge Michael Aquilina#

Anthony ChatawayGabrielle HalloranTrevor Jones Cindy WatkinElizabeth WoolnoughCaleb WrightIsabel Morse*

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 Wood Andrew and Theresa Dyer#

Rachel Atkinson*Zoe Knighton*

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser #

Shannon Birchall*

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal

OBOES

Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn The 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

Malcolm Stewart*⁰ Guest Principal

Saul Lewis Principal Third

Abbey Edlin Nereda Hanlon and Michael Hanlon AM#

Trinette McClimontAlexander Morton*Ian Wildsmith*

TRUMPETS

Shane Hooton Associate Principal

Tristan Rebien* Guest Associate Principal

William EvansRosie Turner

TROMBONES

Brett Kelly Principal

Ashley Carter* Guest Associate Principal

Richard ShirleyMike Szabo Principal Bass Trombone

TUBA

Timothy Buzbee Principal

Scott Watson* †

TIMPANI

Tony Bedewi*+ Lady Potter AC CMRI#

PERCUSSION

Robert Clarke Principal

John Arcaro Tim and Lyn Edward#

Robert Cossom

HARP

Yinuo Mu Principal

PIANO/CELESTE

Louisa Breen*

MSO BOARD

Chairman

Michael Ullmer

Managing Director

Sophie Galaise

Board Members

Andrew DyerDanny GorogMargaret Jackson ACDi JamesonDavid KrasnosteinDavid LiHyon-Ju NewmanGlenn SedgwickHelen Silver AO

Company Secretary

Oliver Carton

MELBOURNE SYMPHONY ORCHESTRA

# Position supported by* Guest Musician^ Courtesy of Adelaide Symphony Orchestra† Courtesy of University of Kansas+ Courtesy of London Symphony Orchestra ⁰ Courtesy of Queensland Symphony Orchestra

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MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria

PLATINUM PATRONS $100,000+ Marc Besen AC and Eva Besen AOJohn Gandel AC and Pauline Gandel The Gross FoundationDavid and Angela LiMS Newman Family FoundationAnthony PrattThe Pratt FoundationJoy Selby SmithUllmer Family FoundationAnonymous (1)

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TRUSTS AND FOUNDATIONS Collier Charitable FundCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Marian and E.H. Flack TrustFreemasons Foundation VictoriaGandel PhilanthropyThe Harold Mitchell FoundationThe Pratt FoundationThe Robert Salzer FoundationSidney Myer MSO Trust Fund Telematics Trust International Music and Art Foundation

ARTIST CHAIR BENEFACTORS Associate Conductor Chair Benjamin Northey Anthony Pratt

Orchestral Leadership Chair Joy Selby Smith

Cybec Assistant Conductor Chair Tianyi Lu The Cybec Foundation

Associate Concertmaster Chair Sophie Rowell The Ullmer Family Foundation

2018 Soloist in Residence Chair Anne-Sophie Mutter Marc Besen AC and Eva Besen AO

Cybec Young Composer in Residence Ade Vincent The Cybec Foundation

CHAIRMAN’S CIRCLE Marc Besen AC and Eva Besen AO The Gross Foundation Harold Mitchell FoundationDavid and Angela LiHarold Mitchell ACMS Newman Family FoundationLady Potter AC CMRIJoy Selby SmithThe Cybec FoundationThe Pratt FoundationThe Ullmer Family FoundationAnonymous (1)

ADOPT A MUSICIAN CHAIRS Principal Second Violin Chair Matthew Tomkins The Gross FoundationPrincipal Viola Chair Chris Moore Di JamesonPrincipal Cello Chair David Berlin MS Newman Family FoundationPrincipal Flute Chair Prudence Davis AnonymousPrincipal Timpani Chair Lady Potter AC CMRIAssociate Principal Second Violin Monica Curro Danny Gorog and Lindy SusskindAssistant Principal First Violin Peter Edwards John McKay and Lois McKay First Violin Sarah Curro Michael AquilinaFirst Violin Kathryn Taylor Michael AquilinaSecond Violin Freya Franzen AnonymousSecond Violin Andrew Hall Andrew and Judy RogersViola Lauren Brigden Mr Tam Vu and Dr Cherilyn TillmanViola Chris Cartlidge Michael Aquilina

Cello Miranda Brockman Geelong Friends of the MSOCello Rohan de Korte Andrew Dudgeon AMCello Michelle Wood Andrew and Theresa DyerDouble Bass Stephen Newton Sophie Galaise and Clarence FraserOboe Ann Blackburn The Rosemary Norman FoundationFrench Horn Abbey Edlin Nereda Hanlon and Michael Hanlon AMPercussion John Arcaro Tim and Lyn Edward

PROGRAM BENEFACTORS Cybec 21st Century Australian Composers Program The Cybec FoundationEast Meets West Supported by the Li Family TrustMeet The Orchestra Made possible by The Ullmer Family FoundationMSO Audience Access Crown Resorts Foundation, Packer Family FoundationMSO Building Capacity Gandel Philanthropy (Director of Philanthropy)MSO Education Supported by Mrs Margaret Ross AM and Dr Ian RossMSO International Touring Harold Mitchell ACMSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, The Robert Salzer FoundationThe Pizzicato Effect Anonymous, 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 ProgramSidney Myer Free Concerts Supported by the late Sidney Myer and the University of Melbourne

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

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Sir Elton John CBE Life Member

Lady Potter AC CMRI Life Member

Geoffrey Rush AC Ambassador

THE MSO HONOURS THE MEMORY OF

John Brockman OAM Life Member

The Honourable Alan Goldberg AO QC Life Member

Ila Vanrenen Life Member

Honorary Appointments

CONDUCTOR’S CIRCLE Current Conductor’s Circle MembersJenny AndersonDavid AngelovichG C Bawden and L de KievitLesley BawdenJoyce BownMrs Jenny Brukner and the late Mr John BruknerKen BullenPeter A CaldwellLuci and Ron ChambersBeryl DeanSandra DentLyn EdwardAlan Egan JPGunta EgliteMr Derek GranthamMarguerite Garnon-WilliamsDrs L C Gruen & R W Wade Louis Hamon OAMCarol HayTony HoweLaurence O'Keefe and Christopher JamesAudrey M JenkinsJohn JonesGeorge and Grace KassMrs Sylvia LavellePauline and David LawtonCameron MowatRosia PasteurElizabeth Proust AOPenny RawlinsJoan P RobinsonNeil RoussacAnne Roussac-HoyneSuzette SherazeeMichael Ryan and Wendy MeadAnne Kieni-Serpell 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 (26)

The MSO gratefully acknowledges the support of the following Estates:Angela BeagleyNeilma GantnerThe Hon Dr Alan Goldberg AO QC Gwen HuntAudrey JenkinsJoan JonesPauline Marie JohnstonJoan JonesC P KempPeter Forbes MacLarenJoan Winsome MaslenLorraine Maxine MeldrumProf Andrew McCredieMiss Sheila Scotter AM MBEMarion A I H M SpenceMolly StephensJennifer May TeagueJean TweedieHerta and Fred B VogelDorothy Wood

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TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

e Scobie and Claire Mackinnon Trust, Sidney Myer MSO Trust Fund

SUPPORTERS

19

PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

Quest Southbank Bows for StringsErnst & Young

TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

e Scobie and Claire Mackinnon Trust, Sidney Myer MSO Trust Fund

SUPPORTERS

19

PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

Quest Southbank Bows for StringsErnst & Young

TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

e Scobie and Claire Mackinnon Trust, Sidney Myer MSO Trust Fund

SUPPORTERS

19

PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

Quest Southbank Bows for StringsErnst & Young

TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

e Scobie and Claire Mackinnon Trust, Sidney Myer MSO Trust Fund

SUPPORTERS