CONCERT PROGRAMCONCERT PROGRAM

BENJAMIN NORTHEY CONDUCTS ENIGMA

27–28 JULY 2017

“Artists play a vital role in colouring the creative city we live in. They enrich our lives by reflecting on the world around us and the thoughts within us.”Dale Barltrop Concertmaster   Melbourne Symphony Orchestra

The City of Melbourne is proud to support major and emerging arts organisations through their 2015–17 Triennial Arts Grants Program.

Aphids

Arts Access Victoria

Australian Centre for Contemporary Art

Blindside Artist Run Space

Chamber Made Opera

Circus Oz

Craft

Emerging Writers’ Festival

Ilbijerri Theatre

Koorie Heritage Trust

La Mama

Little Big Shots

Lucy Guerin Inc.

Melbourne Festival

Melbourne Fringe

Melbourne International Comedy Festival

Melbourne International Film Festival

Melbourne International Jazz Festival

Melbourne Queer Film Festival

Melbourne Symphony OrchestraMelbourne WebFest

Melbourne Writers Festival

Multicultural Arts Victoria

Next Wave Festival

Polyglot Theatre

Poppy Seed

Songlines Aboriginal Music

Speak Percussion

The Wheeler Centre

West Space

Wild@heART Community Arts

melbourne.vic.gov.au/triennialarts

What is the role of the artist in a creative city?

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Melbourne Symphony Orchestra

Benjamin Northey conductor

Kristian Chong piano

Bizet Carmen: Suite No.1

Saint-Saëns Piano Concerto No.2

INTERVAL

Elgar Sospiri

Elgar Variations on an Original Theme

Enigma

mso.com.au (03) 9929 9600

Running time: 2 hours, including 20-minute interval

PRE-CONCERT ORGAN REICTALAs with all of the MSO’s Melbourne Town Hall Series, renowned composer and organist Calvin Bowman will perform a pre-concert organ recital in the historic setting of the Melbourne Town Hall. This free performance will begin at 6.30pm.

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.

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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 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.

BENJAMIN NORTHEY CONDUCTOR

Australian conductor Benjamin Northey is the Chief Conductor of the Christchurch Symphony Orchestra and the Associate Conductor of the Melbourne Symphony Orchestra.

Northey also appears regularly as a guest conductor with all major Australian symphony orchestras, Opera Australia (Turandot, L’elisir d’amore, Don Giovanni, Così fan tutte, Carmen), New Zealand Opera (Sweeney Todd) and State Opera South Australia (La sonnambula, L’elisir d’amore, Les contes d’Hoffmann). His international appearances include concerts with the London Philharmonic, Tokyo Philharmonic and Hong Kong Philharmonic Orchestras and the Mozarteum Orchestra Salzburg.

KRISTIAN CHONG PIANO

Leading Australian pianist Kristian Chong has performed throughout Australia, China and the UK, and in France, New Zealand, Singapore, USA, and Zimbabwe. As soloist he has appeared with the Adelaide, Melbourne, Queensland, Sydney and Tasmanian Symphony Orchestras, and orchestras in the UK, New Zealand and China. Highlights include Rachmaninoff’s Third Piano Concerto (Sydney Symphony) and Paganini Rhapsody (Beijing and Canberra) and Ravel's Left-Hand Concerto (Dunedin Symphony).

A highly sought-after chamber musician, Kristian’s collaborations include the Tinalley and Australian String Quartets, violinists Sophie Rowell and Dale Barltrop, cellist Li-Wei Qin and baritone Teddy Tahu Rhodes. Festival appearances include the Australian Festival of Chamber Music, Adelaide, Huntington Estate, Mimir and Bangalow Festivals with other highlights including the Xing Hai Festival (Guangzhou) and Australian Music Week on Gulangyu Island (Xiamen).

Kristian studied at the Royal Academy of Music with Piers Lane and Christopher Elton, and with Stephen McIntyre at the University of Melbourne where Kristian teaches piano and chamber music.

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PROGRAM NOTES

GEORGES BIZET (1838–1875)

Carmen: Suite No.1

Prélude – Aragonaise Intermezzo SéguedilleLes Dragons d’Alcala Les Toréadors

When Carmen was first produced in Paris in 1875, three months before Bizet’s death at the age of 36, audiences were shocked by the unashamed realism of the story: Carmen’s blatant sexuality scandalised many, as did the rowdy women’s chorus (Carmen’s co-workers in the cigarette factory) who both fight and smoke on stage. And Carmen’s murder by the spurned Don José, in full view of the audience, was too strong for many tastes. The show did run for 48 performances, though, largely on the strength of its shock value, and although the Parisian opera companies were too timid to program it again until 1883 (when it met with enthusiastic acclaim), by that time it had enjoyed success around the the world, mostly in a ‘revised’ version by Bizet’s friend Ernest Guiraud. Guiraud set the original spoken dialogue to recitative.

After the death of the composer Guiraud compiled two suites from the music of Carmen. The first suite comprises of the instrumental entre’acte from the opera, ending with the famous Overture. The only vocal excerpt in this suite is the Séguedille, which appears in an orchestral arrangement.© Symphony Australia

The MSO first performed music from Carmen on 17 July 1943 under conductor Bernard Heinze, and most recently performed Suite No.1 on 5 February 2013 with Benjamin Northey.

CAMILLE SAINT-SAËNS (1835–1921)

Piano Concerto No.2 in G minor, Op.22

Andante sostenutoAllegro scherzandoPresto

Kristian Chong piano

Camille Saint-Saëns’ contribution to French music over an exceptionally long life was a helpful and versatile one. A child prodigy who, making his debut as a ten-year-old with Mozart and Beethoven piano concertos, offered his delighted audience any one of the 32 Beethoven piano sonatas as an encore. He lived to a somewhat embittered old age, and walked out of the 1913 premiere of Stravinsky’s Rite of Spring muttering that it wasn’t music. Saint-Saëns for most of his life had been receptive to the new, and tried to steer French music away from its fixation on opera into channels where it could benefit from the example of the best of German instrumental music. He was a friend of Liszt, and his Third Symphony, with organ, is in many ways a tribute to that composer. (It has made a comeback in the age of hi-fi and of talking pigs – Australian composer Nigel Westlake borrowed from it in his soundtrack music for Babe.)

Ironically, a piece which he dashed off in 17 days in 1868 has proved one of his most durably popular: his Second Piano Concerto. The haste was due to the concert hall becoming available at short notice for a concert conducted

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PROGRAM NOTES

There is a cadenza returning to the fantasia style of the introduction, and the movement ends, as it were, by swallowing its own tail.

The puckish scherzo is the only movement that was a success at the under-rehearsed first performance. It has a catchy refrain, and is laid out for the instruments with masterly delicacy. The last movement is a tarantella (in popular imagination, the dance of the victim of spider bite), and this brings a strong whiff of the music of Offenbach (he of the can-can). Are the high spirits of comic operetta out of place in the finale of a concerto? Mozart didn’t think so; nor did Saint-Saëns.© David Garrett

The MSO first performed this concerto on 17 October 1940 with conductor Georg Schnéevoigt and soloist Sigrid Sundgren, and most recently performed it in July 2008 with Thomas Dausgaard and Simon Trpčeski.

by the Russian Anton Rubinstein, in which Saint-Saëns was to play a concerto. The music shows little sign of hasty workmanship. Saint-Saëns was the classicist among the French Romantics, and his sure grasp of form sometimes makes up for ideas which seem too easily acquired. Liszt described this piano concerto fairly when he said that Saint-Saëns ‘takes into account the effects of the pianist without sacrificing anything of the ideas of the composer’.

Nevertheless, this concerto has been indelibly marked by the witty observation of the Polish pianist Sigismond Stojowski, in that it ‘begins with Bach and ends with Offenbach’. It is true that the pianist’s unaccompanied introduction is an obvious tribute-by-imitation to Bach, especially the Bach of the Chromatic Fantasia and other toccatas for organ or harpsichord. Saint-Saëns conceives this imitation in a Romantic sense: it is a declamation rather than a meditation, and projected, by the sustaining pedal on the steel-framed pianoforte, to the back row of the concert hall.

The themes of the first movement, prefaced by this introduction, are expressive and lyrical: the main melody was borrowed (with permission) from Saint-Saëns’ younger friend and former pupil Gabriel Fauré (who had used it for a Tantum ergo with choir and organ). The level of activity soon rises, and dramatic exchanges between the soloist and the orchestra climax in a full-throated return of the main theme.

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EDWARD ELGAR (1857–1934)

Sospiri, Op.70

Elgar is wearing his heart on his sleeve in Sospiri, composed in 1914 and dedicated to his close friend and musical associate W.H. ‘Billy’ Reed. Reed, on whose technical expertise Elgar had drawn whilst composing his Violin Concerto, was at that time the leader of the London Symphony Orchestra, which helps explain the choice of the medium, string orchestra, in this case with harp and organ. Here performance by single strings is unimaginable. The ‘sighs’ of the Italian title seem to point to a private sadness which in Elgar is never far away.

Elgar completed Sospiri in February 1914, only months before the outbreak of the First World War, news of which reached the Elgars during an idyllic summer holiday in Scotland. Sir Henry Wood conducted the premiere at that year’s first Promenade concert, on 15 August 1914, the work’s sense of melancholy and regret no doubt a poignant lull in the evening’s highly charged wartime mood. Symphony Australia © 2004

This is the MSO's first performance of Sospiri.

EDWARD ELGAR (1857–1934)

Variations on an Original Theme, Op.36 Enigma

I (C.A.E.) – Caroline Alice Elgar, the composer’s wife

II (H.D.S.-P) – Hew David Steuart-Powell, pianist in Elgar’s trio

III (R.B.T.) – Richard Baxter Townshend, author

IV (W.M.B.) – William Meath Baker, nicknamed ‘the Squire’

V (R.P.A.) – Richard Penrose Arnold, son of Matthew Arnold

VI (Ysobel) – Isabel Fitton, viola player

VII (Troyte) – Arthur Troyte Griffith, architect

VIII (W.N.) – Winifred Norbury

IX (Nimrod) – August Johannes Jaeger, reader for the publisher Novello & Co

X (Dorabella) Intermezzo – Dora Penny, later Mrs Richard Powell

XI (G.R.S.) – Dr G.R. Sinclair, organist of Hereford Cathedral

XII (B.G.N.) – Basil G. Nevinson, cellist in Elgar’s trio

XIII (***) Romanza – Lady Mary Lygon, later Trefusis

XIV (E.D.U.) Finale – Elgar himself (‘Edu’ being his nickname)

In middle age, Elgar loathed having to earn the bulk of his income as a humble rural music teacher. Nevertheless, in spite of his obvious talent as a composer, his career during his 20s and 30s had been a series of disappointments. He had gravitated toward London, but Elgar and the big city never got on. And so, at a time when Schoenberg was emerging in Austria and Debussy was writing his Nocturnes in France, poor Elgar found himself back in his native Malvern region, eking out a living as best he

8

PROGRAM NOTES

proposed that it could be Elgar himself, with the famous motif on which the entire work is based capturing the natural speech rhythm of the name ‘Edward Elgar’. But, mischief-maker that he was, Elgar went to his grave without revealing the truth and no one since has come up with the definitive answer.

The second enigma was the identity of the characters depicted within each variation, who were represented at first only by their initials in the score. Fortunately this enigma has proved much easier to solve.

The main theme is given to the violins, who state it immediately. Variation 1 depicts Elgar’s wife, Caroline Alice (‘Carice’). The second variation brings the first hint of actual imitation. Pianist H.D. Steuart-Powell was one of Elgar’s chamber music collaborators, who characteristically played a diatonic run over the keyboard as a warm-up. Variation 3 depicts the ham actor R.B. Townshend whose drastic variation in vocal pitch is mocked here. The Cotswold squire W. Meath Baker is the subject of Variation 4, while the mixture of seriousness and wit displayed by the great poet Matthew Arnold’s son Richard is captured in the fifth variation. The next two variations parody the technical inadequacies of Elgar’s chamber music acquaintances. Violist Isabel Fitton (Variation 6) had trouble performing music where the strings had to be crossed, while Arthur Troyte Griffith (Variation 7) was a pianist whose vigorous style sounded

could. He took in students, made instrumental arrangements, played in an occasional performance and continually threatened to give away music altogether.

But one evening in October 1898, Elgar began to doodle at the piano. Chancing upon a brief theme that pleased him, he started imagining his friends confronting the same melody, or he would try to catch another’s character in a variation. This harmless bit of fun, initiated accidentally, would single-handedly turn around the composer’s career and by February 1899 the work had grown into what would become one of England’s greatest orchestral masterpieces, Elgar’s Variations on an Original Theme, Op.36.

Where the word ‘Theme’ should have appeared in the score, however, Elgar wrote ‘Enigma’. He stated that the theme itself was a variation on a well-known tune which he refused to identify. It’s a conundrum which has occupied concertgoers and scholars alike ever since. Over the years there have been many attempts to identify the mystery theme which, according to Elgar, goes in counterpoint with the one we actually hear. Elgar himself rejected suggestions of God Save the King and Auld Lang Syne. Other suggestions have included Rule, Britannia!, various nursery rhymes, a theme from Beethoven’s late quartets, an extract from Wagner’s Parsifal, and even Ta-ra-ra-boom-de-ay. Elgar biographer Michael Kennedy has

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more like drumming! Winifred Norbury is represented in Variation 8 by a musical depiction of her 18th-century country house, ‘Sherridge’.

The most famous variation, of course, is Nimrod (No.9). Nimrod (the ‘mighty hunter before the Lord’ of Genesis chapter 10) was Elgar’s publisher, A.J. Jaeger (German for ‘hunter’). Apparently the idea for this particular variation came when Elgar was going through one of his regular slumps. Jaeger took Elgar on a long walk during which he said that whenever Beethoven was troubled by the turbulent life of a creative artist, he simply poured his frustrations into still more beautiful compositions. In memory of that conversation, Elgar made those opening bars of Nimrod quote the slow movement from Beethoven’s Pathétique Sonata.

Variation 10 depicts a young woman called Dora Penny, whose soubriquet ‘Dorabella’ comes from Mozart’s Così fan tutte. And then Variation 11 goes beyond the human species, depicting the organist G.R. Sinclair’s bulldog Dan, falling down the steep bank of the river Wye, paddling upstream, coming to land and then barking.

The cello features prominently in Variation 12 – a tribute to the cellist Basil Nevinson who later served as the inspiration for Elgar’s Cello Concerto. Mendelssohn’s Calm Sea and Prosperous Voyage is quoted in Variation 13, thought to allude to Lady Mary Lygon’s departure by ship to

Australia. And then finally we hear ‘E.D.U.’ where the composer depicts himself (his wife’s nickname for him was Edoo) cocking a snook at all those who said he’d never make it as a composer. The Enigma Variations, premiered in London on 19 June 1899 under Hans Richter, were the conclusive evidence that he had.Abridged from a note © Martin Buzacott

The MSO first performed Elgar’s Enigma Variations on 29 September 1938 with Sir Malcolm Sargent, and most recently on 13-14 September 2013 under Sir Andrew Davis.

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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#

Harry Bennetts*Amy Brookman*Robert John*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 YoungJacqueline Edwards*Michael Loftus-Hills*Christine Wang*

VIOLAS

Christopher Moore PrincipalDi Jameson#

Fiona Sargeant Associate Principal

Lauren BrigdenKatharine BrockmanChristopher CartlidgeMichael Aquilina#

Anthony ChatawayGabrielle HalloranTrevor Jones Cindy WatkinElizabeth WoolnoughCaleb WrightMerewyn Bramble*William Clark*Ceridwen Davies*

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#

Molly Kadarauch*

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser#

Emma Sullivan*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 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

Heath Parkinson*§ Guest Principal

Saul Lewis Principal Third

Jenna BreenAbbey Edlin Nereda Hanlon and Michael Hanlon AM#

Trinette McClimont

TRUMPETS

Geoffrey Payne Principal

Shane Hooton Associate Principal

William EvansDaniel Henderson*

TROMBONES

Brett Kelly Principal

Richard Shirley

BASS TROMBONE

Mike Szabo Principal

TUBA

Timothy Buzbee Principal

TIMPANI

Alex Timcke*^

PERCUSSION

Robert Clarke Principal

John ArcaroRobert CossomLara Wilson*

HARP

Yinuo Mu Principal

ORGAN

Calvin Bowman*

# Position supported by

* Guest Musician

§ Courtesy of Orchestra Victoria

^ Courtesy of West Australian Symphony Orchestra

MSO BOARD

Chairman

Michael Ullmer

Managing Director

Sophie Galaise

Board Members

Andrew DyerDanny GorogMargaret Jackson ACBrett KellyDavid KrasnosteinDavid LiHyon-Ju NewmanHelen Silver AO

Company Secretary

Oliver Carton

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SUPPORTERS

MSO PATRONThe Honourable Linda Dessau AC, Governor of Victoria

ARTIST CHAIR BENEFACTORSJoy 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 BrighthopeLinda BrittenDavid and Emma CapponiWendy DimmickAndrew Dudgeon ◊

Andrew and Theresa Dyer ◊

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 HenkellFrancis and Robyn HofmannHartmut and Ruth HofmannJack HoganDoug HooleyJenny and Peter HordernDr Alastair JacksonD & CS Kipen on behalf of Israel KipenDr Elizabeth A Lewis AMPeter LovellLesley McMullin FoundationMr and Mrs D R 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 ◊

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Max and Jill SchultzStephen 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 OAMTim and Lyn EdwardDr Helen M FergusonMr Peter Gallagher and Dr Karen Morley Leon GoldmanDina 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 Foundation

Bryan 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 PeirsonJulie Reid Ruth 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 BateJanet H Bell David BlackwellAnne BowdenMichael F BoytThe Late Mr John

Brockman OAM and Mrs Pat BrockmanDr John BrookesSuzie and Harvey BrownJill and Christopher BuckleyBill and Sandra BurdettPeter CaldwellJoe CordoneAndrew and Pamela CrockettPat and Bruce DavisDominic and Natalie Dirupo Marie 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 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 JenningsDorothy Karpin Brett Kelly and Cindy WatkinDr Anne KennedyJulie and Simon KesselKerry LandmanWilliam and Magdalena LeadstonAndrew Lee

Norman Lewis, in memory of Dr Phyllis LewisGaelle LindreaDr 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 Swansson

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SUPPORTERS

Jenny 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)

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 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-Hoyne Fred and Patricia RussellSuzette 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 (24)

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

◊ Signifies Adopt an MSO Musician supporter

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:

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

ENQUIRIES Phone (03) 8646 1551

Email philanthropy@ mso.com.au

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SUPPORTERS

PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNER VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

The CEO InstituteQuest Southbank Bows and stringsErnst & Young

TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

The Scobie and Claire Mackinnon Trust

The Gross Foundation, Li Family Trust, MS Newman Family Foundation, The Ullmer Family Foundation

White keyline version to be usedon red background only

*Onboard Bar available on Emirates A380 fl ights from Sydney, Melbourne, Brisbane and Perth. For more information, visit emirates.com/au, call 1300 303 777, or contact your local travel agent.

EMIRATES BUSINESS

YOU’VE ARRIVEDthe moment you board

Unwind in the perfect living space, enjoy gourmet cuisine and up to 2,500 entertainment channels, or take a stroll to the onboard bar.*

Hello Tomorrow