DEBUSSY AND BRAHMS

5 APRIL | 7.30PM Arts Centre Melbourne, Hamer Hall

6 APRIL | 7.30PM Robert Blackwood Hall, Monash

CONCERT PROGRAM

3

MELBOURNE SYMPHONY ORCHESTRA

I love digging into performance history. What were the circumstances of the first performance of Beethoven’s Eroica, or Stravinsky’s Rite of Spring? Who were the performers? What other pieces were on the program? Some of the stories surrounding the recognised masterworks of Western music make fascinating reading, and you can learn a lot from them.

There is a wonderful book by Thomas Forrest Kelly, called First Nights. It tells the stories of five (in)famous premieres, including Berlioz buying violin mutes and viola strings on the day his Symphonie fantastique was premiered, and the exact names and backgrounds of the singers and instrumentalists Handel assembled for his Messiah.

The book tells of great successes and epic failures. Many works that were booed at their premiere were vindicated years later. Think only of the symphonies by Gustav Mahler; even in a music dictionary published in the early 1960’s it says that it is ‘highly doubtful’ that these works will become part of the standard repertoire.

If only we could avoid premieres! The stress for the composer to finish a work on time, musicians trying to get ‘behind the notes’ and figure out the real ‘soul’ of a piece, or the dreaded first rehearsal where the composer can finally hear their music.

I have seen many new works land on my desk. It is always one of the most exciting moments in the season, when you open a score for the first time and read through the notes, trying to imagine what it will sound like.

New works always brings musicians to the edge of their seats. There is an extra sense of excitement in the air, because everybody wants to give the music the best possible first performance.

Tonight MSO is happy to present a new Double Concerto by Melbourne’s own Mary Finsterer. We hope you will share our excitement. Let’s make this premiere one for the books – for the all the right reasons!

Ronald Vermeulen Director of Artistic Planning

For further listening we recommend:

Jun Märkl made a beautiful recording of the Trois Nocturnes by Debussy with the Orchestre National de Lyon. The work is coupled with the ‘Symphony’ Marius Constant drew from the opera Pelléas et Mélisande. Naxos 8.5770993

On the Altus-label there is a recording of Jun Märkl conducting the MDR Sinfonieorchester in Brahms’ Fourth Symphony. Alt166

This season the MSO will play more Debussy – the famous Prélude à l’après-midi d’un faune and the Ariettes Oubliées (orchestrated by Brett Dean) – on 23, 24 and 26 November with Fabien Gabel conducting.

Running time 2 hours 10 minutes, 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.mso.com.au

Melbourne Symphony OrchestraJun Märkl conductor

Christopher Moore violaTimo-Veikko Valve cello

Ladies of the MSO Chorus

Debussy NocturnesFinsterer Missed Tales III: The Lost *

*World Premiere, commissioned by Kim Williams AM on behalf of the MSO

INTERVAL

Brahms Symphony No.4

54

Jun Märkl has conducted many of the world’s leading orchestras, and at major opera houses and festivals. He has held titled positions with the Orchestre National de Lyon, where he earned a Chevalier de l’Ordre des Arts et des Lettres from the French government, and the MDR Leipzig Radio Symphony Orchestra. He concluded his tenure as Chief Conductor of the Basque National Orchestra in June 2017.

Jun Märkl’s recent performances have included a production of Lohengrin with the Nikikai Opera Foundation, conducting the Tokyo Metropolitan Orchestra, and performances with the Hong Kong Philharmonic and Baltimore and Atlanta Symphony Orchestras. June sees a return to the Minnesota Orchestra and he recently released a CD of Saint-Saëns’ symphonic poems, conducting the Orchestre National de Lille.

MELBOURNE SYMPHONY ORCHESTRA

JUN MÄRKLCONDUCTOR

Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s longest-running professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 3 million people each year, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming.

The MSO also works with Associate Conductor Benjamin Northey and Assistant Conductor Tianyi Lu, as well as with such eminent recent guest conductors as Tan Dun, John Adams, Jakub Hrůša and Jukka-Pekka Saraste. It has also collaborated with non-classical musicians including Elton John, Nick Cave and Flight Facilities.

54

Jun Märkl has conducted many of the world’s leading orchestras, and at major opera houses and festivals. He has held titled positions with the Orchestre National de Lyon, where he earned a Chevalier de l’Ordre des Arts et des Lettres from the French government, and the MDR Leipzig Radio Symphony Orchestra. He concluded his tenure as Chief Conductor of the Basque National Orchestra in June 2017.

Jun Märkl’s recent performances have included a production of Lohengrin with the Nikikai Opera Foundation, conducting the Tokyo Metropolitan Orchestra, and performances with the Hong Kong Philharmonic and Baltimore and Atlanta Symphony Orchestras. June sees a return to the Minnesota Orchestra and he recently released a CD of Saint-Saëns’ symphonic poems, conducting the Orchestre National de Lille.

MELBOURNE SYMPHONY ORCHESTRA

Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s longest-running professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 3 million people each year, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming.

Sir Andrew Davis gave his inaugural concerts as the MSO’s Chief Conductor in 2013. The MSO also works with Associate Conductor Benjamin Northey and Assistant Conductor Tianyi Lu, as well as with such eminent recent guest conductors as Tan Dun, John Adams, Jakub Hrůša and Jukka-Pekka Saraste. It has also collaborated with non-classical musicians including Elton John, Nick Cave and Flight Facilities.

JUN MÄRKL CONDUCTOR

TIMO-VEIKKO VALVE CELLO

CHRISTOPHER MOORE VIOLA

Timo-Veikko “Tipi” Valve is one of the most versatile musicians of his generation, performing as a soloist, chamber musician and orchestral leader on both modern and period instruments.

Valve studied at the Sibelius Academy in his home town of Helsinki and at the Edsberg Music Institute in Stockholm, Sweden and has performed as a soloist with all the major orchestras in Finland and as a chamber musician throughout Europe, Asia, Australia and the US. He works closely with a number of Finnish composers and has commissioned new works for the cello. Most recently Valve has premiered concertos by Aulis Sallinen and Olli Virtaperko as well as two new cello concertos written for him by Eero Hämeenniemi and Olli Koskelin. In 2006, Valve was appointed Principal Cello of the Australian Chamber Orchestra.

Tonight, Tipi appears courtesy of the Australian Chamber Orchestra.

Born in Newcastle, Christopher Moore's strongest memory from childhood was seeing his mother pulling up in the driveway of his home with a tiny blue violin case on the back seat. After studying with two prominent Sydney Suzuki teachers, Marjorie Hystek and the late Harold Brissendon, Christopher completed his Bachelor of Music in Newcastle with violinist and pedagogue Elizabeth Holowell.

After working with Adelaide and New Zealand Symphony Orchestras as a violinist, Chris decided to take up a less highly strung string instrument and moved his musical focus and energy to the viola. He accepted a position with the Melbourne Symphony Orchestra - playing with the Orchestra for one and a half years before successfully auditioning for the position of Associate Principal Viola. During his association with MSO, Chris has performed regularly as a chamber musician with other colleagues from the MSO and counts among his many highlights sharing the stage with KISS.

In his current position as Principal Viola of the MSO, Chris is supported by Di Jameson.

MEET THE ARTISTS

76 76

WARREN TREVELYAN-JONES MSO CHORUS MASTER

LADIES OF THE MSO CHORUS

Warren Trevelyan-Jones is the Head of Music at St James’, King Street in Sydney and is regarded as one of the leading choral conductors and choir trainers in Australia. Warren has had an extensive singing career as a soloist and ensemble singer in Europe, including nine years in the Choir of Westminster Abbey, and regular work with the Gabrieli Consort, Collegium Vocale (Ghent), the Taverner Consort, The Kings Consort, Dunedin Consort, The Sixteen and the Tallis Scholars.

Warren is also Director of the Parsons Affayre, Founder and Co-Director of The Consort of Melbourne and, in 2001 with Dr Michael Noone, founded the Gramophone award-winning group Ensemble Plus Ultra. Warren is also a qualified music therapist.

For more than 50 years the Melbourne Symphony Orchestra Chorus has been the unstinting voice of the Orchestra’s choral repertoire. The MSO Chorus sings with the finest conductors including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, Bernard Labadie, Vladimir Ashkenazy and Manfred Honeck, and is committed to developing and performing new Australian and international choral repertoire.

Commissions include Brett Dean’s Katz und Spatz, Ross Edwards’ Mountain Chant, and Paul Stanhope’s Exile Lamentations. Recordings by the MSO Chorus have received critical acclaim. The Chorus has performed across Brazil and at the Cultura Inglese Festival in Sao Paolo, with The Australian Ballet, Sydney Symphony Orchestra, at the AFL Grand Final and at Anzac Day commemorative ceremonies.

PROGRAM NOTES

CLAUDE DEBUSSY (1862-1918)

Nocturnes Nuages (clouds) Fêtes (Festivals) Sirènes (Sirens)

Ladies of the MSO Chorus

Debussy completed the Nocturnes on 15 December 1899 at three in the morning. Nuages (Clouds) and Fêtes (Festivals) were first performed in December the following year. It wasn’t until October 1901 that all three Nocturnes (including the movement with wordless female chorus – Sirènes) were performed in public. In more than a symbolic sense, however, the Nocturnes can be considered the first major work of the 20th century. In this piece are many of the features which mark a break with the 19th century – a subtler sense of form, non-directional harmony, less assertive melody, and the elevation of the importance of orchestral colour. As foreshadowed in Debussy’s earlier works, there is an acceptance of sound as something to luxuriate in, rather than a Classical-Romantic notion of sound as something to be mobilised in the pursuit of a statement or climax.

The Nocturnes were originally conceived in a form different from that in which they are known today. At first Debussy drafted a triptych, Scènes au crépuscule (Scenes at twilight), inspired by poems by Henri de Régnier. A phrase from Régnier’s poems which speaks of ‘the brilliance of angry tambourines and sharp trumpet calls’ seems to be reverberating in the second Nocturne, Fêtes, written some years later. In 1894 Debussy wrote to the Belgian violinist Ysaÿe:

I am working at three nocturnes for violin and orchestra that are intended for you; the first is scored for strings, the second for three flutes, four horns, three trumpets and two harps; the third combines both these groups. This is, in fact, an experiment in the various arrangements that can be made with a single colour – what a study in grey would be in painting.

The reference to painting is notable. In few other works is the epithet ‘impressionist’, borrowed from painting, more appropriate. One writer goes so far as to say that even without the titles a listener could form a pretty good idea of the works’ suggested subjects – the march on muted trumpets, accompanied by harp, lower strings and timpani in Fêtes, for example, undoubtedly represents the approach and passing of a procession. Debussy did not intend the title ‘Nocturnes’ to be understood in the sense of a Chopin nocturne. The title probably has more to do with a series of Whistler paintings of the same name. The composer himself said:

The title Nocturnes is to be interpreted here in a general, and more particularly, in a decorative sense. Therefore, it is not meant to designate the usual form of the Nocturne, but rather all the various impressions and the special effects of light that the word suggests.

The programmatic intent of these works is illustrative, without the emotional involvement of the late-Romantic tone-poets. Nuages renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white’ – the composer’s words find musical expression in the slowly changing background of rootless, floating chords which underlie

(Clouds)

98 98

MARY FINSTERER (born 1962)

Missed Tales III: The Lost* World Premiere and MSO Commission

Christopher Moore viola Timo-Veikko Valve cello

The Lost (viola and cello with orchestra) is the third in a series of orchestral concerti entitled Missed Tales, which explore the mysteries of nature and place within Celtic and Norse mythology.

The Lost refers to an ancient Celtic ritual conducted by the Scots and Picts in the undulating Irish and Scottish landscapes. A bonfire would be lit on the highest hill and would be used by farmers to light torches that would act as diviners for mapping out territory. The torches would then be placed in such a way as to enfold the most fertile land, which they called ‘The Lost’, a term that invokes the Celtic word for fire, Losaid.

The title sets up the expectation that something is missing. From this, what follows is an anticipation of fear and yearning. Yet in the context of the ancient Celtic ritual, The Lost represents a discovery of something that is precious, something connected to a source of life. The dichotomy of these two meanings act like a counterpoint or a tension which gives rise to a metaphysical shift. It is this interplay that I have worked with to shape the music.

My overall interest with this series resides as much in the narrative interpretations of myths and ancient rituals as it does with imagining their origins and reasons for certain beliefs. Whether these reasons are religious or superstitious, my rendering of them as interpretations within sonic

landscapes is represented here as a place where time and space coincide and fuse together, creating something like a polyphony of ideas and sounds.

The piece responds to the open strings of the solo instruments the viola and cello, drawing sonority and carving foundation from their earthy timbres. Branching out to neighbouring tones, an evolving sound palate evokes tension.

In the preparation of the work I am working closely with soloists Christopher Moore and Timo–Veikko Valve to bring the piece to life. I have constructed the piece drawing from harmonic material idiomatic to their instruments. Everything in the piece is referential to the concept of the work, creating a sound world that is a metaphor for the Earth and its relation to the complexity of life.

This work is dedicated to Kim Williams and his sister Candice.

can be heard on the tambour against descending lower strings. Muted trumpets and muted horns play single chords, mere specks of colour, then there is a dry tap of the timpani, a touch of the cymbal and the piece disappears into silence with a low pizzicato note.

Sirènes evolves almost as a continuum; it swells and ebbs, rather than marking out a path; the melody grows and decays by the addition or alteration of small details. It is understandable how turn-of-the-century listeners, accustomed to more definition in form, could have regarded this music as impressionistic. It is possible that the use of wordless female voices in this last Nocturne was suggested to Debussy not only by Régnier’s L’Homme et la sirène, but also by Swinburne’s poem Nocturne, in which love is symbolised by a mermaid rising from the sea. Debussy wrote that this last movement ‘depicts the sea and its countless rhythms and presently, amongst the waves silvered by moonlight…the mysterious song of the sirens as they laugh and pass on’.

Within the value system of the Classical-Romantic period, Debussy’s music was at first seen by some as negative, even morbid. Fluent rather than dramatic, plastic rather than constructed, it is the very antithesis of the positive striving of, say, a Beethoven or a Bruckner. Yet Debussy’s innovations laid the foundations for a new ethos in Western music and for new techniques of musical language, opening up for the 20th century many new vistas for exploration.

G.K. Williams Symphony Australia © 1998

The first performance of all three Nocturnes by the Melbourne Symphony Orchestra took place on 5 August 1943 under Bernard Heinze. The MSO’s most recent performance was on 18-19 April 2008 with the Women of the MSO Chorus, conducted by Richard Hickox.

the recurring tone of the cor anglais. Classical-Romantic distinctions between theme and texture are irrelevant in the smooth accompaniment; the cor anglais call never evolves into a melody. There is a whole new range of string colours here – delicate combinations of bowed and pizzicato effects, harmonics, non-standard divisions of the string forces. A complete change of colour and a new pentatonic theme on flute and harp mark an obvious new section in the music, and the movement closes with merely a resumé of the opening material. There is no progression to a clearly marked cadence at the end, but rather a gradual disintegration of elements, as the cor anglais motif breaks down into smaller and smaller particles.

In complete contrast with Nuages and its ‘study in grey’, Fêtes gives us an almost kaleidoscopic display of momentarily bright colours. Once more the composer supplies a description:

Fêtes gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling, fantastic vision) which passes through the festive scene and becomes merged in it. But the background remains persistently the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm.

A brisk theme on clarinets and cor anglais against a rhythmic accompaniment is later taken up by other instruments. After a harp glissando, the activity dies down and the march approaches as if from afar. This builds up and takes us back into the racy opening material. At the end there is a gradual atomising of material and dulling of colour. A ghost of the march

MARY FINSTERER (born 1962)

Missed Tales III: The Lost*

Christopher Moore viola Timo-Veikko Valve cello

The Lost (viola and cello with orchestra) is the third in a series of orchestral concerti entitled Missed Tales, which explore the mysteries of nature and place within Celtic and Norse mythology.

The Lost refers to an ancient Celtic ritual conducted by the Scots and Picts in the undulating Irish and Scottish landscapes. A bonfire would be lit on the highest hill and would be used by farmers to light torches that would act as diviners for mapping out territory. The torches would then be placed in such a way as to enfold the most fertile land, which they called ‘The Lost’, a term that invokes the Celtic word for fire, Losaid.

The title sets up the expectation that something is missing. From this, what follows is an anticipation of fear and yearning. Yet in the context of the ancient Celtic ritual, The Lost represents a discovery of something that is precious, something connected to a source of life. The dichotomy of these two meanings act like a counterpoint or a tension which gives rise to a metaphysical shift. It is this interplay that I have worked with to shape the music.

My overall interest with this series resides as much in the narrative interpretations of myths and ancient rituals as it does with imagining their origins and reasons for certain beliefs. Whether these reasons are religious or superstitious, my rendering of them as interpretations within sonic

landscapes is represented here as a place where time and space coincide and fuse together, creating something like a polyphony of ideas and sounds.

The piece responds to the open strings of the solo instruments the viola and cello, drawing sonority and carving foundation from their earthy timbres. Branching out to neighbouring tones, an evolving sound palate evokes tension.

In the preparation of the work I am working closely with soloists Christopher Moore and Timo–Veikko Valve to bring the piece to life. I have constructed the piece drawing from harmonic material idiomatic to their instruments. Everything in the piece is referential to the concept of the work, creating a sound world that is a metaphor for the Earth and its relation to the complexity of life.

This work is dedicated to Kim Williams and his sister Candice.

Mary Finsterer © 2018

* World Premiere, commissioned by Kim Williams AM on behalf of the MSO

1110 1110

JOHANNES BRAHMS (1833-1897)

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

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

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

So, what baffled the listeners in the first movement? In fact the ‘run out of ideas’ critic was wrong, but nevertheless onto something, in that a large chunk of Brahms’ first theme consists of practically no material: two chains of thirds (and sixths, their inversion) are sounded in a rhythm that consists entirely of a repeated short-long

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

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

© Gordon Kerry 2015

The Melbourne Symphony Orchestra first performed Brahms’ Fourth Symphony on 27 June 1942 under the baton of Percy Code, and most recently on 27-28 May 2016 with Christoph König.

pattern. Eventually a more elaborate motif is sounded, but then immediately repeated in sequence. The thirds provide the basis for a fanfare-like transition into the second theme, and here again Brahms goes against convention with a melody that is not, as expected, ‘lyrical’ but is much more assertive, sounded in the orchestra’s tenor register, and again based on sequences of a repeated rhythmic cell (long, long, short, short, short). Fragmentary patterns of thirds provide the accompaniment. All of which is to say that Brahms was writing in, to the Viennese, a disturbingly abstract and ‘modern’ way.

Haydn, of course, and Beethoven – especially in the Fifth Symphony – had worked in just this way, and it is no accident that such rigorous design attracted the approval of Schoenberg in his 1933 lecture, Brahms the Progressive. But it put Brahms out of step with current musical fashion in Vienna.

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

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

1312

MELBOURNE SYMPHONY ORCHESTRA

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#

Kirsty Hilton*^ Guest Associate 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 MogilevskiMichelle RuffoloKathryn Taylor Michael Aquilina#

Tiffany Cheng*Nicholas Waters*Lynette Rayner*Oksana Thompson*

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 YoungAaron Barnden* Michael Loftus-Hills*

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 Wright Isabel Morse*William Clark*

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#

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser #

Rob Nairn*

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal

Taryn Richards*

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

Peter Luff* Guest Principal

Saul Lewis Principal Third

Lin Jiang Guest Principal ◊

Abbey Edlin Nereda Hanlon and Michael Hanlon AM#

Trinette McClimontRebecca Luton*Alexander Morton*Anton Schroeder*

TRUMPETS

Shane Hooton Associate Principal

Tristan Rebien* Guest Associate Principal

William EvansRosie Turner

TROMBONES

Brett Kelly Principal

Richard ShirleyMike Szabo Principal Bass Trombone

TUBA

Timothy Buzbee Principal

Scott Watson* †

TIMPANI ##

John Arcaro Tim and Lyn Edward#

PERCUSSION

Robert Clarke Principal

John Arcaro Tim and Lyn Edward#

Robert CossomGreg Sully* Lara Wilson*

HARP

Yinuo Mu Principal

Melina van Leeuwen*

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# Position supported by* Guest Musician^ Courtesy of Sydney Symphony Orchestra† Courtesy of University of Kansas## Timpani Chair position supported by Lady Potter AC CMRI

14 1514

CHORUS

Tom Griffiths Repetiteur

SOPRANO

Julie ArblasterEva ButcherRita FitzgeraldCatherine FolleyCarolyn FrancisJillian GrahamKarling HamillEmma HamleyPenny HuggettNaomi HyndmanTania JacobsGwen KennellyAnna KidmanClancye MilneCatriona Nguyen-RobertsonCaitlin NobleKarin OttoTiffany PangTanja RedlNatalie ReidElizabeth RusliNatalia SalazarJillian SamuelsFreja SoininenChiara StebbingElizabeth TindallFabienne Vandenburie

ALTO

Satu AhoCarolyn BakerCatherine BickellCecilia BjörkegrenKate BramleyJane BrodieSerena CarmelAlexandra ChubatyNicola EveleighJill GieseRos HarbisonSue HawleyJennifer HenryKristine HenselSara Kogan-LazarusJoy LukmanHelen MacLeanChristina McCowanLucy McFarlaneRosemary McKelvieNicole PatersonSharmila PeriakarpanMair RobertsHelen RommelaarAnnie RunnallsKatherine SamarziaLisa SavigeHelen StaindlLibby TimckeKatarina Van Der LindenEmma Warburton

15

Donate todaymso.com.au/give

Show your love for MSO.

WE ARE THE SOUND OF OUR CITY.

At over 100 years old, the MSO has been around for nearly as long as Melbourne. We want to continue to be here for you,

and all of Melbourne, year after year, season after season.

Yes! I want to make a difference to the community by supporting

the MSO’s Month of Giving.

Name

Address

Phone

Enclosed is my contribution of: $50 $100 $150 Other

CREDIT CARD

VISA Mastercard AMEX

Please charge in full

$ or

Please charge monthly instalments of

$(number of payments per year)

Cardholder

Card number

Expiry

Signature (If you prefer to charge by phone, please contact Garry Stocks on 8646 1551)

CHEQUE ENCLOSED (payable to Melbourne Symphony Orchestra Pty Ltd)

EFT TO NAB ACCOUNT MSO Fund BSB 083 004 Account 89 393 2381 (include your name and 'Month of Giving'

in payment description)

ONLINE at mso.com.au/give

I am interested in leaving a legacy of wonderful music for years to come:

I have made a gift to the MSO in my Will

I would consider including the MSO in my Will and would like more information

PLEASE RETURN TOMSO’s Month of Giving GPO Box 9994 Melbourne VIC 3001

All gifts over $2 are fully tax-deductible

Come dream with us by adopting your own MSO musician!Support the music and the orchestra you love while getting to know your favourite player. Honour their talent, artistry and life-long commitment to music, and become part of the MSO family.

Adopt Principal Harp, Yinuo Mu, or any of our wonderful musicians today.

– Arthur O'Shaughnessy

'We are the music makers, and we are the dreamers of dreams.'

mso.com.au/adopt

1716

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)

VIRTUOSO PATRONS $50,000+ Di JamesonDavid Krasnostein and Pat StragalinosHarold Mitchell ACKim Williams AMImpresario Patrons $20,000+Michael AquilinaThe John and Jennifer Brukner FoundationMary and Frederick Davidson AMRachel and the late Hon. Alan Goldberg AO QCMargaret Jackson ACAndrew JohnstonMimie MacLarenJohn and Lois McKay

IMPRESARIO PATRONS $20,000+ Michael AquilinaThe John and Jennifer Brukner FoundationMary and Frederick Davidson AMRachel and the late Hon. Alan Goldberg AO QCMargaret Jackson ACAndrew JohnstonMimie MacLarenJohn and Lois McKay◊

MAESTRO PATRONS $10,000+ Kaye and David BirksMitchell ChipmanSir Andrew and Lady DavisDanny Gorog and Lindy SusskindRobert & Jan GreenHilary Hall, in memory of Wilma CollieNereda Hanlon and Michael Hanlon AMSuzanne KirkhamThe Cuming BequestIan and Jeannie PatersonLady Potter AC CMRIElizabeth Proust AOXijian Ren and Qian LiGlenn 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 VaughanHarry and Michelle WongJason Yeap OAM

PRINCIPAL PATRONS $5,000+ Christine and Mark ArmourJohn and Mary BarlowBarbara Bell, in memory of Elsa BellStephen and Caroline BrainProf Ian BrighthopeDavid and Emma CapponiMay and James ChenWendy DimmickAndrew Dudgeon AMAndrew and Theresa DyerTim and Lyn EdwardMr Bill FlemingJohn and Diana FrewSusan Fry and Don Fry AOSophie Galaise and Clarence FraserGeelong Friends of the MSOJennifer GorogHMA FoundationLouis Hamon OAMHans and Petra HenkellHartmut and Ruth HofmannJack HoganDoug HooleyJenny and Peter HordernDr Alastair Jackson

Dr Elizabeth A Lewis AMNorman Lewis in memory of Dr Phyllis LewisPeter LovellLesley McMullin FoundationMr Douglas and Mrs Rosemary MeagherDr Paul Nisselle AMThe Rosemary Norman FoundationKen Ong, in memory of Lin OngBruce Parncutt AO Jim and Fran PfeifferPzena Investment Charitable FundAndrew and Judy RogersRae RothfieldMax and Jill SchultzMr Tam Vu and Dr Cherilyn TillmanThe Hon. Michael Watt QC and Cecilie HallLyn Williams AMAnonymous (2)

ASSOCIATE PATRONS $2,500+ Dandolo PartnersWill and Dorothy Bailey BequestDavid Blackwell OAM Anne BowdenBill BownessJulia and Jim Breen Lynne BurgessOliver CartonJohn and Lyn CoppockMiss Ann Darby, in memory of Leslie J. DarbyNatasha Davies, for the Trikojus Education FundMerrowyn DeaconSandra DentPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonJane Edmanson OAMDr Helen M FergusonMr Peter Gallagher and Dr Karen MorleyDina and Ron GoldschlagerLouise Gourlay OAMPeter and Lyndsey HawkinsSusan 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

John and Margaret MasonH E McKenzieAllan and Evelyn McLarenDon and Anne MeadowsMarie Morton FRSAAnnabel and Rupert Myer AOSue 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 SteinickeElisabeth 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 BellMichael F BoytPatricia BrockmanDr John BrookesSuzie Brown OAM and Harvey BrownRoger and Col BuckleJill and Christopher BuckleyShane BuggleBill and Sandra BurdettPeter CaldwellJoe CordoneAndrew and Pamela CrockettBeryl DeanDominic and Natalie DirupoMarie DowlingJohn and Anne DuncanKay EhrenbergJaan EndenValerie Falconer and the Rayner Family in memory of Keith FalconerAmy & Simon FeiglinGrant Fisher and Helen BirdBarry Fradkin OAM and Dr Pam Fradkin

Supporters

1918

Applebay 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 GoodeProf Denise Grocke AOMax GulbinDr Sandra Hacker AO and Mr Ian Kennedy AMJean HadgesMichael and Susie HamsonPaula Hansky OAMMerv Keehn and Sue HarlowTilda and Brian HaughneyAnna and John HoldsworthPenelope HughesBasil and Rita JenkinsStuart JenningsDorothy KarpinBrett Kelly and Cindy WatkinDr Anne KennedyJulie and Simon KesselKerry LandmanWilliam and Magdalena LeadstonAndrew LeeDr Anne LierseGaelle LindreaAndrew LockwoodViolet and Jeff LoewensteinElizabeth H LoftusChris and Anna LongThe Hon Ian Macphee AO and Mrs Julie MacpheeEleanor and Phillip ManciniDr Julianne BaylissIn memory of Leigh MaselRuth MaxwellJenny McGregor AM and Peter AllenGlenda McNaughtIan Morrey and Geoffrey MinterPatricia NilssonLaurence O'Keefe and Christopher JamesAlan and Dorothy PattisonMargaret PlantKerryn PratchettPeter PriestTreena QuarinEli RaskinRaspin Family TrustBobbie RenardPeter and Carolyn RenditDr Rosemary Ayton and Dr Sam RicketsonJoan P RobinsonCathy and Peter RogersDoug and Elisabeth ScottMartin and Susan ShirleyPenny ShoreDr Sam Smorgon AO and Mrs Minnie SmorgonJohn So

Dr Michael SoonLady Southey ACJennifer SteinickeDr Peter StricklandPamela SwanssonJenny TatchellFrank Tisher OAM and Dr Miriam TisherThe 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)

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

2120

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

◊ 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:

$1,000+ (Player)$2,500+ (Associate)$5,000+ (Principal)$10,000+ (Maestro)$20,000+ (Impresario)$50,000+ (Virtuoso)$100,000+ (Platinum)

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

Enquiries P (03) 8646 1551 E philanthropy@mso.com.au

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

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

22

Donate todaymso.com.au/give

Show your love for MSO.

WE ARE THE SOUND OF OUR CITY.

At over 100 years old, the MSO has been around for nearly as long as Melbourne. We want to continue to be here for you,

and all of Melbourne, year after year, season after season.

Yes! I want to make a difference to the community by supporting

the MSO’s Month of Giving.

Name

Address

Phone

Enclosed is my contribution of: $50 $100 $150 Other

CREDIT CARD

VISA Mastercard AMEX

Please charge in full

$ or

Please charge monthly instalments of

$(number of payments per year)

Cardholder

Card number

Expiry

Signature (If you prefer to charge by phone, please contact Garry Stocks on 8646 1551)

CHEQUE ENCLOSED (payable to Melbourne Symphony Orchestra Pty Ltd)

EFT TO NAB ACCOUNT MSO Fund BSB 083 004 Account 89 393 2381 (include your name and 'Month of Giving'

in payment description)

ONLINE at mso.com.au/give

I am interested in leaving a legacy of wonderful music for years to come:

I have made a gift to the MSO in my Will

I would consider including the MSO in my Will and would like more information

PLEASE RETURN TOMSO’s Month of Giving GPO Box 9994 Melbourne VIC 3001

All gifts over $2 are fully tax-deductible