PRINCIPAL PARTNER

Tchaikovsky’s Piano Concerto

No.1Monash Series

Friday 7 August at 8pmRobert Blackwood Hall

Monash University, Clayton

Saturday Matinees Saturday 8 August at 2pm

Arts Centre MelbourneHamer Hall

Great Classics on MondayMonday 10 August at 6.30pm

Arts Centre Melbourne Hamer Hall

It is with particular delight that I welcome back to the MSO Vasily Petrenko, Chief Conductor of the Royal Liverpool Philharmonic, who, in nine years, has transformed that orchestra into one of the finest in Europe, with a handsome roster of recordings to match. From September, the St. Petersburg-born Petrenko takes up another important appointment, Chief Conductor of the European Union Youth Orchestra.

In this program, Petrenko conducts three important Russian works. It begins with Rimsky-Korsakov’s tribute to the Iberian peninsula, Capriccio espagnol, followed by Tchaikovsky’s fiendishly difficult Piano Concerto No.1. The soloist is Macedonian pianist Simon Trpčeski, who records frequently with Petrenko. Then, to commemorate Alexander Scriabin’s centenary, his mysteriously profound Symphony No.3, The Divine Poem — a work which, as one commentator wrote, transformed Scriabin from a good composer into a great one. I hope you enjoy this concert.

André Gremillet Managing Director

With a reputation for excellence, versatility and innovation, the Melbourne Symphony Orchestra is Australia’s oldest orchestra, established in 1906. The Orchestra currently performs live to more than 200,000 people annually, in concerts ranging from subscription performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl.

Sir Andrew Davis gave his inaugural concerts as Chief Conductor of the MSO in April 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists including Bryn Terfel, Emanuel Ax and Truls Mørk, the release of recordings of music by Percy Grainger and Eugene Goossens, a 2014 European Festivals tour, and a multi-year cycle of Mahler’s Symphonies.

The MSO also works each season with Principal Guest Conductor Diego Matheuz, Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus. Recent guest conductors to the MSO have included Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša,

Mark Wigglesworth, Markus Stenz and Simone Young. The Orchestra has also collaborated with non-classical musicians including Burt Bacharach, Ben Folds, Nick Cave, Sting and Tim Minchin.

The MSO reaches an even larger audience through its regular concert broadcasts on ABC Classic FM, also streamed online, and through recordings on Chandos and ABC Classics. The MSO’s Education and Community Engagement initiatives deliver innovative and engaging programs to audiences of all ages, including MSO Learn, an educational iPhone and iPad app designed to teach children about the inner workings of an orchestra.

The Melbourne Symphony Orchestra is funded principally by the Australian Government through the Australia Council, its arts funding and advisory body, and is generously supported by the Victorian Government through Creative Victoria, Department of Economic Development, Jobs, Transport and Resources. The MSO is also funded by the City of Melbourne, its Principal Partner, Emirates, corporate sponsors and individual donors, trusts and foundations.

What’s On August — October

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Welcome to Tchaikovsky’s

Piano Concerto No.1MELBOURNE SYMPHONY ORCHESTRA

AN AMERICAN IN PARISFriday 30 OctoberGershwin’s An American in Paris evokes a journey through the bustling streets of the French capital, punctuated by taxi horns and a bluesy trumpet solo. Also featured in this program is Ravel’s Piano Concerto in G and Saint-Saëns Symphony No.3 Organ.

PICTURES AT AN EXHIBITIONMUSSORGSKY, LISZT, REGERFriday 11 SeptemberFeaturing works inspired by art: Reger’s Four Tone Poems after Arnold Böcklin and Mussorgsky’s Pictures at an Exhibition. Liszt’s Piano Concerto No.1 makes for a breathtaking interlude.

3TCHAIKOVSKY’S PIANO CONCERTO No.1

MOZART’S SYMPHONY No.40Thursday 17 September Friday 18 September Saturday 19 September Monday 21 SeptemberFeaturing MSO Concertmaster Eoin Andersen, works by Stravinsky are balanced by Mozart’s final Violin Concerto and the unmistakeable melancholic strains of Symphony No.40.

AN EVENING WITH RENÉE FLEMINGThursday 3 September Saturday 5 SeptemberFamed for her magnetic performances and sheer beauty of tone, celebrated American soprano Renée Fleming joins the MSO and Sir Andrew Davis for two Melbourne-exclusive orchestral concerts.

Presented by MSO and Arts Centre Melbourne

MOZART’S PIANO CONCERTO No.17Friday 28 August Saturday 29 August Monday 31 AugustThe irrepressible overture to Rossini’s La gazza ladra is set alongside works by Mozart and Messiaen, and the lush melodies of Brahms’ Symphony No.3. Featuring the French pianist Jean-Efflam Bavouzet.

SCHEHERAZADEThursday 1 October Friday 2 October Monday 5 OctoberUnder the baton of Jakub Hrůša, the overture to Smetana’s comic opera The Bartered Bride opens a dazzling night of music. Dvořák’s Violin Concerto is followed by Rimsky-Korsakov’s Scheherazade, a vivid orchestral work inspired by the tales of the Arabian Nights.

Venue Partner

5TCHAIKOVSKY’S PIANO CONCERTO No.14 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

Vasily Petrenkoconductor

Vasily Petrenko started his music education at the St. Petersburg Capella Boys Music School, and went on to study at the St. Petersburg Conservatory. Following his success in a number of international conducting competitions, he was appointed Chief Conductor of the St. Petersburg State Academic Symphony Orchestra from 2004 to 2007. He served as Principal Conductor of the National Youth Orchestra of Great Britain from 2009 to 2013.

The 2013/14 season marked his first as Chief Conductor of the Oslo Philharmonic Orchestra, alongside which he maintains positions as Chief Conductor of the Royal Liverpool Philharmonic Orchestra and Principal Guest Conductor of the Mikhailovsky Theatre.

Highlights of this season and beyond include debut performances with the Israel Philharmonic and Frankfurt Radio Symphony Orchestras, and return visits to the Berlin Radio Symphony Orchestra, Netherlands Radio Philharmonic Orchestra, London Philharmonic Orchestra, Orchestre Philharmonique de Radio France, Accademia Nazionale di Santa Cecilia, Chicago Symphony Orchestra, Los Angeles Philharmonic and San Francisco Symphony.

Simon Trpčeskipiano

Simon Trpčeski is a frequent soloist with the London Symphony Orchestra, City of Birmingham Symphony Orchestra, Philharmonia Orchestra, Hallé Orchestra, and the Royal Liverpool and London Philharmonic Orchestras. In addition to extensive engagements in Europe and North America, he has performed with the Seoul and Hong Kong Philharmonic Orchestras, the Sydney and Melbourne Symphony Orchestras and the New Zealand Symphony Orchestra.

This season sees him return to the Los Angeles Philharmonic, Netherlands Radio Philharmonic Orchestra, Berlin and North German Radio Symphony Orchestras, Russian National Orchestra, St. Petersburg Philharmonic Orchestra, Strasbourg Philharmonic Orchestra, Ulster Orchestra, Orchestre de la Suisse Romande, and Iceland Symphony Orchestra. This season he continues his partnership with cellist Daniel Müller-Schott in concerts at the Concertgebouw, Wigmore Hall and in Bilbao, Spain.

Simon Trpčeski was born in the Republic of Macedonia. His first recording – featuring works by Tchaikovsky, Scriabin, Stravinsky and Prokofiev – received Gramophone awards for both Editor’s Choice and Debut Album.

ABOUT THE ARTISTS

Melbourne Symphony Orchestra

Vasily Petrenkoconductor

Simon Trpčeski piano—RIMSKY-KORSAKOVCapriccio espagnol

TCHAIKOVSKYPiano Concerto No.1—Interval 20 minutes—SCRIABINSymphony No.3 The Divine Poem—This concert has a duration of approximately 2 hours including one 20 minute interval

Monday night’s performance will be recorded for delayed broadcast on ABC Classic FM.

Pre-Concert Talks

7pm Friday 7 August Foyer, Robert Blackwood Hall

1pm Saturday 8 August Stalls Foyer, Hamer Hall

Warren Lenthall will present a talk on the artists and works featured in the program.

Post-Concert Conversation

8.30pm Monday 10 August Stalls Foyer, Hamer Hall

Join MSO Director of Artistic Planning Ronald Vermeulen for a post-concert conversation with tonight’s artists.

ABOUT THE MUSIC

Nikolai Rimsky-Korsakov (1844–1908)

Capriccio espagnol, Op.34

Alborada

Variations

Alborada

Scene and Gypsy Song

Fandango asturiano

It is a curious feature of cultural history that Spain, which had a great musical heritage in the Renaissance, and folk music of striking vitality, virtually disappeared from the musical map for more than two centuries. It was left to ‘foreign’ composers resident in Spain to provide the ‘Spanish’ music: the Italians Domenico Scarlatti and Luigi Boccherini being the most famous among them.

In the 19th century, Romanticism attracted to Spain the traveller in search of the picturesque. Whether visiting Spain or merely travelling in the mind, Romantic composers made popular a certain musical view of Spain, drawing on the superficial features of rhythm, colour and expression in Spanish folk music – often urban street music. This is what Gilbert Chase has termed the ‘Spanish idiom’. Its notable purveyors included Bizet in Carmen and Lalo in his Symphonie espagnole.

Russian composers had also been fascinated by Spain, beginning with Glinka. While in Spain he was enraptured by the dancing, singing and guitar playing, which he wrote into several compositions, including Jota aragonesa (Spanish Overture No.1). Rimsky-Korsakov, a great master of brilliant orchestral colour, heard Glinka’s piece at one of the first orchestral concerts he attended, and was dazzled by it. Later he cruised the Mediterranean as a naval officer, and later still, in 1887,

he decided to emulate Glinka in making Spanish music the basis of a composition of his own. It was to be a study in virtuoso orchestration, in which, the composer insisted, the instrumental colouring was ‘the very essence of the composition, not its mere dressing-up’.

The Capriccio espagnol was one of Rimsky-Korsakov’s greatest successes. The rehearsals were interrupted many times by the applause of the musicians. In five sections played without pause, it is unified by the Alborada, or morning song, which is treated to five variations, followed by the theme heard in a completely different scoring. A series of cadenzas for solo instruments form the Scene, which leads to the passionately elaborated melody of the Gypsy Song, followed by the orgy of the Fandango. At the climax the dance adopts the theme of the Alborada for a conclusion of wild abandon.

David Garrett © 1988

The Melbourne Symphony Orchestra first performed this work on 24 September 1940 under conductor Harold Beck, and most recently in June 2006 with Kees Bakels.

66 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT 7TCHAIKOVSKY’S PIANO CONCERTO No.1

ABOUT THE MUSIC

Peter Ilyich Tchaikovsky (1840–1893)

Piano Concerto No.1 in B flat minor, Op.23

Allegro non troppo e molto maestoso – Allegro con spirito

Andantino semplice – Prestissimo – Andantino semplice

Allegro con fuoco

Simon Trpčeski piano

If it was fortuitous that Tchaikovsky succeeded at his first attempt, writing perhaps the ‘greatest piano concerto of all time’, then it is remarkable that he simultaneously created a new Russian genre. Excepting the earlier examples by his teacher, Anton Rubinstein (of whose works critics noted a lack of ‘Russianness’), Tchaikovsky’s First Piano Concerto established a model renowned for drama and lyricism, marked by extraordinary virtuosity. Such attributes can be noted in later compositions by Rachmaninov, Medtner, Scriabin and Prokofiev, to name just a few. The relative lateness in establishing a Russian concerto genre was a result of the Europe-leaning tastes of the Imperial court, art-music being an imported commodity until the middle of the 19th century. In Russian music, as in other disciplines, the distinctive characteristics of the land and its people were yet to be fully explored. It was not until Anton Rubinstein created a music school in St Petersburg in the 1860s that native composers were able to receive professional training, and it was a young Tchaikovsky who achieved the title of ‘free artist’ in its first graduating year.

Written over six weeks late in 1874, the concerto is not Tchaikovsky’s only youthful work to find a permanent place in the repertoire – Romeo and Juliet (1869, later revised) and Swan Lake (1876) are distinguished inclusions – but it was the first to receive an international premiere. The dedicatee of the concerto, Hans von Bülow, performed the work in Boston, Massachusetts in 1875 to positive reviews, yet one wonders if the small band, consisting of only four first violins, were a match for the music’s potential. (A critic noted that, after a missed entry of the trombones in the first movement, von Bülow cried out ‘the brass may go to hell!’) Rather, it is likely that the potential of the new concerto

was first realised in a performance in Moscow by Sergei Taneev later that year, following an apparently mediocre performance by Gustav Kross in St Petersburg. Of Taneev, the composer noted that he ‘could not wish to hear a better performance’, and he was touched that his Moscow student had dedicated himself to mastering the work.

And ‘mastery’ is what is required here of pianists. It had been to Anton Rubinstein’s younger brother, Nikolai – equally as gifted by all accounts – that Tchaikovsky had turned within days of the score’s completion, seeking advice about piano composition that only a professional could offer. Instead, and quite notoriously, he savaged the composition, devastating its composer with comments suggesting that, in all, only a few pages could be salvaged and that the remainder should be discarded. There has been speculation ever since over the reason for Rubinstein’s reaction – ranging from jealousy to a tempestuous personality – but the defiant young composer remained true to his word, publishing the work exactly as it stood. In any event, Nikolai Rubinstein was soon to recant his position: as well as conducting the first Moscow performance with Taneev, he performed it often as soloist in the years before his early death.

With hindsight, it might have been over the demanding solo part that Rubinstein voiced concerns, or about sections where piano textures might be lost beneath the orchestration. Similarly, it could have been about structural matters that are still difficult to explain today, chief of which is the famous melody that begins the concerto but which, inexplicably, never returns. (A melody which, furthermore, is technically in the ‘wrong’ key.) In this opening passage, Tchaikovsky eventually relented to advice, replacing the lightweight arpeggios that had previously accompanied the soaring melody with the now-famous double-octave chords (revised version, 1889). In terms of structure, it is the brisk, dotted theme that quietly follows which is the real first subject in this sonata-form movement. And here, as if to indicate to the world the ethnic authenticity of his music,

Tchaikovsky follows in the style of the newly formed nationalist group of composers – the so-called kuchka or ‘Mighty Handful’ – by using a Ukrainian folksong, ‘Oy, kryatshe, kryatshe’.

The simple theme that opens the second movement typifies Tchaikovsky’s innate gift for melody, the solo flute conjuring folk-like affinities. A central section – originally marked Allegro vivace assai but later escalated to Prestissimo, no doubt capitalising on the concerto’s virtuosic appeal – briefly quotes a café waltz, Il faut s’amuser, danser et rire, well-known to the composer’s circle of friends. And it is to another Ukrainian folksong, ‘Vïdy, vïdy, Ivan’ku’, that Tchaikovsky turns for the principal theme of the finale, its dance-like cross-rhythms again evoking national character. The broadly lyrical melody that contrasts with this material twice succeeds in holding back the momentum, before the concerto arrives at a seemingly inevitable conclusion: a forceful octave cadenza traverses the entire keyboard, and moves headlong into an apotheosised statement of the movement’s lyrical theme. With the pianist indefatigably leading the entire orchestra with fortissimo treble chords, it is a famous and satisfying ending. (And for more than a few of the composers who followed, one that proved irresistible to copy!)

Scott Davie © 2011/2013

The Melbourne Symphony Orchestra first performed this Concerto on 30 August 1939 at a Celebrity Orchestral Concert with Malcolm Sargent and pianist Edward Goll. Nikolai Demidenko was the soloist in the MSO’s most recent performance of the work, in August 2013 with conductor Diego Matheuz.

MSO Connect is a donor-supported secondary school partnership program and audience development initiative, which provides subsidised group ticket packages to Melbourne Symphony Orchestra concerts and special access to the expertise of MSO musicians.

It offers a meaningful, two-way interaction between secondary students and our musicians. In 2015, seven secondary schools participated in this initiative.

We spoke to participating student, Aria Klein, from Mount Scopus Memorial College about her experience and how it has inspired her.

How old are you?17

What instrument do you play? Violin

When did you start learning your musical instrument?

When I was five I picked up the violin but only started proper lessons at seven and haven’t really put it down since.

What is your favourite piece to perform?I especially love the works of Bartók, especially Bear Dance and other European folk dance type pieces.

Did you choose to be part of MSO Connect? If yes, why? All of the students who are involved in the Orchestra at Mount Scopus had the opportunity to be a part of the MSO Connect program, and being a leader of this group of musicians, I had the pleasure of being able to participate in this program. I think it is very important for younger musicians to see the other end of all of their practice and how amazing each of us can become even if it isn’t our chosen profession. I also think it is amazing to see ‘uncultured’ teenagers enjoy a night of highly professional musicians performing famous concertos.

What has been the most valuable and meaningful aspects of MSO Connect to you personally? I have really enjoyed simply watching the members of the MSO playing their respective instruments as I really value listening to such wonderful playing as well as seeing each instrumentalist performing in their own way. As a violinist, I especially love watching the strings and am constantly mesmerised by

the synchronicity of the bowing and the lovely sound that I hope to one day achieve.

What impact has this experience had on you and your musical ability?It has definitely made me want to keep on practicing so that I can sound just as wonderful or even be in another musical group when I finish high school.

Besides music, what are some other hobbies you have?Most of my hobbies include things in the arts, I love discovering new and interesting foreign instruments as well as singing. I also love the visual arts as well including both painting and sketching.

In one word, describe what being involved in this program meant to you.‘Ear-opening’.

To find out how you can contribute, please call Ben Lee on (03) 9626 1248 or email leeb@mso.com.au

Connect Partners

Aria Klein —inspired by MSO Connect

988 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

Alexander Scriabin (1872–1915)

Symphony No.3 in C minor, Op.43, The Divine Poem

Prologue: Lento

Struggles: Allegro

Delights: Lento

Divine Play: Allegro

—In 1898 a group of aspiring Russian artists called the ‘World of Art’ launched a magazine of that title. Its colophon, designed by Léon Bakst, depicts a brooding eagle in front of a crescent moon, surrounded by stars. Bakst explained that ‘the “World of Art” is above all earthly things, above the stars, there it reigns proud, secret and lonely as on a snowy peak.’ The journal was truly interdisciplinary, discussing the visual arts (especially art nouveau), Russian and French Symbolist poets such as Blok and Mallarmé, religion, philosophy and music, beginning with that of Alexander Scriabin.

From 1888 Scriabin had been a brilliant, if incorrigibly lazy student at the Moscow Conservatory where he was groomed for a career as a concert pianist (along with his direct contemporary Rachmaninov). He had been composing since he was a child and in 1892 gave a concert of his own piano music which led to publication and the first of a series of concert tours abroad. At the end of the decade, when his music was featured in the World of Art, Scriabin was recognised as a great virtuoso with a professorship at the Moscow Conservatory, and the composer of a major Piano Concerto, Op.20 and a significant body of music for solo piano. In 1899 he composed his First Symphony, a six-movement work which closes with a choral hymn to

words penned by the composer: ‘Praise to art, for ever praise’. He was, in other words, completely in accord with the ‘art for art’s sake’ ideology of the ‘World of Art’ group.

In the years before the First Symphony, Scriabin had been working on, but abandoned, another symphonic piece which was only published as the Symphonic Poem in D minor some decades after his death. This work, however, provided some of the thematic material for The Divine Poem on which he worked in the summer of 1902, such as the magisterial unisons of the opening prologue.

At this time Scriabin’s aesthetic philosophy was shaped by Greek mythology and the works of Vladimir Solovyov, a philosopher, mystic and self-proclaimed prophet who claimed to have had three visions of Sophia, Divine Wisdom. Scriabin came to think of himself as a prophet and told an associate that The Divine Poem, completed in 1904 and premiered in Paris the following year, would be ‘the first proclamation of my new doctrine’.

The medium is, to coin a phrase, the message and the ‘doctrine’ is untranslatably expressed in music in which we can still hear the influence of Wagner and various Russian forebears such as Tchaikovsky and Rimsky-Korsakov. This hasn’t stopped a descriptive ‘program’ (written, as musicologist Manfred Kelkel points out, in 1908 by Scriabin’s lover Tatiana de Schlözer) being attached to the work, so that it is seen to be about the division of the Ego into Man-God and Slave-Man, with pseudo-Wagnerian labels attached to the various themes that recur

throughout the four movements.

Three of these are stated in the short Lento Prologue, and then are treated in a kind of sonata design in the following movements. The titles of these, like those of the roughly contemporary Heldenleben of Richard Strauss, tell us all we need to know, except perhaps that Scriabin – like Messiaen later in the century – experienced sound as colour. ‘Struggles’ (in C minor – a ‘red’ key) moves between strenuous, occasionally baleful music and gleaming textures, such as the radiant passage with solo trumpet in its last moments, which offer an image of hope. ‘Delights’ (in whitish-blue E major) offers more delicate textures, often featuring woodwind and satiny string writing occasionally punctuated by passages of birdsong and fuller tutti episodes whose melodies rise inexorably. After the struggles and delights, Scriabin closes with a balletic ‘Divine Play’ which concludes with an overwhelming apotheosis in C major.

The symphony is conventional in design but uses harmony that shows Scriabin moving towards a freedom from tonal gravity which would create music of ecstatic, unresolved eroticism. Sadly he died before realising his dream: like Bakst’s eagle, he would create an apocalyptic event of light and music on a peak in the Himalayas which would bring this world to an end and usher in a new universe.

Gordon Kerry © 2010

The Melbourne Symphony Orchestra’s only previous performance of this work took place on 12 March 1977 under conductor John Hopkins.

ABOUT THE MUSIC

It takes a place to create a community, and a community to create a place.Every day Lendlease creates places that oer some of the best things in life. Imaginative design, exceptional quality, luxury features and inspired locations. Places for people.

As a Maestro partner, we aim to collaborate with the MSO to create meaningful connections with people through performances, to shape great places in Victoria.

www.lendlease.com

PARTNERING WITH THE MSO AT VICTORIA HARBOUR

Find your work-life groove

From laid back to more upbeat, you’ll find a range of inspirations in our Business Class. Get in tune with the business of living.

Principal Partner of the Melbourne Symphony Orchestra.

EMI0258_Musician_176x121_V3.indd 1 1/13/14 5:30 PM

10 11TCHAIKOVSKY’S PIANO CONCERTO No.1

Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST VIOLINSDale BarltropConcertmasterEoin AndersenConcertmasterSophie Rowell Associate ConcertmasterPeter EdwardsAssistant PrincipalKirsty BremnerMSO Friends ChairSarah CurroPeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn TaylorRebecca Adler* Edward Antonov* Jacqueline Edwards* Madeleine Jevons*Robert John*

SECOND VIOLINSMatthew TomkinsThe Gross Foundation Principal Second Violin ChairRobert Macindoe Associate PrincipalMonica CurroAssistant PrincipalMary AllisonIsin CakmakciogluFreya Franzen

Cong GuAndrew HallFrancesca HiewRachel Homburg Christine JohnsonIsy WassermanPhilippa WestPatrick WongRoger YoungAaron Barnden* Amy Brookman* Clare Miller*Susannah Ng* Lynette Rayner*

VIOLASChristopher MoorePrincipalChristopher CartlidgeActing Associate PrincipalLauren BrigdenKatharine BrockmanSimon CollinsGabrielle HalloranTrevor Jones Fiona Sargeant Cindy WatkinCaleb WrightDouglas Coghill*Sophie Kesoglidis*Isabel Morse*

CELLOSDavid Berlin MS Newman Family Principal Cello ChairRachael Tobin Associate PrincipalNicholas Bochner Assistant Principal

Miranda BrockmanRohan de KorteKeith JohnsonSarah MorseAngela SargeantMichelle WoodKalina Krusteva-Theaker*

DOUBLE BASSESSteve Reeves PrincipalAndrew Moon Associate PrincipalSylvia Hosking Assistant PrincipalDamien EckersleyBenjamin HanlonSuzanne LeeStephen NewtonYoung-Hee Chan* Emma Sullivan*

FLUTESPrudence Davis Principal Flute Chair - AnonymousWendy Clarke Associate PrincipalSarah Beggs

PICCOLOAndrew Macleod Principal

OBOESJeffrey Crellin PrincipalDavid Papp*Guest Principal†

Ann BlackburnRachel Curkpatrick*

COR ANGLAISMichael Pisani Principal

CLARINETSDavid Thomas PrincipalPhilip Arkinstall Associate PrincipalCraig Hill

BASS CLARINETJon Craven Principal

BASSOONSJack Schiller PrincipalLyndon Watts*Guest PrincipalElise Millman Associate Principal Natasha Thomas

CONTRABASSOONBrock Imison Principal

HORNS Zora Slokar PrincipalGeoff Lierse Associate PrincipalSaul Lewis Principal Third Jenna BreenAbbey EdlinTrinette McClimontDeborah Hart*Anton Schroeder*Rachel Shaw*Robert Shirley*

TRUMPETSGeoffrey Payne PrincipalShane Hooton Associate PrincipalWilliam EvansJulie PayneBruno Siketa*

TROMBONESBrett Kelly PrincipalDavid Bremner*Guest Principal Kieran Conrau*

BASS TROMBONEMike Szabo Principal

TUBATimothy Buzbee Principal

TIMPANIChristine Turpin Principal

PERCUSSIONRobert Clarke PrincipalJohn ArcaroRobert CossomLeah Scholes* Greg Sully*

HARPYinuo Mu PrincipalAlannah Guthrie-Jones*

*Guest musician † Courtesy of Sydney Symphony Orchestra

MELBOURNE SYMPHONY ORCHESTRA

BOARDHarold Mitchell ACChairmanAndré GremilletManaging DirectorMichael UllmerDeputy ChairAndrew DyerDanny GorogMargaret Jackson ACBrett KellyDavid Krasnostein David LiAnn PeacockHelen Silver AOKee Wong

COMPANY SECRETARYOliver Carton

EXECUTIVEAndré GremilletManaging Director Catrin HarrisExecutive Assistant

HUMAN RESOURCESMiranda CrawleyDirector of Human Resources

BUSINESSFrancie DoolanChief Financial OfficerRaelene KingPersonnel ManagerLeonie WoolnoughFinancial ControllerPhil NooneAccountantNathalia Andries Finance OfficerSuzanne Dembo Strategic Communications and Business Processes Manager

ARTISTICRonald VermeulenDirector of Artistic Planning Andrew Pogson Special Projects ManagerLaura HolianArtistic CoordinatorHelena BalazsChorus Coordinator

EDUCATION AND COMMUNITY ENGAGEMENTBronwyn LobbDirector of Education and Community EngagementLucy BardoelEducation and Community Engagement CoordinatorLucy RashPizzicato Effect Coordinator

OPERATIONSGabrielle Waters Director of OperationsAngela BristowOrchestra ManagerJames FosterOperations ManagerJames PooleProduction CoordinatorAlastair McKeanOrchestra LibrarianKathryn O’BrienAssistant LibrarianMichael StevensAssistant Orchestra ManagerStephen McAllanArtist LiaisonLucy RashOperations Coordinator

MARKETINGAlice WilkinsonDirector of MarketingJennifer PollerMarketing ManagerMegan Sloley Marketing ManagerAli Webb PR ManagerKate EichlerPublicity and Online Engagement CoordinatorKieran Clarke Digital ManagerNina DubeckiFront of House SupervisorJames Rewell Graphic Designer Chloe SchnellMarketing Coordinator Claire HayesTicket and Database ManagerPaul CongdonBox Office SupervisorJennifer BroadhurstTicketing CoordinatorAngela BallinCustomer Service CoordinatorChelsie JonesCustomer Service Officer

DEVELOPMENTLeith Brooke Director of DevelopmentJessica Frean MSO Foundation ManagerBen LeeDonor and Government Relations ManagerArturs EzergailisDonor and Patron CoordinatorJudy TurnerMajor Gifts ManagerJustine KnappMajor Gifts CoordinatorMichelle MonaghanCorporate Development ManagerJames RalstonCorporate Development and Events Coordinator

MANAGEMENT

THANKS TO OUR WONDERFUL MSO SUPPORTERS

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

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $100 (Friend), $1,000 (Player), $2,500 (Associate), $5,000 (Principal), $10,000 (Maestro), $20,000 (Impresario), $50,000 (Benefactor)

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

Enquiries: Ph +61 (03) 9626 1248 Email: philanthropy@mso.com.auThis honour roll is correct at time of printing.

ARTIST CHAIR BENEFACTORSHarold Mitchell AC Chief Conductor ChairPatricia Riordan Associate Conductor ChairJoy Selby Smith Orchestral Leadership ChairMarc Besen AC and Eva Besen AO International Guest ChairMSO Friends ChairThe Gross Foundation Principal Second Violin ChairMS Newman Family Principal Cello Chair Principal Flute Chair – Anonymous

PROGRAM BENEFACTORSMeet The Music Made possible by The Ullmer Family FoundationEast meets West Supported by the Li Family TrustThe Pizzicato Effect (Anonymous)MSO UPBEAT Supported by Betty Amsden AO DSJMSO CONNECT Supported by Jason Yeap OAM

BENEFACTOR PATRONS $50,000+Betty Amsden AO DSJPhilip Bacon AM Marc Besen AC and Eva Besen AO Jennifer Brukner Rachel and Hon. Alan Goldberg AO QC The Gross FoundationDavid and Angela LiAnnette MaluishHarold Mitchell ACMS Newman FamilyRoslyn Packer AOMrs Margaret S Ross AM and Dr Ian Ross Joy Selby SmithUllmer Family Foundation

IMPRESARIO PATRONS $20,000+Michael AquilinaPerri Cutten and Jo DaniellSusan Fry and Don Fry AO John McKay and Lois McKayElizabeth Proust AO Rae Rothfield

MAESTRO PATRONS $10,000+John and Mary BarlowKaye and David BirksPaul and Wendy Carter Mitchell ChipmanJan and Peter ClarkSir Andrew and Lady Gianna DavisAndrew and Theresa Dyer

Future Kids Pty Ltd Robert & Jan GreenLou Hamon OAMMargaret Jackson AC Konfir Kabo and Monica Lim Mr Greig Gailey and Dr Geraldine LazarusNorman and Betty Lees Matsoral FoundationMimie MacLarenIan and Jeannie Paterson Onbass FoundationGlenn Sedgwick Maria Solà, in memory of Malcolm Douglas Drs G & G Stephenson. In honour of the great Romanian musicians George Enescu and Dinu LipattiLyn Williams AMKee Wong and Wai TangJason Yeap OAMAnonymous (1)

PRINCIPAL PATRONS $5,000+Lino and Di Bresciani OAM Linda BrittenDavid and Emma CapponiTim and Lyn EdwardJohn and Diana Frew Danny Gorog and Lindy SusskindNereda Hanlon and Michael Hanlon AMHartmut and Ruth HofmannJenny and Peter HordernJenkins Family Foundation Suzanne KirkhamVivien and Graham KnowlesDavid Krasnostein and Pat Stragalinos Elizabeth Kraus in memory of Bryan Hobbs Dr Elizabeth A Lewis AM Peter LovellThe Cuming BequestMr and Mrs D R MeagherWayne and Penny MorganMarie Morton FRSA Dr Paul Nisselle AM Lady Potter ACStephen Shanasy Gai and David Taylorthe Hon. Michael Watt QC and Cecilie Hall Barbara and Donald WeirAnonymous (4)

ASSOCIATE PATRONS $2,500+Dandolo PartnersPierce Armstrong Foundation Will and Dorothy Bailey BequestBarbara Bell in memory of Elsa BellPeter Biggs CNZM and Mary BiggsMrs S BignellStephen and Caroline Brain

Mr John Brockman OAM and Mrs Pat Brockman Leith and Mike BrookeRhonda Burchmore Bill and Sandra BurdettOliver CartonJohn and Lyn CoppockMiss Ann Darby in memory of Leslie J. Darby Mary and Frederick Davidson AMPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonJane Edmanson OAMDr Helen M FergusonMr Bill FlemingColin Golvan QC and Dr Deborah GolvanMichael and Susie HamsonSusan and Gary HearstGillian and Michael HundRosemary and James Jacoby John and Joan Jones Connie and Craig KimberleyKloeden Foundation Sylvia LavelleAnn and George Littlewood H.E. McKenzieAllan and Evelyn McLarenDon and Anne MeadowsAnn Peacock with Andrew and Woody KrogerSue and Barry Peake Mrs W Peart Ruth and Ralph RenardTom and Elizabeth RomanowskiMax and Jill Schultz Diana and Brian Snape AMMr Tam Vu and Dr Cherilyn TillmanWilliam and Jenny UllmerBert and Ila VanrenenBrian and Helena WorsfoldAnonymous (12)

PLAYER PATRONS $1,000+Anita and Graham Anderson, Christine and Mark Armour, Arnold Bloch Leibler, Marlyn and Peter Bancroft OAM, Adrienne Basser, Prof Weston Bate and Janice Bate, Timothy and Margaret Best, David and Helen Blackwell, Bill Bowness, Michael F Boyt, M Ward Breheny, Susie Brown, Jill and Christopher Buckley, Dr Lynda Campbell, Sir Roderick Carnegie AC, Andrew and Pamela Crockett, Natasha Davies, Pat and Bruce Davis, Merrowyn Deacon, Sandra Dent, Dominic and Natalie Dirupo, Marie Dowling, John and Anne Duncan, Kay Ehrenberg, Gabrielle Eisen, Vivien and Jack Fajgenbaum, Grant Fisher and Helen Bird, Barry Fradkin OAM and Dr Pam Fradkin, David Gibbs and Susie O’Neill,

THANKS TO OUR WONDERFUL MSO SUPPORTERS

Merwyn and Greta Goldblatt, Dina and Ron Goldschlager, Golvan QC and Naomi Golvan, Charles and Cornelia Goode, Dr Marged Goode, Louise Gourlay OAM, Ginette and André Gremillet, Max Gulbin, Dr Sandra Hacker AO and Mr Ian Kennedy AM, Jean Hadges, Paula Hansky OAM and Jack Hansky AM, Tilda and Brian Haughney, Henkell Family Fund, Penelope Hughes, Dr Alastair Jackson, Stuart Jennings, George and Grace Kass, Irene Kearsey, Ilma Kelson Music Foundation, Dr Anne Kennedy, Lew Foundation, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Violet and Jeff Loewenstein, The Hon Ian Macphee AO and Mrs Julie Mcphee, Elizabeth H Loftus, Vivienne Hadj and Rosemary Madden, Dr Julianne Bayliss, In memory of Leigh Masel, John and Margaret Mason, In honour of Norma and Lloyd Rees, Trevor and Moyra McAllister, David Menzies, Ian Morrey, The Novy Family, Laurence O’Keefe and Christopher James, Graham and Christine Peirson, Andrew Penn and Kallie Blauhorn, Kerryn Pratchett, Peter Priest, Jiaxing Qin, Eli Raskin, Peter and Carolyn Rendit, S M Richards AM and M R Richards, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, Doug and Elizabeth Scott, Jeffrey Sher, Dr Sam Smorgon AO and Mrs Minnie Smorgon, John So, Dr Norman and Dr Sue Sonenberg, Dr Michael Soon, Pauline Speedy, State Music Camp, Geoff and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Frank Tisher OAM and Dr Miriam Tisher, Margaret Tritsch, Judy Turner and Neil Adam, P & E Turner, Mary Vallentine AO, The Hon. Rosemary Varty, Leon and Sandra Velik, Sue Walker AM, Elaine Walters OAM and Gregory Walters, Edward and Paddy White, Janet Whiting and Phil Lukies, Nic and Ann Willcock, Marian and Terry

Wills Cooke, Pamela F Wilson, Joanne Wolff, Peter and Susan Yates, Mark Young, Panch Das and Laurel Young-Das, YMF Australia, Anonymous (17)

THE MAHLER SYNDICATEDavid and Kaye Birks, Jennifer Brukner, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Louis Hamon OAM, The Hon Dr Barry Jones AC, Dr Paul Nisselle AM, Maria Solà in memory of Malcolm Douglas, The Hon Michael Watt QC and Cecilie Hall, Anonymous (1)

MSO ROSESFounding Rose: Jennifer BruknerRoses: Mary Barlow, Linda Britten, Wendy Carter, Annette Maluish, Lois McKay, Pat Stragalinos, Jenny Ullmer. Rosebuds: Leith Brooke, Lynne Damman, Francie Doolan, Lyn Edward, Elizabeth A Lewis AM, Sophie Rowell, Dr Cherilyn Tillman

FOUNDATIONS AND TRUSTSThe Annie Danks TrustCollier Charitable FundCreative Partnerships AustraliaCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Harold Mitchell FoundationHelen Macpherson Smith TrustIvor Ronald Evans Foundation, managed by Equity Trustees Limited and Mr Russell BrownLinnell/Hughes Trust, managed by PerpetualThe Marian and EH Flack TrustThe Perpetual Foundation – Alan (AGL) Shaw Endowment, managed by PerpetualThe Pratt FoundationThe Robert Salzer FoundationThe Schapper Family FoundationThe Scobie and Claire Mackinnon Trust

CONDUCTOR’S CIRCLEJenny Anderson, GC Bawden and de Kievik, Lesley Bawden, Joyce Bown, Mrs Jenny Brukner and the late Mr John Brukner, Ken Bullen, Luci and Ron Chambers, Sandra Dent, Lyn Edward, Alan Egan JP, Gunta Eglite, Louis Hamon OAM, Tony Howe, Audrey M Jenkins, John and Joan Jones, George and Grace Kass, Mrs Sylvia Lavelle, Pauline and David Lawton, Lorraine Meldrum, Cameron Mowat, Laurence O’Keefe and Christopher James, Rosia Pasteur, Elizabeth Proust AO, Penny Rawlins, Joan P Robinson, Neil Roussac, Anne Roussac-Hoyne, Jennifer Shepherd, Drs Gabriela and George Stephenson, Pamela Swansson, Lillian Tarry, Dr Cherilyn Tillman, Mr and Mrs R P Trebilcock, Michael Ullmer, Ila Vanrenen, Mr Tam Vu, Marian and Terry Wills Cooke, Mark Young, Anonymous (21)

THE MSO GRATEFULLY ACKNOWLEDGES THE SUPPORT RECEIVED FROM THE ESTATES OF:Angela Beagley, Gwen Hunt, Pauline Marie Johnston, C P Kemp, Peter Forbes MacLaren, Prof Andrew McCredie, Miss Sheila Scotter AM MBE, Molly Stephens, Jean Tweedie, Herta and Fred B Vogel, Dorothy Wood

HONORARY APPOINTMENTSMrs Elizabeth Chernov Education and Community Engagement PatronSir Elton John CBE Life MemberThe Honourable Alan Goldberg AO QC Life MemberGeoffrey Rush AC Ambassador

MEDIA PARTNERGOVERNMENT PARTNERS

SUPPORTING PARTNERS

ASSOCIATE PARTNERS

Golden Age Group Kabo Lawyers Linda Britten

Naomi Milgrom Foundation PwC

UAG + SJB Universal

Feature Alpha Investment (a unit of the Tong Eng Group)

Future Kids

PRINCIPAL PARTNER

MAESTRO PARTNERS

3L Alliance Elenberg Fraser

Fed Square Flowers Vasette

OFFICIAL CAR PARTNER