CONCERT PROGRAM CONCERT PROGRAM BENJAMIN NORTHEY CONDUCTS ENIGMA 27–28 JULY 2017
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
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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 ◊
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Anthony Pratt ◊
The Pratt FoundationJoy Selby SmithUllmer Family Foundation ◊
Anonymous (1)
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Geelong Friends of the MSO ◊
Jennifer GorogHMA FoundationLouis Hamon OAMNereda Hanlon and Michael Hanlon AM ◊
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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 ◊
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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
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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