Scheherazademelbournesymphonyorchestra-assets.s3.amazonaws.com/assets/File/... · Scheherazade Master Series Thursday Thursday 1 October at 8pm Arts Centre Melbourne, Hamer Hall Master

ScheherazadeMaster Series Thursday

Thursday 1 October at 8pm Arts Centre Melbourne,

Hamer Hall

Master Series Friday

Friday 2 October at 8pm Arts Centre Melbourne,

Hamer Hall

Great Classics on Monday

Monday 5 October at 6.30pm Arts Centre Melbourne,

Hamer Hall

C O N C E R T P R O G R A M

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WHAT’S ON OCTOBER – DECEMBER 2015

AN AMERICAN IN PARIS Friday 30 October

Gershwin’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.

TCHAIKOVSKY AND GRIEG Friday 13 November Saturday 14 November

Asher Fisch conducts three masterworks that defined the Romantic era. Tchaikovsky’s stirring Romeo and Juliet is followed by Grieg’s poignant Piano Concerto and the high-voltage intensity of Tchaikovsky’s Fourth Symphony.

MESSIAH Saturday 5 December Sunday 6 December

Join conductor Bramwell Tovey, the MSO Chorus and renowned international soloists for one of the MSO’s most beloved Christmas traditions, Handel’s Messiah.

SIBELIUS’ FINLANDIA Thursday 19 November Friday 20 November

Yan Pascal Tortelier celebrates the 150th anniversary of two Nordic masters. Sibelius’ majestic Finlandia is balanced against Nielsen’s spirited Violin Concerto. Also featured in this program is Sibelius’ Symphony No.5 and tone poem The Swan of Tuonela.

CHRISTMAS CAROLS Saturday 12 December Sunday 13 December

Bramwell Tovey joins the MSO as conductor, pianist and host in this celebration of the great musical traditions of Christmas, from famous orchestral works and favourite Christmas songs to the most beloved of Yuletide carols.

BRAHMS AND TCHAIKOVSKY Thursday 26 November Friday 27 November Saturday 28 November

Divertimento, Bartók’s dark take on the Baroque, kick-starts this night of European festivities. Brahms’ Violin Concerto delivers a fiery, gypsy-inspired rondo and Tchaikovsky’s Serenade for Strings pays homage to Mozart.

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REPERTOIRE

Melbourne Symphony Orchestra

Jakub Hrůša conductor Jack Liebeck violin

Smetana The Bartered Bride: Overture

Dvořák Violin Concerto

— Interval — Rimsky-Korsakov

ScheherazadeThis concert has a duration of approximately 2 hours including one 20 minute interval.

Friday evening’s performance will be recorded for broadcast on ABC Classic FM at 1pm on Saturday 17 October.

Pre-Concert Talks 7pm Thursday 1 October, Stalls Foyer, Hamer Hall 7pm Friday 2 October, Stalls Foyer, Hamer Hall

Megan Burslem will present a talk on the artists and works featured in the program.

Post-Concert Conversation 8.30pm Monday 5 October, Stalls Foyer, Hamer Hall

Join MSO Director of Artistic Planning Ronald Vermeulen for a post-concert conversation with conductor Jakub Hrůša.Master Series Partner

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I was privileged to attend a concert in 2014 in which Jakub Hrůša conducted the first ever performance by the MSO of Smetana’s complete Má vlast – and what a great performance it was!

So it is with the greatest pleasure that we welcome Jakub back to conduct more music from his native Czech Republic: Smetana’s rousing overture to his opera The Bartered Bride and, with soloist Jack Liebeck, Dvořák’s songful and enchanting Violin Concerto, one of my personal favourites.

We move from Prague to Saint Petersburg for the evening’s main event. Rimsky-Korsakov’s Scheherazade, a work whose dazzling orchestral colour and dramatic evocation of the exotic East make a mockery of the composer’s over-modest assessment of himself as ‘an officer-dilettante who sometimes enjoys playing and listening to music’!

I know you will be thrilled tonight both by the MSO’s extraordinary virtuosity and by Jakub Hrůša’s dynamism as an interpreter of the Eastern European repertoire. I wish I could be here too!

Sir Andrew Davis Chief Conductor

WELCOME

The Melbourne Symphony Orchestra acknowledges the Traditional Owners of the Land on which we perform – The Kulin Nation – and would like to pay our respects to their Elders and Community both past and present.

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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 Richard Strauss, Charles Ives, 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.

MELBOURNE SYMPHONY 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.

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JAKUB HRŮŠA CONDUCTOR

JACK LIEBECK VIOLIN

Born in the Czech Republic, Jakub Hrůša has served as Music Director and Chief Conductor of Prague Philharmonia since 2009. He is also Principal Guest Conductor of Tokyo Metropolitan Symphony Orchestra, where he recently extended his commitment through to the 2017/ 18 season.

He is a regular guest with many of the world’s leading orchestras, including the Philharmonia Orchestra, Czech Philharmonic, Leipzig Gewandhaus Orchestra, Stuttgart Radio Symphony Orchestra, WDR Symphony Orchestra Cologne, Orchestre Philharmonique de Radio France, The Cleveland Orchestra, and the Sydney and Melbourne Symphony Orchestras. Recent highlights included Bohemian Legends, a major series with the Philharmonia Orchestra devoted to the music of Dvořák, Suk and Janáček, and debuts with the Los Angeles Philharmonic, Vienna Radio Symphony Orchestra, Russian National Orchestra, Baltimore Symphony Orchestra and Finnish National Opera (Jenůfa). In the field of opera, he has been a regular guest with the Glyndebourne Festival and Glyndebourne Tour, conducting Carmen, The Turn of the Screw, Don Giovanni, La bohème and Rusalka.

This year Jakub Hrůša debuts with The Philadelphia Orchestra, Vienna Symphony, Bamberg Symphony Orchestra, RAI National Symphony Orchestra, Deutsches Symphonie-Orchester Berlin and Paris Opera.

Jakub Hrůša studied conducting at the Academy of Performing Arts in Prague.

Born in London, Jack Liebeck has appeared with all of the major British orchestras, and internationally with the Royal Stockholm and Oslo Philharmonic Orchestras, Moscow State Symphony Orchestra, Orquesta Sinfónica de Navarra, Real Filharmonía de Galicia, National Orchestra of Belgium, Lausanne Chamber Orchestra, Polish National Radio Symphony Orchestra, Auckland Philharmonia Orchestra, and Indianapolis Symphony Orchestra, among others. Recently he performed Dario Marianelli’s especially commissioned Voyager Violin Concerto with the Queensland Symphony Orchestra in a lecture/concert with renowned physicist Brian Cox. A committed recitalist and chamber musician, he has also appeared in recital at London’s Wigmore Hall, and in 2013 became the violinist of Trio Dali.

This season he makes his Gewandhaus debut with the MDR Leipzig Radio Symphony Orchestra performing Magnus Lindberg’s Violin Concerto, and also performs Tchaikovsky’s Violin Concerto with the BBC Philharmonic and Brahms’ Violin Concerto with the Orchestra of Opera North. He appeared at this year’s BBC Proms with the BBC Concert Orchestra conducted by Barry Wordsworth.

Jack Liebeck is a professor of violin at the Royal Academy of Music and Artistic Director of Oxford May Music Festival, a festival of music, science and the arts. His recordings include Dvořák’s Violin Concerto, winner of a 2010 Classical Brit Award, and the complete Brahms violin sonatas with Katya Apekisheva.

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In a breathless overture to the work that gave his long-suffering fellow-countrymen their own operatic identity, Smetana encapsulates the vitality and bustle, as well as the rustic charm, of a Czech village in festive mood. This was the first time Czech village life had been portrayed believably in opera. Although premiered inauspiciously in the shadow of a looming war with Bismarck’s Prussia, The Bartered Bride survived the fiasco of its truncated opening season in 1866 to win the undying affection of Czech people and, subsequently, audiences throughout the world.

Smetana’s comedy is peopled with characters his audiences would recognise and empathise with, individuals experiencing the deep human emotions of hope and fear, venality and cunning, confusion and despair and, above all, unquenchable young love. In the ‘all’s fair’ context of love and war, not even a dubious device by which the happy outcome turns on a piece of shameless deception can arouse disquiet. Thus not only the bride is won but a questionable cash bonus as well. (The opera is literally ‘The Sold Bride’, not ‘bartered’.)

While the overture essentially sets the scene of festivity on the village green, the three main motifs (bustling, suspenseful string figures in the opening, a polka-like subject which foreshadows the brilliant national dances to come, and a winsome, contrasting oboe melody) will all be heard again at the climax of the second act as the bridal-sale contract is signed before the outraged village-folk as indignant witnesses.

Smetana lived to resent the fact that the runaway success of this, the second of his eight completed operas, overshadowed later works he valued more highly. However The Bartered Bride was the means by which this expatriate composer, home at last from a youthful odyssey in Sweden, resoundingly fulfilled his determination to give his people a national music.

Anthony Cane © 2005

The Melbourne Symphony Orchestra first performed this work at a War Funds Concert on 3 August 1940 conducted by Georg Schnéevoigt, and most recently at the 2015 Sidney Myer Free Concert with Gergely Madaras.

BEDŘICH SMETANA (1824–1884)

The Bartered Bride: Overture

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It was probably on the recommendation of Brahms that the great Joseph Joachim became the dedicatee of the only violin concerto composed by Dvořák. Ironically, however, Joachim was never to play it. Brahms had composed his own Violin Concerto for Joachim in 1878, and seems to have given him a couple of Dvořák’s chamber works for performances in Berlin and London.

Encouraged by Joachim’s interest, Dvořák visited him in Berlin in July 1879 to discuss the idea of a concerto. He sent him a completed draft in November, followed by a full revision, incorporating Joachim’s suggestions, in May 1880. In its new version, he believed, ‘the whole concerto has been transformed’. Even so, it was not altogether to the virtuoso’s liking.

After a further two years, Joachim revised the solo part and suggested that Dvořák lighten the orchestration. Although the composer would agree to only minor changes, in particular rejecting any suggestion of separating the linked opening movements, Joachim nevertheless committed himself to launching the work in London in 1884. That premiere was abandoned when Dvořák found he was not free to conduct. Joachim now lost interest. Dvořák turned to the young Czech violinist František Ondříček, who promptly gave the first performance in Prague on 14 October 1883 and proceeded to play the concerto throughout Europe with great success.

Joachim’s obviously strong reservations about the concerto doubtless reflect his firmly traditionalist view of Classical structure and balance in music. He seems to have felt unable wholeheartedly to lend his name to a work so untraditional, particularly in its first two movements. He quite possibly disliked the improvisatory nature of the concerto, finding Dvořák’s artistic integrity perhaps compromised by his failure to carry through a ‘proper’ sonata structure in the opening movement. Likewise, he doubtless agreed with the publisher Simrock that the opening movements should be separated; and as the outstanding virtuoso violinist of the day he must have wondered at the lack of opportunity for a cadenza, even though there is brilliance enough in the solo part as written out. The concerto nevertheless embodies much of Joachim, particularly in the style of the solo writing, and Dvořák never withdrew the dedication, inscribed to Joachim ‘in highest admiration’.

Eschewing a conventional orchestral opening tutti, Dvořák launches immediately into his two-part main theme – the first part boldly rhythmic with full orchestra, and the second a passionate answering phrase from the solo violin. This theme, in one or other

of its parts, forms the essence of the entire movement. Dvořák introduces subsidiary themes, most notably an effusive folk-like tune which appears on a flood of warm solo violin tone when the movement is already well advanced. However, the lesser themes serve in the main only as brief moments of repose while the composer gathers his forces to proceed with his main business of developing the opening subject. The development completed, Dvořák wastes no time on a conventional recapitulation of his original ideas: he merely recalls the violin’s answering phrase from the opening theme, transforming it into a serenely reflective bridge which leads without a break into the sweet lyricism of the slow movement. Here the composer, in long and tender phrases, sings a song of heartfelt rapture.

The finale is a spirited homage to Czech national dance, fundamentally a vigorous, syncopated furiant. Interspersed with this dance, rondo-fashion, is first a cheerful oboe motif taken up by the flute; then a swelling dolce theme on solo violin; and last a highly bucolic, faintly melancholy section in characteristic dumka rhythm. Neither pure rondo nor sonata, the movement reiterates all three subsidiary themes in different guises (as the main theme is itself varied on every appearance). At the end the dumka returns, now in great good humour, and the main theme sweeps the concerto to a taut, forceful conclusion.

© Anthony Cane

The Melbourne Symphony was the first of the Australian state symphony orchestras to perform this work, in October 1938 with conductor Malcolm Sargent and soloist Guila Bustabo. The Orchestra’s most recent performance was in March 2007 with Olari Elts and Natalia Lemeiko.

ANTONÍN DVOŘÁK (1841–1904)

Violin Concerto in A minor, Op.53 (B.108)Allegro ma non troppo –

Adagio ma non troppo

Allegro giocoso, ma non troppo

Jack Liebeck violin

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The Sultan Shahriyar, convinced of the duplicity and infidelity of all women, had vowed to slay each of his wives after the first night. The Sultana Scheherazade, however, saved her life by the expedient of recounting to the Sultan a succession of tales over a period of a thousand and one nights. Overcome by curiosity, the Sultan postponed from day to day the execution of his wife, and ended by renouncing altogether his sanguinary resolution.

Rimsky-Korsakov conceived the idea of a symphonic suite based on episodes from Scheherazade in the middle of winter 1887–88, while he and Glazunov were engrossed in the completion of Borodin’s unfinished opera Prince Igor. The following summer he completed the suite – ‘a kaleidoscope of fairytale images and designs of Oriental character’.

‘All I had desired,’ he later wrote in My Musical Life, ‘was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative describing a motley succession of fantastic happenings and not merely four pieces played one after the other and composed on the basis of themes common to all the four movements. Why then, if that be so, does my suite bear the name, precisely, of Scheherazade? Because this name and the title The Arabian Nights connote in everybody’s mind the East and fairytale wonders; besides, certain details of the musical exposition hint at the fact that all of these are various tales of some one person (who happens to be Scheherazade) entertaining therewith her stern husband.’

Rimsky-Korsakov considered Scheherazade one of those works in which ‘my orchestration had reached a considerable degree of virtuosity and bright sonority without Wagner’s influence, within the limits of the usual make-up of Glinka’s orchestra’. So formidable is his instinct, that with surprisingly modest forces (adding to the traditional orchestra only piccolo, cor anglais, harp and percussion) Rimsky-Korsakov can convince his listeners of the raging of a storm at sea, the exuberance of a festival, and the exotic colour of the Orient.

As if repeating in music Scheherazade’s feat of narrative woven from poetry and folk tales, Rimsky-Korsakov drew on isolated episodes from The Thousand and One Nights for his suite. At first he gave the four movements titles drawn from these narratives. But he soon withdrew the headings, which, he said, were intended to ‘direct but slightly the listener’s fancy on the path which my own imagination had travelled, and to leave more minute and particular conceptions to the will and mood of each’.

According to the composer, it is futile to seek in Scheherazade leading motifs that are consistently linked with the same poetic ideas and conceptions. Instead, these apparent leitmotifs were ‘nothing but purely musical material … for symphonic development’. The motifs unify all the movements of the suite, appearing in different musical guises so that the ‘themes correspond each time to different images, actions and pictures’. The ominous octaves representing the stern Sultan in the opening, for example, appear in the tale of the Kalender Prince, although Shahriyar plays no part in that narrative. And the muted fanfare of the second movement returns in the otherwise unconnected depiction of the foundering ship.

Rimsky-Korsakov did admit, however, that one of his motifs was quite specific, attached not to any of the stories, but to the storyteller: ‘The unifying thread consisted of the brief introductions to the first, second and fourth movements and the intermezzo in movement three, written for violin solo and delineating Scheherazade herself as telling her wondrous tales to the stern Sultan.’ It is this idea – an intricately winding violin theme supported only by the harp – which soothes the thunderous opening and embarks upon the first tale: the sea and Sinbad’s ship. For Rimsky-Korsakov, who was synaesthesic, the choice of E major for the billowing cello figures can have been no accident: his ears ‘saw’ it as dark blue.

A cajoling melody played by solo bassoon represents a Kalender (or ‘beggar’) Prince in the second movement. The similarity between the two main themes of the third movement (for violin and then flute and clarinet) suggests that the Young Prince and Princess are perfectly matched in temperament and character.

An agitated transformation of the Sultan’s theme, in dialogue with Scheherazade’s theme, prefaces the final tale. The fourth movement combines the Festival in Baghdad and the tale of the shipwreck, described by one writer as a ‘confused dream of oriental splendour and terror’. Triangle and tambourines accompany the lively cross-rhythms of the carnival; and the mood builds in intensity before all is swamped by the return of the sea theme from the first movement. But after the fury of the shipwreck, it is Scheherazade who has the last word. Her spinning violin solo emerges in gentle triumph over the Sultan’s bloodthirsty resolution.

Yvonne Frindle ©1998/ 2009

The Melbourne Symphony Orchestra first performed Rimsky-Korsakov’s Scheherazade on 30 August 1939 with conductor Malcolm Sargent, and most recently in December 2014 under Benjamin Northey.

NIKOLAI RIMSKY-KORSAKOV (1844–1908)

Scheherazade—Symphonic Suite, Op.35Largo e maestoso – Lento – Allegro non troppo (The Sea and Sinbad’s Ship)

Lento (The Story of the Kalender Prince)

Andantino quasi allegretto (The Young Prince and the Young Princess)

Allegro molto – Vivo – Allegro non troppo e maestoso – Lento (Festival at Baghdad – The Sea – The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior – Conclusion)

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ORCHESTRA

First ViolinsDale Barltrop Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell Associate Concertmaster

Peter Edwards Assistant Principal

Kirsty Bremner MSO Friends Chair

Sarah CurroPeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn TaylorRebecca Adler* Edward Antonov*Alyssa Conrau*Jacqueline Edwards* Lawrence Lee* Oksana Thompson*

Second ViolinsMatthew Tomkins The Gross Foundation Principal Second Violin Chair

Robert Macindoe Associate Principal

Monica Curro Assistant Principal

Mary AllisonIşin CakmakçioğluFreya FranzenCong GuAndrew HallFrancesca HiewRachel Homburg Christine JohnsonIsy WassermanPhilippa WestPatrick WongRoger YoungAaron Barnden*

ViolasChristopher Moore Principal

Christopher Cartlidge Acting Associate Principal

Lauren BrigdenKatharine BrockmanSimon CollinsGabrielle HalloranTrevor Jones Fiona Sargeant Cindy WatkinCaleb WrightCeridwen Davies*Merewyn Bramble*Cameron Campbell*Anthony Chataway* Sophie Kesoglidis* Isabel Morse*

CellosDavid Berlin MS Newman Family Principal Cello Chair

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda BrockmanRohan de KorteKeith JohnsonSarah MorseAngela SargeantMichelle WoodSvetlana Bogosavljevic*

Double BassesSteve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen NewtonEsther Toh*Simon Pauperis*

FlutesPrudence Davis Principal Flute Chair - Anonymous

Wendy Clarke Associate Principal

Helen Hardy* Guest Associate Principal

Sarah Beggs

PiccoloAndrew Macleod Principal

Taryn Richards*

OboesJeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn

Cor AnglaisMichael Pisani Principal

ClarinetsDavid Thomas Principal

Philip Arkinstall Associate Principal

Craig HillAlex Morris*

Bass ClarinetJon Craven Principal

BassoonsJack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

ContrabassoonBrock Imison Principal

Horns Zora Slokar Principal

Tim Thorpe* Guest Principal

Geoff Lierse Associate Principal

Saul Lewis Principal Third

Jenna BreenAbbey EdlinTrinette McClimont

TrumpetsGeoffrey Payne Principal

Shane Hooton Associate Principal

William EvansJulie Payne

TrombonesBrett Kelly Principal

Cameron Malouf^

Bass TromboneMike Szabo Principal

TubaTimothy Buzbee Principal

TimpaniChristine Turpin Principal

PercussionRobert Clarke Principal

John ArcaroRobert CossomStephen Hardie* Timothy Hook* Greg Sully*

HarpYinuo Mu Principal

*Guest musician

^ Courtesy Adelaide Symphony Orchestra

Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair

Diego Matheuz Principal Guest Conductor

Benjamin Northey Patricia Riordan Associate Conductor Chair

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MANAGEMENT

BoardMichael Ullmer Chairman

Andrew DyerDanny GorogAndré GremilletMargaret Jackson ACBrett KellyDavid Krasnostein David LiAnn PeacockHelen Silver AOKee Wong

Company SecretaryOliver Carton

ExecutiveAndré Gremillet Managing Director

Catrin Harris Executive Assistant

Human ResourcesMiranda Crawley Director of Human Resources

BusinessFrancie Doolan Chief Financial Officer

Raelene King Personnel Manager

Leonie Woolnough Financial Controller

Phil Noone Accountant

Nathalia Andries Accountant

Grace Gao Finance Officer

Suzanne Dembo Strategic Communications and Business Processes Manager

ArtisticRonald Vermeulen Director of Artistic Planning

Andrew Pogson Special Projects Manager

Laura Holian Artistic Coordinator

Helena Balazs Chorus Manager

Stephen McAllan Artist Liaison

Education and Community EngagementBronwyn Lobb Director of Education and Community Engagement

Lucy Bardoel Education and Community Engagement Coordinator

Lucy Rash Pizzicato Effect Coordinator

OperationsGabrielle Waters Director of Operations

Angela Bristow Orchestra Manager

James Foster Operations Manager

James Poole Production Coordinator

Alastair McKean Orchestra Librarian

Kathryn O’Brien Assistant Librarian

Michael Stevens Assistant Orchestra Manager

Lucy Rash Operations Coordinator

MarketingAlice Wilkinson Director of Marketing

Jennifer Poller Marketing Manager

Megan Sloley Marketing Manager

Ali Webb PR Manager

Kate Eichler Publicity and Online Engagement Coordinator

Kieran Clarke Digital Manager

Chelsie Jones Front of House Supervisor

James Rewell Graphic Designer

Chloe Schnell Assistant Marketing Manager

Clare Douglas Marketing Coordinator

Claire Hayes Ticket and Database Manager

Paul Congdon Box Office Supervisor

Angela Ballin Customer Service Coordinator

DevelopmentLeith Brooke Director of Development

Jessica Frean MSO Foundation Manager

Ben Lee Donor and Government Relations Manager

Arturs Ezergailis Donor and Patron Coordinator

Judy Turner Major Gifts Manager

Justine Knapp Major Gifts Coordinator

Michelle Monaghan Corporate Development Manager

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SUPPORTERS

Artist Chair BenefactorsHarold Mitchell AC Chief Conductor Chair

Patricia Riordan Associate Conductor Chair

Joy Selby Smith Orchestral Leadership Chair

Marc Besen AC and Eva Besen AO International Guest Chair

MSO Friends Chair

The Gross Foundation Principal Second Violin Chair

MS Newman Family Principal Cello Chair

Principal Flute Chair – Anonymous

Program BenefactorsMeet The Orchestra Made possible by The Ullmer Family Foundation

East meets West Supported by the Li Family Trust

The Pizzicato Effect (Anonymous)

MSO UPBEAT Supported by Betty Amsden AO DSJ

MSO CONNECT Supported by Jason Yeap OAM

Benefactor Patrons $50,000+Betty Amsden AO DSJPhilip Bacon AM Marc Besen AC and Eva Besen AO John and Jenny Brukner Rachel and the 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 AOMargaret Jackson AC 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 Davis Andrew and Theresa DyerFuture Kids Pty Ltd Robert & Jan GreenLou Hamon OAMDavid Krasnostein and Pat Stragalinos Mr Greig Gailey and Dr Geraldine LazarusMimie MacLarenMatsarol FoundationIan 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 KnowlesElizabeth 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 Anonymous (5)

Associate Patrons $2,500+Dandolo PartnersWill and Dorothy Bailey BequestBarbara Bell in memory of Elsa BellMrs S BignellStephen and Caroline BrainMr John Brockman OAM and Mrs Pat Brockman Leith and Mike Brooke Rhonda 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 GolvanSusan and Gary HearstGillian and Michael HundRosemary and James Jacoby John and Joan Jones Kloeden 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 Renard Tom and Elizabeth RomanowskiMax and Jill Schultz Diana and Brian Snape AMMr Tam Vu and Dr Cherilyn TillmanWilliam and Jenny UllmerBert and Ila VanrenenBarbara and Donald WeirBrian and Helena WorsfoldAnonymous (14)

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, Suzie Brown, Jill and Christopher Buckley, Lynne Burgess, 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 Frenkiel and Esther Frenkiel OAM, Carrillo and Ziyin Gantner, David Gibbs and Susie O’Neill, Merwyn and Greta Goldblatt, Dina and Ron Goldschlager, George 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,

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SUPPORTERS

Ilma Kelson Music Foundation, Dr Anne Kennedy, Bryan Lawrence, 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, Ruth Maxwell, Trevor and Moyra McAllister, David Menzies, Ian Morrey, Laurence O’Keefe and Christopher James, Graham and Christine Peirson, Andrew Penn and Kallie Blauhorn, Kerryn Pratchett, Peter Priest, 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 Elisabeth 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, Dr Peter Strickland, Geoff and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Tennis Cares- Tennis Australia, 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, Elizabeth Wagner, 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 (5)

The Mahler SyndicateDavid and Kaye Birks, John and Jenny Brukner, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Louis Hamon OAM, Francis and Robyn Hofmann, 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 RoseJenny Brukner

RosesMary Barlow, Linda Britten, Wendy Carter, Annette Maluish, Lois McKay, Pat Stragalinos, Jenny Ullmer,

RosebudsMaggie Best, Penny Barlow, Leith Brooke, Lynne Damman, Francie Doolan, Lyn Edward, Penny Hutchinson, 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 CircleCurrent Conductor’s Circle MembersJenny Anderson, G C Bawden and L de Kievit, 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, Carol Hay, 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 (22)

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 Patron

Sir Elton John CBE Life Member

The Honourable Alan Goldberg AO QC Life Member

Geoffrey Rush AC Ambassador

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 (3) 9626 1248

Email: [email protected]

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SUPPORTERS

MEDIA PARTNERGOVERNMENT PARTNERS

SUPPORTING PARTNERS

ASSOCIATE PARTNERS

MAESTRO PARTNERS

3L ALLIANCE ELENBERG FRASER

FEATURE ALPHA INVESTMENT FUTURE KIDS

VICTORIA WHITELAW

GOLDEN AGE GROUP KABO LAWYERS LINDA BRITTEN

NAOMI MILGROM FOUNDATION UAG + SJB

OFFICIAL CAR PARTNER

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MSO on tour: Music & Culture in Bendigo

Thursday 15 and Friday 16 October 2015

Join us for two days in the thriving regional city of Bendigo, as the MSO prepares to perform for the first time in the wonderful new venue – the Ulumbarra Theatre.

By day we will show you some of Bendigo’s finest heritage attractions, art galleries and local gourmet fare; in the evening experience a backstage tour of the new theatre before enjoying the MSO perform Mozart’s Violin Concerto No.5 with Eoin Andersen.

You’ll also have the opportunity to see MSO first-hand as it merges learning and entertainment with a concert for local school children, fostering a lifelong love and appreciation of music.

Be quick, places are limited to 16 people.

For an information package please call 03 9626 1249 or email [email protected]

Spring comes to Summerlea

Sunday 25 October 2015 12pm–3pm ‘Summerlea’, Flinders Private garden of Perri Cutten and Jo Daniell

Gourmet al fresco lunch, local wines and heavenly songs amidst a tranquil coastal garden – MSO’s annual fundraising event for the MSO Chorus is sure be a very special afternoon.

Join designer Perri Cutten and photographer Jo Daniell at their breathtaking property at Flinders on the Mornington Peninsula for a day of choral performances, gourmet lunch and garden tours.

Ticket price of $200 includes:

– Performances by MSO Chorus amid tranquil garden surrounds,

– Al fresco long table lunch, featuring local produce and wines,

– Self-guided tour and exploration of landscaped designer gardens,

– Opportunity to meet and chat to MSO Chorus members and hosts Perri Cutten and Jo Daniell.

Proceeds will help us raise vital funds for the MSO Chorus.

Hurry, places are strictly limited! To secure your booking, or for further information call 03 9929 9600

*Exclusive 10% discount across all classes valid for Melbourne Symphony Orchestra subscriber and patron online bookings, and their companions when travelling together. To book, visit mso.com.au/support-us/our-partners/emirates/emirates-offer for your password to redeem online discount via emirates.com/au/mso. Offer applies to Emirates operated services on permitted routes originating from Melbourne, and excludes flights operated by partner airlines. Discount applies to the fare component only and excludes taxes, surcharges and levies. Bookings can only be made up to 11 months in advance. Offer valid for sale on or before 31 December 2015, subject to availability at time of booking and may be subject to change and withdrawn without notice. Visit emirates.com/au/mso for full terms and conditions.

emirates.com/au

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Principal Partner of the Melbourne Symphony Orchestra.

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It takes a place to create a community, and a community to create a place.Every day Lendlease creates places that o�er 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.

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PARTNERING WITH THE MSO AT VICTORIA HARBOUR