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

Thursday 4 August at 8pm Melbourne Recital Centre

Friday 5 August at 8pm Costa Hall, Geelong

Saturday 6 August at 6.30pm Melbourne Recital Centre

Elgar, Bach, Puccini & Dvořák

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WHAT’S ON AUGUST – OCTOBER 2016

BEETHOVEN’S MISSA SOLEMNIS Friday 26 August Saturday 27 August

This performance marks a milestone in MSO Chief Conductor Sir Andrew Davis’ long and illustrious career: the first time he will conduct Beethoven’s Missa solemnis. To do it justice are four outstanding international soloists and the Melbourne Symphony Orchestra Chorus.

HRŮŠA CONDUCTS SUK’S ASRAEL SYMPHONY Thursday 1 September Friday 2 September

Jakub Hrůša continues his close partnership with the MSO, with a too-rarely performed masterwork by his compatriot – Josef Suk’s powerful, passionate Symphony No.2 Asrael. It is preceded by Mozart’s dramatic Symphony No.25, featured so powerfully in the film Amadeus.

BEETHOVEN FESTIVAL Wednesday 7 September Saturday 10 September Wednesday 14 September Saturday 17 September

Beethoven’s five Piano Concertos, as with his nine Symphonies, represent classical music’s greatest monuments. Given their formidable technical requirements, the concertos are rarely performed as a series, but English virtuoso Paul Lewis will tackle the challenge in this series of four concerts.

RESPIGHI’S FOUNTAINS OF ROME Friday 30 September Saturday 1 October Monday 3 October

A rare concert appearance from the great Brazilian virtuoso Nelson Freire. Long renowned for his dazzling technique and absolute fidelity to the music, Freire is soloist in Schumann’s Piano Concerto. Also on this program is Respighi’s splendorous Fountains of Rome and Pines of Rome.

TOGNETTI AND THE LARK ASCENDING Friday 19 August Saturday 20 August Monday 22 August

Richard Tognetti returns to the MSO, under Chief Conductor Sir Andrew Davis, to perform two very different works: the Partita for Violin and Orchestra, by Lutosławski, and Vaughan Williams’ soaring, summery The Lark Ascending.

MENDELSSOHN'S ITALIAN SYMPHONY Thursday 11 August Friday 12 August Saturday 13 August

Viva Italia! The voices and sounds of Italy as interpreted by two non Italian composers: Elgar’s sun-drenched In the South (Alassio) and Mendelssohn’s gloriously enthusiastic Symphony No.4 Italian. In the middle, Richard Strauss’ early Violin Concerto, with soloist James Ehnes.

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This concert has a duration of approximately 1 hour and 30 minutes, including a 20-minute interval.

This performance will be recorded for broadcast on ABC Classic FM on Saturday 14 August at 1pm.

This information is correct at time of print, however please visit mso.com.au/broadcast for the most current information about upcoming concert broadcasts.

Pre-Concert Talk 7pm Thursday 4 August, Elisabeth Murdoch Hall, Melbourne Recital Centre 7pm Friday 5 August, Costa Hall, Deakin University

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

Post-Concert Talk 8.30pm Saturday 6 August, Elisabeth Murdoch Hall, Melbourne Recital Centre

Join MSO Director of Artistic Planning Ronald Vermeulen for a post-concert conversation.

ARTISTS

Melbourne Symphony Orchestra

James Ehnes violin/director REPERTOIRE

Elgar Introduction and Allegro

J.S. Bach Violin Concerto No.2

— Interval —

Puccini Crisantemi

Dvořák Serenade for Strings

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MELBOURNE SYMPHONY ORCHESTRA

The Melbourne Symphony Orchestra (MSO) was established in 1906 and is Australia’s oldest orchestra. It currently performs live to more than 250,000 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. The Orchestra also delivers innovative and engaging programs to audiences of all ages through its Education and Outreach initiatives.

Sir Andrew Davis gave his inaugural concerts as the MSO’s Chief Conductor in 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists such as Bryn Terfel, Emanuel Ax, Truls Mørk and Renée Fleming, and the Orchestra’s European Tour in 2014 which included appearances at the Edinburgh Festival, the Amsterdam Concertgebouw, the Mecklenburg-Vorpommern Festival and Copenhagen’s Tivoli Concert Hall. Further current and future highlights with Sir Andrew Davis include a complete cycle of the Mahler symphonies. Sir Andrew will maintain the role of Chief Conductor until the end of 2019.

The MSO also works with Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus, as well as with such eminent recent guest conductors as Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Burt Bacharach, Nick Cave, Sting, Tim Minchin, Ben Folds, DJ Jeff Mills and Flight Facilities.

The Melbourne Symphony Orchestra reaches a wider audience through regular radio broadcasts, recordings and CD releases, including a Strauss cycle on ABC Classics which includes Four Last Songs, Don Juan and Also sprach Zarathustra, as well as Ein Heldenleben and Four Symphonic Interludes from Intermezzo, both led by Sir Andrew Davis. On the Chandos label the MSO has recently released Berlioz’ Harold en Italie with James Ehnes and music by Charles Ives which includes Symphonies Nos. 1 and 2, as well as a range of orchestral works including Three Places in New England, again led by Sir Andrew Davis.

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.

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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JAMES EHNES VIOLIN

James Ehnes has performed with many of the most celebrated orchestras and conductors. This year’s appearances have included the Philadelphia Orchestra (in Pennsylvania and Florida), in quartet with Leif Ove Andsnes, Tabea Zimmermann and Clemens Hagen at Carnegie Hall and in Chicago, and, to mark his 40th birthday, a major tour of every province and territory of his homeland, Canada.

Ehnes is Artistic Director of the Seattle Chamber Music Society. His recordings reflect a repertoire ranging from Adams to Bach, and have been honoured with many international awards and prizes, including a Grammy.

James Ehnes began violin studies at the age of four, and at nine became a protégé of Francis Chaplin. At the Juilliard School (1993–97), he won the Peter Mennin Prize for Outstanding Achievement and Leadership. At 13, he made his orchestral solo debut with the Orchestre symphonique de Montréal. In 2010 he was made a Member of the Order of Canada. Ehnes plays the ‘Marsick’ Stradivarius of 1715.

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The Best… with Ann Blackburn

Oboist Ann Blackburn has been a member of the Melbourne Symphony Orchestra since 2013. When she isn’t on stage rehearsing or

performing with the Orchestra, she is busy making her own reeds. We asked her what’s The Best…

The best thing you can’t live without?

Coffee! And exercise.

The best thing about your instrument?

I think the oboe has the most gorgeous sound. It’s so full of character. There’s something about that sound that just reaches to my soul!

The best concert you’ve performed in?

Hard to pick only one! One of the highlights during my time with the MSO would have to be performing Ma vlast with Jakub Hrůša in 2014. Also, performing Madame Butterfly with the Australian Opera in some of the most remote areas of Australia like Tennant Creek in the NT was incredible. There is something really special about performing to audiences who usually don’t get to hear that sort of stuff.

The best venue you’ve performed in?

The Royal Albert Hall at the BBC Proms during the MSO’s 2014 European Tour. We played to a packed audience of 5,000, with 800 people standing in the stalls! That is one concert I will never forget!

The best recording you own?

Heinz Holliger’s Bach Oboe Concertos recording with Camerata Bern. No one writes for the oboe like Bach, and no one performs Bach better than Heinz Holliger. Holliger was my teacher and has been a huge musical inspiration for me.

The best piece to perform?

Mahler’s 2nd Symphony always leaves me speechless. That finale is enough to unite all of mankind and transcend any race, gender or social class. There is so much suffering in this world. We need more music like this!

The best thing about Melbourne?

The coffee of course! But I also have to mention the bike paths. I love that Melbourne is so bike friendly. I ride to rehearsals most days – the ride past Docklands and along the Yarra is one of the highlights of my day!

The best dish you cook?

I’m not all that keen on cooking but I do make pretty delicious Thai curries.

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In Elgar’s masterly Introduction and Allegro the listener is swept along, delighted and moved by the composer’s invention, only later noticing the skill with which this effect has been achieved. This lays some claim to being Elgar’s most perfect work. When its form is analysed it reveals considerable debt to both Classical and Baroque music, in particular to Handel’s concerto grosso form (in the layout for solo string quartet and full string orchestra), and to Haydn’s later symphonies (in the way the material in the Introduction is worked into the main body of the Allegro). But Elgar’s relation to the music of the past was a free and creative one, and, rather than any similarity to other music, it is his excitement as he tackled the idea of this piece which comes across most strongly.

Elgar’s friend and publisher Jaeger (‘Nimrod’ of the Enigma Variations) had suggested to him in 1904 that he compose a piece for strings: ‘a real bring down the house torrent of a thing such as Bach could write… You might even write a modern fugue.’ Three months later Elgar wrote to Jaeger: ‘I’m doing that string thing – Intro. and Allegro – no working-out part but a devil of a fugue instead. G major and the said divvel in G minor with all sorts of japes and counterpoint.’ As Elgar says, the fugue is on a subject unrelated to any of the music heard thus far, but against it the string quartet begins to develop phrases from the first part of the Allegro.

A violinist himself, Elgar obviously enjoyed rich and varied string sonorities. In the Introduction and Allegro the sound is ‘really stringy in effect’, to use Elgar’s own phrase. The players of the string quartet are used as an ensemble, as individual soloists, and sometimes as part of the orchestra, which is itself divided at times into eight or nine parts. The techniques, as summarised by Elgar’s biographer Diana McVeagh, aim both at power and at subtlety: power through such devices as a quaver rest before attacks on big chords, triple stopping, grace notes to increase sonority and strengthen rhythm, and a calculated use of open strings for brilliance of sound; subtlety through muting, tremolos played near the bridge, and the smack of a plucked chord at the very end after the long-sustained sonority of full bowing.

Perhaps the powerful impression made by the Introduction and Allegro owes most of all to its emotional content. As Elgar tells us in his own program note, ‘The work is really a tribute to that sweet borderland where I have made my home.’ His house in Hereford stood above the Wye River, where in 1904, he heard a voice in the distance singing a song. The song in turn reminded him of some music he had heard a choir singing in Cardiganshire three years earlier. This Welsh tune, whose melodic outline he jotted down, became the third theme of the Introduction, where it is introduced by a solo viola. It is preceded by a strong downward-sweeping theme for the full band, to which the quartet replies with a wistfully rising and falling theme, over which Elgar wrote ‘smiling with a sigh’. In the recapitulation which follows the fugue, the themes are compressed by closer weaving of the texture, and the piece culminates in Elgar’s typical emotionally heightened nobilmente manner, ending with a radiant extension of the Welsh tune.

David Garrett © 2001

The Melbourne Symphony Orchestra first performed Elgar’s Introduction and Allegro on 27 June 1940 under conductor Sir Thomas Beecham. The Orchestra’s most recent performances took place in May 2006 under John Storgårds.

SIR EDWARD ELGAR (1857–1934)

Introduction and Allegro, Op.47

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Bach’s two concertos for violin and strings were composed during his six years as Kapellmeister at the court of Anhalt-Cöthen (1717–1723). The appointment did not require church music from Bach, and many of his finest concerted instrumental works were written for the court’s 17 players. We know that some of his violin concertos are lost, because practically all Bach’s harpsichord concertos show evidence of having been transcribed by him from concertos which were originally for violin. Only two solo concertos for violin, in A minor (BWV1041) and E major (BWV1042), have come down to us in their original form. Their solo parts are thought to have been intended for the leader of the Cöthen orchestra, Joseph Spiess.

The style of these concertos is modelled on the Italian form of which Vivaldi is the leading representative, but – although comparative evaluations are dangerously subjective – it is hard to resist the conclusion that the greatness of Bach’s concertos lies in their superiority to their models. Bach had become familiar with Vivaldi’s concertos during his time at Weimar, and the influence is clear, first in the external form: three movements in the pattern fast-slow-fast. Bach’s bold opening, in the E major Concerto, an upward-striding, fanfare-like arpeggio, is Vivaldian in its outline. Soon, however, it is clear that the motives will not stay with their respective proponents – soloist and tutti – but will invade each other in many-voiced complexity undreamt of by Vivaldi. Only the continuation of the main theme in the fast repeated notes of the tutti violins remains exclusively the province of the tutti.

Soon Bach begins to spin his movement out of that favourite device of Baroque composers, the sequence (repetition of the same phrase at a different pitch). Bach’s sequences are especially exciting and cumulative as they range through different keys, preserving almost all the while the bounce of an underlying dance rhythm. The solo violin’s figuration is often cast in an accompanying role. There is a series of short developments between the returns to the main theme, including a section in the relative minor key, until the momentum is broken by an extended Adagio cadence in G minor, before the reprise begins – a moment of reflection.

As in the A minor Concerto and the Concerto for Two Violins (Bach’s only other surviving violin concerto), the core of this concerto is a slow movement of quite unusual expressivity. It has sent commentators groping for psychological analogies: a dialogue in which the ground bass ostinato of the lower strings remains ‘obsessed’ with its single figure, while the solo soars with an expressive development of the ‘trouble’ of the bass – so free that its music has been compared to the gliding or hovering of a bird, or to ‘the suave authority of a trained dancer’.

The final movement is a dance-like rondo. Here the Vivaldian model is closely followed in that the material of the orchestral ritornello always remains the same. The main centre of interest lies in the technical feats of the soloist, breaking into figuration of ever-greater liveliness – never of great difficulty, but showing off, as does the whole concerto, Bach’s grasp of the expressive potential of the violin.

David Garrett © 2004

The Melbourne Symphony Orchestra first performed this work on 9 November 1939 at a Red Cross concert conducted by Sir Malcolm Sargent and featuring soloist Jeanne Gautier. The MSO’s most recent performances took place in February 2010 with Nigel Kennedy as director/soloist.

JOHANN SEBASTIAN BACH (1685–1750)

Violin Concerto in E, BWV 1042 Allegro – Adagio – Allegro

Adagio

Allegro assai

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Born into a dynasty of church musicians in Tuscany, Giacomo Puccini once quipped that he had been ‘touched by the finger of God’, but that the Almighty had insisted that he only compose for the stage.

After beginning his musical education in his native city of Lucca, Puccini studied under Ponchielli at the conservatory in Milan, where his interest in theatrical arts was ignited. In 1883 he entered his first opera, Le villi, in a competition sponsored by the Sonzogno music publishing company (the same competition that would award first prize to Pietro Mascagni’s Cavalleria rusticana just a few years later). Although Le villi was rejected by the judges, it was taken up by Sonzogno’s rival Ricordi, and subsequently staged first at the Teatro Dal Verme the following year, and at La Scala in 1885, setting its composer on the road to assuming Verdi’s mantle.

Known predominantly for his contribution to the stage (he wrote 12 operas in total), Puccini wrote little chamber music and much of it remains unpublished. Named after a flower which in some countries is traditionally associated with funerals and grief, Crisantemi (Chrysanthemums) was conceived as a memorial for a triply-important personage: Prince Amadeo of Savoy, Duke of Aosta and King of Spain, a friend of Puccini’s who died in 1890. He declared that he wrote Chrysanthemums in one night, but its fine workmanship belies such claims. The work is a rare treasure in Puccini’s output: an instrumental piece that approaches the inspiration of his operas. It unfolds in one elegiac movement for string quartet, and can also be performed by small string orchestra, as it will be in this concert.

Early audiences were impressed by Puccini’s brief foray into the string quartet. Puccini was also quite impressed with himself, and snuck some recycled chrysanthemums into his 1893 opera Manon Lescaut. Opera buffs will recognise their surprise appearance at two key moments: as Manon and Des Grieux converse at a prison window, and in the death scene.

Symphony Australia © 2003

This is the first performance of Crisantemi by the Melbourne Symphony Orchestra.

GIACOMO PUCCINI (1858–1924)

Crisantemi

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Dvořák’s two Serenades, Op.22 for strings and Op.44 for winds, were written respectively at the beginning and end of a crucial three-year period in his career, when he moved from anonymity to international success. In part, this success was prompted by the Austrian State Stipendium for composition which he won on the basis of his E flat symphony. The judges for this stipendium included the notorious critic Eduard Hanslick, the influential conductor Johann Herbeck, and one Johannes Brahms, representing composers.

So impressed was Brahms with the young Dvořák that he wrote a letter of encouragement and put Dvořák in touch with the publisher Simrock, who immediately published Dvořák’s Moravian Duets and commissioned the Slavonic Dances. With the latter of these two works in particular now widely distributed and performed throughout Europe, and with Brahms publicly singing his praises, the 34-year-old Dvořák began to achieve a reputation beyond his native Bohemia as one of the leading young European composers.

According to Dvořák’s original manuscript, the score of the Serenade in E was ‘begun on 3 May 1875’ and ‘finished on 14 May at 10pm’. Not only was it astonishingly quick in the composition, but it came in the middle of a five-month creative frenzy in 1875 which also saw the composition of the Moravian Duets, the Piano Trio in B flat, the Piano Quartet in D, and the Fifth Symphony. It was initially scheduled for a performance in Vienna under Hans Richter in the autumn of 1875, but when that failed to eventuate, it was ultimately premiered in Prague in 1876 under Adolf Čech.

In its structural simplicity, its genial moods and its sense of balance, the Serenade is in part conceived in the spirit of the 18th century divertimento. Dvořák nonetheless was never a composer to be bound by tradition and the extensive use of canon and the occasional suggestions of cyclic form indicate quite clearly that there was also a more ‘modern’ impulse at work in its composition. It was, in fact, one of the first works in which the distinctive Dvořákian ‘voice’ became apparent, and remains one of his most spontaneous and charming creations.

The first movement – in uncomplicated ternary form and based on a folk-like melody – begins with an imitative dialogue between the second violins and cellos, and as the movement develops it becomes deceptively complex in its string writing. Himself a string player (a violist), Dvořák in this movement subdivides the viola and cello lines, at times dividing the orchestra into seven parts, leading to particularly rich instrumental sonorities.

It is followed by a waltz in C sharp minor in which the violins play the melancholy principal theme in octaves. An extended D flat major trio features extensive canonic repetition and includes an unusual modulation from D flat to E major. The enigmatic Scherzo follows, in F major and a tripping 2/4 time, beginning with a canon between the cellos and first violins which returns repeatedly throughout the movement. It is built on a whimsical main theme and two subsidiary melodies, which are treated almost like a rondo with coda.

The emotional core of the work is in the serene Larghetto, whose main theme not only looks forward to the characteristic Dvořákian ‘dumka’ movements of later works, but is also related to the waltz of the Serenade’s second movement. Then follows the Finale, starting, like the equivalent movement in the Fifth Symphony, in a ‘foreign’ key, in this case F sharp minor. The tonic of E major is only re-established with the second subject, where the violins dance over running semiquavers in the violas. The movement continually brings back earlier material, including, toward the end, the moderato theme from the first movement.

Martin Buzacott © Symphony Australia

The Melbourne Symphony Orchestra first performed this work in March 1961 with Clive Douglas, and most recently in November 2011 under Sir Charles Mackerras.

ANTONÍN DVOŘÁK (1841–1904)

Serenade for Strings in E, Op.22 Moderato

Tempo di Valse

Scherzo (Vivace)

Larghetto

Finale (Allegro vivace)

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SUPPORTERS

Artist Chair BenefactorsHarold Mitchell AC Chief Conductor Chair

Patricia Riordan Associate Conductor Chair

Joy Selby Smith Orchestral Leadership Chair

The Gross Foundation Principal Second Violin Chair

Sophie Rowell, The Ullmer Family Foundation Associate Concertmaster 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 Education Supported by Mrs Margaret Ross AM and Dr Ian Ross

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 LiHarold Mitchell ACMS Newman FamilyJoy Selby SmithUllmer Family Foundation Anonymous (1)

Impresario Patrons $20,000+Michael AquilinaPerri Cutten and Jo DaniellMargaret Jackson AC Mimie MacLaren John McKay and Lois McKay

Maestro Patrons $10,000+John and Mary BarlowKaye and David BirksPaul and Wendy Carter Mitchell ChipmanJan and Peter ClarkSir Andrew and Lady Davis Future Kids Pty Ltd Gandel PhilanthropyRobert & Jan GreenIn memory of Wilma CollieDavid Krasnostein and Pat Stragalinos Mr Greig Gailey and Dr Geraldine LazarusThe Cuming BequestIan and Jeannie Paterson Onbass FoundationElizabeth Proust AORae Rothfield Glenn 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 TangAnonymous (1)

Principal Patrons $5,000+Linda BrittenDavid and Emma CapponiTim and Lyn EdwardJohn and Diana Frew Susan Fry and Don Fry AODanny Gorog and Lindy Susskind Lou Hamon OAMNereda Hanlon and Michael Hanlon AMHans and Petra HenkellHartmut and Ruth HofmannHMA FoundationJenny and Peter HordernJenkins Family FoundationSuzanne Kirkham

Vivien and Graham KnowlesDr Elizabeth A Lewis AM Peter LovellAnnette MaluishMatsarol FoundationMr and Mrs D R MeagherWayne and Penny MorganMarie Morton FRSA Dr Paul Nisselle AM James and Frances PfeifferLady Potter ACStephen Shanasy Gai and David TaylorThe Hon. Michael Watt QC and Cecilie Hall Jason Yeap OAMAnonymous (6)

Associate Patrons $2,500+Dandolo PartnersWill and Dorothy Bailey BequestBarbara Bell in memory of Elsa BellMrs S BignellBill BownessStephen and Caroline BrainLeith and Mike Brooke Bill and Sandra BurdettOliver CartonJohn and Lyn CoppockMiss Ann Darby in memory of Leslie J. Darby Mary and Frederick Davidson AMNatasha DaviesPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonJane Edmanson OAMDr Helen M FergusonMr Bill FlemingMr Peter Gallagher and Dr Karen MorleyColin Golvan QC and Dr Deborah GolvanCharles and Cornelia GoodeSusan and Gary HearstColin Heggen in memory of Marjorie HeggenGillian and Michael HundRosemary and James Jacoby John and Joan Jones Kloeden Foundation Sylvia LavelleH E McKenzieAllan and Evelyn McLarenDon and Anne MeadowsAndrew and Sarah Newbold

Ann Peacock with Andrew and Woody KrogerSue and Barry Peake Mrs W Peart Pzena Investment Charitable FundRuth and Ralph Renard S M Richards AM and M R RichardsTom and Elizabeth RomanowskiMax and Jill SchultzJeffrey Sher Diana and Brian Snape AMGeoff and Judy Steinicke Mr Tam Vu and Dr Cherilyn TillmanWilliam and Jenny UllmerBert and Ila VanrenenKate and Blaise VinotBarbara and Donald WeirBrian 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, Dr Julianne Bayliss, Timothy and Margaret Best, David and Helen Blackwell, Michael F Boyt, Philip and Vivien Brass Charitable Foundation, M Ward Breheny, Lino and Di Bresciani OAM, Mr John Brockman OAM and Mrs Pat Brockman, Suzie Brown, Jill and Christopher Buckley, Lynne Burgess, Dr Lynda Campbell, Andrew and Pamela Crockett, Jennifer Cunich, 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, Applebay Pty Ltd, 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,

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SUPPORTERS

Dr Marged Goode, Philip and Raie Goodwach, Louise Gourlay OAM, Ginette and André Gremillet, Max Gulbin, Dr Sandra Hacker AO and Mr Ian Kennedy AM, Jean Hadges, Paula Hansky OAM, Tilda and Brian Haughney, Julian and Gisela Heinze, Penelope Hughes, Dr Alastair Jackson, Basil and Rita Jenkins, Stuart Jennings, George and Grace Kass, Irene Kearsey, Brett Kelly and Cindy Watkin, Ilma Kelson Music Foundation, Dr Anne Kennedy, George and Patricia Kline, Bryan Lawrence, William and Magdalena Leadston, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Ann and George Littlewood, Violet and Jeff Loewenstein, The Hon Ian Macphee AO and Mrs Julie Macphee, Elizabeth H Loftus, Vivienne Hadj and Rosemary Madden, 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, Margaret Plant, Kerryn Pratchett, Peter Priest, Eli Raskin, Bobbie Renard, Peter and Carolyn Rendit, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, Zelda Rosenbaum OAM, Antler Ltd, Doug and Elisabeth Scott, 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, 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 (17)

The Mahler SyndicateDavid and Kaye Birks, John and Jenny Brukner, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, 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 TrustsCreative Partnerships AustraliaCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Harold Mitchell FoundationIvor Ronald Evans Foundation, managed by Equity Trustees LimitedThe 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, David Angelovich, 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 (23)

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

John Brockman AO Life Member

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: $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: philanthropy@mso.com.au

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ORCHESTRA

First ViolinsDale Barltrop Concertmaster

Eoin Andersen Concertmaster

Erica Kennedy*† Guest Principal

Sophie Rowell Associate Concertmaster (The Ullmer Family Foundation0)

Peter Edwards Assistant Principal

Kirsty BremnerSarah CurroPeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn Taylor(Michael Aquilina0)

Robert John*Jennen Ngiau-Keng*Oksana Thompson*

Second ViolinsMatthew Tomkins Principal Second Violin(The Gross Foundation0)

Robert Macindoe Associate Principal

Monica Curro Assistant Principal (Danny Gorog & Lindy Suskind0)

Mary AllisonIsin CakmakciogluFreya FranzenCong GuAndrew HallFrancesca HiewRachel HomburgChristine Johnson Isy WassermanPhilippa WestPatrick WongRoger YoungAaron Barnden*

ViolasChristopher Moore Principal (Di Jameson0)

Fiona Sargeant Associate Principal

Lauren BrigdenKatharine BrockmanChristopher CartlidgeGabrielle HalloranTrevor Jones Cindy WatkinCaleb WrightCeridwen Davies*Isabel Morse*

CellosDavid Berlin Principal Cello(MS Newman Family0)

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda BrockmanRohan de KorteKeith JohnsonSarah MorseAngela SargeantMichelle Wood(Andrew & Theresa Dyer0)

Double BassesSteve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton

FlutesPrudence Davis Principal Flute (Anonymous0)

Wendy Clarke Associate Principal

Sarah Beggs

PiccoloAndrew Macleod Principal

OboesJeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn

Cor AnglaisMichael Pisani Principal

ClarinetsDavid Thomas Principal

Philip Arkinstall Associate Principal

Craig Hill

Bass ClarinetJon Craven Principal

BassoonsJack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

ContrabassoonBrock Imison Principal

Horns Geoff Lierse Associate Principal

Saul Lewis Principal Third

Jenna BreenAbbey EdlinTrinette McClimontRobert Shirley*

TrumpetsGeoffrey Payne Principal

Shane Hooton Associate Principal

William EvansJulie Payne

TrombonesBrett Kelly Principal

Iain Faragher*

Bass TromboneMike Szabo Principal

TubaTimothy Buzbee Principal

TimpaniChristine Turpin Principal

PercussionRobert Clarke Principal

John ArcaroRobert Cossom

HarpYinuo Mu Principal

HarpsichordDonald Nicolson*

* Guest Musician† Courtesy of Orchestra Victoria

0 Position supported by

BOARD

Managing DirectorSophie Galaise

ChairmanMichael Ullmer

Board MembersAndrew DyerDanny GorogMargaret Jackson ACBrett Kelly

David Krasnostein David LiHelen Silver AOKee Wong

Company SecretaryOliver Carton

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Linda Britten Naomi Milgrom Foundation

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Sibelius & Shostakovich

Book now mso.com.au

17 November at 8pm 19 November at 2pm Melbourne Recital Centre

MSO Concertmaster Dale Barltrop directs members of the orchestra in two Sibelius works and Shostakovich’s anguished Chamber Symphony, Op.73a.

Dale Barltrop violin/director

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Complimentary Chauffeur-drive service* w Fine dining on demand w World-class service

Relax to music and smooth sips of Hennessy Paradis, or a good story and a glass of Dom Perignon. Savour every indulgence in our First Class Private Suites.

Principal Partner of the Melbourne Symphony Orchestra.

Master the art of me-time

*Complimentary Chauffeur-drive service available for First Class and Business Class, excluding Trans-Tasman services and codeshare flights operated by Qantas to Southeast Asia. Mileage restrictions apply. For full terms and conditions visit emirates.com/au. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.

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Musicians of the MSO performing in the Mount Langi Ghiran Vineyard 2015

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