CONCERT PROGRAMCONCERT PROGRAM

PLAYS SHOSTAKOVICH 5

10 & 12 AUGUST 2017

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mso.com.au (03) 9929 9600

Running time: 2 hours, including 20-minute interval

Please note, Saturday’s pre-concert talk by MSO Librarian, Alastair McKean will be recorded for podcast by 3MBS Fine Music Melbourne.

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.

Melbourne Symphony Orchestra

Jakub Hrůša conductor

Alina Ibragimova violin

Bartók Violin Concerto No.2

INTERVAL

Shostakovich Symphony No.5

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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.

The MSO performs a variety of concerts ranging from core classical 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 MSO also delivers innovative and engaging programs to audiences of all ages through its Education and Outreach initiatives.

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

JAKUB HRŮŠA CONDUCTOR

Jakub Hrůša succeeded Jonathan Nott as Chief Conductor of the Bamberg Symphony in September 2016. He is Permanent Guest Conductor of the Czech Philharmonic, Principal Guest Conductor of the Tokyo Metropolitan Symphony Orchestra, and served as Music Director and Chief Conductor of PKF-Prague Philharmonia from 2009-2015. In March 2017 he was announced as Principal Guest Conductor of the Philharmonia Orchestra, alongside Santtu-Matias Rouvali, from the 2017/18 season.

Jakub Hrůša is a regular guest with many of the world’s leading orchestras. He has conducted the Leipzig Gewandhaus Orchestra, Cleveland Orchestra and Orchestre Philharmonique de Radio France. In opera, he has been a regular guest at Glyndebourne, conducting The Cunning Little Vixen, A Midsummer Night’s Dream, Carmen, The Turn of the Screw, Don Giovanni and La bohème, and serving as Music Director of Glyndebourne On Tour for three years. Elsewhere he has conducted at Vienna State Opera (a new production of Janáček’s The Makropolos Case), Frankfurt Opera (Puccini’s Il trittico), Opéra National de Paris (Rusalka), Finnish National Opera (Jenůfa), Royal Danish Opera (Boris Godunov), and Prague

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ALINA IBRAGIMOVA VIOLIN

Alina Ibragimova plays music from the baroque era to new commissions on both modern and period instruments. She has performed with orchestras such as the London Symphony, Cleveland Orchestra, Orchestra of the Age of Enlightenment and all the BBC orchestras. Conductors with whom she has worked include Bernard Haitink, Valery Gergiev, Sir Charles Mackerras, Paavo Järvi and Yannick Nézet-Séguin.

As a recitalist Alina Ibragimova has appeared at the Concertgebouw and Carnegie Hall. She has given complete cycles of Mozart and Beethoven violin sonatas with Cédric Tiberghien. Future concerts include appearances with her quartet Chiaroscuro in the UK, Switzerland and Germany and Prokofiev’s Violin Concerto No.1 with the London Philharmonic.

Alina Ibragimova was born in Russia and studied at Moscow’s Gnesin School before moving with her family to the UK where she studied at the Menuhin School and Royal College of Music. Honours include an MBE in the New Years’ list, 2016. She performs on a c.1775 Anselmo Bellioso violin generously provided by Georg von Opel.Image courtesy Eva Vermandel

National Theatre (The Cunning Little Vixen and Rusalka).

Recent appearances have included debuts with the Chicago Symphony and New York Philharmonic, his debut concert with the Tonhalle Orchester, Zürich conducting Bartók, Schumann and Janáček, and a concert of Kodály, Liszt and Bartók with the Berlin Radio Symphony Orchestra. He conducted the Boston Symphony in October 2016. Just prior to appearing in Melbourne, he conducted the Tokyo Metropolitan Orchestra in Brahms’ Third Symphony and Josef Suk’s symphonic poem, Ripening. From here he goes to the Proms to conduct the BBC Symphony Orchestra in a concert of Smetana, Martinů, Dvořák, Janáček and Suk.

Jakob Hrůša’s recordings include a live recording of Smetana’s Má vlast from the Prague Spring Festival, as well as live recordings of Berlioz’s Symphonie fantastique, Strauss’ Alpine Symphony, and Suk’s Asrael Symphony. He has recorded Tchaikovsky and Bruch Violin Concertos with Nicola Benedetti and the Czech Philharmonic. His latest disc is Má vlast with the Bamberg Symphony, released to coincide with the start of his tenure as their Chief Conductor.

Originally from Brno, Jakob Hrůša studied conducting at the Academy of Performing Arts in Prague. He is President of the International Martinů Circle, and in 2015 was the inaugural recipient of the Sir Charles Mackerras Prize. He first appeared with the Melbourne Symphony Orchestra in 2011 and most recently appeared in 2015, conducting Rimsky-Korsakov’s Scheherazade.Image courtesy Zbynek Maderyc

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BÉLA BARTÓK (1881–1945)

Violin Concerto No.2, Sz.112

Allegro non troppoAndante tranquilloAllegro molto

Alina Ibragimova violin

When the great Hungarian composer Béla Bartók’s new work for violin and orchestra was premiered in early 1939, it was titled simply ‘Violin Concerto’. Only in 1956, after the manuscript of an early, unperformed violin concerto from around 1908 resurfaced, was the composer’s catalogue of works posthumously revised, and the two concertos were assigned specific numbers. Whilst the First Concerto is a compact and private work (dedicated to the violinist Stefi Geyer, with whom he was in love), the Second Concerto is an unashamedly open and broadly conceived composition that displays Bartók’s masterful craft in its full maturity.

Bartók wrote his Violin Concerto No.2 for his younger compatriot, the highly respected solo violinist and quartet leader Zoltán Székely. They had known each other since the early 1920s, and the violinist had already premiered Bartók’s virtuosic Rhapsody No.2 for violin and orchestra. Bartók was a magnificent pianist, but as he did not play the violin himself, he regularly consulted various violinists – including Joseph Szigeti, Jelly d’Arányi, and Yehudi Menuhin, in addition to Székely

PROGRAM NOTES

– when composing works featuring the instrument. His resultant writing for string instruments, as can be observed in the six String Quartets, the Violin Sonatas and various solo works, is uniquely inventive, effective and brilliant.

The solo part of the Violin Concerto No.2 is immensely difficult and exploits a wide range of violinistic sonorities and techniques. A large orchestra is used, including a full battery of percussion, with notable parts for the harp and celesta. Bartók composed the work in just over a year, completing it on New Year’s Eve 1938. He was unable to be present at the world premiere, which Székely successfully gave with Amsterdam’s Concertgebouw Orchestra under Willem Mengelberg in March the following year. When he eventually did hear a performance in 1943 after his emigration to America, he expressed relief about the balance and rich scoring, remarking that ‘there was no trouble with regard to the instrumentation’.

A newfound diatonic openness and harmonic clarity in Bartók’s musical language is evident in the Violin Concerto No.2. The outer movements are unmistakably based in the key of B major, though meandering chromatic elements (for example in the first movement’s cascading twelve-tone second theme) are also prominent. Symmetrical constructive procedures are found on a number of levels, a feature that is characteristic of many of Bartók’s works of the 1930s. The finale

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DMITRI SHOSTAKOVICH (1906–1975)

Symphony No.5 in D minor, Op.47

Moderato – Allegro non troppoAllegrettoLargoAllegro non troppo

Shostakovich’s Fifth Symphony is one of the iconic works of the 20th century. In purely musical terms it is a masterpiece, coherently expressed and brilliantly orchestrated in a large-scale architecture whose pacing is always expertly judged. But the work’s status derives at least in part from extra-musical considerations: the circumstances in which the work was conceived were extraordinary, and the piece has become a powerful symbol in the battle for the composer’s ideological soul.

The well-known facts of the symphony’s genesis bear repeating. By 1936 Shostakovich’s opera Lady Macbeth of Mtsensk had enjoyed a very successful two-year run, but then Stalin, whose tastes tended to extend no further than Lehár’s Merry Widow, saw the show. An anonymous review appeared in the official newspaper Pravda accusing the composer of producing ‘chaos instead of music’ and warning that this ‘could end very badly’ for him. Shostakovich took to sleeping in the hallway of his apartment so as not to disturb his family when the NVKD (the predecessor of the KGB) arrived to arrest him – though it never came to that. Lady Macbeth was pulled

mirrors and varies the first movement material, and it even contains a second cadenza (accompanied by orchestral interjections) towards the work’s end. The generally reflective central movement provides emotional contrast to the bravura that surrounds it. Cast as a set of variations, it is based on a simple, touching, folk-like melody that is stated by the violin at the outset.James Cuddeford © 2017

The Melbourne Symphony Orchestra first performed this concerto in August 1953 with conductor Hans Schmidt-Isserstedt and soloist Alan Loveday. The Orchestra most recently performed it on 17 November 2007 with Markus Stenz and Kolja Blacher.

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PROGRAM NOTES

from the stage and revised as the toned-down Katerina Ismailova, and he withdrew, or allowed to be withdrawn, his Symphony No.4. He had good reason for alarm. Stalin’s infamous ‘purges’, the Great Terror, was at its height, resulting in the incarceration, and often murder, of a colossal number of leading intellects in all walks of life as well as potential political rivals. Whether out of caprice, paranoia or sheer sadism, Stalin came close to fatally weakening his country.

Shostakovich’s Fourth Symphony – which had to wait decades for a performance – is an epic, blisteringly ironic work where triumphal fanfares turn sour in the space of a single bar and glacial spaces unfold menacingly. Composed in 1937, the Fifth, by contrast, is essentially a neoclassical piece, the angular contour and dotted rhythms of its opening gesture immediately recalling the baroque overture. The work has four movements in conventional forms (sonata-allegro, scherzo and so on); its musical language affirms traditional diatonic harmony in a Beethovenian journey from a striving D minor opening to the blazing major-key optimism of the finale. Following the common practice of Russian composers like Borodin, Tchaikovsky and Rachmaninov, Shostakovich places the dance-like scherzo second, before an emotionally powerful Largo which alludes briefly to his own setting of Pushkin’s poem Rebirth. At the time Shostakovich claimed that ‘man with

all his experiences [is] in the centre of the composition, which is lyrical in form from beginning to end. In the finale, the tragically tense impulses of the earlier movements are resolved in optimism and joy of living.’ Composers’ program notes are often unreliable, but years later Shostakovich’s conductor son, Maxim, claimed that his father had described it as a ‘heroic symphony’ – not unlike Beethoven’s Third in intent.

The work was a huge success at its premiere, with audience members weeping during the slow movement and on their feet, cheering, as the finale drew to a close (they stayed on their feet for 40 minutes after the piece finished!) As a work which reflected the ideals of Socialist Realism, and which was clearly such a hit with the masses, the Symphony was Shostakovich’s passport to a return – for now at least – to official favour. When a journalist described it as ‘an artist’s response to just criticism’ Shostakovich didn’t demur, and that phrase has come to be seen as the work’s subtitle, though there is no evidence that it was indeed Shostakovich’s expressed view.

During the early stages of the Cold War, Shostakovich was derided in the West as a composer of what Virgil Thomson called ‘national advertising’ and a work like the Fifth seen as a piece of mandatory optimism and Soviet propaganda. In the late 20th century, however, that attitude changed radically as the view emerged that Shostakovich

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was a secret dissident, encoding anti-Soviet ‘messages’ in his music, including the Fifth Symphony. This view gathered strength with the publication in 1979 (four years after Shostakovich’s death) of a volume entitled Testimony: Memoirs of Dmitri Shostakovich as related to and edited by Solomon Volkov. In it Volkov quotes Shostakovich contradicting what he told his son, by saying:

I think it is clear to everyone what happens in the Fifth. The rejoicing is forced, created under threat, as in Boris Godunov. It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering, ‘our business is rejoicing, our business is rejoicing.’ What kind of apotheosis is that? You have to be a complete oaf not to hear that.

Testimony created an ongoing furore, with musicologists and journalists confidently proclaiming the work either a complete fraud or a valuable document of the composer’s thought. In 2004 one of the sceptics, Laurel E. Fay, subjected the text to detailed examination. Fay cast doubt on the authenticity of the book, having discovered that the eight pages which the composer signed as having read all contained material which was not only innocuous but all of which had been published before. There was no guarantee that he saw, let alone dictated, the rest.

The stylistic change that came about with the Fifth was almost certainly fuelled by Shostakovich’s brush with the regime, and it is no accident that he began his epic cycle of intensely personal string quartets at this time. But certain facts are inconvenient to a simplistic reading of the man and his work, such as his decision to join the Communist Party in 1960, long after the immediate danger of Stalinism had passed. Moreover the Fifth Symphony was at one stage seen as pro-Soviet tub-thumping and then almost overnight regarded as a denunciation of the very same regime. Maybe it’s neither, but as critic Alex Ross puts it: ‘The notes, in any case, remain the same. The symphony still ends fortissimo, in D major, and it still brings audiences to their feet.’Gordon Kerry © 2007

The Melbourne Symphony Orchestra first performed Shostakovich’s Symphony No.5 in May 1947 with conductor Sir Bernard Heinze, and most recently in December 2011 under Jonathan Nott.

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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#

Jennen Ngiau-Keng*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*

VIOLAS

Christopher Moore PrincipalDi Jameson#

Fiona Sargeant Associate Principal

Lauren BrigdenKatharine BrockmanChristopher CartlidgeMichael Aquilina#

Anthony ChatawayGabrielle HalloranTrevor Jones Cindy WatkinElizabeth WoolnoughCaleb WrightCeridwen Davies*Lisa Grosman*Helen Ireland*

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#

Rachel Atkinson*Jovan Pantelich*

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser#

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

Lloyd Van’t Hoff*

BASSOONS

Jack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

CONTRABASSOON

Brock Imison Principal

HORNS

Valentin Eschmann* 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

Tony Bedewi*^

PERCUSSION

Robert Clarke Principal

John ArcaroRobert CossomRobert Allan*Evan Pritchard*

HARP

Yinuo Mu Principal

Yi Yun Loei*

PIANO/CELESTE

Louisa Breen*

# Position supported by

* Guest Musician

^ Courtesy of London 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 ◊

David and Angela LiMS Newman Family Foundation ◊

Anthony Pratt ◊

The Pratt FoundationJoy Selby SmithUllmer Family Foundation ◊

Anonymous (1)

VIRTUOSO PATRONS $50,000+Di Jameson ◊

David Krasnostein and Pat StragalinosMr Ren Xiao Jian and Mrs Li QuianHarold Mitchell ACKim Williams AM

IMPRESARIO PATRONS $20,000+Michael Aquilina ◊

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Elizabeth Proust AORae RothfieldGlenn SedgwickHelen Silver AO and Harrison YoungMaria SolàProfs. G & G Stephenson, in honour of the great Romanian musicians George Enescu and Dinu LipattiGai and David TaylorJuliet TootellAlice VaughanKee Wong and Wai TangJason Yeap OAM

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Andrew and Theresa Dyer ◊

Mr Bill FlemingJohn and Diana FrewSusan Fry and Don Fry AOSophie Galaise and Clarence Fraser ◊

Geelong Friends of the MSO ◊

Jennifer GorogHMA FoundationLouis Hamon OAMNereda Hanlon and Michael Hanlon AM ◊

Hans and Petra HenkellFrancis and Robyn HofmannHartmut and Ruth HofmannJack HoganDoug HooleyJenny and Peter HordernDr Alastair JacksonD & CS Kipen on behalf of Israel KipenDr Elizabeth A Lewis AMPeter LovellLesley McMullin FoundationMr and Mrs D R MeagherDavid and Helen Moses ◊Dr Paul Nisselle AMThe Rosemary Norman Foundation ◊

Ken Ong, in memory of Lin OngBruce Parncutt and Robin CampbellJim and Fran PfeifferPzena Investment Charitable FundAndrew and Judy Rogers ◊

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Max and Jill SchultzStephen ShanasyMr Tam Vu and Dr Cherilyn Tillman ◊

The Hon. Michael Watt QC and Cecilie HallLyn Williams AMAnonymous (1)

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 ◊

Susan and Gary HearstColin Heggen, in memory of Marjorie Drysdale HeggenRosemary and James JacobyJenkins Family FoundationC W Johnston FamilyJohn JonesGeorge and Grace KassIrene Kearsey and M J RidleyKloeden Foundation

Bryan LawrenceAnn and George LittlewoodH E McKenzieAllan and Evelyn McLarenDon and Anne MeadowsMarie Morton FRSAAnnabel and Rupert Myer AOAnn Peacock with Andrew and Woody KrogerSue and Barry PeakeMrs W PeartGraham and Christine PeirsonJulie Reid Ruth and Ralph RenardS M Richards AM and M R RichardsTom and Elizabeth RomanowskiJeffrey Sher QC and Diana Sher OAMDiana and Brian Snape AMDr Norman and Dr Sue SonenbergGeoff and Judy SteinickeWilliam and Jenny UllmerElisabeth WagnerBrian and Helena WorsfoldPeter and Susan YatesAnonymous (8)

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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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