THE DREAM OF GERONTIUS€¦ · the English choral repertoire, but it was not well received at its first performance on 3 October 1900. The circumstances were unfavourable. Insufficient

THE DREAM OF GERONTIUS

8–10 MARCH 2018

CONCERT PROGRAM

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MELBOURNE SYMPHONY ORCHESTRA

The Dream of Gerontius: A Journey into the Soul

Elgar’s masterpiece The Dream of Gerontius is regarded as one of the most powerful religious choral works ever written. The BBC called it a ‘National Monument’, whilst ClassicFM labelled it ‘the most epic choral stupendousness’.

But it was not all smooth sailing for Elgar. His choice of text, not from the Holy Scriptures, but instead by Cardinal John Henry Newman, initially antagonised many Anglicans, who rejected the Catholic doctrine they percieved to be embedded in the work. The poem, written after Newman's conversion to Catholicism, explores the final journey of an old man. He is nearing death, and reawakens as a soul, preparing for judgment, eventually being sent to purgatory.

What is death, what is the afterlife? Two of the most existential questions we have to face in life. But do the answers provided by a Victorian Roman Catholic cardinal appeal to a 21st century audience? Why would we perform The Dream of Gerontius?

In his book Religion for Atheists, Swiss-born British author and philosopher, Alain de Botton gives us some compelling arguments why Christian art can still be relevant in today’s secularised society. ‘We are creatures of the body as well as of the mind, and so we require art to stir our languid imaginations and motivate us in ways that mere philiosophical expositions cannot’, he writes. ‘Good art is the sensuous presentation of those ideas which matter

most to the proper functioning of our soul – and yet which we are most inclined to forget, even though they are the basis for our capacity for contentment and virtue.’

Elgar’s sweeping, dramatic, and indeed sensuous score opens up space for genuine feeling and for contemplation on our own mortality. What a journey this piece is! And after that journey the Angel sings the most comforting words; ‘softly and gently, dearly-ransomed soul. In my most loving arms I now enfold thee.’

The Dream of Gerontius is an epic journey into our soul and we are all the richer for it.

Ronald Vermeulen Director of Artistic Planning

For further listening we recommend:

Sir Andrew Davis conducted an award winning CD Recording of The Dream of Gerontius, featuring Sarah Connolly, Stuart Skelton, David Soar and the BBC Symphony Chorus and Orchestra (Chandos CHSA 5140).

More British music from Sir Andrew Davis and the MSO on 20 August and 1 September when, The Planets by Gustav Holst is on the program, whilst lovers of choral music will relish to hear Berlioz’ Christmas oratorio l’Enfance du Christ with Sir Andrew Davis, the MSO Chorus and a cast including Sasha Cooke, Andrew Staples and Roderick Williams on 15, 16 and 18 June 2018.

ARTISTS

Melbourne Symphony OrchestraSir Andrew Davis conductor

Catherine Wyn-Rogers mezzo-sopranoStuart Skelton tenor

Nathan Berg bass-baritoneMelbourne Symphony Orchestra Chorus

Warren Trevelyan-Jones chorus master, MSO ChorusThe Choir of Trinity College, Melbourne

Christopher Watson director of music, Trinity College

Elgar The Dream of Gerontius

Running time 2 hours, including intervalIn 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.mso.com.au

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MEET THE CONDUCTOR MEET THE ARTISTS

CATHERINE WYN-ROGERS MEZZO – SOPRANO

Catherine Wyn-Rogers has performed with conductors such as Leonard Slatkin, Bernard Haitink, Gennady Rozhdestvensky, Sir Charles Mackerras, Zubin Mehta, Sir Roger Norrington and Sir Andrew Davis, and appeared at festivals such as the BBC Proms, Aldeburgh, and the Three Choirs. Recent recordings include The Dream of Gerontius with Daniel Barenboim and Rachmaninov’s All-Night Vigil.

Catherine Wyn-Rogers began an ongoing relationship with the Royal Opera House, Covent Garden in 1989 as Schwertleite in Die Walküre. She has also been a regular guest at Bavarian State Opera and English National Opera and worked at La Scala and Paris Opéra, among others. She appeared with the Melbourne Symphony Orchestra last year in Mahler’s Das Lied von der Erde. Forthcoming performances include Handel’s Hercules with Boston’s Handel and Haydn Society.

SIR ANDREW DAVIS

Chief Conductor of the Melbourne Symphony Orchestra, Sir Andrew Davis is also Music Director and Principal Conductor of the Lyric Opera of Chicago. He is Conductor Laureate of both the BBC Symphony Orchestra and the Toronto Symphony, where he has also been named interim Artistic Director until 2020. In a career spanning more than 40 years he has conducted virtually all the world’s major orchestras and opera companies, and at the major festivals. Recent highlights have included in a new production at Chicago Lyric.

Sir Andrew’s many CDs include a Messiah nominated for a 2018 Grammy, Bliss’s The Beatitudes, and recordings with the Bergen Philharmonic of Symphonies and orchestral works by Vaughan Williams nominated for a 2018 BBC Music Magazine Award. With the MSO he has just released a third recording in the ongoing Richard Strauss series, featuring the Alpine Symphony and Till Eulenspiegel.


Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s longest-running professional orchestra. Engaging more than three million people each year, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming. As a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world. Its international audiences include China, where MSO will tour in May 2018 and Europe, where the MSO toured in 2014. 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 works with Associate Conductor Benjamin Northey and Assistant Conductor Tianyi Lu, as well as with such eminent recent guest conductors as Tan Dun, John Adams, Jakub Hrůša, Jukka-Pekka Saraste, Markus Stenz and Simone Young.

STUART SKELTON TENOR

Winner of the 2014 International Opera Awards for Best Male Singer and two Helpmann Awards, Stuart Skelton appears on the leading concert and operatic stages of the world. His repertoire encompasses roles from Wagner’s Lohengrin, Parsifal, Rienzi, Janáček’s Laca, Saint-Saëns’ Samson, Beethoven’s Florestan and Britten’s Peter Grimes.

Recent performances have included Tristan (Tristan und Isolde) for the Metropolitan Opera and English National Opera, Lohengrin for Opéra National de Paris, Laca (Jenůfa) for Bavarian State Opera, Mahler’s Das Lied von der Erde with the Metropolitan Opera Orchestra and the Melbourne Symphony Orchestra, Fidelio at the BBC Proms, Peter Grimes at Edinburgh Festival, and Siegmund (Die Walküre) at the Royal Opera House, Covent Garden.

His recordings include Beethoven’s 9th Symphony with Sir Charles Mackerras and the Scottish Chamber Orchestra and live recordings of Die Walküre with both the State Opera of South Australia and Seattle Opera, as well as a new recording under the baton of Jaap van Zweden.

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WARREN TREVELYAN-JONES MSO CHORUS MASTER

Warren Trevelyan-Jones is the Head of Music at St James’, King Street in Sydney and is regarded as one of the leading choral conductors and choir trainers in Australia. Warren has had an extensive singing career as a soloist and ensemble singer in Europe, including nine years in the Choir of Westminster Abbey, and regular work with the Gabrieli Consort, Collegium Vocale (Ghent), the Taverner Consort and The Kings Consort.

Warren is also Director of the Parsons Affayre, Founder and Co-Director of The Consort of Melbourne and, in 2001 with Dr Michael Noone, founded the Gramophone award-winning group Ensemble Plus Ultra. Since 2015, he has been regular Guest Chorus Master with the Melbourne Symphony Orchestra Chorus. Warren is also a qualified music therapist.

MELBOURNE SYMPHONY ORCHESTRA CHORUS

For more than 50 years the Melbourne Symphony Orchestra Chorus has been the unstinting voice of the Orchestra’s choral repertoire.

The MSO Chorus sings with the finest conductors including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, Bernard Labadie, Vladimir Ashkenazy and Manfred Honeck, and is committed to developing and performing new Australian and international choral repertoire. Commissions include Brett Dean’s Katz und Spatz, Ross Edwards’ Mountain Chant, and Paul Stanhope’s Exile Lamentations.

Recordings by the MSO Chorus have received critical acclaim. It has performed across Brazil and at the Cultura Inglese Festival in Sao Paolo, in Kuala Lumpur with the Malaysian Philharmonic Orchestra, with The Australian Ballet, Sydney Symphony Orchestra, at the AFL Grand Final and at Anzac Day commemorative ceremonies.

NATHAN BERG BASS – BARITONE

Canadian bass-baritone Nathan Berg possesses a repertoire ranging from the baroque to contemporary opera. He appeared as the King of Scotland in Handel’s Ariodante in his Salzburg Festival debut and as First Scientist in Giorgio Battistelli’s CO2 for his 2015 debut at La Scala.

He has established a reputation as a specialist in Wagner and from Melbourne travels to Germany to appear as Wotan in the Baden State Theatre production of Das Rheingold. Other forthcoming performances include Rachmaninov’s The Bells in St. Louis and Lutoslawski’s L’Espace du sommeil with the Tonhalle Orchestra at the Katowice Festival.

Nathan Berg has appeared with the Boston Symphony, Chicago Symphony and Berlin Philharmonic, among others. Recent recordings include Berg’s Wozzeck and Handel’s Tamerlano.

THE CHOIR OF TRINITY COLLEGE, MELBOURNE

The Choir of Trinity College, Melbourne, is one of the finest liturgical choirs in the Southern Hemisphere. The Choir’s primary focus is the singing of services in the College Chapel but it also has an active concert and recording program. The Choir has released several CDs, many of them for the ABC, and their first recording under their current director, of Christmas Carols, is due out in 2018.

Before moving to Australia, Christopher Watson Director of Music, Trinity College, spent 20 years as a singer and conductor, based in the UK. Christopher worked as soloist for Paul Hillier, Paul McCreesh, Philippe Herreweghe, and Trevor Pinnock, and made over 500 appearances with the Tallis Scholars. In 2007 he made his Carnegie Hall debut with Theatre of Voices, giving the world premiere of David Lang’s Pulitzer Prize-winning Little Match Girl Passion, their recording of which won a Grammy Award in 2009.

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PROGRAM NOTES

EDWARD ELGAR (1857-1934)

The Dream of Gerontius, Op.38

Catherine Wyn-Rogers mezzo-soprano (Angel)

Stuart Skelton tenor (Gerontius)

Nathan Berg bass (Priest, Angel of Agony)

At the end of the manuscript of The Dream of Gerontius Elgar wrote (quoting Ruskin): ‘This is the best of me. For the rest, I ate, I drank, I slept, I loved, I hated as another … this is what I saw, and know. This, if anything of mine, is worth your memory.’ Elgar’s feelings about this work help explain why others react strongly to it: ‘I wrote it out of my insidest out.’ The composer’s musical personality and his spirituality are both fully revealed in his setting of John Henry Newman’s poem.

Gerontius has become a standard part of the English choral repertoire, but it was not well received at its first performance on 3 October 1900. The circumstances were unfavourable. Insufficient rehearsal time was one problem, and the unfamiliar, and for those days ‘progressive’, musical idiom must have contributed to the difficulties of both choir and audience. Worse was that the chorusmaster, a nonconformist, was antagonistic to this Catholic work, and some members of the choir did not treat their task with due seriousness.

The Dream of Gerontius is a Catholic work, and, as such, occupies an isolated place in the English oratorio tradition. Its acceptance into that tradition proves its broad appeal, yet it cannot be understood apart from its Catholic origins.

Elgar and his wife were Catholics, but in his home, as in that of his parents, the practices of his religion were not always observed. He neglected the services of the Catholic Church and probably occasionally questioned its doctrines. But he supported the church and remained a member all his life. Elgar was obviously deeply drawn to Cardinal Newman’s poem The Dream of Gerontius. He had known it for at least ten years. The poem had first appeared in a Jesuit publication in 1865. Interest in it was not confined to members of the Roman Catholic Church – even Newman’s old antagonist, the Reverend Charles Kingsley (their quarrel was the occasion for Newman’s Apologia pro Vita Sua) paid tribute to it: ‘I read the Dream with awe and admiration. However utterly I may differ from the entourage in which Newman’s present creed surrounds the central idea, I must feel that the central idea is as true as it is noble.’ Whatever one may feel about the quality of Newman’s prose-poetry in this work, and it is at best of uneven value (Elgar’s abridgement omitted some of the better passages), the poem’s central idea has the power to inspire and compel. For Gerontius is potentially every one of us.

Elgar explained his conception of Gerontius in a letter to his friend Jaeger (‘Nimrod’ of the Enigma Variations):

Look here: I imagined Gerontius to be man like us, not a priest or a saint, but a sinner, a repentant one of course, but still no end of a worldly man in his life and now brought to book. Therefore I’ve not filled his part with Church tunes and rubbish but a good healthy, full-blooded romantic, remembered worldliness, so to speak.

Elgar was the first English composer to exploit the full resources of the late-Romantic continental musical style. Gerontius was appreciated in Germany before its acceptance in England, causing Richard Strauss to hail the composer as ‘the first English progressivist musician, Meister Elgar’. Several contemporary critics were not afraid to compare Gerontius’ handling of a religious theme with Wagner’s Parsifal. To realise how radical this Oratorio was in the 1900 English choral scene we need to remember that this was dominated, apart from the obligatory Handel and Mendelssohn, by the academic modern works of the like of Parry and Stanford.

The ‘modernism’ of The Dream of Gerontius is most prominent in the extreme chromaticism of the music and in the complex elaboration of the orchestral parts. Although many consider this choral work his greatest single composition, it is to instrumental music that Elgar was most naturally drawn, and many of his most telling effects in Gerontius are achieved in the orchestra. English oratorio composers had usually made the orchestra subordinate to the voices, but Elgar integrated orchestral and vocal textures (the semi-chorus is very tellingly used to provide contrasts of choral sonority). Another sign of the composer’s late-Romantic, post-Wagnerian musical language is his use of leitmotives to unify the work. Although there are a large number of these, they do not force themselves on the listener’s attention, but carry associations and evoke atmosphere. The composer warns against worrying too much with them: ‘… you may be inclined to lay too much stress on the leitmotive plan because I really do it without thought – intuitively, I mean.’

The prelude of The Dream of Gerontius presents a succession of themes from key places in the work, and sets the atmosphere – ‘The weary troubled sleep of a sick man’ – for Gerontius’ first utterances. The assistants steal in a capella with ‘Kyrie eleison’, pouring calm on the dying man’s fevered cries. These episodes strongly evoke the ritual of the Catholic Church. ‘Sanctus fortis’ is an exultant outburst of faith, which could sound vulgar out of context. Here the somewhat Italianate character of Elgar’s solo vocal writing is most obvious. Part One concludes with a march (the section beginning ‘Proficiscere…’) in which the Priest and the Chorus of Assistants send Gerontius’ soul onwards with affirmations of faith and praise. At the climax the chorus is in eight parts, with the semi-chorus added. The music proceeds into the far distance.

A feeling of otherworldliness dominates the beginning of Part Two. Legato strings suggest the condition of a soul wandering in space. The long dialogue with the Angel which follows drew Jaeger’s thoughts to ‘some saintly picture by a pre-Raphaelite painter’. Here Elgar was inspired to some of his most original harmonic ideas. The demons’ chorus is not the high point of Newman’s verses, and although the orchestral devices Elgar uses are striking (among others, the bells, and the flute crescendo in the low register to suggest ‘the deep hideous purring’ of the demons), it is possible to feel that the choral devices have not worn so well. In the Angelicals’ hymn ‘Praise to the Holiest’ Elgar’s variety of time-signatures and cross-rhythms achieves lightness of movement.

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This long text is handled with remarkable economy. Priestly trombone chords accompany the Angel of the Agony as he leads the Soul to God for a short glimpse, where Elgar instructs every instrument for a moment to exert its fullest force. The work ends in serenity, though the final utterance of Gerontius’ soul is preceded by a restatement of the Judgement motive. The souls in Purgatory chant part of the Ninetieth Psalm, and the Angel’s farewell merges into an echo of the chorus of Angelicals.

© David Garrett

The Melbourne Symphony Orchestra first performed The Dream of Gerontius on 9 November 1940 under the direction of Bernard Heinze. The soloists were Dorothy Helmrich, Heddle Nash and Harold Williams. The Orchestra’s most recent performances, under Richard Hickox, took place on 19-21 April 2007 with Fiona Janes, Anthony Dean Griffey and Joshua Bloom.

TEXT

ELGAR

The Dream of Gerontius

John Henry Cardinal Newman, published in The Oratory, January 1865.

Orchestral Prelude

Part I

GERONTIUSJesu, Maria—I am near to death, And Thou art calling me; I know it now.

Not by the token of this faltering breath, This chill at heart, this dampness

on my brow,—

(Jesu, have mercy! Mary, pray for me!) ‘Tis this new feeling never felt before

(Be with me, Lord, in my extremity) That I am going, that I am no more.

'Tis this strange innermost abandonment, (Lover of souls! great God!

I look to Thee,)

This emptying out of each constituent And natural force,

by which I come to be.

Pray for me, O my friends; a visitant Is knocking his dire summons

at my door,

The like of whom, to scare me and to daunt, Has never, never come to me before;

. . . . .

So pray for me, my friends, who have not strength to pray.

ASSISTANTSKyrie eleïson, Christe eleïson, Kyrie eleïson.

Holy Mary, pray for him.

All holy Angels, pray for him.

Choirs of the righteous, pray for him.

. . . . .

All Apostles, all Evangelists, pray for him.

All holy Disciples of the Lord, pray for him.

All holy Innocents, pray for him.

All holy Martyrs, all holy Confessors,

All holy Hermits, all holy Virgins,

All ye Saints of God, pray for him.

GERONTIUSRouse thee, my fainting soul, and play the man; And through such waning span

Of life and thought as still has to be trod, Prepare to meet thy God.

And while the storm of that bewilderment Is for a season spent,

And, ere afresh the ruin on me fall, Use well the interval.

Please turn your page quietly.

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ASSISTANTSBe merciful, be gracious; spare him, Lord.

Be merciful, be gracious; Lord, deliver him.

From the sins that are past;

From Thy frown and Thine ire;

From the perils of dying;

From any complying

With sin, or denying

His God, or relying

On self, at the last;

From the nethermost fire;

From all that is evil;

From power of the devil;

Thy servant deliver,

For once and for ever.

By Thy Birth, and by Thy Cross,

Rescue him from endless loss;

By Thy death and burial,

Save him from a final fall;

By Thy rising from the tomb,

By Thy mounting up above,

By the Spirit’s gracious love,

Save him in the day of doom.

And, crueller still,A fierce and restless fright begins to fill

The mansion of my soul. And, worse and worse,

Some bodily form of ill

Floats on the wind, with many a loathsome curse

Tainting the hallow’d air, and laughs, and flaps

Its hideous wings, And makes me wild with horror and dismay.

O Jesu, help! pray for me, Mary, pray! Some Angel, Jesu! Such as came to Thee

In Thine own agony. . . .

Mary, pray for me. Joseph, pray for me. Mary, pray for me.

ASSISTANTSRescue him, O Lord, in this his evil hour, As of old so many by Thy gracious power:—

. . . . Noe from the waters in a saving home; (Amen)

. . . . Job from all his multiform and fell distress; (Amen)

. . . . Moses from the land of bondage and despair; (Amen)

. . . . David from Goliath and the wrath of Saul; (Amen)

. . . . —so to show Thy power, Rescue this Thy servant in his evil hour.

GERONTIUSNovissima hora est; and I fain would sleep.

The pain has wearied me. . . .

Into Thy hands,

O Lord, into Thy hands . . .

GERONTIUSSanctus fortis, Sanctus Deus, De profundis oro te,

Miserere, Judex meus, Parce mihi, Domine.

Firmly I believe and truly God is Three, and God is One;

And I next acknowledge duly Manhood taken by the Son.

And I trust and hope most fully In that Manhood crucified;

And each thought and deed unruly Do to death, as He has died.

Simply to His grace and wholly Light and life and strength belong,

And I love, supremely, solely, Him the holy, Him the strong.

Sanctus fortis, Sanctus Deus, De profundis oro te,

Miserere, Judex meus, Parce mihi, Domine.

And I hold in veneration, For the love of Him alone,

Holy Church, as His creation, And her teachings, as His own.

And I take with joy whatever Now besets me, pain or fear,

And with a strong will I sever All the ties which bind me here.

Adoration aye be given, With and through the angelic host,

To the god of earth and heaven, Father, Son, and Holy Ghost.

Sanctus fortis, Sanctus Deus, De profundis oro te,

Miserere, Judex meus, Mortis in discrimine.

I can no more; for now it comes again,

That sense of ruin, which is worse than pain,

That masterful negation and collapse

Of all that makes me man.

. . . . .

THE PRIESTProficiscere, anima Christiana, de hoc mundo!

Go forth upon thy journey, Christian soul!

Go from this world! Go, in the Name of God

The Omnipotent Father, who created thee!

Go, in the Name of Jesus Christ, our Lord,

Son of the living God, who bled for thee!

Go, in the Name of the Holy Spirit, who

Hath been pour'd out on thee!

Go, in the name

Of Angels and Archangels; in the name

Of Thrones and Dominations; in the name

Of Princedoms and of Powers; and in the name

Of Cherubim and Seraphim, go forth!

Go, in the name of Patriarchs and Prophets;

And of Apostles and Evangelists,

Of Martyrs and Confessors; in the name

Of holy Monks and Hermits; in the name

Of holy Virgins; and all Saints of God,

Both men and women, go! Go on thy course;

And may thy place to-day be found in peace,

And may thy dwelling be the Holy Mount

Of Sion:—through the [Same, through Christ] our Lord.

. . . . 20 minute interval . . . .


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Part II

SOUL OF GERONTIUSI went to sleep; and now I am refresh'd,

A strange refreshment: for I feel in me

An inexpressive lightness, and a sense

Of freedom, as I were at length myself,

And ne'er had been before. How still it is!

I hear no more the busy beat of time,

No, nor my fluttering breath, nor struggling pulse;

Nor does one moment differ from the next.

. . . . .

This silence pours a solitariness

Into the very essence of my soul;

And the deep rest, so soothing and so sweet,

Hath something too of sternness and of pain.

. . . . .

Another marvel: some one has me fast

Within his ample palm;

. . . . .

A uniform

And gentle pressure tells me I am not

Self-moving, but borne forward on my way.

And hark! I hear a singing; yet in sooth

I cannot of that music rightly say

Whether I hear, or touch, or taste the tones.

Oh, what a heart-subduing melody!

ANGEL All hail, my child!

My child and brother, hail! what wouldest thou?

SOULI would have nothing but to speak with thee

For speaking’s sake. I wish to hold with thee

Conscious communion; though I fain would know

A maze of things, were it but meet to ask,

And not a curiousness.

ANGEL You cannot now

Cherish a wish which ought not to be wish’d.

SOULThen I will speak. I ever had believed

That on the moment when the struggling soul

Quitted its mortal case, forthwith it fell

Under the awful Presence of its God,

There to be judged and sent to its own place.

What lets me now from going to my Lord?

ANGELThou art not let; but with extremest speed

Art hurrying to the Just and Holy Judge.

. . . . .

ANGELMy work is done,

My task is o'er,

And so I come,

Taking it home,

For the crown is won,

Alleluia,

For evermore.

My Father gave

In charge to me

This child of earth

E’en from its birth,

To serve and save,

Alleluia,

And saved is he.

This child of clay

To me was given,

To rear and train

By sorrow and pain

In the narrow way,

Alleluia,

From earth to heaven.

SOULIt is a member of that family

Of wondrous beings, who, ere the worlds were made,

Millions of ages back, have stood around

The throne of God.

. . . . .

I will address him. Mighty one, my Lord,

My Guardian Spirit, all hail!

SOUL Dear Angel, say,

Why have I now no fear at meeting Him?

Along my earthly life, the thought of death

And judgment was to me most terrible.

. . . . .

ANGEL It is because

Then thou didst fear, that now thou dost not fear,

Thou hast forestall’d the agony, and so

For thee the bitterness of death is passed.

Also, because already in thy soul

The judgment is begun.

. . . . .

A presage falls upon thee, as a ray

Straight from the Judge, expressive of thy lot.

That calm and joy uprising in thy soul

Is first-fruit to thee of thy recompense,

And heaven begun.

SOUL[Now that the hour is come, my fear is fled;

And at this balance of my destiny,

Now close upon me, I can forward look

With serenest joy.]

But hark! upon my sense

Comes a fierce hubbub, which would make me fear

Could I be frighted.


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ANGEL We are now arrived

Close on the judgment-court; that sullen howl

Is from the demons who assemble there.

. . . . .

Hungry and wild, to claim their property,

And gather souls for hell. Hist to their cry.

SOULHow sour and how uncouth a dissonance!

DEMONSLow-born clods

Of brute earth,

They aspire

To become gods,

By a new birth,

And an extra grace,

And a score of merits,

As if aught

Could stand in place

Of the high thought,

And the glance of fire

Of the great spirits,

The powers blest,

The lords by right,

The primal owners,

Of the proud dwelling

And realm of light,—

Dispossess’d,

Aside thrust,

Chucked down Chuck'd down

By the sheer might

Of a despot’s will, Of a tyrant’s frown Of a tyrant's frown,

Who after expelling

Ha! ha!

Dread of hell-fire,

Of the venomous flame,

A coward’s plea.

A coward's plea

Give him his price,

Saint though he be

Saint though he be,

Ha! ha!

From shrewd good sense

He’ll slave for hire;

Ha! ha!

And does but aspire

To the heaven above

With sordid aim,

And not from love.

Ha! ha!

SOULI see not those false spirits; shall I see

My dearest Master, when I reach His throne?

. . . . .

ANGELYes,—for one moment thou shalt see thy Lord.

. . . . .

One moment; but thou knowest not, my child,

What thou dost ask: that sight of the Most Fair

Will gladden thee, but it will pierce thee too.

SOULThou speakest darkly, Angel; and an awe

Falls on me, and a fear lest I be rash.

Their hosts, gave,

Triumphant still,

And still unjust,

Each forfeit crown

To psalm-droners,

And canting groaners,

To every slave,

And pious cheat,

And crawling knave,

Who lick’d the dust

Under his feet.

ANGELIt is the restless panting of their being;

Like beasts of prey, who, caged within their bars,

In a deep hideous purring have their life,

And an incessant pacing to and fro.

DEMONSThe mind bold

And independent,

The purpose free,

So we are told,

Must not think

To have the ascendant.

What’s a saint?

One whose breath

Doth the air taint

Before his death;

A bundle of bones,

Which fools adore,

Ha! ha!

When life is o’er.

. . . . .

Virtue and vice,

A knave’s pretence,

‘Tis all the same;

ANGELThere was a mortal, who is now above

In the mid glory: he when near to die,

Was given communion with the Crucified,—

Such, that the Master's very wounds were stamp'd

Upon his flesh; and, from the agony

Which thrill’d through body and soul in that embrace,

Learn that the flame of the Everlasting Love

Doth burn ere it transform. . . .

ANGEL . . . Hark to those sounds!

They come of tender beings angelical,

Least and most childlike of the sons of God.

CHOIR OF ANGELICALSPraise to the Holiest in the height, And in the depth be praise:

In all His words most wonderful; Most sure in all His ways!

To us His elder race He gave To battle and to win,

Without the chastisement of pain, Without the soil of sin.

The younger son He will’d to be A marvel in his birth:

Spirit and flesh His parents were; His home was heaven and earth.

The Eternal bless’d His child, and arm'd, And sent him hence afar,

To serve as champion in the field Of elemental war.

To be His Viceroy in the world Of matter, and of sense;

Upon the frontier, towards the foe, A resolute defence.


1918

ANGELWe now have pass'd the gate, and are within

The House of Judgment.

. . . . .

SOULThe sound is like the rushing of the wind—

The summer wind—among the lofty pines.

. . . . .

CHOIR OF ANGELICALSGlory to Him; who evermore By truth and justice reigns;

Who tears the soul from out its case, And burns away its stains!

ANGELThey sing of thy approaching agony,

Which thou so eagerly didst question of.

. . . . .

CHOIR OF ANGELICALS[Praise to the Holiest in the height.]

SOULMy soul is in my hand: I have no fear,—

. . . . .

But hark! a grand, mysterious harmony:

It floods me like the deep and solemn sound

Of many waters.

. . . . .

ANGELThy judgment now is near, for we are come

Into the veilèd presence of our God.

SOULI hear the voices that I left on earth.

ANGELIt is the voice of friends around thy bed,

Who say the "Subvenite" with the priest.

Hither the echoes come; before the Throne

Stands the great Angel of the Agony,

The same who strengthen'd Him, what time He knelt

Lone in that garden shade, bedew'd with blood.

That Angel best can plead with Him for all

Tormented souls, the dying and the dead.

Angel of the AgonyJesu! by that shuddering dread which fell on Thee;

Jesu! by that cold dismay which sicken'd Thee;

Jesu! by that pang of heart which thrill'd in Thee;

Jesu! by that mount of sins which crippled Thee;

Jesu! by that sense of guilt which stifled Thee;

Jesu! by that innocence which girdled Thee;

Jesu! by that sanctity which reign'd in Thee;

Jesu! by that Godhead which was one with Thee;

Jesu! spare these souls which are so dear to Thee,

[Souls] who in prison, calm and patient, wait for Thee;

Hasten, Lord, their hour, and bid them come to Thee,

To that glorious Home, where they shall ever gaze on Thee.

ANGELAnd now the threshold, as we traverse it,

Utters aloud its glad responsive chant.

CHOIR OF ANGELICALSPraise to the Holiest in the height, And in the depth be praise:


O loving wisdom of our God! When all was sin and shame,

A second Adam to the fight And to the rescue came.

O wisest love! that flesh and blood Which did in Adam fail,

Should strive afresh against their foe, Should strive and should prevail;

And that a higher gift than grace Should flesh and blood refine,

God's Presence and His very Self, And Essence all-divine.

O generous love! that He who smote In man for man the foe,

The double agony in man For man should undergo;

And in the garden secretly, And on the cross on high,

Should teach His brethren and inspire To suffer and to die.

[Praise to the Holiest in the height, And in the depth be praise:


etc.]

SOULI go before my Judge . . .

Voices of Assistants on Earth

[Be merciful, be gracious; spare him, Lord.

Be merciful, be gracious; Lord, deliver him.]

ANGEL . . . Praise to His Name!

. . . . .

O happy, suffering soul! for it is safe,

Consumed, yet quicken'd, by the glance of God.

[Alleluia! Praise to His Name!]

SOULTake me away, and in the lowest deep There let me be,

And there in hope the lone night-watches keep, Told out for me.

There, motionless and happy in my pain, Lone, not forlorn,—

There will I sing my sad perpetual strain, Until the morn.

There will I sing, and soothe my stricken breast, Which ne'er can cease

To throb, and pine, and languish, till possest Of its Sole Peace.

There will I sing my absent Lord and Love:—

Take me away,

That sooner I may rise, and go above,

And see Him in the truth of everlasting day.

. . . . .


20

SOULS IN PURGATORYLord, Thou hast been our refuge; in every generation;

Before the hills were born, and the world was: from age to age Thou art God.

Bring us not, Lord, very low: for Thou hast said, Come back again, ye sons of Adam.

. . . . .

Come back, O Lord! how long: and be entreated for Thy servants.

[Amen.]

ANGELSoftly and gently, dearly-ransom'd soul, In my most loving arms I

now enfold thee,

And o'er the penal waters, as they roll, I poise thee, and I lower thee,

and hold thee.

And carefully I dip thee in the lake, And thou, without a sob or a resistance,

Dost through the flood thy rapid passage take, Sinking deep, deeper, into the dim

distance.

Angels, to whom the willing task is given, Shall tend, and nurse, and lull thee, as

thou liest;

And Masses on the earth, and prayers in heaven, Shall aid thee at the throne of the

Most Highest.

Farewell, but not for ever! brother dear, Be brave and patient on thy bed of

sorrow;

Swiftly shall pass thy night of trial here, And I will come and wake thee on the

morrow.

[Farewell. Farewell.]

CHOIR OF ANGELICALS[Praise to the Holiest in the height, And in the depth be praise:

. . . . .

To us His elder race He gave To battle and to win,

Without the chastisement of pain, Without the soil of sin.]

[Amen.]

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2322

OBOES

Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn The Rosemary Norman Foundation#

COR ANGLAIS

Michael Pisani Principal

CLARINETS

David Thomas Principal

Philip Arkinstall Associate Principal

Craig Hill

BASS CLARINET

Jon Craven Principal

BASSOONS

Jack Schiller Principal

Elise Millman Associate Principal

Natasha ThomasLyndon Watts*

CONTRABASSOON

Brock Imison Principal

HORNS

Xiaoming Han* Guest Principal

Saul Lewis Principal Third

Abbey Edlin Nereda Hanlon and Michael Hanlon AM#

Trinette McClimontRebecca Luton*Alexander Morton*

TRUMPETS

Geoffrey Payne* Guest Principal

Shane Hooton Associate Principal

William EvansRosie Turner

TROMBONES

Brett Kelly Principal

Richard ShirleyMike Szabo Principal Bass Trombone

TUBA

Timothy Buzbee Principal

Scott Watson* †

TIMPANI

Adam Jeffrey Lady Potter AC CMRI#

PERCUSSION

Robert Clarke Principal

John Arcaro Tim and Lyn Edward#

Robert CossomTimothy Hook*

HARP

Yinuo Mu Principal

Melina van Leeuwen*

ORGAN

Calvin Bowman*

MSO BOARD

Chairman

Michael Ullmer

Managing Director

Sophie Galaise

Board Members

Andrew DyerDanny GorogDavid KrasnosteinDavid LiHyon-Ju Newman Helen Silver AOMargaret Jackson AC

Company Secretary

Oliver Carton

# Position supported by* Guest Musician† Courtesy of University of Kansas


Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor

Tianyi Lu Assistant Conductor

Hiroyuki Iwaki Conductor Laureate (1974-2006)

FIRST VIOLINS

Dale Barltrop Concertmaster

Sophie Rowell Concertmaster The Ullmer Family Foundation#

Zoe Black* Guest Associate Concertmaster

Peter Edwards Assistant Principal

Kirsty BremnerSarah Curro Michael Aquilina#

Peter FellinDeborah GoodallLorraine HookAnne-Marie JohnsonKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn Taylor Michael Aquilina#

Aaron Barnden*Oksana Thompson*

SECOND VIOLINS

Matthew Tomkins Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro Assistant Principal Danny Gorog and Lindy Susskind #

Mary AllisonIsin CakmakciogluTiffany ChengFreya Franzen Anonymous#

Cong GuAndrew Hall Andrew and Judy Rogers#

Isy WassermanPhilippa WestPatrick WongRoger YoungMichael Loftus-Hills*Lynette Rayner*

VIOLAS

Christopher Moore Principal Di Jameson#

Fiona Sargeant Associate Principal

Lauren Brigden Mr Tam Vu and Dr Cherilyn Tillman

Katharine BrockmanChristopher Cartlidge Michael Aquilina#

Anthony ChatawayGabrielle HalloranTrevor Jones Cindy WatkinElizabeth WoolnoughCaleb WrightIsabel Morse*

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 Wood Andrew and Theresa Dyer#

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

2524

MSO CHORUS LIST THE CHOIR OF TRINITY COLLEGETom Griffiths

Repetiteur

SOPRANO

Julie ArblasterAviva BarazaniEva ButcherVeryan CroggonCatherine FolleySusan FoneCarolyn FrancisCamilla GormanJillian GrahamEmma HamleyJuliana HassettPenny HuggettNaomi HyndmanTania JacobsGwen KennellyClancye MilneCatriona Nguyen-RobertsonCaitlin NobleKarin OttoTiffany PangTanja RedlNatalie ReidMhairi RiddetJo Robin Elizabeth RusliNatalia SalazarJillian SamuelsJemima Sim Shu Xian Freja SoininenChiara StebbingEmily Swanson

Elizabeth TindallFabienne VandenburieTara Zamin

ALTO

Satu Aho Ruth AndersonCarolyn BakerCatherine BickellCecilia BjörkegrenKate BramleyJane BrodieElize BrozgulSerena CarmelAlexandra ChubatyKatharine Daley Nicola EveleighJill GieseDebbie GriffithsRos HarbisonSue HawleyJennifer HenryKristine HenselSara Kogan-LazarusJoy LukmanHelen MacLeanChristina McCowanRosemary McKelvieAlison RalphMair RobertsKerry RoulstonAnnie RunnallsLisa SavigeLibby TimckeJenny Vallins

TENOR

Alexandra Amerides

Tony BarnettSteve BurnettPeter CampbellJohn CleghornKeaton ClohertyDaniel ComarmondJames DipnallDavid FloydSimon GaitesDavid HenleyLyndon HorsburghJessop Maticevski Shumack Michael MobachJean-Francois RavatAsher Reichman

BASS

Maurice AmorAlexandras BartaskaRichard BolithoDaniel BrinsmeadDavid BrownPaul Alexander Chantler Roger DargavilleTed DaviesPhil ElphinstoneAndrew HamAndrew HibbardJoseph HieJordan JanssenGary Levy Vern O'HaraAlexander OwensStephen PykLiam Straughan Matthew ToulminMaurice WanSimon WrightNed Wright-SmithMaciek Zielinski

SOPRANO

Phoebe EdwardsBeatrice HartKate KirbyGrace NevilleRuby SmithPhoebe ThomsonAlexandra Toussaint-JacksonMarion Wilson

ALTO

Clara DaleyHannah JohnsEliza KellyStephanie MacindoePhillipa McQuinEmma Warburton

TENOR

William CarrJonathan GlenningOliver HendriksGeorge McPharlinDaniel RileyChristopher Roache

BASS

Sean CutterJoshua Erdelyi-GötzZac Hamilton-RussellPaul McDonald

Come dream with us by adopting your own MSO musician!Support the music and the orchestra you love while getting to know your favourite player. Honour their talent, artistry and life-long commitment to music, and become part of the MSO family.

Adopt Principal Harp, Yinuo Mu, or any of our wonderful musicians today.

– Arthur O'Shaughnessy

'We are the music makers, and we are the dreamers of dreams.'

mso.com.au/adopt

26 27

SUPPORTERS

MSO PATRON

The Honourable Linda Dessau AC, Governor of Victoria

PLATINUM PATRONS $100,000+

Marc Besen AC and Eva Besen AOJohn Gandel AC and Pauline Gandel The Gross FoundationDavid and Angela LiMS Newman Family FoundationAnthony PrattThe Pratt FoundationJoy Selby SmithUllmer Family FoundationAnonymous (1)

VIRTUOSO PATRONS $50,000+

Di JamesonDavid Krasnostein and Pat StragalinosHarold Mitchell ACKim Williams AM

IMPRESARIO PATRONS $20,000+

Michael AquilinaThe John and Jennifer Brukner FoundationMary and Frederick Davidson AMRachel and the late Hon. Alan Goldberg AO QCMargaret Jackson ACAndrew JohnstonMimie MacLarenJohn and Lois McKay

MAESTRO PATRONS $10,000+

Kaye and David BirksMitchell ChipmanSir Andrew and Lady DavisDanny Gorog and Lindy SusskindRobert & Jan GreenHilary Hall, in memory of Wilma CollieNereda Hanlon and Michael Hanlon AMSuzanne KirkhamThe Cuming BequestIan and Jeannie PatersonLady Potter AC CMRIElizabeth Proust AOXijian Ren and Qian LiGlenn 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 VaughanHarry and Michelle WongJason Yeap OAMAnonymous (1)

PRINCIPAL PATRONS $5,000+

Christine and Mark ArmourJohn and Mary BarlowBarbara Bell, in memory of Elsa BellStephen and Caroline BrainProf Ian BrighthopeDavid and Emma CapponiMay and James ChenWendy DimmickAndrew Dudgeon AM

Andrew and Theresa DyerTim and Lyn EdwardMr Bill FlemingJohn and Diana FrewSusan Fry and Don Fry AOSophie Galaise and Clarence FraserGeelong Friends of the MSOJennifer GorogHMA FoundationLouis Hamon OAMHans and Petra HenkellHartmut and Ruth HofmannJack HoganDoug HooleyJenny and Peter HordernDr Alastair JacksonDr Elizabeth A Lewis AMNorman Lewis in memory of Dr Phyllis LewisPeter LovellLesley McMullin FoundationMr Douglas and Mrs Rosemary MeagherDavid and Helen Moses Dr Paul Nisselle AMThe Rosemary Norman FoundationKen Ong, in memory of Lin OngBruce Parncutt AO Jim and Fran PfeifferPzena Investment Charitable FundAndrew and Judy RogersRae RothfieldMax and Jill SchultzMr Tam Vu and Dr Cherilyn TillmanThe Hon. Michael Watt QC and Cecilie HallLyn Williams AMAnonymous (2)

ASSOCIATE PATRONS $2,500+

Dandolo PartnersWill and Dorothy Bailey BequestAnne BowdenBill BownessLynne BurgessOliver CartonJohn and Lyn CoppockMiss Ann Darby, in memory of Leslie J. DarbyNatasha Davies, for the Trikojus Education FundMerrowyn DeaconSandra DentPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonJane Edmanson OAMDr Helen M FergusonMr Peter Gallagher and Dr Karen MorleyDina and Ron GoldschlagerLouise Gourlay OAMPeter and Lyndsey HawkinsSusan 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 RidleyThe Ilma Kelson Music FoundationKloeden FoundationBryan LawrenceAnn and George LittlewoodJohn and Margaret MasonH E McKenzie

Allan and Evelyn McLarenDon and Anne MeadowsMarie Morton FRSAAnnabel and Rupert Myer AOSue and Barry PeakeMrs W PeartGraham and Christine PeirsonRuth 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 SteinickeElisabeth WagnerBrian and Helena WorsfoldPeter and Susan YatesAnonymous (8)

PLAYER PATRONS $1,000+

David and Cindy AbbeyChrista AbdallahDr Sally AdamsMary ArmourArnold Bloch LeiblerPhilip Bacon AMMarlyn and Peter Bancroft OAMAdrienne BasserProf Weston Bate and Janice BateJanet BellDavid Blackwell OAMMichael F BoytPatricia BrockmanDr John BrookesSuzie Brown OAM and Harvey BrownRoger and Col BuckleJill and Christopher Buckley

Bill and Sandra BurdettPeter CaldwellJoe CordoneAndrew and Pamela CrockettBeryl DeanDominic and Natalie DirupoMarie DowlingJohn and Anne DuncanKay EhrenbergJaan EndenValerie Falconer and the Rayner Family in memory of Keith FalconerAmy & Simon FeiglinGrant Fisher and Helen BirdBarry Fradkin OAM and Dr Pam FradkinApplebay Pty LtdDavid Frenkiel and Esther Frenkiel OAMDavid Gibbs and Susie O'NeillMerwyn and Greta GoldblattColin Golvan QC and Dr Deborah GolvanGeorge Golvan QC and Naomi GolvanDr Marged GoodeProf Denise Grocke AOMax GulbinDr Sandra Hacker AO and Mr Ian Kennedy AMJean HadgesMichael and Susie HamsonPaula Hansky OAMMerv Keehn and Sue HarlowTilda and Brian HaughneyAnna and John HoldsworthPenelope HughesBasil and Rita JenkinsStuart JenningsDorothy KarpinBrett Kelly and Cindy Watkin

Dr Anne KennedyJulie and Simon KesselKerry LandmanWilliam and Magdalena LeadstonAndrew LeeDr Anne LierseGaelle LindreaAndrew LockwoodViolet and Jeff LoewensteinElizabeth H LoftusChris and Anna LongThe Hon Ian Macphee AO and Mrs Julie MacpheeEleanor and Phillip ManciniDr Julianne BaylissIn memory of Leigh MaselRuth MaxwellJenny McGregor AM and Peter AllenGlenda McNaughtIan Morrey and Geoffrey MinterPatricia NilssonLaurence O'Keefe and Christopher JamesAlan and Dorothy PattisonMargaret PlantKerryn PratchettPeter PriestTreena QuarinEli RaskinRaspin Family TrustBobbie RenardPeter and Carolyn RenditDr Rosemary Ayton and Dr Sam RicketsonJoan P RobinsonCathy and Peter RogersDoug and Elisabeth ScottMartin and Susan ShirleyPenny ShoreDr Sam Smorgon AO and Mrs Minnie Smorgon

John SoDr Michael SoonLady Southey ACJennifer SteinickeDr Peter StricklandPamela SwanssonJenny TatchellFrank Tisher OAM and Dr Miriam TisherThe Hon. Rosemary VartyLeon and Sandra VelikSue Walker AMElaine Walters OAM and Gregory WaltersEdward and Paddy WhiteNic and Ann WillcockMarian and Terry Wills CookeLorraine WoolleyRichard YePanch Das and Laurel Young-DasAnonymous (20)

TRUSTS AND FOUNDATIONS

Collier Charitable FundCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Marian and E.H. Flack TrustFreemasons Foundation VictoriaGandel PhilanthropyThe Scobie and Claire Mackinnon TrustThe Harold Mitchell FoundationThe Pratt FoundationThe Robert Salzer FoundationSidney Myer MSO Trust Fund Telematics TrustInternational Music and Art Foundation

ARTIST CHAIR BENEFACTORS

Associate Conductor Chair Benjamin Northey Anthony Pratt

Orchestral Leadership Chair Joy Selby Smith

Cybec Assistant Conductor Chair Tianyi Lu The Cybec Foundation

Associate Concertmaster Chair Sophie Rowell The Ullmer Family Foundation

2018 Soloist in Residence Chair Anne-Sophie Mutter Marc Besen AC and Eva Besen AO

Cybec Young Composer in Residence Ade Vincent The Cybec Foundation

CHAIRMAN’S CIRCLE

Marc Besen AC and Eva Besen AO The Gross Foundation Harold Mitchell FoundationDavid and Angela LiHarold Mitchell ACMS Newman Family FoundationLady Potter AC CMRIJoy Selby SmithThe Cybec FoundationThe Pratt FoundationThe Ullmer Family FoundationAnonymous (1)

ADOPT A MUSICIAN CHAIRS

Principal Second Violin Chair Matthew Tomkins The Gross Foundation

Principal Viola Chair Chris Moore Di Jameson

Principal Cello Chair David Berlin MS Newman Family Foundation

Principal Flute Chair Prudence Davis Anonymous

Principal Timpani Chair Lady Potter AC CMRI

Associate Principal Second Violin Monica Curro Danny Gorog and Lindy Susskind

First Violin Sarah Curro Michael Aquilina

First Violin Kathryn Taylor Michael Aquilina

Second Violin Freya Franzen Anonymous

Second Violin Andrew Hall Andrew and Judy Rogers

Viola Lauren Brigden Mr Tam Vu and Dr Cherilyn Tillman

Viola Chris Cartlidge Michael Aquilina

Cello Miranda Brockman Geelong Friends of the MSO

Cello Rohan de Korte Andrew Dudgeon AM

Cello Michelle Wood Andrew and Theresa Dyer

Double Bass Stephen Newton Sophie Galaise and Clarence Fraser

Oboe Ann Blackburn The Rosemary Norman Foundation

French Horn Abbey Edlin Nereda Hanlon and Michael Hanlon AM

Percussion John Arcaro Tim and Lyn Edward

PROGRAM BENEFACTORS

Cybec 21st Century Australian Composers ProgramThe Cybec FoundationEast Meets West Supported by the Li Family TrustMeet The OrchestraMade possible by The Ullmer Family FoundationMSO Audience AccessCrown Resorts FoundationPacker Family FoundationMSO Building CapacityGandel Philanthropy (Director of Philanthropy)MSO EducationSupported by Mrs Margaret Ross AM and Dr Ian Ross

MSO International TouringHarold Mitchell ACMSO Regional TouringCreative VictoriaFreemasons Foundation VictoriaThe Robert Salzer FoundationThe Pizzicato Effect AnonymousCollier Charitable FundThe Marian and E.H. Flack TrustSchapper Family FoundationScobie and Claire Mackinnon TrustSupported by the Hume City Council’s Community Grants ProgramSidney Myer Free ConcertsSupported by the late Sidney Myer and the University of Melbourne

THE MAHLER SYNDICATE

David 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

CONDUCTOR’S CIRCLE

Current Conductor’s Circle Members

Jenny AndersonDavid AngelovichG C Bawden and L de KievitLesley BawdenJoyce BownMrs Jenny Brukner and the late Mr John BruknerKen BullenPeter A CaldwellLuci and Ron ChambersBeryl DeanSandra DentLyn EdwardAlan Egan JPGunta EgliteMr Derek GranthamMarguerite Garnon-WilliamsDrs L C Gruen & R W Wade Louis Hamon OAMCarol HayTony HoweLaurence O'Keefe and Christopher JamesAudrey M JenkinsJohn JonesGeorge and Grace KassMrs Sylvia LavellePauline and David LawtonCameron MowatRosia PasteurElizabeth Proust AOPenny RawlinsJoan P RobinsonNeil RoussacAnne Roussac-HoyneSuzette SherazeeMichael Ryan and Wendy MeadAnne Kieni-Serpell and Andrew SerpellJennifer Shepherd

Profs. Gabriela and George StephensonPamela SwanssonLillian TarryDr Cherilyn TillmanMr and Mrs R P TrebilcockMichael UllmerIla VanrenenThe Hon. Rosemary VartyMr Tam VuMarian and Terry Wills CookeMark YoungAnonymous (24)

The MSO gratefully acknowledges the support of the following Estates:

Angela BeagleyNeilma GantnerGwen HuntAudrey JenkinsJoan JonesPauline Marie JohnstonJoan JonesC P KempPeter Forbes MacLarenJoan Winsome MaslenLorraine Maxine MeldrumProf Andrew McCredieMiss Sheila Scotter AM MBEMarion A I H M SpenceMolly StephensJennifer May TeagueJean TweedieHerta and Fred B VogelDorothy Wood

◊ Signifies Adopt an MSO

Musician supporter

BENEFACTORS

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

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+ (Virtuoso)

$100,000+ (Platinum)

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

Enquiries P (03) 8646 1551 E [email protected]

28 29

30

HONORARY APPOINTMENTS WITH WELCOME TOLADY POTTER AC CMRI

John Brockman OAM*Life Member

The Honourable Alan Goldberg AO QC*Life Member

Sir Elton John CBELife Member

Lady Potter AC CMRILife Member

Ila Vanrenen*Life Member

Geoffrey Rush ACAmbassador

Lady Potter has been a subscriber, Patron, and staunch ally of Melbourne Symphony Orchestra both personally and as a Life Governor of The Ian Potter Foundation.

She has been a keen supporter of our education programs, instrument appeals, and through The Ian Potter Foundation, the 2014 European tour, which acted as a catalyst to successfully raise further funds for the tour.

Today, she sponsors the Timpani Chair, for which two promising young musicians have recently auditioned.

Thank you, Lady Potter, for your unstinting support of the MSO. We are proud to welcome you as a worthy recipient of this honorary appointment.

19

PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

Quest Southbank Bows for StringsErnst & Young


MEDIA AND BROADCAST PARTNERS

e Scobie and Claire Mackinnon Trust, Sidney Myer MSO Trust Fund

SUPPORTERS

19

PRINCIPAL PARTNER

GOVERNMENT PARTNERS



SUPPORTING PARTNERS





SUPPORTERS

19

PRINCIPAL PARTNER

GOVERNMENT PARTNERS



SUPPORTING PARTNERS





SUPPORTERS

Documents

THE DREAM OF GERONTIUS€¦ · the English choral repertoire, but it was not well received at its first performance on 3 October 1900. The circumstances were unfavourable. Insufficient