PRINCIPAL PARTNER

Ravel’s Bolero with Sibelius 7

Geelong SeriesFriday 17 July at 8pm

Costa Hall, Deakin University Geelong

Saturday Matinees Saturday 18 July at 2pmArts Centre Melbourne

Hamer Hall

What’s On July — October

MelbourneSymphony

@MelbSymphony

@MelbourneSymphonyOrchestra

TheMSOrchestra

Download our free app at mso.com.au/msolearn

Sign up for our monthly e-news at mso.com.au and receive special offers from the MSO and our partners.

MUSSORGSKY & LISZTFriday 11 SeptemberFeaturing works inspired by art: Reger’s Four Tone Poems after Arnold Böcklin and Mussorgsky’s Pictures at an Exhibition. Liszt’s Piano Concerto No.1 makes for a breathtaking interlude.

RACHMANINOV’S THIRDThursday 20 August Friday 21 August Saturday 22 AugustRussian-American pianist Kirill Gerstein displays his mastery of the formidable ‘Rach 3’, conducted by Sir Andrew Davis, alongside Rimsky-Korsakov’s Dubinushka and Strauss’ autobiographical tone poem, Ein Heldenleben.

TCHAIKOVSKY’S PIANO CONCERTO No.1 Friday 7 August Saturday 8 August Monday 10 AugustThe very epitome of Romantic music, Tchaikovsky’s Piano Concerto No.1 is performed by Simon Trpčeski, appearing alongside Rimsky-Korsakov’s Capriccio espagnol and Scriabin’s Third Symphony.

AN EVENING WITH RENÉE FLEMINGThursday 3 September Saturday 5 SeptemberFamed for her magnetic performances and sheer beauty of tone, celebrated American soprano Renée Fleming joins the MSO and Sir Andrew Davis for two Melbourne-exclusive orchestral concerts.

Presented by MSO and Arts Centre Melbourne

YUJA WANG PLAYS PROKOFIEVThursday 23 July Friday 24 July Saturday 25 JulyChinese piano superstar Yuja Wang brings her acclaimed virtuosity to Prokofiev’s tempestuous Second Piano Concerto, in a program that includes Tchaikovsky’s Marche Slave and Brahms’ luminous fourth and final symphony.

SCHEHERAZADEThursday 1 October Friday 2 October Monday 5 OctoberUnder the baton of Jakub Hrůša, the overture to Smetana’s comic opera The Bartered Bride opens a dazzling night of music. Dvořák’s Violin Concerto is followed by Rimsky-Korsakov’s Scheherazade, a vivid orchestral work inspired by the tales of the Arabian Nights.

Welcome to this intriguing program, conducted by MSO Associate Conductor Benjamin Northey.

This year marks the 150th anniversary of the birth of Jean Sibelius, Finland’s great cultural monument. The first part of this concert features two of his most celebrated works: the intense Valse triste, and the extraordinary one-movement Symphony No.7.

The second half of this concert consists of two, dramatically different works. The first is the world premiere of Dances with Devils, by Australian composer Iain Grandage; this is a percussion concerto written for, and performed by, Sydney-born Claire Edwardes. Dubbed the ‘sorceress of percussion’, this performance by Edwardes will surely enthral and excite.

The program concludes with another piece in which percussion plays a vital role: Ravel’s sinuous Bolero. But the sum of Bolero’s parts is nothing less than the entire orchestra. As Leonard Bernstein remarked, the work winds itself up to ‘the biggest orchestral scream you ever heard’. You have been warned.

André Gremillet Managing Director

With a reputation for excellence, versatility and innovation, the Melbourne Symphony Orchestra is Australia’s oldest orchestra, established in 1906. The Orchestra currently performs live to more than 200,000 people annually, in concerts ranging from subscription performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl.

Sir Andrew Davis gave his inaugural concerts as Chief Conductor of the MSO in April 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists including Bryn Terfel, Emanuel Ax and Truls Mørk, the release of recordings of music by Percy Grainger and Eugene Goossens, a 2014 European Festivals tour, and a multi-year cycle of Mahler’s Symphonies.

The MSO also works each season with Principal Guest Conductor Diego Matheuz, Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus. Recent guest conductors to the MSO have included Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša,

Mark Wigglesworth, Markus Stenz and Simone Young. The Orchestra has also collaborated with non-classical musicians including Burt Bacharach, Ben Folds, Nick Cave, Sting and Tim Minchin.

The MSO reaches an even larger audience through its regular concert broadcasts on ABC Classic FM, also streamed online, and through recordings on Chandos and ABC Classics. The MSO’s Education and Community Engagement initiatives deliver innovative and engaging programs to audiences of all ages, including MSO Learn, an educational iPhone and iPad app designed to teach children about the inner workings of an orchestra.

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.

Welcome to Ravel’s Bolero with Sibelius 7

MELBOURNE SYMPHONY ORCHESTRA

3RAVEL’S BOLERO WITH SIBELIUS 7

4 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

Benjamin Northey conductor

Benjamin Northey has rapidly emerged as one of the nation’s leading musical figures. He holds the Patricia Riordan Associate Conductor Chair of the Melbourne Symphony Orchestra.

Internationally, he has conducted the London Philharmonic Orchestra, Mozarteum Orchestra Salzburg, Hong Kong Philharmonic, National Symphony Orchestra of Colombia, New Zealand and Christchurch Symphony Orchestras, and the Southbank Sinfonia of London.

In Australia, Northey has made many critically-acclaimed appearances as a guest conductor with the six state symphony orchestras as well as leading seasons of L’elisir d’amore, The Tales of Hoffmann, La sonnambula, Don Giovanni and Così fan tutte. In 2015, he returns to all the major Australian orchestras, the HKPO, the NZSO and conducts Turandot for Opera Australia.

In 2015 he also holds the position of Chief Conductor of the Christchurch Symphony Orchestra.

Claire Edwardspercussion

Internationally acclaimed percussion soloist, chamber musician and co-artistic director of Ensemble Offspring, Claire Edwardes has been described by the press as a ‘sorceress of percussion’, performing with ‘spellbinding intensity’ and ‘graceful virtuosity’.

She was recently granted a prestigious Australia Council Music Fellowship, is the two-time recipient of the APRA/AMCOS Art Music Award for her contribution to Australian music (2007 and 2012) and winner of the 1999 ABC Symphony Australia Young Performers Award.

From 1999-2006 Claire was resident in Europe where she had success in numerous international instrumental competitions, and performed solo at the Concertgebouw in Amsterdam and the Queen Elizabeth Hall in London.

Claire is a champion of new music in Australia and abroad, having worked closely with composers such as Sir Harrison Birtwistle, Michel van der Aa and Ross Edwards. Claire is endorsed by Mike Balter Mallets and Adams Percussion. She teaches percussion at the Sydney Conservatorium of Music and currently balances her life as a mother of two young girls with a busy concert schedule in Australia and abroad.

ABOUT THE ARTISTS

Melbourne Symphony Orchestra

Benjamin Northey conductor

Claire Edwards percussion—SIBELIUSValse triste

SIBELIUSSymphony No.7—Interval 20 minutes—GRANDAGEPercussion Concerto Dances with Devils

RAVELBolero—This concert runs for a duration of two hours including one 20 minute interval.

Saturday afternoon’s concert will be recorded for later broadcast around Australia on ABC Classic FM.

Pre-Concert Talks

7pm Friday 17 July Onstage, Costa Hall

1pm Saturday 18 July Stalls Foyer, Hamer Hall

Dr Michael Christoforidis will present a talk on the artists and works featured in the program.

5RAVEL’S BOLERO WITH SIBELIUS 7

ABOUT THE MUSIC

Jean Sibelius (1865–1957)

Valse triste, Op.44 No.1—It’s not quite enough to say that Sibelius lived at a time when many notable composers wrote incidental music for the theatre. Many major theatres supported permanent orchestras in the decades around the turn of the 20th century. Yet Scandinavia was something of a special case, for the theatre was a particularly important forum for new ideas about the nature of drama. The work of Ibsen, Strindberg and Bjørnson tells us something of this vitality, as does the pervasiveness of the symbolist movement.

A case in point is the play Kuolema (Death) by Sibelius’ brother-in-law Arvid Järnefelt. It tells of the life of a virtuous man, Paavali, in episodes ranging from the death of his mother through to his marriage, his family life, his charitable deeds and, finally, his passing. The play was staged for the first time in December 1903 in the Finnish National Theatre, Helsinki.

Sibelius wrote six numbers in all for the play and, when it was revised for a 1911 staging, created two further pieces. But unlike his earlier music for the play King Christian II, or his later work for Pelléas et Mélisande and The Tempest, he did not make a concert suite out of the Kuolema music. He did, however, extract some music from the score for independent performance. In the play, a crane brings a baby to Paavali and his wife Elsa. Sibelius used the music from this section for his concert piece Scene with Cranes (1906); but not long after Kuolema

was first performed, he re-scored and re-shaped the play’s very first number into a piece that would cross almost all the musical boundaries of the day, making its presence felt in concert halls, tea shops and dance palaces all over the Western world.

In Kuolema’s first scene, Paavali is at the bedside of his dying mother. She tells him that she has dreamed she has gone to a ball. Then, as Paavali falls asleep during his vigil, Death comes to his mother; she mistakes him for her late husband, and dances with him. When Paavali awakens, his mother is dead. Sibelius modified the music for this scene to become Valse triste, one of his most popular works.

Ironically, Sibelius sold the rights to Valse triste outright to its publisher and was never paid any royalties for it. He would write many pieces of light music subsequently, but none that achieved its pervasive popularity.

Abridged from an annotation © Phillip Sametz

The Melbourne Symphony Orchestra first performed Valse triste at a Finnish Relief Funds concert on 12 April 1940 under conductor Georg Schnéevoigt. The MSO’s most recent performances were during a 1998 regional tour of Victoria with Brad Cohen.

Symphony No.7 in C, Op.105—Gustav Mahler visited the Finnish capital of Helsinki in 1907, and met Jean Sibelius. In the course of their conversation, Sibelius expressed his view that the essence of symphonic composition was a ‘severity of style and the profound logic that creates an inner connection between all the motifs’. Mahler’s famous retort was, ‘No! The symphony must be like the world. It must embrace everything.’ As if to bear this out, Mahler’s symphonies, never overly concise, become progressively more expansive, where the history of Sibelius’ symphonies is, broadly speaking, one of increasing compression and economy, culminating in the single-movement, 22-minute Seventh Symphony composed in 1924.

As a young man, Sibelius developed a deep interest in the folk history of his native country. His most obviously nationalistic works are those based on the Kalevala collection of myths and legends, and the celebrated Finlandia, written at a time of severe repression of the Finns by their Russian overlords. By the time of the last three symphonies and the tone poem Tapiola, Sibelius’ interest in mythology seems less to do with simple nationalism than with a nature-based mysticism. Since 1904 Sibelius and his family had lived among the conifers and lakes of rural Finland, some 40 kilometres from Helsinki. ‘Here,’ said Sibelius, ‘the silence speaks.’ And through his music it spoke of the cosmos.

ABOUT THE MUSIC

MSO Roses empowers philanthropists who share a passion for orchestral music, a love for the Melbourne Symphony Orchestra and the desire to make a difference.

UPCOMING EVENT

‘How music inspires me’Enjoy lunch and conversation at Sofitel Melbourne on Collins, followed by a panel discussion featuring corporate executive Margaret Jackson AC, neurosurgeon Dr Kate Drummond and architect Yvonne von Hartel AM.

23 July at 12.30pm, Sofitel Melbourne on CollinsFree to MSO Roses and $95 for non-members

BOOK NOW(03) 9626 1249 or msoroses@mso.com.au

This is nowhere truer than in the Seventh Symphony, which, as Donald Tovey said of Beethoven’s Eighth, is ‘tiny but vast’. It was to have been a three-movement piece culminating in a ‘Hellenic’ rondo, though what we hear is decidedly more Nordic than Greek. Having decided on the one-movement form, Sibelius was diffident about calling it a symphony at first, preferring ‘Symphonic Fantasia’ which also suggests some extra-musical intention. In some respects it is tempting to see the piece as a symphony in miniature, and we can isolate elements which correspond to a Classical symphony’s exposition, development and recapitulation of themes, as well as sections which stand in for slow introduction, scherzo and so on. But the measure of Sibelius’ genius and craft is that it is almost impossible to tell where one section ends and another begins, and his technique, termed ‘rotational form’ by one writer, of exactly repeating thematic material gives the music a sense of potentially endless invention.

There are, nonetheless, a few signposts. The piece begins slowly with a simple, unaccompanied rising scale which is topped by an unexpected chord. The ensuing section is dominated by ‘blurred’ chords and short motifs (notably from the woodwinds) as the music gradually gains momentum for the next four or so minutes. A spacious passage for divided strings introduces the main theme of the work, a majestic and extended melody for trombone. This gives way, imperceptibly yet again, to a kind of scherzo, dominated by terse rhythmic fragments passed back and forth from woodwinds to strings; suddenly there appears an oceanic swell in the lower strings above which the trombone theme returns in the minor mode. This galvanising moment marks the halfway point of the symphony. There follows a section which sounds like new material but is in fact based on transformations of what has gone before, and which gradually morphs into another scherzo-like section, before a third statement of

the trombone theme. The blurred harmonies of the opening dominate the work’s last pages: even the final C major chord is not achieved without difficulty.

English composer Robert Simpson once wrote that Sibelius’ Seventh Symphony ‘is like a great planet in orbit, its movement vast, inexorable, seemingly imperceptible to its inhabitants’. As it happens, a version of the trombone melody appears in Sibelius’ sketch for another, unfinished work, labelled ‘Where the stars dwell’; but even without that ‘clue’ it is hard not to hear this work as cosmic in its endlessly changing details and underlying unity.

Abridged from an annotation by Gordon Kerry © 2002

The Melbourne Symphony Orchestra gave the first Australian performance of this work, on 21 August 1937 under conductor Georg Schnéevoigt. The MSO most recently performed it in August 1999 with conductor Paavo Järvi.

7RAVEL’S BOLERO WITH SIBELIUS 7

Iain Grandage (born 1970)

Dances with Devils – Percussion Concerto

I The Chosen Vessel

II The Conquering Bush

III The Drover’s Wife

IV Lola Montez

Claire Edwardes percussion

WORLD PREMIERE—The Australian Bush – that great mythic landscape – has always held a particular grasp on the psyche of white Australians. It is the great unknown – beyond the realms of our control, and source of many subliminal fears. Indigenous Australians are more than aware of the power and mystery held within the earth, but those are not my stories to tell or my songs to sing. This work is instead a response to a series of short stories that reside within the Australian Gothic literary tradition of the 19th century, a tradition where the tropes of the old world – ghosts, spectres, haunted houses and mythological beasts – were transposed and transformed into events and situations that had particular resonance with the Australian colonial experience.

The opening movement of Dances with Devils revolves around Barbara Baynton’s 1896 short story The Chosen Vessel. This concise masterwork tells of the terror of a young woman one twilight, who is dreading the return of a swagman to her isolated hut. On hearing a passing horse, she mistakes it for a saviour. However, the rider is a young religious man who mistakes her for a ghost in her flowing nightgown, with her cries of ‘For Christ’s Sake’, and refuses to stop. She falls victim to the lurking swagman. The movement features the marimba and is dominated by triplet rhythms redolent of horse hooves.

The second movement is a subdued sarabande, based on Edward Dyson’s The Conquering Bush, a story in which a woman, unable to cope with the searing, incessant noise of the birds around her bush home, chooses a drowning death for her and her child instead. It features series of instruments being transformed in pitch and timbre by water.

The third movement is a traditional scherzo, launching from a moment within Henry Lawson’s famous story The Drover’s Wife, where the principal female character dreams of a different life, far from the bush. This is juxtaposed with harsher sections that reflect the reality of her current situation – namely staying awake all night in a bush hut, awaiting a snake’s reappearance.

The final movement provides a moment of hope amongst the gothic landscape. It is a tarantella inspired by Lola Montez, whose famed Spider Dance was the talk of the goldfields when she toured Australia in the 1850s.

I am indebted to Claire Edwardes for all she has brought to this collaboration. Claire’s energy, virtuosity and musical competence redresses the seemingly impossible imbalance between a solitary soloist and the massed forces of a symphony orchestra that is inherent within the concerto format. She stands strong against that conquering noise and casts doubt and darkness aside. I love her for it.

Dances with Devils was commissioned by Symphony Services International on behalf of its member orchestras.

Iain Grandage © 2015

About the composer

Iain Grandage composes, conducts and performs. He has received the prestigious Sidney Myer Performing Arts Award, the Ian Potter Emerging Composer Fellowship, and has been Composer-in-Residence with the West Australian Symphony Orchestra, and Musician-in-Residence at the UWA School of Music, where he is currently an Honorary Research Fellow.

He has won five Helpmann Awards (Best Original Score Cloudstreet, The Secret River, When Time Stops; Music Direction Little Match Girl, Secret River) and six Green Room awards.

Maurice Ravel (1875-1937)

Bolero—Poor Ravel. He was joking when he described Bolero as a ‘masterpiece without any music in it’ so was very annoyed when the piece became one of his best-known works. In fact it came about when he was asked by Ida Rubenstein to orchestrate parts of Albéniz’s Iberia for a ballet with a ‘Spanish’ character in 1928. It is a common and inaccurate cliché that the ‘best Spanish music was written by non-Spaniards’, but it does contain a grain of truth. Musicians from all over Europe were drawn to Spain – or to an idea of Spain – because of its relative exoticism and its musical traditions that include an estimated 1,000 different dance forms.

In much of his music, like the opera The Spanish Hour and the late ‘Don Quixote’ songs, Ravel explores Spanish sounds and manners. In this case, though, it turned out that the rights to Albéniz’s music were not available, so Ravel composed his Bolero, based on an 18th-century Spanish dance-form which is characterised by a moderate tempo and three beats to a bar. It has ‘no music’ in that a simple theme is reiterated over and over again, embodied in different orchestral colours each time, including that marvellous moment where it appears in three keys simultaneously. The work has been used and abused in various films but it remains a masterpiece after all, its inexorable tread building massive tension which is released explosively in the final bars.

Gordon Kerry © 2007

The Melbourne Symphony Orchestra first performed Ravel’s Bolero in September 1946 at a Young People’s concert under conductor Bernard Heinze, and most recently in February 2015 at the Chinese New Year concert with conductor Tan Dun.

Rediscover the romance of travel with up to 1,600 channels of music, TV and movies. Let our inflight entertainment take you places you won’t find on a map.

Principal Partner of the Melbourne Symphony Orchestra.

Fall in love with every journey

Enjoy our generous baggage allowance w Gourmet cuisine w Over 140 destinations worldwide

‘Airline of the year’ 2013 Skytrax World Airline Awards.

emirates.com/au

EMI0310_MSO_176x121_v4.indd 1 8/05/14 3:52 PM

It takes a place to create a community, and a community to create a place.Every day Lend Lease creates places that offer some of the best things in life. Imaginative design, exceptional quality, luxury features and inspired locations. Places for people.

As a Maestro partner, we aim to collaborate with the MSO to create meaningful connections with people through performances, to shape great places in Victoria.

www.lendlease.com

PARTNERING WITH THE MSOAT VICTORIA HARBOUR

9

Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST VIOLINSDale BarltropConcertmasterEoin AndersenConcertmasterSophie Rowell Associate ConcertmasterPeter EdwardsAssistant PrincipalKirsty BremnerMSO Friends ChairSarah CurroPeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn TaylorRebecca Adler* Jacqueline Edwards* Robert John*Clare Miller*

SECOND VIOLINSMatthew TomkinsThe Gross Foundation Principal Second Violin ChairRobert Macindoe Associate PrincipalMonica Curro Assistant PrincipalMary AllisonIsin CakmakciogluFreya Franzen

Cong GuAndrew HallFrancesca HiewRachel Homburg Christine JohnsonIsy WassermanPhilippa WestPatrick WongRoger YoungLynette Rayner*

VIOLASChristopher Moore PrincipalChristopher Cartlidge Acting Associate PrincipalLauren BrigdenKatharine BrockmanSimon CollinsGabrielle HalloranTrevor Jones Fiona Sargeant Cindy WatkinCaleb WrightWilliam Clark* Douglas Coghill*Ceridwen Davies* Isabel Morse*

CELLOSDavid Berlin MS Newman Family Principal Cello ChairRachael Tobin Associate PrincipalNicholas Bochner Assistant PrincipalMiranda Brockman

Rohan de KorteKeith JohnsonSarah MorseAngela SargeantMichelle WoodDaniel Smith*

DOUBLE BASSESSteve Reeves PrincipalAndrew Moon Associate PrincipalSylvia Hosking Assistant PrincipalDamien EckersleyBenjamin HanlonSuzanne LeeStephen NewtonYoung-Hee Chan* Emma Sullivan*

FLUTESPrudence Davis Principal Flute Chair – AnonymousWendy Clarke Associate PrincipalSarah Beggs

PICCOLOAndrew Macleod Principal

OBOESJeffrey Crellin PrincipalAnn Blackburn

COR ANGLAISMichael Pisani Principal

CLARINETSDavid Thomas PrincipalPhilip Arkinstall Associate PrincipalCraig Hill

BASS CLARINETJon Craven Principal

BASSOONSJack Schiller PrincipalLyndon Watts*Guest PrincipalElise Millman Associate Principal Natasha Thomas

CONTRABASSOONBrock Imison Principal

HORNS Zora Slokar PrincipalGeoff Lierse Associate PrincipalSaul Lewis Principal Third Jenna BreenAbbey EdlinTrinette McClimontDeborah Hart*

TRUMPETSGeoffrey Payne PrincipalShane Hooton Associate Principal

William EvansJulie Payne

TROMBONESBrett Kelly PrincipalTim Dowling*

BASS TROMBONEMike Szabo Principal

TUBATimothy Buzbee PrincipalJason Catchpowle*

TIMPANIChristine Turpin Principal

PERCUSSIONRobert Clarke PrincipalJohn ArcaroRobert Cossom

HARPYinuo Mu Principal

PIANOLouisa Breen*

SAXOPHONESTom MartinJason Xanthoudakis*

*Guest musician

MELBOURNE SYMPHONY ORCHESTRA

BOARDHarold Mitchell ACChairmanAndré GremilletManaging DirectorMichael UllmerDeputy ChairAndrew DyerDanny GorogMargaret Jackson ACBrett KellyDavid Krasnostein David LiAnn PeacockHelen Silver AOKee Wong

COMPANY SECRETARYOliver Carton

EXECUTIVEAndré GremilletManaging Director Catrin HarrisExecutive Assistant

HUMAN RESOURCESMiranda CrawleyDirector of Human Resources

BUSINESSFrancie DoolanChief Financial OfficerRaelene KingPersonnel ManagerLeonie WoolnoughFinancial ControllerPhil NooneAccountantNathalia Andries Finance OfficerSuzanne Dembo Strategic Communications and Business Processes Manager

ARTISTICRonald VermeulenDirector of Artistic Planning Andrew Pogson Special Projects ManagerLaura HolianArtistic CoordinatorHelena BalazsChorus Coordinator

EDUCATION AND COMMUNITY ENGAGEMENTBronwyn LobbDirector of Education and Community EngagementLucy BardoelEducation and Community Engagement CoordinatorLucy RashPizzicato Effect Coordinator

OPERATIONSGabrielle Waters Director of OperationsAngela BristowOrchestra ManagerJames FosterOperations ManagerJames PooleProduction CoordinatorAlastair McKeanOrchestra LibrarianKathryn O’BrienAssistant LibrarianMichael StevensAssistant Orchestra ManagerStephen McAllanArtist LiaisonLucy RashOperations Coordinator

MARKETINGAlice WilkinsonDirector of MarketingJennifer PollerMarketing ManagerMegan Sloley Marketing ManagerAli Webb PR ManagerKate EichlerPublicity and Online Engagement CoordinatorKieran Clarke Digital ManagerNina DubeckiFront of House SupervisorJames Rewell Graphic Designer Chloe SchnellMarketing Coordinator Claire HayesTicket and Database ManagerPaul CongdonBox Office SupervisorJennifer BroadhurstTicketing CoordinatorAngela BallinCustomer Service CoordinatorChelsie JonesCustomer Service Officer

DEVELOPMENTLeith Brooke Director of DevelopmentJessica Frean MSO Foundation ManagerBen LeeDonor and Government Relations ManagerArturs EzergailisDonor and Patron CoordinatorJudy TurnerMajor Gifts ManagerJustine KnappMajor Gifts CoordinatorMichelle MonaghanCorporate Development ManagerJames RalstonCorporate Development and Events Coordinator

MANAGEMENT

RAVEL’S BOLERO WITH SIBELIUS 7

10 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

THANKS TO OUR WONDERFUL MSO SUPPORTERS

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

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $100 (Friend), $1,000 (Player), $2,500 (Associate), $5,000 (Principal), $10,000 (Maestro), $20,000 (Impresario), $50,000 (Benefactor)

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

Enquiries: Ph +61 (03) 9626 1248 Email: philanthropy@mso.com.auThis honour roll is correct at time of printing.

ARTIST CHAIR BENEFACTORSHarold Mitchell AC Chief Conductor ChairPatricia Riordan Associate Conductor ChairJoy Selby Smith Orchestral Leadership ChairMarc Besen AC and Eva Besen AO International Guest ChairMSO Friends ChairThe Gross Foundation Principal Second Violin ChairMS Newman Family Principal Cello Chair Principal Flute Chair – Anonymous

PROGRAM BENEFACTORSMeet The Music Made possible by The Ullmer Family FoundationEast meets West Supported by the Li Family TrustThe Pizzicato Effect (Anonymous)MSO UPBEAT Supported by Betty Amsden AO DSJMSO CONNECT Supported by Jason Yeap OAM

BENEFACTOR PATRONS $50,000+Betty Amsden AO DSJPhillip Bacon AM Marc Besen AC and Eva Besen AO Jennifer Brukner Rachel and Hon. Alan Goldberg AO QC The Gross FoundationDavid and Angela LiAnnette MaluishHarold Mitchell ACMS Newman FamilyRoslyn Packer AOMrs Margaret S Ross AM and Dr Ian Ross Joy Selby SmithUllmer Family Foundation

IMPRESARIO PATRONS $20,000+Perri Cutten and Jo DaniellSusan Fry and Don Fry AO John McKay and Lois McKayElizabeth Proust AO Rae Rothfield Inés Scotland

MAESTRO PATRONS $10,000+Michael AquilinaJohn and Mary BarlowKaye and David Birks Mitchell ChipmanJan and Peter ClarkAndrew and Theresa DyerFuture Kids Pty Ltd

Robert & Jan GreenLou Hamon OAMMargaret Jackson AC Konfir Kabo and Monica Lim Mr Greig Gailey and Dr Geraldine LazarusNorman and Betty LeesMimie MacLarenIan and Jeannie Paterson Onbass FoundationPeter and Natalie Schiavello Glenn Sedgwick Maria Solà, in memory of Malcolm Douglas Drs G & G Stephenson. In honour of the great Romanian musicians George Enescu and Dinu LipatiLyn Williams AMKee Wong and Wai TangJason Yeap OAMAnonymous (1)

PRINCIPAL PATRONS $5,000+Lino and Di Bresciani OAM David and Emma CapponiPaul Carter and Jennifer BinghamTim and Lyn EdwardJohn and Diana Frew Jill and Robert GroganNereda Hanlon and Michael Hanlon AMHartmut and Ruth HofmannJenny and Peter HordernJenkins Family Foundation Vivien and Graham KnowlesDavid Krasnostein and Pat Stragalinos Elizabeth Kraus in memory of Bryan Hobbs Dr Geraldine Lazarus and Mr Greg GaileyDr Elizabeth A Lewis AM Peter LovellThe Cuming BequestMr and Mrs D R MeagherWayne and Penny MorganMarie Morton FRSA Dr Paul Nisselle AM Lady Potter ACStephen Shanasy Gai and David Taylorthe Hon. Michael Watt QC and Cecilie Hall Barbara and Donald WeirAnonymous (4)

ASSOCIATE PATRONS $2,500+Dr Bronte AdamsPierce Armstrong Foundation Will and Dorothy Bailey BequestBarbara Bell in memory of Elsa BellPeter Biggs CNZM and Mary BiggsMrs S BignellStephen and Caroline Brain

Mr John Brockman OAM and Mrs Pat Brockman Leith Brooke Rhonda Burchmore Bill and Sandra BurdettOliver CartonJohn and Lyn CoppockMiss Ann Darby in memory of Leslie J. Darby Mary and Frederick Davidson AMLauraine Diggins and Michael BlanchePeter and Leila DoyleLisa Dwyer and Dr Ian DicksonDr Helen M FergusonMr Bill FlemingColin Golvan QC and Dr Deborah GolvanMichael and Susie HamsonSusan and Gary HearstGillian and Michael HundRosemary and James Jacoby John and Joan Jones Connie and Craig Kimberley Sylvia LavelleAnn and George Littlewood H.E. McKenzieAllan and Evelyn McLarenDon and Anne MeadowsBruce Parncutt and Robin CampbellAnn Peacock with Andrew and Woody KrogerSue and Barry Peake Mrs W Peart Ruth and Ralph Renard Max and Jill Schultz Diana and Brian Snape AMMr Tam Vu and Dr Cherilyn TillmanWilliam and Jenny UllmerBert and Ila VanrenenBrian and Helena WorsfoldAnonymous (11)

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, David and Helen Blackwell, Bill Bowness, Michael F Boyt, M Ward Breheny, Susie Brown, Jill and Christopher Buckley, Dr Lynda Campbell, Sir Roderick Carnegie AC, Andrew and Pamela Crockett, Natasha Davies, Pat and Bruce Davis, Merrowyn Deacon, Sandra Dent, Dominic and Natalie Dirupo, John and Anne Duncan, Jane Edmanson OAM, Kay Ehrenberg, Gabrielle Eisen, Vivien and Jack Fajgenbaum, Grant Fisher and Helen Bird, Mr William J Forrest AM, Barry Fradkin OAM and Dr Pam Fradkin, David Gibbs and Susie O’Neill, Merwyn and Greta Goldblatt, George Golvan QC and Naomi Golvan,

THANKS TO OUR WONDERFUL MSO SUPPORTERS

Charles and Cornelia Goode, Dr Marged Goode, Danny Gorog and Lindy Susskind, Louise Gourlay OAM, Ginette and André Gremillet, Dr Sandra Hacker AO and Mr Ian Kennedy AM, Jean Hadges, Paula Hansky OAM and Jack Hansky AM, Tilda and Brian Haughney, Henkell Family Fund, Penelope Hughes, Dr Alastair Jackson, Stuart Jennings, George and Grace Kass, Irene Kearsey, Ilma Kelson Music Foundation, Dr Anne Kennedy, Lew Foundation, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Violet and Jeff Loewenstein, The Hon Ian Macphee AO and Mrs Julie Mcphee, Elizabeth H Loftus, Vivienne Hadj and Rosemary Madden, In memory of Leigh Masel, John and Margaret Mason, In honour of Norma and Lloyd Rees, Trevor and Moyra McAllister, David Menzies, John and Isobel Morgan, Ian Morrey, The Novy Family, Laurence O’Keefe and Christopher James, Graham and Christine Peirson, Andrew Penn and Kallie Blauhorn, Kerryn Pratchett, Peter Priest, Jiaxing Qin, Eli Raskin, Peter and Carolyn Rendit, S M Richards AM and M R Richards, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, Tom and Elizabeth Romanowski, Jeffrey Sher, Dr Sam Smorgon AO and Mrs Minnie Smorgon, Dr Norman and Dr Sue Sonenberg, Dr Michael Soon, Pauline Speedy, State Music Camp, Geoff and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Dr Adrian Thomas, 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, 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 (18)

THE MAHLER SYNDICATEDavid and Kaye Birks, Jennifer Brukner, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Louis Hamon OAM, 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 ROSESRoses: Mary Barlow, Jennifer Brukner, Annette Maluish, Pat Stragalinos, Jenny Ullmer. Rosebuds: Leith Brooke, Lynne Damman, Francie Doolan, Lyn Edward, Dr Elizabeth A Lewis AM, Dr Cherilyn Tillman

FOUNDATIONS AND TRUSTSThe Annie Danks TrustCollier Charitable FundCreative Partnerships AustraliaCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Harold Mitchell FoundationHelen Macpherson Smith TrustIvor Ronald Evans Foundation, managed by Equity Trustees Limited and Mr Russell BrownKen & Asle Chilton Trust, managed by PerpetualLinnell/Hughes Trust, managed by PerpetualThe Marian and EH Flack TrustThe Perpetual Foundation – Alan (AGL) Shaw Endowment, managed by PerpetualThe Pratt FoundationThe Robert Salzer Foundation

The Schapper Family FoundationThe Scobie and Claire Mackinnon Trust

CONDUCTOR’S CIRCLEJenny Anderson, Lesley BawdenJoyce Bown, Mrs Jenny Brukner and the late Mr John Brukner, Ken Bullen, Luci and Ron Chambers, Sandra Dent, Lyn Edward, Alan Egan JP, Louis Hamon OAM, Tony Howe, Audrey M Jenkins, John and Joan Jones, Mrs Sylvia Lavelle, Cameron Mowat, Laurence O’Keefe and Christopher James, 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 (19)

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 PatronSir Elton John CBE Life MemberThe Honourable Alan Goldberg AO QC Life MemberGeoffrey Rush AC Ambassador

MEDIA PARTNERGOVERNMENT PARTNERS

SUPPORTING PARTNERS

ASSOCIATE PARTNERS

Golden Age Group Kabo Lawyers Linda Britten

Naomi Milgrom Foundation PwC

UAG + SJB Universal

Feature Alpha Investment (a unit of the Tong Eng Group)

Future Kids

PRINCIPAL PARTNER

MAESTRO PARTNERS

3L Alliance Elenberg Fraser

Fed Square Flowers Vasette

OFFICIAL CAR PARTNER

Sir Andrew Davis conducts a thrilling night of virtuosic composition, beginning with Rimsky-Korsakov’s Dubinushka, an evocation of the revolutionary spirit ignited through Russian folk song. Russian-American pianist Kirill Gerstein displays his mastery of the formidable ‘Rach 3’, before Strauss’ autobiographical tone poem, Ein Heldenleben, brings the evening to a close.

20, 21 and 22 August at 8pm Arts Centre Melbourne, Hamer Hall

BOOK NOW MSO.COM.AU | (03) 9929 9600

RACHMANINOV’S THIRD

Sir Andrew Davis conductor Kirill Gerstein piano