7 JUNE 2018Arts Centre Melbourne, Hamer Hall

8 JUNE 2018Costa Hall, Geelong

CONCERT PROGRAM

THOMAS HAMPSON SINGS MAHLER

Melbourne Symphony OrchestraAndrea Molino conductor

Thomas Hampson baritone

Mahler Totenfeier

Mahler Lieder eines fahrenden Gesellen

INTERVAL

Messiaen Le Tombeau Resplendissant

R. Strauss Tod und Verklärung

Running time: 2 hours, including a 20-minute interval

In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your 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 (03) 9929 9600

Pre-Concert conversation Join us for a pre-concert conversation with Matthew Lorenzen inside Hamer Hall (Thursday) and Costa Hall (Friday) from 6.15pm.

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MELBOURNE SYMPHONY ORCHESTRA

ANDREA MOLINO CONDUCTOR

Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s longest-running professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 4 million people each year, the MSO reaches diverse audiences through live performances, recordings, TV and radio broadcasts and live streaming.

The MSO works with Associate Conductor Benjamin Northey and Cybec Assistant Conductor Tianyi Lu, as well as with such eminent recent guest conductors as Tan Dun, John Adams, Jakub Hrůša and Jukka-Pekka Saraste. It also collaborates with non-classical musicians such as Elton John, Nick Cave and Flight Facilities.

Andrea Molino recently conducted Shostakovich’s The Nose and Szymanowski’s King Roger for Opera Australia. At home in 20th century and 21st century repertoire, he has also conducted Verdi’s Rigoletto, Il Trovatore, and La Traviata as well as works by Rossini, Mozart, Haydn and Richard Strauss. He opened La Fenice’s 2010 concert season in Venice with the world premiere of Maderna’s Requiem (which he has also recorded). He has conducted world premiere productions such as Mosca’s Signor Goldoni.

Andrea has conducted the Brussels Philharmonic, Dresden Symphony (with the project aghet, dedicated to the 100th anniversary of the Armenian genocide), and the BBC Scottish Symphony Orchestras. As a composer, his main interest is innovative, multimedia-oriented music theatre.

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THOMAS HAMPSON BARITONE

Thomas Hampson’s honours include France’s Commandeur dans l’Ordre des Arts et des Lettres, induction into Gramophone’s Hall of Fame and a Living Legend Award from the Library of Congress.

Having appeared in the world’s major houses, Thomas Hampson has a repertoire of over 80 roles. His discography comprises more than 170 albums. Recently he has appeared at the Vienna State Opera reprising a signature-role, Verdi’s Simon Boccanegra and given concerts in Stuttgart, Cologne, Budapest, Baden-Baden, Paris and Lisbon.

Thomas also gave the Russian premiere in Moscow of Michael Daugherty’s song-cycle Letters from Lincoln, written specially for him, and conducted music from Bernstein’s On the Town. Through the Hampsong Foundation (founded 2003), he employs the art of song to promote intercultural dialogue and understanding.

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PROGRAM NOTES

GUSTAV MAHLER (1860-1911)

Totenfeier

‘If this is music, then I know nothing of music,’ said Hans von Bülow, the legendary conductor, when, in 1891, Mahler played through a long symphonic poem entitled Todtenfeier (funeral rites) to him at the piano.

Todtenfeier, to give it its original (and deliberately archaic) spelling, was conceived as a sequel to the First Symphony, on which Mahler was still working when he conceived of the new piece. Like Beethoven’s Eroica and numerous works by Richard Strauss, the First Symphony was intended as the musical portrait of a hero. Composed in 1888, Totenfeier was to be the hero’s funeral rites; it is almost inevitable that the movement should be in C minor, like the Funeral March in Beethoven’s Symphony. Totenfeier sought, as Mahler later put it, to ask: ‘Why did you live, why suffer? Is it all nothing but a huge, terrible joke?’ The original version of Totenfeier is an only very slightly shorter version of what would become the first movement of the Symphony No.2, the ‘Resurrection’, so Mahler’s note for an early performance of the whole symphony is germane to this version:

We are standing beside the coffin of a man beloved. For the last time his life, his battles, his sufferings and his purpose pass before the mind’s eye. And now, at this deeply stirring moment, when we are released from the paltry distractions of everyday

life, our hearts are gripped by a voice of awe-inspiring solemnity, which we seldom or never hear above the deafening traffic of mundane affairs.

It opens with the same dramatic gesture. One theme, which strides through the stormy texture, often as a trumpet call, returns in the finale to depict the resurrection of the dead. The second subject, as in the more familiar version, is a limpid and lyrical theme. The movement is long and structurally complex, with the allusion to the Dies irae plainchant warning of the Last Judgement still in evidence during the development. Occasionally Totenfeier shows seams that are more skilfully disguised in the final version. Mahler calls for a standard late-Romantic orchestra for Totenfeier – large, but still much smaller than that required for the Symphony: here, along with the regular string band, he restricts himself to triple, not quadruple winds, and a regular complement of brass, including only four horns, three trumpets and trombones, tuba, a single harp, no organ and a modest percussion section of only one timpanist and two percussionists.

The enormous tonal palette to which we are now accustomed is thus a little restricted, but Mahler nevertheless manages a considerable variety of colours, and, indeed, his orchestration here, as everywhere, is as notable for its kaleidoscope of delicate effects as for its monumental ones, such as the crashing chords that seem to threaten total collapse later in the movement. One may miss moments of sheer volume – for instance, the later enhancement provided by the

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tam-tam when the opening gesture is reprised halfway through the piece – and there is a moment before the final recapitulation of the opening where the energy trails off in a way that Mahler has overcome in the later version. Nonetheless, Totenfeier’s range of mood asks those searching questions, and reflects Mahler’s remark that ‘You are battered to the earth with clubs and lifted to the heights on angels’ wings’.

Mahler was for a time stuck with Totenfeier, and even when he resolved to make it the first movement of a symphony. It was only with von Bülow’s death and burial in 1894 that the idea of a choral finale celebrating the Resurrection would come to him.

© Gordon Kerry 2018

The Melbourne Symphony Orchestra gave the first Australian performance of Totenfeier, under Karl Anton Rickenbacher on 10 February 1988. This is the Orchestra’s only performance since then.

GUSTAV MAHLER (1860-1911)

Lieder eines fahrenden Gesellen Songs of a Wayfarer

Wenn mein Schatz Hochzeit macht (On my sweetheart’s wedding day)

Ging heut’ Morgen über’s Feld (I went out this morning into the fields)

Ich hab’ ein glühend Messer (I have a red-hot knife)

Die zwei blauen Augen (The two blue eyes)

The head of the opera house at Kassel in the early 1880s was Wilhelm Treiber, a former army officer who ran the company on military lines. Gustav

Mahler (the music and chorus director at the time) appears twice in the Director’s Register of Fines. The first time was for ‘…the most annoying habit of walking very noisily on the heels of his boots during rehearsals and performances’. The second offence involved causing female members of the company to break out in ‘peals of laughter’ during conversation with them.

It is tempting to suppose that one of those giggling female singers was Johanna Richter, a blue-eyed coloratura soprano with whom Mahler was completely besotted. It is unclear when or at whose instigation their relationship soured. Some of his letters imply he had tried to break things off; but when the young composer turned to his music, the tone is of a jilted lover. He wrote to a friend:

I have composed a song cycle, presently of six songs [later four], dedicated to her. She has not seen them. What could they tell her beyond what she already knows? I will enclose [to you] the last song, although the inadequate words cannot say even a small part. The songs are a sequence, in which a wayfaring journeyman, who has had a great sorrow, goes out into the world and wanders aimlessly…

The term ‘journeyman’ (Gesellen in German) is not frequently heard these days. Technically, it is someone who has completed their apprenticeship but is not self-employed, perhaps requiring further practical experience before being admitted to a professional organisation. Mahler’s title, which could be literally translated as Songs of a Travelling Journeyman, therefore

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already implies a certain pathos: someone looking for work, for a home; someone who has left their master and not found another. Gesell can also mean ‘companion’, lending an ironic touch to this solitary subject.

Mahler was reiterating a principal recurring theme of 19th-century German Lieder: the world-weary solo traveller, roaming unloved and unmissed. Many of the great song cycles (Schubert’s Die Winterreise and Die schöne Müllerin, to name two) have a similar protagonist, disappointed in love. It’s also remarkable how often these characters, as well as Mahler’s wayfarer, find consolation under a tree.

Mahler chose to write his own poetry, rather than (as others had done before him) selecting some of the famous works on this topic by Goethe, Heine or Schiller, all of whom would have been considered a little old-fashioned by this time anyway. In doing so, the young composer paralleled Richard Wagner, whom he idolised and who spent most of his artistic life searching for the ‘totally unified artwork’. Mahler was less confident of his ‘inadequate words’ than of his music. He worried they might be perceived as naïve or even trite.

What he in fact produced was a four-movement song cycle, equivalent in scale and form to a miniature symphony. Indeed, echoes of certain phrases in Songs of a Wayfarer can be found in Mahler’s Symphony No.1. The earliest autograph, for voice and piano, is from 1884 but written above the score are the words ‘for a deep voice with orchestral accompaniment’, which suggests he always had

certain instruments in mind. Mahler orchestrated the work probably in the summer of 1896, shortly before its official premiere.

The opening motif of On my Sweetheart’s Wedding Day possibly reflects the composer’s Moravian heritage in its folk-like character. (A similar phrase is heard in the third movement of the First Symphony.) The singer, although melancholy, still notices the beauty of the birds and flowers, but can only think of them in terms of what is lost.

The second song has a similar idea: the wayfarer responds to the heartening sounds of the finch and the bluebells merely by way of comparison with his own situation. The central musical idea of this song, outlined in the opening phrase ‘Ging heut’ Morgen über’s Feld’ (I went out this morning into the fields), later provided a musical starting point for the First Symphony. The sorrowful, resigned coda is an ideal transition, elegantly bridging the gap between the joyous opening of the second song and the almost shocking violence of the third.

I have a Red-Hot Knife moves the protagonist beyond gentle sorrow and into extremes of torment, marked most obviously by the repeated plaint ‘O weh!’ and the energy of the orchestration. Trembling strings and winds keep the emotional level high even when the dynamic is low. A calm moment in C major is only a warning pause before the storm breaks loose again.

One of the most famous elements of Mahler’s Symphony No.1 is a funeral march, often known as a minor-key

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version of Frère Jacques; it contrasts with a G major section. The Two Blue Eyes presages this contrasting section, in a portion of the song which begins ‘Auf der Strasse’ (By the road). Overwhelming sadness eventually gets the better of this gentle tune, twisting it back into a minor key, leaving the audience to wonder if the journeyman has indeed found restful sleep – or death.

Katherine Kemp Symphony Australia © 1998

The Melbourne Symphony Orchestra first performed Mahler’s Songs of a Wayfarer on 25 October 1958 with conductor Kurt Woess and mezzo-soprano Elena Nikolaidi, and most recently in September 1986 with Hiroyuki Iwaki and Margreta Elkins.

OLIVIER MESSIAEN (1908-1992)

Le Tombeau resplendissant (The resplendent tomb) Vif – modéré – presque lent – vif – lent

Late in life Messiaen offered this much-quoted defence of his life’s work:

The first idea that I wished to express…is the existence of the truths of the Catholic faith. This is the main aspect of my work, the most noble, without doubt the most useful, the most valid.

It is an extremely medieval aesthetic, but the fact that Messiaen’s whole output stems from his religious conviction creates some wonderful paradoxes. One of the towering figures of the 20th century’s music, he dutifully played the organ at weekly services in a Parisian church for some 60 years, yet published only one short piece for specifically liturgical use. He developed an intensely personal musical idiom

to reflect his unfashionable theological meditations, yet was the revered teacher of generations of composers as diverse as Stockhausen, Pierre Boulez, Iannis Xenakis through to the much feted (and much younger) George Benjamin; he went ‘back to nature’ and explored birdsong to create a music anything but faux-naif; his religion presented no impediment to representing erotic love as a reflection of divine love in works like the Turangalîla-symphonie.

The convergence of divine and erotic love was hard-won for Messiaen though. In works from the 1930s there is still a more traditionally ascetic sense of the opposition of spirit and flesh. In the ‘combat between death and life’, to borrow another Messiaen title, mystical union comes only with the denial of the flesh and passion. Le Tombeau resplendissant dates from 1931 and reflects this, as seen in Messiaen’s preface to the work:

My youth is dead: I am its executioner. Anger bounding, anger overflowing! Anger like a spurt of blood, anger like a hammer blow! A circle at the throat, hands full of rage, a face of cold hate! Despair and weeping!

My youth passed within a music of flowers. I had in view an enchanted stairway. On it shone the plumage of the bluebird of illusions. The melody of the atmosphere rose up, joyously sad.

My youth is dead: I am its executioner. Where, fury, are you leading me? Why, trees, do you gleam through the night? Advance, retreat, hold out your arms! A sea swells at my ears! And it cracks, spins, dances, shouts, yells: the void enters into me!

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What is this resplendent tomb? It is the tomb of my youth, it is my heart. Lit by the flame forever surging, lit by the blinding clarity of an inner voice: ‘Come unto me, all ye that labour and are heavy laden, and I will give you rest. Blessed are the meek: for they shall inherit the earth. Blessed are they that mourn: for they shall be comforted. Blessed are the pure in heart: for they shall see God.’

The verbal rhetoric is matched musically by implacably energetic music, challenged and gradually superseded by the final extended, meditative slow section in E major for muted strings. The work is an image of the theological processes of purgation, illumination and finally, union.

© Gordon Kerry

This is the first performance of this work by the Melbourne Symphony Orchestra.

RICHARD STRAUSS (1864-1949)

Tod und Verklärung (Death and Transfiguration), Op.24

On his deathbed, Strauss famously remarked to his daughter-in-law that he ‘heard so much music’. She offered him manuscript paper but he replied that he had ‘composed it 60 years before in Tod und Verklärung. This is just like that.’ In 1888, however, Strauss was 24 years old and in perfect health. His career was beginning to take wing, and as a relatively recent convert to the ideals of the ‘New German’ school of music – represented by Liszt, Wagner and their followers – Strauss largely abandoned the classicising, Brahmsian aesthetic which had been

drilled into him by his father, horn player and composer Franz Strauss.

Following Liszt, Strauss explored frankly descriptive music in his Aus Italien, and embarked on a series of symphonic poems such as Don Juan and Macbeth, in which his music embodied the events and characters in literary works of Lenau and Shakespeare respectively. In these and following works in the genre Strauss honed a musical idiom that enabled him to write music of great scenic and psychological immediacy in the great series of operas that he began, with Guntram, at around the time of Tod und Verklärung. But he did so by modifying the ‘symphonic’ principles of thematic contrast, key relationships and motivic development that had sustained both Brahms’ symphonies and the ‘endless melody’ of Wagner.

The program, or narrative structure, of Tod und Verklärung was Strauss’ own. He explained to a friend that the work depicts ‘the dying hours of a man who had striven towards the highest idealistic aims, maybe indeed those of an artist’. First, we hear the man’s ‘irregular breathing’ and heartbeat, softly sounded in strings and timpani. The harp introduces two motifs, a dipping melody from high on the flute and a rising chromatic figure from the oboe, perhaps representing the man regaining consciousness. The breathing music returns, followed by a melody, consisting of a rising octave and stepwise descent, which presages the music’s later depiction of the man’s memories of childhood and youth.

The immobile opening section is shattered by music of sudden agony

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that introduces a new urgent theme and reaches a forceful climax. There follows a series of reminiscences, with development of some of the themes heard in the opening section. It’s not hard to imagine the dying man remembering childhood, love, physical vigour; but increasingly a baleful syncopated figure, based on the irregular breathing of the start, seeks to interrupt these reveries. The suffering man refuses to bow to the pain, insisting on the ‘memory’ themes in the face of the assault of pain. He is rewarded by three statements of the theme representing the Ideal: a simple upward-moving major melody brightened by the harmonic step from the tonic to a major chord one degree higher. The third statement combines with one of the heroic themes from earlier, but even here at what would be the climax of a symphonic movement, the resolution is withheld and the music sinks back to earth. The fast agonised music returns; brutal rhythms and a sudden upward rush of string and woodwind figures tell us that the man has died.

From the depths of the orchestra, the tam-tam (the only percussion in this score) sounds softly. The music, based on the ‘childhood’ theme, very gradually billows like cloud, finally reaching a stratospheric high G in the violins. The final coda is an ecstatic rhapsody on the ‘Ideal’ motif, passing through different keys and colours. Unlike its first appearances, the motif here reaches a climax, but then gradually fades away. Strauss has been criticised for failing to depict this blissful moment convincingly, but he himself fully understood that the

Ideal can only be ‘gloriously achieved in everlasting space’; such a thing ‘could not be achieved here below’. Like poets who have fallen silent throughout the ages when asked to put the ineffable into words, Strauss’ music points the way, and produces a work of great beauty as it does so.

In one of his last major utterances, ‘Im Abendrot’ (At dusk) from the Four Last Songs, Strauss quotes the ‘Ideal’ theme when the singer, watching the unbearably beautiful sunset with her partner of many years, asks, ‘Is this, perhaps, death?’

© Gordon Kerry 2014

The Melbourne Symphony Orchestra first performed this work on 23 August 1941 under conductor Edgar Bainton, and most recently in November 2012 with Tadaaki Otaka.

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1. Wenn mein Schatz Hochzeit macht

Wenn mein Schatz Hochzeit macht,Fröhliche Hochzeit macht, Hab’ ich meinen traurigen Tag!Geh’ ich in mein Kämmerlein,Dunkles Kämmerlein,Weine, wein’ um meinen Schatz,Um meinen lieben Schatz!

Blümlein blau! Blümlein blau! Verdorre nicht! Verdorre nicht!Vöglein süss, Vöglein süss,Du singst auf grüner Heide!Ach, wie ist die Welt so schön!Ziküth! Ziküth!

Singet nicht! Blühet nicht! Lenz ist ja vorbei!Alles Singen ist nun aus.Des Abends, wenn ich schlafen geh’Denk’ ich an mein Leide.An mein Leide!

2. Ging heut’ Morgen über's Feld

Ging heut morgen übers Feld, Tau noch auf den Gräsern hing; Sprach zu mir der lust’ge Fink:‘Ei du! Gelt? Guten Morgen! Ei gelt? Du! Wird’s nicht eine schöne Welt? Zink! Zink! Schön und flink! Wie mir doch die Welt gefällt!’

Auch die Glockenblum’ am Feld Hat mir lustig, guter Ding’, Mit den Glöckchen, klinge, kling, klinge, kling,Ihren Morgengruss geschellt:‘Wird’s nicht eine schöne Welt? Kling, kling! Schönes Ding!Wie mir doch die Welt gefällt! Heia!’

On my sweetheart’s wedding day

On my sweetheart’s wedding day,joyful wedding day,it will be a sad day for me!I will go to my little room,my dark little roomand weep for my sweetheart,my dear sweetheart!

Little blue flower! Little blue flower!Do not fade! Do not fade!Sweet little bird, sweet little bird,you sing on the green heath.Ah! How beautiful the world is!La-la! La-la!

Do not sing! Do not bloom!Spring is over and gone!All singing is now over.At evening, when I go to sleep,I think of my sorrow!Of my sorrow!

I went out this morning into the fields

I went out this morning into the fields,the dew was still hanging on the grass,the happy finch said to me:‘Hey, you! Good morning! Yes, you!Right! Isn’t it a beautiful world?Chirrup! Chirrup! Lovely and lively!How I love the world!’

Even the bluebells in the fieldmerrily and with good spiritsring out to me with their little bells, ting, ting, ting,their morning greeting:‘Isn’t it a beautiful world?Ting, ting! What a lovely thing!How I love the world!Hey-ho!’

GUSTAV MAHLER Lieder eines fahrenden Gesellen (Songs of a Wayfarer)

TEXT

Please turn your page quietly

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Und da fing im SonnenscheinGleich die Welt zu funkeln an; Alles Ton und Farbe gewannIm Sonnenschein!Blum’ und Vogel, gross und klein! ‘Guten Tag, ist’s nicht eine schöne Welt? Ei du, gelt! Schöne Welt!’Nun fängt auch mein Glück wohl an? Nein, nein, das ich mein’,Mir nimmer blühen kann!

3. Ich hab’ ein glühend Messer

Ich hab’ ein glühend Messer, Ein Messer in meiner Brust,O weh! O weh! Das schneid’t so tief In jede Freud’ und jede Lust,So tief, so tief!

Ach, was ist das für ein böser Gast!Nimmer hält er Ruh’,Nimmer hält er Rast,Nicht bei Tag, nicht bei Nacht Wenn ich schlief!O weh! O weh!

Wenn ich in dem Himmel seh’, Seh’ ich zwei blaue Augen steh’n. O weh! O weh!Wenn ich im gelben Felde geh’, Seh’ ich von Fern das blonde Haar Im Winde weh’n.O weh! O weh!Wenn ich aus dem Traum auffahr’ Und höre klingen ihr silbern Lachen, O weh! O weh!Ich wollt’, ich läg auf der schwarzen Bahr’, Könnt’ nimmer, nimmer die Augen aufmachen!

4. Die zwei blauen Augen

Die zwei blauen Augen von meinem Schatz, Die haben mich in die weite Welt geschickt. Da musst ich Abschied nehmen Vom allerliebsten Platz!O Augen blau, Warum habt ihr mich angeblickt? Nun hab’ ich ewig Leid und Grämen!

And then in the sunshine,the world began to sparkle;everything took on sound and colour in the sunshine!Flowers and birds, great and small!‘Good morning! Isn’t this a beautiful world?Hey! You! It’s a lovely world!’Now will my happiness also begin?No, no, that happinesscan never bloom for me!

I have a red-hot knife

I have a red-hot knife,A knife in my chest,Ah, pain! Ah, pain! It cuts so deepthrough every joy and pleasure.So deep, so deep.

Alas, what an evil guest!It is never still,it never rests,not by day, not by nightwhen I sleep.Oh, woe! Oh, woe!

When I look up at the sky,I see there two blue eyes.Oh woe! Oh, woe!When I go through the golden fieldsI see from far away blond hairrippling in the wind.Oh, woe! Oh, woe!When I wake up from a dreamand hear the ringing of her silver laughter,Oh, woe! Oh, woe!I wish I were lying on a blackened bier,and could never ever open my eyes again!

The two blue eyes

The two blue eyes of my sweethearthave sent me out into the world.I must take my leaveof the place I love more than anywhere!O blue eyes, Why did you ever look at me?Now I have only eternal grief and pain!

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Ich bin ausgegangen in stiller Nacht In stiller Nacht wohl über die dunkle Heide.Hat mir Niemand Ade gesagt,Ade, Ade!Mein Gesell’ war Lieb’ und Leide!

Auf der Strasse steht ein Lindenbaum, Da hab’ ich zum ersten Mal im Schlaf geruht! Unter dem Lindenbaum, Der hat seine Blüten über mich geschneit, Da wusst’ ich nicht, wie das Leben tut, War alles, alles wieder gut! Alles! Alles! Lieb’ und Leid!Und Welt und Traum!

I went out in the still night,in the still night across the dark heath.No one said farewell to me,farewell, farewell! Love and Sorrow were my companions!

By the road stands a linden tree,and there for the first time I slept peacefully.Under the linden tree,whose blossoms snowed gently down on me,I no longer knew what life was like,everything, everything was good again!Everything! Everything! Love and painand world and dream!

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MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor Anthony Pratt#

Tianyi Lu Assistant Conductor The Cybec Foundation#

Hiroyuki Iwaki Conductor Laureate (1974–2006)

FIRST VIOLINS

Dale Barltrop Concertmaster

Sophie Rowell Concertmaster The Ullmer Family Foundation#

Peter Edwards Assistant Principal John McKay and Lois McKay#

Kirsty BremnerSarah Curro Michael Aquilina#

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

Amy Brookman*Michael Loftus-Hills*

SECOND VIOLINS

Matthew Tomkins Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro Assistant Principal Danny Gorog and Lindy Susskind#

Mary AllisonIsin CakmakciogluFreya Franzen Anonymous#

Zoe FreisbergCong GuAndrew Hall Andrew and Judy Rogers#

Isy WassermanPhilippa WestPatrick WongRoger YoungJacqueline Edwards*

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 Chataway Dr Elizabeth E Lewis AM#

Gabrielle Halloran Maria Sola#

Trevor Jones Cindy WatkinElizabeth WoolnoughCaleb WrightMatthew Laing*

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 Sargeant Maria Sola#

Michelle Wood Andrew and Theresa Dyer#

Sharon Grigoryan^*

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser#

Emma Sullivan*Axel Ruge*

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 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 Thomas

CONTRABASSOON

Brock Imison Principal

HORNS

David Evans*† Guest Principal

Saul Lewis Principal Third

Abbey Edlin Nereda Hanlon and Michael Hanlon AM#

Trinette McClimontAlexander Morton*Rachel Shaw*‡Ian Wildsmith*

TRUMPETS

Shane Hooton Associate Principal

Tristan Rebien* Guest Associate Principal

William EvansRosie Turner

TROMBONES

Brett Kelly Principal

Richard ShirleyMike Szabo Principal Bass Trombone

TUBA

Timothy Buzbee Principal

David J. Saltzman*

TIMPANI**

Christopher Lane

PERCUSSION

Robert Clarke Principal

John Arcaro Tim and Lyn Edward#

Robert CossomEvan Pritchard*Greg Sully*

HARP

Yinuo Mu Principal

Bronwyn Wallis*# Position supported by

* Guest Musician

^ Courtesy of Australian String Quartet

† Courtesy of West Australian Symphony Orchestra

‡ Courtesy of Orchestra Victoria

** Timpani Chair position supported by Lady Potter AC

MSO BOARD

ChairmanMichael Ullmer

Managing DirectorSophie Galaise

Board MembersAndrew DyerDanny GorogMargaret Jackson ACDi JamesonDavid KrasnosteinDavid LiHyon-Ju NewmanGlenn SedgwickHelen Silver AO

Company SecretaryOliver Carton

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MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria

CHAIRMAN’S CIRCLEMarc 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)

ARTIST CHAIR BENEFACTORSAssociate 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

Young Composer in Residence Ade Vincent The Cybec Foundation Cybec

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 Building Capacity Gandel Philanthropy (Director of Philanthropy)

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, Freemasons Foundation Victoria, The Robert Salzer Foundation

The Pizzicato Effect (Anonymous), 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

Sidney Myer Free Concerts Supported by the Myer Foundation and the University of Melbourne

PLATINUM PATRONS $100,000+Marc Besen AC and Eva Besen AO John 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)

Supporters

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VIRTUOSO PATRONS $50,000+ Di Jameson David Krasnostein and Pat StragalinosHarold Mitchell ACKim Williams AM

IMPRESARIO PATRONS $20,000+ Michael Aquilina The 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 Susskind Robert & Jan GreenHilary Hall, in memory of Wilma CollieNereda Hanlon and Michael Hanlon AMThe Hogan Family Foundation International Music and Arts FoundationSuzanne KirkhamThe Cuming BequestIan and Jeannie PatersonLady Potter AC CMRI Elizabeth 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 OAM

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 Dyer Tim and Lyn Edward Mr Bill FlemingJohn and Diana FrewSusan Fry and Don Fry AOSophie Galaise and Clarence Fraser Geelong Friends of the MSO Jennifer GorogHMA FoundationLouis Hamon OAMHans and Petra HenkellHartmut and Ruth HofmannDoug HooleyJenny and Peter HordernDr Alastair JacksonDr Elizabeth A Lewis AMNorman Lewis, in memory of Dr Phyllis LewisPeter LovellLesley McMullin FoundationMr Douglas and Mrs Rosemary MeagherDr Paul Nisselle AMThe Rosemary Norman Foundation Ken Ong, in memory of Lin OngBruce Parncutt AO Jim and Fran PfeifferPzena Investment Charitable FundAndrew and Judy Rogers Rae RothfieldMax and Jill SchultzMr Tam Vu and Dr Cherilyn Tillman The Hon. Michael Watt QC and Cecilie HallLyn Williams AMAnonymous (2)

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ASSOCIATE PATRONS $2,500+ Dandolo PartnersWill and Dorothy Bailey BequestDavid Blackwell OAMAnne BowdenBill BownessJulia and Jim BreenLynne BurgessOliver CartonJohn and Lyn CoppockAnn Darby, in memory of Leslie J. DarbyNatasha Davies, for the Trikojus Education FundMerrowyn DeaconSandra DentPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonDuxton VineyardsJane Edmanson OAMDr Helen M FergusonMr Peter Gallagher and Dr Karen MorleyDina and Ron GoldschlagerLouise 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 RidleyThe Ilma Kelson Music FoundationKloeden FoundationBryan LawrenceAnn and George LittlewoodJohn and Margaret MasonH E McKenzieAllan and Evelyn McLarenDon and Anne MeadowsMarie Morton FRSAAnnabel and Rupert Myer AOSue and Barry PeakeMrs W PeartGraham and Christine PeirsonJulie and Ian ReidRuth and Ralph RenardS M Richards AM and M R RichardsTom and Elizabeth RomanowskiJeffrey Sher QC and Diana Sher OAM

Diana 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 BellMichael F Boyt Patricia BrockmanDr John BrookesSuzie Brown OAM andHarvey BrownRoger and Col BuckleJill and Christopher BuckleyShane BuggleBill and Sandra BurdettPeter CaldwellJoe CordoneAndrew and Pamela CrockettBeryl DeanRick and Sue DeeringDominic 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 Gulbin

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Dr Sandra Hacker AO and Mr Ian Kennedy AMJean HadgesMichael and Susie HamsonPaula Hansky OAMMerv Keehn & Sue HarlowTilda and Brian HaughneyAnna and John HoldsworthPenelope HughesBasil and Rita JenkinsStuart JenningsDorothy KarpinBrett Kelly and Cindy WatkinDr 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 & 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 SmorgonJohn SoDr Michael Soon

Lady 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 (21)

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

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 Myer FoundationThe Pratt FoundationThe Robert Salzer FoundationTelematics Trust

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CONDUCTOR’S CIRCLE Current Conductor’s Circle MembersJenny 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 Clem Gruen and Rhyl WadeLouis 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 ShepherdProfs. 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 (26)

The MSO gratefully acknowledges the support of the following Estates:Angela Beagley

Neilma Gantner

The Hon Dr Alan Goldberg AO QC

Gwen Hunt

Audrey Jenkins

Joan Jones

Pauline Marie Johnston

Joan Jones

C P Kemp

Peter Forbes MacLaren

Joan Winsome Maslen

Lorraine Maxine Meldrum

Prof Andrew McCredie

Miss Sheila Scotter AM MBE

Marion A I H M Spence

Molly Stephens

Jennifer May Teague

Jean Tweedie

Herta and Fred B Vogel

Dorothy Wood

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 philanthropy@mso.com.au

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Sir Elton John CBE Life Member

Lady Potter AC CMRI Life Member

Geoffrey Rush AC Ambassador

THE MSO HONOURS THE MEMORY OF

John Brockman OAM Life Member

The Honourable Alan Goldberg AO QC Life Member

Ila Vanrenen Life Member

Honorary Appointments

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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.'

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PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

The CEO InstituteQuest Southbank Bows for StringsErnst & Young

TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

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

The Gross Foundation, Li Family Trust, MS Newman Family Foundation, The Ullmer Family Foundation

MELBOURNE CONSERVATORIUM OF MUSIC