4—16 may€¦ · and edgard varèse to philip glass ... mso concert three – there will be blood...

MUSIC INSPIRED BY THE MOVING IMAGE4—16 May

MSO In Concert Program

Supported by

MSO Principal Partner

Beethoven’s Symphony No.7FRIDAY 22 MAY SATURDAY 23 MAY MONDAY 25 MAYOne of the world’s most sought-after composers, Matthias Pintscher, returns to conduct the Australian premiere of idyll, an MSO co-commission, in a program that also includes Beethoven’s Seventh Symphony and Saint-Saëns’s Third Violin Concerto with Karen Gomyo.

Education Week MONDAY 1 JUNE TO SATURDAY 6 JUNEJoin the MSO and internationally acclaimed music educator, Paul Rissmann, for the MSO’s fifth annual Education Week at the Melbourne Town Hall and Hamer Hall, with a series of events for schools and families which integrate learning and entertainment, and foster a lifelong love of music.

Mahler 4 FRIDAY 19 JUNE SATURDAY 20 JUNE MONDAY 22 JUNEA milestone in the MSO’s musical evolution, Sir Andrew Davis’ Mahler Cycle series returns for its fourth chapter, alongside Prokofiev’s Sinfonia Concertante.

Britten’s War Requiem THURSDAY 11 JUNE FRIDAY 12 JUNEBenjamin Britten’s War Requiem, a haunting piece interweaving the traditional Latin Mass for the Dead with the works of First World War poet Wilfred Owen, is paired with the profoundly moving Elegy in memoriam Rupert Brooke.

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. Also featuring Rimsky-Korsakov’s Capriccio espagnol, and Scriabin’s Third Symphony.

What’s On May — August

Yuja Wang Plays Prokofiev THURSDAY 23 JULY FRIDAY 24 JULY SATURDAY 25 JULYChinese piano superstar Yuja Wang brings her acclaimed virtuosity to Prokofiev’s tempestuous Second Piano Concerto. Also featuring Tchaikovsky’s Marche Slave and Brahms’ luminous fourth and final symphony.

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32015 METROPOLIS NEW MUSIC FESTIVAL

The Metropolis New Music Festival has been an important part of Melbourne Symphony Orchestra’s schedule for many years. Through our collaboration with the Melbourne Recital Centre in recent years, this annual season-within-a-season exposes audiences to many new and exciting works.

Over three fascinating MSO concerts – Nostalghia, The Light, and There Will Be Blood – conductor André de Ridder, one of today’s most prolific and passionate interpreters of contemporary music, and the musicians will explore aspects of the moving image. This year, we see how film has inspired the most pioneering and creative composers and artists: from Arnold Schoenberg and Edgard Varèse to Philip Glass and Nico Muhly.

The third and final MSO Metropolis concert, on Saturday 16 May, takes its name from There Will Be Blood – a soundtrack composed by Jonny Greenwood, a member of Radiohead, which essays the brutality of pioneer America.

Metropolis 2015 contains many such confrontational works. But the series also contains music of reflection and hope, tranquillity and charm. Shaun Tan’s The Arrival is one such piece – a unique and sensitive work accessible to audiences of all ages.

I thank City of Melbourne for their continued support and welcome all to this year’s Metropolis New Music Festival performances with Melbourne Symphony Orchestra, in which all the vastness, urgency and brilliance of the moving image will be related in music of extraordinary strength and power.

André Gremillet Managing Director, MSO

What’s On 2Managing Director’s message 3About the MSO 3Metropolis New Music Festival – overview of concerts 4Shaun Tan’s The Arrival 6About the Artists 7MSO Concert One – Nostalghia 9MSO Concert Two – The Light 11MSO Concert Three – There Will Be Blood 13The Orchestra 15MSO and MRC Supporters 16

Welcome to the 2015 Metropolis New Music Festival

CONTENTS

Melbourne Symphony Orchestra Established in 1906, the Melbourne Symphony Orchestra has earned a reputation for excellence, versatility, and innovation. It currently performs live to more than 200,000 people annually, in concerts ranging from subscription series at Hamer Hall at Arts Centre Melbourne, to annual free concerts at the Sidney Myer Music Bowl. The Orchestra also delivers programs to audiences of all ages through its Education and Community Engagement initiatives.

Sir Andrew Davis gave his inaugural concerts as Chief Conductor in April 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists such as Bryn Terfel, Emanuel Ax, and Truls Mørk, recordings of music by Percy Grainger and Sir Eugene Goossens, a 2014 European Festivals tour, and a multi-year cycle of Mahler’s symphonies. The Orchestra works regularly with its Principal Guest Conductor, Diego Matheuz, Associate Conductor, Benjamin Northey, the MSO Chorus, and with guest conductors such as Thomas Adès, John Adams, Tan Dun, Jakub Hrůša, Markus Stenz, and Simone Young, as well as non-classical musicians such as Burt Bacharach, Ben Folds, Nick Cave, Sting, and Tim Minchin.

MELBOURNE SYMPHONY ORCHESTRA

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Between two parts there is an intermission of a hundred thousand years*Speak Percussion MON 4 MAY 7.30PMElisabeth Murdoch Hall(80-mins no interval)—LITTLE No Optic (world premiere)

DE JAGER Fractured Timelines (world premiere)

GARSDEN Messages to Erice I & II (world premiere)—Speak Percussion Peter de Jager piano—

Tickets $38 ($28 concession)

Delicacies of Molten Horror* Melbourne Piano Trio TUE 5 MAY 6PMSalon(60-mins no interval)—DE GROOT Delicacies of Molten Horror Synapse (world premiere)

SAKAMOTO Babel – Bibono Aozora The Last Emperor Seven Samurai Merry Christmas Mr Lawrence

PAUL DEAN new work (world premiere)—Melbourne Piano TrioChristopher de Groot live electronics—Tickets $38 ($28 concession)

Festival Overview

Undine – The Spirit of Water*Syzygy Ensemble WED 6 MAY 6PMSalon(60-mins no interval)—TULVE Stream

POZNIAK new work (world premiere)

YEATS the half-life of facts

RØNSHOLDT Burning—Syzygy Ensemble Agatha Yim visual artist— Tickets $38 ($28 concession)

The Arrival WED 6 MAY 7.30PMElisabeth Murdoch Hall(90-mins no interval)—The Arrival illustrations & story by Shaun TanBen Walsh— Orkestra of The Underground—Tickets $55 ($50 concession)Presented by Melbourne Recital Centre

Please see page 6

Moonfall* Forest Collective THU 7 MAY 6PMSalon(60-mins no interval)—HOLMS (arr. Lawson) Moonfall from Mystery of Edwin Drood

FJELLSTRÖM Odboy & Erordog episodes 1, 2 & 3 (Australian premiere)

LAWSON Orpheus and the Cave (world premiere)

WEBBER Texture of It (world premiere)—Forest Collective—Tickets $38 ($28 concession)

Dark Twin* Zubin Kanga FRI 8 MAY 6PMSalon(100-mins including interval)—PRINS Piano Hero (Australian premiere)

DAY Dark Twin (world premiere)

CAREY _derivations

VAN DER AA Transit (Australian premiere)

BLINKHORN FrostbYte: Chalk Outline (world premiere)

HOPE The Fourth Estate (world premiere)

REICH (arr. Vincent Corver) Piano Counterpoint—Zubin Kanga piano—Tickets $38 ($28 concession)

*Please collect your one page program from the foyer prior to the performance.


A Bigger Picture*Lisa Moore SAT 9 MAY 6PMSalon(90-mins no interval)—GLASS Mad Rush Metamorphosis One & Two Satyagraha Act III

BRESNICK For The Sexes: The Gates of Paradise—Lisa Moore piano/voice William Blake text & original imagery Puppetsweat Theatre visuals—Tickets $38 ($28 concession)

Nostalghia SAT 9 MAY 8PMElisabeth Murdoch Hall—Melbourne Symphony Orchestra Please see page 9

The LightWED 13 MAY 8PMElisabeth Murdoch Hall—Melbourne Symphony OrchestraPlease see page 11

Light is Calling*Ensemble Offspring THU 14 MAY 6PMSalon(70-mins no interval)

—GORDON Light is Calling

MUHLY It Goes Without Saying

PERREN Divers (world premiere)

REICH Vermont Counterpoint

RICKETSON Fractured Again Suite—Ensemble Offspring—

Tickets $38 ($28 concession)

There Will Be BloodSAT 16 MAY 8PMElisabeth Murdoch Hall—Melbourne Symphony OrchestraPlease see page 13

SOLOIST IN THE SPOTLIGHT

IAN BOSTRIDGERenowned British tenor Ian Bostridge performs a selection of Schubert lieder, and Vaughan Williams’ nostalgic song cycle On Wenlock Edge with musicians of the MSO.

15 June at 7.30pmElisabeth Murdoch Hall, Melbourne Recital Centre

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

‘A unique and sensitive adaptation with my otherwise still and silent universe, taking it to a new level of intensity through a passionate performance.’ Shaun Tan

Award-winner Shaun Tan is one of Australia’s most celebrated illustrators of picture books for people young and old. His masterful sepia-toned wordless novel, The Arrival, is a unique story and piece of art appealing to audiences of all ages. His story tells a melancholic, but hopeful tale of a refugee’s adventure into a foreign, new world and the challenges he faces. Shaun Tan weaves beautiful images and articulate illustrations into an accessibly surreal story without using one single written word. It has sold close to half a million copies.

When Sydney musician/composer Ben Walsh randomly discovered The Arrival in a bookshop, he fell in love with the work and immediately imagined the whole story brought to life in sound. For three years Ben concentrated on developing his vision to make this project a reality. Thanks to an initial commission by Sydney Opera House’s Graphic festival, you can experience this remarkable collaboration of two visionary Australian artists. The Arrival

Wednesday 6 May 7.30pm —ORKESTRA OF THE UNDERGROUND—

BENJAMIN WALSH composer/drumsSHENTON GREGORY violinGREGORY SHEEHAN percussionMATTHEW KEEGAN brassTARLOCHAN KANDOLA tablaGREGORY SHEEHAN percussionMATTHEW OTTIGNON LUCIAN MCGUINESS & SAM GOLDING windsEDEN OTTIGNON bassDANIEL PLINER keys

Shaun Tan’s The Arrival

is brought to life on the big screen by the incredible 11-piece Orkestra of The Underground. An amazing live ‘sonic-scape’ combines with Shaun Tan’s exquisite illustrations to create a unique orchestral and visual experience. Ben Walsh unveils his score using a tapestry of instruments featuring violin, sousaphone, clarinet, guitar, tabla, synthesizers, drums and percussion, clarinet, saxophone, zithers, a collection of handmade instruments… and a vacuum cleaner.

The Arrival enjoyed sold out audiences at Sydney Opera House’s Graphic festival, Melbourne Writers Festival, Her Majesty’s Theatre, Adelaide for The OZ Asia Festival, Darwin Festival and Mona Foma in Tasmania.

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ABOUT THE ARTISTS

Shaun Tan was born in 1974 and grew up in the northern suburbs of Perth, Western Australia. In school he became known as the ‘good drawer’ which partly compensated for always being the shortest kid in every class. He graduated from the University of W.A. in 1995 with joint honours in Fine Arts and English Literature, and currently works full time as a freelance artist and author in Melbourne. Shaun began creating images for science fiction and horror stories in small-press magazines as a teenager, and has since become best known for illustrated books that deal with social, political and historical subjects through surreal, dream-like imagery. Books such as The Rabbits, The Red Tree, The Lost Thing and the acclaimed wordless novel The Arrival have been widely translated throughout the world and enjoyed by readers of all ages.

His most recently published book is Tales from Outer Suburbia. Shaun has also worked as a theatre designer, and a concept artist for animated films, including Pixar’s Wall-E. In 2010 he directed the short film adaptation of The Lost Thing in association with Passion Pictures, which won him an Oscar at the 83rd Academy Awards earlier this year. Shaun was also recently awarded one of the world’s largest children’s literature prizes, Sweden’s Astrid Lindgren Memorial Award.

Ben Walsh has been touring professionally as a musician and drummer since the age of 18, earning himself a phenomenal reputation internationally and abroad. A student of Newtown High School of the Performing Arts, he studied dance, drama and music before finding his true calling as a musician. He formed the popular trio Pablo Percusso and for eight years they toured throughout Australia and to the U.S., Canada and Singapore. Ben later joined Taikoz, working with Ian Cleworth and master drummer Eitetsu Hayashi, training extensively in the Wadaiko drum form and performing in Japan.

Upon returning to Australia, Ben formed The Bird, with whom he currently still performs, to date releasing six albums over their 12 year performance history. Transitioning into composition and sound design for film and dance, Ben earned himself a nomination for Best Score at the 2007 Green Room Awards. His collaborations with master percussionist Bobby Singh have led to the formation of two groups, Dha and Circle of Rhythm, with musical performances alongside well-known artists such as Billy Cobham, Ernest Ranglin and Airto Moreira. Ben and Bobby travelled to India several times for collaborations which inspired the SBS documentary I Belong

Everywhere, as part of the VIVA series, featuring Ben and Bobby’s musical adventures. Ben’s Orkestra of The Underground performed to a sold out audience at the Sydney Opera House when he debuted a score to Shaun Tan’s book The Arrival as part of the 2010 Graphic festival. Ben recently composed the music for the sold out season of My Bicycle Loves You with Legs on The Wall for the 2011 Sydney and Perth Festivals 2011. Ben Walsh was music director of the circus/live music spectacular Scotch + Soda, recently seen at the Brisbane Festival 2014 and SummerSalt Outdoor Arts Festival 2015. Presently, Ben is co-director and performer for the Tom Tom Crew who have sold out seasons in New York, Edinburgh, London, Sydney and Adelaide.

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André de Ridderconductor

André de Ridder’s passion for the development of contemporary music covers the classical, pop and opera worlds. Recent highlights include festival appearances of his musical collective ‘stargaze’, featuring world premieres and new collaborations with Nico Muhly, Bryce Dessner and Ben Shemie. Other performances include the UK premiere of Terry Riley’s Organ Concerto At the Royal Majestic with the BBC Concert Orchestra, the Finnish premiere of Kaija Saariaho’s Émilie with Finnish National Opera, and appearances with the London Sinfonietta, BBC National Orchestra of Wales, BBC Scottish Symphony Orchestra, Residentie Orkest, Orchestre de Paris, Copenhagen Philharmonic, Le Poisson Rouge and Chicago Symphony Orchestra.

André de Ridder studied in Vienna and London under Leopold Hager and Sir Colin Davis. He was Assistant Conductor at the Hallé Orchestra from 2005 to 2006, and was Principal Conductor of Sinfonia ViVA until 2012. His discography includes Max Richter’s reimagining of Vivaldi’s The Four Seasons, which was awardedan ECHO Klassik award in 2013.

Sophie Rowellviolin

Recently appointed Associate Concertmaster with the Melbourne Symphony Orchestra, violinist Sophie Rowell has had an extensive performing career as a soloist, chamber musician and principal orchestral violinist with the Scottish and Mahler Chamber Orchestras, and the Vancouver, Sydney and Tasmanian Symphony Orchestras.

Sophie was the ABC Young Performer of the Year in 2000, and shortly after founded Tankstream Quartet, which won string quartet competitions in Cremona and Osaka. Having studied in Germany with the Alban Berg Quartet, the quartet moved back to Australia in 2006 and became the Australian String Quartet. As First Violinist until 2011, she performed throughout Australia, Europe, North America, Japan, China and New Zealand.

Sophie currently teaches at the Australian National Academy of Music, having previously taught at the Elder Conservatorium in Adelaide and the Australian Institute of Music in Sydney.

Oliver Coatescello

Oliver Coates was the winner of the Royal Philharmonic Society Young Artist Award in 2011 and has been an Artist in Residence at Southbank Centre, London, since 2010.

Oliver has performed as soloist with BBC Scottish Symphony Orchestra, BBC National Orchestra of Wales, Britten Sinfonia, Aurora Orchestra, London Contemporary Orchestra and the NEOJIBA Youth Orchestra of Bahia. He has worked on solo cello repertoire with many of the great modern composers, including Helmut Lachenmann, Jonathan Harvey, Kaija Saariaho, Sofia Gubaidulina, David Lang and Thomas Adès, in addition to performing with Steve Reich. His continuing work with Mica Levi includes the score to the movie Under the Skin, and his work with Jonny Greenwood on the soundtrack to The Master has led to a project of new chamber music shows with London Contemporary Orchestra.

In 2014 the British Council and PRS for Music Foundation selected Oliver to undertake an artist residency as a composer in Hong Kong.

ABOUT THE ARTISTS


TŌRU TAKEMITSU (1930–1996)

Nostalghia ‘In memory of Andrei Tarkovsky’

Sophie Rowell violin—The death of Soviet film director Andrei Tarkovsky in 1986 inspired Tōru Takemitsu – himself a prolific composer of film-scores – to create this piece, which was premiered by Yehudi Menuhin and the strings of the Scottish Chamber Orchestra at the 1987 Edinburgh Festival.Tarkovsky’s last film before defecting to Europe, Nostalghia tells of a contemporary Russian poet in Italy researching the life of an 18th-century Russian composer who becomes involved with a local ‘lunatic’. Takemitsu borrowed the title for his commemorative piece. At first the tone is elegiac, with long, melancholy phrases from the soloist over highly inflected, but slow-moving, harmony. Forceful, double-stopped motifs announce somewhat more contrapuntal music, which gradually gains in emotive intensity. The final section returns to the more introverted character of the opening.

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

ARNOLD SCHOENBERG (1874–1951)

Accompaniment to a Cinematographic Scene, Op.34—Schoenberg and Stravinsky both lived in Hollywood for some time, and both flirted with the movies but never, in the end, composed a score that was used in the cinema. Each bequeathed to generations of film composers from Korngold to Greenwood a battery of evocative techniques and sounds. Earlier, in 1929–30 Schoenberg lived in Berlin, home to a flourishing film industry, where he composed his short Begleitungsmusik zu einer Lichtspielszene (Accompaniment to a Cinematographic Scene) as an essay in suggesting emotion through music.There is no imaginary scenario, merely, in Schoenberg’s words ‘threatening danger, fear, catastrophe’. It might be more accurately described as a study for the expression of such emotions, using the still-new twelve-note method, in opera; Schoenberg had recently completed his domestic drama Von heute auf morgen and was soon to begin work on Moses und Aron. Cast as a kind of developing variation, the Begleitungsmusik uses a relatively spare palette of constantly changing ensembles from within the orchestra.


ABOUT THE MUSIC

Saturday 9 May 8pm —André de Ridder conductor

Sophie Rowell violin

Oliver Coates cello—TAKEMITSUNostalghia ‘In Memory of Andrei Tarkovsky’

SCHOENBERGAccompaniment to a Cinematographic Scene

SDRAULIGkaleidoscope*—Interval 20 minutes—MUHLYCello Concerto

BJARNASONBlow bright

*kaleidoscope has been created as part of MSO’s Cybec 21st Century Australian Composers Program which nurtures the work and development of innovative young Australian composers. This program is generously supported by the Cybec Foundation.

This concert runs for a duration of two hours including one interval of 20 minutes.

Tonight’s concert will be broadcast and streamed live around Australia on ABC Classic FM.

MSO Concert One Nostalghia

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HARRY SDRAULIG (Born 1992)

kaleidoscope—Harry Sdraulig is currently completing a Bachelor of Music (Honours) at the University of Melbourne, having previously studied at the Sydney Conservatorium of Music. He has received awards including the Adolph Spivakovsky Award for Composition (2013), Frank Albert Prize for Music (2011), and the VCE Premier’s Award for Music Styles and Composition (2009).

The composer writes: Kaleidoscopes are cylinders containing a small number of objects such as glass crystals that are reflected by the mirrors to create a dazzling display of colour. In this work I have used very limited musical materials and motifs, analogous to the crystals in a kaleidoscope. These ‘crystals’ are constantly transformed and thrown into new light as the musical kaleidoscope is turned.

kaleidoscope begins with a forceful gesture giving way almost immediately to a sequence of ethereal, hushed string chords. This sense of space and timelessness is short-lived however, and a solo piccolo heralds the beginning of a processional awakening of the orchestra as energy slowly builds. This energy culminates in an initial climax which then gives way to the main section of the work: a quick, lively and colourful dance.

The first performance of this work was given by the Melbourne Symphony Orchestra on 31 January 2015.

DANÍEL BJARNASON (Born 1979)

Blow bright AUSTRALIAN PREMIERE—Daníel Bjarnason studied in Reykjavík, Iceland and at the Freiburg University of Music, Germany. He has worked with many different orchestras and ensembles including the Los Angeles Philharmonic, Ulster Orchestra, Britten Sinfonia, Nieuw Ensemble Amsterdam and Sinfonietta Cracovia.

Daníel has won numerous awards. In 2008 and 2011 he was awarded a special recommendation at the International Rostrum for Composers. His 2012 compositions, The Isle Is Full Of Noises and Over Light Earth won him the prize for Best Composer at the 2013 Icelandic Music Awards.

In 2012 he contributed the score to the feature film The Deep. The composition was awarded Best Film Score at the Icelandic Film And Television Awards in 2013 and nominated for Best Original Score at the Harpa Nordic Film Composers Awards 2013.

Blow bright was commissioned by the Los Angeles Philharmonic. Its title comes from Philip Larkin’s poem, ‘Night-Music’:

Blow bright, blow bright the coal of this unquickened world.

The composer writes:One of the things I thought about was the ocean and, more specifically, seeing the Pacific Ocean for the first time and realising how incredibly different it was to the Atlantic Ocean, which is what I have known my whole life. The brightness and energy and the way it radiates is so powerful and beautiful. I tried to put some of that into the music and Blow bright can also refer to that in some ways.

Program notes © Gordon Kerry 2015 and composers.

ABOUT THE MUSIC

NICO MUHLY (Born 1981)

Cello ConcertoAUSTRALIAN PREMIERE

Oliver Coates cello —Nico Muhly has composed a wide scope of work for ensembles including the American Symphony Orchestra, Boston Pops, Carnegie Hall, Chicago Symphony, New York City Ballet, New York Philharmonic, and Paris Opéra Ballet, soprano Jessica Rivera.

Born in Vermont in 1981 and raised in Providence, Rhode Island, Muhly graduated from Columbia University with a degree in English Literature. In 2004, he received a Masters in Music from the Juilliard School, where he studied under Christopher Rouse and John Corigliano.

The composer writes: When the Barbican asked me to write a concerto for Olly Coates and the Britten Sinfonia, I immediately started making plans. I wanted to write something formally traditional (fast-slow-fast) but with steadily developing content. The first movement is angular, the second supple, and the third motoric; there is constant progression and no looking back. The first movement begins with a texture quite explicitly stolen from the first bar of Dutilleux’s Métaboles, and proceeds from there. A series of ‘melting’ textures in the strings, muted trumpet, percussion and piano antagonises the soloist, who plays a quick perpetual motion toccata before the entire structure devolves into drones. The second movement begins with a very long drone over which the cello spins short lyrical phrases. Decorative chromaticism slowly becomes more pronounced, and the movement ends in a shimmer of bells and rude brass. The third movement is a long piece of fast process music: essentially a digital delay applied to two lines of counterpoint. The result is bright and insistent. The concerto ends enigmatically, with foghorn brass and a long, sustained drone from the cello.

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JULIA WOLFE (Born 1958)

Fuel AUSTRALIAN PREMIEREBill Morrison, Filmmaker—A co-founder and artistic co-director of New York’s Bang on a Can, Wolfe has written a major body of work, from quartets for the Kronos Quartet to orchestral works for the BBC Symphony and Munich Chamber Orchestras. The influence of pop culture can be heard in many of Wolfe’s works. Lick, based on fragments of funk, has become a manifesto for the new generation of pop-influenced composers. my lips from speaking for six pianos was inspired by the opening riff of the Aretha Franklin tune ‘Think’. Dark Full Ride is an obsessive and relentless exploration of the drum set. In Lad, Wolfe creates a kaleidoscopic landscape for nine bagpipes. She has also extended her talents to theatre and film.

The composer writes: The ideas for Fuel began in conversation with filmmaker Bill Morrison. We talked about the mystery and economy of how things run – the controversy and necessity of fuel – the global implications, the human need. The music takes its inspiration from the fiery strings of Ensemble Resonanz. One of the founding members of the group, violinist Juditha Haeberlin, challenged me to write something rip-roaring and virtuosic, telling me that they were capable of so much and not always pushed to the limit. Her request merged with the sounds of transport and harbours – New York and Hamburg – large ships, creaking docks, whistling sounds and a relentless energy.

Fuel was commissioned by Ensemble Resonanz and premiered in a multi-media performance with a film by Bill Morrison at the Kaispeicher B. Warehouse at the port of Hamburg, Germany in 2007.

Wednesday 13 May 8pm —André de Ridder conductor

Oliver Coates cello—WOLFE Fuel AUSTRALIAN PREMIERETAN DUN Crouching Tiger Concerto—Interval 20 minutes—GARSDEN Faculties Intact (con tutta forza)*

GLASSThe Light

*Faculties Intact (con tutta forza) has been created as part of the MSO’s Cybec 21st Century Australian Composers Program which nurtures the work and development of innovative young Australian composers. This program is generously supported by the Cybec Foundation.

This concert runs for a duration of one hour and 50 minutes including one interval of 20 minutes.


MSO Concert Two The Light

ABOUT THE MUSICTAN DUN (Born 1957)

Crouching Tiger Concertofor cello and chamber orchestraCrouching Tiger, Hidden Dragon

Through the Bamboo Forest

Silk Road: Encounters

Eternal Vow

To the South

Farewell

Oliver Coates cello—Tan Dun came to widespread public attention after winning an Academy Award for his score for Ang Lee’s 2000 film Crouching Tiger, Hidden Dragon. This music, and his subsequent scores for Hero (2002) and The Banquet (2006), helped redefine the musical landscape of the wuxia martial arts genre. Tan, who as a young man in China worked with a Peking Opera troupe before studying western compositional techniques, has explained how this mix of influences shaped his approach:

The tradition of martial arts was created from Chinese opera in the 19th century. To me, the opera tradition is an ancient form of cinema and cinema is the opera of the future.

Basically, I hate martial arts film music in general. That’s why I turned it completely upside down. Most of my martial arts music was inspired by [19th-century] Peking opera, not 1970s martial arts films.

The Crouching Tiger Concerto was the first work in Tan’s Martial Arts Trilogy for which he drew on the music from the three films mentioned above. The three concertos were intended to be accompanied by footage from the respective movies (although tonight’s performance will be presented without the visual component). The Crouching Tiger Concerto is in six movements with cello cadenzas connecting the orchestral movements.


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ALEXANDER GARSDEN (Born 1987)

Faculties Intact (con tutta forza)—Alexander Garsden is a Melbourne-based composer, guitarist and electro-acoustic musician whose work re-conceives and applies pure harmonic relationships through various microtonal approaches and electro-acoustic media.

Recent works include commissions from Golden Fur, Jessica Aszodi, Eugene Ughetti, Elizabeth Welsh, the Atticus Quartet, Jon Heilbron and Chamber Made Opera, and performances with Slave Pianos (Melbourne/Yogyakarta), Kim Myhr + Ole-Henrik Moe (Nor), Grand Salvo and Quiver.

He has received multiple awards, prizes and scholarships; most recently including the APRA 2013 Professional Development Award. He holds a Master of Music from the University of Melbourne, and has studied with Anthony Pateras, Keith Rowe, Ole-Henrik Moe and Elliott Gyger.

The composer writes:Faculties Intact (con tutta forza) describes an arc from heterogeneous and indistinct timbral composites to discrete and independent homogenous partitions of orchestral forces. This principle (perhaps more evident in the strings than any other family of acoustic instruments) is the central focus of the piece. Several approaches are taken over the opening panel of the piece to allow for a maximum degree of ‘shading’ between instruments and families, including technical (a vast battery of mimetic extended techniques) and harmonic approaches (the generally chromatic language is partitioned into discrete frequency blocks to mask and colour much of the traditional spectral ‘identity’ of the instrumental families). Gestures are often coloured by a ghosting gesture from another instrument.

The first performance of this work was given by the Melbourne Symphony Orchestra on 31 January 2015.

ABOUT THE MUSIC

PHILIP GLASS (Born 1937)

The Light—Philip Glass’ The Light was commissioned by the Michelson-Morely Centennial Celebration and premiered by the Cleveland Orchestra conducted by Christoph von Dohnányi in 1987. It is, as the composer explains: a portrait in music of the scientists Albert A. Michelson and Edward W. Morley and their studies of the velocity of light through their memorable experiments concluded at Case Western Reserve University, Cleveland, Ohio in 1887.

The Light is the first composition of a series of symphonically conceived ‘portraits of nature’ … In the past I have written portrait operas – Einstein, Gandhi, Akhnaten are the subjects of the first trilogy. In this case, this is a portrait not only of the two men for whom the experiments are named but also that historical moment heralding the beginning of the modem scientific period.


Notes © composers; Tan Dun adapted from a note Peggy Monastra © 2000

The Crouching Tiger Concerto reflects Tan’s interest in the cultures of the Silk Road in China’s Xinjiang province. The cello melody in the third cadenza is a folk song from this region. Instruments indigenous to these Silk Road cultures are the tar (a North African frame drum) and the bawu (a bamboo, copper-reed flute which came into China from Southeast Asia – represented in tonight’s performance by alto flute). The rawap (a high-pitched, plucked string instrument native to the Uighur culture of the Taklimakan area) is prominent in the film score and represented in the concerto in melodies and articulations transcribed to the cello and the orchestra. The erhu (a Chinese bowed string instrument which has its roots in India) is evoked throughout the concerto in the melodic contours and sonorities called for in the cello’s melodies and cadenzas.

The Melbourne Symphony Orchestra first performed Tan Dun’s Crouching Tiger Concerto as part of the Martial Arts Trilogy in 2013 under the direction of the composer. Tan Wei was the erhu soloist.

JONNY GREENWOOD (Born 1971)

There Will Be Blood: SuiteOpen Spaces

Future Markets

HW/Hope of New Fields

Henry Plainview

Proven Lands

Oil

AUSTRALIAN PREMIERE—Jonny Greenwood joined Radiohead while still at school, and left university after one term to pursue a recording career with the band for the EMI label. A one-time violist, Greenwood’s early musical interests included contemporary composers like Messiaen and Ligeti; the influence of the former is evident in the use that Greenwood made of the ondes martenot (an electronic instrument beloved of Messiaen) on Radiohead’s immaculately engineered album Kid A (2000), and the slewing, ondes-like string writing that creates a dissolving sheen of sound towards the end of a track like ‘How to disappear completely’. His first published composition, smear, features two ondes martenot and ensemble and has been recorded by the London Sinfonietta. He has subsequently been composer in residence with the BBC Concert

ABOUT THE MUSIC

Saturday 16 May 8pm —GREENWOOD There Will Be Blood: Suite

CORIGLIANO The Red Violin: Chaconne for Violin and Orchestra—Interval 20 minutes—PENDERECKI Polymorphia

VARÈSEDéserts

This concert runs for a duration of 1 hour and 30 minutes including one interval of 20 minutes.


MSO Concert Three There Will Be Blood

Orchestra and more recently the London Contemporary Orchestra. He has composed in a variety of classical genres and in 2007 was nominated for Breakout Composer of the Year by the International Film Music Critics Association. His film scores include Bodysong, Norwegian Wood, We Need to Talk about Kevin and The Master.

His score for Paul Thomas Anderson’s 2007 film There Will Be Blood is steeped in the musical language of mid-20th century British string music, inflected by the plangent tones of oboe or ondes martenot. Helping to depict the treacherous, bleak world of the Californian oil fields at the turn of the last century, the opening is dominated by sighing pairs of spacious chords, while busy motoric rhythms evoke ‘Future Markets’ and ‘Proven Lands’. There is seraphic music for HW, the adoptive son of the central character Daniel Plainview, and menacing music for his long-lost brother, Henry, who turns out, with tragic consequences, to be an impostor.

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JOHN CORIGLIANO (Born 1938)

The Red Violin: Chaconne for Violin and Orchestra

Sophie Rowell violin—The composer writes: The Red Violin: Chaconne for Violin and Orchestra draws upon music I composed for the film of the same name. The film spans three centuries in the life of a magnificent but haunted violin in its travels through space and time. A story this episodic needed to be tied together with a single musical idea. For this purpose I used the Baroque device of a chaconne: a repeated pattern of chords upon which the music is built.

Against the chaconne chords I juxtaposed Anna’s theme, a lyrical yet intense melody representing the violin builder’s doomed wife. From these elements I wove a series of virtuosic etudes for the solo violin, which followed the instrument from country to country, century to century. I composed these elements before the actual filming, because the actors needed to imitate actual performance of the music. Then, while the film itself was shot, I made – from Anna’s theme, the chaconne, and the etudes – this concert work. While I scored the film just for the soloist and string orchestra (to emphasise the ‘stringness’ of the picture), I composed this 17-minute concert work for violin and full orchestra.

As the piece begins, diaphanous ascending string lines unveil the chaconne chords, voiced in incantatory dotted rhythms, in low winds and brass. Then solo violin and orchestra utter, and expand on, Anna’s theme. Virtuosic etudes quicken the pace, lead to a rushing climax; these yield to a stratospherically high, gravely slow melody, which remembers, against slowly shifting string sonorities, Anna’s romantic theme. The string chords louden, strengthen with winds and brass: then the soloist reclaims, in determined accents this time, the diaphanous string line that opened the score. The orchestra halts to launch the soloist’s cadenza, impetuous and songful by turns; then the chaconne, in strings chords rendered brittle by sharp attacks with the wood of the bow, gradually climax in a grand tutti restatement of the incantatory opening and a whirlwind coda for all.


ABOUT THE MUSIC

KRZYSZTOF PENDERECKI (Born 1933)

Polymorphia—Polish composer Penderecki came to international notice in the late 1950s, when his works began to be programmed at important festivals of new music such as Donaueschingen in Germany. His breakthrough piece was composed in 1960. Originally given the Cagey title of 8’37”, the work soon assumed the name by which it has continued to be known: Threnody ‘to the victims of Hiroshima’. For 52 strings, the Threnody demonstrated the composer’s love of dramatic gesture and rhetoric with extended instrumental techniques and searing bands of dissonant sound. He continued on this path in Polymorphia, for 48 strings, of the following year. The ‘many forms’ of the title do not refer to the piece’s simple ternary structure, but perhaps to the constantly shifting microtonal polyphony of the outer sections or the rapid fire of seemingly random percussive sound at the work’s centre. The surprising final chord is, according to the composer, the germ of the whole piece, and incidentally, opens a homage to Penderecki, 48 Responses to Polymorphia, composed by Jonny Greenwood in 2012.

The first performance in Australia of Penderecki’s Polymorphia was given in Melbourne on 13 March 1970 by the Warsaw Philharmonic Orchestra under Andrzej Markowski. This is the first performance of the work by the Melbourne Symphony Orchestra.

EDGARD VARÈSE (1883–1965)

Déserts—Bill Viola Déserts, 1994 Music by Edgard Varèse Concert film, colour, 28:09mins

Kira Perov: Executive Producer Peter Kirby: Producer Harry Dawson: Director of Photography Philip Esposito: Actor Dennis Kightley: Art Director

Commissioned by ZDF German Television and Ensemble Modern—French-born composer Edgard Varèse moved to the United States in 1915 and made his debut there conducting Berlioz’s Requiem in 1917. All the music he had written in Europe was destroyed in a fire, and the first work on the clean slate of music composed in his new homeland was, fittingly, his celebration of discovery, Amériques.

Prone to depression, Varèse completed fewer than 20 surviving works. Dubbed, somewhat maliciously, the ‘matinée idol of the modernist set’ he composed for then-unusual ensembles. Like Poulenc, he disliked string instruments, and like Stravinsky he enjoyed the sound of wind ensembles and was a pioneer of writing for percussion. He was very interested in the developing technique for recording and pioneered the fusion of electronic and ‘acoustic’ sounds, notably in Déserts which depicts ‘physical deserts, those of the earth, the sea and sky, of sand, of snow, of interstellar space, or of great cities, but also those of the spirit, of that distant interior space which no telescope can reach, where man is alone’.

He had begun work on this piece, for 14 woodwinds, piano and five percussion, in 1949 or 1950. Given an Ampex tape recorder in 1953, he constructed three interpolations of what he called ‘organised sound’ between the work’s four main episodes, by recording and manipulating the sounds of factories, and percussion instruments. The latter link the interpolations back to the sound world of the live band.

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

© Gordon Kerry, John Corigliano 2015

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BOARD Harold Mitchell AC Chairman André Gremillet Managing Director Michael Ullmer Deputy Chair Andrew Dyer Danny Gorog Brett Kelly David Krasnostein David Li Ann Peacock Helen Silver Kee Wong

COMPANY SECRETARY Oliver Carton

EXECUTIVE André Gremillet Managing Director

HUMAN RESOURCES Miranda Crawley Director of Human Resources

BUSINESS Francie Doolan Chief Financial Officer Raelene King Personnel Manager Leonie Woolnough Financial Controller Phil Noone Accountant Nathalia Andries Finance Officer

ARTISTIC Ronald Vermeulen Director of Artistic Planning Andrew Pogson Special Projects Manager Laura Holian Artistic Coordinator Helena Balazs Chorus Coordinator

EDUCATION AND COMMUNITY ENGAGEMENTBronwyn Lobb Director of Education and Community Engagement

Lucy Bardoel Education and Community Engagement Coordinator Lucy Rash Pizzicato Effect Coordinator

OPERATIONSGabrielle Waters Director of Operations Angela Bristow Orchestra Manager James Foster Operations Manager James Poole Production Coordinator Alastair McKean Orchestra Librarian Kathryn O’Brien Assistant Librarian Michael Stevens Assistant Orchestra Manager Stephen McAllan Artist Liaison Lucy Rash Operations Coordinator

MARKETING Alice Wilkinson Director of Marketing Jennifer Poller Marketing Manager Megan Sloley Marketing Manager Ali Webb PR ManagerKate Eichler Publicity and Online Engagement Coordinator Kieran Clarke Digital Manager Nina Dubecki Front of House Supervisor James Rewell Graphic Designer Chloe Schnell Marketing Coordinator Beata Lukasiak Marketing Coordinator Claire Hayes Ticket and Database Manager Paul Congdon Box Office Supervisor Jennifer Broadhurst Ticketing Coordinator

Angela Lang Customer Service Coordinator Chelsie Jones Customer Service Officer

DEVELOPMENTLeith Brooke Director of Development Arturs Ezergailis Donor and Patron Coordinator Jessica Frean MSO Foundation Manager Justine Knapp Major Gifts Coordinator Ben Lee Donor and Government Relations Manager Michelle Monaghan Corporate Development Manager James Ralston Corporate Development and Events Coordinator Judy Turner Major Gifts Manager

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

FIRST VIOLINS Dale Barltrop Concertmaster Eoin Andersen Concertmaster Sophie Rowell Associate Concertmaster Rebecca Chan* Guest Associate Concertmaster Peter Edwards Assistant Principal Kirsty Bremner MSO Friends Chair Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor Edward Antonov* Jacqueline Edwards* Robert John* Oksana Thompson*

SECOND VIOLINS Matthew Tomkins The Gross Foundation Principal Second Violin Chair Robert Macindoe Associate Principal Monica Curro Assistant Principal Mary Allison Işin Cakmakçioğlu Freya Franzen Cong Gu Andrew Hall Francesca Hiew

Rachel Homburg Christine Johnson Isy Wasserman Philippa West Patrick Wong Roger Young Aaron Barnden* Susannah Ng* Lynette Rayner*

VIOLAS Christopher Moore Principal Christopher Cartlidge Acting Associate Principal Lauren Brigden Katharine Brockman Simon Collins Gabrielle Halloran Trevor Jones Fiona Sargeant Cindy Watkin Caleb Wright Ceridwen Davies* Sophie Kesoglidis* Isabel Morse* Simon Oswell*

CELLOS David Berlin MS Newman Family Principal Cello Chair Rachael Tobin Associate Principal Nicholas Bochner Assistant Principal Miranda Brockman Rohan de Korte Keith Johnson Sarah Morse Angela Sargeant Michelle Wood Rachel Atkinson*

Svetlana Bogosavljevic* Paul Ghica* Kalina Krusteva-Theaker* Jarrad Mathie*

DOUBLE BASSES Steve Reeves PrincipalAndrew Moon Associate PrincipalSylvia Hosking Assistant PrincipalDamien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Young Hee Chan* Emma Sullivan*

FLUTES Prudence Davis Principal Flute Chair (Anonymous) Wendy Clarke Associate Principal Sarah Beggs

PICCOLO Andrew Macleod Principal

OBOES Jeffrey Crellin Principal Ann Blackburn Rachel Curkpatrick*

COR ANGLAIS Michael Pisani Principal

CLARINETS David Thomas Principal Lloyd Van’t Hoff* Guest Principal

Philip Arkinstall Associate Principal Craig Hill

BASS CLARINET Jon Craven Principal Justin Beere* Nicholas Evans* Alex Morris*

BASSOONS Jack Schiller Principal Jasen Atanasov* Guest Principal Elise Millman Associate Principal Natasha Thomas

CONTRABASSOON Brock Imison Principal

HORNS Zora Slokar Principal Geoff Lierse Associate Principal Saul Lewis Principal Third Jenna Breen Abbey Edlin Trinette McClimont Sydney Braunfeld*

TRUMPETS Geoffrey Payne Principal Shane Hooton Associate Principal William Evans Julie Payne Bruno Silzeta* Louisa Trewartha* Joel Walmsley*

TROMBONES Brett Kelly Principal Scott Kinmont*† Guest Principal Kieran Conrau*

BASS TROMBONE Mike Szabo Principal

TUBA Timothy Buzbee Principal Jason Catchpowle*

TIMPANI Christine Turpin Principal

PERCUSSION Robert Clarke Principal John Arcaro Robert Cossom Timothy Hook* Brent Miller* Evan Pritchard* Greg Sully* Lara Wilson*

HARP Yinuo Mu Principal

KEYBOARDS Louisa Breen* Leigh Harrold*

ONDES MARTENOT/ELECTRONICS Jacob Abela*

*Guest musician† Courtesy of Sydney Symphony Orchestra

MANAGEMENT

MELBOURNE SYMPHONY ORCHESTRA

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: [email protected] 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 DSJ Phillip 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 AquilinaKaye and David Birks Mitchell ChipmanJan and Peter ClarkAndrew and Theresa DyerFuture Kids Pty Ltd

Robert & Jan GreenKonfir Kabo and Monica Lim Norman and Betty LeesMimie MacLarenIan and Jeannie Paterson Onbass FoundationPeter and Natalie Schiavello Glenn Sedgwick Maria Solà, in memory of Malcolm Douglas The Gabriela and George Stephenson Gift, in tribute to the great Romanian pianist Dinu LipatiLyn Williams AMKee Wong and Wai TangJason Yeap OAMAnonymous (1)

PRINCIPAL PATRONS $5,000+John and Mary Barlow Lino and Di Bresciani OAM David and Emma CapponiPaul Carter and Jennifer BinghamTim and Lyn EdwardJohn and Diana Frew Jill and Robert GroganLouis J Hamon OAMNereda Hanlon and Michael Hanlon AMHartmut and Ruth HofmannJenny and Peter HordernMargaret Jackson AC Jenkins 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 Mr Greig Gailey and Dr Geraldine LazarusPeter 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 Bignell

Stephen and Caroline BrainMr John Brockman OAM and Mrs Pat Brockman Leith Brooke Rhonda Burchmore Bill and Sandra BurdettPhillip and Susan Carthew and children Oliver 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 Allan 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 (10)

PLAYER PATRONS $1,000+Anita and Graham Anderson, Christine and Mark Armour, Arnold Bloch Leibler, David and Beverlie Asprey, 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

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THANKS TO OUR WONDERFUL MSO SUPPORTERS

PRINCIPAL PARTNER

MAESTRO PARTNERS

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

3L Alliance Elenberg Fraser

Fed Square Flowers Vasette

Susie O’Neill, Merwyn and Greta Goldblatt, George Golvan QC and Naomi Golvan, 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, H E McKenzie, 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, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, Tom and Elizabeth Romanowski, Delina Schembri-Hardy, Jeffrey Sher, Dr Sam Smorgon AO and Mrs Minnie Smorgon, Dr Norman and Dr Sue Sonenberg, Dr Michael Soon, Pauline Speedy, Geoff and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Dr Adrian Thomas, Frank and Miriam Tisher, Margaret Tritsch, 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 (17)

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)

FOUNDATIONS AND TRUSTSThe Annie Danks TrustCollier Charitable FundCreative Partnerships AustraliaThe 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 FoundationThe Schapper Family FoundationThe Scobie and Claire Mackinnon Trust

CONDUCTOR’S CIRCLEJenny Anderson, Lesley Bawden, Joyce Bown, Mrs Jenny Brukner and the late Mr John Brukner, Ken Bullen, Luci and Ron Chambers, Sandra Dent, Lyn Edward, Alan Egan JP, Louis Hamon OAM, Tony Howe, 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, Pamela Swansson, Lillian Tarry, Dr Cherilyn Tillman, Mr and Mrs R P Trebilcock, Michael Ullmer, 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

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LEADERSHIP CIRCLESThe Leadership Circles comprise individual lead donors whose gifts of $5000 to $25,000 support the Centre’s eight program pillars.

ARTIST DEVELOPMENTColin Golvan QC* & Dr Deborah Golvan

CHILDREN’S & FAMILYBetty Amsden AO

GREAT PERFORMERSJennifer Brukner Anonymous (2) Hans & Petra Henkell Geoff & Jan Phillips Lady Primrose Potter AC

LIFE-LONG LEARNINGKathryn Fagg

LOCAL HEROESLady Marigold Southey AC The Klein Family Foundation Brian & Esther Benjamin Warwrick & Paulette Bisley Andrew & Theresa Dyer Jean Hadges Dr Garry Joslin & Prof Dimity Reed AM Craig Reeves Skipp Williamson & Carol Haynes Majlis Pty Ltd

MASTER CLASSGeorge & Laila Embelton In memory of John Price

NEW MUSICNaomi Milgrom AO Peter Jopling AM QC

MUSIC CIRCLE PATRONS PROGRAM

MAGNUM OPUS CIRCLE ($20,000+)Yvonne Von Hartel AM & Robert Peck AM The Playking Foundation

VIRTUOSO CIRCLE ($10,000+)J.A Westacott & T.M Shannon

MELBOURNE RECITAL CENTRE BOARD OF DIRECTORS Kathryn Fagg Peter & Cally Bartlett Stephen Carpenter & Leigh Ellwood Des & Irene Clark Joseph Corponi Margaret Farren-Price & Ronald Farren-Price AM Julie Kantor Eda Ritchie AM

COMPOSERS CIRCLE ($4000+)Anonymous (2) Andrea Goldsmith Alison & David Lansley Drs Victor & Karen Wayne Lyn Williams AM Melbourne Recital Centre Senior Management Message Consultants Australia Pty Ltd

MUSICIANS CIRCLE ($2500+)Eva Besen AO & Marc Besen AC Robert & Jan Green Jenny & Peter Hordern Sarah & Baillieu Myer AC James Ostroburski Christine Sather Kate & Stephen Shelmerdine Family Foundation

PRELUDE CIRCLE ($1000+)Anonymous (5) Adrienne Basser Graeme & Paulene Blackman Helen Brack Bill & Sandra Burdett John & Thelma Castles Maxine Cooper & Michael Wright Kathy & George Deutsch Mary Draper Lord Francis Ebury & Lady Suzanne Ebury Maggie Edmond The Late Lorraine Elliott AM Susan Fallaw The Leo & Mina Fink Fund William J Forrest AM Angela Glover Jan Grante Nance Grant AM MBE & Ian Harris Sue Hamilton & Stuart Hamilton AO Judith Hoy Penelope Hughes Darvell M Hutchinson AM Stuart Jennings Dorothy Karpin Alan Kozica & Wendy Kozica Norene Leslie McCormac Maria Mercurio Dennis & Fairlie Nassau Stephen Newton AO Elizabeth O’Keeffe Helen L Perlen Dr Robert Piaggio Kerryn Pratchett Peter Rose & Christopher Menz Rae Rothfield Samara, Countess of Beekman Greg Shalit & Miriam Faine Robert & Jenni Stent Barbara & Duncan Sutherland Susan Thacore Elisabeth & Peter Turner Sally Webster Peter Weiss AO Jacqueline Williams & Peter Murnane Youth Music Australia

SUPPORTERS ($500+)Anonymous (3) David Bardas Vivien & Jacob Fajgenbaum David & Rosemary Houseman Ann Lahore Kaye Salisbury & Bart Wissink Barry & Barbara Shying Vivien Wertkin

ENCORE BEQUEST PROGRAMThe Encore Bequest program provides sustained support for all aspects of our core concert program, artist development and accessibility initiatives, through our Public Fund.

Anonymous (2) Betty Amsden AO Jenny Anderson Barbara Blackman Ken Bullen Jim Cousins AO & Libby Cousins Dr Garry Joslin The Estate of Beverley Shelton & Martin Schönthal Mary Vallentine AO

ELISABETH MURDOCH CREATIVE DEVELOPMENT FUND

$20,000+Annamila Pty Ltd

$10,000+Betty Amsden AO Naomi Milgrom AO Mrs Margaret S Ross AM & Dr Ian C Ross

$4000+ Anonymous (1) Jennifer Brukner Julian Burnside AO QC & Kate Durham Dr Alastair Jackson Sally MacIndoe In memory of Malcolm Douglas Louise & Martyn Myer Foundation Allan Myers AO QC & Maria Myers AO Dr Cherilyn Tillman & Tam Vu Andrew & Jan Wheeler Janet Whiting & Phil Lukies

$2500+Rachel & Hon Alan Goldberg AO QC* Naomi Golvan & George Golvan QC* Yvonne von Hartel AM & Robert Peck AM Peter B Murdoch QC* James Ostroburski Dr Garry Joslin & Prof Dimity Reed AM Lyn Williams AM

$1000+Anonymous (2) Ashton Raggatt McDougall Architects Adrienne Basser John & Mary Barlow Barbara Burge Justice David Byrne* James Calvert-Jones Sir Roderick Carnegie AC Des & Irene Clark Jim Cousins AO & Libby Cousins George & Laila Embelton Penny & Grant Fowler Dr Jane Gilmour OAM John & Linsey Howie Penelope Hughes Penny Hutchinson John Landy AC MBE & Lynne Landy Diana Lempriere Christina McCallum & Prof John Langford AM Dr Richard Mills AM Elizabeth O’Keeffe* Rowly & Judy Paterson Prof David Penington AC & Mrs Sonay Penington Ralph & Ruth Renard Meredith Schilling* Rob & Philippa Springall Rob & Jenni Stent Sally Webster

$500+Anonymous (4), Peter & Cally Bartlett, Helen Brack, Ingrid Braun*, Brian & Esther Benjamin, Des & Irene Clark, The Hon Mary Delahunty, Kathryn Fagg, Margaret Farren-Price & Ronald Farren-Price AM, Robert & Jan Green, Colin Golvan QC* & Dr Deborah Golvan, Peter & Barbara Kolliner, Peter & Susan Mahler, Ralph & Ruth Renard, Eda Ritchie AM, Christine Rodan & Erskine Rodan OAM, Cathy Rogers & Dr Peter Rogers, Christine Sather, Drs Victor & Karen Wayne, Skipp Williamson & Carol Haynes, Message Consultants Australia

INSPIRED GIVING

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Dame Elisabeth Murdoch AC DBE

BOARD MEMBERS Kathryn Fagg Chair

Peter Bartlett Stephen Carpenter Des Clark Joseph Corponi Margaret Farren-Price Julie Kantor Eda Ritchie AM

FOUNDING BENEFACTORS The Kantor Family The Calvert-Jones Family Lyn Williams AM Helen Macpherson Smith Trust Robert Salzer Foundation The Hugh Williamson Foundation

Founding Patron


SUPPORTING PARTNERS

INTERNATIONAL AIRLINE PARTNER PRINCIPAL GOVERNMENT PARTNER

PROGRAM PARTNERS

FOUNDATIONS

THE HUGH WILLIAMSON FOUNDATION

THE SENTINEL FOUNDATION

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THE MARIAN & E.H. FLACK TRUST

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

“In Melbourne we are a city of inspiration. The arts fill our streets, gardens and buildings. They reflect ourselves, creative and diverse.”

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What makes Melbourne a creative city?

melbourne.vic.gov.au/triennialarts

The City of Melbourne is proud to support major and emerging arts organisations through their 2015–17 Triennial Arts Grants Program. Aphids / Arts Access Victoria / Australian Centre for Contemporary Art / Blindside Artist Run Space / Chamber Made Opera / Circus Oz / Craft / Emerging Writers’ Festival / Ilbijerri Theatre / Koorie Heritage Trust / La Mama / Little Big Shots / Lucy Guerin Inc. / Melbourne Festival / Melbourne Fringe / Melbourne International Comedy Festival / Melbourne International Film Festival / Melbourne International Jazz Festival / Melbourne Queer Film Festival / Melbourne Symphony Orchestra / Melbourne WebFest / Melbourne Writers Festival / Multicultural Arts Victoria / Next Wave Festival / Polyglot Theatre / Poppy Seed / Songlines Aboriginal Music / Speak Percussion / The Wheeler Centre / West Space / Wild@heART Community Arts

4—16 may€¦ · and edgard varèse to philip glass ... mso concert three – there will be blood...

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