Dvořák’s New World Symphony

Friday 4 March at 7:30pm Melbourne Town Hall

C O N C E R T P R O G R A M

2

WHAT’S ON MARCH – MAY 2016

AN ALPINE SYMPHONY Thursday 10 March Friday 11 March Saturday 12 March

Chief Conductor Sir Andrew Davis opens the season with Vaughan Williams’ lyrical Serenade to Music. Australian virtuoso Ray Chen tackles the fearsome demands of Tchaikovsky’s Violin Concerto. In conclusion, Sir Andrew and the Orchestra scale the heights of Richard Strauss’ great tone-poem, An Alpine Symphony.

SIR ANDREW DAVISCONDUCTS MAHLER 5 Friday 18 March Saturday 19 March Monday 21 March

Sir Andrew Davis enters the third year of his MSO Mahler Cycle with the formidable Symphony No.5. French pianist Pierre-Laurent Aimard is soloist in Ravel’s ingenious Piano Concerto for the Left Hand, originally commissioned by the one-armed Austrian virtuoso, Paul Wittgenstein.

BACH SUITES Thursday 28 April Friday 29 April Saturday 30 April

Two of the most popular suites of the Baroque period, featuring the famous Badinerie and Air in D major , are paired with two of Haydn’s finest symphonies: ‘La Passione’, socalled because of the fierce intensity of the music, and the ‘Oxford’, considered one of the pinnacles of Haydn’s symphonic output.

THE GODFATHER LIVE IN CONCERT Thursday 31 March Friday 1 April

An offer you can’t refuse. Francis Ford Coppola’s legendary film with Nino Rota’s glorious score played live by the MSO. See and hear The Godfather as never before.

THREE OF THE BEST Sunday 1 May

Three very different and captivating trios by three very different composers. From France, the String Trio by neoclassicist Jean Françaix. From the United States, the Piano Trio by Charles Ives. And from the Czech composer Bedřich Smetana, his impassioned Piano Trio.

SCHUBERT’S UNFINISHEDSYMPHONY Friday 22 April

Schubert’s plangent Unfinished Symphony is the ideal coupling for the Requiem by Gabriel Faure, which features the celebrated Pie Jesu solo. The Melbourne Symphony Orchestra Chorus is joined by Australian soloists: soprano Jacqueline Porter and bass James Clayton.

3

ARTISTS

Melbourne Symphony Orchestra

Benjamin Northey conductor Daniel de Borah piano

REPERTOIRE

Sibelius Finlandia

Grieg Piano Concerto — Interval —

Dvořák Symphony No.9

This concert has a duration of approximately 1 hour and 40 minutes, including a 20minute interval.

This performance will be recorded for broadcast on ABC Classic FM on Saturday 5 March at 1pm.

Pre-Concert Recital 6:30pm Friday 4 March, Melbourne Town Hall

Ticketholders are invited to attend a free preconcert recital by Dr Calvin Bowman, on the Melbourne Town Hall grand organ.

4

I am delighted to be able to welcome you to the first Town Hall concert of the season this evening. Tonight’s concert features some of the best known works in the classical music canon: Sibelius’ stirring hymn to Finnish nationalism Finlandia and Dvořák’s Symphony No.9 From the New World.

I am also pleased to welcome Australian virtuoso Daniel de Borah, who will join us for a performance of Grieg’s Piano Concerto. Many people will remember Eric Morecambe’s immortal words to André Previn about this concerto – ‘I am playing all the right notes. But not necessarily in the right order.’ We will have no such problems tonight!

I hope you enjoy the concert.

Benjamin Northey Associate Conductor

WELCOME MELBOURNE SYMPHONY ORCHESTRA

The Melbourne Symphony Orchestra is funded principally by the Australian Government through the Australia Council, its arts funding and advisory body, and is generously supported by the Victorian Government through Creative Victoria, Department of Economic Development, Jobs, Transport and Resources. The MSO is also funded by the City of Melbourne, its Principal Partner, Emirates, corporate sponsors and individual donors, trusts and foundations.

The Melbourne Symphony Orchestra acknowledges the Traditional Owners of the Land in which we are performing on - The Kulin Nation - and we would like to pay our respects to them, their elders and community from the past, the present and future.

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

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

The MSO also works each season with Principal Guest Conductor Diego Matheuz, Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus. Recent guest conductors to the MSO have included Tan Dun and Jakub Hrůša. The Orchestra has also collaborated with non-classical musicians including Flight Facilities, Ben Folds, Nick Cave, Sting and Tim Minchin.

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

5

BENJAMIN NORTHEY CONDUCTOR

DANIEL DE BORAH PIANO

Since returning to Australia from Europe in 2006, Benjamin Northey has rapidly emerged as one of the nation’s leading musical figures. Since 2011, he has held the position of Associate Conductor of the Melbourne Symphony Orchestra. In 2015, he became Chief Conductor of the Christchurch Symphony Orchestra.

Engagements in 2015 included returns to all the major Australian orchestras, the Hong Kong Philharmonic, the New Zealand Symphony Orchestra, and Turandot for Opera Australia. In 2016, he will lead both the MSO and Christchurch Symphony on several occasions – as well as appear with Hong Kong Philharmonic, the Adelaide and West Australian Symphony Orchestras, and throughout New Zealand.

Benjamin studied with John Hopkins at the University of Melbourne Conservatorium of Music and then with Jorma Panula and Leif Segerstam at Finland’s prestigious Sibelius Academy where he was accepted as the highest placed applicant in 2002. He has appeared with the London Philharmonic Orchestra, Mozarteum Orchestra Salzburg, Hong Kong Philharmonic, National Symphony Orchestra of Colombia, New Zealand and Christchurch Symphony Orchestras, Auckland Philharmonia and the Southbank Sinfonia of London.

In Australia, Benjamin has made his mark through his many critically acclaimed appearances as a guest conductor with all the Australian state symphony orchestras as well as opera productions including L’elisir d’amore, The Tales of Hoffmann and La sonnambula for State Opera of South Australia, and Don Giovanni and Così fan tutte for Opera Australia.

Daniel de Borah has emerged in recent years as one of Australia’s foremost musicians, consistently praised for the grace, finesse and imaginative intelligence of his performances. His busy and wide-ranging performance schedule finds him equally at home as concerto soloist, recitalist and chamber music partner.

Since his prize-winning appearances at the 2004 Sydney International Piano Competition, Daniel has given recitals on four continents and toured extensively throughout the United Kingdom and Australia.

As a concerto soloist he has appeared with the English Chamber Orchestra, the London Mozart Players and the Royal Philharmonic Orchestra, and in Australia with the Sydney, Melbourne, Canberra and Adelaide Symphony Orchestras and the Australian Chamber Orchestra.

Daniel has partnered many leading soloists and ensembles including Li-Wei Qin, Nicolas Altstaedt, Dale Barltrop, Andrew Goodwin, and the Australian and New Zealand String Quartets. His festival appearances include the Huntington Estate Music Festival, Musica Viva Festival in Sydney, Canberra International Music Festival, and the Australian Festival of Chamber Music in Townsville. In 2015 Daniel joined the Australia Piano Quartet, ensemble- in-residence at the University of Technology, Sydney.

Born in Melbourne in 1981, Daniel studied at the Liszt Academy of Music in Budapest, the St. Petersburg State Conservatoire and the Royal Academy of Music, London. His teachers have included Zsuzsa Eszto, Mira Jevtic, Nina Seryogina, Tatiana Sarkissova and Alexander Satz. Daniel currently serves on the faculty of the Queensland Conservatorium in Brisbane.

6

Given its ubiquity, it’s important to note that Finlandia is to Sibelius’ work what the Overture 1812 is to Tchaikovsky’s: it was very much a ceremonial piece, written for a specific occasion, that somehow took on a life of its own.

The Press Pension Celebrations of November 1899 were a thinly disguised attempt to create a fighting fund in support of a free press, at a time when Finland’s Russian rulers were vigilantly watchful of expressions of nationalist sentiment. Yet in Finland, as in so many other ‘occupied territories’ in Europe, nationalism was in the air – and as the dawn of a new century was near, an air of optimism too.

The three-day Celebrations culminated in a gala performance which included a series of historical tableaux, staged to Sibelius’ music. The piece we now know as Finlandia was created for the final tableau, called ‘Finland Awakes!’, described by a Finnish newspaper as: ‘The powers of darkness menacing Finland had not succeeded in their terrible threats. Finland awakes…’

Given the narrative Sibelius was setting out to illustrate, it’s not difficult to read the snarling brass fanfares which open Finlandia as ‘the powers of darkness’ (which to the work’s first audience would have been Russia under its then current Czar, Nicholas II); the contrasting chorale-like woodwind figure which follows as a prayer for better times; and the rumbustious, cymbal-clashing Allegro – which forms the bulk of the work – as the march of progress towards more enlightened times and, although this word could hardly be used for fear of censorship, independence.

Following a concert performance of the tableaux music a month after the Press Pension event, Finlandia’s success was assured. The work was also part of the Helsinki Philharmonic Orchestra’s repertoire on a European tour, which culminated in concerts at the 1900 Paris Exposition. By then, Finlandia’s reputation as a flag-waver for Finnish patriotism had made the authorities nervous, so to avoid the possibility of ruffled Russian sensitivities, the work was called Vaterland or La Patrie once the Helsinki Orchestra’s tour took them beyond Scandinavia. Even with a title of determined inoffensiveness, the work made a tremendous impact wherever it was played, and remains the composer’s best-known piece.

Abridged from a note by Phillip Sametz © 2007

The Melbourne Symphony Orchestra first performed Finlandia in a Finnish Relief Fund concert conducted by Sibelius’ colleague Georg Schnéevoigt on 12 April 1940. The Orchestra’s most recent performances took place in November 2015 under Yan Pascal Tortelier.

JEAN SIBELIUS (1865-1957)

Finlandia, Op.26

After hearing a performance of Grieg’s Piano Concerto, Arnold Schoenberg is supposed to have remarked, ‘That’s the kind of music I’d really like to write,’ and one can’t help but feel that there was a wistful sincerity buried in the remark. Grieg’s concerto is, with good reason, popular – a fate not enjoyed by Schoenberg’s music.

Grieg composed his concerto at the age of 25 while still relatively inexperienced in orchestral writing and tinkered endlessly with its orchestration between the time of its premiere and his death. He had studied at the Leipzig Conservatory from the age of 15 with the initial intent of becoming a concert pianist. Dissatisfied with his first teacher, he began lessons with E.F. Wenzel, a friend and supporter of Schumann’s; under his tutelage Grieg began writing piano music for his own performances and wrote passionate articles in defence of Schumann’s music.

The influence of Schumann’s Piano Concerto, also in A minor, on Grieg’s work has been remarked on frequently, but apart from their similar three-movement design and opening gesture, the style of each is markedly different. Both composers were, however, primarily lyricists, and Grieg’s concerto is certainly replete with exquisite tunes. Many of these echo some of the shapes of Norwegian folk music with which Grieg had become deeply familiar in 1864 when he had also become active in a society for the support of Scandinavian music. The piano’s opening gesture, for instance, recalls folk music in its use of a ‘gapped’ scale, and the origins of the finale in folk dance are clear.

Grieg was unable to attend the premiere of his concerto in Copenhagen in 1869, but it was an outstanding success, no doubt in part because Grieg’s cultivation of folk music struck a chord with the increasingly nationalist Scandinavian audiences. But in large part it was because it was recognised as a youthful masterpiece – no less an artist than Anton Rubinstein described it as a ‘work of genius’. The concerto went on to establish Grieg’s reputation throughout the musical world. Audiences responded, as they still do, to the charm of Grieg’s melodies, the balance of, it must be said, Lisztian virtuosity and Grieg’s own distinctive lyricism, and what Tchaikovsky, who adored the work, described as its ‘fascinating melancholy which seems to reflect in itself all the beauty of Norwegian scenery’.

Abridged from a note by Gordon Kerry © 2006

The first performance of Grieg’s Piano Concerto by the Melbourne Symphony Orchestra took place on 14 May 1940 with conductor Antal Dorati and soloist Eunice Gardiner. The Orchestra’s most recent performances were in 2015 with Asher Fisch and Benjamin Grosvenor.

EDVARD GRIEG (1843-1907)

Piano Concerto in A minor, Op.16

Allegro molto moderato

Adagio –

Allegro moderato molto e marcato

Daniel de Borah piano

7

Dvořák composed his ninth, and last, symphony in New York between January and May 1893. As his American-born secretary, Josef Kovařík, was about to deliver the score to the conductor of the first performance, Anton Seidl, Dvořák suddenly wrote on the title page, in Czech, ‘From the New World’. That expression had been used in a welcome speech following his arrival in New York the previous September, reflecting the Christopher Columbus quadricentenary: ‘The New World of Columbus and the New World of Music’. Kovařík said the inscription was just ‘the Master’s little joke’; but the ‘joke’ has, ever since, begged the question: how American is the New World Symphony?

Dvořák could have written his ‘New World’ inscription, as in the welcome speech, in English. By writing it in Czech he was seen to be addressing the work, like a picture postcard, to his compatriots back in Europe. At the same time he challenged listeners to identify depictions of America or elements of American music. Either way, the composer was seen to be meeting the desire of his employer, music patron Jeannette Thurber, for music which might be identified as American.

Mrs Thurber had persuaded Dvořák to become director of her National Conservatory of Music in New York. Besides teaching students from a wide spectrum of society, he found he was expected to show Americans how to create a national music. So, controversially and perhaps naively, in a country which had not forgotten the Civil War, the egalitarian Dvořák told Americans they would find their future music in their roots, whether native or immigrant, and in particular the songs of the African Americans.

From his familiarity with gypsies in Europe, Dvořák had famously composed a set of Gypsy Melodies (including ‘Songs my mother taught me’), and was thus receptive when introduced soon after his arrival to the songs of the African Americans – the sorrow songs and spiritual songs of the plantation. As a devout man of humble rural origins, he responded to the pathos and religious fervour of the poor.

He told the New York Herald that the two middle movements of his new symphony were inspired by Longfellow’s epic poem The Song of Hiawatha, a work he had long ago read in Czech and which Mrs Thurber was now suggesting for an opera. The famous slow movement, he said, was inspired by Hiawatha’s wooing of Minnehaha and the Scherzo by dancing at the wedding feast. Without using Native American melodies, he claimed to have given the Scherzo ‘the local colour of Indian music’ – an effect probably limited to repetitive rhythms and primitive harmonies.

As music, the New World Symphony is entirely characteristic of its composer (the ‘simple Czech musician’ he liked to style himself) and owes nothing to any specific ‘borrowings’ from the indigenous or African American musics Dvořák encountered in the New World. The ersatz-spiritual Goin’ home was actually arranged from Dvořák’s Largo movement by one of his students, not the other way around.

Strong non-musical impressions of America doubtless crowded the composer’s mind as he worked on the symphony. The surging flow and changing moods of the outer movements perhaps reflect the frenetic bustle of New York. The vast, desolate prairies Dvořák found ‘sad unto despair’, and this may be felt to underpin the deep yearning of the Largo (together with the composer’s own homesickness for his native Bohemia). As if to emphasise his personal longing for home, Dvořák uses a Czech dance as the central trio section of the third movement.

Musical ideas recur in the New World Symphony to link the symphonic structure. The two main themes of the first movement are recalled in festive mood in the Largo, at the brassy climax of the famous melody first stated by the cor anglais. They figure again in the coda of the Scherzo, the first theme (somewhat disguised) also making three appearances earlier in the movement. The main themes of both middle movements recur in the development section of the finale, and the main themes of all three preceding movements are reviewed in the final coda. There, a brief dialogue between the themes of the first and last movements is cut short by a conventional cadence, spiced by unexpected wind colouring in the last chord of all.

Abridged from an annotation © Anthony Cane

The Melbourne Symphony Orchestra gave its first complete performance of Dvořák’s New World Symphony on 8 September 1941, conducted by Bernard Heinze. The Orchestra’s most recent performances took place in October 2014 on a regional tour of Victoria, conducted by Benjamin Northey.

ANTONÍN DVOŘÁK (1841-1904)

Symphony No.9 in E minor, B.178 (Op.95) From the New WorldAdagio – Allegro molto

Largo

Scherzo (Molto vivace)

Allegro con fuoco

8

SUPPORTERS

Artist Chair BenefactorsHarold Mitchell AC Chief Conductor Chair

Patricia Riordan Associate Conductor Chair

Joy Selby Smith Orchestral Leadership Chair

The Gross Foundation Principal Second Violin Chair

Sophie Rowell, The Ullmer Family Foundation Associate Concertmaster Chair

MS Newman Family Principal Cello Chair

Principal Flute Chair – Anonymous

Program BenefactorsMeet The Orchestra Made possible by The Ullmer Family Foundation

East meets West Supported by the Li Family Trust

The Pizzicato Effect (Anonymous)

MSO EDUCATION Supported by Mrs Margaret Ross AM and Dr Ian Ross

MSO UPBEAT Supported by Betty Amsden AO DSJ

MSO CONNECT Supported by Jason Yeap OAM

Benefactor Patrons $50,000+Betty Amsden AO DSJPhilip Bacon AM Marc Besen AC and Eva Besen AO John and Jenny Brukner Rachel and the Hon. Alan Goldberg AO QC The Gross FoundationDavid and Angela LiHarold Mitchell ACMS Newman FamilyJoy Selby SmithUllmer Family FoundationAnonymous (1)

Impresario Patrons $20,000+Michael AquilinaPerri Cutten and Jo DaniellMargaret Jackson ACMimie MacLarenJohn McKay and Lois McKay

Maestro Patrons $10,000+John and Mary BarlowKaye and David BirksPaul and Wendy Carter Mitchell ChipmanJan and Peter ClarkSir Andrew and Lady Davis Future Kids Pty Ltd Gandel PhilanthropyRobert & Jan GreenIn memory of Wilma CollieDavid Krasnostein and Pat Stragalinos Mr Greig Gailey and Dr Geraldine LazarusThe Cuming BequestIan and Jeannie Paterson Onbass FoundationElizabeth Proust AORae Rothfield Glenn Sedgwick Maria Solà, in memory of Malcolm Douglas Drs G & G Stephenson. In honour of the great Romanian musicians George Enescu and Dinu LipattiLyn Williams AMKee Wong and Wai TangAnonymous (1)

Principal Patrons $5,000+Linda BrittenDavid and Emma CapponiTim and Lyn EdwardJohn and Diana Frew Susan Fry and Don Fry AODanny Gorog and Lindy Susskind Lou Hamon OAMNereda Hanlon and Michael Hanlon AMHans and Petra HenkellHartmut and Ruth HofmannJenny and Peter HordernJenkins Family Foundation

Suzanne KirkhamVivien and Graham KnowlesDr Elizabeth A Lewis AM Peter LovellAnnette MaluishMatsarol FoundationMr 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 Jason Yeap OAMAnonymous (5)

Associate Patrons $2,500+Dandolo Partners, Will and Dorothy Bailey Bequest, Barbara Bell in memory of Elsa Bell, Mrs S Bignell, Bill Bowness, Stephen and Caroline Brain, Leith and Mike Brooke, Rhonda Burchmore, Bill and Sandra Burdett, Oliver Carton, John and Lyn Coppock, Miss Ann Darby in memory of Leslie J. Darby, Mary and Frederick Davidson AM, Natasha Davies, Peter and Leila Doyle, Lisa Dwyer and Dr Ian Dickson, Jane Edmanson OAM, Dr Helen M Ferguson, Mr Bill Fleming, Mr Peter Gallagher and Dr Karen Morley, Colin Golvan QC and Dr Deborah Golvan, Charles and Cornelia Goode, Susan and Gary Hearst, Colin Heggen in memory of Marjorie Heggen, Gillian and Michael Hund, Rosemary and James Jacoby, John and Joan Jones, Kloeden Foundation, Sylvia Lavelle, H E McKenzie, Allan and Evelyn McLaren, Don and Anne Meadows, Andrew and Sarah Newbold, Ann Peacock with Andrew and Woody Kroger, Sue and Barry Peake, Mrs W Peart, Ruth and Ralph Renard, S M Richards AM and M R Richards, Tom and Elizabeth Romanowski, Max and Jill

Schultz, Jeffrey Sher, Diana and Brian Snape AM, Geoff and Judy Steinicke, Mr Tam Vu and Dr Cherilyn Tillman, William and Jenny Ullmer, Bert and Ila Vanrenen, Kate and Blaise Vinot, Barbara and Donald Weir, Brian and Helena Worsfold, Anonymous (12)

Player Patrons $1,000+Anita and Graham Anderson, Christine and Mark Armour, Arnold Bloch Leibler, Marlyn and Peter Bancroft OAM, Adrienne Basser, Prof Weston Bate and Janice Bate, Dr Julianne Bayliss, Timothy and Margaret Best, David and Helen Blackwell, Michael F Boyt, Philip and Vivien Brass Charitable Foundation, M Ward Breheny, Lino and Di Bresciani OAM , Mr John Brockman OAM and Mrs Pat Brockman, Suzie Brown, Jill and Christopher Buckley, Lynne Burgess, Dr Lynda Campbell, Andrew and Pamela Crockett, Jennifer Cunich, Pat and Bruce Davis, Merrowyn Deacon, Sandra Dent, Dominic and Natalie Dirupo, Marie Dowling, John and Anne Duncan, Kay Ehrenberg, Gabrielle Eisen, Vivien and Jack Fajgenbaum, Grant Fisher and Helen Bird, Barry Fradkin OAM and Dr Pam Fradkin, Applebay Pty Ltd, David Frenkiel and Esther Frenkiel OAM, Carrillo and Ziyin Gantner, David Gibbs and Susie O’Neill, Merwyn and Greta Goldblatt, Dina and Ron Goldschlager, George Golvan QC and Naomi Golvan, Dr Marged Goode, Philip and Raie Goodwach, Louise Gourlay OAM, Ginette and André Gremillet, Max Gulbin, Dr Sandra Hacker AO and Mr Ian Kennedy AM, Jean Hadges, Paula Hansky OAM and Jack Hansky AM, Tilda and Brian Haughney, Julian and Gisela Heinze, Penelope Hughes, Dr

9

SUPPORTERS

Alastair Jackson, Basil and Rita Jenkins, Stuart Jennings, George and Grace Kass, Irene Kearsey, Brett Kelly and Cindy Watkin, Ilma Kelson Music Foundation, Dr Anne Kennedy, Bryan Lawrence, William and Magdalena Leadston, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Ann and George Littlewood, 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, Ruth Maxwell, Trevor and Moyra McAllister, David Menzies, Ian Morrey, Laurence O’Keefe and Christopher James, Graham and Christine Peirson, Margaret Plant, Kerryn Pratchett, Peter Priest, Eli Raskin, Bobbie Renard, Peter and Carolyn Rendit, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, Zelda Rosenbaum OAM, Antler Ltd, Doug and Elisabeth Scott, Dr Sam Smorgon AO and Mrs Minnie Smorgon, John So, Dr Norman and Dr Sue Sonenberg, Dr Michael Soon, Pauline Speedy, State Music Camp, Dr Peter Strickland, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Tennis Cares- Tennis Australia, Frank Tisher OAM and Dr Miriam Tisher, Margaret Tritsch, Judy Turner and Neil Adam, P & E Turner, Mary Vallentine AO, The Hon. Rosemary Varty, Leon and Sandra Velik, Elizabeth Wagner, Sue Walker AMElaine 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, John and Jenny Brukner, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Francis and Robyn Hofmann, The Hon Dr Barry Jones AC, Dr Paul Nisselle AM, Maria Solà in memory of Malcolm Douglas, The Hon Michael Watt QC and Cecilie Hall, Anonymous (1)

MSO RosesFounding RoseJenny Brukner

RosesMary Barlow, Linda Britten, Wendy Carter, Annette Maluish, Lois McKay, Pat Stragalinos, Jenny Ullmer

Rosebuds

Maggie Best, Penny Barlow, Leith Brooke, Lynne Damman, Francie Doolan, Lyn Edward, Penny Hutchinson, Elizabeth A Lewis AM, Sophie Rowell, Dr Cherilyn Tillman

Foundations and TrustsThe A.L. Lane FoundationThe Annie Danks TrustCollier Charitable FundCreative Partnerships AustraliaCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationGall FoundationThe Harold Mitchell FoundationHelen Macpherson Smith TrustIvor Ronald Evans Foundation, managed by Equity Trustees LimitedThe 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 CircleCurrent Conductor’s Circle MembersJenny Anderson, David Angelovich, G C Bawden and L de Kievit, 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, Gunta Eglite, Louis Hamon OAM, Carol Hay, Tony Howe, Audrey M Jenkins, John and Joan Jones, George and Grace Kass, Mrs Sylvia Lavelle, Pauline and David Lawton, Lorraine Meldrum, Cameron Mowat, Laurence O’Keefe and Christopher James, Rosia Pasteur, Elizabeth Proust AO, Penny Rawlins, Joan P Robinson, Neil Roussac, Anne Roussac-Hoyne, Jennifer Shepherd, Drs Gabriela and George Stephenson, Pamela Swansson, Lillian Tarry, Dr Cherilyn Tillman, Mr and Mrs R P Trebilcock, Michael Ullmer, Ila Vanrenen, Mr Tam Vu, Marian and Terry Wills Cooke, Mark Young, Anonymous (23)

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 Patron

Sir Elton John CBE Life Member

The Honourable Alan Goldberg AO QC Life Member

Geoffrey Rush AC Ambassador

John Brockman AO Life Member

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:

$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 (3) 9626 1248

Email: philanthropy@mso.com.au

10

ORCHESTRA

First ViolinsDale Barltrop Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell Associate Concertmaster

Andrew Beer*† Guest Principal First Violin

Peter Edwards Assistant Principal

Kirsty Bremner MSO Friends Chair

Sarah CurroPeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn TaylorJacqueline Edwards*Robert John*Oksana Thompson*

Second ViolinsMatthew Tomkins The Gross Foundation Principal Second Violin Chair

Robert Macindoe Associate Principal

Monica Curro Assistant Principal

Mary AllisonIsin CakmakciogluFreya FranzenCong GuAndrew HallFrancesca HiewRachel Homburg Christine JohnsonIsy WassermanPhilippa WestPatrick WongRoger YoungJenny Khafagi*Susannah Ng*

ViolasChristopher Moore Principal

Fiona Sargeant Associate Principal

Lauren BrigdenKatharine BrockmanChristopher CartlidgeGabrielle HalloranTrevor Jones Cindy WatkinCaleb WrightSophie Kesoglidis*Matthew Laing*Isabel Morse*Katie Yap*

CellosDavid Berlin MS Newman Family Principal Cello Chair

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda BrockmanRohan de KorteKeith JohnsonSarah MorseAngela SargeantMichelle WoodRachel Atkinson*

Double BassesSteve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen NewtonYoung Hee Chan*Emma Sullivan*

FlutesPrudence Davis Principal Flute Chair - Anonymous

Wendy Clarke Associate Principal

Sarah Beggs

PiccoloAndrew Macleod Principal

OboesJeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn

Cor AnglaisMichael Pisani Principal

ClarinetsDavid Thomas Principal

Philip Arkinstall Associate Principal

Craig HillRobin Henry*

Bass ClarinetJon Craven Principal

BassoonsJack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

ContrabassoonBrock Imison Principal

Horns Timothy Jones*‡ Guest Principal

Geoff Lierse Associate Principal

Saul Lewis Principal Third

Jenna BreenAbbey EdlinTrinette McClimontRobert Shirley*

TrumpetsGeoffrey Payne Principal

Shane Hooton Associate Principal

William EvansJulie Payne

TrombonesBrett Kelly Principal

Iain Faragher*

Bass TromboneMike Szabo Principal

TubaTimothy Buzbee Principal

TimpaniChristine Turpin Principal

PercussionRobert Clarke Principal

John ArcaroRobert Cossom

HarpYinuo Mu Principal

*Guest musician

† Courtesy of Auckland Philharmonia Orchestra

‡Courtesy of London Symphony Orchestra

Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair

Benjamin Northey Patricia Riordan Associate Conductor Chair

1111

SUPPORTERS

GOVERNMENT PARTNERS

SUPPORTING PARTNERS

ASSOCIATE PARTNERS

MAESTRO PARTNERS

VICTORIA WHITELAW LINDA BRITTEN NAOMI MILGROM FOUNDATION

HARDY AMIES

OFFICIAL CAR PARTNER

MEDIA PARTNERS

Book now for the best price*

Not only is the entire Symphony le� unfi nished, but the tune of the fi rst movement, one of the most famous tunes in the world, is itself le� unfi nished – broken off in extraordinary gestures of pathos and drama.

22 April at 7.30pmMelbourne Town Hall

Unfinished SymphonyUnfinished SymphonySchubert’s

“ In terms of the history of the symphony, this music is unprecedented”� e Guardian

*Prices set to increase on Friday 11 March

emirates.com/au

Complimentary Chauffeur-drive service* w Fine dining on demand w World-class service

Relax to music and smooth sips of Hennessy Paradis, or a good story and a glass of Dom Perignon. Savour every indulgence in our First Class Private Suites.

Principal Partner of the Melbourne Symphony Orchestra.

Master the art of me-time

*Complimentary Chauffeur-drive service available for First Class and Business Class, excluding Trans-Tasman services and codeshare flights operated by Qantas to Southeast Asia. Mileage restrictions apply. For full terms and conditions visit emirates.com/au. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.

BECOME A MEMBER

www.langi.com.au

[ W INE C L U B ]

Receive a selection of 6 wines every quarter

Discounts between 10% and 20%

MSO exclusive offers and more...

Enjoy one of Australias most iconic wines with the additional benefits of our partnership with the Melbourne Symphony Orchestra.

Musicians of the MSO performing in the Mount Langi Ghiran Vineyard 2015

Find out more today at mso.com.au/langi

Mount Langi Ghiran Ad