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Mozart’s Symphony No.40

Melbourne Recital Centre Series

Thursday 17 September at 8pmSaturday 19 September at 6.30pm

Elisabeth Murdoch Hall, Melbourne Recital Centre

Monash SeriesFriday 18 September at 8pm

Robert Blackwood Hall, Monash University

Monday 21 September at 8pmFrankston Arts Centre

2 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

What’s On October — December

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

SIBELIUS’ FINLANDIAThursday 19 November Friday 20 NovemberYan Pascal Tortelier celebrates the 150th anniversary of two Nordic masters. Sibelius’ majestic Finlandia is balanced against Nielsen’s spirited Violin Concerto. Also featured in this program is Sibelius’ Symphony No.5 and tone poem The Swan of Tuonela.

TCHAIKOVSKY & GRIEGFriday 13 November Saturday 14 NovemberAsher Fisch conducts three masterworks that defined the Romantic era. Tchaikovsky’s stirring Romeo and Juliet is followed by Grieg’s poignant Piano Concerto, with the high-voltage intensity of Tchaikovsky’s Fourth Symphony.

AN AMERICAN IN PARISFriday 30 OctoberGershwin’s An American in Paris evokes a journey through the bustling streets of the French capital, punctuated by taxi horns and a bluesy trumpet solo. Also featured in this program is Ravel’s Piano Concerto in G and Saint-Saëns’ Symphony No.3 Organ.

BRAHMS & TCHAIKOVSKYThursday 26 November Friday 27 November Saturday 28 NovemberDivertimento, Bartók’s dark take on the Baroque, kick-starts this night of European festivities. Brahms’ Violin Concerto delivers a fiery, gypsy-inspired rondo and Tchaikovsky’s Serenade for Strings pays homage to Mozart.

MESSIAHSaturday 5 December Sunday 6 DecemberJoin conductor Bramwell Tovey, the MSO Chorus and renowned international soloists for one of the MSO’s most beloved Christmas traditions, Messiah.

3MOZART’S SYMPHONY No.40

It is with special delight that I welcome you to this concert in which Concertmaster Eoin Andersen directs works by Mozart and Stravinsky — a pairing across the centuries of the great exponents of the classical form. It will be fascinating to compare them at such close range.

This season, the American born Andersen joined us as MSO Concertmaster. He is a former member of the Mahler Chamber Orchestra and the Lucerne Festival Orchestra. Eoin was also Principal Second Violin of the Orchester der Oper Zürich since 2011 before taking up his position with the MSO.

Eoin also appears as soloist in Mozart’s Violin Concerto No.5. As one commentator rightly said, this concerto possesses ‘a kind of innocent grandeur, illuminated by flashes of wit, good humour, and moments of the most immaculate lyrical poetry’. What finer way to mark Eoin’s first year with the MSO?

André Gremillet Managing Director

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

Sir Andrew Davis gave his inaugural concerts as Chief Conductor of the MSO in April 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists including Bryn Terfel, Emanuel Ax and Truls Mørk, the release of recordings of music by 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 Thomas Adès, John Adams, Tan Dun,

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

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

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

Welcome to Mozart’s Symphony No.40

MELBOURNE SYMPHONY ORCHESTRA

3


Eoin Andersen violin/director

A native of Wisconsin, USA, Eoin began violin lessons at the age of five. His teachers have included Sr. Noraleen Retinger, Gerald Fischbach, David Taylor, Efim Boico, and his foremost musical influence, Nadja Salerno-Sonnenberg.

Eoin commenced the position of Co-Concertmaster of the Melbourne Symphony Orchestra in 2015, and was previously Principal Second Violin of the Orchester der Oper Zürich. He has performed as Guest Concertmaster of the Konzerthausorchester Berlin and the Swedish Radio Symphony Orchestra, and as Guest Principal with the Mahler and Australian Chamber Orchestras, Zurich Chamber Orchestra, London Philharmonic, Bavarian Radio Symphony, and frequently with the Rundfunk-Sinfonieorchester Berlin.

Eoin was a long-time member of the Mahler Chamber Orchestra and the Lucerne Festival Orchestra. As a founding member and director of the Mahler Chamber Soloists, he performed in South America and throughout Europe, and collaborated with the pianist Fazıl Say, the choreographer Sasha Waltz, and soprano Anna Prohaska.

Eoin divides his time between homes in Berlin and Melbourne.

ABOUT THE ARTISTREPERTOIRE

Melbourne Symphony Orchestra

Eoin Andersen violin/director

—STRAVINSKYConcerto in D for Strings—MOZARTViolin Concerto No.5—Interval 20 minutes—STRAVINSKYOctet for Winds—MOZARTSymphony No.40—

This concert has a duration of approximately 2 hours and 10 minutes including one 20 minute interval.

Saturday evening’s performance will be recorded for broadcast on ABC Classic FM on Sunday 20 September at 1pm.

Pre-Concert Talks

7pm Thursday 17 September Onstage, Elisabeth Murdoch Hall

7pm Friday 18 September Foyer, Robert Blackwood Hall

7pm Monday 21 September Rotary Room, Frankston Arts Centre

Andrew Aronowicz will present a talk on the works featured in the program.

Post-Concert Talk

8.30pm Saturday 19 September Onstage, Elisabeth Murdoch Hall

Join MSO Director of Artistic Planning Ronald Vermeulen for a post-concert conversation with Eoin Andersen.


Igor Stravinsky (1882-1971)

Concerto in D for String Orchestra (1946)

Vivace

Arioso (Andantino)

Rondo (Allegro)

—

The interest so many composers showed in the string orchestra medium in the years following World War I can be explained in several ways: a new appreciation of what composers of the Baroque era had achieved; a determination to make the strings which had formed the basis of the 19th-century orchestra yield new sonorities and new techniques; and, hand in hand with these aesthetic concerns, the flourishing of small orchestral ensembles, including string orchestras, such as the Boyd Neel Orchestra in England and in Switzerland the Basle Chamber Orchestra formed by Paul Sacher.

It was Sacher who commissioned Bartók’s Divertimento for Strings of 1939, and after World War II he included Stravinsky in the inspired patronage which had already elicited so many masterpieces. The commission was for a work to celebrate the 20th anniversary of the Basle Chamber Orchestra in 1946. Paul Sacher conducted the premiere of the Concerto in D (also known as the Concerto basiliensis, or ‘Basle Concerto’) in Basle on 27 January 1947, and the Concerto has ever since been a mainstay of every string orchestra’s repertoire.

Like the Dumbarton Oaks concerto, the Concerto in D is a cross between the Classical divertimento and the Baroque concerto grosso. Baroque features include the opposition of a small concertino group to the main body of strings. The piece is concise – lasting about 12 minutes – and predominantly light and divertimento-like in mood. The ostinato principle of repeated musical patterns dominates most of the writing in the two fast movements, as in a rather similar piece, Bach’s third Brandenburg Concerto: a rarely interrupted flow of quavers and semiquavers in various rhythms. When Stravinsky breaks the flow, with telling effect, it is usually to emphasise the thematic germ of

the work, an alternation between two notes a semitone apart. This fingerprint appears immediately in the opening theme of the first movement, which also features an accompaniment containing a chord of D which is ambiguously major and minor, engendering considerable dissonance throughout the work. A slight suggestion of harshness about the first movement is mitigated by a middle section which is at once harmonically more comfortable and less regular, more tentative in rhythm.

In the second movement, an Arioso, Stravinsky composes an extended melody, but, lest we should indulge in it, punctuates it with chords restating the semitone interval, followed by new departures in surprising keys. The ostinato patterns return in the virtual perpetual motion of the last movement – it was no doubt this feature which made Jerome Robbins find the music ‘terribly driven and compelled’ when he used it for a harrowing ballet scenario, The Cage (1951).

Stravinsky’s concern was obviously to make the most of the possibilities of string ensembles which had been missed by 19th-century composers. Simply – perhaps over-simply – stated, this meant getting the bow off the string more often and in a greater variety of ways, making precise distinctions between staccato, spiccato and ben articulato playing. This composer was never happier than when sitting at his music desk adjusting his solutions to self-imposed problems. This craft, in the Concerto in D, produces stimulating challenges to players and diversion to listeners.

© David Garrett

The Melbourne Symphony Orchestra first performed this work on 2 July 1969 under conductor Otakar Trhlík, and most recently in May 1982 with Hiroyuki Iwaki.

ABOUT THE MUSIC

Wolfgang Amadeus Mozart (1756-1791)

Violin Concerto No.5 in A, K219Allegro aperto

Adagio (K261)

Rondeau (Tempo di Menuetto)

Eoin Andersen violin—Mozart’s violin concertos are masterly – this is too easy to overlook, when they are compared to his admittedly even more wonderful piano concertos. An often-quoted letter from Mozart’s father – one of the leading violin pedagogues of his time – exhorts his son not to give up his practice, and claims that young Mozart could, if he worked at it, be the finest violinist in Europe. All but one of the five violin concertos by Mozart which are unquestionably by him were written in a sustained burst in 1775, when Mozart was 19. They have been considered by some as attempts to please his father rather than himself. Whatever his motivation, these concertos are a major achievement, especially the last three, K216, K218 and K219. It is important to remember the date, because none of the piano concertos Mozart had written up to this time shows the maturity of conception of the best of the violin concertos. It was after Mozart left Salzburg for Vienna, which he himself called ‘the land of the piano’, that almost all his concerto writing was for keyboard soloists. He wrote no further violin concertos.

Mozart’s violin concertos may have been intended at least as much for his colleague Antonio Brunetti, solo first violin in the Salzburg Court Orchestra, as for himself. Certain features of the Concerto in A, K219 strongly suggest the atmosphere of Salzburg and the showcasing of a fellow musician.

MELBOURNE SYMPHONY ORCHESTRA IN CONCERT6

Igor Stravinsky (1882-1971)

Octet for wind instruments

Sinfonia (Lento – Allegro moderato)

Tema con variazioni – Finale (Tempo giusto)

—

The Octet, begun in 1922, is the first work in which Stravinsky’s neoclassical style declares itself in all its purity. Someone unsympathetic to that style recognised the cleverness of the music, but recommended it only to enthusiasts for Stravinsky’s most poker-faced manner. That enthusiasm has grown, recognising music like this Octet as self-sufficient, rather than emotive music. This was the composer’s aim: ‘My Octet is a musical object,’ he wrote, and indeed it invites contemplation of its ingenious musical devices. Yet its form also harks back to the divertimento music of 18th-century composers, and Stravinsky’s ‘rediscovery’ of this medium, he tells us, came to him in a dream. ‘I found myself (in my dream state) in a small room surrounded by a small number of instrumentalists who were playing some very agreeable music’. On waking, he couldn’t recall the music, but remembered counting eight instruments – pairs of bassoons, trumpets and trombones, and one each of flute and clarinet. ‘I awoke from this little dream concert in a state of delight, and the next morning I began to compose the Octet.’

Stravinsky’s new objectivism coincided with his ‘discovery’ of sonata form, and the first movement is a sonata-allegro with slow introduction, a form to be found in certain Haydn symphonies. It is quite probable, in spite of Stravinsky’s dream explanation, that this music was composed first, and that the dream provided the solution as to the medium. Stravinsky also observed that the choice of wind instruments led to ‘a certain rigidity of form’. For the second movement, the first idea that came to him was the waltz forming one of the variations. From this he derived the theme, which is followed by the element which returns, modified, in the course of the variations. Stravinsky called this the ‘ribbon of scales’ variation, for reasons which will be obvious. The final variation, a fugato, is the culmination of the contrapuntal

ABOUT THE MUSIC


The extraordinary ‘Turkish’ episode in the finale, in which Mozart reuses ideas from his 1772 ballet Le gelosie del serraglio (‘Jealousy in the harem’, an entr’acte for the Milan opera Lucio Silla), also has the same flavour as several Turkish pieces by Mozart’s fellow Salzburg composer Michael Haydn. Haydn (brother of the more famous Joseph) may have collected the tunes in Hungary, which still had a strong Turkish presence, and which he had just visited. Perhaps this kind of music went down particularly well in Salzburg, with its imitation of the music of the janissaries (elite troops of the Ottoman Empire), including drumming by the basses beating the strings with the wood of their bows.

Brunetti must have been pleased with his first entry in this concerto: six bars of quasi-recitative in a slow tempo over murmuring strings. It is similar to Joseph Haydn’s devices in some of his early symphonies for showing off the leader of the Esterhazy orchestra. The first movement is dominated by a rising arpeggio figure, referred to by one commentator as a springboard of the movement. This is a familiar ‘tag’ in Baroque and Classical violin music, found also in the concertos of Bach, who may have got it from Vivaldi. The interest is in the treatment: Mozart’s is all grace and wit, as in the throwaway endings on the same rising arpeggio, an idea he repeats in the last movement.

Mozart’s slow movement was in the key of E major. Brunetti’s preference may be responsible for what we hear in this concert. The manuscript of the concerto is dated Salzburg 20 December 1775. On 9 October 1777 Leopold Mozart wrote to his son in Augsburg promising to send him ‘the score of the Adagio you wrote specially for Brunetti, because he found the other one too artificial [or, in another translation ‘too studied’]’. An Adagio dated 1776 in E major, the same key as the concerto movement, has come down to us as a separate movement, K261. It may well be the substitute movement composed for Brunetti and for this concerto, though there is no direct proof.

As beautiful in its own way as the original slow movement, it puts the soloist in higher relief and is more obviously tuneful, without the occasional harmonic subtleties of the movement it replaces. Tonight’s soloist has chosen to play this slow movement written for Brunetti.

The capricious-sounding interruption of the Rondeau’s triple rhythm by episodes in duple time, and the exotic colouring of the episodes, including the spectacular ‘Turkish’ music, shows how the Classical style, in Mozart’s hands, could accommodate a game which is dramatic in conception.

David Garrett © 2006

The Melbourne Symphony Orchestra first performed this concerto on 30 January 1943 with conductor William Cade and soloist Elise Steels, and most recently in May 2013 with Sir Andrew Davis and Ji Won Kim.


ABOUT THE MUSIC


Symphony No.40 in G minor, K550Molto allegro

Andante

Menuetto (Allegretto)

Allegro assai

—

Mozart’s last three symphonies, Nos 39, 40 and 41, were written in the short space of three months in the summer of 1788. They may have been intended for subscription concerts that Mozart had planned for that year. Symphony No.40 may have been played in Vienna on 16 and 17 April 1791, when a large orchestra under Salieri performed a ‘grand symphony’ by Mozart. Mozart’s friends the clarinettists Johann and Anton Stadler were in the orchestra, and it could have been for this concert that Mozart added clarinet parts to the G minor symphony and modified the oboe parts accordingly.

This is the most agitated and melancholy of the three symphonies. In the 18th century it was almost obligatory to end a minor-key symphony by turning cheerfully to the major at the end, but in this symphony there is never any suggestion that the finale will not remain fixed in the original minor mood.

The first movement opens with an accompaniment for divided violas, throbbing and passionate, then the first subject is softly played. The second subject speaks of melancholy, in a more serene way, and in the major key. The development seems to pass through every key, and this chromatic boldness runs through the symphony, as though to emphasise the communication of inner emotion.

In the slow movement, cross-rhythms deepen the mood, and the ‘sighs’ which appear against horn chords become a dominant expressive feature of the whole movement. It has been suggested that for Mozart the little pairs of fluttering demisemiquavers are the flutter of supernatural wings. The mood is only suspended, temporarily, in the G major pastoral trio of a Menuetto

carried by powerful rhythms beyond any suggestion of dancing elegance.

The finale opens with the upward sweeping figure known as a ‘Mannheim rocket’, after the famous orchestra of that city. The development begins with an extraordinary unison extension of the main theme, in which Mozart touches each of the 12 notes of the scale. At the point where the movement’s second subject might have been expected to turn to the major, Mozart follows the logic of the whole symphony with an unrelievedly dark conclusion.


The Melbourne Symphony Orchestra first performed this work on 6 July 1940 under Thomas Beecham, and most recently in May 2013 with Douglas Boyd.

invention so striking in this movement, and for which Stravinsky cited a model in Bach’s Two-Part Inventions. Then a flute cadenza makes the link to the final movement, a rondo, with a typically Stravinskian way of saying ‘the end’: chords in a compound metre, hesitant yet final.

The first performance of the Octet, in October 1923, marked Stravinsky’s debut as a conductor (and more technique than he had was needed for the tricky music in an unfamiliar style). This took place in the cavernous auditorium of the Paris Opera, where Stravinsky’s insect-like gesticulations in front of his intimate group of players must have given the impression (Eric Walter White suggests) of viewing the performance through the wrong end of a telescope.


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

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MELBOURNE SYMPHONY ORCHESTRA

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MANAGEMENT

FIRST VIOLINSDale BarltropConcertmasterEoin AndersenConcertmasterSophie Rowell Associate ConcertmasterPeter EdwardsAssistant PrincipalKirsty BremnerMSO Friends ChairSarah CurroPeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn TaylorOksana Thompson*

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

Francesca HiewRachel Homburg Christine JohnsonIsy WassermanPhilippa WestPatrick WongRoger YoungAaron Barnden* Jenny Khafagi*Jennen Ngiau-Keng*

VIOLASChristopher Moore PrincipalChristopher Cartlidge Acting Associate PrincipalLauren BrigdenKatharine BrockmanSimon CollinsGabrielle HalloranTrevor Jones Fiona Sargeant Cindy WatkinCaleb WrightCeridwen Davies* Isabel Morse*

CELLOSDavid Berlin MS Newman Family Principal Cello ChairRachael Tobin Associate PrincipalNicholas Bochner Assistant PrincipalMiranda BrockmanRohan de Korte

Keith JohnsonSarah MorseAngela SargeantMichelle Wood

DOUBLE BASSESSteve Reeves PrincipalAndrew Moon Associate PrincipalSylvia Hosking Assistant PrincipalDamien EckersleyBenjamin HanlonSuzanne LeeStephen Newton

FLUTESPrudence Davis Principal Flute Chair - AnonymousWendy Clarke Associate PrincipalSarah Beggs

PICCOLOAndrew Macleod Principal

OBOESJeffrey Crellin PrincipalThomas HutchinsonAssociate PrincipalAnn Blackburn

COR ANGLAISMichael Pisani Principal

CLARINETSDavid Thomas PrincipalPhilip Arkinstall Associate PrincipalCraig Hill

BASS CLARINETJon Craven Principal

BASSOONSJack Schiller PrincipalElise Millman Associate Principal Natasha Thomas

CONTRABASSOONBrock Imison Principal

HORNS Zora Slokar PrincipalTim Thorpe*Guest PrincipalGeoff Lierse Associate PrincipalSaul Lewis Principal Third Jenna BreenAbbey EdlinTrinette McClimont

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TROMBONESBrett Kelly Principal

BASS TROMBONEMike Szabo Principal

TUBATimothy Buzbee Principal

TIMPANIChristine Turpin Principal

PERCUSSIONRobert Clarke PrincipalJohn ArcaroRobert Cossom

HARPYinuo Mu Principal

*Guest musician


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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, Timothy and Margaret Best, 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, 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, David Gibbs and Susie O’Neill,


THANKS TO OUR WONDERFUL MSO SUPPORTERS

Merwyn and Greta Goldblatt, Dina and Ron Goldschlager, George Golvan QC and Naomi Golvan, Charles and Cornelia Goode, Dr Marged Goode, 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, 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, Dr Julianne Bayliss, In memory of Leigh Masel, John and Margaret Mason, In honour of Norma and Lloyd Rees, Trevor and Moyra McAllister, David Menzies, Ian Morrey, The Novy Family, Laurence O’Keefe and Christopher James, Graham and Christine Peirson, Andrew Penn and Kallie Blauhorn, Kerryn Pratchett, Peter Priest, Jiaxing Qin, Eli Raskin, Peter and Carolyn Rendit, S M Richards AM and M R Richards, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, Doug and Elisabeth Scott, Jeffrey Sher, Dr Sam Smorgon AO and Mrs Minnie Smorgon, John So, Dr Norman and Dr Sue Sonenberg, Dr Michael Soon, Pauline Speedy, State Music Camp, Geoff and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Frank Tisher OAM and Dr Miriam Tisher, Margaret Tritsch, Judy Turner and Neil Adam, P & E Turner, Mary Vallentine AO, The Hon. Rosemary Varty, Leon and Sandra Velik, Sue Walker AM, Elaine Walters OAM and Gregory Walters, Edward and Paddy White, Janet Whiting and Phil Lukies, Nic and Ann Willcock, Marian and Terry Wills Cooke, Pamela F Wilson, Joanne Wolff,

Peter and Susan Yates, Mark Young, Panch Das and Laurel Young-Das, YMF Australia Anonymous (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)

MSO ROSESFounding Rose: Jennifer BruknerRoses: Mary Barlow, Linda Britten, Wendy Carter, Annette Maluish, Lois McKay, Pat Stragalinos, Jenny Ullmer Rosebuds: Leith Brooke, Lynne Damman, Francie Doolan, Lyn Edward, Elizabeth A Lewis AM, Sophie Rowell, Dr Cherilyn Tillman

FOUNDATIONS AND TRUSTSThe Annie Danks TrustCollier Charitable FundCreative Partnerships AustraliaCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Harold Mitchell FoundationHelen Macpherson Smith TrustIvor Ronald Evans Foundation, managed by Equity Trustees Limited and Mr Russell BrownLinnell/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,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 (21)

THE MSO GRATEFULLY ACKNOWLEDGES THE SUPPORT RECEIVED FROM THE ESTATES OF:The MSO gratefully acknowledges the support received from the Estates of:, Angela Beagley, Gwen Hunt, Pauline Marie Johnston, C P Kemp, Peter Forbes MacLaren, Prof Andrew McCredie, Miss Sheila Scotter AM MBE, Molly Stephens, Jean Tweedie, Herta and Fred B Vogel, Dorothy Wood,

HONORARY APPOINTMENTSMrs Elizabeth Chernov Education and Community Engagement PatronSir Elton John CBE Life MemberThe Honourable Alan Goldberg AO QC Life MemberGeoffrey Rush AC Ambassador

MEDIA PARTNERGOVERNMENT PARTNERS

SUPPORTING PARTNERS

ASSOCIATE PARTNERS

Golden Age Group Kabo Lawyers Linda Britten

Naomi Milgrom Foundation PwC

UAG + SJB Universal

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

Future Kids

PRINCIPAL PARTNER

MAESTRO PARTNERS

3L Alliance Elenberg Fraser

Fed Square Flowers Vasette

OFFICIAL CAR PARTNER

Book now mso.com.au / (03) 9929 9600

A work that inspires a deep sense of awe and wonder whenever it is performed. Conductor Benjamin Northey and guest chorus master Warren Trevelyan-Jones present this mighty work to celebrate 50 years of the MSO Chorus. 7 October at 8pm. Elisabeth Murdoch Hall Melbourne Recital Centre.

Mozart’sRequiem

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