Beethoven’s Symphony No

Beethoven’s
Symphony No.7

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What’s On
June — August

Education Week Britten’s War Requiem Mahler 4

MONDAY 1 JUNE — THURSDAY 11 JUNE FRIDAY 19 JUNE

SATURDAY 6 JUNE FRIDAY 12 JUNE SATURDAY 20 JUNE

Join the MSO and internationally Benjamin Britten’s War Requiem, a MONDAY 22 JUNE
acclaimed music educator, Paul haunting piece interweaving the
Rissmann, for the MSO’s fifth annual traditional Latin Mass for the Dead A milestone in MSO’s musical
Education Week at the Melbourne with the works of First World War evolution, Sir Andrew Davis’
Town Hall and Hamer Hall, with a poet Wilfred Owen, is paired with Mahler Cycle series returns for
series of events for schools and the profoundly moving Elegy in its fourth chapter, with Mahler’s
families which integrate learning and memoriam Rupert Brooke. Fourth Symphony alongside
entertainment, and foster a lifelong Prokofiev’s Sinfonia Concertante.
love of music.

Yuja Wang Plays Prokofiev Tchaikovsky’s Rachmaninov 3

THURSDAY 23 JULY Piano Concerto No.1 THURSDAY 20 AUGUST

FRIDAY 24 JULY FRIDAY 7 AUGUST FRIDAY 21 AUGUST

SATURDAY 25 JULY SATURDAY 8 AUGUST SATURDAY 22 AUGUST

Chinese piano superstar Yuja Wang MONDAY 10 AUGUST Russian-American pianist Kirill Gerstein
brings her acclaimed virtuosity to displays his mastery of the formidable
Prokofiev’s tempestuous Second The very epitome of Romantic ‘Rach 3’, conducted by Sir Andrew
Piano Concerto. Also featuring music, Tchaikovsky’s Piano Concerto Davis. Also featuring Rimsky-Korsakov’s
Tchaikovsky’s Marche Slave No.1 is performed by Simon Trpčeski. Dubinushka and Strauss’
and Brahms’ luminous fourth and Also featuring Rimsky-Korsakov’s autobiographical tone poem,
final symphony. Capriccio espagnol, and Scriabin’s Ein Heldenleben.
Third Symphony.

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Welcome to
Beethoven’s Symphony No.7

MELBOURNE SYMPHONY
ORCHESTRA

The German conductor and With a reputation for excellence, The MSO reaches an even larger
composer Matthias Pintscher sees versatility and innovation, the audience through its regular concert
his dual musical existence as entirely Melbourne Symphony Orchestra broadcasts on ABC Classic FM,
complementary, saying, ‘My thinking is Australia’s oldest orchestra, also streamed online, and through
as a conductor is informed by the established in 1906. The Orchestra recordings on Chandos and ABC
process of my own writing; and vice currently performs live to more Classics. The MSO’s Education
versa of course.’ than 200,000 people annually, in and Community Engagement
concerts ranging from subscription initiatives deliver innovative and
The Melbourne Symphony Orchestra is performances at its home, Hamer engaging programs to audiences
pleased to welcome the extraordinary Hall at Arts Centre Melbourne, to its of all ages, including MSO Learn, an
Pintscher back for these concerts. This annual free concerts at Melbourne’s educational iPhone and iPad app
program typifies his broad repertoire largest outdoor venue, the Sidney designed to teach children about
as well as his own creativity. Myer Music Bowl. the inner workings of an orchestra.

Pintscher is conducting the Australian Sir Andrew Davis gave his inaugural The Melbourne Symphony Orchestra
premiere of his new work, idyll – concerts as Chief Conductor of the is funded principally by the Australian
a co-commission by the MSO, the MSO in April 2013, having made his Government through the Australia
Bavarian Radio Symphony Orchestra debut with the Orchestra in 2009. Council, its arts funding and
and The Cleveland Orchestra. After Highlights of his tenure have included advisory body, and is generously
idyll’s world premiere in Cleveland collaborations with artists including supported by the Victorian
late last year, one critic described Bryn Terfel, Emanuel Ax and Truls Government through Creative
it as ‘a cornucopia for the ear, a Mørk, the release of recordings Victoria, Department of Economic
quiet stream of ethereal textures and of music by Percy Grainger and Development, Jobs, Transport and
shimmering colours’. Eugene Goossens, a 2014 European Resources. The MSO is also funded
Festivals tour, and a multi-year cycle by the City of Melbourne, its Principal
We are also delighted to welcome of Mahler’s Symphonies. Partner, Emirates, corporate sponsors
the Japanese-Canadian violinist and individual donors, trusts and
Karen Gomyo as soloist in the Violin The MSO also works each season foundations.
Concerto No.3 by Saint-Saëns. with Principal Guest Conductor
Diego Matheuz, Associate
What better conclusion to this Conductor Benjamin Northey and
program than Beethoven’s Symphony the Melbourne Symphony Orchestra
No.7? It is music that, however often Chorus. Recent guest conductors
performed, always sounds vivid, to the MSO have included Thomas
exciting and fresh off the page. Adès, John Adams, Tan Dun,
Charles Dutoit, Jakub Hrůša, Mark
I hope you enjoy this concert. Wigglesworth, Markus Stenz and
Simone Young. The Orchestra has
André Gremillet also collaborated with non-classical
Managing Director musicians including Burt Bacharach,
Ben Folds, Nick Cave, Sting and
Tim Minchin.

BEETHOVEN’S SYMPHONY NO.7 3

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Events for children, students, teachers and all the family

2015 EDUCATION OPENING NIGHT CONCERT SECONDARY
& COMMUNITY THE YOUNG PERSON’S GUIDE SYMPHONY PROJECT
ENGAGEMENT TO THE ORCHESTRA WITH JOHANNES FRITZSCH
EDUCATION WEEK — —
1 – 6 JUNE Mon 1 June at 6.30pm Thu 4 June at 6.30pm
Arts Centre Melbourne, Arts Centre Melbourne,
Hamer Hall Hamer Hall

60 60

MEET THE ORCHESTRA THE WIGGLES MEET THE
PICTURES AT AN EXHIBITION MELBOURNE SYMPHONY
— ORCHESTRA
Tue 2 June at 12pm —
Wed 3 June at 10am & 12pm Fri 5 June at 12.30pm
Arts Centre Melbourne, & 2.30pm
Hamer Hall Melbourne Town Hall

50 60 0-4

CLASSIC KIDS 1 SYMPHONY IN A DAY
STAN AND MABEL WITH SIR ANDREW DAVIS
— —
Thu 4 June at 10am & 11.30am Sat 6 June at 8.30pm
Arts Centre Melbourne, Melbourne Town Hall
Hamer Hall
60
Sat 6 June at 10am & 11.15am
Melbourne Town Hall

45

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Beethoven’s
Symphony No.7

Melbourne Symphony ABOUT THE ARTISTS Karen Gomyo
Orchestra violin
Matthias Pintscher
Matthias Pintscher conductor
conductor
Matthias Pintscher is the Music Karen Gomyo was the recipient
Karen Gomyo Director of the Ensemble of the Avery Fisher Career Grant in
violin Intercontemporain; Artist-in- 2008, and has established herself
— Association with the BBC Scottish in recent years as an in-demand
PINTSCHER Symphony Orchestra; and Artist- international soloist. She has
idyll in-Residence with the orchestras performed with orchestras such
AUSTRALIAN PREMIERE of the Danish National Symphony. as the New York Philharmonic, Los
Conducting highlights this season Angeles Philharmonic, San Francisco
SAINT-SAËNS include performances with the Los Symphony, The Philadelphia
Violin Concerto No.3 Angeles Philharmonic, National Orchestra, The Cleveland
— Symphony Orchestra, National Orchestra, Danish National
Interval 20 minutes Arts Centre Orchestra, Bavarian Symphony Orchestra, Mozarteum
— Radio Symphony Orchestra, Orchestra Salzburg, Royal Liverpool
BEETHOVEN Atlanta Symphony Orchestra, Philharmonic Orchestra, Scottish
Symphony No.7 Saint Paul Chamber Orchestra, Chamber Orchestra, City of
Deutsches Symphonie-Orchester Birmingham Symphony Orchestra,
This concert runs for a duration of two Berlin, Hamburg Philharmonic, Tokyo Symphony and Sydney
hours including one 20 minute interval. Helsinki Philharmonic Orchestra, Symphony Orchestra.
Saturday afternoon’s concert will be Cologne Philharmonie, and the
recorded for later broadcast around Sydney and Melbourne Symphony In February she performed the U.S.
Australia on ABC Classic FM. Orchestras. The 2014/15 season premiere of Matthias Pintscher’s
concludes with appearances at violin concerto Mar’eh with the
the Lucerne, Avanti and Grafenegg National Symphony Orchestra. Other
music festivals. 2014–2015 highlights include returns
to the Toronto Symphony Orchestra,
An equally accomplished composer, Detroit Symphony Orchestra,
Matthias Pintscher’s works have Oregon Symphony, Vancouver
been performed by orchestras such Symphony Orchestra, and a return
as The Cleveland Orchestra, The to Australia, where she makes her
Philadelphia Orchestra, New York debut with the Tasmanian and
Philharmonic, Chicago Symphony Melbourne Symphony Orchestras.
Orchestra, Berlin Philharmonic, NDR She also appears with the Staatsoper
Symphony Orchestra Hamburg, Hannover, Stuttgart Radio Symphony
BBC Symphony Orchestra, London Orchestra, and Aalborg Symphony
Symphony Orchestra, Philharmonia Orchestra in the premiere of Anders
Orchestra and Orchestre de Paris. Koppel’s new concerto.
He is the recipient of the prestigious
2012 Roche Commission, and in Karen Gomyo plays the ‘Aurora,
September 2014 he joined the ex-Foulis’ Stradivarius violin of 1703.
composition faculty at The Juilliard
School.

BEETHOVEN’S SYMPHONY NO.7 5

ABOUT THE MUSIC

‘…exceptional young violinist, Karen Gomyo..
gave a vivid performance that was full of

interesting detail as well as a sense of drama.
Some moments were downright spine-tingling.’

THE DALLAS MORNING NEWS

MATTHIAS PINTSCHER
(Born 1971)

idyll blended instrumental effects as Hugh MacDonald © 2014
background, while the foreground
AUSTRALIAN PREMIERE features individual instruments with idyll was co-commissioned by the
elaborate flourishes that sometimes Melbourne Symphony Orchestra,
— extend into solo passages or figures Bavarian Radio Symphony Orchestra
German-born Matthias Pintscher by a full section of instruments. The and The Cleveland Orchestra, who gave
studied in Detmold before attending alto flute, for example, is heard early the first performance in October 2014
Franz Werner Henze’s summer on taking centre stage, only to be under Franz Welser-Möst. This is the first
school in Italy at the invitation ‘replaced’ by a passage of muted performance of the work in Australia.
of the composer. He came to violins. Such solos are given also to
international recognition following the contrabassoon, horn and flute.
featured performances of his works After the main stormy climax of the
at the Salzburg Festival in 1997 and work, the piano plays a cadenza
the premiere of his opera Thomas in free rhythm that brings the music
Chatterton in Dresden the following back to calmer waters.
year. He is now one of the world’s
most sought-after composers, in Water, indeed, may be in the
addition to forging an international composer’s mind here, for he calls
career as a conductor and for three tam-tams (gongs) to be
curator. Among his works previously gently brushed to suggest, as stated
performed by the Melbourne in the score, ‘images of waves and
Symphony Orchestra are a twilight’s the deep profound quiet of the
song, Osiris, Reflections on Narcissus sea’. This is only one of countless
and Transir. special sonorities to be provided by
a percussion section of extraordinary
While some of Pintscher’s works refer variety and richness (the traditional
to Egyptian or Greek mythology, timpani are conspicuously silent).
idyll has no declared allusions – so The orchestra as a whole, percussion
interpretation is open to the listener’s included, is treated as an enormous
individual response. The title implies chamber ensemble, and the
serenity, but regular pulse, familiar orchestration is as intricate and
harmony, and retrievable melody precise as advanced complex
are not to be found here. Instead, electronics.
the composer’s strategy is to build
sonic textures out of intricately

6 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

ABOUT THE MUSIC

CAMILLE SAINT-SAËNS
(1835–1921)

Violin Concerto No.3 in B minor, for Sarasate, and it was premiered produces apples.’ This is music which
by the violinist in 1880. shines when presented with great
Op.61 deftness of technique and a certain
Over a string tremolo, the soloist degree of suavity.
Allegro non troppo brings in a powerfully searching
Andantino quasi allegretto – theme, which contrasts perfectly Saint-Saëns’ reputation suffered
Molto moderato e maestoso – Allegro with a second theme of meditative during the 20th century, his negative
non troppo – Più allegro tenderness. The second movement reaction to the premiere of The Rite
is effectively a barcarolle. An of Spring having typecast him as a
Karen Gomyo violin accompanied cadenza begins stubborn conservative. In an era
the third movement. In place of a which has valued musical innovation,
— development section Saint-Saëns a compensating emphasis has been
inserts a chorale (pianissimo) placed on his many eclectic non-
Saint-Saëns’ interest in the violin was before reintroducing the cadenza musical interests. But in Saint-Saëns’
first stimulated by his acquaintance which leads to the recapitulation. music may be found a steadfast
with George Bridgetower, the Chromatic touches in the adherence to the perennial values
original dedicatee of Beethoven’s harmony simply steer the melody of French music: clarity, lucidity and
‘Kreutzer’ Sonata. However, it was the in an occasional intriguing new order – from a composer whose
great Spanish-born, Paris-educated direction; the prominence of the musical career began in the France
virtuoso Pablo de Sarasate (1844– violin is assured by an uncluttered of Berlioz and Gounod.
1908) who directly inspired the accompaniment.
composition of Saint-Saëns’ Violin Adapted from a note by
Concertos Nos 1 and 3 and the It has been claimed that Saint-Saëns’ Gordon Williams
Introduction and Rondo capriccioso, music exhibits great craftsmanship
and who can mostly be credited but little personality. However, the Symphony Australia © 1994
with forming the composer’s view of facility with which Saint-Saëns was
the instrument. able to compose can be readily The Melbourne Symphony Orchestra first
appreciated and enjoyed by this performed this work in September 1957
As Saint-Saëns’ biographer James concerto’s listeners. It is something with conductor Efrem Kurtz and soloist
Harding says, the Violin Concerto he may have achieved in emulation Ruggiero Ricci, and most recently in
No.1 – actually the second to be of Mozart. On the other hand, Saint- March 2009 with Vladimir Ashkenazy and
written (in 1859) – was ‘tailor-made Saëns himself once said ‘I compose Janine Jansen.
for Sarasate’s bewitchingly elegant music as easily as an apple tree
style, all silver sheen and ice-cold
sweetness’. Some 20 years later,
Saint-Saëns wrote the Concerto No.3

BEETHOVEN’S SYMPHONY NO.7 7

ABOUT THE MUSIC

‘During the Second World War,
the Seventh was one of the Beethoven
works enlisted to help boost patriotic

fervour here in Australia.’

GRAEME SKINNER

LUDWIG VAN BEETHOVEN Five years after the premieres of propulsion. Wagner labelled it ‘the
(1770–1827) the Fifth and Sixth Symphonies, apotheosis of the dance’, though
Beethoven introduced the Seventh, so intense is Beethoven’s focus on
Symphony No.7 in A, Op.92 together with ‘battle symphony’ distinctive rhythms that it often leaves
Wellington’s Victory, Op.91, on 8 conventional dance far behind. That
Poco sostenuto – Vivace December 1813. The occasion was Beethoven might have been drunk,
Allegretto a concert in Vienna’s University Hall deaf, or daft when he composed
Presto – Trio – Presto – Trio – Presto to raise money for Austrian soldiers it were all possibilities reportedly
Allegro con brio recently wounded helping to expel considered by his colleagues. Weber
Napoleon’s army from Germany. is supposed to have said ‘ripe for the
— Beethoven wrote an open letter madhouse’, and another wondered
of thanks to eminent colleagues later whether ‘in the last period, he
who generously condescended to succumbed to a kind of insanity, that
play under his direction, including his assertive contrasts, vehement
Hummel, Meyerbeer, Spohr, expressiveness, and sheer insistence,
and Salieri: rankle so?’

It was a rare assembly of first-class Beethoven composed the Seventh
musicians, each impelled not only during two high summers – sketching
by craft but also patriotic fervor it in 1811 and finishing it in 1812 –
to benefit the Fatherland, without while, on doctor’s orders, visiting a
concern for rank or precedence succession of picturesque Czech
Had I not composed the music health resorts. In August 1812, he
myself, I would have been as happy reported to his pupil, Archduke
as Mr. Hummel to take my place Rudolph: ‘In Teplitz I heard the
at the drum! military band play four times a day —
the only musical report to offer you.
The third-last symphony is a kind Otherwise, I spent a good deal of
of mirror image of the Third. The time with Goethe.’
Napoleonic Third is spacious and
heroic (in E flat, a minor third Goethe wrote to his wife that he
above C), the Seventh (in A major, a had seldom met a ‘more focused,
minor third below C) all energy and fervent artist’, though to a musical
bluster, animated by sheer rhythmic friend he added:

8 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

ABOUT THE MUSIC

‘But he is completely uncontrollable clerical friends, borrowed from a Graeme Skinner © 2014
although because of his loss hymn traditionally sung by pilgrims
of hearing he can be excused, to the shrine at Mariazell. The Melbourne Symphony was the first
and pitied. As it is, he is naturally of the Australian state orchestras to
laconic, doubly so because of his During the Second World War, the perform Beethoven’s Seventh Symphony,
misfortune.’ Meanwhile, Beethoven Seventh was one of the Beethoven on 7 May 1938 under Georg Szell. The
boasted he gave his senior a lesson works enlisted to help boost patriotic Orchestra most recently performed it in
in egalitarianism. Strolling through fervour here in Australia. The November 2014 under Sir Andrew Davis.
the spa gardens, they saw a crowd Melbourne Symphony’s then chief
form as the imperial family walked conductor, Bernard Heinze, also
by. Goethe, by far the more eminent conducted performances and
of the pair and a seasoned courtier, radio broadcasts of it with other
removed his hat and was ignored. orchestras around the country as
But Beethoven, ‘hat firmly on my part of a nationwide Beethoven
head pushed through the crowd, Festival. Reaching Perth in winter
Archduke Rudolph doffed his hat, 1944, its effect on audience morale
and the Empress herself came to was electric, as the West Australian
greet me’. reviewer noted: ‘Even the desolate
anti-climax of a late bus, and frigid
Resonances of an idealised Teplitz lower extremities, was mitigated by
military band and Beethoven’s the persistence in one’s pulse and
egalitarian spirit can be heard brain of the finale. Professor Heinze
especially in the minor-key Allegretto, had whirled his forces up-to-time
whose simple, solemn tune and through these tremendous Olympian
straightforward treatment struck such transports, ending on a note of high
a popular chord that it was regularly exhilaration.’
excerpted by real bands for use
as a funeral march. He introduces
another disarmingly simple tune
in the middle of the scherzo’s trio,
according to one of Beethoven’s

BEETHOVEN’S SYMPHONY NO.7 9

MSO Education Week

MSO Associate Conductor Benjamin Northey talks to
international music educator Paul Rissmann.

The Melbourne Symphony Orchestra What are the things you enjoy best in performance. Working in
will welcome internationally this field, you never quite know
acclaimed music educator, Paul most about working in orchestral what will happen next, but that
Rissmann, back for the Orchestra’s unpredictability can produce
fifth annual Education Week at Hamer music education? astonishing results.
Hall and the Melbourne Town Hall
from 1 to 6 June. I adore music, it’s always been part What is it that orchestras bring
of my life — in fact my mum says my
A flagship event in MSO’s Education first words were ‘record player!’ So to an educational experience for
and Community Engagement I can’t imagine a better job than
calendar, Education Week features introducing new listeners to the young people?
events which integrate learning and sound of the orchestra.
entertainment, and foster a lifelong Young people seem to be
love of music. Watching the joy when a young fascinated by the orchestra yet for
audience hears amazing music many, the ritual of classical music
MSO’s Benjamin Northey, caught up (often for the first time) gives me can at first appear quite alien. But of
with Paul Rissmann about his plans such a buzz. Though I have to say, course, every time you switch on a
for the week and the process of creatively preparing the young Playstation — you hear the familiar
creating pitch-perfect programming listeners for this experience is just sound of an orchestra tuning up.
for young people and newcomers of as much fun. Recently, in one of Video games and Hollywood movies
all ages to the Orchestra. my concerts back in the UK, when all have blockbuster orchestral
I said ‘Now it’s time for some music scores. Young people experience
by Beethoven’ without a hint of symphonic colour on a daily basis —
embarrassment a child in the hall even if it is in the background.
went ‘Yesssss!’. It was an honest
and uninhibited reaction to the Imaginative orchestral music
prospect of listening to classical education programs place the
music. Amazing! Of course, that orchestra at centre stage —
reaction doesn’t happen without music becomes the main event
a huge commitment from the and I think this is vitally important —
teachers but it was a gorgeous especially in our digitally saturated
moment, and believe me — that age.  And of course, nothing
young fellow’s outburst inspired can ever replace hearing music
the orchestra to give their absolute live in concert. Seeing amazing

10 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

‘Recently, in one of my concerts back in the UK,
when I said ‘Now it’s time for some music by

Beethoven’ without a hint of embarrassment a child
in the hall went ‘Yesssss!’.

musicians perform — with energy You use visual elements and it’s for everyone. Over the years, I’ve
and commitment — is a joy. I think composed a series of works which
every orchestra has a responsibility, animations on your presentation. enable large numbers of young
to make themselves as accessible to people (sometimes thousands) to
as diverse an audience as possible How is this incorporated? How make music with the orchestra.
— and that relationship should start In these pieces, every single person
right in the early years of a child’s does this enhance the learning in the concert hall is a performer —
education. That way, the orchestra the audience are just as important
and its musicians simply become experience for the audience? as the musicians on stage.
part of a rich life.
I’m a geek. I love technology and You’ve presented education concerts
How do you go about constructing very early on in my career I started
experimenting with projection during for The London Symphony, the New
a program? What kinds of concepts concerts. As technology advanced,
the potential for incorporating York Philharmonic and many of the
do you think are important to sophisticated visuals has become
embedded in my delivery. So for world’s great orchestras. How does
communicate? example, in an early years concert,
where I am telling a musical story, the MSO’s Education Week compare
It’s a big responsibility. Picking and I project the colourful pictures from
mixing exactly the right blend of the book above the orchestra. To to some of the global activities in
repertoire, which is age-appropriate the child, the music and images
can be a challenge. However I become one, so they know exactly orchestral music education?
think the secret is simply to choose what is happening in the piece
the best possible music ­— not a and so feel the music more in their I absolutely love MSO Education
compromised selection — but body. Using projection, I have also Week. The quality and quantity
the most exciting and engaging taught an audience of 2000 primary of work that takes place is
repertoire. It’s also vitally important school kids to read music in around extraordinary. And of course, each
not to think of the audience purely ten seconds and then have them event is carefully crafted for its
as passive. perform one of the percussion parts target audience — so the range
perfectly in time with the orchestra. of work and level of engagement
I spend a long time dreaming up is so impressive. The attention to
sophisticated programs to heighten While in my music discovery detail that goes into making this
curiosity, enhance listening skills and concerts for adults, the possibility week such a success is the best I’ve
enable meaningful participation of visualising complex musical witnessed anywhere in the world.
in my work. Why should orchestral structures enables people, even For MSO to set aside an entire week
concerts remain burdened with the without any previous musical to entertain, educate and engage
traditions of the 19th century? Who knowledge, to grasp sophisticated new audiences is wonderful.
wants to sit down, remain silent and concepts. In all of these examples,
not move a muscle for 2.5 hours? I utilise visuals, not to distract or Interview with Paul Rissman by MSO
Bringing the audience into the heart simply entertain the audience, but Patricia Riordan Associate Conductor
of the orchestra, connecting them to focus their listening and enhance Chair Benjamin Northey.
to wonderful music but also inviting their understanding of music.
them to be part of that sound too is
the cornerstone of my work. You compose interactive works for

orchestra and audience.  Why are MSO‘s Fifth annual
Education week is at
these experiences so important for Melbourne Town Hall

learning engagement? from 1 to 6 June.
For more information
I think there is something really
special for a child, not just to come visit mso.com.au
and listen to the orchestra, but to
be invited to perform with them as
well. Orchestral music shouldn’t be
regarded as elitist or exclusive —

BEETHOVEN’S SYMPHONY NO.7 11

Support
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Each year, the MSO brings thousands
of young Victorians into the heart of the
orchestra through its world-class music
education programs.

We are focusing this year’s fundraising
appeal on ensuring that our innovative
education programs continue to grow,
inspire and engage.

Help the MSO reach even more young
people with inspiring live orchestral music.

Visit mso.com.au/appeal or
phone 03 9626 1248

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MELBOURNE SYMPHONY ORCHESTRA

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

FIRST VIOLINS Francesca Hiew Angela Sargeant CLARINETS William Evans
Dale Barltrop Rachel Homburg Michelle Wood David Thomas Julie Payne
Concertmaster Christine Johnson Rachel Atkinson* Principal
Eoin Andersen Isy Wasserman Paul Ghica* Philip Arkinstall TROMBONES
Concertmaster Philippa West Associate Principal Brett Kelly
Sophie Rowell Patrick Wong DOUBLE BASSES Craig Hill Principal
Associate Concertmaster Roger Young Steve Reeves Jessica Buzbee*
Peter Edwards Aaron Barnden* Principal BASS CLARINET
Assistant Principal Jennen Ngiau-Keng* Andrew Moon Jon Craven BASS TROMBONE
Kirsty Bremner Associate Principal Principal Mike Szabo
MSO Friends Chair VIOLAS Sylvia Hosking Lloyd Van’t Hoff* Principal
Sarah Curro Christopher Moore Assistant Principal
Peter Fellin Principal Damien Eckersley BASSOONS TUBA
Deborah Goodall Christopher Cartlidge Benjamin Hanlon Jack Schiller Timothy Buzbee
Lorraine Hook Acting Associate Suzanne Lee Principal Principal
Kirstin Kenny Principal Stephen Newton Jasen Atanasov*
Ji Won Kim Lauren Brigden Young Hee Chan* Guest Principal TIMPANI
Eleanor Mancini Katharine Brockman Emma Sullivan* Elise Millman Christine Turpin
Mark Mogilevski Simon Collins Associate Principal Principal
Michelle Ruffolo Gabrielle Halloran FLUTES Natasha Thomas
Kathryn Taylor Trevor Jones Prudence Davis PERCUSSION
Jacqueline Edwards* Fiona Sargeant Principal Flute Chair – CONTRABASSOON Robert Clarke
Lynette Rayner* Cindy Watkin Anonymous Brock Imison Principal
Oksana Thompson* Caleb Wright Wendy Clarke Principal John Arcaro
Ceridwen Davies* Associate Principal Robert Cossom
SECOND VIOLINS Isabel Morse* Sarah Beggs HORNS Timothy Hook*
Matthew Tomkins Simon Oswell* Zora Slokar Evan Pritchard*
The Gross Foundation PICCOLO Principal
Principal Second CELLOS Andrew Macleod Geoff Lierse HARP
Violin Chair David Berlin Principal Associate Principal Yinuo Mu
Robert Macindoe MS Newman Family Saul Lewis Principal
Associate Principal Principal Cello Chair OBOES Principal Third Alannah Guthrie-Jones*
Monica Curro Rachael Tobin Jeffrey Crellin Jenna Breen
Assistant Principal Associate Principal Principal Abbey Edlin PIANO
Mary Allison Nicholas Bochner Ann Blackburn Trinette McClimont Leigh Harrold*
Isin Cakmakcioglu Assistant Principal Rachel Curkpatrick*
Freya Franzen Miranda Brockman TRUMPETS CELESTE
Cong Gu Rohan de Korte COR ANGLAIS Geoffrey Payne Donald Nicolson*
Andrew Hall Keith Johnson Michael Pisani Principal
Sarah Morse Principal Shane Hooton *Guest musician
Associate Principal

MANAGEMENT Leonie Woolnough OPERATIONS Kieran Clarke Justine Knapp
Financial Controller Gabrielle Waters Digital Manager Major Gifts Coordinator
BOARD Phil Noone Director of Operations Nina Dubecki Ben Lee
Harold Mitchell AC Accountant Angela Bristow Front of House Supervisor Donor and Government
Chairman Nathalia Andries Orchestra Manager James Rewell Relations Manager
André Gremillet Finance Officer James Foster Graphic Designer Michelle Monaghan
Managing Director Operations Manager Chloe Schnell Corporate Development
Michael Ullmer ARTISTIC James Poole Marketing Coordinator Manager
Deputy Chair Ronald Vermeulen Production Coordinator Beata Lukasiak James Ralston
Andrew Dyer Director of Artistic Alastair McKean Marketing Coordinator Corporate Development
Danny Gorog Planning Orchestra Librarian Claire Hayes and Events Coordinator
Brett Kelly Andrew Pogson Kathryn O’Brien Ticket and Database Judy Turner
David Krasnostein Special Projects Manager Assistant Librarian Manager Major Gifts Manager
David Li Laura Holian Michael Stevens Paul Congdon
Ann Peacock Artistic Coordinator Assistant Orchestra Box Office Supervisor
Helen Silver Helena Balazs Manager Jennifer Broadhurst
Kee Wong Chorus Coordinator Stephen McAllan Ticketing Coordinator
Artist Liaison Angela Lang
COMPANY EDUCATION AND Lucy Rash Customer Service
SECRETARY COMMUNITY Operations Coordinator Coordinator
Oliver Carton ENGAGEMENT Chelsie Jones
Bronwyn Lobb MARKETING Customer Service Officer
EXECUTIVE Director of Education Alice Wilkinson
André Gremillet and Community Director of Marketing DEVELOPMENT
Managing Director Engagement Jennifer Poller Leith Brooke
Lucy Bardoel Marketing Manager Director of Development
HUMAN RESOURCES Education and Megan Sloley Arturs Ezergailis
Miranda Crawley Community Engagement Marketing Manager Donor and Patron
Director of Human Coordinator Ali Webb Coordinator
Resources Lucy Rash PR Manager Jessica Frean
Pizzicato Effect Kate Eichler MSO Foundation
BUSINESS Coordinator Publicity and Online Manager
Francie Doolan Engagement Coordinator
Chief Financial Officer
Raelene King
Personnel Manager

BEETHOVEN’S SYMPHONY NO.7 13

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]
This honour roll is correct at time of printing.

ARTIST CHAIR BENEFACTORS Robert & Jan Green Stephen and Caroline Brain
Harold Mitchell AC Konfir Kabo and Monica Lim  Mr John Brockman OAM and Mrs Pat
Chief Conductor Chair Norman and Betty Lees Brockman
Patricia Riordan Mimie MacLaren Leith Brooke
Associate Conductor Chair Ian and Jeannie Paterson  Rhonda Burchmore
Joy Selby Smith Onbass Foundation Bill and Sandra Burdett
Orchestral Leadership Chair Peter and Natalie Schiavello  Phillip and Susan Carthew and children
Marc Besen AC and Eva Besen AO Glenn Sedgwick  Oliver Carton
International Guest Chair Maria Solà, in memory of Malcolm Douglas  John and Lyn Coppock
MSO Friends Chair The Gabriela and George Stephenson Gift, Miss Ann Darby in memory of Leslie J. Darby
The Gross Foundation in tribute to the great Romanian pianist Mary and Frederick Davidson AM
Principal Second Violin Chair Dinu Lipati Lauraine Diggins and Michael Blanche
MS Newman Family Lyn Williams AM Peter and Leila Doyle
Principal Cello Chair Kee Wong and Wai Tang Lisa Dwyer and Dr Ian Dickson
Principal Flute Chair – Anonymous Jason Yeap OAM Dr Helen M Ferguson
Anonymous (1) Mr Bill Fleming
PROGRAM BENEFACTORS Colin Golvan QC and Dr Deborah Golvan
Meet The Music PRINCIPAL PATRONS $5,000+ Michael and Susie Hamson
Made possible by The Ullmer Family John and Mary Barlow Susan and Gary Hearst
Foundation Lino and Di Bresciani OAM Gillian and Michael Hund
East meets West David and Emma Capponi Rosemary and James Jacoby
Supported by the Li Family Trust Paul Carter and Jennifer Bingham John and Joan Jones
The Pizzicato Effect (Anonymous) Tim and Lyn Edward Connie and Craig Kimberley
MSO UPBEAT John and Diana Frew Sylvia Lavelle
Supported by Betty Amsden AO DSJ Jill and Robert Grogan Ann and George Littlewood
MSO CONNECT Louis J Hamon OAM Allan and Evelyn McLaren
Supported by Jason Yeap OAM Nereda Hanlon and Michael Hanlon AM Don and Anne Meadows
Hartmut and Ruth Hofmann Bruce Parncutt and Robin Campbell
BENEFACTOR PATRONS $50,000+ Jenny and Peter Hordern Ann Peacock with Andrew and Woody
Betty Amsden AO DSJ  Margaret Jackson AC Kroger
Phillip Bacon AM  Jenkins Family Foundation Sue and Barry Peake
Marc Besen AC and Eva Besen AO  Vivien and Graham Knowles Mrs W Peart
Jennifer Brukner  David Krasnostein and Pat Stragalinos Ruth and Ralph Renard
Rachel and Hon. Alan Goldberg AO QC  Elizabeth Kraus in memory of Bryan Hobbs Max and Jill Schultz
The Gross Foundation Dr Geraldine Lazarus and Mr Greg Gailey Diana and Brian Snape AM
David and Angela Li Dr Elizabeth A Lewis AM Mr Tam Vu and Dr Cherilyn Tillman
Annette Maluish Mr Greig Gailey and Dr Geraldine Lazarus William and Jenny Ullmer
Harold Mitchell AC Peter Lovell Bert and Ila Vanrenen
MS Newman Family The Cuming Bequest Brian and Helena Worsfold
Roslyn Packer AO Mr and Mrs D R Meagher Anonymous (10)
Mrs Margaret S Ross AM and Dr Ian Ross  Wayne and Penny Morgan
Joy Selby Smith Marie Morton FRSA PLAYER PATRONS $1,000+
Ullmer Family Foundation Dr Paul Nisselle AM Anita and Graham Anderson, Christine
Lady Potter AC and Mark Armour, Arnold Bloch Leibler,
IMPRESARIO PATRONS $20,000+ Stephen Shanasy David and Beverlie Asprey, Marlyn and
Perri Cutten and Jo Daniell Gai and David Taylor Peter Bancroft OAM, Adrienne Basser , Prof
Susan Fry and Don Fry AO  the Hon. Michael Watt QC and Cecilie Hall Weston Bate and Janice Bate, David and
John McKay and Lois McKay Barbara and Donald Weir Helen Blackwell, Bill Bowness, Michael F
Elizabeth Proust AO  Anonymous (4) Boyt, M Ward Breheny, Susie Brown, Jill and
Rae Rothfield  Christopher Buckley, Dr Lynda Campbell,
Inés Scotland ASSOCIATE PATRONS $2,500+ Sir Roderick Carnegie AC, Andrew and
Dr Bronte Adams Pamela Crockett, Natasha Davies, Pat and
MAESTRO PATRONS $10,000+ Pierce Armstrong Foundation Bruce Davis, Merrowyn Deacon, Sandra
Michael Aquilina Will and Dorothy Bailey Bequest Dent, Dominic and Natalie Dirupo, John
Kaye and David Birks  Barbara Bell in memory of Elsa Bell and Anne Duncan, Jane Edmanson OAM,
Mitchell Chipman Peter Biggs CNZM and Mary Biggs Kay Ehrenberg, Gabrielle Eisen, Vivien and
Jan and Peter Clark Mrs S Bignell Jack Fajgenbaum, Grant Fisher and Helen
Andrew and Theresa Dyer Bird, Mr William J Forrest AM, Barry Fradkin
Future Kids Pty Ltd  OAM and Dr Pam Fradkin, David Gibbs and

14 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

THANKS TO OUR WONDERFUL MSO SUPPORTERS

Susie O’Neill, Merwyn and Greta Goldblatt, and Phil Lukies, Nic and Ann Willcock, CONDUCTOR’S CIRCLE
George Golvan QC and Naomi Golvan, Marian and Terry Wills Cooke, Pamela F Jenny Anderson, Lesley Bawden, Joyce
Charles and Cornelia Goode, Dr Marged Wilson, Joanne Wolff, Peter and Susan Yates, Bown, Mrs Jenny Brukner and the late Mr
Goode, Danny Gorog and Lindy Susskind, Mark Young, Panch Das and Laurel Young- John Brukner, Ken Bullen, Luci and Ron
Louise Gourlay OAM, Ginette and André Das, YMF Australia, Anonymous (17) Chambers, Sandra Dent, Lyn Edward, Alan
Gremillet, Dr Sandra Hacker AO and Mr Ian Egan JP, Louis Hamon OAM, Tony Howe,
Kennedy AM, Jean Hadges, Paula Hansky THE MAHLER SYNDICATE John and Joan Jones, Mrs Sylvia Lavelle,
OAM and Jack Hansky AM, Tilda and Brian David and Kaye Birks, Jennifer Brukner, Cameron Mowat, Laurence O’Keefe
Haughney, Henkell Family Fund, Penelope Mary and Frederick Davidson AM, Tim and and Christopher James, Elizabeth Proust
Hughes, Dr Alastair Jackson, Stuart Jennings, Lyn Edward, John and Diana Frew, Louis AO, Penny Rawlins, Joan P Robinson, Neil
George and Grace Kass, Irene Kearsey, Ilma Hamon OAM, The Hon Dr Barry Jones AC, Roussac, Anne Roussac-Hoyne, Jennifer
Kelson Music Foundation, Dr Anne Kennedy, Dr Paul Nisselle AM, Maria Solà in memory of Shepherd, Pamela Swansson, Lillian Tarry, Dr
Lew Foundation, Norman Lewis in memory Malcolm Douglas, The Hon Michael Watt QC Cherilyn Tillman, Mr and Mrs R P Trebilcock,
of Dr Phyllis Lewis, Dr Anne Lierse, Violet and and Cecilie Hall, Anonymous (1) Michael Ullmer, Mr Tam Vu, Marian and Terry
Jeff Loewenstein, The Hon Ian Macphee AO Wills Cooke, Mark Young, Anonymous (19)
and Mrs Julie Mcphee, Elizabeth H Loftus, FOUNDATIONS AND TRUSTS
Vivienne Hadj and Rosemary Madden, In The Annie Danks Trust THE MSO GRATEFULLY ACKNOWLEDGES THE
memory of Leigh Masel, John and Margaret Collier Charitable Fund SUPPORT RECEIVED FROM THE ESTATES OF:
Mason, In honour of Norma and Lloyd Rees, Creative Partnerships Australia Angela Beagley, Gwen Hunt, Pauline
Trevor and Moyra McAllister, H E McKenzie, The Cybec Foundation Marie Johnston, C P Kemp, Peter Forbes
David Menzies, John and Isobel Morgan, The Harold Mitchell Foundation MacLaren, Prof Andrew McCredie, Miss
Ian Morrey, The Novy Family, Laurence Helen Macpherson Smith Trust Sheila Scotter AM MBE, Molly Stephens, Jean
O’Keefe and Christopher James, Graham Ivor Ronald Evans Foundation, managed by Tweedie, Herta and Fred B Vogel, Dorothy
and Christine Peirson, Andrew Penn and Equity Trustees Limited and Mr Russell Brown Wood
Kallie Blauhorn, Kerryn Pratchett, Peter Ken & Asle Chilton Trust, managed by
Priest, Jiaxing Qin, Eli Raskin, Peter and Perpetual HONORARY APPOINTMENTS
Carolyn Rendit, Dr Rosemary Ayton and Dr Linnell/Hughes Trust, managed by Perpetual Mrs Elizabeth Chernov
Sam Ricketson, Joan P Robinson, Tom and The Marian and EH Flack Trust Education and Community Engagement
Elizabeth Romanowski, Delina Schembri- The Perpetual Foundation – Alan (AGL) Patron
Hardy, Jeffrey Sher, Dr Sam Smorgon AO Shaw Endowment, managed by Perpetual Sir Elton John CBE
and Mrs Minnie Smorgon, Dr Norman and The Pratt Foundation Life Member
Dr Sue Sonenberg, Dr Michael Soon, Pauline The Robert Salzer Foundation The Honourable Alan Goldberg AO QC
Speedy, Geoff and Judy Steinicke, Mrs The Schapper Family Foundation Life Member
Suzy and Dr Mark Suss, Pamela Swansson, The Scobie and Claire Mackinnon Trust Geoffrey Rush AC
Dr Adrian Thomas, Frank and Miriam Ambassador
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

PRINCIPAL PARTNER

MAESTRO PARTNERS

ASSOCIATE PARTNERS

SUPPORTING PARTNERS

3L Alliance Feature Alpha Investment Golden Age Group Naomi Milgrom Foundation
Elenberg Fraser Kabo Lawyers PwC
(a unit of the Tong Eng Group) Linda Britten
Fed Square UAG + SJB
Flowers Vasette Future Kids Universal

GOVERNMENT PARTNERS MEDIA PARTNER

MAHLER 4

Conducted by Sir Andrew Davis

A moment of soulful introspection from one of music’s intrepid
travellers, Mahler’s Symphony No.4 recalls an age of innocence with
its moments of childlike joy. Tempestuous instrumentation and sly wit
abound in Prokofiev’s Sinfonia Concertante, considered a high point
of the composer’s last creative years.

20 June at 8pm and 22 June at 6.30pm
Arts Centre Melbourne, Hamer Hall
19 June at 8pm
Costa Hall, Deakin University Geelong

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