Vivaldi’s
Four Seasons
Melbourne Recital Centre Series
Monash Series
Thursday 25 June at 8pm
Saturday 27 June at 6.30pm
Elisabeth Murdoch Hall
Melbourne Recital Centre
Friday 26 June at 8pm
Robert Blackwood Hall
Monash University, Clayton
PRINCIPAL PARTNER
What’s On
July — September
BABE
YUJA WANG PLAYS PROKOFIEV
Saturday 11 July
Sunday 12 July
Thursday 23 July
Friday 24 July
Saturday 25 July
George Miller’s Babe is an icon of
Australian cinema. To coincide with
its twentieth anniversary, the MSO
and original soundtrack composer,
Nigel Westlake, join forces to
present the world premiere of
Babe: The Twentieth Anniversary
Concert, an exclusive all-ages
screening with the Orchestra
performing the film’s score.
RACHMANINOV 3
Thursday 20 August
Friday 21 August
Saturday 22 August
Russian-American pianist
Kirill Gerstein displays his mastery
of the formidable ‘Rach 3’,
conducted by Sir Andrew Davis,
alongside Rimsky-Korsakov’s
Dubinushka and Strauss’
autobiographical tone poem,
Ein Heldenleben.
Chinese piano superstar Yuja Wang
brings her acclaimed virtuosity to
Prokofiev’s tempestuous Second
Piano Concerto, in a program that
includes Tchaikovsky’s Marche Slave
and Brahms’ luminous fourth and
final symphony.
TCHAIKOVSKY’S
PIANO CONCERTO No.1
Friday 7 August
Saturday 8 August
Monday 10 August
The very epitome of Romantic
music, Tchaikovsky’s Piano
Concerto No.1 is performed
by Simon Trpčeski, appearing
alongside Rimsky‑Korsakov’s
Capriccio espagnol and
Scriabin’s Third Symphony.
MOZART’S
PIANO CONCERTO No.17
AN EVENING WITH
RENÉE FLEMING
Friday 28 August
Saturday 29 August
Monday 31 August
Thursday 3 September
Saturday 5 September
The irrepressible overture to
Rossini’s La gazza ladra is set
alongside works by Mozart and
Messiaen, and the lush melodies
of Brahms’ Symphony No.3.
Famed for her magnetic
performances and sheer beauty of
tone, celebrated American soprano
Renée Fleming joins the MSO and
Sir Andrew Davis for two Melbourneexclusive orchestral concerts.
Presented by MSO and Arts Centre Melbourne
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Welcome to
Vivaldi’s Four Seasons
MELBOURNE SYMPHONY ORCHESTRA
Welcome to this special concert
that celebrates the glories of string
music across the ages.
It is hard to imagine that a suite of
12 concertos with the title Il cimento
dell’armonia e dell’inventione
(The Test of Harmony and Invention)
could contain some of the most
beloved pieces of music in the
classical canon. The first four
concertos, however, have collectively
achieved universal fame under a
more familiar name: The Four Seasons.
Vivaldi’s Baroque weather report
is the perfect work to mark the first
play-conduct performance with
the MSO by its Concertmaster,
Dale Barltrop, who joined us last
year. Brisbane-born Dale who made
his debut with the Queensland
Symphony Orchestra when he
was 15, is one of Australia’s finest
musicians and we are thrilled to
have him with us.
This concert also features J.S. Bach’s
Concerto for Two Violins, with
Principal Second Violin Matthew
Tomkins as co-soloist, and Benjamin
Britten’s early work for strings,
Variations on a Theme of Frank Bridge.
I hope you enjoy every last note.
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 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 nonclassical 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.
André Gremillet
Managing Director
VIVALDI’S FOUR SEASONS
3
ABOUT THE ARTISTS
Melbourne Symphony
Orchestra
Dale Barltrop
violin / director
Matthew Tomkins
violin
—
BRITTEN
Variations on a Theme of
Frank Bridge, Op.10
J.S. BACH
Concerto for Two Violins
in D minor, BWV.1043
—
Interval 20 minutes
—
VIVALDI
The Four Seasons
—
This concert has a duration of
approximately 2 hours including
one 20 minute interval.
Saturday night’s performance
will be recorded for delayed
broadcast on ABC Classic FM.
Pre-Concert Talks
7pm Thursday 25 June
Onstage, Elisabeth Murdoch Hall
7pm Friday 26 June
Foyer, Robert Blackwood Hall
Megan Burslem will present
a talk on the artists and works
featured in this program.
Dale Barltrop
violin / director
Matthew Tomkins
violin
Brisbane-born violinist Dale Barltrop
began his violin studies in Brisbane,
where he made his solo debut
at age 15 with the Queensland
Symphony Orchestra. He later
moved to the United States to
complete tertiary studies at the
University of Maryland and the
Cleveland Institute of Music.
Matthew Tomkins has been
a member of the Melbourne
Symphony Orchestra since 2000,
and in 2010 was appointed to the
position of Principal Second Violin.
Dale is currently Co-Concertmaster
of the Melbourne Symphony
Orchestra, and is also Concertmaster
of the Vancouver Symphony
Orchestra. Previously, he has held
Principal and Guest Concertmaster
positions with the Australian
Chamber Orchestra, the Camerata
of St John’s Chamber Orchestra
and the Saint Paul Chamber
Orchestra. Dale has performed at
numerous music festivals across
North America, including Mainly
Mozart, Festival Mozaic, Music in
the Vineyards, Yellow Barn, Kneisel
Hall, Tanglewood and the New York
String Seminar. He was a prize-winner
at the Fischoff National Chamber
Music Competition and winner of the
violin division of the American String
Teachers Association National Solo
Competition.
Dale has served on the faculty of
the University of British Columbia
and the Vancouver Academy
of Music, and has taught at the
National Orchestral Institute in
Maryland and the Australian
National Academy of Music.
Post-Concert
Conversation
8.30pm Saturday 27 June
Onstage, Elisabeth Murdoch Hall
Join MSO Assistant Principal
Second Violin Monica Curro for
a post-concert conversation
with tonight’s soloist and MSO
Concertmaster Dale Barltrop.
4
MELBOURNE SYMPHONY ORCHESTRA IN CONCERT
Matthew’s teachers included Marco
van Pagee, Spiros Rantos and
Mark Mogilevski, and he also holds
a Bachelor of Engineering and a
Bachelor of Science degree from the
University of Melbourne.
With the MSO he has toured
throughout Europe and China and
performed with artists as diverse
as Nigel Kennedy, Charles Dutoit,
KISS, and Tim Minchin. Matthew
is a regular performer in the MSO
Chamber Players series, as well as
performing regularly with the Flinders
Quartet and Melbourne Chamber
Orchestra. He tutors for the Australian
Youth Orchestra, and teaches
chamber music and violin at the
University of Melbourne.
ABOUT THE MUSIC
Benjamin Britten
(1913–1976)
Variations on a Theme
of Frank Bridge, Op.10
Introduction and Theme
Variation 1: Adagio
Variation 2: March
Variation 3: Romance
Variation 4: Aria italiana
Variation 5: Bourrée classique
Variation 6: Wiener Waltzer
Variation 7: Moto perpetuo
Variation 8: Funeral March
Variation 9: Chant
Variation 10: Fugue and Finale
—
Britten’s Bridge Variations were
among the first of his works to draw
wide attention to a new voice in
English music, a fresh gift not just of
remarkable technical facility, but
of a creative imagination unlike
anything previously heard in 20thcentury English music; independent
both of the folk-song revival and of
Elgarian Romanticism. It was written
as an urgent commission when
Boyd Neel and his orchestra were
asked to play a new English work
as a condition of giving a concert
at the Salzburg Festival of 1937.
Britten completed the Variations in
sketch form in ten days, and the full
score was ready in four weeks. The
composer thus gave early notice
of an ability which would endear
him to artistic managements – he
fulfilled his commissions on time. The
assurance, indeed the technical
brilliance, of the work cannot
be underestimated, but was not
unexpected to those familiar
with the young Britten’s previous
achievement, both in writing for
strings (Simple Symphony, 1934)
and in variation form. Variation form
came naturally to Britten, and he
preferred it to sonata structures.
The choice of theme and the
dedication ‘To F.B. A tribute
with affection and admiration’
acknowledged Britten’s debt of
gratitude to the composer Frank
Bridge (1879-1941), who had first
noticed Britten’s talent when he was
a boy at Gresham’s School, Norfolk,
and continued to encourage
and help him during his studies at
the Royal College of Music. The
theme of the Variations comes from
Bridge’s Idyll No.2 for string quartet.
It is first heard played by a solo
violin after an introduction where
fanfare-like figures act both as a
call to attention and an intimation
of the harmonic world of the
Variations as a whole. The theme is
immediately developed by the full
strings. Thereafter, the relationship of
the variation to the theme is rarely
obvious, though the characteristic
pattern of two falling fifths is often
prominent.
Not only is Britten’s variation
technique daringly free, but his
parody technique surveys widely
contrasting musical outlooks and
is a guide to the elements, many
of them European in origin, which
were contributing to his new style
of English music. The first variation,
a violin recitative, shows the
influence of Mahler. In the March
of the second variation there is
a suggestion of goose-stepping:
Britten and many of his artistic
contemporaries were preoccupied
with the shadow of fascism falling
across Europe in the late 1930s. The
pizzicato bass which accompanies
the neoclassical melody of the
Romance is closely related to
Bridge’s theme. Britten’s parody
of the coloratura runs and trills of
Rossinian opera in Variation 4 is
an affectionate one. Perhaps the
simple Vivaldian sequences of
Variation 5 jibe at the neo-Baroque
compositions of the inter-war
years; certainly Variation 6 guys the
Viennese Waltz. After a virtuosic
Moto perpetuo, comes a Funeral
March whose evocative sonorities,
of muffled drums for example,
show what surprising sounds can
be extracted from the string band.
The influence of Mahler is felt here,
and in the Chant, while the Fugue
most strongly reveals the influence
of Frank Bridge’s craftsmanship.
Finally Bridge’s theme is heard in a
fully harmonised setting, imposing
a note of serious and meditative
intensity which counterbalances
the wit and brilliance of much
that has gone before.
© David Garrett
Melbourne Symphony Orchestra has
performed this work on only two previous
occasions: in 1949 with Bernard Heinze,
and in 1963 with Maurice Clare.
VIVALDI’S FOUR SEASONS
5
ABOUT THE MUSIC
Johann Sebastian Bach
(1685–1750)
Concerto for Two Violins in
D minor, BWV.1043
Vivace
Largo ma non tanto
Allegro
Dale Barltrop violin
Matthew Tomkins violin
—
The musical theologian Albert
Schweitzer, in his study of Bach,
wrote of the violin concertos: ‘We
must put them in the category
of which Forkel [Bach’s first
biographer] briefly and eloquently
observes: “One can never say
enough of their beauty.”’
There are some useful things,
nevertheless, that can be said. Now
that Vivaldi’s concertos are better
known we realise why Bach admired
them so much – his own concertos
for violin were composed at Cöthen
between 1717 and 1723, shortly
after he got to know Vivaldi’s music.
The opening theme of this D minor
concerto may be borrowed from
Vivaldi’s Op.1 No.11.
Yet how different is Bach’s opening
from most of Vivaldi’s! In place of
Vivaldi’s fiery and assertive unisons
Bach presents his ideas in muscular
6
counterpoint, with a superbly active
bass line, interweaving parts and
rhythmic drive helped by uneven
phrase lengths. Bach’s adaptation
of his model presents a contrast
between Vivaldi’s Latin sensuality
and Bach’s Northern sensibility
and argumentativeness. What
remains like Vivaldi is the way the
texture clears for the entries of the
soloists, with their wide leaps and
interchanging roles.
The heart-easing singing of the
soloists in the slow movement
distracts anyone but a scholar from
how it is put together, out of typically
Baroque formulas: descending
scales, rising and falling sequences,
and repeated arpeggios as
ostinatos. To refresh the ear after
so much sustained playing Bach
writes a transition in detached notes,
leading towards a climax of intensity.
The motor-like energy of the
concluding movement is almost all
derived from a three-note figure,
heard at the beginning. Eventually
two other figures come to join it:
powerful, rich chords, and a rising
and falling six-note theme of wider
intervals. All this material is constantly
exchanged between the soloists
and the full ensemble.
MELBOURNE SYMPHONY ORCHESTRA IN CONCERT
Abridged from an annotation by
David Garrett © 1997
The Melbourne Symphony Orchestra
first performed this concerto in April
1940 with conductor Bernard Heinze
and soloists Edouard Lambert and
Ernest Llewellyn. MSO’s most recent
performance was in April 1986 with
conductor Hiroyuki Iwaki and soloists
Thomas Zehetmair and Adele Anthony.
ABOUT THE MUSIC
Antonio Vivaldi
(1678–1741)
Le quattro stagioni
(The Four Seasons)
Concerto in E, RV 269, La primavera
(Spring)
Allegro
Largo
Allegro
Concerto in G minor, RV 315, L’estate
(Summer)
Allegro non molto
Adagio – Presto
Presto
Concerto in F, RV 293, L’autunno
(Autumn)
Allegro – Allegro assai
Adagio molto
Allegro
Concerto in F minor, RV 297, L’inverno
(Winter)
Allegro non molto
Largo
Allegro
Dale Barltrop violin
—
Antonio Vivaldi died in Vienna in
July 1741 and was buried in an
unmarked grave. His music was
rarely if ever played between then
and the 1930s, when musicians in
Italy began rediscovering Vivaldi’s
huge and varied output of works.
With the interest of music scholars
like Alfred Einstein, composer Alfredo
Casella and poet Ezra Pound, the
revival of Vivaldi began; by the end
of the 20th century Vivaldi was once
again one of the most popular and
frequently performed composers.
Despite his death in obscure
poverty, Vivaldi had enjoyed great
popularity and success during his
lifetime. Born in Venice in 1678,
Vivaldi began learning violin with his
father, a professional musician. He
began studying for the priesthood
in his early teens, though this in no
way would have been seen as
conflicting with the expectation of a
career in music. It should be noted,
too, that in Vivaldi’s time one was
not obliged to enter a seminary;
he was effectively ‘apprenticed’ to
an older priest and was eventually
ordained.
Although ordained a priest, Vivaldi
spent his adult life as a composer
and violinist. His works included
some 500 concertos as well as many
operas, instrumental sonatas and
a large body of sacred music. He
pioneered the solo concerto, rather
than the more common concerto
grosso which had, at the very least,
a pair of solo instruments. This was in
part a vehicle for his own virtuosity;
his playing was clearly prodigious –
one contemporary describes how
Vivaldi ‘put his fingers but a hair’s
breadth from the bow, so that there
was scarcely room for the bow’.
He also experimented with violin
technique, developing methods
like position shifts, the use of mutes
and pizzicato to create new sounds
and effects, often with specifically
illustrative intent.
Venice in Vivaldi’s time was, as
H.C. Robbins Landon puts it, ‘a city
past its prime’, yet it maintained a
rich and elaborate cultural life. A
particular feature of the city was
the establishment of a number of
orphanages for girls that doubled as
music academies. In 1703, the year
he was ordained, Vivaldi began
teaching at one such orphanage,
the Ospedale della Pietà. In his
capacity as director of music at the
Pietà, Vivaldi composed the first
known concertos for cello, bassoon,
mandolin and flautino (sopranino
recorder). On the available
evidence, the students were very
fine players indeed.
The Four Seasons forms part
of Il cimento dell’armonia e
dell’inventione (‘The Contest of
Harmony and Invention’), Opus
8, which was published in 1725 in
Amsterdam. The Four Seasons is a
frankly programmatic work. French
composers had a tradition of music
imitating nature, but Vivaldi was
one of the first Italian composers
to experiment in this vein. Vivaldi’s
rhetoric exquisitely depicts the
seasons’ progress, described also
in sonnets (possibly written by him)
which he affixed to the score.
menace of distant thunder can be
heard before the birds sing again.
In the slow movement, a goat-herd
falls asleep among murmuring
plants, not even disturbed by the
repeated barking of his dog. In
the finale Botticellian nymphs and
shepherds perform a rustic dance
with bagpipe drone.
Summer’s first movement embodies
a sense of heat-struck lassitude
with only the intrepid cuckoo and
turtle-dove calling, as the shepherd
fears the encroaching storm. This
apprehension is carried over into the
unquiet slow movement, before the
storm arrives in all its fury in the finale.
Autumn begins with peasants
celebrating the harvest with dance
and song, and, as the movement
progresses, Vivaldi creates a striking
musical image of drunkenness. In the
slow movement, the peasants sleep
off their binge, before going hunting
in the finale. This contrasts cantering
‘hunting’ music with the panic of the
quarry, which is caught and killed.
Snow, ice, chattering teeth and a
cruel wind inform the first movement
of Winter, but for the slow
movement we go indoors and enjoy
a crackling fire as the rain beats on
the windows. The finale begins with
ice-skating, weaving different voices
in slow-moving elegant arcs. The ice
cracks, the skater shivers, and the
four winds are unleashed.
Gordon Kerry © 2005/2010
The Melbourne Symphony Orchestra first
performed The Four Seasons in June 1954
with conductor Enrique Jorda and soloist
Maurice Clare, and most recently in 2010
with James Ehnes as director/soloist.
The bright opening of the first
concerto reflects joy at the arrival of
spring, and the soloist’s entry sets off
a chain reaction of trilling birdcalls
over a static bass. Rippling passages
suggest running water, and the
VIVALDI’S FOUR SEASONS
7
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8/05/14 3:52 PM
MELBOURNE SYMPHONY ORCHESTRA
Sir Andrew Davis
Diego Matheuz Benjamin Northey
Harold Mitchell AC Chief Conductor Chair
Principal Guest Conductor
Patricia Riordan Associate Conductor Chair
FIRST VIOLINS
Dale Barltrop
Concertmaster
Eoin Andersen
Concertmaster
Sophie Rowell
Associate Concertmaster
Peter Edwards
Assistant Principal
Kirsty Bremner
MSO Friends Chair
Sarah Curro
Peter Fellin
Deborah Goodall
Lorraine Hook
Kirstin Kenny
Ji Won Kim
Eleanor Mancini
Mark Mogilevski
Michelle Ruffolo
Kathryn Taylor
Jacqueline Edwards*
Robert John*
Rachel Homburg
Christine Johnson
Isy Wasserman
Philippa West
Patrick Wong
Roger Young
SECOND VIOLINS
Matthew Tomkins
The Gross Foundation
Principal Second Violin
Chair
Robert Macindoe
Associate Principal
Monica Curro
Assistant Principal
Mary Allison
Isin Cakmakcioglu
Freya Franzen
Cong Gu
Andrew Hall
Francesca Hiew
VIOLAS
Christopher Moore
Principal
Christopher Cartlidge
Acting Associate
Principal
Lauren Brigden
Katharine Brockman
Simon Collins
Gabrielle Halloran
Trevor Jones
Fiona Sargeant
Cindy Watkin
Caleb Wright
Ceridwen Davies*
Isabel Morse*
CELLOS
David Berlin
MS Newman Family
Principal Cello Chair
Rachael Tobin
Associate Principal
Nicholas Bochner
Assistant Principal
Miranda Brockman
Rohan de Korte
Keith Johnson
Sarah Morse
Angela Sargeant
Michelle Wood
DOUBLE BASSES
Steve Reeves
Principal
Andrew Moon
Associate Principal
Sylvia Hosking
Assistant Principal
Damien Eckersley
Benjamin Hanlon
Suzanne Lee
Stephen Newton
FLUTES
Prudence Davis
Principal Flute Chair –
Anonymous
Wendy Clarke
Associate Principal
Sarah Beggs
PICCOLO
Andrew Macleod
Principal
OBOES
Jeffrey Crellin
Principal
Ann Blackburn
COR ANGLAIS
Michael Pisani
Principal
CLARINETS
David Thomas
Principal
Philip Arkinstall
Associate Principal
Craig Hill
BASS CLARINET
Jon Craven
Principal
TUBA
Timothy Buzbee
Principal
BASSOONS
Jack Schiller
Principal
Elise Millman
Associate Principal
Natasha Thomas
TIMPANI
Christine Turpin
Principal
PERCUSSION
Robert Clarke
Principal
John Arcaro
Robert Cossom
CONTRABASSOON
Brock Imison
Principal
HARP
Yinuo Mu
Principal
HORNS
Zora Slokar
Principal
Geoff Lierse
Associate Principal
Saul Lewis
Principal Third
Jenna Breen
Abbey Edlin
Trinette McClimont
HARPSICHORD
Calvin Bowman*
*Guest musician
TRUMPETS
Geoffrey Payne
Principal
Shane Hooton
Associate Principal
William Evans
Julie Payne
TROMBONES
Brett Kelly
Principal
BASS TROMBONE
Mike Szabo
Principal
MANAGEMENT
BOARD
Harold Mitchell AC
Chairman
André Gremillet
Managing Director
Michael Ullmer
Deputy Chair
Andrew Dyer
Danny Gorog
Brett Kelly
David Krasnostein
David Li
Ann Peacock
Helen Silver
Kee Wong
COMPANY
SECRETARY
Oliver Carton
EXECUTIVE
André Gremillet
Managing Director
Catrin Harris
Executive Assistant
HUMAN RESOURCES
Miranda Crawley
Director of Human
Resources
BUSINESS
Francie Doolan
Chief Financial Officer
Raelene King
Personnel Manager
Leonie Woolnough
Financial Controller
Phil Noone
Accountant
Nathalia Andries
Finance Officer
Suzanne Dembo
Strategic
Communications and
Business Processes
Manager
ARTISTIC
Ronald Vermeulen
Director of Artistic
Planning
Andrew Pogson
Special Projects Manager
Laura Holian
Artistic Coordinator
Helena Balazs
Chorus Coordinator
EDUCATION AND
COMMUNITY
ENGAGEMENT
Bronwyn Lobb
Director of Education
and Community
Engagement
Lucy Bardoel
Education and
Community Engagement
Coordinator
Lucy Rash
Pizzicato Effect
Coordinator
OPERATIONS
Gabrielle Waters
Director of Operations
Angela Bristow
Orchestra Manager
James Foster
Operations Manager
James Poole
Production Coordinator
Alastair McKean
Orchestra Librarian
Kathryn O’Brien
Assistant Librarian
Michael Stevens
Assistant Orchestra
Manager
Stephen McAllan
Artist Liaison
Lucy Rash
Operations Coordinator
MARKETING
Alice Wilkinson
Director of Marketing
Jennifer Poller
Marketing Manager
Megan Sloley
Marketing Manager
Ali Webb
PR Manager
Kate Eichler
Publicity and Online
Engagement Coordinator
Kieran Clarke
Digital Manager
Nina Dubecki
Front of House Supervisor
James Rewell
Graphic Designer
Chloe Schnell
Marketing Coordinator
Claire Hayes
Ticket and Database
Manager
Paul Congdon
Box Office Supervisor
Jennifer Broadhurst
Ticketing Coordinator
Angela Lang
Customer Service
Coordinator
Chelsie Jones
Customer Service Officer
DEVELOPMENT
Leith Brooke
Director of Development
Arturs Ezergailis
Donor and Patron
Coordinator
Jessica Frean
MSO Foundation
Manager
Justine Knapp
Major Gifts Coordinator
Ben Lee
Donor and Government
Relations Manager
Michelle Monaghan
Corporate Development
Manager
James Ralston
Corporate Development
and Events Coordinator
Judy Turner
Major Gifts Manager
VIVALDI’S FOUR SEASONS
9
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: philanthropy@mso.com.au
This honour roll is correct at time of printing.
ARTIST CHAIR BENEFACTORS
Harold Mitchell AC
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SUPPORTING PARTNERS
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Eoin Andersen
violin/director
MOZART
SYMPHONY
No.40
Across the gulf of a century, Mozart and Stravinsky
created distinctive music shaped and inspired by rich
interrogations of classical forms. MSO Concertmaster
Eoin Andersen leads Mozart’s final Violin Concerto and
the unmistakable melancholic strains of his Symphony
No.40, alongside two masterful works by Stravinsky.
17 September at 8pm
19 September at 6.30pm
Elisabeth Murdoch Hall
Melbourne Recital Centre
18 September at 8pm
Robert Blackwood Hall
Monash University Clayton
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