1

TUESDAY 23 OCTOBER 2018

MELBOURNE RECITAL CENTRE PRESENTS

GREAT PERFORMERS CONCERT SERIES 2018

TASMIN LITTLE & PIERS LANE

PHOTO:BENJAMIN EALOVEGA

‘ Her playing communicated her certainty in what she was doing, which then allowed her intoxicating blend of power, passion, poetry and drop-dead beautiful playing to conjure a magic that just let the music flow.’ HERALD SCOTLAND

VIOLIN & PIANO

TUESDAY 23 OCTOBER 2018, 7.30PM Elisabeth Murdoch Hall

6.45PM Free pre-concert talk with Monica Curro

DURATION One hour and 50-minutes including a 20-minute interval

This concert is being recorded by ABC Classic FM for a deferred broadcast.

Melbourne Recital Centre acknowledges the people of the Kulin Nation on whose land this concert is being presented.

SERIES PARTNER

LEGAL FRIENDS OF MELBOURNE RECITAL CENTRE

TASMIN LITTLEU.K.

& PIERS LANEAUSTRALIA

TASMIN LITTLE & PIERS LANE

JOHANNES BRAHMS (b. 1833, Hamburg, Germany – d. 1897, Vienna, Austria) Scherzo from F-A-E Sonata

FRANZ SCHUBERT

(b. 1797, Vienna, Austria – d. 1828, Vienna, Austria) Sonatina in D, D.384 Allegro molto Andante Allegro vivace

KAROL SZYMANOWSKI (b. 1882, Tymoshivka, Ukraine – d. 1937, Lausanne, Switzerland) Violin Sonata in D minor Allegro moderato Andantino tranquillo e dolce – Scherzando (più moto) - Tempo 1 Finale. Allegro molto, quasi presto

INTERVAL 20-minutes

ELENA KATS-CHERNIN

(b. 1957, Tashkent, Uzbekistan) Russian Rag Revisited – world premiere

MAURICE RAVEL

(b. 1875, Ciboure, France – d. 1937, Paris, France) Pièce en forme de Habanera

CÉSAR FRANCK

(b. 1822, Liège, Belgium – d. 1890, Paris, France) Sonata for violin & piano in A Allegretto ben moderato Allegro Recitativo-Fantasia: Ben moderato Allegretto poco mosso

PROGRAM

4

GREAT PERFORMERS 2018

5

Greatness has many parents, they say, but failure is an orphan. In the history of classical composition, the reverse seems to be true, for how many collaborative works can you recall involving any of the ‘household names’? There are the 83 variations on a theme of Diabelli by his contemporaries including Liszt (then aged 12) and Schubert and; these include the 33 variations by Beethoven; there is the Hexameron, variations on a theme from Bellini’s I Puritani by Chopin, Liszt and Thalberg (among others); Eugene Goossens composed a theme in 1944 and commissioned 10 American composers, including Paul Creston, Aaron Copland and Howard Hanson, to write a set of ‘Jubilee Variations’ on it; and then there’s the most widely-streamed collaborative work of them all, from China: the ‘Yellow River’ Concerto.

The Scherzo which opens tonight’s recital is from one such work. Brahms, then only 20, met Schumann in 1853, not long after which Schumann praised him as a ‘mighty warrior’ of music; in tribute to their mutual friend, the violinist Joseph Joachim, Schumann proposed creating a collaborative sonata, in which the four movements would be split between Schumann, Schumann’s pupil Albert Dietrich, and Brahms. Dietrich, a name which would otherwise be lost to musical history, contributed the opening movement, Schumann the intermezzo and finale and Brahms this muscular scherzo (which shares some musical DNA with the scherzo from the Horn Trio Brahms would write 12 years later). It was Joachim who suggested the title, a contraction of his personal

motto ‘Frei aber einsam’ (‘free but alone’). When he played the work for the first time, he was challenged to identify the composer of each movement; he did so with ease.

The work has had a complex afterlife. It was not published during the composers’ lifetimes; indeed, Schumann incorporated his two movements into his Violin Sonata No.3. Joachim kept the original manuscript, from which he allowed only Brahms’ Scherzo to be published, but not until 1906, nine years after Brahms’s death. The complete sonata finally appeared in print in 1935.

ABOUT THE MUSIC

JOHANNES BRAHMS

6Brahms’ reverence for the music of the past influenced his art profoundly. He worshipped Beethoven, and helped prepare performing editions of works by Couperin, W.F. Bach and C.P.E. Bach. Then there was Schubert. Brahms told a friend in 1863: ‘My love for Schubert is a very serious one, probably just because it is not a fleeting fancy. Where is genius like his, which soars aloft so boldly and surely, where we then see the first few enthroned? To me he is like a child of the gods, who plays with Jupiter’s thunder, albeit also occasionally handling it oddly. But he plays in such a region, at such a height, to which the others are far short of raising themselves …’

There is little thunder and a lot of sunshine in the D major Sonata featured in tonight’s program, composed in 1816. Schubert met the poet Franz von Schober around this time, with whom he lived for a while. This was a productive year for him. ‘I compose every morning, and when one piece is done, I begin another,’ he wrote, and his Symphonies No.4 and No.5, and a number of lieder

date from this period also. Although Schubert was widening his circle of friends, and although many of these friends would help promote his music, very little of his work was published. This Sonata, along with the other two that, as a set, constitute his first three sonatas for violin and keyboard, did not see the light of day until 1836, when they were called ‘three easy sonatinas,’ probably for commercial reasons. They may not contain many virtuosic flights of fancy but, as far as Schubert was concerned, they were sonatas. The spirit of Mozart is very near in this music, touched by Schubert’s gift for singing lyricism.

There are nearly 1500 surviving compositions by Schubert; he composed more than half before the age of 21. If all of Szymanowski’s music we knew was work he’d composed by that age there would be only a little to know; as a composer he was, at this point, at the beginning of a tempestuous musical journey that saw him absorb and transmute the influences at play on his work to create a uniquely personal musical language. The masterworks of his later years – the opera King Roger, the Symphonie Concertante and the ballet Harnasie among them – show how fascinated he was by the music of Debussy, Stravinsky and Scriabin, but his aesthetic was also informed by influences as diverse as Persian mysticism and the writings of Nietzsche.

When the pianist Arthur Rubinstein first met Szymanowski, in 1904 – the year of this D minor Sonata – all that lay in the future. ‘There he was: a tall, slender young man. He looked older than his 21 years … wearing a bowler hat and gloves – appearing more like a diplomat than a musician. But his beautiful, large, grey-blue eyes had a sad,

FRANZ SCHUBERT

TASMIN LITTLE & PIERS LANE

GREAT PERFORMERS 2018

7intelligent and most sensitive expression.’ So Rubinstein says of his Polish compatriot in the first volume of his autobiography, My Young Years. He was pianist in the Sonata’s first performance, and in his memoir he recalls his astonishment at Szymanowski’s work at this time: ‘His style owed much to Chopin, his form had something of Scriabin, but there was already the stamp of a powerful, original personality to be felt in the line of his melody and in his daring and original modulations.’

The work is conventional in design but not in temperament: it leaps off the page from the first bar, with passionate exchanges between the two instruments. The opening movement ends pensively, paving the way for the lyrical Andantino; the only disturbances to the second movement’s singing atmosphere are gently contrasting pizzicato passages. The finale’s tarantella often gets waylaid for rhapsodic musings by both instruments, before a grand, declamatory peroration that sets you up beautifully for intermission.

The opening work in the second half of tonight’s program tells you how blessed tonight’s performers are to have a favourite piece of Australian music re-composed especially for them. As Elena Kats-Chernin writes: ‘Russian Rag was originally composed in 1996 as a commission from ABC Classics for their album ‘Rags to Riches’. This version of Russian Rag was written in 2018 as a gift to the two dazzling musicians Tasmin Little and Piers Lane. In the process of creating this transcription many a page has flown between Australia and the U.K. at some very unusual hours and things like ‘I’ve added a few more sultry chords as well as a glissando at one spot or how about some double stops and left hand pizzicato?’ were written, by Tasmin and sometimes me! A completely new violin solo introduction to the theme was created, cascading chords for Piers were added, along with virtuoso writing for both players and old-fashioned portamento to suggest nostalgia for a bygone era.’

Ravel was a master of Spanish travel in music. From the Rapsodie espagnole of 1907– one of his first big successes – to Bolero more than two decades later, his ability to capture a kind of idealised Spain in sound impressed even the Spanish. Ravel’s Spanish contemporary Manuel de Falla believed it all started with Ravel’s mother; one of Ravel’s powerful early memories was of his mother Marie – who was Basque born, but grew up in Madrid – singing Spanish folksongs to him. The Pièce en forme de Habanera dates from the same year as the Rapsodie espagnole (so that was quite a Spanish year). Ravel originally conceived this sultry study as a vocalise for bass voice and piano; it has since been transcribed for an exceptional variety

ELENA KATS-CHERNIN

8of instruments including trumpet, flute, bassoon and every member of the saxophone family. It was also in the repertoire of legendary theremin soloist Clara Rockmore.

Franck, like Janáček, was a late bloomer. He had composed across many genres early in his adult life, but had spent most of his career as an organist and teacher, and although he continued to write religious music, he did not create another major instrumental work until he was 55. He was regarded by many of his colleagues as either incompetent or presumptuous, yet he was idolised by the circle of pupils he gathered round him, both as a private composition teacher and as Professor of Organ at the Paris Conservatoire. These included Henri Duparc, Ernest Chausson and Vincent d’Indy, the last of whom was to become Franck’s principal propagandist after his death.

The Violin Sonata is one of a handful of works from the last years of Franck’s life on which his reputation rests, the others being his Symphony, the Prelude, Chorale and Fugue for piano, the Symphonic Variations for piano and orchestra, the Piano Quintet and the String Quartet. The personality this music reveals is one influenced by Beethoven’s concentration of expression and Wagner’s harmonic colours. It also bears witness to many years in the organ loft, and to the freedom from formal sonata procedures Liszt had advocated in his symphonic poems, in particular Liszt’s method of structural development which he called ‘transformation of themes’, in which a work’s overall structure is determined by the major points of change to its principal melodic ideas.

This Sonata is true to those principles, in that the principal theme appears, sometimes easily recognisable, sometimes transformed, in all four movements. You can glimpse other themes appearing outside their ‘home’ movements also. D’Indy described this as ‘the first and purest model of the cyclic treatment of themes in the form of an instrumental sonata.’ The first movement acts as a kind of prelude to the second which, in its tempestuousness, is the emotional core of the work. Then, after the ruminative third movement, the finale steals radiantly on the scene like musical sunlight.

Franck wrote the work as a wedding present for his friend and compatriot, the Belgian violinist Eugène Ysaÿe, in 1886; sure enough Ysaÿe was the violinist at the first public performance, held in the Museum of Modern Painting in Brussels. This was, to say the least, a memorable occasion because, for the protection of the artwork, the use

MAURICE RAVEL

TASMIN LITTLE & PIERS LANE

GREAT PERFORMERS 2018

9

of artificial lighting was forbidden. As the concert progressed, the daylight was fading, but Ysaÿe and his accompanist played the final three movements in the dark, from memory. As d’Indy later wrote ‘Music, wondrous and alone, held sovereign sway in the darkness of the night. The miracle will never be forgotten by those present.’

This was a musical wedding gift for the ages. Unlike a set of dishes or wineglasses, it continues to give pleasure, undamaged and still gleaming brightly, more than 120 years after Franck wrote his RSVP.

© Phillip Sametz 2018

Phillip Sametz is the Alumni Coordinator at the Australian National Academy of Music (ANAM) and reviews regularly for Limelight magazine.

10

Tasmin Little has firmly established herself as one of today’s leading international violinists. She has performed on every continent in some of the most prestigious venues of the world.

Tasmin’s concerto appearances include those with Adelaide Symphony, Berliner Philharmoniker, Berliner Symphoniker, Hong Kong Philharmonic, Gewandhaus Orchester Leipzig, London Symphony Orchestra, London Philharmonic, New York Philharmonic, New Japan Philharmonic, Philharmonia, Royal Philharmonic, Royal Scottish National, Royal Liverpool Philharmonic, St. Louis Symphony, West Australian Symphony and all the BBC Orchestras.

Her multi-award winning and varied career encompasses international concerto and recital performances, master classes, workshops and community outreach work. Tasmin’s discography and performance schedule reflect her wide-ranging repertoire and she has given numerous world premiere performances.

In recent years, her commissioned work, Four World Seasons by Roxanna Panufnik, was premiered as a live broadcast on the BBC at the start of Music Nation weekend, leading up to the London 2012 Olympic Games.

Tasmin is an exclusive recording artist for Chandos Records. Her recording of the Elgar Violin Concerto with Sir Andrew Davis and the Royal National Scottish Orchestra garnered outstanding critical acclaim and was awarded the Critic’s Choice Award in the 2011 Classic BRIT Awards. Other releases for Chandos include Britten and Walton with Piers Lane.

Awards include a Gramophone Award for Audience Innovation for her ground-breaking musical outreach program, The Naked Violin, a Diapason d’Or for her disc of Delius Violin Sonatas with Piers Lane and a Gold Badge Award for Services to Music.

Tasmin Little is a Fellow of the Guildhall School of Music and Drama (FGSM), a Vice President of the Elgar Society, an Ambassador for The Prince’s Foundation for Children and the Arts, and for Youth Music, and has received Honorary Degrees from the Universities of Bradford, Leicester, Hertfordshire and City of London. In 2016, she was awarded Honorary Membership of the Royal Academy of Music (Hon RAM) by the Academy and the University of London. In 2012, Tasmin Little was appointed an Officer of the Order of the British Empire (OBE) in the Queen’s Diamond Jubilee Birthday Honours List, for Services to Music. She plays a 1757 Giovanni Battista Guadagnini violin.

twitter.com/tasminlittle | tasminlittle.org.uk

ABOUT THE ARTISTS

TASMIN LITTLE

TASMIN LITTLE & PIERS LANE

GREAT PERFORMERS 2018

11

London-based Australian pianist Piers Lane is in great demand as a soloist and collaborative artist. Recent highlights include performances of Busoni’s mighty Piano Concerto, Frank Bridge’s Phantasm and Ferdinand Ries’s Piano Concerto No.8 at Carnegie Hall; premieres of Carl Vine’s Piano Concerto No.2, written for him, with the Sydney Symphony and the London Philharmonic; and sold-out performances at Wigmore Hall.

Five times soloist at the Proms, his concerto repertoire of over 100 works has led to engagements with many of the world’s great orchestras.

He has performed regularly at the world’s most prestigious festivals. Since 2007 he has been Artistic Director of the Australian Festival of Chamber Music and he directed the Myra Hess Day at the National Gallery from 2006 to 2014. He is also the Artistic Director of the Sydney International Piano Competition.

He has recorded over 60 CDs on major labels, primarily with Hyperion Records. Recent releases include a Franck, Faure and Szymanowski disc with Tasmin Little and works by Borodin, the ninth disc he has recorded with the Goldner String Quartet. Many composers have written for him.He has written and presented over 100 programs for BBC Radio 3; holds Honorary Doctorates from Griffith University and James Cook University; and in 1994 was made an Honorary Member of the Royal Academy of Music, where he was a professor from 1989 to 2007. In the Queen’s Diamond Jubilee Birthday Honours, he was made an Officer in the Order of Australia (AO).

pierslane.com

PIERS LANE

12

INSPIRED GIVING

10TH ANNIVERSARY GIFTS10th Anniversary Benefactor

Lady Primrose Potter AC

10th Anniversary Public Activation Program ($50,000) Peter & Ruth McMullin

10TH ANNIVERSARY COMMISSIONSThe Aranday FoundationUlrike Klein AO

Jane KunstlerPlayking FoundationMajlis Pty Ltd. Margaret S Ross AM & Dr Ian C RossMaria SolaThe Yulgilbar Foundation

$10 TICKET PROGRAM($20,000+)Krystyna Campbell-PrettyYvonne von Hartel AM, Robert Peck AM, Rachel Peck, and Marten Peck of peckvonhartel architects

($10,000+)Dara Pty LtdAnnamila Pty LtdAngelina & Graeme WiseThe Robert Salzer Foundation

($4000+)The John and Jennifer Brukner FoundationJulian Burnside QC AO & Kate DurhamJohn Calvert-Jones AM & Janet Calvert-Jones AO

Kathryn FaggKatrina & Simon Holmes à CourtSylvia and Michael Kantor Susan ThacoreAndrew & Jan WheelerIgor & Jenny Zambelli

($2500+)Susan Alberti AC & Colin North OAM

($1000+)Anonymous (3)ARM ArchitectureAdrienne BasserCarolyn & Tony BaumJane BloomfieldHelen BrackBarbara BurgeJohn Castles AM & Thelma Castles OAM

Maggie CashThe Hon Mary Delahunty Paul Donnelly & Brigitte TreutenaereJo Fisher and Peter GraysonColin Golvan AM QC & Dr Deborah GolvanNaomi Golvan & George Golvan QC

Robert & Jan GreenIn memory of Beryl HooleyDr Garry Joslin & Prof Dimity Reed AM

Simon Le Plastrier Sally MacIndoeJane MatthewsMessage Consultants AustraliaDr Richard Mills AM

Tim Orton & Barbara DennisJames Ostroburski & Leo OstroburskiProf David Penington AC & Dr Sonay PeningtonGeoff & Jan PhillipsShelley RowlandsChristine SatherDr Cherilyn Tillman & Tam Vu Ullmer Family FoundationMary Vallentine AO

Janet Whiting AM & Phil Lukies

A PLACE OF UNPARALLELED MUSICAL VIBRANCYLeadership Circles & Music Circle Annual Patrons Program supporters play a vital role in ensuring the breadth, diversity & scale of the Centre’s musical offering.

LOCAL HEROES LEADERSHIP CIRCLEInaugural Local Heroes BenefactorJane KunstlerMajlis Pty Ltd.Maria Sola

MUSIC CIRCLE PATRONS PROGRAMMagnum Opus Circle ($20,000+)Melbourne Recital Centre Board of Directors Kathryn Fagg Peter & Cally Bartlett Stephen Carpenter & Leigh Ellwood Joseph & Nicole Corponi The Hon Mary Delahunty Paul Donnelly & Brigitte Treutenaere

Margaret Farren-Price & Prof Ronald Farren-Price AM

Eda Ritchie AM

Margaret Taylor

Virtuoso Circle ($10,000+)John & Lorraine BatesArnold & Mary BramJohn & Cathy Simpson

Composers Circle ($4000+)Danielle Davis & Joyce MarksRobert & Jan GreenJenny & Peter HordernDiana LempriereMessage Consultants Australia James Ostroburski & Leo OstroburskiDr Victor Wayne & Dr Karen Wayne OAM

Musicians Circle ($2500+)Anonymous (1)Liz & Charles BaréAndrea GoldsmithAnn LahoreShelley & Euan MurdochDr Paul Nisselle AM

Greg NoonanSirius FoundationMary Vallentine AO

Prelude Circle ($1000+)Adrienne BasserMichael Bennett & Kate StockwinHelen BrackBill & Sandra BurdettMaggie CashJohn Castles AM Thelma Castles OAM

Julie Ann Cox AM & Laurie Cox AO

Kathy & George DeutschMary DraperLord Francis Ebury & The Late Lady Suzanne EburyMaggie EdmondSusan FallawThe Leo & Mina Fink FundAngela GloverAnn GordonJan GrantNance Grant AM MBE & Ian HarrisHenkell Family Fund In memory of Beryl HooleyProfessor Rod Hunt & Michael SharpeStuart JenningsDr Garry Joslin &

Prof Dimity Reed AM

George & Grace KassMaria MercurioDr John F Mills Baillieu Myer AC & Sarah MyerRupert Myer AO & Annabel MyerStephen Newton AO

Elizabeth O’KeeffeHelen PerlenKerryn PratchettSandra Robertson & Philip CachiaDr Peter Rogers & Cathy RogersPeter Rose & Christopher MenzCharlotte Slade & Sebastian KingIn Memory of Pauline SpeedyBarbara & Duncan SutherlandPamela Swansson Dr. Michael Troy

Supporters ($500+)Rhonda AllenJenny AndersonAnonymous (1)Peter J ArmstrongAlistaire BowlerMin Li ChongJean DunnPenelope HughesAngela & Richard KirsnerDr Anne LierseJane MorrisDr Robert PiaggioDr Diane Tibbits

ACCESS TO THRILLING MUSIC FOR EVERYONEShare the Music patrons help to bring high-quality music and learning opportunities to people from all walks of life.

SHARE THE MUSIC ($10,000+)Krystyna Campbell-PrettyJohn & Susan Davies

($4000+)Helen & Michael GannonLinda Herd

($2500+)Anne Burgi & Kerin Carr

($1000+)Anonymous (1)Keith & Debby BadgerKaye & David BirksMaria HansenIn memory of Beryl HooleyProf John Langford AM & The Late Christina McCallumAnn Miller Dennis & Fairlie NassauGreg Shalit & Miriam Faine

GREAT PERFORMERS 2018

13

($500+)Anonymous (4)Ian Baker & Cheryl SaundersRoly BallAnn BlakeCaroline and Robert ClementeVivien & Jacob FajgenbaumDr Kingsley GeeDr Robert HetzelGenevieve KennedyWendy Kozica, Alan Kozica & David O’ÇallaghanMaria McCarthyJan MorrisonAndrew & Georgina PorterBarry & Barbara ShyingRosemary WallsMark & Jane Wilson

A PLATFORM FOR THE VERY BESTDonations to our Leadership Circle and Legal Friends syndicate allow the Centre to attract the best of the best artists from all over the globe, culminating in our Signature Events and Great Performers Series.

GREAT PERFORMERS LEADERSHIP CIRCLEAnonymous (1)Esther & Brian BenjaminPaulette & Warwick BisleyThe John & Jennifer Brukner FoundationGeoff & Jan PhillipsMaria Sola

SIGNATURE EVENTS LEADERSHIP CIRCLEInaugural Signature Events BenefactorsYvonne von Hartel AM, Robert Peck AM, Rachel Peck and Marten Peck of peckvonhartel architects

LEGAL FRIENDSLegal Friends Inaugural PatronsThe Hon Justice Michelle Gordon & The Hon Kenneth M Hayne AC QC

($10,000+)The Hon Justice Michelle Gordon & The Hon Kenneth M Hayne AC QC

($4000+)Anonymous (1)Naomi Golvan & George Golvan QC

Peter & Ruth McMullinPeter B Murdoch QC & Helen MurdochMaya Rozner & Alex King

($2500+)Anonymous (2)Colin Golvan AM QC & Dr Deborah GolvanPeter J Stirling & Kimberley Kane

($1000+)Anonymous (3)Marcia and John K ArthurJames BarberPeter BartlettAnnette Blonski & Martin Bartfeld QC

David ByrneThe Hon Alex Chernov AC QC & Elizabeth ChernovChristine CloughThe Hon Julie Dodds-StreetonTimothy GoodwinRobert Heathcote & Meredith KingThe Hon Peter Heerey AM QC & Sally HeereyJudge Sara Hinchey & Tom PikusaJohn Howie AM & Dr Linsey HowiePandora Kay & John LarkinsAnthony J & Philippa M KellyMaryanne B Loughnan QC

Banjo McLachlan & Paul MahonyElizabeth O’KeeffeRalph & Ruth RenardMeredith SchillingMichael Shand QC

Tom Smyth

($500+)Elizabeth BorosLeslie G ClementsThe Hon Hartley Hansen QC & Rosalind HansenThe Hon David L Harper AM

NURTURING YOUNG ARTISTSPatrons of our Leadership Circles and Elisabeth Murdoch Creative Development Fund enable unique opportunities for the next generation of performers.

BETTY AMSDEN KIDS & FAMILIES PROGRAMInaugural Benefactor The Late Betty Amsden AO DSJ

ARTIST DEVELOPMENT LEADERSHIP CIRCLEInaugural Artist Development & Music Education Benefactor

The Late Betty Amsden AO DSJ

Anonymous (1)Peter Jopling AM QC

Margaret S Ross AM & Dr Ian C Ross

CHILDREN AND FAMILIES LEADERSHIP CIRCLEThe Late Betty Amsden AO DSJ

MASTER CLASS LEADERSHIP CIRCLEJim Cousins AO & Libby CousinsGeorge & Laila Embelton

Ensemble Giovane($5000+)Jo Fisher

($3000+)Anonymous (1)Christine Sather

($1000+)Peter J ArmstrongBailey-Lord FamilyMary Beth BauerFiona BennettZoe BrinsdenKathryn FaggDr Jane Gilmour OAM & Terry BrainLiane KempProf Andrea Hull AO

Norene Leslie McCormacRosemary O’ConnorLaura Thomas

ELISABETH MURDOCH CREATIVE DEVELOPMENT FUND($10,000+)Vivian Wei WangAngelina & Graeme Wise

($4000+)Andrew & Theresa DyerLyndsey & Peter HawkinsDr Alastair Jackson AM

Lyn Williams AM

YMF Australia

($2500+)Dr Cherilyn Tillman & Tam Vu

($1000+)Anonymous (1)In memory of Beryl HooleySimon Le Plastrier Dr Richard Mills AM

REACHING BEYOND THE CENTREGiving all Victorians more opportunities to be moved, inspired & educated through music. Gifts to the Mary Vallentine Limitless Stage Fund are enabling us to expand our regional and educational outreach.

REGIONAL TOURING AND OUTREACH PROGRAM($40,000+)Dr Geraldine Lazarus and Mr Greig Gailey

MARY VALLENTINE LIMITLESS STAGE FUND($20,000+)Naomi Milgrom AO

Kim Williams AM

($10,000+)

The Late Betty Amsden AO DSJ

Lady Marigold Southey AC

($4000+)The Hon Susan M Crennan AC QC

Kathryn Greiner AO

($1000+)Jenny & Peter HordernCathy LowyThe Ullmer Family Foundation

LASTING LEGACY Providing sustained support for all aspects of the Centre’s artistic program through the Melbourne Recital Centre Foundation.

ENCORE BEQUEST PROGRAMAnonymous (3)The Late Betty Amsden AO DSJ

Jenny Anderson Barbara BlackmanJennifer BruknerKen BullenJim Cousins AO & Libby CousinsDr Garry JoslinJanette McLellanElizabeth O’KeeffeProf Dimity Reed AO

Sandy Shaw The Estate of Beverley Shelton & Martin SchönthalMary Vallentine AO

SEAT DEDICATIONLowina BlackmanJohn Calvert-Jones AM & Janet Calvert-Jones AO

The Hon Mary Delahunty Catherine Heggen & Tim Biles Cathy LowyKatherine RechtmanPeter J StirlingJenny TatchellMary Vallentine AO

Vivian Wei Wang

* Ensemble Giovane: Donors in support of Masterclasses

° Amplify: Young Donors in support of Artist Development

List of patrons as at 16 October 2018

14

THANK YOU

Melbourne Recital Centre acknowledges the generous support of its business partners, philanthropic supporters and patrons.

Founding BenefactorsThe Kantor Family Helen Macpherson Smith Trust The Calvert-Jones Family Robert Salzer Foundation Lyn Williams am The Hugh Williamson Foundation

Learning Partner

Founding PatronThe Late Dame Elisabeth Murdoch ac dbe

Program Partners

Foundations

Principal Government Partner

Board MembersKathryn Fagg, Chair Peter Bartlett Stephen Carpenter Joseph Corponi

The Hon Mary Delahunty Paul Donnelly Assoc Prof Jody Evans Margaret Farren-Price

Eda Ritchie am Margaret Taylor Audrey Zibelman

Supporting Partners

GREAT PERFORMERS LEADERSHIP CIRCLE

THE PEGGY & LESLIE CRANBOURNE FOUNDATION

THE JACK & HEDY BRENT FOUNDATION

THE ARANDAY FOUNDATION

Business Partner

A stellar selection of distinguished musicians, new discoveries, international luminaries and Australian legends.

Great Performers—Concert Series 2019

Melbourne Recital Centre Presents

Packages now on sale from $210

Book by 30 Nov for extra benefits

Satu Vänskä violin Jordi Savall viola da gamba Kirill Gerstein piano Vadim Gluzman violin Stephen Kovacevich piano Nicole Car soprano Etienne Dupuis baritone Paul Lewis piano Behzod Abduraimov piano

TO BOOK melbournerecital.com.au 03 9699 3333

16

MEASHA BRUEGGERGOSMAN

CNR SOUTHBANK BLVD & STURT ST, SOUTHBANK, VICTORIA

MELBOURNERECITAL.COM.AU

PRINCIPAL GOVERNMENT PARTNER

PEFC Certified

This product is from sustainably managed forests and controlled sources.

www.pfc.org