1

TUESDAY 4 DECEMBER 2018

MELBOURNE RECITAL CENTRE PRESENTS

GREAT PERFORMERS CONCERT SERIES 2018

KSENIJA SIDOROVA

2

‘Sidorova is simply brilliant.’ THE SUNDAY TIMES (U.K.)

KSENIJA SIDOROVA

JOHANN SEBASTIAN BACH (b. 1685, Eisenach, Germany – d. 1750, Leipzig, Germany) Overture in the French Style, BWV 831 Ouverture Sarabande Gigue Echo

ANATOLY KUSYAKOV (b. 1945, Ivanovo Oblast, Russia – d. 2007, Rostov Oblast, Russia) Autumnal Sceneries Autumnal Reveries Leaf-fall Soirée Mood Forgotten Chimes Cranes Wind Dance

VYACHESLAV SEMYONOV (b. 1946, Bryansk, Russia) Red Guelder-Rose

INTERVAL (20-minutes)

ALEXEY ARKHIPOVSKY (b. 1967, Tuapse, Russia) (arr. A Poeluev) Cinderella

SERGEY VOYTENKO (b. 1973, Samara Oblast, Russia) Revelation

ASTOR PIAZZOLLA (b. 1921, Mar del Plata, Argentina – d. 1992, Buenos Aires, Argentina) SVP Sentido único Tanti anni prima

ALFRED SCHNITTKE (b. 1934, Saratov Oblast, Russia – d. 1998, Hamburg, Germany) Revis Fairytales Chichikov’s Childhood Officials Waltz Polka

PROGRAM

4

GREAT PERFORMERS 2018

5

The accordion family, including the Russian bayan and Latin American bandoneón, was largely ignored by art-music composers until the mid-20th century, though used for local colour as early as Alban Berg’s Wozzeck in 1923. The technology of the instrument, which arose in the early 19th century, is simple – a bellows pushes (or pulls) air across a reed causing it to vibrate and sing. The family encompasses small instruments of the concertina variety, maybe hexagonal in shape and capable of playing uncomplicated diatonic tunes by means of buttons to sound the notes, through to the complex and much larger concert instruments with ‘piano’ style keyboards and a full range of chromatic notes.

As the technology developed, brilliant players such as the Danish virtuoso Mogens Ellegaard emerged, encouraging contemporary composers, particularly in the Scandinavian and Baltic countries, to write for them; the mid-century saw the appearance of such composer-performers as Astor Piazzolla. Since those pioneers, players such as James Crabb and Ksenija Sidorova have advocated for their instrument as a valid addition to the ‘serious’ concert hall playing both new music and standard repertoire rethought for the accordion, and composer-performers, notably in Eastern Europe, have continued to expand the repertoire.

Bach’s keyboard music, as Glenn Gould was happy to point out, is much more about structure than colour, withBachreusingcertainpiecesinwildlydifferentensembles and contexts so that music might reappear in a harpsichord concerto and do perfectly good service as the organ solo in a cantata. French

instrument builders who developed the modern ‘piano’ accordion referred to it as accordéon-orgue, and it is not so far removed technically from earlier portative organs, so Bach may well have given his blessing to a version of these four sections from his B minor Overture in the French Style. Bach’s keyboard works are not always easy to date, but this is one of two works that constitute Part II of his compendious Clavier-Übung, dating from 1735 (the other is the Italian Concerto).Effectivelyan‘orchestral’ suite of contrasting French dances, conceived for double-manual harpsichord, it opens not with the Allemande dance that he used in other similar contexts, but with an actual ‘French overture’ – that is a slow ceremonious introduction succeeded by a fast fugue before a brief return to the introductory music. There follows a series of contrasting dances, of which the Sarabande is perhaps the most stately, and the suite ends not with the lively gigue, as might be expected, but a 2/4 movement entitled Echo.

ABOUT THE MUSIC

JOHANN SEBASTIAN BACH

6

Russian composer Anatoly Kusyakov was educated in Rostov and spent much of his life and career there, eventually becoming Rector of what is now knownastheRachmaninoffConservatory.Thetraditional Russian accordion, or bayan – whose name commemorates an 11th-century bard – is operated by buttons rather than a keyboard. It had gained a new lease of life in the 1920s under the Soviet government, which sought to encourage folk traditions. There were, of course numerous regional variants of the instrument, but the concert bayan was developed systematically by the Moscow Experimental Laboratory. In 1927 the Conservatory inKievinstitutedthefirstprogramforstudiesinfolk-music, and was quickly followed by the Gnesin Academy in Moscow as well as the Conservatories in St Petersburg and Vladivostok. Kusyakov, active from the early 1970s, composed a great deal of music, including several sonatas, for the bayan, in a style thatallowsforarichandoftendissonantharmony.

His Autumn Sceneries suite dates from 1989. A pensive opening, making use of a skilled player’s ability to sustain lengthy heavy chords, embodies ‘Autumnal Reveries’. By contrast, ‘Leaf-fall’ conveys thewhirlingandflutteringofcolouredleavesinrapidfigurationsaboveasimplermelody.‘Soirée Mood’ conjures up, sometimes in slightly grotesque fashion, memories and echoes of dance music. ‘Forgotten Chimes’ naturally contains glimpses of Slavonic liturgical chant seen through a glass darkly; Ksenija Sidorova likens it to seeing ‘the ruins of the cathedral and the distant sound of the church bells.’ This funerary atmosphere also informs the following movement ‘Cranes’.

Its sequential chords and insistent bass depict theflightofthecranesoverhead,butasSidorovapoints out, the movement is inspired by a poem of the same name by Rasul Gamzatov. Originally written in Gamzatov’s native Caucasian language, Avar, ‘Cranes’ became hugely popular in the Soviet Union (especially as a song composed by Yan Frenkel),andappearedafterthepoet’svisittopost-War Hiroshima. There, Gamzatov heard of a young girl who had made thousands of origami cranes before succumbing to leukaemia. He wrote about the souls of the fallen soldiers, who:

Were buried not in soil to be forgotten, Butturnedintowhitecranesinflightinstead.

The Suite concludes with a bravura ‘Wind Dance’, banishing, for the moment, any such tragic thoughts.

KSENIJA SIDOROVA

RASUL GAMZATOV

GREAT PERFORMERS 2018

7

DirectorVasilyShukshin’s1974filmKalina krasnaya takes its title from a popular song of the same name (included in the soundtrack) by Yan Frenkel, whose setting of ‘Cranes’ was so popular. The guelder-rose (aspeciesofviburnumoftenknowninEnglishasthe snowball tree or European cranberry) features heavily in Russian and Ukrainian folklore, and Frenkel’s original song is a tale of betrayed love.

In 1976, Vyacheslav Semyonov composed this fantasia for accordion in Shukshin’s memory, using Frenkel’s tune, which he entwines with his own thematic material while maintaining the original’smood.Semyonovisamajorfigureinthe development of repertoire for the modern bayan. Like Kusyakov, he received his early musical training in Rostov, later celebrating the region in two Don River Rhapsodies. He undertook further study at Moscow’s Gnesin Academy, and gained acclaim as a prizewinner in several international

competitions from the late 1960s. He has since received numerous honours, including that of People’s Artist of Russia in 1995.

Cinderella is a six-minute jeu d’esprit by Russian composer Alexey Arkhipovsky, a virtuoso of the balalaika capable of breath-taking performances of everything from metal to Paganini, who studied in the folk-music course at the Gnesin Academy in Moscow. It has something of the simple magic of a character piece from a Tchaikovsky ballet, spinning melodiesoutofitsinitialfive-notemotto,setinawebof gentle ostinatos. Arkhipovsky composed it for the balalaika,butittransferseffortlesslytotheaccordion.

Arkhipovsky’s near-contemporary, Sergey Voytenko began playing accordion at the age of seven in his hometown of Samara, 1000 kilometres southeast of Moscow. He is a multi-award-winning performer, and has worked to advance interest in the

ALEXEY ARKHIPOVSKYVYACHESLAV SEMYONOV

8

accordion by founding a number of ensembles and festivals, for which he received the silver medal of the order ‘For Merit of the Fatherland’ in 2011. His popular Revelation is a single movement with classic shape: an inexorably mounting wave of deep nostalgia and sentiment reaches a plangent climax and gradually fades.

The bandoneón, so intimately associated with Argentinean tango and the music of Astor Piazzolla in particular, was the invention of Heinrich Band, a German who adapted the so-called ‘Chemnitz concertina’ as an instrument that poor parishes could use in place of an organ. It was, of course, well established in Argentinean vernacular music by the time Piazzolla emerged. In 1954 Piazzolla won a scholarship to study in Paris, and he took lessons with the legendary Nadia Boulanger. He was by this stage acknowledged as a great composer of tangos and performer on the bandoneón in his native Buenos Aires (though, incidentally, he spent many of his earliest years in New York) and had already studied with Alberto Ginastera. But Piazzolla yearned to be a serious composer and played down the importance of tangoatfirst.Boulanger,however,showedherusual perspicacity. Hearing Piazzolla play tango on the bandoneón she famously said ‘Astor, your classical pieces are well written, but the true Piazzolla is here, never leave it behind’. Piazzolla took Boulanger’s advice, as one would, but his interest in ‘classical’ music allowed him to move freely between popular and ‘serious’ musical worlds, composing for Rostropovich, the Kronos Quartet and Gidon Kremer among others.

Tango was originally far from high art, and while its origins are complex, it was the music of the slum areas of Buenos Aires in the early 20th century that istherootofPiazzolla’swork.Thefirsttwotangoswe hear tonight date from the Paris years: SVP is short for ‘s’il vous plait’ (please), and may have been co-composed with band-leader Marcel Feijóo, and Sentido único, or Sens unique, means ‘one-way street’. Thirty years later, Piazzolla composed the scoreforMarcoBellochio’sfilmEnrico IV(afterPirandello’s play) in which a brain-injury leads an Italian aristocrat to image himself King Henry IV, a delusion in which many, including Matilda, the object of his unrequited love, are complicit. Tanti anni prima, also known as Ave Maria, depicts Matilda(playedbyClaudiaCardinaleinthefilm).

Unlike many of his colleagues in the former Soviet Union, Alfred Schnittke enjoyed some experience of the West from early in his life. His father worked in

KSENIJA SIDOROVA

ASTOR PIAZZOLLAASTOR PIAZZOLLA

GREAT PERFORMERS 2018

9

Vienna between 1946-48, and the young Schnittke studied composition privately there as well as acquiringthefluencyinGermanwhichaidedhisrelative freedom of movement when his music becameinternationallyknownafterabout1980.

Theword‘polystylism’isoftenusedtodescribeSchnittke’s work: in a way reminiscent of Mahler (more than Shostakovich, with whom Schnittke is frequently but misleadingly linked) the composer createssomeofhismostdramaticeffectsoutofthe juxtaposition of wildly contrasting materials – passages of strict polyphony give way to cinematic climaxes; tunes by (or that might have been by) classical masters are twisted into ironic parodies. Thisstoodhimingoodsteadinhisworkforfilmand the stage, of course. In 1978, he scored The Inspector’s Tale, a staged version of Nikolai Gogol’s Dead Souls,butforSovietofficialdomthesatireon bureaucratic corruption – of even a century

before – was too close to the bone, so the show was cancelled. Schnittke recycled the music for a 1985 ballet called Esquisses (Sketches) based around various Gogol stories and characters; more recently accordion virtuosos Yuri Shishkin, Friedrich Lips and Ksenija Sidorova herself have developed this suite, Revis Fairytales, of four movements from thescore.Inthefirst,PavelChichikov’schildhoodis depicted by twisted versions of recognizable fragments of classical music, notably from Haydn’s ‘Surprise’ Symphony; the frenetic activity of bureaucraticofficialsisparodiedbydeformationsof material from The Magic Flute overture. The Waltz, likewise casts a wide stylistic net evoking bothliturgicalandoperaticmemories.ThefinalPolka, depicting Gogol’s The Overcoat, a story of the lowly clerk, Bashmachkin, whose overcoat is stolen, and who, dying of exposure lives on as a ghost stealing others’ coats, makes reference to ‘gypsy’ and other vernacular musics.

© Gordon Kerry 2018 Composer and writer Gordon Kerry lives on a hill in North-Eastern Victoria.

ALFRED SCHNITTKE

10

Praised as ‘superbly subtle and virtuosic’ (The Arts Desk) and ‘an amazingly accomplished artist’ (Classical Source), Ksenija Sidorova is the leading ambassador for the accordion.

Encouraged to take up the instrument by a grandmother steeped in the folk tradition of accordion playing, Ksenija started to play the instrument aged eight under the guidance of Marija Gasele in her hometown of Riga. Her quest for more exposure to both classical and contemporary repertoire took her to London where she became a prize-winning undergraduate at the Royal Academy of Music.

Ksenija’sfirstalbum,Carmen, was released on Deutsche Grammophon in 2016.

Ksenija regularly collaborates with Miloš Karadaglić,JuanDiegoFlórez,NicolaBenedetti,Thomas Gould, Avi Avital, Andreas Ottensamer and Joseph Calleja.

twitter.com/KsenijaSidorova facebook.com/sidorovaksenija instagram.com/ksenijasidorova

ABOUT THE ARTIST

KSENIJA SIDOROVA

KSENIJA SIDOROVA

GREAT PERFORMERS 2018

11

This festive season, bring the joy of music to all Victorians. By helping to cover the cost of tickets and transport to concerts and workshops, your tax-deductible gift starting from just $39 will ensure that people from all walks of life can also experience the music you love.

Give today at: melbournerecital.com.au/yourgift

To find out more about how your support this festive season can bring the gift of music to those who would otherwise miss out, contact Alistaire Bowler, Philanthropy Manager on 9207 2653 or alistaire.bowler@melbournerecital.com.au

Get into the SpiritShare the Music

12

INSPIRED GIVING

10TH ANNIVERSARY GIFTS 10th Anniversary Benefactor

Lady Primrose Potter AC

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

10TH ANNIVERSARY COMMISSIONSThe Aranday Foundation Ulrike Klein AO Jane Kunstler Playking Foundation Majlis Pty Ltd. Margaret S Ross AM & Dr Ian C Ross Maria Sola The Yulgilbar Foundation

$10 TICKET PROGRAM($20,000+) Krystyna Campbell-Pretty Yvonne von Hartel AM

Robert Peck AM, Rachel Peck,and Marten Peck of peckvonhartel architects

($10,000+) Dara Pty Ltd Annamila Pty Ltd Angelina & Graeme Wise The Robert Salzer Foundation

($4000+) The John and Jennifer Brukner Foundation Julian Burnside QC AO & Kate Durham John Calvert-Jones AM & Janet Calvert-Jones AO Kathryn Fagg Katrina & Simon Holmes à Court Sylvia and Michael Kantor Susan Thacore Andrew & Jan Wheeler Igor & Jenny Zambelli

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

($1000+) Anonymous (3) ARM Architecture Adrienne Basser Carolyn & Tony Baum Jane Bloomfield Helen Brack Barbara Burge John Castles AM & Thelma Castles OAM Maggie Cash The Hon Mary Delahunty

Paul Donnelly & Brigitte Treutenaere Jo Fisher and Peter Grayson Colin Golvan AM QC & Dr Deborah Golvan Naomi Golvan & George Golvan QC Robert & Jan Green In memory of Beryl Hooley Dr Garry Joslin & Prof Dimity Reed AM Simon Le Plastrier Sally MacIndoe Jane Matthews Message Consultants Australia Dr Richard Mills AM Tim Orton & Barbara Dennis James Ostroburski & Leo Ostroburski Prof David Penington AC & Dr Sonay Penington Geoff & Jan Phillips Shelley Rowlands Christine Sather Dr Cherilyn Tillman & Tam Vu Ullmer Family Foundation Mary Vallentine AO Janet Whiting AM & Phil Lukies

A PLACE OF UNPARALLELED MUSICAL VIBRANCY

Leadership Circles & Music Circle Annual Patrons Programsupporters play a vital role in ensuring the breadth, diversity & scale of the Centre’s musical offering.

LOCAL HEROES LEADERSHIP CIRCLEInaugural Local Heroes Benefactor

Jane Kunstler Majlis 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 Bates Arnold & Mary Bram John & Cathy Simpson

Composers Circle ($4000+) Danielle Davis & Joyce Marks Robert & Jan Green Jenny & Peter Hordern Diana Lempriere Message Consultants Australia James Ostroburski & Leo Ostroburski Dr Victor Wayne & Dr Karen Wayne OAM

Musicians Circle ($2500+) Anonymous (1) Liz & Charles Baré Alastair Campbell & Sue Campbell Kathy & George Deutsch Andrea Goldsmith Ann Lahore Shelley & Euan Murdoch Dr Paul Nisselle AM Greg Noonan Sirius Foundation Mary Vallentine AO

Prelude Circle ($1000+) Phillip Antippa & Tracey Huntley Adrienne Basser Michael Bennett & Kate Stockwin Helen Brack Bill & Sandra Burdett Maggie Cash John Castles AM

Thelma Castles OAM

Julie Ann Cox AM & Laurie Cox AO Mary Draper Lord Francis Ebury & The Late Lady Suzanne Ebury Maggie Edmond Susan Fallaw The Leo & Mina Fink Fund Angela Glover Ann Gordon Jan Grant Nance Grant AM MBE & Ian Harris Henkell Family Fund In memory of Beryl Hooley Professor Rod Hunt & Michael Sharpe Stuart Jennings Dr Garry Joslin & Prof Dimity Reed AM George & Grace Kass

Maria Mercurio Dr Jean McMullin & Dr Catherine Brennan Dr John F Mills Baillieu Myer AC & Sarah Myer Rupert Myer AO & Annabel Myer Stephen Newton AO

Elizabeth O’Keeffe Helen Perlen Kerryn Pratchett Sandra Robertson & Philip Cachia Dr Peter Rogers & Cathy Rogers Peter Rose & Christopher Menz Charlotte Slade & Sebastian King In Memory of Pauline Speedy Barbara & Duncan Sutherland Pamela Swansson Dr Michael Troy

Supporters ($500+) Rhonda Allen Jenny Anderson Anonymous (1) Peter J Armstrong Alistaire Bowler Min Li Chong Jean Dunn Penelope Hughes Angela & Richard Kirsner Dr Anne Lierse Jane Morris Dr Robert Piaggio Dr Diane Tibbits

ACCESS TO THRILLING MUSIC FOR EVERYONE

Share 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-Pretty John & Susan Davies

($4000+) Jack & Hedy Brent Foundation Helen & Michael Gannon Linda Herd

($2500+) Anne Burgi & Kerin Carr

($1000+) Anonymous (1) Keith & Debby Badger Kaye & David Birks Maria Hansen In memory of Beryl Hooley Prof John Langford AM & The Late Christina McCallum

GREAT PERFORMERS 2018

13

Ann Miller Dennis & Fairlie Nassau Greg Shalit & Miriam Faine

($500+) Anonymous (4) Ian Baker & Cheryl Saunders Roly Ball Ann Blake Caroline & Robert Clemente Vivien & Jacob Fajgenbaum Dr Kingsley Gee Dr Robert Hetzel Genevieve Kennedy Wendy Kozica, Alan Kozica & David O’Çallaghan Maria McCarthy Jan Morrison Andrew & Georgina Porter Barry & Barbara Shying Rosemary Walls Mark & Jane Wilson

A PLATFORM FOR THE VERY BEST

Donations 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 Benjamin Paulette & Warwick Bisley The John & Jennifer Brukner Foundation Geoff & Jan Phillips Maria Sola

SIGNATURE EVENTS LEADERSHIP CIRCLEInaugural Signature Events Benefactors

Yvonne von Hartel AM, Robert Peck AM, Rachel Peck and Marten Peck of peckvonhartel architects

LEGAL FRIENDSLegal Friends Inaugural Patrons

The 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 McMullin Peter B Murdoch QC & Helen Murdoch Maya Rozner & Alex King

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

($1000+) Anonymous (3) Marcia and John K Arthur James Barber Peter Bartlett Annette Blonski & Martin Bartfeld QC David Byrne The Hon Alex Chernov AC QC & Elizabeth Chernov Christine Clough The Hon Julie Dodds Streeton Timothy Goodwin Robert Heathcote & Meredith King The Hon Peter Heerey AM QC & Sally Heerey Judge Sara Hinchey & Tom Pikusa John Howie AM & Dr Linsey Howie Pandora Kay & John Larkins Anthony J & Philippa M Kelly Maryanne B Loughnan QC Banjo McLachlan & Paul Mahony Elizabeth O’Keeffe Ralph & Ruth Renard Meredith Schilling Michael Shand QC

Tom Smyth

($500+) Elizabeth Boros Leslie G Clements The Hon Hartley Hansen QC & Rosalind Hansen The Hon David L Harper AM

NURTURING YOUNG ARTISTS

Patrons 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 Cousins George & Laila Embelton

ENSEMBLE GIOVANE($5000+) Jo Fisher

($3000+) Anonymous (1) Christine Sather

($1000+) Peter J Armstrong Bailey-Lord Family Mary Beth Bauer Fiona Bennett Zoe Brinsden Kathryn Fagg Dr Jane Gilmour OAM & Terry Brain Liane Kemp Prof Andrea Hull AO

Norene Leslie McCormac Rosemary O’Connor Laura Thomas

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

($4000+) Andrew & Theresa Dyer Lyndsey & Peter Hawkins Dr Alastair Jackson AM Lyn Williams AM YMF Australia

($2500+) Dr Cherilyn Tillman & Tam Vu

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

REACHING BEYOND THE CENTRE

Giving 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 Hordern Cathy Lowy The Ullmer Family Foundation

LASTING LEGACY

Providing sustained support for all aspects of the Centre’s artistic program through its Public Fund.

ENCORE BEQUEST PROGRAMAnonymous (3) The Late Betty Amsden AO DSJ Jenny Anderson Barbara Blackman Jennifer Brukner Ken Bullen Jim Cousins AO & Libby Cousins Dr Garry Joslin Janette McLellan Elizabeth O’Keeffe Prof Dimity Reed AO

Sandy Shaw The Estate of Beverley Shelton & Martin Schönthal Mary Vallentine AO

SEAT DEDICATIONLowina Blackman John Calvert-Jones AM & Janet Calvert-Jones AO

The Hon Mary Delahunty Ronald Farren-Price AM & Margaret Farren-Price Kristin Gill & family Nance Grant AM MBE Catherine Heggen Anne Kantor AO & Dr Milan Kantor OAM Cathy Lowy Katherine Rechtman Ralph & Ruth Renard Kiera Stevens Peter J Stirling Jenny Tatchell Friends of David Tong Mary Vallentine AO Mary Waldron Vivian Wei Wang

List of patrons as at 12 November 2018

1414

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

1

MEASHA BRUEGGERGOSMAN

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

Great Performers—Concert Series 2019

Melbourne Recital Centre Presents

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

Single Tickets now

on sale from $62Season Ticket

Packages from $210

1

MEASHA BRUEGGERGOSMAN

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

Great Performers—Concert Series 2019

Melbourne Recital Centre Presents

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

Single Tickets now

on sale from $62Season Ticket

Packages from $210

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