M E L B O U R N E R E C I TA L C E N T R E P R E S E N T S

CAMILL A TILLING SOPRANO GREAT PERFORMERS CONCERT SERIES 2016 FR IDAY 8 A PR IL 2016

CA MIL L A TIL L ING SOPR A NO Leigh Harrold - piano

'Singing with vocal refinement, musical intelligence and

Friday 8 April 2016 7.30pm Elisabeth Murdoch Hall 6.45pm free pre-concert talk with Andrea Katz

generosity of spirit.'

This concert is being recorded for broadcast on ABC Classic FM

T H E

DURATION

B O S TO N

G LO B E

Schumann: 25 minutes Berg: 18 minutes Interval: 20 minutes Berlioz: 31 minutes The concert will conclude at approximately 9.10pm.

PROGR A M ROBERT SCHUMANN (b. Zwickau, Germany, 1810 – d. Endenich, Bonn, Germany, 1856) Frauenliebe und -leben, Op.42 (Woman’s Love & Life) (1840) ‘Seit ich ihn gesehen’ (Ever since first seeing him) ‘Er, der Herrlichste von allen’ (He, the most glorious of all) ‘Ich kann's nicht fassen, nicht glauben’ (I can’t grasp, nor believe it) ‘Du Ring an meinem Finger’ (Thou ring on my finger) ‘Helft mir, ihr Schwestern’ (Help me, ye sisters) ‘Süßer Freund, du blickest’ (Sweet friend, thou gazest) ‘An meinem Herzen, an meiner Brust’ (At my heart, at my breast) ‘Nun hast du mir den ersten Schmerz getan’ (Now thou hast given me, for the first time, pain) ALBAN BERG (b. Vienna, Austria, 1885 – d. Vienna, Austria, 1935) Sieben frühe Lieder (Seven Early Songs) (1905-1908) Nacht (Night) Schilflied (Song amid the reeds) Die Nachtigall (The Nightingale) Traumgekrönt (Crowned in dream) Im Zimmer (Indoors) Liebesode (Ode to Love) Sommertage (Summer days) Interval: 20 minutes HECTOR BERLIOZ (b. La Côte-Saint-André, France, 1803 – d. Paris, France, 1869) Les nuits d'été (Summer Nights) Op.7 (1841) Villanelle Le spectre de la rose (The Spectre of the Rose) Sur les lagunes (On the Lagoons) Absence Au cimitière (At the Cemetery) L’île inconnue (The Unknown Isle)

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A BOUT THE MUSIC Delicate filaments string together these three song cycles. Of the three, two were composed at the same time, 1840-41. Two celebrate the night, both ecstatic and threatening. Two drew on words by poets known to the composers. Two were inspired by the composers’ own marriages: one a celebration, the other a doleful stocktaking. Two aren’t cycles in the conventional sense, but rather carefully-curated collections of miraculous shards. Robert Schumann Frauenliebe und -leben With a handful of notes, Robert Schumann conjures a world. Hesitant steps introduce our deferential heroine at the opening of the first song. Broad, full chords set the stage for our ‘hero’ in the second. Later there are breathless recitatives, hushed hymns and celebratory wedding bells. Heartbreaking suspensions shiver with anticipation, while a knife’s stab pushes us to the edge of our seats. Schumann and Clara Wieck were in love. He, a troubled, debt-ridden and alcoholic composer. She, one of Europe’s most famous and influential pianists, firmly under the thumb of a controlling father. For three years Friedrich Wieck blocked their marriage with legal and emotional manipulations. After a debilitating struggle, the path to marriage was cleared in 1840 and into those heady days Frauenliebe und -leben was born.

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Robert Schumann (1810-1856) A key figure of the Romantic movement, Schumann was an innovative composer and incisive cultural critic. After a hand injury hindered his chances of a career as a concert pianist he turned to composition, almost exclusively for the piano to start, although his legacy includes chamber music, lieder and symphonies that are cornerstones of the repertoire. Schumann’s idiosyncratic music is populated by a cast of recurring characters and fantastical extra-musical themes, and evoke extreme states of mind from melancholia, to ecstasy and ‘madness’. Schumann perhaps suffered from bipolar disorder, contrasting unproductive depressive episodes with times of fevered creation, such as the ‘Year of Song’ (1840) when he composed over 140 songs including Frauenliebe und –leben . Schumann attempted suicide in 1854 by jumping into the Rhine, he entered a sanatorium in Bonn and died two years later.

True to his name, poet Adalbert von Chamisso lived a swashbuckling life. Driven from Paris during the French revolution, Chamisso traveled the world as soldier, botanist, linguist, folk-tale writer and poet. This outsider’s passionately ‘democratic, anticolonial and antiracist’ views appeal to our modern sensibilities, yet, thanks to Schumann, Chamisso is remembered for a poetic cycle with resolutely old-fashioned gender attitudes. Women in 19th-century Germany were subordinate to the men in their lives, first their father, then their husband. Enormous gaps in age, power and education existed within married couples, and there was little hope for the situation to change. Unsurprisingly, the heroine of Frauenliebe und -leben shares this lack of autonomy. She idealises her betrothed, dreams only of her wedding ring, longs to see her husband’s face in their child, and knows no future as a widow. Schumann was a man of his time. In 1838 he wrote to Clara that ‘young wives must be able to cook and keep house if they want satisfied

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Clara Schumann (née Wieck) (1819-1896) Virtuoso pianist, teacher and composer, Clara Wieck was one of the most celebrated performers of the 19th century, touring extensively and premiering works by Frederic Chopin, Johannes Brahms and her husband, Robert. She championed the latest works by leading composers in her recitals. A child prodigy, her piano-teacher father Friedrich micromanaged her career. In 1830, when Clara was 11, Friedrich took on Robert Schumann as a live-in pupil (he was 20). Seven years later Schumann asked Clara to marry him, which she did despite her father’s objections and legal blockade. Clara was the principal breadwinner of the household and maintained her musical career but stopped composing. She supported Robert (financially and emotionally) and their eight children, while organising her own touring schedule and teaching.

husbands. The first year of our marriage you shall forget the artist, you shall live only for yourself and your house and your husband.’ For Schumann, life and art were firmly intertwined, and he likely intended Frauenliebe und -leben as a musical manifestation of an ideal marriage. Why does this cycle, so problematic in our modern times, retain its enormous popularity? First, for its miraculous use of the female voice. Graham Johnson writes that Schumann’s music ‘lovingly nourishes [the words], fills them out, transfigures them, [providing] a flow of sound where breath unites with intelligence. He understands the visceral miracle at the heart of singing, as the voice cries out with the pain of what it is to be human.’ Second, for its heartfelt intimacy. Schumann guides performers again and again with the word ‘innig’, which translates as intimate, heartfelt, deep, fond and dear. This cycle takes place in close-up, and we often feel the composer himself leaning towards us, sharing secret thoughts, quiet ecstasy and a delicate touch. Third, for its challenge to our empathy as performers and listeners. For almost two centuries, singers have lifted our downtrodden heroine up off the page, filling her with three dimensions, imbuing her with a wide range of thoughts and attitudes. In one performance she might be proud, in another humble, sometimes ambivalent, occasionally

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angry, but always more complex than she may at first appear. We come together to give her renewed life and love in our very different century. Alban Berg Sieben frühe Lieder (Seven Early Songs)

Alban Berg (1885-1935) The Expressionist composer Arnold Schoenberg and his students Alban Berg and Anton von Webern comprise what is sometimes called the ‘Second Viennese School’ (the ‘first’ school included Mozart, Haydn, Beethoven, Schubert et al.). While each of the composers’ music is very different, the common thread is the use (at various times and various degrees) of tone-rows (AKA serial or 12-tone composition) and exploration of highly chromatic harmony with no tonal centre (AKA ‘atonality’). Berg’s music is perhaps the most accessible with a highly personal use of serial techniques that allowed him to hint at conventional harmonic functions. His most famous works include the Violin Concerto – hauntingly built upon a Bach chorale, the tragic opera Wozzeck and the sordid opera Lulu . At the time Berg wrote his early songs, he was moving in the circle of painter Gustav Klimt and architect Adolf Loos at the vanguard of fin de siècle Vienna’s rich artistic ferment.

1. Nacht. Notes rise from the depths of twilight, pulling aside a curtain to reveal a glowing dreamland of night. This song, the longest in the collection, floats in the weightless ambiguity of the whole-tone scale, adrift. Alban Berg lives a quiet, comfortable, studious life in Vienna. Self-taught, he shows his love for and knowledge of great music and poetry through the teenaged composition of dozens of songs. His sister, unbidden, signs him up for composition lessons with Arnold Schoenberg in 1905, a small decision that changes Berg’s life irrevocably. They are a study in contrasts: Berg is tall, aloof, reserved, cultivated; Schoenberg is short, shabby and outspoken, poor. Yet Berg falls under the spell of this strict, passionate and hypnotic presence and is transformed as an artist and a person. 4. Traumgekronkt. A dream-like apparition is sketched, freehand, soft pencil on textured paper. This music has no hard edges or straight lines, is always shifting, melting, in flux.

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The Sieben frühe Lieder is Berg’s first acknowledged work. More ‘collection’ than ‘cycle’, it was compiled by Berg from 30 songs written during his studies with Schoenberg. The collection has no clear narrative voice or theme, but the dense, cerebral poems are united by a fascination with the night. Dusk fades at the opening of the first song, and thereafter the set is rich with dreams, apparitions, sex and moonlight. Dawn breaks with the final song, a hymn to an Earth drenched in light. 5. Im Zimmer. Home and hearth. The simplest, shortest song of the set envelops us in the warm glow of a crackling fire, rocking us gently into a love-drunk sleep. In 1905, Schoenberg’s music contracted, compressed. He turned away from the epic size and scope of his previous work, and began to pack entire symphonies into tiny suitcases, shrinking tunes, piling ideas, eliding sections. Berg’s Sieben frühe Lieder mirrors his teacher’s newly-focused concision. Apart from the four-minute-long 'Nacht', no song lasts for more than two minutes. The soprano is rarely silent, crushing every word to fit into tiny capsules. 7. Sommertage. This final song is a full-throated, full-fisted paen to the ‘wandering wonderland’ of the earth. After six ambiguous, moonlit songs, full of subtle shadows and half-light, 'Sommertage' surges towards the light, steadily increasing in tension until the sun blinds us with its brilliance.

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Hector Berlioz (1803-1869) Berlioz’s Symphonie fantastique is one of the first and central documents of musical Romanticism. The radical, febrile masterpiece that placed Berlioz at the forefront of French music is, astonishingly, almost a student composition: Berlioz had quit studying medicine and enrolled in the Paris Conservatoire only four years earlier. His increasingly ambitious compositions include the dramatic symphony with voices Roméo et Juliette, the Grande Messe des Morts, La Damnation de Faust and Harold en Italie, with a solo viola part intended for Niccolò Paganini, three operas and a treatise on orchestration that remains a standard text. Berlioz also toured Europe extensively as a conductor from the 1840s, where indeed his music found more attentive audiences than in France. After his marriage to Harriet Smithson dissolved, Berlioz married again. His second wife, Marie, died in 1862, his only son died in 1867, and Berlioz died aged 65 in Paris in 1869. He is buried in Montmartre Cemetery among other Romantics including Théophile Gautier, Heinrich Heine and Adolph Sax, inventor of the saxophone.

The set brings two major challenges to its performers. First, the singer must surmount technical demands, soaring high and diving deep, struggling to have the words understood. Second, the performers must counter the set’s lacks of variety. The songs are slow and harmonically ambiguous, and the unending display of ecstasy and rapture can wear a listener down, providing a glorious but numbing diet of musical Sachertorte. Hector Berlioz Les nuits d'été Hector Berlioz was no shrinking violet. The passionate Frenchman produced voluminous critical and journalistic writings, as well as a 600-page autobiography, the ‘unlikely novel [of] my life’. But the composer was gun-shy when discussing one work; Les nuits d'été, about which we know next to nothing. So why the reticence? In 1841, as he wrote Les nuits d'été, Berlioz’s marriage was foundering. Almost a decade prior, he married his dream-partner and muse, English Shakespearean actress Harriet Smithson. Berlioz pined for Smithson for years before they met, immortalizing her in two opium-fueled, love-crazed symphonies (Symphonie fantastique and Lélio, ou le retour à la vie, composed 1830-1831). Once married, the two learned that fantasy and reality rarely align. A stranger in a strange land, Smithson struggled with debilitating feelings of alienation, envy of her husband’s success, sexual jealousy, and constant poor health.

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In 1840, Berlioz took a mistress. It was the beginning of the end. Unsurprisingly, Les nuits d'été is preoccupied with loneliness and alienation, but is also haunted by the spectre of death. Composer and poet were both terrified by their own mortality, obsessions that leeched into their artistic works. Between 1835 and 1840, Berlioz wrote a Requiem, a Romeo and Juliet symphony, and the ‘Funeral and Triumphant’ symphony, while the poems of Les nuits d'été were drawn from the collection La Comédie de la Mort (‘The comedy of death’) whose author, Théophile Gautier, had a morbid fascination with France’s then-proliferating cemeteries. Berlioz’s title, ‘Summer nights’ is a little odd. ‘Villanelle’ occurs during spring, and most of the songs take place during the day. The title’s oblique reference to A Midsummer Night's Dream may hint at a hidden meaning, a forlorn hat-tip to his generation’s most famous Shakespearean actress, Harriet Smithson. Berlioz wrote Les nuits d'été after a long string of gargantuan works. Perhaps the composer wanted to prove he could still work on a smaller scale. Or perhaps the ease of arranging song performances made the form lucrative in straightened times. Regardless, song writing was a core activity for Berlioz, who in his teen years learned his craft through the composition of dozens of simple romances. By reviving this beloved form of

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his childhood, was Les nuits d'été a way for Berlioz to recall a happier, simpler time? Les nuits d'été: Many voices Les nuits d'été is more ‘collection’ than ‘cycle’, one with no central through-line or unifying theme. In Berlioz’s later orchestration, each song is dedicated to a different singer (these voice-types are included in parentheses below), a confirmation that Les nuits d'été gathers together many characters, many moods, many voices. A challenge for performers is to embody each song’s unique ‘voice’ while charting a steady course through the whole work. 1. Villanelle (tenor). A bright voice for a song of young love. The simplicity and innocence of this first song misleads us, lulls us, making the darker turn to come more wrenching. The ‘villanelle’ is a poetic form with origins as a ‘country song’. 2. Le spectre de la rose (mezzo-soprano). The hazy-voiced rose is our seductress here. An operatic scene leads us on a journey through a perfumed dream-sequence, one that appears to a barely-concealed sexual encounter, as the lovers ‘pluck’ the flower and put the rose to death. 3. Sur les lagunes (baritone). A boatman laments in husky, dark-hued tones above a sea-borne funeral march. Punctuated by three sobbing cries of pain (‘Ah!’), this song, surprisingly, is the only song of Les nuits d'été in a minor key.

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4. Absence (soprano). A soprano’s voice gleams with clarion-like brilliance in the opening cry, a mournful call to an absent lover. But the tone of ‘Absence’ is not one of desperation, rather of muted acceptance. 5. Au cimetière (tenor). The chaste hymn of a pious woman, beside her lover’s grave, gives way to an operatic scene of trembling terror as our heroine faces a ghostly presence. 6. L'île inconnue (soprano). A bright voice for another song of young love. Our hero tempts a young maid with dreams of adventures far and wide, but this song has a sting in its tail. Lasting love is a fiction, he says, perhaps hoping this lures the young maid into something of the one-night variety. Berlioz, whose curdling marital fantasy likely inspired Les nuits d'été, might have intended this throwaway line to hit home with unexpected force. © Tim Munro 2016 Tim Munro is a Brisbane-born, Grammy-winning flautist based in Chicago.

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TE X TS Frauenliebe und –leben Adalbert von Chamisso Seit ich ihn gesehen

Ever since first seeing him

Seit ich ihn gesehen, Glaub' ich blind zu sein; Wo ich hin nur blicke, Seh' ich ihn allein; Wie im wachen Traume Schwebt sein Bild mir vor, Taucht aus tiefstem Dunkel, Heller nur empor.

Since I saw him I believe myself to be blind, where I but cast my gaze, I see him alone. as in waking dreams his image floats before me, dipped from deepest darkness, brighter in ascent.

Sonst ist licht- und farblos Alles um mich her, Nach der Schwestern Spiele Nicht begehr' ich mehr, Möchte lieber weinen, Still im Kämmerlein; Seit ich ihn gesehen, Glaub' ich blind zu sein.

All else dark and colourless everywhere around me, for the games of my sisters I no longer yearn, I would rather weep, silently in my little chamber, since I saw him, I believe myself to be blind.

Er, der Herrlichste von allen

He, the most glorious of all

Er, der Herrlichste von allen, Wie so milde, wie so gut! Holde Lippen, klares Auge, Heller Sinn und fester Muth.

He, the most glorious of all, O how mild, so good! lovely lips, clear eyes, bright mind and steadfast courage.

So wie dort in blauer Tiefe, Hell und herrlich, jener Stern, Also er an meinem Himmel, Hell und herrlich, hoch und fern.

Just as yonder in the blue depths, bright and glorious, that star, so he is in my heavens, bright and glorious, lofty and distant.

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Wandle, wandle deine Bahnen; Nur betrachten deinen Schein, Nur in Demuth ihn betrachten, Selig nur und traurig sein!

Meander, meander thy paths, but to observe thy gleam, but to observe in meekness, but to be blissful and sad!

Höre nicht mein stilles Beten, Deinem Glücke nur geweiht; Darfst mich niedre Magd nicht kennen, Hoher Stern der Herrlichkeit!

Hear not my silent prayer, consecrated only to thy happiness, thou mays't not know me, lowly maid, lofty star of glory!

Nur die Würdigste von allen Soll beglücken deine Wahl, Und ich will die Hohe segnen, Segnen viele tausend Mal.

Only the worthiest of all may make happy thy choice, and I will bless her, the lofty one, many thousand times.

Will mich freuen dann und weinen, Selig, selig bin ich dann, Sollte mir das Herz auch brechen, Brich, o Herz, was liegt daran.

I will rejoice then and weep, blissful, blissful I'll be then; if my heart should also break, break, O heart, what of it?

Ich kann's nicht fassen, nicht glauben

I can’t grasp, nor believe it

Ich kann's nicht fassen, nicht glauben, Es hat ein Traum mich berückt; Wie hätt' er doch unter allen Mich Arme erhöht und beglückt?

I can't grasp it, nor believe it, a dream has bewitched me, how should he, among all the others, lift up and make happy poor me?

Mir war's, er habe gesprochen: Ich bin auf ewig dein -Mir war's -- ich träume noch immer, Es kann ja nimmer so sein.

It seemed to me, as if he spoke, ‘I am thine eternally’, It seemed - I dream on and on, It could never be so.

O laß im Traume mich sterben, Gewieget an seiner Brust, Den seligsten Tod mich schlürfen In Thränen unendlicher Lust.

O let me die in this dream, cradled on his breast, let the most blessed death drink me up in tears of infinite bliss.

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Du Ring an meinem Finger

Thou ring on my finger

Du Ring an meinem Finger, Mein goldnes Ringelein, Ich drücke dich fromm an die Lippen, Dich fromm an das Herze mein.

Thou ring on my finger, my little golden ring, I press thee piously upon my lips piously upon my heart.

Ich hatt' ihn ausgeträumet, Der Kindheit friedlich schönen Traum, Ich fand allein mich, verloren Im öden, unendlichen Raum.

I had dreamt it, the tranquil, lovely dream of childhood, I found myself alone and lost in barren, infinite space.

Du Ring an meinem Finger, Da hast du mich erst belehrt, Hast meinem Blick erschlossen Des Lebens unendlichen Werth.

Thou ring on my finger, thou hast taught me for the first time, hast opened my gaze unto the endless, deep value of life.

Ich werd' ihm dienen, ihm leben, Ihm angehören ganz, Hin selber mich geben und finden Verklärt mich in seinem Glanz.

I want to serve him, live for him, belong to him entire, Give myself and find myself transfigured in his radiance.

Du Ring an meinem Finger, Mein goldnes Ringelein, Ich drücke dich fromm an die Lippen, Dich fromm an das Herze mein.

Thou ring on my finger, my little golden ring, I press thee piously upon lips, piously upon my heart.

Helft mir, ihr Schwestern Helft mir, ihr Schwestern, Freundlich mich schmücken, Dient der Glücklichen heute mir. Windet geschäftig Mir um die Stirne Noch der blühenden Myrte Zier.

Help me, ye sisters Help me, ye sisters, friendly, adorn me, serve me, today's fortunate one, busily wind about my brow the adornment of blooming myrtle.

Als ich befriedigt, Freudigen Herzens, Dem Geliebten im Arme lag,

Otherwise, gratified, of joyful heart, I would have lain in the arms

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Immer noch rief er, Sehnsucht im Herzen, Ungeduldig den heut'gen Tag.

of the beloved, so he called ever out, yearning in his heart, impatient for the present day.

Helft mir, ihr Schwestern, Helft mir verscheuchen Eine thörichte Bangigkeit; Daß ich mit klarem Aug' ihn empfange, Ihn, die Quelle der Freudigkeit.

Help me, ye sisters, help me to banish a foolish anxiety, so that I may with clear eyes receive him, him, the source of joyfulness.

Bist, mein Geliebter, Du mir erschienen, Giebst du, Sonne, mir deinen Schein? Laß mich in Andacht, Laß mich in Demuth, Mich verneigen dem Herren mein.

Dost, my beloved, thou appear to me, givest thou, sun, thy shine to me? Let me with devotion, let me in meekness, let me curtsy before my lord.

Streuet ihm, Schwestern, Streuet ihm Blumen, Bringt ihm knospende Rosen dar. Aber euch, Schwestern, Grüß' ich mit Wehmuth, Freudig scheidend aus eurer Schaar.

Strew him, sisters, strew him with flowers, bring him budding roses, but ye, sisters, I greet with melancholy, joyfully departing from your midst.

Süßer Freund, du blickest

Sweet friend, thou gazest

Süßer Freund, du blickest Mich verwundert an, Kannst es nicht begreifen, Wie ich weinen kann; Laß der feuchten Perlen Ungewohnte Zier Freudenhell erzittern In den Wimpern mir.

Sweet friend, thou gazest upon me in wonderment, thou cannst not grasp it, why I can weep; Let the moist pearls' unaccustomed adornment tremble, joyful-bright, in my eyes.

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Wie so bang mein Busen, Wie so wonnevoll! Wüßt' ich nur mit Worten, Wie ich's sagen soll; Komm und birg dein Antlitz Hier an meiner Brust, Will in's Ohr dir flüstern Alle meine Lust.

How anxious my bosom, how rapturous! If I only knew, with words, how I should say it; come and bury thy visage here in my breast, I want to whisper in thy ear all my happiness.

Hab' ob manchen Zeichen Mutter schon gefragt, Hat die gute Mutter Alles mir gesagt, Hat mich unterwiesen, Wie, nach allem Schein, Bald für eine Wiege Muß gesorget sein.

About the signs I have already asked Mother; my good mother has told me everything.. She has assured me that by all appearances, soon a cradle will be needed.

Weißt du nun die Thränen, Die ich weinen kann? Sollst du nicht sie sehen, Du geliebter Mann; Bleib' an meinem Herzen, Fühle dessen Schlag, Daß ich fest und fester Nur dich drücken mag.

Knowest thou the tears, that I can weep? Shouldst thou not see them, thou beloved man? Stay by my heart, feel its beat, that I may, fast and faster, hold thee.

Hier an meinem Bette Hat die Wiege Raum, Wo sie still verberge Meinen holden Traum; Kommen wird der Morgen, Wo der Traum erwacht, Und daraus dein Bildniß Mir entgegen lacht.

Here, at my bed, the cradle shall have room, where it silently conceals my lovely dream; the morning will come where the dream awakes, and from there thy image shall smile at me.

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An meinem Herzen, an meiner Brust

At my heart, at my breast

An meinem Herzen, an meiner Brust, Du meine Wonne, du meine Lust!

At my heart, at my breast, thou my rapture, my happiness!

Das Glück ist die Liebe, die Lieb' ist das Glück, Ich hab' es gesagt und nehm's nicht zurück.

The joy is the love, the love is the joy, I have said it, and won't take it back.

Hab' überglücklich mich geschätzt Bin überglücklich aber jetzt.

I've thought myself rapturous, but now I'm happy beyond that.

Nur die da säugt, nur die da liebt Das Kind, dem sie die Nahrung giebt;

Only she that suckles, only she that loves the child, to whom she gives nourishment;

Nur eine Mutter weiß allein, Was lieben heißt und glücklich sein.

Only a mother knows alone what it is to love and be happy.

O, wie bedaur' ich doch den Mann, Der Mutterglück nicht fühlen kann!

O how I pity then the man who cannot feel a mother's joy!

Du schauest mich an und lächelst dazu, Du lieber, lieber Engel, du! 1

Thou lookst at me and smiles, Thou dear, dear angel thou

An meinem Herzen, an meiner Brust, Du meine Wonne, du meine Lust!

At my heart, at my breast, thou my rapture, my happiness!

Nun hast du mir den ersten Schmerz gethan

Now thou hast given me, for the first time, pain

Nun hast du mir den ersten Schmerz gethan, Der aber traf. Du schläfst, du harter, unbarmherz'ger Mann, Den Todesschlaf.

Now thou hast given me, for the first time, pain, how it struck me. Thou sleepst, thou hard, merciless man, the sleep of death.

1 Order of these two lines could be reversed based on edition

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Es blicket die Verlass'ne vor sich hin, Die Welt ist leer. Geliebet hab' ich und gelebt, ich bin Nicht lebend mehr.

The abandoned one gazes straight ahead, the world is void. I have loved and lived, I am no longer living.

Ich zieh' mich in mein Inn'res still zurück, Der Schleier fällt, Da hab' ich dich und mein vervang'nes Glück, Du meine Welt!

I withdraw silently into myself, the veil falls, there I have thee and my lost happiness, O thou my world! © Daniel Platt English translation reprinted with permission of Daniel Platt.

Sieben frühe Lieder Nacht (Carl Hauptmann)

Night

Dämmern Wolken über Nacht und Thal, Nebel schweben. Wasser rauschen sacht. Nun entschleiert sich's mit einem Mal: O gieb acht! gieb acht!

The clouds embrown the night and valley; the mists float above, the water rushing gently. Now all at once they unveil themselves: o listen! pay heed!

Weites Wunderland ist aufgethan, Silbern ragen Berge traumhaft gross, Stille Pfade silberlicht thalan Aus verborg'nem Schoss.

A broad land of wonder has opened up. Silver mountains rise up, fantastically huge, quiet paths lit with silver [lead] toward the valley from [some] hidden place;

Und die hehre Welt so traumhaft rein. Stummer Buchenbaum am Wege steht Schattenschwarz -- ein Hauch vom fernen Hain Einsam leise geht.

and the noble world is so dreamily pure. A mute beech stands by the path, black with shadows; a breeze from a distant, lonely grove wafts gently by.

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Und aus tiefen Grundes Düsterheit Blinken Lichter auf in [stumme]2 Nacht. Trinke Seele! trinke Einsamkeit! O gieb acht! gieb acht!

And from the deep darkness of the valley flash lights in the silent night. Drink, my soul! Drink in this solitude! O listen! pay heed!

Schilflied (Nikolaus Lenau)

Song amid the reeds

Auf geheimem Waldespfade Schleich' ich gern im Abendschein An das öde Schilfgestade, Mädchen, und gedenke dein!

Along a secret forest path I like to creep in the evening light; I go to the desolate, reedy banks, and think, my maiden, of you!

Wenn sich dann der Busch verdüstert, Rauscht das Rohr geheimnisvoll, Und es klaget und es flüstert, Daß ich weinen, weinen soll.

As the bushes grow dark, the reeds hiss mysteriously, and lament and whisper, and thus I have to weep and weep.

Und ich mein', ich höre wehen Leise deiner Stimme Klang, Und im Weiher untergehen Deinen lieblichen Gesang.

And I think that I hear wafting the gentle sound of your voice, and down into the pond sinks your lovely song.

Die Nachtigall (Theodor Storm)

The Nightingale

Das macht, es hat die Nachtigall Die ganze Nacht gesungen; Da sind von ihrem süssen Schall, Da sind in Hall und Widerhall Die Rosen aufgesprungen.

It happened because the nightingale sang the whole night long; from her sweet call, from the echo and re-echo, roses have sprung up.

Sie war doch sonst ein wildes Kind, Nun geht sie tief in Sinnen, Trägt in der Hand den Sommerhut Und duldet still der Sonne Glut Und weiß nicht, was beginnen.

She was but recently a wild blossom, and now she walks, deep in thought; she carries her summer hat in her hand, enduring quietly the heat of the sun, knowing not what to begin.

Das macht, es hat die Nachtigall Die ganze Nacht gesungen; Da sind von ihrem süssen Schall,

It happened because the nightingale sang the whole night long; from her sweet call,

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Da sind in Hall und Widerhall Die Rosen aufgesprungen.

from the echo and re-echo, roses have sprung up.

Traumgekrönt (Rainer Maria Rilke)

Crowned in dream

Das war der Tag der weißen Chrysanthemen, Mir bangte fast vor seiner Pracht... Und dann, dann kamst du mir die Seele nehmen Tief in der Nacht. Mir war so bang, und du kamst lieb und leise, Ich hatte grad im Traum an dich gedacht. Du kamst, und leis' wie eine Märchenweise Erklang die Nacht.

That was the day of white chrysanthemums; I almost trembled before its glory... And then, then you came to me to take my soul Deep in the night. I felt so anxious, and you came so lovingly and gently; I had just been thinking about you in a dream. You came, and softly, like a fairy tale, the night resounded.

Im Zimmer (Johannes Schlaf)

Indoors

Herbstsonnenschein. Der liebe Abend blickt so still herein. Ein Feuerlein rot Knistert im Ofenloch und loht. So, mein Kopf auf deinen Knie'n, So ist mir gut. Wenn mein Auge so in deinem ruht, Wie leise die Minuten zieh'n.

Autumn sunlight. The lovely evening peers so quietly in. A little red fire crackles in the stove and flares up. And with my head upon your knee, I am contented. When my eyes rest in yours, how gently do the minutes pass!

Liebesode (Otto Erich Hartleben)

Ode to Love

Im Arm der Liebe schliefen wir selig ein, Am offnen Fenster lauschte der Sommerwind, Und unsrer Atemzüge Frieden Trug er hinaus in die helle Mondnacht.

In the arms of love we fell blissfully asleep; at the open window the summer wind listened and carried the peacefulness of our breath out into the bright, moonlit night.

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Und aus dem Garten tastete zagend sich Ein Rosenduft an unserer Liebe Bett Und gab uns wundervolle Träume, Träume des Rausches -- so reich an Sehnsucht!

And out of the garden, feeling its way randomly, the scent of roses came to our bed of love and gave us wonderful dreams, dreams of intoxication, rich with yearning.

Sommertage (Paul Hohenberg)

Summer days

Nun ziehen Tage über die Welt, Gesandt aus blauer Ewigkeit, Im Sommerwind verweht die Zeit. Nun windet nächtens der Herr Sternenkränze mit seliger Hand Über Wander- und Wunderland. O Herz, was kann in diesen Tagen Dein hellstes Wanderlied denn sagen Von deiner tiefen, tiefen Lust: Im Wiesensang verstummt die Brust, Nun schweigt das Wort, wo Bild um Bild Zu dir zieht und dich ganz erfüllt.

Now the days drag through the world, sent forth from blue eternity; time dissipates in the summer wind. Now at night the Lord weaves with blessed hand wreaths of stars above the wandering wonderland. In these days, o my heart, what can your brightest wanderer's song then say about your deep, deep pleasure? In meadowsong the heart falls silent; now there are no words, and image upon image visits you and fills you entirely. © Emily Ezust

Les nuits d'été Théophile Gautier

English translation reprinted with permission of Emily Ezust. Source: LiederNet Archive

Villanelle Quand viendra la saison nouvelle, Quand auront disparu les froids, Tous les deux nous irons, ma belle, Pour cueillir le muguet aux bois. Sous nos pieds égrenant les perles Que l’on voit au matin trembler, Nous irons écouter les merles Siffler.

When the new season comes, When the cold has gone, The two of us will go, my love, To gather lily-of-the-valley in the woods. Scattering beneath our feet the dew-drops That are seen trembling in morning, We shall go and listen to the blackbirds Sing.

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Le printemps est venu, ma belle. C’est le mois des amants béni; Et l’oiseau, satinant son aile, Dit ses vers au rebord du nid. Oh, viens donc, sur ce banc de mousse, Pour parler de nos beaux amours, Et dis-moi de ta voix si douce: ‘Toujours!’

Spring has come, my love. It is the month blessed by lovers; And the bird, preening its wings, Recites its verses at the edge of its nest. Oh, come with me then, on to this mossy bank, To talk of our sweet love, And tell me in your voice so soft: ‘Always!’

Loin, bien loin, égarant nos courses, Faisons fuir le lapin caché, Et le daim au miroir des sources Admirant son grand bois penché; Puis chez nous, tout heureux, tout aises, En paniers enclaçant nos doigts, Revenons, rapportant des fraises Des bois.

Far, far away, let us stray, And scare off the hidden rabbit, And the stag admiring the reflection Of his antlers in the spring waters; Then we’ll head home, happy and at ease, Our fingers entwined in baskets, We’ll return, bringing strawberries From the woods.

Le spectre de la rose

The Spectre of the Rose

Soulève ta paupière close Qu’effleure un songe virginal. Je suis le spectre d’une rose Que tu portais hier au bal. Tu me pris encore emperlée Des pleurs d’argent de l’arrosoir, Et parmi la fête étoilée Tu me promenas tout le soir.

Open your closed eyelids That are brushed by a maiden’s dream. I am the spectre of a rose That you wore yesterday to the ball. You took me, still covered with pearls Of silver tears from the sprinkler, And amid the glittering festivities You displayed me all evening.

Ô toi, qui de ma mort fus cause, Sans que tu puisses le chasser, Toutes les nuits mon spectre rose A ton chevet viendra danser. Mais ne crains rien, je ne réclame Ni messe ni De Profundis. Ce léger parfum est mon âme Et j’arrive du paradis.

Oh you, who brought about my death, You won’t be able to send me away, Every night my rose spectre Shall come to dance by your bedside. But do not fear, I ask for Neither Mass nor De profundis. This gentle scent is my soul And I come from paradise.

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Mon destin fut digne d’envie, Et pour avoir un sort si beau Plus d’un aurait donné sa vie: Car sur ton sein j’ai mon tombeau, Et sur l’albâtre où je repose Un poète, avec un baiser, Ecrivit: ‘Ci-gît une rose Que tous les rois vont jalouser.’

My destiny was worthy of envy, And to have a fate so beautiful More than one would have given their lives: For on your breast I have my tomb, And on the alabaster where I lie A poet, with a kiss, Wrote: ‘Here lies a rose Which shall be envied by all kings.’

Sur les lagunes

On the Lagoons

Ma belle amie est morte, Je pleurerai toujours. Sous la tombe elle emporte Mon âme et mes amours. Dans le ciel sans m’attendre Elle s’en retourna. L’ange qui l’emmena Ne voulut pas me prendre. Que mon sort est amer – Ah! Sans amour, s’en aller sur la mer.

My beloved is dead, I will weep forever. To the grave she takes My soul and my love. To heaven, without waiting for me, She returned. The angel who led her there Wished not to take me. How bitter is my fate – Ah, to set sail, without love.

La blanche créature Est couchée au cercueil. Comme dans la nature Tout me paraît en deuil: La colombe oubliée Pleure et songe à l’absent; Mon âme pleure et sent Qu’elle est dépareillée. Que mon sort…

The white creature Lies in her coffin. While in nature All seems to be in mourning. The forsaken dove Weeps and dreams of the absent one; My soul weeps and feels That it is incomplete. How bitter is my fate…

Sur moi la nuit immense S’étend comme un linceul. Je chante ma romance Que le ciel entend seul. Ah, comme elle était belle,

Over me the vast night Unfolds like a shroud. I sing my ballad That heaven alone hears. Ah, how beautiful she was,

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Et comme je l’aimais! Je n’aimerai jamais Une femme autant qu’elle. Que mon sort…

And how I loved her! I will never again love A woman as much as her. How bitter is my fate…

Absence Reviens, reviens, ma bien-aimée! Comme une fleur loin du soleil, La fleur de ma vie est fermée Loin de ton sourire vermeil.

Return, return to me, my beloved! Like a flower far from the sun, The flower of my life is closed Far from your ruby-red smile.

Entre nos coeurs quelle distance! Tant d’espace entre nos baisers! Ô sort amer! Ô dure absence! Ô grands désirs inapaisés! Reviens, reviens…

Our hearts are so far apart! Such a gulf separates our kisses! Oh bitter fate! Oh harsh absence! Oh great desires unquenched! Return to me…

D’ici là-bas que de campagnes, Que de villes et de hameaux, Que de vallons et de montagnes, A lasser le pied des chevaux! Reviens, reviens…

From here to there so many lands, So many towns and hamlets, So many valleys and hills, To weary the horses’ hooves! Return to me…

Au cimitière

At the Cemetery

Connaissez-vous la blanche tombe Où flotte avec un son plaintif L’ombre d’un if? Sur l’if une pâle colombe, Triste et seule au soleil couchant, Chante son chant.

Do you know the white tomb Where hovers with its plaintive sound The shadow of a yew? On the yew a pale dove, Sad and alone in the setting sun, Sings its song.

Un air maladivement tendre, pathological À la fois charmant et fatal Qui vous fait mal Et qu’on voudrait toujours entendre; Un air comme en soupire aux cieux L’ange amoureux.

A melody that’s tender and persistent, At once charming and deadly That hurts And that one longs always to hear; A melody like a sigh in heaven Of a loving angel.

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On dirait que l’âme éveillée Pleure sous terre à l’unisson De la chanson, Et, du malheur d’être oubliée Se plaint dans un roucoulement Bien doucement.

One would say that the awakened soul Weeps beneath the earth in unison With the song And in sorrow at being forgotten Coos a sad lament So softly.

Sur les ailes de la musique On sent lentement revenir Un souvenir. Une ombre, une forme angélique Passe dans un rayon tremblant En voile blanc.

On the wings of the music One feels a memory Gradually return; A shadow, an angelic form Passes in a shimmering ray Veiled in white.

Les belles-de-nuit, demi-closes, Jettent leur parfum faible et doux Autour de vous, Et le fantôme aux molles poses Murmure, en vous tendant les bras: ‘Tu reviendras!’

The belles-de-nuit, half-closed, Spread their faint, sweet scent Around you, And the ghostly, billowing figure Murmurs, reaching out to you: ‘You shall return!’

Ô! Jamais plus, près de la tombe Je n’irai, quand descend le soir Au manteau noir, Écouter la pâle colombe Chanter sur la pointe de l’if Son chant plaintif.

Oh, never again to the tomb Shall I go, when the black cloak Of evening falls, To listen to the pale dove Sing atop the yew Its sad song.

L’Île inconnue ‘Dites, la jeune belle, Où voulez-vous aller? La voile enfle son aile, La brise va souffler. L’aviron est d’ivoire, Le pavillon de moire, Le gouvernail d’or fin J’ai pour lest une orange,

The Unknown Isle ‘Tell me, my young beauty, Where do you want to go? The sail swells, The breeze blows. The oar is of ivory, The pennant of watered silk, The helm of fine gold. I have for ballast an orange,

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Pour voile une aile d’ange, Pour mousse un séraphin. J’ai pour lest…

For sail, an angel’s wing, For cabin-boy, a seraph.

Dites … où voulez-vous aller? … Est-ce dans la Baltique? Dans la mer Pacifique? Dans l’île de Java? Ou bien est-ce en Norvège, Cueillir la fleur de neige, Ou la fleur d’Angsoka?

Tell me … where do you want to go?… To the Baltic? To the Pacific Ocean? To the island of Java? Or perhaps to Norway, To gather snowflowers? Or the flower of Angsoka?

Dites, dites …’ ‘Menez-moi,’ dit la belle, ‘À la rive fidèle Où l’on aime toujours!’ ‘Cette rive, ma chère, On ne la connaît guère Au pays des amours. Où voulez-vous aller? La brise va souffler.’

Tell me, tell me …’ ‘Take me,’ says the beauty, ‘To the faithful shore Where love lasts forever!’ ‘This shore, my dear, Is hardly known In the land of love. Where do you want to go? The breeze is getting up.’ English translation reprinted with permission of Symphony Australia.

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A BOUT THE A RTISTS

'If you’re choosing an Angel, you can’t improve on the lightness and charm of the soprano Camilla Tilling.' T H E

G UA R D I A N

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Camilla Tilling and Leigh Harrold

Since her acclaimed 1999 debut as Corinna (Il viaggio a Reims) at New York City Opera, Swedish soprano Camilla Tilling has not looked back as her mix of beautiful voice, musicality and winning stage personality launched her onto the stages of the world's most prominent opera houses, concert halls and to regular collaborations with the greatest orchestras and conductors.

Camilla Tilling

A graduate of both the University of Gothenburg and London's Royal College of Music, Camilla made an early debut at the Royal Opera House Covent Garden as Sophie (Der Rosenkavalier), a role she went on to sing at Lyric Opera of Chicago, Moscow's Bolshoi Theatre, La Monnaie and the Munich Opera Festival. An on-going relationship with the Royal Opera House has seen her return as Pamina (Die Zauberflöte), Dorinda (Orlando), Oscar (Un ballo in maschera), Arminda (La finta giardiniera), Gretel (Hansel und Gretel) and most recently as Susanna (Le nozze di Figaro). At the Metropolitan Opera she has appeared as both Zerlina (Don Giovanni) and Nannetta (Falstaff ). As Susanna, she has performed at the San Francisco Opera, Festival d’Aix-en-Provence, Bayerische

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Staatsoper and Opéra national de Paris. With the vocal flexibility to embrace a diverse repertoire, Camilla has enjoyed success as the Governess (The Turn of the Screw) at The Glyndebourne Festival, as l'Ange (Saint François d'Assise) at De Nederlandse Opera, as Mélisande (Pelléas et Mélisande) at Teatro Real Madrid and last season in her house debut at Sächsische Staatsoper Dresden, as Euridice (Orfeo ed Euridice) at Salzburg Mozartwoche, and as Donna Clara (Der Zwerg) at Bayerische Staatsoper. Last season Camilla returned to Opéra National de Paris as Pamina and sang her first Contessa (Le nozze di Figaro) at Drottningholms Slottsteater. A highly regarded concert performer, Camilla is a regular guest of the Berliner Philharmoniker, Orchestre de Paris, Symphonieorchester des Bayerischen Rundfunks, NDR Sinfonieorchester and the Boston Symphony Orchestra. Recent highlights include Berg’s Sieben frühe Lieder with the Los Angeles Philharmonic under Lionel Bringuier and Strauss’ Vier letzte Lieder at the Salzburg Festival with the Philharmonia Orchestra under Christoph von Dohnányi. Last season she performed Mahler’s Symphony No.4 with the Orchestre National de France under Robin Ticciati and with the Vienna Symphony under Philippe Jordan while recent performances with the Berliner Philharmoniker include Beethoven’s Symphony No.9 at Berlin’s Waldbühne under Sir Simon Rattle, La resurrezione under Emmanuelle Haïm, and Peter Sellars’ highly-acclaimed production of St. Matthew Passion in Lucerne, London and New York. Current season highlights include Sieben frühe Lieder with London Symphony Orchestra under Francois-Xavier Roth and Schumann’s Faustszenen

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with NDR Sinfonieorchester under Thomas Hengelbrock. She performs Brahms’s Ein deutsches Requiem with Tonhalle-Orchester Zürich and with the orchestra of Teatro alla Scala, both under Bernard Haitink, and also with the New York Philharmonic under Christoph von Dohnányi. And she returns to the Los Angeles Philharmonic for Dutilleux’s Correspondances and concert performances as Mélisande (Pelléas et Mélisande) under Esa-Pekka Salonen. Among Camilla’s many recordings are three recital discs with Paul Rivinius on the BIS label: the most recent, I Skogen released in the summer of 2015, being dedicated to songs from Nordic composers. She appears on Die Schöpfung with Symphonieorchester des Bayerischen Rundfunks under Bernard Haitink, Mozart's Mass in C Minor with Paul McCreesh, and she performs the role of Ilia (Idomeneo) on DVD from Teatro alla Scala conducted by Daniel Harding. Leigh Harrold enjoys a reputation as a ‘musician of rare talent and intelligence’, and is one of Australia’s busiest and most sought-after pianists since being named The Advertiser ‘2008 Musician of the Year’. Born in Whyalla, South Australia, Leigh completed undergraduate and post-graduate studies at The University of Adelaide with concert pianist Gil Sullivan. During this time he had many successes, including being a National Finalist in the Young Performer Awards and a recipient of the prestigious Beta Sigma Phi Classical Music Award – the conservatorium’s highest honour. He moved to Melbourne in 2003 to take up a full scholarship at the Australian National Academy of Music (ANAM) under the mentorship of Geoffrey Tozer and in 2004 was

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made the Academy Fellow – the first person in the institution's history to be chosen as such after just one year of study. Leigh has performed extensively throughout Europe, North America, Africa and Australia as both soloist and chamber musician, including concerts at Australia House in London, the Royal Academy of Music, the Mozarteum in Salzburg, the Harare International Festival of Arts, and concerto engagements with many Australian orchestras. His international reputation as an associate artist has led to collaborations with such luminaries as Thomas Reibl, lecturer in viola at the Salzburg Mozarteum; Michael Cox, principal flautist with the BBC Symphony Orchestra; Daniel Gaede, ex-concert master of the Vienna Philharmonic Orchestra; London flautist Wissam Boustany; New York violinist Charles Castleman; Swedish cellist Mats Lidstrom; and British pianist Mark Gasser, to name just a few. Other significant international collaborations have included performance and studies with Andrew Ball at the London Royal College of Music; Sophie Cherrier at the Paris Conservatoire; New York-based pianist Lisa Moore and English composer Peter Maxwell Davies. Leigh is a founding member of the Kegelstatt Ensemble and the Helpmann Award nominated Syzygy Ensemble – both winners of major national prizes - and has an internationally acclaimed piano duo with London-based pianist Coady Green with whom he regularly tours through Europe, Australia and Africa. He is a recording artist for ABC Classics and in 2010 released his debut recording for Sony with soprano Greta Bradman. Most recently, he won first prize in the 2014 Mietta Song Competition for most outstanding pianist.

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INSPIRED GI V ING LEADERSHIP CIRCLES The Leadership Circles comprise individual donors whose lead gifts support the Centre’s core concert program and its mission to be a singular place of inspiration, creativity, self-expression, learning and enrichment through music. Artist Development Inaugural Artist Development & Music Education Benefactor Betty Amsden ao Children’s & Family Betty Amsden ao Mrs Margaret S Ross am & Dr Ian C Ross Life-long Learning Kathryn Fagg* Master Class Price/Lowy Family in memory of John Price George & Laila Embelton Ensemble Giovane* Great Performers The John & Jennifer Brukner Foundation Anonymous (2) Brian & Esther Benjamin Eva Besen ao & Marc Besen ac Paulette & Warwick Bisley Hans & Petra Henkell Geoff & Jan Phillips Maria Sola Signature Events Inaugural Signature Events Benefactors Yvonne von Hartel am & Robert Peck am Lady Primrose Potter ac Local Heroes The Klein Family

Foundation Andrew & Theresa Dyer Jean Hadges Dr Garry Joslin & Prof Dimity Reed am Craig Reeves Majlis Pty Ltd New Music Peter Jopling am qc Naomi Milgrom ao MUSIC CIRCLE PATRONS PROGRAM Providing support essential to the breadth, diversity and quality of the Centre’s artistic program. Magnum Opus Circle ($20,000+) Melbourne Recital Centre Board of Directors Kathryn Fagg Peter & Cally Bartlett Stephen Carpenter & Leigh Ellwood Joseph Corponi Paul Donnelly & Brigitte Treutenaere Margaret Farren-Price & Prof Ronald Farren-Price am Julie Kantor Eda Ritchie am Skipp Williamson & Carol Haynes Virtuoso Circle ($10,000+) J.A Westacott & T.M Shannon Composers Circle ($4000+) Anonymous (2) Andrea Goldsmith Jenny & Peter Hordern Alison & David Lansley Susan Thacore Drs Victor & Karen Wayne Lyn Williams am

Melbourne Recital Centre Senior Management Message Consultants Australia Pty Ltd Musicians Circle ($2500+) Robert & Jan Green Diana Lempriere James Ostroburski Robert & Jenni Stent Prelude Circle ($1000+) Anonymous (7) Adrienne Basser Helen Brack Bill & Sandra Burdett John & Thelma Castles The Hon Alex Chernov ac qc & Mrs Elizabeth Chernov Maxine Cooper & Michael Wright Kathy & George Deutsch Mary Draper Lord Francis Ebury & Lady Suzanne Ebury Susan Fallaw The Leo & Mina Fink Fund William J Forrest am Martin Ginnane & Ronnie Binding Angela Glover Jan Grant Nance Grant am mbe & Ian Harris Sue Hamilton & Stuart Hamilton ao Prof Andrea Hull ao Darvell M Hutchinson am Stuart Jennings Ann Lahore Maria Mercurio Stephen Newton ao Greg Noonan Elizabeth O’Keeffe Helen L Perlen Dr Robert Piaggio Peter Rose & Christopher Menz Rae Rothfield

Barbara & Duncan Sutherland Pamela Swansson Elisabeth & Peter Turner Sally Webster Peter Weiss ao Supporters ($500+) Peter J Armstrong Judith Hoy Gerry & Susan Moriarty ELISABETH MURDOCH CREATIVE DEVELOPMENT FUND Named after the Centre’s Founding Patron, this Fund supports projects that make a difference to young artists and accessibility to music. ($20,000+) Annamila Pty Ltd Anne Kantor ao & Dr Milan Kantor oam ($10,000+) Betty Amsden ao The John & Jennifer Brukner Foundation Krystyna Campbell-Pretty Naomi Milgrom ao Allan Myers ac qc & Maria Myers ac Yvonne von Hartel am & Robert Peck am Angelina & Graeme Wise Louise & Martyn Myer Foundation The Pratt Foundation ($4000+) Julian Burnside ao qc & Kate Durham Lyndsey & Peter Hawkins Dr Alastair Jackson Sally MacIndoe Dr Cherilyn Tillman & Tam Vu

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Andrew & Jan Wheeler Janet Whiting am & Phil Lukies Youth Music Australia ($2500+) James Ostroburski Prof David Penington ac & Dr Sonay Penington Christine Sather* Lyn Williams am ($1000+) Anonymous (3) ARM Architecture Bailey-Lord Family* Adrienne Basser Mary Beth Bauer* Jane Bloomfield Helen Brack Robert Buckingham & Dr John Betts Barbara Burge John & Thelma Castles Dr Shirley Chu & Wanghua William Chu Des & Irene Clark Christine & Michael Clough Jean Hadges W K Clark & B Heilemann* Jim Cousins ao & Libby Cousins George & Laila Embelton Dr Jane Gilmour oam & Terry Brain* John Howie am & Linsey Howie Prof Andrea Hull ao* Dr Garry Joslin & Prof Dimity Reed am Liane Kemp* Prof John Langford am & The Late Christina McCallum Peter & Susan Mahler Annette Maluish Norene Leslie McCormac* Dr Richard Mills am Rosemary O’Connor* James Ostroburski° Rowly & Judy Paterson Geoff & Jan Phillips Rob & Philippa Springall Laura Thomas* Sally Webster

Gang Yun* ($500+) Anonymous (3) John & Mary Barlow Brian & Esther Benjamin Bill & Sandra Burdett Ann & Mark Bryce The Hon Alex Chernov ac qc & Mrs Elizabeth Chernov Joshua Evans Rachel Faggetter & Barry Jones Margaret Farren-Price & Prof Ronald Farren-Price am Colin Golvan qc & Dr Deborah Golvan Naomi Golvan & George Golvan qc Nance Grant am mbe & Ian Harris Robert & Jan Green Dr Robert Hetzel John Howie am & Linsey Howie Peter Jopling am qc & Dr Sam Mendeng Andy Lloyd-James & Trish Richardson Lloyd-James Margaret & Laurence Lou Peter B Murdoch qc & Helen Murdoch Leon Ponte Prof Richard Smallwood & Mrs Carol Smallwood Robert & Jenni Stent Susan Thacore Drs Victor & Karen Wayne LEGAL FRIENDS OF MELBOURNE RECITAL CENTRE Each year the group brings together music lovers from the legal profession to help fund one or more concerts by an artist appearing as part of the Centre’s Great Performers Series.

Legal Friends Inaugural Patrons The Hon Justice Michelle Gordon & The Hon Kenneth M Hayne ac qc ($4000+) Anonymous (1) Rachel & Hon Alan Goldberg ao qc Naomi Golvan & George Golvan qc The Hon Justice Michelle Gordon & The Hon Kenneth M Hayne ac qc Peter B Murdoch qc & Helen Murdoch ($2500+) Elizabeth O’Keeffe Ralph & Ruth Renard ($1000+) Anonymous (2) Marcia and John K Arthur Peter Bartlett Ingrid Braun Justice David Byrne qc Christine Clough Bruce Curl Colin Golvan qc & Dr Deborah Golvan Dr Gavan Griffith qc ao Robert Heathcote & Meredith King Judge Sara Hinchey & Tom Pikusa Maryanne B Loughnan qc Peter & Avril McGrath Peter & Ruth McMullin David O’Callaghan Meredith Schilling Michael Shand qc ($500+) The Hon Chris Maxwell ac

SHARE THE MUSIC PROGRAM This program enables disadvantaged children and adults to attend concerts by providing tickets and transport free of charge. Over 500 of these visits take place each year through the generosity of our donors. ($10,000+) Krystyna Campbell Pretty ($4000+) Anne Burgi & Kerin Carr Wendy & David O‘Callaghan & Alan Kozica ($1000+) Anonymous (1) Caroline & Robert Clemente Helen Imber Prof John Langford am & The Late Christina McCallum Dennis & Fairlie Nassau Kerryn Pratchett Greg Shalit & Miriam Faine Sirius Foundation ($500+) Vivien & Jacob Fajgenbaum Dr Robert Hetzel George & Grace Kass Maria Mercurio Prof Richard Smallwood & Carol Smallwood Vivien Wertkin *Ensemble Giovane: Donors in support of master classes °Amplify: Donors in support of contemporary Artist Development List of patrons correct at 4 April 2016

T H A NK YOU Melbourne Recital Centre acknowledges the generous support of its business, philanthropic partners and patrons Founding Patron The Late Dame Elisabeth Murdoch ac dbe Board Members Joseph Corponi Paul Donnelly Margaret Farren-Price

Kathryn Fagg, Chair Peter Bartlett Stephen Carpenter

Founding Benefactors The Kantor Family Helen Macpherson Smith Trust The Calvert-Jones Family

Robert Salzer Foundation Lyn Williams am The Hugh Williamson Foundation

Series Partner

Program Partners

Business Partners

Supporting Partners

Julie Kantor Eda Ritchie am

Principal Government Partner

Intl Airline Partner

  

Foundations THE HUGH

WILLIAMSON FOUNDATION

THE SENTINEL

FOUNDATION

THE MARIAN

& E.H. FLACK TRUST

THE MERLYN

MYER FUND

THE VIZARD FOUNDATION

Encore Bequest Program Providing sustained support for all aspects of the Centre’s artistic program through its Public Fund. Anonymous (2) Betty Amsden ac Jenny Anderson

Barbara Blackman Jim Cousins ao & Libby Cousins Dr Garry Joslin

Ken Bullen The Estate of Beverley Shelton & Martin Schönthal Mary Vallentine ao

MIDORI WITH ÖZGÜR AYDIN - PIANO The music of Liszt, Schoenberg, Brahms, Mozart and Schubert.

VIOLIN / A NIGHT IN VIENNA TUE 28 JUNE 7: 3 0 P M TI CKE T S $ 1 1 5 - $ 60

‘A powerhouse performer whose playing combines strength with beauty.’ THE GUARDIAN Principal Government Partner

Series Partner

Program Partners

M i d o r i's p e r f o r m a n c e i s s u p p o r t e d b y E v a B e s e n

ao

& Marc Besen

ac .