SE AS O N 2 01 6

PROGRAM August – September

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CONTENTS AUGUST & SEPTEMBER

MUSIC ON SUNDAYS

AROUND THE WORLD & BACK MAESTRO

QSO PLAYS TCHAIKOVSKY 5

2 6

Pre-concert talk at 6.30pm with Dr Simon Perry

CHORAL

CARMINA BURANA MORNING MASTERWORKS & MAESTRO

QSO PLAYS THE RUSSIANS

10 14

Pre-concert talk on 17 September at 6.30pm with QSO cellist, Matthew Kinmont

BIOGRAPHIES

Help us G

Green.

Please take one program between two and keep your program for the month. You can also view and download program notes one week prior to the performance online at qso.com.au

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MUSIC ON SUNDAYS SUN 14 AUG 11.30AM Concert Hall, QPAC

PROGRAM NOTES Richard Wagner (1813-1883) The Flying Dutchman: Overture

He Zhanhao (born 1933) Chen Gang (born 1935)

AROUND THE WORLD & BACK Conductor Johannes Fritzsch Host Guy Noble Violin Warwick Adeney

The Butterfly Lovers Violin Concerto (excerpt) Warwick Adeney, violin

Modest Mussorgsky (1839-1881) Pictures at an Exhibition: Bydło

Peter Ilyich Tchaikovsky (1840-1893) Swan Lake: Valse

Arthur Honegger (1892-1955) Pacific 231 (Mouvement symphonique No.1)

Jean Sibelius (1865-1957) Finlandia

Edward Elgar (1857-1934) Enigma Variations: Nimrod Emmanuel Chabrier (1841-1894) España

Antonín Dvořák (1841-1904) Symphony No.9, From the New World: Largo

Trad. arr. Carmen Dragon (1914-1984) Turkey in the Straw

Carl Vine (born 1954) V – An Orchestral Fanfare

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Johannes Fritzsch QSO Conductor Laureate

Around the world and back? The Flying Dutchman concerns a mysterious sea captain doomed to sail the seas until released from a curse by his true love. Wagner’s opera, premiered in 1843, predates his more radical ‘music dramas’, but the overture already conveys the power of his musical illustration. The action takes place near a Norwegian fjord. Interestingly, the inspiration is supposed to have been a typhoon Wagner witnessed on the Baltic Sea while sailing from Riga to London. The Butterfly Lovers, one of China’s Four Great Folktales, concerns Zhu Yingtai who meets Liang Shanbo while disguised as a boy. By the time Liang discovers Zhu is a girl, she is betrothed to Ma Wencai, and Liang dies, broken-hearted. Zhu visits Liang’s grave and they both turn into butterflies, never to be parted. The legend has seen many musical adaptations. Chen Gang and He Zhanhao wrote this concerto in 1959 when they were both Shanghai Conservatory students. Written for western orchestra with elements of Chinese music, it is now as much a symbol of China in transition as the Yellow River Concerto. North of China (and east of Norway) lies Russia. Mussorgsky was a member of a group of composers called ‘The Five’ who aimed for an authentic Russianness in their music – unpolished, direct, raw. Mussorgsky’s Pictures at an Exhibition paid tribute to the artworks of his dead friend, Viktor Hartmann, and ‘Bydło’ was a painting of a bullock pulling a load. The ‘realism’ of the Five’s style can be heard in the tuba’s lumbering strain. But there were Russians who also looked to Western Europe for their inspiration. Tchaikovsky’s music combines enormous emotional range with urbane expertise and a gift for suggesting movement. A composer of six symphonies, he was also one of the greatest ballet composers, making ballet a Russian tradition. 1877’s Swan Lake tells the story of Odette, a princess turned into a swan by an evil sorcerer’s curse. PROGRAM August & September 3

PROGRAM NOTES Arthur Honegger was a member of a French nationalist group, called Les Six, but was less averse to German Romanticism and direct expression than his colleagues. Pacific 231 was originally meant to be a technical exercise in building momentum, but Honegger loved trains and named it after a type of engine. A companion piece is a musical portrait of rugby. Jean Sibelius was born into a Swedishspeaking family in the Grand Duchy of Finland, which was then part of the Russian empire. He soon became a flag-bearer for Finnish nationalism. Finlandia was written as the last of seven pieces accompanying tableaux of Finnish life which were performed at the Press Celebrations in 1899 (a covert demonstration against Russian censorship). It later became a standalone piece, and with words added, a national hymn. Across the channel (set in the ‘silver sea’) lie the British Isles. Edward Elgar, a middle-class Catholic schoolteacher from Worcestershire, felt far from comfortable in ‘the Establishment’. But he has come to be seen as the very image of Edwardian empire, particularly in his symphonies and Pomp and Circumstance marches. However, ‘Nimrod’, a musical portrait of his publisher, August Jaeger, started out as an attempt to write a sublime Beethoven-like slow movement – and succeeded. Many French composers have had a fascination with Spain – think Bizet with his Carmen or Ravel with his Bolero. Chabrier’s España was inspired by a trip Chabrier took there with his wife in 1882. Gustav Mahler told the musicians of the New York Philharmonic that España was the beginning of modern music; the Spanish composer Falla could not think of anyone who had written a better jota. ‘From the New World’, scribbled Dvořák on the title page of his Ninth Symphony which he composed in New York, across the Atlantic. Though ‘the humble Czech musician’ was homesick for Bohemia, he exhorted

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American composers to look to Native American music and Spirituals for inspiration. But the Largo of this symphony was an original Dvořák melody. It became a spiritual only when words were added. There is a rich folk-music tradition in America. Turkey in the Straw, originally a fiddle tune, was popularised by ‘blackface’ performers in the 1820s. Australia’s Percy Grainger played it as an encore in his piano recitals. Conductor Carmen Dragon, who composed the score to the 1956 film Invasion of the Body Snatchers, made this version for symphony orchestra ‘for your orchestra’s “Bluegrass Night”’. In his program note for V, Carl Vine says, ‘…the ‘V’ of this title refers to the Roman numeral, and hence to the five-minute duration of this little orchestral fanfare. Five minutes of music, even for orchestra, doesn’t seem to warrant a much longer title, nor, for that matter, a longer program note.’ However, Vine, composer of seven symphonies and ten concertos, was born in Perth. After our world tour, an Australian brings us back.

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PROGRAM August & September 5

MAESTRO FRI 19 AUG 7.30PM

PROGRAM NOTES being able to keep warm when it gets cold and having some down time to yourself. But most of the time people are not content with these simple pleasures. You can say that this piece seeks to express human emotion in its simplest, most direct forms.

Pre-concert talk at 6.30pm with Dr Simon Perry

Concert Hall, QPAC

Qigang Chen

© Symphony Services International

(born 1951)

QSO PLAYS TCHAIKOVSKY 5 Conductor Yu Long Piano Javier Perianes Qigang Chen Enchantements oubliés Saint-Saëns Piano Concerto No.5 The Egyptian Tchaikovsky Symphony No.5

Enchantements oubliés – (Forgotten Enchantments)

Born into an artistic family, Chen Qigang was a student at the Central Conservatory of Music in Beijing when the Cultural Revolution broke out in the 1960s. His father – administrator of the Beijing Academy of Fine Arts – was sent to a labour camp, while the young Qigang was subjected to ‘ideological re-education’. Following the reopening of the Central Conservatory in the late 1970s, he studied composition for five years with Luo Zhonghong. A postgraduate scholarship allowed Chen to travel overseas, and from 1984 to 1988 he studied privately with Olivier Messiaen in Paris. Chen has commented that the ‘detail and nuance in French music’ were very similar to his own. He had already discovered Debussy and Ravel; Messiaen proved to be a major influence.

Yu Long In Conversation Wednesday 17 August 2016 6.00pm QSO Studio, South Bank

Commissioned by the National Orchestra of France and conductor Kurt Masur, Enchantements oubliés (2004) employs a delicate palette of strings with dashes of colour from harp, piano, celesta and percussion.

Gain a deeper insight into the guest artists that grace our concert stage.

The composer has written about the inspiration for this piece: All fundamental pleasures in life are actually very simple: spending time with your family, having a real break when you’re tired from work or a nice meal when you’re hungry,

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Yu Long Conductor PROGRAM August & September 6

Camille Saint-Saëns (1891-1953)

Piano Concerto No.5 in F, Op.103 The Egyptian Allegro animato Andante – Allegretto tranquillo – Andante Molto allegro

In a concerto, descriptive music is unexpected, especially the exotic kind. It is unexpected, also, from Saint-Saëns, whose models were usually classical. His Fifth Piano Concerto (‘Egyptian’) was premiered in Paris in 1896, with the composer as soloist. The concert celebrated the 50th anniversary of Saint-Saëns’ debut as a pianist (he also played the same Mozart concerto as he had as a ten-year-old). The celebration was a return from selfimposed exile, physical and spiritual. Saint-Saëns travelled increasingly outside France, partly to escape struggles over new French music. More tellingly, after the death of his two young sons and the break-up of his marriage, travel was a distraction, if not a balm. PROGRAM August & September 7

PROGRAM NOTES In 1894, Saint-Saëns journeyed to Saigon (in French Indo-China) by way of Spain and Egypt. Returning to Egypt in January 1896, he began his Fifth Piano Concerto on an expedition to Luxor, and completed it in a Cairo hotel room. Saint-Saëns pointed to additional, non-Egyptian sources for its ‘Eastern’ color: The second movement is a kind of journey eastward, which in the F sharp episode actually extends to the Far East. The passage in G is a Nubian love song that I heard boat operators sing on the Nile as I travelled downriver. The exoticism of this concerto is mainly a veneer. After preludial wind chords and plucked strings, the piano states a simple lilting theme, amounting to a chorale in broken chords. ‘Wellbeing under a warm, tropical sky’, this has been called, but the music’s lucidity is almost classically objective. Then comes a rhapsodic broadening of tempo, leading to the second theme. The piano begins to dominate in the weightier matters of the development, and contributes glittering cascades to the reprise, before a serene coda. With noisy folkloric intensity, the journey eastward begins in the second movement – not yet in Egypt, but perhaps in the Moorish, Arab-influenced part of Spain. Next comes the love song from the Nile (the piano’s right hand paints the watery setting), then a tune using a Chinese scale, complete with gong. Saint-Saëns told the dedicatee, pianist Louis Diémer, that this passage, with its repeated notes high in the piano, and sustained note for muted violins, portrays the croaking of frogs at twilight – mingling impressions from the Near and the Far East. A free fantasia juggles these elements, with brief cadenzalike musings for the soloist.

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PROGRAM August & September

PROGRAM NOTES Saint-Saëns said the finale expresses ‘the joy of a ship’s journey’, and it begins by imitating the thud of the engines. ‘It is virtuosity itself I mean to defend,’ the composer tells us, ‘it is the source of the picturesque in music…’ Saint-Saëns succeeded so well that this finale, bristling with difficulties, was for many years a test piece at the Paris Conservatoire. A stand-out passage seems to anticipate ragtime. This may be the ‘little turd’ left by Saint-Saëns – according to fastidious French musicians – somewhere in each of his compositions. Less severe listeners will enjoy yet another of the features making this concerto so unpretentiously entertaining. David Garrett © 2016

Peter Ilyich Tchaikovsky (1840-1893)

Symphony No.5 in E minor, Op.64 Andante – Allegro con anima Andante cantabile, con alcuna licenza Valse (Allegro moderato) Andante maestoso – Allegro vivace

After completing his Fourth Symphony (1877), Tchaikovsky wrote to his former pupil Sergey Taneyev: ‘I should be sorry if symphonies that mean nothing should flow from my pen.’ He insisted that the Fourth definitely followed a ‘program’, even if it could not be expressed in words. Circumstantial evidence suggests that

Tchaikovsky’s Fifth Symphony (1888) likewise could not ‘mean nothing’, and even if a precise meaning will probably never emerge, he did leave clues as to the direction of his thoughts. In his sketchbook Tchaikovsky verbally outlined a first movement whose slow introduction began with ‘total submission to fate’, followed by an Allegro that introduced ‘murmurs, doubts, laments, reproaches’ before considering succumbing to ‘the embrace of faith’. He described this as ‘a wonderful program, if only it can be fulfilled’. Although no irrefutable evidence links this plan directly with the 1888 symphony, the Fifth’s main theme does lend itself to a musical personification of grim fate (in its minor form) and of beneficent providence (in its major form), and a journey from the first to the second is a plausible program, if not for the opening movement (which ends in the minor), then for the whole work. The main theme (played at the outset by solo clarinet) also pays homage to the man Tchaikovsky called ‘the father of Russian music’, Mikhail Glinka. Borrowed from Glinka’s opera A Life for the Czar, the eight-note phrase is developed by Tchaikovsky into an entirely new motto theme whose subliminal transformations and literal reprises bind the symphony’s four movements together. The first transformation is into the dance-like theme of the Allegro con anima announced by clarinet and bassoon. The horn melody in the second movement is one of the most beautiful in all of Tchaikovsky’s music. He scribbled on a sketch of this melody (in French): ‘I love you, my love!’ But it is more than just a love theme; it, too, is subtly related to the motto. This connection is made explicit when the undisguised motto returns, portentously with trumpets and kettledrums, just before the reprise of the love theme.

It may well be significant that Tchaikovsky crafted the melody of the third-movement waltz out of snippets of a Tuscan folksong that he heard in Florence in 1877, sung by a ‘positively beautiful’ young (male) streetsinger. Certainly significant, the tune also audibly echoes the rhythm of the preceding movement’s soulful horn theme, of which it is essentially a faster, lighter reworking. Only once does the motto itself intrude on this pleasant reverie, from clarinets and bassoons, right at the movement’s close. The motto returns fully, in major mode, as a solemn march, introducing the fourth movement, before trumpets and kettledrum signal the imminent Allegro vivace. Tchaikovsky energises the motto’s second, falling-scale element to create a new minor-key theme that launches further transformations and combinations of germinal fragments, underpinned by the quick tick-tock of bassoons, kettledrums and basses, plateauing out on a brilliantly shrill major-key woodwind chorus. A massive climax builds, breaking back into the now almost unbearably splendid march, the motto’s apotheosis capped at the last possible moment by a trumpet reprise of the first movement’s Allegro theme. Abridged from a note by Graeme Skinner © 2014

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PROGRAM August & September 9

CHORAL SAT 27 AUG 7.30PM Concert Hall, QPAC

CARMINA BURANA Ensemble-in-Residence The Australian Voices Bingen (arr. Hamilton) O Nobilissima Viriditas Butterley Spring's Ending (six poems of Du Fu) Bruckner Christus factus est Bruckner Os justi Brodsky Red Box IV (world premiere) Interval Queensland Symphony Orchestra Conductor Jacques Lacombe Soprano Milica Ilic Tenor Henry Choo Baritone Warwick Fyfe Chorale The Voices of Birralee Ensemble-in-Residence The Australian Voices Orff Carmina Burana

PROGRAM NOTES In a gesture of balance to Orff’s raucus mediaeval utopia, this a cappella program opens with plainchant. Hildegard von Bingen’s ca. 900 year-old poem O nobilissima viriditas (O most noble greenness) reflects her belief that nature has a "greening power" which she called viriditas. My own realisation of this hymn takes the Hildegard as a starting point. Australian composer Nigel Butterley – now in his 81st year – owned a cat called Hildegard. Like the music and poetry of (the elder) Hildegard, his Spring’s Ending conveys a sense of sacred through natural imagery. These six poems of Tang dynasty poet Du Fu have been translated by the composer. The melodies in Butterley’s imaginative counterpoint are Hildegard-like, rippling around a repeated note with buoyant lyricism. The music is loosely tonal avoiding explicit major or minor resting points. Like Butterley, Bruckner – when composing his motets – was looking back to a more ancient and pure form of liturgical expression. Os Justi contains striking harmonic effects, despite (or because of) it’s complete adherence to the lydian scale: unusually, the piece only uses the white notes of the piano with F as its tonal centre. The motet concludes with two brief phrases of plainchant. Brisbane composer David Brodsky’s Red Box IV is a world premiere. A list of Japanese words representing traditional values are set to small repetitive motifs and tossed about in a (not-quite) minimalist salad. Gordon Hamilton The Australian Voices – Artistic Director

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PROGRAM August & September

Lauren Manuel, QSO French Horn

Hildegard of Bingen (1098-1179)

O Nobilissima Viriditas

The German abbess, writer and composer Hildegard of Bingen (sometimes referred to as ‘Sybil of the Rhine’ or Saint Hildegard) entered religious service as a teenager and rose to become one of the most influential women of her day who had the ear of emperors and popes. Something of a polymath, her written works encompassed a wide range of subjects from religious poetry to natural history and philosophy, and she experienced visions (attributed by some to migraines) which she recorded in three illustrated volumes. Hildegard’s writings are replete with vivid imagery and the term viriditas appears frequently in her output. Its literal translation is ‘greenness’ and it represents a recurring theme in her work of fertility, vitality, life-force, and the manifestation of the divine in the physical world.

Nigel Butterley (born 1935)

Spring’s Ending – six poems by Du Fu, for unaccompanied choir

Since the instrumental octet Laudes (1963), Nigel Butterley has been recognised as one of the foremost Australian composers of his generation. His output includes chamber music, the orchestral Meditations of Thomas Traherne (1968) and From Sorrowing Earth (1991), the opera Lawrence Hargrave Flying

PROGRAM August & September 11

PROGRAM NOTES Alone (1988), and music for choir, vocal ensemble and solo voice. Butterley, whose teacher father was secretary of the Australian English Society, grew up surrounded by books and developed a strong love of language, which later informed his musical commitment to the human voice. From as early as Six Blake Songs (1956), poetry has been as important an influence on his work as the music and ideas of other composers, particularly Tippett, Messiaen, Cage and more recently, Gubaidulina. He has based works on the poetry of Walt Whitman and Emily Dickinson, however the strongest influence since 1990 has been the English poet and scholar Kathleen Raine, noted for her writings on Blake and Yeats. Her work was the main source for the text of Spell of Creation, for soloists, choir and orchestra, which was awarded the Paul Lowin Orchestral Prize in 2001. Butterley has commented that he is inspired not only by poetry, but by the poets themselves. He has based two works on the poems of Du Fu (712-770), widely regarded as China’s greatest poet. The first, Spring’s Ending, was composed in 1997 to a commission from the Sydney Gay and Lesbian Choir. The English translations of all six poems were created by the composer.

A deeply religious character who sought solace in his Catholic faith, he composed nearly 70 sacred works for choir. His 34 extant sacred motets are a kind of microcosm of his entire œuvre suggesting he was more comfortable exploring his personal harmonic idiom in the relative security of the church. They exhibit a flair for combining pre-Classical musical elements such as counterpoint, chorales and Gregorian chant, with dramatic chromaticism and dynamic effects, and they perfectly convey his deep reverence for God. Os justi meditabitur Bruckner composed Os justi in 1879, dedicating it to Ignaz Traumihler, the choirmaster of St Florian monastery where Bruckner had been a chorister as a boy and later returned as a teacher and organist for ten years. Set in the Lydian mode, Os justi combines a profound expressiveness with the pared-down musical requirements of the Cecilian Movement to which Traumihler belonged, and ends with a plainsong Alleluia. Christus factus est Christus factus est is based on a text from Philippians and is traditionally chanted between the Epistle and Gospel readings at Catholic mass during Lent. It falls into two parts: the gradual followed by a response: Adapted from notes © Symphony Australia and Janine Harris

Anton Bruckner (1824-1896)

Carl Orff Orchestral audiences know him predominantly as a symphonist, but Anton Bruckner enjoyed a respected reputation as an improvising organist and teacher.

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PROGRAM August & September

(1895-1982)

Carmina Burana See handout for text. Translation available on concert webpage at qso.com.au

In 1803 a large collection of medieval poetry was discovered in the abbey of Benediktbeuern in Bavaria. Its 320 poems, written on parchment and illustrated with illuminated capital letters, represent an anthology of styles and languages including medieval Latin, Old French and Middle High German. It seems that the collection was compiled for the Bishop of Seckau in 13thcentury Austria. The Bishop must have been quite worldly as the collection includes songs of springtime and love as well as drinking songs. In the mid-1930s the collection came to the attention of Carl Orff who later remarked: Fortune smiled on me when she put into my hands a Würzburg secondhand books catalogue, in which I found a title that exercised on me an attraction of magical force: Carmina burana: Latin and German songs and poems of a 13th-century manuscript from Benediktbeuern, edited by J.A. Schmeller. Orff spoke more truly than he knew: certainly Carmina Burana (Songs of Beuern) would make his fortune, at least artistically. But its success put much of his subsequent achievement in the shade. Orff studied music from an early age including, significantly, research into nonEuropean music. The 1920s saw the gradual development of the music-education theories for which, apart from Carmina Burana, he is best remembered today. His compositions during this time show an increasing interest in the use of percussion often with piano, harmony which is essentially diatonic but avoids the goal-directed feel of traditional tonal music, and rhythm characterised by the Stravinskian use of repeated figurations. These musical techniques reached their first realisation in 1931’s Catulli Carmina, settings of one of the great Roman poets. Carmina Burana followed a few years later, and was first performed in Frankfurt in 1937. It made an immediate impact.

Wherever it has been performed, Carmina Burana retains its ability to evoke what Alex Ross calls ‘primitive, unreflective enthusiasm’. And that’s partly because of the texts. The ‘O Fortuna’ chorus bookends the whole work with its mighty choral and orchestral forces and implacable rhythms. The body of the work, which uses 23 of the published poems, is divided into three main sections. The first, ‘Springtime’ and ‘On the Meadow’, uses the conventional genres of pastoral poetry: spring returns, the sun warms the earth, forests awaken, and a young person’s thoughts turn to love. But not before a brief spell ‘In the Tavern’, a male-dominated environment in which Orff creates a number of memorable characters. None more so, if only musically, than the Roasting Swan, a high tenor whose lament is for the loss of his whiteness as much as for his imminent consumption. Finally ‘The Courts of Love’ take up the erotic threads of ‘Spring’, contrasting delicacy and robust humour before the soaring soprano solo of ‘Dulcissime’ and ecstatic chorus to ‘Blanziflor and Helena’. The ecstasy will, of course, be swept away by Fate, so the music returns to ‘O Fortuna’. As Michael Steinberg has noted, one wouldn’t guess from the music that the last line of the poetry is ‘mecum omnes plangite’ (come, weep with me). Abridged from a note by Gordon Kerry © 2006

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PROGRAM August & September 13

MORNING MASTERWORKS FRI 16 SEP 11AM

PROGRAM NOTES He tore up the score the following day, and the work was reconstructed from the orchestral parts in 1897. The Voyevoda remains one of the least-known of Tchaikovsky’s mature orchestral pieces.

MAESTRO SAT 17 SEP 7.30PM Pre-concert talk on 17 September at 6.30pm with QSO cellist, Matthew Kinmont

Peter Ilyich Tchaikovsky

Abridged from a note © Phillip Sametz

(1840-1893)

Concert Hall, QPAC The Voyevoda – Symphonic ballad, Op.78

Peter Ilyich Tchaikovsky (1840-1893)

QSO PLAYS THE RUSSIANS Conductor Łukasz Borowicz Cello Kian Soltani (Australian debut) Tchaikovsky Variations on a Rococo Theme* Rachmaninov Symphony No.2* Tchaikovsky Voyevoda, Symphonic Ballad Shostakovich Cello Concerto No.1 Rachmaninov Symphony No.2 *Performed on 16 September

17 September concert is presented by Brisbane Festival.

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Lukasz Borowicz Conductor

One of Tchaikovsky’s last orchestral pieces, The Voyevoda, is a work of unusual terseness and brutality in the composer’s output. Not to be confused with Tchaikovsky’s 1868 opera of the same name, with which it has no connection, The Voyevoda is based on a melodramatic poem by the Polish writer Mickiewicz as translated by Pushkin. Tchaikovsky’s program begins with the Voyevoda (a Polish overlord) galloping home through the night. He finds his wife’s room empty. Suspicious, he searches the castle with his servant and discovers his wife and her former suitor together in the moonlight. He urges his servant to shoot the illicit lovers, but the servant misses his aim and instead the Voyevoda is killed by the fatal blast. Like Tchaikovsky’s tone-poem after Dante, Francesca da Rimini (1876), The Voyevoda is cast in ternary form, with the Voyevoda’s ride and discovery of the lovers as the opening panel and the lovers themselves in the centre. The short final section depicts the death of the title character. The Voyevoda’s 1891 premiere, conducted by the composer, went badly, and Tchaikovsky immediately turned against the piece. His euphoria at his successful completion of the work – ‘it was indeed a brainwave to write this composition’ – now turned to disgust. ‘Such rubbish should never have been written!’ he exclaimed a few minutes after the performance.

Variations on a Rococo Theme, Op.33 [Fitzenhagen version] Introduction (Moderato quasi andante) Theme (Moderato semplice) Variation I (Tempo della thema) Variation II (Tempo della thema) Variation III (Andante sostenuto) Variation IV (Andante grazioso) Variation V (Allegro moderato) Variation VI (Andante) Variation VII and Coda (Allegro vivo)

A nostalgia for the world of the 18th century, thought of as refined, elegant and gently civilised, is never far from the surface in the highly Romantic art of Tchaikovsky, and it was Mozart who symbolised for him the best of the former century. This set of variations is his finest tribute to his idol’s art. Tchaikovsky composed the work in 1876 for a cellist and fellow-professor at the Moscow Conservatorium, Wilhelm Fitzenhagen. Fitzenhagen had requested a concerto-like piece for his recital tours, so Tchaikovsky first completed a version for cello and piano.

PROGRAM August & September 15

PROGRAM NOTES

PROGRAM NOTES

Before orchestrating it he gave the music to Fitzenhagen, who made changes in the solo part. The cello and piano version was the first to appear in print, in 1878, with substantial alterations which Fitzenhagen claimed were authorised but about which Tchaikovsky complained bitterly. By the time the Rococo Variations came to be published in orchestral form, ten years had elapsed, during which Fitzenhagen had performed the work successfully both inside and outside Russia, and it had entered the repertoire.

with piccolo and contrabassoon, one horn, celeste, timpani and strings. The opening has touches of Stravinsky’s early neo-classical works. The cello announces the four-note theme that will bind the entire concerto together. This main motif (G-E-B-B flat) contains two notes (E and B) which are not in the key of E flat, thus reinforcing the feeling of Stravinskian ‘wrong-note’ harmony.

The theme is Tchaikovsky’s own. It has an orchestral postlude, with a final question from the cello. This, increasingly varied, rounds off most of the variations. In no way does it detract from the success of Tchaikovsky’s Variations that the Mozart he emulates contains no turbulent emotions. In short, the Variations are far from the real Mozart. Charming, elegant, deftly written, they are equally gratifying to virtuoso cellists and to audiences. The light and airy accompaniment, which enables the cello to stand out beautifully, is for 18th-century forces: double winds, two horns and strings. Adapted from a note by David Garrett © 2007

Dmitri Shostakovich (1906-1975)

Cello Concerto No.1 in E flat, Op.107 Allegretto Moderato Cadenza Allegro non troppo

Mstislav Rostropovich was faced with a dilemma. He was keen for Shostakovich to write a cello concerto but, perhaps all too aware of his friend’s sensitive nature, he had first asked the composer’s wife. She advised him that one should never ask her husband to write anything. Rostropovich followed her advice and made no requests, but sometime later, in 1959, he discovered that Shostakovich had indeed written a concerto. Soon the cellist was playing through the new work with pianist Alexander Dedyukhin in the presence of the composer, who asked insistently if they liked the music. Once Rostropovich was able to convince him how moved he had been from the first note, Shostakovich humbly asked permission to dedicate his first cello concerto to him. (Shostakovich’s Second Cello Concerto, overtly less virtuosic than the First, was also written specifically for the Russian master cellist, in 1966.) In the E flat concerto, Shostakovich uses almost every sound the cello can make to overcome the difficulties posed by a form composers often avoid. Being a mid-range instrument, the cello is easily swamped when pitted against a full orchestra, and Shostakovich starts by toning down the orchestra, using only double woodwind

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PROGRAM August & September

Shostakovich’s own unmistakable musical personality, however, is soon in evidence. Allowing room for the soloist, the orchestral textures are widely spaced, with high woodwind and deep double basses and contrabassoon creating a dark and distinctly Russian feel. The absence of heavy brass highlights the lone horn whose solo roles throughout the concerto provide a beautiful timbral counterpoint to the cello, often reiterating the soloist’s themes. The second movement begins with strings in a more Romantic, almost Mahlerian vein. This chromatic, smoothly contoured theme is heard only three times. In the movement’s highlight, the soloist’s stratospheric harmonics are accompanied by quiet, shimmering strings and the celeste in its only appearance in the score. A solo clarinet takes over from the celeste in an ethereal duet with the cello leading straight into the cadenza. From here, Shostakovich builds cleverly towards the finale, the orchestra entering suddenly with huge chords that set the dramatic pace for the gallop towards a final combination of the opening motif from the first movement with the finale’s own two themes. Rostropovich’s premiere of the work in October 1959 was an unqualified success, and he toured it in the following months to the UK, the US and Australia where it met with popular and critical success. Undaunted by the Russian cellist’s reputation, other soloists have since taken it up eagerly, cementing its place in both the repertoire and in audiences’ hearts.

Sergei Rachmaninov (1873-1943)

Symphony No.2 in E minor, Op.27 Largo – Allegro moderato Allegro molto Adagio Allegro vivace

It seems perplexing now that this fervent, warm-hearted symphony should have been neglected for so long. Between the two world wars its emotional grandeur was mistrusted by many critics. It was also, for many years, the usual practice to perform it with disfiguring cuts, which the composer had reluctantly approved (nowadays it is nearly always performed complete). The symphony is now established as one of the most popular of all Russian orchestral works. Max Harrison’s words seem particularly apt: ‘Composers great and less great win their place in music history through having ideas of their own, and as time passes it counts for little whether these were cast in an advanced or traditional language’. The circumstances of this symphony’s composition are unremarkable: between 1906 and 1909, Rachmaninov and his family spent much of each year in Dresden. These Dresden years were his most consistently fruitful as a composer: his First Piano Sonata, the tone poem The Isle of the Dead and his Third Piano Concerto all date from this productive period.

Abridged from a note © Drew Crawford PROGRAM August & September 17

PROGRAM NOTES A secretive composer at the best of times, he was particularly reluctant to discuss his work on this symphony with colleagues. The premiere of his Symphony No.1 in 1897 was a fiasco so shattering to Rachmaninov that he was unable to compose at all for three years. He was now cautious about its successor. But its first performances, which Rachmaninov conducted himself, were great successes, and the work was awarded a major Russian composition prize in 1908. The Second is Rachmaninov’s only symphony to date from the years of his full-blown Romantic style. It is as expansive as the symphonies of his contemporaries Mahler and Elgar, but it is more direct in its expressive ambitions. Like the symphonies of Mahler, Elgar and Bruckner, it is postWagnerian in its time-scale and ambitions, particularly in its frequent changes of key within movements, the long span of its melodies, the way Rachmaninov creates harmonic tension by refusing to return to established keys at expected moments, and the use of motto themes to bind the individual movements together. Yet, structurally, the symphony is quite

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PROGRAM August & September

conventional: a first movement in sonata form (complete with slow introduction); a scherzo and trio; and, following the Adagio (sounding at times like a Russian meditation on Tristan und Isolde – it is perhaps the greatest love duet never written for the stage), a finale of well-bred Classical proportions yet displaying exceptional high spirits. Was Rachmaninov ever again this unbuttoned? When this symphony was new, music critic Philip Hale declared that its early popularity revealed ‘a weakness in its composition’, and that one day the work would be ‘buried snugly in the great cemetery of orchestral compositions’. The increasing popularity of Rachmaninov’s Symphony No.2 since the 1970s is a victory for the broad commonwealth of music-lovers over the critical fraternity who once declared it obvious and naïve. It might even be a signal that a concern for human feeling is the primary value most audiences seek in music old or new. Edited from a note by Phillip Sametz © 1996/2006

PROGRAM August & September 19

BIOGRAPHIES

BIOGRAPHIES

Johannes Fritzsch

Guy Noble

Yu Long

Javier Perianes

Johannes Fritzsch was born in Meissen, Germany, in 1960. After completing his musical studies, he accepted the position of Kapellmeister with the Staatsoper Dresden, Semperoper, where he conducted more than 350 opera and ballet performances within five years.

Guy Noble is one of Australia’s most versatile conductors and musical entertainers, conducting and presenting concerts with all the major Australian orchestras and performers such as The Beach Boys, Yvonne Kenny, David Hobson, Ben Folds, Dianne Reeves, Randy Newman, and Clive James. He has cooked live on stage with Maggie Beer and Simon Bryant (The Cook, The Chef and the Orchestra, Adelaide Symphony) appeared as Darth Vader (The Music of John Williams, Sydney Symphony) and might be the only person to have ever sung the Ghostbusters theme live on stage accompanied by The Whitlams (Queensland Symphony Orchestra).

Conductor Long Yu is Artistic Director and Chief Conductor of the China Philharmonic Orchestra, Music Director of the Shanghai Symphony and Principal Guest Conductor of the Hong Kong Philharmonic Orchestra. All these ensembles are among China’s finest and tour actively at home and abroad in addition to regular seasons, featuring the world’s top soloists. Maestro Yu is the Founding Artistic Director of the Beijing Music Festival which, now in its 15th season, is the internationally recognized hub of musical life in China’s capital. Long Yu shares the position of Artistic Co-Director of the MISA Festival with Charles Dutoit, bringing classical music to the young people of Shanghai.

Awarded the ‘National Music Prize’ in 2012 by the Ministry of Culture of Spain, Javier Perianes has been described as “a pianist of impeccable and refined tastes, blessed with a warmth of touch.” (The Telegraph) His international career already spans five continents – with concerts ranging from London’s Royal Festival Hall to New York’s Carnegie Hall; Paris’s Théâtre des ChampsÉlysées to Berlin’s Philharmonie; Moscow Conservatory’s Great Hall to Suntory Hall Tokyo.

Conductor

Since then, he has conducted the Hamburger Sinfoniker, Düsseldorfer Sinfoniker, Philharmonie Essen, major orchestras throughout Scandinavia and Asia and all the major Australian symphony orchestras, Sächsische Staatsoper Dresden, Opernhaus Köln, Deutsche Oper Berlin, Komische Oper Berlin, Opera Bastille Paris, Grazer Oper, the Royal Opera Stockholm, Malmö Opera and Opera Australia in Sydney and Melbourne (including Wozzeck, Don Giovanni, Carmen, Tosca, Rigoletto, Salome, Der Rosenkavalier). Mo. Fritzsch recently held the position of Chief Conductor of the Grazer Oper and Grazer Philharmonisches Orchester, Austria; from 2008-2014, he was Chief Conductor of the Queensland Symphony Orchestra and was recently appointed Conductor Laureate. In 2015, he conducts the Queensland, Sydney and Tasmanian Symphony Orchestras and leads performances of La traviata for Opera Queensland

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PROGRAM August & September

Host

Guy is a regular guest presenter on ABC Classic FM, conducted La Bohème throughout Queensland with (Opera Queensland and QSO), hosts and accompanies Great Opera Hits (Opera Australia) writes a column for Limelight Magazine, presents the inflight classical channels on Qantas, Air China, China Airlines and Gulf Air, and is very pleased to be back as host of Music of Sundays.

Conductor

Long Yu is a Chevalier dans L’Ordre des Arts et Lettres and the recipient of the 2002 Arts Patronage Award of the Montblanc Cultural Foundation. In 2005, the Italian government honored Maestro Long Yu with the title of L’onorificenza di commendatore. In 2014, Maestro Yu and the China Philharmonic became the first Chinese conductor and the first Chinese orchestra to play the fabled BBC Proms series with a televised performance at London’s Royal Albert Hall. The concert was viewed by millions of people across the United Kingdom. Maestro Yu performs regularly with the world’s leading orchestras including the Munich Philharmonic, Orchestre de Paris, BBC Symphony, Hamburg State Opera, Maggio Musicale Fiorentino, Chicago Symphony Orchestra, Philadelphia Orchestra, New York Philharmonic, Los Angeles Philharmonic, Sydney Symphony, and Singapore Symphony.

Piano

Highlights of Perianes' 2015/16 calendar include concerts with Wiener Philhamoniker, Chicago and Boston Symphony Orchestras, Yomiuri Nippon Symphony Orchestra, hrSinfonieorchester, London Philharmonic Orchestra, Netherlands Radio Philharmonic Orchestra, Tonkünstler-Orchester, Orchestre de Chambre de Paris and Orchestra of St. Luke’s (Carnegie Hall), as well as a month-long-tour of orchestras in Australia and New Zealand. During 2014/15, Perianes made prestigious debuts with the Orchestre de Paris, Washington National and San Francisco Symphony Orchestras and BBC Scottish Symphony. Meanwhile conductor collaborations past and future include Daniel Barenboim, Charles Dutoit, Zubin Mehta, Lorin Maazel, Rafael Frühbeck de Burgos, Daniel Harding, Yuri Temirkanov, Jesús López Cobos, Sakari Oramo, Juanjo Mena, Pablo Heras-Casado, Josep Pons, Andrés OrozcoEstrada, Robin Ticciati, Thomas Dausgaard and Vasily Petrenko. Perianes records exclusively for harmonia mundi. His most recent album recorded with the Cuarteto Quiroga pairs the Granados and Turina Quintets for the first time. PROGRAM August & September 21

BIOGRAPHIES

BIOGRAPHIES

Jacques Lacombe

Milica Ilic

Henry Choo

Warwick Fyfe

Principal Conductor of the Bonn Opera and Music Director of the Orchestre Symphonique de Trois-Rivieres in Quebec, Jacques Lacombe is renowned as a “gifted and ambitious” conductor (The New York Times) whose artistic integrity and rapport with musicians and orchestras have propelled him to international stature. Music Director of the New Jersey Symphony from 2010 to 2016 and Principal guest conductor of the Orchestre Symphonique de Montréal from 2002 to 2006, Lacombe is a regular guest of the Boston Symphony Orchestra and the Tanglewood Music Festival where he had the honor of conducting the opening concerts of this prestigious festival for the last two summers.

Serbian-born Milica Ilic completed a Bachelor of Music Degree at the Queensland Conservatorium Griffith University. She was the winner of the 2008 Australian National Eisteddfod and the Dame Joan Sutherland Vocal Competition (at the youngest recorded age of 19).

One of Australia’s finest lyric coloratura tenors debuted in the role of Ernesto (Don Pasquale) for Opera Queensland, and his principal debut with Opera Australia as Italian Singer (Der Rosenkavalier). Roles for Opera Australia have included Nemorino (L'elisir D'amore), Gerald (Lakmé), Nadir (Les pêcheurs de perles), Tamino (The Magic Flute), Don Ottavio (Don Giovanni), Ferrando (Così Fan Tutte), Count Almaviva (Il Barbiere di Siviglia), Lysander (A Midsummer Night’s Dream), Tebaldo (I Capuleti e i Montecchi), to name but a few. Roles for other companies include Cassio (Otello) and Don Ottavio – WA Opera, Count Almaviva, -SOSA, Ferrando -Harbour City Opera, Lord Riccardo Percy (Anna Bolena) – OperaBox, and Martin (The Tender Land) – Lyric Opera of Melbourne, for which he has received a Green Room Award nomination for best male operatic lead.

Renowned for his performances in such roles as Rigoletto and Falstaff, Warwick Fyfe is one of the finest baritones Australia has produced. Most recently, he triumphed as Alberich in Opera Australia's Der Ring des Nibelungen in Melbourne – for which he received the Helpmann Award as Best Male in an Operatic Featured Role. In 2016, he will sing Alberich again in Opera Australia’s revival of The Ring – along with Bartolo in Il barbiere di Siviglia and Paolo in Simon Boccanegra.

Concert highlights have included Bach’s Cantata No. 207 and Mozart Requiem with the Melbourne Symphony and Beethoven’s Symphony No. 9 with the Hong Kong Philharmonic; Henry has also been a frequent soloist with the Sydney, Queensland, Adelaide and Tasmanian Symphony Orchestras, Orchestra Victoria, Sydney Philharmonia, Australia Ensemble and Bach Musica, New Zealand.

Warwick's roles for other companies have included Rigoletto, Leporello, Tonio in Pagliacci and Taddeo in L'italiana in Algeri for New Zealand Opera, Fasolt in Der Ring des Nibelungen for State Opera of South Australia, Bartolo in Le nozze di Figaro in Hong Kong, The Four Villains in The Tales of Hoffmann for English Touring Opera and Daland in Die fliegende Holländer for Victorian Opera.

Conductor

Highlights of last season include his debut with the Festival Internacional de Opera Alejandro Granda in Lima, Peru, as well as with Taiwan Philharmonic and orchestras in Dallas, Nancy, Omaha, San Antonio and Orchestre National de France in Paris for a performance of Werther with Joyce di Donato and Juan Diego Flores. Other recent highlights include all-star productions of La Bohème and Tosca at the Royal Opera House Covent Garden, Lady Macbeth of Mtensk and a special “Gala Belcanto” with Diana Damrau at the Opéra de Monte Carlo, the world premiere of Marius et Fanny at the Opéra de Marseille with Roberto Alagna and Angela Gheorghiu, and many productions with the Deutsche Oper Berlin where he is a regular guest.

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PROGRAM August & September

Soprano

In 2009, Milica created the role of Emma in the youth opera Dirty Apple and appeared in La traviata – both for Opera Queensland. She also sang the role of Barbarina in Le nozze di Figaro for Macau International Music Festival. She continued her affiliation with Opera Queensland as a Young Artist and performed in their touring production of The Merry Widow. In 2012, Milica made her Opera Australia debut – as the Queen of Night in The Magic Flute. Since then, she has appeared as soloist with the Sydney and Queensland Symphony Orchestras. She returned to OA in 2014 as the Queen of Night and appeared in the same role with West Australian Opera; Milica also debuted with the Adelaide Symphony in Carmina Burana. International appearances have included Gilda (Rigoletto) in Modena, Amor (Orfeo ed Eurydice) in Trieste, Queen of Night in Essen and Sophie (Werther) in Spain. Her EP with mezzo-soprano Victoria Lambourn – Lakmé – was released by ABC Classics.

Tenor

Baritone

In the course of his long association with Opera Australia, Warwick has sung Rigoletto, Falstaff, the Dutchman in Der fliegende Holländer; Mandryka in Arabella; Dr Schön in Lulu; Amonasro in Aida; Scarpia in Tosca; Faninal in Der Rosenkavalier; Wolfram in Tannhäuser; Papageno in The Magic Flute; Germont in La traviata; Faninal in Der Rosenkavalier; Leporello in Don Giovanni and many others.

Concert engagements include performances with all the major Australasian orchestras in Orff’s Carmina Burana; Handel’s Messiah; Beethoven's Symphony No.9; Mozart's Requiem; Bach's St Matthew Passion and Mass in B minor; Brahms’ A German Requiem. PROGRAM August & September 23

BIOGRAPHIES

The Australian Voices Artistic Director: Gordon Hamilton It is with high artistic energy that The Australian Voices commission and perform the works of Australian composers. Recently The Australian Voices have recorded new works intended for “performance” on YouTube. Hamilton’s composition The 9 Cutest Things That Ever Happened (2013) has been viewed over one million times. In 2014, they made international headlines with a video of Rob Davidson’s Not Now, Not Ever! (2014), a musicalisation of Julia Gillard’s ‘misogyny’ speech. Their album for Warner Classics (2012) was observed by Gramophone Magazine to "boast a crisp, resonant delivery of the sonic goods under Hamilton's confident direction." In 2013, they released an songbook with Edition Peters. Recently, the group has brought their distinct sound to China, the UK, Germany, USA and Palestine. In 2015, they will collaborate with Topology in Unrepresentative Swill, a concert inspired by prime-ministerial speeches. The Australian Voices are Ensemble-inResidence at the Queensland Symphony Orchestra.

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PROGRAM August & September

BIOGRAPHIES

The Voices of Birralee Founder and Artistic Director: Julie Christiansen OAM Associate Director: Paul Holley OAM Voices of Birralee is a Brisbane based youth choral organisation founded in 1995 by Artistic Director Julie Christiansen, OAM. It now comprises nine ensembles, which have attained a remarkable level of professionalism and are highly acclaimed by national and international audiences. The organisation caters for approximately 400 young people aged between 5 and 35 years. They sing a variety of music styles and particularly enjoy promoting Australian music. They have participated in festivals in Australia, Canada, USA, New Zealand, Korea, Austria, Germany and Czech Republic. Voices of Birralee are privileged to be the organisation chosen to supply choral music for the Department of Veterans’ Affairs Western Front Centenary Commemorations involving 9 services in France and Belgium from 2015 – 2019. Recent performances with the Queensland Symphony Orchestra include Mahler Symphony No.3, Busoni Piano Concerto and, The Lord of the Rings – The Fellowship of the Ring and The Two Towers. For Carmina Burana the choir is drawn from two of the signature ensembles: Brisbane Birralee Voices – Director Julie Christiansen and Resonance of Birralee – Director Paul Holley.

Łukasz Borowicz

Kian Soltani

Maestro Borowicz has appeared as a guest conductor with the Royal Philharmonic Orchestra, BBC Scottish Symphony Orchestra, Konzerthausorchester Berlin, Komische Oper Berlin, NDR Radiophilharmonie Hannover, MDR Sinfonieorchester Leipzig, SWR Sinfonieorchester Stuttgart, Düsseldorfer Symphoniker, Hamburger Symphoniker, Wiener Volksoper, Lucerne Symphony Orchestra and all the major Polish symphony orchestras.

By the time he won first prize at the International Paulo Cello Competition 2013 in Helsinki, the 24-year-old Kian Soltani had joined the top rank of today’s new generation of cello soloists. Earlier first prizes include the Karl Davidoff International Cello Competition and the International Antonio Janigro Competition. Soltani held a scholarship at the Mozart-Gesellschaft Dortmund and is a member of the renowned Anne-Sophie Mutter foundation.

Conductor

Maestro Borowicz has conducted at the Rossini Festival in Pesaro and the SchleswigHolstein Music Festival. He made his operatic debut with “Don Giovanni” at the Warsaw National Opera in Warsaw followed by “Orfeo ed Euridice”, “Midsummer's Night Dream” and “The Rite of Spring”. Further operatic credits include: “Don Giovanni”, “Eugene Onegin” and “Halka” (Kraków Opera), “Die Zauberflote”, “Rusalka”, “Bluebeard’s Castle” and “Dido and Aeneas” (Grand Theatre in £ódŸ), and Szymanowski’s “King Roger” (ABAO Bilbao). He has conducted ballet performances at the Warsaw National Opera (“Swan Lake”, “La Bayadere”). Maestro Borowicz’s symphonic recordings include the Complete Violin Concertos by Bacewicz for Chandos and the Complete Symphonic Works by Andrzej Panufnik (Polish Radio Symphony Orchestra and Konzerthausorchester Berlin for CPO). The final installment of the Panufnik cycle was “Editor’s Choice” in Gramophone magazine and Borowicz received the ICMA Special Achievement Award in 2015 for his pioneering work on the cycle.

Cello

Accepted into Ivan Monighetti’s class at the Basel Music Academy at twelve, he has been part of the Young Soloist program at the Kronberg Academy with Frans Helmerson since 2014. As a soloist, Soltani has appeared with ensembles such as the Zagreb Soloists, the Georgian Chamber Orchestra, Basel Sinfonietta, Latvian National Symphony Orchestra, Liechtenstein Symphony Orchestra, Helsinki Philharmonic Orchestra, Tapiola Sinfonietta, Jyväskylä Sinfonia and the Zagreb Philharmonic Orchestra and has collaborated with conductors including Barenboim, Geringas, Srzic, Tewinkel, Monighetti, Krumpöck, Storgårds, Shinozaki, Iisakkila and Csaba. Recent and upcoming highlights include concerts with the Zürich Tonhalle-Orchestra and Sir Neville Marriner, a summer tour as soloist with the West-Eastern Divan Orchestra, for whom he regularly tours as principal cellist, and Beethoven Triple Concerto with Daniel Barenboim as pianist and conductor, his own chamber music PROGRAM August & September 25

BIOGRAPHIES

CHAIR DONORS

weekend at the Schubertiade, the premiere of Vali’s Cello Concerto, dedicated to Soltani, multiple tours with Anne-Sophie Mutter and “Mutter’s Virtuosi” and performances at the Aix-en-Provence Festival, Bergen International Festival, Lugano Festival, Mozartfest Würzburg, Louvre Auditorium and Herkulessaal Munich.

Chair Donors support an individual musician’s role within the orchestra and gain fulfilment through personal interactions with their chosen musician. CONCERTMASTER

CELLO

Warwick Adeney Prof. Ian Frazer AC & Mrs Caroline Frazer Estate of Barbara Jean Hebden Cathryn Mittelheuser AM John Story AO & Georgina Story

Kathryn Close Dr Graham & Mrs Kate Row

Peter Luff Shirley Leuthner

Andre Duthoit Anne Shipton

Lauren Manuel Gaelle Lindrea

Matthew Kinmont Dr Julie Beeby

SECTION PRINCIPAL TRUMPET

ASSOCIATE CONCERTMASTER

ASSOCIATE PRINCIPAL DOUBLE BASS

Alan Smith Arthur Waring FIRST VIOLIN

I will stay the nightt Mantra South Bank is located in the heart of South Bank’s arts and entertainment precinct and is just a two minute walk from the Queensland Symphony Orchestra. Located on Grey Street Mantra South Bank offers contemporary Studio Rooms, Hotel Rooms and One and Two Bedroom Apartments.

To book call 13 15 17 or visit mantra.com.au QSO2 copy.pdf

1

21/05/13

9:35 PM

Getting everything to work in perfect harmony… your body will love the sound of that.

Stephen Phillips Dr Graham & Mrs Kate Row Rebecca Seymour Ashley Harris Brenda Sullivan Heidi and Hans Rademacher Anonymous Stephen Tooke Tony & Patricia Keane SECTION PRINCIPAL SECOND VIOLIN

Wayne Brennan Arthur Waring SECOND VIOLIN

Delia Kinmont Jordan & Pat Pearl

Justin Bullock Michael Kenny & David Gibson Paul O'Brien Roslyn Carter ASSOCIATE PRINCIPAL FLUTE

Hayley Radke Desmond B Misso Esq ASSOCIATE PRINCIPAL OBOE

Sarah Meagher Sarah and Mark Combe OBOE

Alexa Murray Dr Les & Ms Pam Masel SECTION PRINCIPAL CLARINET

Irit Silver Arthur Waring

Helen Travers Elinor & Tony Travers

CLARINET

SECTION PRINCIPAL VIOLA

Yoko Okayasu Dr Damien Thomson & Dr Glenise Berry Charlotte Burbrook de Vere Di Jameson Graham Simpson Alan Galwey SECTION PRINCIPAL CELLO

Proud supporters & consultants to the QSO

DOUBLE BASS

Natalie Low Dr Ralph & Mrs Susan Cobcroft

VIOLA

We love seeing people perform at their best www.pondera.com.au

Dushan Walkowicz Sophie Galaise

David Lale Arthur Waring

Kate Travers Dr Julie Beeby SECTION PRINCIPAL BASSOON

Nicole Tait In memory of Margaret Mittelheuser AM ASSOCIATE PRINCIPAL BASSOON

David Mitchell John & Helen Keep SECTION PRINCIPAL FRENCH HORN

Malcolm Stewart Arthur Waring

FRENCH HORN

Sarah Butler Mrs Andrea Kriewaldt

ASSOCIATE PRINCIPAL TRUMPET

Richard Madden Elinor & Tony Travers TRUMPET

Paul Rawson Barry, Brenda, Thomas & Harry Moore SECTION PRINCIPAL TROMBONE

Jason Redman Frances & Stephen Maitland OAM RFD ASSOCIATE PRINCIPAL TROMBONE

Dale Truscott Peggy Allen Hayes PRINCIPAL TUBA

Thomas Allely Arthur Waring

PRINCIPAL HARP

Jill Atkinson Noel & Geraldine Whittaker PRINCIPAL TIMPANI

Tim Corkeron Dr Philip Aitken & Dr Susan Urquhart Peggy Allen Hayes

SECTION PRINCIPAL PERCUSSION

David Montgomery Dr Graham & Mrs Kate Row PERCUSSION

Josh DeMarchi Dr Graham & Mrs Kate Row

Thank you PROGRAM August & September 27

DONORS Queensland Symphony Orchestra is proud to acknowledge the generosity and support of our valued donors. PLATINUM ($500,000+) Timothy Fairfax AC Tim Fairfax Family Foundation Harold Mitchell AC DIAMOND ($250,000 - $499,000) The Pidgeon Family Dr Peter Sherwood T & J St Baker Charitable Trust Arthur Waring PATRON ($100,000 - $249,000) Philip Bacon Galleries Prof. Ian Frazer AC and Mrs Caroline Frazer Estate of Barbara Jean Hebden Jellinbah Group Cathryn Mittelheuser AM John B Reid AO and Lynn Rainbow Reid Mrs Beverley June Smith John Story AO and Georgina Story Greg and Jan Wanchap Noel and Geraldine Whittaker MAESTRO ($50,000 - $99,999) Bank of Queensland Page and Marichu Maxson The John Villiers Trust SYMPHONY ($20,000 - $49,999) Dr Philip Aitken and Dr Susan Urquhart Dr Julie Beeby Dr John H. Casey English Family Prize Peggy Allen Hayes Di Jameson Mrs Andrea Kriewaldt Frances and Stephen Maitland OAM RFD Desmond B Misso Esq.

In memory of Margaret Mittelheuser AM Justice Anthe Philippides Queensland Conservatorium Griffith University Dr Graham and Mrs Kate Row Dr Damien Thomson and Dr Glenise Berry Rodney Wylie Anonymous CONCERTO ($10,000 - $19,999) David and Judith Beal Mrs Roslyn Carter Dr Ralph and Mrs Susan Cobcroft Mrs I.L. Dean Tony Denholder and Scott Gibson Mrs Elva Emmerson Sophie Galaise Alan Galwey Dr Edward C. Gray Dr and Mrs W.R. Heaslop Gwenda Heginbothom Ms Marie Isackson Tony and Patricia Keane John and Helen Keep M. Lejeune Dr Les and Ms Pam Masel In memory of Mr and Mrs J.C. Overell Ian Paterson Mr Jordan and Mrs Pat Pearl Heidi and Hans Rademacher Anne Shipton Elinor and Tony Travers Anonymous SCHERZO ($5,000 - $9,999) Prof. Margaret Barrett Trudy Bennett Mrs Valma Bird Dr John and Mrs Jan Blackford Kay Bryan Dr Betty Byrne Henderson AM Greg and Jacinta Chalmers

C.M. and I.G. Furnival Dr Edgar Gold AM, QC and Dr Judith Gold CM Prof. Ian Gough AM and Dr Ruth Gough Fred and Maria Hansen Ashley Harris Dr Alison Holloway Michael Kenny and David Gibson Shirley Leuthner Gaelle Lindrea Barry, Brenda, Thomas and Harry Moore Ron and Marlise Nilsson Kathleen Y. Nowik In Memory of Pat Riches John and Jennifer Stoll Mrs Gwen Warhurst Prof. Hans Westerman and in memory of Mrs Frederika Westerman Margaret and Robert Williams Helen Zappala Anonymous (3) RONDO ($1,000 - $4,999) Julieanne Alroe Jill Atkinson Emeritus Professor Cora V. Baldock Dr Geoffrey Barnes and in memory of Mrs Elizabeth Barnes William and Erica Batt Professors Catherin Bull AM and Dennis Gibson AO M. Burke Peter and Tricia Callaghan Constantine Carides Elene Carides Mrs J. A. Cassidy Drew and Christine Castley Cherrill and David Charlton Ian and Penny Charlton Robert Cleland Sarah and Mark Combe Roger Cragg Julie Crozier and Peter Hopson

Ms D.K. Cunningham Dr Beverley Czerwonka-Ledez Justice Martin Daubney Dr C. Davison Laurie James Deane Dr Catherine Doherty Ralph Doherty In memory of Mrs Marjorie Douglas Garth and Floranne Everson Dr Bertram and Mrs Judith Frost In memory of Lorraine Gardiner Graeme and Jan George Dr Joan E. Godfrey, OBE Hans Gottlieb Lea and John Greenaway Yvonne Hansen Madeleine Harasty David Hardidge M.J. Harding Harp Society of Queensland Inc Lisa Harris Chip Hedges Pty Ltd Ted and Frances Henzell Patrick and Enid Hill Prof. Ken Ho and Dr Tessa Ho Sylvia Hodgson Lynette Hunter Sandra Jeffries and Brian Cook John and Wendy Jewell Anna Jones Ainslie Just Andrew Kopittke Dr Colin and Mrs Noela Kratzing Sabina Langenhan and Dr Werner Andreas Albert Dr Frank Leschhorn Rachel Leung Lynne and Franciose Lip Prof. Andrew and Mrs Kate Lister

Susan Mabin Jim and Maxine MacMillan Belinda McKay and Cynthia Parrill Annalisa and Tony Meikle In memory of Jolanta Metter G.D. Moffett B and D Moore Martin Moynihan AO QC and Marg O’Donnell AO Howard and Katherine Munro John and Robyn Murray Philip and Janice Oostenbroek Charles and Brenda Pywell Dr Phelim Reilly Mr Dennis Rhind Joan Ross Bernard and Margaret Spilsbury M.A. Stevenson Barb and Dan Styles Katherine Trent and Paul Reed William Turnbull H.R. Venton Tanya Viano I.S and H. Wilkey Jeanette Woodyatt Anonymous (48)

Mrs Lynette Haselgrove Shirley Heeney Richard Hodgson Jacobitz Family Miss Dulcie Little The Honourable Justice J.A. Logan, RFD Guy Mitchell T. and M.M. Parkes Martin and Margot Quinn G and B Robins Mr Rolf and Mrs Christel Schafer Smith Family Judith Smith and Family Dr B. Srinivasan Pat Stevens Anonymous (40)

VARIATIONS ($500 - $999) Don Barrett Manus Boyce Mrs Verna Cafferky Alison G. Cameron Kerrel Casey W.R. and H. Castles Dr Alice Cavanagh Francis N. Clark Terry and Jane Daubney R.R & B.A Garnett Donald Grant and David Hill Ruth Hamlyn-Harris

Instruments on loan

JOHN FARNSWORTH HALL CIRCLE Named in honour of the first Chief Conductor of QSO (1947-1954) Roberta Bourne Henry All enquiries, please call QSO Philanthropy on (07) 3833 5017

QSO thanks the National Instrument Bank and The NFA Anthony Camden Fund for their generous loan of fine instruments to the recitalists of our English Family Prize for Young Instrumentalists.

Thank you

Please contact QSO Philanthropy on 07 3833 5017, or you can donate online at qso.com.au/donatenow All donations over $2 are tax deductible ABN 97 094 916 444 For a list of Building for the Future donors go to qso.com.au/giving/ourdonors

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PROGRAM August & September

PROGRAM August & September 29

QUEENSLAND SYMPHONY ORCHESTRA CELLO

PATRON

VIOLIN 1

His Excellency the

Linda Carello

David Lale~

Honourable Paul de

Lynn Cole

Kathryn Close 

David Mitchell>>

Jersey AC, Governor

Priscilla Hocking

Andre Duthoit

Evan Lewis

of Queensland

Ann Holtzapffel

Matthew Jones

Stephen Phillips

Matthew Kinmont

Rebecca Seymour

Kaja Skorka

Joan Shih

Craig Allister Young

MUSIC DIRECTOR DESIGNATE Alondra de la Parra

Brenda Sullivan

SOLOIST-IN-RESIDENCE

Stephen Tooke

Nikolai Demidenko

Brynley White

ASSISTANT CONDUCTOR

VIOLIN 2

Natalia Raspopova

Gail Aitken~

CONDUCTOR LAUREATE

Jane Burroughs

Johannes Fritzsch CONDUCTOR EMERITUS Werner Andreas Albert

Wayne Brennan~ Faina Dobrenko Simon Dobrenko

Dushan Walkowicz= Anne Buchanan Justin Bullock Paul O’Brien Ken Poggioli FLUTE Hayley Radke>>

Delia Kinmont

PICCOLO

Natalie Low

Kate Lawson*

Tim Marchmont CONCERTMASTER

DOUBLE BASS

Helen Travers

OBOE

Warwick Adeney

Harold Wilson

Huw Jones~

ASSOCIATE

VIOLA

Alexa Murray

Charlotte Burbrook de Vere

COR ANGLAIS

CONCERTMASTER Alan Smith

Yoko Okayasu~

Sarah Meagher>>

Bernard Hoey

Vivienne Brooke*

Kirsten Hulin-Bobart

CLARINET Irit Silver~

Jann Keir-Haantera Helen Poggioli Graham Simpson Nicholas Tomkin

BASSOON Nicole Tait~

CONTRABASSOON Claire Ramuscak* FRENCH HORN

Malcolm Stewart~ Peter Luff>> Ian O’Brien* Vivienne Collier-Vickers Lauren Manuel TRUMPET

Sarah Butler~ Richard Madden>> Paul Rawson TROMBONE

Jason Redman~ Dale Truscott>> BASS TROMBONE Tom Coyle* TUBA Thomas Allely* HARP Jill Atkinson*

Brian Catchlove+

TIMPANI

Kate Travers

Tim Corkeron*

BASS CLARINET

PERCUSSION

Nicholas Harmsen*

David Montgomery~ Josh DeMarchi>>

~ =

>> +

* ^

Section Principal Acting Section Principal Associate Principal Acting Associate Principal Principal  Acting Principal

QSO's Music Director designate is proudly supported by Timothy Fairfax AC. The Soloist-in-Residence program is supported by the T & J St Baker Charitable Trust. The Assistant Conductor program is supported through the Johannes Fritzsch Fund and Symphony Services International.

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PROGRAM August & September

BOARD OF DIRECTORS Greg Wanchap Chairman Mary Jane Bellotti Margaret Barrett Tony Denholder Tony Keane John Keep Page Maxson James Morrison AM Rod Pilbeam MANAGEMENT Rodney Phillips Interim Chief Executive Ros Atkinson Executive Assistant to CE Richard Wenn Director – Artistic Planning Michael Sterzinger Artistic Administration Manager Murray Walker Assistant Librarian and Artistic Administrator Fiona Lale Artist Liaison Matthew Farrell Director – Community Engagement and Commercial Projects Nina Logan Orchestra Manager Helen Davies Operations Assistant Nadia Myers Orchestra Librarian Peter Laughton Operations and Projects Manager Vince Scuderi Production Coordinator Judy Wood Community Engagement Manager/WHS Coordinator Pam Lowry Education Liaison Officer Sarah Perrott Acting Director – Marketing Michaela Tam Marketing Manager Rachel Churchland Marketing Coordinator David Martin Director – Corporate Development & Sales Rebekah Godbold Corporate Partnerships Manager Emma Rule Ticketing Services Manager (Maternity leave) Michael Hyde Sales Support Manager Eric Yates Ticketing Services Coordinator Joanne Monisse Ticketing Services Coordinator Mike Ruston Ticketing Services Officer Sarah Farnsworth Senior Sales Consultant Director – Philanthropy Katya Melendez Philanthropy Manager Phil Petch Philanthropy Services Officer Robert Miller Director – Human Resources Debbie Draper Chief Financial Officer Sue Schiappadori Accountant Amy Herbohn Finance Officer

QUEENSLAND PERFORMING ARTS CENTRE PO Box 3567, South Bank, Queensland 4101 T (07) 3840 7444 W qpac.com.au CHAIR Chris Freeman AM DEPUTY CHAIR Rhonda White AO TRUST MEMBERS Kylie Blucher Simon Gallaher Sophie Mitchell Mick Power AM EXECUTIVE STAFF Chief Executive: John Kotzas Executive Director – Programming: Ross Cunningham Executive Director – Marketing and Communications: Roxanne Hopkins Executive Director – Development: Megan Kair Executive Director – Corporate Services: Kieron Roost Executive Director – Patron Services: Jackie Branch ACKNOWLEDGEMENT The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government The Honourable Annastacia Palaszczuk MP, Premier and Minister for the Arts Director-General, Department of the Premier and Cabinet: David Stewart Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

PROGRAM August & September 31

PARTNERS Government partners

Principal partner

Premier partners

Major partners

Gold partners

Industry collaborators

Artist gifts proudly supplied by Sirromet and French Flowers.

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PROGRAM August & September

FOR YOUR INFORMATION CONCERT HALL ETIQUETTE To ensure an enjoyable concert experience for all, please remember to turn off your mobile phone and other electronic devices. Please muffle coughs or excuse yourself from the auditorium. Thank you. PROGRAMS ONLINE A free copy of the program is available for download at qso.com.au at the beginning of each performance month. There is also extensive information on planning your journey and what to expect at QSO events under Your Visit at qso.com.au. HAVE YOUR SAY We value your feedback about this concert and your experience. Email [email protected] or visit the Contact Us section of qso.com.au. QSO ON THE RADIO Selected QSO performances are recorded for future broadcast. For further details visit abc.net.au/classic and 4mbs.com.au.

qso.com.au Keep visiting for in-depth info about repertoire and guest artists, audio, video links and upcoming news. Sign up for our Tune-in eNews.

Queensland Symphony Orchestra @QSOrchestra @QSOrchestra

Queensland Symphony Orchestra GPO Box 9994 BRISBANE QLD 4001 Cnr Grey and Russell Street, South Brisbane 07 3833 5000 [email protected] QSO Box Office (07) 3833 5044