S E AS O N 2 01 6

PROGRAM June – July

CONTENTS JUNE & JULY

MUSIC ON SUNDAYS

LONG LIVE THE BARD – 400 YEARS MAESTRO

QSO PLAYS DVOŘÁK

2 6

Pre-concert talk at 6.30pm with Thomas Allely

MUSIC ON SUNDAYS

CARNIVAL IN VENICE MAESTRO

QSO PLAYS MAHLER 4

10 14

Pre-concert talk at 6.30pm with Richard Wenn

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 5 JUN 11.30AM Concert Hall, QPAC

LONG LIVE THE BARD – 400 YEARS Conductor Tahu Matheson Host Guy Noble Violin Warwick Adeney

Media Partner

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Natalie Low QSO Violin

PROGRAM NOTES Felix Mendelssohn (1809-1847) A Midsummer Night’s Dream: Overture Vincenzo Bellini (1801-1835) I Capuleti e i Montecchi: Overture Otto Nicolai (1810-1849) The Merry Wives of Windsor: Overture

George Frideric Handel (1685-1759) Julius Caesar, Act III: Sinfonia and March

Edward Elgar (1857-1934) Falstaff: Dream interlude Warwick Adeney, Violin Giuseppe Verdi (1813-1901) Macbeth: Prelude to Act I Leonard Bernstein (1918-1990) arr. Maurice Peress West Side Story: Overture Erich Wolfgang Korngold (1897-1957) Much Ado About Nothing: Overture Peter Ilyich Tchaikovsky (1840-1893) Romeo and Juliet – Fantasy Overture

This year we commemorate the 400th anniversary of Shakespeare’s death. The fact that we celebrated the 450th anniversary of his birth only two years ago highlights the fact that this genius made his extraordinary contribution to world culture in only 52 years of life. And it wasn’t just theatre that he enriched. Composers have responded imaginatively to his plays.

Perhaps the most famous musical response is Mendelssohn’s Midsummer Night’s Dream music. Mendelssohn composed the overture when he was only 16. He knew Shakespeare in German translation, but Shakespeare’s poetic magic clearly came through as the overture attests in its evocation of the fairy world of Titania and Oberon, the braying of Bottom transformed into an ass, and dancing of the characters known as ‘rude mechanicals’. The story of Romeo and Juliet’s starcross’d love has been rich source material for composers, though Bellini’s 1830 opera is based less on Shakespeare than Italian renaissance sources. Romeo Montecchi, leader of the Ghibellines, comes in disguise to the Capulet family to propose marriage to Giulietta as a peace deal. Clearly, the plot is slightly different from Shakespeare but the broad outlines are still visible. The Overture is tuneful in the best Italian opera tradition but also reflects the volatility of the plot. Otto Nicolai was often criticised by German critics for sounding too Italian. But a reviewer of this overture, in 1850, noted approvingly that its ‘Italian reminiscences’ were ‘somewhat ennobled’. They were probably referring to its sophisticated orchestration. But why shouldn’t it be light? Shakespeare’s play is a delightful comedy of intrigue: the lovely Anne pursued by three men, while the wives Mrs Page and Mrs Ford fend off the attentions of fat, old Sir John Falstaff. Shakespeare’s Julius Caesar takes place in Rome where Caesar is assassinated after returning from battle. Shakespeare’s Antony and Cleopatra dramatises the love felt by Mark Antony for the queen who had earlier caught Caesar’s eye. But Handel’s Julius Caesar takes place in Egypt in 48-47 BC where the love between Caesar and Cleopatra first takes root.

PROGRAM June & July 3 Maxim Vengerov Violin

PROGRAM NOTES This is one of Handel’s most sumptuous scores and paints Cleopatra in all her ‘infinite variety’– seductress in Act I, turning to despair in Act II and returning to triumph in Act III. Some composers are inspired by Shakespeare’s plots; others by his characters. Actor Orson Welles once described Falstaff as ‘a man defending … [Merrie] old England … the most completely good man in all drama’. Though we may see middle-class Elgar as an embodiment of the Victorian Empire (‘Nimrod’ and all that), he felt like an outsider, and probably saw himself more like the Falstaff in the ‘dream sequence’ of his symphonic poem, remembering when he was a page of Thomas Mowbray, Duke of Norfolk, with the potential to be a greater man. Macbeth (1847) was Verdi’s first opera on a Shakespeare subject (he was to write a Falstaff, too). Clearly, Shakespeare’s story of a man whose destructive ambitions are unleashed when he gives credence to the flattering predictions of witches inspired Verdi. He wrote to Piave, his librettist: ‘This tragedy is one of the greatest creations of man!’ Tinte or ‘colour’ was very important to Verdi. In the prelude you can hear music from Act III’s witches’ scene and apparition, and Lady Macbeth’s Act IV ‘sleepwalking’ scene, but the tone is unflinchingly dark. ‘Two households, both alike in dignity, in fair Verona, where we lay our scene…’ begins Shakespeare’s Romeo and Juliet. Except that Bernstein’s adaptation, West Side Story, is set in New York and his lovers’ rival ‘households’ are gangs. It was not only the story that Bernstein and his collaborators updated in this 1960s musical. Leonard Bernstein’s sizzling score is one of classical music’s greatest incorporations of jazz and other contemporary styles. It was for Max Reinhardt’s film of A Midsummer Night’s Dream that Viennese composer Erich Wolfgang Korngold travelled to the US in 1934 4

PROGRAM June & July

to compose music for passages that didn’t have music by Mendelssohn. Hitler’s takeover of Austria ensured that Korngold would stay in Los Angeles, writing film music. But earlier in his career, when he was famous for writing operas, Korngold wrote music for a stage production of Much Ado About Nothing. The Overture features a lot of charming dancing around. ‘Much ado…’? Romeo and Juliet drew from Tchaikovsky his first supreme orchestral masterpiece. In the fantasy-overture, Tchaikovsky begins by evoking Friar Laurence, who disastrously attempts to turn the rival families’ ‘rancour to pure love’. We then hear the ‘ancient grudge’ between the houses of Montague and Capulet, then the great love theme. The work’s final pages depict the ‘glooming peace’ which descends on the two houses, but rather than gloom, Shakespeare’s image surely still basks in the glow of tributes such as those created by today’s composers. G.K. Williams © 2016

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PROGRAM June & July 5

MAESTRO SAT 2 JUL 7.30PM Pre-concert talk at 6.30pm with QSO Principal Tuba, Thomas Allely

Concert Hall, QPAC

QSO PLAYS DVOŘÁK Conductor Jaime Martín Violin Nemanja Radulović Tchaikovsky Romeo and Juliet - Fantasy Overture Prokofiev Violin Concerto No.2 Dvořák Symphony No.8

Enjoy coffee, cake and cocktails after tonight’s performance at QPAC’s downstairs bar – open until late.

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Nemanja Radulović Violin Photo © Marie Staggat / DGPROGRAM Deutsche June Grammophon & July 6

PROGRAM NOTES

Peter Ilyich Tchaikovsky (1840-1893)

Romeo and Juliet – Fantasy Overture

The doomed youthful passion of Romeo and Juliet had a strong appeal for Tchaikovsky and indeed other great composers: Bellini, Gounod, Berlioz and Prokofiev are among those who have been inspired to make music for the young lovers’ story. Composed in 1869 to a plan devised by Mily Balakirev, the Romeo and Juliet overture (in this case a synonym for ‘symphonic poem’) is Tchaikovsky’s supreme early orchestral achievement. Nikolai Rubinstein conducted the first performance, in Moscow on 16 March 1870. Tchaikovsky subsequently revised the work twice, and the final form, with the title ‘fantasy-overture’, was achieved in 1880. The music begins with a hymn-like introduction suggesting Friar Laurence’s cell, then Capulets and Montagues feud in a fiery passage, giving way to the love scene. There are two melodies here memorable even by Tchaikovsky’s standards. The development of the symphonic poem amplifies the lovers’ music, struggling with the brawls and Friar Laurence’s music. A furious climax may be the death of Tybalt at the hand of Romeo, but the love music dominates the ending, turning gradually to lament and tragic despair.

Tchaikovsky toyed with the idea of writing an opera based on Romeo and Juliet. Among the sketches found after his death was a love-duet for singers, in which Romeo sings the words ‘Oh tarry, night of ecstasy! Oh night of love, stretch thy dark veil over us!’ to a musical phrase which also appears in his fantasy overture. Although his interest in this project waned, his enthusiasm for Shakespeare endured and he composed a further two overtures on Shakespearean subjects: The Tempest (1873) and Hamlet (1888). © Symphony Australia

Sergei Prokofiev (1891-1953)

Concerto for Violin and Orchestra No.2 in G minor, Op.63 Allegro moderato Andante assai – Allegretto – Andante assai Allegro, ben marcato Nemanja Radulović, Violin

In an article published in Izvestia in November 1934, Prokofiev wrote: I would describe the music needed here as ‘light serious’ or ‘serious light’ music … Above all, it must be tuneful, simply and comprehensively tuneful, and must not be repetitious or stamped with triviality.

PROGRAM June & July 7

PROGRAM NOTES Prokofiev nominated the Lieutenant Kijé Suite as one example of the ‘serious light’ music he meant, and other works composed at this time reflect the same aesthetic. We should be wary of imputing cynical motives to him; after all, it required no radical change in style for him to produce works of immediately engaging character. Nevertheless, it does seem that in works like Lieutenant Kijé, the ballet music for Romeo and Juliet and the Violin Concerto No.2, Prokofiev was making a special effort to write music of formal clarity and emotional directness. In 1935, Prokofiev was approached by a group of admirers of the French violinist Robert Soetans to write a concerto. Prokofiev had had it in mind to write a work for violin, and toyed with the idea of a ‘concert sonata for violin and orchestra’. Gerald Abraham complains that ‘there is no naughtiness, there is no steely glitter and there is almost no virtuosity in the solo part’, but it was Prokofiev’s intention to make this concerto ‘altogether different from No.1 in both music and style’. It was composed during an extensive concert tour which Prokofiev and Soetans made. As Prokofiev notes in his autobiography: The principal theme of the first movement was written in Paris, the first theme of the second movement in Voronezh, the orchestration I completed in Baku, while the first performance was given in Madrid [with the Madrid Symphony Orchestra under Eugene Arbos], in December 1935. The piece stakes an immediate claim to simple, comprehensive tunefulness. The soloist, alone, establishes the key of G minor unequivocally with a disarmingly simple melody.

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PROGRAM June & July

Some busy passage-work leads to a new lyrical theme in B flat, reminiscent both of La Vie en rose and the Gavotte from Prokofiev’s Classical Symphony. Both themes are developed in a varied central section characterised by Prokofiev’s lively rhythmic manipulation and deft touches of orchestration. The movement ends curiously, with rapid virtuosic writing brought to a halt by peremptory plucked chords from the soloist. The pizzicato writing is carried over into the rocking triplet accompaniment of the second movement, which supports a long-breathed, yearning melody for the soloist who travels through a number of musical landscapes. The plucking of strings may suggest the guitars of Spain, where the work was to be premiered; in the final movement the Iberian flavour becomes explicit with the use of castanets. This grotesque waltz reminds us of Prokofiev’s brilliance as a ballet composer, and he draws yet more arresting colours from the solo part, notably in the use of melodies played high on the violin’s lowest string. For all Prokofiev’s nomadism during the work’s composition, and whatever its political subtext, the overwhelming impression is of Russianness in its balance of wild energy, humour and melancholy. Abridged from a note by Gordon Kerry Symphony Australia © 2001

PROGRAM NOTES The main theme now returns in contemplative mood – first on cor anglais, then clarinet, recovering its original liveliness only when at last it rises to the flute.

Antonín Dvořák (1841-1904)

Symphony No.8 in G, B.163 (Op.88) Allegro con brio Adagio Allegretto grazioso Finale (Allegro ma non troppo)

In the summer of 1889, Dvořák sketched this symphony in the idyllic surroundings of his country retreat at Vysoká. The work seems to epitomise a purely Dvořákian delight in the sights and sounds of his native Bohemia, not just the countryside through which he loved to stroll and the birdsong he would revel in, but also the ancient towns and castles, icons of Czech history and culture, that he used to visit on his summer walking tours. Much in the manner of the strolling ‘Promenade’ introduction by which Mussorgsky links his Pictures at an Exhibition, Dvořák uses a solemn, broadly flowing melody, heard at the outset on the cellos, to signpost the sections of his sonata structure. The entry of the main theme, skipping in on solo flute, brings an air of sprightly self-assurance, which grows to an energetic bustle as trumpets and trombones brighten the orchestral sonorities. Only after an exact restatement of the introduction, does the development section bring drama to the festivity. Sunny bird-like figurations build to a wild climax. The introduction, returning to herald the recapitulation, imposes itself majestically to quell the storm of the development.

A shadowy stillness hangs over the opening of the slow movement, a strange melancholy conjuring up dreams and visions. Gleaming eruptions in the brass thrust bright shafts of sunshine through the twilight, offering glimpses of past or future heroism and glory. But the visions are fleeting; eventually they fade in the gathering dusk. The third movement exhales the freshness of a ramble in the fields. Dvořák cleverly transforms the graceful, swaying motion of the central trio section to provide a short, dancing coda which sets the symphony on its toes for the finale. This follows with a fanfare of trumpets, establishing the jaunty rhythm of a folk-like main theme which becomes effectively the subject of a set of variations. Buoyancy returns with a short, vigorous development climaxing in a powerful reprise of the opening fanfare, now with horns as well as trumpets. A recapitulation of the main theme leads to a series of new variations, now reflective, rich with dream-like harmonies, until the mood is snapped by a final whirlwind variation and jubilant coda. Dvořák’s usual publisher, Simrock of Berlin, was furious when the composer sold his new symphony to Novello in London. But he had only himself to blame, having offered a mere 1,000 marks for it (compared with the 6,000 marks Dvořák had wrung out of him for Symphony No.7) and having declared that what he really wanted were more short, popular works, such as the amazing Slavonic Dances, from which he had already made a fortune. Adapted from a note © Anthony Cane

PROGRAM June & July 9

MUSIC ON SUNDAYS SUN 10 JUL 11.30AM Concert Hall, QPAC

CARNIVAL IN VENICE Conductor Daniel Carter Host Guy Noble Bassoon Nicole Tait Violin Warwick Adeney Violin Wayne Brennan

Media Partner

10

PROGRAM June & July

PROGRAM NOTES Claudio Monteverdi (1567-1643) L'Orfeo: Toccata and Ritornelli

Johann Strauss II (1825-1899) A Night in Venice: Overture

Antonio Vivaldi (1678-1741) Bassoon Concerto in E minor, RV 484: Allegro poco Nicole Tait, Bassoon Giovanni Gabrieli (1554/7-1612) Canzon Septimi Toni No.2

Vivaldi Concerto for Two Violins in D, RV 511: Allegro molto Warwick Adeney, Violin Wayne Brennan, Violin

Gustav Mahler (1860-1911) Symphony No.5: Adagietto

Richard Wagner (1813-1883) Lohengrin, Act III: Prelude

Jacques Offenbach (1819-1880) The Tales of Hoffmann, Act IV: Barcarolle

Arthur Sullivan (1842-1900) Masquerade Suite from The Merchant of Venice: Introduction et Bourrée Danse grotesque

Giuseppe Verdi (1813-1901) La traviata, Act I: Prelude Amilchare Ponchielli (1834-1886) La gioconda, Act III: Dance of the Hours

Venice, ‘the magical city they say is doomed to sink back into the sea from which, by Venus, it rose’, says the trailer to the 1971 film, Death in Venice. But Venice has also been one of the great musical centres in European history. Today’s concert begins with music by Claudio Monteverdi, credited with having effected the transition from Renaissance to Baroque style. L’Orfeo is based on the Greek myth of the ‘first musician’, Orpheus, who sought to regain his dead wife from the underworld. It begins with an attention-grabbing toccata (in English ‘tucket’, meaning flourish). Though L’Orfeo was first performed in Mantua, Monteverdi moved to Venice in 1613 and it was there that he wrote his two other operatic masterpieces The Return of Ulysses and The Coronation of Poppea and was buried at the church of the Frari. Though best known for hundreds of waltzes and other dance music that he wrote principally for Viennese audiences, Johann Strauss II also composed a number of operettas. A Night in Venice is, like Strauss’s best-loved operetta, Die Fledermaus, a tale of mistaken identities. The entertaining overture, featuring – you guessed it – a Viennese waltz, leads to the opening scene: a square on the Grand Canal, with a view across to the Ducal Palace and the Isle of San Giorgio… The brochure for Brisbane Baroque dubbed Vivaldi Venice’s ‘emblematic composer’. He spent much of his career composing music for the ‘orphan’ girls of the Ospedale della Pietà, superb musicians who premiered Vivaldi’s famous concerto grosso The Four Seasons. But Vivaldi was also a key figure in the development of the solo concerto, writing for all sorts of instruments – violin, bassoon, piccolo, as well as combinations.

PROGRAM June & July 11

PROGRAM NOTES The inspiration provided by one of Venice’s great venues can be heard in the music of Giovanni Gabrieli, who was music master at the Basilica of St Mark. At St Mark’s, Gabrieli exploited the architectural feature of two organ galleries facing each other across the nave. The technique of cori spezzati (‘broken’ or divided choirs or groups) allowed for varied antiphonal effects, and Gabrieli brought this ‘question-answer’ style to its highest point of development. Gustav Mahler’s Adagietto is one of his most famous compositions. Written as the slow movement of his fifth symphony it is often performed as a standalone work, scored only for strings and harp. Mahler wrote this movement as a love letter to his wife Alma. Since 1971, the work is also forever connected to Venice: Italian director Luchino Visconti’s used the Adagietto as title music for his movie Death in Venice, based on the novella by Thomas Mann. Lohengrin’s Act III prelude may sound like a Venetian Carnival; it actually introduces the doomed wedding festivities of the knight Lohengrin and his bride, Elsa, in an operatic story derived from medieval German poems: Parzival and Lohengrin. But its composer, Richard Wagner, loved Venice, gondola excursions, promenades on the islands … and he died in an apartment on the Grand Canal, not long after the first performance of his final opera, Parsifal. Offenbach’s The Tales of Hoffmann is a French opera based on the writings of German author E.T.A. Hoffmann. Act Four is set in Venice and begins with a barcarolle, a gondola song, whose lilt wonderfully suggests the movement of the vessel carrying Hoffmann’s latest love, Giulietta. The music actually originated, however, as an elves’ chorus in an Offenbach operetta with the German title Die Rheinnixen.

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PROGRAM June & July

It’s on the Rialto, Venice’s market place, that Shylock has heard about the merchant Antonio’s cargoes at risk at sea. So it’s a ‘pound of flesh’ the money-lender names as forfeit, should Antonio be unable to repay Shylock’s three-month loan. Like Offenbach, Arthur Sullivan is best known to us as a composer of light opera. But there are more serious works. His incidental music to The Merchant of Venice was written for an 1871 production in Manchester. It’s joyous music, if ironic, accompanying a masque during which Antonio’s friend Lorenzo elopes with Jessica, Shylock’s only daughter. Once asked to sum up the difference between his music and that of Wagner, Verdi just pointed to the Italian sun. That didn’t stop him writing tragic operas, however, and La traviata (The Fallen Woman) is no exception. Like many other famous operas, La traviata premiered at Venice’s famous theatre, La Fenice. The prelude appears to depict the fate of Violetta (the ‘fallen woman’) in reverse order: first her tragic demise; then the plaintive melody of ‘Love me, Alfredo’; and finally, her gay Act I-style ornamentation. With a libretto by Verdi’s greatest librettist, Arrigo Boito, the whole of Ponchielli’s La gioconda is set at various Venetian locations including the Ca’ d’Oro and the island of Giudecca. Act III’s Dance of the Hours proves that Ponchielli could have succeeded just as well at ballet as Grand Opera. But it appears in the opera as background to a romantic and high-stakes political intrigue, reminding us there was a dark side to the city of perpetual carnival. G.K. Williams © 2016

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Ensemble-in-Residence

PROGRAM June & July 13

MAESTRO SAT 16 JUL 7.30PM Pre-concert talk at 6.30pm with QSO Director – Artistic Planning, Richard Wenn

Concert Hall, QPAC

QSO PLAYS MAHLER 4 Conductor Simone Young Soprano Natalie Christie Peluso Mezzo Soprano Lilli Paasikivi Tenor Simon O’Neill Mahler Symphony No.4 Mahler Das Lied von der Erde

Enjoy coffee, cake and cocktails after tonight’s performance at QPAC’s downstairs bar – open until late.

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Simon Young Conductor

PROGRAM NOTES

Gustav Mahler (1860-1911)

Symphony No.4 in G Bedächtig. Nicht eilen [Deliberately. Not hurrying] In gemächlicher Bewegung, ohne Hast [In a comfortable tempo, without haste] Ruhevoll [Peacefully] Sehr behaglich [Very agreeable] See handout for words – translation available on concert webpage at qso.com.au

Mahler’s Fourth Symphony is at once the culmination of certain aspects of the previous two and their complete antithesis. The Second Symphony dramatises nothing less than death and resurrection, while in the Third, as Mahler put it, ‘all nature finds a voice’. The Fourth, by contrast, is altogether more modest: it consists of the ‘standard’ four movements (the first time Mahler adhered to that pattern), plays for a comparatively short 55 minutes or so, and is scored for a much smaller orchestra devoid of heavy brass. It shares with its two predecessors a relationship to a collection of folk poetry, Des Knaben Wunderhorn (The Youth’s Magic Horn), which provides the child’s vision of heaven in the finale.

The first movement quickly establishes the mood of childish innocence with the sound of four flutes and sleigh bells, simple melodies (one derived from Schubert) with pizzicato accompaniment from low strings. Various solo instruments appear like characters in a child’s story. The great Mahler scholar Deryck Cooke once noted that the serene surface of the work conceals figures whom he described as ‘moving behind a veil which obscures their naked horror and makes them like the bogeymen who appear in illustrations to books of fairy tales’, but the movement ends with a moment of seraphic peace before its good-humoured conclusion. One ‘bogeyman’ is ‘Freund Hain’, the devilish fiddler. In an early sketch for his Scherzo, Mahler wrote ‘Freund Hain spielt auf’ (Our friend Hain strikes up). In the final version of this movement with its Ländler (a peasant dance in triple time) Trio section, there is a prominent solo for a violin which is tuned higher than normal to make it sound like ‘Ein Fiedel’ (a fiddle). Mahler compared composing this music to ‘wandering through the flower-scented garden of Elysium and it suddenly changes to a nightmare of finding oneself in a Hades full of horrors’. There is no horror in the opening of the work’s central Adagio, by far the longest movement in the work. A set of variations, it is unified by the repeated pizzicato double bass figure. There is a violent passage towards the end of the movement, where the timpani frighteningly take over the basses’ figure.

PROGRAM June & July 15

PROGRAM NOTES In the final movement the orchestra is joined by the soprano soloist for the Wunderhorn song, Das himmlische Leben (The Heavenly Life). Ostensibly a cute account of how a child might see heaven, it is actually a cleverly disguised set of variations which allow Mahler to seem simple while constantly spinning new and fascinating sounds. It characterises various saints carrying on their earthly tasks to produce, in often bloody fashion, the gastronomic delights of the afterlife: St Martha cooks, of course; St Peter fishes; Herod (somehow admitted through the pearly gates) is the butcher. After hymning St Cecilia, the work ends quietly. For Cooke it is a ‘peaceful close’, for the more pessimistic philosopher Theodor Adorno, this ‘fairy-tale symphony is as sad as the late works … Joy remains unattainable, and no transcendence is left but yearning’. Adapted from a note by Gordon Kerry © 2003

Gustav Mahler (1860-1911)

Das Lied von der Erde [The Song of the Earth] Das Trinklied vom Jammer der Erde [The Drinking Song of the Earth’s Sorrow] Der Einsame im Herbst [The Lonely Man in Autumn] Von der Jugend [Of Youth] Von der Schönheit [Of Beauty] Der Trunkene im Frühling [The Drunken Man in Spring] Der Abschied [The Farewell] See handout for words – translation available on concert webpage at qso.com.au

The Song of the Earth ends with repetition of the word ‘ewig’ (forever) passing into silence in a haze of bells and plucked sounds. The incomparable contralto Kathleen Ferrier was once unable to sing this without weeping. In response to Ferrier’s apologies for her ‘unprofessional’ behaviour, conductor Bruno Walter is supposed to have said, ‘My dear Miss Ferrier, if we were all as professional as you we would all be in tears’. Walter knew the power of this music. A respected colleague of Mahler’s, it was he that the composer had asked of this work, ‘Is it at all bearable?’. This was not mere Romantic hyperbole. In 1907, Mahler had been diagnosed as having a heart condition. In addition, machinations at the Vienna State Opera caused him to resign as Director, and his infant daughter died. That year he had been given a copy of The Chinese Flute, Hans Bethge’s German renditions of 83 Chinese poems. Mahler made significant alterations and interpolations to the seven poems he chose to set in The Song of the Earth.

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PROGRAM June & July

PROGRAM NOTES Broadly speaking, the piece expresses an intense love of the physical world through images of wine, love, the moon and everyday life, and an acute sense of our limited time in that world. ‘It is filled with indefinable sadness and longing yet ultimately it is not depressing,’ says Michael Kennedy. The Song of the Earth was originally conceived as a song cycle, but as the philosopher Theodor Adorno has said, ‘symphonic expansion bursts the limits of the song’, hence its final designation as a symphony. Alma Mahler wrote in her often unreliable memoirs that ‘at first [Mahler] wrote The Song of the Earth as the ninth, but crossed the number out … it was a superstition of Mahler’s that no great writer of symphonies got beyond his ninth’. The text of the first song, The Drinking Song of the Earth’s Sorrow, laments that in the face of the eternity of earth and sky we have less than a hundred years each to enjoy it, so should do so with wine and music. The Lonely Man in Autumn is a long slow movement. It begins with a three-note motif from the oboe which in fact pervades the whole work. Of Youth is the first of the three short intermezzos which bridge the extended slow movements. Of Beauty presents a tableau of young women picking flowers and young men riding horses. The ‘drunken man’ of the fifth song is perhaps the same one introduced in the first; if life is but a dream, he is now a happier drunk.

The friend arrives and takes a ritual farewell drink. He explains that he must ride in search of his homeland. A whole-tone chord seems to dissolve in the air, introducing the final moments, where ‘the dear earth everywhere blooms in spring’. These elements take on a comforting and redemptive quality. Adorno said that the music ‘weeps without reason like one overcome by remembrance…’. No wonder Kathleen Ferrier wept too... Adapted from a note by Gordon Kerry © 2002

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The Farewell is almost as long as the other movements combined and sets two poems. Mong Kao-Jen’s describes the beauties of evening. A second section reduces the orchestral sound to almost nothing as night falls and the poet waits for his friend to whom he must bid farewell. The final section is based on a poem by Wang Wei, heavily modified and extended by Mahler himself.

PROGRAM June & July 17

MUSIC ON SUNDAYS Beautiful Sunday morning classics to surprise and delight

AROUND THE WORLD & BACK SUN 14 AUG 11.30AM Concert Hall, QPAC

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qso.com.au COMING SOON Passion & Romance 13 NOV

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PROGRAM June & July

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Concert Hall, QPAC

Conductor Yu Long Piano Javier Perianes

Qigang Chen Enchantements oubliés Saint-Saëns Piano Concerto No.5 The Egyptian Tchaikovsky Symphony No.5 PROGRAM June & July 19

BIOGRAPHIES

Tahu Matheson

Guy Noble

Tahu has been working at Opera Australia as repetiteur and conductor since 2007. This year he conducted The Magic Flute and The Pearl Fishers for Opera Australia. In 2015, he conducted The Seven Deadly Sins of Kurt Weill for Victorian Opera. In 2014 he conducted performances of L’elisir d’amore at Sydney Opera House and in 2012 & 2013 he conducted Opera Australia's touring version of Don Giovanni.

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). Guy is a regular guest presenter on ABC Classic FM, conducted La Boheme 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

Tahu has assisted on numerous productions including the Ring Cycle, Bliss, Falstaff, Otello, Rigoletto, Carmen, Capriccio and Of Mice and Men. In 2008, he conducted Beethoven's Ninth Symphony for the 4MBS Festival in Brisbane and in 2004 he conducted a new opera, Nelson, for the Trafalgar Bicentenary in London.

20

PROGRAM June & July

Host

BIOGRAPHIES

Jaime Martín

Nemanja Radulović

Jaime Martín has enjoyed a meteoric rise to international acclaim as a conductor in recent years.  Artistic Director and Principal Conductor of Gävle Symphony Orchestra since September 2013, he is also Chief Conductor of the Orquestra de Cadaqués and Artistic Director of the Santander International Festival.

In just a few years, Nemanja Radulović has taken the classical music world by storm with his virtuosic playing and adventurous programming. An artist who is in increasing demand on the world concert stage, he has performed with a number of leading orchestras to date, including the Munich Philharmonic, Dresden Staatskapelle, NDR Radiophilharmonie Hannover, WDR Cologne, Stuttgart Philharmonic, Deutsches Symphonie-Orchester Berlin, Orchestre Philharmonique de Radio France, Orchestre National de Belgique, Orchestra Sinfonica Nazionale della Rai in Turin, Orchestra della Toscana, Royal Liverpool Philharmonic Orchestra, Royal Philharmonic Orchestra, Orchestre symphonique de Montréal, and Tokyo Symphony Orchestra.

Conductor

Recent engagements have included Jaime’s debuts with the New Zealand Symphony Orchestra as well as return engagements with the Saint Paul Chamber Orchestra, Winterthur Orchestra, Royal Scottish National Symphony Orchestra, Swedish Radio Symphony and multiple performances with the London Philharmonic Orchestra. As a guest conductor he also works regularly with an impressive list of orchestras that includes the Philharmonia Orchestra, Orchestre Philharmonique de Radio France, Orquestra Sinfònica de Barcelona, Royal Scottish National Orchestra, Orchestre National du Capitol de Toulouse, Royal Liverpool Philharmonic, Orquestra Sinfônica do Estado de São Paulo, London Mozart Players, National Orchestra Lyon, Beijing Symphony, Academy of St Martín in the Fields, Aarhus Symphony, Ulster Orchestra and Winterthur Orchestra. Born in Santander, Spain, Jaime Martín studied with Antonio Arias in Madrid and later with Paul Verhey in The Hague, Holland.

Violin

An exclusive recording artist with Deutsche Grammophon, Nemanja’s most recent album, entitled ‘Songs My Mother Taught Me’ in Australia, was released in 2015 and won him an ECHO Klassik Award in Germany for Newcomer of the Year. Previously he was also honoured with the ‘International Revelation of the Year’ and ‘Best Artist’ awards by Victoires de la Musique in 2005 and 2014, respectively. Born in Serbia in 1985, Nemanja has studied at the Faculty of Arts and Music in Belgrade, the Saarlandes Hochschule für Musik und Theater in Saarbrücken, and the worldrenowned Paris Conservatoire. He holds an Honorary Doctorate from the University of Arts in his hometown of Niš, and currently resides in Paris.

PROGRAM June & July 21

BIOGRAPHIES

Daniel Carter

Simone Young

A graduate of the Symphony Services International Core Conductors Program, Daniel Carter also won the Brian Stacey Memorial Award for Emerging Conductors and was the recipient of the Susan Harley Living Bequest.

Simone Young, AM, was General Manager and Music Director of the Hamburg State Opera and Music Director of the Philharmonic State Orchestra Hamburg from 2005 - 2015. She is an acknowledged interpreter of Wagner and Strauss operas, having conducted Der Ring des Nibelungen at the Vienna Staatsoper, the Berlin Staatsoper and Hamburg. Her Hamburg recordings include the Ring cycle and symphonies of Bruckner, Brahms and Mahler.

Conductor

Whilst a Developing Artist/Repetiteur with Richard Gill at Victorian Opera, Daniel conducted Elliott Carter’s What Next? and Manuel de Falla’s El Retable de Maese Pedro, El Gato con Botas, Rush Hour, Calvin Bowman’s The Magic Pudding (Green Room Award nomination for Best Conductor), and Threepenny Opera at Sydney Theatre Company. He has also conducted Don Giovanni on tour for Opera Australia; Pierrot Lunaire with Merlyn Quaife at the Melbourne Recital Centre; the Sydney and Queensland Symphony Orchestras and the Australian Youth Orchestra. Whilst assistant to Simone Young and resident repetiteur at the Hamburgische Staatsoper, his performances included Die Zauberflöte, Il Barbiere di Siviglia, and In the Locked Room (Watkins)/Persona (Langemann) for the Opera Studio. Daniel Carter is now First Kapellmeister at Theater Freiburg, Germany where he has conducted Carmen, Iphigenie en Tauride and Orphee (Gluck), the world premiere of Kaspar Hauser (Thomallas), L’Elisir d’Amore, Cosi fan tutte, Mefistofele (Boito), I Gioielli della Madonna (Wolf-Ferrari), and a Philharmonic Orchestral concert, as well as Il Trovatore in Winterthur, Switzerland.

22

PROGRAM June & July

Conductor

Simone Young has been Music Director of Opera Australia, Chief Conductor of the Bergen Philharmonic Orchestra and Principal Guest Conductor of the Gulbenkian Orchestra, Lisbon. She regularly conducts at leading opera houses and orchestras around the world including the Vienna, Berlin, New York and London Philharmonic Orchestras, and Staatskapelle Dresden. Amongst her many accolades are a Professorship at the Musikhochschule, Hamburg, Honorary Doctorates from Griffith and Monash Universities and UNSW, Green Room and Helpmann Awards, and the Chevalier de l’Ordre des Arts et des Lettres, France.

BIOGRAPHIES

Natalie Christie Peluso

Lilli Paasikivi

Winner of the Australian Singing Competition’s prestigious Marianne Mathy Award and grand finalist in BBC’s Cardiff Singer of the World, Melbourne-born Natalie is one of Australia’s foremost performers with a voice described by one London critic as full of “youthful, delicious beauty”. Natalie was Principal Soprano at Welsh National Opera for five years, performing Sr Constance/ The Carmelites, Sophie/Der Rosenkavalier, Gilda/Rigoletto, Pamina/Die Zauberflöte, Adele/Die Fledermaus, Adina/L’elisir d’amore and Susanna/Le nozze di Figaro, among others. Other highlights include Zerlina/ Don Giovanni for the Royal Opera House, Covent Garden; the Soprano Soloist in Bach’s St. John Passion with English National Opera; and two hugely acclaimed appearances as Susanna in Mozart’s Le nozze di Figaro with Opera Australia. Now based in Australia, engagements include Rachmaninov’s The Bells with the Brisbane Chorale, Mendelssohn's Midsummer Night's Dream with the Queensland Symphony Orchestra; Britten’s Les Illuminations with Camerata of St. John's; Mozart’s Mass in C Minor with Victoria Chorale and Adele/Die Fledermaus for Opera Queensland. Future engagements in 2016 include Handel’s Messiah with the Queensland Symphony Orchestra, Górecki’s Symphony of Sorrowful Songs with Camerata of St.John’s and both Fauré and Duruflé Requiems with the Brisbane Chorale.

Lilli Paasikivi is one of the world’s leading interpreters of the Mahler song-cycles and symphonies. She has performed Das Lied von der Erde and Des Knaben Wunderhorn with the Los Angeles Philharmonic (Esa-Pekka Salonen), Symphony No.2 with the Royal Stockholm Philharmonic Orchestra (Sakari Oramo), Symphony No.3 with the London Symphony Orchestra (Paavo Järvi), Symphony No.8 with the Berliner Philharmoniker (Sir Simon Rattle), Kindertotenlieder with the New World Symphony (Michael Tilson Thomas), and Das Lied von der Erde with the London Philharmonic Orchestra (Sir Mark Elder).

Soprano

Mezzo Soprano

Paasikivi made her debut with the New York Philharmonic in the world premiere of Rodion Shchedrin's The Enchanted Wanderer under Lorin Maazel and returned for Mahler’s Symphony No.2 and Verdi’s Requiem both conducted by Alan Gilbert. Future concert appearances include with the Oslo Philharmonic in Janacek’s Glagolitic Mass and Songs by Alma Mahler under the baton of Jukka-Pekka Saraste and A Child of Our Time with Gewandhaus Orchester conducted by Stephen Asbury.

PROGRAM June & July 23

BIOGRAPHIES

Simon O’Neill Tenor

A graduate of the Symphony Services, New Zealand tenor Simon O’Neill is one of the finest helden-tenors on the international stage, appearing with the Metropolitan Opera, Royal Opera House, Covent Garden, Teatro alla Scala, Deutsche Staatsoper, Deutsche Oper, and the Bayreuth, Ravinia and Salzburg Festivals, with Levine, Muti, Rattle, Gergiev, Hengelbrock, Runnicles, Conlon and Thielemann. Performances include Siegmund, Walther von Stolzing, Lohengrin, Florestan and Parsifal (Royal Opera), Lohengrin (Bayreuth), Parsifal (Vienna, Madrid, Covent Garden), Siegmund, (Metropolitan Opera, Hamburg, La Scala, Berlin, Vienna, Munich, Covent Garden), Das Lied von der Erde (Carnegie Hall), Missa Solemnis (Carnegie Hall), Cavaradossi (Hamburg, Tokyo, Berlin),

CROSSING WORKPLACE DIVIDES

Florestan (Salzburg Festival), Drum Major (Metropolitan Opera), Max in Der Freischütz (LSO), Gurrelieder (BBC Proms), Mao in Nixon in China (San Francisco), Otello (New Zealand Opera, Houston) and Erik (Ravinia Festival). Upcoming engagements include Das Lied von der Erde in San Francisco and at Carnegie Hall with Tilson-Thomas conducting the San Francisco Symphony, and with the London Symphony Orchestra under Rattle, Mahler Symphony No.8 in Tokyo, Florestan in Fidelio with Pappano conducting the Accademia di Santa Cecilia, Die Walküre with Barenboim at the Berlin Staatsoper and with the Berlin Philharmonic under Rattle, and Gurrelieder with Runnicles. He returns to Houston for Götterdämmerung, Turandot and Tannhäuser with Patrick Summers.

Workplace Resolve is a niche human resources legal practice with a strong emphasis on the provision of strategic advices with respect to enterprise bargaining, the mediation of workplace disputes and the creation and presentation of management training programs for sound corporate development. Principal John Lunny, a former lead partner in workplace relations law with major national firms offers clients the experience and skills expected from a top tier law firm with a ‘hands-on’ approach of personal access, service and advice. Phone 0412 679 088 Email [email protected]

www.workplaceresolve.com.au

24

PROGRAM June & July

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

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

Alan Smith Arthur Waring FIRST VIOLIN

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 Natalie Low Dr Ralph & Mrs Susan Cobcroft Helen Travers Elinor & Tony Travers VIOLA

Charlotte Burbrook de Vere Di Jameson Graham Simpson Alan Galwey SECTION PRINCIPAL CELLO

David Lale Arthur Waring CELLO

Kathryn Close Dr Graham & Mrs Kate Row Andre Duthoit Anne Shipton Matthew Kinmont Dr Julie Beeby

ASSOCIATE PRINCIPAL DOUBLE BASS

Dushan Walkowicz Sophie Galaise

SECTION PRINCIPAL TRUMPET

Sarah Butler Mrs Andrea Kriewaldt

DOUBLE BASS

ASSOCIATE PRINCIPAL TRUMPET

Justin Bullock Michael Kenny & David Gibson

Richard Madden Elinor & Tony Travers TRUMPET

Paul O'Brien Roslyn Carter

Paul Rawson Barry, Brenda, Thomas & Harry Moore

SECTION PRINCIPAL FLUTE

Dr Damien Thomson & Dr Glenise Berry ASSOCIATE PRINCIPAL FLUTE

Hayley Radke Desmond B Misso Esq ASSOCIATE PRINCIPAL OBOE

Sarah Meagher Sarah and Mark Combe OBOE

SECTION PRINCIPAL TROMBONE

Jason Redman Frances & Stephen Maitland OAM RFD ASSOCIATE PRINCIPAL TROMBONE

Dale Truscott Peggy Allen Hayes PRINCIPAL TUBA

Alexa Murray Dr Les & Ms Pam Masel

Thomas Allely Arthur Waring

SECTION PRINCIPAL CLARINET

PRINCIPAL HARP

Irit Silver Arthur Waring

Jill Atkinson Noel & Geraldine Whittaker

CLARINET

PRINCIPAL TIMPANI

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

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

FRENCH HORN

Peter Luff Shirley Leuthner Lauren Manuel Gaelle Lindrea

PROGRAM June & July 25

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 SYMPHONY ($20,000 - $49,999) Dr Philip Aitken and Dr Susan Urquhart Dr Julie Beeby 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

26

PROGRAM June & July

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 John H. Casey Dr Ralph and Mrs Susan Cobcroft Mrs I.L. Dean Tony Denholder and Scott Gibson Sophie Galaise Alan Galwey Dr Edward C. Gray Dr and Mrs W.R. Heaslop Gwenda Heginbothom Ms Marie Isackson 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 Mrs Elva Emmerson 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 Tony and Patricia Keane Michael Kenny and David Gibson Shirley Leuthner Gaelle Lindrea Barry, Brenda, Thomas and Harry Moore Kathleen Y. Nowik John and Jennifer Stoll Mrs Gwen Warhurst Prof. Hans Westerman and in memory of Mrs Frederika Westerman Margaret and Robert Williams Helen Zappala Anonymous (2) RONDO ($1,000 - $4,999) Julieanne Alroe Jill Atkinson Emeritus Professor Cora V. Baldock Dr Geoffrey Barnes and in memory of Mrs Elizabeth Barnes 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 Greg and Jacinta Chalmers 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 Laurie James Deane Ralph Doherty

In memory of Mrs Marjorie Douglas Garth and Floranne Everson Dr Bertram and Mrs Judith Frost C.M. and I.G. Furnival In memory of Lorraine Gardiner Graeme and Jan George Hans Gottlieb Lea and John Greenaway Yvonne Hansen Madeleine Harasty David Hardidge 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 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 Ron and Marise Nilsson Charles and Brenda Pywell Dr Phelim Reilly Mr Dennis Rhind In memory of Pat Riches Joan Ross Chris and Judith Schull 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 (44) VARIATIONS ($500 - $999) Don Barrett William and Erica Batt Manus Boyce Mrs Verna Cafferky Alison G. Cameron W.R. and H. Castles Dr Alice Cavanagh Francis N. Clark Terry and Jane Daubney Dr C. Davison R.R & B.A Garnett Donald Grant and David Hill Shirley Heeney Richard Hodgson Jacobitz Family

Miss Dulcie Little The Honourable Justice J.A. Logan, RFD In memory of Mr David Morwood T. and M.M. Parkes Martin and Margot Quinn Mr Rolf and Mrs Christel Schafer Smith Family Judith Smith and Family Dr B. Srinivasan Pat Stevens Anonymous (38) JOHN FARNSWORTH HALL CIRCLE Named in honour of the first Chief Conductor of QSO (1947-1954) Roberta Bourne Henry All enquiries, please call Gaelle Lindrea on (07) 3833 5050 Instruments on loan 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 Gaelle Lindrea on 07 3833 5050, 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

PROGRAM June & July

27

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QUEENSLAND SYMPHONY ORCHESTRA

BRISBANE CONVENTION & EXHIBITION CENTRE SAT 30 JULY, 7.30PM Presented by SkyHigh & Queensland Symphony Orchestra, in partnership with BCEC

BOOK NOW AT QTIX ALAGNA.COM.AU

28

PROGRAM June & July

CH133

Hosted by Deborah Hutton Joined by Margaret Pomeranz Graeme Blundell Leo Schofield Chris Hook

A one-stop guide to Australia’s diverse arts scene produced exclusively by Foxtel Arts WEDNESDAYS 8PM AEST foxtelarts.com.au PROGRAM June & July 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

CONCERTMASTER

Dushan Walkowicz

Paul O’Brien Ken Poggioli FLUTE Hayley Radke>>

Kate Lawson* OBOE

Warwick Adeney

Harold Wilson

Huw Jones~

ASSOCIATE

VIOLA

Alexa Murray

Charlotte Burbrook de Vere

COR ANGLAIS

CONCERTMASTER Alan Smith

Sarah Meagher>>

Bernard Hoey

Vivienne Brooke*

Kirsten Hulin-Bobart

CLARINET Irit Silver~

Jann Keir-Haantera Helen Poggioli Graham Simpson Nicholas Tomkin

FRENCH HORN

Malcolm Stewart~ =

Justin Bullock

PICCOLO

Yoko Okayasu~

Claire Ramuscak*

Anne Buchanan

Natalie Low Helen Travers

CONTRABASSOON

DOUBLE BASS

Delia Kinmont Tim Marchmont

BASSOON Nicole Tait~

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.

30

PROGRAM June & July

BOARD OF DIRECTORS Greg Wanchap Chairman 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 Nadia Myers Assistant Artistic Administrator/ Library and Operations Assistant Fiona Lale Artist Liaison Matthew Farrell Director – Community Engagement and Commercial Projects Nina Logan Orchestra Manager Helen Davies Operations Assistant Judy Wood Orchestra Librarian/ WHS Coordinator Peter Laughton Operations and Projects Manager Vince Scuderi Production Coordinator John Nolan Community Engagement Officer Pam Lowry Education Liaison Officer Karen Soennichsen Director – Marketing Sarah Perrott Marketing Manager Miranda Cass Marketing Coordinator David Martin Director – Corporate Development & Sales Rebekah Godbold Corporate Relationships Manager Emma Rule Ticketing Services Manager (Maternity leave) Michael Hyde Sales Support Manager Eric Yates Ticketing Services Coordinator Joanne Monisse Ticketing Services Coordinator Sarah Farnsworth Senior Sales Consultant Gaelle Lindrea 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 June & July 31

PARTNERS Government partners

Principal partner

Major partners

Gold partners

Industry collaborators

32

PROGRAM June & July

Premier partners

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