PROGRAM April 1

10

2

6

Maestro

QSO & MiSchA MAiSky

Pre-concert talk at 6.30pm Join QSO cellist Matthew kinmont.

CHaMBer PLaYers

ViVAldi VS PiAzzOllA

Maestro

QSO & SARAh chAnG

Pre-concert talk at 6.30pm Join QSO Principal Tuba Thomas Allely.

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

CONTENTSAPRIL

2 PROGRAM April

tHU 2 aPr7.30PM

QPaC Concert Hall

Conductor yan Pascal TortelierCello Mischa Maisky

Dvorák cello concerto tchaikovsky Symphony no.4

Maestro

QSO &

MISChA MAISky

Free pre-concert talk with Matthew Kinmont at 6.30pm

look out for Mischa Maisky cd’s available for sale in the foyer

Mischa Maisky Cello

PROGRAM April 3

The concerto was sketched between 8 november 1894 and new year’s day, and dvorák's completed the full score early in February. Much to dvorák annoyance, the first performance of the concerto was not given by its dedicatee, Wihan. The london Philharmonic Society, who premiered it at the Queen’s hall in March 1896, mistakenly believed Wihan to be unavailable, and engaged leo Stern. despite dvorák’s embarrassment, Stern must have delivered the goods, as dvorák engaged him for the subsequent new york, Prague and Vienna premieres of the work. Wihan did, however, perform the work often, and insisted on making some ‘improvements’ to dvorák’s score so that the cello part would be more virtuosic. Wihan also insisted on interpolating a cadenza in the third movement, which the composer vehemently opposed. (Only a stiff letter from dvorák persuaded his publisher, Simrock, to leave out the cadenza.)

despite being an ‘American’ work, the concerto is much more a reflection of dvorák’s nostalgia for his native Bohemia, and perhaps for the composer’s father who died in 1894. it is full of some of dvorák’s most inspired moments, such as the heroic first theme in the first movement, and the complementary melody for horn which adds immeasurably to its Romantic ambience.

The Bohemian connection became more personal when dvorák, working on the piece in december 1894, heard that his sister-in-law Josefina (with whom he had been in love during their youth) was seriously ill. dvorák was sketching the slow movement at the time.

antonín Dvorák (1841-1904)

cello concerto in B minor, B.191 Op.104

Allegro Adagio ma non troppo Allegro moderato

Mischa Maisky, Cello

Brahms was impressed. “if only i’d known,” said the composer, dvorák’s longtime champion, “that one could write a cello concerto like that, i’d have written one long ago!”

Brahms’ admiration aside, the composition of what dvorák scholar John clapham has called simply, “the greatest of all cello concertos”, was no easy matter. in fact, it was his second attempt at the medium – the first was composed in 1865, but appears only to have been written out in a cello and piano score. That dvorák left the work unorchestrated suggests that he was dissatisfied with this first effort. despite the urgings of his friend, the cellist hanuš Wihan, dvorák thought no more about writing such a piece until many years later.

in new york in March 1894, whilst serving as director of the national conservatory of Music, dvorák attended a performance by Victor herbert of his Second cello concerto. This made a huge impact on dvorák, who re-examined the idea of such a work for Wihan.

ProGraM Notes

4 PROGRAM April

ProGraM Notes

The outer sections of this movement are calm and serene, but dvorák expresses his distress in an impassioned gesture that ushers in an emotionally unstable central section, based on his song Kéž duch muj sám (leave me alone) which was one of Josefina’s favourites.

Josefina died in the spring of 1895, and dvorák, by this time back in Bohemia, made significant alterations to the concluding coda of the third movement, adding some 60 bars of music. These additions, and his determination not to diffuse its emotional power with a cadenza, allowed dvorák, as Battey notes, to revisit “not only the first movement’s main theme, but also a hidden reference to Josefina’s song in the slow movement. Thus, the concerto becomes something of a shrine, or memorial.”

Gordon Kerry Symphony Australia © 2004

Pyotr Ilyich tchaikovsky (1840–1893)

Symphony no.4 in F minor, Op.36

Andante sostenuto – Moderato con anima – Moderato assai, quasi Andante – Allegro vivo

Andantino in modo di canzona

Scherzo (Pizzicato ostinato) – Allegro

Finale (Allegro con fuoco)

“The introduction is the kernel of the whole symphony, without question its main idea. This is Fate, the force of destiny…” This could be a description of the beginning of Beethoven’s Fifth. But the words are Tchaikovsky’s and they describe the strident horn fanfares of his Fourth Symphony.

Tchaikovsky’s patron, nadezhda von Meck, heard in the symphony a profound emotional drama. After the premiere in 1878, she asked him whether the symphony had a definite program, a literary underpinning. Tchaikovsky had told others that the symphony’s drama couldn’t be formulated in words, but for von Meck, who paid his bills, he went to the trouble of finding those words.

“… in truth, it is a hard question to answer…In our symphony there is a program (that is, the possibility of explaining in words what it seeks to express)… Of course, I can do this here only in general terms. The Introduction is the kernel of the whole symphony, without question its main idea. This is Fate, the force of destiny, which ever prevents our pursuit of happiness from reaching its goal… It is invincible, inescapable. One can only resign oneself and lament fruitlessly. This disconsolate and despairing feeling grows ever stronger and more intense. Would it not be better to turn away from reality and immerse oneself in dreams?”

Tchaikovsky continues, identifying musical ideas representing tender dreams and fervent hope, then a climax suggesting the possibility of happiness, before the Fate theme awakens us from the dreams…

“And thus, all life is the ceaseless alternation of bitter reality with evanescent visions and dreams of happiness… There is no refuge. We are buffeted about by this sea until it seizes us and pulls us down to the bottom. There you have roughly the program of the first movement.”

PROGRAM April 5

ProGraM Notes

All this matches the emotional character of the first movement – the music’s ‘profound, terrifying despair’ – and if we allow for Tchaikovsky’s personal turmoil at the time (he’d emerged from an ill-advised marriage) then it could be given an autobiographical interpretation.

More striking, though, is Tchaikovsky’s handling of his two principal ideas: Fate and ‘self’. Fate is the fanfare (actually a polonaise, writes Richard Taruskin); ‘self’ is the first real melody – a glorious waltz. These two ideas collide in the music. copying a dramatic strategy from Mozart’s Don Giovanni, Tchaikovsky superimposes his dances, matching three bars of waltz time to one bar of the slower, aristocratic polonaise (also in three). Then, in the coda, we hear the ‘complete subjection of self to Fate’ and the waltz returns one last time, stretched to match the pulse of the polonaise – hardly a waltz at all.

The effect of this collision is one of music – and a composer – torn between extremes. Tchaikovsky’s instinct was for lyrical outpourings (his waltz), but he understood that to be a symphonist in 1878 meant observing the symphonic conventions established by Beethoven. The Fate fanfare gave him a motto he could manipulate.

Tchaikovsky’s student, Sergei Taneyev, observed that the ‘disproportionately long’ first movement gave ‘the appearance of a symphonic poem to which three movements have been appended fortuitously to make up a symphony’. Perhaps Tchaikovsky agreed: after the wealth of detail for the first movement, his descriptive program peters out.

The second movement is summed up as an expression of ‘the melancholy feeling that arises in the evening as you sit alone, worn out from your labours’. The Scherzo appears to contain no definite feelings at all: ‘One’s mind is a blank, and the imagination has free rein’. But the Scherzo is one of the most effective parts of the symphony – the relentless plucking of pizzicato strings combining with brilliant writing for woodwinds and brass, in particular the scampering piccolo.

in the Finale, Tchaikovsky chooses a Russian folk song, ‘The Birch Tree’, as the theme for a set of variations. he gives the apparently cheerful scenario of holiday festivities a depressing cast: ‘if you can find no impulse for joy within yourself, look at others… never say that all the world is sad. you have only yourself to blame… Why not rejoice through the joys of others?’ it’s as if we are to hear the finale as festivity – but second hand. if this isn’t resignation to Fate, nothing is.

Yvonne Frindle © 2009/2013

sUN 12 aPr 11.30AM & 3PM

Qso studio, south Bank

Qso strings

Vivaldi La primavera (Spring) Piazzolla Verano Porteño (Summer)

Vivaldi L'estate (Summer) Piazzolla Otoño Porteño (Autumn)

Vivaldi L'autunno (Autumn) Piazzolla invierno Porteño (Winter)

Vivaldi L'inverno (Winter) Piazzolla Primavera Porteña (Spring)

CHaMBer PLaYers

VIVALdI VS

PIAzzOLLA

6 PROGRAM April Warwick Adeney, QSO Concertmaster

PROGRAM April 7

This was in part a vehicle for his own virtuosity; Vivaldi also experimented with violin technique, developing methods like position shifts, the use of mutes and pizzicato to create new sounds and effects, often with specifically illustrative intent. Vivaldi knew not to publish certain works in order to have exclusive use of them; he also, however, in his capacity as director of music at Venice’s Ospedale della Pietà – a high-class orphanage for girls – composed the first known concertos for cello, bassoon, mandolin and flautino (sopranino recorder). On the available evidence, the students were very fine players indeed.

The Four Seasons forms part of Il cimento dell’armonia e dell’inventione (‘The contest of harmony and invention’), Opus 8, which was published in 1725 in Amsterdam. The Four Seasons is a frankly programmatic work. French composers had a tradition of music imitating nature, but Vivaldi was one of the first italian composers to experiment in this vein. Vivaldi’s rhetoric exquisitely depicts the seasons’ progress, described also in sonnets (possibly written by him) which he affixed to the score. The bright opening of the first concerto reflects joy at the arrival of spring, and the soloist’s entry sets off a chain reaction of trilling birdcalls over a static bass. Rippling passages suggest running water, and the menace of distant thunder can be heard before the birds sing again. in the slow movement, a goat-herd falls asleep among murmuring plants, not even disturbed by the repeated barking of his dog. in the finale Botticellian nymphs and shepherds perform a rustic dance with bagpipe drone.

antonio Vivaldi (1678-1741)

The Four Seasons

concerto in E, RV 269, La primavera (Spring) Allegro Largo Allegro

concerto in G minor, RV 315, L’estate (Summer) Allegro non molto Adagio – Presto Presto

concerto in F, RV 293, L’autunno (Autumn) Allegro – Allegro assai Adagio molto Allegro

concerto in F minor, RV 297, L’inverno (Winter) Allegro non molto Largo Allegro

Warwick adeney, Violin

There was great excitement in 2010, when the score of a hitherto unknown flute concerto by Vivaldi was discovered. despite the old jibe that Vivaldi ‘wrote the same thing 300 times’ he is now acknowledged as a key figure in the development of the concerto. Although ordained a priest, Vivaldi spent his adult life as a composer and violinist. he pioneered the solo concerto, rather than the more common concerto grosso which had, at the very least, a pair of solo instruments.

ProGraM Notes

8 PROGRAM April

Summer’s first movement embodies a sense of heat-struck lassitude with only the intrepid cuckoo and turtle-dove calling, as the shepherd fears the encroaching storm. This apprehension is carried over into the unquiet slow movement, before the storm arrives in all its fury in the finale.

Autumn begins with peasants celebrating the harvest with dance and song, and, as the movement progresses Vivaldi creates a striking musical image of drunkenness. in the slow movement, the peasants sleep off their binge, before going hunting in the finale. This contrasts cantering ‘hunting’ music with the panic of the quarry, which is caught and killed.

Snow, ice, chattering teeth and a cruel wind inform the first movement of Winter, but for the slow movement we go indoors and enjoy a crackling fire as the rain beats on the windows. The finale begins with ice-skating, weaving different voices in slow-moving elegant arcs. The ice cracks, the skater shivers, and the four winds are unleashed.

Gordon Kerry © 2010

astor Piazzolla (1921-1992) arr. Leonid Desyatnikov (born 1955)

Las cuatro estaciones porteñas (The Four Seasons of Buenos Aires)

Primavera porteña (Spring)

Verano porteño (Summer)

Otoño porteño (Autumn)

Invierno porteño (Winter)

stephen tooke, Violin

in 1954, Astor Piazzolla won a scholarship to study with the legendary nadia Boulanger in Paris. he was by this stage acknowledged as a great composer of tangos and performer on the bandoneón in his native Buenos Aires (though, incidentally, he spent many of his earliest years in new york) and had already studied with Alberto Ginastera. But Piazzolla, like Gershwin, yearned to be a serious composer and played down the importance of tango at first. Boulanger, however, showed her usual perspicacity. hearing Piazzolla play tango on the bandoneón she famously said, “Astor, your classical pieces are well written, but the true Piazzolla is here, never leave it behind.”

despite Piazzolla’s distinguished career, tango was originally far from high art, and while its origins are complex it was the music of the porteños and porteñas – inhabitants of the slum port areas of Buenos Aires – in the early 20th century which is the root of Piazzolla’s art.

ProGraM Notes

PROGRAM April 9

(And, we might note, plenty of people believed that Piazzolla had ruined tango by developing it into a ‘classical’ genre as he did.) These four pieces, composed between 1964 and 1970, are often referred to as the Four Seasons of Buenos Aires, but are really tango portraits of this particular aspect of the city’s life through the year.

They were originally composed for Piazzolla’s own ensemble of violin, piano, electric guitar, bass and bandoneón (accordion). Violinist Gidon kremer had the idea of using the pieces to complement Vivaldi’s Four Seasons, so commissioned Ukrainian composer leonid desyatnikov to make this version for violin and string orchestra. They are, strictly speaking, versions rather than arrangements: desyatnikov underlines the relationship to Vivaldi by incorporating thematic material, often to genuinely humorous effect, from the Baroque composer’s work into Piazzolla’s without disrespect to either. desyatnikov also exploits the virtuosity of both kremer and his orchestra.

Each movement has a strong musical and meteorological character. ‘Spring’, as in other parts of the southern hemisphere, is busy but not always comfortable; ‘Summer’, the first composed of the set, was written for a play and is well-known in its own right. ‘Autumn’, composed second, begins with an implacable rhythm that gives way to an introspective solo, originally for bandoneón but here played on cello. ‘Winter’ begins with a slow introduction that leads, eventually, into the main tango, but ends in a mood of quiet nostalgia with music that recalls Pachelbel’s famous canon.

Gordon Kerry © 2009/11

ProGraM Notes

10 PROGRAM April

sat 18 aPr 7.30PM

QPaC Concert Hall

Conductor Jessica cottisViolin Sarah chang

Qigang Chen Enchantements oubliésBruch Violin concerto

shostakovich Symphony no.5

Note: Maestro Yu Long, who was originally scheduled to conduct this performance, will be replaced by Jessica Cottis.

QSO is delighted to welcome back Maestro Cottis.

Sarah Chang Violin

Maestro

QSO &

SARAh ChANg

Free pre-concert talk with Thomas Allely at 6.30pm

PROGRAM April 11

Ultimately, the two themes achieve a jovial union as each comes to complement the other. low strings and percussion take up the rising triplet figure, over which soars the oriental-sounding melody of the violins.

Adapted from a note by Naomi Johnson © 2013

Max Bruch (1838-1920)

Violin concerto no.1 in G minor, Op.26

Vorspiel [Prelude] (Allegro moderato)

Adagio

Finale (Allegro energico)

sarah Chang, Violin

Max Bruch’s First Violin concerto is one of the greatest success stories in the history of music. The violinist Joseph Joachim, who had a strong advisory role in its creation and gave the first performance of the definitive version in 1868, compared it with the other famous 19th-century German violin concertos, those of Beethoven, Mendelssohn and Brahms. Joachim said, Bruch’s concerto is ‘the richest, the most seductive’. in addition to Joachim, the most famous violinists of the day took it into their repertoire: Auer, Ferdinand david, Sarasate. With his first important large-scale orchestral work, the 30-year-old Bruch had a winner.

Qigang Chen (born 1951)

Enchantements oubliés (Forgotten Enchantments)

Born in Shanghai, Qigang chen attended the central conservatory of Music in Beijing before pursuing further study with Olivier Messiaen in France, where he has lived since the 1980s. chen has stated that the ‘detail and nuance in French music’ are similar to his own. Of his inspiration behind Enchantements oubliés, he writes:

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, being able to keep warm when it gets cold and having some downtime to yourself… this piece seeks to express human emotion in its simplest, most direct forms.

This is music at once simple and complex; floating melodies are supported by many layers of interweaving lines. There is a constant shifting of focus as a part that serves as colour one moment will suddenly spring forward with a fragment of melody, only to recede into the background again a moment later.

This space and contemplation is a constant reference point, but it is juxtaposed with a brisker triplet idea introduced by vibraphone and marimba. This line is tossed between parts with a constant feeling of upward motion. Though often interrupted by the return of the opening theme, the energetic melody keeps resurfacing to bubble along.

ProGraM Notes

12 PROGRAM April

ProGraM Notes

The success of this concerto was to be a mixed blessing for Bruch. Few composers so long-lived and prolific are so nearly forgotten except for a single work. Bruch followed up this violin concerto with two more, and another six pieces for violin and orchestra. But although he constantly encouraged violinists to play his other concertos, he had to concede that none of them matched his first. it was Bruch’s association with Johann naret-koning, concertmaster of the Mainz Orchestra, which first set the composer on the path of composing for the violin. he did not feel sure of himself, regarding it as ‘very audacious’ to write a violin concerto, and reported that between 1864 and 1868 ‘i rewrote my concerto at least half a dozen times, and conferred with x violinists’. The most important of these was Joachim.

like Mendelssohn in his E minor Violin concerto, Bruch brings the solo violin in right from the start, after a drum roll and a motto-like figure for the winds. The alternation of solo and orchestral flourishes suggests to Michael Steinberg a dreamy variant of the opening of Beethoven’s Fifth Piano concerto. With the main theme launched by the solo violin in sonorous double-stopping, and a contrasting descending second subject, a conventional opening movement in sonata form seems to be under way. The rhythmic figure heard in the plucked bass strings plays an important part. But at the point where the recapitulation would begin, Bruch, having brought back the opening chords and flourishes, uses them instead to prepare a soft subsiding into the slow movement, which begins without a pause. The songful character of the violin is to the fore in Bruch’s Adagio, where two beautiful themes are linked by a memorable transitional idea featuring a rising scale.

The hungarian or Gypsy dance flavour of the last movement’s first theme must be a tribute to the native land of Joachim, who had composed a ‘hungarian’ concerto for Violin. Bruch’s theme was surely in Brahms’ mind at the same place in the concerto he composed for Joachim. Bruch’s writing for the solo violin here scales new heights of virtuosity. Of the bold and grand second subject, Tovey observes that Bruch’s work ‘shows one of its noblest features just where some of its most formidable rivals become vulgar’. in this concerto for once Bruch was emotional enough to balance his admirable skill and tastefulness. The G minor Violin concerto is just right, and its success shows no sign of wearing out.

Abridged from a note by David Garrett © 2004

Dmitri shostakovich (1906-1975)

Symphony no.5 in d minor, Op.47

Moderato – Allegro non troppo Allegretto largo Allegro non troppo

Shostakovich’s Fifth Symphony is one of the 20th century’s iconic works. in purely musical terms it is a masterpiece, coherently expressed and brilliantly orchestrated in a large-scale architecture whose pacing is expertly judged.

PROGRAM April 13

But its status derives at least in part from the circumstances in which it was conceived, and the work has become a symbol in the battle for the composer’s ideological soul. The facts of the symphony’s genesis bear repeating. Following the official condemnation of his opera Lady Macbeth of Mtsensk in 1936, Shostakovich withdrew, or allowed to be withdrawn, his Symphony no.4. he had good reason for alarm. Stalin’s ‘purges’ were at their height, resulting in the incarceration, and often murder, of leading intellects as well as potential political rivals.

Shostakovich’s Fourth Symphony is a blisteringly ironic work where triumphal fanfares turn sour in the space of a single bar and glacial spaces unfold menacingly. The Fifth, by contrast, is essentially a neoclassical piece. The work has four movements in conventional forms; its musical language affirms traditional diatonic harmony in a Beethovenian journey from a striving d-minor opening to the blazing major-key optimism of the finale. Following the common practice of Russian composers, Shostakovich places the dance-like scherzo second, before an emotionally powerful Largo which alludes briefly to his own setting of Pushkin’s poem Rebirth. At the time Shostakovich claimed that ‘man with all his experiences [is] in the centre of the composition, which is lyrical in form from beginning to end. in the finale, the tragically tense impulses of the earlier movements are resolved in optimism and joy of living’. years later Shostakovich’s son Maxim claimed that his father had described it as a ‘heroic symphony’ – not unlike Beethoven’s Third in intent.

The work was a huge success at its premiere, with audience members weeping during the slow movement and cheering as the finale drew to a close. Reflecting the ideals of Socialist Realism and clearly a hit with the masses, the symphony was Shostakovich’s passport to a return – for now at least – to official favour.

When a journalist described it as ‘an artist’s response to just criticism’ Shostakovich didn’t demur, though there is no evidence that it was indeed his expressed view. during the early stages of the cold War, Shostakovich was derided in the West as a composer of ‘national advertising’ and a work like the Fifth was seen as Soviet propaganda. in the late 20th century, however, the view emerged of Shostakovich as a secret dissident, encoding anti-Soviet ‘messages’ in his music. This view gathered strength with the publication in 1979 of Testimony: Memoirs of Dmitri Shostakovich as related to and edited by Solomon Volkov. in it Volkov quotes Shostakovich saying: ‘i think it is clear to everyone what happens in the Fifth. The rejoicing is forced, created under threat, as in Boris Godunov.’

Testimony created a furore, with musicologists and journalists proclaiming the work either a complete fraud or a valuable document of the composer’s thought.

The stylistic change that came about with the Fifth was almost certainly fuelled by Shostakovich’s brush with the regime. But certain facts are inconvenient to a simplistic reading of the man and his work, such as his decision to join the communist Party in 1960, long after the immediate danger of Stalinism had passed. Moreover the Fifth was at one stage seen as pro-Soviet tub-thumping and then almost overnight regarded as a denunciation of the very same regime. Maybe it’s neither, but as critic Alex Ross puts it, ‘The notes, in any case, remain the same. The symphony still ends fortissimo, in d major, and it still brings audiences to their feet.’

Abridged from Gordon Kerry © 2007

ProGraM Notes

14 PROGRAM April

Mischa Maiskycello

Born in latvia, educated in Russia, after his repatriation to israel, Mischa Maisky has the distinction of being the only cellist in the world to have studied with both Mstislav Rostropovich and Gregor Piatigorsky. As an exclusive deutsche Grammophon artist he has made many prize-winning recordings. Truly a world-class musician, he has collaborated with the world’s top orchestras and conductors, including Bernstein, Giulini, Maazel, Mehta, Muti, Sinopoli, Ashkenazy, Barenboim, levine, dutoit, Jansons, Gergiev and dudamel. he has played recitals and chamber music worldwide with Argerich, lupu, kissin, lang lang, Repin, Vengerov, Bell, Rachlin and Jansen among many others.

Jessica Cottisconductor

hailed in the Uk music press as “the one to watch”, Jessica cottis is fast gaining an international reputation as one of the most exciting conductors of the younger generation. Recent seasons include guest conducting Mozarteumorchester Salzburg, Scottish Opera, BBc Proms, The Philharmonia, london Philharmonic

Yan Pascal tortelierconductor

yan Pascal Tortelier enjoys a distinguished career as a guest with the world’s most prestigious orchestras. Following a successful career as violinist, Tortelier studied conducting with Franco Ferrara at the Accademia chigiana in Siena, and was appointed Associate conductor of the Orchestre national du capitole de Toulouse(1974 to 1983), Principal conductor and Artistic director of the Ulster Orchestra (1989-1992) and Principal Guest conductor of the Pittsburgh Symphony Orchestra (2005-2008). he was Principal conductor of the Sao Paulo Symphony Orchestra, from 2009-2011, and currently holds the position of Guest conductor of honour, in which capacity he returns to the orchestra a number of times each season.

Following his outstanding work as chief conductor of the BBc Philharmonic between 1992 and 2003, including annual appearances at the BBc Proms and a very successful tour of the US to celebrate the orchestra's 60th anniversary season, he was given the title of conductor Emeritus and continues to work with the orchestra regularly.

yan Pascal Tortelier has collaborated with major orchestras including the london Symphony and london Philharmonic, Orchestre de Paris, Royal concertgebouw Orchestras, the Philadelphia Orchestra, los Angeles Philharmonic, and the Boston, chicago and Montreal Symphony Orchestras. Further afield he has collaborated with the Melbourne Symphony, the Tokyo Metropolitan Symphony and the hong kong and Malaysian Philharmonic Orchestras.

BIoGraPHIes

PROGRAM April 15

Orchestra, Orchestra of the Royal Opera house, BBc national Orchestra of Wales, BBc Philharmonic, and new zealand, Queensland, Adelaide, and BBc Scottish symphony orchestras.

cottis’s international career was launched through close working relationships with conductor mentors Vladimir Ashkenazy, charles dutoit and donald Runnicles. From 2009 to 2011, she was Assistant conductor of the BBc SSO and Fellow in conducting, Royal conservatoire of Scotland. in 2012, she was appointed Assistant conductor of the Sydney Symphony, with her performances widely celebrated: "Jessica cottis is one of the big hopes for change".

sarah ChangViolin

Recognized since her debut with the new york Philharmonic at the age of 8 as one of the world’s great violinists, Sarah has performed and recorded with the greatest musicians internationally in a career spanning more than two decades.

her most recent recording for EMi classics, performances of Brahms and Bruch violin concertos with kurt Masur and the dresdner Philharmonic was received to excellent critical and popular acclaim.

The youngest person ever to receive the hollywood Bowl’s hall of Fame award, Sarah chang has received numerous other awards by the yale University, harvard University, Gramophone and newsweek Magazine, to name a few.

Qso Chamber PlayersQso strings

Violin 1 Warwick Adeney, Stephen Tooke, Brenda Sullivan, Priscilla hocking, Emily Francis (guest)

Violin 2 Gail Aitken, delia kinmont, natalie low, Eddy chen (guest)

Viola Bernard hoey, charlotte Burbrook de Vere, Tara houghton (guest)

Cello Matthew kinmont, Tim Byrne (guest)

Bass ken Poggioli, Justin Bullock

Harpsichord narelle French (guest)

The chamber Players series features intimate Sunday afternoon performances in the QSO Studio, South Bank. Performed and artistically directed by the musicians of the QSO, the series invites audiences to experience the beauty and passion of chamber music masterworks in one of Brisbane’s finest venues.

Regular performers in the series include the Adina String Quartet, norablo String Quartet, QSO Brass Quintet, QSO clarinet Quintet, QSO Wind Quintet and QSO Strings. chamber music has long played a key role in QSO’s activities, with small ensembles from the orchestra touring regularly to schools and community outreach events throughout Brisbane and regional Queensland.

The Australian newspaper described a March 2014 chamber Players performance as: “One of the most refreshing, fascinatingly programmed and enjoyable concerts in Brisbane in recent times.”

BIoGraPHIes

16 PROGRAM April

book now!qso.com.au

PROGRAM April 17

FrI 19 JUN 11AM sat 20 JUN 7.30PM

QPAc concert hall

Conductor Edvard Tchivzhel

Piano nikolai demidenko

Brahms Piano concerto no.2

saint-saëns Symphony no.3 Organ

COMING SOON

QsoJaMes MorrIsoN TrumpeteDGar MeYer double bass

FrI 17 JUL 7.30PM

In collaboration with

DEMIDENKO WITH QSO

18 PROGRAM April

LEST WE FORGET

FREE ANZAC EVE CONCERT

6.30-8.00PM FRIDAY 24 APRIL

The Courier-Mail Piazza

south bank parklands

CENTENARY OF ANZAC www.rslqld.org

100years

PROGRAM April 19

ConCertmasterWarwick AdeneyProf. ian Frazer Ac & Mrs caroline Frazerdr cathryn Mittelheuser AMJohn & Georgina Story

assoCiate ConCertmasterAlan SmithArthur Waring

First ViolinStephen 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 ViolinWayne BrennanArthur Waring

seCond ViolinDelia Kinmont Jordan & Pat Pearl

Helen Travers Elinor & Tony Travers

seCtion PrinCiPal ViolaYoko Akayasudr Ralph & Mrs Susan cobcroft

ViolaGraham Simpson Alan Galwey

seCtion PrinCiPal CelloDavid LaleArthur Waring

Andre Duthoit Anne Shipton

Matthew Kinmont dr Julie Beeby

seCtion PrinCiPal double bassJohn Fardondr Graham & Mrs kate Row

assoCiate PrinCiPal double bassDushan WalkowiczSophie Galaise

double bassPaul O'BrienRoslyn carter

seCtion PrinCiPal FluteAlexis Kennydr damien Thomson & dr Glenise Berry

assoCiate PrinCiPal FluteHayley Radkedesmond B Misso Esq

PrinCiPal oboeHuw Joneshelen & Michael Sinclair

oboeAlexa Murraydr les & Ms Pam Masel

seCtion PrinCiPal ClarinetIrit SilverArthur Waring

ClarinetKate Traversdr Julie Beeby

seCtion PrinCiPal bassoonNicole Taitin memory of Miss Margaret Mittelheuser AM

assoCiate PrinCiPal bassoonDavid MitchellJohn & helen keep

bassoonEvan LewisBrett Boon

seCtion PrinCiPal FrenCh hornMalcolm StewartArthur Waring

PrinCiPal FrenCh hornIan O'BrienGaelle lindrea

seCtion PrinCiPal trumPetSarah ButlerMrs Andrea kriewaldt

assoCiate PrinCiPal trumPetRichard MaddenElinor & Tony Travers

trumPetPaul RawsonBarry, Brenda, Thomas & harry Moore

seCtion PrinCiPal tromboneJason RedmanFrances & Stephen Maitland OAM RFd

assoCiate PrinCiPal tromboneDale TruscottPeggy Allen hayes

PrinCiPal tubaThomas AllelyArthur Waring

PrinCiPal harPJill Atkinsonnoel & Geraldine Whittaker

PrinCiPal timPaniTim Corkerondr Philip Aitken & dr Susan UrquhartPeggy Allen hayes

seCtion PrinCiPal PerCussionDavid Montgomerydr Graham & Mrs kate Row

Thank you

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

CHaIr DoNors

PatroN ($100,000+)Timothy Fairfax Ac Tim Fairfax Family Foundationharold Mitchell AcThe Pidgeon FamilyJohn B Reid AO and lynn Rainbow ReidT & J St Baker charitable TrustArthur Waringnoel and Geraldine WhittakerAnonymous

Maestro ($50,000 - $99,999)Philip Bacon GalleriesBank of QueenslandProf. ian Frazer Ac and Mrs caroline FrazerJellinbah Groupdr cathryn Mittelheuser AMMrs Beverley June SmithJohn and Georgina StoryGreg and Jan Wanchap

sYMPHoNY ($20,000 - $49,999)dr Philip Aitken and dr Susan Urquhartdr Julie BeebyThe English Family Prize for young instrumentalistsPeggy Allen hayesleonie henryMrs Andrea kriewaldtFrances and Stephen Maitland OAM RFddesmond B Misso Esq.in memory of Miss Margaret Mittelheuser AMJustice Anthe Philippidesdr Graham and Mrs kate RowRodney Wylie

CoNCerto ($10,000 - $19,999)david and Judith Beal Mrs Roslyn carterdr Ralph and Mrs Susan cobcroftMrs i.l. deanTony denholder and Scott Gibson dr and Mrs W.R. heaslop Gwenda heginbothomMs Marie isacksonJohn and helen keepdr les and Ms Pam MaselPage and Marichu Maxsonian PatersonMr Jordan and Mrs Pat Pearlheidi and hans RademacherAnne Shiptondr damien Thomson and dr Glenise BerryElinor and Tony TraversAnonymous (3)

sCHerZo ($5,000 - $9,999)Trudy BennettMrs Valma Birddr John and Mrs Jan Blackforddr Betty Byrne henderson AMdr John h. caseyMrs Elva EmmersonSophie GalaiseAlan Galweydr Edgar Gold AM, Qc and dr Judith Gold cM dr Edward c. Gray harp Society of Queensland inc dr Alison hollowayThe helene Jones charity TrustTony and Patricia keaneMichael kenny and david Gibson M. leJeune Mr John Martin

kathy and henry nowikin memory of Mr and Mrs J.c. Overell helen and Michael Sinclair Mrs Gwen WarhurstProf. hans and Mrs Frederika Westerman

roNDo ($1,000 - $4,999)Emeritus Professor cora V. Baldock dr Geoffrey and Mrs Elizabeth BarnesProf. Margaret Barrett Brett BoonProfessors catherin Bull AM and dennis Gibson AOMrs Georgina ByromPeter and Tricia callaghanMrs J. cassidy drew and christine castleyGreg and Jacinta chalmerscherrill and david charltonMr ian and Mrs Penny charltonRobert clelandRoger cragg Julie crozierin memory of John czerwonka-ledezlaurie James deaneRalph dohertydr Bertram and Mrs Judith Frostc.M. and i.G. Furnivaldr Joan E. Godfrey, OBEian and Ruth Goughlea and John GreenawayFred and Maria hansenyvonne hansenMadeleine harasty Ashley harrislisa harrisTed and Frances henzellPatrick and Enid hill

Queensland Symphony Orchestra is proud to acknowledge the generosity and support of our donors for our philanthropic programs.

DoNors

20 PROGRAM April

PROGRAM April 21

Prof. ken ho and dr Tessa ho Jenny hodgsonSylvia hodgsonJohn hughesMiss lynette hunter Sandra Jeffries and Brian cookJohn and Wendy Jewell Ainslie Justdr Ray and Mrs Beverley kerrdr colin and Mrs noela kratzingSabina langenhandr Frank leschhornRachel leungShirley leuthnerGaelle lindrealynne and Franciose lipProf. Andrew and Mrs kate listerMary lyons and John FardonSusan MabinRose-Marie Malyon Belinda Mckay and cynthia Parrill Mrs daphne MckinnonAnnalisa and Tony Meiklein memory of Jolanta Metter in memory of carol MillsB and d MooreBarry, Brenda, Thomas and harry MooreMartin Moynihan AO Qc and Marg O’donnell AOhoward and katherine Munrokaren Murphy John and Robyn MurrayRon and Marise nilssonTina Previteradr Phelim Reilly

Mr dennis Rhind in memory of Pat Richesdr Spencer RouthProfessor Michael Schuetz, honorary consul of Germanychris and Judith SchullBernard and Margaret SpilsburyMrs Anne StevensonBarb and dan StylesMrs helen TullyWilliam TurnbullMr ian and Mrs hannah WilkeyMargaret and Robert WilliamsGillian WiltonJeanette WoodyattAnonymous (34)

VarIatIoNs ($500 - $999)Mrs Penny AcklandWarwick Adeney Julieanne AlroeJill Atkinsondon Barrettdeidre BrownFay Buerger M. BurkeMrs Verna cafferkyAlison G. cameronheather castlesdr Alice cavanaghJohn Evans Floranne and Garth Everson Graeme and Jan Georgehans GottliebShirley heeneyAnna JonesMiss dulcie little

The honourable Justice J.A. logan, RFdJim and Maxine MacMillanMr and Mrs G.d. MoffettPenny Moysey M.M. ParkesRod and Joan RossPatience Stevenskatherine TrenthR VentonTanya VianoAnonymous (27)

JoHN FarNsWortH HaLL CIrCLeNamed 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.

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

Thank you

22 PROGRAM April

QUeeNsLaND sYMPHoNY orCHestra

PatroN

his Excellency the

honourable Paul de

Jersey Ac, Governor

of Queensland

CoNDUCtor LaUreate

Johannes Fritzsch

soLoIst-IN-resIDeNCe

Shlomo Mintz

CoNCertMaster

Warwick Adeney

assoCIate

CoNCertMaster

Alan Smith

CeLLo

david lale~

kathryn close

Andre duthoit

Matthew Jones

Matthew kinmont

Jenny Mikkelsen-Stokes

kaja Skorka

craig Allister young

DoUBLe Bass

John Fardon~

dushan Walkowicz>>

Anne Buchanan

Justin Bullock

Paul O’Brien

ken Poggioli

FLUte

Alexis kenny~

hayley Radke>>

PICCoLo

kate lawson*

oBoe

huw Jones~

Sarah Meagher>>

Alexa Murray

Cor aNGLaIs

Vivienne Brooke*

CLarINet

irit Silver~

Brian catchlove+

kate Travers

Bass CLarINet

nicholas harmsen*

VIoLIN 1

linda carello

lynn cole

Priscilla hocking

Ann holtzapffel

Stephen Phillips

Rebecca Seymour

Joan Shih

Brenda Sullivan

Stephen Tooke

Brynley White

VIoLIN 2

Gail Aitken~

Wayne Brennan~

Jane Burroughs

Faina dobrenko

Simon dobrenko

delia kinmont

natalie low

Tim Marchmont

helen Travers

harold Wilson

VIoLa

Bernard hoey=

Jann keir-haantera+

charlotte Burbrook de Vere

kirsten hulin-Bobart

helen Poggioli

Graham Simpson

nicholas Tomkin

~ Section Principal= Acting Section Principal>> Associate Principal + Acting Associate Principal

* Principal

^ Acting Principal

BassooN

nicole Tait~

david Mitchell>>

Evan lewis

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*

tIMPaNI

Tim corkeron*

PerCUssIoN

david Montgomery~

Josh deMarchi>>

PROGRAM April 23

BoarD oF DIreCtors

Greg Wanchap Chairman Margaret Barrett Tony denholder Tony keane John keep Page Maxson James Morrison AM karen Murphy Rod Pilbeam

MaNaGeMeNt

Sophie Galaise Chief Executive OfficerRos Atkinson Executive Assistant to CEO Richard Wenn Director – Artistic PlanningMichael Sterzinger Artistic CoordinatorFiona lale Artist Liaison Officerdale Truscott Contemporary Music/

Chamber Music CoordinatorMatthew Farrell Director – Orchestra Management nina logan Orchestra Managerhelen davies Operations AssistantJudy Wood Orchestra Librarian/

WHS Coordinatornadia Myers Library and Operations

Assistant Peter laughton Production ManagerVince Scuderi Production Assistant John nolan Community Engagement

OfficerPam lowry Education Liaison Officer karen Soennichsen Director – Marketing Sarah Perrott Marketing Manager zoe White Digital Marketing SpecialistMiranda cass Marketing Coordinator david Martin Director – Corporate

Development & Sales Anna Jones Corporate Relationships

Manager (Acting)Emma Rule Ticketing Services ManagerGeorge Browning Sales OfficerAlison Barclay Ticketing Services Officer Michael Ruston Ticketing Services Officer chrissie Bernasconi Ticketing Services Officer Gaelle lindrea Director – Philanthropy lisa harris Philanthropy OfficerPhil Petch Philanthropy Services OfficerRobert Miller Director – Human Resourcesdebbie draper Chief Financial OfficerSue Schiappadori AccountantAmy 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

trUstees

kylie Blucher Simon Gallaher Sophie Mitchell Mick Power AM

exeCUtIVe staFF

Chief Executive: John kotzas Director – Presenter Services: Ross cunningham Director – Marketing: Roxanne hopkins Director – Corporate Services: kieron Roost 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 Science, information Technology, innovation and the Arts: Sue Rickerby

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.

24 PROGRAM April

community and education partners

corporate partners

Government partners

PartNers

co-production partners

Media partners