PROGRAM October 1

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BEETHOVEN SEPTET

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BIOGRAPHIES

CONTENTS

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Irit Silver QSO Clarinet

sun 12 oCt3.00PM

Qso studio, south bank

Violin Rebecca Seymour Viola Charlotte Burbrook de Vere

Cello Matthew Kinmont Cello Andre Duthoit bass Justin Bullock Flute Hayley Radke

oboe Eve Newsome (Guest) Clarinet Irit Silver

bassoon David Mitchell horn Malcolm Stewart

Carter Eight Etudes and a Fantasy Carter Enchanted Preludes beethoven Septet in E flat

Chamber Players

BEEThOvEN SEpTET

PROGRAM October 3

ProGram notes

elliott Carter (1908-2012)

Enchanted Preludes for flute and cello

Eight Etudes and a Fantasy for wood- wind quartet

MaestosoQuietlyAdagio possibileVivaceAndanteAllegretto leggieroIntenselyPrestoFantasy: tempo giusto

Until 1948, Elliott Carter had been more or less happy in the neo-classical tradition of American music, and like many of his colleagues had travelled to Paris to study with Nadia Boulanger, the movement’s doyenne. While Boulanger had little interest in other contemporary music, namely that of the Schoenberg school, she inculcated in her students a deep respect for formal elegance and technical proficiency.

Carter later remembered with gratitude her detailed teaching of the music of Bach, which inspired him to develop his own systematic methods of composition.

One of his most celebrated innovations was the technique of metrical modulation, which he described thus:

The idea was to have various layers of rhythms going on at the same time, at different speeds, and then move from one system to another … like shifting gears in a car. You don’t know you’ve gotten into a new speed until something defines it more clearly, but at the transitional moment, you don’t know that it’s changing.

By the time he came to compose his Enchanted Preludes in 1988, Carter’s technique and method were extremely sophisticated, especially his treatment of metre. As David Schiff remarks in his monograph, this single movement, of about seven minutes’ duration, is derived from a ‘45:56 polyrhythm’ – in other words, the flute’s part could be divided into 45 equal ‘beats’, and the cello’s into 56. There is thus almost no mathematical likelihood of the instruments playing in rhythmic unison. While the work is not a serial piece in Schoenberg’s sense, it derives from a twelve-note set that dictates the intervals; all of which sounds like a recipe for anything but enchantment.

The piece is, however, exceptionally beautiful, a constantly eddying flow of changing colour and sound. It was commissioned by Harry Santen in honour of his wife, Ann, a great supporter of new music in Cincinnati, Ohio. The title is from lines by the visionary poet Wallace Stevens:

Felicity, ah! Time is the hooded enemy, The inimical music, the enchanted space In which the enchanted preludes have their place.

4 PROGRAM October

Nearly 40 years before, Carter had taught orchestration at Columbia University, where the students’ exercises were road-tested on a group of professional players. In teaching about wind writing, Carter wrote examples of textures and motives on the blackboard as the basis for the students’ work. In 1950, he used some of this material for the Eight Etudes and a Fantasy, dedicated to Richard Franko Goldman.

Each of the Etudes lasts no more than a minute or two, teasing out some aspect of the basic ‘example’, be it a rhythmic idea, texture or harmonic sequence – using recognisable diatonic harmony, ornate polytonal counterpoint or, as in the seventh, just one note.

The concluding Fantasy is much more substantial, and draws together elements from the foregoing Etudes. It begins with a fugal opening, deceptively traditional-sounding until the subsequent voices, with the intricate layering of rhythm. Metrical modulation – that smooth gear-shifting – takes the piece through each of the tempos explored in the Etudes.

© Gordon Kerry 2014

This is the first performance of either of these works by the Queensland Symphony Orchestra.

ProGram notes

ludwig van beethoven (1770-1827)

Septet in E flat, Op.20

Adagio – Allegro con brioAdagio cantabileTempo di minuetto – Trio – Tempo ITema (Andante) con variazioniScherzo (Allegro molto e vivace) – Trio – Scherzo Andante con moto alla marcia – Presto

The Septet was first heard at a private concert on 20 December 1799, at the Schwarzenburg palace in Vienna. There, two years earlier, Haydn’s The Creation also had its first performance, leading Beethoven to joke of the Septet: ‘This, then, is my Creation!’

The Septet became one of Beethoven’s most popular works. Initially, he himself was enthusiastic to promote it further, proposing an arrangement for strings to publisher-composer Anton Hoffmeister, in the interests of ‘more frequent use’. A string-sextet version, though not made by Beethoven himself, duly appeared in 1802. Beethoven then made his own even further downsized arrangement of the piece for trio, published as his Op.38.

PROGRAM October 5

However, Beethoven quickly came to resent the Septet’s popularity. In 1805, a review of the Eroica Symphony advised Beethoven instead to stick with the more accessible style of the first two symphonies and the ‘agreeable Septet’. And in 1815, when told the Septet was a great favourite in England, Beethoven swore and said he wished he could destroy it, explaining that he ‘did not know how to compose’ back then, but was certainly ‘writing better now’!

The leader of the ensemble in the first performances of the Septet was the young violinist Ignaz Schuppanzigh who, 25 years later, was involved in the premiere of Schubert’s Octet, a work expressly composed as a companion piece to Beethoven’s Septet. Both works continued in the very 18th-century tradition of the Austrian divertimento. Beethoven had essayed the genre previously in his string-trio Serenade (Op.8) of c.1797. Its model, in turn, was Mozart’s great E flat string-trio Divertimento (K563). The lasting popular appeal of all four chamber works derives in large part from their multi-movement format, in each case filled out with a variety of good, dance-inspired tunes, musical jokes, the occasional feat of instrumental acrobatics, and typically at least one theme-and-variations.

In the first movement, a solemn Adagio is followed by a bright Allegro, throughout which melodic interest is shared between the violin and clarinet. Once or twice, the horn relinquishes its customary role of sustaining and underlining key chords in the texture, and also breaks into a brief burst of melody. The second movement has a magical, nocturne-like quality.

In the third movement, Beethoven recycles just the opening eight bars of the second movement of his Piano Sonata, Op.49 No.2, as the catchy first phrase of a minuet. The trio involves a playful exchange between violin, horn and clarinet.

The fourth movement is based on an Andante theme. Variation 1 is scored for violin, viola and cello. Adding the bass, Variation 2 is for all four strings with colouristic ‘pointing’ from clarinet and bassoon. These two wind instruments then take the lead for Variation 3. The horn introduces the obligatory minor-key variation, No.4. Variation 5 is a grand tutti reprise of the theme in otherwise original guise, with a playful coda tacked on.

From its opening call, the horn takes over (from the clarinet) as leading wind instrument for the fifth movement. The sixth movement is preceded by a funereal introduction in E flat minor. In the ensuing E flat major Presto, cross-rhythms, horn calls, swirling triplet figures, and a long brilliant cadenza for the violin before the final reprise, contribute to the sense of sheer fun that suffuses this finale to Beethoven’s deservedly most-popular lighter chamber work.

Abridged from a note by Graeme Skinner © 2010

This is the first performance of this work by the Queensland Symphony Orchestra.

6 PROGRAM October

PROGRAM October 7

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8 PROGRAM October Alan Smith QSO Violin

sun 19 oCt11.30AM

QPaC Concert hall

Conductor Edvard Tchivzhel host Guy Noble

tenor Iain Henderson soprano Dominique Fegan

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PROGRAM October 9

ProGram notes

bedrich smetana (1824-1884) arr. muller-berghausThe Bartered Bride: Overture

Franz liszt (1811-1886)Hungarian Rhapsody No.2

Jean sibelius (1865-1957)Finlandia

ralph Vaughan Williams (1872-1958)Fantasia on Greensleeves

Gioachino rossini (1792-1868)‘La danza’ from Les Soirées musicales tenor iain henderson

Georges bizet (1834-1875)L’Arlésienne: Farandole

aaron Copland (1900-1990)Appalachian Spring

George Gershwin (1898-1937)Porgy and Bess: selections soprano dominique Fegan

leonard bernstein (1918-1990)West Side Story: Mambo

Peter ilyich tchaikovsky (1840-1893)Symphony No.4: Finale

One of music’s most enjoyable qualities is its ability to evoke place and today’s concert takes us on a musical journey around the world. It starts in Eastern Europe.

Evocation of place was an overt goal of much orchestral music in the late 19th century, when various nationalist movements held sway. In the 1800s, Czechs lived under the Austrian Habsburg Empire. smetana’s music was an important element in defining Czech national style.

Smetana’s greatest contribution to the orchestral repertoire is arguably the six-movement tone poem Má vlast (My Country), but The Bartered Bride was among the first operas to celebrate Czech national life. It is a story of true love triumphing over the scheming of ambitious parents and a marriage broker in a country village. John Tyrrell describes the overture as ‘a tour de force of the genre, wonderfully spirited and wonderfully crafted’.

Franz liszt’s reputation rests mostly on his legendary skills as a pianist and on virtuosic pieces that form the backbone of modern piano repertoire. He was born in Doborján in western Hungary that was, at the time of his birth, part of the Austrian empire. Like many Magyars, Liszt spoke German and was unable to speak Hungarian growing up. But, intensely patriotic, he frequently declared himself for Hungarian causes. Liszt paid homage to his Hungarian roots in several pieces, among them his set of Hungarian Rhapsodies. Number 2 is perhaps the most famous. Like the other Hungarian Rhapsodies it is constructed like a traditional Hungarian dance, the csárdás, in which a slow, sombre ‘lassú’ is followed by a faster, more exuberant ‘friska’.

sibelius’s works – the intense, highly involved symphonies and craggy nature poems – are almost a byword for Finnish temperament in music, but the young Sibelius’s music was sometimes overtly political. Finlandia was composed for the Press Celebrations of 1899, a subtle protest against the censorship imposed by Russia which controlled Finland at the time. It was the last of a series of pieces portraying episodes in Finnish history. Most of the work is taken up with rousing and turbulent music that is meant to evoke the national struggle of the Finnish people. Towards the end, the ‘Finlandia Hymn’ is heard. Many people have mistaken this for an original folk tune, but it is actually Sibelius’s own creation.

10 PROGRAM October

ProGram notes

It became a Finnish national song when Sibelius converted it into a stand-alone piece and words were added in 1941 by Veikko Antero Koskenniemi.

Mid 20th-century modernists loved critic Philip Heseltine’s characterisation of Vaughan Williams’s music as like a ‘cow looking over a gate’; they had very little time for Vaughan Williams’s brand of English pastoralism. But they failed to see the depth of Vaughan Williams’s absorption in English life. Vaughan Williams once said that ‘a composer’s art should be an expression of the whole life of the community’. He obviously meant the past as well, which explains why he looked back to English folksong and Tudor period music for much inspiration. The Fantasy on ‘Greensleeves’ is actually an arrangement of music from Act III of Vaughan Williams’s 1928 opera, Sir John in Love, which quotes the old English folksong.

The Barber of Seville is just one of the 39 operas that made rossini’s fortune and reputation as one of the most popular composers of his day. However, following the premiere of his last opera, William Tell, and having not yet reached the age of 40, he surprised audiences and critics alike by retiring from the theatre. The reason for this ‘great renunciation’, as it subsequently came to be known, has puzzled music historians ever since, with theories ranging from ill-health to the lack of any financial imperative. His output from then until his death was sparse, with the notable exceptions of his Stabat Mater and Petite messe solennelle. However his talent for writing vocal showpieces never waned, as his 12 songs published in 1835 under the title Les Soirées musicales show. The charming tarantella ‘La danza’, which extols the delights of dancing with a beautiful girl into the night, demands considerable agility – and breath control – on the part of the interpreter, and has been a favourite concert piece of many tenors.

When Nietzsche rebelled against the music of Wagner and its excesses it was to the music of bizet that he turned. Highly economical, Bizet’s music derived much of its expressivity from piquant use of local colour. Granted his opera Carmen is the product of a Frenchman trying to be (and succeeding in sounding) Spanish, but his music for Daudet’s play, L’Arlésienne mines the local colour of a famously distinct region of France: Provence. Bizet wrote several folk-like themes for L’Arlésienne but the farandole is based on a traditional Danse dei Chivau-Frus which was found in a folk music collection published by Vidal of Aix. In the suite and in the play the farandole forms a musical climax when combined with the March of the Kings.

Along with many other Americans who aspired to write classical music in the early 20th century, aaron Copland went to France to learn how to compose. He was trying to write modernist European music, but his teacher, Nadia Boulanger, taught him to listen to his own character and background. Though a native New Yorker (born in Brooklyn), he ended up composing lean, energetic music that expressed the wide open spaces of America. Appalachian Spring started life as a ballet which described wedding festivities in rural Pennsylvania sometime in the 1800s. If you think the music has a country fiddling sound to it; that would be pretty close to the mark. And puritanical virtues were in the back of Copland’s mind: the music has a thrifty quality. Copland even quoted the Shaker hymn ‘Simple Things’, popularising this tune which went on to become a secondary US anthem.

The American South has been the birthplace of most of the US’s indigenous musical traditions and it’s probably logical that a composer who was attracted to jazz would choose a Southern story to be the subject of his one and only opera. New Yorkers George Gershwin and his brother Ira based their 1935 opera Porgy and Bess on DuBose and Dorothy Heyward’s novel Porgy, set in Catfish Row in Charleston, South Carolina.

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Porgy and Bess tells the story of Porgy, a disabled black beggar who attempts to rescue Bess from her violent lover, Crown, and the devious drug-dealer Sportin’ Life. The Gershwin brothers lived in Charleston and on nearby Folly Island while composing the piece. This immersion probably explains the work’s uncannily accurate rendering of the American South, from the languid, bluesy melodies redolent of Southern heat to the Gullah dialect captured in the dialogue. Songs like ‘I got plenty o’ nuttin’’ and ‘Oh Lord, I’m on my way’ may sound like folk material but were actually original creations.

With leonard bernstein we feature the program’s third New York-based composer. West Side Story, like so many of Bernstein’s works, is all about New York City’s urban sizzle and energy. An updated Romeo and Juliet story set on New York’s West Side, West Side Story tells of the love between Tony, the son of Polish immigrants, and Maria, whose parents are Puerto-Rican, set against the rivalry of ethnic gangs. Bernstein brought his conductor’s knowledge of classical music to bear on modern musical styles such as ‘cool jazz’ and ‘cha-chas’. The ‘mambo’, which is played in the local gym where both gangs have ostensibly been invited to a friendly dance, is music of Central American origin invented during the 1930s by Cuban Arsenio Rodriguez and made popular by Pérez Prado. Perhaps it’s testament to

Bernstein’s thorough identification with his Hispanic material that this ‘mambo’ is one of the favourite encores of Venezuela’s Simón Bolívar Youth Orchestra, when conducted by Gustavo Dudamel.

tchaikovsky’s Fourth Symphony dates from the time of his meeting and sudden marriage to Antonina Milyukova in 1877. For the homosexual Tchaikovsky the ill-advised marriage unleashed a whirlwind of emotions which are reflected in works he wrote at the time. In particular, the strident brass fanfare which begins and ends Symphony No.4 could be thought to represent the demands of a harsh and unrelenting fate, which Tchaikovsky symbolically evades through the balletic exhilaration of the finale. Here too, Tchaikovsky’s use of a folk tune is significant. ‘The Birch Tree’ tells of a crowd gathering around a tree in springtime to break off branches to create wedding wreaths. They then throw their wreaths into a stream. Those whose wreaths float will marry, those whose don’t will not. Tchaikovsky was criticised by many contemporaries for not being sufficiently nationalist, but his use of a folk tune here not only pays tribute to his native Russia, but conjures something deeper than local colour.

Gordon Kalton Williams © 2014

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Nikolai Demidenko Piano

sat 25 oCt8.00PM

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Conductor Edvard Tchivzhel Piano Nikolai Demidenko

rachmaninov Symphony No.3 medtner Piano Concerto No.2

tchaikovsky 1812 Overture

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PROGRAM October 15

ProGram notes

sergei rachmaninov (1873-1943)

Symphony No.3 in A minor, Op.44

Lento – Allegro moderatoAdagio ma non troppo – Allegro vivace – AdagioAllegro

The Romantic melancholy, that is supposed to pervade Rachmaninov’s music, is not at all the overriding emotion of his Third Symphony. Rather this, his first symphonic essay since 1908, is rhythmically taut, melodically suave and, harmonically, relatively astringent.

Now 44 years old, Rachmaninov’s decision to settle in the West meant a flight from his homeland, the loss of his estates and Russian income, and a seismic career shift from composer/pianist/conductor to concert pianist. The massive effort involved in the creation of a new life for himself was not conducive to the creation of new music. As he told Nikolai Medtner, ‘How can I compose without melody?’

Yet in the 1925/26 concert season, Rachmaninov gave himself a sabbatical. Always insecure about his own music, he began work on his Fourth Piano Concerto

in secret. But this, and the Variations on a theme of Corelli five years later, failed to find an audience. He finally created a piece of great public and critical appeal in 1934, with his Rhapsody on a theme of Paganini, and, on a rare compositional ‘high’, began work on the Third Symphony in June 1935.

Rachmaninov was described by Stravinsky as a ‘very old’ composer. He was what might be called a progressive conservative. Had he repeated himself – created replicas of his old pre-revolutionary ‘hits’ such as the Second and Third Concertos – his American audiences would probably have been delighted. But he rethought his musical language in a manner that alienated both audiences and critics. The supple, gently pulsating melody which opens this symphony’s first movement, for example, is a case study of the subtleties in the work that puzzled its first audiences and annoyed critics.

The twin gods of contemporary music, Stravinsky and Schoenberg, had made the critical fraternity impatient with a composer who used a highly chromatic tonal idiom to convey emotional expression, no matter how subtly. The passage that leads to the next major melodic idea suggests that we are going to be treated to a full-blown Romantic ‘love theme’. But the gently lyrical, artfully shaped theme we hear confounds these expectations. The development section likewise, with the thematic fragments darting hither and thither with great rhythmic freedom, is hardly the Rachmaninov of old. Still, nobody was listening. London critic Richard Capell referred to Rachmaninov building palaces that nobody wanted to live in.

Of course Rachmaninov was not interested in being ‘up to date’, but the Third Symphony illustrates that he had his own internal impulses that made it impossible for him to stagnate.

16 PROGRAM October

ProGram notes

The first movement is constructed in a highly conventional sonata form. The innovations here lie in the newer, subtler quality of his harmonic ideas, a much greater freedom in his writing for the woodwind, brass and percussion instruments independently, and the interplay he creates between them.

The second movement is a different matter. Here Rachmaninov telescopes the idea of slow movement and scherzo together with great beauty and vividness. It might appear that he divides the movement neatly in half. But the lyrical music of the movement’s opening returns by way of a brilliant tremolo passage. There is tremendous passion here but scored with great clarity and precision.

In the finale, the succession of ideas is rapid and restless, now epically Romantic, now gently comic, now propulsive; rhythmic drive and orchestral virtuosity are Rachmaninov’s greatest interests here. You might leave this concert remembering how much swiftly-moving music this symphony contains relative to its length. Certainly, the final pages are a superb demonstration of how vital a composer Rachmaninov was in his 60s. It was his tragedy to be writing this piece at so unresponsive a historical moment – four years would pass before he could summon the courage to bring forth another major work, his Symphonic Dances.

Phillip Sametz © 2003

The Philadelphia Orchestra, under Leopold Stokowski, gave the first performance of Rachmaninov’s Symphony No.3, on 6 November 1936. The Queensland Symphony Orchestra first performed the work on 24-25 March 1995 under David Porcelijn.

nikolai medtner (1880-1951)

Piano Concerto No.2 in C minor, Op.50

Toccata: Allegro risolutoRomanza: Andante con motoDivertimento (Rondo): Allegro risoluto e molto vivace

nikolai demidenko, Piano

Of the same generation that included famous pianist-composers such as Rachmaninov and Scriabin, Nikolai Medtner never found the broad popularity of the former, nor did his music follow the modernist path of the latter. With distant German heritage, Medtner’s upbringing was notable for the intellectual pursuits shared among his siblings, an aspect that is also reflected in his compositions. Throughout his life, he remained constant to a conservative ideal, regarding melody as music’s irreplaceable core and fiercely indignant toward fashionable trends. Viewed, perhaps, as anachronistic (‘a whole one hundred years late’ he quipped of his birth), his stance led to derision among critics and historians, seemingly ignorant of the refinement of his art.

PROGRAM October 17

Like Rachmaninov, with whom he remained close, Medtner left Russia after the Revolution. Yet he was unable to match his compatriot’s prosperity, and for some time struggled to establish a permanent home as he travelled through Germany and France. In early 1925, a six-month tour of the United States renewed his optimism, the substantial concert fees enabling a period of undivided focus on composition back in Europe. The Piano Concerto No.2 in C minor was completed on 20 January 1927, and is the substantial achievement from this time. Medtner dedicated the new work to Rachmaninov, returning the favour for that composer’s recent dedication of his Fourth Concerto. Despite an intense dislike of the ruling Bolsheviks, Medtner eagerly accepted an offer to tour Russia in 1927, grateful for renewed contact with those who had remained behind, and appreciative of a public still engaged with his music. Before an audience that included many friends, the new concerto was received enthusiastically at its Moscow Conservatory premiere on 13 March.

The opening Toccata is the most substantial of the three movements, the arresting keyboard texture emblematic of the concerto’s virtuosic pianism, also offering a clue as to the movement’s title. Assertive declamations yield to a counter-melody of rich lyricism, which in turn leads to a jovial theme based on repeated notes. The recapitulation is given to the orchestra alone, counterbalancing a substantial cadenza of tremendous expressive scope.

The theme of the central Romanza is deceptive, commencing in a mood of tranquillity yet rising dramatically to an exuberant peak.

A lilting subsidiary theme offers contrast, before a darker, more agitated episode returns to the opening theme, scored sweetly for violins and delicately accompanied by the soloist. The closing bars hint at the tonic-dominant interplay of the Divertimento (Rondo), which follows without pause. Its cheerful principal theme features strong cross-rhythms, an element subsequently developed in the second subject area where a two-beat march ranges simultaneously over the three-beat lilt. Material from the opening movement is recalled in the central section, where Medtner also treats subsidiary themes contrapuntally, while the half-speed restatement of the movement’s central motif in the recapitulation hints at a link to the concerto’s opening notes. After a brief cadenza and sparkling coda, the music ends in jubilation.

Scott Davie © 2014

Medtner himself gave the first performance of his Piano Concerto No.2, in Moscow on 13 March 1927 at a concert conducted by the composer’s brother, Alexander Medtner. This is the first performance of the work by the Queensland Symphony Orchestra.

18 PROGRAM October

ProGram notes

The French army is represented by the Marseillaise, the French national anthem; the Russian army by an old Russian folksong melody. The main body of the overture suggests the conflict, and these tunes are skilfully intertwined and developed until strains of ‘God Save the Tsar!’ bring the work to a tremendous climax, in which realistic effects of cathedral bells and booming cannon often play a prominent part.

© Symphony Australia

Tchaikovsky’s 1812 Overture was first performed under conductor Ippolit Altani on 20 August 1882 during an all-Tchaikovsky concert as part of that year’s Arts and Industry Exhibition in Moscow. The Cathedral of Christ the Saviour remained incomplete and the consecration did not take place until the following year. The Queensland Symphony Orchestra first performed the work on 26 November 1948 under John Farnsworth Hall.

Peter ilyich tchaikovsky (1840-1893)

1812 – Festival Overture, Op.49

This overture was Tchaikovsky’s response to a request in 1880 for a festive work to celebrate the consecration of the new Cathedral of Christ the Saviour in Moscow, built to commemorate Russia’s defeat of Napoleon in 1812. The overture celebrates the events of that year: the invasion of Russia by Napoleon, his virtual defeat in the Battle of Borodino, and the retreat of the French army from Moscow. It opens with a solemn introduction based on the Orthodox liturgical chant ‘O Lord, Save Thy People’.

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Guy nobleHost

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 on stage accompanied by The Whitlams (Queensland Symphony Orchestra). Other recent performances include Opera in the Markets (Melbourne), a Christmas concert with the Hong Kong Philharmonic and supervising the orchestral music for the 2011 NRL Grand Final. He is a regular guest presenter on ABC Classic FM, writes a column for Limelight Magazine and lives in Sydney surrounded by a wife and two daughters.

bioGraPhies

Chamber Players

The Chamber Players series features intimate Sunday afternoon performances in the QSO’s South Bank Studio. 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.”

PROGRAM October 21

maestro edvard tchivzhelConductor

Internationally acclaimed conductor, Maestro Edvard Tchivzhel currently serves as Music Director and Conductor of the Greenville Symphony Orchestra (GSO), U.S.A.

"Maestro Tchivzhel is, simply put, a master... his music-making is indisputably commanding and communicative," wrote Yo-Yo Ma after performing with Tchivzhel and the GSO.

Born in Leningrad (now St. Petersburg, Russia), Edvard Tchivzhel graduated from the Leningrad Conservatoire with the highest distinction in the areas of piano and conducting, and completed three more years of postgraduate study at the Conservatoire’s Higher Academy of Music in the prestigious conducting classes of Arvid Jansons. While still a student, Tchivzhel scored a remarkable success by winning the Third Soviet Conductor’s Competition in Moscow. He worked as Assistant Conductor to the legendary conductor Yevgeni Mravinsky with the St. Petersburg Philharmonic Orchestra, where he became a permanent guest conductor. He has led the Moscow Philharmonic, the Moscow Radio Symphony Orchestra, Leningrad’s Kirov Theatre of Opera and Ballet, as well as many other orchestras throughout the former U.S.S.R.

In 1973, Tchivzhel became Music Director and Principal Conductor of the Karelian Symphony Orchestra of National Television and Radio, a position he held until 1991.

Tchivzhel’s career achieved international status with appearances in England, Germany, the Czech Republic, Poland, Romania, Scandinavia, and Australia. He served as Music Director of the Umeå Sinfonietta, Sweden, and performed with the symphony orchestras of Helsinborg, Malmö, Norrköpping and the Stockholm Philharmonic.

As associate conductor of the U.S.S.R. State Symphony Orchestra, Maestro Tchivzhel toured widely, scoring great success during a tour in Japan in 1990. In February 1991, Tchivzhel was enthusiastically received during a tour of the State Russian Symphony Orchestra in the United States. Following this tour, he defected to the U.S and was granted an American citizenship.

Since 1991, Maestro Tchivzhel began his regular appearances with orchestras of New Zealand, where he also served as the Musical Advisor and Principal conductor of The Auckland Philharmonic.

In America, Tchivzhel took his first position as the Music Director of the Atlantic Sinfonietta, NY, then for 15 years served as the Music Director of the Fort Wayne Philharmonic, Indiana. He was appointed the Music Director of the Greenville Symphony Orchestra, S.C. in 1999.

Tchivzhel continues extensive guest conducting appearances in America, Australia, Brazil, Mexico, Venezuela, Spain, Italy, China and Romania. Maestro made his debut with QSO in 2010 with return engagements in 2011, 2012, 2013. As well as his most recent engagement in 2014, and he has been invited back to Australia for an exciting collaboration with QSO in 2015.

22 PROGRAM October

iain hendersonTenor

Iain Henderson is currently studying a Bachelor of Music at the Queensland Conservatorium of Music (QCGU) under the tutelage of Margaret Schindler. He joined Opera Queensland in 2011 and has performed as a member of the Chorus in La Fanciulla del West, Macbeth, Carmen, St Matthew Passion and Otello. In 2013 Iain was the cover of the role of Roderigo in Otello.

Iain has been awarded numerous prizes including the 2011 Hugh and Blanche Campbell Prize from Griffith University, the 2013 Ronald Dowd Memorial Prize for Tenors at the Sydney Eisteddfod and is the winner of the 2014 Joyce Campbell-Lloyd Scholarship from University of Southern Queensland. Iain was also participant in the 2013 Lisa Gasteen National Opera School for which he received a scholarship to attend.

A regular performer in concerts throughout Brisbane, Iain has performed with Aria Productions, Vavachi Entertainment, St Lucia Orchestra and local artists Leslie Martin, Mia Yaniw , Roger Davy and Samuel Johnson.

Iain has performed with the Queensland Symphony Orchestra on several occasions with Opera Queensland, most notably in 2013 in Opera at Jimbour (Queensland Music Festival) and Opera on the Riverstage (Brisbane Festival).

dominique FeganSoprano

Dominique has performed in over 20 Opera Queensland productions in the chorus, as a soloist, an understudy (Mother in Hansel & Gretel, High Priestess in Aida) and in small roles (Butterfly’s Aunt in Madama Butterfly). She toured QLD and NSW in OQ’s education production of Hansel & Gretel, playing the roles of Mother and Witch in almost 100 performances. Dominique was also a soloist on the critically acclaimed ABC recording “Opera’s Greatest Choruses” with the Opera Queensland Chorus and the Queensland Symphony Orchestra.

Other Australian performances include – Maisie in The Boyfriend and Guenevere in Camelot (Lind Lane Theatre), Huguette in The Vagabond King, Phyllis in Iolanthe, Josephine in HMS Pinafore, Guenevere in Camelot, The Plaintiff in Trial by Jury, Anna Glavari in The Merry Widow (Savoyards).

Whilst in the UK, Dominique performed the operatic roles of Violetta in La Traviata, the title role in Tosca (both for Park Opera) and Musetta in La Bohème (Candlelight Opera). She also performed the roles of Adelaide Adams in Calamity Jane, Casilda in The Gondolier and The Lady Angela in Patience (Woodley Light Opera).

bioGraPhies

PROGRAM October 23

Dominique sang the role of Anina in the Brisbane Festival concert performance of La Traviata and in 2012 joined Opera Australia for the first time in their Brisbane season of The Magic Flute. In 2013, Dominique performed the role of Carlotta in the Queensland premiere production of The Phantom of the Opera with Savoyards.

Dominique appears regularly as the soprano soloist with Underground Opera, which produces concerts throughout the country in acoustic and visually spectacular underground venues such as the Jenolan Caves and the Capricorn Caves.

2014 sees Dominique make her debut with the Queensland Symphony Orchestra in a number of Music on Sundays concerts throughout the year.

24 PROGRAM October

His recital repertoire is wide-ranging, including Bach, Chopin, Clementi, Liszt, Mendelssohn, Mozart, Mussorgsky, Rachmaninov, Schubert and Scarlatti. Festival appearances include venues in Aldeburgh, Beijing, Dubrovnik, Eilat, Glasgow, New York, Oslo, Singapore and Warsaw.

Concerto engagements in recent and upcoming seasons include appearances with the Adelaide Symphony, Orquestra Simfònica de Barcelona i Nacional de Catalunya, NCPA Orchestra Beijing, Melbourne Symphony, Orchestre National de France, Orchestra of the Age of Enlightenment, Philharmonia, Queensland Symphony Orchestra, Singapore Symphony, Orquesta Nacional de España, St Petersburg Philharmonic, Sinfonieorchester St Gallen, Poznan Philharmonic, Yomiuri Nippon Symphony, Ulster and Hallé orchestras and London Mozart Players.

For Hyperion Records, Nikolai Demidenko has recorded albums of Bach–Busoni, Chopin, Clementi, Liszt, Medtner, Mussorgsky, Prokofiev, Rachmaninov, Schubert and Schumann and concertos by Chopin, Medtner (which won a Gramophone Award), Scriabin, Tchaikovsky and Weber as well as the complete Prokofiev Concertos with the London Philharmonic Orchestra conducted by Alexander Lazarev. For the Munich-based AGPL label, he has recorded Beethoven’s Hammerklavier Sonata, a collection of Scarlatti sonatas and a Chopin CD which won the Preis der deutschen Schallplattenkritik. Autumn 2008 saw the release of a new Chopin CD, including his first recording of the Twenty-four Preludes, for Onyx Classics. This CD won the MIDEM 2010 Special Chopin Award for a new recording.

nikolai demidenkoPianist

Nikolai Demidenko’s passionate pianism means that he is in demand worldwide.

Frequent London recitals have included the Great Performers series at the Barbican, the International Piano Series at Southbank Centre, and recently in the London Pianoforte Series at the Wigmore Hall – a Schubert recital performed to a great success and rave reviews in the national press.

He is renowned for his authoritative performances of the Russian concerto repertoire such as Prokofiev, Rachmaninov and Tchaikovsky and has worked with many conductors and orchestras throughout the world. He has a flourishing relationship with the St Petersburg Philharmonic and Yuri Temirkanov, with whom he performs regularly. He also enjoys a fruitful collaboration with several Russian artists who have made their homes in London; a cello and piano duo with Leonid Gorokhov; piano quartets with the exciting new Hermitage String Trio; and a two-piano partnership with Dmitri Alexeev, who likewise studied at the Moscow Conservatoire under Dmitri Bashkirov.

bioGraPhies

26 PROGRAM October

CONCERTMASTERWarwick AdeneyProf. Ian Frazer AC & Mrs Caroline FrazerDr Cathryn Mittelheuser AMJohn & Georgina Story

ASSOCIATE CONCERTMASTERAlan SmithArthur Waring

PRINCIPAL FIRST VIOLIN Glenn ChristensenMichael Kenny & David Gibson

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

Natalie Low Anonymous

Helen Travers Elinor & Tony Travers

SECTION PRINCIPAL VIOLAYoko AkayasuDr Ralph & Mrs Susan Cobcroft

VIOLACharlotte Burbrook de Vere Lisa Harris

Helen Poggioli Mrs Rene Nicolaides OAM & the late Dr Nicholas Nicolaides AM

Graham Simpson Alan Galwey

SECTION PRINCIPAL CELLODavid LaleArthur Waring

CELLOKathryn Close Dr David & Mrs Janet Ham

Andre Duthoit Anne Shipton

Matthew Kinmont Dr Julie Beeby

SECTION PRINCIPAL dOUBLE BASSJohn FardonDr Graham & Mrs Kate Row

dOUBLE BASSPaul O'BrienRoslyn Carter

SECTION PRINCIPAL FLUTEAlexis KennyDr Damien Thomson & Dr Glenise Berry

ASSOCIATE PRINCIPAL FLUTEHayley RadkeDesmond B Misso Esq

PRINCIPAL PICCOLOMichael HallitSophie Galaise

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 WilsonMrs 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

PROGRAM October 27

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 (1)

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 Iris DeanDr and Mrs W.R. Heaslop Gwenda HeginbothomMs Marie IsacksonJohn and Helen KeepDr Les and Ms Pam MaselPage and Marichu MaxsonNola McCullaghMrs Rene Nicolaides OAM and the late Dr Nicholas Nicolaides AMIan PatersonHeidi and Hans RademacherBruce and Sue ShepherdAnne ShiptonDr Damien Thomson and Dr Glenise BerryElinor and Tony TraversAnonymous (2)

sCherzo ($5,000 - $9,999)Trudy BennettDr John and Mrs Jan BlackfordDr John H. CaseyMrs Elva EmmersonSophie GalaiseAlan GalweyDr Edward C. Gray David and Janet HamDr Alison HollowayThe Helene Jones Charity TrustTony and Patricia KeaneMrs Pat KilloranKathy and Henry NowikIn memory of Mr and Mrs J.C. Overell Mr Jordan and Mrs Pat PearlMrs Gwen WarhurstProf. Hans and Mrs Frederika WestermanHelen ZappalaAnonymous (1)

rondo ($1,000 - $4,999)Dr Geoffrey and Mrs Elizabeth BarnesMrs Valma BirdBrett BoonIn loving memory of John Tummons Brown a loyal supporter of QSOProfessors Catherin Bull AM and Dennis Gibson AODr Betty Byrne-Henderson AMMrs Georgina ByromMarsha CadmanPeter and Tricia CallaghanMrs J. Cassidy Drew and Christine CastleyGreg and Jacinta ChalmersCherrill and David CharltonMr Ian and Mrs Penny CharltonJulie CrozierIn memory of John Czerwonka-LedezLaurie James DeaneDavid Devine, Metro Property Development Pty LtdRalph DohertyIn memory of Alison FlahertyIn memory of Muriel FletcherChris and Sue FreemanDr Bertram and Mrs Judith FrostC.M. and I.G. FurnivalMarilyn GeorgeMrs Patricia GibsonDr Joan E. Godfrey, OBEDr Edgar Gold AM and Dr Judith Gold CMIan and Ruth GoughDeirdre Greatorex (Hall), daughter of John Farnsworth Hall and member of the QSO.Lea and John GreenawayFred and Maria HansenYvonne HansenAshley HarrisLisa HarrisHavenwood Pty LtdMiss Barbara Hawken

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

donors

28 PROGRAM October

Ted and Frances HenzellPatrick and Enid HillProf. Ken HoJenny HodgsonSylvia HodgsonJohn HughesBrendon and Shelli HulcombeMiss Lynette Hunter Sandra Jeffries and Brian CookJohn and Wendy Jewell Ainslie JustMichael Kenny and David GibsonDr Ray and Mrs Beverley KerrDr Colin and Mrs Noela KratzingM. LeJeune Dr Frank LeschhornRachel LeungShirley LeuthnerGaelle LindreaLynne and Francoise LipProf. Andrew and Mrs Kate ListerMary Lyons and John FardonMr John MartinBelinda McKay and Cynthia Parrill Mrs Daphne McKinnonJennifer McVeighAnnalisa and Tony MeikleIn memory of Carol MillsB and D MooreBarry, Brenda, Thomas and Harry MooreMartin Moynihan AO QC and Marg O’Donnell AOHoward and Katherine MunroThe Murray FamilyJohn and Robyn MurrayRon and Marise NilssonMrs Leah PerryJason and Lois RedmanDr Phelim ReillyIn memory of Pat RichesDr Spencer RouthChris and Judith SchullJoy SleighBernard and Margaret SpilsburyMrs Anne Stevenson

Barb and Dan StylesMrs Helen TullyWilliam TurnbullRay and Penny WeekesMr Ian and Mrs Hannah WilkeyGillian WiltonJeanette WoodyattAnonymous (34)

Variations ($500 - $999)Mrs Penny AcklandJulieanne AlroeJill AtkinsonEmeritus Professor Cora V. BaldockDon BarrettDeidre BrownFay Buerger Bev Burgess and Des BuckM. BurkeAlison G. CameronHeather CastlesDr Alice CavanaghMr Robert ClelandMs Debra CunninghamIn memory of Cally Marna EvansJohn Evans Floranne and Garth Everson Mr John and Mrs Shirley FlorenceGraeme and Jan GeorgeHans GottliebMadeleine HarastyHarp Society of Queensland IncShirley HeeneyMiss Dulcie LittleThe Honourable Justice J.A. Logan, RFDSusan MabinJim and Maxine MacMillanMr and Mrs G.D. MoffettMr Peter and Mrs Julia Murray Trevor and Margaret Parkes Ms Gillian PauliTina PreviteraMr Goetz and Mrs Helga PuetterCharles and Brenda Pywell

Mr Dennis RhindRod and Joan RossMr Rolf and Mrs Christel SchaferLeslie SimkinPatience StevensMr Ron Stevens OAMKatherine TrentHR VentonTanya VianoJacqueline WalkerAnonymous (22)

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.

To learn more about our Philanthropic Programs 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

Thank you

28 PROGRAM October

donors continued

PROGRAM October 29

30 PROGRAM October

Queensland symPhony orChestra

Patron His Excellency the Honourable Paul de Jersey AC, Governor of Queensland

ChieF ConduCtor Johannes Fritzsch

ConCertmaster Warwick Adeney

assoCiate ConCertmaster Alan Smith

Cello David Lale~ Simon Cobcroft>> 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 Michael Hallit*

oboe Huw Jones~ Sarah Meagher>> Alexa Murray

Cor anGlais Vivienne Brooke*

Clarinet Irit Silver~ Brian Catchlove+ Kate Travers

bass Clarinet Nicholas Harmsen*

Violin 1 Glenn Christensen* Linda Carello Lynn Cole Margaret Connolly 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 Frances McLean Helen Travers Harold Wilson

Viola Yoko Okayasu~ Bernard Hoey+ Charlotte Burbrook de Vere Kirsten Hulin-Bobart Jann Keir-Haantera Helen Poggioli Graham Simpson Paula Stofman 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 Wilson~ Richard Madden>> John Gould 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 October 31

board oF direCtors

Greg Wanchap Chairman Tony Denholder Jenny Hodgson Tony Keane John Keep Jason Redman Karen Murphy Page Maxson Rod Pilbeam

manaGement

Sophie Galaise Chief Executive OfficerRos Atkinson Executive Assistant to CEO Alison Barclay Administration OfficerRichard Wenn Director – Artistic PlanningMichael Sterzinger Artistic CoordinatorFiona Lale Artist Liaison OfficerDale Truscott Chamber Music CoordinatorMatthew Farrell Director – Orchestra Management Nina Logan Orchestra ManagerHelen Davies Operations AssistantJudy Wood Orchestra Librarian/

WHS CoordinatorNadia Myers Assistant Librarian Peter Laughton Production ManagerVince Scuderi Production Assistant John Nolan Community Engagement

OfficerPam Lowry Education Liaison Officer Karen Soennichsen Director – Marketing Zoe White Marketing Officer, DigitalMiranda Cass Media Relations Assistant David Martin Director – Corporate

Development & Sales Katya Melendez Corporate Relationships

ManagerEmma Rule Ticketing Services Manager George Browning Sales 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 AccountantDonna Barlow Accounts Payable 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

trustees

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: Tony Smith

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 Ian Walker MP Minister for Science, Information Technology, Innovation and 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.

32 PROGRAM October

Co-Production partners

Service partners

Government partners

Corporate partners

Education and community partners

Media partners

Partners