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SEASON 2017 September - October

Alondra de la Parra | Music Director

PROGRAM

2

5

9

MUSIC ON SUNDAYS

GUY NOBLE’S EXCELLENT MUSICAL QUIZ

MAESTRO

QSO PLAYS THE ROMANTICS

MORNING MASTERWORKS & MAESTRO

QSO AND PIERS LANE - 40 YEARS

MUSIC ON SUNDAYS

CLASSIC SOUNDS OF THE SCREEN

BIOGRAPHIES

SUPPORTING YOUR ORCHESTRA

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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

Queensland Symphony Orchestra acknowledges the traditional custodians of Australia. We acknowledge the cultural diversity of Elders, both past

and present, and the significant contributions that Aboriginal peoples and Torres Strait Islander peoples have made to Queensland and Australia.

CONTENTSSeptember - October

1316

20

GUY NOBLE’S EXCELLENT

MUSICAL QUIZ

SUN 3 SEP 11.30AM

MUSIC ON SUNDAYS

Concert Hall, QPAC

2

Conductor Daniel Carter

Host Guy Noble

Media Partner

PROGRAM September - October 3

PROGRAM NOTES

Dmitri Shostakovich Suite No.1 for Variety Orchestra 8. Finale

Gioachino Rossini Overture to La Cenerentola (Cinderella)

Wolfgang Amadeus Mozart Symphony No.41 In C major, Zzk.551 (Jupiter)I. Allegro vivace

Nikolai Rimsky-Korsakov Flight of the Bumblebee from Tale of the Tsar Saltan (Skazka o Tsare Saltane)

Jules Massenet Navarraise from Le Cid

George Frideric Handel Suite No.2 In D major, HWV 349, from Water Music 12. Alla Hornpipe

Percy Grainger Blithe Bells

Joseph Haydn Symphony No.94 In G major (Surprise; Mit dem Paukenschlag) II. Andante

Antonín Dvořák Symphony No.9, op.95, E minor (From the New World) IV. Allegro con fuoco

La Cenerentola (Cinderella) is one of the best-loved of all stories, but Rossini’s opera will come as a surprise to those who love the fairy-tale tellings of it. It has no fairy godmother, no glass slipper, no pumpkin coach; instead, the story is treated in human rather than in magical terms, with a rational philosopher-tutor overseeing the transformation of the hearth-sweeping little ash-girl into a princess. Rossini reused

material wherever possible and the overture to La Cenerentola was originally written for an earlier opera, La gazzetta. The slow introduction with sudden contrasts of dynamics is followed by a ‘Rossini crescendo’ - a trademark of the composer, and the perfect ploy to capture the attention of a lively audience.

On the autograph of this, his last symphony, Mozart wrote only ‘Sinfonia’. The title ‘Jupiter’ probably originated in London, where it may have been coined by Haydn’s London sponsor, the violinist and entrepreneur Johann Peter Salomon. The title has a neoclassical ring, and the grand opening of this symphony conjures up images of stately architecture and godly nobility. But Mozart strikes a balance between serious and comic elements: the rich orchestral exposition of this first movement concludes with a quotation from a comic aria he had composed earlier in the same year, Un bacio di mano (A kiss on the hand).

Rimsky-Korsakov at first followed in his family’s tradition and embarked on a career as a naval officer, but gave it up to concentrate on composing and teaching. He was one of the group of composers known as The Five (or ‘Mighty Handful’) who shunned Western composing methods in favour of creating a national music that was distinctly Russian. His opera The Tale of Tsar Saltan is based on a fairy-tale by Pushkin in which the Tsar’s son turns into a bee and, in revenge for having been cast out of his kingdom, returns to his father’s court to sting his wicked aunts.

George I, who acceded to the British throne whilst Elector of Hanover, was never popular with his British subjects. Although he disliked pomp and ceremony, he considered the royal river pageant on the Thames, a tradition since Tudor times, a useful form of PR to increase his public profile. It was for such an occasion in 1717 that the Water Music was commissioned from George Frideric Handel, a fellow German who had previously served

4 PROGRAM September - October

PROGRAM NOTES

as the King’s Kapellmeister in Hanover and had begun making a name for himself in London as a composer of Italian opera. At 8pm on 17 July, the King and his entourage set off from Whitehall and sailed upstream to Chelsea, accompanied by a flotilla of boats, including a barge with 50 musicians. The Alla Hornpipe is the best-known of the Water Music movements, its antiphonal texture and the addition of trumpets lending a ceremonial air to proceedings.

Percy Grainger once said that Louis Pabst, his piano teacher in Melbourne in 1893, ‘was the first to reveal to me the glories of Bach’; and Bach’s music remained an inspiration to Grainger all his life. Blithe Bells, composed in 1931, is based on an aria from Bach’s Hunt Cantata, No.208. It rather takes over from where Bach left off. Grainger called these sorts of pieces ‘rambles’. As a touring pianist in the early years of the 20th century Grainger often played paraphrases, free adaptations of original works. But ‘rambles’ is more in keeping with his outdoors way of looking at things. Grainger made several orchestrations of Blithe Bells. The tuned percussion of the larger versions would have been a novelty in the 1930s but Grainger said, ‘In writing the melody in thirds that opens and closes the number, [Bach] may have aimed at giving a hint of the sound of sheep bells.’

In response to Haydn’s first, and phenomenally successful, London season in 1791, the rival Professional Concert organisation, in an attempt to regain lost ground, engaged Haydn’s former pupil Ignaz Pleyel for the 1792 season. Aware of London audiences’ taste for spectacular effects, and determined not to be outdone by Pleyel, Haydn introduced into the Andante of his new Symphony in G a sudden loud burst of sound after the pianissimo repeat of the opening phrase. Although an afterthought on the part of the composer, the ‘surprise’ caused enough of a stir to give the symphony its nickname.

Haydn later reused the simple folk melody on which the second-movement variations are based in the ‘Ploughman’s Song’ in his oratorio The Seasons.

When Dvořák arrived in New York in 1892 to take up his position as director of the National Conservatory of Music, his official welcome at Carnegie Hall spoke of ‘The New World of Columbus and the New World of Music’. A leading exponent of the Czech folk influences of his homeland expressed through the symphonic tradition, Dvořák responded to the sights and sounds of this ‘New World’, and explored the indigenous music of America, in particular the African-American spirituals and the music of the Native American Indians. It was against this backdrop that Dvořák composed his ninth – and final – symphony, although as music, it owes nothing to any specific borrowings and is entirely characteristic of its composer – the ‘simple Czech musician’, as he liked to style himself.

© Symphony Australia


QSO PLAYS THE ROMANTICS

SAT 23 SEP 7.30PM

MAESTRO

Concert Hall, QPAC

5

Conductor Darrell Ang

Viola Antoine Tamestit

Berlioz Harold in Italy

INTERVAL Tchaikovsky Manfred Symphony

Pre-concert talk at 6.30pm with Stephen Emmerson

Enjoy coffee, cake and cocktails

after tonight’s performance at

QPAC’s downstairs bar – open until late

Presented by Queensland Symphony Orchestra

in association with Brisbane Festival


Hector Berlioz (1803-1869) Harold in Italy – Symphony, Op.16

1. Harold in the Mountains: Scenes of Sadness, Happiness and Joy (Adagio – Allegro)

2. March of Pilgrims Chanting the Evening Prayer (Allegretto)

3. Serenade of an Abruzzi Mountaineer to his Mistress (Allegro assai – Allegretto)

4. Brigands’ Orgy: Memories of past scenes (Finale: Allegro frenetico)

The title of this piece conjures up the arch-Romantic Lord Byron, and the hero of his poem Childe Harold’s Pilgrimage. Also figuring in the story is the musician most fascinating to Romantics, a violin virtuoso so extraordinary that some thought he was in league with the devil: Paganini. Berlioz told of receiving the visit, in early 1834, of ‘a man with flowing hair, piercing eyes… haunted by genius’. This was Paganini, who had acquired a Stradivarius viola, and wanted a piece to show it off. When the news got out that Berlioz was writing something for Paganini, it was said to be ‘in the genre of the Fantastic Symphony’, which Paganini had heard shortly before.

With Paganini as soloist, box office success would be guaranteed, so in Berlioz’s story there was an element of wishful publicity. When it became clear that Paganini would not be playing the premiere, the excuse was given that on seeing the music he discovered there were far too many rests in his part. Berlioz had, as usual, done his own thing. One of the handful of repertoire pieces for

viola and orchestra, Harold in Italy is not a concerto, but, as Berlioz’s subtitle indicates, a ‘symphony with a principal viola [part]’. Berlioz explained: ‘I conceived the idea of writing a series of scenes for the orchestra, in which the viola should find itself involved, like a person more or less in action, always preserving its own individuality.’ The solo viola’s theme personifies the melancholy day-dreaming traveller, contemplating Italian scenes and dissolving into them as the soloist is absorbed by the orchestra.

The music has more to do with Berlioz’s biography than with Byron’s. As the holder of the Prix de Rome, Berlioz in 1833 from his Roman base explored the hinterland, especially the Abruzzi mountains. The melancholy opening of Harold in the Mountains, on cellos and basses, sets the stage for the ‘Harold’ theme, first heard from the orchestra, but soon identified with the solo viola, heralded by harp. Joyful scenes follow in the Allegro.

At the premiere, on 23 November 1834, the Pilgrims’ March was encored. The procession comes from the distance into the foreground then recedes. Two themes are heard simultaneously: the pilgrims’ hymn and the ‘Harold’ idea in long notes, eventually resolving into long arpeggios for the solo viola.

The beginning of the Serenade was inspired by the playing of the pifferari, strolling wind players who dwell in the Abruzzi mountains. The main theme is given out on cor anglais, and the solo viola puts Harold in the picture.

Berlioz called the Brigands’ Orgy finale ‘… furious, with drinking, destruction, killing and violation’. We hear themes from earlier movements before Harold, in the person of the solo viola, is put to horrified flight and is heard no more, except, just before the end, for one brief reminiscent comment on the pilgrims’ march, heard from offstage.

PROGRAM NOTES


Paganini would have been left, by and large, holding his viola without playing it while the orchestra let loose one of music’s most shattering climaxes. But Paganini never played Harold in Italy. When he heard it, four years after the premiere, he was moved to give Berlioz 20,000 francs, enabling him to compose Roméo et Juliette, which became the third of his unconventional symphonies.

Abridged from a note by David Garrett © 2014

Peter Ilyich Tchaikovsky (1840-1893) Manfred: Symphony in four scenes after Byron’s dramatic poem, Op.58 Lento lugubre Vivace con spirito Pastorale. Andante con moto Allegro con fuoco

Byron’s verse drama Manfred (1816) is a quintessential work of Romanticism. The lone and tortured hero lives in a Gothic castle, summoning spirits and yearning for death, bemoaning his sins but refusing repentance, ascending the Alpine peaks and travelling to the underworld. Byron’s sublime landscapes and supernatural events spoke to numerous artists, including composers such as Schumann and Balakirev. In Balakirev’s case, however, enthusiasm for Manfred led not to a work of his own, but, in 1882, to a rather imperious suggestion to Tchaikovsky that he compose such a work; Balakirev enclosed a detailed program, laying out the movements and the events they represent, along with what themes should be in what keys, and the general character and sound of the work. Tchaikovsky freely ignored much of that advice.

Consumed by grief and guilt, Manfred, like Faust, summons occult spirits; they are unable to grant him the gift of oblivion, but curse him: ‘Nor to slumber, nor to die, Shall be in thy destiny’. Manfred attempts to throw himself over a precipice but is saved by a chamois hunter, who looks after him in his simple hut and attempts to talk him out

PROGRAM NOTES

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of his self-destructive ways. Later, Manfred speaks to the Witch of the Alps and hints to her that his spiritual state is the result of being indirectly responsible for the death of his sister, Astarte, the only being he has ever loved. After an encounter with the Three Destinies and an appearance by the goddess Nemesis, he penetrates the hellish underworld. Manfred refuses to do obeisance to its king, Arimanes, but is granted a vision of Astarte, who merely tells him that ‘to-morrow ends thine earthly ills’. As Manfred’s death approaches, demons appear, summoning him to suffer for his sins, and an Abbot tries to persuade him to repent; Manfred defies the demons and the Abbot, and expires with the words ‘Old man! ‘tis not so difficult to die.’ We are left not knowing if Manfred’s soul has been saved or damned.

Tchaikovsky followed the broad outline of Balakirev’s program. The first movement begins with Manfred’s restless idée fixe, or theme, and depicts him wandering in the Alps, beset by memories of Astarte and wishing for oblivion. The second movement is a scherzo representing the Witch of the Alps, glittering in her waterfall. The Pastorale evokes the simple life of the chamois

hunters and other rustic figures; this too provides huge contrast with the vision of the kingdom of Arimanes, the brief vision of Astarte and the final death of Manfred. Tchaikovsky introduces the organ in a bright B major for what Balakirev called Manfred’s Requiem. His defiance of God, nature, demons and humans gives Manfred his heroic stature.

Tchaikovsky was deeply ambivalent about Manfred. On one hand, in 1886, he told his patron, Madame von Meck, that ‘I think that this is my best symphonic work’; two years later he wrote to an acquaintance, ‘It is an abominable piece, and I loathe it deeply, with the exception of the first movement.’ In fact, it is a fine example of his dramatic sense, large-scale structure and dazzlingly varied orchestration.

Abridged from a note by Gordon Kerry © 2013

PROGRAM NOTES

PROGRAM September - October 99 PROGRAM August

QSO AND PIERS LANE - 40 YEARS

SAT 14 OCT 7.30PM

FRI 13 OCT 11AM

MAESTRO

MORNING MASTERWORKS

Concert Hall, QPAC

9

Conductor Enrique Arturo Diemecke

Piano Piers Lane

Pre-concert talk at 6.30pm with Simon Perry

MORNING MASTERWORKSMoszkowski Piano Concerto No.1

Dvořák Symphony No.7

MAESTROTchaikovsky Francesca da Rimini

Moszkowski Piano Concerto No.1

INTERVALDvořák Symphony No.7

The Morning Masterworks series is supported by 4MBS Classic FM.

Peter Ilyich Tchaikovsky (1840-1893) Francesca da Rimini – Fantasia after Dante, Op.32

In his Commedia, Dante Alighieri’s powerfully imagined journey through Hell, Purgatory and finally Heaven, figures from myth, scripture and history take time out from their particular punishment (or bliss) to tell the poet their story.

In the Second Circle of Hell, the souls of the lustful are tossed around like a ‘flock of starlings’ in an unceasing gale. Francesca, a young bride, tells Dante how, when she and her crippled husband’s beautiful younger brother Paolo were reading the story of Lancelot and Guinevere one day, they were overwhelmed by the story and fell into each other’s arms. Her husband found them making love and as he tried to kill Paolo, Francesca interposed herself. Both were killed, and their punishment is that they should never be separated.

In 1876, Tchaikovsky considered composing a ‘Wagnerian’ opera on the Francesca and Paolo story, but decided instead to turn it into a symphonic poem. A baleful introduction represents the motto inscribed above the gates of hell (‘Abandon hope, all who enter here’) complemented by the cries of the damned. The infernal wind with its hysterical energy is graphically treated with a series of sequences and crescendos, rising and falling. A solo clarinet (perhaps the voice of Francesca) introduces the long central section. Here, Tchaikovsky said, she ‘tells her story’ in the symphonic

development of her lyrical and beautiful theme. As in Wagner’s Tristan, however, the erotic idyll is brutally shattered, and the music returns us to the unrelenting wind, demonic braying from the brass and crushing chords from the full orchestra

Gordon Kerry © 2014

Moritz Moszkowski (1854-1925) Piano Concerto in E major, Op.59 Moderato Andante Scherzo: Vivace Allegro deciso

Born in Breslau, Silesia (now Wrocław, Poland) Moszkowski studied as a young man in Dresden and Berlin and enjoyed a career as virtuoso pianist, composer and, in Berlin and Paris, teacher of musicians as varied as Wanda Landowska, Joaquín Turina and Thomas Beecham. His brilliance was soon recognised when in 1875, Liszt heard Moszkowski’s early Piano Concerto (the score of which has been lost); he praised it highly and performed it with the composer in a version for two pianos (also, unfortunately, lost); and none other than the great pianist Paderewski said that Moszkowski understood the piano better than any except Chopin. Indeed, from publication of his solo piano music, Moszkowski amassed a considerable fortune. At the height of his fame he could afford to be offhand in response to such criticism as Hans von Bülow’s opinion that only Bach, Beethoven and Brahms were

PROGRAM NOTES



of any value, while ‘tous les autres sont des crétins’ (all the others are cretins). Moszkowski’s punning riposte is famous: ‘Mendelssohn, Meyerbeer and your humble servant Moritz Moszkowski – tous les autres sont des chrétiens!’ (All the others are Christians.)

Moszkowski was a direct contemporary of Leoš Janáček but, unlike the Moravian composer, did not, sadly, experience a late flowering of his genius or resurgence in popularity. In 1880, he began experiencing health problems that curtailed his career as a virtuoso. By the early years of the 20th century, when his family life had ended in sad circumstances, he felt alienated from the new music of ‘artistic madmen’ like Schoenberg and his school, and even composers like Debussy and his younger colleagues in Paris, where Moszkowski had settled in 1897. He sold the lucrative copyright to his work and invested in bonds in Germany, Poland and Russia, so was ruined by the outbreak of World War I. A famous concert in New York was held for his benefit in 1921. Conducted by his student Walter Damrosch, it featured 14 pianists (including Percy Grainger) and netted $10,000, which only reached Moszkowski months before his death in 1925.

Moszkowski was able to give, at least, the British premiere of his E major Concerto in 1898, which is no mean feat given its extreme technical demands. The massive first movement offers a short orchestral introduction before launching the piano in an extended rumination that establishes the virtuosic nature of the writing. The moderato tempo unfolds gradually with well-upholstered Romantic melodies in the orchestra overlaid with piano passagework; a more active central section features wind solos and bright glissades from the piano.

The more introverted Andante provides a nice foil with its dialogue between piano

and gentle orchestral textures, including a Tchaikovskian passage of bell-like writing against pizzicato strings. A breakneck scherzo is introduced and dominated by the piano until the orchestra sounds an Italianate dance tune that gathers even greater energy and speed. The finale begins with a simple tune but, using ostinatos (repeated rhythmic figures) and sudden changes of texture and mood, Moszkowski creates a constantly compelling dramatic structure.

© Gordon Kerry 2017

Antonín Dvořák (1841-1904) Symphony No.7 in D minor, Op.70 Allegro maestoso Poco adagio Scherzo (Vivace) – Trio (Poco meno mosso) Finale (Allegro)

From out of the darkness of a deep tonic pedal, violas and cellos wind their way ominously towards the light, rising to a peremptory three-note tattoo, repeated, each time more insistently, till it ends without hope on a stabbing chord.

Thus, in a mere six bars, Dvořák sets the mood at the outset for the most powerful and serious of his nine symphonies. It cost the composer greater effort than any of his other symphonies. On one hand, he wished to impress the Philharmonic Society of London (which had commissioned it on his first visit to England in March 1884 and since elected him to honorary membership). On the other, he frankly sought to create a work

PROGRAM NOTES


which emulated the strength and beauty he had admired in the Third Symphony of his great friend and mentor Brahms on its premiere in 1883.

Dvořák wrestled besides with a spiritual struggle stemming from his failure to win recognition at home as a composer of Czech operas and from his acute artistic need, love of country notwithstanding, to win recognition and success internationally. In the defiant tone of the Seventh Symphony we sense the composer choosing determinedly to strike out on his own.

The grimness of Dvořák’s main first-movement subject is moderated by a gentle, conciliatory second subject introduced by flute and clarinet, but the movement ends in brooding resignation. To the slow movement Dvořák brings a prayer for serenity and consolation, in the course of which the pent-up anguish of all his doubts and uncertainties bursts forth. From the catharsis of anguish comes an elevated calm which lifts the heart and brings the movement to a tender conclusion. The scherzo has much of the character of a furiant, but, far from being a simple and sunny Czech dance, it soon becomes dour, its rhythms pounding aggressively. The dreamlike central trio evokes a pastoral

scene, with trilling birdsong and distant hunting horns.

The finale cries poignantly for help. Searching for direction, we gradually find ourselves swept up in the irresistible propulsion of a surging march. Cellos and decorative violins introduce a broad, warm-hearted second subject – the first sign of happiness in the symphony and also, as Dvořák biographer Šourek suggests, Dvořák’s first use of a melody with national colouring. All now sweeps forward to a solemnly exultant conclusion.

The composer personally conducted the first performance of his Seventh Symphony in St James’ Hall, London, on 22 April 1885. Public and critics gave it a mixed reaction, but this did not dampen his habitual self-confidence as he wrote home: ‘The symphony was immensely successful, and at the next performance will be a still greater success.’ The turning point seems to have been a pair of performances which Hans von Bülow conducted in Berlin in 1889: so ecstatic was Dvořák that he pasted a portrait of Bülow on the title page of the score above an inscription: ‘Slava! – Glory be to you! You brought this work to life!’

Adapted from a note © Anthony Cane

PROGRAM NOTES

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SUN 22 OCT 11.30AM

MUSIC ON SUNDAYS

CLASSIC SOUNDS OF THE SCREEN

Concert Hall, QPAC

Conductor/Host Guy Noble

Piano Alex Raineri

13

Media Partner


Miklós Rózsa (1907-1995)Ben-Hur: Parade of the Charioteers

John Williams (born 1932)Jaws: Shark Theme (Opening)

Sir Malcolm Arnold (1921-2006)The Bridge on the River Kwai Concert Suite: Prelude (The Camp) and Escape

Sergei Rachmaninov (1873-1943)Piano Concerto No.2 in C minor, Op.18: Adagio sostenuto

Eric Coates (1886-1957)The Dam Busters: March

Ennio Morricone (born 1928)The Mission: Gabriel’s Oboe

Dario Marianelli (born 1963)Pride & Prejudice: Prelude – Mrs Darcy

Nigel Westlake (born 1958)Babe: Concert Suite

Elmer Bernstein (1922-2004)The Magnificent Seven: Suite

Maurice Jarre (1924-2009)Doctor Zhivago: Lara’s Theme

John Barry (1933-2011)Out of Africa: Main Title

James Horner (1953-2015)Titanic: Suite

Since Saint-Säens wrote a score for L’Assassinat du duc de Guise (1908), movies have provided material for new classical repertoire. Budapest-born Miklós Rózsa was one of those European composers who created European Romantic scores for films in the Golden Years of Hollywood. His music for 1959’s sword-and-sandal epic Ben-Hur (three hours of music for a massive orchestra recorded during 12 recording sessions) superbly matched the widescreen imagery of director William Wyler, as for example in the ‘Parade of the Charioteers’.

Movie composers must often come up with music (or just sound) that creates the exact emotional pitch of a scene. Think of the menacing ostinato that warns of the shark in Jaws, or the screeching violins that place us in the murder-scene in Psycho. Both John Williams (who composed Jaws for Steven Spielberg) and Bernard Herrmann (who composed Psycho) are among the very greatest film composers. One very simple reason why? Their command of the symphony orchestra.

Sir Malcolm Arnold composed some of the most distinctive British music of the 20th-century concert hall. Like Beethoven, Arnold wrote nine symphonies, but he also won an Oscar for his stirring score for David Lean’s Bridge on the River Kwai (starring Alec Guinness), about prisoners of the Japanese during World War II building the Burma Railway.

Much Golden-Era Hollywood music sounds like Sergei Rachmaninov, but occasionally movies use Rachmaninov’s actual music. His Piano Concerto No.3 was a virtual plot device in the Australian film, Shine. Concerto No.2

PROGRAM NOTES


has been used in a number of films. Noel Coward suggested its use in David Lean’s Brief Encounter (1945), and it was played on the soundtrack by Australia’s Eileen Joyce.

The 1955 film The Dam Busters tells of the RAF’s 617 Squadron destroying German dams during World War II. Eric Coates didn’t want to write the score for the entire film but gave the producers a march he had recently written as basis for a complete score. What’s it like? Bear in mind that Elgar was a champion of Coates.

A pupil of serial composer Goffredo Petrassi, Ennio Morricone first became famous for ‘Spaghetti Westerns’ such as The Good, the Bad, and the Ugly (starring Clint Eastwood). The Mission tells of two Jesuits trying to defend their South American mission against Portuguese slavers and the Spanish authorities who would sell them out. It’s Father Gabriel’s (Jeremy Irons) playing of the oboe that originally endears him to the Guarani tribe.

Dario Marianelli’s first collaboration with director Joe Wright was Pride & Prejudice (2005), based on Jane Austen’s Regency-era novel of morals and manners. In an interview with Soundtrack.net, Marianelli says that he and Wright ended their first conversation talking about Beethoven piano sonatas, and that the spirit of Beethoven’s early sonatas became the starting point for Marianelli’s score.

Nigel Westlake started out as an instrumentalist before composing the music for what was to be one of Australia’s biggest hit films of the 1990s: Babe, about a little pig ‘who goes a long way’. The pop song, ‘If I Had Words’, quoting Saint-Saëns’ Organ Symphony, was already in the soundtrack, but Westlake took glorious advantage of it to enhance the storybook feel and, he said, Hoggett’s farm’s ‘noble morality’.

Many people credit concert hall composer Aaron Copland with establishing the American orchestral sound but most people know it from the film scores of his protégé, Elmer Bernstein. The angular, muscular themes that have come to be associated with the Wild West can be heard to good effect in the famous theme from 1960’s The Magnificent Seven.

Maurice Jarre worked with directors such as Hitchcock and Australia’s Peter Weir. In 1962, David Lean asked him to write the music for Lawrence of Arabia, and he went on to score three more David Lean epics, including Doctor Zhivago (set in the Russian revolutionary period). Jarre’s experimental background (he knew modernist composer Pierre Boulez) finds expression in some films. But ‘Lara’s Theme’ is one of moviedom’s most memorable melodies.

Though serving the plot, film composers can sometimes proclaim their individual artistic identities. John Barry’s distinct sound has a lot to do with orchestration he did himself. Listen to his use of French horns in Goldfinger or Thunderball. But there was something about Barry’s music that also made it eminently suitable for epics, like Out of Africa, where the horns are used, uncharacteristically, to create a relaxing mood.

An epic of a different era was James Cameron’s Titanic, the award-winning film of 1997. Its composer was James Horner, known for his integration of choral and electronic elements as well as frequent use of motifs associated with Celtic music. Horner died tragically when he crashed in Los Padres National Forest north of Los Angeles in a plane he was flying himself.

Gordon Kalton Williams © 2017

PROGRAM NOTES


BIOGRAPHIES

Daniel CarterConductor

A graduate of the Symphony Services International Core Conductors Program, Daniel Carter was a Developing Artist/Repetiteur with Richard Gill at Victorian Opera, where he conducted Elliott Carter’s What Next? (Australian Premiere) and Manuel de Falla’s El Retable de Maese Pedro, El Gato con Botas, Rush Hour, Calvin Bowman’s The Magic Pudding (Green Room Award nomination for Best Conductor), and Threepenny Opera at Sydney Theatre Company. He has also conducted Don Giovanni on tour for Opera Australia; Pierrot Lunaire with Merlyn Quaife at Melbourne Recital Centre; Sydney and Queensland Symphony Orchestras and Australian Youth Orchestra.

Whilst assistant to Simone Young and resident repetiteur at the Hamburgische Staatsoper, his performances included Die Zauberflöte, Il Barbiere di Siviglia on the main stage, and In the Locked Room (Watkins)/Persona (Langemann) for the Opera Studio.

Since 2015, Daniel Carter is First Kapellmeister at Theater Freiburg, Germany where he has conducted The Makropulos Case, Carmen, Orphee (Gluck), the world premieres of Crusades (Vollmer) and Kaspar Hauser (Thomalla), L’Elisir d’Amore, Cosi fan tutte, Cendrillon (Massenet), Mefistofele (Boito), I Gioielli della Madonna (Wolf-Ferrari), and Philharmonic Orchestral concerts, as well as Il Trovatore in Winterthur, Switzerland. In December 2016, Daniel Carter made his debut at Cologne Opera conducting a series of performances of La Bohème, followed by his debut with Münchener Kammerorchester, and Hansel and Gretel and a Symphony Concert in Trier.

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 Orchestra) appeared as Darth Vader (The Music of John Williams, Sydney Symphony Orchestra) and might be the only person to have ever sung the Ghostbusters theme live on stage accompanied by The Whitlams (Queensland Symphony Orchestra). Guy Noble is a regular guest presenter on ABC Classic FM, conducted La bohème throughout Queensland with Opera Queensland and Queensland Symphony Orchestra, hosts and accompanies Great Opera Hits (Opera Australia) writes a column for Limelight Magazine, presents the inflight classical channels on Qantas, Air China, China Airlines and Gulf Air, and is very pleased to be back as host of Music of Sundays.


BIOGRAPHIES

Darrell AngConductor

Darrell Ang's triumph at the 50th Besançon International Young Conductor's Competition, where he took all three top awards - Grand Prize, Audience Prize and Orchestra Prize - launched his international career, leading to the music directorship of Orchestre Symphonique de Bretagne (2012 to 2015) and numerous guest conducting engagements with top European and Asian orchestras.

Darrell Ang was also selected to join the prestigious International Conductors' Academy of the Allianz Cultural Foundation and invited to take on residencies with London Philharmonic Orchestra and Philharmonia Orchestra. Lorin Maazel and Esa-Pekka Salonen were his mentors, to whom he remains grateful for their invaluable advice and support. In his native Singapore, he became the youngest Associate Conductor of Singapore Symphony Orchestra - working closely with Music Director Lan Shui - and also served as Music Director of Singapore National Youth Orchestra.

On the Naxos label he is currently preparing several recording projects of works by French and Asian composers. His first disc - a recording of music by the Chinese composers Zhou Long and Chen Yi - was nominated for a Grammy in 2016, and in December of that year Darrell Ang was appointed the Artistic/Music Director of The Sichuan Orchestra of China. Most recently, Darrell Ang has caught the attention of Valery Gergiev, and was immediately invited by the Maestro to conduct several times at the Mariinsky Theatre in St. Petersburg as well as the Mariinsky Theatre Primorsky Stage in Vladivostok.

Darrell Ang's uncommon gift was discovered at the age of four when he began to play violin and piano, before following his musical dream to Vienna, and then to St. Petersburg - where he studied conducting under the tutelage of Leonid Korchmar in the grand tradition of the legendary Ilya Musin - and thereafter to Yale. Darrell Ang professes a particular passion for 20th century Russian music which, along with French and contemporary Asian repertoire, remains central to his artistic identity.

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BIOGRAPHIES

Antoine TamestitViola

Antoine Tamestit has achieved the rare distinction as a violist, playing at the highest level as a soloist and in constant demand as a chamber musician and recitalist. He is recognised for his peerless technique and his profound, natural musicianship, and known too for the beauty of his sound with its rich, deep, burnished quality.

In the 2017/18 season Tamestit is Artist-in-Residence with Frankfurt Radio Symphony Orchestra, Stavanger Symphony Orchestra, Wiener Konzerthaus and Konzerthaus Dortmund. Other engagements include a tour with Orchestre de Paris, concerts with Leipzig Gewandhaus Orchestra, Monteverdi Orchestra, Finnish Radio Symphony Orchestra and Seoul Philharmonic, plus a tour to Australia and New Zealand performing with Queensland, Tasmanian and New Zealand Symphony Orchestras.

Antoine Tamestit plays in the string trio with Frank Peter Zimmermann and Christian Poltera with whom he has recorded Mozart Divertimento and Beethoven Trio Op.9 for Bis Records. This season the Trio Zimmermann will perform in Madrid, Berlin, Paris and Dresden.

Antoine Tamestit records for Harmonia Mundi and in 2017 released Bel Canto: The Voice of the Viola with regular recital partner Cédric Tiberghien. Antoine Tamestit’s discography also includes Berlioz’s Harold en Italie, recorded with London Symphony Orchestra and Valery Gergiev for LSO Live. For Naïve he has recorded three of the Bach Cello Suites, Hindemith solo and concertante works with Frankfurt Radio Symphony Orchestra and Paavo Järvi.

Enrique Arturo DiemeckeConductor

The leading Mexican conductor of his generation, Enrique Arturo Diemecke enjoys an international recording, operatic, and concert career. He has led many of the world’s leading orchestras, among them National Symphony Orchestra in Washington, San Francisco Symphony, BBC Symphony, L’Orchestre National de France, Warsaw Philharmonic, Moscow Philharmonic, Saint Paul Chamber Orchestra, National Orchestra of Belgium, and Residentie Orchestra of The Hague, to name but a few. Former Music Director of Opera de Bellas Artes in Mexico City, he has led productions at the Teatro Colón in Buenos Aires, in Montpellier, Madrid, and the United States. For 20 years, he led National Orchestra of Mexico. He is currently Music Director of Buenos Aires Philharmonic and Flint Symphony Orchestra in Michigan. Maestro Diemecke is the newly appointed General Artistic Director of Teatro Colón in Buenos Aires, where he oversees all programming and productions of opera, concerts, and ballet. Maestro Diemecke’s numerous awards have included Latin Grammy Awards, Diapason, Mahler Prize, Grand Prix de l'Academie du Disque Lyrique., and an Bruno Walter Orpheus d’Or Prize.


BIOGRAPHIES

Piers LanePiano

London-based Australian pianist Piers Lane stands out as an engaging and highly versatile performer, at home equally in solo, chamber and concerto repertoire. In great demand as soloist and collaborative artist, Piers Lane’s concerto repertoire exceeds ninety works. Five times soloist at the BBC Proms in London’s Royal Albert Hall, recent highlights include a performance of Busoni’s mighty piano concerto at Carnegie Hall, premieres of Carl Vine’s second Piano Concerto, written for him, with Sydney Symphony and London Philharmonic, and several sold-out solo recitals at Wigmore Hall.

Piers Lane has a discography of over 50 CDs, recent recordings have included a solo recording, Piers Lane Goes to Town, concertos with Adelaide Symphony Orchestra and sonatas with violinist Tasmin Little.

Piers Lane is Artistic Director of Sydney International Piano Competition of Australia and enters his final year as Artistic Director of Australian Festival of Chamber Music in 2017. In the Queen’s Diamond Jubilee Honours, he was made an Officer in the Order of Australia for services to music.

Alex RaineriPiano

Twenty-four year old Australian pianist Alex Raineri, described by Limelight Magazine as "a soloist of superb skill and musicality” is currently based in Brisbane and is an active recitalist, concerto soloist and chamber musician.

International performances include tours of California, South East Asia, United Kingdom, New Zealand, Germany and Austria. Nationally, he frequently appears in a vast amount of recital and chamber music engagements including regular broadcasts on ABC Classic FM and the MBS networks. He has performed concertos with Queensland, Tasmanian, Darwin and West Australian Symphony Orchestras, Southern Cross Soloists, Orchestra Victoria, Four Winds Festival Orchestra, Bangalow Festival Orchestra and Queensland Pops Orchestra.

Alex Raineri has won a number of major competitions including the Kerikeri International Piano Competition and Australian National Piano Award. He is the pianist and Co-Artistic Director of the contemporary music ensemble Kupka’s Piano and is also the pianist with Southern Cross Soloists. Other chamber partnerships include Andreas Ottensamer, Sara Macliver, Natalie Clein, Greta Bradman, Kathryn Stott, Slava Grigoryan, Brett Dean, Opera Queensland and Expression Dance Company. Alex Raineri's mentors have included Leah Horwitz OAM, Timothy Young, Stephen Emmerson and Genevieve Lacey. He is currently undertaking a Doctor of Musical Arts program at the Queensland Conservatorium of Music (Griffith University) and is an alumni and fellow of Australian National Academy of Music (ANAM).


Queensland deserves a full strength orchestra of 88 full time musicians and with your support we can achieve that goal this year. Being a Chair Donor not only gives you a personal connection with our wonderful musicians, but it also means that we can fill several permanent positions now.

We look forward to hearing from you and invite you to feel part of the action!

• Section Principal Viola

• Section Principal Flute

• Principal 1st Violin

• Section Musician 1st Violin

• Section Musician 2nd Violin

• Section Musician Viola

BECOME A CHAIR DONOR AND SUPPORT OUR GREATEST ASSETS.

OUR MUSICIANS.

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Post to: QSO Philanthropy Reply Paid 9994, BRISBANE QLD 4001 (no stamp required)

Please donate today and help build your Orchestra for Queensland now, and for the future.

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Feel a part of the actionAlondra de la Parra | Music Director

For more information please contact Deanna Lane, Director-Developmenton 07 3833 5009 or [email protected] donate today and help build your Orchestra for Queensland now, and for the future.

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Post to: QSO Philanthropy Reply Paid 9994, BRISBANE QLD 4001 (no stamp required) OFFICE USE ONLY SEP / OCT C / R / N

CONCERTMASTERWarwick AdeneyProf Ian Frazer ACand Mrs Caroline FrazerEstate Barbara Jean HebdenCathryn Mittelheuser AMJohn Story AO and Georgina StoryASSOCIATE CONCERTMASTERAlan SmithArthur WaringFIRST VIOLINLinda CarelloMs Helen SotiriadisAnn HoltzapffelAitken Whyte LawyersRebecca SeymourDr John H. CaseyJoan ShihQueensland Symphony Orchestra Admin Team Brenda SullivanHeidi Rademacher and in memory of Hans RademacherAnonymousStephen TookeTony and Patricia KeaneBrynley White Graeme Rosewarne and Jim O'NeillSECTION PRINCIPAL SECOND VIOLINGail Aitken Dr John H. Casey Wayne Brennan Arthur WaringSECOND VIOLINJane BurroughsDr Graham and Mrs Kate RowDelia KinmontAnonymousNatalie LowDr Ralph and Mrs Susan CobcroftHelen TraversElinor and Tony TraversASSOCIATE PRINCIPAL VIOLAYoko OkayasuDr Damien Thomson and Dr Glenise BerryVIOLACharlotte Burbrook de VereDi JamesonBernard HoeyDesmond B. Misso EsqGraham SimpsonAlan GalweyNicholas TomkinAlan SymonsSECTION PRINCIPAL CELLODavid LaleArthur Waring

CELLOKathryn CloseDr Graham and Mrs Kate RowAndre DuthoitAnne ShiptonMatthew Jones M.J. Bellotti Matthew KinmontDr Julie BeebyKaja Skorka Robin SpencerAnonymous Craig Allister Young Di JamesonSECTION PRINCIPAL DOUBLE BASSPhoebe RussellDi JamesonASSOCIATE PRINCIPAL DOUBLE BASSDushan WalkowiczAmanda BolandDOUBLE BASSAnne BuchananDr Betty Byrne Henderson AMJustin BullockMichael Kenny and David GibsonPaul O'BrienRoslyn CarterKen PoggioliAnonymousASSOCIATE PRINCIPAL FLUTEHayley RadkeDesmond B. Misso EsqPRINCIPAL PICCOLOKate LawsonDr James R. ConnerSECTION PRINCIPAL OBOEHuw JonesProf Ian Gough AM and Dr Ruth GoughASSOCIATE PRINCIPAL OBOESarah MeagherSarah and Mark CombeOBOEAlexa MurrayDr Les and Ms Pam MaselSECTION PRINCIPAL CLARINETIrit SilverArthur WaringCLARINETKate TraversDr Julie BeebySECTION PRINCIPAL BASSOONNicole TaitIn memory of Margaret Mittelheuser AM

ASSOCIATE PRINCIPAL BASSOONDavid MitchellJohn and Helen KeepSECTION PRINCIPALFRENCH HORNMalcolm StewartArthur WaringASSOCIATE PRINCIPALFRENCH HORNPeter LuffShirley LeuthnerFRENCH HORNVivienne Collier-VickersMs Marie IsacksonLauren ManuelDr John H. CaseySECTION PRINCIPAL TRUMPETSarah ButlerMrs Andrea KriewaldtASSOCIATE PRINCIPAL TRUMPETRichard MaddenElinor and Tony TraversTRUMPETPaul RawsonBarry, Brenda, Thomasand Harry MooreSECTION PRINCIPAL TROMBONEJason RedmanFrances and Stephen Maitland OAM RFDASSOCIATE PRINCIPAL TROMBONEDale TruscottPeggy Allen HayesPRINCIPAL TUBAThomas AllelyArthur WaringPRINCIPAL HARPJill AtkinsonNoel and Geraldine WhittakerPRINCIPAL TIMPANITim CorkeronDr Philip Aitken and Dr Susan UrquhartPeggy Allen HayesSECTION PRINCIPALPERCUSSIONDavid MontgomeryDr Graham and Mrs Kate RowPERCUSSIONJosh DeMarchiDr Graham and Mrs Kate Row

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

CHAIR DONORS


ALLEGRO ($100,000 - $249,999)Estate Susan Mary BlakeAnonymous

CON BRIO ($50,000 - $99,999)Tim Fairfax ACTim Fairfax Family FoundationCathryn Mittelheuser AMIn memory of Mr and Mrs J.C. OverellThe Pidgeon FamilyDr Peter SherwoodTrevor and Judith St BakerFamily FoundationArthur Waring

INTERMEZZO ($20,000 - $49,999)Philip Bacon GalleriesDr John H. CaseyDi JamesonJellinbah GroupThe John Villiers TrustGreg and Jan Wanchap

GRAZIOSO ($10,000 - $19,999)Prof Ian Frazer AC andMrs Caroline FrazerFrances and Stephen MaitlandOAM RFDPage and Marichu MaxsonJustice Anthe PhilippidesDr Graham and Mrs Kate RowMrs Beverley June SmithJohn Story AO andGeorgina StoryAnonymous

VIVACE ($5,000 - $9,999)Dr Philip Aitken andDr Susan UrquhartDavid and Judith BealDr Julie BeebyM.J. BellottiKay BryanJoseph and Veronika ButtaDr James R. Conner Prof Ian Gough AM andDr Ruth GoughPeggy Allen HayesEstate Barbara Jean Hebden

John and Helen KeepMrs Andrea KriewaldtNoosa Federation of the ArtsHeidi Rademacher and in memory of Hans RademacherJohn B. Reid AO and Lynn Rainbow-ReidDr Damien Thomson and Dr Glenise BerryNoel and Geraldine Whittaker

PRESTO ($2,500 - $4,999)Prof Margaret BarrettDr Betty Byrne Henderson AMMrs Roslyn CarterMr Ralph and Mrs Susan CobcroftSarah and Mark CombeMrs Ruth CoxJustice Martin DaubneyMrs I.L. DeanAlan GalweyLea and John GreenawayDr and Mrs W.R. HeaslopTony and Patricia Keane Ms Marie IsacksonDr Les and Mrs Pam MaselDesmond B Misso Esq.Barry, Brenda, Thomas and Harry MooreDavid Pratt and Ramon NorrodAnne ShiptonAlan Symons and in memory ofBruce Short, Kevin Woodhouse and Graham WebsterSiganto Foundation Elinor and Tony TraversAnonymous (2)

STRETTO ($1,000 - $2,499)Julieanne AlroeDr Geoffrey Barnes and in memory of Mrs Elizabeth BarnesWilliam and Erica BattMrs Valma BirdAmanda Boland Professors Catherin Bull AM and Dennis Gibson AOConstantine CaridesElene CaridesGreg and Jacinta ChalmersIan and Penny CharltonRoger Cragg

Julie Crozier and Peter HopsonDr Catherine Doherty Mrs Elva EmmersonC.M. and I.G. FurnivalDr Edgar Gold AM, QC and Dr Judith Gold CMMr John and Mrs Lois Griffin M.J. HardingProf Ken Ho and Dr Tessa HoDeb HoulahanDavid Hwang/HD Property GroupAinslie Just Michael Kenny andDavid GibsonAndrew KopittkeDr Colin and Mrs Noela KratzingSabina Langenhan andDr Werner Andreas AlbertDr Frank LeschhornShirley LeuthnerLynne and Francoise LipProf Andrew and Mrs Kate ListerSusan MabinMr Greg and Mrs Jan MarshDr Andrew Masel Annalisa and Tony MeikleIn memory of Jolanta MetterPeter MillroyGuy MitchellB. and D. MooreHoward and Katherine MunroMarg O’Donnell AO and in memory of Martin Moynihan AO QCPhilip and Janice OostenbroekIan PatersonDr Graham and Mrs Liz PrattIn memory of Pat RichesG. and B. RobinsNeil W. RootMr Rolf and Mrs Christel Schafer Cath ScullyMs Helen SotiriadisRobin Spencer Prof Hans Westerman andin memory of Mrs FrederikaWestermanMargaret and Robert WilliamsRodney WylieHelen ZappalaAnonymous (19)

QUEENSLAND SYMPHONY ORCHESTRA IS PROUD TO ACKNOWLEDGE THE GENEROSITY AND SUPPORT OF OUR VALUED DONORS.

ANNUAL GIVINGRecognising music lovers who have supported your Orchestra over the last 12 months. Thank you.

OUR DONORS


LIFETIME GIVINGRecognising those visionary donors whose regular, lifetime giving exceeds $10,000. Thank you.

JOHN FARNSWORTH HALL BEQUEST SOCIETYNamed in honour of the first Chief Conductor of QSO (1947-1954), recognising those who have made a provision in their Will for the Orchestra.

TUTTI ($500 - $999)Jill AtkinsonEmeritus ProfessorCora V. BaldockJean Byrnes Carol CarmudieMrs J.A. CassidyDrew and Christine CastleyRobert ClelandDr Beverley Czerwonka-LedezTerry and Jane DaubneyDr C. Davison

Laurie James DeaneGarth and Floranne EversonD. J. GardinerDr Alison HollowayPeter and Catherine HudsonSandra Jeffries and Brian CookM. LejeuneRachel LeungG.D. MoffettDr Tom MooreJohn and Robyn MurrayRon and Marise Nilsson

Dr Phelim ReillyJoan RossAndrew Simmons Dr Margaret SorokaAlison StanfordBarb and Dan StylesKatherine Trent and Paul ReedMrs H. TullyTanya VianoI. S. and H. WilkeyAnonymous (19)

PLATINUM ($500,000+)Tim Fairfax ACTim Fairfax Family Foundation

DIAMOND ($250,000 – $499,000)The Pidgeon FamilyDr Peter SherwoodTrevor and Judith St BakerFamily FoundationArthur Waring

PATRON ($100,000 – $249,000)Philip Bacon GalleriesEstate Susan Mary BlakeProf Ian Frazer AC andMrs Caroline FrazerEstate Barbara Jean HebdenJellinbah GroupCathryn Mittelheuser AMJohn B. Reid and Lynn Rainbow-ReidMrs Beverley June SmithJohn Story AO andGeorgina StoryGreg and Jan WanchapNoel and Geraldine WhittakerAnonymous

MAESTRO ($50,000 – $99,999)Di JamesonMrs Andrea Kriewaldt Frances and Stephen Maitland OAM RFDPage and Marichu MaxsonIn memory of Mr and Mrs J.C. Overell Justice Anthe PhilippidesDr Graham and Mrs Kate RowThe John Villiers Trust

SYMPHONY ($20,000 – $49,999)Dr Philip Aitken andDr Susan UrquhartDavid and Judith BealDr Julie BeebyMrs Roslyn CarterDr John H. CaseyDr Ralph and Mrs Susan CobcroftPeggy Allen HayesMs Marie IsacksonDesmond B. Misso Esq.In memory of Margaret Mittelheuser AMHeidi Rademacher and in memory of Hans Rademacher

Dr Damien Thomson and Dr Glenise BerryElinor and Tony TraversRodney WylieAnonymous (2)

CONCERTO ($10,000 – $19,999)Mrs I. L. DeanTony Denholder andScott GibsonMrs Elva EmmersonSophie GalaiseAlan GalweyProf Ian Gough AM andDr Ruth GoughDr and Mrs W.R. HeaslopGwenda HeginbothomTony and Patricia KeaneJohn and Helen KeepMichael Kenny and David GibsonM. LejeuneDr Les and Mrs Pam MaselIan PatersonAnne ShiptonAnonymous

Roberta Bourne Henry Anonymous (11)

For enquiries on how to leave a gift in your will, please contact the Development team on (07) 3833 5009.

Instruments on loanQSO thanks the National Instrument Bank and The NFA Anthony Camden Fund for their generous loan of fine instruments.

Thank youPlease contact QSO Development on (07) 3833 5017, or you can donate online at qso.com.au/donate-now. All donations over $2 are tax deductible ABN 97 094 916 444For a full list of our donors visit qso.com.au/giving/our-donors



QUEENSLAND SYMPHONY ORCHESTRA

QSO's Music Director is proudly supported by Tim Fairfax AC. The Artist-in-Residence program is supported by the Trevor and Judith St Baker Family Foundation and The University of Queensland.QSO's Assistant Conductor is supported by Queensland Conservatorium - Griffith University.

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

MUSIC DIRECTOR Alondra de la Parra

ARTIST-IN-RESIDENCE Maxim Vengerov

ASSISTANT CONDUCTOR Gordon Hamilton

CONDUCTOR LAUREATE Johannes Fritzsch

CONDUCTOR EMERITUS Werner Andreas Albert

CONCERTMASTER Warwick Adeney

ASSOCIATE CONCERTMASTER Alan Smith

DOUBLE BASSPhoebe Russell ~Dushan Walkowicz >>Anne BuchananJustin BullockPaul O’BrienKen Poggioli

FLUTEHayley Radke =

PICCOLOKate Lawson *

OBOEHuw Jones~Sarah Meagher >>Alexa Murray

COR ANGLAISVivienne Brooke *

CLARINETIrit Silver ~Brian Catchlove +Kate Travers

BASS CLARINETNicholas Harmsen *

BASSOONNicole Tait ~David Mitchell >>Evan Lewis

CONTRABASSOONClaire Ramuscak *

FRENCH HORNMalcolm Stewart ~Peter Luff >>Ian O’Brien *Vivienne Collier-VickersLauren Manuel

VIOLIN 1Linda CarelloLynn ColePriscilla HockingAnn HoltzapffelRebecca SeymourJoan ShihBrenda SullivanStephen TookeBrynley White

VIOLIN 2Gail Aitken ~Wayne Brennan ~Jane BurroughsFaina DobrenkoSimon DobrenkoDelia KinmontNatalie LowTim MarchmontHelen TraversHarold Wilson

VIOLABernard Hoey =Yoko Okayasu >>Cédric DavidKirsten Hulin-BobartJann Keir-HaanteraGraham SimpsonNicholas Tomkin

CELLODavid Lale ~Kathryn CloseAndre DuthoitMatthew JonesMatthew KinmontKaja SkorkaCraig Allister Young

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

* Principal

^ Acting Principal

TRUMPETSarah Butler ~Richard Madden >>Paul Rawson

TROMBONEJason Redman ~Dale Truscott >>

BASS TROMBONETom Coyle *

TUBAThomas Allely *

HARPJill Atkinson *

TIMPANITim Corkeron *

PERCUSSIONDavid Montgomery ~Josh DeMarchi >>


BOARD OF DIRECTORS

Greg Wanchap ChairmanRod Pilbeam Deputy ChairmanMargaret BarrettMary Jane BellottiTony DenholderTony KeaneJohn KeepCat Matson

MANAGEMENT

David Pratt Chief ExecutiveRos Atkinson Executive Assistant to CEDeb Houlahan Chief Financial OfficerAmy Herbohn Senior Financial AccountantBarbara Harding General Finance CoordinatorMichael Sterzinger Artistic Administration ManagerMurray Walker Assistant Librarian and Artistic AdministratorFiona Lale Artist LiaisonMatthew Farrell Director - Community Engagement and Commercial ProjectsNina Logan Orchestra ManagerNadia Myers Orchestra LibrarianPeter Laughton Operations and Projects ManagerVince Scuderi Production CoordinatorJudy Wood Community Engagement Manager/WHS CoordinatorPam Lowry Education Liaison OfficerMatthew Hodge Director - Sales and Marketing Rachel Churchland Marketing CoordinatorMichael Hyde Senior Sales ManagerEmma Rule Ticketing Services ManagerEric Yates Ticketing Services CoordinatorMike Ruston Ticketing Services CoordinatorYasemin Boz Senior Sales ConsultantDeanna Lane Director - DevelopmentJenny Roberts Senior Development Coordinator Katya Melendez Manager - Development (maternity leave)Robert Miller Director - Human Resources

QUEENSLAND PERFORMING ARTS CENTRE PO Box 3567, South Bank, Queensland 4101 T (07) 3840 7444 W qpac.com.au

CHAIRChristopher Freeman AM

DEPUTY CHAIRSimon Gallaher

TRUST MEMBERSKylie Blucher Professor Peter Coaldrake AO Leanne de Souza Sophie Mitchell Professor Chris Sarra

EXECUTIVE STAFFChief Executive: John Kotzas Executive Director – Curatorial: Ross Cunningham Executive Director – Visitation: Roxanne Hopkins Executive Director – Development: Megan Kair Executive Director – Business Performance: Kieron Roost Executive Director – Stakeholder Engagement Strategy: Jackie Branch

ACKNOWLEDGEMENTThe Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland GovernmentThe Honourable Annastacia Palaszczuk MP, Premier and Minister for the Arts Director-General, Department of the Premier and Cabinet: David StewartPatrons 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.


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PARTNERS

Government partners

Major partners

Gold partners

Principal partner

Premier partners 2018 Season Creative Partner

Industry collaborators

Artist gifts proudly supplied by Sirromet and French Flowers.

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

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

QSO Box Office (07) 3833 5044

FOR YOUR INFORMATION

CONCERT HALL ETIQUETTETo ensure an enjoyable concert experience for all, please remember to turn off your mobile phone and other electronic devices. Please muffle coughs or excuse yourself from the auditorium. Thank you.

PROGRAMS ONLINEA free copy of the program is available for download at qso.com.au at the beginning of each performance month. There is also extensive information on planning your journey and what to expect at QSO events under Your Visit at qso.com.au.

HAVE YOUR SAYWe value your feedback about this concert and your experience. Email qso.com.au or visit the Contact Us section of qso.com.au. Please use #QSOrchestra on social media to share your QSO experience with us.

QSO ON THE RADIO AND TELEVISIONSelected QSO performances are recorded for future broadcast. For further details visit abc.net.au/classic, 4mbs.com.au and foxtelarts.com.au

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