PROGRAM | CATHEDRAL OF SOUND I

10 & 11 MAY 2019CONCERT HALL, QPAC

E P I C M U S I C A L S O U N D S C A P E S

OF SOUNDCATHEDRAL

1II PROGRAM | CATHEDRAL OF SOUND

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CONTENTS

SUPPORTING YOUR ORCHESTRA

MUSICIANS AND MANAGEMENT

ARTIST BIOGRAPHIES

IF YOU'RE NEW TO THE ORCHESTRA

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1WELCOME

GLOSSARY OF TERMS

Queensland Symphony Orchestra acknowledges the traditional custodians of Australia. We acknowledge the cultural diversity of Elders, both past and recent, and the significant contributions that Aboriginal peoples and Torres Strait Islander peoples have made to Queensland and Australia.

To ensure an enjoyable concert experience for everyone, please remember to turn off your mobile phones and all other electronic devices. Please muffle coughs and refrain from talking during the performance.

3LISTENING GUIDE

© Peter Wallis

IN THIS CONCERT

Conductor Johannes Fritzsch Piano Piers LaneThis concert will be broadcast live on ABC Classic.

PROGRAM

WELCOME

Dear Audience Member,

Orchestras and composers are often obsessed with the search for perfection. I believe you will hear that in today’s concert. It features the music of only two composers. At first listen, their music might sound completely different – but the common thread running through each is that in these pieces, they created sound worlds of perfection.

The magic of live orchestral concerts is that even though the music performed might have been penned down a couple of centuries ago, when we pick up our instruments, we re-create that sound world that was first envisaged in the composer’s head so long ago.

In the case of the Mozart, it is a world of exquisite classical melodies, a lovely balance between all the instruments of the orchestra, and, of course, the sparkling virtuosity of the solo pianist. Tonight we are delighted to be joined by a local favourite of Orchestra and audience alike, the formidably talented Piers Lane.

In the second half, we move to a different kind of beauty – the ‘cathedral of sound’ (as we have so aptly named this concert) of Bruckner’s Symphony No.7. A genius orchestrator and a devout Catholic, Bruckner created a unique orchestral style of his own, where intimacy and vastness sit side by side in a place of spiritual majesty.

We invite you to take a breath and immerse yourself in these two unique soundworlds.

Jason Redman Section Principal Trombone

Mozart Piano Concerto No.23 in A, K.488 Bruckner Symphony No.7*

FRI 10 MAY 11AM Approx. duration 80 mins (no interval) *Second mvt of Bruckner not featured

SAT 11 MAY 7.30PM Approx. duration 120 mins (including an interval of 20 mins after the Mozart)

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Orchestras sit in sections based on types of instruments. There are four main sections in the symphony orchestra: Strings, Woodwinds, Brass, Percussion, and sometimes a Keyboard section.

STRINGSThese instruments produce sound by bowing or plucking stretched strings.

First and Second ViolinsViolaCelloDouble Bass

WOODWINDWind instruments produce sound by being blown into.

Flute / PiccoloOboe / Cor AnglaisClarinet / Bass ClarinetBassoon / Contrabassoon

BRASSBrass players create sound by vibrating their lips. When this vibration is pushed through large brass tubes, can create significant noise.

French Horn/Wagner TubaTrumpet TromboneTuba

PERCUSSIONThese instruments create sound by being struck. Some instruments just make a sound; others play particular notes.

Timpani, Cymbals, Triangle

IF YOU'RE NEW TO THE ORCHESTRA

WHO SITS WHERE

KEYBOARDKeyboard instruments are played by pressing keys.

Piano

The following terms appear in bold the first time they appear in the listening guide.

Key the group of pitches, known as a scale, that forms the basis of a music composition.

Symphony a large or extended musical composition, most commonly written for symphony orchestra and containing around three or more movements.

Concerto an orchestral work which features a solo instrumentalist.

Movement a self-contained section of a musical work.

Allegro a musical direction meaning ‘lively and fast’.

Theme a subject, usually melodic, of a work.

Cadenza an ornamental passage, either improvised or written out, usually played by a soloist or group of soloists, often displaying virtuosity.

Adagio a musical direction meaning ‘slow’.

Siciliana rhythm a dance-like rhythm, inspired by Sicilian folk dance.

Chromatic chromatic notes are notes that do not belong to the scale of the key which the music is written in, and can be used to create colour.

Dissonances notes which clash or cause tension.

Register the range of an instrument or voice.

Orchestration the arrangement of music for orchestral performance.

Octaves the interval between two musical pitches which are the same note melodically but in a different register.

Wagner tuba a brass instrument not commonly used today, originally created for Richard Wagner’s operatic series The Ring Cycle. It combines elements of the French horn and the trombone.

Motif a short, recurring musical idea, the basic building block of a piece of music.

Coda meaning ‘tail’ in Italian, a coda is a section heard at the end of a movement or work that is typically based on an elaboration or extension of previous thematic material.

Scherzo meaning to joke or jest in Italian, a scherzo is a short composition or sometimes a movement in a larger work such as a symphony (most commonly the third movement) which contains a contrasting section. It is usually fast-paced and playful and sometimes contains elements of surprise.

Perfect fifth a type of interval which spans five whole steps in a scale.

Trio the middle section of a dance movement.

GLOSSARY OF TERMS

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LISTENING GUIDE

Wolfgang Amadeus Mozart (1756-1791)Piano Concerto No.23 in A, K.488 I. Allegro II. Adagio III. Allegro assaiThe key of A major is a wonderful thing in Mozart’s music. It is the key of the joyous, coming-of-age Symphony K.201, the wise and transcendent Clarinet Concerto K.622, and the key of this concerto, one of Mozart’s most alluring creations.

If we were to apply the words ‘pleasing’ and ‘agreeable’ to the first movement, Allegro, it would not be to suggest that the music is featureless and bland, but to highlight the skilful way in which the concerto captures the sound ideal of late 18th-century music. It opens with a melody in the ‘singing style’; that is to say, a gently flowing theme that, although played on instruments, is eminently singable. Mozart was without peer when it came to fashioning themes of this kind: pithy and melodious, varied yet beautifully balanced. For all of these reasons, it is memorable (which is just as well, given that it is the principal theme!).

To really hammer the melody home, Mozart offers it twice at the beginning – strings alone in the first instance, winds in the second – and then delivers it a third time, albeit in slightly embellished form, when the piano soloist enters. This is a marvellous example of Mozart taking the listener by the hand and guiding them through the music. Listen up, he seems to be saying, this is the building block at the centre of our work. Other themes are heard in the first few minutes – the opening movement presents at least five clearly differentiated themes – all of which are kept in play as the movement unfolds. As for the piano writing, it is glittering and dextrous with feather-light runs up and down the keyboard in the transition passages. In a departure from convention, Mozart wrote out the first-movement cadenza in full rather than have the performer improvise it on the spot.

The second movement, Adagio, ushers us into a sombre realm. The opening piano theme, one of Mozart’s most soulful, is in siciliana rhythm and conjures up a sorrowful mood with chromatic inflections, accented dissonances and shifts in register. The orchestra answers the opening melody with a poignant theme of its own.

Mozart’s tasteful and discreet orchestration is exemplary, particularly his colouristic use of woodwind instruments. This concerto, which dates from 1786, was written towards the end of Mozart’s most concentrated period of composing piano concertos and, as in the majority of his other so-called ‘Vienna piano concertos’, he liberates the winds from a background role, highlighting the entire section and individual instruments. Unusually, there are no oboes in this concerto. Instead, Mozart includes two clarinets, the wind instrument he prized above all others.

After the introspective middle movement, the finale, which is back in the key of A major, is unabashedly exuberant. Mozart juggles an astonishing variety of themes reminding us that, at a fundamental level, a concerto aims to dazzle and delight.

Robert Gibson © 2017

© Peter Wallis

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LISTENING GUIDE

Anton Bruckner (1824-1896)Symphony No.7 in E I. Allegro moderato II. Adagio: Sehr feierlich und sehr langsam* III. Scherzo: Sehr schnell IV. Finale: Bewegt, doch nicht schnell

*Not featured in Friday morning concert.

At the age of 60, the diffident, pious Anton Bruckner suddenly achieved international fame as a composer with the Seventh Symphony. Bruckner had moved to the imperial capital in 1868 to take up a position at the Vienna Conservatory, and travelled as far afield as Paris and London as one of the greatest organists of the age. But until the mid-1880s, his own music had failed to find a foothold in Vienna’s musical life – partly the result of Bruckner’s idolisation of Wagner, which was anathema in a city where Brahms presided as the resident Great Composer, aided by powerful critics like Eduard Hanslick.

Back in 1873 Bruckner had approached Wagner for permission to dedicate his Third Symphony to the ‘Master of all masters’. While working on the Seventh Symphony, Bruckner later remarked, ‘One day I came home and felt very sad. It occurred to me that the Master would soon die, and at that moment the C sharp minor theme of the Adagio came to me.’ And, indeed, during the composition of the slow movement, Bruckner heard the news of Wagner’s death, incorporating his grief into the final pages of the movement. But the piece as a whole was conceived before Bruckner’s premonition.

The melody with which the first movement begins is a long and very beautiful tune that outlines the key of E major over two octaves, before moving through seemingly distant keys; a ‘false’ close gives way to yet more varied phrases and hints of further tonal exploration before returning to E major for a fuller restatement of the melody itself. The movement displays Bruckner’s habitual use of three contrasting groups of themes, the second of which is what he liked to call a ‘song-period’, and out of these he spins a lengthy series of contrasting musical worlds, using key-relationships for maximum dramatic effect.

The key of C sharp minor, closely related to the work’s ‘home key’ of E major, is avoided throughout the first movement so that its appearance in the second is more emphatic. In this, the premonitory elegy for Wagner, Bruckner introduces four Wagner tubas. As in the slow movement of Beethoven’s Ninth Symphony, ‘very slow and very solemn’ material is contrasted with a theme in a different mood, speed and key. Bruckner was working on the climax of the movement – a majestic passage in C major – when he heard of Wagner’s death. He quotes a motif from his Te Deum (associated with the words ‘Non confundar in aeternum’ – let me never be put to shame) but it is in the coda which follows with its almost Wagnerian horn calls that Bruckner farewells the Master.

After the catharsis of the Adagio, Bruckner produces one of his most delightfully energetic scherzos. Again, the movement’s key – A minor – has been avoided so far. The octave and perfect fifth which constitute the theme of this section are the most stable intervals in tonal music, but Bruckner effortlessly plays this stability off against a series of unexpected excursions into different keys, and it proves an amusing contrast to the central Trio section.

The Finale is constructed out of four sections: the first is in E major, and deliberately recalls the first movement in its use of the stable intervals of the common chord; the second and third sections are, respectively, in keys a third above and below E; finally the fourth section, using material based on the first, charts the journey from the key of A back to the home key.

The Seventh’s premiere was in the Leipzig Gewandhaus under Arthur Nikisch in 1884 and the applause lasted for 15 minutes. Wagner conductor Hermann Levi declared it ‘the most significant symphonic work since 1827’. Soon it had been heard throughout Germany as well as in New York, Chicago, Amsterdam, Budapest and London. When it finally was played in Vienna in 1886, Hanslick, predictably, wrote it off as ‘unnatural, blown up, unwholesome, and ruinous’ and his colleague Kalbeck memorably wrote, ‘It comes from the Nibelungen and goes to the devil!’ Actually, it is music about going to heaven, or, as British composer Robert Simpson puts it, ‘a patient search for pacification’.

Adapted from a note by Gordon Kerry © 2002

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ARTIST BIOGRAPHIES

Johannes FritzschConductorMaestro Johannes Fritzsch recently held the position of Chief Conductor of the Grazer Oper and Grazer Philharmonisches Orchester, Austria. From 2008-2014, he was Chief Conductor of Queensland Symphony Orchestra; as Conductor Laureate, he continues his relationship with the Orchestra. In 2017, he was appointed inaugural Principal Guest Conductor of the Tasmanian Symphony Orchestra.

Johannes has performed with many orchestras internationally. These include: Hamburger Sinfoniker, Düsseldorfer Sinfoniker, Berliner Sinfonie Orchester, Staatskapelle Dresden, Norddeutsche Philharmonie Rostock, Staatsorchester Halle, the Orchestre Philharmonique Strassbourg, the Orchestra National de Montpellier, the Orchestra National du Capitole de Toulouse, the Sydney, Melbourne, Tasmanian, Adelaide, Queensland and West Australian Symphony Orchestras and Orchestra Victoria.

Opera Companies with which he has worked include: Sächsische Staatsoper Dresden, Opernhaus Köln, Deutsche Oper Berlin, Komische Oper Berlin, Opera Bastille Paris, Grazer Oper, the Royal Opera Stockholm, Malmö Opera, and Opera Australia in Sydney and Melbourne (including Wozzeck, Don Giovanni, Carmen, Tosca, Rigoletto, Salome, Der Rosenkavalier).

In 2018, Johannes conducted The Flying Dutchman for Staatsoper Hamburg, The Cunning Little Vixen for West Australian Opera, Don Giovanni for Opera Queensland and made major appearances with Xi’an Symphony Orchestra, Auckland Philharmonia Orchestra, Orchestra Victoria and the Tasmanian Symphony Orchestra. He returns to Opera Australia in 2019 to conduct Salome, to Adelaide to conduct Vixen and will lead concerts with Queensland Symphony Orchestra and Tasmanian Symphony Orchestra.

Piers LanePianoLondon-based Australian pianist Piers Lane stands out as an engaging and highly versatile performer, at home equally in solo, chamber and concerto repertoire. Recent highlights include performances of Busoni’s piano concerto, Frank Bridge’s Phantasm and Ferdinand Ries’s Eighth Concerto at Carnegie Hall with the newly formed The Orchestra Now; world premieres of Carl Vine’s double piano concerto, written for him and Kathryn Stott, with the Tasmanian and Adelaide Symphony Orchestras, as well as several sold-out solo recitals at Wigmore Hall.

Five times soloist at the BBC Proms in London’s Royal Albert Hall, Piers Lane’s concerto repertoire exceeds ninety works and has led to engagements with many of the world’s great orchestras and conductors. He has recorded over sixty CDs on major labels, primarily with Hyperion Records. His most recent releases are piano concertos by Ferdinand Ries, a sonata disc with violinist Tasmin Little, and chamber works by Borodin, the ninth disc he has recorded with the Goldner String Quartet.

In the 2018/19 season Piers will tour New Zealand with the New Zealand String Quartet, and Australia with Tasmin Little. Further highlights include a three-concert chamber music project at Wigmore Hall and concert tours throughout Australia, Europe and the US.

Piers is the Artistic Director of the Sydney International Piano Competition of Australia, and for ten years was also the Artistic Director of the Australian Festival of Chamber Music, finishing in 2017. In the Queen’s Diamond Jubilee Honours, he was made an Officer in the Order of Australia for services to music (AO).

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Music lovers who support an individual musician’s role within the Orchestra and gain fulfilment through personal interactions with their chosen musician. We thank you.

MUSIC CHAIR DONORS

CONCERTMASTERWarwick Adeney Prof Ian Frazer AC and Mrs Caroline Frazer Estate Barbara Jean Hebden Cathryn Mittelheuser AM John Story AO and Georgina Story

ASSOCIATE CONCERTMASTERAlan Smith Arthur Waring

FIRST VIOLINShane Chen Jessica Read

Lynn Cole Neil W. Root

Ann Holtzapffel Aitken Whyte Lawyers

Rebecca Seymour Dr John H. Casey

Joan Shih Simon Mills

Brenda Sullivan Heidi Rademacher and in memory of Hans Rademacher Anonymous

Stephen Tooke Tony and Patricia Keane

Brynley White Graeme Rosewarne and Jim O’Neill

SECTION PRINCIPAL SECOND VIOLINGail Aitken Dr John H. Casey

Wayne Brennan Support a Musician Today

SECOND VIOLINKatie Betts Dr Geoffrey Trim

Jane Burroughs Dr Graham and Mrs Kate Row

Faina Dobrenko The Curavis Fund

Simon Dobrenko The Curavis Fund

Delia Kinmont Dr Colin and Mrs Noela Kratzing

Natalie Low Dr Ralph and Mrs Susan Cobcroft

Tim Marchmont Dr Geoffrey Trim

Nicholas Thin Benn Day Simon Mills Young Professional Circle

Helen Travers Elinor and Tony Travers

Harold Wilson Trevor J Rowsell

SECTION PRINCIPAL VIOLAImants Larsens Dr Geoffrey Trim

ASSOCIATE PRINCIPAL VIOLAYoko Okayasu Dr Damien Thomson and Dr Glenise Berry

VIOLACharlotte Burbrook de Vere Di Jameson

Nicole Greentree Shirley Leuthner

Bernard Hoey Desmond B. Misso Esq

Kirsten Hulin-Bobart CP Morris

Jann Keir-Haantera Ms Helen Sotiriadis

Graham Simpson Alan Galwey

Nicholas Tomkin Alan Symons

SECTION PRINCIPAL CELLODavid Lale Arthur Waring

ASSOCIATE PRINCIPAL CELLOHyung Suk Bae Benn Day John Story AO and Georgina Story Young Professional Circle

CELLOKathryn Close Dr Graham and Mrs Kate Row

Andre Duthoit Anne Shipton

Matthew Jones M.J. Bellotti

Matthew Kinmont Dr Julie Beeby

Kaja Skorka Robin Spencer Anonymous

Craig Allister Young Di Jameson

SECTION PRINCIPAL DOUBLE BASSPhoebe Russell Di Jameson Sidney Irene Thomas (In memory)

ASSOCIATE PRINCIPAL DOUBLE BASSDušan Walkowicz Amanda Boland

DOUBLE BASSAnne Buchanan Dr Betty Byrne Henderson AM

Justin Bullock Michael Kenny and David Gibson

Paul O'Brien Roslyn Carter

Ken Poggioli Anonymous

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SUPPORT A MUSICIAN TODAY

07 3833 5027development@qso.com.auqso.com.au

SECTION PRINCIPAL FLUTEAlison Mitchell Alan Symons

ASSOCIATE PRINCIPAL FLUTEHayley Radke Desmond B Misso Esq

PRINCIPAL PICCOLOKate Lawson Dr James R Conner

SECTION PRINCIPAL OBOEHuw Jones Prof Ian Gough AM and Dr Ruth Gough

ASSOCIATE PRINCIPAL OBOESarah Meagher Sarah and Mark Combe

OBOEAlexa Murray Dr Les and Ms Pam Masel

PRINCIPAL COR ANGLAISVivienne Brooke CP Morris

SECTION PRINCIPAL CLARINETIrit Silver Arthur Waring

ACTING ASSOCIATE PRINCIPAL CLARINETBrian Catchlove Support a Musician Today

CLARINETKate Travers Dr Julie Beeby

PRINCIPAL BASS CLARINETNicholas Harmsen Support a Musician Today

SECTION PRINCIPAL BASSOONNicole Tait In memory of Margaret Mittelheuser AM

ASSOCIATE PRINCIPAL BASSOONDavid Mitchell John and Helen Keep

BASSOONEvan Lewis CP Morris

PRINCIPAL CONTRABASSOONClaire Ramuscak CP Morris

SECTION PRINCIPAL FRENCH HORNMalcolm Stewart Arthur Waring

PRINCIPAL FRENCH HORNIan O'Brien Dr Geoffrey Trim

ASSOCIATE PRINCIPAL FRENCH HORNAlex Miller Mr Nick Beaton & Dr Pamela Greet

FRENCH HORNVivienne Collier-Vickers Ms Marie Isackson

Lauren Manuel Dr John H. Casey

SECTION PRINCIPAL TRUMPETSarah Butler Mrs Andrea Kriewaldt

ASSOCIATE PRINCIPAL TRUMPETRichard Madden Elinor and Tony Travers

TRUMPETPaul Rawson Mr Nick Beaton and Dr Pamela Greet

SECTION PRINCIPAL TROMBONEJason Redman Frances and Stephen Maitland OAM RFD

PRINCIPAL TUBAThomas Allely Arthur Waring

PRINCIPAL HARPJill Atkinson Noel and Geraldine Whittaker

PRINCIPAL TIMPANITim Corkeron Dr Philip Aitken and Dr Susan Urquhart Peggy Allen Hayes

SECTION PRINCIPAL PERCUSSIONDavid Montgomery Dr Graham and Mrs Kate Row

ASSOCIATE PRINCIPAL PERCUSSIONJosh DeMarchi Dr Graham and Mrs Kate Row

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Music lovers who have supported your Orchestra over the last 12 months. We thank you.

ANNUAL GIVING

ALLEGRO ($100,000 – $249,999)Tim Fairfax ACTim Fairfax Family FoundationTrevor & Judith St Baker Family Foundation

CON BRIO($50,000 - $99,999)Philip Bacon GalleriesProf. Ian Frazer AC and Mrs Caroline FrazerDi JamesonCathryn Mittelheuser AMArthur Waring

INTERMEZZO($20,000 - $49,999)G & K IlettCP Morris Justice Anthe PhilippidesStack Family Foundation John Story AO and Georgina Story

GRAZIOSO ($10,000 - $19,999)Joseph and Veronika ButtaDr John H. CaseyMorgans FoundationIn memory of Mr and Mrs J.C. OverellIan and Cass GeorgeDr Graham and Mrs Kate RowMrs Beverley June Smith Dr Geoffrey TrimAnonymous (2)

VIVACE ($5,000 - $9,999)Dr Philip Aitken and Dr Susan UrquhartJohn and Janet AllanDavid and Judith BealDr Julie BeebyJohn and Lynnly ChalkDr James R ConnerT.C. and M.R. CooneyTim and Elaine Crommelin

Benn DayProf. Ian Gough AM and Dr Ruth GoughMr Nick Beaton and Dr Pamela GreetDoug Hall FoundationMalcolm and Andrea Hall-BrownJohn and Rhonda HawkinsPeggy Allen HayesMichael Kenny and David GibsonDr Colin and Mrs Noela KratzingMrs Andrea KriewaldtFrances and Stephen Maitland OAM RFDDan and Helen McVayDesmond B Misso Esq.The Neilsen GroupHeidi Rademacher and in memory of Hans RademacherJohn B Reid AO and Lynn Rainbow ReidAlan Symons and in memory of Bruce Short, Kevin Woodhouse and Graham WebsterSidney Irene Thomas (In memory)Neil W Root and Trevor J RowsellElinor and Tony TraversTurner Family FoundationDavid and Judy TynanK and S WarkNoel and Geraldine WhittakerSteve and Jane WilsonAnonymous

PRESTO ($2,500 - $4,999)Amanda BolandNigel Chamier AMSarah and Mark CombeEmma CovacevichThe Curavis FundJustice Martin DaubneyDr Betty Byrne Henderson AMTony and Patricia KeaneShirley Leuthner Prof. Andrew and Mrs Kate Lister

Anne ShiptonSimon MillsSiganto FoundationRobin SpencerTom StackMrs Amanda TalbotDr Damien Thomson and Dr Glenise BerryGreg and Jan WanchapGary and Diana WillemsenAnonymous

STRETTO ($1,000 - $2,499)ADFAS BrisbaneAitken Whyte LawyersJulieanne AlroeDr Geoffrey Barnes and in memory of Mrs Elizabeth BarnesWilliam and Erica BattM.J. BellottiKay BryanProfessors Catherin Bull AM and Dennis Gibson AOJean ByrnesConstantine CaridesElene CaridesMrs Roslyn Carter Greg and Jacinta ChalmersDr Ralph and Mrs Susan CobcroftMrs Ruth CoxDr Peter Hopson & Julie CrozierMs Elizabeth Dann and Philip McNicol Mrs I. L. DeanMrs Elva EmmersonC.M. and I.G. FurnivalAlan GalweyDr Edgar Gold AM, QC and Dr Judith Gold CMLea and John GreenawayDr and Mrs W.R. HeaslopDr Peter Hopson and Julie CrozierDeb HoulahanMs Marie IsacksonAinslie Just

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Young Professionals who collectively support a musician’s role within the Orchestra and share their ideas and energy to help us create an exciting future for Queensland Symphony Orchestra. We thank you.

John and Helen KeepAndrew KopittkeDr Frank LeschhornLynne and Francoise LipSusan MabinMr Greg and Mrs Jan MarshDr Les and Mrs Pam MaselAnnalisa and Tony MeikleIn memory of Jolanta MetterB and D MooreHoward and Katherine MunroIn memory of Mildred Wise MuirheadRon and Marise NilssonIan PatersonDavid Pratt and Ramon NorrodJessica ReadIn memory of Pat RichesG & B RobinsGraeme Rosewarne and Jim O'NeillCath ScullyDr Margaret SorokaMs Helen SotiriadisUrban ListProf. Hans Westerman and in memory of Mrs Frederika WestermanMargaret and Robert WilliamsRodney WylieAnonymous (14)

TUTTI ($500-$999)Trudy BennettDr Sheena L. BurnellCarol CarmudieDrew and Christine CastleyRichard ChambersIan and Penny CharltonRobert ClelandTerry and Jane DaubneyDr C. DavisonStephanie DerringtonIn memory of Mrs Marjorie DouglasMs Carolyn EacollMs Robyn ElliottD J GardinerMs Christine Gay Ms Julia GrayWendy GreenMr Tony HallDr Alison HollowayDaryl and Lisa HolmesJim and Maxine MacmillanGary and Gayle MartinLoraine McLarenDr Masanori MatsumotoTimothy Matthies and Chris BonnilyJohn and Robyn MurrayCatherine PearseDr Phelim ReillyMrs R RichardsonJoan RossMr Rolf and Mrs Christel SchaferAlison StanfordMrs H TullyTanya VianoMax and Robyn WhiteMrs Juanita WrightAnonymous (16)

YOUNG PROFESSIONAL CIRCLEShadi AhmadGabrielle AneseMichelle BagnallDr Sheena L. BurnellJonathan Butler-WhiteRoger CantMr Rowan DanielewskiMarina DatovaHelen DavisBenn DayStephanie DerringtonMs Amelia DobsonGrant & Karen GastonZackary GeorgeEloise GluerAmy GreeneHannah GriggMiss Cassandra HeilbronnAndrew and Anita JonesElizabeth KellyDylan KerrMr Alexander MackBenjamin McIntyreMarnie NicholsMichaela PoundJessica ReadInna RybkinaNathan SchokkerPenelope SmidNicholas W SmithHilary TroyJennifer WhybirdDr Geoffrey Chia-Yu Wu

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Visionary donors whose regular, lifetime giving exceeds $10,000. We thank you.

LIFETIME GIVING

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

DIAMOND($250,000 – $499,999)Prof. Ian Frazer AC and Mrs Caroline FrazerThe Pidgeon FamilyTrevor & Judith St Baker Family Foundation

PATRON($100,000 – $249,999)Philip Bacon GalleriesEstate of Susan Mary BlakeEstate of Barbara Jean HebdenDi JamesonCathryn Mittelheuser AMJohn B Reid AO and Lynn Rainbow ReidMrs Beverley June SmithJohn Story AO and Georgina StoryGreg and Jan WanchapNoel and Geraldine Whittaker

MAESTRO ($50,000 – $99,999)Dr John H. CaseyPeggy Allen HayesMrs Andrea KriewaldtFrances and Stephen Maitland OAM RFDIn memory of Mr and Mrs J.C. OverellJustice Anthe PhilippidesDr Graham and Mrs Kate Row

Queensland Symphony Orchestra is proud to acknowledge the generosity and support of our valued donors.

(Donor lists correct as at April 2019.)

SYMPHONY($20,000 – $49,999)Dr Philip Aitken and Dr Susan UrquhartDavid and Judith BealDr Julie BeebyMrs Roslyn CarterDr Ralph and Mrs Susan CobcroftMrs I. L. Dean Prof. Ian Gough AM and Dr Ruth GoughG and K IlettMs Marie IsacksonJohn and Helen KeepDr Les and Mrs Pam MaselDesmond B Misso Esq.CP MorrisHeidi Rademacher and in memory of Hans RademacherAnne ShiptonStack Family FoundationDr Damien Thomson and Dr Glenise BerryElinor and Tony TraversRodney WylieAnonymous

CONCERTO($10,000 – $19,999)Joseph and Veronika ButtaDr Betty Byrne Henderson AM Sarah and Mark CombeDr James R Conner Mrs Ruth CoxMrs Elva EmmersonAlan GalweyIan and Cass GeorgeMalcolm and Andrea Hall-BrownDr and Mrs W.R. HeaslopTony and Patricia KeaneDr Colin and Mrs Noela KratzingMichael Kenny and David GibsonShirley LeuthnerMorgans FoundationIan PatersonIn memory of Pat RichesNeil W Root and Trevor J RowsellAlan Symons & in memory of Bruce Short,Kevin Woodhouse & Graham Webster Dr Geoffrey TrimProf. Hans Westerman and in memory of Mrs Frederika WestermanMargaret and Robert WilliamsAnonymous (2)

QSO.COM.AU

SAT 1 JUNE 7.30PMCO N C E RT H A L L , Q PAC

A N I G H T O F O P E R A FAV O U R I T E S

GALAOPERA

I N C L U D E S M U S I C BYR O S S I N I • V E R D I • P U C C I N I • B I Z E T

C O N D U C T O R G I O VA N N I R E G G I O L IS O P R A N O N ATA L I E A R O YA N

T E N O R K A N G W A N GB A S S - B A R I T O N E J E R E M Y K L E E M A N

C H O R U S B R I S B A N E C H O R A L E

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Queensland Symphony Orchestra Music Director is proudly supported by Tim Fairfax AC. The Artist-in-Residence program is supported by The University of Queensland.

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

MUSIC DIRECTOR Alondra de la Parra

ARTIST-IN-RESIDENCE Paul Lewis

CONDUCTOR LAUREATE Johannes Fritzsch

CONDUCTOR EMERITUS Werner Andreas Albert

CELLO David Lale ~ Hyung Suk Bae >> Kathryn Close Andre Duthoit Matthew Jones Matthew Kinmont Kaja Skorka Craig Allister Young

DOUBLE BASS Phoebe Russell ~ Dušan Walkowicz >> Anne Buchanan Justin Bullock Paul O’Brien Ken Poggioli

FLUTE Alison Mitchell ~ Hayley Radke>>

PICCOLO Kate Lawson*

OBOE Huw Jones~ Sarah Meagher>> Alexa Murray

COR ANGLAIS Vivienne Brooke*

CLARINET Irit Silver~ Brian Catchlove+ Kate Travers

BASS CLARINET Nicholas Harmsen*

VIOLIN 1 Linda Carello Shane Chen Lynn Cole Ann Holtzapffel Rebecca Seymour Joan Shih Brenda Sullivan Stephen Tooke Brynley White

VIOLIN 2 Gail Aitken ~ Wayne Brennan ~ Katie Betts Jane Burroughs Faina Dobrenko Simon Dobrenko Tim Marchmont Delia Kinmont Natalie Low Nicholas Thin Helen Travers Harold Wilson

VIOLA Imants Larsens ~ Yoko Okayasu >> Charlotte Burbrook de Vere Nicole Greentree Bernard Hoey Kirsten Hulin-Bobart Jann Keir-Haantera Graham Simpson Nicholas Tomkin

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

BASSOON Nicole Tait~ David Mitchell>> Evan Lewis

CONTRABASSOON Claire Ramuscak*

FRENCH HORN Malcolm Stewart ~ Alex Miller >> Ian O’Brien * Vivienne Collier-Vickers Lauren Manuel

TRUMPET Sarah Butler~ Richard Madden>> Paul Rawson

TROMBONE Jason Redman~

BASS TROMBONE Tom Coyle*

TUBA Thomas Allely*

HARP Jill Atkinson*

TIMPANI Tim Corkeron*

PERCUSSION David Montgomery~ Josh DeMarchi>>

CONCERTMASTER Warwick Adeney

ASSOCIATE CONCERTMASTER Alan Smith

BOARD OF DIRECTORS Chris Freeman AM Chair Rod Pilbeam Deputy Chair Prof Margaret Barrett Mary Jane Bellotti Emma Covacevich Tony Denholder Simon Gallaher Tony Keane John Keep Cat Matson

MANAGEMENT Craig Whitehead Chief Executive Ros Atkinson Executive Assistant to Chief Executive and Board Chair Deb Houlahan Chief Operating Officer and Company Secretary Amy Herbohn Financial Controller Barb Harding General Finance Coordinator Shelley Adams Human Resources Advisor

Timothy Matthies Director - Artistic Planning Michael Sterzinger Manager - Artistic Administration Murray Walker Program Coordinator - Artistic Planning Fiona Lale Artist Liaison Judy Wood Community Engagement Manager Pam Lowry Education Officer Matthew Farrell Director – Orchestra Management Nina Logan Orchestra Manager Peter Laughton Operations and Projects Manager Vince Scuderi Production Coordinator Nadia Myers Orchestra Librarian

Katya Melendez Manager - Development Carolyn Bowes Manager - Corporate Partnerships Karen Towers Development Coordinator Matthew Hodge Director - Sales and Marketing Renée Jones Manager - Marketing Rachel Churchland Coordinator - Digital Marketing Celia Casey Coordinator - Marketing and Publications Michael Hyde Senior Manager - Sales Emma Rule Manager - Ticketing Services Mike Ruston Coordinator - Ticketing Services

QUEENSLAND PERFORMING ARTS CENTRE

PO Box 3567, South Bank, Queensland 4101 T: (07) 3840 7444 W: qpac.com.au

CHAIR Professor Peter Coaldrake AO

DEPUTY CHAIR Leigh Tabrett PSM

TRUST MEMBERS Dare Power Susan Rix AM Leanne de Souza

CHIEF EXECUTIVE John Kotzas

ACKNOWLEDGMENT The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government

The Honourable Leeanne Enoch MP, Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts

Director-General, Department of Environment and Science: Jamie Merrick

QPAC respectfully acknowledges the Traditional Owners of the Lands across Queensland and pays respect to their ancestors who came before them and to Elders past, present and emerging.

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.

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PARTNERSGovernment Partners Principal Partner

Gold Partners

Industry Collaborators

Premier Partners

Accommodation PartnersMajor Partners

Education Partners

KINGS AND QUEENS SUN 19 MAY 2019, 11.30AM Concert Hall, QPAC

Conductor Fabian Russell Host Guy Noble Trombone Jason Redman

Prepare to lose yourself in the opulent and triumphant world of royalty, with a feast of processions, waltzes and marches.

COMING UP

OPERA GALA SAT 1 JUN 2019, 7.30PM Concert Hall, QPAC

Conductor Giovanni Reggioli Soprano Natalie Aroyan Tenor Kang Wang Bass-baritone Jeremy Kleeman Chorus Brisbane Chorale

A night of opera favourites including works by Puccini, Verdi, Rossini, and Bizet.

CHAMBER PLAYERS SUN 26 MAY 2019, 3PM Queensland Symphony Orchestra Studio ABC Building, South Bank

Madeleine Dring Trio for Flute, Oboe and Piano Sculthorpe String Quartet No.12 (From Ubirr) Schubert String Quintet in C, Op.163

A delightful afternoon of music hand-picked by our musicians.

22 PROGRAM | CATHEDRAL OF SOUND

qso.com.auQueensland Symphony Orchestra GPO Box 9994 BRISBANE QLD 4001 Cnr Grey and Russell Street, South Brisbane 07 3833 5044 | info@qso.com.au

WANT MORE?

ON THE RADIO Our performances are regularly recorded for broadcast. Tune in for more great music.

abc.net.au/classic or 4mbs.com.au

WATCH Enjoy behind-the-scenes footage, interviews with musicians, instrument workshops and more.

youtube.com

READ Visit our blog for interesting articles, musical insights, interviews and more.

qso.com.au/blog

ON SPOTIFY Listen to our concert playlists anywhere, anytime.

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PROGRAMS ONLINE Download our concert programs one week prior to each concert.

qso.com.au/programs

HAVE YOUR SAY We love to hear from our audience. What did you think of the concert? What was your favourite piece? Who do you want to hear more of? Let us know!

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