BEETHOVEN - qso.com.au€¦ · Beethoven Symphony No.5 in C minor Welcome to Queensland Symphony...

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PROGRAM | BEETHOVEN 5 I CONCERT HALL, QPAC FRI 16 & SAT 17 OCT 2020 GALA RETURN CONCERT BEETHOVEN 5

Transcript of BEETHOVEN - qso.com.au€¦ · Beethoven Symphony No.5 in C minor Welcome to Queensland Symphony...

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PROGRAM | BEETHOVEN 5 I

CONCERT HALL, QPACFRI 16 & SAT 17 OCT 2020

G A L A R E T U R N C O N C E RT

BEETHOVEN 5

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CONTENTS

SUPPORTING YOUR ORCHESTRA

MUSICIANS AND MANAGEMENT

ARTIST BIOGRAPHIES

IF YOU'RE NEW TO THE ORCHESTRA

122022

1WELCOME

DEFINITION OF TERMS 6LISTENING GUIDE

© Peter Wallis

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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.

This program is funded through the Queensland Government’s $22.5 million two-year Arts and Cultural Recovery Package.

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.

WELCOME

IN THIS CONCERT PROGRAM

Conductor Johannes Fritzsch QSO Conductor Laureate

Relive this concert on ABC Classic on 13 December at 12pm (AEDT).

FRI 16 OCT 11AM SAT 17 OCT 3PM & 7.30PMR. Strauss Don Juan Beethoven Symphony No.5 in C minor

Welcome to Queensland Symphony Orchestra’s Gala Return Concert. Our featured work tonight is Beethoven’s Symphony No.5. While many people know this masterpiece for its famous opening four notes, what stands out to me is the way Beethoven takes you on a journey. The symphony begins in a place of storminess and turmoil but arrives, 30 minutes later, at music of great triumph and joy.

I can think of no better metaphor for what is happening here at these performances. When live concerts were put on hold in March this year, we collectively entered a period of uncertainty and stress. But now here we are, back on the stage. While we still have a way to go to arrive back at normality, to have come this far is truly a triumph and joy for us as performers and for you as our audience as well.

We owe the deepest thanks to all of you who have supported us over the last few months. Your well-wishes and generous donations have meant a great deal to us, as is your presence here at this concert. We hope it will be a performance you remember for the rest of your life.

Craig Whitehead Chief Executive

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WELCOME FROM QPAC

Three short Gs followed by a sustained E flat: simple but genius in its versatility. Is it uplifting or ominous? Victorious or tempestuous? What we hear in this short musical phrase shifts between performers, performances, and audiences. If one thing can be said with absolute certainty of Beethoven’s Symphony No.5, it is that the four notes of its opening motif remain the most recognisable in classical music to this day.

But symphonies are not made of four notes alone and the enduring appeal of Beethoven’s Fifth lies in its ability to resonate through the ages. For more than 200 years, this extraordinary symphony has captivated and transported listeners and its electrifying drama remains as relevant in today’s turbulent world as ever.

It is therefore a fitting choice to herald the triumphant return of Queensland’s major performing arts companies to the stage as part of our Queensland’s Own program. We are proud to partner with Queensland Symphony Orchestra as we welcome our audiences back to live performance at QPAC.

John Kotzas Chief Executive, QPAC

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PROGRAM | BEETHOVEN 5 3© Peter Wallis

A MESSAGE FROM THE GOVERNOR

2020 has been a great challenge for so many aspects of community life, and especially so for the performing arts. However, a virus could never defeat the sector, nor the basal drive of our people to seek enjoyment and sustenance through music.

Kaye and I have been amazed by the innovative ways in which the sector has ensured Queenslanders have access to cultural experiences which enhance their wellbeing, bringing joy and hope when it was needed most.

While we have found new ways to connect, nothing quite matches the thrill of live performances. What a privilege this concert will be, as our beloved QSO and esteemed Conductor Laureate make their triumphant return with Beethoven’s equally triumphant Symphony No.5. As Governor and Patron, I thank and congratulate everyone involved with QSO, and indeed all Queensland arts organisations.

You confirm, as ever, our State’s reputation as a powerhouse for creativity and inspiration. You have Kaye’s and my total support.

His Excellency the Honourable Paul de Jersey AC Governor of Queensland

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IF YOU'RE NEW TO THE ORCHESTRA

WHO SITS WHEREOrchestras sit in sections based on types of instruments. There are four main sections in the symphony orchestra (strings, woodwinds, brass, and percussion) and sometimes a keyboard section.

STRINGSThese instruments produce sound by bowing or plucking stretched strings.

First / Second ViolinViolaCelloDouble BassHarp

WOODWINDWind instruments produce sound by being blown into.

Flute / PiccoloClarinet / E-flat Clarinet / Bass ClarinetOboe / Cor AnglaisBassoon / Contrabassoon

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

French HornTrumpet Trombone / Bass TromboneTuba

PERCUSSIONThese instruments create sound by being struck or, for the harp, plucked or strummed. Some instruments just make a sound; others play particular notes.

Timpani, Bass drum, Snare drum, Cymbals,Glockenspiel, Xylophone, Vibraphone,Tam-tam, Triangle, Sleigh Bells

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WHO’S ON STAGE TODAY

CONCERTMASTER Alan Smith #

VIOLIN 1 Shane Chen * Ann Carew Helentherese Good Ann Holtzapffel Ceridwen Jones Rebecca Seymour Joan Shih Brenda Sullivan Stephen Tooke Brynley White Allana Wales Sonia Wilson

VIOLIN 2 Gail Aitken ~ Wayne Brennan ~ Lara Baker-Finch Katie Betts Jane Burroughs Faina Dobrenko Simon Dobrenko Tim Marchmont Neridah Oostenbroek Nicholas Thin Jason Tong Helen Travers Harold Wilson

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

CELLO Hyung Suk Bae = Matthew Kinmont + Tim Byrne Andre Duthoit Kaja Skorka Alison Smith-O’Connell MinJin Sung Craig Allister Young

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

FLUTE Alison Mitchell ~ Hayley Radke >>

PICCOLO Kate Lawson *

OBOE Huw Jones ~ Alexa Murray

COR ANGLAIS Vivienne Brooke *

CLARINET Brian Catchlove = Kate Travers

BASS CLARINET Nicholas Harmsen *

BASSOON Nicole Tait ~ David Mitchell >> Evan Lewis

CONTRABASSOON Claire Ramuscak *

FRENCH HORN Peter Luff = Timothy Skelly + Ian O’Brien * Vivienne Collier-Vickers Lauren Manuel

TRUMPET Richard Madden = Mark Bremner Richard Fomison Chris Hudson

TROMBONE Jason Redman ~ Ashley Carter >>

BASS TROMBONE Matthew McGeachin ^

TUBA Thomas Allely *

TIMPANI Tim Corkeron *

PERCUSSION David Montgomery ~ Josh DeMarchi >> Jacob Enoka

HARP Jill Atkinson *

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

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DEFINITION OF TERMS

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

Fortissimo very loud.

Crescendo the loudest point reached in a gradually increasing dynamic.

Key a group of pitches that forms the basis of a music composition.

Metre regularly recurring patterns and accents such as bars and beats.

Bar/Measure a segment of time corresponding to a specific number of beats.

Motif a short musical phrase or idea that is repeated.

Outré composers Austrian composers.

Frontispiece an illustration facing the title page of a book.

Tone poem a piece of music based on a descriptive theme.

© Peter Wallis

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PROGRAM | BEETHOVEN 5 7© Peter Wallis

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LISTENING GUIDE

Richard Strauss (1864–1949)Don Juan, Op.20Don Juan arrived like a bolt out of the blue when it was premiered in Weimar in 1889. Up until that time, Richard Strauss appeared to be heading down a reasonably conventional career path, with works that were tinged with progressive tendencies (such as the ‘symphonic fantasy’ Aus Italien) but still mostly within the bounds of conservative concert culture (that is to say, he had written serenades, concertos and symphonies). But with Don Juan, Strauss nailed his colours firmly to the mast of outré composers such as Berlioz, Liszt and Wagner. This is all the more surprising since Strauss had grown up in a household with very straight-laced musical tastes – his father, Franz, was one of the most celebrated horn players of the time and an outspoken opponent of Wagner’s music. By aligning himself with the radical trio of composers listed above, Richard Strauss was breaking with the father and declaring his own identity. If the scenario wasn’t oedipal enough, how fitting it is that the work that should mark the rupture was Don Juan, which takes as its narrative the sexual adventures of a young, virile hero.

Strauss wrote Don Juan in a flurry of activity in the spring and summer of 1888, during which time he turned 24. Don Juan was inspired by the verse drama of the same name by Austro-Hungarian poet Nicolaus Lenau. In fact, the frontispiece of the published orchestral score includes three specially selected quotations from Lenau’s poem. Swaggering sexual adventurer Don Juan has been an archetype in European literature since the early 17th century. He is well known to musical audiences through his characterisation in the Mozart-Da Ponte opera Don Giovanni. The events that befall him vary from one telling of the tale to another, but they invariably involve serial seductions and a trail of destruction.

Strauss’s tone poem opens with a scurrying figure played by the entire orchestra which leads without a break into an energetic theme announced by the violins. Here is Strauss’s representation of the indefatigable lover. Various episodes follow – ‘love scenes’ all – in which the objects of Don Juan’s desire are signalled by a solo violin, in the first instance, and a solo oboe, in the second. These contrasting episodes are interspersed with the return of the opening theme as the protagonist moves ‘onward and upward to ever new conquests’ (to quote Lenau). A significant new theme – which bursts forth on the four horns in unison – is further associated with the sexually adventurous hero. However, in keeping with most versions of the Don Juan narrative, things do not end well for the protagonist. Tired of life, he thrusts himself on the sword of an opponent. Robbed of vitality, Don Juan falls lifeless to the ground.

As the foregoing suggests, Strauss’s Don Juan traces a story. But enjoyment of the tone poem is not contingent upon following the narrative step by step. Simply relish the untrammelled brio, brilliant orchestration and profound imagination of a fresh, young talent. Richard Strauss had arrived.

Robert Gibson © 2014

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PROGRAM | BEETHOVEN 5 9© Peter Wallis

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LISTENING GUIDE

Ludwig van Beethoven (1770–1827)Symphony No.5 in C minor, Op.67

Allegro con brio Andante con moto Scherzo and Trio (Allegro) Finale (Allegretto)

‘Blazing shafts of light shoot through the deep night of this realm, and we become aware of giant shadows which surge and heave, closing in on us and destroying everything in us except the pain of unending longing.’ Thus, in 1810, music critic E.T.A. Hoffmann described Beethoven’s music in his review of the Symphony No.5.

A little more than a century later, a young German student writing from the front lines of World War I described the work more pragmatically as ‘truly the symphony of war. The introductory measures in fortissimo are the mobilisation orders. Then the measures in piano: anxiousness before the tremendous events ahead. Then the crescendo and again fortissimo: the overcoming of all terror and fear and the summoning of courage and unity, rising to a unified will to victory…’

Two radically different visions, but the message is the same: Symphony No.5 is founded on an essential dynamic of struggle. It is the work of a Beethoven preoccupied with the heroic ideal and the triumph of the inner will.

The first sketches for the work were made in early 1804, only a few months after completing Symphony No.3, which Beethoven had dedicated to Napoleon in admiration of his republican ideals. (In disgust at the news that Napoleon had declared himself emperor, Beethoven tore up the dedication and the work was renamed ‘Sinfonia Eroica: in celebration of the memory of a great man’.) The opera Leonore (later, in much revised form, to achieve enormous success as Fidelio), which was composed in 1804-05, draws its strength from the heroism of Leonore herself, her astounding devotion and physical courage.

Symphony No.5, however, presents a different kind of heroism, and has often been interpreted in the context of Beethoven’s struggle to live with his worsening deafness. Faced with the humiliation and misery of being unable to hear the sound of a flute playing in the woods, Beethoven sought to overcome his despair through personal disciplines of patience, resignation and determination, recommending virtue as the only source of happiness.

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Beethoven’s Fifth Symphony has no text or program, unlike the Sixth (Pastoral), written at the same time, in which each movement bears a description of the scene it ‘portrays’. The music itself, however, plays out its struggle on many levels. The opening bars – that famous motto, used as a signal of victory in World War II – refuse to establish clearly either key or metre: it is not until the seventh bar that we hear the bass C, on which the whole chord of C minor relies, or have a clear sense of the rhythmic framework of the music. The opening motif, thrown down like a gauntlet, is transformed in the ghostly third movement into an ominous march that returns as a sinister echo in the midst of the confident finale. Extremes of pianissimo particularly in the second movement are shattered by militant fortissimo interjections, and the fourth movement itself bursts in on the third as it holds us in suspense (the celebrated passage of violins winding their way into increased dissonance against a persistent tapping timpani).

The heroic victory wrought from this struggle is revealed perhaps dramatically in the choice of key. C minor and its relationship with C major had become something of an obsession for Beethoven around this time, with the four large-scale vocal works composed between 1802 and 1808 (Leonore, the Choral Fantasy, the oratorio Christus am Oelberge and the Mass in C, especially the Agnus Dei) all making a feature of the tension between these two parallel keys. In Symphony No.5, however, the triumphant fourth movement in C major ultimately sweeps away the turmoil of the opening movement in C minor in a blaze of sound which, as Beethoven wrote, makes ‘more noise than six timpani, and a better noise at that’.

Natalie Shea © 2001

© Peter Wallis

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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 the Queensland Symphony Orchestra; as Conductor Laureate, he continues his relationship with the QSO. In 2017, he was appointed inaugural Principal Guest Conductor of the Tasmanian Symphony Orchestra.

Johannes Fritzsch was born in Meissen, Germany, in 1960. He received his first musical tuition in piano and organ from his father, a Cantor and Organist. He also studied violin and trumpet. His higher education was received at the Carl Maria von Weber Music Academy in Dresden, majoring in conducting and piano.

In 1982, after completing his studies, Maestro Fritzsch was appointed 2nd Kapellmeister (Conductor) at the Volkstheater in Rostock. In 1987, Mo. Fritzsch accepted the position of Kapellmeister with the Staatsoper Dresden, Semperoper, where he conducted more than 350 opera and ballet performances within five years. In 1992/3 he worked as 1st Kapellmeister at the Staatsoper Hannover. During that time, Mo. Fritzsch was appointed Chief Conductor and Artistic Director at the Städtische Bühnen and the Philharmonisches Orchester in Freiburg. There he remained until 1999 enjoying widespread acclaim.

Mo. Fritzsch has performed with many orchestras, both within Germany and internationally. These include: Hamburger Sinfoniker, Düsseldorfer Sinfoniker, Philharmonie Essen, Nationaltheater-Orchester Mannheim, Staatskapelle Schwerin, Berliner Sinfonie Orchester, Staatskapelle Dresden, Norddeutsche Philharmonie Rostock, Staatsorchester Halle, the Swedish Radio Orchestra, the Norwegian Radio Orchestra, the Danish Radio Symphony Orchestra, the Orchestre Philharmonique Strassbourg, the Orchestra National de Montpellier, the Orchestra National du Capitole de Toulouse, the Sydney, Melbourne, Tasmanian, 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 Operan and Opera Australia in Sydney and Melbourne (including Wozzeck, Don Giovanni, Carmen, Tosca, Rigoletto, Salome, Der Rosenkavalier).

In 2018, Johannes Fritzsch 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 returned to Opera Australia in 2019 to conduct Salome and Adelaide to conduct Vixen.

Mo. Fritzsch lives with his wife, Australian violinist Susan Collins, and their three daughters in Hobart where he works as adjunct Professor for the University of Tasmania, Conservatorium of Music and as course leader of the newly-created Australian Conducting Academy in collaboration with the Tasmanian Symphony Orchestra.

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Music lovers who support an individual musician’s role within the Orchestra. We thank you.

MUSIC CHAIR SUPPORTERS

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

ASSOCIATE CONCERTMASTERAlan Smith Arthur Waring

PRINCIPAL FIRST VIOLINShane Chen (Acting) Jessica Read

FIRST VIOLINLynn Cole Support a Musician Today

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

Sonia Wilson Wei Zhang & Ping Luo

Vacant Support a Musician Today

Vacant Support a Musician Today

SECTION PRINCIPAL SECOND VIOLINGail Aitken Dr John H. Casey

Wayne Brennan David Miller

SECOND VIOLINKatie Betts Support a Musician Today

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 Support a Musician Today

Nicholas Thin Simon Mills

Helen Travers Elinor and Tony Travers Wei Zhang & Ping Luo

Harold Wilson Support a Musician Today

SECTION PRINCIPAL VIOLAImants Larsens Support a Musician Today

ASSOCIATE PRINCIPAL VIOLAYoko Okayasu Dr Damien Thomson and Dr Glenise Berry

VIOLACharlotte Burbrook de Vere Dr Pamela Greet and Mr Nicholas Beaton

Nicole Greentree Shirley Leuthner

Bernard Hoey Desmond B Misso Esq.

Kirsten Hulin-Bobart CP Morris

Jann Keir-Haantera Mrs Helen Sotiriadis

Graham Simpson Alan Galwey

Nicholas Tomkin Alan Symons

SECTION PRINCIPAL CELLOHyung Suk Bae (Acting) John Story AO and Georgina Story Arthur Waring

ASSOCIATE PRINCIPAL CELLOMatthew Kinmont (Acting) Dr Julie Beeby David Miller

CELLOKathryn Close Dr Graham and Mrs Kate Row

Andre Duthoit Anne Shipton

Matthew Jones MJ Bellotti

Kaja Skorka Robin Spencer Anonymous

Craig Allister Young Di Jameson

SECTION PRINCIPAL DOUBLE BASSPhoebe Russell Sidney Irene Thomas (In Memory)

ASSOCIATE PRINCIPAL DOUBLE BASSDušan Walkowicz Support a Musician Today

DOUBLE BASSAnne Buchanan Dr Betty Byrne Henderson AM

Justin Bullock Michael Kenny and David Gibson

Paul O’Brien Graeme Rosewarne and Jim O’Neill

Ken Poggioli Anonymous

SECTION PRINCIPAL FLUTEAlison Mitchell Alan Symons

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SUPPORT A MUSICIAN

07 3833 [email protected]/supportus

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 Mrs Pam Masel

PRINCIPAL COR ANGLAISVivienne Brooke CP Morris

SECTION PRINCIPAL CLARINETIrit Silver Arthur Waring

ASSOCIATE PRINCIPAL CLARINETBrian Catchlove (Acting) The K&D / S&R Anketell Foundation

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 In Memory of Dr Vicki Knopke

PRINCIPAL CONTRABASSOONClaire Ramuscak CP Morris

SECTION PRINCIPAL FRENCH HORNMalcolm Stewart Arthur Waring

PRINCIPAL FRENCH HORNIan O’Brien Support a Musician Today

ASSOCIATE PRINCIPAL FRENCH HORNAlex Miller Dr Pamela Greet and Mr Nicholas Beaton

FRENCH HORNVivienne Collier-Vickers Ms Marie Isackson

Lauren Manuel Dr John H Casey

SECTION PRINCIPAL TRUMPETVacant Mrs Andrea Kriewaldt

ASSOCIATE PRINCIPAL TRUMPETRichard Madden (Acting) Elinor and Tony Travers

TRUMPETPaul Rawson Dr Pamela Greet and Mr Nicholas Beaton

SECTION PRINCIPAL TROMBONEJason Redman Frances and Stephen Maitland OAM RFD

ASSOCIATE PRINCIPAL TROMBONEAshley Carter The K&D / S&R Anketell Foundation

PRINCIPAL BASS TROMBONEVacant Support a Musician Today

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 Foundation

CON BRIO ($50,000-$99,999)Prof. Ian Frazer AC and Mrs Caroline FrazerArthur Waring

INTERMEZZO ($20,000-$49,999)Philip Bacon GalleriesIan and Cass GeorgeMalcolm and Andrea Hall-BrownCathryn Mittelheuser AMCP MorrisTrevor & Judith St Baker Family Foundation John Story AO and Georgina StoryAnonymous (1)

GRAZIOSO ($10,000-$19,999)Dr John H. CaseyGB & MK IlettFrances and Stephen Maitland OAM RFDMorgans FoundationJustice Anthe PhilippidesDr Graham and Mrs Kate RowJudith Sack Stack Family FoundationAnonymous (1)

VIVACE ($5,000-$9,999)Dr Philip Aitken and Dr Susan UrquhartAssociate Professor John Allan and Dr Janet Allan The K&D / S&R Anketell FoundationDavid and Judith BealDr Julie Beeby Joseph and Veronika ButtaDr Ralph and Mrs Susan CobcroftDr James R ConnerProfessor Paul and Ann CrookJustice Martin DaubneyChris and Sue FreemanProf. Ian Gough AM and Dr Ruth GoughDr Pamela Greet and Mr Nicholas BeatonPeggy Allen HayesMrs Andrea KriewaldtDesmond B Misso Esq.Peterson FamilyHeidi Rademacher In Memory of Hans RademacherNeil W Root and Trevor J RowsellGraeme Rosewarne and Jim O’NeillAlan Symons and In Memory of Bruce Short, Kevin Woodhouse and Graham WebsterSidney Irene Thomas (In Memory)Elinor and Tony TraversNoel and Geraldine Whittaker The Curavis FundGary and Diana WillemsenAnonymous (1)

PRESTO ($2,500-$4,999)ADFAS BrisbaneJulieanne AlroeDr Geoffrey Barnes and In Memory of Mrs Elizabeth BarnesProf. Margaret BarrettWilliam and Erica BattTrudy BennettConstantine CaridesElene CaridesRobert ClelandSarah and Mark CombeWill and Lorna HeaslopDi JamesonTony and Patricia KeaneJohn and Helen KeepIn Memory of Dr Vicki KnopkeDr Colin and Mrs Noela KratzingProf. Andrew and Mrs Kate ListerDr Les and Mrs Pam MaselLoraine McLarenIn Memory of Jolanta MetterRosslyn Walker and David MillerSimon MillsColin NevilleIn Memory of Barbara CrowleyIn Memory of Harry MilesSiganto Foundation Robin SpencerJohn and Jenny StollDr Damien Thomson and Dr Glenise BerryProf. Hans Westerman and In Memory of Mrs Frederika WestermanMargaret and Robert WilliamsR. M. WylieWei Zhang & Ping LuoAnonymous (5)

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STRETTO ($1,000-$2,499)Aitken Whyte LawyersEmeritus Professor Cora V. BaldockJohn and Bonnie BauldDr Betty Byrne Henderson AM Jean ByrnesCatherine CarterDrew and Christine CastleyGreg and Jacinta ChalmersT.C. and M.R. CooneyDr Peter Hopson & Julie CrozierE Dann & P McNicol Mrs I. L. DeanMrs Elva Emmerson Loani FoxcroftColin and Ann GallagherAlan GalweyGardiner Family FoundationD J GardinerPaul and Irene GarrahyDr Edgar Gold AM, QC a nd Dr Judith Gold CMLea and John GreenawayBarbara HartiganMr John HornibrookMrs. L. A. HudsonMs Marie IsacksonMonika JandaAinslie JustMichael Kenny and David GibsonKingston FamilyDr Frank Leschhorn Rachel LeungShirley LeuthnerLynne and Francoise LipSusan MabinElizabeth MacintoshMr Greg and Mrs Jan MarshTimothy Matthies and Chris BonnilyJohn and Julienne McKennaAnnalisa and Tony MeikleTimothy MichauxB and D MooreHoward and Katherine Munro Ron and Marise Nilsson

Toni PalmerIan PatersonJessica ReadG & B RobinsJoan Ross Cath ScullyBruce and Sue ShepherdAnne ShiptonDr Margaret Soroka Helen SotiriadisJohn Van Der SlootenCraig Whitehead and Gabrielle ShephardJuanita WrightAnonymous (64)

TUTTI ($500-$999)Christa Armbruster Alison Armstrong Mr Roger BagleyRozelle Barry Emeritus Professors Catherin Bull AM and Dennis Gibson AODr Sheena L. BurnellMrs Georgina ByromDr Alice CavanaghMr Gerry CrooksTerry and Jane DaubneyJohn DaviesDr C. DavisonLaurie James DeaneMiss Marianne EhrhardtProf. John and Mrs Denise ElkinsMrs Susan Ellis Dr Chris Elvin and Dr Nancy Liyou In Memory of Lorraine GardinerMrs Camilla GebauersGraeme and Jan GeorgeWendy GreenCarmel HarrisDr A M HollowayLynette Hunter Julie-Anne JonesMrs Meryl KerrisonAndrew KopittkeV. LayneM. Lejeune

Lesley LlukaJim and Maxine MacmillanDr Masanori MatsumotoErin McKennaDr Tom MooreJohn and Robyn MurrayHamilton NewtonT & M.M. ParkesTina PreviteraJohn B Reid AO and Lynn Rainbow ReidDr Phelim ReillyMs Kathryn RussellRolf and Christel SchaferMs Antonia SimpsonKW Sommerfeld and FamilyAlison StanfordDr Eddie Street AMBarb and Dan StylesViviane TollidayK. Trent and P. Reed Tanya VianoJohn and Sharon WattersonPeter J WattsPeter & Jeanette YoungDr Jan ZomerdijkAnonymous (128)

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

LIFETIME GIVING

PLATINUM ($500,000+)Tim Fairfax ACTim Fairfax Family FoundationHarold Mitchell ACDr Peter SherwoodArthur Waring

DIAMOND ($250,000-$499,999) Philip Bacon GalleriesProf. Ian Frazer AC and Mrs Caroline FrazerCathryn Mittelheuser AMTrevor & Judith St Baker Family Foundation

PATRON ($100,000-$249,999)Estate of Barbara Jean HebdenDi JamesonJellinbah GroupCP MorrisJohn B Reid AO and Lynn Rainbow ReidMrs Beverley June SmithJohn Story AO and Georgina StoryGreg and Jan WanchapNoel and Geraldine WhittakerAnonymous (2)

MAESTRO ($50,000-$99,999)Dr Philip Aitken and Dr Susan UrquhartDr Julie BeebyDr John H. CaseyPeggy Allen HayesThe John Villiers TrustMrs Andrea KriewaldtFrances and Stephen Maitland OAM RFDDesmond B Misso Esq.In Memory of Mr and Mrs J.C. OverellJustice Anthe PhilippidesDr Graham and Mrs Kate Row

SYMPHONY ($20,000-$49,999)Associate Professor John Allan and Dr Janet AllanDavid and Judith BealJoseph and Veronika ButtaMrs Roslyn CarterDr Ralph and Mrs Susan CobcroftDr James R Conner Mrs I. L. DeanIan and Cass GeorgeProf. Ian Gough AM and Dr Ruth Gough Dr Pamela Greet and Mr Nicholas BeatonMalcolm and Andrea Hall-BrownWill and Lorna HeaslopLeonie HenryMs Marie IsacksonTony and Patricia KeaneJohn and Helen Keep

Michael Kenny and David GibsonDr Les and Mrs Pam MaselPage and Marichu MaxsonMorgans FoundationQueensland Conservatoriaum Griffith University Heidi Rademacher In Memory of Hans RademacherAnne ShiptonAlan Symons & In Memory of Bruce Short, Kevin Woodhouse & Graham WebsterStack Family FoundationDr Damien Thomson and Dr Glenise BerryElinor and Tony TraversR. M. WylieAnonymous (2)

CONCERTO ($10,000-$19,999)Dr Geoffrey Barnes and In Memory of Mrs Elizabeth BarnesProf. Margaret BarrettKay BryanDr Betty Byrne Henderson AM Sarah and Mark CombeMrs Ruth CoxJustice Martin DaubneyTony Denholder and Scott GibsonMrs Elva EmmersonSophie GalaiseAlan GalweyEmeritus Professors Catherin Bull AM and Dennis Gibson AODr Edgar Gold AM, QC and Dr Judith Gold CMDr Edward C. GrayDr A M HollowayTrevor and Wendy JacksonDr Colin and Mrs Noela KratzingM. LejeuneShirley LeuthnerProf. Andrew and Mrs Kate ListerIn Memory of Jolanta Metter Mrs Rene Nicolaides OAM and the late Dr Nicholas Nicolaides AMIan PatersonMr Jordan and Mrs Pat PearlIn Memory of Pat RichesNeil W Root and Trevor J RowsellGraeme Rosewarne and Jim O’NeillBruce and Sue ShepherdSiganto Foundation John and Jenny StollSidney Irene Thomas (In Memory)Dr Geoffrey TrimProf. Hans Westerman and In Memory of Mrs Frederika WestermanThe Curavis FundMargaret and Robert WilliamsAnonymous (6)

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19© Peter Wallis

Queensland Symphony Orchestra is proud to acknowledge the generosity and support of our valued supporters.(Supporter lists as at 14 September 2020)

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20 PROGRAM | MUSICAL SORCERY

With the generous support of our corporate partners and supporters we can provide life changing experiences for our Queensland communities.

You can choose how you would like to support Queensland Symphony Orchestra:

• Annual Giving – ensure the orchestra can grow and thrive• Music Chair – support a musician • Health and Well-being – healthy communities• Community Engagement – share the joy of music• Education and Youth – empower young people• Livestreaming – reach more audiences• Regional – enrich communities • Planned Giving – sustain our future• Take a seat - naming rights of a seat in the QSO Studio

WE’D LOVE TO HEAR FROM YOU. [email protected] 07 3833 5017

HELP US ENTERTAIN, INSPIRE AND EDUCATE

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SUPPORTER ENCORE

PROGRAM | MUSICAL SORCERY 21

Jennifer Whybird of The Curavis Fund pictured with Chris Freeman AM, QSO Chair, at an Open Rehearsal in The Studio (ABC Building) in October 2019.

HOW HAS QUEENSLAND SYMPHONY ORCHESTRA IMPACTED YOU? I find the Orchestra so calming. Where you can be still, just to be, letting your mind wonder and discover all possibilities. I find that each performance is a new adventure. We are so grateful to Philanthropy Australia for recommending we connect with the Orchestra.

WHY IS IT IMPORTANT TO YOU TO SUPPORT QSO? We feel very inspired and fortunate to support the father / daughter team, Simon and Faina Dobrenko, who have been with the Orchestra now for over 25 years each. They are both so dedicated and the most down to earth people, and are indeed inspiring! I never would have met such talented, committed and loyal people had we not chosen to support QSO.

WHAT ADVICE WOULD YOU GIVE TO THOSE CONSIDERING SUPPORTING QSO? Not only is this a great chance to give back to your community but an incredible opportunity to connect with talented individuals who give so much to each performance. The way they see the world through music is truly a gift they can share with you, opening you up to a new world, providing fresh perspective, and a chance to participate in the arts here in Queensland.

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

CONDUCTOR LAUREATE Johannes Fritzsch

CELLO Hyung Suk Bae = Matthew Kinmont+ Kathryn Close Andre Duthoit Matthew Jones 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 Shane Chen = Lynn Cole Ann Holtzapffel Rebecca Seymour Joan Shih Brenda Sullivan Stephen Tooke Brynley White Sonia Wilson

VIOLIN 2 Gail Aitken ~ Wayne Brennan ~ Katie Betts Jane Burroughs Faina Dobrenko Simon Dobrenko Delia Kinmont Natalie Low Tim Marchmont 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 Richard Madden = Paul Rawson

TROMBONE Jason Redman~ Ashley Carter >>

TUBA Thomas Allely*

HARP Jill Atkinson*

TIMPANI Tim Corkeron*

PERCUSSION David Montgomery~ Josh DeMarchi >>

CONCERTMASTER Warwick Adeney

ASSOCIATE CONCERTMASTER Alan Smith

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

MANAGEMENT Craig Whitehead Chief Executive Ros Atkinson Executive Assistant to Chief Executive and Board Chair Amy Herbohn Financial Controller Bernadette Fernando Finance Coordinator Lisa Meyers Director – People and Culture Barb Harding Payroll & HR Coordinator

Timothy Matthies Director - Artistic Planning Michael Sterzinger Manager - Artistic Planning Murray Walker Coordinator - Artistic Planning Fiona Lale Artist Liaison Judy Wood Program Manager – Community and Education Celia Casey Community and Education Programs Coordinator Callum Kennedy Coordinator - Education Program

Peter Laughton Director – Performance Services Murray Free Acting Orchestra Manager Isabel Hart Operations Assistant Stephen Birt Production Coordinator Nadia Myers Orchestra Librarian

Toni Palmer Director - Development Julie Mullen Manager - Philanthropy Louise Glynn Manager - Partnerships Karen Towers Development Coordinator

Matthew Hodge Director - Sales and Marketing Renée Jones Manager - Marketing Rachel Churchland Coordinator - Public Relations and Digital Marketing TJ Wilkshire Coordinator – Marketing Joel Tronoff Digital Content Producer Michael Hyde Senior Manager - Sales Liz Thomas Manager - Ticketing Services Mike Ruston Coordinator - Ticketing Services Tatiana Anikieff Ticketing Services Officer Laura Pineda Cardona Ticketing Services Officer Katie Smith Ticketing Services Officer Timothy Tate Ticketing Services Officer

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 Dr Sally Pitkin Dare Power Georgina Richters 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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PARTNERS

Government Partners Principal Partner

Industry Collaborators

Major Partners

Premier Partners Education Partners

Supporting PartnerMaestro Series – Supporting Partner

Trusts and Foundations Accommodation Partners

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SAT 21 NOV 2020 3PM & 8PMCO N C E RT H A L L , Q PAC

CONDUCTOR JOHANNES FRITZSCH PIANO DANIEL DE BORAH

BEETHOVEN’S

BEETHOVEN Piano Concerto No. 5 in E flat (Emperor)

RESPIGHI Pines of Rome (Pini di Roma)

EMPEROR

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26 PROGRAM | BEETHOVEN 5

qso.com.auQueensland Symphony Orchestra GPO Box 9994 BRISBANE QLD 4001 Cnr Grey and Russell Street, South Brisbane 07 3833 5044 | [email protected]

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 website for interesting articles, musical insights, interviews and more.

qso.com.au/blog

ON SPOTIFY Listen to our concert playlists anywhere, anytime.

spotify.com

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

qso.com.au

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!

[email protected] #QSOrchestra

@QSOrchestra

@QSOrchestra

@QSOrchestra

@QSOrchestra

ENEWSSign up for our eNews to receive weekly concert information and on-sale announcements. qso.com.au

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