SPECIAL EVENT

FRI 17 + SAT 18 NOV 2017Concert Hall, QPAC

Conductor Alondra de la Parra

Violin Barnabás KelemenThe Australian Voices

The Artist-in-Residence program is supported by the T & J St Baker Charitable Trust. Queensland Symphony Music Director is proudly supported by Tim Fairfax AC. Co-presented by Queensland Symphony Orchestra and QPAC.

Proudly supported by The University of Queensland.

QUEENSLAND SYMPHONY ORCHESTRA

BRAHMS VIOLIN CONCERTO

Ensemble-in-Residence

Music Director

MESSAGE FROM QPAC CHIEF EXECUTIVE

Welcome to QPAC for what I am sure will be a spectacular end of season concert for Queensland Symphony Orchestra as they round out their 70th anniversary year.

In any live performance, there are many elements that come together – the performers, the audience, the stage and surroundings…the beauty of live performance is that you can’t predict everything that may or will happen. For performers and audiences alike, this may be exciting, thrilling, surprising; it’s why no two performances are ever exactly the same and why what’s live cannot be replicated.

It’s also why, when you bring together artists at their peak, remarkable things often happen. The combination of talented artists performing together results in something greater than any one on their own. This performance features the wonderful musicians of Queensland Symphony Orchestra with Maxim Vengerov, described as ‘one of the greatest violin virtuosos of our time’, all of them under the baton of Queensland Symphony Orchestra’s Music Director, Alondra de la Parra. I am sure, with this performance, you will witness a truly special and memorable performance.

For the past seven decades, Queensland Symphony Orchestra has inspired and taught generations of Queenslanders to appreciate, love and take joy in music. As the year of their 70th anniversary draws to a close, I hope that you join with me in wishing Queensland Symphony Orchestra well and in looking forward to what will be next for Queensland Symphony Orchestra in 2018 and beyond.

John Kotzas Chief Executive

MESSAGE FROM QUEENSLAND SYMPHONY ORCHESTRA CHIEF EXECUTIVE

Welcome to our final gala performances for Queensland Symphony Orchestra in 2017!

I am thrilled you could join us at the end of our 70th anniversary year – one of the Orchestra’s biggest years of music-making yet, thanks to acclaimed Music Director Alondra de la Parra and our brilliant musicians.

We have commemorated this important milestone in the history of the Queensland Symphony Orchestra with a year of wonderful musical experiences and memories, including many world-firsts. We have had new and leading international artists sharing the stage with some of the Orchestra’s oldest friends and of course our wonderful musicians.

It is thanks to the support of our many generous supporters, partners and friends in the music and performing arts industry and of course, YOU, our valued audience, that the Queensland Symphony Orchestra has continued to grow. I have no doubt that your dedication to the Orchestra, will see us continue to strengthen our reputation on the national and international stage as an outstanding orchestra, sharing extraordinary musical experiences for all as we continue to become an orchestra for the 21st century.

David Pratt Chief Executive

2BRAHMS VIOLIN CONCERTO

INTERVAL

DUTILLEUX MÉTABOLES

RAVEL DAPHNIS ET CHLOÉ SUITES 1 & 2

BIOGRAPHIES

Help us G Green.

Please take one program between two and keep your program for the month.

You can also view and download program notes one week prior to the performance online at qso.com.au

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.

CONTENTSSPECIAL EVENT

BRAHMS VIOLIN CONCERTO

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PROGRAM NOTES

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Johannes Brahms (1833-1897)

Violin Concerto in D Major, Op.77Allegro non troppoAdagio Allegro giocoso

Brahms spent the summers of 1877-9 in the lakeside village of Pörtschach in Carinthia, producing the first of his Op.74 motets, the Ballades and Romances for two voices and piano (Op.75), the Symphony No.2 and the Violin Sonata in G (Op.78) – works which share an atmosphere of pastoral beauty shot through with nostalgia. But as Brahms scholar Karl Geiringer notes, the ‘crowning masterpiece’ of this time is the Violin Concerto.

The Concerto, like the G major Sonata, was composed for the virtuoso Joseph Joachim, whom an ecstatic 15-year-old Brahms had heard play the Beethoven Concerto. In 1853, their friendship began in earnest, with Joachim writing to Brahms’ parents of how ‘Johannes had stimulated my work as an artist to an extent beyond my hopes…’ Brahms similarly admired Joachim – significantly as a composer rather than performer, saying that ‘there is more in Joachim than in all the other young composers put together.’

While Joachim was intimately involved with the creation of Brahms’ early chamber works, it was not until those summers at Pörtschach that Brahms wrote solo music for his friend. Geiringer notes that, in the case of both Concerto and Sonata, Brahms ‘conscientiously asked his friend’s advice on all technical questions – and then hardly ever

followed it’. In fact, at crucial points Joachim’s advice was invaluable. This consisted mainly of tinkering with certain figurations to make them more gratifying to play. But Joachim was also a profoundly serious artist – like Brahms – and out of their collaboration came a work in which the element of virtuosity never overshadows the musical argument. Joachim also wrote a cadenza for the concerto which is still frequently heard today.

The Concerto has some of the expansive dimensions of Brahms’ first Piano Concerto. This is especially true of the spacious first movement which, like that of Beethoven’s Violin Concerto, takes up more than half the work’s playing time, and which begins with a long, symphonic exposition of its main themes. Like its companion Second Symphony, the Concerto is in D, a key which makes use of the violin’s natural resonance; like the Symphony, it has something of a visionary Romantic tone.

Brahms originally thought to write the piece in four movements, making the central pair a scherzo and contrasting slow movement. But he wrote to Joachim that the ‘middle movements – naturally the best ones – have fallen through. So I have substituted a feeble adagio.’ Feeble is of course hardly the word for this: derived from the falling broken chord with which the violin begins, it evolves into one of Brahms’ most soulful but restrained movements. As such it provides a wonderful contrast to the gypsy-style finale, with its pyrotechnic solo line and exciting use of displaced accents.

Joachim premiered the piece in Leipzig in 1879, but the response was tepid, and only through Joachim’s persistence did it gain its rightful place in the standard repertoire. Brahms and Joachim fell out over the violinist’s divorce in 1884, the rift lasting until Brahms wrote the Concerto for Violin and Cello in 1887. But that’s another story.

Gordon Kerry © 2006

PROGRAM | SPECIAL EVENT 3

Henri Dutilleux (1916-2013)

MétabolesIncantatoire (Largamente) Linéaire (Lento moderato) Obsessionel (Scherzando) Torpide (Andantino) Flamboyant (Presto) French composer Henri Dutilleux was a fastidious creator. In a comparatively small output, each work is worthy of Dutilleux’s place in the front rank of composers of the past hundred years. His music is French in its lucidity, and the beauty of its sonority; French also perhaps in its intricacies and subtleties, yet these reveal themselves only after the music has made a clear and attractive impression on first hearing. Dutilleux’s peers admired him as a musician who belonged to no school, and as a craftsman devoted to making beautiful objects.

The history of Métaboles, one of Dutilleux’s most admired and most often performed orchestral works, illustrates his perfectionism. It was commissioned to celebrate the 40th anniversary season (1957-58) of the Cleveland Orchestra, but other commitments prevented the composer from having it ready to his satisfaction. He finally completed it in 1964 and it was then premiered under the direction of its dedicatee, George Szell.

Born into an artistic family in Angers, Dutilleux studied first in Douai then, from 1933, in Paris. His composition teacher was Henri Büsser (orchestrator of Debussy’s

Petite suite). After World War II, Dutilleux became director of music productions at French radio, resigning in 1963 to devote himself to composition. As his biographer Caroline Potter observes, Dutilleux’s mature style was determined by non-French principles of musical organisation, including Bartók’s, and he was drawn to the idea of the large-scale masterpiece. Orchestral works, including two symphonies, dominate Dutilleux’s small output. They include the cello concerto Tout un monde lointain… (1968-70, for Rostropovich) and the violin concerto L’arbre des songes (1985, for Isaac Stern). Mystère de l’instant of 1989 was commissioned by Paul Sacher for his Zurich orchestra. Dutilleux’s last work was a song cycle, Le temps l’horloge (2009), for Renée Fleming.

Dutilleux referred to Métaboles as ‘a concerto for orchestra’ and he had in his mind’s ear ‘the purity and timbral éclat’ of the Cleveland players, ‘their luminosity, especially in the woodwind’. The title Métabole comes from rhetoric and refers to transition, where words pass from one meaning to another. It indicates what Dutilleux called the ‘progressive growth’ of one idea into another, coloured by the privileging of the different orchestral families in the course of the work’s five movements (successively woodwinds, strings, brass, percussion, full orchestra), culminating in a more expansive version of the opening incantation. The original title was Cinq Métaboles but Dutilleux deleted the ‘five’ so as to stress that the work is continuous.

Dutilleux’s program note explained his intention ‘to present one or many musical ideas in different order and aspects, until – by successive stages – they undergo an actual change of nature’. In each movement the main motive – melodic, rhythmic, harmonic, or simply instrumental – undergoes successive transformations, as in a set of variations. Each piece evolves to a point,

PROGRAM NOTES

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toward the end, where the distortion becomes so heavily charged as to engender a new motive, which appears as a filigree under the symphonic texture. It is this figure which sets the bait for the next piece, and so forth, until the last piece where the initial motive from the beginning of the work is profiled above the coda, in a long rising movement.

Abridged from a note by David Garrett © 2013

PROGRAM NOTES

Maurice Ravel (1875-1937)

Daphnis et Chloé

Suite 1

NocturneInterludeDanse Guerrire (War Dance)

Suite 2

Lever du jour (Daybreak)PantomimeDanse Générale (General Dance)

The Russian impresario Sergei Diaghilev commissioned many of the orchestral scores that have become modern classics. In 1909, he brought his Ballets Russes to Paris, and commissioned Ravel to write a ballet to a scenario by Michel Fokine based on the tale of Daphnis and Chloe, a romance by the Ancient Greek writer Longus.

Ravel lingered over this, arguably his greatest score, and it was not completed until April 1912, shortly before the scheduled first performance date.

Diaghilev had wanted a score which would be important but not dominant. Ravel, on the other hand, felt that his score should be supreme. He also had contrasting views of Ancient Greece, saying, ‘My intention was to compose a vast musical fresco, in which I was less concerned with archaism than with reproducing faithfully the Greece of my dreams, which is very similar to that imagined and painted by French artists at the end of the 18th century.’ But he stressed also that the work was ‘constructed symphonically, according to a strict plan of key sequences, out of a small number of themes, the development of which ensure the work’s homogeneity’. To underline the point, Ravel subtitled the piece ‘a choreographic symphony in three parts’.

Daphnis et Chloé was first presented at the Théâtre du Châtelet on 8 June 1912, with Pierre Monteux conducting, but it was not a success and was soon dropped from the company’s repertoire. However Ravel’s score has since become a staple of the concert hall, where it is usually heard in the form of two suites.

The ballet begins with the idyll in which Daphnis and Chloé fall in love. The first suite begins at the Nocturne. The music here is very similar to the opening of the ballet, testament to the ballet’s unified symphonic construction.

Daphnis lies unconscious on the ground, having fainted on discovering that his beloved Chloé has been abducted by pirates. One by one the statues of three nymphs come to life. They perform a mysterious dance, revive Daphnis and lead him to the sacred grotto where they invoke the god Pan to come to Daphnis’ aid. The god gradually appears to a slow crescendo and Daphnis bows before him as the curtain falls.

The next passage of music, given to the wordless chorus, provides the entr’acte music, performed in darkness between Acts

PROGRAM | SPECIAL EVENT 5

I and II. Distant horn and trumpet calls then announce the pirates’ camp. The pirates’ orgiastic dance brings Suite 1 to a conclusion.

Suite 2 begins with one of the most graphic portrayals of sunrise in the orchestral literature. Imitation birdsong and the piping of shepherds unite Daphnis with Chloé. In tribute to Pan, Daphnis and Chloé mime Pan’s courtship of Syrinx, accompanied by a florid solo flute (Pantomime). The General Dance represents the joyful celebration of the lovers and shepherds. Composed in 5/4, this metre initially posed some difficulty for Diaghilev’s dancers – until they found a way of using their boss’s name as a mnemonic (DIA-ghi-lev, SER-gei DIA-ghi-lev…).

Gordon Kalton Williams © Symphony Australia

PROGRAM NOTES

Johannes Brahms (born 1937)

Symphony No.11

Movement I

Movement II

Movement III

AUSTRALIAN PREMIERE

HANDEL MESSIAH SAT 9 DEC 7.30PM

Queensland Symphony Orchestra continues its annual tradition of presenting Messiah, in 2017 with Handel specialist Erin Helyard at the helm. Messiah includes one of the most famous pieces of Baroque choral music ever created: the rousing Hallelujah chorus. You must join us!

BOOK NOW qso.com.au

6 PROGRAM | SPECIAL EVENT

BIOGRAPHIES

Alondra de la ParraQueensland Symphony Orchestra Music Director

Conductor

Conductor Alondra de la Parra has gained widespread attention for her spellbinding and vibrant performances, making her one of the most compelling conductors of her generation. She holds the distinction of being the first Mexican woman to conduct in New York City, and is an official Cultural Ambassador for Mexican Tourism. She has been heralded by Plácido Domingo as ‘an extraordinary conductor.’

Alondra de la Parra founded Philharmonic Orchestra of the Americas (POA) in 2004, when she was 23. Her mission was to create an orchestra that would serve as a platform to showcase young performers and composers from the Americas, giving music from the Americas an unquestioned place in the standard orchestral repertoire.

Highlights of the last seasons include her celebrated return to Orchestre de Paris in summer 2015 which was broadcast live by German-French TV channel Arte, her return invitation to RSB Berlin and Queensland Symphony Orchestra, appearances with Verbier Festival Orchestra, BBC National Orchestra of Wales, Cameristi della Scala, Orchestre Symphonique de Québec, a CD project with Tonkünstler Orchestra Vienna and composer Enjott Schneider as well as a live orchestral performance of the film West Side Story at Mexico's Auditorio Nacional. In the 2015/16 season, she made her debut with London Philharmonic Orchestra on tour in Mexico, Orchestra dell'Accademia Nazionale di Santa Cecilia,

Tonhalle Orchestra Zurich as well as her subscription debut with NHK Symphony. She also appeared at BBC Proms Australia with Queensland Symphony Orchestra.

In the 2016/17 season, she will make her debut with Kammerphilharmonie Bremen, Bamberger Symphoniker and Orchestre de la Suisse Romande. Further highlights are her debut at Beethovenfest Bonn, concerts with BBC Philharmonic and return invitations to Swedish Radio Symphony Orchestra, RSB Berlin and Tonhalle-Orchester Zürich.

Queensland Symphony Orchestra Music Director is proudly supported by Tim Fairfax AC.

PROGRAM | SPECIAL EVENT 7

Barnabás KelemenQueensland Symphony Orchestra

Violin

An artist of 'innate musicality' with a technical execution that belongs “only to the greatest” (The Guardian), Hungarian violinist Barnabás Kelemen has captured the attention of the music world..

Barnabás Kelemen collaborates with orchestras such as the BBC Symphony, Budapest Festival, Estonian National Symphony, Deutsche Radio Philharmonie Saarbrücken, Helsinki Philharmonic, London Philharmonic, Malaysian Philharmonic, NDR Radiophilharmonie Hannover, Netherlands Radio and the Yomiuri Nippon Symphony.

He has performed with Zoltán Kocsis at the Concertgebouw in Amsterdam, Bozar in Brussels and Carnegie Hall in New York and regularly plays chamber music with Alexander Lonquich, José Gallardo and Nicolas Altstaedt. In 2010 he founded the Kelemen Quartet.

Barnabás Kelemen’s varied discography has received critical acclaim. Kelemens recording of Bartók’s Rhapsodies and his Violin Concerto No. 2 with the Hungarian National Philharmonic and Zoltán Kocsis won the German Record Critics’ Award 2011. A recital CD with Bartók Sonatas with Zoltán Kocsis and Solo Sonata received a Gramophone Award in 2013.

Born in Budapest in 1978, Barnabás Kelemen started the Franz Liszt Music Academy at the age of 11. He was the Third Prize Winner of the 2001 Queen Elisabeth Competition in Brussels and received the First Prize at the International Violin Competition in

BIOGRAPHIES

Indianapolis in 2002. In recognition of his achievements the Hungarian government awarded him the Sándor Végh Prize in 2001, the Franz Liszt Prize in 2003, Rózsavölgyi Prize in 2003 and most recently the Kossuth Prize in 2012.’

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The Australian Voices Ensemble-in-Residence

It is with high artistic energy that The Australian Voices commission and perform the works of Australian composers.

Recently The Australian Voices have recorded new works intended for ‘performance’ on YouTube. Gordon Hamilton’s composition The 9 Cutest Things That Ever Happened (2013) has been viewed over one million times. In 2014, it made international headlines with a video of Rob Davidson’s Not Now, Not Ever! (2014), a musicalisation of Julia Gillard’s ‘misogyny’ speech. Its album for Warner Classics (2012) was observed by Gramophone Magazine to ‘boast a crisp, resonant delivery of the sonic goods under Hamilton's confident direction.’ In 2013, it released a songbook with Edition Peters.

Recently the group has brought its distinct sound to China, the UK, Germany, USA and Palestine.

BIOGRAPHIES

Gordon HamiltonArtistic Director The Australin Voices

Having freelanced for five years in Germany, composer and conductor Gordon Hamilton moved back to his homeland in 2009 to take over as Artistic Director of one of Australia’s foremost vocal ensembles, The Australian Voices. Of their 2013 US tour The New York Times commented "... it was as if the gates of heaven had opened."

Gordon Hamilton's 2014 work Ghosts in the Orchestra (commissioned by Queensland Symphony Orchestra) saw a choir stand among the orchestra players, prompting them with sung instructions.

Gordon Hamilton's 50-minute choral opera MOON (2011), relates the story of Diana the lonely moon who sends out her moonbeams in search of love. MOON has toured Australia, Germany and to Edinburgh Festival Fringe.

Under a cheekier guise, Gordon Hamilton reassembles the contributions of unwitting collaborators in ways never intended. In mock-reverence to Ke$ha, his Tra$h Ma$h (for choir, 2012) reassembles fleeting grabs from pop songs. His Toy Story 3 = Awesome! (for choir, 2011) - lauded by The Sydney Morning Herald as ‘one of the coolest/nerdiest/funniest music videos doing the cyber rounds’ - sets a stream of inane consciousness as spat out by his own Facebook news feed.

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CONCERTMASTERWarwick AdeneyProf. Ian Frazer AC and Mrs Caroline FrazerEstate of Barbara Jean HebdenCathryn Mittelheuser AMJohn Story AO and Georgina Story

ASSOCIATE CONCERTMASTERAlan SmithArthur Waring

FIRST VIOLINLinda Carello Ms Helen Sotiriadis Lynn Cole Neil W RootPriscilla HockingDr Colin and Mrs Noela KratzingRebecca Seymour Dr John H. CaseyJoan Shih QSO Administration TeamAnn Holtzapffel Aitken Whyte LawyersBrenda Sullivan Heidi Rademacher and in memory of Hans Rademacher AnonymousStephen Tooke Tony and Patricia KeaneBrynley White Graeme Rosewarne and Jim O'Neill

SECTION PRINCIPAL SECOND VIOLINGail AitkenDr John H. CaseyWayne BrennanArthur Waring

SECOND VIOLINJane Burroughs Dr Graham and Mrs Kate RowDelia Kinmont AnonymousNatalie Low Dr Ralph and Mrs Susan CobcroftHelen TraversElinor and Tony TraversHarold WilsonTrevor J Rowsell

ASSOCIATE PRINCIPAL VIOLAYoko OkayasuDr Damien Thomson and Dr Glenise Berry

VIOLACharlotte Burbrook de Vere Di JamesonBernard Hoey Desmond B Misso EsqKirsten Hulin-Bobart CP MorrisGraham Simpson Alan GalweyNicholas Tomkin Alan Symons

SECTION PRINCIPAL CELLODavid LaleArthur Waring

CELLOKathryn Close Dr Graham and Mrs Kate Row Andre Duthoit Anne ShiptonMatthew Jones M. J. BellottiMatthew Kinmont Dr Julie BeebyKaja Skorka Robin Spencer Anonymous Craig Allister Young Di Jameson

SECTION PRINCIPAL DOUBLE BASSPhoebe Russell Di Jameson

ASSOCIATE PRINCIPAL DOUBLE BASSDushan Walkowicz Amanda Boland

DOUBLE BASSAnne BuchananDr Betty Byrne Henderson AMJustin BullockMichael Kenny and David GibsonPaul O'BrienRoslyn CarterKen PoggioliAnonymous

ASSOCIATE PRINCIPAL FLUTEHayley RadkeDesmond B Misso Esq

PRINCIPAL PICCOLOKate LawsonDr James R Conner

SECTION PRINCIPAL OBOEHuw JonesProf Ian Gough AM and Dr Ruth Gough

ASSOCIATE PRINCIPAL OBOESarah MeagherSarah and Mark Combe

OBOEAlexa MurrayDr Les and Ms Pam Masel

SECTION PRINCIPAL CLARINETIrit SilverArthur Waring

CLARINETKate TraversDr Julie Beeby

SECTION PRINCIPAL BASSOONNicole TaitIn memory of Margaret Mittelheuser AM

ASSOCIATE PRINCIPAL BASSOONDavid MitchellJohn and Helen Keep

BASSOON Evan Lewis CP MorrisSECTION PRINCIPAL FRENCH HORNMalcolm StewartArthur Waring ASSOCIATE PRINCIPAL FRENCH HORNPeter LuffShirley LeuthnerFRENCH HORNVivienne Collier-VickersMs Marie Isackson Lauren ManuelDr John H. Casey

SECTION PRINCIPAL TRUMPETSarah ButlerMrs Andrea Kriewaldt

ASSOCIATE PRINCIPAL TRUMPETRichard MaddenElinor and Tony Travers

TRUMPETPaul RawsonBarry, Brenda, Thomas and Harry Moore

SECTION PRINCIPAL TROMBONEJason RedmanFrances and Stephen Maitland OAM RFD

ASSOCIATE PRINCIPAL TROMBONEDale TruscottPeggy Allen Hayes

PRINCIPAL BASS TROMBONETom CoyleCP Morris

PRINCIPAL TUBAThomas AllelyArthur Waring

PRINCIPAL HARPJill AtkinsonNoel and Geraldine Whittaker

PRINCIPAL TIMPANITim CorkeronDr Philip Aitken and Dr Susan UrquhartPeggy Allen Hayes

SECTION PRINCIPAL PERCUSSIONDavid MontgomeryDr Graham and Mrs Kate Row

PERCUSSIONJosh 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

Thank you

ALLEGRO ($100,000 – 249,999)Estate Susan Mary Blake Anonymous

CON BRIO ($50,000 – 99,999)Timothy Fairfax ACTim Fairfax Family FoundationCathryn Mittelheuser AM In memory of Mr and Mrs J.C. OverellThe Pidgeon FamilyDr Peter SherwoodTrevor and Judith St Baker Family 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 Margaret BarrettProf Ian Frazer AC and Mrs Caroline FrazerFrances and Stephen Maitland OAM RFDPage and Marichu MaxsonCP MorrisJustice Anthe PhilippidesDr Graham and Mrs Kate RowJohn Story AO and Georgina StoryAnonymous

VIVACE ($5,000 – 9,999)Dr Philip Aitken and Dr Susan UrquhartDavid and Judith BealDr Julie BeebyM.J. BellottiKay BryanJoseph and Veronika ButtaDr James R. ConnerProf Ian Gough AM and Dr Ruth GoughMalcolm and Andrea Hall-BrownPeggy Allen HayesEstate Barbara Jean HebdenJohn and Helen Keep

Mrs 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)Dr 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 KeaneMs Marie IsacksonDr Colin and Mrs Noela KratzingDr Les and Mrs Pam MaselDesmond B Misso Esq.Barry, Brenda, Thomas and Harry MooreDavid Pratt and Ramon NorrodAnne ShiptonAlan Symons and in memory of Bruce Short, Kevin Woodhouse and Graham WebsterSiganto FoundationElinor 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 BolandProfessors Catherin Bull AM and Dennis Gibson AOConstantine CaridesElene CaridesGreg and Jacinta ChalmersIan and Penny CharltonRoger CraggJulie 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 Lois GriffinM. J. HardingProf Ken Ho and Dr Tessa HoDeb HoulahanDavid Hwang/HD Property GroupAinslie JustMichael Kenny and David GibsonAndrew KopittkeSabina Langenhan and Dr Werner Andreas AlbertDr Frank LeschhornShirley LeuthnerLynne and Francoise LipProf Andrew and Mrs Kate ListerSusan MabinMr Greg and Mrs Jan MarshDr Andrew MaselAnnalisa 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. RobinsTrevor J RowsellNeil W. RootMr Rolf and Mrs Christel SchaferCath ScullyMs Helen SotiriadisRobin SpencerProf Hans Westerman and in memory of Mrs Frederika WestermanMargaret and Robert WilliamsRodney WylieHelen ZappalaAnonymous (19)

TUTTI ($500 - 999)Jill AtkinsonEmeritus Professor Cora V.

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.

BaldockJean ByrnesCarol CarmudieMrs J.A. CassidyDrew and Christine CastleyRobert ClelandDr Beverley Czerwonka-LedezTerry and Jane DaubneyDr C. DavisonLaurie James DeaneGarth and Floranne EversonD.J. Gardiner

Dr Alison HollowayPeter and Catherine HudsonSandra Jeffries and Brian CookM. LejeuneRachel LeungG.D. MoffettDr Tom MooreJohn and Robyn MurrayRon and Marise NilssonDr 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+)Timothy Fairfax ACTim Fairfax Family Foundation

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

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

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

SYMPHONY ($20,000 - $49,999)Dr Philip Aitken and Dr 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)Prof Margaret BarrettMrs I. L. DeanTony Denholder and Scott GibsonMrs Elva EmmersonSophie GalaiseAlan GalweyProf. Ian Gough AM and Dr 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 Deanna Lane Director – Development 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/giving/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

14 PROGRAM | SPECIAL EVENT

QUEENSLAND SYMPHONY ORCHESTRA

Queensland Symphony Orchestra Music Director is proudly supported by Tim Fairfax AC. The Artist-in-Residence program is supported by the T & J St Baker Charitable Trust and The University of Queensland. Queensland Symphony Orchestra 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

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

DOUBLE BASS Phoebe Russell~

Dushan Walkowicz>> Anne Buchanan Justin Bullock Paul O’Brien Ken Poggioli

FLUTE Hayley Radke=

PICCOLO Kate Lawson*

OBOE Huw Jones~ Sarah Meagher>> Alexa Murray

COR ANGLAIS Vivienne Brooke*

CLARINET Irit Silver~ Brian Catchlove+ Kate Travers

BASS CLARINET Nicholas Harmsen*

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

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

VIOLA Bernard Hoey= Yoko Okayasu>> Cédric David 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~ Peter Luff>> Ian O’Brien* Vivienne Collier-Vickers Lauren Manuel

TRUMPET Sarah Butler~ Richard Madden>> Paul Rawson

TROMBONE Jason Redman~ Dale Truscott>>

BASS TROMBONE Tom Coyle*

TUBA Thomas Allely*

HARP Jill Atkinson*

TIMPANI Tim Corkeron*

PERCUSSION David Montgomery~ Josh DeMarchi>>

PROGRAM | SPECIAL EVENT 15

BOARD OF DIRECTORSGreg Wanchap Chairman Rod Pilbeam Deputy Chairman Margaret Barrett Mary Jane Bellotti Tony Denholder Tony Keane John Keep Cat Matson

MANAGEMENTDavid Pratt Chief ExecutiveRos Atkinson Executive Assistant to CE Deb Houlahan Chief Financial OfficerAmy Herbohn Senior Financial AccountantBarbara Harding General Finance CoordinatorMichael Sterzinger Acting Director - Artistic

PlanningMurray Walker Assistant Librarian and

Artistic AdministratorFiona Lale Artist Liaison Matthew Farrell Director – Community

Engagement and Commercial Projects

Nina Logan Orchestra ManagerNadia Myers Orchestra LibrarianPeter Laughton Operations and Projects

ManagerVince Scuderi Production Coordinator Judy Wood Community Engagement

Manager/WHS CoordinatorPam Lowry Education Liaison Officer Matthew Hodge Director - Sales and MarketingRenée Jones Manager - MarketingRachel Churchland Digital Marketing Coordinator Eric Yates Marketing CoordinatorMichael Hyde Senior Sales ManagerEmma Rule Ticketing Services Manager Mike Ruston Ticketing Services Coordinator Yasemin Boz Senior Sales Consultant Deanna Lane Director – DevelopmentKatya Melendez Philanthropy Manager (Maternity Leave)Jenny Roberts Senior Development

CoordinatorRobert Miller Director – Human Resources

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

CHAIRProfessor Peter Coaldrake AO

TRUST MEMBERSCharles BerryDare PowerSusan Rix AMProfessor Chris SarraLeanne de SouzaLeigh Tabrett PSM

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

16 PROGRAM | SPECIAL EVENT

PARTNERS

Government partners

Major partners

Brisbane Central

Gold partners

Principal Partner

Premier partners

Industry collaborators

Artist gifts proudly supplied by Sirromet and French Flowers.

2018 Season Creative Partner

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 Queensland Symphony Orchestra 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 Queensland Symphony Orchestra experience with us.

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

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

@QSOrchestra

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Queensland Symphony Orchestra GPO Box 9994 BRISBANE QLD 4001 Cnr Grey and Russell Street, South Brisbane (07) 3833 5000 info@qso.com.au

QSO Box Office (07) 3833 5044