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TWO THOUSAND AND EIGHTEEN SEASON

JUNE - JULY

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Please take one program between two. 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.

CONTENTSJUNE - JULY

11 ARTIST BIOGRAPHIES

17 SUPPORTING YOUR ORCHESTRA

MORNING MASTERWORKS / MAESTRO TIMELESS ODYSSEYS / MYSTICAL AND MAJESTIC

MAESTRO

RUSSIAN MARVELS

SAT 9 JUN7.30PM

MAESTRO

Concert Hall, QPAC

MORNING MASTERWORKSFRI 8 JUN11AM

MYSTICALMAJESTICAND

TIMELESSODYSSEYS

Conductor Guy BraunsteinPiano Denis Kozhukhin

MORNING MASTERWORKSProkofiev Concerto No.2 in G minor for Piano and Orchestra, Op.16Strauss, R. Also sprach Zarathustra (Thus Spake Zarathustra), TrV 176, Op.30

MAESTROWagner Good Friday Spell (Charfreitagszauber), from ParsifalProkofiev Concerto No.2 in G minor for Piano and Orchestra, Op.16 INTERVALStrauss, R. Also sprach Zarathustra (Thus Spake Zarathustra), TrV 176, Op.30

&

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Richard Wagner (1813-1883) Parsifal, Act III: Good Friday Spell

‘In fernem Land,’ sings Lohengrin at the end of Wagner’s opera of the same name, ‘there stands a castle called Montsalvat holding an immortal cup, the Grail. My father Parsifal wears its crown.’ Thus in 1848, Wagner names the character who will form the subject matter of a work completed nearly 35 years later.

In Parsifal, his last opera, Wagner wrestled with themes that had intrigued him throughout his career – the evil which comes from the eschewal of love; the conflicts of maddening desire; redemption through understanding and renunciation. Using the advanced chromatic musical language that in Tristan and Isolde expressed sexual satiety, Wagner here proposes an alternative: renunciation of longing. In Parsifal, a pure fool (Parsifal) must reclaim the healing holy spear. The Grail-keeper, Amfortas, lost the spear when he succumbed to the charms of Kundry and opened in himself a continually weeping (sexual) wound.

The ‘Good Friday Spell’ occurs just before the last scene of the opera. Parsifal has returned to Montsalvat from his journeys in the outside world, having become possessed, at the moment of the temptress Kundry’s kiss, with a sense of the pain of Amfortas’ suffering. He can now heal Amfortas and become

the leader of the Grail knights. As Gurnemanz crowns him king, a fanfare based on his theme bursts forth followed by a restatement of the sure tread of the ‘faith theme’. The oboe then introduces an entrancing melody which will recur like the verses of a strophic song until the final radiant climax. The music represents the miracle of Spring, a reblooming of the earth at Easter-time.

Adapted from a note by Gordon Williams Symphony Australia © 1999/2004

Sergei Prokofiev (1891-1953) Piano Concerto No.2 in G minor, Op.16

Andantino Scherzo: vivace Intermezzo: allegro moderato Allegro tempestoso

In 1918, while Prokofiev was in the United States, the tenant in his flat back in Petrograd somehow managed to burn the score of his Piano Concerto No.2, requiring the composer to reconstruct the piece from memory. There are differing accounts – both emanating from Prokofiev – of the extent to which this required new composition: he wrote to a friend that the recomposition effectively made the piece a new concerto – his ‘fourth’; in his memoirs, however, he claimed merely to have ‘improved’ the overall form, orchestration and counterpoint.

In its original version, the concerto had enjoyed the sort of reception about which early 20th-century composers tended to dream. Premiered, with the composer at the keyboard, in 1913 in Pavlovsk, the piece famously had the audience walking out with ‘their hair standing on end’, remarking loudly (a story that Prokofiev proudly retailed in his autobiography) about how the music would ‘send them crazy’ and that ‘the cats on the roof make better music!’.

The response to the reconstructed version, which Prokofiev, as luck would have it, made ten years later, was rather more measured when he premiered it in Paris in 1924; it may be that Prokofiev had ‘toned it down’, but equally, Stravinsky and the group known as Les Six had naturalized the sort of modernism that Prokofiev cultivates in this work and it no longer shocked.

After making his professional debut (and simultaneously wowing his Conservatorium examiners) with his First Piano Concerto, Prokofiev had been accused of writing ‘superficial showiness and…keyboard acrobatics’. The 22-year-old had therefore resolved to ‘strive for greater depth in the Second’. Whether he achieved that is another question; certainly the work has far greater length than the first. The outer movements, for instance, each play for over ten minutes, and the work as a whole is almost twice the length of the earlier work.

The Andantino first movement is expansive, as signalled by the brief pizzicato theme answered by a section for piano that suggests Prokofiev’s older contemporary, Rachmaninov. The focal point of the movement is a breathtaking

cadenza which ushers in a fortissimo statement of the opening pizzicato theme. Here the Rachmaninovian manner is even more pronounced, as the soloist sails through increasingly opulent orchestral textures.

The scherzo which follows is vintage Prokofiev, with its unrelenting stream of piano semiquavers glittering coldly throughout. So too is the Intermezzo, which has nothing autumnal or late-Brahmsian about it.

The finale draws together a number of thematic threads from the previous three movements, and binds them into a fearsomely energetic structure: there are moments of dark introspection related to the opening movement and brief passages of nostalgic Russian melody. There is also much carnivalesque humour and, after a ‘false’ ending, another brilliant solo passage which leads to the work’s somewhat ironic conclusion.

It is an extremely demanding work to play, and even Prokofiev neglected it in favour of the Third Concerto during his years as a virtuoso. Apart from a brief vogue in the Soviet Union at the time of Prokofiev’s return in the 1930s, it remained a rarity until rescued from obscurity by pianists such as Vladimir Ashkenazy only in the 1960s.

Abridged from a note by Gordon Kerry © 2009

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SOLOISTS AND SPONTANEITY SAT 4 AUG 7.30pm Concert Hall, QPACIt’s not just Alondra de la Parra and Sergio Tiempo who star in this concert – you can glimpse all of the orchestral players as soloists in these winning works. Stravinsky’s Dumbarton Oaks kicks off proceedings and recalls Bach’s Brandenburg Concertos in its bustling themes. Composed in 1909, Rachmaninov’s third piano concerto then electrifies with its complex piano work and romantic melodies. Finally, Bartok’s Concerto for Orchestra spotlights orchestral sections, duos and individuals in a pacy finish. Bravo!

BOOK NOW qso.com.auThe Queensland Symphony Orchestra Music Director is proudly supported by Tim Fairfax AC. The Artist-in-Residence program is supported by the Trevor & Judith St Baker Family Foundation and The University of Queensland.

Richard Strauss (1864-1949)Also sprach Zarathustra (Thus Spake Zarathustra) – Symphonic poem, Op.30

Introduction: Sunrise Of the Back-worlds-men Of the Great Longing Of Joys and Passions The Funeral Song Of Science The Convalescent The Dance Song Night Wanderer’s Song

In the summer of 1892 Strauss took leave of his duties at the Weimar Opera and travelled extensively through Italy, Greece and Egypt, soaking up the sun, but more importantly enjoying the awesome physical remains of the ancient pagan civilisations. It was at this time that he began to think about a musical response to some of the ideas of the German philosopher Friedrich Nietzsche, particularly those expressed in his poem Also sprach Zarathustra (Thus Spake Zoroaster), though the work’s composition had to wait until 1896.

Zoroaster (as he was known to the ancient Greeks) was a Persian prophet living in the sixth century BCE who taught that the universe, and humankind in particular, is subject to the eternal struggle of two gods, represented by light and darkness; his religion survives among the Parsees of modern India. Nietzsche’s relationship to Zoroastrian ideas is fairly loose, and

as Norman Del Mar puts it, he used these ‘as a prop on which to clothe his own ideas on the purpose and destiny of mankind’. The most famous – indeed, notorious – of these is the idea of the Übermensch or Superman. While Nietzsche (and, it must be admitted, the younger Strauss) were disdainful of Christianity’s compassion for weakness, it is drawing a long bow to make Nietzsche responsible for the atrocities of Nazism.

Strauss’ work is, as he said, ‘freely after Fr. Nietzsche’ which afforded him ‘much aesthetic enjoyment’ rather than any profound philosophical conversion. Strauss takes some of the chapter headings of the poem as the defining images for each section of his tone-poem. It begins with the famous invocation to the sun, with low rumbling accompanying the trumpets’ simple C-G-C theme (which in much of Strauss represents primeval nature). The increasing blaze of full chords establishes C major as one pole of the work (and as Del Mar notes, the sound of the organ at the end of the section adds a liturgical note). Of the Back-worlds-men depicts humanity in its primitive, or rather naïve, state (in B minor, significantly – B being the other tonal pole of the piece). Strauss includes those who profess Christianity in this category, quoting a fragment of the plainchant for the Credo to underline his point.

Of the Great Longing is a depiction of humanity’s search for something beyond mere superstition, but Strauss’ music dramatises the conflict between nature (the trumpet theme) and humanity’s tendency to create dogma with more hints of plainchant and the unresolved

conflict between the keys of C and B. A new chromatic motif leads into Of Joys and Passions. The following Funeral Song is in B minor, and therefore linked to the idea of man.

Of Science is based on a deeply voiced fugue that Strauss described as ‘spine-chilling’. In The Convalescent, Nietzsche describes Zoroaster’s spiritual and physical collapse, after which he emerges as the Superman. The Dance Song of the Superman is a Viennese waltz – a Straussian joke, perhaps. Here poet and composer part company: Strauss’ Zoroaster displays none of the triumphalism that Nietzsche’s does, and the work closes with a mysterious and tranquil Night Wanderer’s Song in which the keys of nature and man still quietly contend.

Abridged from a note by Gordon Kerry © 2004

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PROGRAM JUN - JUL 8

SAT 14 JUL 7.30PM

MAESTRO

RUSSIAN MARVELS

Concert Hall, QPAC

Conductor Giancarlo GuerreroPiano Stephen Hough

MAESTROTchaikovsky Marche slave (Slavonic March), Op.31Rachmaninov Rhapsody on a Theme of Paganini, Op.43INTERVALShostakovich Symphony No.10 in E minor, Op.93

LISTENING GUIDE

Peter Ilyich Tchaikovsky (1840-1893) Marche slave, Op.31

In June 1876, Pan-Slavic soldiers went to war against Turkey, with the support of Tsar Alexander II. A few months later, Nikolay Rubinstein conducted the premiere of Tchaikovsky’s Marche slave (Slavonic March) in Moscow, at a benefit concert for wounded troops.

The principal tunes are drawn from Serbian folk themes, and there is also an appearance of God Save the Tsar. The march begins with a funeral and ends with a victory, which caused the premiere audience to cheer wildly. César Cui, one of the ‘Mighty Handful’ of Russian nationalist composers, called it ‘perhaps the most wonderful of all interpretations, in any artistic field, of the state of mind engendered by the events we have been witnessing’.

Marche slave is also significant for being one of the first works Tchaikovsky conducted in public. He wrote to his sister, ‘I have lately found the courage to appear as a conductor. I was very clumsy and nervous, but I managed (with considerable success) to conduct my Serbo-Russian March in the Opera House. From now on I will take every opportunity to conduct, for if my plan of a concert tour abroad comes off, I shall have to be my own conductor.’ By 1891, Tchaikovsky had improved to the point of presenting a successful concert of his own works in Paris – a concert which included the Marche slave.

© Symphony Australia

Sergei Rachmaninov (1873-1943) Rhapsody on a Theme of Paganini, Op.43

On leaving Russia for good in 1917, Rachmaninov descended into a composerly silence. While he busied himself with his self-appointed task of acquiring a concert pianist’s repertoire, so that he could earn a steady income, he ceased composing altogether.

After settling in the USA, he gave 40 concerts in four months during his first season there. But he gradually reduced his concert commitments until, in 1925, he had nine months free of performances. During this period he composed his first post-Russian pieces, Three Russian Songs for Chorus and Orchestra, which were well received, and the Piano Concerto No.4, which was greeted with widespread indifference after its 1927 debut. Rachmaninov, always sensitive about his own music, did not produce another work for four years.

When the Variations on a Theme of Corelli for solo piano appeared in 1931, they indicated that a large-scale variation structure might serve Rachmaninov’s musical needs better than the more traditional concerto structure in which success had so recently eluded him. The Corelli Variations, based on the baroque popular tune La Folia, might be thought of as the moodier, introspective dress

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rehearsal for the work that was to follow: the Rhapsody on a theme of Paganini, based on Paganini’s celebrated 24th Caprice.

In the Rhapsody, Rachmaninov seems to grasp the big picture and distil a sense of unity, from variation to variation, that he does not achieve in the more extended forms of the Fourth Concerto. Yet the Rhapsody’s theme and 24 variations actually behave like a four-movement work. Variations 1 to 11 form a quick first movement with cadenza; Variations 12 to 15 supply the equivalent of a scherzo/minuet; Variations 16 to 18, the slow movement; and the final six variations, the dashing finale.

We actually hear the first variation – a skeletal march that evokes Paganini’s bony frame – before the theme itself. The ensuing variations are increasingly animated and decorative until Variation 7 gives us a first glimpse, on the piano, of the Dies irae chant from the requiem mass which features prominently in Rachmaninov’s output, and appears again in brazen octaves on the piano in Variation 10 of this work. In the celebrated 18th Variation, Rachmaninov uses his sleight of hand to turn Paganini’s theme upside down and create a luxuriant, much admired (and much imitated) melody of his own. Rachmaninov is reported to have said of it: ‘This one is for my agent.’ The six final variations evoke Paganini’s legendary left-hand pizzicato playing (Variation 19) and the demonic aspects of the Paganini legend, with more references to the Dies irae and an increasing emphasis on pianistic and orchestral virtuosity in the last two variations.

The Rhapsody attained an instant popularity that has never waned. Rachmaninov finally had a new ‘concerto’ to play, and was asked to do so frequently. The work has wit, charm, shapeliness, a clear sense of colour, strong rhythmic impetus and a dashing, suitably fiendish solo part that translates Paganini’s legendary virtuosity into a completely different musical context.

Adapted from a note by Phillip Sametz © 2000

Dmitri Shostakovich (1906-1975)Symphony No.10 in E minor, Op.93 Moderato Allegro Allegretto Andante – Allegro

Ever since Western listeners realised they might have been wrong to take Shostakovich at his word when he described his Fifth Symphony as ‘a Soviet artist’s reply to just criticism’, we have pondered the real meaning of Shostakovich’s works. The Symphony No.10, premiered in December 1953, is supposed to be about Joseph Stalin, who had died some months earlier. It is easy to imagine such a meaning for the heavy-booted ‘gopak dance’ of the second movement. And the first movement seems to possess that mixture of despondency and relief which

may be expected when, after 40 years, you no longer have to feel that every acquaintance is a suspected police informer but haven’t yet felt safe to fully vent your anger.

The first movement, longer than the third and fourth movements put together, exhibits a masterly control of tension. Though heavy with thoughtful pauses, the mood of the opening, deep in the strings, is very much that of a slow stirring to life. The late Klaus George Roy, annotator for the Cleveland Orchestra, pointed out that the clarinet theme that then emerges may be a quote from the Mahler song Urlicht: ‘Mensch liegt in grösster Not’ (Humankind lies in direst need). We have been listening for nearly eight minutes when the flute launches what could perhaps be described as a pessimistic waltz. It is the development which unleashes for the first time the movement’s underlying terror. Significantly, the ‘Mahler quote’ material is developed. The scale of emotion is immense: in the central tutti, the violins have to play continuously for well over four minutes with scarcely a semiquaver rest. Such an outburst, however, fails to dispel the predominantly bleak mood.

The contrasting styles of the first two movements suggest the high probability of an internal program. But what does the third movement mean? Here Shostakovich quotes his own musical motto, the notes D – E flat – C – B, which in German musical nomenclature spell DSCH, for D. Schostakowisch. The opening bars, though, present the DSCH motif in altered form (C – D – E flat – B). Could this symbolise the mask Shostakovich had to assume in public? The whole of the second half of this symphony sees, in critic Michael

Steinberg’s words, the ‘imprinting of [Shostakovich’s] own presence’, and in the finale the ‘Shostakovich theme’ seems to assume a warning role.

This finale opens solemnly. Then, with a flourish, the Allegro begins, and we are led to a raucous, apparently high-spirited conclusion. It can be argued that this Allegro is a counterweight to the first movement. But can we assume that no meaning is desired here? David Heaton speaks of Shostakovich’s finales as ‘false dawns’. You might be meant to hear them as hollow celebrations.

And though Stalin was dead, Shostakovich’s Tenth Symphony was still subjected to criticism by the Union of Soviet Composers. Boris Yarustovsky said that the work was ‘[a] tragedy of the profoundly isolated individual, helpless in the face of the forces of evil…Such a conception of the world is very far from that which is experienced by the majority of Soviet people.’ Shostakovich responded by offering his own self-criticism: the first movement is too long, the second movement too short, the third movement, though ‘more or less successful’, is too long in some places and too short in others. How could anyone take this as serious self-criticism? It was Shostakovich at his usual passive-aggressive game. The sober truth is that Shostakovich was an artist placed in an impossible situation. But the music itself supports Arnold Schoenberg’s assessment that Shostakovich was one of the few of his contemporaries to have ‘the breath of a symphonist’.

Abridged from a note by G.K. Williams Symphony Australia © 1999/2012

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BIOGRAPHIESBIOGRAPHIES

Guy Braunstein Conductor Violinist Guy Braunstein was born in Tel Aviv and studied under the guidance of Chaim Taub and later in New York with Glenn Dicterow and Pinchas Zuckerman. He started performing as an international soloist and a chamber musician at a young age and has since performed with many of the world’s greatest orchestras and conductors. His chamber music collaborations have included projects with Issac Stern, András Schiff, Zubin Mehta, Maurizio Pollini, Yefim Bronfman, Daniel Barenboim, Sir Simon Rattle, Mitsuko Uchida and Angelika Kirschlager to name a few. He was the youngest person ever to be appointed concertmaster of the Berliner Philharmoniker in 2000, a position he held for 12 years before leaving to pursue his solo career.

Highlights of the 2016/17 season included concerto performances with Danish National Symphony, Orchestre National du Capitole de Toulouse, Bournemouth Symphony, Noord Nederlands Orkest and Orchestra Filarmonica del Teatro di Fenice amongst others.

Guy Braunstein is increasingly in demand as a conductor and next season will conduct orchestras including Orquesta Sinfonica de Galicia, Trondheim Symphony, Hamburger Symphoniker and Lahti Symphony. Guy Braunstein will also perform chamber music and recitals throughout Europe. Guy Braunstein plays a rare violin made by Francesco Roggieri in 1679.

Denis Kozhukhin Piano Winner of the First Prize in the 2010 Queen Elisabeth Competition in Brussels at the age of 23, Denis Kozhukhin has established himself as one of the greatest pianists of his generation. Technically flawless, Denis Kozhukhin combines the brilliance and power of his playing with a masterful sense of form, maturity, and a very unique sensitivity.

Born in Nizhni Novgorod, Russia, in 1986 into a family of musicians, Denis Kozhukhin began his piano studies at the age of five with his mother. As a boy, he attended the Balakirev School of Music where he studied under Natalia Fish. From 2000 to 2007, Kozhukhin studied at the Reina Sofía School of Music in Madrid with Dimitri Bashkirov and Claudio Martinez-Mehner.

Highlights of his 2016/17 season include engagements with the Royal Concertgebouw Orchestra, Chicago Symphony Orchestra, Philharmonia Orchestra, Deutsches Symphonie-Orchester Berlin, Philadelphia Orchestra, Mahler Chamber Orchestra, San Francisco Symphony, Frankfurt Radio Symphony Orchestra, Czech Philharmonic, Royal Stockholm Philharmonic Orchestra, Oslo Philharmonic Orchestra, Toronto Symphony Orchestra and Orchestre de la Suisse Romande.

As a recitalist, recent and upcoming highlights include returns to the Concertgebouw’s Master Pianists Series, Vienna Konzerthaus, Cologne Philharmonie, Wigmore Hall, Verbier Festival, London’s International Piano Series, and the participation in the opening of the Boulez Saal in Berlin alongside Maestro Daniel Barenboim.

An avid chamber musician, Denis Kozhukhin is frequently invited to international festivals such as Verbier Festival, Rheingau Music Festival, Intonations Festival, Jerusalem International Chamber Music Festival, and has collaborated with such artists as Leonidas Kavakos, Michael Barenboim, Renaud and Gautier Capuçon, Janine Jansen, Vadim Repin, Julian Rachlin, the Jerusalem Quartet, the Pavel Haas Quartet, Radovan Vlatkovic, Jörg Widmann, Emmanuel Pahud and Alisa Weilerstein, amongst others.

Giancarlo Guerrero Conductor

Giancarlo Guerrero is the six-time GRAMMY® award winning Music Director of the Nashville Symphony Orchestra, a post he has held since 2009 and has committed to through the 2024-25 season. In 2017, he was also appointed Music Director of the Wrocław Philharmonic at the National Forum of Music in Poland and Principal Guest

Conductor of the Gulbenkian Orchestra in Lisbon, Portugal.

A passionate proponent of new music, Giancarlo Guerrero has championed the works of several of America's most respected composers through commissions, recordings, and world premieres. Guerrero’s advocacy has helped make Nashville a destination for contemporary music. Giancarlo Guerrero has presented eight world premieres with the Nashville Symphony including the 2016 performance and GRAMMY®-winning recording of Michael Daugherty’s cello concerto Tales of Hemingway. A well-travelled guest conductor, Giancarlo Guerrero enjoys relationships with orchestras around the world. In the 2017/18 season, guest conducting engagements include the Boston Symphony, Cleveland Orchestra, Detroit Symphony, Queensland Symphony, Sydney Symphony, Brussels Philharmonic, Residentie Orchestra in Hague and Gulbenkian Orchestra in Lisbon, among others.

Giancarlo Guerrero previously held posts as the Principal Guest Conductor of The Cleveland Orchestra, Miami Residency (2011-2016), Music Director of the Eugene Symphony (2002-2009), and Associate Conductor of the Minnesota Orchestra (1999-2004).

Giancarlo Guerrero is particularly engaged with conducting training orchestras and works regularly with the Curtis School of Music, Colburn School in Los Angeles, Yale Philharmonia, and in recent years has developed a relationship with the National Youth Orchestra (NYO2) in New York, created and operated by the Weill Institute of Music at Carnegie Hall.

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BIOGRAPHIES

Stephen Hough Piano

One of the most distinctive artists of his generation, Stephen Hough combines a distinguished career as a pianist with those of composer and writer. Named by The Economist as one of Twenty Living Polymaths, Stephen Hough was the first classical performer to be awarded a MacArthur Fellowship and was made a Commander of the Order of the British Empire (CBE) in the New Year’s Honours 2014.

Since taking first prize at the 1983 Naumburg Competition in New York, Stephen Hough has performed with many of the world’s major orchestras and has given recitals at the most prestigious concert halls. He is a regular guest at festivals such as Salzburg, La Roque- d'Anthéron, Mostly Mozart, Edinburgh, and BBC Proms, where he has made more than 20 concerto appearances.

Recent and upcoming highlights include performances with the BBC Symphony, London Philharmonic, Hallé, Orchestre Philharmonique de Strasbourg, Orchestre Philharmonique de Monte-Carlo, Sydney Symphony, Seoul Philharmonic, Dallas and St Louis Symphonies, New York Philharmonic and The Cleveland orchestras. In 2018, he became Artist-in-Residence at the Royal Liverpool Philharmonic Orchestra, performing a cycle of Beethoven concertos, and will give recitals at New York’s Carnegie

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Hall and London’s Royal Festival Hall (International Piano Series) amongst others.

Stephen Hough’s extensive discography of over 60 CDs has garnered international awards including the Diapason d’Or de l’Année, several GRAMMY® nominations, and eight Gramophone Awards including Record of the Year and the Gold Disc. Stephen Hough has published essays in several academic anthologies and has written for The Telegraph, The Times, The Guardian, Evening Standard and Independent.

Let yourself go... and feel part of the action!We are delighted to invite you to make a significant contribution to the growth of Queensland Symphony Orchestra by becoming a Music Chair Donor and supporting one of our extraordinary musicians.

As a Music Chair Donor you will:• Enable Queensland Symphony Orchestra to expand our number of world class musicians.• Make a direct and personal contact with a member of the Orchestra.• Direct your social impact investment towards the careers of our wonderful musicians.• Experience an open rehearsal including, where possible, sit on stage amongst the musicians

and feel the sheer power of a symphony orchestra in full flight.• Meet other Music Chair Donors at a series of special events and lunches.• Extend your networks by connecting with peers, colleagues and new contacts.

To become a Music Chair Donor, please contact our Development Team

P (07) 3833 5027 E development@qso.com.au

Download the donation form at:

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B E R N S T E I N

A T 1 0 0

S P E C I A L E V E N T

CONDUCTOR ALONDR A DE L A PARR A

PIANO ANDREAS HAEFLIGER BRISBANE CHOR ALE VOICES OF BIRR ALEE

F R I 2 4 A U G 1 1 A MS A T 2 5 A U G 7. 3 0 P M

C O N C E R T H A L L , Q P A C

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

Co-presented by Queensland Symphony Orchestra and QPAC

S P E C I A L E V E N T

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

C O N D U C T O R A L O N D R A D E L A P A R R A M E Z Z O S O P R A N O L I L L I P A A S I K I V I

C H I L D R E N ’ S C H O R U S F R O M V O I C E S O F B I R R A L E E

A L O N D R A C O N D U C T S M A H L E R 3

S AT 2 4 N O V7. 3 0 P M C O N C E R T H A L L , Q P A C

(N O T) THE LAST NIGHT OFTHE PROMS

THUR 9 AUG 7.30PMCONCERT HALL, QPAC

Conductor Alondra de la ParraPiano Jorge Viladoms

Didjeridu William BartonChorale Brisbane Chorale

Prossima Program Students from Brisbane Girls Grammar School

Queensland Symphony Orchestra Music Director is proudly supported by Tim Fairfax AC. This program is supported by The Honourable Justice Anthe Philippides.

PROGRAM JUN - JUL 18

CONCERTMASTERWarwick AdeneyProf Ian Frazer ACand Mrs Caroline Frazer

Estate Barbara Jean Hebden

Cathryn Mittelheuser AM

John Story AO and Georgina Story

ASSOCIATE CONCERTMASTERAlan SmithArthur Waring

FIRST VIOLINLinda CarelloMs Helen Sotiriadis

Shane ChenJessica Read

Lynn ColeNeil W. Root

Priscilla HockingDr Colin and Mrs Noela Kratzing

Ann HoltzapffelAitken Whyte Lawyers

Rebecca SeymourDr John H. Casey

Joan ShihQueensland Symphony Orchestra Admin Team

Brenda SullivanHeidi Rademacher and in memory of Hans Rademacher

Anonymous

Stephen TookeTony and Patricia Keane

Brynley WhiteGraeme Rosewarne and Jim O’Neill

SECTION PRINCIPAL SECOND VIOLINGail AitkenDr John H. Casey

Wayne BrennanArthur Waring

SECOND VIOLINJane Burroughs Dr Graham and Mrs Kate Row

Faina Dobrenko The Curavis Fund

Delia Kinmont Anonymous

Natalie Low Dr Ralph and Mrs Susan Cobcroft

Nicholas ThinYoung Professional Circle

Helen TraversElinor and Tony Travers

Harold WilsonTrevor J Rowsell

ASSOCIATE PRINCIPAL VIOLAYoko OkayasuDr Damien Thomson and Dr Glenise Berry

VIOLACharlotte Burbrook de VereDi Jameson

Nicole GreentreeShirley Leuthner

Bernard HoeyDesmond B. Misso Esq

Kirsten Hulin-BobartCP Morris

Graham SimpsonAlan Galwey

Nicholas TomkinAlan Symons

SECTION PRINCIPAL CELLODavid LaleArthur Waring

ASSOCIATE PRINCIPAL CELLOHyungSuk 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

ASSOCIATE PRINCIPAL DOUBLE BASSDushan Walkowicz Amanda Boland

DOUBLE BASSAnne BuchananDr Betty Byrne Henderson AM

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

CHAIR DONORSAs at May 2018

CHAIR DONORS

Thank you

Justin BullockMichael Kenny and David Gibson

Paul O'BrienRoslyn Carter

Ken 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 Morris

SECTION PRINCIPAL FRENCH HORNMalcolm StewartArthur Waring

FRENCH HORNVivienne Collier-VickersMs Marie Isackson

Lauren ManuelDr John H. Casey

SECTION PRINCIPAL TRUMPETSarah ButlerMrs Andrea Kriewaldt

ASSOCIATE PRINCIPAL TRUMPETRichard MaddenElinor and Tony Travers

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 Urquhart

Peggy Allen Hayes

SECTION PRINCIPAL PERCUSSIONDavid MontgomeryDr Graham and Mrs Kate Row

PERCUSSIONJosh DeMarchiDr Graham and Mrs Kate Row

As at May 2018

20 PROGRAM JUN - JUL

ALLEGRO ($100,000 – 249,999)Tim Fairfax ACTim Fairfax Family Foundation

CON BRIO($50,000 - $99,999)Philip Bacon GalleriesProf. Ian Frazer AC and Mrs Caroline Frazer Di JamesonIn memory of Mr and Mrs J.C. OverellThe Pidgeon FamilyTrevor and Judith St Baker Family FoundationArthur Waring

INTERMEZZO($20,000 - $49,999)Estate of Susan Mary BlakeDr John H. CaseyJohn Story AO and Georgina StoryGreg and Jan WanchapAnonymous (1)

GRAZIOSO ($10,000 - $19,999)Morgans FoundationCathryn Mittelheuser AMCP MorrisJustice Anthe PhilippidesDr Graham and Mrs Kate RowMrs Beverley June SmithAnonymous (2)

VIVACE ($5,000 - $9,999)Dr Philip Aitken and Dr Susan UrquhartJohn and Janet AllanDavid and Judith BealDr Julie BeebyJoseph and Veronika ButtaDr James R ConnerProf. Ian Gough AM and Dr Ruth GoughMalcolm and Andrea Hall-Brown

Peggy Allen HayesMrs Andrea KriewaldtFrances and Stephen Maitland OAM RFDDesmond B Misso Esq.Noosa Federation of the ArtsHeidi Rademacher and in memory of Hans RademacherJohn B Reid AO and Lynn Rainbow ReidNeil W Root and Trevor J RowsellElinor and Tony TraversNoel and Geraldine Whittaker

PRESTO ($2,500 - $4,999)Prof. Margaret BarrettMrs Roslyn CarterSarah and Mark CombeMrs Ruth CoxJustice Martin DaubneyBenn DayMrs I. L. DeanDr and Mrs W.R. HeaslopTony and Patricia KeaneDr Les and Mrs Pam MaselAnne ShiptonAlan Symons and in memory of Bruce Short, Kevin Woodhouse and Graham WebsterSiganto FoundationDr Damien Thomson and Dr Glenise BerryAnonymous (2)

STRETTO ($1,000 - $2,499)Julieanne AlroeDr Geoffrey Barnes and in memory of Mrs Elizabeth BarnesWilliam and Erica BattM.J. BellottiMrs Valma BirdAmanda BolandProfessors Catherin Bull AM and Dennis Gibson AODr Betty Byrne Henderson AM

Constantine CaridesElene CaridesGreg and Jacinta ChalmersIan and Penny CharltonDr Ralph and Mrs Susan CobcroftJulie Crozier and Peter HopsonThe Curavis FundProf. Peter and Mrs Ann EdwardsMrs Elva EmmersonC.M. and I.G. FurnivalAlan GalweyLea and John GreenawayMr John and Mrs Lois GriffinDeb HoulahanMs Marie IsacksonMs Lydia JordaneAinslie JustJohn and Helen KeepMichael Kenny and David GibsonDr Colin and Mrs Noela KratzingDr 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 QCIan PatersonDavid Pratt and Ramon NorrodJessica ReadIn memory of Pat RichesAitken Whyte LawyersG and B RobinsGraeme Rosewarne and Jim O'NeillMr Rolf and Mrs Christel SchaferCath ScullyMs Helen SotiriadisRobin SpencerMrs H Tully

Recognising music lovers who have supported your Orchestra over the last 12 months. Queensland Symphony Orchestra is proud to acknowledge the generosity and support of our valued donors.

ANNUAL GIVINGAs at May 2018

Prof. Hans Westerman and in memory of Mrs Frederika WestermanJennifer WhybirdMargaret and Robert WilliamsRodney WylieAnonymous (16)

TUTTI ($500 - $999)Jill AtkinsonEmeritus Professor Cora V. BaldockTrudy BennettDr Sheena L. BurnellJean ByrnesPeter and Tricia CallaghanCarol CarmudieMrs J. A. CassidyDrew and Christine CastleyRobert ClelandMr Kevin CosgraveDr Beverley Czerwonka-LedezTerry and Jane DaubneyDr C. DavisonLaurie James DeaneMrs Wendy DrewProf. John and Mrs Denise Elkins

Garth and Floranne EversonD J GardinerMs Christine GayDr Edgar Gold AM, QC and Dr Judith Gold CMMs Julia GrayDr Alison HollowaySandra Jeffries and Brian CookM. LejeuneRachel LeungG.D. MoffettDr Tom MooreJohn and Robyn MurrayRon and Marise NilssonDr Phelim ReillyJoan RossAndrew SimmonsDr Margaret SorokaAlison StanfordBarb and Dan StylesKatherine Trent and Paul ReedTanya VianoMrs Juanita WrightAnonymous (17)

Thank you

Let yourself go... and make an impact!I am delighted to invite you to make a significant contribution to the growth of Queensland Symphony Orchestra.

• Enable Queensland Symphony Orchestra to expand our number of world class musicians.• Decide where your funds go.• Hear from captains of industry on current issues and global trends.• Make a personal connection with our musicians.• Extend your networks by connecting with peers, colleagues and new contacts.

Leadership Circle Annual Fee is tax deductible: $1,000 per person in a group of 10.

Join us to experience the sheer power and full gamut of emotions from a symphony orchestra in full flight.

I look forward to personally welcoming you to the Leadership Circle.

To join the Leadership Circle, please contact our Development Team

P (07) 3833 5027 E development@qso.com.au

As a participant, in a Leadership Circle you will:

Alondra de la ParraMusic DirectorQueensland Symphony Orchestra

PROGRAM JUN - JUL 21 PROGRAM JUN - JUL 22

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

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

PATRON($100,000 – $249,000)Philip Bacon GalleriesEstate of Susan Mary BlakeEstate of Barbara Jean HebdenDi JamesonJellinbah GroupCathryn 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)Peggy Allen HayesThe John Villiers TrustMrs Andrea KriewaldtFrances and Stephen Maitland OAM RFDIn memory of Mr and Mrs J.C. OverellJustice Anthe PhilippidesDr Graham and Mrs Kate Row

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 CobcroftMs Marie IsacksonDr Les and Mrs Pam MaselPage and Marichu MaxsonDesmond B Misso Esq.Heidi Rademacher and in memory of Hans RademacherAnne ShiptonDr Damien Thomson and Dr Glenise BerryElinor and Tony TraversRodney WylieAnonymous (3)

CONCERTO($10,000 – $19,999)Prof. Margaret BarrettDr Betty Byrne Henderson AMDr James R ConnerMrs 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. LejeuneMorgans FoundationIan PatersonAnonymous (1)

Recognising those visionary donors whose regular, lifetime giving exceeds $10,000.

LIFETIME GIVINGAs at May 2018

Thank you

YOUNG PROFESSIONAL CIRCLERecognising Young Professionals in our community who collectively support an individual musician’s chair within the Orchestra and share their ideas and energy to help us create a sustainable and exciting future for Queensland Symphony Orchestra.

Shadi AhmadMichelle BagnallDr Sheena L. BurnellJonathan Butler-WhiteRoger CantMr Rowan DanielewskiMarina DatovaHelen DavisBenn DayStephanie DerringtonMs Amelia DobsonGrant and Karen GastonEloise GluerAmy GreeneHannah GriggMiss Cassandra Heilbronn

Andrew and Anita JonesElizabeth KellyMr Alexander MackBenjamin McIntyreMarnie NicholsMichaela PoundJessica ReadInna RybkinaPenelope SmidNicholas W SmithHilary TroyJennifer WhybirdDr Geoffrey Chia-Yu Wu

Thank you

As at May 2018

We are delighted to announce that our collective fees have now sponsored two musicians.

• HyungSuk Bae - Associate Principal Cello

• Nicholas Thin - Second Violin

Let yourself go... and make a difference!We are delighted to invite you to join the Queensland Symphony Orchestra Young Professional Circle.

• The Young Professional Circle program is designed to deliver the following opportunities:• Engage in philanthropy as your annual donation collectively supports a Music Chair.• Develop leadership skills through a series of professional development events with a strong connection to

music and culture.• Expand personal and professional networks through a calendar of social activities. Such as those listed

below;• Develop a deeper understanding of the role of music in our community;• Make a personal connection with members of the Orchestra.• Access a range of fabulous offers from our participating partners.

The Young Professional Circle are invited and encouraged to share their ideas and energy to help us create a sustainable and exciting future for Queensland Symphony Orchestra.

Join now and make a difference, contact our Development Team

P (07) 3833 5027 E development@qso.com.au

The purpose of the Young Professional Circle is to engage young professionals in the work, music and life of Queensland Symphony Orchestra and to provide an insight into the workings of a not-for-profit.

qso.com.au/ypc

OUR SYMPHONY ORCHESTRA IS FOR ALL OF QUEENSLAND. Taking our Music far and wide takes a big commitment. Your support will help us continue.

Title

First name

Surname

Organisation Name (If Applicable)

Address

Postcode

E-mail:

Phone:

2018 END OF FINANCIAL YEAR APPEAL

Amount of gift $

Monthly Gift

One-time gift only

Please debit my credit card:

Mastercard Visa AMEX

Card number

Expiry /

Name on card

Signature

OR

Direct deposit to Queensland Symphony Orchestra Pty Ltd Bank: NAB BSB: 084 004 Account: 751920115 Description: Your SURNAME;FIRST NAME

I have donated online at: qso.com.au/giving/donate-now

Cheque enclosed (payable to Queensland Symphony Orchestra Fund)

Please call me to arrange my gift by phone

Please send to: Queensland Symphony Orchestra Development Reply Paid 9994, BRISBANE QLD 4001 (no stamp required)

For further enquiries contact our Development Team

P (07) 3833 5027 E development@qso.com.au

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.

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

MUSIC DIRECTOR Alondra de la Parra

ARTIST-IN-RESIDENCE Sergio Tiempo

CONDUCTOR LAUREATE Johannes Fritzsch

CONDUCTOR EMERITUS Werner Andreas Albert

CONCERTMASTER Warwick Adeney

ASSOCIATE CONCERTMASTER Alan Smith

CELLO David Lale ~ HyungSuk Bae >> 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 Shane Chen 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 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 ~ 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>>

THANK YOU FOR YOUR GENEROUS GIFT

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

The Queensland Symphony Orchestra Fund is a tax deductible fund listed on the Register of Cultural Organisations under subdivision 30-B of the Income Tax Assessment Act 1997. Donations of $2 or more are tax deductible.

PROGRAM JUN - JUL 25

BOARD OF DIRECTORSChris Freeman AM Chair Rod Pilbeam Deputy ChairProf Margaret Barrett Mary Jane Bellotti Emma Covacevich Tony DenholderSimon Gallaher Tony Keane John Keep Cat Matson

MANAGEMENTDavid Pratt Chief ExecutiveRos Atkinson Executive Assistant to Chief Executive Deb Houlahan Chief Financial Officer and Director of Corporate ServicesAmy Herbohn Senior Financial AccountantBarb Harding General Finance CoordinatorChris Schomberg Human Resources Advisor

Judy Wood Community Engagement ManagerPam Lowry Education Liaison OfficerTimothy Matthies Director - Artistic Planning (25 June)

Michael Sterzinger Manager - Artistic Administration (25 June)

Murray Walker Artistic AdministratorFiona Lale Artist Liaison

Matthew Farrell Director – Orchestra ManagementNina Logan Orchestra ManagerAsh Retter Operations AssistantPeter Laughton Operations and Projects ManagerVince Scuderi Production CoordinatorNadia Myers Orchestra LibrarianMurray Walker Assistant Librarian

Deanna Lane Director – DevelopmentKatya Melendez Philanthropy Manager Carolyn Bowes Senior Development CoordinatorKaren Towers Development Coordinator 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

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

CHAIRProfessor Peter Coaldrake AO

DEPUTY CHAIRLeigh Tabrett PSM

TRUST MEMBERSDare PowerSusan Rix AMProfessor Chris SarraLeanne de Souza

EXECUTIVE STAFFChief Executive: John Kotzas Executive Director – Stakeholder Engagement Strategy: Jackie Branch Executive Director – Visitation: Roxanne Hopkins Executive Director – Business Performance: Kieron RoostActing Executive Director - Curatorial: Bill Jessop ACKNOWLEDGEMENTThe 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 ArtsDirector 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.

PARTNERS

Government Partners Principal Partner

2018 Season Creative Partner

Gold Partners

Industry Collaborators

Premier Partners

Brisbane Central

Accommodation Partners

Major Partners

Education Partner

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

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.

Please refrain from talking during performances.

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 info@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.

QUEENSLAND SYMPHONY ORCHESTRA ON THE RADIOSelected Queensland Symphony Orchestra performances are recorded for future broadcast. For further details visit abc.net.au/classic and 4mbs.com.au.