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TWO THOUSAND AND EIGHTEEN SEASON

APR - MAY

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11

17MAESTRO

RACHMANINOV SYMPHONIC DANCES Pre-concert talk at 6.30pm with Dr Simon Perry

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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.

CONTENTSAPRIL - MAY

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27 ARTIST BIOGRAPHIES

35 SUPPORTING YOUR ORCHESTRA

MORNING MASTERWORKS / MAESTRO DYNAMIC DUO / AN EMOTIONAL ROLLERCOASTER Pre-concert talk at 6.30pm on 14 April with Dr Simon Perry

CHORAL

FAURÉ REQUIEM

MUSIC ON SUNDAYS

CINDERELLA AND SCHEHERAZADE

Conductor Stefan ParkmanBaritone Teddy Tahu Rhodes

Soprano Morgan England-JonesThe Australian VoicesDir. Gordon Hamilton

Stravinsky Funeral Song, Op.5Britten Four Sea Interludes from Peter Grimes Op.33a

Whitacre CloudburstINTERVAL

Fauré Requiem, Op.48

FAURÉ REQUIEM

SAT 7 APR 7.30PM

CHORAL

Concert Hall, QPAC

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PROGRAM APR - MAY 3

LISTENING GUIDE

think of it fondly and could recall two central aspects of it. Firstly, he noted its advanced chromatic harmony (using all 12 notes in the octave). Chromaticism is present throughout the work, and makes its first appearance in the mournful, descending lines played by tremolo strings at the beginning, accompanied by the orchestra exploring the extreme ends of its tonal range. Tuba plays its lowest notes, while the wind instruments are at their most piercingly shrill with a motif that moves down through the orchestra as it repeats. The music creates an eerie atmosphere which evokes the impression of a mist-filled graveyard. A doleful theme played by solo horn is passed to the strings and then other sections of the orchestra, repeated many times and in different keys by different instruments.

The second recollection Stravinsky had was of a piece in which each solo instrument of the orchestra presents a melody, like a wreath, as they form a procession past the tomb. When the procession theme finishes, low strings recommence the chromatic motif first heard at the beginning of the work in the strings. The orchestra resumes the theme, but it is short-lived, interrupted by sustained flutes and a timpani roll.

© Celia Fitz-Walter

Igor Stravinsky (1882-1971) Funeral Song, Op.5 Funeral Song was composed by the Russian Igor Stravinsky as a tribute to his composition teacher and personal mentor, Nikolai Rimsky-Korsakov, whose influence can be heard in the rich colours and glittering harmonies of the orchestra. Stravinsky began composing at a relatively late age and was 26 years old when he produced this early work. For those familiar with his illustrious Rite of Spring, composed only four years later, it may be difficult to hear similarities between the two works, indicating just how quickly Stravinsky’s compositional style developed at the beginning of his career. There are, however, connections to The Firebird (1910), with a similar opening in both works.

After receiving its first performance in Russia in 1909, the score to Funeral Song was lost and thought to have vanished in the Russian Revolution. It was only very recently, in 2015, that its orchestral parts were unearthed in the library of the Saint Petersburg Conservatory and identified by musicologist Dr Natalya Braginskaya, who helped to re-construct the score. After almost 108 years, the work received its second performance in December 2016, again in Russia, before the score became available for further performances elsewhere. Stravinsky, who died in 1971, could not clearly remember the work, however did

4 PROGRAM APR - MAY

LISTENING GUIDE

Benjamin Britten (1913-1976) Four Sea Interludes from Peter Grimes, Op.33a i. Dawn (Act I) ii. Sunday Morning (Act II) iii. Moonlight (Act III) iv. Storm (Act I)

Peter Grimes, Benjamin Britten's second opera, is thought to have kick-started the revival of English opera. It was inspired by George Crabbe’s narrative poem about the tragic story of Peter Grimes, a fisherman ostracised by his community after being accused of murder. The poem not only resonated with Britten because it was set in his native Suffolk, but because he, like Grimes, had felt lonely and misunderstood as a homosexual in the 1940s. The premiere of the opera featured Britten’s partner, the tenor Peter Pears, in the title role. The four movements heard here are instrumental interludes that occur between scenes in the opera. The music of each movement represents various states of the sea.

I) Dawn

The first movement, Dawn, illustrates what it is like to walk alone along the beach as the sun is rising. The music consists of three main themes that represent different aspects of the scene. The first to appear, played by high-pitched, unison flutes and violins, is like the morning sun piercing through the clouds. Fast runs and trills depict light reflecting off the waves. The second

theme, shimmering rising and falling arpeggios in the clarinets, violas, and harp, imitate waves gently lapping at the shore.

Stately bassoons, brass, and low strings play the third theme, which adds solemnity to the movement. The swelling and booming brass and pounding timpani are like dramatic waves that occasionally thud in the ocean.

II) Sunday Morning

Sunday Morning sets the scene for worship in the town’s church against the backdrop of the ocean. Overlapping horns, like ringing church bells, begin the movement, providing a template for the bright, rhythmic melody first heard in the woodwinds, with flutes fluttering like birds. Animated violas and cellos take up the bright, ever-rising, meandering melody, like light reflecting off the morning waves, accompanied sometimes by plucked and downward runs on the violins. Church bells toll alongside horns, clashing with the melody, while woodwinds, trumpets, and strings evoke smaller bells. Weaving throughout the strings' lyrical theme is a bird-like piccolo.

III) Moonlight

This slow and languid movement illustrates the peaceful tide of the sea at night. Gently undulating music is pierced by flute and harp, like glints of moonlight reflecting in the dark ocean. Violins remain silent for the first section of the movement in order to maintain a dark colour. The yearning harmony becomes increasingly troubled, with trumpet and xylophone adding intensity.

PROGRAM APR - MAY 5

LISTENING GUIDE

at a time when Whitacre had been reading a book of poems by the Mexican poet, Octavio Paz, and he decided to incorporate both aspects into this work, setting Paz’s text against the backdrop of the natural phenomenon.

Cloudburst incorporates a number of aleatoric, or chance, elements, which reflect the unpredictability of nature. The choir begins the work unaccompanied, in pure and ethereal-sounding sustained tones that soon become textured through tone clusters and text spoken randomly by each singer. A baritone solo follows, and handbells and singers intersperse randomly in an aleatoric section. Choristers click their fingers to imitate the sound of falling raindrops and a thunder sheet (a sheet of metal) and other percussion instruments are used to evoke the sound of a storm. After the storm, the piece concludes in a similar fashion to how it began, with the addition of chordal interjections on the piano.


About Cloudburst, the composer has written:

In 1991, Dr Jocelyn K. Jensen approached me about writing a piece for her high school choir. She is an amazing conductor, legendary for doing crazy things on stage (choralography, lighting, costumes, you name it), and I wanted to write something for her that would really knock the audience out. I had recently been given an exquisite book of poems by Octavio Paz and around the same time I witnessed an actual (breathtaking) desert cloudburst, and I

Eric Whitacre (born 1970)Text adapted by composer from ‘El cántaro roto’ by Octavio Paz (1914-1998)

Cloudburst

Grammy-Award winning American composer Eric Whitacre is one of the most well-known choral composers alive. His popularity grew after he established an online or ‘virtual choir’ which allowed choristers from around the world to sing together. Whitacre’s musical style is often characterised by tone clusters, where several chords are heard at once, and Cloudburst is no different. Written when he was 21, it was inspired by the composer’s experience of witnessing a cloudburst (a short, intense period of rainfall, sometimes accompanied by hail and thunder) in the desert. This occurred

IV) Storm

The fast and vigorous fourth movement illustrates both the violence of a storm at sea, and the inner turmoil experienced by Grimes. Thunderous timpani, intense strings, and raging brass come in destructive waves. When the storm calms down, the harp runs up like a cresting wave, and raindrops start appearing in the woodwinds. The storm eventually builds up again, with the sea becoming increasingly rough and destructive. The movement ends with surges of sound representing the triumphant storm.


Photo by Marc Royce

PROGRAM APR - MAY 6

LISTENING GUIDE

guess it just all lined up. The finger snapping thing (all of the singers snap their fingers to simulate rain) is an old campfire game that I modified for the work, and the thunder sheets were giant pieces of tin we took from the side of the school.

© Eric Whitacre

Dime, tierra quemada, no hay agua? hay sólo sangre, sólo hay polvo, sólo pisadas de pies desnudos sobre la espina?

But tell me, burnt earth, is there no water? Only blood, only dust, only naked footsteps on the thorns?

SONG TEXT Text: Octavio Paz (adapted by Eric Whitacre) Translation: Lysander Kemp © 1959 by Octavio Paz and Lysander Kemp. Reprinted under licence from Walton Music Corp.

The broken water-jar

The rain…

Eyes of shadow-water eyes of well-water, eyes of dream-water.

El cántara roto

La lluvia…

Ojos de agua de sombra, ojos de agua de pozo, ojos de agua de sueño.

Soles azules, verdes remolinos, picos de luz que abren astros como granadas.

Blue suns, green whirlwinds, birdbeaks of light pecking open pomegranate stars.

La lluvia despierta…

Hay que dormir con los ojos abiertos, hay que soñar con las manos, soñemos sueños activos de río buscando su cauce,

The rain awakens…

We must sleep with open eyes, we must dream with our hands, we must dream the dreams of a river seeking its course,

sueños de sol soñando sus mundos, hay que soñar en voz alta, hay que cantar hasta que el canto eche raíces, tronco, ramas, pájaros, astros, hay que desenterrar la palabra perdida, recordar lo que dicen la sangre y la marea,le tierra y el cuerpo, volver al punto de partida…

of the sun dreaming its worlds, we must dream aloud, we must sing till the song puts forth roots, trunk, branches, birds, stars, we must find the lost word, and remember what the blood, the tides, the earth, and the body say, and return to the point of departure…

PROGRAM APR - MAY 7

LISTENING GUIDE

Gabriel Fauré (1845-1924) Requiem, Op.48 i. Introit et Kyrieii. Offertoireiii. Sanctusiv. Pie Jesuv. Agnus Deivi. Libera mevii. In paradisum The Requiem by French composer Gabriel Fauré is scored for orchestra, choir, soprano and baritone soloists, and grand organ. Unlike other requiems, it is not morose and sombre. As an organist, Fauré had played at many funerals and wanted to focus on a more tender and peaceful outlook on death. The full orchestral version presented here was first performed at Fauré’s own funeral in 1924.

I. Introit and KyrieThe first movement begins with all the instruments of the orchestra playing the same note over two octaves, soon followed by a stately, chant-like minor melody in the choir. The orchestral accompaniment to the choir is usually slow and simple, with longing strings providing a beautiful countermelody to that of the singers.

II. OffertoriumThe offertory was not originally included in the first version of the Requiem; it was added in 1889. The first section is in a major key but begins with a rising minor third in the cellos, which is then taken up in the violas, before it is played by

both instruments. An unaccompanied choral section follows, beginning in the altos and imitated by the tenors. The orchestra rejoins before the baritone soloist begins the second section of this movement, accompanied by the organ, while a simple countermelody, characterised by two-note groupings, is played by the orchestra. The basses begin the final section of the work, repeating the first section. Each section of the choir enters in succession, doubled by the organ, before being joined by quiet strings.

III. SanctusHarp arpeggios provide an ethereal backdrop for a melody, first sung softly in the sopranos, that consists of the alternation between just three notes. This melody, also taken up by the tenors and basses, who sing in turns with the sopranos, is then also accompanied by a blissful, rising and falling melody in the violins. A fuller and louder orchestra signals a change in tone, and the horns and trumpets sound out a fanfare, which is mirrored by the tenors and basses proclaiming ‘Hosanna in excelsis’ (praise in the highest), repeated by the sopranos but, along with the trumpet and horn, becoming softer to allow the movement to return to the heavenly mood in which it began.

IV. Pie JesuThe soprano soloist is featured in this tranquil movement, singing a largely step-wise melody, which begins and ends the movement. The only accompaniment here is the organ, muted strings, and the harp.

V. Agnus DeiThe orchestra begins with an uplifting viola melody, accompanied by organ and plucked double basses.

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LISTENING GUIDE

The tenors enter before a change to a minor key, increased rhythmic activity, and the arrival of the remainder of the choir signals a more ominous mood. The sopranos commence the next section, ‘lux aeterna luceat eis’, with a peaceful, haunting melody. The choir then begins to draw the movement to an end by their repetition of the ‘Introit’ already heard at the beginning of the Requiem, before the orchestra closes with a reprisal of the ‘Agnus Dei’ melody.

VI. Libera meOriginally composed as an independent work, the ‘Libera me’ begins with the baritone soloist, accompanied by low, plucked strings and organ. The intensity builds when the rest of the choir joins, and horn calls signal a change in mood, enunciated further by the choir’s insistent ‘Dies Irae’. Although there is a drop in intensity, it soon builds again, before the movement draws to a close with the return of the introductory melody sung by solo baritone and accompanied by plucked strings and organ.

VII. In paradisiumThe text to this final movement, typically spoken at a gravesite, is sung by sopranos in an upward, dream-like melody. The organ accompanies with a sparse, rising and falling motif that continues throughout the whole movement. Sublime harmonies are created with the arrival of the remainder of the choir.

The sopranos again find themselves featured, this time also accompanied by the beautiful tones of the solo violin, while the harp mirrors the continuous organ accompaniment and the solo violin and viola play a sustained note.

The orchestra repeats the introductory section of the movement and the choir makes a gentle return. The work ends with an unresolved cadence, suggesting timelessness.


DID YOU KNOW?

As performed at the Madeleine on 16 January 1888, Fauré’s Requiem consisted of Introit and Kyrie, Sanctus, Pie Jesu, Agnus Dei and In Paradisum. The choir and treble soloist were accompanied by organ and a small orchestra. In the revised version of 1893 Fauré added the Offertorium and Libera me (of 1877) with baritone soloist, as well as expanding the orchestration. Later, seemingly at the urging of his publisher, Fauré produced a fully orchestrated version (which you will hear this evening), first performed at the Trocadéro Palace in 1900. It is not certain whether Fauré or one of his pupils adapted the orchestration in this final version.

© Symphony Australia

PROGRAM APR - MAY 9

LIBRETTO

I. Introït et Kyrie

Requiem aeternam dona eis Domine et lux perpetua luceat eis. Te decet hymnus, Deus in Sion et tibi reddetur votum in Jerusalem. Exaudi orationem meam ad te omnis caro veniet.

Kyrie eleison. Christe eleison.

II. Offertoire

O Domine Jesu Christe, rex gloriae, libera animas defunctorum de poenis inferni et de profundo lacu; de ore leonis ne absorbeat Tartarus; ne cadant in obscurum. Amen.

Hostias et preces tibi, Domine Laudis offerimus. Tu suscipe pro animabus illis Quarum hodie memoriam facimus; fac eas Domine de morte transire ad vitam;quam olim Abrahae promisisti et semini ejus.

III. Sanctus

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

IV. Pie Jesu

Pie Jesu Domine Dona eis requiem, sempiternam requiem.

V. Agnus Dei

Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam. Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es.Requiem aeternam dona eis Domine, et lux perpetua luceat eis.

VI. Libera me

Libera me Domine de morte aeterna in die illa tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem. Tremens factus sum ego et timeo, dum discussio venerit atque ventura ira: quando coeli movendi sunt et terra. Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde. Requiem aeternam dona eis Domine, Et lux perpetua luceat eis. Libera me Domine de morte aeterna in die illa tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem.

VII. In Paradisum

In paradisum deducant angeli in tuo adventu suscipiant te martyres et perducant te in civitatem sanctum Jerusalem. Chorus angelorum te suscipiat, et cum Lazaro quondam paupere,aeternam habeas requiem.

Text of Gabriel Fauré’s Requiem (Latin)

10 PROGRAM APR - MAY

LIBRETTO

I. Introit and Kyrie

Grant them eternal rest, Lord And may perpetual light shine on them.To you, God, hymns of praise are sung in Sion and unto you shall vows be performed in Jerusalem. Hear my prayer; To you shall come all flesh.

Lord have mercy. Christ have mercy.

II. Offertory

O Lord Jesus Christ, king of glory, Free the departed souls from the pains of hell and from the deep pit; from the jaws of the lion; let them not be swallowed up nor vanish into darkness.

Amen.

Our sacrifice and prayers, Lord, we offer to you with praise. Receive them on behalf of the souls who we remember today; make them, Lord, pass from death to life, as you promised Abraham and his seed.

III. Sanctus

Holy, holy, holy Lord God of hosts. Heaven and earth are full of your glory.Hosanna in the highest.

IV. Pie Jesu

Merciful Lord Jesus Grant them rest, eternal rest.

V. Agnus Dei

Lamb of God, who takes away the sins of the world, grant them rest. Lamb of God, who takes away the sins of the world, grant them eternal rest. May perpetual light shine on them, Lord with your saints throughout eternity, by your grace. Grant them eternal rest, Lord, and may perpetual light shine on them.

VI. Libera me

Deliver me, Lord, from eternal death on that terrible day, when earth and heaven are shaken; when you come to judge all things by fire. I am trembling and afraid, until the trial comes, and the wrath; when earth and heaven are shaken. Day of torment, day of wrath, calamity and misery, greatest and most bitter day. Grant them eternal rest, Lord, and may perpetual light shine on them. Deliver me, Lord, from eternal death on that terrible day, when earth and heaven are shaken; when you come to judge all things by fire.

VII. In Paradisum

May angels lead you into Paradise; may you be received by the martyrs and brought to the holy city of Jerusalem.May choirs of angels greet you, and with Lazarus, who was once lowly,may you find eternal rest.

Ed. MB 9-7-98

Text of Gabriel Fauré’s Requiem (English)

FRI 14 APR 7.30PM

MAESTRO

AN EMOTIONALROLLERCOASTER

Concert Hall, QPAC

DYNAMIC DUOConductor Alexander PriorPiano Sergio Tiempo2018 Artist-in-Residence

MORNING MASTERWORKSGinastera Concerto No.1 for Piano and Orchestra, Op.28Brahms Symphony No.4 in E minor, Op.98

MAESTRODebussy Prélude á “L’après-midi d’un faune” (Prelude to The Afternoon of a Faun)Ginastera Concerto No.1 for Piano and Orchestra, Op.28INTERVALBrahms Symphony No.4 in E minor, Op.98

MORNING MASTERWORKS

FRI 13 APR 11AM

Morning Masterworks is proudly supported by 4MBS Classic FM.The Artist-in-Residence program is supported by the Trevor & Judith St Baker Family Foundation and The University of Queensland.

Pre-concert talk at 6.30pm 14 April with Dr Simon Perry

PROGRAM APR - MAY 12

LISTENING GUIDE

brand new invention. Firstly, the oboe longingly elaborates on it, accompanied by swelling strings, and the violin and then clarinet extends the rest of the tune. Harp glissandos indicate a return to the flute playing its opening motif, while the orchestra provides a wash of rich colours beneath it.

The second section of the work is more animated, beginning with a lively clarinet theme that is answered by rhythmic cellos. Oboes present another, equally lively, theme that is again completed by the violins. The winds and horns begin an animated theme followed by a clarinet solo in a new key. After the winds elaborate on the theme, the strings enter with a luxurious melody, accompanied by syncopated winds and harp.

A thinning texture makes way to fragments of the theme in the horns, clarinets, then oboes, while solo violin cries out a longing melody. A change in key and harp arpeggios lead to the return of the opening theme on the flute. The theme is again fragmented and passed between instruments, before its return to the flute, with violins again occupying melodic interest. Antique cymbals (very small cymbals) are the only percussion instruments featured in the piece, and they make their first appearance during the end of the work. Solo cello, along with the flutes and then horns, revive the main theme before the work finishes in a calm and restful mood with gently plucked cellos and double basses.


Claude Debussy (1862-1918) Prélude à ‘L’après-midi d’un faune’(Prelude to The Afternoon of a Faun) Prélude à l'après-midi d'un faune by French composer Claude Debussy is a symphonic poem (a piece of music based on a descriptive theme). It was inspired by Stéphane Mallarmé’s poem of the same title, about a faun (a mythical creature, half man and half goat) who drifts off to sleep on a hot summer afternoon in the woods, dreaming about nymphs and naiads (female spirits). He makes a reed-pipe, which he plays to express the enchantment and lust he feels towards the spirits.

The work begins with solo flute (representing the reed-pipe) playing a languid, curvy, chromatic melody that almost sounds improvised. Its seductive, free-flowing rhythm, along with harp glissandos, add to the dreamy quality. A pause in the flute’s theme makes way for two slightly dissonant chords that begin in the oboes, clarinets, then horn, backed by harp. Horns are muted, as if in the distance. Strings play quietly for most of the work, using mutes or bowing over the fingerboards to create a hushed tones. Their obscure beat adds to the fluctuating nature of the work. The sinuous, opening flute melody forms the basis for much of the piece, and is passed from one instrument to another. Rather than develop the theme, Debussy placed it into new contexts or scenes, mirroring the scene-change techniques of the cinema which was a

Morning Masterworks is proudly supported by 4MBS Classic FM.The Artist-in-Residence program is supported by the Trevor & Judith St Baker Family Foundation and The University of Queensland.


LISTENING GUIDE

Alberto Ginastera (1916-1983) Concerto No.1 for Piano and Orchestra, Op.28i. Candenza e Variantii. Scherzo Allucinanteiii. Adagissimoiv. Toccata Concertata Alberto Ginastera was a leading Argentinian composer. In the 1950s, his music became more modernist with the increased use of dissonant harmonies, complex and elaborate rhythms, and dramatic, harsh sounds, yet it retained piano techniques used in Romantic concertos, such as racing, virtuosic passages (sometimes played in octaves), elaborate arpeggios, and colourful orchestration. These techniques are all featured in Ginastera’s Piano Concerto No.1, which premiered in 1961. Rather than follow the traditional three-movement outline, the concerto contains four movements, like Brahms’ Second Piano Concerto. It also replicates the Brahms in its placement of the cadenza at the beginning of the piece. The concerto is a very personal, idiosyncratic example of twelve-tone composition. Although it was not produced during Ginastera’s ‘nationalistic’ period of composition, it still displays patriotic character through its use of lyrical melodies and vibrant rhythms connected with folk music.

I) Cadenza e Variant

The first movement begins with three ominous chords in the orchestra that introduce a twelve-note theme (each chord presents four different notes, until

all twelve have been heard). The piano responds with an elaborate opening cadenza, full of descending octaves and trills. The cadenza, which takes up half of the movement, includes the orchestra, focused on the brass, imitating phrases initiated by the piano or accompanying with rhythmic repetitions of the opening chords. A timpani roll intensifies a piano crescendo with flurries of notes into the highest register, followed by a slow descent and resolution of tension, activity and volume lessening to nothing, sustaining the third of the opening chords, the celesta adding a glistening sheen. There are then ten variations of the twelve-tone theme, in which the piano alternates with the orchestra, all with their own distinctive tone and character.

The first variation is solo piano at a slow tempo, centred on a single repeating note. The second variation opens with muted strings, contrasting with piano accompanied by woodwinds. Further variations culminate in the tenth and final variation, which brings the whole orchestra in to play fortissimo chords briefly before leading into the coda. The coda brings back ideas from the cadenza, brass leading strings and woodwinds, while the piano elaborates. The orchestra is marked ‘tutta forza’, maximum force, as all instruments join for hammered dissonant chords to finish the movement.

II) Scherzo Allucinante

Rhythms from the Argentinian Malambo dance are heard throughout this movement, which is in arch form (consisting of an introduction, a middle section, and then a coda which is similar to the introduction). Cellos, then violas and violins, play Malambo rhythms with staccato harmonics. The celesta, harp,


LISTENING GUIDE

xylophone, and glockenspiel join, adding a crystalline, delicate hallucinatory effect. Malambo rhythms are scattered amongst flutter-tongued flutes, plucked strings, muted brass, and bassoons. Listen for the overlapping arpeggios initiated by bass clarinet, the glissando plucked celli, and tremolo strings playing close to the bridge.

III) Adagissimo

Beginning with a painstakingly beautiful melody on solo viola, the third movement is slow and intensely passionate. The orchestra then dramatically leaps into a new melody, but it is not long before a sense of remoteness returns with a meandering piano joined by soft strings. While the piano trills, the orchestra builds for the arrival of a new mysterious theme. The movement ends quietly, ascending on the same notes as the strings of a guitar.

IV) Toccata Concertata

In the fourth and final movement, the Malambo rhythm again dominates. There are seven sections in this movement, framed by a short introduction and coda.

It begins with a seven-note dissonant chord that builds intensely, dominated by brass. The piano in the low register introduces the hammering Malambo rhythms. It is joined by bass clarinet, bassoons, cellos and basses, and then by the brass section and the xylophone, with percussion interjections. The strings take over in a higher register, joined by high flutes and clarinets. The final movement, the most energetic and colourful of the concerto, ends in excitement, after a brilliant display of bravura from the piano.


Johannes Brahms (1833-1897) Symphony No.4 in E minor, Op.98i. Allegro non troppo ii. Andante moderato iii. Allegro giocoso iv. Allegro energico e passionate The music of German composer and pianist Johannes Brahms was influenced by the polyphonies of the Renaissance and Baroque periods, as well as folk and dance idioms. Brahms was a master of symphonic writing. He spent 22 years fastidiously editing his first symphony before it was premiered in 1876, with Brahms at the relatively advanced age of 43. His fourth and last symphony was composed in 1885. It is a compositional masterpiece of balance and repetition, with a tragic undertone.

I. Allegro non troppo

The first thematic idea begins at once in the violins, with a lyrical, enchanting melody that grows increasingly impassioned as it falls and rises. This theme, which returns throughout the movement in various guises, is built on a chain of thirds, Brahms’ favourite melodic interval, which he used throughout the entire symphony. Woodwinds, horns, and the remainder of the strings echo the violin’s melody, before forming a dialogue with each other. The movement builds to an intense, emotional climax, resplendent with a trumpet fanfare and insistent strings, before descending thirds on flutes herald the opening theme in the violins, which also appears in a modified form,


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in a minor tonality. The original notes are also heard, sustained, in the oboes, clarinets, and bassoons. Another call-and-answer ensues between plucked strings and woodwinds and then one last expressive rendition of the beginning theme is heard before the movement draws to a triumphant close, full of contrasts and climaxes, with a dramatic timpani roll and exuberant orchestra.

II. Andante moderato

Solo horn begins the heroic second movement with a solemn fanfare, and it is soon joined by all the other wind instruments except for the clarinet. Dotted rhythms in the winds set up the full theme that is played in the clarinets. Plucked strings and light bassoons and flutes provide accompaniment to the theme in the clarinets, before it is taken over by the horns. Clarinet and bassoons play exotic-sounding fanfares, before horns pave the way for another statement of the theme. After a number of reiterations of the first theme, the violins play with their bows for the first time in the movement, sounding out an expansive melody, while the other strings remain plucking as accompaniment. The cellos soon pick up their bows to play the second theme, a warm, gently undulating melody. The accompaniment drops down to bassoon, violins, and violas. An alternation of arpeggios between various instruments then ascends with a rising flute line into the re-introduction of the first theme. Instead of the clarinet, however, violas, and then horns, get their chance to present the melody. Fanfares are heard amongst more reiterations of the first and second theme, before the movement draws to a close, again with a timpani roll then punctuation with plucked strings.

III. Allegro giocoso

The orchestra presents a loud and energetic theme, and for the first time in this work we hear the piccolo, contrabassoon, and triangle. This introductory theme has three different parts to it that are repeated throughout. Again, fanfares, drum rolls, and descending thirds are prominent. Nearly a minute in we hear the more gentle second theme in the first violins, accompanied by light strings and trickling winds, before it is taken over by the winds. The orchestra alternates between the first and second theme for the remainder of the movement, developing and varying each. To close, triangle accompanies the timpani on its final roll.

IV. Allegro energico e passionato

Listen carefully to the opening eight notes that form an ascending melodic line, dropping by an octave just before the end. This eight-measure line forms the basis for the rest of the movement as a repeating bass line over which variations occur. This is otherwise known as a passacaglia, a variation form that was popular in the Baroque period.

This repetitive element ties the whole movement together and remains fixed in duration (its eight measures can be counted throughout) but may not always be aurally recognisable as it undergoes harmonic modifications. The bass line is varied 30 times, the first time stated in the trombones, bold and direct, with angry timpani, horns, and plucked strings.



LIBRETTO

Conductor Richard DavisHost Guy Noble

Piano Calvin Abdiel2017 Lev Vlassenko Prize Winner

CINDERELLA AND SCHEHERAZADE

SUN 6 MAY 11.30AM

MUSIC ON SUNDAYS

Concert Hall, QPAC

17


LISTENING GUIDE

John Williams (born 1932)Star Wars: Main Title

Edvard Grieg (1843-1907)Peer Gynt, Suite 1:

MorningIn the Hall of the Mountain King

Sergei Prokofiev (1891-1953)Cinderella, Suite 1:

Cinderella's WaltzMidnight

Peter Ilyich Tchaikovsky (1840-1893)The Sleeping Beauty, Suite:

Adagio: Pas d'action

Camille Saint-Saëns (1835-1921)Africa – Fantasy for Piano and Orchestra

Calvin Abdiel, Piano

Johann Strauss II (1825-1899)Fairytales from the Orient – Waltz

Nikolai Rimsky-Korsakov (1844-1908)Scheherazade: The Tale of the Kalendar Prince

Igor Stravinsky (1882-1971)The Firebird, Suite (1919):

Berceuse Finale

John Williams is a successful American composer who has created the soundtrack to a great number of Hollywood films. His music draws upon the richest colours and textures of the orchestra. It also regularly employs the leitmotif - a recurring musical theme

first associated with the composer Richard Wagner. The leitmotif is, in fact, an important theme in today’s concert. We begin our program with one of the most recognisable pieces of film music: the main theme featured in the Star Wars film franchise. An opening brass fanfare heralds the monumental theme, which is characterised by melodic leaps that break up its step-wise movement. Interjecting accompaniment allows the heroic melody to sound out. A more subdued orchestral section follows, featuring the celesta and piccolo, before the exultant main theme returns.The Norwegian Edvard Grieg is not only considered the leading Scandinavian composer of his generation but also a central figure in the Romantic era. He drew upon his country’s folk tunes in a quest to produce music that reflected his national identity. Peer Gynt was composed as incidental music to a play of the same title, written by countryman Henrik Ibsen, which itself was based on a local fairytale. There are two suites in Grieg’s Peer Gynt, today you will hear the beginning and last movement of the four-movement first suite. The first movement, ‘Morning Mood’ evokes a crisp, country morning. Solo flutes commence with a gently undulating pastoral melody, adorned by occasional grace notes, amidst a backdrop of clarinets and bassoons, then horns. Solo cellos provide a short, contrasting middle section, accompanied by longing upper strings and then rapid arpeggios in the flute and plucked violins and violas. The final movement, ‘In the Hall of the Mountain King’, begins with solitary horns that are followed by plucked cello and bass, in a sneaky-sounding theme that begins to ascend the scale before falling down with small jumps of a third. Staccato bassoons quietly march in the background before they take over the


LISTENING GUIDE

low strings’ theme, an octave apart, while the cellos and basses take up their accompanying march. Sergei Prokofiev was a Russian composer who composed music in the Russian Romantic tradition and also delved into modernism. His Suite No. 1 Op.107 is music for a ballet based on a libretto by Nikolai Volkov, after the fairytale. Cinderella’s Waltz begins with plucked strings that give way to the waltz theme in the strings. Its minor tonality, chromaticism, and unexpected harmonies are atypical for a waltz, and give it an uneasy quality. A whirling theme presented in the wind and brass adds to the unease. A number of quirky melodies ensue, and ascending, layering textures take us to the climactic beginning of Midnight. A clunking woodblock (which resembles the tick-tock of a clock) and a shrill piccolo creates a cacophony, which is built by the discordant nature of other instruments. The remainder of the movement features insistent, descending lines. Pyotr Ilyich Tchaikovsky was another leading Russian composer, prized for his skilled orchestration and beautiful melodies. The following is the second movement of a Suite of music from Sleeping Beauty, a much-loved ballet classic. Winds begin the movement, first with soft octaves in the horn that are overlayed with bassoons and oboes then crescendo into a sustained chord, with the addition of the clarinet. Rapidly ascending and descending arpeggios and scales establish a slumber-like quality to the music, before a gentle, ascending motif in the cor Anglais, clarinet, and harp sets the scene for a tender melody in the violins and violas, with plucked cellos and basses. One of France’s leading 19th century composers, Camille Saint-Saëns was

also an accomplished pianist, amongst his many musical talents. He featured on the earliest recording of this work as the piano soloist. Africa uses indigenous musical materials that Saint-Saëns collected on his travels to his favourite destination. For example, he heard the opening tune in the Saharan Province of Biskra, located in Algeria. The unpredictable melody, which returns throughout the movement, is first played by the oboe, and accents repetitive pitches, amidst a pulsating orchestra. In addition to melodies, Saint-Saëns copied down North African rhythms and ostinati (repeated musical patterns), and syncopated, irregular rhythms and accented off-beats here add to a feeling of instability. We move from one continent to another with Fairytales from the Orient. Johann Strauss Jr. and his father were the waltz superstars of the 19th century. This work was dedicated to the Sultan Abdülhamid Khan for his 50th birthday. In return, the Sultan bestowed upon Strauss Jr. the knightly Order of the Turkish Medjidie. Despite its title, the music here is still very much an Austrian waltz at its core, though colourful melodies give it some distant resemblance to Turkish melodic style and ornamentation. Turkish influence is also present in the percussion, the snare drum and cymbals being imports from Turkish Janissary bands. Nikolai Rimsky-Korsakov was an eminent Russian composer of the late 19th century, particularly in the operatic field. The title of Scheherazade is derived from Shahrazad, the name of the storyteller in Arabian Nights, a collection of mostly Middle Eastern and Indian folk tales. As such, orientalism features heavily in this composition. An exotic-sounding melody on the violin begins this movement, sparingly accompanied


LISTENING GUIDE

by harp strums. Another melody, this one sounding more folk-like, on the bassoon, again only receives minimal accompaniment by one other instrument – the double bass. When the oboe takes over the melody more instruments join in, then the pace quickens with an up-beat melody played by the violins. After an animated passage on the winds, the cello plays a melancholy line. Igor Stravinsky was a Russian composer who first became known for his compositions for the extraordinarily influential Ballets Russes, a travelling Russian ballet company based in Paris. The Firebird was one such composition, and an early work of Stravinsky.

The ballet was based on the legend of the flaming, mythical Firebird from Slavic folklore and also incorporated the Russian tale of Kaschei the Immortal, a sorcerer. The ‘Berceuse’ commences with a beguiling lullaby on solo bassoon, its chromatic descending notes lending an exotic feel. The oboe takes up a descending theme before the bassoon enters again with its lullaby. Strings continue in the ‘Final’, and we now hear from the horn with a poignant theme that is then picked up by the first violins, and then built throughout the orchestra. The brass section provides a faster rendition of the theme, which drives the movement towards its climactic ending.


SAT 12 MAY 7.30PM

MAESTRO

RACHMANINOV SYMPHONIC DANCES

Concert Hall, QPAC

Conductor Stanley DoddsViolin Chad Hoopes

Schmidt Intermezzo from Notre DameBarber Concerto for Violin and Orchestra, Op.14INTERVALRachmaninov Symphonic Dances Op.45

Enjoy coffee, cake and cocktails after tonight’s performance at QPAC’s

downstairs bar – open until late.

Co-Presented by Queensland Symphony Orchestra and QPAC

Pre-concert talk at 6.30pm with Dr Simon Perry


WELCOME FROM QPACWelcome to QPAC’s marvellous Concert Hall for this performance by Queensland Symphony Orchestra, Rachmaninov Symphonic Dances.

We are exceptionally fortunate to have the Queensland Symphony Orchestra as our state orchestral company. Each year, Queensland Symphony Orchestra provides many hours of joyous listening through a program here at QPAC as well as more broadly across Brisbane and Queensland, and further still through many recordings.

There is something absolutely magical about hearing so many high quality musicians playing together on stage. An orchestra is much more than the sum of its parts, although each different section and musician plays an integral role in the resulting music.

Tonight’s performance brings together three composers and variety of styles. Under the direction of conductor Stanley Dodds, Queensland Symphony Orchestra travels from Schmidt’s Intermezzo to Barber’s Concerto for Violin and Orchestra, and then finishes with Rachmaninov’s final work – Symphonic Dances. The Orchestra is joined on stage by up and coming violinist Chad Hoopes who will bring to life Barber’s beguiling theme. I hope you enjoy this performance, and many more by the Queensland Symphony Orchestra. As well as tonight’s performance, I am also particularly looking forward to Bernstein at 100 – sure to be another outstanding night of music by our wonderful Queensland Symphony Orchestra.

John KotzasChief Executive

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 THE AUSTR ALIAN VOICES BRISBANE CHOR ALE VOICES OF B IRR ALEE

S A T 2 5 A U G 7. 3 0 P MC 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


LISTENING GUIDE

Franz Schmidt (1874-1939) Intermezzo from Notre Dame Franz Schmidt was an Austrian composer whose career was hampered by personal tragedy, with the loss of his first wife and then their daughter soon after. Schmidt also had to deal with a barrage of serious health problems and an unwanted association to the Nazis, who embraced his lush, tonal harmonies at a time when it had become unfashionable. This orchestral Intermezzo (a short piece of music that provides a bridge to a new section in the opera) is found in Schmidt’s verismo (‘realism’) opera, Notre Dame, based loosely on The Hunchback of Notre Dame by Victor Hugo.

A simple, rising call in the high register of the strings gives way to the radiant, enveloping sound of the orchestra, before it introduces a heavenly melody. The celestial harp shimmers over the rich strings and the majestic winds. The music moves slowly, lingering over heartfelt, resonant harmonies. Syncopated rhythms and occasionally florid Hungarian folk-style melodies in the strings allude to the gypsy heroine in Notre Dame, Esmerelda.

Samuel Barber (1910-1981) Violin Concerto, Op.14 i. Allegroii. Andanteiii. Presto in moto perpetuo Hailing from Pennsylvania, Samuel Barber was a celebrated American composer who received a number of awards for his compositions, including two Pulitzer Prizes for Music. Composed three years after his hugely successful Adagio for Strings, his Concerto for Violin and Orchestra had troubled beginnings. Firstly, the impending Second World War in Europe meant that Barber, as an American, was advised to leave Switzerland, where he had already begun to compose the concerto. Secondly, he received continual, highly critical feedback from Samuel Fels, who commissioned the work, and the violinist it was composed for, Iso Briselli (Fels’ adopted son). For example, at first the concerto was deemed too simple, and Barber was encouraged to compose more complex, advanced music for the violin. The finale, composed when Barber’s father was unwell, which further hindered compositional progress, was also criticised for not matching the first two movements. Despite its initial setbacks, Barber’s Concerto for Violin and Orchestra went on to become one of the most performed and admired concertos to this day.


LISTENING GUIDE

I. Allegro

The solo violin begins immediately, with a warm, expressive theme that sounds similar to an operatic aria. It consists of a flowing melody, which is contrasted by a short, recurring rhythmic figure that occurs in various forms. Apart from the cellos, who imitate a part of the theme and then follow with gently plucked descending figures, and the horns, who provide additional small embellishments, the winds and strings play sustained notes in the beginning, followed by simple, expressive chords that support the violin’s lyrical melody. As the violin ends its passionate exploration of its highest registers, the clarinet enters with its own, perky theme. The violin continues this theme, but makes it smoother and more harmonically adventurous. The orchestra returns us to the violin’s warm, opening theme, accompanied again by plucked double basses and cellos. The violin then enters with a more animated theme, with sparse accompaniment in the orchestra which is at first imitative. As the violin again ascends into the throes of its highest register, the music takes on a darker tone before the perky clarinet melody returns on the oboe, with the piano mirroring its general shape, and a distant-sounding timpani beating in the background.

II. Andante

Delicate muted strings and lightly punctuating horns lay a delicate harmonic backdrop for the appearance of the solo, melancholic oboe that mostly has a gently rising and falling

motion. The solo is taken over and developed by the cellos, clarinets, flutes, violins, and then horns. For the first time in this movement, we hear the violin soloist, who takes the music to a dramatic, dark place, almost wrestling with the orchestra in turmoil, before it yields and again sounds out the elegiac melody first heard in the movement’s introduction. We are taken further and further into the violin and orchestra’s highest registers, before the solo violin descends with a series of triplets and the music ends plaintively.

III. Presto in moto perpetuo

After a timpani roll, the solo violin launches us into this hurried final movement with its breathtakingly fast triplets. Rather than try to keep up with the virtuosic brilliance of the violin, the rest of the orchestra intersperses the non-stop violin solo with staccato backing and occasional harmonic support. A trilling clarinet makes way to sporadic, rising figures in the flutes and cellos. Quickly descending clarinets, bassoons, and violins attempt to catch up to the solo violinist but fail in their efforts, and the violin powers on. First bassoons and then cellos madly dash upwards, while the violin descends into another series of frantic triplets. The violin and orchestra grow increasingly intense in the explosive finale. Loud horns calls signal the violin’s final run of breathless, rhapsodic triplets.



LISTENING GUIDE

Sergei Rachmaninov (1873-1943)

Symphonic Dances, Op.45i. Non Allegroii. Andante con moto (Tempo di valse)iii. Lento assai – Allegro vivace Sergei Rachmaninov was an esteemed composer, conductor, and pianist from Russia. Symphonic Dances is his final, completed composition, written in 1940, three years before the composer’s death (which occurred three days before his 70th Birthday). The dances represent a culmination of Rachmaninov’s style, quoting from earlier works, but with a modern twist. Each dance presents a theme at the beginning, which, after a contrasting middle section, is then repeated.

I. Non allegro - Lento - Tempo I

The opening movement begins with quiet, driving staccato (detached)notes in the first violins (soon joined by the violas and second violins), before the cor Anglais introduces a jaunty, descending three-note motif, which is passed to the clarinets, bassoons and bass clarinet. The orchestra jolts into a strident, jerky tune before the oboes, clarinets, bassoons, cellos, and double basses resume the opening motif, and are joined by the trumpet and then flute. The orchestra, including the harp, boldly marches on, with beating timpanis, and we hear the three-note motif expanded and modified. The piano enters with a leaping percussive pattern that not only melodically inverts the original motif but also rhythmically inverts it (from

its original short-short-long to a long-short-short rhythm). The addition of the triangle, and later the tambourine and cymbals, along with ascending runs in the flutes, harp, cellos and violas, lend a magical, glistening quality to the music. The music builds and almost erupts before simmering with the introductory three-note motif, which trickles down the cor Anglais, clarinets, bass clarinet, and cellos. A longing oboe solo joined by the clarinet prepares us for the contrasting, calmer middle section. This section features a serene alto saxophone solo, accompanied only by winds and French horn. Syncopated (displaced) rhythms draw allusions to jazz, perhaps a nod to America where this work was composed.

II. Andante con moto (Tempo di valse)

A macabre fanfare on French horns and muted trumpets is a warning for the slow, haunting waltz that follows, beginning in plucked strings. The flutes and clarinets evoke a sense of the otherworldly with their whirling ornamentations. A ghostly yet heartrending melody on solo violin takes over, before the cor Anglais enters with a poignant tune of its own. The waltz ensues, but the orchestra is hesitant, slowing down and speeding up, sounding as though they are filled with trepidation at what might come next. They attempt to override the anxiety, but the opening, haunted waltz returns, becoming increasingly hysterical before drawing to a calm close.

III. Lento assai - Allegro vivace

The energetic final movement quotes the Gregorian chant Dies Irae (“Day of Wrath”) from the ‘Mass of the Dead’. It begins with a burst of sound, followed immediately by plaintive flutes and oboes. Part of the chant’s descending


LISTENING GUIDEmelody is first heard in the trumpets, but the hymn is somewhat veiled in the music at first, becoming clearer as the movement progresses.

A quickening pace, downward shifts, and ominous, tolling bells set up a dark mood, but there are light reprieves in the high registers of the piccolo, flutes, and glockenspiel. The first section of the movement races towards its end, with descending glockenspiel and syncopated punctuations. In the lamenting middle section, descending figures in the clarinets, bass clarinet, bassoon, and cello call to mind the chant. They are followed by glissando in the violins and violas and a racing, rising and falling flute passage, later echoed with the addition of the clarinets and glissando harp. Tremolo strings set the background for the ominous bass clarinet solo, which is soon joined by the clarinets.

A descending, two-note figure appears again in the cor Anglais and clarinets and above it a rising flute solo takes place. The sweeping harp overlays lush strings, amidst a continuing backdrop of gradually descending lines and longing, upwards figures. The first, upbeat section of the movement makes a return and, despite the overwhelmingly foreboding nature of the movement, it rises to its triumphant end. Perhaps Rachmaninov, who was dying from cancer while he was composing this work, wanted to show strength and positivity in the face of death.



BIOGRAPHIES

Stefan Parkman Conductor Stefan Parkman holds the Eric Ericson professorship in choral conducting at the Uppsala University. Since 2010, he is Director Cantorum at the University. Since 2014/15, he is Chief Conductor of the WDR Rundfunkchor Cologne. He held the positions of Chief Conductor of the Swedish Radio Choir (2002-2005) and of the Danish National Radio Choir (1989-2002).

He conducts a great number of professional choirs in Europe and USA such as NDR Choir Hamburg, Rundfunkchor Berlin, Netherlands Radio Choir, Choeur de Radio France, Hungarian Radio Choir, Trinity Choir New York among others.

As a guest conductor Stefan Parkman appears with orchestras including the WDR Symphony, WDR Funkorchester, Dresdner Barockorchester, Kölner Kammerorchester, Odense Symphony, Aarhus Symphony, South Denmark Philharmonic to name a few.

His discography includes more than 30 recordings for Chandos, Dacapo Records and Coviello Classics, including two CDs with the Rundfunkchor Berlin featuring Rodion Shchedrin's The Sealed Angel and the Echo Klassik award-winning recording of Ernst Pepping's Matthew Passion.Stefan Parkman also frequently teaches at masterclasses, seminars and workshops in Sweden and abroad. In 2012, he was a guest professor at the Institute of Sacred Music at Yale University, and Hochschule

für Musik "Hanns Eisler" in Berlin. On several occasions, Stefan Parkman has been the leader of a masterclass with the NDR Choir in Hamburg, arranged by the Dirigentenforum des Deutschen Musikrats.

Teddy Tahu RhodesBaritone Teddy Tahu Rhodes has rapidly established an international career on the opera stage and concert platform. He has performed with the San Francisco, Austin, Washington, Philadelphia, Dallas, Cincinnati, Houston, New York, the Hamburg Staatsoper, Bayerische Staatsoper/Munich, Theatre du Chatelet/Paris, in Vienna, Welsh National Opera and Scottish Opera Companies. Recent seasons include Escamillo (Hamburg, Théatre du Chatalet/Paris, Munich, Bilbao, Metropolitan Opera, OA), Don Giovanni (OA, WA Opera), Scarpia - Tosca (WA Opera), Emille de bec - South Pacific (OA Australian Tour) and King of Siam – The King and I (OA Australian Tour). Teddy also debuted the roles of Méphistophélès (Faust/OA, SOSA and WA Opera), the title role in (Sweeney Todd/Victorian Opera), as well as a second concert tour (From Broadway to La Scala/Australia).

Awards include an ARIA, two Helpmann Awards, a Limelight Award, a Green Room Award plus a MO Award.

In 2018, Teddy Tahu Rhodes commences


BIOGRAPHIES

recording his new CD, I’ll Walk Beside You with ABC Classics, in addition to appearing in Tosca (NZ Opera), Fauré Requiem (Queensland Symphony Orchestra), UK and Australian Bravo Cruises, William Tell and I Capuleti ei Montecchi (Victorian Opera), Bangalow Festival (Southern Cross Soloists) and Don Giovanni (West Australian Opera).

Morgan England-Jones Soprano Morgan England-Jones is a Brisbane-based soprano who hails from Mackay, Queensland, where she began singing from a young age, under her mother’s tutelage. Morgan England-Jones has benefitted from local prizes, including Champion Dramatic Soprano (Queensland Heritage Eisteddfod), Best Performance (North Queensland Eisteddfod) and in 2017, was the recipient of the Great Barrier Reef Partnership and first prize in the Australian Concerto & Vocal Competition’s Open Vocal division.

Morgan England-Jones graduated from Queensland Conservatorium Griffith University with a Bachelor of Music (Performance) in Classical Voice, where she trained with Lisa Gasteen AO. Morgan England-Jones has sung Josephine in HMS Pinafore, as well as featuring as a soloist for Handel’s Messiah, Bach’s Christmas Oratorio and DeCormier’s They Called Her Moses.

In 2016, Morgan England-Jones took part in the Lisa Gasteen National Opera

School, and returned in 2017, with her debut operatic role as Micaela in the collaborative concert, Carmen in Concert. This followed her orchestral debut with Queensland Symphony Orchestra in the Music on Sundays series earlier in the year. In August 2017, she performed the role of soprano soloist in Faure’s Requiem, as part of the Sing with QSO community initiative. She is honoured to reprise this role in the Orchestra’s Choral concert in 2018.

The Australian Voices 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. Hamilton’s composition The 9 Cutest Things That Ever Happened (2013) has been viewed over one million times. In 2014, they made international headlines with a video of Rob Davidson’s Not Now, Not Ever! (2014), a musicalisation of Julia Gillard’s ‘misogyny’ speech.

Their 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, they released an songbook with Edition Peters.

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


BIOGRAPHIES

In 2016 and 2017, The Australian Voices and Queensland Symphony Orchestra presented a collaborative concert series.

Gordon Hamilton Artistic DirectorThe Australian Voices After freelancing for five years in Germany, composer and conductor Gordon Hamilton took over in 2009 as Artistic Director of one of Australia’s foremost vocal ensembles, The Australian Voices.

Several recent works by Gordon Hamilton subvert expectations of the orchestra, including Ghosts in the Orchestra (2014), The Trillion Souls (2015), Thum Prints (for beatboxer and orchestra, 2015) and 482 Variations on a Very Short Theme (2016). His 'Action Hero' (2016) pairs the recorded voice of Arnold Schwarzenegger with orchestra and was premiered by WDR Funkhausorchester, Cologne.

His 50-minute choral opera 'MOON' (2011) has toured Australia, Germany and to the Edinburgh Fringe. Under a cheekier guise, Gordon Hamilton reassembles the contributions of unwitting collaborators. His 'Tra$h Ma$h' (2012) reassembles fleeting grabs from pop songs. 'Toy Story 3 = Awesome!' (2011) - sets a stream of inane consciousness from his own Facebook news feed.

In 2018-19, Gordon Hamilton will conduct the WDR Funkhausorchester (Cologne), the Nürnberg Symphoniker and the Sydney Symphony Orchestra.

Alexander PriorConductor Twenty-five-year-old Alexander Prior is in his first season as the Chief Conductor of the Edmonton Symphony Orchestra.

In the 2017/18 season, Alexander Prior debuts with the Detroit, Hamburg, and Toledo Symphonies; I Musici de Montréal; and Oper Frankfurt conducting Rigoletto, and returns to the Swedish Chamber Orchestra. Highlights of the 2016/17 season included debuts with the Houston Symphony, Vancouver Opera conducting Hänsel und Gretel, and Edmonton Opera conducting Elektra, as well as a return to the Royal Danish Opera conducting Swan Lake.

Recent engagements have included the Royal Philharmonic Orchestra, Copenhagen Philharmonic, NDR Sinfonieorchester, Camerata Salzburg, Düsseldorfer Symphoniker, Norwegian Radio Orchestra, Aarhus Symphony Orchestra, Bayerische Staatskapelle, Vienna Chamber Orchestra, Deutsche Kammerphilharmonie Bremen, Orchestra of Mannheim Opera, and Spanish Radio and Television Symphony Orchestra.

Alexander Prior’s catalogue of compositions is substantial in its share of high-profile commissions. His ballet Mowgli, commissioned by the Moscow State Ballet and first performed at the Kremlin Theatre in 2008, secured international critical acclaim and has now been running for almost ten consecutive years. The Edmonton Symphony recently


BIOGRAPHIES

premiered his latest work, Putl’lt, a large symphonic work inspired by the eponymous Nuxálk word meaning “everything belongs to those generations that are not yet born.”

A graduate of the St. Petersburg Conservatory, Alexander Prior was a James Levine Fellow at the Tanglewood Music Center and was awarded a Conducting Fellowship at the Aspen Music Festival. His mentors include Thomas Dausgaard, Robert Spano, Michael Tilson Thomas at the New World Symphony, Andrew Manze, and Nicholas McGegen and Rafael Fruhbeck de Burgos—both at the Los Angeles Philharmonic.

Sergio TiempoPianoQueensland Symphony Orchestra 2018 Artist-in-Residence

Sergio Tiempo is regarded as one of the most individual and thought-provoking pianists of his generation. He made his professional debut at the Amsterdam Concertgebouw aged 14 and soon became internationally renowned for his raw energy and musical versatility, from Brahms to Villa-Lobos and Ginastera.

Recent highlights include a tour to China, Taiwan and New Zealand, and recitals at the Bergen International Festival. He completed an eight-concert tour of Ginastera’s First Piano Concerto across the US and Europe with the Los Angeles Philharmonic and Gustavo Dudamel, and was consequently

reinvited to perform Tchaikovsky’s First Piano Concerto with Xian Zhang and the Los Angeles Philharmonic. He returns to the Hollywood Bowl this summer.

Further orchestral collaborations include the Orchestre Philharmonique de Radio France, Simón Bolívar Orchestra, Singapore Symphony and BBC Symphony alongside eminent conductors such as Claudio Abbado, Myung Whun Chung and Leonard Slatkin.

A committed recitalist, engagements have included a sell-out recital debut at the Queen Elizabeth Hall in London, the Vienna Konzerthaus, the Wigmore Hall and the Berlin Philharmonie.

Sergio Tiempo has made a number of highly distinctive and acclaimed recordings. With Karin Lechner he has recorded Tango Rhapsody by Federico Jusid, commissioned especially for the duo and the RSI Lugano. He will be releasing two separate duo recordings on Avanti Classics with his musical mentors Martha Argerich and Nelson Freire, which follows his solo recording entitled Legacy.

The Artist-in-Residence program is supported by the T & J St Baker Charitable Trust and the University of Queensland.


BIOGRAPHIES

Richard DavisConductor Richard Davis is presently Chief Conductor and Head of Orchestral Studies at the Melbourne Conservatorium of Music. He regularly conducts orchestras, such as Queensland Symphony and BBC Philharmonic, in concerts, recordings, national radio broadcasts and on television. Richard has also directed operas and requiem masses with the BBC Singers and has just been invited to make his debut with the City of Birmingham Symphony Orchestra.

He is known for his wide-ranging repertoire, allowing him to conduct projects across many genres – from television soundtracks and Family Concerts to recording avant-garde world premieres and performing the symphonies of Shostakovich and Mahler.

Richard Davis is also in great demand, conducting the top professional orchestras, at major rock-events with chart-topping groups such as The 1975 and Clean Bandit. The former recently won the BBC Music Award for ‘Best Live Performance of 2016’ and the latter was subsequently made into a Warner Music CD and DVD – New Eyes (special edition) that stayed in the top 40 UK Album Charts for months.

In 2010, Richard Davis stepped into an indisposed conductor’s shoes and

Guy NobleHost Guy Noble has had a long association with Queensland Symphony Orchestra having first worked with the Orchestra in 1994. He has been host of the Music on Sundays series since 2005 and conducted the Orchestra in many other concerts in QPAC, Cairns, Townsville and Gold Coast.

When he isn’t with Queensland Symphony Orchestra, Guy Noble also performs with other major orchestras

conducted BBC Philharmonic with only a few hours’ notice. The live broadcasted concert resulted in praise from the press – being described as ‘an exemplary conductor’ in Ariel Magazine.

Richard Davis is also known as a flute player – having played as principal flute with the BBC Philharmonic for over 30 years. He premiered flute concertos by Bernstein and Maxwell-Davies, recorded and performed solo recitals many times on national and international broadcasts and won 1st prize in several international competitions.

Richard Davis is the author of: Becoming an Orchestral Musician – A Guide for Aspiring Professionals, which sells world-wide and has been described as ‘an unbeatable-value master class’ (Classical Music Magazine) offering a ‘down-to-earth, informative introduction to life as a professional musician’ (Daily Telegraph).


BIOGRAPHIES

around the country. He also has worked with the Malaysian Philharmonic, the Hong Kong Philharmonic (in The Music of John Williams) and the Auckland Philharmonic in their Unwrap the Classics series. He is also host and conductor of the Adelaide Symphony Orchestra’s Classics Unwrapped series at the Adelaide Town Hall.

Guy Noble is the host and accompanist each year for Great Opera Hits (Opera Australia) in the Joan Sutherland Theatre of the Sydney Opera House. He conducted Opera Queensland’s 2014 production of La Bohème, and in 2016 wrote Opera the Opera for the final year opera graduates at WAAPA in Perth. Guy Noble has worked with a wide variety of international performers with orchestras across Australia, including Harry Connick Jnr, Ben Folds, The Beach Boys, The Pointer Sisters, Dianne Reeves, Glenn Frey, Randy Newman, Clive James, Conchita, The Two Cellos, Alfie Boe, and Olivia Newton John. He is also the host of Concert Hall on Qantas Radio.

Calvin AbdielPiano2017 Lev Vlassenko Prize Winner Born in Jakarta, Calvin Abdeil moved to Sydney in 2011 where he has studied piano at the Conservatorium High School under the guidance of Natalia Ricci. During this period, he enjoyed many successes in competitions at

international, national and local level and has given many high profile performances both in Australia and overseas.

2017 was the year of outstanding achievements for Calvin Abdeil, beginning in June with 2nd prize in the International Competition for young pianists – ‘Steps to Mastery’ in St Petersburg, Russia. Calvin Abdeil was the youngest in his division, playing Tchaikovsky’s First Concerto with the State Capella Orchestra of St Petersburg in the finals.

Shortly afterwards, Calvin Abdeil won a string of prizes from the Lev Vlassenko Piano Competition in Brisbane, held in September 2017. Selected from a wide field of applicants across Australia and New Zealand, Calvin Abdeil was the youngest pianist in the competition’s history to make the finals. He won First Prize on the finals night in a rousing performance of Tchaikovsky's Piano Concerto No.1, as well as the People's Choice Award, Second Prize over all rounds, the Queensland Symphony Orchestra Prize and was awarded Best Performance of a Commissioned Australian Work.

Calvin Abdeil has performed in masterclasses with special guest artists Orli Shaham, Ingar Rose and Ingo Dunnhorn in 2016/7 at the Sydney Conservatorium and recently in Singapore for the renowned pianist/conductor Jahja Ling. He was also selected by competitive audition to perform in Musica Viva’s masterclass in Sydney given by renowned pianist Angela Hewitt in May last year.


BIOGRAPHIES

Stanley DoddsConductor Stanley Dodds began playing violin and piano in Adelaide at age four, attended the Bruckner Conservatorium and Music High School in Linz before studying violin and conducting at Lucerne Conservatorium. He continued violin studies at the Karajan Academy of the Berlin Philharmonic before receiving tenure as a violinist in the orchestra in 1994.

Stanley Dodds’ most important mentor is the acclaimed Finnish professor Jorma Panula. Other important influences on his conducting career have been the chief conductors of the Berlin Philharmonic; Claudio Abbado and Sir Simon Rattle.

Stanley Dodds holds the position of Principal Conductor of the Berlin Symphony Orchestra to great acclaim since the season 2014/15. He frequently conducts ensembles of the Berlin Philharmonic and has assisted Sir Simon Rattle on numerous occasions. Soloists in his concerts include many notedprincipals of the Berlin Philharmonic and singers such as Christine Schäfer, Anna Prohaska, Siobhan Stagg, Katarina Karnéus, Michael Nagy and Shenyang.

Highlights of the current 2017/18 season are his debut with the Queensland Symphony Orchestra, a Beethoven cycle with the Berlin Symphony Orchestra

Chad HoopesViolin Acclaimed by critics worldwide for his exceptional talent and magnificent tone, 23-year-old American violinist Chad Hoopes has been appearing with numerous ensembles throughout the world since he won the first prize at the Young Artists Division of the Yehudi Menuhin International Violin Competition.

In spring 2016, he made his London debut at Royal Festival Hall with National Youth Orchestra of Great Britain and conductor Kristjan Järvi performing Michael Daugherty’s violin concerto Fire and Blood. In the same season he was also Munich Symphony

in the Philharmonie comprising the nine symphonies, the instrumental concertos and seven overtures, and a performance with the Brandenburg State Orchestra Frankfurt.

A significant highlight of the previous season was an invitation to conduct a concert with the Australian World Orchestra. Past guest conductor appearances include the Orchestre Philharmonique Luxembourg, Melbourne Symphony Orchestra, Tasmanian Symphony Orchestra, Orchestra I Pomeriggi Musicale Milano, Orchestra Academy Scholars of the Berlin Philharmonic and the Scharoun Ensemble Berlin.


BIOGRAPHIES

Orchestra’s first Artist-in-Residence, a position created specifically for him.

Chad Hoopes has performed with leading orchestras such as San Francisco and Houston Symphony, Orchestre de Paris as well as Philadelphia Orchestra, National Symphony Orchestra, Konzerthausorchester Berlin and the National Arts Centre Orchestra in Ottawa, Canada. He is a frequent guest artist at the Menuhin Festival in Gstaad, Switzerland and at Festspiele Mecklenburg-Vorpommern. In 2014, Chad Hoopes became a member of the prestigious CMS Two Program of the Chamber Music Society of Lincoln Center.

His debut recording with the MDR Leipzig Radio Symphony Orchestra under Kristjan Järvi featured Mendelssohn and Adams Concertos and was released in 2014 on the French label Naïve and enthusiastically received by both press and public.

Born in Florida, Chad Hoopes began his violin studies at the age of three in Minneapolis, and continued his training later at the Cleveland Institute of Music under David Cerone and Joel Smirnoff, and from 2013 to 2015 at Kronberg Academy under the tutelage of Professor Ana Chumachenco, who remains his mentor. He plays the 1991 Samuel Zygmuntowicz, ex Isaac Stern violin.

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 March 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 MorrisSECTION 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 RFDASSOCIATE PRINCIPAL TROMBONEDale TruscottPeggy Allen Hayes

PRINCIPAL BASS TROMBONETom CoyleCP Morris

PRINCIPAL TUBAThomas AllelyArthur Waring

PRINCIPAL HARPJill AtkinsonNoel and Geraldine WhittakerPRINCIPAL 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

Continued

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: Deanna Lane

Director - Development M 0416 295 898 E [email protected]

Download the donation form at:

qso.com.au /music-chair-donors

ALLEGRO ($100,000 – 249,999)Estate Susan Mary Blake Tim Fairfax Family FoundationAnonymous

CON BRIO($50,000 - $99,999)Tim Fairfax ACProf Ian Frazer AC andMrs Caroline FrazerCathryn Mittelheuser AMIn memory of Mr and Mrs J.C. OverellThe Pidgeon FamilyTrevor and Judith St BakerFamily FoundationArthur Waring

INTERMEZZO($20,000 - $49,999)Philip Bacon GalleriesDr John H. CaseyG.B. & M.K. IlettDi JamesonJohn Story AO andGeorgina StoryThe John Villiers Trust

GRAZIOSO ($10,000 - $19,999)Frances and Stephen Maitland OAM RFDMorgans FoundationCP MorrisJustice Anthe PhilippidesDr Graham and Mrs Kate RowMrs Beverley June SmithGreg and Jan WanchapAnonymous (2)

VIVACE ($5,000 - $9,999)Dr Philip Aitken andDr Susan UrquhartDavid and Judith BealDr Julie Beeby

M.J. BellottiJoseph and Veronika ButtaDr James R. Conner Prof Ian Gough AM andDr Ruth GoughMalcolm and Andrea Hall-BrownPeggy Allen HayesEstate Barbara Jean HebdenJohn and Helen KeepMrs Andrea KriewaldtNoosa Federation of the ArtsHeidi Rademacher and in memory of Hans Rademacher John B. Reid AO and Lynn Rainbow-ReidDr Damien Thomson and Dr Glenise BerryNoel and Geraldine Whittaker

PRESTO ($2,500 - $4,999)Prof Margaret BarrettDr Betty Byrne Henderson AMMrs Roslyn CarterMrs Ruth CoxJustice Martin DaubneyMrs I.L. DeanAlan GalweyLea and John GreenawayDr and Mrs W.R. Heaslop Dr Les and Mrs Pam MaselDesmond B Misso Esq.Anne ShiptonAlan Symons and in memory ofBruce Short, Kevin Woodhouse and Graham WebsterSiganto Foundation Elinor and Tony TraversAnonymous (2)

STRETTO ($1,000 - $2,499)Julieanne AlroeDr Geoffrey Barnes and in memory of Mrs Elizabeth BarnesWilliam and Erica BattMrs Valma Bird

Amanda Boland Professors Catherin Bull AM and Dennis Gibson AOConstantine CaridesElene CaridesGreg and Jacinta ChalmersIan and Penny CharltonDr Ralph and Mrs Susan CobcroftSarah and Mark CombeRoger CraggJulie Crozier and Peter HopsonDr Catherine Doherty Mrs Elva EmmersonC.M. and I.G. FurnivalMr John and Mrs Lois GriffinDeb HoulahanDavid Hwang/ HD Property GroupMs Marie IsacksonAinslie Just Tony and Patricia KeaneMichael Kenny andDavid GibsonAndrew KopittkeDr Colin and Mrs Noela KratzingDr Frank LeschhornShirley LeuthnerGaelle LindreaLynne and Francoise LipProf Andrew and Mrs Kate ListerSusan MabinDr. Andrew MaselMr Greg and Mrs Jan Marsh Annalisa and Tony MeikleIn memory of Jolanta MetterPeter MillroyGuy MitchellB and D MooreMarg O’Donnell AO and in memory of Martin Moynihan AO QCHoward and Katherine MunroIan Paterson David Pratt and Ramon NarrodDr Graham and Mrs Liz PrattIn memory of Pat Riches

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 March 2018


G. and B. RobinsNeil W. RootMr Rolf and Mrs Christel Schafer Cath ScullyMs Helen SotiriadisRobin Spencer Prof Hans Westerman andin memory of Mrs FrederikaWestermanMargaret and Robert WilliamsRodney WylieAnonymous (18)

TUTTI ($500 - $999)Jill AtkinsonEmeritus ProfessorCora V. BaldockTrudy BennettJean Byrnes Peter and Tricia CallaghanCarol CarmudieMrs J.A. CassidyDrew and Christine CastleyRobert ClelandDr Beverley Czerwonka-Ledez

M. LejeuneTerry and Jane DaubneyLaurie James DeaneDr C. DavisonProf. John and Mrs Denise ElkinsD. J. GardinerDr Edgar Gold AM, QC and Dr Judith Gold CMWendy GreenDr Alison HollowayPeter and Catherine HudsonSandra Jeffries and Brian CookRachel LeungG.D. MoffettDr Tom MooreJohn and Robyn MurrayRon and Marise NilssonDr Phelim ReillyJoan RossAndrew SimmonsDr Margaret SorokaAlison StanfordBarb and Dan StylesKatherine Trent and Paul ReedMrs H. TullyTanya VianoAnonymous (21) 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: Deanna Lane


As a participant, in a Leadership Circle you will:

Alondra de la ParraMusic DirectorQueensland Symphony Orchestra


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

DIAMOND($250,000 – $499,000)Prof Ian Frazer AC andMrs Caroline FrazerThe Pidgeon FamilyDr Peter SherwoodTrevor and Judith St BakerFamily FoundationArthur Waring

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

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

SYMPHONY($20,000 – $49,999)Dr Philip Aitken andDr Susan UrquhartDavid and Judith BealDr Julie BeebyMrs Roslyn CarterDr John H. CaseyDr Ralph and Mrs Susan CobcroftPeggy Allen HayesG.B. & M.K. IlettMs Marie IsacksonPage and Marichu MaxsonDesmond B. Misso Esq.In memory of Margaret Mittelheuser AMJustice Anthe PhilippidesHeidi Rademacher and in memory of Hans RademacherDr Damien Thomson and Dr Glenise BerryElinor and Tony TraversRodney WylieAnonymous (2)

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

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

LIFETIME GIVINGAs at March 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.

Dr Sheena L. BurnellJonathan Butler-WhiteRoger CantRowan Danielewski Marina DatovaHelen Davis Benn Day Stephanie DerringtonGrant & Karen GastonEloise GluerAmy Greene Miss Cassandra HeilbronnAndrew and Anita JonesElizabeth KellyBenjamin McIntyreMarnie Nichols

Michaela PoundJessica ReadInna RybkinaPenelope SmidNicholas W SmithJennifer WhybirdDr Geoffrey Chia-Yu Wu

Thank you

As at March 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

Join now and make a difference, contact: Deanna Lane


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

Please donate today and make a difference by supporting Queensland Symphony Orchestra.

Title

First name

Surname

Organisation Name (If Applicable)

Address

Postcode

E-mail:

Phone:

MAKE A DIFFERENCE NOW

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

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

Please contact me to discuss leaving a gift to Queensland Symphony Orchestra in my will.

For further enquiries contact: Deanna Lane


PLAY FOR PURPOSE.We have big plans and a significant responsibility as the state’s own Orchestra to Play for Queensland. We know that tens of thousands of people across our vast state will never experience first-hand the sound of our symphony orchestra in full flight. Queensland Symphony Orchestra has partnered with Play for Purpose to help us raise significant funds for our local and regional touring programs.

PLAY FOR QUEENSLAND SYMPHONY ORCHESTRA.

With your support, we can reach more people, in more places, more often.Play now at www.playforpurpose.com.au/queensland-symphony-orchestraFor further information, contact Katya Melendez, Manager - Development on (07) 3833 5027

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 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 Bernard Hoey= Yoko Okayasu >> Charlotte Burbrook de Vere Nicole Greentree 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>>


BOARD OF DIRECTORSChris Freeman AM Chair Rod Pilbeam Deputy ChairProf Margaret Barrett Mary Jane Bellotti Emma Covacevich Tony Denholder 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 Manager

Pam Lowry Education Liaison OfficerVacant Director - Artistic PlanningMichael Sterzinger Acting Director - Artistic

PlanningMurray Walker Artistic AdministratorFiona Lale Artist Liaison

Matthew Farrell Director – Orchestra Management

Nina 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 Jenny Roberts 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

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 – 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.


PARTNERS

Government Partners

Major Partners

Brisbane Central

Gold Partners

Principal Partner

Premier Partners

Industry Collaborators

2018 Season Creative Partner

Accommodation Partners

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

@QSOrchestra

@QSOrchestra

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

QSO Box Office (07) 3833 5044

FOR YOUR INFORMATION

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

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 [email protected] 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 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

LISTENING GUIDE - qso.com.au · You can also view and download program notes one week prior to the...

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