SEASON 2017 August

Alondra de la Parra | Music Director

PROGRAM

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MORNING MASTERWORKS & MAESTRO

QSO, ALONDRA AND DUO LECHNER TIEMPOPre-concert talk on 5 August at 6.30pm

CHORAL

MOZART: GREAT C MINOR MASS

MUSIC ON SUNDAYS

TANGOS AND DANCES

MAESTRO

QSO, ALONDRA AND MAHLER 5 Pre-concert talk at 6.30pm

BIOGRAPHIES

SUPPORTING YOUR ORCHESTRA

Help us G Green.

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

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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.

CONTENTSAUGUST

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1824

The QSO Music Director is proudly supported by Tim Fairfax AC.

SAT 5 AUG 7.30PM

MAESTRO

QSO, ALONDRA & DUO LECHNER

TIEMPO

FRI 4 AUG 11AM

MORNING MASTERWORKS

Pre-concert talk at 6.30pm with Gordon Hamilton

Concert Hall, QPAC

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The Morning Masterworks series is supported by 4MBS Classic FM.

MORNING MASTERWORKSRevueltas Sensemayá

Jusid Tango Rhapsody

Márquez Danzón No.2

Revueltas The Night of the Mayas

MAESTROWilliamson Our Man in

Havana Orchestral Suite

Revueltas Sensemayá

Jusid Tango Rhapsody

INTERVALRevueltas The Night of

the Mayas

PROGRAM August 3

PROGRAM NOTES

Arguably, his best works were composed between 1955 and 1965. His early career reached its apogee in 1963 with his first opera, Our Man in Havana, produced at Sadler’s Wells. This three-act opera was based on Graham Greene’s novel of the same name. Latin American dance rhythms provide a sense of location in some of the arias and choruses. Williamson’s stylistic range is immediately evident in the first movement of the orchestral suite, which he created in 1965. The music opens with a striking neoclassical paragraph of jagged unison writing, then shifts into a polished light music idiom, complete with bubbling Latin bongos and lush strings overhead. After a Copland-like interlude featuring wind and brass chords, Williamson unfolds a medley of highlights from Act I of the opera. There is much to enjoy: the vigour of the rhythms, the fecundity of melodic invention, stylish scoring and rich harmonies.

Abridged from a note by Rhoderick McNeill © 2005

Silvestre Revueltas (1899-1940)Sensemayá

Although Carlos Chávez is generally regarded as Mexico’s most important 20th-century composer, his reputation may well have been surpassed by that of Silvestre Revueltas, had he not been relegated prematurely to the shadows. Alcoholism played a part in Revueltas’ early death at 40, when instead of attending the premiere of his ballet El renacuajo paseador (The Promenading

Malcolm Williamson (1931-2003)Suite from Our Man in Havana: Prelude, Cuban dances and waltz song (Presto)

Malcolm Williamson was one of a significant group of Australian composers - including Don Banks, David Lumsdaine and David Morgan - who settled in Britain during the early 1950s. After initial studies in Sydney with Eugene Goossens, Williamson studied composition with serialists Elisabeth Lutyens and Erwin Stein in Britain. Not surprisingly, many of his works demonstrated awareness of modernist trends of the 1950s, including serialism. He was also one of the first Australian composers to master a neoclassical idiom using extended tonality, reflecting Stravinsky’s practice up to 1951. Williamson’s involvement in popular music theatre and cabaret during the late 1950s added yet another stylistic strand, resulting in an eclectic musical palette. His ability to write memorable tunes ensured accessibility with concert audiences. Williamson’s relative success and his apparent inconsistency of idiom frustrated many of his critics at a time when modernist values were at their peak. Yet during the early 1960s, his profile internationally was as high as perhaps any Australian composer to date. In recent decades, his critical reputation in Australia has been greatly overshadowed by contemporaries like Sculthorpe and Meale. Even in Britain, where he was Master of the Queen’s Music from 1975 onwards, Williamson faded into relative insignificance during the final decades of his life.

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last syllable-beat. With constant repetition, variation, and addition of further ostinato lines, progressively spelling out in melody and rhythm the lines of Guillén’s poem, the short work builds to the climactic ‘killing of the snake’.

Adapted from notes © Graeme Skinner

Federico Jusid (born 1973)Tango Rhapsody For two pianos and orchestra

Born in Buenos Aires, composer and pianist Federico Jusid lives and works between Madrid and Los Angeles. He has written the scores for more than 40 feature films and over 25 television series. His work includes the score for the 2009 Academy Award-winner for Best Foreign Film, The Secret in Their Eyes, and also those for Kidnap, Misconduct, Black Butterfly and Neruda and the television series Isabel, My Queen.

He has composed a number of concert works including Enigmas for mezzo-soprano and ensemble, Finding Sarasate, for a tribute concert to the great violinist, and La librería del ingenioso Hidalgo to celebrate the 400th anniversary of Cervantes’ Don Quixote.

Tango Rhapsody is a two-piano concerto with large orchestra, commissioned by Duo Lechner Tiempo and premiered at the Martha Argerich Music Festival in Lugano in 2010. What the composer describes as a ‘theatrical concertante piece’ is rooted in the demotic music of the slum port areas of Buenos Aires in the early 20th century. Tango developed

Tadpole), he got drunk and ventured out into the cold; contracting the bronchial pneumonia that killed him.

Revueltas’ first taste of music was from the village mariachi band playing waltzes in the plaza. Prodigiously accomplished as a violinist, he entered the Mexican National Conservatorium in his mid-teens, before studying in the US. At home in the early 1920s, he was active in the Estridentistas, a revolutionary artistic group whose members included Diego Rivera. While working as Chávez’s assistant conductor at National Symphony Orchestra of Mexico in the early 1930s, Revueltas produced his first major orchestral scores. But by 1935, personal relations between the stridently leftist Revueltas and the politically moderate Chávez had broken down. One of his most famous scores is Sensemayá (1938), after the poem of the same name by the Cuban poet and activist Nicolás Guillén whom Silvestre met at a congress of Mexico’s League of Revolutionary Writers and Artists.

Silvestre’s piece closely follows Guillén’s poem, which describes the re-enactment of a traditional African ritual in which dancers and musicians carry a huge puppet snake in procession round the streets of the city, accompanied by the hypnotic singing and drumming of the ‘chant to kill a snake’. Since Cuba, unlike Africa (where the ritual originated), has no dangerous snakes, the text was naturally read as an impassioned anti-imperialist outburst against slavery and oppression, historical and recent.

Revueltas’ close setting of Guillén’s Sensemayá first invokes the mayombero, an Afro-Cuban magus and ritual leader of the procession, whose name gives the chant its refrain, ‘mayombe-bombe-mayombé’. Revueltas fits this eight-syllable tag into a seven-beat ostinato figure with a percussive accent (marked initially by clapstick) on the

PROGRAM NOTES

PROGRAM August 5

are reunited in an Andante appassionato which, again redolent of Rachmaninov, is awash with passion. The final ‘Reprise’ recapitulates important material from various parts of the work.

© Gordon Kerry 2017

Silvestre Revueltas La noche de los mayas (Night of the Mayas): Symphonic suite arranged by José Ives Limantour

Noche de los mayas (Night of the Mayas)Noche de jaranas (Night of Revelry) Noche de Yucatán (Night of the Yucatan) Noche de encantamiento (Night of Enchantment)

In his teens, Revueltas was already playing for silent films in a cinema orchestra. Later, after resigning as Chávez’s assistant in 1936, he returned to work in the burgeoning Mexican film industry as a composer. His first score that year was for Redes (‘Nets’), a government-funded documentary about the exploitation of fishermen, memorable for its cinematography by Paul Shand. But Revueltas’ best-known score was that for a B-movie flop, La noche de los mayas (1939). One of Chano Urueta’s early films, it included footage of Mayan ruins in the southern Mexican Yucatan jungle. The plot concerns a city dweller who stumbles on a secluded tribe still living the life of their ancestors. At the film’s climax, they re-enact a grisly Mayan ritual, when, seeking to end a severe drought, they sacrifice one of their young witches to the gods. This orchestral suite, which

into three major forms: tango-milonga, the purely instrumental form; tango-romanza which blends dance with Romantic song; and tango-canción, a more sentimental vocal form, and was made into a high art by the likes of Astor Piazzolla.

Jusid’s piece is, not surprisingly, cinematic in tone and its uninterrupted structure of short contrasting sections, designated ‘scenes’ in the score, which outline a timeless narrative. After an introduction marked misterioso and characterised by foot stomping and unpitched sounds from the strings, ‘he’ (i.e. Piano 1) ‘walks in’ and joins the Orchestra in a burlesque and then a dance scene. The ‘Apparition’ scene where ‘she’ (i.e. Piano 2) comes onstage is slower with yearning solos from trumpet and woodwinds. Their ‘encounter scene’ begins with a bell-like duet but develops into full-blown Rachmaninovesque Romanticism.

This leads to a frenetic ‘Milonga’ scene, but soon ‘Discrepancies’ appear both in stubbornly rapid repeated figures, and a contest between glissandos in Piano 1 and Bartók-like rhythmic material in Piano 2. The first of two ‘Solitude’ scenes is slow and tender, with achy piano writing, whistling string harmonics and solo cor anglais and horn.

The ‘Scherzo’ scene is the most extended ‘movement’, and involves multiple sections, passages in emphatic irregular metres, and theatrical interaction. The players seem to hurl cluster chords at each other, they strum the strings and at one point the second player physically mutes the strings of Piano 1.

The ‘Abandoned’ scene, in which the second player goes offstage, is a series of long-held, muted chords that introduces the second ‘Solitude’, marked ‘slow and spaciously’, which is more fully scored than the first. It concludes with a recitative for Piano 1 and timpani that calls the second player back to the stage. In the ‘Retour’ scene the players

PROGRAM NOTES

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roughly follows the form of a four-movement symphony, was arranged from Revueltas’ original 1939 score by the conductor José Ives Limantour in 1960.

The first movement, Night of the Mayas, opens and closes with a ritual processional dominated by the brass, framing a gentler, pastoral middle section. In the guise of a symphonic scherzo, the second movement, Night of Revelry, is approachable and upbeat, based on the mestizo dance form jarana, and punctuated by interjections from the mariachi, and the sound of the caracol (conch shell). The slow third movement, Night of the Yucatan, is the real nocturne in this work of ‘Nights’. At its centre, a flute tune is one of Revueltas’ rare direct quotations, a traditional song to the setting sun, the Xtoles (Canto al Sol), ‘Konex konex palexen’, used in the film by the villagers to call up the ancient Mayan spirits. The finale, Night of Enchantment, follows without a break. Worked up over layers of perpetual ostinati, the form of what has been described as Mexico’s answer to the Sacrificial Dance in Stravinsky’s Rite of

PROGRAM NOTES

Spring is loosely that of theme and variations. The energetic percussion adds to the mounting tension as it builds toward the climactic reprise of the opening movement’s brass processional.

Adapted from notes © Graeme Skinner

PROGRAM August 7

Conductor Alondra de la Parra Soprano Siobhan Stagg Soprano Barbara Zavros

Tenor Paul McMahon Baritone David Wakeham

The Australian Voices, Dir. Gordon Hamilton

Beethoven Symphony No.1

INTERVAL Mozart Mass in C minor

SAT 12 AUG 7.30PM

CHORAL

MOZART: C MINOR MASS

Concert Hall, QPAC

The QSO Music Director is proudly supported by Tim Fairfax AC.8

PROGRAM August 9

PROGRAM NOTES

Ludwig van Beethoven (1770-1827)Symphony No.1 in C, Op.21Adagio molto – Allegro con brioAndante cantabile con motoMenuetto (Allegro molto e vivace) – Trio – MenuettoFinale (Adagio – Allegro molto e vivace)

Beethoven himself organised the concert at Imperial Court Theatre, Vienna, on 2 April 1800, at which he introduced his first ‘Grand Symphony’. He also played one of his (so far) two piano concertos, improvised reportedly ‘in a masterly style’, and paid tribute to his two great precursors by programing a symphony by the late Mozart, and excerpts from Haydn’s new oratorio, The Creation. Gottfried van Swieten, who wrote the words for Haydn’s oratorio, was also one of Beethoven’s most enlightened supporters. Swieten had encouraged first Mozart, and more recently Beethoven to explore the music of Bach and Handel, whose fugues Beethoven went on to use as models during his intensive counterpoint studies with Haydn and Salieri. Beethoven duly dedicated the first printed edition of this symphony to Swieten, and its second movement begins in quasi-fugal form.

The sole critic to review the premiere thought the only flaw was ‘that the wind instruments were used too much’, so that the symphony sounded ‘more like it was being played by a military band than an orchestra’. Actually Beethoven’s ‘band’ of 13 (woodwinds, brass, and drums) was no larger numerically than that for Haydn’s last symphony. But whereas Haydn usually let the strings predominate, Beethoven continually pushes the winds forward.

The sustained wind chords that open the short Adagio are the first occasion for the strings to be reduced to a supportive pizzicato. As the genial Allegro gets under way, other novelties include recurring episodes in which Beethoven

gives the impetus to the orchestral basses, and, at the very end, his unusually insistent reiteration of the closing C.

In characteristically egalitarian fashion, Beethoven passes over the first violins, and lets the seconds start the Andante second movement. He also smuggles in trumpets and kettledrums (hitherto usually silent in slow movements), though their rumblings do little to disturb the prevailing serenity. The surging minuet is perhaps more reminiscent of the dancing horses of Vienna’s Spanish Riding School, than the Redoutensaal for which Beethoven also composed ballroom dances. The ‘military band’ shifts the scene decisively to the parade ground in the Trio.

Berlioz called the finale, with its curious Adagio upbeat from the violins, ‘a genuine instance of musical childishness’. But Beethoven’s Viennese audience would have been charmed: bright, energetic music from the same mould as Mozart’s and Haydn’s popular finales, proof that the brash newcomer (Haydn dubbed him ‘the Grand Mogul’) was cut out for success.

Graeme Skinner © 2014

Wolfgang Amadeus Mozart(1756-1791)Mass in C minor, K427[Revised and reconstructed by H.C. Robbins Landon]

Like Mozart’s other major choral church work of his mature years, the Requiem, this Mass in C minor (sometimes called the ‘Great C minor’ to distinguish it from Mozart’s ‘Little’ C minor Mass, K139) remains incomplete. Death interrupted Mozart’s creation of the Requiem, which was completed by his pupil Süssmayr. Mozart’s failure to complete the C minor Mass is more puzzling, for there is enough of it to rank the work, with the Requiem, as one of the summits of late 18th-century church music.

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Once Mozart had left the service of the Prince Archbishop of Salzburg in May 1781, he was no longer obliged to compose church music. It was without external motivation that he began, in the summer of 1781, a large-scale mass. The usual explanation is the vow he made during the struggle to gain paternal approval for his marriage to Constanze Weber, writing to his father that he had ‘promised in his heart’ that when he brought Constanze to Salzburg as his wife he would perform a newly composed mass there. The Mass was destined to remain incomplete. A performance probably took place in Salzburg in 1783, with Constanze singing both the solo soprano parts, and movements from earlier Mozart masses used for the unset part of the text. It has become widely known only in recent years: in particular, it was the revision and reconstruction by HC Robbins Landon (1956), performed tonight, which really brought the Mass back into regular performance.

This C minor work revives the archaic form of the Baroque cantata mass, in which choruses and solos alternate as separate movements. Mozart’s recourse to an older form and style is perhaps a result of his encounter with the music of Bach and Handel. Lack of stylistic unity has been a common criticism of the Mass in C minor, which displays elements of Bach and Handel in the choruses, and writing of a more operatic and Italian character in the solos and ensembles. Looking at each movement in turn, we find the Kyrie in C minor, sombre and remarkable for consistent development of its themes; and the soprano solo Christe a complete contrast, tender and decorative in E flat major.

The spirited opening of the Gloria is suggestive of Handel’s ceremonial manner. Laudamus te is a coloratura aria, very Italian in style. Gratias agimus tibi is a five-part chorus, full of emotional tension achieved by suspensions, and suggesting awe at the majesty of God. Domine Deus is a duet for the two sopranos illustrating the duality in unity

of God, Father and Son. The Qui tollis is the mightiest and most expressive chorus of the work. The ceaseless double-dotted rhythm of the orchestra and the free use here of a ground bass or passacaglia principle derive from Handel and Bach. Mozart scholar Alfred Einstein sees the music as a representation of the Saviour making his way under whiplashes and bearing the weight of the Cross. The Quoniam is a concerto-like trio for the sopranos and the tenor. A six-bar adagio introduction on the words ‘Jesu Christe’ leads to a double fugue, Cum Sancto Spiritu.

Mozart only finished two movements of the Credo, as far as Et incarnatus est. The Crucifixus, Et Resurrexit, Et in Spiritum Sanctum and Confiteor are missing. The Sanctus is another grand double-chorus, solemn with the sound of horns and trombones. Osanna is a double-fugue full of brilliant running figuration for voices and strings. The Benedictus is the only place where the four solo voices sing together. The reprise of the Osanna concludes the work, which remains ‘a magnificent torso’: if not Mozart’s greatest church work, as many would claim, at least the work containing his greatest choral writing.

Abridged from a note © David Garrett

English translation of Mass on concert handout. Translation available on concert web page at qso.com.au

PROGRAM NOTES

PROGRAM August 11

Conductor Alondra de la Parra Host Guy Noble

SUN 20 AUG11.30AM

MUSIC ON SUNDAYS

TANGOS AND DANCES

Concert Hall, QPAC

The QSO Music Director is proudly supported by Tim Fairfax AC.

Media Partner

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PROGRAM NOTES

Carl Maria von Weber (1786-1826)Aufforderung zum Tanz (Invitation to the Dance)

Arturo Márquez (born 1950)Danzón No.4

Astor Piazzolla (1921-1992)Tangazo

Antonín Dvořák (1841-1904)Slavonic Dances, Op.46: No.1 in C No.2 in E minor No.5 in A

Igor Stravinsky (1882-1971)The Firebird - Suite (1919): Infernal Dance of King Kashchei

Manuel de Falla (1876-1946)The Three-Cornered Hat: Suite No.2 The Neighbours’ Dance (Seguidillas) The Miller’s Dance (Farruca) Final Dance (Jota)

The transfer of dance music to the concert hall is a common feature of the classical repertoire. Carl Maria von Weber biographer John Warrack calls Invitation to the Dance ‘the first and still perhaps the most brilliant and poetic example of the Romantic concert waltz…’. Even in Weber’s conception Invitation is slightly programmatic, involving a couple taking several turns around a ballroom. In 1911, Michel Fokine used Berlioz’s orchestration of the piece for a Diaghilev company ballet, entitled Le Spectre de la rose. The plot became more sinister - one of bewitchment - but what people remembered was Nijinsky’s dancing as the Spectre. ‘He evaporates through the window in a jump

so…contrary to all the laws of flight and balance,’ said Jean Cocteau, ‘that I shall never again smell a rose without this ineffaceable phantom appearing before me.’

Just as Bach made art forms out of traditional European dances, Latin American composers have made orchestral versions of national dance-forms. Arturo Márquez was born in Álamos (Sonora) in Mexico. Though he studied with avant-garde composers at California Institute of the Arts, his grandfather and father (a mariachi musician) had exposed him to a wide variety of music, and he turned to popular styles for inspiration in the 1990s. The danzón is a Cuban-Mexican style that by the late 20th century had become ‘old-time’ dancing. ‘The dance itself is extremely formal with the set footwork working on syncopated beats, and involving elegant pauses when the couple stand and listen to an instrumental section,’ says Grove’s Dictionary of Music and Musicians. Throughout Márquez’s piece, there are wonderfully insinuating woodwind solos over the basic rhythms.

Astor Piazzolla was born in Mar del Plata, Argentina. His family moved to New York in 1924, and in his teens he was an assistant to the great tango composer, Carlos Gardel (composer of Por una cabeza, danced by Arnold Schwarzenegger in True Lies). Back in Buenos Aires, Piazzolla worked with various bands (including one he formed himself) and studied with Alberto Ginastera. After he composed a symphony in 1954, the French pedagogue Nadia Boulanger encouraged him to plumb his own style and traditions. Piazzolla’s ‘nuevo tango’, incorporating ‘cool’ jazz elements and classical techniques such as fugue, earned the hostility of many traditionalists, to whom tango was dance music, but by the 1990s, even some Argentinians conceded the revivifying effect on tango traditions of Piazzolla’s innovations. Tangazo is almost a tone-portrait of tango, rather than something to be actually danced.

PROGRAM August 13

The German symphonist Johannes Brahms scored a big success with his Hungarian Dances and his publisher, Simrock, followed up by releasing the Moravian Duets of Brahms’ protégé, the Czech composer Antonín Dvořák. Simrock was so happy with these that he commissioned Dvořák to write a set of Slavonic Dances for piano duet. Eight were composed between March and May 1877 with orchestral versions produced by August. In 1886, Simrock asked Dvořák for a further set and this time, impressed by the first eight’s popularity, he paid Dvořák ten times the 1877 fee. The dances are written in easy-to-follow segments though there is charming variety in the simple forms. Perhaps there’s an irony in Brahms’ role in the creation of these pieces: Dvořák was making art out of national dances such as the furiant (Dance No.1), the dumka (No.2) and skocná (or ‘jump dance’) partly as a reaction against German influence.

Igor Stravinsky was a promising student of Nikolai Rimsky-Korsakov when he got his break in 1909, writing music for Diaghilev’s proposed new ballet, The Firebird. Continuing with Petrushka, The Rite of Spring and Pulcinella, he became the most important Russian ballet composer after Tchaikovsky, to whom he paid touching homage in The Fairy’s Kiss. The Firebird, about a prince

tipped off by a firebird to destroy the egg that contains the soul of a wicked sorcerer in order to free 13 bewitched princesses, was originally a story-ballet, containing large sections of pantomime that the rhythmically inclined Stravinsky disdained. The 1919 suite, however, distils dance movements from the original stage-piece, including this infernal dance of Kashchei the sorcerer and his followers.

The Three-Cornered Hat was another ballet in which Diaghilev brought together artistic geniuses of the 20th century. There was Falla, composer of Love, The Magician, Diaghilev’s then-principal dancer Léonide Massine as choreographer, and sets and costumes by Picasso. In this production, the Diaghilev company evoked a Spanish atmosphere of sunshine, irony and wit. The plot is simple: the miller’s attractive young wife is being pursued by the pompous old magistrate (the corregidor). At the start of Act II, the townspeople dance a seguidillas to celebrate St John’s night. The miller then impresses with a vigorous farruca, before being arrested so that the corregidor can get at his wife. But the corregidor is found out, the miller reunited with his wife and the townspeople end up dancing an exhilarating jota.

Gordon Kalton Williams © 2017

PROGRAM NOTES

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FRI 25 AUG 7.30PM

MAESTRO

14 PROGRAM August

QSO, ALONDRA AND MAHLER 5

Pre-concert talk at 6.30pm with Thomas Allely

Concert Hall, QPAC

Enjoy coffee, cake and cocktails after tonight’s performance at QPAC’s downstairs bar – open until late.

Conductor Alondra de la Parra Piano Jan Lisiecki (Australian debut, QSO exclusive)

Mozart Piano Concerto No.20 in D Minor

INTERVAL

Mahler Symphony No.5

The QSO Music Director is proudly supported by Tim Fairfax AC.

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PROGRAM August 15

PROGRAM NOTES

develop lighter material in the major key, this exposition retraces its steps to the mood of the opening, through orchestral tuttis of a violence unprecedented in Mozart’s work.

The piano’s first entry, in free recitative, is very moving – like the voice of one against the many, and this principle of opposition is much exploited throughout. With piano added to orchestra, there begins the sustained and graded acceleration which gives this concerto much of its excitement. Alfred Einstein has written suggestively of the pianissimo conclusion to the movement that it is ‘as if the furies had simply become tired out and had lain down to rest, still grumbling, and ready at any time to take up the fight again…’.

The slow movement begins in complete contrast, in an unexpected key (B flat major), fresh and poised. It proceeds as a spacious rondo, but as the second episode begins, is startlingly transformed. A raging presto in G minor begins in breathless triplets - the furies of the first movement have taken up the fight again. The return to the rondo theme is made in a transition of great breadth, like a horseman reining in his steed.

The last movement is one of Mozart’s few minor-key rondos, but its turn to the major key towards the end, playing with more cheerful material, has provoked some disappointment from those who would judge this concerto by non-Mozartian aesthetic standards. The rocket-like theme with which the piano begins and the sustained violence of the first orchestral tutti are of a piece with the first movement, and the conciliatory character of the ending is perhaps best considered as a restoring of 18th century balance, a desire to leave the audience with a friendly impression.

Abridged from a note by David Garrett © 2001

Wolfgang Amadeus Mozart (1756-1791)Piano Concerto No.20 in D minor, K.466 Allegro Romanza Rondo (Allegro assai)

The first of the two piano concertos for which Mozart chose the minor mode is one of his most often heard works, and one of his most admired. Even in the 19th century, when much of his music was in eclipse, this concerto was played and regarded as representing the ‘daemonic’ Mozart. In 1839, Schumann singled out this concerto: ‘Our younger master will certainly not forget how the older ones would suddenly emerge with something magnificent - Mozart’s Concerto in D minor, Beethoven’s in G.’ The stormy drama of the work can hardly fail to make an impression of great but controlled emotion and power.

This concerto is not incontestably better than the nine others Mozart wrote in 1784 and 1785, but it is distinguished from them by the intensity of its subjective approach. It has often been hailed as being like Beethoven, a form of praise which tends to obscure its special qualities and their sources. One respect in which it could be admitted to be Beethovenian is that the strife and passion persist until the change of mood in the last bars of the Rondo.

The first 15 bars of the concerto express the character of the whole of the first movement: throbbing, syncopated strings underlined by gruff bass triplets, rhythmic instability pushed as far as the Classical style would allow. Instead of turning to

16 PROGRAM August

Gustav Mahler (1860-1911)Symphony No.5 in C sharp minor

Part I Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) [Funeral march (With measured pace, stern, like a funeral procession)]

Stürmisch bewegt. Mit grösster Vehemenz [Stormy, with utmost vehemence]

Part II Scherzo (Kräftig, nicht zu schnell) [Strong, not too fast]

Part III Adagietto (Sehr langsam) [Very slow]Rondo-Finale (Allegro)

Mahler’s first four symphonies were more or less programmatic in their intention, drawing their inspiration from folk poetry, incorporating themes from songs, and (in all but the first) using the human voice. The Fifth, on the other hand, revealed no obvious program and was scored for orchestra alone.

It was written in 1901-02 around the time of Mahler’s meeting with, and rather hasty betrothal to, Alma Schindler. While no period in Mahler’s life could be described as unequivocally happy, there is no doubt that the Fifth Symphony was conceived at a time of substantial personal and professional satisfaction. Yet any sign of outward pleasure or optimism tends to be avoided, at least early on in the symphony; pointedly, and notoriously, it begins with a funeral march.

The symphony follows Mahler’s principle of ‘progressive tonality’, working its way from C sharp minor to a conclusion in a triumphant D major. It passes through a vast range of moods - ‘passionate, wild, pathetic, sweeping, solemn, gentle, full of all the emotions of the human heart’, in Bruno Walter’s memorable description. A massive work, it is in three parts and five movements.

The opening movement begins with a distinctive trumpet call which recurs as the movement proceeds. Mahler opens with a funeral march and the first movement itself is filled with pain and grief. As if to belie the claim that the symphony is ‘absolute’ rather than ‘programmatic’ music, the main theme is based on a song by Mahler (‘Der Tamboursg’sell’) about a drummer-boy facing execution.

Mahler leaves no doubt as to the intended mood of the second movement - marked ‘stormy, with utmost vehemence’. Much of the material derives from that in the first movement and there is a distinct reminiscence of the march rhythms. A brass chorale in part anticipates the conclusion of the symphony as a whole.

The Scherzo’s main thematic material is in the form of a joyous ländler. Ideas tumble over themselves in an inventive contrapuntal display while a slower waltz theme is juxtaposed with the main material. Contrasting trios add a more sombre note and in one of these there occurs a striking obbligato passage for the principal horn.

The Adagietto which follows - arguably the most famous movement in all the Mahler symphonies - is essentially a song without words. Scored for harps and strings alone, it is closely related to Mahler’s song Ich bin der Welt abhanden gekommen (I am lost to the world), from his Rückertlieder. According to Willem Mengelberg, Mahler’s colleague and fellow conductor, the Adagietto was intended as a declaration of love for Alma.

PROGRAM NOTES

PROGRAM August 17

The Rondo-Finale shares material with each of the previous four movements, particularly with the Funeral March and the Adagietto. Merging elements of fugue and sonata form, it is a joyous celebration which begins with a series of folk-like figures on solo wind instruments. The main rondo theme is first stated on the horns and the other ideas are woven contrapuntally around this. When the main melody from the Adagietto returns it is so transformed with energy that it is practically unrecognisable. The development is elaborate, and the movement works its way towards the ecstatic brass chorale of the conclusion - as close as the melancholy Mahler ever came to writing an ‘Ode to Joy’.

Abridged from an annotation © Martin Buzacott

QSO PLAYS THE ROMANTICS SAT 23 SEPT 7.30PM

Conductor Darrell Ang Viola Antoine Tamestit

Queensland Symphony Orchestra presents a double bill of great 19th century Romantic works from Berlioz and Tchaikovsky.

BOOK NOW qso.com.au

18 PROGRAM August

BIOGRAPHIES

Alondra de la ParraQSO Music Director

Alondra de la Parra has gained widespread attention for her spellbinding and vibrant performances making her one of the most compelling conductors of her generation. She holds the distinction of being the first Mexican woman to conduct in New York City, and is an official Cultural Ambassador for Mexican Tourism.

In October 2015, she was appointed Music Director by Queensland Symphony Orchestra, making her the first ever Music Director of an Australian orchestra.

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

In the 2015/16 season, she made her debut with London Philharmonic Orchestra on tour in Mexico, Orchestra dell'Accademia Nazionale di Santa Cecilia, Tonhalle-Orchestra Zurich as well as her subscription debut with

NHK Symphony. She also appeared at BBC Proms Australia with Queensland Symphony Orchestra. Highlights of the last seasons include her celebrated return to Orchestre de Paris in summer 2015 which was broadcast live by German-French TV channel Arte, her return invitation to RSB Berlin, appearances with Verbier Festival Orchestra, BBC National Orchestra of Wales, Cameristi della Scala, Orchestre Symphonique de Québec, a CD project with Tonkünstler Orchestra Vienna and composer Enjott Schneider as well as a live orchestral performance of the film West Side Story at Mexico's Auditorio Nacional.

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

The QSO Music Director is proudly supported by Tim Fairfax AC.

PROGRAM August 19

BIOGRAPHIES

Karin LechnerPiano

Karin Lechner was born in Buenos Aires, Argentina. She spent most of her youth in Caracas, Venezuela, where she began her musical studies with her mother, Lyl Tiempo. She made her first public appearance at the age of five, and her debut with orchestra when she was 11.

She moved to Europe and continued her piano studies with Maria Curcio and Pierre Sancan, and also received musical advice from Martha Argerich, Nelson Freire, Daniel Barenboim, Nikita Magaloff and Rafael Orozco.

Since then she has undertaken an active international career playing in Austria, Belgium, France, Germany, Italy, the Netherlands, Norway, Spain, Sweden and Switzerland, as well as frequent appearances in the USA, Argentina, Brazil, Uruguay, Venezuela, Mexico and Japan. Karin Lechner has performed in major concert halls all over the world, including Kennedy Center in Washington, Concertgebouw in Amsterdam, Philharmonie in Berlin, Suntory Hall in Tokyo and Teatro Colon in Buenos Aires and she participates in important international festivals such as Menton, Toulouse, Montpellier, Colorado, Verbier, Lugano and Schleswig-Holstein

Karin Lechner frequently collaborates with other distinguished artists in chamber music performances such as Martha Argerich, Janos Starker, Barbara Hendricks, Viktoria Mullova, and she regularly performs two-piano music with her brother, Sergio Tiempo, with whom she forms a permanent duo.

Sergio TiempoPiano

Sergio Tiempo is regarded as one of the most individual and thought-provoking pianists of his generation. He made his professional debut at 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 have included an eight-concert tour of Ginastera’s First Piano Concerto across the US and Europe with Los Angeles Philharmonic and Gustavo Dudamel; a tour to China, Taiwan and New Zealand; and recitals at Bergen International Festival.

Further orchestral collaborations include 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 Queen Elizabeth Hall in London, Vienna Konzerthaus, Wigmore Hall and 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 RSI Lugano. Further recordings with Karin Lechner include a disc of French music entitled ‘La Belle Epoque’ released on Avanti Classics, a label with whom Sergio Tiempo will be releasing two separate duo recordings with his musical mentors Martha Argerich and Nelson Freire, as well as a solo album in September 2017.

20 PROGRAM August

Siobhan Stagg Soprano

With a voice of ‘ravishing tone’ and ‘radiant’ presence (The Age), Siobhan Stagg is establishing a reputation in Europe and Australia as a young singer of enormous potential.

Siobhan Stagg joined Deutsche Oper Berlin as young artist in 2013/14, debuting as Woglinde in Wagner’s Ring with Sir Simon Rattle. Shortly after, Siobhan Stagg played Cordelia (Reimann’s Lear) with Simone Young at Hamburg State Opera, and sang Dede (Bernstein’s Quiet Place) with Kent Nagano and Sophie (Werther) with Donald Runnicles. In 2015, Siobhan Stagg sang Brahms’ Requiem with Berlin Philharmonic Orchestra and Christian Thielemann, and stepped into the title role of Orpheus for Royal Opera House. Highlights of 2016 included BBC Proms (Royal Albert Hall), Roberto Alagna’s Australian tour, Morgana (Alcina) in Geneva, Sophie (Rosenkavalier) and Gilda (Rigoletto) in Berlin.

In 2017, Siobhan Stagg sings Pamina (Die Zauberflöte) at Royal Opera House Covent Garden and in concert at Paris Philharmonie with Christophe Rousset/Les Talens Lyriques. She sings Blonde (Entführung aus dem Serail) in Amsterdam and Munich, Marguerite (Les Huguenots) in Berlin, Handel’s Ode to St Cecilia’s Day with Auckland Philharmonia and Haydn’s Creation with Sir Andrew Davis and Melbourne Symphony Orchestra and at Haydn Festival in Vienna with Enrique Mazzola.

Barbara Zavros Soprano

Barbara Zavros graduated with a Bachelor of Music (Honours) from the Victorian College of the Arts. As a student at the college she was a recipient of the Athenaeum Award, Margaret Sutherland Bursary Award, Murray Ormond Vagg Scholarship and the Mabel Kent Estate Award.

In 2004, Barbara Zavros was a finalist in the Australian Singing Competition, where she was awarded a full scholarship to complete a Masters of Music at the Guildhall School of Music and Drama in London in 2005/2006.

Since 2008, Barbara Zavros has been a finalist in many of Australia’s singing competitions including the Opera Awards, Opera Foundation’s German and New York Scholarships, Royal Melbourne Philharmonic Aria and in 2011, Barbara was the winner of the 87th Herald Sun Aria. After completing her formal studies, Barbara Zavros performed with Opera Australia’s OzOpera Schools Tour in Victoria for several years. Her operatic roles with the company include Rosina (The Barber of Seville), Catherine/Cassandra (The Sound Garden), Clown/Juggler (Sid the Serpent), and Gretel/Witch/Mother/Fairy (Hansel and Gretel). Other operatic roles include Tamiri (Il Re Pastore), Barbarina (Le Nozze di Figaro) and Micaela (Carmen). For Victorian Opera Barbara Zavros has covered Countess Almaviva (Le Nozze Di Figaro) and covered and performed the role of Anne Trulove (The Rake’s Progress).

Barbara Zavros has also performed the role of Leila (The Pearl Fishers) for Melbourne Opera and recently appeared with Australia International Opera Company in the role of the Countess in The Marriage of Figaro on tour in China.

BIOGRAPHIES

PROGRAM August 21

Paul McMahon Tenor

Performing regularly as a soloist with symphony orchestras, chamber music groups and choirs throughout Australia, New Zealand and Asia, tenor Paul McMahon is one of Australia’s finest exponents of baroque and classical repertoire, particularly the Evangelist role in the Passions of JS Bach.

Career highlights include Bach’s Johannes-Passion with Australian Chamber Orchestra under Richard Tognetti; Bach’s Matthäus-Passion under Roy Goodman; Haydn’s Die Schöpfung under the late Richard Hickox, Mozart’s Mass in C minor under Masaaki Suzuki and Mozart’s Requiem with the Hong Kong Philharmonic Orchestra under Manfred Honeck.

Paul McMashon’s discography includes the solo album of English, French and Italian lute songs entitled A Painted Tale; a CD and DVD recording of Handel’s Messiah; Handel’s Semele; Monteverdi’s L’Orfeo; Purcell’s The Fairy Queen; Mozart’s Requiem and Idomeneo, Carl Orff’s Carmina Burana and Fauré’s La naissance de Venus.

Paul McMahon accepted a Churchill Fellowship in 2002 to undertake intensive study in baroque repertoire under the tutelage of Marius van Altena at Royal Conservatoire in The Hague, Netherlands. An experienced teacher and lecturer, Paul McMahon was a member of the academic staff at the University of Newcastle from 2005 to 2012. He is currently Deputy Head of School and Convenor of Performance at Australian National University's School of Music, Canberra.

David Wakeham Baritone

British-based baritone David Wakeham has established an international reputation, with critically acclaimed performances at La Scala Milano, Komische Oper Berlin, Oper Leipzig, Bayerische Staatsoper München, Staatsoper Stuttgart, and Opera Australia in major roles in the Czech, German and Italian repertoire. He has worked with many renowned conductors and directors, including Sir Andrew Davis, Kyrill Petrenko, Christine Mielitz and Achim Freier.

In 2010, he sang the Australian premiere of Ich Wandte mich und sah an alles Unrecht, by Bernd Alois Zimmermann, coupled with Beethoven’s Symphony No.9 with Queensland Symphony Orchestra and Johannes Fritzsch. This continues his concert repertoire which includes Bach’s Magnificat and St. Matthew Passion, Messiah, Brahms Reqiuem, Orff’s Carmina Burana and Mahler’s Symphony No.8.

BIOGRAPHIES

22 PROGRAM August

Gordon Hamilton Artistic Director The Australian Voices

Having freelanced for five years in Germany, composer and conductor Gordon Hamilton moved back to his homeland in 2009 to take over as Artistic Director of one of Australia’s foremost vocal ensembles, The Australian Voices.

Of their 2013 US tour The New York Times commented “... it was as if the gates of heaven had opened.” Gordon’s 2014 work Ghosts in the Orchestra (commissioned by Queensland Symphony Orchestra) saw a choir stand among the orchestra players, prompting them with sung instructions.

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

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

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

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

In 2013, it released a songbook with Edition Peters. Recently the group took its distinct sound to China, the UK, Germany, USA and Palestine.

BIOGRAPHIES

PROGRAM August 23

Guy Noble Host

Guy Noble is one of Australia’s most versatile conductors and musical entertainers, conducting and presenting concerts with all the major Australian orchestras and performers such as The Beach Boys, Yvonne Kenny, David Hobson, Ben Folds, Dianne Reeves, Randy Newman, and Clive James. He has cooked live on stage with Maggie Beer and Simon Bryant (The Cook, The Chef and the Orchestra, Adelaide Symphony Orchestra) appeared as Darth Vader (The Music of John Williams, Sydney Symphony Orchestra) and might be the only person to have ever sung the Ghostbusters theme live on stage accompanied by The Whitlams (Queensland Symphony Orchestra). Guy Noble is a regular guest presenter on ABC Classic FM, conducted La bohème throughout Queensland with Opera Queensland and Queensland Symphony Orchestra, hosts and accompanies Great Opera Hits (Opera Australia) writes a column for Limelight Magazine, presents the inflight classical channels on Qantas, Air China, China Airlines and Gulf Air, and is very pleased to be back as host of Music of Sundays.

BIOGRAPHIES

Jan Lisiecki Piano

At just 22, pianist Jan Lisiecki is recognised as one of the greatest pianists of our time. Acclaimed for his extraordinary interpretive maturity, distinctive sound and poetic sensibility, he is ‘a pianist who makes every note count.’ (The New York Times)

Jan Lisiecki performs with the world’s most prestigious orchestras on major stages, and has cultivated relationships with prominent conductors including Sir Antonio Pappano, Yannick Nézet-Séguin, Daniel Harding and Pinchas Zukerman. An example of recent highlights include his BBC Proms debut with Sir Antonio Pappano at Royal Albert Hall, and his debut in the main auditorium at New York’s Carnegie Hall with Philadelphia Orchestra. This season he goes on tour with London Philharmonic Orchestra and performs in the opening festival of the new Elbphilharmonie in Hamburg.

In 2013, he became the youngest ever recipient of Gramophone’s Young Artist award, and also received the Leonard Bernstein Award at the Schleswig-Holstein Music Festival. Jan Lisiecki is an exclusive recording artist with Deutsche Grammophon, and his fourth album for the label presents Chopin’s seldom performed works for piano and orchestra with NDR Elbphilharmonie Orchester.

The concerts with Queensland Symphony Orchestra mark Jan Lisiecki’s Australian debut.

Maintaining a symphony orchestra with 73 full time musicians is an expensive challenge and would simply not be possible without your philanthropic support. Queensland Symphony Orchestra’s Chair Program provides the opportunity to support individual musicians by becoming their chair donor.

To continue to attract musicians of the highest calibre, and to help us o�set the ever-increasing high costs of delivering classical music experiences to as many Queenslanders as possible, one of our priorities is to grow the QSO Chair program.

We currently have 43 chair donors supporting 54 of your musicians.

Become a chair donor today for as little as $175/month (fully tax deductible)!

There are four chair donor categories available:

• Concertmaster Chair: $612.50 a month ($7,350/annum) • Principal / Section Principal Chair: $437.50 a month ($5,250/annum)

• Associate Principal: $291.65 a month ($3,500/annum)

• Section Musician Chair: $175 a month ($2,100/annum)

Chair donors receive personal updates from the musicians they support and are invited to a number of special events, allowing you to connect directly with your chosen musician and their professional experiences.

We have quite a way to go to achieve our target of having every full time musician supported by a chair donor. With your support, we know we can.

Support a Chair!

Become part of the orchestra family

“My support for the program stems from my love of classical music and being a part of our wonderful, talented orchestra.” Mrs Anne Shipton

“Being part of the Chair Program gives you a sense of belonging to the orchestra family.” Mrs Pam Masel

“Being a chair donor has enhanced our connection with the QSO, our enjoyment of the performances and we also now have some new very good friends.” Dr Philip Aitken and Dr Susan Urquhart

“I love the arts, and knowing they are not supported by government as in Europe, I feel compelled to provide what support I can.” Dr Desmond B Misso

“I love meeting the musicians. They work so hard so it’s wonderful to support them.” Mr Arthur Waring

“It is a great pleasure to support the QSO chair program as the orchestra gives us so much pleasure.” Dr Ralph and Mrs Susan Cobcroft

For more information about supporting a musician through the Chair Program, please contact Development on (07) 3833 5009.

Maintaining a symphony orchestra with 73 full time musicians is an expensive challenge and would simply not be possible without your philanthropic support. Queensland Symphony Orchestra’s Chair Program provides the opportunity to support individual musicians by becoming their chair donor.

To continue to attract musicians of the highest calibre, and to help us o�set the ever-increasing high costs of delivering classical music experiences to as many Queenslanders as possible, one of our priorities is to grow the QSO Chair program.

We currently have 43 chair donors supporting 54 of your musicians.

Become a chair donor today for as little as $175/month (fully tax deductible)!

There are four chair donor categories available:

• Concertmaster Chair: $612.50 a month ($7,350/annum) • Principal / Section Principal Chair: $437.50 a month ($5,250/annum)

• Associate Principal: $291.65 a month ($3,500/annum)

• Section Musician Chair: $175 a month ($2,100/annum)

Chair donors receive personal updates from the musicians they support and are invited to a number of special events, allowing you to connect directly with your chosen musician and their professional experiences.

We have quite a way to go to achieve our target of having every full time musician supported by a chair donor. With your support, we know we can.

Support a Chair!

Become part of the orchestra family

“My support for the program stems from my love of classical music and being a part of our wonderful, talented orchestra.” Mrs Anne Shipton

“Being part of the Chair Program gives you a sense of belonging to the orchestra family.” Mrs Pam Masel

“Being a chair donor has enhanced our connection with the QSO, our enjoyment of the performances and we also now have some new very good friends.” Dr Philip Aitken and Dr Susan Urquhart

“I love the arts, and knowing they are not supported by government as in Europe, I feel compelled to provide what support I can.” Dr Desmond B Misso

“I love meeting the musicians. They work so hard so it’s wonderful to support them.” Mr Arthur Waring

“It is a great pleasure to support the QSO chair program as the orchestra gives us so much pleasure.” Dr Ralph and Mrs Susan Cobcroft

For more information about supporting a musician through the Chair Program, please contact Development on (07) 3833 5009.

26 PROGRAM August

Please donate today and help build your Orchestra for Queensland now, and for the future.

Title

First name

Surname

Address

Postcode

E-mail:

Phone:

Please contact me to discuss supporting a musician through the Chair Program

Please contact me to discuss leaving a gift to QSO in my will

OFFICE USE ONLY AUGUST C / R / N

Date received ______ / ______ / ______

Receipt no ________________________

HELP BUILD YOUR ORCHESTRA

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 National Australia Bank, Queensland Symphony Orchestra Pty Ltd National Australia Bank BSB: 084 004 Account: 751920115

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 Philanthropy Reply Paid 9994, BRISBANE QLD 4001 (no stamp required)

PROGRAM August 27

CONCERTMASTERWarwick AdeneyProf Ian Frazer ACand Mrs Caroline FrazerEstate Barbara Jean HebdenCathryn Mittelheuser AMJohn Story AO and Georgina StoryASSOCIATE CONCERTMASTERAlan SmithArthur WaringFIRST VIOLINLinda CarelloMs Helen SotiriadisRebecca SeymourDr John H. CaseyJoan ShihQueensland Symphony Orchestra Admin Team Brenda SullivanHeidi Rademacher and in memory of Hans RademacherAnonymousStephen TookeTony and Patricia KeaneSECTION PRINCIPAL SECOND VIOLINGail Aitken Dr John H. Casey Wayne Brennan Arthur WaringSECOND VIOLINJane BurroughsDr Graham and Mrs Kate RowDelia KinmontAnonymousNatalie LowDr Ralph and Mrs Susan CobcroftHelen TraversElinor and Tony TraversASSOCIATE PRINCIPAL VIOLAYoko OkayasuDr Damien Thomson and Dr Glenise BerryVIOLACharlotte Burbrook de VereDi JamesonBernard HoeyDesmond B. Misso EsqGraham SimpsonAlan GalweyNicholas TomkinAlan SymonsSECTION PRINCIPAL CELLODavid LaleArthur Waring

CELLOKathryn CloseDr Graham and Mrs Kate RowAndre DuthoitAnne ShiptonMatthew Jones M.J. Bellotti Matthew KinmontDr Julie BeebyKaja Skorka Robin SpencerAnonymous SECTION PRINCIPAL DOUBLE BASSPhoebe RussellDi JamesonASSOCIATE PRINCIPAL DOUBLE BASSDushan WalkowiczAmanda BolandDOUBLE BASSAnne BuchananDr Betty Byrne Henderson AMJustin BullockMichael Kenny and David GibsonPaul O'BrienRoslyn CarterKen PoggioliAnonymousASSOCIATE PRINCIPAL FLUTEHayley RadkeDesmond B. Misso EsqPRINCIPAL PICCOLOKate LawsonDr James R. ConnerSECTION PRINCIPAL OBOEHuw JonesProf Ian Gough AM and Dr Ruth GoughASSOCIATE PRINCIPAL OBOESarah MeagherSarah and Mark CombeOBOEAlexa MurrayDr Les and Ms Pam MaselSECTION PRINCIPAL CLARINETIrit SilverArthur WaringCLARINETKate TraversDr Julie BeebySECTION PRINCIPAL BASSOONNicole TaitIn memory of Margaret Mittelheuser AM

ASSOCIATE PRINCIPAL BASSOONDavid MitchellJohn and Helen KeepSECTION PRINCIPALFRENCH HORNMalcolm StewartArthur WaringASSOCIATE PRINCIPALFRENCH HORNPeter LuffShirley LeuthnerFRENCH HORNVivienne Collier-VickersMs Marie IsacksonLauren ManuelDr John H. CaseySECTION PRINCIPAL TRUMPETSarah ButlerMrs Andrea KriewaldtASSOCIATE PRINCIPAL TRUMPETRichard MaddenElinor and Tony TraversTRUMPETPaul RawsonBarry, Brenda, Thomasand Harry MooreSECTION PRINCIPAL TROMBONEJason RedmanFrances and Stephen Maitland OAM RFDASSOCIATE PRINCIPAL TROMBONEDale TruscottPeggy Allen HayesPRINCIPAL TUBAThomas AllelyArthur WaringPRINCIPAL HARPJill AtkinsonNoel and Geraldine WhittakerPRINCIPAL TIMPANITim CorkeronDr Philip Aitken and Dr Susan UrquhartPeggy Allen HayesSECTION PRINCIPALPERCUSSIONDavid MontgomeryDr Graham and Mrs Kate RowPERCUSSIONJosh DeMarchiDr Graham and Mrs Kate Row

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

CHAIR DONORS

PROGRAM August 27

Please donate today and help build your Orchestra for Queensland now, and for the future.

Title

First name

Surname

Address

Postcode

E-mail:

Phone:

Please contact me to discuss supporting a musician through the Chair Program

Please contact me to discuss leaving a gift to QSO in my will

OFFICE USE ONLY AUGUST C / R / N

Date received ______ / ______ / ______

Receipt no ________________________

HELP BUILD YOUR ORCHESTRA

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 National Australia Bank, Queensland Symphony Orchestra Pty Ltd National Australia Bank BSB: 084 004 Account: 751920115

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 Philanthropy Reply Paid 9994, BRISBANE QLD 4001 (no stamp required)

ALLEGRO ($100,000 - $249,999)Estate Susan Mary BlakeAnonymous

CON BRIO ($50,000 - $99,999)Tim Fairfax ACTim Fairfax Family FoundationCathryn Mittelheuser AMIn memory of Mr and Mrs J.C. OverellThe Pidgeon FamilyDr Peter SherwoodTrevor and Judith St BakerFamily FoundationArthur Waring

INTERMEZZO ($20,000 - $49,999)Philip Bacon GalleriesDr John H. CaseyDi JamesonJellinbah GroupThe John Villiers Trust

GRAZIOSO ($10,000 - $19,999)Prof Ian Frazer AC andMrs Caroline FrazerFrances and Stephen MaitlandOAM RFDPage and Marichu MaxsonJustice Anthe PhilippidesDr Graham and Mrs Kate RowMrs Beverley June SmithJohn Story AO andGeorgina StoryGreg and Jan WanchapAnonymous

VIVACE ($5,000 - $9,999)Dr Philip Aitken andDr Susan UrquhartDavid and Judith BealDr Julie BeebyM.J. BellottiKay BryanJoseph and Veronika ButtaDr James R. Conner Prof Ian Gough AM andDr Ruth GoughPeggy Allen HayesEstate Barbara Jean Hebden

John and Helen KeepMrs Andrea KriewaldtNoosa Federation of the ArtsJohn 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 CarterMr Ralph and Mrs Susan CobcroftMrs Ruth CoxJustice Martin DaubneyMrs I.L. DeanAlan GalweyLea and John GreenawayDr and Mrs W.R. Heaslop Ms Marie IsacksonDr Les and Mrs Pam MaselDesmond B Misso Esq.Barry, Brenda, Thomas and Harry MooreDavid Pratt and Ramon NorrodHeidi Rademacher and in memory of Hans RademacherAnne 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 BirdAmanda Boland Professors Catherin Bull AM and Dennis Gibson AOConstantine CaridesElene CaridesGreg and Jacinta ChalmersIan and Penny CharltonSarah and Mark CombeRoger CraggJulie Crozier and Peter Hopson

Dr Catherine Doherty Mrs Elva EmmersonC.M. and I.G. FurnivalDr Edgar Gold AM, QC and Dr Judith Gold CMMr John and Mrs Lois Griffin M.J. HardingProf Ken Ho and Dr Tessa HoDeb HoulahanDavid Hwang/HD Property GroupAinslie Just Tony and Patricia KeaneMichael Kenny andDavid GibsonAndrew KopittkeDr Colin and Mrs Noela KratzingSabina Langenhan andDr Werner Andreas AlbertDr Frank LeschhornShirley LeuthnerLynne and Francoise LipProf Andrew and Mrs Kate ListerSusan MabinMr Greg and Mrs Jan MarshDr Andrew Masel Annalisa and Tony MeikleIn memory of Jolanta MetterPeter MillroyGuy MitchellB. and D. MooreHoward and Katherine MunroMarg O’Donnell AO and in memory of Martin Moynihan AO QCPhilip and Janice OostenbroekIan PatersonDr Graham and Mrs Liz PrattIn memory of Pat RichesG. and B. RobinsNeil W. RootMr Rolf and Mrs Christel Schafer Cath ScullyMs Helen SotiriadisRobin Spencer Prof Hans Westerman andin memory of Mrs FrederikaWestermanMargaret and Robert WilliamsRodney WylieHelen ZappalaAnonymous (19)

QUEENSLAND SYMPHONY ORCHESTRA IS PROUD TO ACKNOWLEDGE THE GENEROSITY AND SUPPORT OF OUR VALUED DONORS.

ANNUAL GIVINGRecognising music lovers who have supported your Orchestra over the last 12 months. Thank you.

OUR DONORS

28 PROGRAM August

LIFETIME GIVINGRecognising those visionary donors whose regular, lifetime giving exceeds $10,000. Thank you.

JOHN FARNSWORTH HALL BEQUEST SOCIETYNamed in honour of the first Chief Conductor of QSO (1947-1954), recognising those who have made a provision in their Will for the Orchestra.

TUTTI ($500 - $999)Jill AtkinsonEmeritus ProfessorCora V. BaldockJean Byrnes Carol CarmudieMrs J.A. CassidyDrew and Christine CastleyRobert ClelandDr Beverley Czerwonka-LedezTerry and Jane DaubneyDr C. Davison

Laurie James DeaneGarth and Floranne EversonD. J. GardinerDr Alison HollowayPeter and Catherine HudsonSandra Jeffries and Brian CookM. LejeuneRachel LeungG.D. MoffettDr Tom MooreJohn and Robyn MurrayRon and Marise Nilsson

Dr Phelim ReillyJoan RossAndrew Simmons Dr Margaret SorokaAlison StanfordBarb and Dan StylesKatherine Trent and Paul ReedMrs H. TullyTanya VianoI. S. and H. WilkeyAnonymous (19)

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

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

PATRON ($100,000 – $249,000)Philip Bacon GalleriesEstate Susan Mary BlakeProf Ian Frazer AC andMrs Caroline FrazerEstate 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 RFDPage and Marichu MaxsonIn 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 HayesMs Marie IsacksonDesmond B. Misso Esq.In memory of Margaret Mittelheuser AMJustice Anthe PhilippidesHeidi Rademacher and in memory of Hans Rademacher

Dr 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 GibsonM. LejeuneDr Les and Mrs Pam MaselIan PatersonAnne ShiptonAnonymous

Roberta Bourne Henry Anonymous (11)

For enquiries on how to leave a gift in your will, please contact the Development team on (07) 3833 5009.

Instruments on loanQSO thanks the National Instrument Bank and The NFA Anthony Camden Fund for their generous loan of fine instruments.

Thank youPlease contact QSO Development on (07) 3833 5017, or you can donate online at qso.com.au/donate-now. All donations over $2 are tax deductible ABN 97 094 916 444For a full list of our donors visit qso.com.au/giving/our-donors

PROGRAM August 29

30 PROGRAM August

QUEENSLAND SYMPHONY ORCHESTRA

QSO's Music Director is proudly supported by Tim Fairfax AC. The Artist-in-Residence program is supported by the Trevor and Judith St Baker Family Foundation and The University of Queensland.QSO's Assistant Conductor is supported by Queensland Conservatorium - Griffith University.

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

MUSIC DIRECTOR Alondra de la Parra

ARTIST-IN-RESIDENCE Maxim Vengerov

ASSISTANT CONDUCTOR Gordon Hamilton

CONDUCTOR LAUREATE Johannes Fritzsch

CONDUCTOR EMERITUS Werner Andreas Albert

CONCERTMASTER Warwick Adeney

ASSOCIATE CONCERTMASTER Alan Smith

DOUBLE BASSPhoebe Russell ~Dushan Walkowicz >>Anne BuchananJustin BullockPaul O’BrienKen Poggioli

FLUTEHayley Radke =

PICCOLOKate Lawson *

OBOEHuw Jones~Sarah Meagher >>Alexa Murray

COR ANGLAISVivienne Brooke *

CLARINETIrit Silver ~Brian Catchlove +Kate Travers

BASS CLARINETNicholas Harmsen *

BASSOONNicole Tait ~David Mitchell >>Evan Lewis

CONTRABASSOONClaire Ramuscak *

FRENCH HORNMalcolm Stewart ~Peter Luff >>Ian O’Brien *Vivienne Collier-VickersLauren Manuel

VIOLIN 1Linda CarelloLynn ColePriscilla HockingAnn HoltzapffelRebecca SeymourJoan ShihBrenda SullivanStephen TookeBrynley White

VIOLIN 2Gail Aitken ~Wayne Brennan ~Jane BurroughsFaina DobrenkoSimon DobrenkoDelia KinmontNatalie LowTim MarchmontHelen TraversHarold Wilson

VIOLABernard Hoey =Yoko Okayasu >>Cédric DavidKirsten Hulin-BobartJann Keir-HaanteraGraham SimpsonNicholas Tomkin

CELLODavid Lale ~Kathryn CloseAndre DuthoitMatthew JonesMatthew KinmontKaja SkorkaCraig Allister Young

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

* Principal 

^ Acting Principal

TRUMPETSarah Butler ~Richard Madden >>Paul Rawson

TROMBONEJason Redman ~Dale Truscott >>

BASS TROMBONETom Coyle *

TUBAThomas Allely *

HARPJill Atkinson *

TIMPANITim Corkeron *

PERCUSSIONDavid Montgomery ~Josh DeMarchi >>

PROGRAM August 31

BOARD OF DIRECTORS

Greg Wanchap ChairmanRod Pilbeam Deputy ChairmanMargaret BarrettMary Jane BellottiTony DenholderTony KeaneJohn KeepCat Matson

MANAGEMENT

David Pratt Chief ExecutiveRos Atkinson Executive Assistant to CEDeb Houlahan Chief Financial OfficerAmy Herbohn Senior Financial AccountantBarbara Harding General Finance CoordinatorMichael Sterzinger Artistic Administration ManagerMurray Walker Assistant Librarian and Artistic AdministratorFiona Lale Artist LiaisonMatthew Farrell Director - Community Engagement and Commercial ProjectsNina Logan Orchestra ManagerNadia Myers Orchestra LibrarianPeter Laughton Operations and Projects ManagerVince Scuderi Production CoordinatorJudy Wood Community Engagement Manager/WHS CoordinatorPam Lowry Education Liaison OfficerMatthew Hodge Director - Sales and Marketing Rachel Churchland Marketing CoordinatorMichael Hyde Senior Sales ManagerEmma Rule Ticketing Services ManagerEric Yates Ticketing Services CoordinatorMike Ruston Ticketing Services CoordinatorYasemin Boz Senior Sales ConsultantDeanna Lane Director - DevelopmentRebekah Godbold Manager - Corporate Partnerships Katya Melendez Manager - Development (maternity leave)Robert Miller Director - Human Resources

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

CHAIRChristopher Freeman AM

DEPUTY CHAIRSimon Gallaher

TRUST MEMBERSKylie Blucher Professor Peter Coaldrake AO Leanne de Souza Sophie Mitchell Professor Chris Sarra

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

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.

32 PROGRAM August

PARTNERS

Government partners

Major partners

Gold partners

Principal partner

Premier partners 2018 Season Creative Partner

Industry collaborators

Artist gifts proudly supplied by Sirromet and French Flowers.

FOR YOUR INFORMATION

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

PROGRAMS ONLINEA free copy of the program is available for download at qso.com.au at the beginning of each performance month. There is also extensive information on planning your journey and what to expect at QSO events under Your Visit at qso.com.au.

HAVE YOUR SAYWe value your feedback about this concert and your experience. Email qso.com.au or visit the Contact Us section of qso.com.au. Please use #QSOrchestra on social media to share your QSO experience with us.

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

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

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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