PROGRAM | TCHAIKOVSKY AND BEETHOVEN I

CONCERT HALL, QPACFRI 1 NOV 2019

O L D S C H O O L M E E T S N E W S C H O O L

TCHAIKOVSKYAND BEETHOVEN

1II PROGRAM | TCHAIKOVSKY AND BEETHOVEN

6

2

CONTENTS

SUPPORTING YOUR ORCHESTRA

MUSICIANS AND MANAGEMENT

ARTIST BIOGRAPHIES

IF YOU'RE NEW TO THE ORCHESTRA

101622

1WELCOME

DEFINITION OF TERMS 3LISTENING GUIDE

© Josh Woning

Queensland Symphony Orchestra acknowledges the traditional custodians of Australia. We acknowledge the cultural diversity of Elders, both past and recent, and the significant contributions that Aboriginal peoples and Torres Strait Islander peoples have made to Queensland and Australia.

To ensure an enjoyable concert experience for everyone, please remember to turn off your mobile phones and all other electronic devices. Please muffle coughs and refrain from talking during the performance.

WELCOME

Welcome to our concert this evening. We’re thrilled to be sharing this performance with you.

As a violinist, I am particularly excited to welcome back Nemanja Radulović, our characterful and dynamic soloist. On his previous visit, he wowed both orchestra and audience with his virtuosic performance of Prokofiev’s Concerto in G minor, and we can’t wait to hear the intensity, artistry and flair which he will bring to the Tchaikovsky Violin Concerto.

Speaking of flair, it’s always a pleasure to share the stage with our Music Director, Alondra de la Parra, who will help us to convey all the changes of mood in Beethoven’s evocative Pastoral Symphony. There’s also something extra special about playing Mexican music with Alondra – Federico Ibarra’s Sinfonia No.2 is a new work for Queensland Symphony Orchestra, and we look forward to giving a fresh and invigorating performance of it.

Thanks so much for your ongoing support. We look forward to seeing you again soon.

Alan Smith Associate Concertmaster

IN THIS CONCERT PROGRAMConductor Alondra de la Parra Violin Nemanja Radulović

Ibarra Groth Sinfonía No. 2, ‘Las Antesalas del Sueño’ 11’ Tchaikovsky Concerto in D for Violin and Orchestra 33’ INTERVAL 20’ Beethoven Symphony No.6 in F, Pastorale 39’Relive Tchaikovsky and

Beethoven on ABC Classic on 8 November and 19 December 2019 at 12pm (AEDT).

Queensland Symphony Orchestra Music Director is proudly supported by Tim Fairfax AC. This concert is proudly presented by Philip Bacon Galleries.

PROGRAM | TCHAIKOVSKY AND BEETHOVEN 32 PROGRAM | TCHAIKOVSKY AND BEETHOVEN

IF YOU'RE NEW TO THE ORCHESTRA

WHO SITS WHERE

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

STRINGSThese instruments produce sound by bowing or plucking stretched strings.

First and Second ViolinViolaCelloDouble Bass

WOODWINDWind instruments produce sound by being blown into.

Flute / PiccoloClarinet / Bass ClarinetOboe / Cor AnglaisBassoon / Contrabassoon

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

French HornTrumpet Trombone / Bass TromboneTuba

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

Timpani, Harp, Bells, Crash Cymbals, Glockenspiel, Gong, Gran Cassa, Pandeiro, Snare Drum, Suspended Cymbal, Tam Tam

KEYBOARDKeyboard instruments are played by pressing keys.

PianoCeleste

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

Cadenza an ornamental passage, improvised or written out, that is usually played by a soloist or group of soloists, often displaying virtuosity.

Chorale in an orchestral context, a chorale is a small ensemble of instruments containing different instrumental lines or voices.

Concerto an orchestral work which features a solo instrumentalist.

Crescendo a gradual increase in the volume of music.

Double stopping a technique whereby two strings are played at the same time.

Drone a sustained tone, usually low in pitch (think bagpipes!).

Fortissimo a dynamic marking that indicates music is to be played at a very loud volume.

Glissando an upwards or downwards slide between notes.

Harmonics notes that are produced on string instruments by gently placing a finger on strings to produce a light and ethereal sound.

Motif a short, recurring musical idea, the basic building block of a piece of music.

Movement a self-contained section of a work.

Ostinato a repeated musical pattern.

Pizzicato a technique where strings are plucked with the finger instead of being bowed.

Programmatic music that tells a story or paints a picture of a particular environment or scene.

Roll a rapid alternation between hand to hand of mallets, letting them rebound off the top of the timpani.

Sonnet a poem with fourteen lines that accords to a rhyme scheme, for example containing ten syllables per line.

Symphony an extended musical composition most commonly written for symphony orchestra and containing around three or more movements.

Theme a subject, usually melodic, of a work.

Tremolo the trembling, rapid repetition back and forth of a note, usually on a bowed string instrument.

Trill a rapid alternation between two notes.

DEFINITION OF TERMS

PROGRAM | TCHAIKOVSKY AND BEETHOVEN 54 PROGRAM | TCHAIKOVSKY AND BEETHOVEN

LISTENING GUIDE

Federico Ibarra Groth (b. 1946)Sinfonía No.2, 'Las Antesalas del Sueño' (The antechamber of the dream)Federico Ibarra Groth was born in Mexico City and was educated there before further study in Paris and Madrid.

Ibarra’s Second Symphony was composed in 1993. The implications of its subtitle are reinforced by a quotation at the head of the score from Xavier Villaurrutia (1903–1950), a Mexican poet often concerned with night and dreams. His Nocturno muerto is a sonnet that graphically describes the physical sensation of falling into the dream of death: the lines that Ibarra quotes depict a ‘muffled, blue and numerous thudding/imprisoned in the seashell of my sleeping ear’.

A single, 10-minute span, the Symphony nevertheless falls into sections that correspond to three classical movements. Ibarra begins with unstable, shivering glissandos, like the sound of rotors, through which patterns of repeated single notes emerge and, as is a feature of this work, become more insistently iterated to create growing tension. More and more motifs, often of only two or three notes, are added as the harmony becomes less static. All dissolves suddenly into a haze of tuned percussion, with isolated wind flourishes against a near-motionless background, as the cellos and low woodwinds begin a long melody made up of three-note motifs. As the higher winds take up this material a more active ostinato can be heard, just before the music breaks into fast, rhythmically emphatic music that recalls certain works of Stravinsky or Khachaturian. The headlong momentum never flags, but Ibarra reduces the overall volume to create a dramatic crescendo before the cataclysmic final moments.

© Gordon Kerry 2019

© Peter Wallis

PROGRAM | TCHAIKOVSKY AND BEETHOVEN 76 PROGRAM | TCHAIKOVSKY AND BEETHOVEN

LISTENING GUIDE

Pyotr Ilyich Tchaikovsky (1840–1893)Concerto in D for Violin and Orchestra, Op.35

I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo

Pyotr Ilyich Tchaikovsky wrote his violin concerto during a tumultuous period in his life. After fleeing from an unhappy marriage and attempting suicide, he travelled around Europe. In Clarens, a small village in Montreux, Switzerland, he met the violinist Joseph Kotek, who inspired him to write this work. Tchaikovsky sketched the concerto in only eleven days and finished scoring it for orchestra two weeks later. He originally dedicated it to the famous Hungarian violinist Leopold Auer, later including another dedication to Kotek, but both violinists refused to perform the premiere as they believed it was impossible to play (with Auer calling it ‘unviolinistic’). Despite his initial reservations, and an unrehearsed and unsuccessful premiere by the violinist Adolf Brodsky three years later, Auer later championed the work, performing it many times and teaching it to his budding virtuoso pupils. The concerto has the best of both worlds – lots of fast and impressive solo passages, but also tender, lyrical moments, conveying a sense of vulnerability and perhaps reflecting the composer's emergence from difficult times.

At nearly twenty minutes in length, the first movement is more than double the length of the second and third movements. It begins with a simple, inquisitive-sounding theme in the first violins, which quickly swells with passion with the arrival of the rest of the orchestra. The orchestra makes way for the solo violin, which meanders into a lyrical and expressive second theme, characterised by yearning and apprehension at first, then later evolving into rhapsodic excitement. It is varied through the frequent use of double stops and blindingly fast passages, and is passed between orchestra and violin soloist until the soloist explores it further in a brilliant cadenza around the middle of the movement. The cadenza features a mixture of techniques including double-stops, glissandi, harmonics, leaps, and trilling, which is what makes it so difficult to perform. A flute gently reintroduces the main theme in the orchestra before the violin reprises the first two themes, delicately traversing the celestial, upper registers of the violin. The movement draws to a close after the violin soloist and orchestra furiously sprint towards a grand finish.

The second slow movement is a canzonetta – a little dance. It commences with a solemn-sounding chorale, comprised of oboes, clarinets, bassoons, and French horns. Out of this emerges a wistful, Slavic-sounding theme on solo violin. Unlike the lyrical main theme heard in the first movement, this one is mainly stepwise and simple. Towards the end, we hear a second theme, which is interrupted by the abrupt appearance of the third movement.

The vibrant final movement of the concerto is announced by a dark and dramatic theme which is taken over by the violin soloist who transforms it into brighter music. Like the main theme of the second movement, this folksy-sounding theme is characterised by its stepwise movement, but at a much quicker pace, with rapid-fire violin. A second, stately theme in the orchestra temporarily slows the tempo before the violin speeds off again. Solo oboe and clarinet attempt to slow things down again, and the violin abides at first, but it is not long before it again soars off in a flurry. Cello drones again temporarily put the reigns on the solo violin, which explores a meandering, expressive theme, but it eventually takes off again with its fiery theme which builds into a triumphant finale.

© Celia Casey 2019

© Josh Woning

PROGRAM | TCHAIKOVSKY AND BEETHOVEN 98 PROGRAM | TCHAIKOVSKY AND BEETHOVEN

LISTENING GUIDE

Ludwig van Beethoven (1770–1827)Symphony No.6 in F, Op.68, Pastorale

1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Awakening of Cheerful Feelings on Arrival in the Country) 2. Szene am Bach (Scene by the Brook) 3. Lustiges Zusammensein der Landleute (Merry Gathering of the Countryfolk) 4. Gewitter, Sturm (Thunderstorm) 5. Hirtengesang, frohe und dankbare Gefühle nach dem Sturm (Shepherd's Song, Glad and Grateful Feelings After the Storm)

Ludwig van Beethoven was said to have felt most at home when vacationing in the countryside and taking long solitary walks through fields and woods. His sixth symphony reflects this love of nature. It was composed in the summers of 1807 and 1808 while the composer was residing in Heiligenstadt, a rural retreat in Vienna.

This is a programmatic work, but rather than painting an aural picture of the countryside, Beethoven felt that the symphony evoked the feeling of being in the countryside (noting in a sketchbook ‘recollections of country life….more the expression of feeling than of painting’). However, upon listening to this work tonight you will hear that it manages to successfully convey both pictorial and expressive elements of the countryside. Each movement illustrates a particular country scene, with the third and fourth movement transitioning to the next movement without pause.

The sentiment of the first movement’s title, ‘Awakening of Cheerful Feelings on Arrival in the Country’, is reflected right from the start. It begins with an upbeat strolling theme in the violins, over a drone in the violas and cellos, before it is joined by the rest of the strings and French horns. The sense evoked from the bright, expansive music is like walking through a large open meadow on a sunny day. The theme is then taken up by the oboes, then clarinets, bassoons, pulsing French horns and rippling first violins and cellos, before we hear it loudly stated by full orchestra. The next theme heard in this movement is characterised by gently cascading instrumental lines which build up in the orchestra. Both of these themes are repeated and developed, much like one might experience a familiar landscape in different iterations over a leisurely walk through the countryside.

The second, slow movement begins with a tender melody in the first violins, then in clarinets and bassoons, which lingers over a stream of gentle, lulling strings, grounded by sustained French horns. This movement is said to have been inspired by a walk the composer took in the countryside around Vienna. As recounted by Beethoven’s friend, Anton Schindler:

Passing through the pleasant meadow-valley between Heiligenstadt and Grinzing, which is traversed by a gently murmuring brook that hurries down from a nearby mountain and is bordered with high elms, Beethoven repeatedly stopped and let his glances roam, full of happiness, over the glorious landscape. ... 'Here I composed the Scene by the brook,' Beethoven said, 'and the yellowhammers up there, the quails, nightingales, and cuckoos around about, composed with me.'

Towards the end of this movement, the flute impersonates a nightingale, the oboe a quail, and the clarinet a cuckoo. The French composer Hector Berlioz liked the use of these bird calls so much that he copied two of them for the third movement of his Symphonie Fantastique (1830).

The lively third movement represents a country dance. It begins with a short and detached falling line followed by a smooth line. The music in this movement sounds somewhat improvised and spontaneous, with sudden statements of new tunes interrupting those already being played, representing a band of amateur (and possibly tipsy!) musicians. The oboe has a bright-sounding solo, supported by a descending line in the bassoon and light violins. This solo is then passed to clarinet then French horn before the music becomes more vigorous as the country dance gets rowdier. The final, fast statement of the opening theme comes to an abrupt halt with the sudden arrival of the stormy fourth movement.

Here in Brisbane, we know thunderstorms all too well, and the turbulent fourth movement of this symphony evokes this force of nature brilliantly. It begins with distant thunder in tremolo cellos and double basses, before we hear raindrops steadily falling from the second violins. The music grows more ominous as the storm becomes intense with thunder, lightning, gale-force winds, and sheets of rain. This is represented in the music with tremolo upper strings, rapidly descending motifs in the cellos and basses, fortissimo winds and brass, and timpani rolls. After the storm passes, we hear a short chorale played by oboe, bassoons, violins, and violas, with thunder rumbling off in the distance in the lower strings. A sweetly ascending line in the flute leads us to the fifth movement.

The fifth and final movement of this symphony begins with a shepherd’s yodel, first heard in the clarinet and then the French horn. It evolves into a serene melody, and the orchestra builds to a climax, complete with tremolo violins. A soft, contemplative passage played by violins is laid over a delicate bed of pizzicato lower strings. This is a hymn of thanksgiving, in honour of the storm’s passing, and the music becomes increasingly joyful. The work draws to a tranquil close, like a peaceful sunset in the countryside, as two bright chords ring out into the distance.

© Celia Casey 2019

PROGRAM | TCHAIKOVSKY AND BEETHOVEN 1110 PROGRAM | TCHAIKOVSKY AND BEETHOVEN

ARTIST BIOGRAPHIES

Alondra de la ParraConductor & Music DirectorAlondra de la Parra has gained widespread attention for her spellbinding and vibrant performances and her commitment to Latin American composers. She has conducted over 100 of the world's most prestigious orchestras including London Philharmonic Orchestra, Bamberg Symphony, Swedish Radio Symphony Orchestra, São Paulo Symphony Orchestra, Berlin Radio Symphony Orchestra and Orchestra dell'Accademia Nazionale di Santa Cecilia.

In 2017, she began her term as Music Director of Queensland Symphony Orchestra, making her the first ever Music Director of an Australian orchestra. She is an official Cultural Ambassador of Mexico, where she saw platinum-level sales of her first album ‘Mi Alma Mexicana’ and, in March 2017, was named brand ambassador for Mercedes-Benz Mexico. In July 2017, Deutsche Welle created ‘Musica Maestra’, a new classical format featuring Alondra as both protagonist and reporter in a series of several web videos and television shows.

In the 2019/20 season, she will return to Tonhalle-Orchester Zürich, to Staatsoper Berlin for the resumption of Yuval Sharon’s production of Mozart’s Zauberflöte and to Royal Opera House in June 2020.

She recently conducted Tchaikovsky’s Romeo and Juliet with Queensland Ballet in Brisbane, and next year will perform a concert at Komische Oper Berlin with cellist Jan Vogler and return to the Deutsche Kammerphilharmonie Bremen, which she has been closely working with for several years now. Alondra will also celebrate debuts with the Vienna Radio Symphony Orchestra, Orchestre Philharmonique du Luxembourg with Rolando Villazón, Frankfurt Radio Symphony, and Staatskapelle Dresden.

Engagements of the last seasons include her celebrated return to Orchestre de Paris, an appearance with the Verbier Festival Orchestra, her debut at Festival de Pâques in Aix-en-Provence, as well as the world premiere of the new production T.H.A.M.O.S at Mozartwoche Salzburg, together with Camerata Salzburg and the theatre collective La Fura dels Baus around Carlus Padrissa.

Photo © Peter Rigaud

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

Nemanja RadulovićViolinWinner of the 2015 Echo Klassik Award for Newcomer of the Year, Serbian-French violinist Nemanja Radulović has taken the classical music world by storm with his thrilling virtuosity, depth of expression, and adventurous programming. An exclusive Deutsche Grammophon artist, his most recent album, Baïka, features his evocative interpretations of Khachaturian’s Violin Concerto as well as Rimsky-Korsakov’s Scheherazade, arranged for solo violin and chamber orchestra.

Fresh off a hotly-anticipated, ‘magical’ (Barry Creasy, musicOMH) BBC Proms debut featuring the Bournemouth Symphony Orchestra, Kirill Karabits, and a Barber Violin Concerto whose ‘lyric delicacy and last-movement super-virtuosity were caught to near perfection’ (The Times).

An artist who seeks to broaden the boundaries of classical music, Nemanja champions the power of music to bring people together with his unique energy and candour. He has amassed a legion of loyal fans around the world who have enjoyed his performances with many of the world’s leading orchestras.

Nemanja has an equal passion for the intimacy of chamber music, and is an increasingly active recitalist on the international circuit. Nemanja also regularly undertakes a play/direct role with his infectious, high-energy ensemble The Devils’ Trills.

Nemanja’s recognition for his work in classical music includes International Revelation of the Year by the Victoires de la musique classique in 2005, an Honorary Doctorate from the University of Arts in Niš, Serbia, and an ELLE Style Award for Musician of the Year in 2015. He is the winner of several international violin competitions, such as Joseph Joachim in Hanover, George Enescu in Bucharest, and Stradivarius in Cremona.

Born in Serbia in 1985, Nemanja studied at the Faculty of Arts and Music in Belgrade, the Saarlandes Hochschule für Musik und Theater in Saarbrücken, the Stauffer Academy in Cremona with Salvatore Accardo, and the world-renowned Conservatoire de Paris with Patrice Fontanarosa.

PROGRAM | TCHAIKOVSKY AND BEETHOVEN 1312 PROGRAM | TCHAIKOVSKY AND BEETHOVEN © Sarah Marshall

15

Sirromet Winery 850 Mt Cotton Rd, Mt Cotton

Experience Australia’s Best Cellar Door 2019Star Cellar Door Brisbane by Gourmet Traveller Wine Magazine

Sirromet Winery located at Mount Cotton is the perfect day trip located only 30 minutes from Brisbane and 45 minutes from the Gold Coast. Return transfer service available.

17

SUPPORT A MUSICIAN

07 3833 5027development@qso.com.auqso.com.au

SECTION PRINCIPAL FLUTEAlison Mitchell Alan Symons

ASSOCIATE PRINCIPAL FLUTEHayley Radke Desmond B Misso Esq.

PRINCIPAL PICCOLOKate Lawson Dr James R Conner

SECTION PRINCIPAL OBOEHuw Jones Prof Ian Gough AM and Dr Ruth Gough

ASSOCIATE PRINCIPAL OBOESarah Meagher Sarah and Mark Combe

OBOEAlexa Murray Dr Les and Ms Pam Masel

PRINCIPAL COR ANGLAISVivienne Brooke CP Morris

SECTION PRINCIPAL CLARINETIrit Silver Arthur Waring

ACTING ASSOCIATE PRINCIPAL CLARINETBrian Catchlove Timothy Michaux

CLARINETKate Travers Dr Julie Beeby

PRINCIPAL BASS CLARINETNicholas Harmsen Support a Musician Today

SECTION PRINCIPAL BASSOONNicole Tait In memory of Margaret Mittelheuser AM

ASSOCIATE PRINCIPAL BASSOONDavid Mitchell John and Helen Keep

BASSOONEvan Lewis CP Morris

PRINCIPAL CONTRABASSOONClaire Ramuscak CP Morris

SECTION PRINCIPAL FRENCH HORNMalcolm Stewart Arthur Waring

PRINCIPAL FRENCH HORNIan O'Brien Dr Geoffrey Trim

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

FRENCH HORNVivienne Collier-Vickers Ms Marie Isackson

Lauren Manuel Dr John H. Casey

SECTION PRINCIPAL TRUMPETVacant Mrs Andrea Kriewaldt

ASSOCIATE PRINCIPAL TRUMPETRichard Madden Elinor and Tony Travers

TRUMPETPaul Rawson Mr Nick Beaton and Dr Pamela Greet

SECTION PRINCIPAL TROMBONEJason Redman Frances and Stephen Maitland OAM RFD

ASSOCIATE PRINCIPAL TROMBONEAshley Carter Support a Musician Today

PRINCIPAL TUBAThomas Allely Arthur Waring

PRINCIPAL HARPJill Atkinson Noel and Geraldine Whittaker

PRINCIPAL TIMPANITim Corkeron Dr Philip Aitken and Dr Susan Urquhart Peggy Allen Hayes

SECTION PRINCIPAL PERCUSSIONDavid Montgomery Dr Graham and Mrs Kate Row

ASSOCIATE PRINCIPAL PERCUSSIONJosh DeMarchi Dr Graham and Mrs Kate Row

16

Music lovers who support an individual musician’s role within the Orchestra and gain fulfilment through personal interactions with their chosen musician. We thank you.

MUSIC CHAIR DONORS

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

ASSOCIATE CONCERTMASTERAlan Smith Arthur Waring

PRINCIPAL FIRST VIOLINShane Chen Jessica Read

FIRST VIOLINLinda Carello Support a Musician Today

Lynn Cole Neil W. Root

Ann Holtzapffel Aitken Whyte Lawyers

Rebecca Seymour Dr John H. Casey

Joan Shih Simon Mills

Brenda Sullivan Heidi Rademacher and in memory of Hans Rademacher Anonymous

Stephen Tooke Tony and Patricia Keane

Brynley White Graeme Rosewarne and Jim O’Neill

SECTION PRINCIPAL SECOND VIOLINGail Aitken Dr John H. Casey

Wayne Brennan Support a Musician Today

SECOND VIOLINKatie Betts Dr Geoffrey Trim

Jane Burroughs Dr Graham and Mrs Kate Row

Faina Dobrenko The Curavis Fund

Simon Dobrenko The Curavis Fund

Delia Kinmont Dr Colin and Mrs Noela Kratzing

Natalie Low Dr Ralph and Mrs Susan Cobcroft

Tim Marchmont Dr Geoffrey Trim

Nicholas Thin Benn Day Simon Mills Young Professional Circle

Helen Travers Elinor and Tony Travers

Harold Wilson Trevor J Rowsell

SECTION PRINCIPAL VIOLAImants Larsens Dr Geoffrey Trim

ASSOCIATE PRINCIPAL VIOLAYoko Okayasu Dr Damien Thomson and Dr Glenise Berry

VIOLACharlotte Burbrook de Vere Mr Nick Beaton and Dr Pamela Greet

Nicole Greentree Shirley Leuthner

Bernard Hoey Desmond B Misso Esq.

Kirsten Hulin-Bobart CP Morris

Jann Keir-Haantera Ms Helen Sotiriadis

Graham Simpson Alan Galwey

Nicholas Tomkin Alan Symons

SECTION PRINCIPAL CELLODavid Lale Arthur Waring

ASSOCIATE PRINCIPAL CELLOHyung Suk 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 MJ Bellotti

Matthew Kinmont Dr Julie Beeby

Kaja Skorka Robin Spencer Anonymous

Craig Allister Young Di Jameson

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

ASSOCIATE PRINCIPAL DOUBLE BASSDušan Walkowicz Amanda Boland

DOUBLE BASSAnne Buchanan Dr Betty Byrne Henderson AM

Justin Bullock Michael Kenny and David Gibson

Paul O'Brien Graeme Rosewarne and Jim O'Neill

Ken Poggioli Anonymous

18

Music lovers who have supported your Orchestra over the last 12 months. We thank you.

ANNUAL GIVING

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

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

INTERMEZZO($20,000 - $49,999)Philip Bacon GalleriesG and K IlettCathryn Mittelheuser AMCP MorrisStack Family FoundationJohn Story AO and Georgina Story

GRAZIOSO ($10,000 - $19,999)Associate Professor John Allan and Dr Janet AllanKay BryanJoseph and Veronika ButtaDr John H. CaseyIan and Cass GeorgeMorgans FoundationJustice Anthe PhilippidesDr Graham and Mrs Kate RowDr Geoffrey Trim

VIVACE ($5,000 - $9,999)Dr Philip Aitken and Dr Susan UrquhartDavid and Judith BealDr Julie BeebyJohn and Lynnly ChalkDr James R ConnerT.C. and M.R. CooneyTim and Elaine CrommelinBenn R DayProf. Ian Gough AM and Dr Ruth GoughMr Nick Beaton & Dr Pamela Greet

Doug Hall FoundationMalcolm and Andrea Hall-BrownJohn and Rhonda HawkinsPeggy Allen HayesMichael Kenny and David GibsonDr Colin and Mrs Noela KratzingMrs Andrea KriewaldtFrances and Stephen Maitland OAM RFDDan and Helen McVayDesmond B Misso Esq.The Neilsen GroupIn memory of Mr and Mrs J.C. OverellHeidi Rademacher and in memory of Hans RademacherNeil W Root and Trevor J RowsellGraeme Rosewarne and Jim O’NeillTrevor & Judith St Baker Family FoundationAlan Symons & in mem of Bruce Short, Kevin Woodhouse & Graham WebsterSidney Irene Thomas (In Memory)Elinor and Tony TraversTurner Family FoundationDavid and Judy TynanK and S WarkNoel and Geraldine WhittakerGary and Diana WillemsenSteve & Jane Wilson

PRESTO ($2,500 - $4,999)Prof. Margaret BarrettDr Betty Byrne Henderson AMNigel Chamier AMSarah and Mark CombeJustice Martin DaubneyMs Marie IsacksonTony and Patricia KeaneProf. Andrew and Mrs Kate ListerTimothy Michaux

Simon MillsSiganto FoundationMr Tom StackMrs Amanda TalbotDr Damien Thomson and Dr Glenise BerryThe Curavis FundAnonymous (1)

STRETTO ($1,000 - $2,499)ADFAS BrisbaneAitken Whyte LawyersJulieanne AlroeDr Geoffrey Barnes and in memory of Mrs Elizabeth BarnesWilliam and Erica BattJohn and Bonnie BauldM.J. BellottiAmanda BolandJean ByrnesConstantine CaridesElene CaridesGreg and Jacinta ChalmersRobert ClelandDr Ralph and Mrs Susan Cobcroft Dr Peter Hopson & Julie CrozierElizabeth Dann & Philip McNicolMrs I. L. DeanMrs Elva EmmersonAlan GalweyGardiner Family FoundationProfessors R D Gibson AO and Catherin Bull AMDr Edgar Gold AM, QC and Dr Judith Gold CMMs Julia GrayWendy GreenLea and John GreenawayJohn and Lois GriffinDr and Mrs W.R. HeaslopMrs. L. A. HudsonDi JamesonAinslie JustJohn and Helen KeepDiana C S Khursandi

19

Young Professionals who collectively support a musician’s role within the Orchestra and share their ideas and energy to help us create an exciting future for Queensland Symphony Orchestra. We thank you.

Kingston FamilyAndrew KopittkeDr Frank LeschhornShirley LeuthnerLynne and Francoise LipSusan MabinMr Greg and Mrs Jan MarshDr Les and Mrs Pam MaselTimothy Matthies and Chris BonnilyJulienne and John McKennaLoraine McLarenAnnalisa and Tony MeikleIn memory of Jolanta MetterIn Memory of Harry MilesB and D MooreHoward and Katherine MunroColin NevilleRonald and Marise NilssonIan PatersonPeterson FamilyJessica ReadG & B RobinsJoan RossJudith SackAnne ShiptonDr Margaret SorokaMs Helen SotiriadisRobin SpencerJohn and Jennifer StollUrban ListProf. Hans Westerman and in memory of Mrs Frederika WestermanMargaret and Robert WilliamsJuanita WrightRodney WylieAnonymous (10)

TUTTI ($500-$999)Trudy BennettQuentin BryceDr Sheena L. BurnellDrew and Christine CastleyRichard ChambersTerry and Jane DaubneyDr C. DavisonD J GardinerDr Alison M. HollowayDaryl and Lisa HolmesRachel LeungElizabeth MacintoshJim and Maxine MacmillanGary & Gayle MartinDr Masanori MatsumotoGuy MitchellDr Tom MooreJohn and Robyn MurrayHamilton NewtonMrs Ruth RichardsonKW Sommerfeld and FamilyKatherine Trent and Paul ReedTanya VianoMax and Robyn WhiteAnonymous (14)

YOUNG PROFESSIONAL CIRCLEShadi AhmadGabrielle AneseMichelle BagnallDr Sheena L. BurnellJonathan Butler-WhiteRoger CantMr Rowan DanielewskiMarina DatovaHelen DavisBenn DayStephanie DerringtonMs Amelia DobsonGrant & Karen GastonZackary GeorgeEloise GluerAmy GreeneHannah GriggMiss Cassandra HeilbronnAndrew and Anita JonesElizabeth KellyDylan KerrMr Alexander MackBenjamin McIntyreMarnie NicholsMichaela PoundJessica ReadInna RybkinaNathan SchokkerPenelope SmidNicholas W SmithHilary TroyJennifer WhybirdDr Geoffrey Chia-Yu Wu

2120

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

LIFETIME GIVING

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

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

PATRON($100,000 – $249,999)Di JamesonJohn Story AO and Georgina StoryNoel and Geraldine Whittaker

MAESTRO ($50,000 – $99,999)Dr Julie BeebyDr John H. CaseyPeggy Allen HayesMrs Andrea KriewaldtFrances and Stephen Maitland OAM RFDIn memory of Mr and Mrs J.C. OverellJustice Anthe PhilippidesDr Graham and Mrs Kate Row

Queensland Symphony Orchestra is proud to acknowledge the generosity and support of our valued donors.

(Donor lists correct as at October 2019.)

SYMPHONY($20,000 – $49,999)Dr Philip Aitken and Dr Susan UrquhartDavid and Judith BealDr Ralph and Mrs Susan CobcroftMrs I. L. DeanProf. Ian Gough AM and Dr Ruth GoughG and K IlettMs Marie IsacksonJohn and Helen KeepDr Les and Mrs Pam MaselDesmond B Misso Esq.Morgans FoundationCP MorrisHeidi Rademacher and in memory of Hans RademacherAnne ShiptonStack Family FoundationDr Damien Thomson and Dr Glenise BerryElinor and Tony TraversRodney WylieAnonymous (1)

CONCERTO($10,000 – $19,999)Associate Professor John Allan and Dr Janet AllanProf. Margaret BarrettKay BryanJoseph and Veronika ButtaDr Betty Byrne Henderson AMSarah and Mark CombeDr James R ConnerJustice Martin Daubney Benn DayMrs Elva EmmersonAlan GalweyIan and Cass GeorgeDr Edgar Gold AM, QC and Dr Judith Gold CMMr Nick Beaton & Dr Pamela GreetMalcolm and Andrea Hall-BrownDr and Mrs W.R. HeaslopTony and Patricia KeaneMichael Kenny and David GibsonDr Colin and Mrs Noela KratzingShirley LeuthnerIan PatersonNeil W Root and Trevor J RowsellAlan Symons & in mem of Bruce Short, Kevin Woodhouse & Graham WebsterSiganto FoundationDr Geoffrey TrimProf. Hans Westerman and in memory of Mrs Frederika WestermanMargaret and Robert WilliamsAnonymous (1)

2322

Queensland Symphony Orchestra Music Director is proudly supported by Tim Fairfax AC. The Artist-in-Residence program is supported by The University of Queensland.

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

MUSIC DIRECTOR Alondra de la Parra

ARTIST-IN-RESIDENCE Paul Lewis

CONDUCTOR LAUREATE Johannes Fritzsch

CONDUCTOR EMERITUS Werner Andreas Albert

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

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

FLUTE Alison Mitchell ~ Hayley Radke >>

PICCOLO Kate Lawson*

OBOE Huw Jones~ Sarah Meagher >> Alexa Murray

COR ANGLAIS Vivienne Brooke*

CLARINET Irit Silver~ Brian Catchlove+ Kate Travers

BASS CLARINET Nicholas Harmsen*

VIOLIN 1 Shane Chen* Linda Carello Lynn Cole Ann Holtzapffel Rebecca Seymour Joan Shih Brenda Sullivan Stephen Tooke Brynley White

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

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

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

BASSOON Nicole Tait~ David Mitchell >> Evan Lewis

CONTRABASSOON Claire Ramuscak*

FRENCH HORN Malcolm Stewart ~ Alex Miller >> Ian O’Brien* Vivienne Collier-Vickers Lauren Manuel

TRUMPET Richard Madden >> Paul Rawson

TROMBONE Jason Redman~ Ashley Carter >>

BASS TROMBONE Tom Coyle*

TUBA Thomas Allely*

HARP Jill Atkinson*

TIMPANI Tim Corkeron*

PERCUSSION David Montgomery~ Josh DeMarchi >>

CONCERTMASTER Warwick Adeney

ASSOCIATE CONCERTMASTER Alan Smith

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

MANAGEMENT Craig Whitehead Chief Executive Ros Atkinson Executive Assistant to Chief Executive and Board Chair Deb Houlahan Chief Operating Officer and Company Secretary Amy Herbohn Financial Controller Barb Harding General Finance Coordinator Raymond Bax WH&S Manager Timothy Matthies Director - Artistic Planning Michael Sterzinger Manager - Artistic Administration Murray Walker Program Coordinator - Artistic Planning Fiona Lale Artist Liaison Judy Wood Community Engagement Manager Pam Lowry Education Officer

Matthew Farrell Director - Orchestra Management Nina Logan Orchestra Manager Isabel Hart Operations Assistant Peter Laughton Operations and Projects Manager Vacant Production Coordinator Nadia Myers Orchestra Librarian

Toni Palmer Director - Development Katya Melendez Manager - Development Carolyn Bowes Manager - Corporate Partnerships Karen Towers Development Coordinator

Matthew Hodge Director - Sales and Marketing Renée Jones Manager - Marketing Rachel Churchland Coordinator - Digital Marketing Celia Casey Coordinator - Marketing and Publications Vacant Coordinator - Marketing Design and Content Michael Hyde Senior Manager - Sales Emma Rule Manager - Ticketing Services Mike Ruston Coordinator - Ticketing Services

QUEENSLAND PERFORMING ARTS CENTRE

PO Box 3567, South Bank, Queensland 4101 T: (07) 3840 7444 W: qpac.com.au

CHAIR Professor Peter Coaldrake AO

DEPUTY CHAIR Leigh Tabrett PSM

TRUST MEMBERS Dare Power Susan Rix AM Leanne de Souza

CHIEF EXECUTIVE John Kotzas

ACKNOWLEDGMENT The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government

The Honourable Leeanne Enoch MP, Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts

Director-General, Department of Environment and Science: Jamie Merrick

QPAC respectfully acknowledges the Traditional Owners of the Lands across Queensland and pays respect to their ancestors who came before them and to Elders past, present and emerging.

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

2524

PARTNERS

Government Partners Principal Partner

Major Partners

Premier Partners Education Partners

Gold Partners Accommodation Partners

COMING UP

CINEMATICSAT 30 NOV 2019 2PM & 7.30PM Concert Hall, QPAC

Conductor + Host Nicholas Buc

Blockbuster music from films including Harry Potter, Star Wars, Lord of the Rings, The Avengers, Star Trek, and more!

CHAMBER PLAYERSSUN 24 NOV 2019 3PM Queensland Symphony Orchestra Studio, ABC Building, South Bank

Michael Haydn Divertimento in C Beethoven String Quintet in C, Op.29 Martinů String Sextet, H.224

A delightful afternoon of music hand-picked by our musicians.

TIMELESSFRI 15 NOV 2019 11AM SAT 16 NOV 2019 7.30PM Concert Hall, QPAC

Conductor Alondra de la Parra Piano Paul Lewis

Grieg Piano Concerto in A minor Tchaikovsky Symphony No.5 in E minor Ravel Rapsodie espagnol*

* Ravel not featured in Friday concert

Industry Collaborators

26 PROGRAM | TCHAIKOVSKY AND BEETHOVEN

qso.com.auQueensland Symphony Orchestra GPO Box 9994 BRISBANE QLD 4001 Cnr Grey and Russell Street, South Brisbane 07 3833 5044 | info@qso.com.au

WANT MORE?

ON THE RADIO Our performances are regularly recorded for broadcast. Tune in for more great music.

abc.net.au/classic or 4mbs.com.au

WATCH Enjoy behind-the-scenes footage, interviews with musicians, instrument workshops and more.

youtube.com

READ Visit our website for interesting articles, musical insights, interviews and more.

qso.com.au/news

ON SPOTIFY Listen to our concert playlists anywhere, anytime.

spotify.com

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

qso.com.au

HAVE YOUR SAY We love to hear from our audience. What did you think of the concert? What was your favourite piece? Who do you want to hear more of? Let us know!

info@qso.com.au #QSOrchestra

@QSOrchestra

@QSOrchestra

@QSOrchestra

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

FIND US