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P R O G R A MTWO THOUSAND AND EIGHTEEN SEASON

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PIANO POWER Pre-concert talk at 6.30pm with Lachlan Snow

MUSIC ON SUNDAYS

LOLLIPOPS AND SWOONS

MAESTRO

EPIC VISIONS Pre-concert talk at 6.30pm with Thomas Allely

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CONTENTSFEBRUARY – MARCH

14

17BIOGRAPHIES

Conductor Daniel BlendulfPiano Jean-Efflam Bavouzet

Glinka Overture to Ruslan and LudmilaDebussy Fantaisie for Piano and Orchestra

INTERVAL Ravel Concerto in D for Piano (Left Hand) and Orchestra

Scriabin Symphony No.4, Op.54 The Poem of Ecstasy

PIANO POWER

SAT 17 FEB 7.30PM

MAESTRO

Pre-concert talk at 6.30pm with Lachlan Snow

Concert Hall, QPAC

2

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

downstairs bar – open until late.

PROGRAM Feb - Mar 3

PROGRAM NOTES

Claude Debussy (1862-1918) Fantaisie for Piano and Orchestra Andante ma non troppo - Allegro guisto Lento e molto espressivo Allegro molto

Louis XIV established the Prix de Rome in 1663 to enable young French artists to experience the great art and architecture of classical antiquity, and more contemporary works of the Renaissance and Baroque. The prize was extended to include architects in 1720 and then, in 1803, when Napoleon took a strong personal interest in the prize, to composers. The list of winners between then and the Prix’s abolition in 1968 naturally includes some of the most famous names in French culture; the same, however, can be said for the list of artists to whom it was not awarded – painters like David, Manet or Degas, and composers such as Saint-Saëns and Ravel. And few of those prizewinning composers whom we have come to regard as canonical – Berlioz, Bizet and Debussy – were the traditionalists that such a prize might be expected to produce.

Debussy failed on his first attempt, was runner-up on his second but, on his third, won. ‘My heart sank,’ he confessed. ‘I had a sudden vision of boredom and of all the worries that inevitably go together with any kind of official recognition.’ Nevertheless, in January 1885 he arrived in Rome, hated it, and spent the bare two-year minimum there. But he duly composed his four ‘envois’ – substantial pieces, one per year, and the last of these was his Fantaisie for piano and orchestra.

Mikhail Glinka (1804-1857) Overture to Ruslan and Ludmila Glinka’s music was, to borrow a phrase from Tchaikovsky, the ‘acorn from which the oak of Russian music grew’. Ruslan and Ludmila is his second completed opera, and is based on a fairy tale given literary currency by the great poet Alexander Pushkin.

Ludmila is the daughter of Svetozar, the Grand Prince of Kiev. She is betrothed to Ruslan, but abducted from her father’s palace by the evil sorcerer Chernomor. Ignoring the betrothal, Svetozar offers his daughter and half his kingdom to the man who can bring Ludmila back; Ruslan sets out on the quest to save her. Having dealt with wizards and giants, he overpowers Chernomor himself only to discover that Ludmila, cast into a magic sleep, has been abducted by one of Ruslan’s rivals who seeks to claim the reward from the Prince. But with the aid of the good sorcerer Finn, Ruslan is able to remove the sleeping spell, and marries Ludmila as the people of Kiev rejoice.

Like many an opera composer, Glinka left writing the overture to Ruslan and Ludmila until last, but drew on themes from the body of the work. The overture begins with music derived from the general rejoicing at the end of the opera, which is contrasted with a melody associated with Ruslan’s love for Ludmila. Chernomor makes an appearance in Glinka’s pathbreaking use of the whole-tone scale (heard in the trombones), but is banished by a return to the celebratory mood of the opening.

Adapted from an annotation by Gordon Kerry Symphony Australia © 2004

4 PROGRAM Feb - Mar

PROGRAM NOTES

The piece’s premiere was scheduled for April 1890, at a concert in Paris given by the Société Nationale de Musique. The Société had been founded in 1877 to further French orchestral and ensemble music, and in Debussy’s time was presided over by composer Vincent d’Indy. At the eleventh hour, d’Indy proposed playing only the first of the three movements; Debussy quietly retrieved the instrumental parts, explaining to an understanding d’Indy that he would prefer a mediocre performance of the whole work to a good performance of only one section. This stems in part from Debussy’s use of cyclical form, as developed by César Franck, where the same material is presented in various guises throughout the work. (Debussy uses the procedure in the Nocturne, and String Quartet, to name but two works.) In any case, it was never performed or published during the composer’s lifetime.

The three-movement ‘concerto’ design was not a natural fit for Debussy, who typically rejected the goal-directed harmony, formal strictures and forceful rhetoric of the German symphonic tradition. To create the necessary drama here, he cultivates a piano manner that moves between glittering Lisztian passagework and liquid serenity in slower sections, frequently partnering with solo instruments within the orchestra. Individual moments prefigure the mature composer – the use of cor anglais at the start, the twinned wind writing that looks forward to La Mer, the whole-tone inflections of the third movement. And there are sections where pervasive mild dissonance and repeated rhythmic figures create the rapt sensuality of his later work. The Fantaisie, ultimately, is a road not taken, but a glimpse of what might have been.

© Gordon Kerry 2018

Maurice Ravel (1875-1937) Concerto in D for Piano (Left Hand) and Orchestra Lento Andante Allegro Tempo primo

Ravel’s Concerto for the Left Hand is of such ferocious technical difficulty that its dedicatee and first performer, Paul Wittgenstein, begged the composer for some simplification. Ravel, however, was a little too fond of his ‘neat and nice labours’, according to the London Musical Times, and refused outright.

The first performance occurred not with the composer at the helm, but with Robert Heger conducting, in Vienna, prompting speculation about ‘artistic personalities’. It was not until 1933 that the concerto was heard in Paris. All differences apparently resolved, Ravel conducted the Orchestre Symphonique de Paris, while Wittgenstein performed.

We can be glad today of Ravel’s pride in his ‘neat and nice labours’, as the Concerto for the Left Hand occupies a unique place in the repertoire. But Wittgenstein can hardly be accused of faint-heartedness. Brother of the philosopher Ludwig, he lost his right arm at the Russian front in 1914, but resolved to continue his career as concert pianist. He commissioned works for left hand alone from Prokofiev, Hindemith and Britten. Ravel’s Left Hand Concerto was published in 1931, as Wittgenstein’s ‘exclusive property’.

PROGRAM Feb - Mar 5

PROGRAM NOTES

Compositions for the left hand were not without precedent – pianists, it seems, had been losing their arms or hands or disabling themselves since time immemorial. Ravel studied Saint-Saëns’ Six Studies for the Left Hand in his preparation for this concerto, and may have been exposed to Scriabin’s Prelude and Nocturne for Left Hand Alone. Ravel’s solutions to the problem of ‘half a pianist’, however, are entirely his own. The difficulty, he claimed, was ‘to avoid the impressions of insufficient weight in the sound-texture’, something he addressed by reverting to the ‘imposing style of the traditional concerto’.

The Left Hand concerto and the G major concerto for both hands were composed simultaneously, beween 1929 and 1931, but the two works could scarcely be more different. The Concerto in G is a popular and enduring work, but essentially a divertissement. Perversely, the composer saves his deepest statements, and his greatest virtuosity, for his ‘lame’ work.

The concerto for left hand begins with cellos and basses in their lowest register. The texture gradually builds to an enormous climax, and the piano enters, in a cadenza of extraordinary virtuosity. The orchestra responds before the piano returns and surprises us with transparent lyricism. This introduces the jazz-influenced central section. Parallel triads skid downwards through the piano; a tarantella recalls the opening melody. Finally, Ravel returns to his opening material, and a yet more dazzling piano cadenza. The piece ends almost too abruptly, with what the composer described as a ‘brutal peroration’.

Musically probably the supreme work for left hand alone, the concerto is also one of the most difficult. Ravel makes few concessions to single-handedness, and the piano part is expressed in virtuosic, stereo sound.

The first performances received an excited audience and critical response, not least because of the work’s outpouring of sentiment.

Its overt emotionalism refutes Stravinsky’s dismissal of the composer as ‘the Swiss watch-maker’. Soon after, Ravel exhibited symptoms of the debilitating brain disease that was to end his life. He composed his song cycle Don Quichotte à Dulcinée which, along with the two piano concerti, became his unexpected swansong.

Abridged from a note by Anna Goldsworthy © 1999

© Gordon Kerry 2018RACHMANINOV SYMPHONIC DANCESSAT 12 MAY 2018 7.30PM, Concert Hall QPAC Conductor Stanley Dodds Violin Chad Hoopes

Variety is the spice of life, and so it is in this performance.

Schmidt’s Intermezzo originated from a neglected but once successful opera adapted from Victor Hugo’s Notre Dame de Paris – better known as The Hunchback of Notre Dame. Be moved by this insightful portrait of the beautiful gypsy heroine whose compassion gives Hugo’s novel its emotional heart. Then, be prepared to switch gears as Barber’s Concerto opens with Chad Hoopes’ violin singing a beguiling theme. Noted for its sincerity and power to instantly involve the audience, this is a brilliant showpiece that has become one of the most frequently performed of all 20th century concertos. Lastly, tap your toes to the Symphonic Dances, Rachmaninov’s final work, full of lush orchestration and rhythmical pizzazz.

Co-presented by Queensland Symphony Orchestra and QPAC.

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PROGRAM Feb - Mar 6

PROGRAM NOTES

expresses the Spirit’s great self-assertion, ‘I am’, reached after a gamut of emotions and experiences: ‘the maggot of satiety…the bite of hyenas…the sting of serpent’, burning kisses, love-making and ecstasy.

The Poem of Ecstasy follows the traditions of the one-movement form established by Liszt. The exposition sets out the main themes in music by turns languorous and active, slow and fast. The development is signalled by the assignment of the trumpets’ original ‘I am’ theme to snarling trombones and muted horns. There are searing countermelodies for high violins. A bell-like clangour produced by repeated notes on high trilling woodwinds and horns restores us to the languor of the opening and its subsequent mood and tempo changes for the recapitulation.

It’s hard to imagine now how important Scriabin once seemed. But later generations favoured the directions taken by Debussy and Schoenberg. Scriabin was always popular in Russia. The Poem of Ecstasy was broadcast as Yuri Gagarin blasted into space. Scriabin also enjoyed a brief revival in the West in the psychedelic 1970s. His harmonic language, a discordant euphony which can be traced back to the methods of Rimsky-Korsakov, is easily suggestive of a heightened state of mind; his orchestration is multi-coloured.

But The Poem of Ecstasy deserves to be heard more often. As Robert Craft once said, in discussing the links between Stravinsky and Scriabin: ‘A comparison of The Poem of Ecstasy with The Firebird reveals a debt far larger than is generally realized, of one of the most popular to one of the least popular of early 20th-century masterpieces.’

Abridged from a note by Gordon Kalton Williams Symphony Australia © 1999/2009

Alexander Scriabin (1871-1915) Symphony No.4, Op.54 The Poem of Ecstasy

Beethoven once said that music was a higher revelation than religion or philosophy. Russian composer Scriabin had even higher ambitions for his own music. Starting out as a writer of mazurkas, nocturnes and preludes, Scriabin intended to take Wagner’s ideals of the Gesamtkunstwerk (the combination of all arts in one giant artform capable of elevating the entire community) to new heights. As biographer Faubion Bowers says of the work Scriabin was working towards when he died: ‘Scriabin thought his supra-musical magnawork Mysterium would be so potent in effect that the world would be destroyed in its final “festival”, not just changed as by Revolution.’

Unfortunately, Scriabin died before he could realise this grandiose goal. In the meantime he had taken his harmonic language to the doorstep of Schoenberg and Bartók, an extraordinary path for someone who had started out in a Chopinesque vein.

The works of Scriabin’s middle and late periods give us a glimpse of the weird and wonderful universe he had seen. He was still composing his Third Symphony (The Divine Poem), when he began The Poem of Ecstasy. Based on his literary effort, the Poème orgiaque in which Man-god arrives at release through love, sex, creation and procreation, the score was completed substantially in May 1907, but was no longer a four-movement symphony, rather a one-movement sonata form. The world premiere took place in New York on 10 December 1908.

Scriabin attached considerable importance to the poem which underlies the Poem of Ecstasy; this

Conductor Sarah-Grace Williams Host Guy Noble

Violin Warwick Adeney

SUN 4 MAR 11.30AM

MUSIC ON SUNDAYS

LOLLIPOPS AND SWOONS

Concert Hall, QPAC

7

8 PROGRAM Feb - Mar

PROGRAM NOTESMikhail Glinka(1804-1857)Overture to Ruslan and Ludmila

Sergei Rachmaninov (1873-1943)Vocalise

Peter Sculthorpe (1929-2014)Little Suite for Strings: Sea ChantLittle SerenadeLeft Bank Waltz

Samuel Barber(1910-1981)Adagio for Strings

Johann Strauss II (1825-1899)Wiener Bonbons (Vienna Sweets), Op.307

Edward Elgar (1857-1934)Variations on an Original Theme, Op.36 Enigma: Nimrod

Felix Mendelssohn (1809-1847)Violin Concerto in E minor, Op.64: III Allegretto non troppo – Allegro molto vivace

Peter Ilyich Tchaikovsky (1840-1893)The Nutcracker: Suite No.1, Op.71aDance of the Sugar Plum FairyWaltz of the Flowers A concert made up of ‘Lollipops’ and ‘Swoon’ is guaranteed to provide wide-ranging entertainment. ‘Lollipops’ was the term used by Sir Thomas Beecham for ‘short musical sweetmeats’, often ideal for an encore. You possibly couldn’t get anything sweeter than Tchaikovsky’s 1892 ballet The Nutcracker, where the young girl Clara comes downstairs in the middle of the night on Christmas Eve to find a battle raging between mice and toys. When she rescues her Toy Nutcracker during the battle he turns into a prince and, as reward, takes her to the Kingdom of Sweets ruled over by the Sugar Plum Fairy, represented in Tchaikovsky’s original score by a new sweet-sounding instrument, the celeste.

The ‘Waltz of the Flowers’ from Act II is another of Tchaikovsky’s best-loved compositions.

The term ‘swoon’ originated on ABC Classic FM when Christopher Lawrence and his producer Philip Carrick came up with the idea of a moment in their daily breakfast show when listeners could hear something calm and reflective before the hustle and bustle of the day. Several of Rachmaninov’s pieces fit the ‘swoon’ description. This Vocalise, originally written in 1915 for wordless soprano, can be played by any number of instruments.

What matters is the freedom and poignancy of Rachmaninov’s melodic imagination.

Like many an opera composer, Glinka left writing the overture to Ruslan and Ludmila until last, but drew on themes from the body of the work. The overture begins with music derived from the general rejoicing at the end of the opera, which is contrasted with a melody associated with Ruslan’s love for Ludmila. The evil sorcerer Chernomor makes an appearance in Glinka’s pathbreaking use of the whole-tone scale (heard in the trombones), but is banished by a return to the celebratory mood of the opening.

Peter Sculthorpe’s music is commonly associated with bleached Australian landscapes, but Little Suite is ‘overtly melodious’ (Sculthorpe’s own words). Sea Chant was originally written for a 1962 Commonwealth Film Unit documentary on the Tasmanian wilderness. Sculthorpe composed Little Serenade as a ‘song of innocence’ for Michael Powell’s 1969 film Age of Consent, starring James Mason and Helen Mirren and set on Dunk Island. Left Bank Waltz dates from Sculthorpe’s first visit to Paris, although written mostly in a railway station waiting for the train to London. Larry Adler’s harmonica version convinced publisher Donald Mitchell to give Sculthorpe a lifelong contract with Faber.

Just in case you don’t realise that the ending of the movie The Elephant Man is sad, director David Lynch overlays the scene with Samuel Barber’s Adagio. The ‘saddest music in the world’ according to listeners of BBC Radio 4’s Today program in 2004, Barber’s

PROGRAM Feb - Mar 9

The name ‘Nimrod’ refers to the Old Testament’s ‘mighty hunter before the Lord’, a play on the name ‘Jaeger’ (German for ‘hunter’).

Felix Mendelssohn’s most delightful music inhabits the elfin world conjured by his Midsummer Night’s Dream music, written when he was very young and a prodigy.

This Violin Concerto was composed for Ferdinand David, the leader of the Leipzig Gewandhaus Orchestra, and was premiered in 1845, three years before Mendelssohn’s death, proving that this vein of Mendelssohn’s musical character ran deep and could still be tapped into.

Mendelssohn’s concerto has often been compared to Beethoven’s, composed some 40 years earlier, but it is playful where Beethoven is monumental, nowhere more so than in the rousing finale where chattering woodwinds often gild the violin’s lines and lower strings good-naturedly bring forth the countermelodies blooming under the violin’s virtuosity.

Gordon Kalton Williams © 2018

Adagio has been used to announce the deaths of Franklin Roosevelt and John F. Kennedy. It began life as a movement in Barber’s String Quartet, composed in Italy, but took off when Arturo Toscanini premiered the string version in a broadcast in 1938 from NBC, New York.

Johann Strauss II’s Op.307 waltz Vienna Sweets was first performed at an 1866 ball in Vienna’s Redoutensaal dedicated to raising funds for hospitals to be built in Paris. The ball was to be left in the hands of Josef Strauss at first, but at the last minute, his elder brother contributed this bonbon combining his characteristic style of waltz with Parisian flair and cheekily using a French word for ‘sweets’ in the title.

The Americans have Barber’s Adagio. the British have Elgar’s Nimrod for just those occasions when noble sentiment is required.

An abstracted version of this piece occurs when ‘home’ in the form of private boats comes for the stranded British troops in the 2017 movie, Dunkirk. Elgar wrote his Enigma Variations in 1898-99 as portraits of his friends. ‘Nimrod’ is dedicated to the publisher A.E. Jaeger, who encouraged Elgar with the example of Beethoven once when Elgar was depressed. There is even an echo of Beethoven’s Pathétique Sonata in the piece.

Conductor Eduardo StrausserAustralian debut, Queensland Symphony Orchestra exclusive

Violin Barnabás Kelemen

Mendelssohn The Hebrides, Op.26 (Fingal’s Cave)Mozart Concerto No.4 in D for Violin and Orchestra, K.218

INTERVAL Bruckner Symphony No.4 in E flat

EPIC VISIONS

THUR 8 MAR 7.30PM

MAESTRO

Pre-concert talk at 6.30pm with Thomas Allely

Concert Hall, QPAC

10

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

downstairs bar – open until late.

PROGRAM Feb - Mar 11

PROGRAM NOTES

Felix Mendelssohn (1809-1847) The Hebrides, Op.26 (Fingal's Cave) In April 1829, the 20-year-old Felix Mendelssohn began ‘a Grand Tour’ of Europe and Britain. He wrote eloquently of his experiences: London was ‘the most grandiose and complicated monster that the world has to offer’, and of Scotland he commented, ‘When God himself takes to panorama-painting the result is strangely beautiful…Everything here looks so stern and robust, half-enveloped in haze or smoke or fog.’ He admired the men ‘with their long red beards, tartan plaids, bonnets and plumes, bare knees, and their bagpipes in their hands’. Mendelssohn planned to travel north through Stirling and Perth to Blair Atholl, then westwards to the Inner Hebrides, where the objective was Fingal’s Cave, a grotto on the island of Staffa, ‘discovered’ by Joseph Banks in 1782. By the early 19th century it had become a tourist attraction. Wordsworth visited it in 1833, and later visitors included Turner, Heine, Queen Victoria and Sir Robert Peel.

In a letter home, Mendelssohn jotted down the theme that would eventually open this overture, ‘…to make you understand how extraordinarily the Hebrides have affected me’. The work begins with this undulating theme, which is subjected to gradual rolling modulation and subtle dynamic swells. The exposition ends with brass interjections, which then punctuate the beginning of the development section. The work is quite astonishing from this point to the end. The principal themes are reversed, and the opening theme returns quietly. This is elegant rounding-off, perhaps, but the effect is almost peremptory, the flute taking our minds upwards, as if the overture drifts away on the wind.

Gordon Kalton Williams © Symphony Australia

Wolfgang Amadeus Mozart (1756-1791) Violin Concerto No.4 in D, K218AllegroAndante cantabileRondeau (Andante grazioso – Allegro ma non troppo)

We think of Mozart as a pianist, and the most that many people know about his violin playing comes from letters written to him by his father Leopold, one of the leading violin teachers of the time, exhorting him not to give up practising, and claiming that he could be, if he worked at it, the finest violinist in Europe. Mozart composed all but the first of his five violin concertos, including this one, in a sustained burst in 1775 when he was 19. They have sometimes been regarded as attempts to please his father rather than himself. Yet none of the piano concertos Mozart had written up to this time show the maturity of conception of the last three of these violin concertos, the ones in G (K216), in D (K218), and in A (K219). It was after Mozart left Salzburg for Vienna, which he called ‘the land of the piano’, that his concerto energies flowed exclusively into keyboard works. He wrote no further violin concertos.

The solo violin parts of Mozart’s concertos put musical substance and idiomatic writing for the instrument ahead of virtuoso display. This wasn’t because Mozart’s own violin technique was limited. The concertos were possibly intended not for him but for his Salzburg colleague Antonio Brunetti (first violin and soloist in the Court Orchestra). Both men certainly played at least some of them, and Brunetti himself said, ‘Mozart could play anything.’

12 PROGRAM Feb - Mar

PROGRAM NOTES

Concerto No.4 opens with fanfare figures suggesting trumpets and drums, though the orchestra contains neither. The horns and oboes are used more assertively. Mozart has so many ideas that he can afford to throw some away: the theme of the opening tutti, although it is repeated by the soloist, does not appear again. The soloist’s part is almost continuous, without the interchanges with the orchestra which mark the previous concerto, No.3 in G. The most memorable of the many themes is the sinuous one presented by the soloist in the lower register, with its sudden forte.

The slow movement, in A, has the soloist playing almost throughout. The opening theme is of the kind which used to be called ‘hymn-like’ when the more reposeful of Handel’s opera arias, which this rather resembles, were considered religious melodies. The loveliest passage has the oboe echoing the solo violin over tiptoeing figures from the strings. The finale contains fascinating episodes of a popular cast. The alternation of metres, tempos and character is so rapid, yet so sure, that the effect is charmingly capricious rather than odd. An episode where a drone bass is produced by the oboe doubling the soloist’s long sustained low note is like a musette, appropriate in a movement given the French title Rondeau.

Abridged from a note © David Garrett

Anton Bruckner (1824-1896) Symphony No.4 in E flat Romantic(1878/80 version, Cahis 11)

Bewegt, nicht zu schnell [With movement, not too fast]Andante quasi allegrettoScherzo (Bewegt) [With movement] – Trio (Gemächlich) [Leisurely]Finale (Bewegt, doch nicht zu schnell) [With movement, but not too fast]

Bruckner’s Fourth Symphony is the only one to which Bruckner himself gave a title, and ‘Romantic’ is an apt word for the moods and atmospheres it evokes. When asked to explain it, he invented an imaginary program in which the first movement is supposed to represent a medieval city at dawn, trumpet calls signalling the opening of the city gates, knights riding out into the countryside where they are surrounded by the bird calls and magic of the forest. Bruckner’s program is best ignored – this unsophisticated man provided it to oblige well-meaning friends, and the Fourth is no more programmatic than any of his other symphonies.

Bruckner reluctantly tried to explain his music because its first audiences found it so hard to understand. His symphonies demanded a new way of listening. He is often tagged ‘the Wagnerian symphonist’, but his debt to Wagner was very partial: the orchestral and harmonic innovations in Bruckner which sound so Wagnerian – the chromatic harmony, the rich brass scoring, the expressive use of the massed strings – are present in embryo in Bruckner’s earliest orchestral music, before he became familiar with Wagner.

The true sources of the musical craft of this church-trained teacher and organist from Upper Austria

lie in that country’s musical tradition – in Beethoven and even more in Schubert. The spirit of Bruckner hidden behind the ‘Wagnerian’ sound is entirely different from Wagner’s. As musicologist Donald Tovey says, he never forgets the high altar of his Catholic church, nor the magnificent organ of the Augustinian monastery of St Florian, where he first learnt music.

Perhaps the popularity of Bruckner’s Fourth Symphony is chiefly due to its memorable opening. The mysterious beginning of Beethoven’s Ninth Symphony fascinated Bruckner, and it has been said that he couldn’t get a symphony under way without a tremolo. It is not a symphony which starts, but the beginning of music itself: major and minor horn calls, gradually rousing the woodwind to join in. The characteristic ‘Bruckner rhythm’ of a duplet and a triplet is heard. The opening horn calls sound the beginning of the recapitulation, and they also provide the material of the elaborate coda. The slow movement is an elegiac march in C minor.

The last two movements were subject to the revisions so typical of Bruckner’s career as a symphonist. Between 1878 and 1880, Bruckner wrote a completely new Scherzo, and revised the Finale extensively. The success of the first performance in Vienna under Hans Richter in 1881 protected the Fourth Symphony from further major revision by the composer. Bruckner’s own description of the Scherzo as a hunt with horn calls, and the Trio as a dance melody played to the hunters during the rest, is the only useful though obvious part of his ‘program’.

The Finale is the longest movement. A three-note descending phrase is heard in the introduction, recalling the opening of the symphony, while the brass remember the Scherzo. Themes from all the movements occur, as Bruckner works his way to a restatement of the symphony’s opening theme in the home key. The brass dominates the coda, with the motto of the symphony’s first pages.

Abridged from a note by David Garrett © 2002

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Torleif Thedéen and Heinrich Schiff. He was a member of the leading Swedish string quartet Zkvartetten as well as the Mahler Chamber and Lucerne Festival Orchestras. In 2008, he won First Prize at the Swedish Conducting Competition, going on to graduate from Stockholm's Royal College of Music in 2010.

Jean-Efflam Bavouzet Piano

Award-winning pianist Jean-Efflam Bavouzet enjoys a prolific recording and international concert career and regularly works with orchestras such as The Cleveland Orchestra, San Francisco Symphony, London Philharmonic, BBC Symphony and NHK Symphony Orchestras, and collaborates with conductors including Vladimir Ashkenazy, Vladimir Jurowski, Gianandrea Noseda, François-Xavier Roth, Charles Dutoit, Gábor Takács-Nagy and Sir Andrew Davis amongst others.

Highlights during the 2017/18 season include returns to San Francisco Symphony, Seattle Symphony, NHK Symphony and BBC Symphony orchestras. Jean-Efflam Bavouzet will appear at the Philharmonie de Paris with Orchestre Philharmonique de Monte-Carlo and also performs with Detroit and Melbourne Symphony Orchestras, Orquestra Sinfônica do Estado de São Paulo, Royal Scottish National and the City of Birmingham Symphony Orchestras.

In recital, Jean-Efflam Bavouzet regularly performs at venues such as The Louvre in Paris and London’s Wigmore Hall and has collaborated with composer Jörg Widmann in a chamber music project at the Prinzregententheater in Munich. To mark the anniversary of Debussy’s death, Jean-

Daniel BlendulfConductor

Daniel Blendulf has established himself as one of Scandinavia’s most highly regarded young conductors. Following a number of much-anticipated international debuts last season, the current season sees Daniel Blendulf make his Japanese debut with the Yomiuri Nippon Symphony Orchestra and US debut with Detroit Symphony Orchestra. He will also return to Queensland and West Australian Symphony Orchestras to conduct their season opening concerts.

Elsewhere, future highlights include concerts with Helsinki Philharmonic, Royal Flemish Philharmonic and RTÉ National Symphony orchestras, as well as Het Gelders Orkest and Musikkollegium Winterthur. Previously, he has conducted BBC National Orchestra of Wales and Sydney Symphony, New Zealand Symphony, Malaysian Philharmonic and Finnish Radio Symphony Orchestras, and is a regular guest with ensembles such as the Zürcher Kammerorchester and the Swedish and Ostrobothnian chamber orchestras.

Daniel Blendulf enjoys a dynamic collaboration with the Dalasinfoniettan as Chief Conductor and Artistic Advisor, following his appointment with the Orchestra in January 2016. There he focuses on the core classical repertoire as well as building programmes around contemporary masterpieces.

A recipient of the Herbert Blomstedt Conducting Prize in 2014, Daniel Blendulf began his career as a cellist, studying with

BIOGRAPHIES


Efflam Bavouzet will perform an extended recital programme of all Debussy’s works which will be presented by the Barbican Centre at Milton Court and at the 2018 Perth International Arts Festival. He will give numerous recitals throughout Europe, UK and in North America.

Jean-Efflam Bavouzet has worked closely with Pierre Boulez, Karlheinz Stockhausen, György Kurtág, Maurice Ohana and Bruno Mantovani and is also a champion of lesser-known French music, notably that of Gabriel Pierné and Albéric Magnard. He is the International Chair in Piano at the Royal Northern College of Music.

Sarah-Grace WilliamsConductor

A Churchill Fellow boasting a remarkable local and international conducting career, Sarah-Grace Williams has appeared with the Queensland, Adelaide, West Australian and Tasmanian Symphony Orchestras, Auckland Philharmonia Orchestra, Bangalow Festival Chamber Orchestra, Queensland Music Festival, Southern Cross Soloists and Artists of Opera Australia amongst others. She was Musical Director of the Sydney Opera House Babies Proms 2007 to 2013 and worked as Stager Conductor at the Ukraine National Opera & Ballet Theatre and Conducting Fellow with the Australian Ballet in 2011.

Throughout her impressive tenure as founding Artistic Director and Chief Conductor of The Metropolitan Orchestra (since 2009) Sarah-Grace Williams has been continually celebrated for her interpretation by the press: ‘In the hands

of Williams this work became a tour de force of exceptional poise, eloquence and atmosphere’ (Sydney Arts Guide) … ‘Williams succeeds in creating very pioneering and open soundscapes, creating an attractive new interpretative world’ (Arts Hub) … ‘Outstanding conductor, Williams, is able to draw out the musicality in each player and weld them into a wonderful orchestra with an incredible sound’(Paul Nolan). Performance highlights with The Metropolitan Orchestra include Symphonies of Brahms (complete cycle), Shostakovich (#1, #9 & #10), Mahler (#1), Sibelius (#2 & #3), Beethoven (#1 to #8), Dvorak (#7, #8 & #9), Rachmaninoff (#2), Tchaikovsky (#4, #5 & #6), Schubert (complete cycle) Mendelssohn (#1, #4, #5), Elgar’s Enigma Variations and numerous world premieres.

Guy NobleHost

Guy Noble has had a long association with Queensland Symphony Orchestra, having first worked with the Orchestra in 1994.

He has been host of the Music on Sundays series since 2005 and conducted the orchestra in many other concerts in QPAC, Cairns, Townsville and Gold Coast. When he isn’t with Queensland Symphony Orchestra, Guy Noble also performs with the other major orchestras around the country. He also has worked with the Malaysian Philharmonic, the Hong Kong Philharmonic (in The Music of John Williams) and the Auckland Philharmonic in their Unwrap the Classics series. He is also host and conductor of Adelaide

BIOGRAPHIES


Symphony Orchestra’s Classics Unwrapped series at the Adelaide Town Hall.

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

Warwick Adeney Violin

Warwick Adeney was born into a large family of violinists and trained at Queensland Conservatorium alongside three of his siblings. There he learnt with Dr Anthony Doheny, was a member of the Ambrosian Quartet, and emerged as the Gold Medal graduate of 1984.

He joined Queensland Theatre Orchestra under Georg Tintner, and rose to the concertmastership in 1989. During the years of Anthony Camden's musical oversight, Warwick Adeney played many solos, including the memorable Lark Ascending with Sir Neville Marriner, and directed many concerts.

In 2001, the amalgamation of orchestras in Queensland occurred and Warwick Adeney

served (initially as co-concertmaster with Alan Smith) under conductor Michael Christie and then Johannes Fritzsch, and now exults in the glorious reign of Alondra de la Parra. Over the years Warwick Adeney has continued to enjoy the privileged and challenging life of the orchestra, and become something of a specialist in ballet solos and the Four Seasons along the way.

Married to Michele, a fellow musician, Warwick Adeney is blessed with nine children, all of whom learn a variety of instruments, and the family attends a weekly traditional Latin mass.

The violin Warwick Adeney plays is a Venetian instrument from the early 18th century, possibly by Carlo Antonio Testore.

Eduardo Strausser Conductor

Eduardo Strausser’s powerful and dynamic style was praised by Opera Magazine, which singled him out as bringing “youthful fire to the work [of Otello]”, and “drew out playing that displayed the full spectrum of the Wagnerian instrumental palette, with an expressionist zest spurred on by an all-pervading sense of angst [of Lohengrin]”.

The Lohengrin performances took place at the Teatro Municipal de Sao Paulo where Eduardo was Resident Conductor for 2014-2016. During his last season in São Paulo Eduardo led performances of Strauss' Elektra and Carlos Gomes' Fosca, as well as performances of The Nutcracker with the Balé da Cidade de São Paulo and a Stefano Poda production of Mahler’s Symphony No.1.

From 2012 to 2014, Eduardo Strausser was

BIOGRAPHIES


BIOGRAPHIES

Barnabás Kelemen Violin

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

Barnabás Kelemen collaborates with orchestras such as the BBC Symphony, Budapest Festival,

Estonian National Symphony, Deutsche Radio Philharmonie Saarbrücken, Helsinki Philharmonic, London Philharmonic, Malaysian Philharmonic, NDR Radiophilharmonie Hannover, Netherlands Radio and the Yomiuri Nippon Symphony.

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

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

Born in Budapest in 1978, Barnabás Kelemen started the Franz Liszt Music Academy at the age of 11. He was the Third Prize Winner of the 2001 Queen Elisabeth Competition in Brussels and received the First Prize at the International Violin Competition in Indianapolis in 2002. In recognition of his achievements the Hungarian government awarded him the Sándor Végh Prize in 2001, the Franz Liszt Prize in 2003, Rózsavölgyi Prize in 2003 and most recently the Kossuth Prize in 2012.

Music Director at the Orchesterverein Wiedikon and the Kammerorchester Kloten in Zürich. Other orchestras he has worked with include Kurpfälzisches Kammerorchester, Südwestdeutsche Philharmonie Konstanz, Lucerne Festival Strings and Berliner Camerata.

Eduardo Strausser has conducted Die Zauberflöte with the Meininger Hofkapelle, and last season led Puccini’s La Bohème at the Theatro Municipal do Rio de Janeiro. As well as concerts at the Teatro La Fenice in Venice in January 2017 he conducted performances of La Bohème at the Teatro Verdi di Padova and the Teatro Sociale di Rovigo.

Besides his studies at the Zurich University of Arts, Eduardo Strausser worked with the visionary composer Karlheinz Stockhausen as part of a two-month course in Kürten, Germany. He has also participated in masterclasses with Bernard Haitink and David Zinman in Switzerland, and with Kurt Masur in New York.


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

CONCERTMASTERWarwick AdeneyProf Ian Frazer ACand Mrs Caroline FrazerEstate Barbara Jean HebdenCathryn Mittelheuser AMJohn Story AO and GeorginaStory

ASSOCIATE CONCERTMASTERAlan SmithArthur Waring

FIRST VIOLINLinda CarelloMs Helen SotiriadisShane ChenJessica ReadLynn ColeNeil W. RootPriscilla HockingDr Colin and Mrs Noela KratzingAnn HoltzapffelAitken Whyte LawyersRebecca SeymourDr John H. CaseyJoan ShihQSO Admin Team Brenda SullivanHeidi Rademacher and in memory of Hans RademacherAnonymousStephen TookeTony and Patricia KeaneBrynley WhiteGraeme Rosewarne and Jim O’Neill

SECTION PRINCIPAL SECOND VIOLINGail AitkenDr John H. CaseyWayne BrennanArthur Waring

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

ASSOCIATE PRINCIPAL VIOLAYoko OkayasuDr Damien Thomson and Dr Glenise Berry

VIOLACharlotte Burbrook de VereDi JamesonNicole GreentreeShirley Leuthner Bernard HoeyDesmond B. Misso EsqKirsten Hulin-BobartCP Morris

Graham SimpsonAlan GalweyNicholas TomkinAlan Symons

SECTION PRINCIPAL CELLODavid LaleArthur Waring

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

SECTION PRINCIPAL DOUBLE BASSPhoebe Russell Di Jameson

ASSOCIATE PRINCIPAL DOUBLE BASSDushan Walkowicz Amanda Boland

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

ASSOCIATE PRINCIPAL FLUTEHayley RadkeDesmond B Misso Esq

PRINCIPAL PICCOLOKate LawsonDr James R Conner

SECTION PRINCIPAL OBOEHuw JonesProf Ian Gough AM and Dr Ruth Gough

ASSOCIATE PRINCIPAL OBOESarah MeagherSarah and Mark Combe

OBOEAlexa MurrayDr Les and Ms Pam Masel

SECTION PRINCIPAL CLARINETIrit SilverArthur Waring

CLARINETKate TraversDr Julie Beeby

SECTION PRINCIPAL BASSOONNicole TaitIn memory of Margaret Mittelheuser AM

ASSOCIATE PRINCIPAL BASSOONDavid MitchellJohn and Helen Keep

BASSOON Evan Lewis CP MorrisSECTION PRINCIPAL FRENCH HORNMalcolm StewartArthur WaringFRENCH HORNVivienne Collier-VickersMs Marie Isackson Lauren ManuelDr John H. Casey

SECTION PRINCIPAL TRUMPETSarah ButlerMrs Andrea Kriewaldt

ASSOCIATE PRINCIPAL TRUMPETRichard MaddenElinor and Tony Travers

TRUMPETPaul RawsonBarry, Brenda, Thomas and Harry Moore

SECTION PRINCIPAL TROMBONEJason RedmanFrances and Stephen Maitland OAM RFD

ASSOCIATE PRINCIPAL TROMBONEDale TruscottPeggy Allen Hayes

PRINCIPAL BASS TROMBONETom CoyleCP Morris

PRINCIPAL TUBAThomas AllelyArthur Waring

PRINCIPAL HARPJill AtkinsonNoel and Geraldine Whittaker

PRINCIPAL TIMPANITim CorkeronDr Philip Aitken and Dr Susan UrquhartPeggy Allen Hayes

SECTION PRINCIPAL PERCUSSIONDavid MontgomeryDr Graham and Mrs Kate Row

PERCUSSIONJosh DeMarchiDr Graham and Mrs Kate Row

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

CHAIR DONORS

Thank you

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

CON BRIO ($50,000 – 99,999)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. CaseyG.B. & M.K. IlettDi JamesonJellinbah GroupThe John Villiers TrustGreg and Jan Wanchap

GRAZIOSO ($10,000 – 19,999)Prof Ian Frazer AC andMrs Caroline FrazerFrances and Stephen MaitlandOAM RFDPage and Marichu MaxsonMorgans FoundationCP MorrisJustice Anthe PhilippidesDr Graham and Mrs Kate RowMrs Beverley June SmithJohn Story AO andGeorgina StoryAnonymous

VIVACE ($5,000 – 9,999) Dr Philip Aitken and Dr Susan Urquhart David and Judith Beal Dr Julie Beeby M.J. Bellotti Joseph and Veronika Butta Dr James R. Conner Prof Ian Gough AM and Dr Ruth Gough Peggy Allen Hayes Estate Barbara Jean Hebden John and Helen Keep Mrs Andrea Kriewaldt

Noosa Federation of the Arts John B. Reid AO and Lynn Rainbow-Reid Dr Damien Thomson and Dr Glenise Berry Noel and Geraldine Whittaker

PRESTO ($2,500 – 4,999) Prof Margaret Barrett Dr Betty Byrne Henderson AM Mrs Roslyn Carter Mrs Ruth Cox Justice Martin Daubney Mrs I.L. Dean Alan Galwey Lea and John Greenaway Dr and Mrs W.R. Heaslop Ms Marie Isackson Dr Les and Mrs Pam Masel Desmond B Misso Esq. Barry, Brenda, Thomas and Harry Moore David Pratt and Ramon Norrod Heidi Rademacher and in memory of Hans Rademacher Anne Shipton Alan Symons and in memory of Bruce Short, Kevin Woodhouse and Graham Webster Siganto Foundation Elinor and Tony Travers Anonymous (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 CharltonDr Ralph and Mrs Susan CobcroftSarah and Mark CombeRoger CraggJulie Crozier and Peter HopsonDr Catherine Doherty Mrs Elva EmmersonC.M. and I.G. FurnivalMr John and Mrs Lois GriffinDeb HoulahanDavid Hwang/HD Property GroupAinslie Just

Tony and Patricia KeaneMichael Kenny andDavid GibsonAndrew KopittkeDr Colin and Mrs Noela KratzingDr Frank LeschhornShirley LeuthnerGaelle LindreaLynne and Francoise LipProf Andrew and Mrs Kate ListerSusan MabinDr. Andrew MaselMr Greg and Mrs Jan Marsh Annalisa and Tony MeikleIn memory of Jolanta MetterPeter MillroyGuy MitchellB and D MooreMarg O’Donnell AO and in memory of Martin Moynihan AO QCIan PatersonDr Graham and Mrs Liz PrattIn memory of Pat RichesG. and B. RobinsNeil W. RootMr Rolf and Mrs Christel Schafer Ms Helen SotiriadisRobin Spencer Prof Hans Westerman andin memory of Mrs FrederikaWestermanMargaret and Robert WilliamsRodney WylieAnonymous (15)

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

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

OUR DONORS


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

TUTTI ($500 - 999)Jill AtkinsonEmeritus ProfessorCora V. BaldockTrudy BennettJean Byrnes Carol CarmudieMrs J.A. CassidyDrew and Christine CastleyRobert ClelandDr Beverley Czerwonka-LedezTerry and Jane DaubneyLaurie James Deane

Dr C. DavisonProf. John and Mrs Denise ElkinsD. J. GardinerDr Edgar Gold AM, QC and Dr Judith Gold CMDr Alison HollowayPeter and Catherine HudsonSandra Jeffries and Brian CookRachel LeungG.D. MoffettDr Tom MooreHoward and Katherine MunroJohn and Robyn Murray

Ron and Marise NilssonDr Phelim ReillyJoan RossAndrew SimmonsDr Margaret SorokaAlison StanfordBarb and Dan StylesKatherine Trent and Paul ReedMrs H. TullyTanya VianoAnonymous (16)

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

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

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

MAESTRO ($50,000 - $99,999)Di JamesonMrs Andrea Kriewaldt Frances and Stephen Maitland OAM 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 and Dr Susan Urquhart David and Judith Beal Dr Julie Beeby Mrs Roslyn Carter Dr John H. Casey Dr Ralph and Mrs Susan Cobcroft Peggy Allen Hayes G.B. & M.K. Ilett Ms Marie Isackson Desmond B. Misso Esq. In memory of Margaret Mittelheuser AM Justice Anthe Philippides Heidi Rademacher and in memory of Hans Rademacher Dr Damien Thomson and Dr Glenise Berry

Elinor and Tony Travers Rodney Wylie Anonymous (2)

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

QUEENSLAND SYMPHONY ORCHESTRA

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

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

MUSIC DIRECTOR Alondra de la Parra

ARTIST-IN-RESIDENCE Sergio Tiempo

CONDUCTOR LAUREATE Johannes Fritzsch

CONDUCTOR EMERITUS Werner Andreas Albert

CONCERTMASTER Warwick Adeney

ASSOCIATE CONCERTMASTER Alan Smith

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

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

FLUTE Hayley Radke=

PICCOLO Kate Lawson*

OBOE Huw Jones~ Sarah Meagher>> Alexa Murray

COR ANGLAIS Vivienne Brooke*

CLARINET Irit Silver~ Brian Catchlove+ Kate Travers

BASS CLARINET Nicholas Harmsen*

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

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

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

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

BASSOON Nicole Tait~ David Mitchell>> Evan Lewis

CONTRABASSOON Claire Ramuscak*

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

TRUMPET Sarah Butler~ Richard Madden>> Paul Rawson

TROMBONE Jason Redman~ Dale Truscott>>

BASS TROMBONE Tom Coyle*

TUBA Thomas Allely*

HARP Jill Atkinson*

TIMPANI Tim Corkeron*

PERCUSSION David Montgomery~ Josh DeMarchi>>


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

MANAGEMENTDavid Pratt Chief ExecutiveRos Atkinson Executive Assistant to Chief Executive Deb Houlahan Chief Financial OfficerAmy Herbohn Senior Financial AccountantBarb Harding General Finance CoordinatorChris Schomberg Human Resources AdvisorJudy Wood Community Engagement

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

PlanningMurray Walker Artistic AdministratorFiona Lale Artist Liaison Matthew Farrell Director – Orchestra

ManagementNina Logan Orchestra ManagerAsh Retter Operations AssistantPeter Laughton Operations and Projects

ManagerVince Scuderi Production CoordinatorNadia Myers Orchestra LibrarianMurray Walker Assistant LibrarianDeanna Lane Director – DevelopmentKatya Melendez Philanthropy Manager (Maternity Leave)Jenny Roberts Senior Development CoordinatorVacant Development Coordinator Matthew Hodge Director - Sales and MarketingRenée Jones Manager - MarketingRachel Churchland Digital Marketing Coordinator Eric Yates Marketing CoordinatorMichael Hyde Senior Sales ManagerEmma Rule Ticketing Services Manager Mike Ruston Ticketing Services Coordinator Yasemin Boz Senior Sales Consultant

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

CHAIRProfessor Peter Coaldrake AO

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

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

ACKNOWLEDGEMENTThe Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland GovernmentThe Honourable Annastacia Palaszczuk MP, Premier and Minister for the Arts Director-General, Department of the Premier and Cabinet: David StewartPatrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.


PARTNERS

Government partners

Major partners

Brisbane Central

Gold partners

Principal Partner

Premier partners

Industry collaborators

2018 Season Creative Partner

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

QSO Box Office (07) 3833 5044

FOR YOUR INFORMATION

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

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

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

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

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