PROGRAM November 1

2

6

10

MUSIC ON SUNDAYS

MIRACLES AND MAGIC

CHAMBER PLAYERS

BEETHOVEN AND BRAHMS

SEASON FINALE

QSO & MAXIM VENGEROVPre-concert talk at 6.30pm with

Brian Catchlove, QSO Clarinet

Help us G Green.

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

You can also view and download program notes one week prior to the performance online at qso.com.au

CONTENTSNOVEMBER

Conductor Nathan Aspinall Host Guy Noble

Cello David Lale Mezzo Soprano Bronwyn Douglass

Baritone Samuel Piper

SUN 15 NOV 11.30AM

QPAC Concert Hall

MUSIC ON SUNDAYS

MIRACLES AND MAGIC

2 PROGRAM November

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PROGRAM November 3

In some societies music is identical with magic, and priests and healers are also singers. The West acknowledges music’s magical properties too. Opera plots involve magic; even concert music often relies upon music’s ability to inexplicably create atmosphere or transport the listener.

Schubert’s incidental music for Rosamunde has outlived Helmine von Chézy’s play. Although Schubert composed some ten numbers for the production, he did not write an overture, instead using one he had written for his opera Alfonso und Estrella (which remained unperformed in his lifetime). However the overture that subsequently came to be associated with performances of the Rosamunde incidental music was actually written for another play: Die Zauberharfe (The Magic Harp). Much of this tuneful music is Schubert’s response to the Italian style of Rossini, whose music took 1820s Vienna by storm. But the music reveals Schubert’s own creative strengths and could be compared to Weber overtures like Der Freischütz, also on a Romantic (magical) subject.

Barely had the 58-year-old Haydn arrived in London in early 1791 than he was composing music for the first of his legendary seasons with the impresario Salomon. Symphony No.96, the first Haydn actually wrote in London, was premiered on 29 April 1791. The minuet is thoroughly Austrian, with an attractive oboe solo in the trio section. What has any of this got to do with a miracle? It used to be thought that at the premiere of this symphony a chandelier fell from the ceiling, luckily – or rather, miraculously – missing the audience because they had crowded towards the front to catch a glimpse of the composer. However, more recent scholarship showed this incident to have taken place at the first performance of Haydn’s Symphony No.102.

Franz Schubert (1797-1828)Overture to Rosamunde

Joseph Haydn (1732-1809)Symphony No.96 (The Miracle)

Wolfgang Amadeus Mozart (1756-1791)The Magic Flute: Der Vogelfänger bin ich ja (I am a jolly bird-catcher)

Samuel Piper

Gioachino Rossini (1792-1868)arr. Ottorino Respighi (1879-1936) La boutique fantasque (The Fantastic Toyshop): Overture Tarantella

Engelbert Humperdinck (1854-1921)Hansel and Gretel: Sandman’s Song Bronwyn Douglass

Pantomine

Gioachino Rossini (1792-1868)The Barber of Seville

Bronwyn Douglass and Samuel Piper

Igor Stravinsky (1882-1971)The Firebird: Introduction The Firebird and her Dance and variations of the Firebird

Cameron Patrick (born 1965)Impressions of Erin: The Banshee

David Lale

John Williams (born 1937)Harry Potter and the Sorcerer’s Stone: Nimbus 2000

Paul Dukas (1865-1935)The Sorcerer’s Apprentice

PROGRAM NOTES

4 PROGRAM November

PROGRAM NOTES

‘A Shakespearian mixture of raw comedy, magical elements, and high seriousness.’ That’s how The Magic Flute has been described. This 1791 opera tells of Tamino, who must rescue and return Pamina to her mother, the Queen of Night, only to discover that her wicked ‘kidnapper’ Sarastro is actually the wise and generous leader of an order of Priests. Mozart and his librettist Schikaneder injected Masonic symbolism into this opera, but there are lighter moments, too. One of the supporting roles is Papageno, the bird-catcher, who, in this song, wishes he were just as successful a wife-catcher.

By 1857, Rossini had retired from writing operas and his wife had taken him to Paris for his health. There he would compose party music with titles like: Almonds, Asthmatic Studies and Ugh! Peas!. Half a century later, the impresario Diaghilev was looking for music for a ballet when he came across Sins of my old age, as Rossini called this collection of pieces. Diaghilev asked Respighi (one of music’s great arrangers) to orchestrate the pieces for a ballet set in a magic toy shop (une boutique fantasque) where the most wonderful dolls come to life.

After Wagner produced the 15-hour epic Ring cycle of operas, composers thought the last word on myths and legends had been written. But then Engelbert Humperdinck wrote some songs for a family entertainment based on Hansel and Gretel. The success of this little entertainment about two children lured into the clutches of a witch by the prospect of an edible gingerbread house led Humperdinck to the idea of a fully-fledged opera. At the end of Act II, Hansel and Gretel realise they are lost in the forest. The Sandman visits and comforts them to sleep.

Rossini based his 1816 opera The Barber of Seville on a social comedy by the French playwright Beaumarchais. Eager to prove his usefulness to the upper classes, the factotum Figaro helps Count Almaviva woo Rosina, the ward of lecherous old Dr Bartolo. Figaro sneaks into Bartolo’s house to acquaint Rosina of his plans. Almaviva is disguised as a poor student (Lindoro). Rosina pretends she never realised that she was the object of this student’s love (‘Dunque io son’) but when Figaro suggests that she write ‘Lindoro’ a letter, it turns out that she has already written it. Figaro is impressed; how did she work it out?

Stravinsky was unknown outside Saint Petersburg (and then only as Rimsky-Korsakov’s most promising student) when Diaghilev commissioned him in 1909 to write the score for a Michel Fokine ballet, which was to make his name. The Firebird was based on various Russian legends concerning the young Tsarevich Ivan who, with the assistance of the Firebird, liberates a Princess from the evil sorcerer Kashchei. The Introduction begins eerily, deep in the muted lower strings, suggesting Kashchei’s castle. With a flash of colour, the Firebird appears. Her flight elicits some of Stravinsky’s most exquisite orchestral writing.

Brisbane-born Cameron Patrick is a graduate of the University of Queensland and has played with the Queensland Symphony Orchestra. Based in Los Angeles since 1988, he has appeared with the Hollywood Bowl Orchestra, Long Beach Opera, Los Angeles Mozart Orchestra and Santa Barbara Symphony, and orchestrated such films as Star Trek Into Darkness and Super 8. Impressions of Erin was a commission from the Camerata of St John’s Chamber Orchestra (who premiered the piece in December 2012). In Irish mythology, a banshee is a female spirit who wails if someone is about to die.

PROGRAM November 5

PROGRAM NOTES

John Williams has worked regularly with the biggest-name film directors of today. His music can be epic with a high level of fantasy. That’s probably why he was chosen to write the music for the Harry Potter films. Eleven-year-old Harry Potter is a wizard-in-training at the prestigious Hogwarts School of Witchcraft and Wizardry, where he has discovered an amazing talent for flying a broomstick. In Williams’ hands, Harry’s agility on his state-of-the-art Nimbus 2000 broomstick is characterised by the woodwind section’s flutes, oboes, clarinets and bassoons.

Written in 1897, Dukas’ The Sorcerer’s Apprentice is based on Goethe’s ballad Der Zauberlehrling, about an apprentice sorcerer who tries to copy his master’s formula for bringing a broomstick alive but then lets the broomstick get out of control.

The Sorcerer’s Apprentice is familiar from the Disney animated interpretation in the 1940 movie Fantasia, in which Mickey Mouse was the apprentice. Even without the visuals however, the plot can be discerned through Dukas’ evocative music. The sorcerer’s obvious ‘incantation’ (soft strings) not only restores order to the master’s house, but aptly closes the spell woven by this concert.

G.K. Williams © 2015

SUN 22 NOV 3PM

QSO Studio

QSO CHAMBER PLAYERS

BEETHOVEN AND

BRAHMS

6 PROGRAM November

Adina String Quartet Leader Alan Smith

Violin Rebecca Seymour French Horn Vivienne Collier-Vickers

Piano Angela Turner

Beethoven String Quartet No.10 Brahms Trio for Violin, French Horn and Piano

Warwick Adeney Concertmaster

PROGRAM November 7

At first glance, Op.74 is highly conventional. It is in E flat – the key of many of Beethoven’s works from 1808-9. It falls into four movements, the first of which has a slow introduction that creates expectation and heightens our appreciation of the main Allegro theme, and a concluding coda that contains some of Beethoven’s most thrilling music. The piece gets its nickname – not given it by Beethoven, of course – from the prominent use of pizzicato in some of the accompanying figures of the first movement.

The second movement (in A flat) is a typically Beethovenian Adagio with variations, and is the most substantial of the four. The dance movement, however, is in C minor – the first time, incidentally, that Beethoven had used three different keys for different movements in one work. It is merely marked Presto (very fast), and begins with the trademark rhythm that we know so well from the Fifth Symphony. The final movement, unusually, is a more relaxed Allegretto. Moreover, it too is a set of variations. Maynard Solomon has written about the increasing importance of variation form in Beethoven’s later music. Unlike sonata design – where the music returns, in more or less original guise, to its starting point – variations can go on forever. Solomon calls it a form ‘in flight from ideology’ and remarks that ‘Fate cannot knock on the door in variation form.’ It is noteworthy that there are two variation movements flanking a movement, the scherzo, dominated by a short-short-short-long motive that has come to be associated with Fate in Beethoven’s music.

© Gordon Kerry 2015

Ludwig van Beethoven (1770-1827)

String Quartet in E flat, Op.74 ‘Harp’

Poco adagio – AllegroAdagio ma non troppoPrestoAllegretto con variazioni

In his ‘Razumovsky’ Quartets, Op.59, which he composed around 1806, Beethoven had expanded the scale and expressive power of the string quartet beyond the wildest dreams of his contemporaries. Equally radical, this time in its concentration of material in a short span, was the ‘Serioso’ Quartet, Op.95, composed in 1810. Between those extremes comes the present work, first performed in 1809, which might be viewed as both homage and farewell to the Classical style, and is the first quartet that Beethoven published with its own unique opus number, rather than as part of a set. It is an expansive and largely serene work – with the unfortunate result that it is often passed over in discussions of Beethoven’s inexorable march to the world of the late quartets. The Apollonian virtues of serenity should not be underestimated; furthermore, this is a work in which Beethoven breaks new ground (albeit gently).

PROGRAM NOTES

8 PROGRAM November

PROGRAM NOTES

Johannes Brahms (1833-1897)

Trio in E flat for French horn, violin, and piano, Op.40

Andante Scherzo (Allegro) Adagio mestoFinale (Allegro con brio)

Brahms composed this trio during late spring and early summer 1865. He began work in Baden Baden on 6 May and sent a copy of the completed score, by post, from his summer lodging in Lichtenthal (‘It sits on a height, and I look out over all the mountains and lanes’) to his publisher on 4 July. A year later, Brahms took the Trio on ‘a little concert and business trip’.

He gave its premiere in Zürich, for the local Quartet Society, on 28 November 1865, with a Herr Gläss on horn. The work was repeated in Basle, and then in December for the Karlsruhe Festival, Brahms himself again on piano. But it took some years for the Trio to be publicly accepted. Clara Schumann noted that when she played it in Vienna in 1870 the audience ‘failed to understand this interesting and inspiring work’. Indeed, it was not until 1879 that Theodor Billroth, who’d first met Brahms at the Zürich premiere, wrote to him, again from Vienna: ‘Incidentally, your Horn Trio has had an enormous success here recently. I’d have scarcely expected it with such deeply felt music, all the more so since previously the public seemed disinclined to give it an attentive hearing. How curious these changes in audiences are.’

Despite the growing use at the time of various types of fully chromatic valve horns (Schumann called for one in his Adagio and Allegro for horn of 1849), Brahms always preferred the traditional natural horn, or Waldhorn, an instrument both his father and he himself, in his youth, had played.

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PROGRAM November 9

PROGRAM NOTES

Though unable to produce a full scale, except at the top of its range or by means of dexterous hand-stopping of the bell, the natural horn could still be played effectively in a range of keys by using a set of crooks (extension tubing) that lowered the sounding pitch of the fixed tubing by various amounts. In a letter to Albert Dietrich, organiser of Brahms’ Basel concerts, in which he recommended the Trio ‘with good conscience’ as ideal for a chamber soirée, Brahms specifically added: ‘Your horn player would do me a very special favour if he would [...] practise the Waldhorn for a few weeks to be able to play it on that.’ Moreover, on the title page of the published score, Brahms implied that he’d rather the horn part be played on cello, or later the viola, than on a valve horn (as Hans Richter had done in the 1870 Vienna performance). On this he never relented, even telling his horn-player friend August Cordes, ‘Never play [the trio] on a valve horn.’

Brahms biographer Richard Specht called this the ‘Wunderhorn’ Trio, and likened it to the fairy-tale world of Brahms’s Eichendorff settings, one of which, among his Op.17 songs, also featured horn. Each of the movements was, for Specht, ‘a German woodland song that awakes old legends’. Brahms, specifically referring to the opening theme, told a friend that he’d been inspired by watching a sunrise in the Black Forest. In the dreamy first movement, Brahms enhanced the song-like feel by doing away with the usual weighty central developmental episode. Instead, the two themes are alternated and varied. The second movement is framed by a motoric Allegro, rhythmically incisive and harmonically questing, surrounding a calm central episode.

The sad third movement is thought to have been a musical response to the recent death of Brahms’ mother. The horn briefly refers to the folksong ‘Dort in den Weiden steht ein Haus’ (There in the meadow stands a house) whose traditional tune is shared with the Lutheran chorale Wer nur den lieben Gott lässt walten (If thou but suffer God to guide thee) which Brahms also used in another memorial for his mother, the German Requiem. The same tune, recast in hunting-horn mode, becomes the theme of the finale, which also recollects in mood and impetus Mozart’s most famous Horn Concerto finale (K495).

Graeme Skinner ©2008

SAT 28 NOV 7.30PM

QPAC Concert Hall

SEASON FINALE

QSO & MAXIM

VENGEROV

10 PROGRAM November

Conductor/Violin Maxim Vengerov Conductor Nicholas Carter*

JS Bach Chaconne (for solo violin)

Sibelius Violin Concerto* (original 1903/04 version)

Berlioz Symphonie fantastique

Pre-concert talk at 6.30pm with Brian Catchlove, QSO Clarinet

Maxim Vengerov Violin

A QSO concert presentation in partnership with Musica Viva Australia

PROGRAM November 11

It is also unique in being the only movement in Bach’s chamber music to be composed as a set of variations.

Abridged from a note by Robert Forgács © 2012

Jean Sibelius (1865-1957)

Violin Concerto in D minor (original version)

Maxim Vengerov, violin

The young Sibelius had dreamed of a career as a violin virtuoso, but turned more and more to composition. Sibelius was inspired to compose a concerto on meeting the German violinist Willy Burmester, one of the most celebrated soloists of his day, though, for reasons involving Sibelius’ finances and lack of diplomacy, he never played it. In 1902, Sibelius noted in a letter to his wife, Aino, that he had thought up ‘some wonderful themes for the violin concerto’. In fact, though, the first theme was sketched in Italy in 1901, and labelled ‘The Bells of Rapallo’.

The concerto’s premiere was given by Viktor Nováček, by all accounts a good but not brilliant player, and the Helsinki Philharmonic Orchestra under Sibelius’ baton, and was mildly disastrous. Critics lamented that the musical ideas were drowned in a cacophony and – the unkindest cut of all – that the piece was ‘boring’. Sibelius, referring to it as ‘my hidden sorrow’, undertook major revisions and reissued the score in the form with which we are familiar today.

Johann Sebastian Bach (1685-1750)

Chaconne from Partita No.2 in D minor for solo violin

Bach composed his six works for solo violin – three sonatas and three partitas – while employed as Kapellmeister to the Prince of Anhalt-Cöthen. The years that Bach spent at Anhalt-Cöthen (1717-1723) were among the happiest in his life, for, as he later commented, he was serving a young prince who ‘loved and understood music’.

The title page of the composer’s autograph fair copy of the complete set of sonatas and partitas is dated 1720, and bears the Italian title Sei Solo à Violino senza Basso accompagnato, Libro primo (Six solos for violin without bass accompaniment, First Book), suggesting that it was to be the first in a series of such works, the ‘Secondo Libro’ being the six works for unaccompanied cello, also dating from around 1720. Bach’s thoughtful planning of these violin solos is evident in their overall symmetry: three sonatas, each consisting of four movements, and three partitas consisting mainly of courtly dances, and containing four, five and six movements respectively.

The Partita No.2 in D minor is regarded as one of the greatest works in the solo violin repertoire. The Chaconne which concludes the Partita has long been regarded as in a class of its own: a movement of unique inspiration, whose technical challenges, in the form of fugal writing, multiple stopping, sheer length and development of musical ideas, explore the full range of the solo violin’s expressive capabilities.

PROGRAM NOTES

12 PROGRAM November

PROGRAM NOTES

The revisions consist partly of a lightening of the orchestration where the soloist might tend to be swamped, but mostly of cuts in the outer movements (the original is four or five minutes longer than the authorised version). The original begins, like the later version, with the ‘Rapallo’ theme sounded by the soloist over a soft shimmer. But when the tune reaches its apex the orchestra sounds pairs of marcato chords, a kind of Beethovenian call to attention, which Sibelius subsequently removed. He also removed substantial episodes: a theme on bassoons has, in the original, a tracery of violin passagework and perky new theme, that was later removed, just before the first big climax of the movement. The heroic theme that follows is orchestrated slightly differently and is more extended, before the violin re-enters with its first cadenza. With the return of the Rapallo theme and the Beethovenian chords comes a later-discarded passage dominated by dotted rhythms that introduces the bassoons. After development of familiar material, Sibelius offers a second cadenza, subsequently cut, in which he channels the Bach of the famous Chaconne (BWV 1004) before the final coda of the movement. This was no doubt written with Burmester’s technique in mind, but gives the movement an odd architecture.

The second movement had no substantial changes made to it other than details of ornamentation and orchestration. The third, by contrast, was, like the first, subject to a filing-back of bravura passagework that often involves chains of whistling harmonics or sequences of rapid figurations – one such section early on is accompanied by pizzicato violins, and a melody passed from winds to strings of which no trace remains in the revision. Another is a drawn-out prolongation just before the final surging statement of the

movement’s main theme, which obliges the soloist to play a dazzling series of scale-based passages.

Burmester missed out on the premiere of the revised version, too: that was given in Berlin by Karel Halíř with Richard Strauss conducting.

© Gordon Kerry 2015

Hector Berlioz (1803-1869)

Symphonie fantastique

DaydreamsA BallIn the FieldsMarch to the ScaffoldSabbath Night Dream

The premiere of Berlioz’s Symphonie fantastique, on 5 December 1830, was greeted with shouts and stamping feet from the enthusiastic audience. But from Berlioz’s point of view, the best comment came from Madame Moke, who on the strength of it finally granted him permission to marry her daughter Camille. The irony was that it was Camille who had passed on to Berlioz the gossip about his earlier idol, Irish actress Harriet Smithson, which had provoked the fit of jealous rage which inspired the whole symphony – and it was Harriet whom Berlioz married two years later.

PROGRAM November 13

PROGRAM NOTES

Berlioz’s entirely one-sided passion for Smithson had been consuming him for three years. When Berlioz heard the rumours about Smithson and her manager, he was overwhelmed, and composed the Symphonie fantastique or ‘Episode in the Life of an Artist’ to exorcise his feelings of betrayal.

Berlioz’s original program tells of a young Musician who falls hopelessly in love with a woman who is everything he has ever dreamed of. He is obsessed by her image and by a melody which invariably accompanies any thoughts of her – a double idée fixe constantly intruding on his peace of mind. Convinced that his love is unappreciated, he poisons himself with opium. The dose is not strong enough to kill him but in his drugged sleep he has nightmarish visions: he has killed his beloved and is led to the scaffold and beheaded; he sees himself at his own funeral, which becomes a grotesque devilish orgy.

How important is this program? Clearly, it is linked to Berlioz’s own experience – yet none of the events it describes had actually occurred in his life. Berlioz was quite adamant that his art was intended to express ‘passions and feelings’, not paint pictures. The program is not a documentary to be judged on its accuracy, but a journey that Berlioz wanted his audience to take with him.

The symphony begins with the sighing of melancholy Daydreams alternating with flurries of ‘groundless joy’, until a sudden Beethoven-like outburst ushers in the Passions and the idée fixe melody which will recur throughout the work.

The second movement takes us to a ball, where the Musician catches sight of his beloved. The idée fixe appears twice – as a central episode in the movement’s rondo structure, and towards the end before the brilliant, swirling coda.

In the Fields begins with a duet between cor anglais and off-stage oboe: ‘two shepherds in the distance piping a shepherd’s song’. The idée fixe appears in the midst of passionate surges: ‘thoughts of happiness disturbed by dark forebodings’. The Musician’s loneliness is symbolised musically when the cor anglais finally takes up the shepherd’s song again and the oboe does not answer; ‘distant thunder’ from two sets of timpani brings the music to an uneasy close.

In the March to the Scaffold, sinister mutterings from the timpani finally erupt in a savage theme first beaten out by the cellos and double basses. Bassoons and then low strings weave a mocking counterpoint around it until the grotesque march theme bursts out over blaring pedal tones from the trombones. The idée fixe appears ‘like a last thought of love interrupted by the fatal stroke’.

Berlioz did not invent the idea of a Satanic orgy but he added another layer of meaning by giving the place of honour to the ghost of the young Musician’s beloved, whose idée fixe theme here appears encrusted with grace notes and trills of mocking laughter. Church bells sound and the Dies irae chant from the requiem mass is caught up in the demonic revelry. The dance theme becomes the subject of a fugue: combined with the Dies irae theme, the impression of sacrilegious revelry is complete.

Natalie Shea Symphony Australia © 2002

14 PROGRAM November

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PROGRAM November 15

Nathan AspinallConductor

From 2012 to 2013 Nathan held the position of Young Conductor with the Queensland Symphony Orchestra. In this role Nathan assisted Chief Conductor Johannes Fritzsch and visiting guest conductors and conducted concerts for the education series. Nathan studied French Horn and Conducting at the University of Queensland and upon graduation was awarded the Hugh Brandon Prize. In 2012 Nathan attended the Aspen Music Festival studying with Robert Spano and Hugh Wolff. He was awarded the Robert J. Harth Conducting Prize, inviting him to return to Aspen in 2013.

Nathan has participated in the Symphony Australia Young Conductors’ Program, working with the symphony orchestras in Tasmania, Adelaide, Queensland and Western Australia as well as the Auckland Philharmonia Orchestra and Orchestra Victoria. In January 2012 Nathan made his Sydney Symphony Orchestra debut at Symphony in the Domain. He also acted as assistant conductor for Opera Queensland’s productions of Macbeth and Carmen. Recent performances include concerts with the Queensland Conservatorium Chamber Orchestra and Mozart’s Gran Partita with members of the Queensland Symphony.

In 2014 Nathan returns to the Queensland and Adelaide Symphony Orchestras and makes his debut with the Tasmanian Symphony Orchestra. He has also been invited to attend the Conductor’s Workshop at the Tanglewood Music Centre in July. Nathan studies Orchestral Conducting with Hugh Wolff at New England Conservatory.

Guy NobleHost

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

QSO Chamber PlayersThe QSO Chamber Players series features intimate Sunday afternoon performances in the QSO Studio, South Bank. Performed and artistically directed by the musicians of the QSO, the series invites audiences to experience the beauty and passion of chamber music masterworks in one of Brisbane’s finest venues.

BIOGRAPHIES

16 PROGRAM November

BIOGRAPHIES

Switzerland (IMMA) and Menuhin Professor at the Royal Academy of Music London.

In 1997 Mr Vengerov became the first classical musician to be appointed International Goodwill Ambassador by UNICEF.

Nicholas CarterConductor

Recently appointed Adelaide Symphony Orchestra’s Principal Conductor from 2016, Nicholas Carter also holds the post of Kapellmeister at the Deutsche Oper, Berlin where in the 2015/2016 season his conducting engagements will include The Magic Flute, La Bohème, L’elisir d’amore, The Abduction from the Seraglio, and also Prokofiev’s Romeo and Juliet with the Staatsballet Berlin. Following a three-year association with the Sydney Symphony, first as Assistant Conductor, and subsequently as Associate Conductor, Nicholas took up the position of Resident Conductor at the Hamburg State Opera where he conducted Lucia di Lammermoor, Cosi fan Tutte, L’Orontea (Cesti), Il Barbiere di Siviglia, Die Zauberflöte, Hänsel und Gretel, and Cleopatra by Johan Mattheson.

As guest conductor, Nicholas has conducted the Adelaide, Melbourne, Sydney, Tasmanian and West Australian Symphony Orchestras, the Australian Youth Orchestra, Dallas Symphony Orchestra, Hamburg Philharmonic Orchestra in a Gala with Diana Damrau, Staatsorchester Braunschweig, Louisiana Philharmonic, Dalasinfoniettan Sweden, and the Malaysian and New Zealand Symphony Orchestras.

Regular performers in the series include the Adina String Quartet, Norablo String Quartet, QSO Brass Quintet, QSO Clarinet Quintet, QSO Wind Quintet and QSO Strings. Chamber music has long played a key role in QSO’s activities, with small ensembles from the orchestra touring regularly to schools and community outreach events throughout Brisbane and regional Queensland. The Australian newspaper described a March 2014 Chamber Players performance as: “One of the most refreshing, fascinatingly programmed and enjoyable concerts in Brisbane in recent times.”

Maxim VengerovConductor/Violin

Universally hailed as one of the world’s finest musicians, and often referred to as the greatest living string player in the world today, Grammy award winner Maxim Vengerov enjoys international acclaim as a conductor and is one of the most in-demand soloists in all of classical music.

As well as many worldwide concerts and recitals the 2015/16 season will see Mr Vengerov in concert with the New York Philharmonic and Munich Philharmonic orchestras, complete five recital tours in Australia, Canada, East Asia, Europe and South America, and in May Mr Vengerov will return to Japan for the fourth year of his annual Vengerov Festival.

Mr Vengerov holds various teaching positions around the world and is currently Ambassador and visiting Professor of the International Menuhin Music Academy in

PROGRAM November 17

CONCERTMASTERWarwick AdeneyProf. Ian Frazer AC & Mrs Caroline FrazerCathryn Mittelheuser AMJohn Story AO & Georgina Story

ASSOCIATE CONCERTMASTERAlan SmithArthur Waring

FIRST VIOLINStephen Phillips Dr Graham & Mrs Kate Row

Rebecca Seymour Ashley Harris

Brenda Sullivan Heidi and Hans Rademacher Anonymous

Stephen Tooke Tony & Patricia Keane

SECTION PRINCIPAL SECOND VIOLINWayne BrennanArthur Waring

SECOND VIOLINDelia Kinmont Jordan & Pat Pearl

Natalie Low Dr Ralph & Mrs Susan Cobcroft

Helen TraversElinor & Tony Travers

VIOLACharlotte Burbrook de Vere Di Jameson

Graham Simpson Alan Galwey

SECTION PRINCIPAL CELLODavid LaleArthur Waring

CELLOKathryn Close Dr Graham & Mrs Kate Row

Andre Duthoit Anne Shipton

Matthew Kinmont Dr Julie Beeby

ASSOCIATE PRINCIPAL DOUBLE BASSDushan WalkowiczSophie Galaise

DOUBLE BASSJustin BullockMichael Kenny & David Gibson

Paul O'BrienRoslyn Carter

SECTION PRINCIPAL FLUTEAlexis KennyDr Damien Thomson & Dr Glenise Berry

ASSOCIATE PRINCIPAL FLUTEHayley RadkeDesmond B Misso Esq

PRINCIPAL OBOEHuw JonesHelen & Michael Sinclair

ASSOCIATE PRINCIPAL OBOESarah MeagherSarah and Mark Combe

OBOEAlexa MurrayDr Les & 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 & Helen Keep

SECTION PRINCIPAL FRENCH HORNMalcolm StewartArthur Waring

FRENCH HORNPeter LuffShirley Leuthner

Lauren ManuelGaelle Lindrea

SECTION PRINCIPAL TRUMPETSarah ButlerMrs Andrea Kriewaldt

ASSOCIATE PRINCIPAL TRUMPETRichard MaddenElinor & Tony Travers

TRUMPETPaul RawsonBarry, Brenda, Thomas & Harry Moore

SECTION PRINCIPAL TROMBONEJason RedmanFrances & Stephen Maitland OAM RFD

ASSOCIATE PRINCIPAL TROMBONEDale TruscottPeggy Allen Hayes

PRINCIPAL TUBAThomas AllelyArthur Waring

PRINCIPAL HARPJill AtkinsonNoel & Geraldine Whittaker

PRINCIPAL TIMPANITim CorkeronDr Philip Aitken & Dr Susan UrquhartPeggy Allen Hayes

SECTION PRINCIPAL PERCUSSIONDavid MontgomeryDr Graham & Mrs Kate Row

PERCUSSIONJosh DeMarchiDr Graham & Mrs Kate Row

Thank you

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

CHAIR DONORS

PLATINUM PATRON ($500,000+)Timothy Fairfax ACTim Fairfax Family FoundationHarold Mitchell AC

DIAMOND PATRON ($250,000 - $499,000)The Pidgeon FamilyT & J St Baker Charitable TrustArthur Waring

PATRON ($100,000 - $249,000)Philip Bacon GalleriesJellinbah GroupCathryn Mittelheuser AMJohn B Reid AO and Lynn Rainbow ReidMr Peter SherwoodGreg and Jan WanchapNoel and Geraldine WhittakerAnonymous

MAESTRO ($50,000 - $99,999)Bank of QueenslandProf. Ian Frazer AC and Mrs Caroline FrazerPage and Marichu MaxsonMrs Beverley June SmithJohn Story AO and Georgina Story

SYMPHONY ($20,000 - $49,999)Dr Philip Aitken and Dr Susan UrquhartDr Julie BeebyEnglish Family PrizePeggy Allen HayesLeonie HenryDi Jameson Mrs Andrea KriewaldtFrances and Stephen Maitland OAM RFDDesmond B Misso Esq.In memory of Margaret Mittelheuser AM

Justice Anthe PhilippidesQueensland Conservatorium Griffith University Dr Graham and Mrs Kate RowDr Damien Thomson and Dr Glenise BerryRodney WylieAnonymous

CONCERTO ($10,000 - $19,999)David and Judith Beal Mrs Roslyn CarterDr John H. Casey Dr Ralph and Mrs Susan CobcroftMrs I.L. DeanTony Denholder and Scott Gibson Dr and Mrs W.R. Heaslop Gwenda HeginbothomMs Marie IsacksonJohn and Helen KeepM. Lejeune Dr Les and Ms Pam MaselIn memory of Mr and Mrs J.C. Overell Ian PatersonMr Jordan and Mrs Pat PearlHeidi and Hans RademacherAnne ShiptonElinor and Tony TraversAnonymous (2)

SCHERZO ($5,000 - $9,999)Prof. Margaret BarrettTrudy BennettMrs Valma BirdDr John and Mrs Jan BlackfordDr Betty Byrne Henderson AMMrs Elva EmmersonSophie GalaiseAlan GalweyDr Edgar Gold AM, QC and Dr Judith Gold CM Prof. Ian Gough AM and Dr Ruth GoughDr Edward C. Gray Fred and Maria Hansen

Ashley Harris Dr Alison HollowayThe Helene Jones Charity TrustTony and Patricia KeaneMichael Kenny and David Gibson Mr John MartinBarry, Brenda, Thomas and Harry MooreKathleen Y. NowikHelen and Michael Sinclair John and Jennifer Stoll Mrs Gwen WarhurstProf. Hans and Mrs Frederika WestermanHelen Zappala Anonymous

RONDO ($1,000 - $4,999)Jill AtkinsonEmeritus Professor Cora V. Baldock Dr Geoffrey Barnes and in memory of Mrs Elizabeth BarnesBrett BoonProfessors Catherin Bull AM and Dennis Gibson AOM. Burke Mrs Georgina ByromPeter and Tricia CallaghanMrs J. A. Cassidy Drew and Christine CastleyGreg and Jacinta ChalmersCherrill and David CharltonIan and Penny CharltonRobert ClelandSarah and Mark Combe Roger Cragg Julie Crozier and Peter HopsonMs D.K. CunninghamDr Beverley Czerwonka-LedezJustice Martin DaubneyLaurie James DeaneRalph DohertyIn memory of Mrs Marjorie DouglasGarth and Floranne Everson Dr Bertram and Mrs Judith Frost

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

DONORS

18 PROGRAM November

C.M. and I.G. Furnival Graeme and Jan George Dr Joan E. Godfrey, OBE Hans Gottlieb Lea and John GreenawayYvonne HansenMadeleine Harasty David HardidgeHarp Society of Queensland Inc Lisa Harris Chip Hedges Pty LtdTed and Frances HenzellPatrick and Enid Hill Prof. Ken Ho and Dr Tessa Ho Jenny HodgsonSylvia HodgsonJohn HughesLynette Hunter Sandra Jeffries and Brian CookJohn and Wendy Jewell Anna Jones Ainslie JustDr Colin and Mrs Noela KratzingSabina LangenhanDr Frank LeschhornRachel LeungShirley LeuthnerGaelle LindreaLynne and Franciose LipProf. Andrew and Mrs Kate ListerMary Lyons and John FardonSusan MabinJim and Maxine MacMillan Rose-Marie Malyon Belinda McKay and Cynthia Parrill Annalisa and Tony MeikleIn memory of Jolanta Metter In memory of Carol MillsG.D. MoffettB and D Moore

Martin Moynihan AO QC and Marg O’Donnell AOHoward and Katherine MunroKaren MurphyJohn and Robyn MurrayRon and Marise NilssonTina Previtera Charles and Brenda Pywell Dr Phelim ReillyMr Dennis Rhind In memory of Pat RichesJoan Ross Professor Michael Schuetz, Honorary Consul of GermanyChris and Judith SchullBernard and Margaret SpilsburyM.A. StevensonBarb and Dan StylesMrs Helen TullyWilliam TurnbullH.R. Venton Tanya Viano I.S and H. WilkeyMargaret and Robert WilliamsGillian WiltonJeanette WoodyattAnonymous (50)

VARIATIONS ($500 - $999)Mrs Penny AcklandWarwick Adeney Julieanne AlroeDon BarrettWilliam and Erica Batt Manus BoyceDeidre BrownMrs Verna CafferkyAlison G. CameronConstantine CaridesElene Carides W.R. and H. CastlesDr Alice Cavanagh

Terry and Jane Daubney Dr C. DavisonR.R & B.A Garnett Shirley HeeneyRichard Hodgson Jacobitz Family Miss Dulcie LittleThe Honourable Justice J.A. Logan, RFDIn memory of Mr David Morwood T. and M.M. ParkesMartin and Margot QuinnDr B. Srinivasan Pat StevensKatherine TrentAnonymous (34)

JOHN FARNSWORTH HALL CIRCLENamed in honour of the first Chief Conductor of QSO (1947-1954)

Roberta Bourne Henry

All enquiries, please call Gaelle Lindrea on (07) 3833 5050

Instruments on loan

QSO thanks the National Instrument Bank and The NFA Anthony Camden Fund for their generous loan of fine instruments to the recitalists of our English Family Prize for Young Instrumentalists.

Please contact Gaelle Lindrea on 07 3833 5050, or you can donate online at qso.com.au/donatenow All donations over $2 are tax deductible ABN 97 094 916 444

For a list of Building for the Future donors go to qso.com.au/giving/ourdonors

Thank you

PROGRAM November 19

20 PROGRAM November

PROGRAM November 21

“This year, marks the 15th Anniversary of Sirromet Winery. It has been a journey of many trials and triumphs, and one that my family and I are incredibly proud of. Some of our fondest memories are not that of what we have created but of the people we have met along the way. We would like to personally thank you for following us on our journey and becoming part of the Sirromet family”.

Terry & Lurleen Morris OWNERS, SIRROMET WINERY

ONLINE www.sirromet.com

XTRA space for another half page ad?

22 PROGRAM November

QUEENSLAND SYMPHONY ORCHESTRA

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

CONDUCTOR LAUREATE Johannes Fritzsch

ASSISTANT CONDUCTOR Natalia Raspopova

CONDUCTOR EMERITUS Werner Andreas Albert

SOLOIST-IN-RESIDENCE Shlomo Mintz

CONCERTMASTER Warwick Adeney

ASSOCIATE CONCERTMASTER Alan Smith

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

DOUBLE BASS Dushan Walkowicz= Anne Buchanan Justin Bullock Paul O’Brien Ken Poggioli

FLUTE Alexis Kenny~ 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 Stephen Tooke^ Linda Carello Lynn Cole Priscilla Hocking Ann Holtzapffel Stephen Phillips Rebecca Seymour Joan Shih Brenda Sullivan Brynley White

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

VIOLA Yoko Okayasu~ Bernard Hoey+ Jann Keir-Haantera Charlotte Burbrook de Vere Kirsten Hulin-Bobart Helen Poggioli Graham Simpson Nicholas Tomkin

The Soloist-in-Residence program is supported by the T & J St Baker Charitable Trust. The Assistant Conductor program is supported through the Johannes Fritzsch Fund and Symphony Services International.

~ 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~ Peter Luff>> 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>>

PROGRAM November 23

BOARD OF DIRECTORSGreg Wanchap Chairman Margaret Barrett Tony Denholder Tony Keane John Keep Page Maxson James Morrison AM Rod Pilbeam

MANAGEMENTSophie Galaise Chief Executive OfficerRos Atkinson Executive Assistant to CEO Richard Wenn Director – Artistic PlanningMichael Sterzinger Artistic Administration

ManagerNadia Myers Assistant Artistic AdministratorFiona Lale Artist Liaison Matthew Farrell Director – Community

Engagement and Commercial Projects

Nina Logan Orchestra ManagerHelen Davies Operations AssistantJudy Wood Orchestra Librarian/

WHS CoordinatorNadia Myers Library and Operations

Assistant Peter Laughton Operations and Projects

ManagerVince Scuderi Production Coordinator John Nolan Community Engagement

OfficerPam Lowry Education Liaison Officer Karen Soennichsen Director – Marketing Sarah Perrott Marketing Manager Zoe White Digital Marketing SpecialistMiranda Cass Marketing Coordinator David Martin Director – Corporate

Development & Sales Katya Melendez Corporate Relationships

ManagerEmma Rule Ticketing Services ManagerGeorge Browning Sales OfficerKiara Uthmann Sales and Ticketing CoordinatorJake Donehue Ticketing Services Officer Gaelle Lindrea Director – Philanthropy Phil Petch Philanthropy Services OfficerRobert Miller Director – Human ResourcesDebbie Draper Chief Financial OfficerSue Schiappadori AccountantAmy Herbohn Finance Officer

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

CHAIR

Chris Freeman AM

DEPUTY CHAIR

Rhonda White AO

TRUSTEES

Kylie Blucher Simon Gallaher Sophie Mitchell Mick Power AM

EXECUTIVE STAFF

Chief Executive: John Kotzas Director – Presenter Services: Ross Cunningham Director – Marketing: Roxanne Hopkins Director – Corporate Services: Kieron Roost Director – Patron Services: Jackie Branch

ACKNOWLEDGEMENT

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

The Honourable Annastacia Palaszczuk MP, Premier and Minister for the Arts

Director-General, Department of Science, Information Technology, Innovation and the Arts: Sue Rickerby

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.

24 PROGRAM November

Community and education partners

Corporate partners

Government partners

PARTNERS

Co-production partners

Media partners