PROGRAM | ROMANCE AND REVOLUTION I

PA U L L E W I S P L AY S B E E T H O V E N

REVOLUTIONROMANCE AND

THU 12 SEP 2019CONCERT HALL, QPAC

1II PROGRAM | ROMANCE AND REVOLUTION

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CONTENTS

SUPPORTING YOUR ORCHESTRA

MUSICIANS AND MANAGEMENT

ARTIST BIOGRAPHIES

IF YOU'RE NEW TO THE ORCHESTRA

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1WELCOME

DEFINITION OF TERMS 3LISTENING GUIDE

© Peter Wallis

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

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

The Artist-in-Residence program is supported by The University of Queensland. This concert is presented by Queensland Symphony Orchestra and Brisbane Festival.

WELCOME

IN THIS CONCERTConductor Joseph Swensen Pianist Paul Lewis

PROGRAMVine V: An Orchestral Fanfare 5' Beethoven Concerto No.3 34' in C minor for Piano and Orchestra, Op.37 INTERVAL 20' Prokofiev Symphony No.5 46' in B flat, Op.100

Good evening, and a warm welcome to tonight’s concert. It seems like just yesterday that I was invited to join the Queensland Symphony Orchestra family. How quickly time flies! It’s a real honour and a privilege to be a member of this wonderful orchestra – I feel very much at home in the ‘band’ and am excited about our future musical collaborations. It gives me great pleasure to welcome back our 2019 Artist-in-Residence, the most wonderful Paul Lewis, and to introduce tonight’s guest conductor, Joseph Swensen. I’m so excited to have Joseph direct the Orchestra as some of my most memorable and fulfilling performances have been with him at the helm when I was in the Scottish Chamber Orchestra. Tonight’s program is a feast of glorious music, starting with V, a Fanfare for Orchestra, composed by Australian composer Carl Vine. At just five minutes long, it’s the perfect introduction to Beethoven and Prokofiev. Beethoven’s Third Piano Concerto is probably my favourite of his five concertos. There are such gorgeous melodies and contrasts of character throughout, and I love the opportunity for dialogue between the soloist and orchestra. Listen carefully in the second movement as there are some special interactions between flute, bassoon, and soloist.Prokofiev’s music is so descriptive and expressive, and his Fifth Symphony takes the listener through so many emotions. While you are probably more familiar with his Romeo and Juliet score, I’m sure you will imagine the vivid pictures he is portraying through this music.Thank you all for being such an enthusiastic audience. We really appreciate your support and hope to see you at many concerts in the future. Alison Mitchell Section Principal Flute

Relive Romance and Revolution on ABC Classic on 18 September 2019 at 1pm and 19 January 2020 at 1pm (AEDT).

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IF YOU'RE NEW TO THE ORCHESTRA

WHO SITS WHERE

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

STRINGSThese instruments produce sound by bowing or plucking stretched strings.

First and Second ViolinsViolaCelloDouble Bass

WOODWINDWind instruments produce sound by being blown into.

Flute / PiccoloClarinet / Bass ClarinetOboe / Cor AnglaisBassoon / Contrabassoon

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

French HornTrumpet Trombone / Bass TromboneTuba

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

Timpani, Harp, Bass Drum, Cymbals (pair),Glockenspiel, Snare Drum, SuspendedCymbal, Tam Tam, Tambourine, Triangle,Wood Block, XylophoneKEYBOARD

Keyboard instruments are played by pressing keys. Piano

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

Arpeggio a chord which is broken up and played in a rising or falling order.

Bravura great technical skill and virtuosity in a performance of music.

Cadence a harmonic or rhythmic progression which indicates the end of a work or section of a work.

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

Chamber Music music that is composed for a small group of instruments.

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

Chord a set of pitches consisting of three or more notes.

Concerto an orchestral work which features a solo instrumentalist.

Dissonance the sense of tension caused by notes which clash.

Formalist music which has its meaning determined by its form.

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

Movement a self-contained section of a work.

Octave the interval between two musical pitches which are the same note melodically but in a different register.

Opera buffa stretta opera buffa is a type of opera usually defined by comic elements, while ‘stretta’ means a final, climactic section of an opera.

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

Tempo the speed at which music is played.

Theme a subject, usually melodic, of a work.

DEFINITION OF TERMS

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LISTENING GUIDE

Carl Vine (b. 1954)V: An Orchestral FanfarePerth-born Carl Vine has written 25 scores for classical dance, eight symphonies, 12 concertos, and a wide range of chamber music, as well as music for film, television, and theatre. His music is available on more than 60 commercial recordings and is performed frequently around the world. Of this work, he has written:

I have always wanted to title a work using a single letter. The ‘V’ of this title refers to the Roman numeral, and hence to the five minute duration of this little orchestral fanfare. Five minutes of music, even for orchestra, doesn’t seem to warrant a much longer title, nor, for that matter, a longer program note.

© Carl Vine 2003

© Peter Wallis

Ludwig van Beethoven (1770-1827)Concerto No.3 in C minor for Piano and Orchestra, Op.37

I. Allegro con brio (Lively and fast with energy) II. Largo (Broadly) III. Rondo: Allegro (Lively and fast)

Beethoven worked on the Piano Concerto No.3 in the early years of the new century. By the time it was premiered – in Vienna in 1803 at a concert which included his First and Second symphonies (the latter a premiere) together with the oratorio Christus am Ölberge (also a premiere) – Beethoven had been living in the Austrian capital for more than a decade. He arrived in Vienna from the small Rhineland city of Bonn as a pianist of repute and a composer of promise. Ten years on, his skills at the piano remained formidable and he had developed into a composer of epoch-making potential.

By now, Beethoven’s proficiency in orchestration had attained a new level of sophistication and his talent for wringing every drop of potential from themes and motifs was becoming a hallmark of his style. Added to that, this concerto’s opening movement demonstrates Beethoven’s tremendous flair for bringing drama to instrumental music. There are no words in this drama but, rather, dramatic tension is created through the sheer force of music’s constituent parts – melody, harmony, key, rhythm, form, dynamics and texture. The solo piano is a crucial player in the drama, creating much of the momentum through brilliant passages (forceful scales, decisive octaves, dazzling ornamentation) but also by pulling back and lowering the temperature as required. That said, the temperature reaches fever pitch in the first-movement cadenza, written out by Beethoven in 1809.

As soloist at the 1803 premiere, Beethoven would have improvised the cadenza. According to the page-turner on that occasion, Beethoven largely performed the slow movement, Largo, from notes he had in his head but had not fully committed to paper. The terrified page-turner stared at page after page of barely notated dots and dashes. In the rather surprising key of E major, the gentle middle movement embraces a range of piano textures, from chords in the chorale style to filigree passages in double thirds to arpeggios that swirl up through the registers.

We return to C minor, a brisk tempo and bravura piano writing for the last movement. While less intense than the opening movement (as befits a concerto finale), the piano remains brilliant and transparent throughout. As the movement comes to a close, the shackles of C minor are cast off and we enter the realm of the opera buffa stretta with a still faster tempo, breathless surface rhythm, and jolly back-and-forth between piano and orchestra. Our drama closes on a comic note, with high-spirited antics in the key of C major.

Abridged from a note by Robert Gibson © 2019

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LISTENING GUIDE

Sergei Prokofiev (1891-1953)Symphony No.5 in B flat, Op.100

I. Andante (At an easy walking pace) II. Allegro moderato (Moderately fast) III. Adagio (Slowly) IV. Allegro giocoso (Lively and fast with joy)

As Prokofiev raised his baton to conduct the premiere of his Fifth Symphony, Moscow shook with the sound of cannon-fire. It was January 1945, and the fusillade announced to the citizens that the Red Army had crossed the Vistula River in its rout of the invading Germans. If the cannon-fire signalled the turn of the war’s tide, the symphony announced a new beginning. Its epic scale and optimistic trajectory perfectly reflected the mood of the time. Prokofiev later wrote that in this work ‘I wanted to sing of the free, happy man, his mighty power, his chivalry and his purity of spirit…’.

We need, of course, to understand the deliberate ambiguity of such remarks: Prokofiev was well aware of the lack of freedom and happiness under Stalin; his description might sound like that of the new ‘Soviet man’, but can equally be read as a subtle denunciation of the regime. The composer, moreover, had first-hand experience of the precariousness of favour in the Soviet Union. He had permanently returned to Russia in 1936, and soon found that when he tried to compose in the officially sanctioned way he would be accused of writing music that was ‘pale and lacking in individuality’; if he continued on the course he had begun in Western Europe he was derided as a ‘formalist’. However with works like Peter and the Wolf and Romeo and Juliet, Prokofiev’s stocks revived. He spent the summer of 1944 in the relative luxury of a government-run artists’ colony and in a mere two months (and with a little recycling) had composed his Fifth Symphony.

Beginning with a simple theme on flute and bassoon, the symphony’s opening movement unfolds gradually but inexorably, with passages of characteristic wit, high lyricism, and overpowering full scoring until, in its final cadence, a radiant B flat chord emerges from tense dissonance.

The second movement provides the first really fast music, its balletic quality partly explained by the use of discarded material from Romeo and Juliet. This recalls the Prokofiev of The Love for Three Oranges – fast, incisive, colourful – and provides a foil to the extended slow movement which follows.

In the finale, Prokofiev initially defies expectations by quoting the melody from the first movement, this time scored for the rarified sound of divided cellos. Whether or not this represents what Prokofiev’s ‘official’ biographer Israel Nestyev calls the ‘theme of man’s grandeur and heroic strength’, it is dramatically effective of the composer not to plunge immediately into the expected triumphal finale. As musicologist Arnold Whittall remarks, the movement avoids the ‘naively life-enhancing’ clichés of Soviet music but the subtle use of dissonance, and the uneasy sense right at the end, suggest that the energy of the music has outlived its meaning.

The timing of the symphony was, however, perfect, seeming to sing of Soviet victory. Sadly, it would not be long before Prokofiev would feel the weight of disfavour once more; moreover, concussion sustained in a fall shortly after the premiere meant that the Fifth Symphony would be the last work he would ever conduct.

Abridged from a note by Gordon Kerry © 2003

© Peter Wallis

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Joseph SwensenConductorJoseph Swensen is Artistic Director of the NFM Leopoldinum Orchestra Wroclaw, Conductor Emeritus of the Scottish Chamber Orchestra, and Principal Guest Conductor of the Orquesta Ciudad de Granada. He has previously served as Principal Guest Conductor and Artistic Adviser of the Orchestre de Chambre de Paris, Principal Conductor of the Scottish Chamber Orchestra, and Principal Conductor of Malmö Opera. A sought-after pedagogue, Joseph teaches conducting, violin, and chamber music at the Royal Conservatoire of Scotland in Glasgow.

Recognised for forging solid bonds with orchestras, he is regularly invited to conduct across the world and he has toured extensively in the US, UK, Europe, and the Far East, appearing at the Mostly Mozart Festival in New York, Tanglewood and Ravinia Festivals, the BBC Proms, ‘Festival de Radio France’ and ‘La Folle Journée’ of Nantes and Tokyo.

Before launching his conducting career, Joseph enjoyed a highly successful career as a violin soloist, appearing with the world’s major orchestras and conductors while recording exclusively for BMG Classics. As a conductor, Joseph recorded for Signum and collaborated closely with Linn, recording with the Scottish Chamber Orchestra; Violin Concertos Collection, a boxset of four CDs play-directing from the violin, was recently released to international critical acclaim.

An American of Norwegian and Japanese descent, Joseph was born in Hoboken, New Jersey and grew up in Harlem, New York City.

Photo © Lukasz Rajchert

ARTIST BIOGRAPHIES

Paul LewisPianoPaul Lewis is internationally regarded as one of the leading musicians of his generation. His cycles of core piano works by Beethoven and Schubert have received unanimous critical and public acclaim worldwide, and consolidated his reputation as one of the world’s foremost interpreters of the central European classical repertoire. His numerous awards have included the Royal Philharmonic Society’s Instrumentalist of the Year, two Edison awards, three Gramophone awards, the Diapason D’or de l’Annee, the Preis Der Deutschen Schallplattenkritik, the Premio Internazionale Accademia Musicale Chigiana, and the South Bank Show Classical Music award. He holds honorary degrees from Liverpool, Edge Hill, and Southampton Universities, and was appointed Commander of the Order of the British Empire (CBE) in the 2016 Queen’s Birthday Honours.

He appears regularly as soloist with the world’s great orchestras, including the Berlin Philharmonic, Boston Symphony, Chicago Symphony, London Symphony, London Philharmonic, Bavarian Radio Symphony, NHK Symphony, New York Philharmonic, LA Philharmonic, and the Royal Concertgebouw.

He is also a frequent guest at the some of the world's most prestigious festivals, including the BBC Proms where in 2010 he became the first person to play a complete Beethoven piano concerto cycle in a single season. He is also co-Artistic Director of Midsummer Music, an annual chamber music festival held in Buckinghamshire, UK.

The Artist-in-Residence program is supported by The University of Queensland.

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

MUSIC CHAIR DONORS

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

ASSOCIATE CONCERTMASTERAlan Smith Arthur Waring

PRINCIPAL FIRST VIOLINShane Chen Jessica Read

FIRST VIOLINLinda Carello Support a Musician Today

Lynn Cole Neil W. Root

Ann Holtzapffel Aitken Whyte Lawyers

Rebecca Seymour Dr John H. Casey

Joan Shih Simon Mills

Brenda Sullivan Heidi Rademacher and in memory of Hans Rademacher Anonymous

Stephen Tooke Tony and Patricia Keane

Brynley White Graeme Rosewarne and Jim O’Neill

SECTION PRINCIPAL SECOND VIOLINGail Aitken Dr John H. Casey

Wayne Brennan Support a Musician Today

SECOND VIOLINKatie Betts Dr Geoffrey Trim

Jane Burroughs Dr Graham and Mrs Kate Row

Faina Dobrenko The Curavis Fund

Simon Dobrenko The Curavis Fund

Delia Kinmont Dr Colin and Mrs Noela Kratzing

Natalie Low Dr Ralph and Mrs Susan Cobcroft

Tim Marchmont Dr Geoffrey Trim

Nicholas Thin Benn Day Simon Mills Young Professional Circle

Helen Travers Elinor and Tony Travers

Harold Wilson Trevor J Rowsell

SECTION PRINCIPAL VIOLAImants Larsens Dr Geoffrey Trim

ASSOCIATE PRINCIPAL VIOLAYoko Okayasu Dr Damien Thomson and Dr Glenise Berry

VIOLACharlotte Burbrook de Vere Mr Nick Beaton and Dr Pamela Greet

Nicole Greentree Shirley Leuthner

Bernard Hoey Desmond B Misso Esq.

Kirsten Hulin-Bobart CP Morris

Jann Keir-Haantera Ms Helen Sotiriadis

Graham Simpson Alan Galwey

Nicholas Tomkin Alan Symons

SECTION PRINCIPAL CELLODavid Lale Arthur Waring

ASSOCIATE PRINCIPAL CELLOHyung Suk Bae Benn Day John Story AO and Georgina Story Young Professional Circle

CELLOKathryn Close Dr Graham and Mrs Kate Row

Andre Duthoit Anne Shipton

Matthew Jones MJ Bellotti

Matthew Kinmont Dr Julie Beeby

Kaja Skorka Robin Spencer Anonymous

Craig Allister Young Di Jameson

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

ASSOCIATE PRINCIPAL DOUBLE BASSDušan Walkowicz Amanda Boland

DOUBLE BASSAnne Buchanan Dr Betty Byrne Henderson AM

Justin Bullock Michael Kenny and David Gibson

Paul O'Brien Support a Musician Today

Ken Poggioli Anonymous

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SUPPORT A MUSICIAN

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

SECTION PRINCIPAL FLUTEAlison Mitchell Alan Symons

ASSOCIATE PRINCIPAL FLUTEHayley Radke Desmond B Misso Esq.

PRINCIPAL PICCOLOKate Lawson Dr James R Conner

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

ASSOCIATE PRINCIPAL OBOESarah Meagher Sarah and Mark Combe

OBOEAlexa Murray Dr Les and Ms Pam Masel

PRINCIPAL COR ANGLAISVivienne Brooke CP Morris

SECTION PRINCIPAL CLARINETIrit Silver Arthur Waring

ACTING ASSOCIATE PRINCIPAL CLARINETBrian Catchlove Support a Musician Today

CLARINETKate Travers Dr Julie Beeby

PRINCIPAL BASS CLARINETNicholas Harmsen Support a Musician Today

SECTION PRINCIPAL BASSOONNicole Tait In memory of Margaret Mittelheuser AM

ASSOCIATE PRINCIPAL BASSOONDavid Mitchell John and Helen Keep

BASSOONEvan Lewis CP Morris

PRINCIPAL CONTRABASSOONClaire Ramuscak CP Morris

SECTION PRINCIPAL FRENCH HORNMalcolm Stewart Arthur Waring

PRINCIPAL FRENCH HORNIan O'Brien Dr Geoffrey Trim

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

FRENCH HORNVivienne Collier-Vickers Ms Marie Isackson

Lauren Manuel Dr John H. Casey

SECTION PRINCIPAL TRUMPETVacant Mrs Andrea Kriewaldt

ASSOCIATE PRINCIPAL TRUMPETRichard Madden Elinor and Tony Travers

TRUMPETPaul Rawson Mr Nick Beaton and Dr Pamela Greet

SECTION PRINCIPAL TROMBONEJason Redman Frances and Stephen Maitland OAM RFD

ASSOCIATE PRINCIPAL TROMBONEAshley Carter Support a Musician Today

PRINCIPAL TUBAThomas Allely Arthur Waring

PRINCIPAL HARPJill Atkinson Noel and Geraldine Whittaker

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

SECTION PRINCIPAL PERCUSSIONDavid Montgomery Dr Graham and Mrs Kate Row

ASSOCIATE PRINCIPAL PERCUSSIONJosh DeMarchi Dr Graham and Mrs Kate Row

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

ANNUAL GIVING

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

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

INTERMEZZO($20,000 - $49,999)Philip Bacon Galleries G and K Ilett Cathryn Mittelheuser AMCP Morris Stack Family Foundation John Story AO and Georgina Story

GRAZIOSO ($10,000 - $19,999)Associate Professor John Allan and Dr Janet Allan Kay BryanJoseph and Veronika ButtaDr John H. CaseyIan and Cass George Morgans FoundationDr Graham and Mrs Kate RowDr Geoffrey Trim

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

Peggy Allen HayesMichael Kenny and David GibsonDr Colin and Mrs Noela KratzingMrs Andrea KriewaldtFrances and Stephen Maitland OAM RFDDan and Helen McVayDesmond B Misso Esq.The Neilsen GroupIn memory of Mr and Mrs J.C. OverellHeidi Rademacher and in memory of Hans RademacherNeil W Root and Trevor J RowsellTrevor & Judith St Baker Family FoundationAlan Symons and in memory of Bruce Short, Kevin Woodhouse and Graham WebsterSidney Irene Thomas (In Memory)Elinor and Tony TraversTurner Family FoundationDavid and Judy TynanK and S WarkNoel and Geraldine WhittakerSteve and Jane Wilson

PRESTO ($2,500 - $4,999)Prof. Margaret Barrett Dr Betty Byrne Henderson AMNigel Chamier AMSarah and Mark CombeThe Curavis FundJustice Martin DaubneyTony and Patricia KeaneProf. Andrew and Mrs Kate ListerSimon Mills Graeme Rosewarne and Jim O'NeillSiganto FoundationMr Tom StackMrs Amanda TalbotDr Damien Thomson and Dr Glenise BerryGary and Diana WillemsenAnonymous (1)

STRETTO ($1,000 - $2,499)ADFAS BrisbaneAitken Whyte LawyersJulieanne AlroeDr Geoffrey Barnes and in memory of Mrs Elizabeth BarnesWilliam and Erica BattJohn and Bonnie BauldMJ Bellotti Amanda BolandConstantine CaridesElene CaridesGreg and Jacinta Chalmers Robert ClelandDr Ralph and Mrs Susan CobcroftDr Peter Hopson & Julie CrozierElizabeth Dann & Philip McNicolMrs I. L. DeanMrs Elva EmmersonC.M. and I.G. FurnivalAlan GalweyGardiner Family FoundationProfessors R D Gibson AO and Catherin Bull AMDr Edgar Gold AM, QC and Dr Judith Gold CMMs Julia GrayLea and John GreenawayJohn and Lois GriffinDr and Mrs W.R. HeaslopMrs. L. A. HudsonMs Marie IsacksonDi JamesonAinslie JustJohn and Helen KeepDiana C S KhursandiAndrew KopittkeDr Frank Leschhorn Shirley LeuthnerLynne and Francoise LipSusan MabinMr Greg and Mrs Jan MarshDr Les and Mrs Pam MaselJulienne and John McKennaAnnalisa and Tony MeikleIn memory of Jolanta Metter

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

In Memory of Harry MilesB and D MooreIn memory of Mildred Wise MuirheadHoward and Katherine MunroColin NevilleRonald and Marise NilssonIan PatersonPeterson FamilyJessica ReadG & B RobinsJoan Ross Judith SackAnne ShiptonDr Margaret SorokaMs Helen Sotiriadis Robin SpencerJohn and Jennifer StollUrban ListProf. Hans Westerman and in memory of Mrs Frederika WestermanMargaret and Robert WilliamsJuanita WrightRodney WylieAnonymous (9)

TUTTI ($500-$999)Trudy BennettQuentin BryceDr Sheena L. BurnellJean ByrnesDrew and Christine CastleyRichard ChambersIan and Penny CharltonTerry and Jane DaubneyDr C. DavisonD J GardinerWendy GreenDr Alison M. HollowayDaryl and Lisa HolmesRachel LeungElizabeth MacintoshJim and Maxine MacmillanGary & Gayle MartinDr Masanori MatsumotoTimothy Matthies and Chris BonnilyLoraine McLarenGuy MitchellDr Tom MooreJohn and Robyn MurrayHamilton NewtonMrs Ruth RichardsonKW Sommerfeld and FamilyKatherine Trent and Paul ReedTanya VianoMax and Robyn WhiteAnonymous (15)

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

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

LIFETIME GIVING

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

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

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

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

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

(Donor lists correct as at August 2019.)

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

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

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

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

MUSIC DIRECTOR Alondra de la Parra

ARTIST-IN-RESIDENCE Paul Lewis

CONDUCTOR LAUREATE Johannes Fritzsch

CONDUCTOR EMERITUS Werner Andreas Albert

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

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

FLUTE Alison Mitchell ~ Hayley Radke >>

PICCOLO Kate Lawson*

OBOE Huw Jones~ Sarah Meagher >> Alexa Murray

COR ANGLAIS Vivienne Brooke*

CLARINET Irit Silver~ Brian Catchlove+ Kate Travers

BASS CLARINET Nicholas Harmsen*

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

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

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

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

BASSOON Nicole Tait~ David Mitchell >> Evan Lewis

CONTRABASSOON Claire Ramuscak*

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

TRUMPET Richard Madden >> Paul Rawson

TROMBONE Jason Redman~ Ashley Carter >>

BASS TROMBONE Tom Coyle*

TUBA Thomas Allely*

HARP Jill Atkinson*

TIMPANI Tim Corkeron*

PERCUSSION David Montgomery~ Josh DeMarchi >>

CONCERTMASTER Warwick Adeney

ASSOCIATE CONCERTMASTER Alan Smith

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

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

Matthew Farrell Director – Orchestra Management Nina Logan Orchestra Manager (Vacant) Operations Assistant Peter Laughton Operations and Projects Manager Vince Scuderi Production Coordinator Nadia Myers Orchestra Librarian

(Vacant) Director - Development Katya Melendez Manager - Development Carolyn Bowes Manager - Corporate Partnerships Karen Towers Development Coordinator

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

QUEENSLAND PERFORMING ARTS CENTRE

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

CHAIR Professor Peter Coaldrake AO

DEPUTY CHAIR Leigh Tabrett PSM

TRUST MEMBERS Dare Power Susan Rix AM Leanne de Souza

CHIEF EXECUTIVE John Kotzas

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

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

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

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

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

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PARTNERS

Government Partners Principal Partner

Industry Collaborators

Major Partners

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MOONLIT REVOLUTIONSUN 22 SEP 2019, 3PM Queensland Symphony Orchestra Studio ABC Building, South Bank

Beethoven String Quartet No.14 in C sharp minor, Op.131 Bernard Hoey New Work (World Premiere) Schoenberg Verklärte Nacht (Transfigured Night), Op.4

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

COMING UP

RAY CHEN RETURNSFRI 11 OCT 2019, 11AM SAT 12 OCT 2019, 7.30PM Concert Hall, QPAC

Conductor & Harpsichord Erin Helyard Violin Ray Chen

J.S. Bach Orchestral Suite No.4 in D minor, BWV1069 Mendelssohn Sinfonia No.10 in B minor Mendelssohn Concerto in E minor for Violin and Orchestra, Op.64

TOYS AND PUPPETSSUN 27 OCT 2019, 11.30AM Concert Hall, QPAC

Conductor Alondra de la Parra Host Guy Noble Double Bass Phoebe Russell

Music from Delibes, Leopold Mozart, and more. This is musical playtime for the young at heart!

22 PROGRAM | ROMANCE AND REVOLUTION

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

WANT MORE?

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

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

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

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

qso.com.au/news

ON SPOTIFY Listen to our concert playlists anywhere, anytime.

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

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

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