PROGRAM | POWER AND GLORY I

AND GLORYPOWER

CONCERT HALL, QPAC

S E A S O N O P E N I N G G A L A

SAT 8 FEB 2020

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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.

WELCOME

IN THIS CONCERT PROGRAMConductor Alexander Prior Violin Emily Sun Cello Caleb Wong Piano Aura Go

Melody Eötvös Hidden Wiring - world premiere 7’ Beethoven Concerto in C for Violin, 33’ Cello and Piano, Op.56, INTERVAL 20’ Shostakovich Symphony No.5 in D minor, Op.47 44’

Welcome to Queensland Symphony Orchestra’s first concert for 2020! We aim to be an Orchestra For Everyone. Whether you are one of our regular subscribers or this is your first time hearing us live, we hope you leave the concert hall tonight having had a thrilling and powerful musical experience.

This year we celebrate the 250th anniversary of the legendary Ludwig van Beethoven. Tonight marks the beginning of our Beethoven journey with his grand and beautiful Triple Concerto. In performing this work, we are showcasing our commitment to the development of the next generation of musicians as we hear three young Australian soloists, Emily Sun on violin, Caleb Wong on cello and Aura Go on piano.

Also featured tonight is the world premiere of Hidden Wires, a new work by Australian composer Melody Eötvös, commissioned by Queensland Symphony Orchestra. We also welcome back British Conductor Alexander Prior after his profound impact on Brisbane audiences in 2018. At just 27, Alexander Prior has already worked with the likes of the Royal Philharmonic Orchestra and Copenhagen Philharmonic, and completed his third season as the Chief Conductor of the Edmonton Symphony Orchestra.

We hope you enjoy all the spectacular pieces played this evening and the incredible young talent on stage. We look forward to a year of incredible musical highlights in 2020.

Chris Freeman AM Craig Whitehead Chair, Board of Directors Chief Executive

Power and Glory is presented in association with QPAC.

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IF YOU'RE NEW TO THE ORCHESTRA

WHO SITS WHEREOrchestras sit in sections based on types of instruments. There are four main sections in the symphony orchestra (strings, woodwinds, brass, and percussion) as well as a keyboard section.

STRINGSThese instruments produce sound by bowing or plucking stretched strings.

First and Second ViolinViolaCelloDouble BassHarp

WOODWINDWind instruments produce sound by being blown into.

Flute / PiccoloClarinet / E flat Clarinet / 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, Bass drum, Snare drum, Cymbals,Glockenspiel, Xylophone, Vibraphone, Tam-tam, Triangle, Sleigh Bells.

KEYBOARDKeyboard instruments are played by pressing keys.

PianoCeleste

DEFINITION OF TERMS

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

Concerto an orchestral work which features a solo instrumentalist.

Symphonic a long and complex sonata for symphony orchestra.

Crescendo the loudest point reached in a gradually increasing sound.

Exposition the part of a movement that typically establishes the music’s main theme.

Intermezzo a short connecting instrumental movement.

Largo a passage, movement, or composition marked to be performed in a slow tempo and with a dignified style.

Ostinato a continually repeated musical phrase or rhythm.

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

Sinfonia concertante an orchestral work in which a group of soloists perform alongside the orchestra.

© Peter Wallis

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LISTENING GUIDE

Melody Eötvös (b. 1984)Hidden Wiring - World Premiere Comissioned by Queensland Symphony Orchestra

This work is inspired by the hidden wiring that exists as connections between matter, which function beyond our comprehension. Some of these types of wiring are physiological (such as vision and other sense-to-brain processes), including the unknown magnetism we sometimes feel towards particular people and objects which, early on, make no sense to us. The Gestalt Principles of visual perception are another wonderful example, an appropriate example being the closure and continuity principles. Then there is the hidden wiring I feel as a composer. The invisible link between brain and “the final sound” is still very much an enigma for me and I face it every time I write a piece of music. I love the unknown of it and yet each work is still a learning curve which brings me one millimetre closer to comprehending that link, until I realize the thing I discovered has already changed and a new unknown connection has replaced the one I was chasing, Rorschach-like.

Focusing on this concept and bringing it into a musical context was a delight – the spatialisation and diffusion of the Brass is a crucial part of this work and one of the more prominent embodiments of Hidden Wiring as the sound is passed wirelessly around the performance space throughout the piece, chasing its own tail (as I sometimes feel I am doing).

I wish to thank the Queensland Symphony Orchestra for their support in commissioning this work, and for temporarily luring me home to beautiful Queensland.

Melody Eötvös

Ludwig van Beethoven (1770–1827)Concerto in C for violin, cello and piano Op.56

Allegro Largo Rondo alla polacca

In August 1804, Beethoven wrote to the Leipzig publishers Breitkopf and Härtel offering them ‘something of a novelty’, this concerto for piano, violin, cello and orchestra. One may wonder how novel this work may have been in the 18th century when unusual combinations were often brought together in the sinfonia concertante form. These works were meant to be melodic and virtuosic (indeed they were meant to bring together groups of virtuosos), with a dose of bravura, a minimum of symphonic argument, and even less soul-searching. Beethoven’s work lacks the symphonic argument we normally

associate with him and may explain why he designated the work ‘Grand concerto concertant’, avoiding any mention of anything ‘symphonic’ since such a word was coming to mean, to the composer of the Eroica, a substantial degree of elaborate argument. But the Triple Concerto defies ‘concertante’ convention in its tendency to seriousness rather than showiness, and particularly in its second movement, which, though arguably little more than an intermezzo, penetrates to a touching depth.

Beethoven wrote this concerto for the Archduke Rudolph, who had in his private orchestra an excellent violinist by the name of Ferdinand August Seidler, and as principal cellist Anton Kraft, who had been Haydn’s cellist at Eszterháza. The existence of such a group of fine players no doubt influenced Beethoven’s decision to write a work incorporating a piano trio, but that was also a medium in which he had won early success, and to which he was later to return in, for example, the Archduke Trio, also dedicated to Rudolph. Rudolph was no mean pianist. He eventually got the Emperor Concerto under his fingers, although it is the cello which has the lion’s share of the work in this concerto. It was really to compensate for the solo cello’s disadvantages in being heard above the ensemble that it is here assigned the principal melodic role. It is often set in the treble register where its voice will be most penetrating.

We could read into the march-like tempo of the first movement a reminder of the Napoleonic era. The work begins softly, gradually building in volume – a crescendo effect popular with the Mannheim school of composers. Following this build-up, there is a new, sunny theme in the violins. At the end of the exposition, the cello enters. The orchestra foreshadows a new impassioned theme but the cello immediately takes it over and up into its higher, most eloquent register. Much of the development and the rest of the movement has a chamber music quality, as it is the soloists who develop the material.

The five-minute Largo perfectly balances the 18 or so minutes of the first movement. Beethoven here introduces an idyllic melody which paves the way for the spirited polonaise final movement.

It is perhaps strange that at a time when many composers were churning out piano trios, no one followed Beethoven’s lead with this piece. They must have known how difficult a feat he achieved. Certainly there was no multi-soloist concerto to equal it until Brahms’ Double Concerto of 1887, and even then, it was not surpassed.

Abridged from a note by G.K. Williams © Symphony Australia

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LISTENING GUIDE

Dmitri Shostakovich (1906–1975)Symphony No.5 in D minor, Op.47

Moderato – Allegro non troppo Allegretto Largo Allegro non troppo – Allegro

Possibly there has never been as much debate over a composer’s intentions as with this symphony. Shostakovich began the work some 15 months after his opera Lady Macbeth of the Mtsensk District had been condemned in Pravda as ‘muddle instead of music’.

The price to be paid for ignoring the views of the Communist Party during Stalin’s dictatorship could be high. Shostakovich knew of people ‘disappearing’. And the Fifth Symphony, first performed in Leningrad on 21 November 1937, was therefore seen for many years as Shostakovich’s completely understandable compliance with the anti-modernist artistic precepts of Soviet officialdom – ‘A Soviet artist’s reply to just criticism’, assumed at the time to be Shostakovich’s own subtitle for the work.

Solomon Volkov’s book Testimony in 1976, however, painted a portrait of a composer who was at least, to use a psychological term, ‘passive-aggressive’; who knew how to get his views across in ways dull-witted party officials could never detect. Though subsequent commentators scorned Volkov’s claim to have ghost-written Shostakovich’s memoirs, the contents of the book have not been entirely debunked: Maxim Shostakovich has said that the book depicted the father he knew.

What Volkov and a number of other writers reveal is a composer who did not buckle under official bullying, and encoded political criticism in his music. Yet, pitted against those writers are also those who claim that music is never so obviously about any overt external subject. What evidence does the music provide?

The Fifth’s first movement is in a clearly recognisable classical sonata form, with jagged first and lyrical second themes; angry-sounding ostinati on the piano and pizzicato basses clearly begin the ‘development section’. This first movement is a far more orderly state of affairs than the explosion of themes which catapults the listener into the opening movement of the Fourth Symphony, composed at the time of the Pravda attack. But possibly Shostakovich withdrew the Fourth from circulation until the 1960s because it was no longer representative of his style anyway.

The second movement of the Fifth is a traditional scherzo with a playful trio, but listeners at the first performance wept during the Largo. Many said how extraordinary it was to be able to experience emotion when the whole society was built on a paranoid secreting of thoughts and feelings.

Much of the debate about the meaning of this symphony revolves around the finale. Officials were quick to hail it as an expression of triumph. But Testimony has Shostakovich say:

…The rejoicing is forced, created under threat… It’s as if someone were beating you with a stick saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’

When doubts about Testimony first surfaced, writers such as Christopher Norris mocked Western liberals who thought they had discovered ‘cryptic messages of doom and despair’ in music which ‘sounds, to the innocent ear, like straightforward Socialist Optimism’. Yet such a close friend of Shostakovich as Mstislav Rostropovich said, ‘Anyone who thinks the finale is triumph is an idiot.’

With a piece of Absolute music such as a symphony, however, it will always be up for debate what’s in the sound of the music.

Gordon Kalton Williams Symphony Australia © 2000/2009

© Peter Wallis

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ARTIST BIOGRAPHIES

Alexander PriorConductor and ComposerAt only 27 years of age, Alexander Prior is already in the midst of his third season as Chief Conductor of the Edmonton Symphony Orchestra.

Recent and upcoming highlights include debuts with the San Francisco, Detroit, and Hamburg Symphonies; I Musici de Montréal; Houston Symphony, Vancouver Opera conducting Hänsel und Gretel, and Edmonton Opera conducting Elektra, as well as returns to the Swedish Chamber Orchestra and Royal Danish Opera. Alexander made his debut at the Tiroler Festspiel in Austria in December 2019 conducting Dvorak’s Rusalka.

Alexander made his debut with the Queensland Symphony Orchestra in 2018, and returns to open their season with a world-premiere by Australian composer Melody Eötvös, and music by Beethoven and Shostakovich. He has also forged a close relationship with Oper Frankfurt, making his debut conducting Rigoletto, which resulted in multiple re-invitations, including Martinů’s “Julietta” in the fall of 2019, and a symphonic program with the orchestra featuring Holst’s The Planets.

Past engagements have also included the Royal Philharmonic Orchestra, Copenhagen Philharmonic, NDR Sinfonieorchester, Camerata Salzburg, Düsseldorfer Symphoniker, Norwegian Radio Orchestra, Aarhus Symphony Orchestra, Bayerische Staatskapelle, Vienna Chamber Orchestra, Deutsche Kammerphilharmonie Bremen, the Orchestra of Mannheim Opera, the Seattle Symphony and the New World Symphony.

Equally committed to the stage, Prior’s operatic engagements have included Carmen with the Royal Danish Opera, La Traviata with Oper Leipzig and the Gewandhaus Orchestra and at the Romanian National Opera, and Mirandolina with the Bayerische Staatsoper.

Alexander Prior’s catalogue of compositions is substantial in its share of high-profile commissions. His ballet Mowgli, commissioned by the Moscow State Ballet and first performed at the Kremlin Theatre in 2008, secured international critical acclaim and has now been running for over ten consecutive years. In the summer of 2020 his opera “Swan Song” (set to Chekhov) will be premiered in Canada.

Emily SunViolin‘Possessed of a superb talent’ (The Advertiser), with ‘a perfect balance of expressivity and formidable strength’ (The Australian), violinist Emily Sun is in demand internationally for her compelling and captivating interpretations.

She has performed with orchestras worldwide including the Sydney, Canberra, Tasmania, Queensland and Melbourne Symphony Orchestras; Arlington Symphony, Arizona Symphony and Garland Symphony Orchestras in USA; Shanghai Youth Orchestra and Qingdao Symphony Orchestra in China; Orchestre de Royal Wallonie and Orchestre de Chambre Namur in Belgium.

Emily has performed at the Sydney Opera House, Wigmore Hall London, Tchaikovsky Great Hall Moscow, Auditorium du Louvre Paris, and Flagey Brussels. She performed at Buckingham Palace alongside Maxim Vengerov in Bach’s Double Violin Concerto, in the presence of HRH Prince of Wales, and at the Royal Palace of Brussels in the presence of the King and Queen of Belgium.

As a teen, Emily shot to national fame for featuring in the award-winning Australian documentary ‘Mrs Carey’s Concert’. She is the ABC Artist-in-Residence and BBC Introducing Artist, with regular broadcast on Classic FM, BBC Three (UK), Kol Hamusica (Israel), WXQR (USA), and Musiq 3 (Belgium). Emily’s debut album will be released on ABC Classics in 2021.

Emily was awarded the 2018 ABC Australian Young Musician of the Year, and the 2016 UK Royal Overseas League Commonwealth Musician of the Year. Further successes include prizes at Yampolsky (Russia), Brahms (Austria), and Lipizer (Italy) international violin competitions. Emily was awarded the Tagore Gold Medal from the Royal College of Music, presented to her by HRH Prince of Wales.

Emily studied in Sydney with Dr Robin Wilson, and with Itzhak Rashkovsky at the Royal College of Music London where she now serves on the faculty. She was further mentored by Pinchas Zukerman and Augustin Dumay.

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ARTIST BIOGRAPHIES

Caleb WongCelloCaleb grew up in a small town in rural NSW, where he began studying the cello at the age of six under Takao Mitzushima and continued under Uzi Wiesel for seven years. He was awarded both an LMusA in cello, and an AMusA in piano, both with Distinction by the age of 15. In 2019, Caleb finished three and a half years of study at the Australian National Academy of Music (ANAM) under Howard Penny.

He is the recipient of numerous awards and scholarships including the AYO Accenture Scholarship and the Ernest Llewellyn Memorial Scholarship to participate at the Keshet Eilon Strings Mastercourse in Israel. In his commencing year at ANAM, he was the co-recipient of the Most Outstanding Performance in a Solo Recital award. He was also a finalist in the 2016 and 2018 ANAM Concerto Competitions, taking first place in 2018 performing Prokofiev’s Sinfonia Concertante with the Tasmania Symphony Orchestra. In the past two years he performed as concert soloist in The Australian Ballet production Verve playing Rococo Variations by Tchaikovsky with

Orchestra Victoria in Melbourne and the Australian Opera and Ballet Orchestra in Sydney. During his third year at ANAM, he performed the Debussy Cello Sonata with Kathryn Stott which was broadcast on ABC Classic FM.

As a regular member of the Australian Youth Orchestra, he toured with them throughout Europe and Asia in 2016 and again three years later as principle cello. Last year, Caleb was awarded the String Player award at the Gisborne International Competition. He has participated in numerous cello masterclasses including classes with Alban Gerhardt and Kyril Zlotnikov, and as a pianist with Lang Lang. He has been broadcast on ABC Classic FM, Fine Music 102.5, ArtSound FM in Canberra and many others.

Aura GoPianoAura Go is an Australian pianist whose curiosity, versatility and diverse musical interests have taken her across the globe, seeing her work in many different roles and contexts. She has been soloist in concertos ranging from Bach to Gubaidulina, has directed concertos and large-scale collaborative works from the keyboard, is a passionate advocate for new and underrepresented music, and brings her imagination and adventurous spirit to older music with a special love for Mozart and Beethoven.

Collaboration is a central part of Aura’s musical life. She enjoys a longstanding partnership with Japanese pianist Tomoe Kawabata as the KIAZMA Piano Duo. KIAZMA has presented regular concert series at the Melbourne Recital Centre since 2016, a regional tour in 2018 and has undertaken ambitious projects such as a new take on J.S. Bach’s The Art of Fugue. Their CD, Five Rocks in a Japanese Garden, features first recordings of works by significant Japanese composers. Currently the duo is developing a large-scale work in a new collaboration with dancer/choreographer Kristina Chan and director Clare Britton. In Finland, Aura enjoys a regular musical partnership with mezzo-soprano Erica Back, with whom she has created and performed dramatized recitals that explore women’s stories and creativity.

A frequent artist at international music festivals, Aura has performed at the

Melbourne International Arts Festival, Edinburgh Festival, Metropolis New Music Festival, Australian Festival of Chamber Music, Huntington Estate Music Festival, Kuhmo Chamber Music Festival, Rauma Festivo, PianoEspoo Festival among others. She has been a visiting artist at the Fulbright College of Arts and Sciences at the University of Arkansas (USA) the Royal Academy of Music in Aarhus (Denmark) and the Feliks Nowowiejski Academy of Music in Bydgoszcz (Poland). In 2018-19, Aura was an affiliate at Monash University.

Aura is dedicated to the performance of Australian music and has performed works of Liza Lim, Miriama Young, Kate Neal, Andrew Ford, Ian Munro, Larry Sitsky, Carl Vine, Elena Kats-Chernin, Katy Abbott, Ross Edwards, Connor D’Netto, Gordon Kerry, Helen Gifford and James Rushford among others. In Finland, Aura became a sought-after performer of Finnish works. She made numerous recordings for the Finnish Broadcasting Corporation, performed the neglected Merikanto Piano Concerto No. 3 with the Tapiola Sinfonietta in 2017, and performed concerts across the Nordic region with works of Rautavaara, Salonen, Lindberg, Saariaho, Myllärinen, Sallinen, Raitio, Sibelius, Melartin and Madetoja among others.

Aura completed her early musical studies in Melbourne at the Victorian College of the Arts and the Australian National Academy of Music. Following postgraduate studies at the Yale School of Music, Aura was based in Helsinki for seven years and is a doctoral candidate at the Sibelius Academy. Her principal teachers have included Max Cooke and Ian Munro (Australia), Peter Frankl (USA) and Erik T. Tawaststjerna (Finland). In 2018-19, Aura was a Musica Viva FutureMakers Artist.

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ARTIST BIOGRAPHIES

Melody EötvösComposerMelody Eötvös (1984) was born in the Southern Highlands, NSW, Australia. From the age of five she studied piano and music theory under her parent’s tutelage and at eight began learning the cello which coincided with her first experimentations in composition.

Eötvös attended the Queensland Conservatorium of Music, Griffith University, studying composition with Stephen Leek and Dr Gerardo Dirié, where she completed her bachelor of music in composition with honors.

Melody has been awarded the APRA Professional Development Classical Award in Sydney, the 3MBS National Composers Award, Soundstream National Composer Award (2012), a winner of the Gallipoli Songs composition competition (2014), the Virginia B. Toulmin Foundation Orchestral Commission administered by the League of American Orchestras & the EarShot Foundation (world premiere: Carnegie Hall October 23rd 2015), the Seattle Metropolitan Chamber Orchestra International Composition Competition (2016), and the

orchestral prize for the Red Note Music Festival (2017, USA). She has participated in numerous festivals and workshops internationally, most recently as a composer in residence with the Cabrillo Festival of Contemporary Music in Santa Cruz (2019). Past teachers include Simon Bainbridge, David Dzubay, and Claude Baker.

Recent commissions include Ruler of the Hive (Tasmanian Symphony Orchestra, 2018) nominated as a Finalist for the 2019 Art Music Awards, and Street of the Four Winds (Inventi, 2019).

Current commissions include a major work for the Philadelphia Orchestra (USA), the Australian Chamber Orchestra, the Grand Teton Music Festival Orchestra (USA), and the Queensland Symphony Orchestra. Melody is a Lecturer in Composition and Aural Studies at the Melbourne Conservatorium of Music.

Melody holds a Doctor of Music (2014) from Indiana University Jacobs School of Music USA, and a Master of Music (2008) from the Royal Academy of Music, London UK.

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Music lovers who support an individual musician’s role within the Orchestra. We thank you.

MUSIC CHAIR DONORS

CONCERTMASTERWarwick Adeney Prof Ian Frazer AC and Mrs Caroline Frazer 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 David Miller

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 Simon Mills

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 John Story AO and Georgina Story

CELLOKathryn Close Dr Graham and Mrs Kate Row

Andre Duthoit Anne Shipton

Matthew Jones MJ Bellotti

Matthew Kinmont Dr Julie Beeby David Miller

Kaja Skorka Robin Spencer Anonymous

Craig Allister Young Di Jameson

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

ASSOCIATE PRINCIPAL DOUBLE BASSDušan Walkowicz Amanda Boland

DOUBLE BASSAnne Buchanan Dr Betty Byrne Henderson AM

Justin Bullock Michael Kenny and David Gibson

Paul O'Brien Graeme Rosewarne and Jim O'Neill

Ken Poggioli Anonymous

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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 Timothy Michaux

CLARINETKate Travers Dr Julie Beeby

PRINCIPAL BASS CLARINETNicholas Harmsen Support a Musician Today

SECTION PRINCIPAL BASSOONNicole Tait In memory of Margaret Mittelheuser AM

ASSOCIATE PRINCIPAL BASSOONDavid Mitchell John and Helen Keep

BASSOONEvan Lewis CP Morris In memory of Dr Vicki Knopke

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

ACTING 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 GalleriesG and K IlettCathryn Mittelheuser AMCP MorrisStack Family FoundationJohn Story AO and Georgina Story

GRAZIOSO ($10,000 - $19,999)Associate Professor John Allan and Dr Janet Allan Dr Julie BeebyKay BryanJoseph and Veronika ButtaDr John H. CaseyIan and Cass George Frances and Stephen Maitland OAM RFDMorgans FoundationJustice Anthe PhilippidesDr Graham and Mrs Kate Row Mrs Beverley June SmithDr Geoffrey Trim

VIVACE ($5,000 - $9,999)Dr Philip Aitken and Dr Susan UrquhartDavid and Judith BealJohn and Lynnly ChalkDr James R ConnerTim and Elaine CrommelinProf. Ian Gough AM and Dr Ruth GoughMr Nick Beaton & Dr Pamela GreetDoug Hall FoundationMalcolm and Andrea Hall-BrownJohn and Rhonda HawkinsPeggy Allen HayesMichael Kenny and David GibsonMrs Andrea KriewaldtDan and Helen McVayDesmond B Misso Esq.The Neilsen GroupIn memory of Mr and Mrs J.C. OverellHeidi Rademacher and in memory of Hans RademacherNeil W Root and Trevor J RowsellGraeme Rosewarne and Jim O’NeillAlan Symons & in mem of Bruce Short, Kevin Woodhouse & Graham WebsterTrevor & Judith St Baker Family FoundationSidney Irene Thomas (In Memory)Elinor and Tony TraversTurner Family FoundationDavid and Judy TynanK and S WarkNoel and Geraldine WhittakerGary and Diana WillemsenSteve & Jane Wilson

PRESTO ($2,500 - $4,999)Prof. Margaret BarrettDr Betty Byrne Henderson AMNigel Chamier AMSarah and Mark CombeJustice Martin DaubneyBenn Day Will and Lorna HeaslopMs Marie IsacksonTony and Patricia Keane In memory of Vicki KnopkeDr Colin and Mrs Noela KratzingProf. Andrew and Mrs Kate Lister In memory of Jolanta MetterTimothy Michaux Rosslyn Walker and David MillerSimon MillsSiganto FoundationMr Tom StackMrs Amanda TalbotDr Damien Thomson and Dr Glenise BerryThe Curavis FundJuanita WrightAnonymous (1)

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STRETTO ($1,000 - $2,499)ADFAS BrisbaneAitken Whyte LawyersJulieanne AlroeDr Geoffrey Barnes and in memory of Mrs Elizabeth BarnesWilliam and Erica BattJohn and Bonnie BauldM.J. BellottiAmanda BolandConstantine CaridesElene CaridesGreg and Jacinta ChalmersRobert ClelandDr Ralph and Mrs Susan Cobcroft T.C. and M.R. CooneyDr Peter Hopson & Julie CrozierElizabeth Dann & Philip McNicolMrs I. L. DeanColin and Ann GallagherAlan 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 GriffinMrs. L. A. HudsonDi JamesonAinslie JustJohn and Helen KeepDiana C S KhursandiKingston FamilyDr Frank LeschhornShirley LeuthnerLynne and Francoise Lip

Susan MabinMr Greg and Mrs Jan MarshDr Les and Mrs Pam MaselTimothy Matthies and Chris BonnilyJulienne and John McKennaAnnalisa and Tony MeikleIn memory of Barbara CrowleyIn Memory of Harry MilesB and D MooreHoward and Katherine MunroColin NevilleRonald and Marise NilssonIan PatersonPeterson FamilyJessica ReadG & B RobinsJoan RossJudith SackAnne ShiptonMs Helen SotiriadisRobin SpencerJohn and Jennifer StollJohn Van Der SlootenProf. Hans Westerman and in memory of Mrs Frederika WestermanMargaret and Robert WilliamsRodney WylieAnonymous (10)

TUTTI ($500-$999)Trudy BennettQuentin BryceDr Sheena L. BurnellJean ByrnesDrew and Christine CastleyTerry and Jane DaubneyDr C. DavisonD J Gardiner Wendy GreenDr Alison M. HollowayDaryl and Lisa HolmesRachel LeungElizabeth MacintoshJim and Maxine MacmillanGary & Gayle Martin Loraine McLarenGuy MitchellDr Tom MooreHamilton NewtonRolf and Christel SchaferMrs Ruth RichardsonKW Sommerfeld and FamilyDr Margaret SorokaKatherine Trent and Paul ReedTanya VianoMax and Robyn WhiteAnonymous (10)

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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 FoundationHarold Mitchell ACDr Peter SherwoodArthur 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 JamesonJellinbah GroupJohn B Reid AO and Lynn Rainbow ReidMrs Beverly June SmithJohn Story AO and Georgina StoryGreg and Jan WanchapNoel and Geraldine WhittakerAnonymous (2)

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

SYMPHONY($20,000 – $49,999)Dr Philip Aitken and Dr Susan UrquhartDavid and Judith BealMrs Roslyn CarterDr Ralph and Mrs Susan CobcroftMrs I. L. DeanProf. Ian Gough AM and Dr Ruth GoughWill and Lorna HeaslopG and K IlettMs Marie IsacksonJohn and Helen KeepMichael Kenny and David GibsonLeonie HenryDr Les and Mrs Pam MaselPage and Marichu MaxsonMorgans FoundationHeidi Rademacher in memory of Hans Rademacher

Anne ShiptonStack Family FoundationDr Damien Thomson and Dr Glenise BerryElinor and Tony TraversRodney WylieAnonymous (4)

CONCERTO($10,000 – $19,999)Associate Professor John Allan and Dr Janet AllanProf. Margaret BarrettMr Nick Beaton and Dr Pamela GreetKay BryanJoseph and Veronika ButtaDr Betty Byrne Henderson AMSarah and Mark CombeDr James R ConnerMrs Ruth CoxJustice Martin DaubneyTony Denholder and Scott GibsonMrs Elva EmmersonSophie GalaiseAlan GalweyIan and Cass GeorgeDr Edgar Gold AM, QC and Dr Judith Gold CMDr Edward C. GrayMr Nick Beaton & Dr Pamela GreetMalcolm and Andrea Hall-BrownDr A M HollowayTony and Patricia KeaneDr Colin and Mrs Noela KratzingM. LejeuneShirley LeuthnerIn memory of Jolanta Metter Mrs Rene Nicolaides OAM and the late Dr Nicholas Nicolaides AMIan PatersonMr Jordan and Mrs Pat PearlIn memory of Pat RichesNeil W Root and Trevor J RowsellAlan Symons & in mem of Bruce Short, Kevin Woodhouse & Graham WebsterSiganto FoundationBruce and Sue ShepherdSidney Irene Thomas (In memory)Dr Geoffrey TrimProf. Hans Westerman and in memory of Mrs Frederika WestermanMargaret and Robert WilliamsAnonymous (6)

Queensland Symphony Orchestra is proud to acknowledge the generosity and support of our valued donors.(Donor lists correct as at January 2020.)

© Peter Wallis

20 PROGRAM | POWER AND GLORY

With the generous support of our corporate partners and donors we can provide life changing experiences for Queensland communities.

You can choose how you would like to support Queensland Symphony Orchestra:

• Annual Giving – ensure the orchestra can grow and thrive• Music Chair – support a musician • Community Engagement – share the joy of music making• Education and Youth – empower young people• Livestreaming – reach more audiences• Regional – enrich communities • Planned Giving – sustain our future• Buy a Seat in Our Studio – commemorate, acknowledge or thank someone special

WE’D LOVE TO HEAR FROM YOU. CONTACT US TODAY:development@qso.com.au 07 3833 5017

HELP US ENTERTAIN, INSPIRE AND EDUCATE

PROGRAM | POWER AND GLORY 21

Concertmaster Warwick Adeney and Director – Development Toni Palmer had the pleasure of spending time with the delightful Dr Cathryn Mittelheuser AM, a long-term supporter of Queensland Symphony Orchestra and one of our favourite Queensland ladies.

WHY DO YOU SUPPORT QUEENSLAND SYMPHONY ORCHESTRA?I support the Orchestra because of the pleasure it has given me at every concert over many years.

WHY IS PHILANTHROPY IMPORTANT?Philanthropy is such an easy way to simply say “thank you”.

WHAT ADVICE WOULD YOU GIVE TO THOSE CONSIDERING SUPPORTING QUEENSLAND SYMPHONY ORCHESTRA?Just think about all that the Orchestra musicians have done for you and how you could do something for them.

SUPPORTER ENCORE

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

CONDUCTOR LAUREATE Johannes Fritzsch

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 Sonia Wilson

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 Valmay Hill Tony Keane John Keep

MANAGEMENT Craig Whitehead Chief Executive Ros Atkinson Executive Assistant to Chief Executive and Board Chair Amy Herbohn Financial Controller Barb Harding General Finance Coordinator Raymond Bax WH&S Manager

Timothy Matthies Director - Artistic Planning Michael Sterzinger Manager - Artistic Administration Murray Walker Program Coordinator - Artistic Planning Fiona Lale Artist Liaison Judy Wood Community Engagement Manager Celia Casey Coordinator – Community and Engagement Programs

Peter Laughton Acting Director – Performance Services Murray Free Acting Orchestra Manager Isabel Hart Operations Assistant Stephen Birt Production Coordinator Nadia Myers Orchestra Librarian

Toni Palmer Director - Development Julie Mullen Manager - Philanthropy Louise Glynn Manager - Partnerships Karen Towers Development Coordinator

Matthew Hodge Director - Sales and Marketing Renée Jones Manager - Marketing Rachel Churchland Coordinator - Public Relations and Digital Marketing TJ Wilkshire Coordinator – Marketing Joel Tronoff Digital Content Producer Michael Hyde Senior Manager - Sales Liz Thomas 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 Dr Sally Pitkin Dare Power Georgina Richters 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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PARTNERSGovernment Partners Principal Partner

Industry Collaborators

Gold Partners

Premier Partners Education Partners

Accommodation Partners

Maestro Series Major Partners

Supporting Partner

STAR WARS: RETURN OF THE JEDI SAT 15 FEB 2020 2PM & 7.30PM Brisbane Convention & Exhibition Centre

Conductor Nicholas Buc

Experience the spectacular Return of the Jedi on the big screen, with John Williams' iconic soundtrack played live by Queensland Symphony Orchestra. Don’t miss this epic live movie experience!

COMING UP

CHAMBER PLAYERS

SUN 23 FEB 2020 3PM Queensland Symphony Orchestra Studio, ABC Building, South Bank

Beethoven Sextet in E flat, Op.71 Brahms Piano Quintet in F minor, Op.34

Join us for a delightful afternoon of music hand-picked by our musicians.

MUSICAL SORCERY FRI 6 MAR 2020 11AM SAT 7 MAR 2020 7.30PM Concert Hall, QPAC

Conductor Benjamin Northey

DUKAS The Sorcerer's Apprentice R. STRAUSS Concerto No.1 in E flat for Horn and Orchestra SAINT-SAËNS Symphony No.3 (Organ Symphony)

26 PROGRAM | POWER AND GLORY

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

WANT MORE?

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

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

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

youtube.com

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

qso.com.au/news

ON SPOTIFY Listen to our concert playlists anywhere, anytime.

spotify.com

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

qso.com.au

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

info@qso.com.au #QSOrchestra

@QSOrchestra

@QSOrchestra

@QSOrchestra

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

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