PROGRAM June 1

2

6

MUSIC ON SUNDAYS

MOVIE MASTERPIECES

MORNING MASTERWORKS & MAESTRO

DEMIDENKO PLAYS BRAHMS

Pre-concert talk on Saturday 20 June at 6.30pm with Dr Simon Perry

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

CONTENTSJUNE

2 PROGRAM June2 PROGRAM June

Conductor/Host Guy Noble Tuba Thomas Allely

Guest artists from the Lisa Gasteen National Opera School

Soprano Lucinda-Mirikata DeaconMezzo Soprano Louise Dorsman

SUN 14 JUN 11.30AM

QPAC Concert Hall

MUSIC ON SUNDAYS

MOVIE MASTERPIECES

Proudly presented by

PROGRAM June 3

PROGRAM NOTES

John Williams (born 1932)Star Wars: Main Title

Maurice Jarre (1924-2009)Lawrence of Arabia: Overture

Georges Bizet (1838-1875)Carmen: Séguidille (‘Près des remparts de Séville’ – (Near the ramparts of Seville) Louise Dorsman

Alfredo Catalani (1854-1893)La Wally: Ne andró lontana (‘Why then, I’ll go far away’) Lucinda-Mirikata Deacon

Dario Marianelli (born 1963)Anna Karenina: Overture

George Frideric Handel (1685-1759)Solomon: The Arrival of the Queen of Sheba

Léo Delibes (1836-1891)Lakmé: Flower Duet Lucinda-Mirikata Deacon, Louise Dorsman

John Powell (born 1963)How to Train Your Dragon

Samuel Barber (1910-1981)Adagio for Strings

Giacomo Puccini (1858-1924)Gianni Schicchi: O mio babbino caro (O, my beloved father) Lucinda-Mirikata Deacon

WilliamsReturn of the Jedi – Suite: Jabba the Hutt Thomas Allely

Max Steiner (1888-1971)Gone with the Wind: Opening

Alan Silvestri (born 1950)Back to the Future: Main Title

Williams Harry Potter and the Sorcerer’s Stone: Harry’s Wondrous World

These days you can put together an entire concert of orchestral music that has appeared in the movies. Orchestras have played a big part in movie history.

What have been the milestones? Unarguably the music of European émigrés like Max Steiner in the 1930s. When Star Wars came out in 1977, here was another. John Williams had incorporated all he had learnt from recent concert hall giants – Stravinsky, Holst, Richard Strauss, Elgar… The moment Williams’ opening fanfare begins we know that George Lucas’ story of Luke Skywalker who saves Princess Leia and destroys the Death Star will be a tale of mythic proportions.

‘A young English officer in World War I goes to Arabia and tries to become a god’ – Andy Guerdat’s summation of Lawrence of Arabia encapsulates one of film’s most sweeping epics. David Lean’s 1962 classic remains memorable not only for Peter O’Toole’s starring role and Freddie Young’s cinematography but also for Maurice Jarre’s score, which has epic moments to itself in overture, intermission and exit.

Of all the types of music in existence, possibly only classical music has the emotional range of film. And film returns the compliment, often making effective use of existing classical pieces such as the seguidilla that Carmen sings in an attempt to seduce her captor, the soldier Don José in Bizet’s 1875 opera of the same name. The number has been included in films dating back even to the 1940s (Hers to Hold, Carnegie Hall…).

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PROGRAM NOTES

Alfredo Catalani, an opera composer of the Italian ‘verismo’ period, became best known when music from his La Wally appeared in the 1981 French thriller, Diva. A young mailman lands in trouble when a pirated recording he has made of singer Cynthia Hawkins (played by soprano Wilhelmenia Fernandez) gets mixed up with an incriminating tape wanted by the mob. David Denby wrote, upon its American release, that ‘Diva must be the only pop movie inspired by a love of opera’.

Since 1911, there have been 16 film versions of Anna Karenina. Joe Wright’s 2012 version with Keira Knightley was criticised by some for favouring style over substance and setting most of the film in a theatre. The film however garnered four Academy Award nominations, including for Dario Marianelli whose score was also nominated for BAFTA and Golden Globe awards.

Handel’s Arrival of the Queen of Sheba begins Act III of Solomon, an oratorio premiered in 1749, but has served movies ranging from the Jane Austen adaptation Mansfield Park to Aaron Sorkin’s The Social Network. In the BBC series Last Tango in Halifax, it is the music planned for Celia’s arrival at her marriage to Alan.

Likewise, the Flower Duet from Delibes’ Lakmé, an 1883 opera set in India during the British Raj, has appeared in movies ranging from Lara Croft Tomb Raider: The Cradle of Life to Robert Altman’s Prêt-a-Porter. British Airways’ famous ‘face advertisement’, released in 1989, uses an adaptation of the duet by Yanni and Malcolm McLaren and is regarded as one of the all-time classics of commercial TV.

In How to Train Your Dragon, young Viking Hiccup aspires to be a dragon killer like his father. But when he catches a ‘Night Fury’, he and the dragon begin a friendship which awakens each to the other’s world.

How to Train Your Dragon was the first DreamWorks Animation film with a musical score composed solely by  John Powell. He had previously worked with other composers on Antz, Chicken Run, Shrek and Kung Fu Panda.

Samuel Barber’s lyrical Adagio became one of the best-loved classical pieces of the 20th century even before filmmakers discovered it. In David Lynch’s The Elephant Man, John Merrick (John Hurt) tries at the end to sleep lying flat like a normal person; it will kill him. Barber’s Adagio makes that clear.

In the ‘verismo’ opera Gianni Schicchi, Lauretta Schicchi tries to persuade her father, Gianni, to help the Donati family because she is in love with Rinuccio, a young Donati family member. You might expect an Italian aria in a film like Prizzi’s Honor or Captain Corelli’s Mandolin, but O mio babbino caro also appeared in Speed 2: Cruise Control, in which Willem Defoe sets Sandra Bullock’s cruise ship on a collision course with an oil tanker.

All across Hollywood, musicians study John Williams’ ability to make every instrument speak. Depicting Jabba the Hutt inspired one of his most famous instrumental characterisations. Jabba is the sci-fi version of the corpulent villain encountered in movies since the 1930s – in Star Wars, he is a large, alien slug. And how does Williams characterise him? With a solo tuba.

Max Steiner and others found themselves in Hollywood in the 1930s having escaped political troubles in Europe.

PROGRAM June 5

PROGRAM NOTES

They started their careers expecting to write symphonies and operas (not accompanying films), but the scores they provided for the major studios, such as 1939’s Gone With the Wind, are so rich they now hold our attention in the concert hall.

Every year since 2007, the city of Vienna has held a concert at which they award the annual Max Steiner Film Music Achievement Award. 2011’s winner was Alan Silvestri, who has worked with director Robert Zemeckis not only on the Back to the Future series but also on Forrest Gump, Cast Away and Who Framed Roger Rabbit. The opening titles to Back to the Future (1985) have all the classic Hollywood hallmarks of ‘speed’ – broad, soaring melody; chugging, syncopated brass and whirling passage work. Silvestri’s orchestra was the largest assembled in Hollywood to that time.

John Williams has worked regularly with George Lucas (Star Wars), Steven Spielberg (Indiana Jones, Schindler’s List, Lincoln) and Oliver Stone (Born on the Fourth of July, JFK).

If you want music to match an epic adventure, you get Williams – even if the first three films of your new franchise is about a nerdy schoolboy-wizard-in-training called Harry Potter.

And you can relive the movie listening to Williams’ or any of these composers’ music. Today’s concert proves that going to a movie is in many ways an orchestral experience.

Gordon Kalton Williams © 2015

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6 PROGRAM June

Conductor Edvard TchivzhelPiano Nikolai Demidenko

Organ Christopher Wrench

Brahms Piano Concerto No.2Saint-Saëns Symphony No.3 Organ

Nikolai Demidenko Piano

SAT 20 JUN 7.30PM

FRI 19 JUN 11AM

QPAC Concert Hall

MAESTRO SERIES

MORNING MASTERWORKS

DEMIDENKO PLAYS

BRAHMS

Free pre-concert talk with Dr Simon Perry at 6.30pm

PROGRAM June 7

Indeed the Second Piano Concerto seems to employ the style of these other forms from time to time. While the four-movement form without cadenzas is clearly symphonic, the scherzo (Allegro appassionato) is actually based on a movement intended originally for the Violin Concerto. And the instrumental textures sometimes have a chamber-music feel to them.

Following rehearsals with Hans von Bülow and the Meiningen Court Orchestra, the public premiere, with Brahms himself as soloist, occurred in Budapest in November 1881. The concerto was dedicated to Eduard Marxsen, Brahms’ teacher.

The expansive first movement begins romantically with a horn call reminiscent of that in Weber’s Oberon Overture. The piano enters immediately, embroidering the melody and soon indulging in the closest thing to a cadenza to be found in the concerto. From here an orchestral tutti introduces the main thematic material. Rather than restating the main themes, the piano enters into a free, organically-developing dialogue with the orchestra, often becoming impassioned and occasionally visiting distant keys like B minor.

As self-deprecating as ever, Brahms described the first movement as ‘innocuous’, which is why, he said, he took the bold step of inserting the fiery, scherzo-like Allegro appassionato as the second of the four movements. Here the drama is increased still further in a D minor movement originally intended for the Violin Concerto, but also bearing some resemblance to the equivalent movement in the Op.11 Serenade.

The tonic key of B flat is re-established at the beginning of the slow movement, where a solo cello introduces one of Brahms’ most sublime melodies.

Johannes Brahms (1833-1897)

Piano Concerto No.2 in B flat, Op.83

Allegro non troppo Allegro appassionato Andante Allegretto grazioso – Un poco più presto

Nikolai Demidenko, Piano

Brahms wrote the bulk of his Second Piano Concerto during visits to Italy in 1878 and 1881. While there is nothing essentially ‘Italian’ about this concerto, there is no doubt that when Brahms returned to Vienna with the completed score, he was still very much in holiday humour. To Elisabet von Herzogenberg he talked of ‘a little piano concerto with a teeny-weeny wisp of a scherzo’. To the public at large, he presented the work as it truly was: an immense, quasi-symphonic, four-movement concerto filled with massive chords and wide stretches in the piano part – Brahms was famous for the size of his hands – and an orchestration filled with richness and variety.

Given the failure of the First Piano Concerto at its premiere in Leipzig some 20 years earlier, Brahms might have felt some trepidation in writing a second. By this time, however, he had finally conquered the two major instrumental forms which had always given him trouble; the string quartet and the symphony. With the Violin Concerto and German Requiem also behind him, it was time to revisit the piano concerto genre.

PROGRAM NOTES

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PROGRAM NOTES

Throughout this Andante, the textures are intimate, almost like chamber music, and the soloist and orchestra participate as equal partners in one of Brahms’ most glorious slow movements.

The mood lightens in the final rondo, where the spirit of Mozart is invoked. At the opening, the tripping Hungarian- style tune sets the prevailing mood, then in quick succession new ideas emerge. There are no trumpets and drums in this movement, and the soloist is left to shine through some extraordinarily difficult and surprisingly elaborate passages, even, at the transition to the coda in a section marked Un poco più presto (a little faster). Nothing can hold back the sway of the gypsy dance rhythms and the music drives on to its emphatic conclusion.

Abridged from an annotation by Martin Buzacott Symphony Australia © 2001

Camille Saint-Saëns (1835-1921)

Symphony No.3 in C minor, Op.78 (Organ Symphony)

I Adagio – Allegro moderato – Poco adagio

II Allegro moderato – Presto – Maestoso – Allegro

Christopher Wrench, Organ

In 1887, Charles Gounod heard the Parisian premiere of Saint-Saëns’ ‘Symphony No.3 in C minor, with Organ and Two Pianos’ and famously gushed, ‘There goes the French Beethoven’. Hyperbole, of course, but the work has remained hugely popular ever since. The reasons for its continued currency are easy to find: Saint-Saëns believed that ‘the time has come for the symphony to benefit by the progress of modern instrumentation’ and his orchestration is masterly, with a dramatic range of sounds from the diaphanous to the massive. The Organ Symphony is, moreover, replete with memorable tunes and intricate counterpoint, traversing an emotional landscape from deepest melancholy to sheer joy.

It was commissioned and first performed under the composer’s baton by the London Philharmonic Society in 1886.

PROGRAM June 9

PROGRAM NOTES

During the composition, Saint-Saëns’ old friend Liszt visited him and admired the score; sadly, Liszt died weeks before the premiere, inspiring Saint-Saëns to dedicate the symphony to his memory. Liszt had been a great mentor ever since 1857 when, hearing Saint-Saëns improvising at the organ of the Madeleine Church, he had declared the young Frenchman to be ‘the finest organist in the world’. Saint-Saëns for his part fought for the due recognition of the older man as composer as well as pianist.

Perhaps, though, there is more than just hyperbole to the Beethoven comparison. Like many a symphony of Beethoven’s, especially the Fifth, the Organ Symphony begins in darkness and turbulence and only toward the end does it reach the bright affirmation of C major. And like Beethoven in the Fifth, Saint-Saëns is remarkably economical with his thematic material; it is possible to trace almost all those melodies back to the motifs heard in the work’s introduction and the opening of the following Allegro moderato. How the composer elaborates these into such a contrasting abundance of melodies is by the principle of thematic transformation developed by Liszt.

In his program note for the first performance, Saint-Saëns wrote that ‘this symphony is divided into two parts. Nevertheless, it embraces in principle the four traditional movements, but the first is altered in its development to serve as the introduction to the Poco adagio, and the scherzo is connected by the same process to the finale’. In other words, the four movements are grouped in pairs, with the main dramatic weight carried by the second of each.

The opening Adagio is deliberately vague in direction, containing almost inconsequential motifs that become transformed in the course of the work. The static nature of the introduction enhances the release of energy in the Allegro moderato whose febrile theme begins with the same notes as the plainchant for the Dies irae. This fast music, however, seems to peter out, subsiding into the beautifully sombre and emotionally searching Poco adagio. It is here that the organ makes an appearance, providing a velvet backdrop for the questing second theme of the movement.

Part II opens with a turbulent scherzo punctuated by timpani. It too builds in sound and fury but mysteriously winds down to a quiet, simple texture built on another chant-like motif. Only now does Saint-Saëns unleash the full power of the organ. A shattering C major chord opens onto a world of sparkling piano figurations, chorale melodies and an overpoweringly joyful final peroration.

Gordon Kerry © 2009

10 PROGRAM June

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Tue 21 Jul 7.30pm Conservatorium TheatreQueensland Conservatorium

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FRI 17 JUL 7.30PM TICKETS qso.com.auQPAC Concert Hall

PROGRAM June 11

BIOGRAPHIES

Nikolai DemidenkoPiano

Nikolai Demidenko’s passionate virtuosity and musicianship has brought him worldwide recognition.

Frequent London recitals have included the Great Performers series at the Barbican, the International Piano Series at Southbank Centre, and recently in the London Pianoforte Series at the Wigmore Hall.

His recital repertoire is wide-ranging, including Bach, Chopin, Clementi, Liszt, Mendelssohn, Mozart, Mussorgsky, Rachmaninov, Schubert and Scarlatti.

He is renowned for his authoritative performances of the Russian concerto repertoire and has worked with many conductors and orchestras throughout the world. Concerto engagements in recent and upcoming seasons include appearances with the symphony orchestras of Adelaide, Barcelona, Melbourne, Queensland, Singapore, St Gallen and Yomiuri Nippon, the national orchestras of France and Spain, NCPA Orchestra Beijing, St Petersburg and Poznan Philharmonic, Philharmonia, BBC National Orchestra of Wales, Orchestra of the Age of Enlightenment, Ulster and Hallé orchestras and London Mozart Players.

Nikolai Demidenko has recorded extensively, including award winning CDs of Chopin, Medtner and Scarlatti.

In 2014 he was awarded an honorary doctorate from the University of Surrey in recognition of his outstanding contribution to the field of Music and the University.

Edvard TchivzhelConductor

Internationally acclaimed conductor, Maestro Edvard Tchivzhel, currently serves as Music Director and Conductor of the Greenville Symphony Orchestra, U.S.A.

Born in St. Petersburg, Russia, Edvard Tchivzhel graduated from the St. Petersburg Conservatoire with the highest distinction and has subsequently led many of the leading orchestras throughout the former USSR. From 1973 – 1991, Tchivzhel became Music Director and Principal Conductor of the Karelian Symphony Orchestra.

Tchivzhel’s career achieved international status with appearances in England, Germany, the Czech Republic, Poland, Romania, Scandinavia, and Australia. He served as Music Director of the Umeå Sinfonietta, Sweden, as well as Musical Advisor and Principal conductor of The Auckland Philharmonic.

In 1991, Tchivzhel was enthusiastically received during a USA tour of the State Russian Symphony Orchestra. Following this tour, he defected to the USA and was granted an American citizenship.

In America, Tchivzhel took his first position as the Music Director of the Atlantic Sinfonietta, NY, then for 15 years served as the Music Director of the Fort Wayne Philharmonic, Indiana. He was appointed the Music Director of the Greenville Symphony Orchestra, S.C. in 1999.

Tchivzhel continues extensive guest conducting appearances in America, Australia, Brazil, Mexico, Venezuela, Spain, Italy, China and Romania.

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BIOGRAPHIES

Christopher WrenchOrgan

Internationally acclaimed Brisbane organist Christopher Wrench is equally at home in the cathedral and concert hall as soloist, ensemble and liturgical musician.  A graduate of the Queensland and Vienna Conservatoria and the Vienna University of Music; international recognition followed performances at the Vienna Konzerthaus, St Stephen’s Cathedral (Vienna), Austrian Radio and competitions in Melbourne (1st Prize), Dublin (2nd Prize), St Alban’s UK (Audience Prize), and Odense DK (1st Prize).

A regular recitalist at major venues throughout Australia, he has also appeared as concerto soloist with the Adelaide Chamber Orchestra, the Australian Chamber Orchestra, The Canberra Symphony Orchestra, the Camerata of St John’s the Queensland Symphony Orchestra, and the Queensland Youth Symphony Orchestra. 

Nineteen international tours include Austria, Canada, Czechoslovakia, Denmark, England, Germany, Hong Kong, Italy, Norway and Sweden. His SACD (Melba) of Bach’s Organ Sonatas received rave reviews from around the globe. Christopher is Director of Music at Christ Church St Lucia.

Guy NobleConductor/Host

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 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 Queensland Symphony Orchestra), 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.

PROGRAM June 13

BIOGRAPHIES

Lisa Gasteen National Opera School

Internationally acclaimed Wagnerian soprano Lisa Gasteen has established The Lisa Gasteen National Opera School to provide elite opera coaching comparable to that of the best schools in Europe and North America.

Professionals from Australia and overseas coach advanced classical voice students and young professionals in a unique, intensive 4 week program that includes repertoire classes, voice lessons, music coaching, practical musicianship and language skills.

The Queensland Symphony Orchestra has a partnership with the School and offers selected young singers performance opportunities in a number of series, including Music on Sundays, Specials and in concerts in regional Queensland.

Thomas AllelyTuba

Tuba player Thomas Allely hails from Christchurch, New Zealand. Thomas completed his undergraduate degree at Victoria University Wellington, and his postgraduate study in Australia with Steve Rosse of the Sydney Symphony, and also at DePaul University, Chicago, with Floyd Cooley of the San Francisco Symphony. In 2007, Thomas was appointed section principal tuba of the Queensland Symphony Orchestra. Thomas also teaches at the Queensland Conservatorium at Griffith University. Recent career highlights have included a solo appearance in the QSOs inaugural "Just Concerti" series giving the Australasian Premiere of the Samuel Jones Tuba Concerto, and presenting a recital of Australasian tuba music at the International Tuba Euphonium Conference in Linz Austria in 2012. In his spare time, Thomas enjoys reading and spending time with his wife Lisa, and son Ian.

Podium Level, Rydges South Bank, Corner of Grey & Glenelg Streets.(07) 3364 0837 | bacchussouthbank.com.au | bookings@bacchussouthbank.com.au

Experience Head Chef Mark Penna’s exquisite new menu, showcasing the very finest local produce.

Choose from delicious dishes such as pan roasted Clearwater scallops with Western Australian octopus, or squab pigeon with foie gras,

celeriac, chestnut mushroom & muscatelle sauce.

Or satisfy your sweet tooth with passionfruit and vanilla set cream in a sweet paste crust with raspberries and gingerbread ice cream.

PROGRAM June 15

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

Helen Travers Elinor & Tony Travers

SECTION PRINCIPAL VIOLAYoko OkayasuDr Ralph & Mrs Susan Cobcroft

VIOLAGraham Simpson Alan Galwey

SECTION PRINCIPAL CELLODavid LaleArthur Waring

Andre Duthoit Anne Shipton

Matthew Kinmont Dr Julie Beeby

SECTION PRINCIPAL DOUBLE BASSDr Graham & Mrs Kate Row

ASSOCIATE PRINCIPAL DOUBLE BASSDushan WalkowiczSophie Galaise

DOUBLE BASSPaul O'BrienRoslyn Carter

SECTION PRINCIPAL FLUTEAlexis KennyDr Damien Thomson & Dr Glenise Berry

ASSOCIATE PRINCIPAL FLUTEHayley RadkeDesmond B Misso Esq

PRINCIPAL OBOEHuw JonesHelen & Michael Sinclair

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

BASSOONEvan LewisBrett Boon

SECTION PRINCIPAL FRENCH HORNMalcolm StewartArthur Waring

PRINCIPAL FRENCH HORNIan O'BrienGaelle 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

Thank you

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

CHAIR DONORS

PATRON ($100,000+)Timothy Fairfax AC Tim Fairfax Family FoundationHarold Mitchell ACCathryn Mittelheuser AM The Pidgeon FamilyJohn B Reid AO and Lynn Rainbow ReidT & J St Baker Charitable TrustArthur WaringNoel and Geraldine WhittakerAnonymous

MAESTRO ($50,000 - $99,999)Philip Bacon GalleriesBank of QueenslandProf. Ian Frazer AC and Mrs Caroline FrazerJellinbah GroupMrs Beverley June SmithJohn and Georgina StoryGreg and Jan Wanchap

SYMPHONY ($20,000 - $49,999)Dr Philip Aitken and Dr Susan UrquhartDr Julie BeebyThe English Family Prize for Young InstrumentalistsPeggy Allen HayesLeonie HenryMrs Andrea KriewaldtFrances and Stephen Maitland OAM RFDDesmond B Misso Esq.In memory of Margaret Mittelheuser AMJustice Anthe PhilippidesDr Graham and Mrs Kate RowRodney WylieAnonymous

CONCERTO ($10,000 - $19,999)David and Judith Beal Mrs Roslyn CarterDr Ralph and Mrs Susan CobcroftMrs I.L. DeanTony Denholder and Scott Gibson Dr and Mrs W.R. Heaslop Gwenda HeginbothomMs Marie IsacksonJohn and Helen KeepDr Les and Ms Pam MaselPage and Marichu MaxsonIan PatersonMr Jordan and Mrs Pat PearlHeidi and Hans RademacherAnne ShiptonDr Damien Thomson and Dr Glenise BerryElinor and Tony TraversAnonymous (2)

SCHERZO ($5,000 - $9,999)Trudy BennettMrs Valma BirdDr John and Mrs Jan BlackfordDr Betty Byrne Henderson AMDr John H. CaseyMrs Elva EmmersonSophie GalaiseAlan GalweyDr Edgar Gold AM, QC and Dr Judith Gold CM Dr Edward C. Gray Dr Alison HollowayThe Helene Jones Charity TrustTony and Patricia KeaneMichael Kenny and David Gibson M. LeJeune Mr John MartinKathy and Henry Nowik

In memory of Mr and Mrs J.C. Overell Helen and Michael Sinclair Mrs Gwen WarhurstProf. Hans and Mrs Frederika Westerman

RONDO ($1,000 - $4,999)Jill AtkinsonEmeritus Professor Cora V. Baldock Dr Geoffrey and Mrs Elizabeth BarnesProf. Margaret Barrett Brett 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 CharltonMr Ian and Mrs Penny CharltonRobert ClelandRoger Cragg Julie Crozier and Peter HopsonMs D.K. CunninghamDr Beverley Czerwonka-LedezJustice Martin DaubneyLaurie James DeaneRalph DohertyGarth and Floranne Everson Dr Bertram and Mrs Judith FrostC.M. and I.G. FurnivalDr Joan E. Godfrey, OBEIan and Ruth GoughLea and John GreenawayFred and Maria HansenYvonne HansenMadeleine Harasty Harp Society of Queensland Inc

Queensland Symphony Orchestra is proud to acknowledge the generosity and support of our donors for our philanthropic programs.

DONORS

16 PROGRAM June

PROGRAM june 17

Ashley Harris Lisa Harris Ted and Frances HenzellPatrick and Enid Hill Prof. Ken Ho and Dr Tessa Ho Jenny HodgsonSylvia HodgsonJohn HughesMiss Lynette Hunter Sandra Jeffries and Brian CookJohn and Wendy Jewell Ainslie JustDr Ray and Mrs Beverley KerrDr Colin and Mrs Noela KratzingSabina LangenhanDr Frank LeschhornRachel LeungShirley LeuthnerGaelle LindreaLynne and Franciose LipProf. Andrew and Mrs Kate ListerMary Lyons and John FardonSusan MabinRose-Marie Malyon Belinda McKay and Cynthia Parrill Mrs Daphne McKinnonAnnalisa and Tony MeikleIn memory of Jolanta Metter In memory of Carol MillsB and D MooreBarry, Brenda, Thomas and Harry MooreMartin Moynihan AO QC and Marg O’Donnell AOHoward and Katherine MunroKaren Murphy

John and Robyn MurrayRon and Marise NilssonTina Previtera Dr Phelim ReillyMr Dennis Rhind In memory of Pat RichesRod and Joan Ross Professor Michael Schuetz, Honorary Consul of GermanyChris and Judith SchullBernard and Margaret SpilsburyMrs Anne StevensonBarb and Dan StylesMrs Helen TullyWilliam TurnbullMr Ian and Mrs Hannah WilkeyMargaret and Robert WilliamsGillian WiltonJeanette WoodyattAnonymous (38)

VARIATIONS ($500 - $999)Mrs Penny AcklandWarwick Adeney Julieanne AlroeDon BarrettDeidre BrownFay Buerger Mrs Verna CafferkyAlison G. CameronW.R. and H. CastlesDr Alice CavanaghGraeme and Jan GeorgeHans GottliebShirley HeeneyAnna JonesMiss Dulcie Little

The Honourable Justice J.A. Logan, RFDJim and Maxine MacMillanMr and Mrs G.D. MoffettIn memory of Mr David Morwood Penny Moysey T. and M.M. ParkesCharles and Brenda PywellPatience M. StevensKatherine TrentHR VentonTanya VianoAnonymous (26)

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

18 PROGRAM June

QUEENSLAND SYMPHONY ORCHESTRA

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

CONDUCTOR LAUREATE Johannes Fritzsch

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 Linda Carello Lynn Cole Priscilla Hocking Ann Holtzapffel Stephen Phillips Joan Shih Brenda Sullivan Stephen Tooke 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 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.

~ 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 June 19

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

MANAGEMENTSophie Galaise Chief Executive OfficerRos Atkinson Executive Assistant to CEO Richard Wenn Director – Artistic PlanningMichael Sterzinger Artistic CoordinatorFiona Lale Artist Liaison OfficerDale Truscott Contemporary Music/

Chamber Music CoordinatorMatthew Farrell Director – Orchestra Management Nina Logan Orchestra ManagerHelen Davies Operations AssistantJudy Wood Orchestra Librarian/

WHS CoordinatorNadia Myers Library and Operations

Assistant Peter Laughton Production ManagerVince Scuderi Production Assistant 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 Anna Jones Corporate Relationships

Manager (Acting)Emma Rule Ticketing Services ManagerGeorge Browning Sales OfficerAlison Barclay Ticketing Services Officer Michael Ruston Ticketing Services Officer Jake Donehue Ticketing Services Officer Chrissie Bernasconi Ticketing Services Officer Gaelle Lindrea Director – Philanthropy Lisa Harris Philanthropy OfficerPhil 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.

20 PROGRAM June

Community and education partners

Corporate partners

Government partners

PARTNERS

Co-production partners

Media partners