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ROMEO AND JULIET TRAGEDY NEVER SOUNDED SO BEAUTIFUL

15 + 16 MAR 2019 CONCERT HALL, QPAC WELCOME

Welcome to Romeo and Juliet! We are thrilled you could join us.

These concerts are particularly special to me because Romeo and Juliet was one of the first pieces I played with the Berlin Philharmonic. In Queensland Symphony Orchestra we regularly perform this work with the ballet. It’s some of the most beautiful music in the ballet repertoire and this time we’re really excited to be centre stage and make the music the focal point.

Prokofiev is a master artist and paints glorious musical pictures. It’s a lot of fun for the section – we really enjoy a good sword fight and will put on a show for you! I think you’ll certainly recognise the Montagues and Capulets movement.

These concerts also showcase virtuoso harpist Marie-Pierre Langlamet, who I’ve had the pleasure of performing with in Berlin many times. She’s an inspiring musician and a really unique performer. I’m sure you’ll marvel at her incredible artistic ability performing Ginastera’s blistering Harp Concerto. It’s a huge honour for us to share the stage with a musical icon like her.

It is always a pleasure to perform on the QPAC stage for our beloved Brisbane audience. We hope you enjoy the concert as much as we will and look forward to seeing you at many more concerts in the future!

Phoebe Russell Section Principal Queensland Symphony Orchestra PROGRAM

CONTENTS Rossini * IN THIS CONCERT Ginastera Concerto for Harp and Orchestra Prokofiev Romeo and Juliet Suite WELCOME 1 Conductor Diego Matheuz FRI 15 MAR 11AM Harp Marie-Pierre Langlamet Approx. duration 70 mins (no interval) IF YOU'RE NEW TO THE ORCHESTRA 2 *Rossini not featured SAT 16 MAR 7.30PM GLOSSARY OF TERMS 3 Approx. duration 100 mins (including an interval of 20 mins after the Ginastera) LISTENING GUIDE 3

ARTIST BIOGRAPHIES 8 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. SUPPORTING YOUR ORCHESTRA 10 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 please refrain from talking during the performance. 1

© Peter Wallis 2019 IF YOU'RE NEW TO THE ORCHESTRA GLOSSARY OF TERMS

The following terms will appear in bold the first time they appear in the listening guide PERCUSSION that follows.

TRUMPET Motif: a short, recurring musical idea; the basic building block of a piece of music. Harmonics: notes that are produced on string instruments by gently placing the finger TUBA on strings in certain places which produces a lighter more ethereal sound. PIANO HARP Homophony: where more than one instrument plays the same line of music.

CELESTE Counterpoint: where different lines of music are played at the same time.

VIOLIN 2 DOUBLE BASS Cadenza: a fancy (or ‘ornamental’ as it is known) passage, either improvised or written 1 out, usually played by a soloist or group of soloists, often displaying virtuosity. Pentatonic: a musical scale which consists of five notes.

Ostinato: a repeated musical pattern. WHO SITS WHERE

Orchestras sit in sections based on types of instruments. There are four main sections in the Western classical orchestra: LISTENING GUIDE strings, woodwinds, brass, and percussion, and sometimes a keyboard section.

STRINGS BRASS (1792-1868) These instruments produce their Brass players create their sounds by sounds by bowing or plucking vibrating their lips. When this vibration stretched strings. is pushed through large brass tubes, First and Second it creates a huge sound. William Tell was Rossini’s last : at the age of 38, the composer virtually stopped Viola Horn composing altogether for over 20 years. There has been much speculation as to the reason, though no definitive answer: the death of his parents? New trends in opera Cello Trombone with which he was out of sympathy? Or more likely his ill-health, which research has Double Bass shown to have been a disease of the urinary tract, which made him neurasthenic and Tuba Harp depressive. The story of William Tell, based on a play by Schiller, comes from the fight of the Swiss WOODWIND PERCUSSION cantons for liberation from oppression in the 13th century. William Tell was the famous Wind instruments produce their sound These instruments create their sounds by cross-bow marksman who, after being forced by the despotic bailiff Gessler to shoot an by being blown into - the vibrating air being struck. Some instruments just make a apple placed on his son’s head, killed the tyrant. from the musician creates the sound. sound; others play particular notes. Flute The opera was not entirely favourably received when first produced in Paris in 1829. The , Bongo drums, Claves, overture, however, contains in its final section one of the most instantly recognised Clarinet Cowbells, Croatales, , Field drum, Oboe motifs in music. What precedes this is the most atmospherically descriptive of Rossini’s Glockenspiel, Guiro, Snare drum, . The opening suggests a sunrise in the Alps, and features five solo . Bassoon Tam tam, Tambourine, drum, Following ominous drum-rolls, the pace quickens and rushing passages by violins and Timpani, Tom tom, Triangle, Whip, suggest an approaching storm. The storm breaks, rages for some time, then Wood block, Xylophone. KEYBOARD subsides. The plays the , an alphorn melody played to call scattered herds for milking. The overture closes with a brilliant march, announced by a Keyboard instruments are played by pressing keys. trumpet fanfare like a call to revolt. Piano Abridged from a note by David Garrett © 2004 Celeste 3 Sergei Prokofiev (1891-1953) arr. Salonen LISTENING GUIDE Romeo and Juliet, Op.64: excerpts from the three suites 1. Montagues and Capulets (suite II, no. 1) Alberto Ginastera (1916-1983) 2. Juliet the young girl (suite II, no. 2) 3. Minuet (suite 1 no. 4) Concerto for Harp and Orchestra, Op.25 4. Masks (suite I, no. 5) I. Allegro giusto 5. Romeo and Juliet (suite I, no. 6) II. Molto moderato 6. Morning Dance (suite III, no. 2) III. Cadenza: Liberamente capriccioso – Vivace 7. Romeo at the Fountain (suite III, no. 1) 8. Death of Tybalt (suite I, no. 7) Alberto Ginastera sought to interpret Western traditions in the context of the culture 9. Aubade (suite III, no. 5) and environment of his own country. In 1937, aged 21, he produced a set of dances, 10. Romeo at Juliet’s Grave (suite II, no. 7) Opus 2, a tour de force of musical modernism with an Argentinian accent. This set the 11. Death of Juliet (suite III, no. 6) scene for an illustrious career that the composer himself divided, perhaps over-simply, At first, Leningrad’s Kirov Theatre rejected Prokofiev’s greatest ballet because of into three periods. The first period, lasting from 1934 to 1947, he called his ‘objective Shakespeare’s tragic ending, but theatre director Sergei Radlov suggested a conclusion nationalist’ period, where he freely adapted elements of Argentinian vernacular music. in which the lovers avoid death. This would make it ‘a play about the struggle for the This was followed by his ‘subjective nationalist’ period, lasting until about 1958, where right to love by young, strong progressive people battling against feudal traditions and ‘subjectivity’ indicates a much more personal, and perhaps Romantic, adaptation of feudal outlooks on marriage’ – a perfect piece of optimistic Socialist Realism. the material. The final ‘neo-Expressionist’ phase saw him cultivate certain modernist elements of the Second Viennese School and post-war avant-garde. Moscow’s Bolshoi Theatre planned to premiere the ballet in the 1935-6 season, but, while the haggling over the ending went on, the premiere was rescheduled. At a play- The Harp Concerto is very much of the middle period, having been commissioned by through in Moscow one comment – ‘your music doesn’t express any real joy at the Edna Phillips, the harpist of the Philadelphia Orchestra, in 1956. Phillips was a great end’ – led Prokofiev to reconsider the tragic ending. Then both the artistic director of champion of new work and she intended to premiere the work at the Inter-American the Bolshoi and the proposed conductor for Romeo and Juliet were arrested and shot. Festival slated for Washington in 1958. Ginastera repeatedly failed to deliver, and, when The ballet was shelved until its eventual premiere in the Czech city of Brno in 1938. The Phillips had retired, Spanish harpist Nicanor Zabaleta gave the premiere in 1965. Kirov Theatre offered, after a memo from Stalin, to give the Russian premiere in January 1940. The dancers were, as Galina Ulanova observed, ‘a little afraid’ of the music; its In a classical three-movement design, the concerto immediately establishes a strangeness meant that they ‘couldn’t hear that love in his music then’. The composer character that is not conventionally pretty, with the harp almost percussively sounding was actually very accommodating, and he reported to a friend that ‘after 15 curtain its repeated figures against terse motifs from the winds that never drown it out. calls’ at the Leningrad premiere, some of the dancers felt the work ‘might be acceptable Throughout the piece, Ginastera uses the full range of colour available from plucking after all’. Fortunately, the regime felt that the work was acceptable after all, too; this at different points of the strings, such as low near the soundboard for a harsh attack, ushered in a period of favour and popularity for Prokofiev. compared with the ethereal sound of harmonics. A strident orchestral outburst leads The score is notable for its clarity – not that this precludes moments of great opulence, to a second, more lyrical passage for harp, whose rapid figurations support softer such as the pile-up of sonority which opens Act III and presages the tragic events about woodwind material. This alternation of orchestral violence, sometimes featuring an to unfold, or the multi divisi strings which give the young lovers a halo of rich sound. imperious horn or trumpet solo, and quieter but highly wrought, rigorous sections for But quite simply, the score offers clear contrasts between the implacable march of the soloist and smaller ensembles, forms the dramatic structure of the movement, tragic fate in those passages built on repeated ostinato figures and the more rhapsodic which closes quietly. soaring passages associated with love, and the worlds of public life and private In the second movement, a searching melody makes its way from the lower strings up intimacy. into the higher realms, before the harp enters with a passage of simple homophony Prokofiev’s characterisation is masterly, whether he is depicting the arrogance of the answered by the woodwind choir. The music gradually reveals a glimmering nocturnal Capulets at their ball or the tenderness of Juliet herself. There are numerous set-pieces landscape, interrupted once by a passionate gesture from the strings and, towards the such as the Minuet, Masks or Morning Dance which provide a sometimes bustling, end, a curiously spare moment of counterpoint. sometimes menacing backdrop to the unfolding love story. The parting of the young lovers is given a full and opulent treatment and there is uncompromisingly brutal music The final movement is preceded by a lengthy cadenza in which the harpist puts the which accompanies Romeo’s furious killing of Tybalt in revenge for the death of his instrument through its paces. The Vivace that follows arguably contains some of the friend Mercutio. Romeo is first introduced into two sections presented here as Romeo at most vernacular-inflected music in the whole work, dominated as it is by driving dance the Fountain. The Aubade comes from late in Act III, and the selection concludes with rhythms and motivic material derived from the pentatonic scale. music of heartbreaking intensity that depicts the lovers’ final parting and Juliet’s death.

Gordon Kerry © 2019 Gordon Kerry © 2019

4 5 © Peter Wallis 2019 6 7 ARTIST BIOGRAPHIES

Diego Matheuz Marie-Pierre Langlamet Conductor Harp

At the age of 35, Diego Matheuz can Renowned soloists who have worked Marie-Pierre Langlamet has been She has received numerous awards already look back on an international under his baton include principal harpist of the Berlin including the prestigious Cino del Duca career spanning more than a decade. Nicola Benedetti, Rudolf Buchbinder, Philharmonic Orchestra since 1993, prize from L’Académie des Beaux Arts Appointed Principal Conductor of Ray Chen, Olga Peretyatko, Pretty when she was appointed under Claudio in 2003. In 2009, she was decorated Teatro , Diego Matheuz Yende, Nikolaj Znaider, and Pinchas Abbado. Chevalier des Arts et des Lettres by toured Europe as the Principal Guest Zukerman. the French Minister of Culture and was Conductor of Orchestra Mozart Marie-Pierre Langlamet was born in awarded Le Grand Prix de la Ville de Nice Bologna and has led many of the Diego Matheuz has been praised Grenoble, France. She received her in 2011. world’s major ensembles including the for his elegant and refined style and first harp instruction at the Nice Berlin and Frankfurt Radio Symphony feels equally comfortable conducting Conservatory at the age of eight, from Marie-Pierre Langlamet has performed Orchestras, Los Angeles Philharmonic, Mozart or Mahler, Shostakovich or Elisabeth Fontan Binoche and has been as soloist with the Berlin Philharmonic, NHK Symphony, Royal Philharmonic, Bruckner, Rossini or Verdi, Ginastera or winning international acclaim since she the Israel Philharmonic, L’Orchestre Orchestra Philharmonique de Radio Márquez. was 15, when she won the highest prize de la Suisse Romande, the Dresdner France, Orchestra dell'Accademia at the Maria Korchinska competition Philharmonie, the BBC Manchester, Nazionale di Santa Cecilia, BBC 2018/19 has included Diego in the United Kingdom. One year later, Orquesta nacional de Espana, Philharmonic. At the 2016 ECHO Matheuz’s Viennese debut at she won first prize at the Cité des Arts L’Orchestre National du Capitole de Klassik Awards, Diego Matheuz Theater an der Wien, concerts with Competition in Paris, and was only Toulouse, L’Orchestre National de Lille, conducted the Konzerthausorchester the Orchestre National de Lille and 17 years old when she was appointed among many others, and with some of Berlin in an internationally-broadcast the RTVE Orchestra, and Deutsche principal harpist of the Nice Opera the world’s leading conductors including concert. Grammophon’s 120th Anniversary Orchestra, a position she held until she Claudio Abbado, Sir Simon Rattle, Gala in Tokyo. The season will conclude left to continue her studies at the Curtis Christian Thielemann, Paavo Järvi, Juanjo Operatic engagements have taken with Puccini at the Teatro Nacional de Institute of Music in Philadelphia. The Mena, Marek Janowski, Trevor Pinnock, Diego Matheuz to some of the most São Carlos and the Teatro del Maggio following year she was a prize-winner at and Francois-Xavier Roth. prestigious opera houses in the world, Musicale. the Concours International d'Exécution including the Berliner Staatsoper, the Musicale in Geneva. She teaches in Berlin at the Karajan Gran Teatre del , the Teatro Regio Academy and at the Universität der Torino, and the Festival in At 20, she was appointed assistant Künste. Pesaro. principal harpist of the Orchestra working under James Beginning as a violinist in the Levine. During her five years there, she Venezuelan program known as El continued to win major awards. She Sistema, Diego Matheuz was mentored was a first prize winner in New York’s by its founder, José Antonio Abreu, Concert Artists Guild Competition, and Claudio Abbado. Diego Matheuz and in 1992 won first prize at the regularly returns to Venezuela, as International Harp competition in Israel, principal conductor of the Simón which was widely regarded as the most Bolívar Symphony Orchestra. important for the instrument.

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Music lovers who support an individual musician’s role within the Orchestra ASSOCIATE PRINCIPAL ACTING ASSOCIATE SECTION PRINCIPAL DOUBLE BASS PRINCIPAL CLARINET TRUMPET and gain fulfilment through personal interactions with their chosen musician. Dušan Walkowicz Brian Catchlove Sarah Butler We thank you. Amanda Boland Support a Musician Today Mrs Andrea Kriewaldt

Kate Travers ASSOCIATE PRINCIPAL CONCERTMASTER SECOND VIOLIN Kirsten Hulin-Bobart DOUBLE BASS Dr Julie Beeby TRUMPET Warwick Adeney Katie Betts Anne Buchanan CP Morris Richard Madden Prof Ian Frazer AC Support a Musician Today Dr Betty Byrne Henderson AM Elinor and Tony Travers and Mrs Caroline Frazer Jann Keir-Haantera PRINCIPAL BASS CLARINET Estate Barbara Jean Hebden Jane Burroughs Ms Helen Sotiriadis Justin Bullock Nicholas Harmsen Cathryn Mittelheuser AM Dr Graham and Mrs Kate Row Michael Kenny and David Gibson Support a Musician Today TRUMPET John Story AO and Paul Rawson Georgina Story Graham Simpson Faina Dobrenko Paul O'Brien SECTION PRINCIPAL Mr Nick Beaton and The Curavis Fund Alan Galwey Roslyn Carter Dr Pamela Greet ASSOCIATE CONCERTMASTER BASSOON Nicole Tait Alan Smith Nicholas Tomkin Simon Dobrenko Ken Poggioli In memory of SECTION PRINCIPAL Arthur Waring Alan Symons The Curavis Fund Anonymous Margaret Mittelheuser AM TROMBONE Jason Redman FIRST VIOLIN SECTION PRINCIPAL CELLO Delia Kinmont SECTION PRINCIPAL FLUTE ASSOCIATE PRINCIPAL Frances and Shane Chen Support a Musician Today David Lale Stephen Maitland OAM RFD Jessica Read Alison Mitchell BASSOON Arthur Waring Support a Musician Today David Mitchell Natalie Low John and Helen Keep PRINCIPAL TUBA Lynn Cole Dr Ralph and Mrs Susan Cobcroft ASSOCIATE PRINCIPAL CELLO Thomas Allely Neil W. 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Casey Helen Travers SECTION PRINCIPAL OBOE Dr Susan Urquhart Huw Jones Elinor and Tony Travers SECTION PRINCIPAL Peggy Allen Hayes Andre Duthoit Prof Ian Gough AM and Joan Shih FRENCH HORN Harold Wilson Anne Shipton Dr Ruth Gough Simon Mills Malcolm Stewart SECTION PRINCIPAL Trevor J Rowsell Arthur Waring PERCUSSION Brenda Sullivan Matthew Jones ASSOCIATE PRINCIPAL OBOE Support a Musician Today Sarah Meagher David Montgomery Heidi Rademacher and in PRINCIPAL FRENCH HORN SECTION PRINCIPAL VIOLA Sarah and Mark Combe Dr Graham and Mrs Kate Row memory of Hans Rademacher Ian O'Brien Imants Larsens Matthew Kinmont Anonymous Support a Musician Today Support a Musician Today Dr Julie Beeby OBOE ASSOCIATE PRINCIPAL Stephen Tooke Alexa Murray ASSOCIATE PRINCIPAL PERCUSSION ASSOCIATE PRINCIPAL VIOLA Kaja Skorka Tony and Patricia Keane Dr Les and Ms Pam Masel FRENCH HORN Josh DeMarchi Yoko Okayasu Robin Spencer Alex Miller Dr Graham and Mrs Kate Row Dr Damien Thomson and Anonymous Brynley White Mr Nick Beaton & Dr Glenise Berry PRINCIPAL COR ANGLAIS Graeme Rosewarne and Dr Pamela Greet Jim O’Neill Craig Allister Young Vivienne Brooke Di Jameson CP Morris VIOLA FRENCH HORN SECTION PRINCIPALS Charlotte Burbrook de Vere SECTION PRINCIPAL DOUBLE Vivienne Collier-Vickers SUPPORT A MUSICIAN SECTION PRINCIPAL SECOND VIOLIN Di Jameson BASS Ms Marie Isackson CLARINET TODAY Gail Aitken Phoebe Russell Irit Silver Dr John H. 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Cooney Dr Betty Byrne Henderson AM Ainslie Just Prof. John and Mrs Denise Elkins Marnie Nichols Tim Fairfax Family Foundation Tim and Elaine Crommelin Dr Colin and Mrs Noela Kratzing John and Helen Keep Ms Robyn Elliott Michaela Pound Trevor & Judith St Baker Family Benn Day Tony and Patricia Keane Andrew Kopittke D J Gardiner Jessica Read Foundation Prof. Ian Gough AM and Dr Les and Mrs Pam Masel Dr Frank Leschhorn Ms Christine Gay Inna Rybkina Dr Ruth Gough Anne Shipton Lynne and Francoise Lip Wendy Green Nathan Schokker CON BRIO Mr Nick Beaton and Simon Mills Prof. Andrew and Mrs Kate Lister Mr Tony Hall Penelope Smid ($50,000 - $99,999) Dr Pamela Greet Alan Symons and in memory of Susan Mabin Dr Alison Holloway Nicholas W Smith Philip Bacon Galleries Doug Hall Foundation Bruce Short, Kevin Woodhouse Mr Greg and Mrs Jan Marsh Daryl and Lisa Holmes Hilary Troy Prof. Ian Frazer AC and Malcolm and Andrea Hall-Brown and Graham Webster Annalisa and Tony Meikle Jim and Maxine Macmillan Jennifer Whybird Mrs Caroline Frazer John and Rhonda Hawkins Siganto Foundation In memory of Jolanta Metter Dr Masanori Matsumoto Dr Geoffrey Chia-Yu Wu Di Jameson Peggy Allen Hayes Robin Spencer B and D Moore Timothy Matthies and Cathryn Mittelheuser AM Michael Kenny and David Gibson Tom Stack Howard and Katherine Munro Chris Bonnily Young Professionals who Arthur Waring Mrs Andrea Kriewaldt Mrs Amanda Talbot In memory of John and Robyn Murray collectively support a Shirley Leuthner Dr Damien Thomson and Mildred Wise Muirhead Ron and Marise Nilsson musician’s role within the INTERMEZZO Frances and Stephen Dr Glenise Berry Ian Paterson Catherine Pearse Orchestra and share their ($20,000 - $49,999) Maitland OAM RFD Gary and Diana Willemsen David Pratt and Ramon Norrod Dr Phelim Reilly ideas and energy to help us G & K Ilett Dan and Helen McVay Anonymous Jessica Read Mrs R Richardson create an exciting future CP Morris Desmond B Misso Esq. In memory of Pat Riches Joan Ross for Queensland Symphony Justice Anthe Philippides The Neilsen Group STRETTO G & B Robins Dr Margaret Soroka Orchestra. We thank you. John Story AO and Heidi Rademacher and in ($1,000 - $2,499) Graeme Rosewarne and Alison Stanford Georgina Story memory of Hans Rademacher Aitken Whyte Lawyers Jim O'Neill Katherine Trent and Paul Reed Greg and Jan Wanchap John B Reid AO and Julieanne Alroe Mr Rolf and Mrs Christel Schafer Mrs H Tully Lynn Rainbow Reid Dr Geoffrey Barnes and in Cath Scully Tanya Viano GRAZIOSO Neil W Root and Trevor J Rowsell memory of Mrs Elizabeth Barnes Ms Helen Sotiriadis Max and Robyn White ($10,000 - $19,999) Elinor and Tony Travers Mrs Valma Bird Urban List Anonymous (16) Joseph and Veronika Butta Turner Family Foundation Professors Catherin Bull AM and Prof. Hans Westerman and Dr John H. 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Visionary donors whose regular, lifetime giving exceeds $10,000. We thank you. PLATINUM ($500,000+) SYMPHONY Tim Fairfax AC ($20,000 – $49,999) Tim Fairfax Family Foundation Dr Philip Aitken and Dr Susan Urquhart Arthur Waring David and Judith Beal Dr Julie Beeby DIAMOND Mrs Roslyn Carter ($250,000 – $499,000) Dr John H. Casey Prof. Ian Frazer AC and Mrs Caroline Frazer Dr Ralph and Mrs Susan Cobcroft The Pidgeon Family Mrs I. L. Dean Dr Peter Sherwood G and K Ilett Trevor & Judith St Baker Family Foundation Ms Marie Isackson John and Helen Keep PATRON Dr Les and Mrs Pam Masel ($100,000 – $249,000) Page and Marichu Maxson Philip Bacon Galleries Desmond B Misso Esq. Estate of Susan Mary Blake CP Morris Estate of Barbara Jean Hebden Heidi Rademacher and in memory of Di Jameson Hans Rademacher Jellinbah Group Anne Shipton Cathryn Mittelheuser AM Dr Damien Thomson and Dr Glenise Berry John B Reid AO and Lynn Rainbow Reid Elinor and Tony Travers Mrs Beverley June Smith Rodney Wylie John Story AO and Georgina Story Anonymous Greg and Jan Wanchap Noel and Geraldine Whittaker CONCERTO Anonymous ($10,000 – $19,999) Prof. Margaret Barrett MAESTRO ($50,000 – $99,999) Joseph and Veronika Butta Peggy Allen Hayes Dr Betty Byrne Henderson AM The John Villiers Trust Dr James R Conner Mrs Andrea Kriewaldt Tony Denholder and Scott Gibson Frances and Stephen Maitland OAM RFD Mrs Elva Emmerson In memory of Mr and Mrs J.C. Overell Sophie Galaise Justice Anthe Philippides Alan Galwey Dr Graham and Mrs Kate Row Ian and Cass George Prof. Ian Gough AM and Dr Ruth Gough Malcolm and Andrea Hall-Brown Dr and Mrs W.R. Heaslop Queensland Symphony Orchestra is Gwenda Heginbothom proud to acknowledge the generosity Tony and Patricia Keane and support of our valued donors. Michael Kenny and David Gibson M. Lejeune (Donor lists correct as at February 2019.) Shirley Leuthner Morgans Foundation Ian Paterson Stack Family Foundation Margaret and Robert Williams 17 Anonymous (2) PATRON VIOLIN 1 CELLO BASSOON BOARD OF DIRECTORS His Excellency the Honourable Linda Carello David Lale ~ Nicole Tait~ Chris Freeman AM Chair Paul de Jersey AC, Governor Shane Chen Hyung Suk Bae >> David Mitchell>> Rod Pilbeam Deputy Chair of Queensland Lynn Cole Kathryn Close Evan Lewis Prof Margaret Barrett Mary Jane Bellotti Priscilla Hocking Andre Duthoit MUSIC DIRECTOR CONTRABASSOON Emma Covacevich Ann Holtzapffel Matthew Jones Alondra de la Parra Claire Ramuscak* Tony Denholder Rebecca Seymour Matthew Kinmont Simon Gallaher ARTIST-IN-RESIDENCE Joan Shih Kaja Skorka FRENCH HORN Tony Keane Paul Lewis Brenda Sullivan Craig Allister Young Malcolm Stewart ~ John Keep Stephen Tooke Alex Miller >> Cat Matson CONDUCTOR LAUREATE DOUBLE BASS Brynley White Ian O’Brien * Johannes Fritzsch Phoebe Russell ~ Vivienne Collier-Vickers MANAGEMENT VIOLIN 2 Dušan Walkowicz >> Craig Whitehead Chief Executive CONDUCTOR EMERITUS Lauren Manuel Gail Aitken ~ Anne Buchanan Ros Atkinson Executive Assistant to Werner Andreas Albert Wayne Brennan ~ Justin Bullock TRUMPET Chief Executive and Board Chair Katie Betts Paul O’Brien Sarah Butler~ Deb Houlahan Chief Operating Officer and Company Secretary Jane Burroughs Ken Poggioli Richard Madden>> CONCERTMASTER Amy Herbohn Financial Controller Faina Dobrenko Paul Rawson Warwick Adeney FLUTE Barb Harding General Finance Coordinator Simon Dobrenko Alison Mitchell ~ Shelley Adams Human Resources Advisor Tim Marchmont TROMBONE ASSOCIATE >> Hayley Radke Jason Redman~ CONCERTMASTER Delia Kinmont Timothy Matthies  Director - Artistic Planning Alan Smith Natalie Low PICCOLO BASS TROMBONE Michael Sterzinger Manager - Artistic Administration Murray Walker Program Coordinator - Nicholas Thin Kate Lawson* Tom Coyle* Helen Travers Artistic Planning Fiona Lale Artist Liaison Harold Wilson OBOE TUBA ~ Judy Wood Community Engagement Manager Huw Jones Thomas Allely* Pam Lowry Education Officer VIOLA Sarah Meagher>> Imants Larsens ~ Alexa Murray HARP Matthew Farrell Director – Orchestra Management Yoko Okayasu >> Jill Atkinson* Nina Logan Orchestra Manager Charlotte Burbrook de Vere COR ANGLAIS TIMPANI Ash Retter Operations Assistant Nicole Greentree Vivienne Brooke* Tim Corkeron* Peter Laughton Operations and Projects Manager Bernard Hoey CLARINET Vince Scuderi Production Coordinator Nadia Myers Orchestra Librarian Kirsten Hulin-Bobart Irit Silver~ PERCUSSION ~ Jann Keir-Haantera Brian Catchlove+ David Montgomery Katya Melendez Manager - Development Graham Simpson Josh DeMarchi>> Kate Travers Carolyn Bowes Manager - Corporate Partnerships Nicholas Tomkin ~ Section Principal Karen Towers Development Coordinator BASS CLARINET = Acting Section Principal >> Nicholas Harmsen* Associate Principal Matthew Hodge Director - Sales and

+ Acting Associate Principal Marketing Principal * Renée Jones Manager - Marketing Acting Principal ^ Rachel Churchland Coordinator - Digital Marketing Rex Cho Coordinator - Marketing Design and Content Celia Casey Coordinator - Queensland Symphony Orchestra Music Director is proudly supported by Tim Fairfax AC. Marketing and Publications The Artist-in-Residence program is supported by The University of Queensland. Michael Hyde Senior Manager - Sales Emma Rule Manager - Ticketing Services Mike Ruston Coordinator - Ticketing Services

18 PARTNERS COMING UP

Government Partners Principal Partner TRUMPETER'S TRAPEZE SUN 7 APR 2019, 3PM Premier Partners Education Partners Queensland Symphony Orchestra Studio, ABC Building, South Bank

Join us for Queensland Symphony Orchestra’s first Chamber Players performance of 2019. Enjoy works by composers such as Prokofiev, Britten and Paul Terracini in this intimate studio event.

Major Partners Accommodation Partners DREAMSCAPES SAT 13 APR 2019, 7.30PM Concert Hall, QPAC

Conductor Jaime Martín Clarinet Alessandro Carbonare

Kats-Chernin Mythic Copland Concerto for Clarinet and Orchestra Berlioz Symphonie Fantastique

Gold Partners THE LAST NIGHT OF THE PROMS SAT 4 MAY 2019, 7.30PM Concert Hall, QPAC

Conductor Benjamin Northey Oboe Diana Doherty Industry Collaborators Rachelle Durkin Chorus Brisbane Chorale

Combining traditional elements of the Royal Albert Hall event with a unique Australian touch, this is an evening of flag-waving and fun. Enjoy the opportunity to sing along to rousing British classics Jerusalem, Land of Hope and Glory, and more. WANT MORE?

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Visit our blog for interesting articles, Enjoy behind-the-scenes footage, musical insights, interviews and more. interviews with musicians, instrument workshops and more. qso.com.au/blog youtube.com

PROGRAMS ONLINE ENEWS

Download our concert programs Sign up for our eNews to receive one week prior to each concert. weekly concert information and on-sale announcements. qso.com.au/programs qso.com.au

HAVE YOUR SAY FIND US

We love to hear from our audience. What did you think of the concert? @QSOrchestra What was your favourite piece? Who do you want to hear more of? @QSOrchestra Let us know! @QSOrchestra [email protected] #QSOrchestra qso.com.au

Queensland Symphony Orchestra GPO Box 9994 BRISBANE QLD 4001 Cnr Grey and Russell Street South Brisbane 07 3833 5044 [email protected]