CATHEDRAL OF SOUND EPIC MUSICAL SOUNDSCAPES

10 & 11 MAY 2019 CONCERT HALL, QPAC

PROGRAM | CATHEDRAL OF SOUND I © Peter Wallis WELCOME

Dear Audience Member,

Orchestras and composers are often obsessed with the search for perfection. I believe you will hear that in today’s concert. It features the music of only two composers. At first listen, their music might sound completely different – but the common thread running through each is that in these pieces, they created sound worlds of perfection.

The magic of live orchestral concerts is that even though the music performed might have been penned down a couple of centuries ago, when we pick up our instruments, we re-create that sound world that was first envisaged in the composer’s head so long ago.

In the case of the Mozart, it is a world of exquisite classical melodies, a lovely balance between all the instruments of the , and, of course, the sparkling virtuosity of the solo pianist. Tonight we are delighted to be joined by a local favourite of Orchestra CONTENTS and audience alike, the formidably talented Piers Lane. In the second half, we move to a different kind of beauty – the ‘cathedral of sound’ (as we WELCOME 1 have so aptly named this concert) of Bruckner’s Symphony No.7. A genius orchestrator and a devout Catholic, Bruckner created a unique orchestral style of his own, where intimacy and vastness sit side by side in a place of spiritual majesty. IF YOU'RE NEW TO THE ORCHESTRA 2 We invite you to take a breath and immerse yourself in these two unique soundworlds.

Jason Redman GLOSSARY OF TERMS 3 Section Principal

LISTENING GUIDE 4

ARTIST BIOGRAPHIES 8 IN THIS CONCERT PROGRAM

SUPPORTING YOUR ORCHESTRA 12 Conductor Johannes Fritzsch Mozart Concerto No.23 in A, K.488 Piano Piers Lane Bruckner Symphony No.7* This concert will be broadcast MUSICIANS AND MANAGEMENT 18 live on ABC Classic.

FRI 10 MAY 11AM Approx. duration 80 mins (no interval) Queensland Symphony Orchestra acknowledges the traditional custodians of Australia. *Second mvt of Bruckner not featured 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. SAT 11 MAY 7.30PM To ensure an enjoyable concert experience for everyone, please remember to turn off your mobile phones Approx. duration 120 mins and all other electronic devices. Please muffle coughs and refrain from talking during the performance. (including an interval of 20 mins after the Mozart)

II PROGRAM | CATHEDRAL OF SOUND 1 IF YOU'RE NEW TO THE ORCHESTRA GLOSSARY OF TERMS

The following terms appear in bold the first time they appear in the listening guide. Key the group of pitches, known as a scale, that forms the basis of a music composition. Symphony a large or extended musical composition, most commonly written for symphony orchestra and containing around three or more movements. Concerto an orchestral work which features a solo instrumentalist. Movement a self-contained section of a musical work. Allegro a musical direction meaning ‘lively and fast’. Theme a subject, usually melodic, of a work. Cadenza an ornamental passage, either improvised or written out, usually played by a soloist or group of soloists, often displaying virtuosity. Adagio a musical direction meaning ‘slow’. Siciliana rhythm a dance-like rhythm, inspired by Sicilian folk dance. Chromatic chromatic notes are notes that do not belong to the scale of the key WHO SITS WHERE which the music is written in, and can be used to create colour. Dissonances notes which clash or cause tension. Register the range of an instrument or voice. sit in sections based on types of instruments. There are four main sections in the symphony orchestra: Orchestration the arrangement of music for orchestral performance. Strings, Woodwinds, Brass, Percussion, and sometimes a Keyboard section. Octaves the interval between two musical pitches which are the same note melodically but in a different register. STRINGS BRASS These instruments produce sound by bowing or Brass players create sound by vibrating their Wagner a brass instrument not commonly used today, originally created for plucking stretched strings. lips. When this vibration is pushed through large brass tubes, can create significant noise. Richard Wagner’s operatic series The Ring Cycle. It combines First and Second elements of the and the trombone. French Horn/Wagner Tuba Motif a short, recurring musical idea, the basic building block of a Trombone Tuba piece of music.

WOODWIND Coda meaning ‘tail’ in Italian, a coda is a section heard at the end of a PERCUSSION movement or work that is typically based on an elaboration or Wind instruments produce sound by being These instruments create sound by being struck. blown into. Some instruments just make a sound; others extension of previous thematic material. / Piccolo play particular notes. Scherzo meaning to joke or jest in Italian, a scherzo is a short composition or / Cor Anglais , Cymbals, Triangle Clarinet / sometimes a movement in a larger work such as a symphony (most / Contrabassoon commonly the third movement) which contains a contrasting section. It is usually fast-paced and playful and sometimes contains KEYBOARD elements of surprise. Keyboard instruments are played by pressing keys. Perfect fifth a type of interval which spans five whole steps in a scale. Piano Trio the middle section of a dance movement. 2 PROGRAM | CATHEDRAL OF SOUND PROGRAM | CATHEDRAL OF SOUND 3 LISTENING GUIDE

Wolfgang Amadeus Mozart (1756-1791) Piano Concerto No.23 in A, K.488 I. Allegro II. Adagio III. Allegro assai The second movement, Adagio, ushers us into a sombre realm. The opening piano theme, The key of A major is a wonderful thing in Mozart’s music. It is the key of the joyous, one of Mozart’s most soulful, is in siciliana rhythm and conjures up a sorrowful mood coming-of-age Symphony K.201, the wise and transcendent Clarinet Concerto K.622, with chromatic inflections, accented dissonances and shifts in register. The orchestra and the key of this concerto, one of Mozart’s most alluring creations. answers the opening melody with a poignant theme of its own.

If we were to apply the words ‘pleasing’ and ‘agreeable’ to the first movement, Mozart’s tasteful and discreet orchestration is exemplary, particularly his colouristic use Allegro, it would not be to suggest that the music is featureless and bland, but to of woodwind instruments. This concerto, which dates from 1786, was written towards highlight the skilful way in which the concerto captures the sound ideal of late 18th- the end of Mozart’s most concentrated period of composing piano concertos and, as in century music. It opens with a melody in the ‘singing style’; that is to say, a gently the majority of his other so-called ‘Vienna piano concertos’, he liberates the winds from flowing theme that, although played on instruments, is eminently singable. Mozart a background role, highlighting the entire section and individual instruments. Unusually, was without peer when it came to fashioning themes of this kind: pithy and melodious, there are no in this concerto. Instead, Mozart includes two clarinets, the wind varied yet beautifully balanced. For all of these reasons, it is memorable (which is just instrument he prized above all others. as well, given that it is the principal theme!). After the introspective middle movement, the finale, which is back in the key of A major, To really hammer the melody home, Mozart offers it twice at the beginning – strings is unabashedly exuberant. Mozart juggles an astonishing variety of themes reminding us alone in the first instance, winds in the second – and then delivers it a third time, albeit that, at a fundamental level, a concerto aims to dazzle and delight. in slightly embellished form, when the piano soloist enters. This is a marvellous example Robert Gibson © 2017 of Mozart taking the listener by the hand and guiding them through the music. Listen up, he seems to be saying, this is the building block at the centre of our work. Other themes are heard in the first few minutes – the opening movement presents at least five clearly differentiated themes – all of which are kept in play as the movement unfolds. As for the piano writing, it is glittering and dextrous with feather-light runs up and down the keyboard in the transition passages. In a departure from convention, Mozart wrote out the first-movement cadenza in full rather than have the performer improvise it on the spot.

© Peter Wallis 4 PROGRAM | CATHEDRAL OF SOUND PROGRAM | CATHEDRAL OF SOUND 5 LISTENING GUIDE

Anton Bruckner (1824-1896) Symphony No.7 in E I. Allegro moderato II. Adagio: Sehr feierlich und sehr langsam* III. Scherzo: Sehr schnell IV. Finale: Bewegt, doch nicht schnell *Not featured in Friday morning concert.

At the age of 60, the diffident, pious Anton Bruckner suddenly achieved international After the catharsis of the Adagio, Bruckner produces one of his most delightfully fame as a composer with the Seventh Symphony. Bruckner had moved to the imperial energetic scherzos. Again, the movement’s key – A minor – has been avoided so far. The capital in 1868 to take up a position at the Vienna Conservatory, and travelled as far octave and perfect fifth which constitute the theme of this section are the most stable afield as Paris and London as one of the greatest organists of the age. But until the mid- intervals in tonal music, but Bruckner effortlessly plays this stability off against a series 1880s, his own music had failed to find a foothold in Vienna’s musical life – partly the of unexpected excursions into different keys, and it proves an amusing contrast to the result of Bruckner’s idolisation of Wagner, which was anathema in a city where Brahms central Trio section. presided as the resident Great Composer, aided by powerful critics like Eduard Hanslick. The Finale is constructed out of four sections: the first is in E major, and deliberately Back in 1873 Bruckner had approached Wagner for permission to dedicate his Third recalls the first movement in its use of the stable intervals of the common chord; the Symphony to the ‘Master of all masters’. While working on the Seventh Symphony, second and third sections are, respectively, in keys a third above and below E; finally the Bruckner later remarked, ‘One day I came home and felt very sad. It occurred to me that fourth section, using material based on the first, charts the journey from the key of A the Master would soon die, and at that moment the C sharp minor theme of the Adagio back to the home key. came to me.’ And, indeed, during the composition of the slow movement, Bruckner heard the news of Wagner’s death, incorporating his grief into the final pages of the movement. The Seventh’s premiere was in the Leipzig Gewandhaus under Arthur Nikisch in 1884 But the piece as a whole was conceived before Bruckner’s premonition. and the applause lasted for 15 minutes. Wagner conductor Hermann Levi declared it ‘the most significant symphonic work since 1827’. Soon it had been heard throughout The melody with which the first movement begins is a long and very beautiful tune Germany as well as in New York, Chicago, Amsterdam, Budapest and London. When that outlines the key of E major over two octaves, before moving through seemingly it finally was played in Vienna in 1886, Hanslick, predictably, wrote it off as ‘unnatural, distant keys; a ‘false’ close gives way to yet more varied phrases and hints of further blown up, unwholesome, and ruinous’ and his colleague Kalbeck memorably wrote, ‘It tonal exploration before returning to E major for a fuller restatement of the melody itself. comes from the Nibelungen and goes to the devil!’ Actually, it is music about going to The movement displays Bruckner’s habitual use of three contrasting groups of themes, heaven, or, as British composer Robert Simpson puts it, ‘a patient search for pacification’. the second of which is what he liked to call a ‘song-period’, and out of these he spins a lengthy series of contrasting musical worlds, using key-relationships for maximum Adapted from a note by Gordon Kerry © 2002 dramatic effect.

The key of C sharp minor, closely related to the work’s ‘home key’ of E major, is avoided throughout the first movement so that its appearance in the second is more emphatic. In this, the premonitory elegy for Wagner, Bruckner introduces four Wagner . As in the slow movement of Beethoven’s Ninth Symphony, ‘very slow and very solemn’ material is contrasted with a theme in a different mood, speed and key. Bruckner was working on the climax of the movement – a majestic passage in C major – when he heard of Wagner’s death. He quotes a motif from his Te Deum (associated with the words ‘Non confundar in aeternum’ – let me never be put to shame) but it is in the coda which follows with its almost Wagnerian horn calls that Bruckner farewells the Master.

6 PROGRAM | CATHEDRAL OF SOUND PROGRAM | CATHEDRAL OF SOUND 7 ARTIST BIOGRAPHIES

Johannes Fritzsch Piers Lane Conductor Piano Maestro Johannes Fritzsch recently held Opera Companies with which he has London-based Australian pianist Piers In the 2018/19 season Piers will tour New the position of Chief Conductor of the worked include: Sächsische Staatsoper Lane stands out as an engaging and highly Zealand with the New Zealand String Grazer Oper and Grazer Philharmonisches Dresden, Opernhaus Köln, Deutsche versatile performer, at home equally in Quartet, and Australia with Tasmin Little. Orchester, Austria. From 2008-2014, he Oper Berlin, Komische Oper Berlin, Opera solo, chamber and concerto repertoire. Further highlights include a three-concert was Chief Conductor of Queensland Bastille Paris, Grazer Oper, the Royal Recent highlights include performances project at Wigmore Hall Symphony Orchestra; as Conductor Opera Stockholm, Malmö Opera, and of Busoni’s piano concerto, Frank Bridge’s and concert tours throughout Australia, Laureate, he continues his relationship with Opera Australia in Sydney and Melbourne Phantasm and Ferdinand Ries’s Eighth Europe and the US. the Orchestra. In 2017, he was appointed (including Wozzeck, Don Giovanni, Concerto at Carnegie Hall with the inaugural Principal Guest Conductor of the Carmen, Tosca, Rigoletto, Salome, Der newly formed The Orchestra Now; world Piers is the Artistic Director of the Sydney Tasmanian Symphony Orchestra. Rosenkavalier). premieres of Carl Vine’s double piano International Piano Competition of concerto, written for him and Kathryn Australia, and for ten years was also the Johannes has performed with many In 2018, Johannes conducted The Flying Stott, with the Tasmanian and Adelaide Artistic Director of the Australian Festival orchestras internationally. These include: Dutchman for Staatsoper Hamburg, Symphony Orchestras, as well as several of Chamber Music, finishing in 2017. In the Hamburger Sinfoniker, Düsseldorfer The Cunning Little Vixen for West sold-out solo recitals at Wigmore Hall. Queen’s Diamond Jubilee Honours, he was Sinfoniker, Berliner Sinfonie Orchester, Australian Opera, Don Giovanni for Opera made an Officer in the Order of Australia Staatskapelle Dresden, Norddeutsche Queensland and made major appearances Five times soloist at the BBC Proms in for services to music (AO). Philharmonie Rostock, Staatsorchester with Xi’an Symphony Orchestra, Auckland London’s Royal Albert Hall, Piers Lane’s Halle, the Orchestre Philharmonique Philharmonia Orchestra, Orchestra concerto repertoire exceeds ninety Strassbourg, the Orchestra National Victoria and the Tasmanian Symphony works and has led to engagements with de Montpellier, the Orchestra National Orchestra. He returns to Opera Australia many of the world’s great orchestras du Capitole de Toulouse, the Sydney, in 2019 to conduct Salome, to Adelaide to and conductors. He has recorded over Melbourne, Tasmanian, Adelaide, conduct Vixen and will lead concerts with sixty CDs on major labels, primarily with Queensland and West Australian Queensland Symphony Orchestra and Hyperion Records. His most recent releases Symphony Orchestras and Orchestra Tasmanian Symphony Orchestra. are piano concertos by Ferdinand Ries, a Victoria. sonata disc with violinist Tasmin Little, and chamber works by Borodin, the ninth disc he has recorded with the Goldner String Quartet.

8 PROGRAM | CATHEDRAL OF SOUND PROGRAM | CATHEDRAL OF SOUND 9 11 MUSIC CHAIR DONORS

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

CONCERTMASTER Faina Dobrenko SECTION PRINCIPAL CELLO SECTION PRINCIPAL FLUTE SECTION PRINCIPAL TRUMPET Warwick Adeney The Curavis Fund David Lale Alison Mitchell BASSOON Paul Rawson Prof Ian Frazer AC Simon Dobrenko Arthur Waring Alan Symons Nicole Tait Mr Nick Beaton and and Mrs Caroline Frazer The Curavis Fund In memory of Dr Pamela Greet Estate Barbara Jean Hebden ASSOCIATE PRINCIPAL ASSOCIATE PRINCIPAL Margaret Mittelheuser AM Cathryn Mittelheuser AM Delia Kinmont CELLO FLUTE SECTION PRINCIPAL John Story AO and Dr Colin and Hyung Suk Bae Hayley Radke ASSOCIATE PRINCIPAL TROMBONE Georgina Story Mrs Noela Kratzing Benn Day Desmond B Misso Esq BASSOON Jason Redman Natalie Low John Story AO and David Mitchell Frances and ASSOCIATE Georgina Story PRINCIPAL PICCOLO John and Helen Keep Stephen Maitland OAM RFD Dr Ralph and Mrs Susan Cobcroft Young Professional Circle Kate Lawson Alan Smith Dr James R Conner BASSOON PRINCIPAL TUBA Arthur Waring Tim Marchmont CELLO Evan Lewis Thomas Allely Dr Geoffrey Trim Kathryn Close SECTION PRINCIPAL OBOE CP Morris Arthur Waring FIRST Nicholas Thin Dr Graham and Mrs Kate Row Huw Jones Shane Chen Benn Day Prof Ian Gough AM and PRINCIPAL PRINCIPAL HARP Jessica Read Andre Duthoit CONTRABASSOON Simon Mills Anne Shipton Dr Ruth Gough Jill Atkinson Lynn Cole Young Professional Circle Claire Ramuscak Noel and Geraldine Whittaker Neil W. Root Matthew Jones ASSOCIATE PRINCIPAL CP Morris Helen Travers M.J. Bellotti OBOE PRINCIPAL TIMPANI Elinor and Tony Travers Ann Holtzapffel Sarah Meagher SECTION PRINCIPAL Tim Corkeron Aitken Whyte Lawyers Matthew Kinmont FRENCH HORN Harold Wilson Dr Julie Beeby Sarah and Mark Combe Dr Philip Aitken and Rebecca Seymour Trevor J Rowsell Malcolm Stewart Dr Susan Urquhart Dr John H. Casey Kaja Skorka OBOE Arthur Waring Peggy Allen Hayes SECTION PRINCIPAL VIOLA Robin Spencer Alexa Murray Joan Shih Imants Larsens Anonymous Dr Les and Ms Pam Masel PRINCIPAL FRENCH PRINCIPAL Simon Mills PERCUSSION Dr Geoffrey Trim Craig Allister Young Ian O'Brien Brenda Sullivan Di Jameson PRINCIPAL COR ANGLAIS Dr Geoffrey Trim David Montgomery Heidi Rademacher and in ASSOCIATE PRINCIPAL Vivienne Brooke Dr Graham and Mrs Kate Row memory of Hans Rademacher VIOLA SECTION PRINCIPAL CP Morris ASSOCIATE PRINCIPAL Anonymous Yoko Okayasu DOUBLE BASS FRENCH HORN ASSOCIATE PRINCIPAL PERCUSSION Dr Damien Thomson and Phoebe Russell SECTION PRINCIPAL Alex Miller Stephen Tooke Dr Glenise Berry Mr Nick Beaton & Josh DeMarchi Tony and Patricia Keane Di Jameson CLARINET Sidney Irene Thomas (In Irit Silver Dr Pamela Greet Dr Graham and Mrs Kate Row Brynley White VIOLA memory) Arthur Waring Graeme Rosewarne and Charlotte Burbrook de Vere FRENCH HORN Jim O’Neill Di Jameson ASSOCIATE PRINCIPAL ACTING ASSOCIATE Vivienne Collier-Vickers DOUBLE BASS PRINCIPAL CLARINET Ms Marie Isackson Nicole Greentree SECTION PRINCIPAL Dušan Walkowicz SECOND VIOLIN Shirley Leuthner Brian Catchlove Lauren Manuel Amanda Boland Support a Musician Today Dr John H. Casey Gail Aitken Bernard Hoey Dr John H. Casey Desmond B. Misso Esq DOUBLE BASS CLARINET SECTION PRINCIPAL SUPPORT A MUSICIAN Wayne Brennan Kirsten Hulin-Bobart Anne Buchanan Kate Travers TRUMPET TODAY Support a Musician Today CP Morris Dr Betty Byrne Henderson AM Dr Julie Beeby Sarah Butler Justin Bullock Mrs Andrea Kriewaldt SECOND VIOLIN Jann Keir-Haantera PRINCIPAL BASS CLARINET 07 3833 5027 Ms Helen Sotiriadis Michael Kenny and David Katie Betts Gibson Nicholas Harmsen ASSOCIATE PRINCIPAL [email protected] Dr Geoffrey Trim Support a Musician Today TRUMPET Graham Simpson qso.com.au Alan Galwey Paul O'Brien Richard Madden Jane Burroughs Roslyn Carter Elinor and Tony Travers Dr Graham and Mrs Kate Row Nicholas Tomkin Alan Symons Ken Poggioli Anonymous

12 13 ANNUAL GIVING

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

ALLEGRO Benn Day Anne Shipton John and Helen Keep TUTTI YOUNG ($100,000 – $249,999) Prof. Ian Gough AM and Simon Mills Andrew Kopittke ($500-$999) PROFESSIONAL CIRCLE Tim Fairfax AC Dr Ruth Gough Siganto Foundation Dr Frank Leschhorn Trudy Bennett Shadi Ahmad Tim Fairfax Family Foundation Mr Nick Beaton and Robin Spencer Lynne and Francoise Lip Dr Sheena L. Burnell Gabrielle Anese Trevor & Judith St Baker Family Dr Pamela Greet Tom Stack Susan Mabin Carol Carmudie Michelle Bagnall Foundation Doug Hall Foundation Mrs Amanda Talbot Mr Greg and Mrs Jan Marsh Drew and Christine Castley Dr Sheena L. Burnell Malcolm and Andrea Dr Damien Thomson and Dr Les and Mrs Pam Masel Richard Chambers Jonathan Butler-White CON BRIO Hall-Brown Dr Glenise Berry Annalisa and Tony Meikle Ian and Penny Charlton Roger Cant ($50,000 - $99,999) John and Rhonda Hawkins Greg and Jan Wanchap In memory of Jolanta Metter Robert Cleland Mr Rowan Danielewski Philip Bacon Galleries Peggy Allen Hayes Gary and Diana Willemsen B and D Moore Terry and Jane Daubney Marina Datova Prof. Ian Frazer AC and Michael Kenny and Anonymous Howard and Katherine Munro Dr C. Davison Helen Davis Mrs Caroline Frazer David Gibson In memory of Stephanie Derrington Benn Day Di Jameson Dr Colin and Mrs Noela Kratzing STRETTO Mildred Wise Muirhead In memory of Stephanie Derrington Cathryn Mittelheuser AM Mrs Andrea Kriewaldt ($1,000 - $2,499) Ron and Marise Nilsson Mrs Marjorie Douglas Ms Amelia Dobson Arthur Waring Frances and Stephen ADFAS Brisbane Ian Paterson Ms Carolyn Eacoll Grant & Karen Gaston Maitland OAM RFD Aitken Whyte Lawyers David Pratt and Ramon Norrod Ms Robyn Elliott Zackary George INTERMEZZO Dan and Helen McVay Julieanne Alroe Jessica Read D J Gardiner Eloise Gluer ($20,000 - $49,999) Desmond B Misso Esq. Dr Geoffrey Barnes and in In memory of Pat Riches Ms Christine Gay Amy Greene G & K Ilett The Neilsen Group memory of Mrs Elizabeth Barnes Ms Julia Gray G & B Robins Hannah Grigg CP Morris Heidi Rademacher and in William and Erica Batt Wendy Green Justice Anthe Philippides Graeme Rosewarne and Miss Cassandra Heilbronn memory of Hans Rademacher M.J. Bellotti Jim O'Neill Mr Tony Hall Stack Family Foundation Andrew and Anita Jones John B Reid AO and Kay Bryan Cath Scully Dr Alison Holloway John Story AO and Lynn Rainbow Reid Elizabeth Kelly Professors Catherin Bull AM and Dr Margaret Soroka Daryl and Lisa Holmes Georgina Story Alan Symons and in memory of Dylan Kerr Dennis Gibson AO Ms Helen Sotiriadis Jim and Maxine Macmillan Bruce Short, Kevin Woodhouse Mr Alexander Mack GRAZIOSO Jean Byrnes Gary and Gayle Martin and Graham Webster Urban List Benjamin McIntyre Constantine Carides Loraine McLaren ($10,000 - $19,999) Sidney Irene Thomas (In Prof. Hans Westerman and Marnie Nichols Elene Carides Dr Masanori Matsumoto Joseph and Veronika Butta memory) in memory of Michaela Pound Mrs Roslyn Carter Mrs Frederika Westerman Timothy Matthies and Dr John H. Casey Neil W Root and Trevor J Rowsell Jessica Read Greg and Jacinta Chalmers Margaret and Robert Williams Chris Bonnily Morgans Foundation Elinor and Tony Travers Inna Rybkina Dr Ralph and Rodney Wylie John and Robyn Murray In memory of Turner Family Foundation Nathan Schokker Mrs Susan Cobcroft Anonymous (14) Catherine Pearse Mr and Mrs J.C. Overell David and Judy Tynan Penelope Smid Mrs Ruth Cox Dr Phelim Reilly Ian and Cass George K and S Wark Nicholas W Smith Dr Peter Hopson & Julie Crozier Mrs R Richardson Dr Graham and Mrs Kate Row Noel and Geraldine Whittaker Hilary Troy Ms Elizabeth Dann and Joan Ross Mrs Beverley June Smith Steve and Jane Wilson Jennifer Whybird Dr Geoffrey Trim Philip McNicol Mr Rolf and Mrs Christel Schafer Anonymous Mrs I. L. Dean Dr Geoffrey Chia-Yu Wu Anonymous (2) Alison Stanford Mrs Elva Emmerson PRESTO Mrs H Tully VIVACE C.M. and I.G. Furnival ($2,500 - $4,999) Tanya Viano ($5,000 - $9,999) Alan Galwey Amanda Boland Max and Robyn White Dr Philip Aitken and Dr Edgar Gold AM, QC and Nigel Chamier AM Mrs Juanita Wright Young Professionals who Dr Susan Urquhart Dr Judith Gold CM Sarah and Mark Combe Anonymous (16) collectively support a John and Janet Allan Lea and John Greenaway Emma Covacevich musician’s role within the David and Judith Beal Dr and Mrs W.R. Heaslop The Curavis Fund Orchestra and share their Dr Julie Beeby Dr Peter Hopson and Justice Martin Daubney ideas and energy to help us John and Lynnly Chalk Julie Crozier Dr Betty Byrne Henderson AM Dr James R Conner Deb Houlahan create an exciting future Tony and Patricia Keane T.C. and M.R. Cooney Ms Marie Isackson for Queensland Symphony Shirley Leuthner Tim and Elaine Crommelin Ainslie Just Orchestra. We thank you. Prof. Andrew and Mrs Kate Lister 14 15 QSO.COM.AU LIFETIME GIVING

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 – $499,999) Dr Ralph and Mrs Susan Cobcroft Prof. Ian Frazer AC and Mrs Caroline Frazer Mrs I. L. Dean Prof. Ian Gough AM and Dr Ruth Gough The Pidgeon Family 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 – $249,999) Desmond B Misso Esq. Philip Bacon Galleries CP Morris Estate of Susan Mary Blake Heidi Rademacher and in memory of Estate of Barbara Jean Hebden Hans Rademacher Di Jameson Anne Shipton Cathryn Mittelheuser AM Stack Family Foundation John B Reid AO and Lynn Rainbow Reid Dr Damien Thomson and Dr Glenise Berry Mrs Beverley June Smith Elinor and Tony Travers John Story AO and Georgina Story Rodney Wylie Greg and Jan Wanchap Anonymous Noel and Geraldine Whittaker CONCERTO ($10,000 – $19,999) MAESTRO ($50,000 – $99,999) Joseph and Veronika Butta Dr John H. Casey Dr Betty Byrne Henderson AM Peggy Allen Hayes Sarah and Mark Combe Mrs Andrea Kriewaldt Dr James R Conner Frances and Stephen Maitland OAM RFD Mrs Ruth Cox In memory of Mr and Mrs J.C. Overell Mrs Elva Emmerson Justice Anthe Philippides Alan Galwey OPERA Dr Graham and Mrs Kate Row Ian and Cass George Malcolm and Andrea Hall-Brown Dr and Mrs W.R. Heaslop Tony and Patricia Keane Dr Colin and Mrs Noela Kratzing Queensland Symphony Orchestra is Michael Kenny and David Gibson GALA proud to acknowledge the generosity Shirley Leuthner and support of our valued donors. Morgans Foundation Ian Paterson A NIGHT OF OPERA FAVOURITES (Donor lists correct as at April 2019.) In memory of Pat Riches Neil W Root and Trevor J Rowsell Alan Symons & in memory of Bruce Short, CONDUCTOR GIOVANNI REGGIOLI Kevin Woodhouse & Graham Webster SAT 1 JUNE 7.30PM SOPRANO NATALIE AROYAN Dr Geoffrey Trim CONCERT HALL, QPAC TENOR KANG WANG Prof. Hans Westerman and BASS-BARITONE JEREMY KLEEMAN in memory of Mrs Frederika Westerman CHORUS BRISBANE CHORALE Margaret and Robert Williams Anonymous (2) INCLUDES MUSIC BY ROSSINI • VERDI • PUCCINI • BIZET 16 17 PATRON VIOLIN 1 CELLO BASSOON BOARD OF DIRECTORS QUEENSLAND PERFORMING ARTS CENTRE His Excellency Linda Carello David Lale ~ Nicole Tait~ Chris Freeman AM Chair PO Box 3567, South Bank, Queensland 4101 the Honourable Shane Chen Hyung Suk Bae >> David Mitchell>> Rod Pilbeam Deputy Chair T: (07) 3840 7444 W: qpac.com.au Paul de Jersey AC, Lynn Cole Kathryn Close Evan Lewis Prof Margaret Barrett Governor Ann Holtzapffel Andre Duthoit Mary Jane Bellotti CHAIR Emma Covacevich of Queensland Rebecca Seymour Matthew Jones CONTRABASSOON Professor Peter Coaldrake AO Claire Ramuscak* Tony Denholder Joan Shih Matthew Kinmont Simon Gallaher DEPUTY CHAIR Brenda Sullivan Kaja Skorka Leigh Tabrett PSM Alondra de la Parra FRENCH HORN Tony Keane Stephen Tooke Craig Allister Young Malcolm Stewart ~ John Keep TRUST MEMBERS ARTIST-IN-RESIDENCE Brynley White Alex Miller >> Cat Matson DOUBLE BASS Dare Power Paul Lewis Ian O’Brien * VIOLIN 2 Phoebe Russell ~ Susan Rix AM Vivienne Collier- MANAGEMENT Leanne de Souza CONDUCTOR LAUREATE Gail Aitken ~ Dušan Walkowicz >> Vickers Craig Whitehead Chief Executive Johannes Fritzsch Wayne Brennan ~ Anne Buchanan Lauren Manuel Ros Atkinson Executive Assistant to Chief CHIEF EXECUTIVE Katie Betts Justin Bullock Executive and Board Chair John Kotzas CONDUCTOR EMERITUS Jane Burroughs Paul O’Brien TRUMPET Deb Houlahan Chief Operating Officer and ACKNOWLEDGMENT Werner Andreas Albert Faina Dobrenko Ken Poggioli Company Secretary Sarah Butler~ The Queensland Performing Arts Trust is a Amy Herbohn Financial Controller Simon Dobrenko Richard Madden>> statutory body of the State of Queensland and is FLUTE Barb Harding General Finance Coordinator Tim Marchmont Paul Rawson partially funded by the Queensland Government Alison Mitchell ~ Shelley Adams Human Resources Advisor CONCERTMASTER Delia Kinmont Hayley Radke>> TROMBONE The Honourable Leeanne Enoch MP, Minister for Warwick Adeney Natalie Low Timothy Matthies Director - Artistic Planning Jason Redman~ Environment and the Great Barrier Reef, Minister for Nicholas Thin PICCOLO Michael Sterzinger Manager - Artistic Administration ASSOCIATE Science and Minister for the Arts Helen Travers Kate Lawson* BASS TROMBONE Murray Walker Program Coordinator - Artistic CONCERTMASTER Harold Wilson Tom Coyle* Planning Director-General, Department of Environment and Alan Smith OBOE Fiona Lale Artist Liaison Science: Jamie Merrick VIOLA Huw Jones~ TUBA Judy Wood Community Engagement Manager QPAC respectfully acknowledges the Traditional Imants Larsens ~ Sarah Meagher>> Thomas Allely* Pam Lowry Education Officer Owners of the Lands across Queensland and pays Yoko Okayasu >> Alexa Murray Matthew Farrell Director – Orchestra Charlotte Burbrook de Vere HARP Management respect to their ancestors who came before them and to Elders past, present and emerging. Nicole Greentree COR ANGLAIS Jill Atkinson* Nina Logan Orchestra Manager Peter Laughton Operations and Projects Manager Bernard Hoey Vivienne Brooke* Patrons are advised that the Performing Arts Centre TIMPANI Vince Scuderi Production Coordinator Kirsten Hulin-Bobart has EMERGENCY EVACUATION PROCEDURES, a FIRE CLARINET Nadia Myers Orchestra Librarian Tim Corkeron* ALARM system and EXIT passageways. In case of Jann Keir-Haantera Irit Silver~ an alert, patrons should remain calm, look for the Graham Simpson PERCUSSION Katya Melendez Manager - Development Brian Catchlove+ closest EXIT sign in GREEN, listen to and comply with Nicholas Tomkin David Carolyn Bowes Manager - Corporate Partnerships Kate Travers directions given by the inhouse trained attendants and Montgomery~ Karen Towers Development Coordinator move in an orderly fashion to the open spaces outside BASS CLARINET Matthew Hodge Director - Sales and Marketing Josh DeMarchi>> the Centre. Nicholas Harmsen* Renée Jones Manager - Marketing Rachel Churchland Coordinator - Digital Marketing Celia Casey Coordinator - Marketing and Publications ~ Section Principal Queensland Symphony Orchestra Music Director is proudly supported by Tim Fairfax AC. Michael Hyde Senior Manager - Sales = Acting Section Principal The Artist-in-Residence program is supported by The University of Queensland. Emma Rule Manager - Ticketing Services >> Associate Principal Mike Ruston Coordinator - Ticketing Services + Acting Associate Principal * Principal ^ Acting Principal

18 19 PARTNERS COMING UP

Government Partners Principal Partner KINGS AND QUEENS SUN 19 MAY 2019, 11.30AM Concert Hall, QPAC Premier Partners Education Partners Conductor Fabian Russell Host Guy Noble Trombone Jason Redman

Prepare to lose yourself in the opulent and triumphant world of royalty, with a feast of processions, waltzes and marches.

Major Partners Accommodation Partners CHAMBER PLAYERS SUN 26 MAY 2019, 3PM Queensland Symphony Orchestra Studio ABC Building, South Bank

Madeleine Dring Trio for Flute, Oboe and Piano Sculthorpe String Quartet No.12 (From Ubirr) Schubert String Quintet in C, Op.163

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

Gold Partners

OPERA GALA SAT 1 JUN 2019, 7.30PM Concert Hall, QPAC

Conductor Giovanni Reggioli Industry Collaborators Soprano Natalie Aroyan Tenor Kang Wang Bass-baritone Jeremy Kleeman Chorus Brisbane Chorale

A night of opera favourites including works by Puccini, Verdi, Rossini, and Bizet. 20 21 WANT MORE?

ON THE RADIO ON SPOTIFY

Our performances are regularly Listen to our concert playlists recorded for broadcast. anywhere, anytime. Tune in for more great music. spotify.com abc.net.au/classic or 4mbs.com.au

READ WATCH

Visit our blog for interesting articles, Enjoy behind-the-scenes footage, musical insights, interviews and interviews with musicians, more. 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]

22 PROGRAM | CATHEDRAL OF SOUND