VIOLIN 1 COR ANGLAIS Cameron Hough* Anton Rayner* (Concertmaster) CONCERT Keith Gambling CLARINET Kylie Hinde Daniel Sullivan* Danielle Langston Kendal Alderman Tove Easton PROGRAM BASS CLARINET Emma Eriksson Melissa Baldwin* Yvette McKinnon Peter Nicholls Antônio Carlos Gomes BASSOON Carl Bryant* Overture to Il Guarany VIOLIN 2 Jeff Turpin Amy Phillips* Anna Jenkins CONTRABASSOON Joaquin Rodrigo Ryan Smith Guy Knopke#^ Concierto Andaluz for Four Guitars and Emily Clark (Queensland Premiere) Ailsa Nicholson HORN Bec Johnson Melanie Taylor* Melissa Nichols Emma Holden Laura Guiton# INTERVAL VIOLA Janelle Harding Daniel Tipping^ John McGrath TRUMPET Chris Baldwin* Jennifer Waanders Courtney Oxenford# Impressioni Brasiliane Amanda Tio# Courtney Smith# (Impressions of Brazil) CELLO TROMBONE Helen Dolden* Nicholas Whatling^ Mathilde Vlieg Michael Adams# Heitor Villa-Lobos Edward Brackin Gabriel Dumitru BASS TROMBONE Bachianas Brasileiras No.4, Nicole Kancachian Neale Connor* W424 for Orchestra BASS TUBA Samuel Dickenson* Michael Sterzinger* Amelia Grimmer Glenn Holliday PERCUSSION Kerry Vann* Harry Mulhall# Jenny Gribbin Angela Jaeschke Michael Stegeman Lucie Allcock FLUTE Jo Lagerlow** HARP Jessica Sullivan** John Connolly* PICCOLO CELESTE Kurt Schouten# Mark Connors# OBOE Gabrielle Knight* *denotes principal Catherine Clarke# **denotes co-principal ^denotes acting principal #denotes guest performer Conductor MICHAEL KEEN

Impressions of Brazil marks BPO's first collaboration with Michael Keen.

Michael began his music studies with a Orpheo et Euridice, Poulenc’s Les pre-tertiary scholarship at the Australian Mamelles de Tiresias, and was the music National University’s School of Music, director and conductor for the Canberra and completed a Bachelor of Conservatorium’s production of Music at the Queensland Conservatorium. Offenbach’s Orpheus in the Underworld Michael received his Masters degree from directed by Tama Matheson. While in the University of British Columbia, in Vancouver Michael served as teaching Vancouver Canada, studying trumpet with assistant to Maestro Dwight Bennett and Mr Larry Knopp. the University of British Columbia Orchestra. Having received his degrees in orchestral In 2014 and 2015 Michael took part in performance, Michael has performed with Symphony Services International’s the Queensland Symphony, Vancouver Conductor Development Program. This Symphony, Prince George Symphony, allowed him to work with Maestro North Czech Philharmonic and the North Christopher Seaman, Maestro Johannes Czech and Ballet. Fritzsch, the Auckland Philharmonia and the Tasmanian Symphony Orchestra. Michael also undertook studies in choral and orchestral conducting, and was In recent years Michael has worked for assistant conductor for the Queensland Opera Queensland's Open Stage, an Conservatorium’s opera productions of education program for south east Puccini’s Suor Angelica & Gianni Schicchi, Queensland high schools. Michael is also Ravel’s L’Enfant et les Sortileges, Gluck’s resident conductor of the St Andrew's Community Orchestra, South Brisbane. Soloist KARIN SCHAUPP

Karin Schaupp is one of the most outstanding young guitarists on the international scene. She performs widely on the international Karin has released five highly acclaimed stage as a recitalist, concerto soloist and solo CDs, all of which have proven to be festival guest, and has given countless classical best-sellers shortly after their recitals in Australia, Europe, Asia, the US, release. Her debut Soliloquy (1997) was Mexico and Canada. Karin’s playing followed by Leyenda (1998), Evocation receives the highest acclaim from critics (2000), Dreams (2004), and most recently and audiences alike and she is held in Lotte’s Gift (2007), the soundtrack to the great esteem by her peers worldwide. Her play of the same name, which was written unique stage presence and magical, for her by David Williamson. Classical Guitar Magazine (UK) praised Soliloquy as passionate playing have inspired several "a pace-setting performance in all composers to write works especially for respects…", while the Ottawa Citizen her. (Canada) described Karin’s playing on Leyenda, with "The poetic intensity and Karin’s guitar training began at the age of sense of elation in her playing are truly quite five and she first performed in public the special”. following year. While still in her teens she won prizes at international competitions in Orchestral releases include the award- Lagonegro, Italy and Madrid, Spain, where winning world premiere recording of Ross she was also awarded the special Edwards’ Concerto for Guitar and Strings competition prize for the Best Interpretation (2004), and Peter Sculthorpe’s Nourlangie of Spanish Music. (2005) for guitar and orchestra with the Tasmanian Symphony Orchestra. Karin completed her tertiary music studies Collaborative ensemble releases include at The University of Queensland with First three albums with Saffire, The Australia Class Honours, a Masters degree and was Guitar Quartet; and a duo album with the recipient of a University Gold Medal. In Genevieve Lacey (recorders). Upcoming CD releases include a collection of Spanish 2003 she was awarded the Music Council concertos recorded with the Tasmanian of Australia Freedman Fellowship in Symphony Orchestra, and with Cantillation recognition of her achievements. (choir). Soloists ROSA GUITAR TRIO

Ben Ellerby, Libby Myers and Joe Fallon are the Rosa Guitar Trio.

The three classical guitarists met through Contemporary Arts, Queensland their studies at the University of Performing Arts Centre, St John’s Queensland and have been playing Cathedral and the Redlands Performing together in Brisbane for four years. During Arts Centre. The three are currently this time they were invited to appear in a undertaking their Masters in classical guitar number of the University’s Lunchtime performance at UQ under the tutelage of Concert Series, and in 2013 won the Karin Schaupp, as well as teaching 4MBS Musica Viva Sid Page Memorial extensively in schools around Brisbane. All Prize in Chamber Music. In 2014 the trio three members have been selected to performed at the Adelaide International compete in the Adelaide International Guitar Competition in August this year. The Guitar Festival, opening the Festival Finale trio has become known for their energetic Concert for internationally renowned and joyful performances of diverse artists such as Pepe Romero, Slava repertoire that spans centuries and genres. Grigoryan and Yamandu Costa. This repertoire includes unique arrangements of Renaissance and They have performed as a group and as Classical era masterpieces, contemporary soloists in prestigious Queensland venues Australian works for guitar trio, and such as the Judith Wright Centre for infectious Brazilian jazz. PROGRAM NOTES

The next section sounds almost more- Antonio Carlos Gomes Verdian than Verdi himself, a warm march- (1836-1896) like melody played in unison by violins and celli and leading into a frantic impassioned Overture to Il Guarany (1870) section with wailing piccolos and violent tremolos in the strings and fierce brass ...... writing, culminating in a series of abrupt chords. Hailed as Brazil’s greatest opera After a brief transition, the next section is composer, Gomes is now sadly all but staccato and mysterious, growing in unknown outside his native country, intensity up to another orchestral climax. A although for a brief period in the late 1800s short transition passage with interplay his talent was lauded in Europe as well as between the strings and the winds leads to in Brazil, with Verdi himself lauding Gomes a quotation from the love duet between as a “real musical genius” and Italian King Cecilia and Pery (with rhapsodic harp Victor Emmanuel bestowing an award of accompaniment), which then becomes merit upon him; indeed Gomes was the more excited and impassioned and leads only non-European to have his works part to a bravura run of semiquavers by the of the standard repertoire, although they violins leading up to a sudden pause - and have since fallen into obscurity. then a triumphant return of the love duet melody for full orchestra, which then leads His masterpiece is the opera Il Guarany into a boisterous coda that sets the scene from 1870, which was premiered at La for the opera to follow (and would not be Scala itself in Milan, and was well received out of place coming before many Verdi both there and in Brazil. The story of the ; indeed the ending of the overture opera is the love between Cecilia, a is very similar to Verdi’s La Forza del Portuguese daughter of a noble house, Destino overture, albeit with a bit of South and the indigenous chief Pery of the American exoticism added!). Guarany tribe. As with most operatic love stories, it ends in tragedy, with Cecilia’s father Don Antonio blowing up his castle (with himself and his enemies inside) in order to save his daughter.

Gomes’ music is stylistically similar to Verdi’s, but with some deft touches of that provide an interesting take on an otherwise-familiar musical style. As with most operatic overtures, the overture to Il Guarany quotes extensively from music from the opera itself, beginning with a dramatic fanfare that is later played to accompany Don Antonio’s sacrifice. A more- lyrical episode follows, and then a return to the fanfare. While Il Guarany itself has only received over an accompaniment by the four the occasional performance out of Brazil in soloists, who then take over with a series the 20th century, the overture has proved of solo episodes, contrasted with the more-popular and is a staple of Brazilian Bolero rhythm played by the orchestra with . BPO is delighted to bring this staccato winds and ricochet-bowings for underappreciated work to Brisbane in what the strings. The music turns minor and is believed to be the Queensland (and melancholy with an exotic feel, but then a possibly Australian) premiere. contrasting section - in 1 in a bar rather than the triple time of the Bolero rhythm, provides some comedy, accentuated by two loud “out of tune” chords by the Joaquin Rodrigo (1901-1999) orchestra! The Bolero itself then recurs and Concierto Andaluz (1967) the main melodic material of the movement is repeated (in different keys) before a brief ...... coda brings the movement to a close. The beautiful second movement is in Joaquin Rodrigo was a virtuoso pianist and ternary (ABA) form and has the character composer – even more remarkable for of a nocturne, opening with a sustained having been blind since the age of three. shimmer of pianissimo strings and a Rodrigo wrote all his compositions in gently-flowing passage by one solo guitar, Braille, which was then transcribed into over which the main theme is played by the traditional musical notation for first guitar, with characteristic Spanish performance and publication. grace notes and ornamentation. The winds enter with countermelodies, and then Best known for his Concierto de Aranjuez finally the strings take over the main theme for solo guitar from 1939, Rodrigo also of the movement in an impassioned wrote several other concertante works for conclusion to the opening section. The guitar and orchestra, including the contrasting middle section is in triple time Concierto Andaluz for four guitars and and faster, and has the character of a orchestra from 1967, which was dance, with lilting woodwinds and running commissioned by Spanish guitarist note passages played by the soloists which Celedonio Romero for performance by grow in complexity and virtuosity and turn himself and his three sons. Like his other into an extended cadenza for the four guitar concertos, the Concierto Andaluz soloists. After the cadenza, the first section has been somewhat-unfairly returns and is repeated before a brief coda overshadowed by the Concierto de changes the key to major at the very end. Aranjuez and this is believed to be the Queensland premiere of the work. The third movement is a joyous dance with more strumming Spanish rhythms, initially It is scored for a medium orchestra with played by the four soloists and then taken strings, wind and trumpets, with louder over by the orchestra, again with ricochet instruments like the lower brass removed bowing by the strings. A contrasting faster to assist in balancing the guitar, which is section in 6/8 time forms the central much quieter than most solo instruments section of the movement, with running and would otherwise struggle to be heard notes passed between the soloists, strings against full orchestra. and woodwinds, before the strumming dance returns again and the movement As with all of Rodrigo’s music, the finishes with a short coda and three Concierto Andaluz is filled with the plucked chords. rhythms and character of his beloved Spain. The first movement (Tempo di As a reward for his lifetime of contribution Bolero) is full of the characteristic rhythm to Spanish music, Rodrigo was raised to of the Bolero dance, opening with the Spanish nobility in 1991 – fittingly as strummed guitars and abrupt chords for the Marques de los Jardines de Aranjuez the full orchestra. The main theme of the (Marquis of the Gardens of Aranjuez). movement is then played by the violins PROGRAM NOTES (CONT.)

Ottorini Respighi (1879-1936) movement is particularly virtuosic, with slithering clarinet writing and rapid bassoon Impressioni Brasiliane (1928) passages suggesting the writhing and coiling of snakes, while the rattling of tambourines ...... suggests the hissing of rows and rows of caged serpents. The second section moves Much of Respighi’s orchestral output forward with a faster, rollicking melody, relates to his beloved adopted city of which grows in intensity until the final section Rome, adorning it musically with a series of of the movement has the strings playing tone poems - the Pines, Fountains and tremolando and sul ponticello (on the bridge Festivals of Rome - but two visits to Brazil of the instrument) to give the sound a glassy in the 1920s produced a work that captures tone quality and urgent wind passages the spirit of Brazil in the same way that underneath evoke excitement and danger - Respighi vividly pictured Rome in music. perhaps feeding time? - while the strings play the Dies Irae (Day of Wrath) chant from Although originally intended to have five the traditional setting of the Requiem mass movements, by the end of his second visit and the movement ends in an unsettled to Brazil only three had been completed, mood. and the first movement was actually premiered in Rio de Janeiro in 1928 before The third movement Canzone e Danza “Song Respighi’s return to Italy. The work was so and Dance” is a return into celebratory well-received that Respighi decided it mood, based on music heard at Carnival in needed no additional movements to be Rio and evoking the feel of samba dance. In successful! simple ternary form, the outer sections are a brilliant dance over an accompaniment As with his better-known Roman works, evocative of strummed guitars, while the Impressioni shows Respighi’s mastery of inner section is a robust and playful orchestral colour, especially in the first orchestral song. movement, “Tropical Night”, which is an atmospheric and gentle work filled with the sounds of distant dances and the soft murmurings of tropical breezes. The Heitor Villa-Lobos (1887-1959) opening begins with the first violins playing Bachianas Brasileiras No. 4 a syncopated rhythm that recurs throughout the work, under which some “sighing” (1942) melodies on the winds set the scene. The following sections present a vivid series of ...... musical “snapshots” - a lilting melody played originally on celeste and later on Brazil’s most famous and successful oboe, an extended languorous clarinet solo, composer, Villa-Lobos is best known to and a more-robust melody for strings - modern audiences for his nine Bachianas before the movement subsides into a gentle Brasilerias, which are compositions for conclusion. various instrumental groups based around the concept of “Bach in Brazil” - i.e. taking The second movement, “Butantan”, is Baroque compositional forms and inspired by a visit to a snake research practices, and using them to develop institute near São Paulo, and melodies based on Brazilian folk and popular begins chillingly with strings playing music. Although the melodies are folk-like, nonvibrato and calculated dissonances to they are all original compositions by Villa- give an unsettled, “creepy” Lobos, albeit in the style of Brazilian folk atmosphere. The wind writing in this music. The fourth Bachiana was originally written The third movement, Aria (Cantiga, “Song”) for piano, and later arranged by the is another sequence of atmospheric composer for full orchestra, and consists “character variations” on a sorrowful- of four movements, each with both sounding melody. Initially presented simply, Baroque and Brazilian movement titles. it takes on very different character in the different variations - most strikingly in the The opening movement (Preludio / central section where the tempo increases Introdução “Introduction”) is perhaps the and syncopated countermelodies give the most “Bachian” of the set. Scored only for melody - now presented fortissimo and strings, it is based on a syncopated heavily accented - a manic and malevolent melodic cell, which is developed and character. sequenced in the manner of a Bach prelude (and, coincidentally, is very similar The finale, Danza (Dance), is subtitled to the prelude movement in Bach’s Miudinho, which is a style of the Brazilian spurious Orchestral Suite No. 5, which was martial art-cum-dance capoeira, and probably written by one of Bach’s sons). features complicated and exciting rhythms. The orchestral writing, however, is much The overall structure is ternary (A-B-A), more virtuosic than Bach’s idiom, with the with the opening section featuring a emotional and textural range of the music virtuosic running passage of semiquavers extending to the full range of the string played by the first violins against section. syncopated counter-rhythms in the winds. A transition passage, with small melodic The second movement, Coral (Chorale), is fragments being passed from section to subtitled Canto do sertão (“Song of the section through the orchestra, leads to the wilderness”), and consists of a sequence central section, which is more-lyrical of ‘scenes’ based on the repetition and (although still with considerable energy). A development of a chorale melody, initially series of syncopated chords for full introduced by oboe and horns. With each orchestra marks the return of the initial ‘A’ successive variation, the accompaniment section, now played up the octave, which and countermelodies grow in texture, as if brings the work to a spirited conclusion. showing vistas of the Brazilian countryside, culminating in a magnificent chorale on trombones with a virtuosic accompaniment by the strings and winds. Program notes by Cameron Hough ABOUT THE ORCHESTRA

The Brisbane Philharmonic Orchestra romantic, and 20th century composers, light (BPO) is Brisbane’s leading community concerts including film music, as well as orchestra. The orchestra brings together up concerts with programs targeted at a to 200 musicians a year to play a variety of younger audience. Additionally, BPO classical orchestral music. Over 100 occasionally performs chamber music members of the incorporated association concerts, featuring smaller groups in a more form the core of the orchestra. Other intimate setting. players perform as casual musicians, but often join as full-time members after their The BPO maintains many community first concert with BPO. The orchestra was partnerships including with the Queensland founded on principles of musical excellence Music Festival, 4MBS Festival of Classics, and development, communal participation, Brisbane City Council, and The Brisbane and organisational professionalism. Airport Corporation. These partnerships provide essential connections in artistic, Since its creation in 2000, the BPO has educational, professional, and social become the community orchestra of choice programs and cater to the association’s for over 500 musicians. It is eagerly sought increased responsibility to culturally as a performance partner for touring choirs, enhance localities and bring a diversity of festivals, and internationally acclaimed people together in a fast-paced, ever- instrumentalists and vocalists. The BPO impersonal global village. Unusually for a performs its own series of symphony community orchestra, entry to the BPO is by concerts and participates in multiple audition and the ensemble is the only community and festival events throughout community orchestra within the city that the year, attracting an audience of over rotates guest conductors by invitation rather 2,500 people. The orchestra’s main than establishing a permanent Music metropolitan concert series includes four to Director. Uniquely, this allows a variety of five symphony concerts at Brisbane City the finest local professional conductors to Hall and the Old Museum Concert Hall. deliver diverse and innovative programming Programs vary between concerts featuring to artistically stimulate members of the the great classical, orchestra. THE TEAM DONATIONS Executive Committee The Brisbane Philharmonic Orchestra President: John Connolly accepts donations from individuals, groups Vice-President: Yvette McKinnon and businesses. Every donation, whether it Secretary: Keith Gambling be a one off donation or an ongoing Treasurer: Daniel Sullivan arrangement, greatly assists us to realise Committee Member: Gabriel Dumitru our goal of delivering an annual program of Committee Member: Carl Bryant high-quality music-making to benefit the Committee Member: Melanie Taylor Brisbane community and our members.

Officers BPO holds deductible gift recipient status Auditions Co-ordinator: Amy Phillips (DGR) for tax purposes. All donations over Catering: Bec Johnson $2.00 are tax deductible and receipts are Marketing: Keith Gambling provided.

If you would like to volunteer, contact: For further information email [email protected] [email protected]

AUDITIONS Being a member of the BPO is a rewarding community experience and a lot of fun. Our members are just like you – ordinary people who enjoy coming together to make extraordinary music! Auditions are held to fill vacant positions or to appoint suitable reserve players capable of filling temporary vacancies from time-to-time.

Visit our website to download audition excerpts and fill out the online form to sign up! www.bpo.org.au

WANT TO HEAR MORE FROM US?

We can email you a newsletter with information about BPO’s upcoming concerts so you never miss another great concert again.

Simply send us an email to [email protected] to register your interest in subscribing to our newsletter. Of course, you can contact us at any time to unsubscribe. WHAT'S NEXT? GUILTY THE PLEASURES REVOLUTIONARIES

Join us for a delightful afternoon of Maestro Chen Yang returns to baroque and classical chamber conduct Beethoven’s Egmont music, featuring Mozart Symphony Overture and Piano Concerto No. 3, No. 31 and Handel's Music for the performed by 2016 Concerto Royal Fireworks. Competition winner Levi Hansen.

Serbian-born harpist Tijana Kozarčić We conclude the year with a will join us for a performance of performance of Shostakovich’s iconic Handel's charming Harp Concerto in Fifth Symphony. B flat. Sun 27 November Sun 25 September 3pm 3pm Venue Venue Old Museum Concert Hall Old Museum Concert Hall

Tickets www.bpo.org.au or phone 3847 1717 Sponsors and Partners

Principal Season Sponsors for 2016 season Season Supporter

Business Supporters

Website www.bpo.org.au Email [email protected] Post PO Box 792 Paddington QLD 4006

Copyright Brisbane Philharmonic Association Inc. All details correct at time of printing. BPO reserves the right to change details as necessary.