Dreamscapes Music for Your Wildest Dreams

DREAMSCAPES MUSIC FOR YOUR WILDEST DREAMS

SAT 13 APRIL 2019 CONCERT HALL, QPAC WELCOME

Good evening and welcome to Dreamscapes. We are so pleased you could join us.

Tonight you are in for something special as we present three diverse and breathtaking works. To kick off we perform Elena Kats Chernin’s Mythic, a really evocative piece. You may remember we premiered Elena’s Lebewohl (Piano Concerto No.3) in September last year, and we are thrilled to be playing her music again.

It’s a particularly exciting night for me, as we share our stage with acclaimed clarinettist Alessandro Carbonare for the first time. Alessandro is Principal Clarinet of the Orchestra di Santa Cecilia in Rome, and he joins us to perform Aaron Copland’s Concerto for Clarinet and Orchestra. This is a spectacular piece, with moments of serene calm and spirited exuberance in equal measure. I’m especially looking forward to hearing Alessandro play Copland’s jazzy second movement, so be sure to listen out for that. It’s a real treat.

The other highlight of tonight’s concert is Berlioz’s Symphonie Fantastique, an epic work that showcases all the sections of our orchestra. Our brass and percussion musicians particularly enjoy playing this symphony, so watch for their big moments. Berlioz was crazy-in-love and chose to represent his passionate turmoil through music. You can read more about his artistic obsession in the listening guide that follows. This is an emotional rollercoaster, so tighten your seatbelts and enjoy the ride.

We hope you enjoy the concert!

Irit Silver Section Principal Clarinet CONTENTS Queensland Symphony Orchestra IN THIS CONCERT PROGRAM WELCOME 1 Conductor Jaime Martín Kats-Chernin Mythic IF YOU'RE NEW TO THE ORCHESTRA Clarinet Alessandro Carbonare Copland Concerto for Clarinet 2 and Orchestra This concert will be broadcast live on Berlioz Symphonie Fantastique LISTENING GUIDE ABC Classic. 3 Approx. duration 110 mins (including an interval of 20 mins after the Copland). GLOSSARY OF TERMS 7

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 12 To ensure an enjoyable concert experience for everyone, please remember to turn off your mobile phones and all other electronic devices. Please muffle coughs and refrain from talking during the performance. 1

Based on Berlioz layout.

PERCUSSION TIMPANI Elena Kats-Chernin (born 1957)

Mythic TRUMPET

TROMBONE FRENCH HORN Elena Kats-Chernin was born in the Uzbekistan capital, Tashkent, and studied in Moscow, Sydney and Hanover. One of Australia’s most prolific and popular composers, CLARINET BASSOON TUBA she has written music for orchestra, chamber ensemble, theatre and ballet. In 2004 HARP she won a Helpmann Award for her score for the Meryl Tankard ballet Wild Swans. FLUTE OBOE ‘Eliza Aria’, from Wild Swans, achieved wider fame when it was used in a Lloyds TSB PIANO advertising campaign. Her piece Russian Rag was used in the 2009 stop-motion film Mary and Max by Academy Award-winning Australian director Adam Elliot. VIOLIN 2 CELLO DOUBLE BASS

VIOLIN 1 For the opening ceremony of the 2000 Sydney Olympic Games Kats-Chernin wrote Deep VIOLA Sea Dreaming, a work she says was very much about Sydney and the sea. Mythic dates from 2004 and was premiered around the time of the Athens Olympics. This time, she decided to reflect on the Olympics in a more internal way: WHO SITS WHERE Mythic grew out of a passacaglia-like chordal progression which had grabbed hold of me and wouldn’t let go. I wanted to attempt a direction I had not explored previously, and that was to stay in a slow, dark mood for a lengthy period and to see where that Orchestras sit in sections based on types of instruments. There are four main sections in the Western classical orchestra: took me. Eventually it grew into a kind of a hymn with variations, sometimes almost strings, woodwinds, brass, and percussion, and sometimes a keyboard section. Romantic, that made extensive use of the orchestra’s brass section. The title Mythic refers to the mental image I had of musically entering into a large, mythical cave. STRINGS BRASS Elena Kats-Chernin © 2004 These instruments produce sound by Brass players create sound by vibrating bowing or plucking stretched strings. their lips. When this vibration First and Second Violins is pushed through large brass tubes, it creates a huge sound. Viola Aaron Copland (1900-1990) Horn Cello Trumpet / Cornet Concerto for Clarinet and Orchestra Double Bass Trombone Harp I. Slowly and expressively Tuba II. Rather fast

WOODWIND PERCUSSION A sweetly rocking lullaby wafts as if from an open window. Floating, the solo clarinet Wind instruments produce sound by These instruments create sound by being sighs serenely. In his sketches for this peaceful opening, Copland writes, ‘night being blown into - the vibrating air struck. Some instruments just make a music…lonely’. Nostalgia fills the evening air, gentle music originally written for a US from the musician creates the sound. sound; others play particular notes. Government film made to build pride and hope in new migrants. Flute Timpani, Bass Drum, Cymbals, 2-deep Clarinet bells, Snare Drum, Suspended Cymbal, In 1947 two artists, seeking new directions, stumble upon one another. Both second- Oboe Vibraphone, Drum, Tom-toms, Claves, generation Americans, the children of poor immigrants from Eastern Europe. Both Bassoon Hi-hat. reserved, uncommunicative, physically stiff. Both outsiders, one a gay man with communist sympathies, the other a perfectionist whose demands isolate him from KEYBOARD others. Both Jewish men in a Christian country. Keyboard instruments are played by pressing keys. Piano 2 3 LISTENING GUIDE

The clarinet, an alien in a band of strings, harp and piano, withdraws to reflect, Hector Berlioz (1803-1869) alone. This solo cadenza bridges two movements, two worlds. Beginning in calm contemplation, the clarinet explores a simple musical idea, turning anxious, then Symphonie Fantastique (Fantastic Symphony), Op.14 impatient, then insistent. Copland’s sketches reveal his battle to perfect this 1. Rêveries, Passions straightforward yet crucially important moment, of a too-human struggle with 2. Un bal (A Ball) communication. 3. Scène aux champs (Scene in the Country) 4. Marche au supplice (March to the Scaffold) Aaron Copland, lanky with a toothy smile, is boyish at 47. He has helped create a canon 5. Songe d’une nuit du sabbat (Dream of a Witches’ Sabbath) of ‘recognisably American’ compositions, notably with the New Deal-era Americana of Appalachian Spring and the Third Symphony. Now Copland looks further afield, The first performance of the Symphonie Fantastique on 5 December 1830 marked a experimenting with musical modernism, inhaling the ‘overpowering, exhilarating’ music turning-point in Berlioz’s career. It was through this work that he first became known; of Central and South America, and drawing on the sounds and spirit of jazz. his extensive influence on 19th-century composers dates from it. For the audience it opened a new era in music. For despite its apparent obeisance to classical procedures, At 38, clarinettist Benny Goodman, the ‘King of Swing’, is stocky, bespectacled. Swing this music sounded like no music ever heard before. is no longer mainstream, overshadowed by crooner pop and bebop. Ten years prior, this teen idol stuck a toe into classical music’s waters, restless for new collaborations, new The actual music of the Symphonie Fantastique is surrounded by a thick hedge of ways to communicate. Now Goodman plays with great ensembles and conductors, literary and biographical associations. Berlioz himself is largely responsible for this. Firstly premieres major new works. His current commission, for a clarinet concerto from a there is the tale of Harriet Smithson, a hapless Irish actress whose portrayal of Ophelia gawky, earnest New Yorker, will become his lasting gift to the classical world. had captured Berlioz’s imagination. In 1830, he wrote to a friend that the Symphonie was to depict his ‘infernal passion’ for Miss Smithson. Twenty years and two disastrous The fast second movement begins with a prickly apparition in the orchestra, marked marriages later, he wrote in his Memoirs that the work had been written under the ‘wraith-like’. It terrifies the clarinettist into silence, setting the scene for an unpredictable influence of Goethe’s Faust. But the early association stuck. soloist/ensemble relationship: sometimes tentative, occasionally supportive, usually adversarial. Seesawing unpredictably, the music veers from spiky to suave, crude to A more imposing literary obstacle is the elaborate program which Berlioz himself vigorous, good-humoured to wild, an entertaining rollercoaster ride held together by the devised, and which he originally directed should accompany the Symphonie whenever fights, games and dances of antagonists. it was played. In brief, it deals with a young musician, in the toils of a desperate passion for a woman who embodies his romantic ideal. The vagaries of feeling occasioned by his Goodman and Copland had reason to expect a stimulating creative relationship. They passion are the subject of the first movement. In the following movements we see him respected one another, and Copland imagined that working with a jazz musician would in various situations: at a ball, in the midst of nature in the country, in the grip of an spur a ‘fresh point of view’. But evidence suggests that these reserved, exacting and opium dream witnessing his own execution, and partaking in a Witches’ Sabbath, where uncompromising musicians did not enjoy an easy or joyful collaboration. The two would his beloved appears transformed into a demon’s harlot. remain aloof with one another for the rest of their lives. Berlioz revised the program four times, modifying it quite significantly in the process. Goodman’s fingerprints coat Copland’s pithy, eventful concerto, full of jerky He also modified his view of its usefulness, finally directing that, whenever the syncopations, written-out swing solos, arching boogie woogie lines, sliding strings, and Symphonie is played alone, without its stage sequel Lélio, the program was not to be sultry slap-bass. The composer’s contemporaneous travels through Brazil are strongly distributed. However, the titles of the movements must be retained. The composer felt in seductive folk tunes, full-throated outbursts and earthy dances. This grab-bag of sensed rightly that the music was coherent and comprehensible in its own terms, and influences is transformed by Copland, who sharpens angles, polishes aspects, magnifies did not need any added literary explanation. details and shaves fat. It remains a glorious patchwork, a musical testament to the creative curiosity of two restlessly searching musical minds. The true originality of the Symphonie Fantastique lies in the music itself. The many novelties of its melody, harmony and orchestration strike our ears even today. Most Tim Munro © 2016 significantly, however, the work embodies an entirely new conception of dramatic

instrumental music. In realising the new dramatic ideal in his music, Berlioz modified The following terms appear in bold the first time they appear in the listening guide. Classical symphonic practices in several respects: the number and grouping of the Passacaglia: slow, dance-like music which occurs over a repeated musical phrase in the movements, the character of the individual movements and the treatment of the main bass. theme. Chordal progression: a series of musical chords (a set of pitches consisting of three or The ‘hero’ of Berlioz’s symphonic drama is not the musician of the program, but the more notes). first theme of the ‘Passions’ section of the first movement. This theme is the subject Hymn: a type of song or melody, usually religious and written for prayer. and source of action in the whole work. Development of the theme is projected into Romantic: a period in Western classical music from the late eighteenth/early nineteenth five specific ‘situations’; time and place are suggested by the movement titles, but century related to the artistic and literary movement of Romanticism. the situations are evoked by the music itself, in the introduction that precedes each movement. The most important dramatic events occur in the first, third and fifth Cadenza: an ornamental passage, either improvised or written out, usually played by a soloist or group of soloists, often displaying virtuosity. movements, with the other two movements, ‘A Ball’ and ‘March to the Scaffold’, complementing each other as episodes. Movement: a section of a work.

Berlioz continued to develop his dramatic symphonic ideal in Harold in Italy – with its Syncopation: syncopated music has a variety of rhythms which disrupts a regular beat. solo viola ‘hero’ – and in Roméo et Juliette, where symphonic form is further enlarged to Slap-bass: a way of playing the Double Bass that involves pulling and letting go of the embrace Shakespeare’s play. But perhaps he never again succeeded as perfectly as he strings so that they make a slapping sound when they hit the instrument’s fingerboard. does here in the Symphonie Fantastique. Symphonie/Symphony: a large or extended musical composition, most commonly written for Western classical orchestra and containing around three or more movements. Abridged from a note © Kay Dreyfus Theme: a subject, usually melodic, of a work.

Jaime Martín Alessandro Carbonare Conductor Clarinet

In September 2019, Jaime Martín will Upcoming debuts include Alessandro Carbonare was born in Alessandro is not only an active become Principal Conductor of the engagements with the Sydney, Desenzano del Garda, Northen Italy. classical musician, but also involved RTÉ (Raidió Teilifís Éireann) National Melbourne, Tasmanian and West He joined the Orchestra di Santa in jazz and klezmer projects. He has Symphony Orchestra and Music Australian Symphony orchestras. Cecilia as Principal Clarinet in 2003, collaborated with many famous friends Director of the Los Angeles Chamber Jaime is the Artistic Director of the having held the same position with including Leonidas Kavakos, Yuja Wang, Orchestra. He has been Artistic Santander Festival and was also a the Orchestre National de France for Pinkas Zuckerman, Alexander Lonquich, Director and Principal Conductor of founding member of the Orquestra de 15 years. As guest Principal Clarinet Lang Lang, Martha Argherich, Paquito Gävle Symphony Orchestra since 2013. Cadaqués, with whom he has held the he has also played with The Berlin D’ Rivera, Luis Sclavis, Enrico Pieranunzi, title of Chief Conductor since 2012. He Philharmonic, Chicago Symphony and Stefano Bollani. Having spent many years as a highly is also a Fellow of the Royal College of Orchestra, and The New York regarded flautist, working with the Music, London, where he was a flute Philharmonic. As a dedicated teacher, Alessandro most inspiring conductors of our time, professor, and he now enjoys working is the professor at the Accademia Jaime turned to conducting full-time with many of his former students in Alessandro has won many international Nazionale di Santa Cecilia in Rome in 2013. Since then he has worked orchestras around the world. competitions around the world and and Fondazione Accademia Musicale with an impressive list of orchestras appeared as soloist with the Orchestre Chigiana in Siena. that includes the London Symphony de la Suisse Romande, Spanish National Orchestra, London Philharmonic Orchestra, The Oslo Philharmonic, Orchestra, Frankfurt Radio Symphony, Südwestdeutsches Kammerorchester Royal Liverpool Philharmonic, Swedish Pforzheim, Bayerischer Rundfunk, Radio Symphony Orchestra, Barcelona Wien Sinfonietta, Orchestre National Symphony Orchestra, New Zealand de France, Berlin Radio Symphony Symphony Orchestra, Colorado Orchestra, and all the major orchestras Symphony, Queensland Symphony in Italy. Orchestra, Gulbenkian Orchestra, Academy of St Martin in the Fields, Career highlights include a personal Deutsche Radio Philharmonie invitation from Claudio Abbado to play Saarbrücken Kaiserslautern, and in the Lucerne Festival Orchestra and L’Orchestre Philharmonique de Radio produce a live recording of the Mozart France. Clarinet Concerto K.622 for Deutsche Grammophon, which won the 49th In January 2019, he completed a nine- Record Academy Awards in 2013. Other concert tour of Europe with the London recordings for Decca include ‘The Art of Philharmonic Orchestra, including the Clarinet’ and ‘Invenzioni’. performances in Munich and Cologne.

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11 MUSIC CHAIR DONORS

Music lovers who support an individual musician’s role within the Orchestra Paul O'Brien ASSOCIATE PRINCIPAL PRINCIPAL TUBA Roslyn Carter BASSOON Thomas Allely and gain fulfilment through personal interactions with their chosen musician. David Mitchell Arthur Waring We thank you. Ken Poggioli John and Helen Keep Anonymous BASSOON PRINCIPAL HARP CONCERTMASTER Faina Dobrenko Nicholas Tomkin Evan Lewis Jill Atkinson Warwick Adeney The Curavis Fund Alan Symons CP Morris Noel and Geraldine Whittaker Prof Ian Frazer AC SECTION PRINCIPAL FLUTE and Mrs Caroline Frazer Alison Mitchell Simon Dobrenko Alan Symons PRINCIPAL TIMPANI Estate Barbara Jean Hebden The Curavis Fund SECTION PRINCIPAL CELLO PRINCIPAL Cathryn Mittelheuser AM CONTRABASSOON Tim Corkeron David Lale ASSOCIATE PRINCIPAL FLUTE Dr Philip Aitken and John Story AO and Arthur Waring Claire Ramuscak Georgina Story Delia Kinmont Hayley Radke CP Morris Dr Susan Urquhart Dr Colin and Desmond B Misso Esq Peggy Allen Hayes Mrs Noela Kratzing ASSOCIATE PRINCIPAL CELLO ASSOCIATE CONCERTMASTER Hyung Suk Bae PRINCIPAL PICCOLO SECTION PRINCIPAL SECTION PRINCIPAL Alan Smith Natalie Low Benn Day Kate Lawson FRENCH HORN Dr Ralph and Mrs Susan Cobcroft PERCUSSION Arthur Waring John Story AO and Dr James R Conner Malcolm Stewart David Montgomery Georgina Story Arthur Waring Dr Graham and Mrs Kate Row Tim Marchmont Young Professional Circle FIRST VIOLIN Support a Musician Today SECTION PRINCIPAL OBOE PRINCIPAL FRENCH HORN Shane Chen Huw Jones Ian O'Brien ASSOCIATE PRINCIPAL Jessica Read Nicholas Thin CELLO Prof Ian Gough AM and Support a Musician Today PERCUSSION Benn Day Kathryn Close Dr Ruth Gough Josh DeMarchi Lynn Cole Simon Mills Dr Graham and Mrs Kate Row Dr Graham and Mrs Kate Row Neil W. Root ASSOCIATE PRINCIPAL Young Professional Circle ASSOCIATE PRINCIPAL OBOE FRENCH HORN Andre Duthoit Sarah Meagher Alex Miller Ann Holtzapffel Helen Travers Anne Shipton Sarah and Mark Combe Aitken Whyte Lawyers Mr Nick Beaton & Elinor and Tony Travers Dr Pamela Greet OBOE SUPPORT A MUSICIAN Rebecca Seymour Matthew Jones Harold Wilson M.J. Bellotti Alexa Murray TODAY Dr John H. Casey Trevor J Rowsell Dr Les and Ms Pam Masel FRENCH HORN Vivienne Collier-Vickers Joan Shih Matthew Kinmont Ms Marie Isackson 07 3833 5027 Dr Julie Beeby Simon Mills SECTION PRINCIPAL VIOLA PRINCIPAL COR ANGLAIS [email protected] Imants Larsens Vivienne Brooke Lauren Manuel Brenda Sullivan Support a Musician Today Kaja Skorka CP Morris Dr John H. Casey qso.com.au Heidi Rademacher and in Robin Spencer memory of Hans Rademacher ASSOCIATE PRINCIPAL VIOLA Anonymous Anonymous Yoko Okayasu SECTION PRINCIPAL SECTION PRINCIPAL Dr Damien Thomson and CLARINET TRUMPET Craig Allister Young Irit Silver Stephen Tooke Dr Glenise Berry Di Jameson Sarah Butler Tony and Patricia Keane Arthur Waring Mrs Andrea Kriewaldt VIOLA Brynley White Charlotte Burbrook de Vere ACTING ASSOCIATE ASSOCIATE PRINCIPAL SECTION PRINCIPAL PRINCIPAL CLARINET Graeme Rosewarne and Di Jameson Double Bass TRUMPET Jim O’Neill Brian Catchlove Richard Madden Phoebe Russell Support a Musician Today Nicole Greentree Di Jameson Elinor and Tony Travers Shirley Leuthner Sidney Irene Thomas (In memory) SECTION PRINCIPAL Kate Travers TRUMPET SECOND VIOLIN Dr Julie Beeby Paul Rawson Gail Aitken Bernard Hoey ASSOCIATE PRINCIPAL DOUBLE BASS Mr Nick Beaton and Dr John H. Casey Desmond B. Misso Esq PRINCIPAL BASS CLARINET Dr Pamela Greet Dušan Walkowicz Nicholas Harmsen Amanda Boland Wayne Brennan Kirsten Hulin-Bobart Support a Musician Today Arthur Waring SECTION PRINCIPAL CP Morris DOUBLE BASS SECTION PRINCIPAL Anne Buchanan TROMBONE BASSOON Jason Redman SECOND VIOLIN Jann Keir-Haantera Dr Betty Byrne Henderson AM Nicole Tait Katie Betts Frances and Ms Helen Sotiriadis In memory of Stephen Maitland OAM RFD Support a Musician Today Justin Bullock Margaret Mittelheuser AM Michael Kenny and David Gibson Jane Burroughs Graham Simpson Dr Graham and Mrs Kate Row Alan Galwey 12 Alan Galwey Terry and Jane Daubney Eloise Gluer ANNUAL GIVING Dr Edgar Gold AM, QC and Dr C. Davison Amy Greene Dr Judith Gold CM Laurie James Deane Hannah Grigg Music lovers who have supported your Orchestra over the last 12 months. Ms Julia Gray Stephanie Derrington Miss Cassandra Heilbronn We thank you. Lea and John Greenaway In memory of Andrew and Anita Jones Dr and Mrs W.R. Heaslop Mrs Marjorie Douglas Elizabeth Kelly ALLEGRO Dr James R Conner Emma Covacevich Dr Peter Hopson and Mrs Wendy Drew Dylan Kerr ($100,000 – $249,999) T.C. and M.R. Cooney The Curavis Fund Julie Crozier Ms Carolyn Eacoll Mr Alexander Mack Tim Fairfax AC Tim and Elaine Crommelin Justice Martin Daubney Deb Houlahan Prof. John and Mrs Denise Elkins Benjamin McIntyre Tim Fairfax Family Foundation Benn Day Dr Betty Byrne Henderson AM Ms Marie Isackson Ms Robyn Elliott Marnie Nichols Trevor & Judith St Baker Family Prof. Ian Gough AM and Tony and Patricia Keane Ainslie Just D J Gardiner Michaela Pound Foundation Dr Ruth Gough Prof. Andrew and Mrs Kate Lister John and Helen Keep Ms Christine Gay Jessica Read Mr Nick Beaton and Anne Shipton Andrew Kopittke Wendy Green Inna Rybkina CON BRIO Dr Pamela Greet Simon Mills Dr Frank Leschhorn Mr Tony Hall Nathan Schokker ($50,000 - $99,999) Doug Hall Foundation Siganto Foundation Lynne and Francoise Lip Dr Alison Holloway Penelope Smid Philip Bacon Galleries Malcolm and Andrea Hall-Brown Robin Spencer Susan Mabin Daryl and Lisa Holmes Nicholas W Smith Prof. Ian Frazer AC and John and Rhonda Hawkins Tom Stack Mr Greg and Mrs Jan Marsh Jim and Maxine Macmillan Hilary Troy Mrs Caroline Frazer Peggy Allen Hayes Mrs Amanda Talbot Dr Les and Mrs Pam Masel Gary and Gayle Martin Jennifer Whybird Di Jameson Michael Kenny and David Gibson Dr Damien Thomson and Annalisa and Tony Meikle Loraine McLaren Dr Geoffrey Chia-Yu Wu Cathryn Mittelheuser AM Dr Colin and Mrs Noela Kratzing Dr Glenise Berry In memory of Jolanta Metter Dr Masanori Matsumoto Arthur Waring Mrs Andrea Kriewaldt Greg and Jan Wanchap B and D Moore Timothy Matthies and Shirley Leuthner Gary and Diana Willemsen Howard and Katherine Munro Chris Bonnily Young Professionals who INTERMEZZO Frances and Stephen Anonymous In memory of John and Robyn Murray collectively support a ($20,000 - $49,999) Maitland OAM RFD Mildred Wise Muirhead Catherine Pearse musician’s role within the G & K Ilett Dan and Helen McVay STRETTO Ron and Marise Nilsson Dr Phelim Reilly Orchestra and share their CP Morris Desmond B Misso Esq. ($1,000 - $2,499) Ian Paterson Mrs R Richardson ideas and energy to help us Justice Anthe Philippides The Neilsen Group ADFAS Brisbane David Pratt and Ramon Norrod Joan Ross create an exciting future John Story AO and Heidi Rademacher and in Aitken Whyte Lawyers Jessica Read Mr Rolf and Mrs Christel Schafer for Queensland Symphony Georgina Story memory of Hans Rademacher Julieanne Alroe In memory of Pat Riches Alison Stanford Orchestra. We thank you. John B Reid AO and Dr Geoffrey Barnes and in G & B Robins Mrs H Tully GRAZIOSO Lynn Rainbow Reid memory of Mrs Elizabeth Barnes Graeme Rosewarne and Tanya Viano ($10,000 - $19,999) Alan Symons and in memory of William and Erica Batt Jim O'Neill Max and Robyn White Bruce Short, Kevin Woodhouse Joseph and Veronika Butta M.J. Bellotti Cath Scully Mrs Juanita Wright and Graham Webster Dr John H. Casey Kay Bryan Dr Margaret Soroka Anonymous (12) Sidney Irene Thomas (In memory) Morgans Foundation Professors Catherin Bull AM and Ms Helen Sotiriadis Neil W Root and Trevor J Rowsell In memory of Dennis Gibson AO Urban List YOUNG Elinor and Tony Travers Mr and Mrs J.C. Overell Jean Byrnes Prof. Hans Westerman and PROFESSIONAL CIRCLE Turner Family Foundation Ian and Cass George Mrs Roslyn Carter in memory of Shadi Ahmad David and Judy Tynan Dr Graham and Mrs Kate Row Greg and Jacinta Chalmers Mrs Frederika Westerman Gabrielle Anese K and S Wark Mrs Beverley June Smith Robert Cleland Margaret and Robert Williams Michelle Bagnall Noel and Geraldine Whittaker Stack Family Foundation Dr Ralph and Rodney Wylie Dr Sheena L. Burnell Steve and Jane Wilson Anonymous (2) Mrs Susan Cobcroft Anonymous (14) Jonathan Butler-White Anonymous Mrs Ruth Cox Roger Cant VIVACE Dr Peter Hopson & Julie Crozier TUTTI Mr Rowan Danielewski PRESTO ($500-$999) ($5,000 - $9,999) Ms Elizabeth Dann and Marina Datova ($2,500 - $4,999) Trudy Bennett Dr Philip Aitken and Philip McNicol Helen Davis Dr Susan Urquhart Amanda Boland Dr Sheena L. Burnell Mrs I. L. Dean Benn Day John and Janet Allan Constantine Carides Carol Carmudie Mrs Elva Emmerson Stephanie Derrington David and Judith Beal Elene Carides Drew and Christine Castley C.M. and I.G. Furnival Ms Amelia Dobson Dr Julie Beeby Nigel Chamier AM Richard Chambers Grant & Karen Gaston John and Lynnly Chalk Sarah and Mark Combe Ian and Penny Charlton Zackary George 15 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 John H. Casey Prof. Ian Frazer AC and Mrs Caroline Frazer Dr Ralph and Mrs Susan Cobcroft The Pidgeon Family Mrs I. L. Dean Trevor & Judith St Baker Family Foundation G and K Ilett Ms Marie Isackson PATRON John and Helen Keep ($100,000 – $249,999) Dr Les and Mrs Pam Masel 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 Cathryn Mittelheuser AM Anne Shipton 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 Anonymous CONCERTO ($10,000 – $19,999) MAESTRO ($50,000 – $99,999) Joseph and Veronika Butta Peggy Allen Hayes Dr Betty Byrne Henderson AM Mrs Andrea Kriewaldt Dr James R Conner Frances and Stephen Maitland OAM RFD Mrs Elva Emmerson In memory of Mr and Mrs J.C. Overell Alan Galwey Justice Anthe Philippides Ian and Cass George Dr Graham and Mrs Kate Row Prof. Ian Gough AM and Dr Ruth Gough Malcolm and Andrea Hall-Brown Dr and Mrs W.R. Heaslop Gwenda Heginbothom Queensland Symphony Orchestra is Tony and Patricia Keane proud to acknowledge the generosity Michael Kenny and David Gibson and support of our valued donors. M. Lejeune Shirley Leuthner (Donor lists correct as at March 2019.) Morgans Foundation Ian Paterson Stack Family Foundation Margaret and Robert Williams Anonymous (2)

17 16 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 Ann Holtzapffel Andre Duthoit MUSIC DIRECTOR CONTRABASSOON Emma Covacevich Rebecca Seymour Matthew Jones Alondra de la Parra Claire Ramuscak* Tony Denholder Joan Shih Matthew Kinmont Simon Gallaher ARTIST-IN-RESIDENCE Brenda Sullivan Kaja Skorka FRENCH HORN Tony Keane Paul Lewis Stephen Tooke Craig Allister Young Malcolm Stewart ~ John Keep Brynley White Alex Miller >> Cat Matson CONDUCTOR LAUREATE DOUBLE BASS Ian O’Brien * Johannes Fritzsch VIOLIN 2 Phoebe Russell ~ Vivienne Collier-Vickers MANAGEMENT Gail Aitken ~ Dušan Walkowicz >> Craig Whitehead Chief Executive CONDUCTOR EMERITUS Lauren Manuel Wayne Brennan ~ Anne Buchanan Ros Atkinson Executive Assistant to Werner Andreas Albert Katie Betts Justin Bullock TRUMPET Chief Executive and Board Chair Jane Burroughs Paul O’Brien Sarah Butler~ Deb Houlahan Chief Operating Officer and Company Secretary Faina Dobrenko Ken Poggioli Richard Madden>> CONCERTMASTER Amy Herbohn Financial Controller Simon Dobrenko Paul Rawson Warwick Adeney FLUTE Barb Harding General Finance Coordinator Tim Marchmont Alison Mitchell ~ Shelley Adams Human Resources Advisor Delia Kinmont TROMBONE ASSOCIATE >> Hayley Radke Jason Redman~ CONCERTMASTER Natalie Low Timothy Matthies Director - Artistic Planning Alan Smith Nicholas Thin PICCOLO BASS TROMBONE Michael Sterzinger Manager - Artistic Administration Murray Walker Program Coordinator - Helen Travers Kate Lawson* Tom Coyle* Harold Wilson Artistic Planning OBOE TUBA Fiona Lale Artist Liaison ~ Judy Wood Community Engagement Manager VIOLA Huw Jones Thomas Allely* Pam Lowry Education Officer Imants Larsens ~ Sarah Meagher>> Yoko Okayasu >> Alexa Murray HARP Matthew Farrell Director – Orchestra Management Charlotte Burbrook de Vere Jill Atkinson* Nina Logan Orchestra Manager Nicole Greentree COR ANGLAIS TIMPANI Peter Laughton Operations and Projects Manager Bernard Hoey Vivienne Brooke* Tim Corkeron* Vince Scuderi Production Coordinator Kirsten Hulin-Bobart CLARINET Nadia Myers Orchestra Librarian Jann Keir-Haantera Irit Silver~ PERCUSSION ~ Katya Melendez Manager - Development Graham Simpson Brian Catchlove+ David Montgomery Carolyn Bowes Manager - Corporate Partnerships Nicholas Tomkin Josh DeMarchi>> Kate Travers Karen Towers Development Coordinator ~ Section Principal BASS CLARINET = Acting Section Principal Matthew Hodge Director - Sales and >> Nicholas Harmsen* Associate Principal Marketing

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

18 PARTNERS COMING UP

Government Partners Principal Partner JURASSIC PARK LIVE MOVIE EXPERIENCE SAT 27 APR 2019, 2PM + 7.30PM Brisbane Convention and Exhibition Centre Premier Partners Education Partners Experience Jurassic Park as never before: projected in HD while Queensland Symphony Orchestra perform John Williams’ iconic soundtrack live. Featuring stunning imagery and ground-breaking special effects, this epic experience is movie magic 65 million years in the making.

Supported in part by Brisbane Convention & Exhibition Centre.

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

Conductor Benjamin Northey Oboe Diana Doherty Soprano 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 Gold Partners rousing British classics Jerusalem, Land of Hope and Glory, and more.

CATHEDRAL OF SOUND FRI 10 MAY 2019, 11AM SAT 11 MAY 2019, 7.30PM Industry Collaborators Concert Hall, QPAC

Conductor Johannes Fritzsch Piano Piers Lane

Mozart Piano Concerto No.23 in A, K488 Bruckner Symphony No.7 WANT MORE?

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