Ray Chen Returns Queensland’S Own Violin Master

RAY CHEN RETURNS QUEENSLAND’S OWN VIOLIN MASTER

11 + 12 OCT 2019 CONCERT HALL, QPAC

PROGRAM | RAY CHEN RETURNS I WELCOME

I am delighted to welcome you to this concert. Ray Chen is one of the most charismatic and exciting violinists performing on the world stage. I first heard Ray in 2013, performing Tchaikovsky’s Violin Concerto with Queensland Symphony Orchestra, prior to starting my career with the Orchestra. What struck me most was Ray’s animated performance, engaging the audience with such vigour whilst making the music dance with emotion – I was inspired! In this concert, Ray is performing a personal favourite of mine, Mendelssohn’s Violin Concerto in E minor. This concerto is full of passionate, soaring melodies and glorious orchestral textures. In the evening performance, you will also hear Ray perform J.S Bach’s powerful and virtuosic Chaconne in D Minor. As a fellow violinist, I understand the exciting challenge of playing this complex music. After hearing this masterpiece, I think you will realise why so many violinists aspire to play this work. For all the Baroque music fans out there, the talented Erin Helyard will be expertly directing from the harpsichord – it will be a real treat. For me, I find Bach and Handel’s music very soothing for the soul. It is exceptionally uplifting to play and its compositional purity is especially grounding. I hope you enjoy this part of the program as much as I will playing it. Thank you for being here. Your support allows all of us at Queensland Symphony Orchestra to keep sharing our love of music with you. Welcome home, Ray! Nicholas Thin This concert is proudly presented CONTENTS Second Violin by National Australia Bank. IN THIS CONCERT PROGRAM

WELCOME 1 Conductor Erin Helyard FRI 11 OCT Violin Ray Chen J.S. Bach Suite No.4 in D for Orchestra, BWV 1069 19’ Mendelssohn Sinfonia No.10 in B minor 11’ IF YOU'RE NEW TO THE ORCHESTRA 2 Mendelssohn Concerto in E minor for Violin 26' This concert will be broadcast and Orchestra, Op.64 live on ABC Classic. It will also DEFINITION OF TERMS 4 be broadcast on Thursday 5 SAT 11 OCT December at 12pm (AEDT). Mendelssohn Sinfonia No.10 in B minor 11’ J.S. Bach Suite No.4 in D for Orchestra, BWV 1069 19’ LISTENING GUIDE Handel Double Orchestral Concerto No.2 16’ 6 in F, HWV 333 INTERVAL 20’ ARTIST BIOGRAPHIES J.S. Bach Chaconne in D minor, BWV 1004 15’ 12 Mendelssohn Concerto in E minor for Violin 26’ and Orchestra, Op.64

SUPPORTING YOUR ORCHESTRA 16 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. © Peter Wallis MUSICIANS AND MANAGEMENT 22 To ensure an enjoyable concert experience for everyone, please remember to turn off your mobile phones II PROGRAM | RAY CHEN RETURNS and all other electronic devices. Please muffle coughs and refrain from talking during the performance. 1 IF YOU'RE NEW TO THE ORCHESTRA WHO SITS WHERE

Orchestras sit in sections based on types of instruments. There are four main sections in the symphony orchestra (strings, woodwinds, brass, and percussion) and sometimes a keyboard section.

STRINGS BRASS Brass players create sound by vibrating their WOODWIND/BRASS These instruments produce sound by bowing or DOUBLE DOUBLE plucking stretched strings. lips. When this vibration is pushed through large BASS BASS First and Second Violins brass tubes, it can create significant noise. Viola French Horn Cello Trumpet BASSOON BASSOON Double Bass Trombone / Bass Trombone Theorbo PERCUSSION WOODWIND These instruments create sound by being Wind instruments produce sound by being struck or, for the harp, plucked or strummed. blown into. Some instruments just make a sound; others play particular notes. Flute / Piccolo Clarinet / Bass Clarinet Timpani HARPSICHORD Oboe / Cor Anglais Bassoon / Contrabassoon Diagram based on orchestra layout for Mendelssohn Sinfonia, Bach Suite, and Handel Concerto KEYBOARD Keyboard instruments are played by pressing keys. Harpsichord

Diagram based on orchestra layout for Mendelssohn Violin Concerto

2 PROGRAM | RAY CHEN RETURNS © Josh Woning PROGRAM | RAY CHEN RETURNS 3 DEFINITION OF TERMS

The following terms appear in bold the first time they appear. Overture a piece of music usually performed at the beginning of an opera or play. Antiphonal music played by two separate groups of musicians which is often performed in alternate musical phrases. Partita a term used by Baroque composers to mean a ‘suite’.

Arpeggio a chord which is broken up and played in a rising or falling order. Polonaise a slow dance originating from Poland which has three beats to a bar. Baroque a term applied to Western classical music and art from the seventeenth to the mid-eighteenth century. Recapitulation a re-statement of a musical subject or theme.

Cadenza an ornamental passage either improvised or written out, Romantic a term applied to Western classical music and art from the late usually played by a soloist or group of soloists and often eighteenth to the early nineteenth century. displaying virtuosity. Scherzo a short composition or sometimes a movement in a larger work. Concerti grossi Baroque musical works for a group of solo instruments It is usually fast-paced and playful and sometimes contains accompanied by orchestra. elements of surprise.

Continuo an accompanying part that is typically performed on a Sonata/sonata form a work or form which consists of three main sections: an keyboard instrument like the harpsichord and sometimes with exposition (a statement of the main musical themes), a other instruments like the theorbo. development (where the themes are explored or expanded), and a recapitulation (a restatement of the themes). It also Contrapuntal music that contains multiple melodies that occur at the same time. sometimes contains an introduction and a coda (a section heard at the end of a movement or work). Cross-rhythms a rhythm which occurs at the same time as another rhythm or rhythms. Suite a set of instrumental or orchestral works.

Double stopping a technique whereby two strings are played at the same time. Symphony an extended musical composition most commonly written for symphony orchestra and containing around three Fugue/fugal a musical composition or part of a composition where a main or more movements. theme is imitated in different melodic lines. Syncopation syncopated music has a variety of rhythms which disrupts Harpsichord a keyboard instrument used in Renaissance and Baroque a regular beat. music which produces noise through plucked strings which are triggered by pressing its keys. Theorbo a string instrument belonging to the lute family (a lute is a plucked string instrument with a neck and a hollow body). Kapellmeister translates from German as chapel or choir master. The term is used today to refer to the director or conductor of an Trill a rapid alternation between two notes. orchestra, a choir, or an opera.

Meter a regular pattern of beats in music.

Motif a short, recurring musical idea, the basic building block of a piece of music.

Movement a self-contained section of a work.

Oratorio a vocal work based on a sacred or secular text, usually religious in nature.

4 PROGRAM | RAY CHEN RETURNS PROGRAM | RAY CHEN RETURNS 5 LISTENING GUIDE

Felix Mendelssohn (1809–1847) Johann Sebastian Bach (1685–1750) Sinfonia No.10 in B minor Suite No.4 in D, BWV1069

Mendelssohn wrote 13 string symphonies between 1821 and 1823. They are modelled on I. Overture the famous set of string symphonies composed by C.P.E. Bach in 1773. Mendelssohn’s composition tutor and director of the Berlin Singakademie, Carl Zelter, motivated II. Bourrée I & II Mendelssohn to write these works as an exercise in composition. The first five favour III. Gavotte solidly contrapuntal, Baroque-style textures in four, but Mendelssohn soon begins to IV. Minuet experiment in structure and texture. The later string symphonies explore more unusual V. Rejouissance groupings of instruments and show a fine understanding of the possibilities of drama inherent in sonata form. Sinfonia No.10 consists of a single movement with a slow Bach’s orchestral suites were thought to have dated from his time at Cöthen (1717- introduction, but this single span of music is equivalent in scale to all three movements 1723), however recent studies suggest that they were actually written in Leipzig, or at of one of the earlier string symphonies. least heavily revised there. The four suites appear to have been written at different times, and were not intended as a set. Performing parts indicate that they were presented by Like most of Mendelssohn’s early works, the string symphonies remained unpublished the Collegium Musicum, a voluntary association of professional musicians and university during his lifetime and were only ‘rediscovered’ in the late 1950s. They offer remarkable students which gave weekly public concerts in Leipzig. insights into the development of the composer, and in a sense humanise for us what formerly we could only understand as the miracle of the 16-year-old youth’s Octet Bach called the suites ‘Ouvertüren’ after the first movement which in each case is springing fully formed out of nowhere. But more than this, they grace our concert halls an Overture in the French style. The form was quite regular: a majestic first section with more fine works by a musical genius. featuring dotted rhythms followed by a fast fugal section. In the French suite, the overture would be followed by a series of dances. Bach gives his French dances a hint of Adapted from a note by Natalie Shea Italian flavour, especially in his use of instruments. Thus in Suite No.4, he often treats the © Symphony Australia 2002 brass, woodwind and strings as independent ‘bands’, as in the second part of the Minuet which is just for strings.

The Bourrée was rhythmically speaking the least complex of all French Baroque dances, often marked ‘gay’ or ‘joyful’. Bach gives us a pair, the second running straight on after the first.

Bach’s Gavotte is a stately but joyful dance, spiced with Italianate syncopations. His Minuet also features syncopation, often decorating the cross-rhythms with trills. The suite closes with a Rejouissance (‘rejoicing’) in the style of a polonaise.

6 PROGRAM | RAY CHEN RETURNS © Peter Wallis PROGRAM | RAY CHEN RETURNS 7 LISTENING GUIDE

George Frideric Handel (1685–1759) Johann Sebastian Bach Double Orchestral Concerto No.2 in F, HWV333 Chaconne in D minor, BWV1004

Pomposo Bach composed his six works for solo violin – three sonatas and three partitas – in 1720 while employed as Kapellmeister to the Prince of Anhalt-Cöthen. Bach’s thoughtful Allegro planning of these violin solos is evident in their overall symmetry: three sonatas, each A tempo giusto consisting of four movements, and three partitas consisting mainly of courtly dances, Largo and containing four, five, and six movements respectively.

Allegro ma non troppo The Partita No.2 in D minor is regarded as one of the greatest works in the solo violin A tempo ordinario repertoire. The concluding Chaconne has long been regarded as in a class of its own: a movement of unique inspiration, whose technical challenges, in the form of fugal writing, The opening of the third movement of this work will provoke a jolt of familiarity, as the double stopping, sheer length and development of musical ideas, explore the full range orchestra launches into the famous chorus ‘Lift up your Heads, O ye Gates’ from Messiah. of the solo violin’s expressive capabilities. It is also unique in being the only movement in In fact, listeners may also recognise bits of Handel’s Occasional Oratorio and Esther. No Bach’s chamber music to be composed as a set of variations. Baroque composer would have felt the need to apologise, and Handel’s music at this point, the late 1740s, was in huge demand. The Lenten seasons of 1747 and 1748 saw three Abridged from a note by Robert Forgács © 2012 new oratorios – Judas Maccabaeus, Joshua, and Alexander Balus – and as was customary, Handel also composed instrumental pieces to be played between the ‘acts’ of the oratorios. Scholars are almost completely certain that the three Concerti a due cori were composed for this purpose.

The ‘two choirs’ are in fact pairs of wind ensembles, accompanied by strings and keyboard continuo, so the works are essentially concerti grossi. The first two sections of the F major work comprise a French Overture: the first is marked ‘pomposo’ (meaning grand or imposing rather than comically orotund) and is full of the common dotted motifs of ceremonial music. This gives way to a faster section in 3/4 meter (three beats to a bar). The wind choruses use antiphonal effects with theMessiah material in the third movement, while the Largo is a classic lilting 12/8 meter dance. The two final movements are fast, separated by a short sequence of slow chords that offer the opportunity for improvisation from the keyboard player.

8 PROGRAM | RAY CHEN RETURNS © Josh Woning PROGRAM | RAY CHEN RETURNS 9 LISTENING GUIDE

Felix Mendelssohn Concerto in E minor for Violin and Orchestra, Op.64

I. Allegro molto appassionato II. Andante III. Allegretto non troppo – Allegro molto vivace

In 1826, two precociously gifted teenage boys met in Berlin: Felix Mendelssohn and violinist Ferdinand David. By then, Mendelssohn had already composed 13 string symphonies and five concertos, which were premiered at a series of Sunday concerts at the family home.

In 1836, David accepted Mendelssohn’s invitation to move to Leipzig and become leader of the Gewandhaus Orchestra. Two years later Mendelssohn wrote to David: ‘I would like to compose a violin concerto for next winter. One in E minor keeps running through my head, and the opening gives me no peace.’

Assuming that it is the same opening that Mendelssohn eventually got down on paper, we can understand how the composer might have felt he was onto something. That opening, with its flowingarpeggios and distant, Beethovenian drum-taps, launches without introduction or exposition into a beautiful, Romantic melody for the soloist that starts high and gently ascends further into the stratosphere.

But Mendelssohn was unable to complete the work until September 1844. David performed it under the baton of Niels Gade (Mendelssohn was ill) in March 1845. Joachim played it soon after, and the rest is history.

There’s little doubt that David wrote the first movement’scadenza , but it was Mendelssohn’s genius to place it before the recapitulation, thus making it part of the dramatic structure of sonata form, rather than an ‘add-on’, as in many other concertos.

A long bassoon note at the end of the first movement briefly holds the music in suspense before it moves, without a break, into the slow movement, a classically Mendelssohnian song. It too passes into the finale without a pause; here the music has all the lightness and grace of the great Mendelssohn scherzos.

Erin Helyard Ray Chen Conductor Violin

Erin Helyard has been acclaimed as Operas under his direction have been Ray Chen is a violinist who redefines Ray has performed with the London an inspiring conductor, a virtuosic and awarded Best Opera at the Helpmann what it is to be a classical musician Philharmonic Orchestra, National expressive performer of the harpsichord Awards for three consecutive years (2015- in the 21st Century. With a media Symphony Orchestra, Los Angeles and fortepiano, and as a lucid scholar who 2017). He has received two Helpmann presence reaching out to millions, Ray's Philharmonic, and Pittsburgh Symphony is passionate about promoting discourse Awards for Best Musical Direction: one remarkable musicianship transmits to among others, and will make upcoming between musicology and performance. for a fêted revival of Saul (Adelaide a global audience that is reflected in debuts with the San Francisco Symphony, Erin graduated in harpsichord performance Festival) in 2017 and the other for Hasse’s his engagements with the foremost Berlin Radio Symphony, and Bavarian from the Sydney Conservatorium of Artaserse (Pinchgut Opera) in 2019. Erin orchestras and concert halls around the Radio Chamber Orchestra. He works Music with first-class honours and the has conducted from the keyboard operas world. regularly with conductors such as Riccardo University Medal. He completed his by composers as varied as Handel, Vivaldi, Chailly, Vladimir Jurowski, Manfred Masters in fortepiano performance and Cavalli, Monteverdi, Rameau, Vinci, Hasse, Initially coming to attention via the Yehudi Honeck, Daniele Gatti, Kirill Petrenko, and a PhD in musicology with Tom Beghin Charpentier, Salieri, and Grétry. Menuhin (2008) and Queen Elizabeth many others. at the Schulich School of Music, McGill (2009) competitions, of which he was University, Montreal. He was named As a conductor Erin has distinguished First Prize winner, Ray has built a profile Ray’s commitment to music education the Westfield Concert Scholar (Cornell himself in dynamic performances in Europe, Asia, and the USA as well as his is paramount, and inspires the younger University) on fortepiano for 2009-2010 with the Adelaide, Tasmanian, and native Australia. Signed in 2017 to Decca generation of music students with his and from 2003 to 2012 Erin was a central Queensland Symphony Orchestras, and Classics, Ray’s forthcoming recording with series of self-produced videos combining member of the award-winning Ensemble the Australian Haydn Ensemble. Erin the London Philharmonic follows three comedy and music. Through his online Caprice (Montreal). regularly collaborates with the Australian critically acclaimed albums on SONY, promotions his appearances regularly sell Chamber Orchestra and duets in the first of which (‘Virtuoso’) received an out and draw an entirely new demographic As Artistic Director and co-founder of nineteenth-century repertoire on historical ECHO Klassik Award. to the concert hall. the celebrated Pinchgut Opera and the pianos with renowned Alkan exponent Orchestra of the Antipodes (Sydney) he Stephanie McCallum. In 2018, he was Ray’s profile continues to grow: he was Born in Taiwan and raised in Australia, has forged new standards of excellence recognised with a Music and Opera Singers featured on Forbes’ list of 30 most Ray was accepted to the Curtis Institute in historically-informed performance in Trust Achievement Award (MAA) for influential Asians under 30; made a guest of Music at age 15, where he studied Australia. The company recently won Best contribution to the arts in Australia. appearance on Amazon’s 'Mozart in the with Aaron Rosand and was supported Rediscovered Opera (2019) for Hasse’s Jungle' TV series; and performed for a live by Young Concert Artists. He plays the Artaserse at the International Opera TV audience on France’s Bastille Day and 1715 ‘Joachim’ Stradivarius violin on loan Awards in London. at the Nobel Prize Concert in Stockholm. from the Nippon Music Foundation. This instrument was once owned by the famed Hungarian violinist, Joseph Joachim (1831-1907).

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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 Ralph and Mrs Susan Cobcroft Mrs I. L. Dean DIAMOND Prof. Ian Gough AM and Dr Ruth Gough ($250,000 – $499,999) G and K Ilett Philip Bacon Galleries Ms Marie Isackson Prof. Ian Frazer AC and Mrs Caroline Frazer John and Helen Keep Cathryn Mittelheuser AM Dr Les and Mrs Pam Masel Trevor & Judith St Baker Family Foundation Desmond B Misso Esq. Morgans Foundation CP Morris Heidi Rademacher and in memory of PATRON Hans Rademacher ($100,000 – $249,999) Anne Shipton Di Jameson Stack Family Foundation John Story AO and Georgina Story Dr Damien Thomson and Dr Glenise Berry Noel and Geraldine Whittaker Elinor and Tony Travers Rodney Wylie Anonymous (1) MAESTRO ($50,000 – $99,999) Dr Julie Beeby CONCERTO Dr John H. Casey ($10,000 – $19,999) Peggy Allen Hayes Associate Professor John Allan and Dr Janet Allan Mrs Andrea Kriewaldt Prof. Margaret Barrett Frances and Stephen Maitland OAM RFD Kay Bryan In memory of Mr and Mrs J.C. Overell Joseph and Veronika Butta Justice Anthe Philippides Dr Betty Byrne Henderson AM Dr Graham and Mrs Kate Row Sarah and Mark Combe Dr James R Conner Justice Martin Daubney Queensland Symphony Orchestra is Mrs Elva Emmerson proud to acknowledge the generosity Alan Galwey and support of our valued donors. Ian and Cass George Dr Edgar Gold AM, QC and Dr Judith Gold CM Mr Nick Beaton & Dr Pamela Greet (Donor lists correct as at September 2019.) Malcolm and Andrea Hall-Brown Dr and Mrs W.R. Heaslop Tony and Patricia Keane Michael Kenny and David Gibson Dr Colin and Mrs Noela Kratzing Shirley Leuthner Ian Paterson Neil W Root and Trevor J Rowsell Alan Symons & in mem of Bruce Short, Kevin Woodhouse & Graham Webster Siganto Foundation Dr Geoffrey Trim Prof. Hans Westerman and in memory of Mrs Frederika Westerman Margaret and Robert Williams Anonymous (1)

20 21 PATRON VIOLIN 1 CELLO BASSOON BOARD OF DIRECTORS QUEENSLAND PERFORMING ARTS CENTRE His Excellency Shane Chen* David Lale ~ Nicole Tait~ Chris Freeman AM Chair PO Box 3567, South Bank, Queensland 4101 the Honourable Linda Carello 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 MUSIC DIRECTOR 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 >> DOUBLE BASS Dare Power Paul Lewis Ian O’Brien * MANAGEMENT VIOLIN 2 Phoebe Russell ~ Susan Rix AM Vivienne Collier- Craig Whitehead Chief Executive Leanne de Souza CONDUCTOR LAUREATE Gail Aitken ~ Dušan Walkowicz >> Vickers Ros Atkinson Executive Assistant to Chief Johannes Fritzsch Wayne Brennan ~ Anne Buchanan Lauren Manuel Executive and Board Chair CHIEF EXECUTIVE Katie Betts Justin Bullock Deb Houlahan Chief Operating Officer and John Kotzas CONDUCTOR EMERITUS Jane Burroughs Paul O’Brien TRUMPET Company Secretary ACKNOWLEDGMENT Werner Andreas Albert Faina Dobrenko Ken Poggioli Amy Herbohn Financial Controller Richard Madden >> The Queensland Performing Arts Trust is a Barb Harding General Finance Coordinator Simon Dobrenko Paul Rawson statutory body of the State of Queensland and is FLUTE On Hold Human Resources Manager Delia Kinmont partially funded by the Queensland Government Alison Mitchell ~ TROMBONE Raymond Bax WH&S Manager (Contractor) CONCERTMASTER Natalie Low Hayley Radke >> Tim Marchmont Jason Redman~ The Honourable Leeanne Enoch MP, Minister for Warwick Adeney Timothy Matthies Director - Artistic Planning Nicholas Thin Ashley Carter >> Environment and the Great Barrier Reef, Minister for 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 OBOE Alan Smith 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 Charlotte Burbrook de Vere HARP Matthew Farrell Director - Orchestra respect to their ancestors who came before them and to Elders past, present and emerging. Nicole Greentree COR ANGLAIS Jill Atkinson* Management Nina Logan Orchestra Manager Bernard Hoey Vivienne Brooke* Patrons are advised that the Performing Arts Centre TIMPANI Isabel Hart Operations Assistant (October) Kirsten Hulin-Bobart has EMERGENCY EVACUATION PROCEDURES, a FIRE CLARINET Peter Laughton Operations and Projects Manager Tim Corkeron* ALARM system and EXIT passageways. In case of Jann Keir-Haantera Irit Silver~ Vince Scuderi Production Coordinator an alert, patrons should remain calm, look for the Graham Simpson PERCUSSION Nadia Myers Orchestra Librarian Brian Catchlove+ closest EXIT sign in GREEN, listen to and comply with Nicholas Tomkin David Kate Travers directions given by the inhouse trained attendants and Montgomery~ Toni Palmer Director - Development move in an orderly fashion to the open spaces outside BASS CLARINET Katya Melendez Manager - Development Josh DeMarchi >> the Centre. Nicholas Harmsen* Carolyn Bowes Manager - Corporate Partnerships Karen Towers Development Coordinator

Matthew Hodge Director - Sales and Marketing ~ Section Principal Queensland Symphony Orchestra Music Director is proudly supported by Tim Fairfax AC. Renée Jones Manager - Marketing = Acting Section Principal The Artist-in-Residence program is supported by The University of Queensland. Rachel Churchland Coordinator - Digital Marketing >> Associate Principal Celia Casey Coordinator - Marketing

+ Acting Associate Principal and Publications * Principal Vacant Coordinator - Marketing Design Acting Principal ^ and Content Michael Hyde Senior Manager - Sales Emma Rule Manager - Ticketing Services Mike Ruston Coordinator - Ticketing Services

22 23 PARTNERS COMING UP

Government Partners Principal Partner TOYS AND PUPPETS

SUN 27 OCT 2019 11.30AM Concert Hall, QPAC

Premier Partners Education Partners Conductor Alondra de la Parra Host Guy Noble Double Bass Phoebe Russell

Music from Debussy, Delibes, and Leopold Mozart. This is musical playtime for the young at heart!

Major Partners TCHAIKOVSKY AND BEETHOVEN FRI 1 NOV 2019 7.30PM Concert Hall, QPAC

Conductor Alondra de la Parra Violin Nemanja Radulovic

Ibarra Sinfonia No.2, ‘Las Antesalas del Sueño’ Tchaikovsky Concerto in D for Violin and Orchestra Gold Partners Accommodation Partners Beethoven Symphony no.6 in F (Pastorale)

TIMELESS

FRI 15 NOV 2019 11AM SAT 16 NOV 2019 7.30PM Concert Hall, QPAC

Conductor Alondra de la Parra Piano Paul Lewis Industry Collaborators Ravel Rapsodie espagnol* Grieg Piano Concerto in A minor Tchaikovsky Symphony No.5 in E minor

* Ravel not featured in Friday concert

24 25 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] 26 PROGRAM | RAY CHEN RETURNS