PROGRAM March 1

Join Shlomo at theSe upcoming eventS

Thu 19 Mar 6PM In Conversation

SaT 17 OcT 7.30PM QSO & Shlomo Mintz Mendelssohn and Mahler

Sun 25 OcT 3PM Shlomo Mintz with QSO Strings

The Soloist-in-Residence program is supported by the T & J St Baker Charitable Trust.

WELCOME SHLOMO

We are excited that Australia’s first-ever Soloist-in-Residence, Shlomo Mintz, will be resident with the QSO throughout 2015.

In addition to conducting workshops and masterclasses, Shlomo Mintz will perform in QSO’s mainstage concert season, lead a chamber music performance and participate in other events like In Conversation.

As one of the foremost violinists of our time, esteemed for his impeccable musicianship, stylistic versatility and commanding technique alike, Shlomo Mintz will elevate the QSO to a new level of musicianship and pride.

The QSO Family welcomes Shlomo to Queensland.

#WelcomeShlomo

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7

3Music on sundays

At the BAllet

Morning Masterworks & Maestro

FRItzSCh & ShlOMO MIntz

Pre-concert talk sat 14 March 6.30pm Join QSO Violinist tim Marchmont, know more.

CONTENTSMARCH

help us G Green.

Please take one program between two and keep your program for the month.

You can also view and download program notes one week prior to the performance online at qso.com.au

PROGRAM March 3

sun 8 Mar11.30AM

QPac concert Hall

conductor nicolette FraillonHost Guy noble

Proudly presented by

Music on sundays

AT THE BALLET

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PrograM notes

Peter ilyich tchaikovsky (1840-1893)The Nutcracker Waltz of the Flowers Dance of the Sugar Plum Fairy Pas de Deux

sergei Prokofiev (1891-1953)Cinderella: Cinderella’s Waltz

adolphe adam (1803-1856)Giselle, Act II: Intermezzo

ProkofievRomeo and Juliet: the Montagues and the Capulets Juliet the Young Girl

Léo delibes (1836-1891)Coppélia: Mazurka

tchaikovskyThe Sleeping Beauty: Waltz

dmitri shostakovich (1906-1975)Ballet Suite no.1: Dance Romance

tchaikovskySwan Lake: Dance of the Cygnets

Ferdinand Hérold (1791-1833)Introduction and Dance of the Cock and hens Clog Dance

igor stravinsky (1882-1971)The Firebird – Suite (1919): Infernal Dance of King Kashchei

tchaikovskySwan Lake, Finale

elaborate costumes, tragedy and delight, lovers spinning stories of another world. this is the magic of the ballet. Many orchestral masterpieces have roots in choreographed fairy tales – but even without dance, ballet music is still evocative of the wonder it brought to the stages of Paris and Moscow years ago.

Ballet was a feature of opera in 18th-century europe – and it took another century, and the help of prima ballerina Marie taglioni, for the two art forms to truly separate. Dance evolved independently as taglioni spread Romantic ballet across europe and Russia with her choreographer father Filippo and dancer/choreographer brother Paul.

In 1864, at Berlin’s Königliches Opernhaus (now the State Opera house), Paul taglioni staged a version of La Fille mal gardée, with a score by Peter ludwig hertel. One of the oldest ballets still performed today, the original 1789 production of La Fille was set to a concoction of well-known French airs. however, after a revival (with a score by Ferdinand hérold) was presented at the Paris Opéra in 1828, the countryside tale of Widow Simone and her daughter lise’s forbidden love saw many such recreations.

Marie taglioni (who daringly shortened her skirt to reveal her en pointe skills) caught the admiration of French opéra-comique composer Adolphe Adam. he wrote La Fille du Danube for the dancer herself – though it was Giselle that became a highlight of Romantic ballet. to share the story of the peasant girl who dies of heartbreak and is resurrected only to forgive her deceptive lover, Adam wove a composition reminiscent of his opera days, where drama evolved through recurring themes and leitmotifs for his characters. With Carlotta Grisi in the title role, Giselle premiered at the Paris Opéra – just as léo Delibes’ first ballet, Coppélia, did years later.

PROGRAM March 5

PrograM notes

Parallels can be drawn between Delibes’ life-size dancing doll and the toymaker’s creations in tchaikovsky’s childish and magical The Nutcracker.

Under tsar Alexander III, tchaikovsky caught up to the Romantic movement of Western europe – though not at the sacrifice of his own nation’s folk music. Before tchaikovsky, ballet music was written with a simplicity that allowed audiences to concentrate on the stories woven by the dancers. While his ballet was still dansante, his music was responsible for its own share of the drama – and it was this marriage between music and narrative that revolutionised ballet after his first, Swan Lake, was premiered in Moscow in 1877.

tchaikovsky’s nieces and nephews were the first to experience Swan Lake, which started out as a family play. As one nephew recorded, their Uncle Peter would become ‘red in the face, wet with perspiration as he sang the tune’ and choreographed the domestic production. tchaikovsky soon spun his fairy tale into a four-act masterpiece for the Bolshoi theatre and, though it hailed bad reviews from critics, audiences loved it. Its rhythmic complexity was tough on dancers and the original choreography considered poor, but its enchanting melodies were reorchestrated for a successful 1895 production choreographed by Marius Petipa and lev Ivanov. the two also had masterpieces including Cinderella, The Nutcracker, Coppélia, and an 1885 production of hertel’s La Fille mal gardée under their belts.

tchaikovsky’s second ballet, The Sleeping Beauty, was also criticised before it gained success and, rather unenthusiastically, tsar Alexander III told tchaikovsky it was ‘very nice’. But the tale of the young princess who falls into a century of sleep after pricking her finger on a spindle is immortalised through the composer’s lavish strings themes – many of which were reworked into Disney’s Sleeping Beauty and more recent Maleficent.

Considered a high art, the Russian ballet rose in popularity across Western europe as audiences developed a taste for the exotic. During the first few decades of the 20th century, the impresario Sergei Diaghilev commissioned composers to write for Parisian audiences for his Ballets Russes. With choreographers such as nijinsky, Fokine and Massine, and dancers Anna Pavlova and tamara Karsavina, Diaghilev showcased a foreign culture France adored. Diaghilev considered Igor Stravinsky his musical ‘son’ and commissioned The Firebird, which premiered at the Paris Opéra under Fokine’s choreography. the primitive one-act ballet triumphed as an exotic work of art which brought Russian folklore to Paris. In the score, monsters and warriors were represented chromatically and humans diatonically (a trait of Stravinsky’s teacher Rimsky-Korsakov) in dances conjured by the magical Firebird to help defeat immortal ruler Kashchei.

Diaghilev met his so-called ‘second son’ Sergei Prokofiev in 1914. Prokofiev knew of the fame the Ballets Russes had brought Stravinsky, writing to a friend: ‘I’ve heard something of Stravinsky’s ballets, but for the moment the idea of writing my own does not interest me.’ Still, he collaborated with Diaghilev for 15 years, growing his reputation across europe and laying the groundwork for his boldly orchestrated Romeo and Juliet. After aborted attempts by the Kirov and the Bolshoi to stage it, Romeo and Juliet premiered in the Czech Republic in 1938, reaching Russia two years later. eventually approved by Stalin, the music to Shakespeare’s heartrending love story is conventional in phrasing and tonality. though he sacrificed modernism for accessibility, Prokofiev did inject a darkness, reminiscent of tchaikovsky’s orchestral drama, which can be heard in the tension between the Montagues and Capulets.

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PrograM notes

Prokofiev’s Cinderella, Act II of which was written on cheap scraps of paper in a hotel room in wartime Perm, achieved immediate success. Its first season was a sell-out as 60,000 people came to see the ballet’s lively waltzes and pas de deux. Prokofiev followed classical conventions in his portrayal of beautiful servant Cinderella and the prince, two characters from wildly different social standings who transcend their ranks through mutual love – a fitting tale for the Soviet Union.

Dmitri Shostakovich also endured the trials of the Soviet system following the official condemnation of his opera Lady Macbeth of Mtsensk. the music of his Ballet suite no.1, largely sourced from his propagandist production The Limpid Stream, is almost satirically light and inoffensive.

For art or ideology, the greatest composers have orchestrated masterpieces for the stage. today we are able to extract and experience their glorious musical tales independent of the ballet steps with which the works were originally paired.

Stephanie Eslake © 2015

Stephanie Eslake was a participant in the Australian Youth Orchestra’s 2014 Words About Music program. She is currently a freelance music journalist and founder of CutCommon, an online magazine for young classical musicians.

PROGRAM March 7Shlomo Mintz Violin

sat 14 Mar7.30PM

Fri 13 Mar11AM

QPac concert Hall

conductor Johannes Fritzsch Violin Shlomo Mintz

grieg Peer Gynt Suite no.1 sibelius Violin Concerto (1905 version)

r. strauss Also Sprach Zarathustra

Maestro series

Morning Masterworks

FRiTzSCH & SHLOMO MiNTz

Free pre-concert talk with Tim Marchmont at 6.30pm

QSO congratulates QPAC on its 30th Anniversary 2015. As QPAC’s resident orchestra, we are delighted to present

these concerts as a tribute to our major venue partner.

The Soloist-in-Residence program is supported by the T & J St Baker Charitable Trust

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nevertheless, Grieg finds in this mad journey the stuff of musical sublimity, with each section of the First Suite a jewel in the crown of orchestral repertoire. Morning brings us sunrise over the norwegian fjords; Åse’s Death marks a poignant tribute to Peer’s mother; Anitra’s Dance is a Saharan travelogue; while the frenzied tone and grotesquerie of the immortal In the Hall of the Mountain King depict the hostile trolls baying for Peer’s blood.

adapted from a note © Martin Buzacott 2005

Jean sibelius (1865-1957)

Violin Concerto in D minor, Op.47

Allegro moderato Adagio di molto Allegro; ma non tanto

shlomo Mintz, Violin

throughout his life, Sibelius maintained a love of the violin. As a young man he had harboured ambitions of becoming a virtuoso violinist himself, but a comparatively late start to his training, together with a slightly dodgy technique, meant that this wasn’t a viable career option. But his frustrated ambitions must have been compensated at least in part by his composition in 1903 of his only concerto of any kind, the Violin Concerto, which is now acknowledged alongside

edvard grieg (1843-1907)

Peer Gynt: Suite no.1, Op.46 Morning The Death of Åse Anitra’s Dance In the Hall of the Mountain King

edvard Grieg was fascinated by the literature of his native land, and many of his greatest compositions were inspired, at least in part, by norwegian drama and poetry. In 1874, Ibsen asked Grieg to write music to accompany a staging of a revised version of his dramatic poem Peer Gynt, which premiered in Oslo in February 1876.

Although the score for the incidental music comprises 26 numbers, Grieg’s Peer Gynt music is known to most listeners largely through the two four-movement suites he produced in 1888 and 1893 respectively (the score for the incidental music remained unpublished until after his death). the immediacy and melodic charm of the items Grieg chose for the suites have made them some of the best-known pieces in the classical repertoire.

Ibsen’s satire concerns the adventures of the eponymous Peer, an anti-hero with enough character defects – chief of which are recklessness and ego – to keep him perpetually on the brink of disaster. his escapades across various nations and emotional landscapes take him to Mountain Kingdoms, Bedouin camps and other exotic destinations, but nothing, it seems, can make him come to any form of self-realisation.

PrograM notes

PROGRAM March 9

the Beethoven, Brahms, Mendelssohn and tchaikovsky concertos as indisputably one of the greatest ever written.

Undoubtedly, the concerto had been inspired by Willy Burmester, former leader of the helsinki Orchestra and a long-time admirer of Sibelius’ music. As early as 1902, Burmester had been enquiring by letter as to the concerto’s progress, and he made various offers of technical assistance and advice. In September 1903, Sibelius sent Burmester a short score, to which Burmester replied, ‘I can only say one thing: Wonderful! Masterly! Only once before have I spoken in such terms to a composer, and that was when tchaikovsky showed me his concerto.’

But when Sibelius finished the work, his anxiety to arrange a first performance as soon as possible, and Burmester’s unavailability in the short term, meant that Sibelius actually offered the first performance to Viktor novácèk, an unexceptional helsinki musician, who premiered the work on 8 February 1904 with Sibelius conducting. It was not a success, despite some favourable reviews.

With Burmester still offering to perform the concerto, Sibelius set about revising it, completely rewriting the first movement and also making significant alterations to the slow movement. the new version was completed in June 1905, and again Burmester was passed over as soloist, despite his availability. Instead, the new version was premiered by Karel halír in Berlin under Richard Strauss.

Amidst the general wrangling and bitterness, Burmester vowed never to perform the concerto, while Joseph Joachim, on hearing the Berlin premiere, damned it. Fortunately the Berlin press was rather more enthusiastic than Joachim, but even so, the work didn’t really establish itself in the repertoire until the 1930s, when Jascha heifetz began to perform it.

the opening of the concerto is one of the most unmistakable in all music. Over the murmur of muted violins, the soloist enters immediately with an intense and brooding first subject. this Allegro moderato theme is set against a series of fragmentary figures which emerge out of the depths of the cellos and bassoons. Although the movement doesn’t sit well with standard sonata principles (the development and recapitulation are combined, and the cadenza precedes them both), there is a clear organic structure, with the soloist dominating and the rhythm driving on through a series of orchestral climaxes.

the mood of the Adagio is more restrained, but the characteristic intensity remains, as does the poignancy and sense of regret.

the finale is a polonaise in all but name, and a bravura showpiece for the soloist. It begins with a stamping figure low down in the timpani and strings and the solo part then shoots up heavenwards, with amazingly difficult passages of thirds, harmonics, arpeggios, double-stops – indeed all the pyrotechnics available to the soloist. the wild dance gathers momentum as it proceeds until a series of majestic flourishes from the violin leads to the final, sharp decisive chords from the full orchestra.

abridged from a note by Martin Buzacott Symphony australia © 1997

PrograM notes

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norman Del Mar puts it, he used these ‘as a prop on which to clothe his own ideas on the purpose and destiny of mankind’. the most famous – indeed, notorious – of these is the idea of the Übermensch or Superman.

Strauss’ work is, as he said, ‘freely after Fr. nietzsche’ which afforded him ‘much aesthetic enjoyment’ rather than any profound philosophical conversion. Strauss takes some of the chapter headings of the poem as the defining images for each section of his tone-poem. It begins with the famous invocation to the sun, with low rumbling accompanying the trumpets’ simple C-G-C theme (which in much of Strauss represents primeval nature). the increasing blaze of full chords establishes C major as one pole of the work (and as Del Mar notes, the sound of the organ at the end of the section adds a liturgical note). Of the Back-worlds-men depicts humanity in its primitive, or rather naïve, state (in B minor, significantly – B being the other tonal pole of the piece). Strauss includes those who profess Christianity in this category, quoting a fragment of the plainchant for the Credo to underline his point, but the movement still reaches a gorgeous climax for multi divided strings.

Of the Great Longing is a depiction of humanity’s search for something beyond mere superstition, but Strauss’ music dramatises the conflict between nature (the trumpet theme) and humanity’s tendency to create dogma with more hints of plainchant and the unresolved conflict between the keys of C and B. A new chromatic motif leads into the Of Joys and Passions section with a theme that Strauss described as ‘A flat (brass: dark blue)’. Actually the section tends to be in C minor, linking it to the idea of nature, whereas the following The Song of the Grave is in B minor, and therefore linked to the idea of man.

richard strauss (1864-1949)

Also Sprach Zarathustra (thus Spake zarathustra) – Symphonic poem, Op.30

Introduction Of the Back-worlds-men Of the Great Longing Of Joys and Passions The Song of the Grave Of Science and Learning The Convalescent The Dance Song Song of the Night Wanderer

In the summer of 1892, Strauss took leave of his duties at the Weimar Opera and travelled extensively through Italy, Greece and egypt, where he enjoyed the awesome physical remains of the ancient pagan civilisations. It was at this time that he began to think about a musical response to some of the ideas of the German philosopher Friedrich nietzsche, particularly those expressed in his poem Also Sprach Zarathustra (thus Spake zoroaster), though the work’s composition had to wait until 1896.

zoroaster (as he was known to the ancient Greeks) was a Persian prophet living in the sixth century BCe who taught that the universe, and humankind in particular, is subject to the eternal struggle of two gods, represented by light and darkness; his religion survives among the Parsees of modern India. nietzsche’s relationship to zoroastrian ideas is fairly loose, and as

PrograM notes

PROGRAM March 11

BiograPHies

nicolette FraillonConductor

nicolette Fraillon graduated on viola from Melbourne University in 1982. In 1990 she moved to the netherlands, where she became Music Director and Chief Conductor of the national Ballet of the netherlands. During the following five years she worked with several european orchestras before taking up the position of Director at the School of Music, Australian national University.

She debuted with the Australian Ballet in 2002, conducting Spartacus, and became the company’s Music Director and Chief Conductor in 2003. Since then nicolette has conducted all programs for the Australian Ballet, including several overseas tours, and has been a guest conductor for San Francisco Ballet, Birmingham Royal Ballet and new York City Ballet.

guy noblehost

Guy noble is one of Australia’s most versatile conductors and musical entertainers, conducting and presenting concerts with all the major Australian orchestras and performers such as the Beach Boys, Yvonne Kenny, David hobson, Ben Folds, Dianne Reeves, Randy newman, and Clive James.

Of Science is based on a deeply-voiced fugue that Strauss described as ‘spine-chilling’. In The Convalescent, part of which Mahler sets in his third Symphony, nietzsche describes zoroaster’s spiritual and physical collapse, after which he emerges as the Superman. The Dance Song of the Superman is, like the ‘Dance of Seven Veils’ in Salome, a Viennese waltz – a Straussian joke, perhaps. here poet and composer part company: Strauss’ zoroaster displays none of the triumphalism that nietzsche’s does, and the work closes with a mysterious and tranquil Night Wanderer’s Song in which the keys of nature and man still quietly contend.

Gordon Kerry © 2004

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BiograPHies

After the German reunification, Mo. Fritzsch was able to accept engagements outside of eastern europe. In 1992/3 he worked as 1st Kapellmeister at the Staatsoper hannover. During that time, Mo. Fritzsch was appointed Chief Conductor and Artistic Director at the Städtische Bühnen and the Philharmonisches Orchester in Freiburg. there he remained until 1999 enjoying widespread acclaim. the Verband Deutscher Musikverleger (association of German music publishers) honored his 1998/99 season with the distinction of having the ‘Best Concert Program’.

Mo. Fritzsch has performed with many orchestras, both within Germany and internationally. these include: hamburger Sinfoniker, Düsseldorfer Sinfoniker, Philharmonie essen, nationaltheater-Orchester Mannheim, Staatskapelle Schwerin, Berliner Sinfonie Orchester, Staatskapelle Dresden, norddeutsche Philharmonie Rostock, Staatsorchester halle, the Swedish Radio Orchestra, the norwegian Radio Orchestra, the Danish Radio Symphony Orchestra, the Orchestre Philharmonique Strassbourg, the Orchestra national de Montpellier, the Orchestra national du Capitole de toulouse, the Sydney, Melbourne, tasmanian, Queensland and West Australian Symphony Orchestras and Orchestra Victoria.

Opera Companies with which he has worked include: Sächsische Staatsoper Dresden, Opernhaus Köln, Deutsche Oper Berlin, Komische Oper Berlin, Opera Bastille Paris, Grazer Oper, the Royal Opera Stockholm, Malmö Operan and Opera Australia in Sydney and Melbourne (including Wozzeck, Don Giovanni, Carmen, Tosca, Rigoletto, Salome, Der Rosenkavalier).

Mo. Fritzsch recently held the position of Chief Conductor of the Grazer Oper and Grazer Philharmonisches Orchester, Austria; from 2008-2014, he was Chief Conductor of the Queensland Symphony Orchestra and was recently appointed Conductor laureate.

he has cooked live on stage with Maggie Beer and Simon Bryant (the Cook, the Chef and the Orchestra, Adelaide Symphony) appeared as Darth Vader (the Music of John Williams, Sydney Symphony) and might be the only person to have ever sung the Ghostbusters theme live on stage on stage accompanied by the Whitlams (Queensland Symphony Orchestra). Guy is a regular guest presenter on ABC Classic FM, conducted la Boheme throughout Queensland with (Opera Queensland and Queensland Symphony Orchestra), hosts and accompanies Great Opera hits (Opera Australia) writes a column for limelight Magazine, presents the inflight classical channels on Qantas, Air China, China Airlines and Gulf Air, and is very pleased to be back as host of Music of Sundays.

Johannes FritzschConductor

Johannes Fritzsch was born in Meissen, Germany, in 1960. he received his first musical tuition in piano and organ from his father, a Cantor and Organist. he also studied violin and trumpet. his higher education was received at the Carl Maria von Weber Music Academy in Dresden, majoring in conducting and piano.

In 1982, after completing his studies, Maestro Fritzsch was appointed 2nd Kapellmeister (Conductor) at the Volkstheater in Rostock. In 1987, Mo. Fritzsch accepted the position of Kapellmeister with the Staatsoper Dresden, Semperoper, where he conducted more than 350 opera and ballet performances within five years.

PROGRAM March 13

BiograPHies

In 2015, he conducts the Queensland, Sydney and tasmanian Symphony Orchestras and leads performances of La traviata for Opera Queensland.

shlomo MintzViolin

Critics, colleagues and audiences regard Shlomo Mintz as one of the foremost violinists of our time, esteemed for his impeccable musicianship, stylistic versatility and commanding technique alike.

Born in Moscow in 1957, Mintz immigrated to Israel with his family two years later, where he studied with Ilona Feher. At the age of 14, he made his concert debut with the Israel Philharmonic Orchestra and at 16 he made his debut in Carnegie hall. Since then he regularly appears with the most celebrated orchestras and conductors on the international music scene. last season he celebrated his 50th anniversary on stage.

Mintz has been a jury member of important international competitions and presides over the Munetsugu Angel Violin Competition (Japan) and the Buenos Aires Violin Competition. he is co-founder of the online Music Academy (shlomo-mintz.com). Mintz won several prestigious prizes including the the Diapason D’Or, the Gramophone and the edison Award.

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PROGRAM March 15

concertmaSterWarwick AdeneyProf. Ian Frazer AC & Mrs Caroline FrazerDr Cathryn Mittelheuser AMJohn & Georgina Story

aSSociate concertmaSterAlan SmithArthur Waring

principal FirSt violin Michael Kenny & David Gibson

FirSt violinStephen Phillips Dr Graham & Mrs Kate Row

Rebecca Seymour Ashley harris

Brenda Sullivan heidi and hans Rademacher Anonymous

Stephen Tooke tony & Patricia Keane

Section principal Second violinWayne BrennanArthur Waring

Second violinDelia Kinmont Jordan & Pat Pearl

Helen Travers elinor & tony travers

Section principal violaYoko AkayasuDr Ralph & Mrs Susan Cobcroft

violaGraham Simpson Alan Galwey

Section principal celloDavid LaleArthur Waring

Andre Duthoit Anne Shipton

Matthew Kinmont Dr Julie Beeby

Section principal double baSSJohn FardonDr Graham & Mrs Kate Row

aSSociate principal double baSSDushan WalkowiczSophie Galaise

double baSSPaul O'BrienRoslyn Carter

Section principal FluteAlexis KennyDr Damien thomson & Dr Glenise Berry

aSSociate principal FluteHayley RadkeDesmond B Misso esq

principal oboeHuw Joneshelen & Michael Sinclair

oboeAlexa MurrayDr les & Ms Pam Masel

Section principal clarinetIrit SilverArthur Waring

clarinetKate TraversDr Julie Beeby

Section principal baSSoonNicole TaitIn memory of Miss Margaret Mittelheuser AM

aSSociate principal baSSoonDavid MitchellJohn & helen Keep

baSSoonEvan LewisBrett Boon

Section principal French hornMalcolm StewartArthur Waring

principal French hornIan O'BrienGaelle lindrea

Section principal trumpetSarah ButlerMrs Andrea Kriewaldt

aSSociate principal trumpetRichard Maddenelinor & tony travers

trumpetPaul RawsonBarry, Brenda, thomas & harry Moore

Section principal tromboneJason RedmanFrances & Stephen Maitland OAM RFD

aSSociate principal tromboneDale TruscottPeggy Allen hayes

principal tubaThomas AllelyArthur Waring

principal harpJill Atkinsonnoel & Geraldine Whittaker

principal timpaniTim CorkeronDr Philip Aitken & Dr Susan UrquhartPeggy Allen hayes

Section principal percuSSionDavid MontgomeryDr Graham & Mrs Kate Row

Thank you

chair Donors support an individual musician’s role within the orchestra and gain fulfillment through personal interactions with their chosen musician.

cHair donors

Patron ($100,000+)timothy Fairfax AC tim Fairfax Family Foundationharold Mitchell ACthe Pidgeon FamilyJohn B Reid AO and lynn Rainbow Reidt & J St Baker Charitable trustArthur Waringnoel and Geraldine WhittakerAnonymous

Maestro ($50,000 - $99,999)Philip Bacon GalleriesBank of QueenslandProf. Ian Frazer AC and Mrs Caroline FrazerJellinbah GroupDr Cathryn Mittelheuser AMMrs Beverley June SmithJohn and Georgina StoryGreg and Jan Wanchap

syMPHony ($20,000 - $49,999)Dr Philip Aitken and Dr Susan UrquhartDr Julie Beebythe english Family Prize for Young InstrumentalistsPeggy Allen hayesleonie henryMrs Andrea KriewaldtFrances and Stephen Maitland OAM RFDDesmond B Misso esq.In memory of Miss Margaret Mittelheuser AMJustice Anthe PhilippidesDr Graham and Mrs Kate RowRodney Wylie

concerto ($10,000 - $19,999)David and Judith Beal Mrs Roslyn CarterDr Ralph and Mrs Susan CobcroftMrs Iris Deantony Denholder and Scott Gibson Dr and Mrs W.R. heaslop Gwenda heginbothomMs Marie IsacksonJohn and helen KeepDr les and Ms Pam MaselPage and Marichu MaxsonIan PatersonMr Jordan and Mrs Pat Pearlheidi and hans RademacherAnne ShiptonDr Damien thomson and Dr Glenise Berryelinor and tony traversAnonymous (2)

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helen and Michael Sinclair Mrs Gwen WarhurstProf. hans and Mrs Frederika WestermanAnonymous

rondo ($1,000 - $4,999)Dr Geoffrey and Mrs elizabeth BarnesProf. Margaret Barrett Mrs Valma BirdBrett BoonProfessors Catherin Bull AM and Dennis Gibson AOMrs Georgina ByromPeter and tricia CallaghanMrs J. Cassidy Drew and Christine CastleyGreg and Jacinta ChalmersCherrill and David CharltonMr Ian and Mrs Penny CharltonRobert ClelandRoger Cragg Julie CrozierIn memory of John Czerwonka-ledezlaurie James DeaneRalph DohertyDr Bertram and Mrs Judith FrostC.M. and I.G. FurnivalDr Joan e. Godfrey, OBeIan and Ruth Goughlea and John GreenawayFred and Maria hansenYvonne hansenMadeleine harasty Ashley harrislisa harristed and Frances henzellPatrick and enid hill Prof. Ken ho and Dr tessa ho Jenny hodgson

Queensland Symphony Orchestra is proud to acknowledge the generosity and support of our donors for our philanthropic programs.

donors

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PROGRAM March 17

Sylvia hodgsonJohn hughesMiss lynette hunter Sandra Jeffries and Brian CookJohn and Wendy Jewell Ainslie JustDr Ray and Mrs Beverley KerrDr Colin and Mrs noela KratzingDr Frank leschhornRachel leungShirley leuthnerGaelle lindrealynne and Franciose lipProf. Andrew and Mrs Kate listerMary lyons and John FardonSusan MabinRose-Marie Malyon Belinda McKay and Cynthia Parrill Mrs Daphne McKinnonAnnalisa and tony MeikleIn memory of Jolanta Metter In memory of Carol MillsB and D MooreBarry, Brenda, thomas and harry MooreMartin Moynihan AO QC and Marg O’Donnell AOhoward and Katherine MunroKaren Murphy John and Robyn MurrayRon and Marise nilssontina PreviteraDr Phelim ReillyMr Dennis Rhind In memory of Pat RichesDr Spencer Routh

Professor Michael Schuetz, honorary Consul of GermanyChris and Judith SchullBernard and Margaret SpilsburyMrs Anne StevensonBarb and Dan StylesMrs helen tullyWilliam turnbullMr Ian and Mrs hannah WilkeyMargaret and Robert WilliamsGillian WiltonJeanette WoodyattAnonymous (33)

Variations ($500 - $999)Mrs Penny AcklandWarwick Adeney Julieanne AlroeJill Atkinsonemeritus Professor Cora V. BaldockDon BarrettDeidre BrownFay Buerger M. BurkeMrs Verna CafferkyAlison G. Cameronheather CastlesDr Alice CavanaghMiss Carolyn eacott John evans Floranne and Garth everson Graeme and Jan Georgehans Gottliebharp Society of Queensland IncShirley heeney

Anna JonesMiss Dulcie littlethe honourable Justice J.A. logan, RFDJim and Maxine MacMillanMr and Mrs G.D. MoffettPenny Moysey trevor and Margaret Parkes Ms Gillian PauliRod and Joan RossPatience StevensKatherine trenthR Ventontanya VianoAnonymous (24)

JoHn FarnswortH HaLL circLeNamed in honour of the first Chief Conductor of QSO (1947-1954)

Roberta Bourne henry

All enquiries, please call Gaelle lindrea on (07) 3833 5050

instruments on loan

QSO thanks the National Instrument Bank and The NFA Anthony Camden Fund for their generous loan of fine instruments to the recitalists of our English Family Prize for Young Instrumentalists.

Please contact Gaelle lindrea on (07) 3833 5050, or you can donate online at qso.com.au/donatenow All donations over $2 are tax deductible ABn 97 094 916 444

For a list of Building for the Future donors go to qso.com.au/giving/ourdonors

Thank you

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QueensLand syMPHony orcHestra

Patron

his excellency the

honourable Paul de

Jersey AC, Governor

of Queensland

conductor Laureate

Johannes Fritzsch

soLoist-in-residence

Shlomo Mintz

concertMaster

Warwick Adeney

associate

concertMaster

Alan Smith

ceLLo

David lale~

Kathryn Close

Andre Duthoit

Matthew Jones

Matthew Kinmont

Jenny Mikkelsen-Stokes

Kaja Skorka

Craig Allister Young

douBLe Bass

John Fardon~

Dushan Walkowicz>>

Anne Buchanan

Justin Bullock

Paul O’Brien

Ken Poggioli

FLute

Alexis Kenny~

hayley Radke>>

PiccoLo

Kate lawson*

oBoe

huw Jones~

Sarah Meagher>>

Alexa Murray

cor angLais

Vivienne Brooke*

cLarinet

Irit Silver~

Brian Catchlove+

Kate travers

Bass cLarinet

nicholas harmsen*

VioLin 1

linda Carello

lynn Cole

Priscilla hocking

Ann holtzapffel

Stephen Phillips

Rebecca Seymour

Joan Shih

Brenda Sullivan

Stephen tooke

Brynley White

VioLin 2

Gail Aitken~

Wayne Brennan~

Jane Burroughs

Faina Dobrenko

Simon Dobrenko

Delia Kinmont

natalie low

tim Marchmont

helen travers

harold Wilson

VioLa

Bernard hoey=

Jann Keir-haantera+

Charlotte Burbrook de Vere

Kirsten hulin-Bobart

helen Poggioli

Graham Simpson

nicholas tomkin

~ Section Principal= Acting Section Principal>> Associate Principal + Acting Associate Principal

* Principal

^ Acting Principal

Bassoon

nicole tait~

David Mitchell>>

evan lewis

contraBassoon

Claire Ramuscak*

FrencH Horn

Malcolm Stewart~

Peter luff>>

Ian O’Brien*

Vivienne Collier-Vickers

lauren Manuel

truMPet

Sarah Butler~

Richard Madden>>

Paul Rawson

troMBone

Jason Redman~

Dale truscott>>

Bass troMBone

tom Coyle*

tuBa

thomas Allely*

HarP

Jill Atkinson*

tiMPani

tim Corkeron*

Percussion

David Montgomery~

Josh DeMarchi>>

PROGRAM March 19

Board oF directors

Greg Wanchap Chairman Margaret Barrett tony Denholder tony Keane John Keep Page Maxson James Morrison AM Karen Murphy Rod Pilbeam

ManageMent

Sophie Galaise Chief Executive OfficerRos Atkinson Executive Assistant to CEO Richard Wenn Director – Artistic PlanningMichael Sterzinger Artistic CoordinatorFiona lale Artist Liaison OfficerDale truscott Contemporary Music/

Chamber Music CoordinatorMatthew Farrell Director – Orchestra Management nina logan Orchestra Managerhelen Davies Operations AssistantJudy Wood Orchestra Librarian/

WHS Coordinatornadia Myers Library and Operations

Assistant Peter laughton Production ManagerVince Scuderi Production Assistant John nolan Community Engagement

OfficerPam lowry Education Liaison Officer Karen Soennichsen Director – Marketing Sarah Perrott Marketing Manager zoe White Digital Marketing SpecialistMiranda Cass Marketing Coordinator David Martin Director – Corporate

Development & Sales Anna Jones Corporate Relationships

Manager (Acting)emma Rule Ticketing Services ManagerGeorge Browning Sales OfficerAlison Barclay Ticketing Services Officer Michael Ruston Ticketing Services Officer Chrissie Bernasconi Ticketing Services Officer Gaelle lindrea Director – Philanthropy lisa harris Philanthropy OfficerPhil Petch Philanthropy Services OfficerRobert Miller Director – Human ResourcesDebbie Draper Chief Financial OfficerSue Schiappadori Accountant

QUeenSlAnD PeRFORMInG ARtS CentRe PO Box 3567, South Bank, Queensland 4101 T (07) 3840 7444 W qpac.com.au

cHair

Chris Freeman AM

dePuty cHair

Rhonda White AO

trustees

Kylie Blucher Simon Gallaher Sophie Mitchell Mick Power AM

executiVe staFF

Chief Executive: John Kotzas Director – Presenter Services: Ross Cunningham Director – Marketing: Roxanne hopkins Director – Corporate Services: Kieron Roost Director – Patron Services: Jackie Branch

acknowLedgeMent

the Queensland Performing arts trust is a statutory body of the state of Queensland and is partially funded by the Queensland government

the honourable Annastacia Palaszczuk MP, Premier and Minister for the Arts

Director-General, Department of Science, Information technology, Innovation and the Arts: Sue Rickerby

Patrons are advised that the Performing Arts Centre has eMeRGenCY eVACUAtIOn PROCeDUReS, a FIRe AlARM system and eXIt passageways. In case of an alert, patrons should remain calm, look for the closest eXIt sign in GReen, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

20 PROGRAM March

Community and education partners

Corporate partners

Government partners

Partners

Co-Production partners

Media partners