Elgar Mahler - Queensland Symphony Orchestra
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Elgar
and Mahler
17 + 18 JUN 2022
CONCERT HALL, QPAC
PROGRAM | ELGAR AND MAHLER I
WELCOME
Hello everyone, and welcome!
Gustav Mahler's 1st Symphony (Titan) is arguably one of the most groundbreaking first
symphonies by anyone, ever. Mahler was ahead of his time in many regards - in the words
of Benjamin Zander, for the opening of this symphony you simply “turn up the tuning
note of the universe". In the 1960s, more than 100 years after Mahler was born, radio
telescope researchers at Princeton University were finding an unaccountable background
hiss in every measurement they took - it turned out to be the distant echo of the Big
Bang - the fire and fury in which our universe began. I always think Mahler, with his streak
of pantheistic nature worship would have found this coincidence fascinating - as he said
to a friend on a walk in the Austrian Alps, “Don’t bother to look, I’ve composed all this
already”. Mahler asks the big questions. We always look forward to confronting them
with you, and we’ve enjoyed preparing this journey for you with our friend and colleague
Umberto Clerici.
Edward Elgar's Cello Concerto is also a piece that asks us to confront hard questions -
written in the aftermath of the First World War, it is elegiac, beautiful, and introspective.
In our particular moment of history, it invites us to contemplate all that has been lost
and changed in the last few years and to consider what the way forward may look like for
us in the coming years. We hope you find sharing the performance with us as illuminating
and fulfilling as we have felt preparing and performing it for you.
CONTENTS
Thomas Allely
Principal Tuba
IN THIS CONCERT
WELCOME 1 Conductor Umberto Clerici
Soloist Daniel Müller-Schott, cello
IF YOU'RE NEW TO THE ORCHESTRA 2
PROGRAM
FOR YOUNGER EARS 4 ELGAR Concerto in E minor for Violoncello & Orchestra, Op.85 30’
INTERVAL20’
LISTENING GUIDE 10 MAHLER Symphony No.1 in D major (Titan) 53’
Relive Elgar and Mahler on ABC Classic on 13 August at 1pm (AEST).
ARTIST BIOGRAPHIES 14
24
Queensland Symphony Orchestra acknowledges the traditional custodians of Australia.
SUPPORTING YOUR ORCHESTRA We acknowledge the cultural diversity of Elders, both past and recent, and the significant contributions
that Aboriginal peoples and Torres Strait Islander peoples continue to make to Queensland and Australia.
To ensure an enjoyable concert experience for everyone, please remember to turn off your mobile phones
26
and all other electronic devices. Please muffle coughs and refrain from talking during the performance.
MUSICIANS AND MANAGEMENT Concert photos throughout by Peter Wallis. Front cover by Jay Patel.
II PROGRAM | ELGAR AND MAHLER 1
IF YOU'RE NEW TO THE ORCHESTRA WHO'S ON STAGE TODAY
*Stage layout for Mahler Symphony No.1
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 KEYBOARD
These instruments produce sound by bowing or Keyboard instruments are played by pressing keys.
plucking stretched strings. Piano
First / Second Violin Celeste
Viola Organ
Cello
Double Bass BRASS
Harp Brass players create sound by vibrating their
lips. When this vibration is pushed through large
WOODWIND brass tubes, it can create significant noise. Find out who's on stage today,
Wind instruments produce sound by being French Horn scan the QR code below.
blown into. Trumpet
Flute / Piccolo Trombone/Bass Trombone
Clarinet / E flat Clarinet / Bass Clarinet Tuba
Oboe / Cor Anglais
Bassoon / Contrabassoon PERCUSSION
These instruments create sound by being
struck or shaken. Some instruments just make
a sound; others play particular pitches.
Timpani, Bass drum, Snare drum, Cymbals,
Glockenspiel, Xylophone, Vibraphone,
Tam-tam, Triangle, Sleigh Bells.
2 PROGRAM | ELGAR AND MAHLER PROGRAM | ELGAR AND MAHLER 3
FOR YOUNGER EARS
Edward Elgar LISTEN OUT FOR
Cello Concerto in E minor Sometimes knowing when a composer wrote a piece of music in their life can help you
Today our musicians perform the understand what the music is about or what emotions the composer is trying to evoke.
beautiful Cello Concerto in E minor by When Elgar wrote this cello concerto, he was living in the middle of World War I and
English composer Edward Elgar. But this was likely feeling the emotional toll it was taking on those around him and his country.
is a cello concerto, so our musicians need In addition to this, Elgar was amidst his pain post-surgery having just had his tonsils
a soloist to perform with them! On stage removed. In this piece perhaps we can hear the sadness he felt as war erupted across
today is world-renowned cellist Daniel Europe, the grief of death surrounding him, and maybe even a little self-pity as he lay in a
Müller-Schott who will perform this hospital bed only able to eat soup.
technical and emotional marathon. The concerto begins with an emotional
sound from the solo cello before the
entire orchestra takes over. The music
begins to flow more gently. The second
movement starts with a very Spanish-
influenced plucking of strings (this
is called pizzicato) on the cello. The
orchestra join in as the cello continues to
play rapidly. Then, the orchestra quietens
and the passionate sounds of the solo
cello have space. There are moments of
joy before the music becomes sad again,
hovering over the notes. As the music
heads towards the finale, the orchestra
WHO WAS ELGAR? joins in again in a swell of sound and
finishes with a few exclamations.
Sir Edward William Elgar was an English Phew, what a cello marathon!
composer who is well-known for his
orchestral work, Enigma Variations. He
was born in 1857 in a small town outside
of Worcester to a piano tuner and the
daughter of a farmer. As he grew up, Elgar
had a brief foray as a solicitor and worked
in his father’s music shop, before beginning
his travels to Europe in the 1800s. In Paris DID YOU KNOW?
he heard composer Camille Saint-Saëns
play the organ, in Germany he heard works by Johannes Brahms, Robert Schumann, The word cello originally meant
and Richard Wagner, and then he returned to England and joined an orchestra for seven “little, large viola” in Italian!
years as a violinist. By his forties, Elgar had gained popularity as a composer with Enigma
Variations and other works. His Cello Concerto in E was his final work.
4 PROGRAM | ELGAR AND MAHLER PROGRAM | ELGAR AND MAHLER 5
FOR YOUNGER EARS
Gustav Mahler LISTEN OUT FOR
Symphony No.1 in D (Titan) This Titan of a symphony is made up of four movements. Let’s break the music down
In the music world, any music by Gustav Mahler is regarded as big, bold, and emotional. movement by movement and see if you can hear a few instrumental highlights.
Mahler is known for writing long orchestral music and heavy symphonies. So, as our The first movement is called Langsam. Schleppend. If your German is a little rusty, it
musicians take to the stage today, get ready to go on an emotional journey. translates to “Slowly. Dragging,” which indicates the pace that Mahler wanted the
music performed. As you might guess, the music begins slowly – the violins open with
a sustained pitch before the piccolo and flutes twitter a bird-like call. The oboes and
clarinets join in to make the birdcall a
little deeper. The French horns play us
WHAT’S IT ALL ABOUT? a gentle melody, before the trumpets
announce themselves and the music
In 1889 Symphony No.1 premiered in Budapest, but… not everyone liked it. Audiences
begins to build further.
found the music confusing. A disheartened Mahler put it aside for a while before revising
it and adding Titan to the title. In his revisions the symphony took on themes from a novel In the second movement, the music is
of the same name, and in the music we can hear heroic ideals of a main character, the played joyously with a little more urgency.
troubles they might experience, and finally the triumph! Repetition is used a lot in this movement,
but each time you think you hear the
music repeating itself, it goes a bit further.
This shorter movement ends in a flourish
and a bang from the cymbals at the back!
In movement three, the double bass starts
WHO WAS MAHLER? us off. Mahler called this movement a
funeral procession for a hero (way to kill
Born in 1860 in Austria, Gustav Mahler the mood Mahler). The music opens with
had humble beginnings. His family was a pacing from the timpani and a single
poor, but Mahler loved music and went on double bass chimes in with a melancholy
to study it in Vienna. In his lifetime, Mahler sway. Before long we hear the oboe play
didn’t enjoy the composer status he has a counter-melody on top of the gradually
today – indeed, he never actually quit his building gloom.
day job as a conductor and continued
The final movement is the longest and
to write music on the side. Talk about
directly translated from German the title
multi-tasking!
means “to play with stormy emotion.”
The opening thunderclap drumrolls into
a succession of woodwinds, strings and
brass to build the momentous sound. The
strings continue in a frenzy – they drop in
momentum before picking up again. The
ending is triumphant and glorious.
6 PROGRAM | ELGAR AND MAHLER PROGRAM | ELGAR AND MAHLER 7
BEFORE WE BEGIN with AMY LEHPAMER & ALEXANDER LEWIS
Conductor & Host GUY NOBLE
Before the performance begins, get to know a few musical terms in the Listening Guide.
Time Signature an indication of how many musical beats and what duration
of beats the music is played in.
Key a group of notes that forms the foundation of a music composition.
Semiquavers listen for runs of very fast notes.
Appassionato with a strong feeling of passion.
Espressivo performed in an expressive manner.
Rhythmic Unison when two or more parts play notes with same rhythm.
Symphonic Poem a piece of music that tells a story or is based on a poem,
painting or landscape.
Staccato performed with each note sharply detached or separated from
the others.
Triplets a three-note pattern that fills the duration of a typical two-
note pattern.
Canon Where instruments play the same music starting at different
times. Perhaps the most well-known canon is Pachelbel’s Canon
written by Johann Pachelbel.
Fortississimo a passage of music marked to be performed very, very loudly.
Major Key one of the most commonly used musical scales, it is made up
of seven notes and sounds happy.
Crotchets musical notes that are one beat in length
THE SOUND OF MUSIC • JESUS CHRIST SUPERSTAR
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8 PROGRAM | ELGAR AND MAHLER PROGRAM | ELGAR AND MAHLER 9
LISTENING GUIDE
Sir Edward Elgar (1857–1934) By the final movement, we can hear faint reflections of the first – but it has evolved. Though
markings are appassionato and espressivo, it’s far from vulnerable. It has hardened, and
Concerto in E minor for Violoncello & Orchestra, Op.85 through bouts of rhythmic unison comes the unavoidable rigidity of war. We hear a final
wail from the cello – it fights to the end, desperately opposing the orchestra’s fate.
I. Adagio; Moderato
This nostalgic lament for peace leaves few dry eyes in the concert hall – perhaps not
II. Lento; Allegro molto during its underprepared premiere in 1919, but certainly today.
III. Adagio
IV. Allegro; Moderato; Allegro, ma non troppo
Britain boasts a strong tradition of military music. Composers like Gustav Holst and Ralph
Vaughan Williams wrote extensively for military band; Edward Elgar wrote his Pomp and
Circumstance Military Marches in the spirit of glory.
Elgar’s Cello Concerto in E minor is far removed from the genre of military music – it’s not
arranged for a marching band, there’s no heavy beat to rally the troops, and it doesn’t
contain the optimism of something to fight for. Rather, it’s a cry for peace lost to war
– a message from the depths of this composer’s soul after it had been corrupted by the
battles of the early 20th Century.
But let’s start from the beginning: an infected tonsil.
Elgar was 61 when he woke from surgery; his tonsil removed. From his hospital bed, he
grabbed a pencil and scribbled that iconic tune that would open his Cello Concerto. Elgar
and his wife then visited a countryside cottage in Sussex, where rolling hills and chirping
birds might aid him through a pleasant recovery. But the composer was not without
memories of former Sussex nights when the roar of weapons from World War I could be
heard across the channel.
The Cello Concerto was completed quickly in 1919, and it echoes Elgar’s pain – perhaps his
physical discomfort post-surgery, but undoubtedly his emotional turmoil. Distressed by
the impact of war on the world around him, Elgar instructed his cello to howl the type of
gut-wrenching melody that makes hairs stand up on the back of your neck.
It’s hard to catch the beat of the first movement. The time signature is 9/8, which
means we can feel three pulses per bar – a bit like a loose waltz. But each of those beats
is divided into three as well, and the result is a gentle rocking feel. Is Elgar attempting to
sway us into feeling calm – even though he knows it will be impossible to find true peace
during his passionate protest?
The melody seems to respect a rhythm of its own, and the music changes key to fit the
expression. Surrounding instruments are an echo of the cello’s virtuosic passages: this solo
has its own message to share, and other players are swept into its momentum.
The concerto moves seamlessly into the second movement, which is sparse and provides
a short burst of emotional downtime. The cello rides its semiquavers with quaint
interjections from the orchestra; some joy can be found, even if only for a moment
(and even if it’s also kind of menacing).
10 PROGRAM | ELGAR AND MAHLER Pictured: David Mitchell and Claire Ramuscak PROGRAM | ELGAR AND MAHLER 11
LISTENING GUIDE
Gustav Mahler (1860–1911) Mahler’s third movement is a funeral march. If you remember humming Frère Jacques as a
child – or to your child – you’re bound to find this music disturbing. It unravels in a ‘round’ (in
Symphony No.1 in D major (Titan) classical terms, we’d call it a type of canon), where one instrument starts the melody, then
the next enters, and so on. Just like the way you used to sing at school. Bassoon, cello, tuba
I. Langsam schleppend – see if you can pick out the instruments as they join in with this hypnotic theme.
II. Kraftig bewegt Layering darkness over darkness, we hear a pulse reminiscent of a final church bell (as
III. Feierlich und gemessen the song goes, ‘ding dang dong’), then the mood is transformed. Double reeds play a
IV. Strumisch bewegt folk melody designed to sound like a Klezmer band. Timpani ticks over like a pendulum,
reminding us rather morbidly that our time is running out. Frère Jacques is eventually
Gustav Mahler wore his heart on his sleeve. juxtaposed with the Klezmer theme in this grim contemplation of mortality.
The composer’s language was symphonic: he used the full gamut of the orchestra to Mahler drew some inspiration from a woodcut called The Hunter’s Funeral Procession.
express his troubled inner world. In Symphony No.1, we hear the voice of a young man on Yet, if we think about the bigger picture, we may also feel a hint of the composer’s
the brink of his 30s, struggling with a crisis of religion and identity, struggling to measure inner torment. Mahler was born to a Jewish family, but as an adult he converted to
youth and death. Catholicism. This may have been a spiritual move, but most historians believe it was a
professional one, too: in those days, the Vienna State Opera wouldn’t accept members of
Titan started out as a symphonic poem containing a few melodies from Mahler’s first
the Jewish faith as their director. Therefore, Mahler was baptised so he could work in that
song cycle. Don’t worry too much about the title – it refers to a novel by German romantic
role. He held the post for a decade, and was still subjected to rampant antisemitism.
writer Jean Paul but isn’t a musical translation. Mahler dropped the nickname after the
This sombre music foreshadows a genuine conflict of identity – traditional Klezmer band
first couple of performances, anyway. He revised his composition over time (also bailing
overlapping and competing with the Catholic friar, Jacques.
on a second movement called Blumine), leaving us with an hour-long symphony that
winds its way through emotional and philosophical themes. Then it’s loud, loud, loud! (That’s the translation of fortississimo – fff – the dynamic at
which these musicians are instructed to play.) You’re being warned so when the fourth
The first movement starts with the tension of a note that never lifts. Minutes pass as the
movement arrives, you don’t jump out of your skin, but you probably will anyway.
strings hold their tone – a bed under the soft horn melody, and staccato birdcalls from
winds. (Those birds fly back to us later.) ‘Nicht eilen’, the composer notes, ‘do not rush’. Sticking with that ‘part two’ theme of death and despair, the fourth movement is a
We hear each instrument warming up to the music before their pleasant and pastoral battle of biblical proportions: it literally rattles your bones. The orchestra can hardly
union. So you might like to imagine Mahler whistling as he hiked the mountains of Austria contain its energy (except when Mahler instructs players to express ‘reluctance’ and
(a pastime he enjoyed, despite a heart condition!). ‘reticence’ – a translation of his markings). It’s absolutely cyclonic.
Gradually, birdcalls are replaced with crashing cymbals, ripping horns, and trumpets The ‘cuckoo’ from the first movement is once again heard. With great relief, we
parading through triplets. It sounds a little bit military, doesn’t it? We know Mahler often remember this symphony is after all in a major key (and hopefully has a happy ending).
injected his soul into his music. With a touch of nostalgia, he returns to his childhood But Mahler’s joy is tainted with uncertainty, and timpani rolls us into a final showdown.
in Iglau, recalling the military barracks near his home, the sounds of brass and drums Which will prevail, life or death? The beauty of nature, or its withering end?
hurtling through the wind.
After an enriching hour of soul-searching, Mahler triumphs. He spends the remaining
Now might be the time to remind you how this piece had evolved. Mahler originally minutes of his ecstatic climax telling us: Look how much we have struggled. But life
named it A Symphonic Poem in Two Parts. The first part of this work is about youth and prevails, so let’s enjoy it while we can! Two comically short crotchets wrap up this piece –
nature, the second about death and despair. We know movement one sings like a bird; an abrupt ‘that’s that’.
movement two brings us down from the alpine landscape to whisk us into a dance. So
when the third movement comes, we hear that transition into Mahler’s next second As with many now-famous works (like Elgar’s Cello Concerto), the premiere of Mahler’s
philosophical theme – death. And it begins with the creepiest version of Frère Jacques first symphony was not a success. The version you hear took time to write and rewrite; it
you’ve ever heard. premiered in 1889 under the composer’s baton and continued to evolve in the following
decade, prior to its publication. His final version leaves you to contemplate how you’ve
evolved – what you feel, and what story of your life is revealed through this music. You
won’t come away from a Mahler symphony unchanged.
© Stephanie Eslake 2022
12 PROGRAM | ELGAR AND MAHLER PROGRAM | ELGAR AND MAHLER 13
ARTIST BIOGRAPHIES
Umberto Clerici
Chief Conductor Designate
With a career spanning more than 20 Umberto began his career as a virtuoso
years as a gifted cello soloist, orchestral cellist making his solo debut at the
musician, and now conductor, Umberto age of 17 performing Haydn’s D Major
Clerici has gained renown as an artist of cello concerto in Japan. After years of
diverse and multifaceted talents. performing on the stages of the world’s
most prestigious concert halls, Umberto
Umberto is the Chief Conductor Designate
took up the position as Principal Cellist of
of the Queensland Symphony Orchestra
the Royal Opera House in Turin, which he
and will commence as their Chief
held for four years. In 2014, he was then
Conductor from January 2023.
appointed as the Principal Cello of the
It was in Sydney in 2018 that Umberto Sydney Symphony Orchestra, a position
made his conducting debut with the he held until 2021.
Sydney Symphony Orchestra at the Sydney
As a cellist, Umberto is beloved by
Opera House. Following a rapid trajectory
Australian audiences and has performed
of conducting engagements in Australia,
internationally as a soloist at New York’s
Umberto is now in high demand with the
Carnegie Hall, Vienna’s Musicverein, the
major symphony orchestras of Australia
great Shostakovich Hall of St Petersburg,
and New Zealand.
Auditorium Parco della Musica in Rome, the
As a guest conductor, highlights include Salzburg Festival and in 2012 he performed
multiple series’ with the Sydney Symphony Tchaikovsky’s “Rococo variations” under the
Orchestra and Melbourne Symphony baton of Valery Gergiev.
Orchestra. Umberto recently made his
debut with the West Australian and Adelaide
Symphony Orchestras and looks forward to
making his debuts with the New Zealand
and Dunedin Symphony Orchestras.
14 PROGRAM | ELGAR AND MAHLER Pictured: Phoebe Russell and Kirsten Hulin-Bobart
ARTIST BIOGRAPHIES
In the 21/22 season, Daniel Müller-Schott
will perform twice with Filarmonica della
Scala at George Enescu Festival and at
Dvořák Festival Prague, in Germany with
the Symphonieorchester Bayerischer
Rundfunk. He is invited for concerts
Daniel Müller-Schott with Dallas Symphony Orchestra and in
Australia with West Australian Symphony
Cello Orchestra and Melbourne Symphony
Daniel Müller-Schott is one of the most Orchestra. Further concerts are planned
sought-after cellists in the world and can with Copenhagen Philharmonic, Turku
be heard on all the great international Philharmonic Orchestra, Frankfurter Opern-
concert stages. For many years he has been und Museumsorchester and Budapest
enchanting audiences as an ambassador Festival Orchestra. As Co-Artistic Director
for classical music in the 21st century. The at Vevey Spring Classic Festival 2022 he can
New York Times refers to his “intensive be heard with Janine Jansen, Francesco
expressiveness” and describes him as a Piemontesi, Nils Mönkemeyer and Cameristi
“fearless player with technique to burn“. della Scala / Wilson Hermanto.
Daniel Müller-Schott guests with International music festivals regularly
international leading orchestras in invite Daniel Müller-Schott. In his chamber
New York, Boston, Cleveland, Chicago, music concerts, Daniel Müller-Schott
Philadelphia, San Francisco and Los collaborates inter alia with Kit Armstrong,
Angeles; the Berliner Philharmoniker, Renaud Capuçon, Xavier de Maistre, Julia
the Gewandhausorchester Leipzig, Fischer, Daniel Hope, Igor Levit, Sabine
Bayrisches Staatsorchester and Münchner Meyer, Nils Mönkemeyer, Anne-Sophie
Philharmoniker, the Radio Orchestras Mutter, Francesco Piemontesi, Lauma and
from Berlin, Munich, Frankfurt, Stuttgart, Baiba Skride, Emmanuel Tjeknavorian,
Leipzig, Hamburg, Copenhagen and Simon Trpčeski with the Ebene Quartet.
Paris, the London Symphony and
Recording for Orfeo, Müller-Schott’s
Philharmonic Orchestra, as well as Sydney
extensive and award-winning discography
and Melbourne Symphony Orchestra
includes his latest recording CD “Four
and Tokyo’s NHK Symphony Orchestra,
Visions of France”. Daniel Müller-Schott
Taiwan’s National Symphony Orchestra
studied under Walter Nothas, Heinrich
(NSO) and Seoul Philharmonic Orchestra.
Schiff and Steven Isserlis, was supported
He has appeared worldwide in concert
personally by Anne-Sophie Mutter and
with such renowned conductors as Marc
received, among other things, the Aida
Albrecht, Vladimir Ashkenazy, Cristian
Stucki Prize as well as a year of private
Măcelaru, Thomas Dausgaard, Christoph
tuition under Mstislaw Rostropovich. At
Eschenbach, Iván Fischer, Alan Gilbert,
the age of fifteen, Daniel Müller-Schott
Gustavo Gimeno, Manfred Honeck, Neeme
won the first prize at the International
Järvi, Karina Canellakis, Susanna Mälkki,
Tchaikovsky Competition for Young
Andris Nelsons, Gianandrea Noseda,
Musicians in 1992 in Moscow.
Andrés Orozco-Estrada, Kirill Petrenko,
Michael Sanderling und Krzysztof Urbański. Daniel Müller-Schott plays the “Ex Shapiro”
Matteo Goffriller cello, made in Venice in 1727.
16 PROGRAM | ELGAR AND MAHLER PROGRAM | ELGAR AND MAHLER 17MUSIC CHAIR SUPPORTERS
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CONCERTMASTER SECOND VIOLIN SECTION PRINCIPAL CELLO SECTION PRINCIPAL FLUTE SECTION PRINCIPAL BASSOON SECTION PRINCIPAL
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Dr John H. Casey Mrs Helen Sotiriadis Anonymous development@qso.com.au
Paul Rawson
Wayne Brennan Graham Simpson Ashby Utting qso.com.au/supportus
Support a musician Today Alan Galwey
Nicholas Tomkin
Alan Symons
David Chew & Tony Rea
18
18 PROGRAM | ELGAR AND MAHLER PROGRAM | ELGAR AND MAHLER 19
19ANNUAL GIVING
Music lovers who have supported your Orchestra over the last 12 months. We thank you.
ALLEGRO VIVACE PRESTO STRETTO Shirley Leuthner TUTTI ($500-$999)
($100,000-$249,999) ($5,000-$9,999) ($2,500-$4,999) ($1,000-$2,499) Lynne and Francoise Lip Trudy Bennett
Tim Fairfax Family Foundation Dr Philip Aitken ADFAS Brisbane Aitken Whyte Lawyers Lesley Lluka Manus Boyce
Prof. Ian Frazer AC and Dr Susan Urquhart Sarah and Mark Combe Julieanne Alroe Susan Mabin Brisbane Concert Orchestra
and Mrs Caroline Frazer The K&D / S&R Anketell Foundation Justice Martin Daubney Emeritus Professor Cora V. Baldock Elizabeth Macintosh Peter and Tricia Callaghan
John and Bonnie Bauld Dr Edgar Gold and Dr Judith Gold Dave Bourke and Eli Pool Mr Greg and Mrs Jan Marsh Robert Camping
CON BRIO David and Judith Beal Lea and John Greenaway Quentin Bryce John and Julienne McKenna Catherine Carter
($50,000-$99,999) Dr Julie Beeby Valmay Hill and Russell Mitchell Greg and Jacinta Chalmers Loraine McLaren Ian and Penny Charlton
Malcolm and Andrea Hall-Brown M.J. Bellotti In Memory of Barbara Crowley Robert Cleland Annalisa and Tony Meikle Dr Beverley Czerwonka-Ledez
Cathryn Mittelheuser AM Elene Carides Tony and Patricia Keane Dr Ralph and Mrs Susan Cobcroft In Memory of Harry Miles Terry and Jane Daubney
Trevor & Judith St Baker Constantine Carides John and Helen Keep T.C. and M.R. Cooney Dr Tom Moore Laurie James Deane
Family Foundation
Dr James R Conner In Memory of Dr Vicki Knopke Dr Peter Hopson & Julie Crozier Howard and Katherine Munro Mrs Wendy Drew
Arthur Waring
Rebekah Ferris and Greg Hall Dr Colin and Mrs Noela Kratzing Dr Michael Daubney Andreas Obermair Miss Marianne Ehrhardt
INTERMEZZO Chris and Sue Freeman Dr Les and Mrs Pam Masel Roger and Sarah Derrington and Monika Janda Prof. John and Mrs Denise Elkins
($20,000-$49,999) Prof. Ian Gough AM In Memory of Jolanta Metter Electric Bikes Brisbane Parascos Eagles Family Dr Chris Elvin and Dr Nancy Liyou
Associate Professor John Allan and Dr Ruth Gough Colin Neville Mrs Susan Ellis Ian Paterson Dr Bertram and Mrs Judith Frost
and Dr Janet Allan Dr Pamela Greet G R Nimmo Dr Adrienne Freeman David Chew & Tony Rea C.M. and I.G. Furnival
Philip Bacon Galleries and Mr Nicholas Beaton Heidi Rademacher In Memory Dr Colin and Mrs Ann Gallagher Cath Scully D J Gardiner
Birtles Family Foundation Peggy Allen Hayes of Hans Rademacher Alan Galwey Anne Shipton Wendy Green
CP Morris Prof. Andrew and Mrs Kate Lister Graeme Rosewarne Gardiner Family Foundation Dr Margaret Soroka Dr Alison M Holloway
John Story AO and Georgina Story Frances and and Jim O’Neill Paul and Irene Garrahy Helen Sotiriadis Mr John Hornibrook
Stephen Maitland OAM RFD Dr Damien Thomson Emeritus Professors Catherin Robin Spencer Lynn Hu
Prof. Hans Westerman
and In Memory of Rosslyn Walker and David Miller and Dr Glenise Berry Bull AM and Dennis Gibson AO John and Jenny Stoll Lynette Hunter
Mrs Frederika Westerman Simon Mills The Curavis Fund Will and Lorna Heaslop Sandie Tuckett Mrs Andrea Kriewaldt
Desmond B Misso Esq. Wei Zhang & Ping Luo Mrs. L. A. Hudson I S and H Wilkey Rachel Leung
GRAZIOSO Alan Symons and In Memory of Anonymous (3) Ms Marie Isackson Margaret and Robert Williams Jim and Maxine Macmillan
($10,000-$19,999) Bruce Short, Kevin Woodhouse Di Jameson R. M. Wylie Gary & Gayle Martin
Joseph and Veronika Butta and Graham Webster
Ainslie Just Anonymous (26) Timothy Matthies
Dr John H. Casey Stack Family Foundation
Michael Kenny and David Gibson and Chris Bonnily
Professor Paul and Ann Crook Sidney Irene Thomas (In Memory)
Earl Larmar Erin McKenna
Ian and Cass George Elinor and Tony Travers
Erica and David Lee Matt Mc Neice
GB & MK Ilett Dr Geoffrey Trim and Steve Spencer
Morgans Foundation Ashby Utting Guy Mitchell
In Memory of Mr Noel and Geraldine Whittaker Ron and Marise Nilsson
and Mrs J.C. Overell Anonymous (2) Toni Palmer
Peterson Family G & B Robins
The Honourable Anthe Philippides Joan Ross
Dr Graham and Mrs Kate Row Rolf and Christel Schafer
Anonymous (1) Barb and Dan Styles
K. Trent and P. Reed
Richard and Helen Wilson
Anonymous (34)
20
20 PROGRAM | ELGAR AND MAHLER PROGRAM | ELGAR AND MAHLER 21
21LIFETIME GIVING
Visionary supporters whose regular, lifetime giving exceeds $10,000. We thank you.
PLATINUM SYMPHONY CONCERTO Dr Alison M Holloway
($500,000+) ($20,000-$49,999) ($10,000-$19,999) Trevor and Wendy Jackson
Tim Fairfax AC Associate Professor John Allan and Dr Janet Allan Aitken Whyte Lawyers Ainslie Just
Tim Fairfax Family Foundation Birtles Family Foundation Julieanne Alroe In Memory of Dr Vicki Knopke
Prof. Ian Frazer AC and Mrs Caroline Frazer Joseph and Veronika Butta The K&D / S&R Anketell Foundation Erica and David Lee
Harold Mitchell AC Dr Betty Byrne Henderson AM Dr Geoffrey Barnes M. Lejeune
Dr Peter Sherwood Mrs Roslyn Carter and In Memory of Mrs Elizabeth Barnes Shirley Leuthner
Trevor & Judith St Baker Family Foundation Dr Ralph and Mrs Susan Cobcroft Prof. Margaret Barrett Lynne and Franciose Lip
Arthur Waring Sarah and Mark Combe John and Bonnie Bauld Prof. Andrew and Mrs Kate Lister
Dr James R Conner M.J. Bellotti Annalisa and Tony Meikle
DIAMOND Mrs I. L. Dean Trudy Bennett In Memory of Jolanta Metter
($250,000-$499,999) Alan Galwey Dr John and Mrs Jan Blackford Rosslyn Walker and David Miller
Philip Bacon Galleries Ian and Cass George Kay Bryan Simon Mills
Cathryn Mittelheuser AM Prof. Ian Gough AM and Dr Ruth Gough Constantine Carides B and D Moore
Trevor & Judith St Baker Family Foundation Dr Pamela Greet and Mr Nicholas Beaton Elene Carides Mrs Rene Nicolaides OAM
Will and Lorna Heaslop Greg and Jacinta Chalmers and the late Dr Nicholas Nicolaides AM
PATRON
Leonie Henry T.C. and M.R. Cooney Mr Jordan and Mrs Pat Pearl
($100,000-$249,999)
Ms Marie Isackson Mrs Ruth Cox In Memory of Pat Riches
Estate of Barbara Jean Hebden
Tony and Patricia Keane Professor Paul and Ann Crook Neil W Root and Trevor J Rowsell
Malcolm and Andrea Hall-Brown
John and Helen Keep Dr Peter Hopson & Julie Crozier Iain G Saul
Di Jameson
Michael Kenny and David Gibson Justice Martin Daubney Bruce and Sue Shepherd
Jellinbah Group
Dr Colin and Mrs Noela Kratzing Tony Denholder and Scott Gibson Siganto Foundation
CP Morris
Dr Les and Mrs Pam Masel Mrs Elva Emmerson Helen Sotiriadis
John B Reid AO and Lynn Rainbow Reid
Page and Marichu Maxson Chris and Sue Freeman Robin Spencer
Dr Graham and Mrs Kate Row
David Miller and Rosslyn Walker Sophie Galaise John and Jenny Stoll
Mrs Beverley June Smith
Morgans Foundation Emeritus Professors Catherin Bull AM Dr Geoffrey Trim
John Story AO and Georgina Story
Ian Paterson and Dennis Gibson AO The Curavis Fund
Greg and Jan Wanchap
Peterson Family Dr Edgar Gold and Dr Judith Gold Margaret and Robert Williams
Noel and Geraldine Whittaker
Queensland Conservatorium Griffith University Dr Edward C. Gray Anonymous (9)
Anonymous (2)
Graeme Rosewarne and Jim O’Neill Lea and John Greenaway
MAESTRO Anne Shipton
($50,000-$99,999) Alan Symons & In Memory of Bruce Short,
Dr Philip Aitken and Dr Susan Urquhart Kevin Woodhouse and Graham Webster
David and Judith Beal Stack Family Foundation
Dr Julie Beeby Sidney Irene Thomas (In Memory)
Dr John H. Casey Dr Damien Thomson and Dr Glenise Berry
Peggy Allen Hayes Elinor and Tony Travers
GB & MK Ilett Prof. Hans Westerman
The John Villiers Trust and In Memory of Mrs Frederika Westerman
Mrs Andrea Kriewaldt Anonymous (2)
Frances and Stephen Maitland OAM RFD
Desmond B Misso Esq.
In Memory of Mr and Mrs J.C. Overell
The Honourable Anthe Philippides
Heidi Rademacher In Memory of Hans Rademacher
Queensland Symphony Orchestra is
R. M. Wylie
proud to acknowledge the generosity
and support of our valued supporters.
(Supporter lists as at 26 May 2022)
22
22 PROGRAM | ELGAR AND MAHLER PROGRAM | ELGAR AND MAHLER 23
23Stand by our side, as we continue to build an orchestra
for Queensland’s future.
“For us the QSO represents great music
in harmony with Queensland. Congratulations
on this significant milestone.”
HER EXCELLENCY THE HONOURABLE DR JEANNETTE YOUNG PSM, GOVERNOR OF QUEENSLAND AND
PROFESSOR GRAEME NIMMO RFD – JOINT PATRONS QUEENSLAND SYMPHONY ORCHESTRA
Donate Now
qso.com.au
24 PROGRAM | ELGAR AND MAHLER PROGRAM | ELGAR AND MAHLER 24 PROGRAM | ELGAR AND MAHLER 25PRINCIPAL CONDUCTOR VIOLIN 1 CELLO BASS CLARINET BOARD OF DIRECTORS QUEENSLAND PERFORMING ARTS CENTRE
AND ARTISTIC ADVISER Lynn Cole Hyung Suk Bae = Nicholas Harmsen * Rod Pilbeam Deputy Chair
Valmay Hill Executive Director PO Box 3567, South Bank, Queensland 4101
Johannes Fritzsch Ann Holtzapffel Matthew Kinmont +
BASSOON Mary Jane Bellotti T: (07) 3840 7444 W: qpac.com.au
Rebecca Seymour Kathryn Close
CHIEF CONDUCTOR Nicole Tait ~ Emma Covacevich CHAIR
Joan Shih Andre Duthoit
DESIGNATE David Mitchell >> Tony Denholder Professor Peter Coaldrake AO
Mia Stanton Matthew Jones
Umberto Clerici Evan Lewis John Keep
Brenda Sullivan Kaja Skorka DEPUTY CHAIR
Stephen Tooke Craig Allister Young CONTRABASSOON MANAGEMENT Leigh Tabrett PSM
Brynley White Claire Ramuscak * Ros Atkinson Executive Assistant to Chief
CONCERTMASTERS DOUBLE BASS Executive and Board Chair TRUST MEMBERS
Sonia Wilson
Warwick Adeney Phoebe Russell ~ FRENCH HORN Rodolphe Deus Chief Financial Officer Dr Sally Pitkin AO
Natsuko Yoshimoto VIOLIN 2 Dušan Walkowicz >> Malcolm Stewart ~ Amy Herbohn Financial Controller Dare Power
Gail Aitken ~ Anne Buchanan Bernadette Fernando Finance Coordinator Georgina Richters
ASSOCIATE
Ian O’Brien *
Louise Smith Payroll Officer Susan Rix AM
Wayne Brennan ~ Justin Bullock Vivienne Collier-Vickers
CONCERTMASTER Leanne de Souza
Katie Betts Paul O’Brien Lauren Manuel Lisa Meyers Director - People and Culture
Alan Smith Madeline Gibbs Coordinator - HR and WHS
Jane Burroughs Ken Poggioli EXECUTIVE STAFF
Faina Dobrenko TRUMPET Timothy Matthies Director - Artistic Planning John Kotzas AM Chief Executive:
FLUTE Rainer Saville ~ Elaine Seeto Producer - Artistic Planning Jackie Branch Executive Director – Stakeholder
JOINT PATRONS Simon Dobrenko
Alison Mitchell ~ Richard Madden >> Murray Walker Producer - Artistic Planning Engagement Strategy
Her Excellency Delia Kinmont
Hayley Radke >> Paul Rawson Kristian Scott Administrator - Artistic Planning Jono Perry Executive Director - Curatorial
the Honourable Natalie Low
Judy Wood Manager - Community and Roxanne Hopkins Executive Director – Visitation
Dr Jeannette Young Tim Marchmont PICCOLO TROMBONE Education Bill Jessop Executive Director – Venue Infrastructure
PSM, Governor of Nicholas Thin Kate Lawson * Jason Redman ~ and Production Services
Queensland and Helen Travers Peter Laughton Director - Performance Services
Ashley Carter >> Murray Free Orchestra Manager
Kieron Roost Executive Director – Business Performance
Professor Graeme Harold Wilson OBOE
Huw Jones ~ BASS TROMBONE
Elise Baker Coordinator - Performance Services ACKNOWLEDGMENT
Nimmo RFD
VIOLA Sarah Meagher >> Anika Vilée Coordinator - Performance The Queensland Performing Arts Trust is a statutory body
Nicolas Thomson ~
Imants Larsens ~ Services (Scheduling) of the State of Queensland and is partially funded by the
Alexa Murray
TUBA Vince Scuderi Production Manager Queensland Government.
Yoko Okayasu >>
COR ANGLAIS Thomas Allely * Ben Shaw Production Coordinator
Charlotte Burbrook de Vere The Honourable Leeanne Enoch MP: Minister for
Vivienne Brooke * Nadia Myers Orchestra Librarian
Nicole Greentree Ruby Cooper Library Coordinator Communities and Housing, Minister for Digital Economy
TIMPANI
Bernard Hoey CLARINET and Minister for the Arts
Tim Corkeron * Toni Palmer Director - Development
Kirsten Hulin-Bobart Irit Silver ~ Director-General, Department of Communities and
Belinda Edhouse Manager - Relationships Housing and Digital Economy: Ms Clare O’Connor.
Jann Keir-Haantera Brian Catchlove >> PERCUSSION
Fiona Gosschalk Manager - Development
Graham Simpson Kate Travers David Montgomery ~ Gabrielle Booth Coordinator - Relationships QPAC respectfully acknowledges the Traditional Owners
Nicholas Tomkin Josh DeMarchi >> Tess Poplawski Coordinator - Experiences of the Lands across Queensland and pays respect to their
ancestors who came before them and to Elders past,
Matthew Hodge Director - Sales and Marketing
present and emerging.
Renée Jones Manager - Marketing
Rachel Churchland Coordinator - Public Relations Patrons are advised that the Performing Arts Centre has
and Digital Marketing EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM
Joumanna Haddad Coordinator - Marketing system and EXIT passageways. In case of an alert, patrons
Samuel Muller Digital Content Specialist should remain calm, look for the closest EXIT sign in GREEN,
~ Section Principal Michael Hyde Senior Manager - Sales listen to and comply with directions given by the inhouse
= Acting Section Principal Liz Thomas Manager - Ticketing Services trained attendants and move in an orderly fashion to the
>> Associate Principal Cara Daily Ticketing Services Officer
+ Acting Associate Principal open spaces outside the Centre.
V Jowsey Ticketing Services Officer
* Principal
^ Acting Principal Allie Renzetti Ticketing Services Officer
26 27PARTNERS YOU MAY ALSO ENJOY
Studio Sessions
Government Partners Principal Partner
FRI 24 JUN 7.30PM
QSO Studio, ABC Building
Conductor Johannes Fritzsch
Premier Partners Education Partner
Mozart Excerpts from The Magic Flute
Brett Dean Short Stories
Beethoven Symphony No.2, Op.36
Health and Wellbeing Partners
Principal Partner Community Partners Education & Research Partner
Fantasy and Folklore
SUN 24 JUL 11.30AM
Concert Hall, QPAC
Maestro Partners Young Instrumentalist Prize
Conductor Umberto Clerici
Major Partner Supporting Partner 75th Birthday Partner Supporting Partner
Host Guy Noble
Mussorgsky Night on Bald Mountain
Wagner Ride of the Valkyries
Ravel Excerpts from Mother Goose Suite
and much more
Major Partners
Triumphant Tchaikovsky
Trusts and Foundations
FRI 29 JUL 11.30AM
SAT 30 JUL 7.30PM
Concert Hall, QPAC
Conductor Giordano Bellincampi
F R A Z E R FA M I LY Tenor Kang Wang
F O U N DAT I O N
Puccini Nessun Dorma from Turandot
Industry Collaborators Puccini Che gelida manina from La Bohème
Tchaikovsky Symphony No.4 in F minor
and much more
28WANT MORE?
ON THE RADIO ON SPOTIFY
Our performances are regularly Listen to our concert playlists
recorded for broadcast. anywhere, anytime.
Tune in for more great music.
spotify.com
abc.net.au/classic
READ WATCH
Visit our website for interesting Enjoy behind-the-scenes footage,
articles, musical insights, interviews interviews with musicians,
and more. instrument workshops and more.
qso.com.au/blog qso.com.au/watch
PROGRAMS ONLINE ENEWS
Download our concert programs Sign up for our eNews to receive
one week prior to each concert. weekly concert information and
on-sale announcements.
qso.com.au
qso.com.au
HAVE YOUR SAY FIND US
We love to hear from our audience.
What did you think of the concert? Queensland Symphony Orchestra
What was your favourite piece?
Who do you want to hear more of? Queensland Symphony Orchestra
Let us know!
@QSOrchestra
info@qso.com.au
#QSOrchestra @QSOrchestra
30 PROGRAM | ELGAR AND MAHLERYou can also read
