The Virtuosos 3pm Sunday 28 October 2018 Concert Hall, QPAC - SOUTHERN CROSS SOLOISTS & QPAC PRESENT
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SOUTHERN CROSS
SOLOISTS & QPAC
PRESENT
The Virtuosos
3pm Sunday 28 October 2018
Concert Hall, QPAC
MESSAGE FROM THE
CHIEF EXECUTIVE
Welcome to QPAC for this performance by Southern
Cross Soloists.
This afternoon, the Soloists are the stars of the show!
From Paganini to Rossini and Rachmaninov, today's
program showcases the deft talents of each player in
this remarkable ensemble. Also featuring the world
JOHN KOTZAS premiere of a new work by Australian composer,
Bryony Marks, this final concert in the 2018 QPAC
CHIEF EXECUTIVE series for the Soloists will surely be a treat.
Southern Cross Soloists is one of QPAC's Companies
QPAC in Residence and we are proud to work together to
amplify the work of the Soloists and provide our
audiences with remarkable, exciting and exceptional
live performance experiences.
I hope you enjoy this afternoon's concert and consider
subscribing to the Soloists' 2019 QPAC concert series.
MESSAGE FROM THE ARTISTIC DIRECTOR We are very excited to present this exhilarating program of flair and virtuosity today. When programming this concert, I was totally spoilt for choice with all the amazing skills of the incredible musicians we have in Southern Cross Soloists. And although some of our regular players were unable to perform in this concert, we are delighted to have outstanding guest soloists from across Australia join TANIA FRAZER us, all of whom you may recognise from past Bangalow Music Festivals. ARTISTIC DIRECTOR This program gets straight into it with the dazzling SOUTHERN CROSS brilliance of Kodály’s gypsy inspired Dances of SOLOISTS Galánta followed by Thomas Marlin performing Chopin’s bravura cello and piano masterpiece. We are also very excited to perform the world premiere of a new work by award-winning Australian film composer Bryony Marks, and thank the Australia Council for their support to make this possible. I first heard Bryony’s music on the radio and I loved it, so I was thrilled that she agreed to write Southern Cross Soloists a new piece for this concert. You will be treated to Ashley scaling the highest heights in Rossini’s virtuoso clarinet show piece, before enjoying the energetic and foot-stomping folk brilliance of Three Goat’s Ears by Serbian composer, Isidora Žebeljan. Lina defies the laws of physics to perform Paganini’s violin caprice on the flute and the concert finishes with the highlight of the afternoon: Rachmaninov’s homage to Paganini, the most flamboyant virtuoso performer of all time. And speaking of time, I can’t believe we are nearly at the end of 2018! We’ve had a whirlwind of a year with so many exciting performances it’s hard to keep count. And we have much more planned for 2019, so please join us for the 2019 season launch after the concert today. Thank you so much for supporting us this year, and we look forward to seeing you next year for more thrilling music making.
The Virtuosos
PROGRAM
KODÁLY Dances of Galánta
CHOPIN Introduction and Polonaise Brillante in C
major, Op 3
MARKS SCHISM (World Premiere)
ROSSINI* Introduction, Theme and Variations
ŽEBELJAN Three Goat's Ears
PAGANINI Caprice No. 5 (arranged for solo flute)
RACHMANINOV* Rhapsody on a Theme of Paganini, Op. 43
* arr. ROTAR
TODAY'S CONCERT WILL LAST FOR APPROXIMATELY 90 MINUTES,
WITH NO INTERVAL.
WOULD YOU LIKE TO MEET THE ARTISTS?
We'd be delighted if you would join us in the Concert Hall foyer
following this afternoon's performance
for our 2019 Season Launch.ZOLTÁN KODÁLY (1882-1967) Dances of Galánta (Galántai táncok) (1933) I. Lento-maestoso II. Allegretto moderato III. Allegro con moto, grazioso IV. Allegro V. Allegro Vivace Hungarian composer Zoltán Kodály did not limit himself to only one field of excellence. In addition to being a composer he was an ethnomusicologist, pedagogue, linguist and philosopher, and is perhaps most well known internationally for creating the approach to music education known as the Kodály method. Exposed to a rich musical environment from an early age, Kodály went on to study composition at the Budapest Academy of Music. He received a diploma for the subject in 1904; in 1905 he received a second diploma in music education, and in 1906 earned a Ph.D. His dissertation was a structural analysis of Hungarian folk music, the preparation of which took Kodály on many excursions to rural areas to record and transcribe authentic folk music. Kodály composed Galántai táncok, or Dances of Galánta, in 1933. The work was commissioned by the Budapest Philharmonic Society to commemorate its 80th anniversary. Kodály went directly to his roots for the composition, having spent seven years of his early childhood living in the village of Galánta. Most of the themes used in the composition are of the verbunkos style, in which slow, dotted rhythm figures alternate with fast, running-note passages. They are arranged in masterful sequence, with alternating moods and tempos aided by exquisite orchestral colouring. The clarinet is particularly prominent, representing the single-reed tárogató. Dances of Galánta is in five sections, with each section leading directly into the next without pause. A pensive introduction lays the groundwork for a stately clarinet solo. This melody returns several times as a rondo refrain, separated by two sections, one led by flute and one led by oboe, that are both faster in tempo and lighter in character. The second half of the composition is a string of dance themes that gradually increase in speed. The opening melody returns for a moment, delaying the climactic ending with a short clarinet cadenza.
FRÉDÉRIC CHOPIN (1810-1849) Introduction and Polonaise Brillante in C major, Op.3 (1829-1830) I. Introduction. Lento II. Alla Polacca. Allegro con spirito Frédéric Chopin was a Polish composer and virtuoso pianist, and has maintained worldwide renown as a leading musician of the Romantic era. A child prodigy, he completed his musical education and composed his earlier works in Warsaw before leaving to travel in late 1830. He settled in Paris later the next year, and would never return to Poland. The Introduction and Polonaise Brillante in C major, for cello and piano, is one of Chopin’s first published compositions, and one of the few pieces he ever wrote for an instrument besides piano. The two segments of the piece were composed at different times: the Polonaise in 1829, and the Introduction in 1830. The Polonaise was composed during a visit to the estate of Prince Radziwill, who played the cello. One of his two daughters, Wanda, was a pianist, and Chopin wrote the Polonaise for her to practice alongside her father. Chopin thought of it as nothing more than a casual salon piece, but later included it on a concert tour and added the Introduction. The Introduction is full of piano flourishes, with a beautifully naive cello melody floating along on top. The Polonaise is far more bold and energetic, with the piano part serving as both a showcase solo part and an accompaniment to the cello. The cello, on the other hand, does not play a prominent solo role but is still essential to the piece, introducing many of the melodic lines. Moments of lyrical elegance balance out the bravura, and the music builds in excitement until the very end. BRYONY MARKS SCHISM (2018) I wrote SCHISM thinking about the duality between our public and private personaes: the version of ourselves we present to the world, and the interior version we acknowledge only in absolute solitude. The work is in three parts. The first is filled with manic energy, representing, perhaps, the straining effort it can take to maintain appearances in times of vulnerability, when the schism is at its widest. The middle section represents, perhaps, times of greater ease, when the divide is not so great, however a quietly dissonant undercurrent suggests the duality is ever present. The final section retreats into the introverted realms of the interior, and the public personae recedes from view. Program notes by the composer
GIOACHINO ROSSINI (1792-1868)
Introduction, Theme and Variations (ca. 1809)
Gioachino Rossini was an Italian composer best known for his 39 operas, though
he also composed sacred music, chamber music, and piano pieces. His first opera
debuted when he was only 18 years old; some of his most well known works include
The Barber of Seville, The Italian Girl in Algiers, Cinderella. He composed his last
opera, William Tell, in 1829. He composed several smaller works intended for
private performances, and died from pneumonia in 1868.
Rossini composed the Introduction, Theme and Variations for clarinet and
orchestra sometime around 1809, while he was a student at the Accademia
Filarmonica in Bologna. It is thought that the work was intended to be played by
Rossini’s fellow students as part of their annual examinations and competitions.
He later reworked the theme into an aria, “Oh quante lacrime”, for his opera The
Lady of the Lake.
Rossini’s Introduction, Theme and Variations is a repertoire staple for virtuoso
clarinetists. It requires a great deal of musicality to manoeuvre the acrobatics of
the solo part, exploiting the wide versatility of the instrument. The slow
introduction begins with a loud call from the orchestra, an effect Rossini would
often use in his opera overtures. The clarinet responds with a deceptively sweet
melody. The orchestra retreats to the background, and a brief cadenza from the
soloist leads into the first statement of the theme. This is followed by five
variations, separated by short orchestral interludes. The variations explore a
variety of different styles and techniques, including large interval leaps, punchy
staccatos, fast scalic runs and bouncing arpeggios. Contrast is introduced by the
fourth variation, in which the clarinet plays a soulful, lyrical version of the original
theme. The final variation brings with it a torrent of notes for the clarinet,
punctuated by a second cadenza. One last orchestral statement brings this
dazzling work to a close.
SCHISM has been assisted by the Australian Government through
the Australia Council, its arts funding and advisory board.ISIDORA ŽEBELJAN (1967- ) Three Goat's Ears (2002) I. Slaves II. Intermezzo. Morning III. Felicya IV. Bacchanal Žebeljan was born in Belgrade and grew up listening to Serbian, Romanian, Hungarian and Gypsy music. The melancholia, passion and richness of this music inspired Žebeljan's enthusiasm for sound and defined her approach to composition. When she decided to compose for the oboe, an instrument for which she has written numerous works, Žebeljan thoroughly researched the range and possibilities of the instrument and aimed to stretch its "sound idiom". The music of Three Goat's Ears was originally composed as incidental music for a popular children's play. It told the story of an emperor who attempted to hide the fact that he had three goat's ears. It contains traces of the folk music of Serbia and Russia, with rhythmically vibrant passages and sinuous melodic lines. NICCOLÒ PAGANINI (1782-1840) Caprice No. 5 (1817), arranged for solo flute Italian violinist and composer Niccolò Paganini is regarded as the greatest virtuoso violinist ever and had a remarkable international career, although it did not begin until late in his life. He received his first musical instruction from his mandolin-playing father, quickly surpassing his father’s teaching capabilities, and began composing seriously in 1797. Paganini’s 24 Caprices for solo violin are thought to have been composed in 1817, and were first published in 1820. While not musically profound, the 24 Caprices reflect his astounding technical capabilities and are perhaps one of the greatest volumes of music composed for a solo string instrument. They have provided inspiration for many other composers. Some, including Brahms, Rachmaninov, and Lutoslawski, used themes as the basis for variation works. Others responded to the interest the Caprices created in works that were not only technically challenging, but were also musically rewarding to both players and listeners. The fifth Caprice features two sections of huge, arching arpeggios, separated by a middle figure of buoyant, perpetual motion. The first arpeggio section, in A minor, reaches high into regions of the violin that were considered inconceivable by Paganini’s contemporaries. Restless semiquaver action leads into a recapitulation of the opening arpeggios, this time in the brighter key of A major.
SERGEI RACHMANINOV (1873-1943) Rhapsody on a Theme of Paganini, Op. 43 (1934) The Rhapsody on a Theme of Paganini is a set of 24 variations for solo piano and orchestra, using Paganini’s Caprice No. 24 as the main theme. It is perhaps one of Sergei Rachmaninov’s most ambitious compositions, considering that the theme he chose to use had already been used by other notable composers. While it consists of only one movement, there are three distinct sections to the piece which provide a fast-slow-fast structure reminiscent of a piano concerto. The piece opens, not with the theme on which it is based, but with a short introduction containing fragments of the theme. It leads into the first variation, and it is only after this variation that the theme is introduced properly. It is played largely by the strings, with the piano adding single notes to the melody. From that point forward the piano leaps into the spotlight, sharing it with the orchestra on occasion in some of the following variations. They are lively and light until the sixth, which slows in tempo. The seventh variation is a dramatic change in mood, introducing the Dies Irae theme that appears in many of Rachmaninov’s major compositions. The Dies Irae appears in the following three variations as well, leading into the 11th and the beginning of the slower section of the work. The 11th and 12th variations are delicate and subdued; in Rachmaninov’s own words, transitioning to the “realm of love”. The piece becomes more lively from the 13th variation onwards, preparing for the climactic 18th variation: a romantic nocturne based on an inversion of the original theme. The last six variations can also be considered the last ‘movement’ of the work, making up a colourful and unexpected finale. Rachmaninov reintroduces the main Paganini theme, an indication that the piece is drawing to a close. The final variations build toward a dramatic conclusion, but in one last twist, the piano ends the piece on its own.
Born in Australia, Tania Frazer completed both her undergraduate
and postgraduate degrees at the Guildhall School of Music in
London on full scholarship. Tania has performed as Principal Oboe
with the Schleswig-Holstein Music Festival Orchestra under Lorin
Maazel, Rostropovich and Solti; the Israel Philharmonic Orchestra
under Zubin Mehta and Valery Gergiev; the Royal Scottish
National Orchestra; the New Zealand Symphony; the Jerusalem
Symphony; Stavanger Symphony in Norway; the Montreal
Chamber Orchestra and was Principal Cor Anglais of the Sydney
Symphony Orchestra. Tania held the position of Principal Oboe
with the Israel Opera in Tel Aviv and from 2004-2008, was
Principal Oboe with the Australian Chamber Orchestra, often
performing as a soloist, including alongside Dawn Upshaw on their
2006 European tour. Tania won first prize at the Coleman
TANIA FRAZER International Competition in Los Angeles, the Queen Elizabeth
ARTISTIC DIRECTOR Silver Jubilee Award in London, the Australian Foundation in
OBOE London Award, the Philharmonia Orchestra’s Martin Award (UK)
and is featured in the Who’s Who in recognition of her contribution
to the arts.
Tania regularly performs as a soloist, chamber musician and
artistic director throughout Australia and internationally, and
lectures in oboe at the University of Queensland. As SXS Artistic
Director, Tania has been the Musical Director of many productions
including The Red Shoes (2014) and The Host (2015) with
Expressions Dance Company and Invisible Me for QPAC’s 2012
Out of the Box Festival, and in 2015 was guest musical director
with the Daejeon Philharmonic Chamber Music Series in South
Korea.
Clarinettist Ashley William Smith has emerged as one of
Australia’s most internationally demanded young musicians. The
current Churchill Fellow, Ashley is a laureate of two of Australia’s
most prestigious prizes for classical musicians, the 2012 Music
Council of Australia Freedman Fellowship and the ABC Symphony
International Young Performer Award (other instrument category).
Ashley is currently Assistant Professor at the University of
Western Australia where he is the Head of Woodwind and
Contemporary Performance.
Internationally, Ashley has performed throughout the USA and
Asia including performances with Bang on a Can, the Chamber
Music Society of the Lincoln Center, the Kennedy Center and the
Beijing Modern Music Festival. In 2014 Ashley's international
ASHLEY SMITH engagements included performances in the USA with Chamber
CLARINET Music Northwest. Domestically, Ashley has performed as a soloist
with several of Australia's major orchestras. In 2014 he appeared
as a soloist with the West Australian Symphony Orchestra in a new
Sponsored by concerto by Lachlan Skipworth.
Loris Orthwein
Ashley is a Fellow of the Australian National Academy of Music
and a graduate of the University of Western Australia and Yale
University. At each institution Ashley received prizes as the most
outstanding performance graduate.Born in Canberra, Ysolt Clark studied at the Canberra School of
Music. Whilst a student she was a member of the Australian Youth
Orchestra for five years, and toured extensively both nationally
and internationally with this group, as well as with various chamber
ensembles. Ysolt became Principal Third Horn with the
Queensland Symphony Orchestra at the age of twenty-one and
held this position for the following eight years. She has also
performed on the orchestral stage with most of the major
Australian Symphony Orchestras, as well as the Singapore
Symphony Orchestra.
After leaving her orchestral position, Ysolt has dedicated her time
to pursuing her passion for both music education and chamber
music performance. She performs regularly as a soloist in recital
YSOLT CLARK and has a strong interest in contemporary repertoire. She has
recorded and performed with renowned contemporary music
FRENCH HORN ensemble, ELISION. Besides her work with Southern Cross
Soloists, Ysolt is also a member of the Lunaire Collective and
performs often with Camerata - Queensland's Chamber Orchestra.
She is a member of the successful horn teaching team at the
Queensland Conservatorium, Griffith University. She directed the
horn ensemble QHorns from the Conservatorium in their
international prize winning performance in Memphis in 2013. Ysolt
is in demand as a horn teacher, both at schools and at her private
teaching practice, and is frequently involved in other educational
programs to promote the possibility and accessibility of horn
playing.
Alan Smith completed postgraduate studies at the Robert
Schumann Institute in Dusseldorf. He has had extensive
experience as a Concertmaster, both within Australia and
overseas, and has been a soloist with the Adelaide, Melbourne and
Queensland Symphony Orchestras as well as appearing in various
chamber music ensembles in Australia and Europe.
Alan teaches part-time at the Queensland Conservatorium Griffith
University and is also a regular tutor for the Conservatorium
orchestras as well as the Queensland Youth Symphony. He plays a
violin made by Jose Contreras in 1770.
ALAN SMITH
VIOLINTwenty-four year old Australian pianist Alex Raineri, described by
Limelight Magazine as "a soloist of superb skill and musicality”, is
currently based in Brisbane and is an active recitalist, concerto
soloist and chamber musician. International performances include
tours of California, South-East Asia, United Kingdom, New
Zealand, Germany and Austria. Nationally, he is regularly
broadcast on ABC Classic FM and the MBS Networks and has
performed concertos with the Queensland, Tasmanian, Darwin
and West Australian Symphony Orchestras, Southern Cross
Soloists, Orchestra Victoria, Four Winds Festival Orchestra,
Bangalow Festival Orchestra and the Queensland Pops Orchestra.
Alex has won a number of major competitions including the
Kerikeri International Piano Competition, Australian National
ALEX RAINERI Piano Award, ANAM Concerto Competition, Michael Kieran
Harvey Scholarship and others. Some chamber partnerships
PIANO include performances with Andreas Ottensamer, Sara Macliver,
Natalie Clein, Greta Bradman, Kathryn Stott, Slava Grigoryan,
Sponsored by Brett Dean, Opera Queensland and Expressions Dance Company.
Loris Orthwein Alex's mentors have included Leah Horwitz OAM, Timothy Young,
Stephen Emmerson and Genevieve Lacey. He is currently
undertaking a Doctor of Musical Arts program at the Queensland
Conservatorium of Music (Griffith University) and is an alumni and
fellow of the Australian National Academy of Music (ANAM).
Lina Andonovska leads a diverse career as soloist, chamber
musician, orchestral player, collaborator and educator. Quickly
gaining recognition internationally as a fearless and versatile
artist, she has collaborated and performed with Crash Ensemble
(Ireland), Australian Chamber Orchestra, Shara Worden (My
Brightest Diamond), s t a r g a z e, Southern Cross Soloists and
eighth blackbird (USA). She is critically acclaimed for her
interpretation of new music, having closely collaborated with Louis
Andriessen, Brett Dean, Ann Cleare, Donnacha Dennehy, Michael
Gordon, David Lang, Thomas Ades, Anthony Pateras and Nick
Roth. Rolling Stone Magazine hailed her performance of Bun-
Ching Lam’s piccolo concertino at the Bang On A Can Summer
Festival as “superbly played, (ranging) from sustained ‘somebody-
please-get-that-tea-kettle’ squeaks to the flit and flutter of its
LINA beautifully lilting trills…”
ANDONOVSKA Recent performance credits include the European premiere of
FLUTE Dean’s flute concerto ‘Siduri Dances’ with the Deutsches
Kammerorchester, recitals at the Tokyo Experimental Festival, and
ASSOCIATE ARTIST guest appearances with s t a r g a z e across Germany. In the
2017/2018 season, she will be joining the Malaysian Philharmonic
Orchestra and Southern Cross Soloists as Guest Principal Flutist,
as well as performing the latest opera by Dennehy/Walsh with
Crash Ensemble.Growing up in a musical family, John’s passion for music was
ignited at an early age. After starting piano at the age of six, he
turned his hand to composition at nine, and at twelve had his first
orchestral work performed by the Bundaberg Youth Orchestra.
Since then John has had his works performed and commissioned
by the Queensland Symphony Orchestra, Southern Cross
Soloists, Australian Youth Orchestra, Queensland Youth
Orchestras, Flinders String Quartet, UQ Symphony Orchestra,
Southern Cross Voices, among others, and has garnered such
awards as the 2013 Queensland Wagner Society National
Composition Prize, the 2014 Fanfare Artology Prize, 2015 Percy
Briar Memorial Prize, and the 2016 Jean Bogan Youth Prize.
Since 2013, John has worked as an arranger with the Southern
JOHN ROTAR Cross Soloists on a number of projects including their QPAC
subscription concerts and Bangalow Music Festival concerts, as
COMPOSER-IN- well as their ballet collaborations with Expressions Dance
RESIDENCE Company; The Red Shoes (2014), and The Host (2015).
John holds a Bachelor of Music, with Honors, graduating from
the University of Queensland in 2016, and is currently
undertaking his doctorate in composition at UQ under the
supervision of Dr Robert Davidson.
At age 14, Susan performed Sarasate’s Zigeunerweissen with the
Sydney Symphony Orchestra under the baton of Patrick Thomas
at the Sydney Opera House. Since that time, she has performed as
soloist and recitalist throughout Australia, the USA and Europe.
Susan has recorded many times for ABC FM, and 2MBS FM radio
stations in live performance broadcasts as well as studio recorded
recitals, and has appeared numerous times in the Australian
Broadcasting Corporation’s Sunday Live series, performing as
recitalist as well as in duo and trio combinations with Duncan
Gifford and Sue-Ellen Paulsen as a founding member of
Kingfisher Trio.
From 1992 until 2001, Susan held the position of Deputy
Concertmaster of the Australian Opera and Ballet Orchestra.
SUE COLLINS While holding this position Susan acted regularly as
Concertmaster for the AOBO, and also accepted engagements as
VIOLIN Guest Concertmaster with many orchestras around Australia.
GUEST ARTIST
In 2003 Susan was awarded the Australian Centenary Medal, and
in 2009 was awarded an Australian College of Educators “Teacher
Recognition Award” following successful nomination by her
students at the University of Newcastle where she held a lecturer
position from 2007 until 2011.
Susan is now Head of Strings at UTAS Conservatorium of Music,
and lives in Hobart.Thomas Marlin has a performance portfolio encompassing three
continents, which includes concerti, recitals, chamber music,
orchestral playing and improvisation. He has performed in some of
the world’s most prominent concert halls including the Rudolfinum
in Prague, Wigmore Hall in London, and Elisabeth Murdoch Hall in
Melbourne, and has been featured on BBC Radio 3 and ABC
Classic FM.
Recent solo and chamber music highlights include Shostakovich’s
1st Cello Concerto with the Janus Ensemble (London), recitals in
Germany, Holland and Latvia, a recital for the AGM of the Elgar
Society in London, Dvořák's Cello Concerto with the Unley
Symphony Orchestra (Adelaide), Bangalow Music Festival (NSW),
the International Musicians Seminar, Prussia Cove (Cornwall), and
THOMAS MARLIN performances for Play On Music (Melbourne), as a founding
member of the Play On Collective.
CELLO
GUEST ARTIST As an orchestral musician, Thomas has appeared with the London
Symphony Orchestra under Sir Simon Rattle, and has worked
regularly with the Adelaide and Singapore Symphony Orchestras.
Formerly based in London, he was principal cellist of the Janus
Ensemble, and regularly performed as guest principal cellist with
the Melos Sinfonia and Barbican Chamber Orchestra. He has also
toured throughout Italy and China performing opera.
Beyond “classical” cello-playing, Thomas enjoys exploring
elements of jazz, rock, gypsy and folk music, as well as numerous
non-western musical styles, and is an avid improviser.
Thomas is an alumnus of the Universities of Adelaide, Tasmania,
and Singapore, and the Australian National Academy of Music,
and holds a Masters with Distinction from the Guildhall School of
Music and Drama (London). His principal teachers were Janis
Laurs, Christian Wojtowicz, Li Wei Qin and Louise Hopkins.
Brisbane born violist Gregory Daniel first studied at the
Queensland Conservatorium of Music, completing his bachelor
before moving to Melbourne for three years at the Australian
National Academy of Music (ANAM). In 2016, Gregory returned
to Brisbane and currently works casually with the Queensland
Symphony Orchestra and the Melbourne Symphony Orchestra.
He has also played in groups such as Kupka's Piano, and has
recently been performing and contributing to education
workshops in local Queensland schools with the band Topology.
Gregory is an active chamber musician and participated in the
Sound Thinking chamber music course earlier this year and looks
towards continuing his involvement with all types of music -
classical and beyond.
GREGORY
DANIEL
VIOLA
GUEST ARTISTAnne is an Artistic Associate at Camerata – Queensland's
Chamber Orchestra. Anne holds a Master of Music Performance
from The Australian Institute of Music in Sydney under the
tutelage of Alice Waten and studied with the Alban Berg Quartet
at the Cologne Hochschule für Musik.
Born in Perth, Anne established her career as a member of the
Tankstream Quartet coached by Alice Waten, where the
ensemble won First prize at the 2005 Cremona International
String Quartet Competition, Gold Medal in 2002 Osaka
International Chamber Music Competition, and second prize at
Paolo Borciani String Competition. The Tankstream broadcast on
radio and television throughout Australia, Europe and Asia.
Whilst a member of Australian String Quartet (2007-2013), she
ANNE HORTON released albums for ABC Classic FM including works by
Debussy, Ravel and Schubert, and recently recorded an album as
VIOLIN a member of ‘Ataria’.
GUEST ARTIST
Anne has enjoyed artistic collaborations with acclaimed
performers and featured at numerous festivals, including
Blackwood River Chamber Music Festival (2014) and as soloist
at the Canberra International Music Festival (2015).
A graduate of the University of Queensland (Master of
Philosophy in Music; Bachelor of Music with First Class
Honours), Queensland University of Technology (Graduate
Diploma in Education with Distinction) and the University of
Tasmania (Graduate Certificate in Music Studies), Chloe Ann
Williamson maintains an eclectic and successful career, as a
freelance double bassist. Chloe has performed both nationally
and internationally with a variety of Australian orchestras
including the Camerata – Queensland’s Chamber Orchestra,
Queensland Symphony Orchestra, Queensland Pops Orchestra,
Melbourne Symphony Orchestra, Royal Melbourne Philharmonic
Orchestra and the Tasmanian Symphony Orchestra. Well-versed
in musical theatre, she has also performed as Principal Double
Bass for the Brisbane seasons of Dr Zhivago (2011) and The
CHLOE ANN Sound of Music (2016) as well as performing as the Deputy
WILLIAMSON Double Bassist in several shows during the Brisbane seasons of
Les Misérables (2015) and The Wizard of Oz (2017). A keen
DOUBLE BASS chamber musician, Chloe has performed with Collusion and
GUEST ARTIST Southern Cross Soloists as well as at several chamber and folk
music festivals. In 2016, she received a Lord Mayor’s Young and
Emerging Artist Fellowship and PPCA Grant which enabled her
to attend Tango for Musicians at Reed College (USA), as well as
undertake further study and research of tango music in Buenos
Aires, Argentina.Alex Miller completed his Bachelor of Music at the Queensland
Conservatorium of Music in 2015, and was appointed Tutti Horn
of the Adelaide Symphony Orchestra in 2016. In May of 2018, he
was appointed to trial as Associate Principal Horn of the
Queensland Symphony Orchestra. As a freelance artist, he has
played principal and tutti horn with a number of major Australian
orchestras including the Adelaide Symphony Orchestra, the
Queensland Symphony Orchestra, the Tasmanian Symphony
Orchestra, and the Canberra Symphony Orchestra. Alex has also
appeared as a soloist on several occasions, having performed
concertos by Strauss, Mozart, Haydn, and Schumann with
orchestras including the Queensland Symphony Orchestra, the
Queensland Youth Orchestra, and the Burnside Symphony
Orchestra. During his studies at the Conservatorium, he played
ALEX MILLER principal horn with the Australian Youth Orchestra and the
FRENCH HORN Queensland Youth Orchestra, and toured internationally with
GUEST ARTIST both ensembles.
Bryony is one of Australia’s busiest composers for film and tv.
Highlights to date include Cloudstreet, Noise, Barracuda and
Please Like Me. This year she is scoring Damon Gameau’s
feature documentary 2040; Josh Thomas’ American comedy
Everything’s Gonna Be Ok; Mustangs FC for the ABC and
Foxtel’s miniseries, Lambs of God. Her chamber opera Crossing
Live, with libretto by Matthew Saville, was premiered in 2007 by
Chamber Made, winning a Green Room Award for Best New
Australian Opera in the same year. Bryony’s adaptation for
narrator and orchestra of the classic Australian children’s book
The Happiness Box was commissioned by Symphony Services
Australia and premiered in 2013 by the MSO, with subsequent
performances by MSO again, NZSO and QSO. The SSO will
perform The Happiness Box at the Sydney Opera House
BRYONY MARKS next month.
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SILVER
Ms P. Birkett, Mr J. Blocksidge, Mr & Mrs P. and S. Garside, Ms J. Graham,
Ms J. Hickey, Ms D. Khursandi, Dr G. Seffrin
BRONZE
Dame Q. Bryce AD CVO, G. Kennard, Mr G. White
FRIENDS
Mrs R. Barry, Ms J. Campbell, Mr J. CLayton, Mr T. Cox, Mr J. Deuchrass,
Ms C. Gallois, Ms J. Giles, Mr R. Gordon, Ms M. Goulet, Ms C. Harrod,
P.M. Jackson, Mr A. Kennedy, Mr & Mrs J. and M. Macmillan, Ms S. McCorkindale,
Ms C. McMurchy, Mrs Morris, S. Nelson & N. Pulsford, Ms J. Noble, Mr B. O'Connor,
Ms G. Pauli, Mr C. Pegg, Ms M. Ralph, Ms E. C. Roe, Ms S. Taylor, Ms J. Uhr,
Ms K. Vernon, Ms H. Williamson
2018 QPAC SERIES ARTIST SPONSORS
Alex Raineri - Loris Orthwein
Ashley Smith - Loris Orthwein
ACKNOWLEDGEMENT OF COUNTRY
Southern Cross Soloists respectfully acknowledge the Traditional Owners of this
land, and their Elders both past and present.
Information correct at time of printing.
Have you enjoyed today’s Southern Cross Soloists performance?
If you would like to support the ensemble, you may do so via a fully tax-deductible
donation. Southern Cross Soloists is listed on the Australian Government’s
Register of Cultural Organisations and has full Deductible Gift Recipient status.
You can also sponsor your favourite Southern Cross Soloist for 2019. You can
select your favoured musician or instrument as an individual or as a group.
Please contact the office for details on 07 3844 7260 or
manager@southernxsoloists.com
We look forward to hearing from you!SOUTHERN CROSS SOLOISTS MUSIC LTD Patron The Honourable Dame Quentin Bryce AD CVO Board of the Southern Cross Soloists Mr Greg Thompson, Chair Ms Renae Blackwell Mr Jonathan Blocksidge Mr Anthony Brittain Ms Tania Frazer Ms Gillian Wills Artistic Director Tania Frazer General Manager Yvonne Henry Administration Officer Gabrielle Knight Finance Officer Jeanette Saez Postal Address PO BOX 3679 SOUTH BRISBANE QLD 4101 Phone: 07 3844 7260 Email: manager@southernxsoloists.com Web: www.southernxsoloists.com Find us on Facebook, Twitter and Instagram
QUEENSLAND
PERFORMING
ARTS CENTRE
PO Box 3567, South Bank,
Queensland 4101
T: (07) 3840 7444 W: qpac.com.au
ACKNOWLEDGMENTS
Professor Peter Coaldrake AO The Queensland Performing Arts Trust is
a statutory body of the State of
Queensland and is partially funded by
Leigh Tabrett PSM the Queensland Government.
The Honourable Leeanne Enoch MP,
Dare Power Minister for Environment and the Great
Susan Rix AM Barrier Reef, Minister for Science and
Leanne de Souza Minister for the Arts
Director-General, Department of
Chief Executive: John Kotzas Environment and Science:
Executive Director - Stakeholder Jamie Merrick
Engagement Strategy: Jackie Branch QPAC respectfully acknowledges the
Executive Director - Visitation: Traditional Owners of the Lands across
Roxanne Hopkins Queensland and pays respect to their
Executive Director - Business ancestors who came before them and to
Performance: Kieron Roost Elders past, present and emerging.
Acting Executive Director -
Curatorial: Bill Jessop
Patrons are advised that the Perfoming 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.You can also read
