April 2012 - Queensland Symphony Orchestra


April 2012 - Queensland Symphony Orchestra


QSO plays Beethoven

Morning Masterworks 2

QSO with Johannes Fritzsch

Maestro 4

QSO with Benjamin Northey

20/21 One




Biographies 23


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11am, Thursday 5 April | QPAC Concert Hall

CONDUCTOR Enrique Arturo Diemecke

PIANO Sergio Tiempo

CHOPIN Piano Concerto No.1

BEETHOVEN Symphony No.6 Pastoral

Morning Masterworks is

proudly co-produced by

Proudly supported by


Program Notes



Piano Concerto No.1 in E minor, Op.11

Allegro maestoso

Romance (Larghetto)

Rondo (Vivace)

Sergio Tiempo, Piano

The Warsaw which Chopin knew in the

1820s supported a reasonably varied

musical life: there were symphonic and choral

concerts, and appearances by touring virtuosi

such as Paganini. Performances by visiting

Italian opera companies probably instilled in

the young Pole a lifelong love of the human

voice and a desire to incorporate the spirit of

bel canto into his piano compositions. Chopin

played concertos by Ries, Moscheles and

Hummel before leaving Poland in 1831 for

Paris, where he would spend the rest of his

life. Indeed Johann Nepomuk Hummel is one

of that group of composers (including the

Irishman John Field and the Germans Weber,

Spohr and Kalkbrenner) who are often

quoted as influences on Chopin’s writing.

It is tempting to declare that certain

passages in the Hummel and Field concertos

sound like pure Chopin, but the difference

lies in the way Chopin utilises cascades

of scales, awkward leaps, arpeggiated

figurations and difficult trills for artistic

ends, of a type of musical expressiveness

which already bears his personal stamp. All

the characteristics of his later compositions

and his playing style are in evidence: colour

and constantly shifting nuance, the need for

rubato, elegance of phrasing, lovely singing

tone, legato touch and imaginative pedal

effects. The nocturnes of Field inspired

Chopin to write works bearing the same title,

and there are unmistakable similarities with

both composers’ concertos: compositional

fluency, the capacity to explore the entire

range of the keyboard and an underlying

streak of wistful melancholy. Yet the fact

remains that Field was a remarkable talent

whereas Chopin was simply a genius.

There is another way in which Chopin’s

concertos are different: they were written by

a young composer influenced by the surge

of Polish nationalism. Their final movements

are cast in the form of Polish folk dances (a

krakowiak and a mazurka respectively), full

of colour and infectious vitality expressive

of nationalistic fervour. Unlike the finales of

many other piano concertos, they are strong

movements which complement perfectly

their companions.

It has been fashionable to deride Chopin’s

orchestrations as colourless and inept. It

must be admitted that Chopin limited the

role of the orchestra as Liszt, Schumann and

even Mendelssohn did not, letting it provide

a sonorous backdrop for the solo part rather

than engage in a genuine dialogue. However,

Chopin always thought in pianistic terms and

did not feel inclined to abandon his natural

territory. Various attempts to reorchestrate

the concertos (by Karl Klindworth and Karl

Tausig) have generally not proved successful,

and they are usually performed in their

original form.

Although the E minor concerto is known

as the first and bears a lower opus number,

it was actually written after the F minor but

published first, hence the numbering with

which we are familiar. The E minor dates from

1830 and appeared in print three years later;

the F minor was begun in 1829, completed

the following year but not published until


David Bollard © 1998.



Symphony No.6 in F, Op.68 Pastoral

Awakening of happy feelings on arrival in the

country (Allegro ma non troppo)

Scene by the brook (Andante molto mosso)

Peasants’ merrymaking (Allegro) –

Thunderstorm (Allegro) –

Shepherd’s song:

Thanksgiving after the storm (Allegretto)

When Beethoven sought tranquillity in the

wooded environs of Heiligenstadt, outside

Vienna, during the summer of 1802, his

attention was drawn to a shepherd’s flute

sounding in the fields but, the composer

heard nothing. The realisation of the extent

of his encroaching deafness was crushing.

Months later he recalled the incident in the

agony of his Heiligenstadt Testament. While

Beethoven could face the prospect of being

cut off from normal human communication,

he was in despair at the thought of no longer

hearing the voice of his best friend, Nature.

In choosing to glorify Nature in his Sixth

Symphony, Beethoven does no more nor

less than give praise to God for all His

works. There is no descent from the titanic


Fifth Symphony to mere pictorial music in

the Sixth: Beethoven made it clear that his

descriptive program for the work was ‘more

an expression of feeling than tone-painting’.

If the C minor Symphony was an assertion

of his confidence in human will, then the F

major Symphony proclaims his confidence in

a divine Creator. It is the spiritual reverse of

the same coin.

Indeed, composition of the two symphonies

proceeded more or less concurrently, on

parallel and complementary lines, and they

were premiered together in the same concert

in Vienna on 22 December 1808, the one

expansive and joyous, the other concise and


The first two movements of the Sixth,

inspired by the calm of Heiligenstadt,

establish tranquillity as a state of being, the

idyllic existence, Nature pure and unspoilt. In

the third movement, humankind intervenes

with the merrymaking of peasants, raucous

and bucolic; the forces of Nature react in

one of the most graphic storms in music;

and when the dark clouds lift, leaving the

land cleansed and purified, mankind raises its

voice in heartfelt praise.

So in the Sixth, as in the Fifth, there is a

sense of catharsis in reaching the finale.

Though the Storm is identified as an

independent movement, it nevertheless

serves as a bridge passage similar to the

transition linking the last two movements of

the Fifth – a link between scherzo and finale,

yet psychologically a hazard or trial through

which mankind must pass. The promised

land in one case is human exultation, in

the other spiritual exaltation. The Pastoral

Symphony describes a full circle, from a state

of tranquillity through the intervention first

of human forces, then the fury of nature, to

a plateau of peace. Beethoven sings praise

to God in the serenity, the joyousness, and

the elemental turbulence of His manifold

creations, but ultimately in the innate beauty

of all of them.

The representation of birdsong at the end

of the slow movement (nightingale on flute,

quail on oboe, and cuckoo on clarinet) forms

an idyllic coda to one of the most deeply

felt sonata-form structures Beethoven

ever created. But this, like the Storm, is

no naïve pictorialism. Beethoven insisted

that he only ever depicted sounds which

were in themselves musical and, as William

Mann points out, the ‘long liquid trill’ of the

nightingale is just the way Beethoven himself

sometimes expressed happiness.

Beethoven’s use of pictorial elements in

the Pastoral Symphony, therefore, and

the superficially radical structure of two

closed movements followed by three linked

movements played without a break, are

clearly mere extensions and embellishments

of the traditional form. ‘We have then,’ as

Tovey says, ‘to deal with a perfect classical

symphony.’ And one, moreover, in which

Beethoven communes more closely with God

than in any other of his symphonies except,

perhaps, the Ninth.

Anthony Cane © 1998/2011

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8pm, Saturday 21 April | QPAC Concert Hall

CONDUCTOR Johannes Fritzsch

OBOE Alexei Ogrintchouk

CELLO David Lale

VIOLA Yoko Okayasu

BEETHOVEN Symphony No.8

MOZART Oboe Concerto


R STRAUSS Don Quixote


Program Notes



Symphony No.8 in F, Op.93

Allegro vivace con brio

Allegretto scherzando

Tempo di minuetto

Allegro vivace

The Eighth must surely be a young man’s

symphony, bursting on us as it does with

the boundless energy of a frisky colt. Yet

Beethoven was in his forties by the time he

composed it in 1811 and 1812. The time

he was most busily working on it, following

the completion of Symphony No.7 in mid-

1812, is widely thought to have been the

occasion when he penned the rapt letter to

his unnamed ‘Immortal Beloved’.

Since the two symphonies were composed

virtually in tandem, and derived from the

same collection of sketches, it is hardly

surprising that they have characteristics in

common. But while the Seventh is relatively

relaxed and expansive, the Eighth is taut and

highly compressed. Wasting no time with

any sort of introduction, Beethoven launches

straight into the main theme, self-confident

and self-sufficient.

As in the Seventh Symphony, Beethoven

does without a true slow movement, but

here he adds a qualification to the Allegretto

marking: scherzando. This neat, deceptively

straightforward little movement can thus

be invested with the light-heartedness of

a scherzo, allowing the third movement to

be an ‘old-fashioned’ minuet rather than the

fierce Beethovenian scherzo which listeners

had come to expect.

A scurrying theme begins the finale, only to

be crudely dismissed by a loud and irrelevant

chord of C sharp. This immediately unleashes

the whirlwind. In a remarkable movement, by

dint of omitting formal repeats, Beethoven

manages (in Robert Simpson’s analysis) to

produce two complete developments and

two complete recapitulations, together with

a coda.

Beethoven conducted the first performance

of the Eighth Symphony before a packed

house in the Grand Redoutensaal in Vienna

on 27 February 1814. There are signs

among Beethoven’s sketches that he was

contemplating a symphony in D minor as

a companion to the pair of 1812, but as

the Napoleonic Wars neared their end, the

composer was entering a period during which

work would be difficult for him, and that

project was not to be realised for more than

a decade.

Abridged from an annotation by Anthony Cane

© 1998/2011


MOZART (1756-1791)

Oboe Concerto in C, K.314

Allegro aperto

Adagio non troppo

Rondo (Allegretto)

Alexei Ogrintchouk, Oboe

This concerto is more often heard, these

days, played on the oboe, however for years

it was known only as the Flute Concerto

in D. Scholars were aware that Mozart, in

1777, had composed a concerto for the

oboist Ferlendis, who had recently joined the

Salzburg Court Orchestra, but the work was

thought to be lost.

In 1920 Bernhard Paumgartner discovered

in the Salzburg Mozarteum library a set of

orchestral parts for a concerto in C major

for oboe by Mozart, which was obviously an

oboe version of his D major flute concerto.

The familiar flute version had been prepared

in 1778 to fulfil a commission for two flute

concertos. Most probably Mozart had

composed one (K.313) then, pressed for

time, adapted the oboe concerto.

The C major concerto is now central to the

oboe repertoire. A deft and refined essay in

the classical style, there are many ingenious

and witty touches, such as the mock-serious

cadence figure with repeated notes and a

descending arpeggio which the soloist later

extends. Donald Tovey finds opera buffa

malice from the second violins, and tuttis

crowded with contrapuntal and operatic life

– typical Mozartian concerto writing, but

never drawing attention to its skill.

The second movement is mainly a lyrical

cantilena for the soloist. A character in a

later opera by Mozart gives the feeling of

the Rondo: Blonde, the pert servant girl in

The Abduction from the Seraglio, in whose

aria Welche Wonne, welche Lust (Oh what

pleasure, oh what joy!) Mozart returned to

a variant of this rondo theme. In the second

episode of the Rondo, first and second violins

chase one another in a passage in threepart

canonic counterpoint, worthy of the

ingenuity of an improvising organist, and

underpinned by a pedal note on the horns.

Entertainment and the opportunity for

virtuoso display is the keynote here.

Abridged from an annotation by David Garrett

© 2002




Don Quixote – Fantastic Variations on a

Knightly Theme, Op.35

David Lale, Cello and

Yoko Okayasu, Viola

Don Quixote was Richard Strauss’ third

character study after Don Juan and Till

Eulenspiegel, and (unusually for a tone

poem) takes the form of a strict theme and

variations. Strauss’ designation of the work

as being for grosses Orchester belies the

extent of soloistic work, especially a solo

cello representing Don Quixote, and a viola as

his squire, Sancho Panza. Other sides to both

these characters are presented by the solo

violin (for the Don), and bass clarinet and

tenor tuba, Sancho’s alter-egos.

Strauss based his score on incidents in

Cervantes’ epic novel in which Don Quixote,

obsessed with tales of chivalrous knights,

leads his squire Sancho Panza on a series of


Variation I comes from the famous episode

where Don Quixote, mistaking windmills for

giants, launches a ludicrous attack on them.

Variation II: A pastoral theme suggests the

flocks of sheep which the Don mistakes for

the mighty armies of Alifanfaron, Emperor

of Trapobana, and Pentapolin, King of the

Garamantas. Strauss gives this episode a

victorious outcome, unlike Cervantes who

has the shepherds throwing stones at his

hero, breaking two of his ribs and knocking

out his teeth.

Strauss called Variation III ‘Sancho’s

conversations, questions, demands and

proverbs; Don Quixote’s instructing,

appeasing and promises’.

Variation IV: The Don mistakes a group

of penitents carrying a statue of the

Virgin Mary for ‘villainous and unmannerly

scoundrels’ abducting a lady. When he

intervenes, the penitents set upon him.

Variation V takes us back to an early part of

the story: the Don’s vigil over his armour. The

theme representing Dulcinea, Quixote’s love

interest, appears shrouded in magical figures

from the harp.

In Variation VI the Don sets off with Sancho

for Dulcinea’s home town, charging Sancho

to find his Lady; at his wits’ end, Sancho

points out three peasant girls on donkeys

who, he says, are Dulcinea and two serving


Variation VII comes from the long episode

where the Don and Sancho are subjected to

a series of leg-pulls. One of these requires

the Don to travel 9,681 leagues on a flying

horse, and the orchestra takes us away on an

entertaining ride.

Strauss slyly reveals the true state of

affairs (that the flying horse is a toy; that

the impression of wind is really created by

bellows) by continuously sounding a pedal

note of D.

Variation VIII depicts the ‘Enchanted Boat’

which, taken from the riverbank by the Don

and Sancho, drifts towards a weir amidst

some water mills and is smashed to pieces.

In Variation IX, the Don mistakes two

Benedictine monks, whose intense

conversation is conveyed by bassoons, for

sorcerers bearing off a princess.

The final variation follows without a break –

the Don’s battle with the Knight of the White

Moon, fellow-villager Sampson Carrasco,

who, in disguise, hopes to defeat the Don

and in doing so exact a promise from him to

give up his foolish quests and return home.

The orchestra depicts the jousting of the two

contenders, but most graphic and moving is

the Don’s leaden-footed return, a powerful

pedal point reinforced by regular timpani

strokes. The Don considers taking up a

pastoral life (the shepherd’s piping is heard),

but at least the worst of his delusions is over,

and he is becoming restored to clarity.

The work closes with a depiction of Don

Quixote’s death, a moving melody for cello.

Subtle tremors of impending death are heard.

The soloist often ends up slumped over his

cello at the conclusion of the dying glissando.

Adapted from a note by Gordon Kalton Williams

Symphony Australia © 1998


Backstage Pass


You are an inspiration to QSO’s Principal

Cor Anglais player, Amelia Coleman, who

won the 2012 Ann Hoban Fellowship to

take part in your oboe class in Geneva. Can

you describe what you teach in one of the

most sought after oboe classes in Europe?

I am happy to be a successor of Maurice

Bourgue at the Geneva Conservatory. It’s a

wonderful school! I studied in Paris, and in

my teaching I try to continue the line of my

teachers: Maurice Bourgue, Jacques Tys and

Jean-Louis Capezzali.

When did you first start to play the oboe

and what made you decide to choose the


I started to play oboe when I was nine.

When I was a small boy my parents brought

me to listen to many classical concerts,

and even the symphony orchestra. I always

remembered the oboe sound especially, and

we can say I fell in love!

What type of oboe do you play?

I play an oboe Marigaux 2011.

Do you make your own reeds and if so can

you describe the making process?

I think every oboe player should be able to

make his own reeds. I make the reeds myself.

It takes the greatest part of the working

time, and is a very delicate and complicated

process. Some people say that the mood

of an oboe player depends on whether he

has a good reed or not.


You have a distinguished career as both

a soloist and an orchestral performer.

How does your concert preparation differ

between both performance styles?

I feel happy and rich musically, playing in such

a great orchestra, as Royal Concertgebouw,

to have many exciting solo and chamber

music performances and to teach in Geneva.

It gives a feeling of a full musical life!

How would you describe Mozart’s Oboe


Of course it’s one of the greatest pieces of

oboe repertoire, which we carry and develop

during all life! I am always happy to perform

this great music!

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QSO Program - Full Page Ad - 27.2.12.indd 1 2/27/2012 5:10:23 PM

20/21 ONE





7pm, Saturday 28 April

Conservatorium Theatre

CONDUCTOR Benjamín Northey


KATS-CHERNIN Heaven is Closed

GLASS ARR. DICKSON Violin Concerto

No.1 arr. for Saxophone


ISAACS Serenade for Orchestra

(world premiere)

KATS-CHERNIN Winter from The Seasons

(based on Spheres)

STANHOPE Fantasia on a Theme

of Vaughan Williams

Proudly supported by


Program Notes


(Born 1957)

Born in Tashkent, Uzbekistan, Elena Kats-

Chernin studied music in Moscow, Sydney

and Hanover. She has created works in nearly

every genre, from orchestral to chamber and

choral compositions, among them pieces for

Michael Collins, Evelyn Glennie, Ensemble

Modern, Australian Chamber Orchestra, Sydney

Symphony, and the Tasmanian and Melbourne

Symphony Orchestras. She has written four

chamber operas and the soundtracks for three

silent films and her music featured at the

opening ceremony of the 2000 Sydney Olympic

Games and the 2003 Rugby World Cup.

She has received several awards, including a

Sounds Australian Award in 1996 for Cadences,

Deviations and Scarlatti, and Green Room

and Helpmann Awards in 2004 for the score

to Meryl Tankard’s ballet Wild Swans. The

TSO’s recording of ‘Eliza Aria’ from the CD

Wild Swans featured in a highly successful

television commercial by Lloyds TSB in the

UK. Russian Rag was used as Max’s theme in

the 2009 claymation film Mary and Max by

Oscar-winning director Adam Elliot. Her music

for the ballet interpretation of the children’s

book The Little Green Road to Fairyland

received its premiere at the 2011 Queensland

Music Festival. She is currently Composerin-Residence

with Queensland Symphony

Orchestra, who premiered her new work

Symphonia Eluvium, commissioned by the

Brisbane Festival, in September 2011.

In January 2012 her music for cello and

percussion for William Yang’s photographic

show ‘I am a Camera’ was premiered at the

Sydney Festival. Fast Blue Village, the CD of her

music for string quartet played by the Acacia

Ensemble, is due for release this year.

Heaven is Closed

Titles and ideas come together for Elena Kats-

Chernin. Heaven is Closed suggested a wry,

resigned humour. Iconoclastic it may be – if

New Age devotees offer heaven, this slams

the door in their face. The music knocks on a

door, repetitively. If that one doesn’t answer,

try another – but they’re all closed. Perhaps

heaven is full. Or it is closed for business.

Heaven, it seems, could not be more closed, or

perhaps just so far away. The composer lived

with serious illness of a close family member as

she wrote. There was not much to look forward

to. The mind needs to adjust. Heaven means

bliss, and if it is to be found, it must be here

and now, in daily being. These were religious

reflections, but not consciously those of Elena’s

Jewish heritage, nor any other formal religious

system. When she thinks about heaven, the idea

of blissful states and places often visits her in

vivid images of the picture-book fairy stories

of Russian childhood. Folk imagination portrays

heaven as a playful place, and even if it is closed,

its games can be played here, in music.

David Garrett © 2000

The Seasons for piano and strings: Winter

The composer writes:

Winter is the last movement of The Seasons

for piano and strings, commissioned by the

great Australian poet Barbara Blackman. The

piece was premiered in May 2011 during

the Canberra International Music Festival.

For me, Winter conjures moments of still,

pale lemon shaded images, a drained and

vacant landscape which is nevertheless full

of promise.

Winter begins with a solo viola introducing

a searching melody in E minor. The

cellos enter with a tentative plucked

accompaniment. Piano makes its first

appearance with the two-note theme on

which the piece is based. The harmony

oscillates between two main chords creating

a sense of stillness that is also expectant.

The material becomes more passionate

as it grows and the culminating moment

arrives with a significant shift (as in the

transformation of the seasons) to the tonic

major. Now the initial viola theme is painted

with a new optimism and sense of warmth.


(Born 1958)

Serenade for orchestra (2011)


Mark Isaacs has achieved widespread

recognition as a pianist and composer working

in both classical music and jazz.

As a jazz pianist he has toured extensively

in Europe, Russia, Asia, the USA, Australasia

and the Pacific, and collaborated with artists

including Dave Holland, Roy Haynes, Kenny

Wheeler, Adam Nussbaum, Vinnie Colaiuta

and Bob Sheppard. He was involved with

programming jazz at the Brisbane Powerhouse

from 2005 to 2010, including curating the

inaugural Brisbane Jazz Festival.

He has performed as a classical pianist and

conductor, and has composed around 100

major works ranging across orchestral, chamber,

choral and solo repertoire, as well as scores for

film, television and the theatre. Recent works

include the solo piano piece Children’s Songs,

premiered by the composer at this year’s

Adelaide Festival, and Five Bagatelles for solo

guitar, due to be premiered by Timothy Kain

in April 2012.


Current and future projects include a

chamber music suite which he will record

with members of the Goldner Quartet,

Australia Ensemble and Sydney Symphony

Orchestra; and the premiere of his cello

concerto Invocations in May 2012.

Serenade for orchestra began life in 2004 as

a string quartet before being transcribed as

the middle movement of Isaacs’ Sextet for

strings five years later. The composer made

tonight’s version for orchestra in 2011.

A short but highly concentrated work of five

minutes’ duration, it has the shape of an arch,

building from the hymn-like opening with

incremental increases in tension – and tempo

– to an abrasive climax, before winding down

to a slow, evanescent end.


(Born 1969)

Fantasia on a Theme of Vaughan Williams


Australian composer Paul Stanhope says

his music is inspired by a diverse array of

material and presents the listener with ‘an

optimistic, personal geography…whether this

is a reaction to the elemental aspects of the

universe (both the celestial and terrestrial) or

the throbbing energy of the inner-city’.

His Fantasia on a Theme of Vaughan Williams

pays homage to Vaughan Williams’ Fantasia

on a Theme by Thomas Tallis. Just as Vaughan

Williams uses a chorale theme by Thomas

Tallis in his work, Stanhope uses Vaughan

Williams’ tune Down Ampney (which sets the

hymn Come Down, O Love Divine). Stanhope

deploys the full resources of the orchestra

including a large percussion battery. The

piece is divided into six sections to form a

single complete movement.

Fantasia on a Theme of Vaughan Williams

was awarded first place in the 2004 Toru

Takemitsu Composition Prize and performed

by the Tokyo Philharmonic at the Tokyo

Opera City on 30 May 2004.


(BORN 1937)

Violin Concerto No.1 (1987)

Solo part arranged for soprano saxophone

by Amy Dickson (2008)

1. Crotchet = 104

2. Crotchet = 108

3. Crotchet = 150

Amy Dickson, Saxophone

Philip Glass’ name is familiar in non-classical

music circles, a rare achievement these days

for a contemporary composer. Following a

conventional musical training at the Juilliard

School, he spent time in Paris where he

studied with Nadia Boulanger before being

hired by a filmmaker to transcribe the music

of sitar player Ravi Shankar for classically

trained musicians. On his return to New York

he became part of the avant-garde scene

before coming to the public’s attention with

Music in 12 Parts and the opera Einstein on the

Beach. He has collaborated with a diverse

range of artists and is a prolific composer:

his output includes operas, symphonies,

concertos and major film scores.

The Violin Concerto was Glass’ first major

orchestral work and signalled a new

engagement with the concert hall. It was

written for Paul Zukovsky, for whom Glass

began to write following the death of his

long-time collaborator, violinist Dorothy


Amy Dickson loved Glass’ violin concerto

so much that she arranged it for soprano

saxophone, an instrument with which Philip

Glass has a long history: he often heard John

Coltrane at the Village Vanguard in New

York, and the instrument was an integral part

of the Philip Glass Ensemble. In 2009 Amy

Dickson recorded her arrangement with the

Royal Philharmonic Orchestra.


Sarah Wilson, Section Principal Trumpet, Queensland Symphony Orchestra.

Photo: courtesy Queensland Symphony Orchestra.




Grammy Award-winning conductor Enrique

Artuo Diemecke is Music Director of the

Buenos Aires Philharmonic and is in his

inaugural season as Music Director of the

Bogota Philharmonic. In the United States he is

Music Director of the Long Beach Symphony

in California and Flint Symphony Orchestra in


With 20 years at the helm of the Orquesta

Sinfónica Nacional de México, Maestro

Diemecke is a frequent guest of orchestras

throughout the world, most notably the

National Symphony Orchestra in Washington,

San Francisco Symphony Orchestra, French

National Orchestra, BBC Symphony, Royal

Philharmonic Orchestra, L’Orchestre de Paris,

Residentie Orkest in The Hague, Los Angeles

Philharmonic, Simon Bolivar Orchestra in

Caracas, l’Orchestre National de Lorraine,

the National Orchestra of Montpellier, the

Valladolid Symphony, the ORCAM Madrid,

L’Orchestre de Isle de France, and the

symphony orchestras of Baltimore, Houston,

Minnesota, and Auckland.

An experienced conductor of opera, Maestro

Diemecke was Music Director of Mexico

City Opera from 1984-1990. He returned

to opera in 2008 with Werther at the Teatro

Colón in Buenos Aires, which followed

performances of Le Jongleur de Notre Dame

with tenor Roberto Alagna in Montpellier.

The Deutsche Grammophon release of that

production was awarded the Grand Prix de

l’Academie du Disque Lyrique for 2010. He is a

regular guest of the Teatro Zarzuela in Madrid,

was awarded the Jean Fontaine Orpheus d’Or

Gold Medal for “best vocal music recording”

for Donizetti’s The Exiles of Siberia, and was

previously honored with the Bruno Walter

Orpheus d’Or Prize for “Best Opera Conductor”

for his recording of Mascagni’s Parisina.

Maestro Diemecke is an accomplished

composer. His Die-Sir-E was commissioned

by the Radio France Festival for the World Cup

Final concert in 1998. His works Chacona a

Chávez, Guitar Concerto, and Camino y vision

have received many performances both in

Europe and in the United States.



Described by Gramophone magazine as “a

colourist in love with the infinite variety a piano

can produce”, Sergio Tiempo has developed a

reputation as one of the most individual and

thought-provoking pianists of his generation.

Tiempo established his international credentials

at an early age, making his professional debut

at the age of fourteen at the Concertgebouw

in Amsterdam. A tour of the USA and a

string of engagements across Europe quickly

followed. Since then he has appeared with

many of the world’s leading orchestras and

conductors and is a frequent guest at major

festivals worldwide.

Born in Caracas, Venezuela, Tiempo began his

piano studies with his mother, Lyl Tiempo, at

the age of two and made his concert debut

when he had just turned three. Whilst at the

Fondazione per il Pianoforte in Como, Italy,

he worked with Dimitri Bashkirov, Fou Tsong,

Murray Perahia and Dietrich Fischer-Dieskau.

He has received frequent musical guidance and

advice from Martha Argerich, Nelson Freire

and Nikita Magaloff and performs regularly

with fellow-countryman and friend Gustavo

Dudamel including concerts with the Simón

Bolívar Orchestra.

Sergio Tiempo has made a number of highly

distinctive and acclaimed recordings. On EMI

Classics’ ‘Martha Argerich Presents’ label, he

recorded Mussorgsky Pictures at an Exhibition,

Ravel Gaspard de la Nuit and three Chopin

Nocturnes, and for Deutsche Gramophon he

has recorded several discs with Mischa Maisky,

including a disc of Rachmaninov which was

awarded five stars by Classic FM and the BBC

Music Magazine, which also named it their

benchmark Recording. In June 2010, Tiempo

gave the world premiere of a new work for

two pianos and orchestra ‘Tango Rhapsody’

by Argentinean composer Federico Jusid with

Karin Lechner and the RSI Lugano under Jacek

Kaspszyk at the Martha Argerich Festival in

Lugano, where he is a visitor each year. Most

recently, Sergio Tiempo released a disc of

French music for two pianos with Karin Lechner

for Avanti Classic entitled La Belle Epoque.

Recent concerto highlights for Tiempo

have included return visits to the Orchestre

Philharmonique de Radio France in Paris and

on tour to his native South America, the

Singapore Symphony and the Music Days in

Lisbon Festival, as well as debuts with the BBC

Symphony, City of Birmingham Symphony,

Northern Sinfonia, Queensland Symphony

Orchestra and the Auckland Philharmonia.

Recent recital engagements have included a

sell-out recital debut at the Queen Elizabeth

Hall in London in the International Piano Series,

debuts at the Vienna Konzerthaus, London’s

Wigmore Hall, the Berlin Philharmonie and

Edinburgh International Festival as well as

return visits to the Oslo Chamber Music

Festival and the Warsaw Chopin Festival.

Highlights of the 2011/12 season and

beyond include two return engagements

with the Los Angeles Philharmonic with both

Gustavo Dudamel and Nicholas McGegan

and return engagements with the Queensland

Symphony Orchestra, a European tour with

the Buenos Aires Philharmonic Orchestra and

debuts with the Zurich Chamber Orchestra,

Brussels Philharmonic Orchestra and Orquestra

Nacional do Porto as well as recital tours of

Seoul, Italy and South America.


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.

There he gained acclaim in performances such

as the East German premier of The English Cat

by Hans Werner Henze in 1986. 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.

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 Symphony Orchestra, Orchestra

Victoria, the Tasmanian, Queensland and West

Australian Symphony Orchestras.

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 Staatsoper Nürnberg. He

is currently Chief Conductor of the Grazer

Oper and Grazer Philharmonisches Orchester in

Austria and Chief Conductor of the Queensland

Symphony Orchestra.


Alexei Ogrintchouk is one of the most

outstanding oboists performing today. A graduate

of the Gnessin School of Music and the Paris

Conservatoire, where he studied with Maurice

Bourgue, Jacques Tys and Jean-Louis Capezzali,

he combines astounding technique with virtuosity

and lyricism.

Originally from Moscow, Alexei was already

performing all over Russia, Europe and Japan

from the age of 13. He is the winner of a

number of international competitions including

the prestigious CIEM International Competition

in Geneva at the age of 19. He was also the

winner of the European Juventus Prize in 1999,

two “Victoires de la Musique Classique” Prizes

in France in 2002, the Triumph Prize in Russia

in 2005 and Borletti Buitini Trust Award winner

in 2007. He has been part of the prestigious

Rising Stars and BBC New Generation Artists


Since August 2005 Alexei Ogrintchouk has been

first solo oboist of the Royal Concertgebouw

Orchestra, Amsterdam with Mariss Jansons. Until

then he held the same post at the Rotterdam

Philharmonic Orchestra with Valery Gergiev - a

position which he secured at the age of 20.

Alexei Ogrintchouk manages to combine

orchestral playing with his ever-increasing solo

engagements. A charismatic and technically

brilliant soloist, he has performed concertos

under the baton of conductors such as Mariss

Jansons, Gennady Rozhdestvensky, Seiji Ozawa,

Fabio Luisi, Kent Nagano, Michel Plasson, Sir

Andrew Davis, Roman Kofman, Daniel Harding,

Jiri Belohlavek, Stephan Deneve, Lothar Zagrosek,

Jaap van Zweden, John Neschling, Andris Nelsons,

Susanna Malkki, Walter Weller, Ion Marin, Lu Jia,

Gianandrea Noseda, Hubert Soudant, Martyn

Brabbins, Thomas Sanderling, Kees Bakels, Enrique

Mazzola and with the world’s greatest orchestras

including the Royal Concertgebouw Orchestra,

Orchestras of the Bolshoi and Mariinsky Theatres,

Orchestre de l’Academia Nazionale di Santa

Cecilia, all the Orchestras of the BBC, Orchestre

de la Suisse Romande, Royal Philharmonic

Orchestra, Russian National Orchestra,

Kontzerthausorchester Berlin, Budapest Festival

Orchestra, Royal Scottish National Orchestra,

Orchestra Sinfonica do Estado de Sao Paulo,

National Orchestra of Belgium, Beethovenhalle

Orchestra Bonn, Orquesta Sinfonica de Tenerife,

Basel Symphony Orchestra, Rotterdam

Philharmonic Orchestra, Norrkoping Symphony

Orchestra, Orchestra del Teatro Lirico di Cagliari,

Stavanger Symphony Orchestra, Belgrade

Philharmonic, MAV Orchestra Budapest, Dutch

Radio Kamer Philharmonie, Sinfonia Varsovia,

Nordwestdeutsche Philharmonie, Moscow

Virtuosi, KREMERata Baltica, Moscow Soloists,

Amsterdam Sinfonietta, Orchestre d’Auvergne,

Europa Galante, Koln Sinfonietta, New European

Strings, Orquesta Barroca de Sevilla, as well as the

Concertgebouw, Munich, Stuttgart, Mito, Prague,

UBS Verbier and Swedish Chamber Orchestras.

As a recitalist and chamber musician he is much in

demand and has performed throughout the world

including in Theatre du Chatelet, Theatre des

Champs-Elysees, Cite de la Musique, Auditorium

du Louvre in Paris, Concertgebouw in Amsterdam,

Musikverein in Vienna, Royal Albert Hall, Wigmore

Hall in London, Carnegie Hall in New-York,

Auditorium in Tel Aviv, Suntory Hall in Tokyo...

He is also a frequent guest at festivals such

as BBC PROMS, MIDEM, Colmar, Lockenhaus,

Verbier, Luzern, Berliner Festspiele, Santa Cecilia,

Cortona, Edinburgh Internation Festival, City of

London Festival and the White Nights, Crescendo,

Svyatoslav Richter December Nights and Easter

Festival in Russia.

His chamber music partners have included

Gidon Kremer, Radu Lupu, Thomas Quasthoff,

Misha Maisky, Vladimir Spivakov, Yuri Bashmet,

Jean-Yves Thibaudet, Maurice Bourgue, Sarah

Chang, Tabea Zimmermann, Nikolai Znaider, Valery

Affanasiev, Julian Rachlin, Leif Ove Andsnes, Fabio

Biondi, Alexander Lonquich, Dmitri Sitkovetsky

and Sergio Azzolini as well as Belcea, Eben, Sine

Nomine and Tokyo string quartets.

Alexei Ogrintchouk is named successor of Maurice

Bourgue as oboe professor at the Haute Ecole

de Musique de Geneve from September 2011.

He also has been a visiting professor at the

Royal Academy of Music in London since 2001,

professor at the Musikene in San Sebastian

since 2009 and at the Royal Conservatory in

the Hague since 2010. He is giving a number

of masterclasses such as Pablo Casals Chamber

Music Academy in Prades, Mahler Academy in

Ferrara, Cursos de Verano in Bilbao, Academie

Musicale de Villecroze or Weimar International

Master Class.

His first CD with the works by Schumann

was released on Harmonia Mundi “Nouveau

musicians” Series to exceptional reviews. His

discography includes the world premiere of the

slow movement of Beethoven oboe concerto

(Raptus classics), music by Britten (Record One),

Skalkotas (Bis Records), Mozart Oboe Concerto

with the Concertgebouw Chamber Orchestra

(PentaTone Classics). He also recently released

Bach Oboe Concertos with the Swedish Chamber

Orchestra (Bis Records).



Born in 1962 David began studying the cello

at the age of five.

By the age of 12 he was on a junior

scholarship to the Royal College of

Music. Later he won an Associated Board

scholarship to study at the Royal Academy

of Music under Douglas Cummings. Further

study was undertaken with Thomas Igloi and

Karina Georgian.

In 1984 David joined the BBC Symphony

Orchestra working under chief conductor

Sir John Pritchard and other renowned

conductors as Gennadi Rodchezvensky,

Pierre Boulez and Riccardo Muti.

Leaving to work with the London Symphony

Orchestra and world class conductors

Claudio Abbado, Lorin Maazel and Georg

Solti, David also worked with the Royal

Philharmonic Orchestra and toured as soloist

with the London Virtuosi chamber orchestra.

In 1990 David immigrated to Australia and

became the Principal Cello of the Queensland

Symphony Orchestra. During his time here,

he has performed many concertos with the

orchestra and broadcast numerous recitals

and performances on ABC Classic FM and

4MBS. He has also developed a reputation

as a leading cello teacher on the staff at

both the University of Queensland and the

Queensland Conservatorium of Music.

The Board of the Royal Academy of Music

acknowledged David’s successful career

and contribution to the music profession

by electing him an Honourary Associate in


David continues to work as Principal Cello

with the Queensland Symphony Orchestra.


Born in Tokyo, Ms. Okayasu began her

professional training on violin under Yuri

Vladimir Ovcharek at the St. Petersburg

Conservatory (Russia), and continued

with Camilla Wicks at the San Francisco

Conservatory of Music (USA). As a violinist,

she earned her Masters in Chamber Music

under the direction of Mark Sokol and Ian

Swenson, and studied viola with Jodi Levitz.

She also holds a Bachelor of Engineering in

Architecture from the Tokyo University of

Science and worked for the design firm Hisao

Koyama Atelier in Tokyo.

She has served a principal violist of the

Filharmonica Arturo Toscanii (Parma, Italy),

the Danish Radio Sinfonietta (Copenhagen,

Denmark and the Australian Opera and Ballet

Orchestra (Sydney) and has also worked

as a member of the San Diego Symphony

(California, USA). She currently holds the

position with the Queensland Symphony


As a devoted chamber musician, she has

appeared with the Satori Quartet (Colorado,

USA), ADORNO Ensemble (San Francisco,

USA), Sound of Lyons (Colorado, USA),

Kurilpa Quartet (Brisbane), Lunaire Collective

(Brisbane) and as a guest leader with the

Camerata of St. John’s.


Leading Australian conductor Benjamin

Northey is one of Australia’s brightest

and most versatile musical stars. Northey

studied conducting with John Hopkins at the

University of Melbourne, graduating in 1999

with first class honours in performance,

followed by a Master of Music degree in

conducting. In 2001, under the Symphony

Australia Conductor Development Program,

he studied intensively with Finnish maestro

Jorma Panula.

In 2002, Northey was the highest placed

applicant to the prestigious Sibelius Academy

Orchestral Conducting Course in Helsinki,

Finland where he studied for three years

with Leif Segerstam and Atso Almila. In

2003, Northey was awarded the 2003

Brian Stacey Memorial Trust Award under

patron Sir Charles Mackerras. His 2005

diploma concert with the Sibelius Academy

Symphony Orchestra included the European

Premiere of Brett Dean’s Ampitheatre and

was awarded the international jury’s highest

possible mark. He completed his tertiary

studies in 2006 as a guest student in Jorma

Panula’s class at the Stockholm Royal College

of Music in Sweden.


In 2007, Northey was selected as one

of three participants worldwide to the

prestigious International Conductor’s

Academy of the Allianz Cultural Foundation,

involving a year-long mentorship with both

the London Philharmonic Orchestra and

the Philharmonia Orchestra and conductors

Christoph von Dohnanyi and Vladimir

Jurowsky. This culminated in a performance

of Stravinsky’s Symphony in C in June 2008

at London’s Royal Festival Hall, to strong

critical acclaim.

Within Australia, Northey made his

professional debut with the Melbourne

Symphony Orchestra in 2003. Since

returning permanently in 2006, Northey has

been a regular guest conductor with all the

Australian state symphony orchestras and

led opera and ballet productions including

L’elisir d’Amore, The Tales of Hoffmann and

La Sonnambula for State Opera of South


In 2010, Northey conducted a major

programme with the London Philharmonic

Orchestra at Festival Hall and made his

debut with London’s Southbank Sinfonia.

Concert appearances in 2010 and 2011

included conducting the Sydney, Melbourne,

Queensland, Adelaide, West Australian and

Tasmanian Symphony Orchestras, Orchestra

Victoria, the New Zealand and Christchurch

Symphony Orchestras and the Hong Kong


Currently Associate Conductor at the

Melbourne Symphony, Northey’s future

engagements include Don Giovanni and Così

fan Tutte for Opera Australia and concert

appearances with all of Australia and New

Zealand’s major symphony orchestras.


Leading the way in her field, saxophonist

Amy Dickson, has gained renown in all

corners of the globe and is recognized widely

for her remarkable and distinctive tone

and exceptional musicality and technique.

Her unique style and impressive versatility

have inspired composers throughout the

world. Her passion for new music has led

to the creation of a number of works and

she is constantly in demand as a soloist,

regularly appearing with the world’s leading

orchestras. She plays with a beauty of

tone and elegance which led Ivan March of

Gramophone magazine to write:

“She has an individual and unusual tone,

luscious, silky-smooth, sultry and voluptuous

by turns; her phrasing is beautifully finished,

her control of dynamic infinitely subtle.

She plays very songfully, is often gentle

and restrained, at times sounding like the

chalumeaux of a clarinet. But she can rise to

a passionate climax, as in Danza de la moza

donosa, or slinkily respond to Debussy's La

plus que lente”.

She performs with orchestras including

the London Philharmonic Orchestra, Royal

Philharmonic Orchestra, Philharmonia

Orchestra, Vienna Chamber Orchestra, and

the Sydney Symphony Orchestra. Dickson

is deeply committed to the development

of new repertoire for the saxophone, and

has made a substantial contribution to the

orchestral, chamber and solo repertoire.

Whilst proving to be a brilliant interpreter of

contemporary music, she is equally devoted

as a champion of established saxophone

repertoire, regularly performing the concerti

of Glazunov, Debussy, Villa Lobos, Ibert,

Larsson and Milhaud. In 2010 she performed

Harrison Birtwistle’s Panic with Bramwell

Tovey, David Jones and the Melbourne

Symphony Orchestra.

She regularly commissions new works, and

makes arrangements of existing works

from other instrumental repertoire. She has

performed her arrangement of Philip Glass’

Violin Concerto with a number of orchestras,

and gave the first performances of it with

Otto Tausk and the Auckland Philharmonia,

and also the Adelaide Symphony Orchestra,

in 2008. In 2012 she returns to Australia to

perform it with the Queensland Symphony

Orchestra under the baton of Benjamin

Northey. Her arrangement has been

published by Chester Novello.

Currently, composers writing for her

include Peter Sculthorpe, Geoffrey Gordon,

Piet Swerts and Jessica Wells. In the

past, Ross Edwards, Graham Fitkin, Steve

Martland, Huw Watkins, Martin Butler,

Michael Csanyi-Wills, Cecilia McDowall

and Timothy Salter have all dedicated

works to her. In 2012 she will perform

a new concerto by Ross Edwards, Full

Moon Dances, with the Adelaide, Perth,

Hobart and Sydney Symphony Orchestras.

Edwards also arranged his oboe concerto,

Bird Spirit Dreaming for Dickson, and the

first performance was with the Canberra

Symphony Orchestra, under the baton of

Nicholas Milton, in May 2011. In October

2011, she gave the first performance of

a new arrangement of Graeme Koehne’s

concerto, InFlight Entertainment, with Brad

Cohen and the West Australian Symphony

Orchestra, at the opening Gala concert at the

2011 Commonwealth Heads of Government


Born in Sydney, Dickson made her

concerto debut aged 16, playing the

Dubois Concerto with Henryk Pisarek and

the Ku-ring-gai Philharmonic Orchestra,

and subsequently became a recipient of

the James Fairfax Australian Young Artist of

the Year award. On her 18th birthday she

recorded the Dubois Divertissement with

John Harding and the Sydney Symphony

Orchestra. The following year she moved

to London where she took the Jane

Melber Scholarship to study at the Royal

College of Music with Kyle Horch, and the

Conservatorium van Amsterdam with Arno

Bornkamp. During this time she became

the first saxophonist to be awarded the

Gold Medal at the Royal Overseas League

Competition (2004), the Prince’s Prize

(2005), and to become the winner of the

Symphony Australia Young Performer of the

Year Competition (2004).

Dickson is an ambassador of the Prince’s

Trust and the Australian Children’s Music

Foundation. She is a Selmer Paris Performing

Artist, is dressed by Armani, and is endorsed

by REN skincare.




The great Wagnerian returns in partnership with QSO and Bruckner’s

massive Eighth

8pm, Saturday 11 August 2012

QPAC Concert Hall


Johannes Fritzsch


Lisa Gasteen


Wesendonck Lieder


Symphony No.8

Johannes Fritzsch and the QSO

demonstrate the synergy they have

created in their magisterial Bruckner

cycle with the most awesome of all,

the Eighth; a work conductors and

orchestras don’t perform as much

as construct out of hewn granite.

Despite its dark, sinister beginning, it

ends in a blaze of glorious optimism,

as befitted the God-fearing Bruckner.

The intimacy and restrained passion

of Wagner’s Wesendonck Lieder

capture the intensity of forbidden

love, anticipating the atmosphere

of his opera, Tristan & Isolde

and provide an opportunity for

internationally acclaimed Australian

soprano and Wagner specialist,

Lisa Gasteen to captivate Brisbane

audiences with rapturous singing.

Lisa Gasteen

Thank You.

Queensland Symphony Orchestra is proud to acknowledge the generosity and

support of our donors for our philanthropic programs.

Maestro Series Chair Donors

Chair Donors support an individual

musician’s role within the orchestra

and gain fulfillment through

personal interactions with their

chosen musician.

Principal Guest Conductor Chair


Eivind Aadland

Trevor & Judith St Baker & ERM Power

Guest Chairs ($20,000+)

Arthur Waring

Concertmaster Chair ($5,000)

Warwick Adeney

Prof. Ian & Mrs Caroline Frazer

Dr Cathryn Mittelheuser AM

John & Georgina Story

Principal Chairs ($3,000)

Tim Corkeron, Timpani

Dr Philip Aitken & Dr Susan Urquhart

Peggy Allen Hayes

Yoko Okayasu, Viola

Dr Ralph & Mrs Susan Cobcroft

Gail Aitken, Second Violin

Leonie Henry

Sarah Wilson, Trumpet

Mrs Andrea Kriewaldt

Jason Redman, Trombone

Frances & Stephen Maitland OAM RFD

Alexis Kenny, Flute

Nola McCullagh

David Montgomery, Percussion

Dr Graham & Mrs Kate Row

Player Chairs ($1,500)

Matthew Kinmont, Cello

Dr Julie Beeby

Kate Travers, Clarinet

Dr Julie Beeby

Matthew Jones, Cello

Dr David & Mrs Janet Ham

Janine Grantham, Flute

Desmond B Misso Esq

Helen Poggioli , Viola

Mrs Rene Nicolaides OAM & the late

Dr Nicholas Nicolaides AM

Delia Kinmont, Violin

Jordan & Pat Pearl

Stephen Phillips, Violin

Dr Graham & Mrs Kate Row

Andre Duthoit, Cello

Anne Shipton

Brenda Sullivan, Violin


Brian Catchlove, Clarinet


Instrument Gifts

QSO thanks the National Instrument

Bank and the Anthony Camden

Fund for their generous loan of fine

instruments to the recitalists of our

Young Instrumentalist competition.

Encore Annual Giving

Encore Annual Giving Donors

support the orchestra’s community

outreach and education initiatives,

the purchase of essential orchestra

equipment and the engagement

of the finest Australian and

international conductors and artists.

Gold Baton ($5,000-$9,999)

Mrs Beverley J Smith

Symphony ($2,000-$4,999)

Dr Julie Beeby

Mrs Marie Isackson

Dr Les Masel & Ms Pam Masel

Nola McCullagh

Rodney Wylie

Anonymous (1)

Concerto ($1,000 – $1,999)

Mrs I. L. Dean

Mrs Elva Emmerson

Gwenda Heginbothom

Ian Paterson

Justice Anthe Philippides

Patrick Pickett CSM

Pat & Jude Riches

Gwen Warhurst

Anonymous (4)

Suite ($500 – $999)

Dallas & Judith Allman

David & Judith Beal

Dr John & Mrs Jan Blackford

Dr Betty Byrne Henderson AM

Ian & Penny Charlton

In memory of Mrs Betty Crouchley

Dr Judith Gold

Dr W.R. Heaslop & Dr L. M Heaslop

Dr Alison Holloway

Mrs Patricia Killoran

John Martin

Mrs Daphne McKinnon

Dr Howard & Mrs Katherine Munro

Dr Henry Nowik AO OBE & Mrs

Kathleen Nowik

Dr Richard & Mrs Awen Orme

Mrs Leah Perry

Anne Shipton

Michael & Helen Sinclair

Mr Bernard & Mrs Margaret


Mr Ron Stevens OAM & the late

Mrs Toni Stevens

Dr Damien Thomson & Dr Glenise


Prof. Hans & Mrs Frederika


Anonymous (4)

All donors are acknowledged on our website www.qso.com.au.

To learn more about our Philanthropic Programs please contact Gaelle Lindrea

on (07) 3833 5050, or you can donate online at www.qso.com.au/donatenow.

QSO_Philanthropy_Listing_20Mar2012_V2_ART.indd 1 20/03/12 4:41 PM


Her Excellency the Governor of Queensland

Ms Penelope Wensley, AO


Greg Wanchap Chairman

Marsha Cadman

Tony Denholder

Jenny Hodgson

Tony Keane

John Keep

Karen Murphy

Jason Redman


Patrick Pickett Chief Executive Officer

Ros Atkinson Executive Assistant to the CEO

Marjorie Griffiths Senior Administration


Alison Barclay Administration Officer

Richard Wenn Director - Artistic Planning

Kate Oliver Assistant Artistic Administrator

Nicola Manson Assistant Artistic Administrator

Samantha Cockerill ~ Education Liaison Officer

Jaime Burke * Education Assistant

Matthew Farrell Director - Orchestra


Nina Logan Orchestra Manager

Peter Laughton Production Manager

Judy Wood Orchestra Librarian /OH & S


Ashleigh Potter Operations Coordinator

Fiona Lale * Assistant Librarian / Artist


Nadia Myers * Assistant Librarian

Gaelle Lindrea Director - Philanthropy

Birgit Willadsen Philanthropy Officer

David Martin Director – Development

and Sales

Katya Melendez Relationships and Sales


Rachael Wallis Director – Marketing and


Tegan Ward Marketing Officer

Kendal Alderman Marketing and Media Relations


Miranda Cass * Media Relations Assistant

John Waight Chief Financial Officer

Sandy Johnston Accountant

Donna Barlow * Accounts Payable Officer

* Part time

~ Funded with the Assistance of the Queensland Department

of Education and Training


PO Box 3567, South Bank, Queensland 4101

Tel: (07) 3840 7444


Henry Smerdon AM


Rachel Hunter


Simon Gallaher

Helene George

Bill Grant

Sophie Mitchell

Paul Piticco

Mick Power AM

Susan Street

Rhonda White


John Kotzas Chief Executive

Liesa Bacon Director-Marketing

Ross Cunningham Director - Presenter Services

Jacquelyn Malouf Director – Development

Kieron Roost Director - Corporate Services

Tony Smith Director - Patron Services


The Queensland Performing Arts Trust is a Statutory

Authority of the State of Queensland and is partially

funded by the Queensland Government

The Honourable Rachel Nolan MP

Minister for Finance, Natural Resources and The Arts

John Bradley

Director-General, Department of the Premier

and Cabinet

Leigh Tabrett PSM

Deputy Director-General, Arts Queensland

Patrons are advised that the Performing Arts Centre


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.


Our Partners





QSO thanks our partners for their support. Call qtix on 136 246 or go to qso.com.au to book.

All rights reserved, no part of this publication may be reproduced or transmitted in any form on in any means, electronic

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The opinions expressed in this publication do not necessarily reflect the beliefs of the publication’s team, publisher or any

distributor of the publication. While every effort has been made to ensure the accuracy of statements in this publication,

Queensland Symphony Orchestra cannot accept responsibility for any errors or omissions, or for matters arising from

clerical or printers’ errors. Every effort has been made to secure permission for copyright material prior to printing.


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