April 2012 - Queensland Symphony Orchestra

April 2012 - Queensland Symphony Orchestra

April 2012 - Queensland Symphony Orchestra


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Contents<br />

QSO plays Beethoven<br />

Morning Masterworks 2<br />

QSO with Johannes Fritzsch<br />

Maestro 4<br />

QSO with Benjamin Northey<br />

20/21 One<br />

3<br />

8<br />

17<br />

Biographies 23<br />


To ensure an enjoyable concert experience for all, please remember<br />

to turn off your mobile phone and other electronic devices. Please<br />

muffle coughs or excuse yourself from the auditorium. Thank you.<br />


A free electronic copy of the program is available for download<br />

at qso.com.au at the beginning of each performance month.<br />

There is also extensive information on planning your journey and<br />

what to expect at QSO events under Plan your Visit at qso.com.au.<br />


If you do not need your printed program after the concert, we<br />

encourage you to return it to the program recycle box for use<br />

at the next performance.<br />


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Selected performances are recorded by ABC Classic FM for future<br />

broadcast. For further details visit abc.net.au/classic<br />

<strong>2012</strong> | QSO APRIL PROGRAM 1


2 <strong>2012</strong> | QSO APRIL PROGRAM<br />



11am, Thursday 5 <strong>April</strong> | QPAC Concert Hall<br />

CONDUCTOR Enrique Arturo Diemecke<br />

PIANO Sergio Tiempo<br />

CHOPIN Piano Concerto No.1<br />

BEETHOVEN <strong>Symphony</strong> No.6 Pastoral<br />

Morning Masterworks is<br />

proudly co-produced by<br />

Proudly supported by<br />

<strong>2012</strong> | QSO APRIL PROGRAM 3

Program Notes<br />


(1810-1849)<br />

Piano Concerto No.1 in E minor, Op.11<br />

Allegro maestoso<br />

Romance (Larghetto)<br />

Rondo (Vivace)<br />

Sergio Tiempo, Piano<br />

The Warsaw which Chopin knew in the<br />

1820s supported a reasonably varied<br />

musical life: there were symphonic and choral<br />

concerts, and appearances by touring virtuosi<br />

such as Paganini. Performances by visiting<br />

Italian opera companies probably instilled in<br />

the young Pole a lifelong love of the human<br />

voice and a desire to incorporate the spirit of<br />

bel canto into his piano compositions. Chopin<br />

played concertos by Ries, Moscheles and<br />

Hummel before leaving Poland in 1831 for<br />

Paris, where he would spend the rest of his<br />

life. Indeed Johann Nepomuk Hummel is one<br />

of that group of composers (including the<br />

Irishman John Field and the Germans Weber,<br />

Spohr and Kalkbrenner) who are often<br />

quoted as influences on Chopin’s writing.<br />

It is tempting to declare that certain<br />

passages in the Hummel and Field concertos<br />

sound like pure Chopin, but the difference<br />

lies in the way Chopin utilises cascades<br />

of scales, awkward leaps, arpeggiated<br />

figurations and difficult trills for artistic<br />

ends, of a type of musical expressiveness<br />

which already bears his personal stamp. All<br />

the characteristics of his later compositions<br />

and his playing style are in evidence: colour<br />

and constantly shifting nuance, the need for<br />

rubato, elegance of phrasing, lovely singing<br />

tone, legato touch and imaginative pedal<br />

effects. The nocturnes of Field inspired<br />

Chopin to write works bearing the same title,<br />

and there are unmistakable similarities with<br />

both composers’ concertos: compositional<br />

fluency, the capacity to explore the entire<br />

range of the keyboard and an underlying<br />

streak of wistful melancholy. Yet the fact<br />

remains that Field was a remarkable talent<br />

whereas Chopin was simply a genius.<br />

There is another way in which Chopin’s<br />

concertos are different: they were written by<br />

a young composer influenced by the surge<br />

of Polish nationalism. Their final movements<br />

are cast in the form of Polish folk dances (a<br />

krakowiak and a mazurka respectively), full<br />

of colour and infectious vitality expressive<br />

of nationalistic fervour. Unlike the finales of<br />

many other piano concertos, they are strong<br />

movements which complement perfectly<br />

their companions.<br />

It has been fashionable to deride Chopin’s<br />

orchestrations as colourless and inept. It<br />

must be admitted that Chopin limited the<br />

role of the orchestra as Liszt, Schumann and<br />

even Mendelssohn did not, letting it provide<br />

a sonorous backdrop for the solo part rather<br />

than engage in a genuine dialogue. However,<br />

Chopin always thought in pianistic terms and<br />

did not feel inclined to abandon his natural<br />

territory. Various attempts to reorchestrate<br />

the concertos (by Karl Klindworth and Karl<br />

Tausig) have generally not proved successful,<br />

and they are usually performed in their<br />

original form.<br />

Although the E minor concerto is known<br />

as the first and bears a lower opus number,<br />

it was actually written after the F minor but<br />

published first, hence the numbering with<br />

which we are familiar. The E minor dates from<br />

1830 and appeared in print three years later;<br />

the F minor was begun in 1829, completed<br />

the following year but not published until<br />

1836.<br />

David Bollard © 1998.<br />


(1770-1827)<br />

<strong>Symphony</strong> No.6 in F, Op.68 Pastoral<br />

Awakening of happy feelings on arrival in the<br />

country (Allegro ma non troppo)<br />

Scene by the brook (Andante molto mosso)<br />

Peasants’ merrymaking (Allegro) –<br />

Thunderstorm (Allegro) –<br />

Shepherd’s song:<br />

Thanksgiving after the storm (Allegretto)<br />

When Beethoven sought tranquillity in the<br />

wooded environs of Heiligenstadt, outside<br />

Vienna, during the summer of 1802, his<br />

attention was drawn to a shepherd’s flute<br />

sounding in the fields but, the composer<br />

heard nothing. The realisation of the extent<br />

of his encroaching deafness was crushing.<br />

Months later he recalled the incident in the<br />

agony of his Heiligenstadt Testament. While<br />

Beethoven could face the prospect of being<br />

cut off from normal human communication,<br />

he was in despair at the thought of no longer<br />

hearing the voice of his best friend, Nature.<br />

In choosing to glorify Nature in his Sixth<br />

<strong>Symphony</strong>, Beethoven does no more nor<br />

less than give praise to God for all His<br />

works. There is no descent from the titanic<br />

4 <strong>2012</strong> | QSO APRIL PROGRAM <strong>2012</strong> | QSO APRIL PROGRAM 5

Fifth <strong>Symphony</strong> to mere pictorial music in<br />

the Sixth: Beethoven made it clear that his<br />

descriptive program for the work was ‘more<br />

an expression of feeling than tone-painting’.<br />

If the C minor <strong>Symphony</strong> was an assertion<br />

of his confidence in human will, then the F<br />

major <strong>Symphony</strong> proclaims his confidence in<br />

a divine Creator. It is the spiritual reverse of<br />

the same coin.<br />

Indeed, composition of the two symphonies<br />

proceeded more or less concurrently, on<br />

parallel and complementary lines, and they<br />

were premiered together in the same concert<br />

in Vienna on 22 December 1808, the one<br />

expansive and joyous, the other concise and<br />

forceful.<br />

The first two movements of the Sixth,<br />

inspired by the calm of Heiligenstadt,<br />

establish tranquillity as a state of being, the<br />

idyllic existence, Nature pure and unspoilt. In<br />

the third movement, humankind intervenes<br />

with the merrymaking of peasants, raucous<br />

and bucolic; the forces of Nature react in<br />

one of the most graphic storms in music;<br />

and when the dark clouds lift, leaving the<br />

land cleansed and purified, mankind raises its<br />

voice in heartfelt praise.<br />

So in the Sixth, as in the Fifth, there is a<br />

sense of catharsis in reaching the finale.<br />

Though the Storm is identified as an<br />

independent movement, it nevertheless<br />

serves as a bridge passage similar to the<br />

transition linking the last two movements of<br />

the Fifth – a link between scherzo and finale,<br />

yet psychologically a hazard or trial through<br />

which mankind must pass. The promised<br />

land in one case is human exultation, in<br />

the other spiritual exaltation. The Pastoral<br />

<strong>Symphony</strong> describes a full circle, from a state<br />

of tranquillity through the intervention first<br />

of human forces, then the fury of nature, to<br />

a plateau of peace. Beethoven sings praise<br />

to God in the serenity, the joyousness, and<br />

the elemental turbulence of His manifold<br />

creations, but ultimately in the innate beauty<br />

of all of them.<br />

The representation of birdsong at the end<br />

of the slow movement (nightingale on flute,<br />

quail on oboe, and cuckoo on clarinet) forms<br />

an idyllic coda to one of the most deeply<br />

felt sonata-form structures Beethoven<br />

ever created. But this, like the Storm, is<br />

no naïve pictorialism. Beethoven insisted<br />

that he only ever depicted sounds which<br />

were in themselves musical and, as William<br />

Mann points out, the ‘long liquid trill’ of the<br />

nightingale is just the way Beethoven himself<br />

sometimes expressed happiness.<br />

Beethoven’s use of pictorial elements in<br />

the Pastoral <strong>Symphony</strong>, therefore, and<br />

the superficially radical structure of two<br />

closed movements followed by three linked<br />

movements played without a break, are<br />

clearly mere extensions and embellishments<br />

of the traditional form. ‘We have then,’ as<br />

Tovey says, ‘to deal with a perfect classical<br />

symphony.’ And one, moreover, in which<br />

Beethoven communes more closely with God<br />

than in any other of his symphonies except,<br />

perhaps, the Ninth.<br />

Anthony Cane © 1998/2011<br />

Opportunities exist now to support<br />

individual Opportunities exist musicians<br />

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of individual the <strong>Queensland</strong> musicians<br />

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Gaelle Lindrea, Director of Philanthropy, on 3833 5050<br />

6 <strong>2012</strong> | QSO APRIL PROGRAM <strong>2012</strong> | QSO APRIL PROGRAM 7<br />

QSO_Chair_Donor_Program_ad_A5_mono_V3.indd 1 19/01/12 4:21 PM<br />

QSO_Chair_Donor_Program_ad_A5_mono_V3.indd 1 19/01/12 4:21 PM

MAESTRO 4<br />

QSO WITH<br />


8pm, Saturday 21 <strong>April</strong> | QPAC Concert Hall<br />

CONDUCTOR Johannes Fritzsch<br />

OBOE Alexei Ogrintchouk<br />

CELLO David Lale<br />

VIOLA Yoko Okayasu<br />

BEETHOVEN <strong>Symphony</strong> No.8<br />

MOZART Oboe Concerto<br />

-interval-<br />

R STRAUSS Don Quixote<br />

8 <strong>2012</strong> | QSO APRIL PROGRAM <strong>2012</strong> | QSO APRIL PROGRAM 9

Program Notes<br />


(1770-1827)<br />

<strong>Symphony</strong> No.8 in F, Op.93<br />

Allegro vivace con brio<br />

Allegretto scherzando<br />

Tempo di minuetto<br />

Allegro vivace<br />

The Eighth must surely be a young man’s<br />

symphony, bursting on us as it does with<br />

the boundless energy of a frisky colt. Yet<br />

Beethoven was in his forties by the time he<br />

composed it in 1811 and 1812. The time<br />

he was most busily working on it, following<br />

the completion of <strong>Symphony</strong> No.7 in mid-<br />

1812, is widely thought to have been the<br />

occasion when he penned the rapt letter to<br />

his unnamed ‘Immortal Beloved’.<br />

Since the two symphonies were composed<br />

virtually in tandem, and derived from the<br />

same collection of sketches, it is hardly<br />

surprising that they have characteristics in<br />

common. But while the Seventh is relatively<br />

relaxed and expansive, the Eighth is taut and<br />

highly compressed. Wasting no time with<br />

any sort of introduction, Beethoven launches<br />

straight into the main theme, self-confident<br />

and self-sufficient.<br />

As in the Seventh <strong>Symphony</strong>, Beethoven<br />

does without a true slow movement, but<br />

here he adds a qualification to the Allegretto<br />

marking: scherzando. This neat, deceptively<br />

straightforward little movement can thus<br />

be invested with the light-heartedness of<br />

a scherzo, allowing the third movement to<br />

be an ‘old-fashioned’ minuet rather than the<br />

fierce Beethovenian scherzo which listeners<br />

had come to expect.<br />

A scurrying theme begins the finale, only to<br />

be crudely dismissed by a loud and irrelevant<br />

chord of C sharp. This immediately unleashes<br />

the whirlwind. In a remarkable movement, by<br />

dint of omitting formal repeats, Beethoven<br />

manages (in Robert Simpson’s analysis) to<br />

produce two complete developments and<br />

two complete recapitulations, together with<br />

a coda.<br />

Beethoven conducted the first performance<br />

of the Eighth <strong>Symphony</strong> before a packed<br />

house in the Grand Redoutensaal in Vienna<br />

on 27 February 1814. There are signs<br />

among Beethoven’s sketches that he was<br />

contemplating a symphony in D minor as<br />

a companion to the pair of 1812, but as<br />

the Napoleonic Wars neared their end, the<br />

composer was entering a period during which<br />

work would be difficult for him, and that<br />

project was not to be realised for more than<br />

a decade.<br />

Abridged from an annotation by Anthony Cane<br />

© 1998/2011<br />


MOZART (1756-1791)<br />

Oboe Concerto in C, K.314<br />

Allegro aperto<br />

Adagio non troppo<br />

Rondo (Allegretto)<br />

Alexei Ogrintchouk, Oboe<br />

This concerto is more often heard, these<br />

days, played on the oboe, however for years<br />

it was known only as the Flute Concerto<br />

in D. Scholars were aware that Mozart, in<br />

1777, had composed a concerto for the<br />

oboist Ferlendis, who had recently joined the<br />

Salzburg Court <strong>Orchestra</strong>, but the work was<br />

thought to be lost.<br />

In 1920 Bernhard Paumgartner discovered<br />

in the Salzburg Mozarteum library a set of<br />

orchestral parts for a concerto in C major<br />

for oboe by Mozart, which was obviously an<br />

oboe version of his D major flute concerto.<br />

The familiar flute version had been prepared<br />

in 1778 to fulfil a commission for two flute<br />

concertos. Most probably Mozart had<br />

composed one (K.313) then, pressed for<br />

time, adapted the oboe concerto.<br />

The C major concerto is now central to the<br />

oboe repertoire. A deft and refined essay in<br />

the classical style, there are many ingenious<br />

and witty touches, such as the mock-serious<br />

cadence figure with repeated notes and a<br />

descending arpeggio which the soloist later<br />

extends. Donald Tovey finds opera buffa<br />

malice from the second violins, and tuttis<br />

crowded with contrapuntal and operatic life<br />

– typical Mozartian concerto writing, but<br />

never drawing attention to its skill.<br />

The second movement is mainly a lyrical<br />

cantilena for the soloist. A character in a<br />

later opera by Mozart gives the feeling of<br />

the Rondo: Blonde, the pert servant girl in<br />

The Abduction from the Seraglio, in whose<br />

aria Welche Wonne, welche Lust (Oh what<br />

pleasure, oh what joy!) Mozart returned to<br />

a variant of this rondo theme. In the second<br />

episode of the Rondo, first and second violins<br />

chase one another in a passage in threepart<br />

canonic counterpoint, worthy of the<br />

ingenuity of an improvising organist, and<br />

underpinned by a pedal note on the horns.<br />

Entertainment and the opportunity for<br />

virtuoso display is the keynote here.<br />

Abridged from an annotation by David Garrett<br />

© 2002<br />

10 <strong>2012</strong> | QSO APRIL PROGRAM <strong>2012</strong> | QSO APRIL PROGRAM 11


(1864-1949)<br />

Don Quixote – Fantastic Variations on a<br />

Knightly Theme, Op.35<br />

David Lale, Cello and<br />

Yoko Okayasu, Viola<br />

Don Quixote was Richard Strauss’ third<br />

character study after Don Juan and Till<br />

Eulenspiegel, and (unusually for a tone<br />

poem) takes the form of a strict theme and<br />

variations. Strauss’ designation of the work<br />

as being for grosses Orchester belies the<br />

extent of soloistic work, especially a solo<br />

cello representing Don Quixote, and a viola as<br />

his squire, Sancho Panza. Other sides to both<br />

these characters are presented by the solo<br />

violin (for the Don), and bass clarinet and<br />

tenor tuba, Sancho’s alter-egos.<br />

Strauss based his score on incidents in<br />

Cervantes’ epic novel in which Don Quixote,<br />

obsessed with tales of chivalrous knights,<br />

leads his squire Sancho Panza on a series of<br />

misadventures.<br />

Variation I comes from the famous episode<br />

where Don Quixote, mistaking windmills for<br />

giants, launches a ludicrous attack on them.<br />

Variation II: A pastoral theme suggests the<br />

flocks of sheep which the Don mistakes for<br />

the mighty armies of Alifanfaron, Emperor<br />

of Trapobana, and Pentapolin, King of the<br />

Garamantas. Strauss gives this episode a<br />

victorious outcome, unlike Cervantes who<br />

has the shepherds throwing stones at his<br />

hero, breaking two of his ribs and knocking<br />

out his teeth.<br />

Strauss called Variation III ‘Sancho’s<br />

conversations, questions, demands and<br />

proverbs; Don Quixote’s instructing,<br />

appeasing and promises’.<br />

Variation IV: The Don mistakes a group<br />

of penitents carrying a statue of the<br />

Virgin Mary for ‘villainous and unmannerly<br />

scoundrels’ abducting a lady. When he<br />

intervenes, the penitents set upon him.<br />

Variation V takes us back to an early part of<br />

the story: the Don’s vigil over his armour. The<br />

theme representing Dulcinea, Quixote’s love<br />

interest, appears shrouded in magical figures<br />

from the harp.<br />

In Variation VI the Don sets off with Sancho<br />

for Dulcinea’s home town, charging Sancho<br />

to find his Lady; at his wits’ end, Sancho<br />

points out three peasant girls on donkeys<br />

who, he says, are Dulcinea and two serving<br />

girls.<br />

Variation VII comes from the long episode<br />

where the Don and Sancho are subjected to<br />

a series of leg-pulls. One of these requires<br />

the Don to travel 9,681 leagues on a flying<br />

horse, and the orchestra takes us away on an<br />

entertaining ride.<br />

Strauss slyly reveals the true state of<br />

affairs (that the flying horse is a toy; that<br />

the impression of wind is really created by<br />

bellows) by continuously sounding a pedal<br />

note of D.<br />

Variation VIII depicts the ‘Enchanted Boat’<br />

which, taken from the riverbank by the Don<br />

and Sancho, drifts towards a weir amidst<br />

some water mills and is smashed to pieces.<br />

In Variation IX, the Don mistakes two<br />

Benedictine monks, whose intense<br />

conversation is conveyed by bassoons, for<br />

sorcerers bearing off a princess.<br />

The final variation follows without a break –<br />

the Don’s battle with the Knight of the White<br />

Moon, fellow-villager Sampson Carrasco,<br />

who, in disguise, hopes to defeat the Don<br />

and in doing so exact a promise from him to<br />

give up his foolish quests and return home.<br />

The orchestra depicts the jousting of the two<br />

contenders, but most graphic and moving is<br />

the Don’s leaden-footed return, a powerful<br />

pedal point reinforced by regular timpani<br />

strokes. The Don considers taking up a<br />

pastoral life (the shepherd’s piping is heard),<br />

but at least the worst of his delusions is over,<br />

and he is becoming restored to clarity.<br />

The work closes with a depiction of Don<br />

Quixote’s death, a moving melody for cello.<br />

Subtle tremors of impending death are heard.<br />

The soloist often ends up slumped over his<br />

cello at the conclusion of the dying glissando.<br />

Adapted from a note by Gordon Kalton Williams<br />

<strong>Symphony</strong> Australia © 1998<br />

12 <strong>2012</strong> | QSO APRIL PROGRAM <strong>2012</strong> | QSO APRIL PROGRAM 13

Backstage Pass<br />


You are an inspiration to QSO’s Principal<br />

Cor Anglais player, Amelia Coleman, who<br />

won the <strong>2012</strong> Ann Hoban Fellowship to<br />

take part in your oboe class in Geneva. Can<br />

you describe what you teach in one of the<br />

most sought after oboe classes in Europe?<br />

I am happy to be a successor of Maurice<br />

Bourgue at the Geneva Conservatory. It’s a<br />

wonderful school! I studied in Paris, and in<br />

my teaching I try to continue the line of my<br />

teachers: Maurice Bourgue, Jacques Tys and<br />

Jean-Louis Capezzali.<br />

When did you first start to play the oboe<br />

and what made you decide to choose the<br />

oboe?<br />

I started to play oboe when I was nine.<br />

When I was a small boy my parents brought<br />

me to listen to many classical concerts,<br />

and even the symphony orchestra. I always<br />

remembered the oboe sound especially, and<br />

we can say I fell in love!<br />

What type of oboe do you play?<br />

I play an oboe Marigaux 2011.<br />

Do you make your own reeds and if so can<br />

you describe the making process?<br />

I think every oboe player should be able to<br />

make his own reeds. I make the reeds myself.<br />

It takes the greatest part of the working<br />

time, and is a very delicate and complicated<br />

process. Some people say that the mood<br />

of an oboe player depends on whether he<br />

has a good reed or not.<br />

14 <strong>2012</strong> | QSO APRIL PROGRAM<br />

You have a distinguished career as both<br />

a soloist and an orchestral performer.<br />

How does your concert preparation differ<br />

between both performance styles?<br />

I feel happy and rich musically, playing in such<br />

a great orchestra, as Royal Concertgebouw,<br />

to have many exciting solo and chamber<br />

music performances and to teach in Geneva.<br />

It gives a feeling of a full musical life!<br />

How would you describe Mozart’s Oboe<br />

Concerto?<br />

Of course it’s one of the greatest pieces of<br />

oboe repertoire, which we carry and develop<br />

during all life! I am always happy to perform<br />

this great music!<br />

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

20/21 ONE<br />

16 <strong>2012</strong> | QSO APRIL PROGRAM<br />

QSO WITH<br />



7pm, Saturday 28 <strong>April</strong><br />

Conservatorium Theatre<br />

CONDUCTOR Benjamín Northey<br />

SAXOPHONE Amy Dickson<br />

KATS-CHERNIN Heaven is Closed<br />

GLASS ARR. DICKSON Violin Concerto<br />

No.1 arr. for Saxophone<br />

-interval-<br />

ISAACS Serenade for <strong>Orchestra</strong><br />

(world premiere)<br />

KATS-CHERNIN Winter from The Seasons<br />

(based on Spheres)<br />

STANHOPE Fantasia on a Theme<br />

of Vaughan Williams<br />

Proudly supported by<br />

<strong>2012</strong> | QSO APRIL PROGRAM 17

Program Notes<br />


(Born 1957)<br />

Born in Tashkent, Uzbekistan, Elena Kats-<br />

Chernin studied music in Moscow, Sydney<br />

and Hanover. She has created works in nearly<br />

every genre, from orchestral to chamber and<br />

choral compositions, among them pieces for<br />

Michael Collins, Evelyn Glennie, Ensemble<br />

Modern, Australian Chamber <strong>Orchestra</strong>, Sydney<br />

<strong>Symphony</strong>, and the Tasmanian and Melbourne<br />

<strong>Symphony</strong> <strong>Orchestra</strong>s. She has written four<br />

chamber operas and the soundtracks for three<br />

silent films and her music featured at the<br />

opening ceremony of the 2000 Sydney Olympic<br />

Games and the 2003 Rugby World Cup.<br />

She has received several awards, including a<br />

Sounds Australian Award in 1996 for Cadences,<br />

Deviations and Scarlatti, and Green Room<br />

and Helpmann Awards in 2004 for the score<br />

to Meryl Tankard’s ballet Wild Swans. The<br />

TSO’s recording of ‘Eliza Aria’ from the CD<br />

Wild Swans featured in a highly successful<br />

television commercial by Lloyds TSB in the<br />

UK. Russian Rag was used as Max’s theme in<br />

the 2009 claymation film Mary and Max by<br />

Oscar-winning director Adam Elliot. Her music<br />

for the ballet interpretation of the children’s<br />

book The Little Green Road to Fairyland<br />

received its premiere at the 2011 <strong>Queensland</strong><br />

Music Festival. She is currently Composerin-Residence<br />

with <strong>Queensland</strong> <strong>Symphony</strong><br />

<strong>Orchestra</strong>, who premiered her new work<br />

Symphonia Eluvium, commissioned by the<br />

Brisbane Festival, in September 2011.<br />

In January <strong>2012</strong> her music for cello and<br />

percussion for William Yang’s photographic<br />

show ‘I am a Camera’ was premiered at the<br />

Sydney Festival. Fast Blue Village, the CD of her<br />

music for string quartet played by the Acacia<br />

Ensemble, is due for release this year.<br />

Heaven is Closed<br />

Titles and ideas come together for Elena Kats-<br />

Chernin. Heaven is Closed suggested a wry,<br />

resigned humour. Iconoclastic it may be – if<br />

New Age devotees offer heaven, this slams<br />

the door in their face. The music knocks on a<br />

door, repetitively. If that one doesn’t answer,<br />

try another – but they’re all closed. Perhaps<br />

heaven is full. Or it is closed for business.<br />

Heaven, it seems, could not be more closed, or<br />

perhaps just so far away. The composer lived<br />

with serious illness of a close family member as<br />

she wrote. There was not much to look forward<br />

to. The mind needs to adjust. Heaven means<br />

bliss, and if it is to be found, it must be here<br />

and now, in daily being. These were religious<br />

reflections, but not consciously those of Elena’s<br />

Jewish heritage, nor any other formal religious<br />

system. When she thinks about heaven, the idea<br />

of blissful states and places often visits her in<br />

vivid images of the picture-book fairy stories<br />

of Russian childhood. Folk imagination portrays<br />

heaven as a playful place, and even if it is closed,<br />

its games can be played here, in music.<br />

David Garrett © 2000<br />

The Seasons for piano and strings: Winter<br />

The composer writes:<br />

Winter is the last movement of The Seasons<br />

for piano and strings, commissioned by the<br />

great Australian poet Barbara Blackman. The<br />

piece was premiered in May 2011 during<br />

the Canberra International Music Festival.<br />

For me, Winter conjures moments of still,<br />

pale lemon shaded images, a drained and<br />

vacant landscape which is nevertheless full<br />

of promise.<br />

Winter begins with a solo viola introducing<br />

a searching melody in E minor. The<br />

cellos enter with a tentative plucked<br />

accompaniment. Piano makes its first<br />

appearance with the two-note theme on<br />

which the piece is based. The harmony<br />

oscillates between two main chords creating<br />

a sense of stillness that is also expectant.<br />

The material becomes more passionate<br />

as it grows and the culminating moment<br />

arrives with a significant shift (as in the<br />

transformation of the seasons) to the tonic<br />

major. Now the initial viola theme is painted<br />

with a new optimism and sense of warmth.<br />


(Born 1958)<br />

Serenade for orchestra (2011)<br />


Mark Isaacs has achieved widespread<br />

recognition as a pianist and composer working<br />

in both classical music and jazz.<br />

As a jazz pianist he has toured extensively<br />

in Europe, Russia, Asia, the USA, Australasia<br />

and the Pacific, and collaborated with artists<br />

including Dave Holland, Roy Haynes, Kenny<br />

Wheeler, Adam Nussbaum, Vinnie Colaiuta<br />

and Bob Sheppard. He was involved with<br />

programming jazz at the Brisbane Powerhouse<br />

from 2005 to 2010, including curating the<br />

inaugural Brisbane Jazz Festival.<br />

He has performed as a classical pianist and<br />

conductor, and has composed around 100<br />

major works ranging across orchestral, chamber,<br />

choral and solo repertoire, as well as scores for<br />

film, television and the theatre. Recent works<br />

include the solo piano piece Children’s Songs,<br />

premiered by the composer at this year’s<br />

Adelaide Festival, and Five Bagatelles for solo<br />

guitar, due to be premiered by Timothy Kain<br />

in <strong>April</strong> <strong>2012</strong>.<br />

18 <strong>2012</strong> | QSO APRIL PROGRAM <strong>2012</strong> | QSO APRIL PROGRAM 19

Current and future projects include a<br />

chamber music suite which he will record<br />

with members of the Goldner Quartet,<br />

Australia Ensemble and Sydney <strong>Symphony</strong><br />

<strong>Orchestra</strong>; and the premiere of his cello<br />

concerto Invocations in May <strong>2012</strong>.<br />

Serenade for orchestra began life in 2004 as<br />

a string quartet before being transcribed as<br />

the middle movement of Isaacs’ Sextet for<br />

strings five years later. The composer made<br />

tonight’s version for orchestra in 2011.<br />

A short but highly concentrated work of five<br />

minutes’ duration, it has the shape of an arch,<br />

building from the hymn-like opening with<br />

incremental increases in tension – and tempo<br />

– to an abrasive climax, before winding down<br />

to a slow, evanescent end.<br />


(Born 1969)<br />

Fantasia on a Theme of Vaughan Williams<br />

(2003)<br />

Australian composer Paul Stanhope says<br />

his music is inspired by a diverse array of<br />

material and presents the listener with ‘an<br />

optimistic, personal geography…whether this<br />

is a reaction to the elemental aspects of the<br />

universe (both the celestial and terrestrial) or<br />

the throbbing energy of the inner-city’.<br />

His Fantasia on a Theme of Vaughan Williams<br />

pays homage to Vaughan Williams’ Fantasia<br />

on a Theme by Thomas Tallis. Just as Vaughan<br />

Williams uses a chorale theme by Thomas<br />

Tallis in his work, Stanhope uses Vaughan<br />

Williams’ tune Down Ampney (which sets the<br />

hymn Come Down, O Love Divine). Stanhope<br />

deploys the full resources of the orchestra<br />

including a large percussion battery. The<br />

piece is divided into six sections to form a<br />

single complete movement.<br />

Fantasia on a Theme of Vaughan Williams<br />

was awarded first place in the 2004 Toru<br />

Takemitsu Composition Prize and performed<br />

by the Tokyo Philharmonic at the Tokyo<br />

Opera City on 30 May 2004.<br />


(BORN 1937)<br />

Violin Concerto No.1 (1987)<br />

Solo part arranged for soprano saxophone<br />

by Amy Dickson (2008)<br />

1. Crotchet = 104<br />

2. Crotchet = 108<br />

3. Crotchet = 150<br />

Amy Dickson, Saxophone<br />

Philip Glass’ name is familiar in non-classical<br />

music circles, a rare achievement these days<br />

for a contemporary composer. Following a<br />

conventional musical training at the Juilliard<br />

School, he spent time in Paris where he<br />

studied with Nadia Boulanger before being<br />

hired by a filmmaker to transcribe the music<br />

of sitar player Ravi Shankar for classically<br />

trained musicians. On his return to New York<br />

he became part of the avant-garde scene<br />

before coming to the public’s attention with<br />

Music in 12 Parts and the opera Einstein on the<br />

Beach. He has collaborated with a diverse<br />

range of artists and is a prolific composer:<br />

his output includes operas, symphonies,<br />

concertos and major film scores.<br />

The Violin Concerto was Glass’ first major<br />

orchestral work and signalled a new<br />

engagement with the concert hall. It was<br />

written for Paul Zukovsky, for whom Glass<br />

began to write following the death of his<br />

long-time collaborator, violinist Dorothy<br />

Pixley-Rothschild.<br />

Amy Dickson loved Glass’ violin concerto<br />

so much that she arranged it for soprano<br />

saxophone, an instrument with which Philip<br />

Glass has a long history: he often heard John<br />

Coltrane at the Village Vanguard in New<br />

York, and the instrument was an integral part<br />

of the Philip Glass Ensemble. In 2009 Amy<br />

Dickson recorded her arrangement with the<br />

Royal Philharmonic <strong>Orchestra</strong>.<br />

20 <strong>2012</strong> | QSO APRIL PROGRAM <strong>2012</strong> | QSO APRIL PROGRAM 21

Sarah Wilson, Section Principal Trumpet, <strong>Queensland</strong> <strong>Symphony</strong> <strong>Orchestra</strong>.<br />

Photo: courtesy <strong>Queensland</strong> <strong>Symphony</strong> <strong>Orchestra</strong>.<br />

Biographies<br />



Grammy Award-winning conductor Enrique<br />

Artuo Diemecke is Music Director of the<br />

Buenos Aires Philharmonic and is in his<br />

inaugural season as Music Director of the<br />

Bogota Philharmonic. In the United States he is<br />

Music Director of the Long Beach <strong>Symphony</strong><br />

in California and Flint <strong>Symphony</strong> <strong>Orchestra</strong> in<br />

Michigan.<br />

With 20 years at the helm of the Orquesta<br />

Sinfónica Nacional de México, Maestro<br />

Diemecke is a frequent guest of orchestras<br />

throughout the world, most notably the<br />

National <strong>Symphony</strong> <strong>Orchestra</strong> in Washington,<br />

San Francisco <strong>Symphony</strong> <strong>Orchestra</strong>, French<br />

National <strong>Orchestra</strong>, BBC <strong>Symphony</strong>, Royal<br />

Philharmonic <strong>Orchestra</strong>, L’Orchestre de Paris,<br />

Residentie Orkest in The Hague, Los Angeles<br />

Philharmonic, Simon Bolivar <strong>Orchestra</strong> in<br />

Caracas, l’Orchestre National de Lorraine,<br />

the National <strong>Orchestra</strong> of Montpellier, the<br />

Valladolid <strong>Symphony</strong>, the ORCAM Madrid,<br />

L’Orchestre de Isle de France, and the<br />

symphony orchestras of Baltimore, Houston,<br />

Minnesota, and Auckland.<br />

An experienced conductor of opera, Maestro<br />

Diemecke was Music Director of Mexico<br />

City Opera from 1984-1990. He returned<br />

to opera in 2008 with Werther at the Teatro<br />

Colón in Buenos Aires, which followed<br />

performances of Le Jongleur de Notre Dame<br />

with tenor Roberto Alagna in Montpellier.<br />

The Deutsche Grammophon release of that<br />

production was awarded the Grand Prix de<br />

l’Academie du Disque Lyrique for 2010. He is a<br />

regular guest of the Teatro Zarzuela in Madrid,<br />

was awarded the Jean Fontaine Orpheus d’Or<br />

Gold Medal for “best vocal music recording”<br />

for Donizetti’s The Exiles of Siberia, and was<br />

previously honored with the Bruno Walter<br />

Orpheus d’Or Prize for “Best Opera Conductor”<br />

for his recording of Mascagni’s Parisina.<br />

Maestro Diemecke is an accomplished<br />

composer. His Die-Sir-E was commissioned<br />

by the Radio France Festival for the World Cup<br />

Final concert in 1998. His works Chacona a<br />

Chávez, Guitar Concerto, and Camino y vision<br />

have received many performances both in<br />

Europe and in the United States.<br />

<strong>2012</strong> | QSO APRIL PROGRAM 23


Described by Gramophone magazine as “a<br />

colourist in love with the infinite variety a piano<br />

can produce”, Sergio Tiempo has developed a<br />

reputation as one of the most individual and<br />

thought-provoking pianists of his generation.<br />

Tiempo established his international credentials<br />

at an early age, making his professional debut<br />

at the age of fourteen at the Concertgebouw<br />

in Amsterdam. A tour of the USA and a<br />

string of engagements across Europe quickly<br />

followed. Since then he has appeared with<br />

many of the world’s leading orchestras and<br />

conductors and is a frequent guest at major<br />

festivals worldwide.<br />

Born in Caracas, Venezuela, Tiempo began his<br />

piano studies with his mother, Lyl Tiempo, at<br />

the age of two and made his concert debut<br />

when he had just turned three. Whilst at the<br />

Fondazione per il Pianoforte in Como, Italy,<br />

he worked with Dimitri Bashkirov, Fou Tsong,<br />

Murray Perahia and Dietrich Fischer-Dieskau.<br />

He has received frequent musical guidance and<br />

advice from Martha Argerich, Nelson Freire<br />

and Nikita Magaloff and performs regularly<br />

with fellow-countryman and friend Gustavo<br />

Dudamel including concerts with the Simón<br />

Bolívar <strong>Orchestra</strong>.<br />

Sergio Tiempo has made a number of highly<br />

distinctive and acclaimed recordings. On EMI<br />

Classics’ ‘Martha Argerich Presents’ label, he<br />

recorded Mussorgsky Pictures at an Exhibition,<br />

Ravel Gaspard de la Nuit and three Chopin<br />

Nocturnes, and for Deutsche Gramophon he<br />

has recorded several discs with Mischa Maisky,<br />

including a disc of Rachmaninov which was<br />

awarded five stars by Classic FM and the BBC<br />

Music Magazine, which also named it their<br />

benchmark Recording. In June 2010, Tiempo<br />

gave the world premiere of a new work for<br />

two pianos and orchestra ‘Tango Rhapsody’<br />

by Argentinean composer Federico Jusid with<br />

Karin Lechner and the RSI Lugano under Jacek<br />

Kaspszyk at the Martha Argerich Festival in<br />

Lugano, where he is a visitor each year. Most<br />

recently, Sergio Tiempo released a disc of<br />

French music for two pianos with Karin Lechner<br />

for Avanti Classic entitled La Belle Epoque.<br />

Recent concerto highlights for Tiempo<br />

have included return visits to the Orchestre<br />

Philharmonique de Radio France in Paris and<br />

on tour to his native South America, the<br />

Singapore <strong>Symphony</strong> and the Music Days in<br />

Lisbon Festival, as well as debuts with the BBC<br />

<strong>Symphony</strong>, City of Birmingham <strong>Symphony</strong>,<br />

Northern Sinfonia, <strong>Queensland</strong> <strong>Symphony</strong><br />

<strong>Orchestra</strong> and the Auckland Philharmonia.<br />

Recent recital engagements have included a<br />

sell-out recital debut at the Queen Elizabeth<br />

Hall in London in the International Piano Series,<br />

debuts at the Vienna Konzerthaus, London’s<br />

Wigmore Hall, the Berlin Philharmonie and<br />

Edinburgh International Festival as well as<br />

return visits to the Oslo Chamber Music<br />

Festival and the Warsaw Chopin Festival.<br />

Highlights of the 2011/12 season and<br />

beyond include two return engagements<br />

with the Los Angeles Philharmonic with both<br />

Gustavo Dudamel and Nicholas McGegan<br />

and return engagements with the <strong>Queensland</strong><br />

<strong>Symphony</strong> <strong>Orchestra</strong>, a European tour with<br />

the Buenos Aires Philharmonic <strong>Orchestra</strong> and<br />

debuts with the Zurich Chamber <strong>Orchestra</strong>,<br />

Brussels Philharmonic <strong>Orchestra</strong> and Orquestra<br />

Nacional do Porto as well as recital tours of<br />

Seoul, Italy and South America.<br />


Johannes Fritzsch was born in Meissen,<br />

Germany, in 1960. He received his first musical<br />

tuition in piano and organ from his father, a<br />

Cantor and Organist. He also studied violin and<br />

trumpet. His higher education was received at<br />

the Carl Maria von Weber Music Academy in<br />

Dresden, majoring in conducting and piano.<br />

In 1982, after completing his studies, Maestro<br />

Fritzsch was appointed 2nd Kapellmeister<br />

(Conductor) at the Volkstheater in Rostock.<br />

There he gained acclaim in performances such<br />

as the East German premier of The English Cat<br />

by Hans Werner Henze in 1986. In 1987 Mo.<br />

Fritzsch accepted the position of Kapellmeister<br />

with the Staatsoper Dresden, Semperoper,<br />

where he conducted more than 350 opera and<br />

ballet performances within five years.<br />

After the German reunification Mo. Fritzsch<br />

was able to accept engagements outside of<br />

Eastern Europe. In 1992/3 he worked as 1st<br />

Kapellmeister at the Staatsoper Hannover.<br />

During that time Mo. Fritzsch was appointed<br />

Chief Conductor and Artistic Director at the<br />

Städtische Bühnen and the Philharmonisches<br />

Orchester in Freiburg. There he remained<br />

until 1999 enjoying widespread acclaim. The<br />

Verband Deutscher Musikverleger (association<br />

of German music publishers) honored his<br />

1998/99 season with the distinction of having<br />

the “Best Concert Program”.<br />

24 <strong>2012</strong> | QSO APRIL PROGRAM <strong>2012</strong> | QSO APRIL PROGRAM 25

Mo. Fritzsch has performed with many<br />

orchestras, both within Germany and<br />

internationally. These include: Hamburger<br />

Sinfoniker, Düsseldorfer Sinfoniker,<br />

Philharmonie Essen, Nationaltheater-Orchester<br />

Mannheim, Staatskapelle Schwerin, Berliner<br />

Sinfonie Orchester, Staatskapelle Dresden,<br />

Norddeutsche Philharmonie Rostock,<br />

Staatsorchester Halle, the Swedish Radio<br />

<strong>Orchestra</strong>, the Norwegian Radio <strong>Orchestra</strong>,<br />

the Danish Radio <strong>Symphony</strong> <strong>Orchestra</strong>, the<br />

Orchestre Philharmonique Strassbourg,<br />

the <strong>Orchestra</strong> National de Montpellier, the<br />

<strong>Orchestra</strong> National du Capitole de Toulouse,<br />

the Sydney <strong>Symphony</strong> <strong>Orchestra</strong>, <strong>Orchestra</strong><br />

Victoria, the Tasmanian, <strong>Queensland</strong> and West<br />

Australian <strong>Symphony</strong> <strong>Orchestra</strong>s.<br />

Opera Companies with which he has worked<br />

include: Sächsische Staatsoper Dresden,<br />

Opernhaus Köln, Deutsche Oper Berlin,<br />

Komische Oper Berlin, Opera Bastille Paris,<br />

Grazer Oper, the Royal Opera Stockholm,<br />

Malmö Operan and Opera Australia in Sydney<br />

and Melbourne (including Wozzeck, Don<br />

Giovanni, Carmen, Tosca, Rigoletto, Salome,<br />

Der Rosenkavalier).<br />

Mo. Fritzsch recently held the position of<br />

Chief Conductor of Staatsoper Nürnberg. He<br />

is currently Chief Conductor of the Grazer<br />

Oper and Grazer Philharmonisches Orchester in<br />

Austria and Chief Conductor of the <strong>Queensland</strong><br />

<strong>Symphony</strong> <strong>Orchestra</strong>.<br />


Alexei Ogrintchouk is one of the most<br />

outstanding oboists performing today. A graduate<br />

of the Gnessin School of Music and the Paris<br />

Conservatoire, where he studied with Maurice<br />

Bourgue, Jacques Tys and Jean-Louis Capezzali,<br />

he combines astounding technique with virtuosity<br />

and lyricism.<br />

Originally from Moscow, Alexei was already<br />

performing all over Russia, Europe and Japan<br />

from the age of 13. He is the winner of a<br />

number of international competitions including<br />

the prestigious CIEM International Competition<br />

in Geneva at the age of 19. He was also the<br />

winner of the European Juventus Prize in 1999,<br />

two “Victoires de la Musique Classique” Prizes<br />

in France in 2002, the Triumph Prize in Russia<br />

in 2005 and Borletti Buitini Trust Award winner<br />

in 2007. He has been part of the prestigious<br />

Rising Stars and BBC New Generation Artists<br />

Programmes.<br />

Since August 2005 Alexei Ogrintchouk has been<br />

first solo oboist of the Royal Concertgebouw<br />

<strong>Orchestra</strong>, Amsterdam with Mariss Jansons. Until<br />

then he held the same post at the Rotterdam<br />

Philharmonic <strong>Orchestra</strong> with Valery Gergiev - a<br />

position which he secured at the age of 20.<br />

Alexei Ogrintchouk manages to combine<br />

orchestral playing with his ever-increasing solo<br />

engagements. A charismatic and technically<br />

brilliant soloist, he has performed concertos<br />

under the baton of conductors such as Mariss<br />

Jansons, Gennady Rozhdestvensky, Seiji Ozawa,<br />

Fabio Luisi, Kent Nagano, Michel Plasson, Sir<br />

Andrew Davis, Roman Kofman, Daniel Harding,<br />

Jiri Belohlavek, Stephan Deneve, Lothar Zagrosek,<br />

Jaap van Zweden, John Neschling, Andris Nelsons,<br />

Susanna Malkki, Walter Weller, Ion Marin, Lu Jia,<br />

Gianandrea Noseda, Hubert Soudant, Martyn<br />

Brabbins, Thomas Sanderling, Kees Bakels, Enrique<br />

Mazzola and with the world’s greatest orchestras<br />

including the Royal Concertgebouw <strong>Orchestra</strong>,<br />

<strong>Orchestra</strong>s of the Bolshoi and Mariinsky Theatres,<br />

Orchestre de l’Academia Nazionale di Santa<br />

Cecilia, all the <strong>Orchestra</strong>s of the BBC, Orchestre<br />

de la Suisse Romande, Royal Philharmonic<br />

<strong>Orchestra</strong>, Russian National <strong>Orchestra</strong>,<br />

Kontzerthausorchester Berlin, Budapest Festival<br />

<strong>Orchestra</strong>, Royal Scottish National <strong>Orchestra</strong>,<br />

<strong>Orchestra</strong> Sinfonica do Estado de Sao Paulo,<br />

National <strong>Orchestra</strong> of Belgium, Beethovenhalle<br />

<strong>Orchestra</strong> Bonn, Orquesta Sinfonica de Tenerife,<br />

Basel <strong>Symphony</strong> <strong>Orchestra</strong>, Rotterdam<br />

Philharmonic <strong>Orchestra</strong>, Norrkoping <strong>Symphony</strong><br />

<strong>Orchestra</strong>, <strong>Orchestra</strong> del Teatro Lirico di Cagliari,<br />

Stavanger <strong>Symphony</strong> <strong>Orchestra</strong>, Belgrade<br />

Philharmonic, MAV <strong>Orchestra</strong> Budapest, Dutch<br />

Radio Kamer Philharmonie, Sinfonia Varsovia,<br />

Nordwestdeutsche Philharmonie, Moscow<br />

Virtuosi, KREMERata Baltica, Moscow Soloists,<br />

Amsterdam Sinfonietta, Orchestre d’Auvergne,<br />

Europa Galante, Koln Sinfonietta, New European<br />

Strings, Orquesta Barroca de Sevilla, as well as the<br />

Concertgebouw, Munich, Stuttgart, Mito, Prague,<br />

UBS Verbier and Swedish Chamber <strong>Orchestra</strong>s.<br />

As a recitalist and chamber musician he is much in<br />

demand and has performed throughout the world<br />

including in Theatre du Chatelet, Theatre des<br />

Champs-Elysees, Cite de la Musique, Auditorium<br />

du Louvre in Paris, Concertgebouw in Amsterdam,<br />

Musikverein in Vienna, Royal Albert Hall, Wigmore<br />

Hall in London, Carnegie Hall in New-York,<br />

Auditorium in Tel Aviv, Suntory Hall in Tokyo...<br />

He is also a frequent guest at festivals such<br />

as BBC PROMS, MIDEM, Colmar, Lockenhaus,<br />

Verbier, Luzern, Berliner Festspiele, Santa Cecilia,<br />

Cortona, Edinburgh Internation Festival, City of<br />

London Festival and the White Nights, Crescendo,<br />

Svyatoslav Richter December Nights and Easter<br />

Festival in Russia.<br />

His chamber music partners have included<br />

Gidon Kremer, Radu Lupu, Thomas Quasthoff,<br />

Misha Maisky, Vladimir Spivakov, Yuri Bashmet,<br />

Jean-Yves Thibaudet, Maurice Bourgue, Sarah<br />

Chang, Tabea Zimmermann, Nikolai Znaider, Valery<br />

Affanasiev, Julian Rachlin, Leif Ove Andsnes, Fabio<br />

Biondi, Alexander Lonquich, Dmitri Sitkovetsky<br />

and Sergio Azzolini as well as Belcea, Eben, Sine<br />

Nomine and Tokyo string quartets.<br />

Alexei Ogrintchouk is named successor of Maurice<br />

Bourgue as oboe professor at the Haute Ecole<br />

de Musique de Geneve from September 2011.<br />

He also has been a visiting professor at the<br />

Royal Academy of Music in London since 2001,<br />

professor at the Musikene in San Sebastian<br />

since 2009 and at the Royal Conservatory in<br />

the Hague since 2010. He is giving a number<br />

of masterclasses such as Pablo Casals Chamber<br />

Music Academy in Prades, Mahler Academy in<br />

Ferrara, Cursos de Verano in Bilbao, Academie<br />

Musicale de Villecroze or Weimar International<br />

Master Class.<br />

His first CD with the works by Schumann<br />

was released on Harmonia Mundi “Nouveau<br />

musicians” Series to exceptional reviews. His<br />

discography includes the world premiere of the<br />

slow movement of Beethoven oboe concerto<br />

(Raptus classics), music by Britten (Record One),<br />

Skalkotas (Bis Records), Mozart Oboe Concerto<br />

with the Concertgebouw Chamber <strong>Orchestra</strong><br />

(PentaTone Classics). He also recently released<br />

Bach Oboe Concertos with the Swedish Chamber<br />

<strong>Orchestra</strong> (Bis Records).<br />

26 <strong>2012</strong> | QSO APRIL PROGRAM <strong>2012</strong> | QSO APRIL PROGRAM 27


Born in 1962 David began studying the cello<br />

at the age of five.<br />

By the age of 12 he was on a junior<br />

scholarship to the Royal College of<br />

Music. Later he won an Associated Board<br />

scholarship to study at the Royal Academy<br />

of Music under Douglas Cummings. Further<br />

study was undertaken with Thomas Igloi and<br />

Karina Georgian.<br />

In 1984 David joined the BBC <strong>Symphony</strong><br />

<strong>Orchestra</strong> working under chief conductor<br />

Sir John Pritchard and other renowned<br />

conductors as Gennadi Rodchezvensky,<br />

Pierre Boulez and Riccardo Muti.<br />

Leaving to work with the London <strong>Symphony</strong><br />

<strong>Orchestra</strong> and world class conductors<br />

Claudio Abbado, Lorin Maazel and Georg<br />

Solti, David also worked with the Royal<br />

Philharmonic <strong>Orchestra</strong> and toured as soloist<br />

with the London Virtuosi chamber orchestra.<br />

In 1990 David immigrated to Australia and<br />

became the Principal Cello of the <strong>Queensland</strong><br />

<strong>Symphony</strong> <strong>Orchestra</strong>. During his time here,<br />

he has performed many concertos with the<br />

orchestra and broadcast numerous recitals<br />

and performances on ABC Classic FM and<br />

4MBS. He has also developed a reputation<br />

as a leading cello teacher on the staff at<br />

both the University of <strong>Queensland</strong> and the<br />

<strong>Queensland</strong> Conservatorium of Music.<br />

The Board of the Royal Academy of Music<br />

acknowledged David’s successful career<br />

and contribution to the music profession<br />

by electing him an Honourary Associate in<br />

1997.<br />

David continues to work as Principal Cello<br />

with the <strong>Queensland</strong> <strong>Symphony</strong> <strong>Orchestra</strong>.<br />


Born in Tokyo, Ms. Okayasu began her<br />

professional training on violin under Yuri<br />

Vladimir Ovcharek at the St. Petersburg<br />

Conservatory (Russia), and continued<br />

with Camilla Wicks at the San Francisco<br />

Conservatory of Music (USA). As a violinist,<br />

she earned her Masters in Chamber Music<br />

under the direction of Mark Sokol and Ian<br />

Swenson, and studied viola with Jodi Levitz.<br />

She also holds a Bachelor of Engineering in<br />

Architecture from the Tokyo University of<br />

Science and worked for the design firm Hisao<br />

Koyama Atelier in Tokyo.<br />

She has served a principal violist of the<br />

Filharmonica Arturo Toscanii (Parma, Italy),<br />

the Danish Radio Sinfonietta (Copenhagen,<br />

Denmark and the Australian Opera and Ballet<br />

<strong>Orchestra</strong> (Sydney) and has also worked<br />

as a member of the San Diego <strong>Symphony</strong><br />

(California, USA). She currently holds the<br />

position with the <strong>Queensland</strong> <strong>Symphony</strong><br />

<strong>Orchestra</strong>.<br />

As a devoted chamber musician, she has<br />

appeared with the Satori Quartet (Colorado,<br />

USA), ADORNO Ensemble (San Francisco,<br />

USA), Sound of Lyons (Colorado, USA),<br />

Kurilpa Quartet (Brisbane), Lunaire Collective<br />

(Brisbane) and as a guest leader with the<br />

Camerata of St. John’s.<br />


Leading Australian conductor Benjamin<br />

Northey is one of Australia’s brightest<br />

and most versatile musical stars. Northey<br />

studied conducting with John Hopkins at the<br />

University of Melbourne, graduating in 1999<br />

with first class honours in performance,<br />

followed by a Master of Music degree in<br />

conducting. In 2001, under the <strong>Symphony</strong><br />

Australia Conductor Development Program,<br />

he studied intensively with Finnish maestro<br />

Jorma Panula.<br />

In 2002, Northey was the highest placed<br />

applicant to the prestigious Sibelius Academy<br />

<strong>Orchestra</strong>l Conducting Course in Helsinki,<br />

Finland where he studied for three years<br />

with Leif Segerstam and Atso Almila. In<br />

2003, Northey was awarded the 2003<br />

Brian Stacey Memorial Trust Award under<br />

patron Sir Charles Mackerras. His 2005<br />

diploma concert with the Sibelius Academy<br />

<strong>Symphony</strong> <strong>Orchestra</strong> included the European<br />

Premiere of Brett Dean’s Ampitheatre and<br />

was awarded the international jury’s highest<br />

possible mark. He completed his tertiary<br />

studies in 2006 as a guest student in Jorma<br />

Panula’s class at the Stockholm Royal College<br />

of Music in Sweden.<br />

28 <strong>2012</strong> | QSO APRIL PROGRAM <strong>2012</strong> | QSO APRIL PROGRAM 29

In 2007, Northey was selected as one<br />

of three participants worldwide to the<br />

prestigious International Conductor’s<br />

Academy of the Allianz Cultural Foundation,<br />

involving a year-long mentorship with both<br />

the London Philharmonic <strong>Orchestra</strong> and<br />

the Philharmonia <strong>Orchestra</strong> and conductors<br />

Christoph von Dohnanyi and Vladimir<br />

Jurowsky. This culminated in a performance<br />

of Stravinsky’s <strong>Symphony</strong> in C in June 2008<br />

at London’s Royal Festival Hall, to strong<br />

critical acclaim.<br />

Within Australia, Northey made his<br />

professional debut with the Melbourne<br />

<strong>Symphony</strong> <strong>Orchestra</strong> in 2003. Since<br />

returning permanently in 2006, Northey has<br />

been a regular guest conductor with all the<br />

Australian state symphony orchestras and<br />

led opera and ballet productions including<br />

L’elisir d’Amore, The Tales of Hoffmann and<br />

La Sonnambula for State Opera of South<br />

Australia.<br />

In 2010, Northey conducted a major<br />

programme with the London Philharmonic<br />

<strong>Orchestra</strong> at Festival Hall and made his<br />

debut with London’s Southbank Sinfonia.<br />

Concert appearances in 2010 and 2011<br />

included conducting the Sydney, Melbourne,<br />

<strong>Queensland</strong>, Adelaide, West Australian and<br />

Tasmanian <strong>Symphony</strong> <strong>Orchestra</strong>s, <strong>Orchestra</strong><br />

Victoria, the New Zealand and Christchurch<br />

<strong>Symphony</strong> <strong>Orchestra</strong>s and the Hong Kong<br />

Philharmonic.<br />

Currently Associate Conductor at the<br />

Melbourne <strong>Symphony</strong>, Northey’s future<br />

engagements include Don Giovanni and Così<br />

fan Tutte for Opera Australia and concert<br />

appearances with all of Australia and New<br />

Zealand’s major symphony orchestras.<br />


Leading the way in her field, saxophonist<br />

Amy Dickson, has gained renown in all<br />

corners of the globe and is recognized widely<br />

for her remarkable and distinctive tone<br />

and exceptional musicality and technique.<br />

Her unique style and impressive versatility<br />

have inspired composers throughout the<br />

world. Her passion for new music has led<br />

to the creation of a number of works and<br />

she is constantly in demand as a soloist,<br />

regularly appearing with the world’s leading<br />

orchestras. She plays with a beauty of<br />

tone and elegance which led Ivan March of<br />

Gramophone magazine to write:<br />

“She has an individual and unusual tone,<br />

luscious, silky-smooth, sultry and voluptuous<br />

by turns; her phrasing is beautifully finished,<br />

her control of dynamic infinitely subtle.<br />

She plays very songfully, is often gentle<br />

and restrained, at times sounding like the<br />

chalumeaux of a clarinet. But she can rise to<br />

a passionate climax, as in Danza de la moza<br />

donosa, or slinkily respond to Debussy's La<br />

plus que lente”.<br />

She performs with orchestras including<br />

the London Philharmonic <strong>Orchestra</strong>, Royal<br />

Philharmonic <strong>Orchestra</strong>, Philharmonia<br />

<strong>Orchestra</strong>, Vienna Chamber <strong>Orchestra</strong>, and<br />

the Sydney <strong>Symphony</strong> <strong>Orchestra</strong>. Dickson<br />

is deeply committed to the development<br />

of new repertoire for the saxophone, and<br />

has made a substantial contribution to the<br />

orchestral, chamber and solo repertoire.<br />

Whilst proving to be a brilliant interpreter of<br />

contemporary music, she is equally devoted<br />

as a champion of established saxophone<br />

repertoire, regularly performing the concerti<br />

of Glazunov, Debussy, Villa Lobos, Ibert,<br />

Larsson and Milhaud. In 2010 she performed<br />

Harrison Birtwistle’s Panic with Bramwell<br />

Tovey, David Jones and the Melbourne<br />

<strong>Symphony</strong> <strong>Orchestra</strong>.<br />

She regularly commissions new works, and<br />

makes arrangements of existing works<br />

from other instrumental repertoire. She has<br />

performed her arrangement of Philip Glass’<br />

Violin Concerto with a number of orchestras,<br />

and gave the first performances of it with<br />

Otto Tausk and the Auckland Philharmonia,<br />

and also the Adelaide <strong>Symphony</strong> <strong>Orchestra</strong>,<br />

in 2008. In <strong>2012</strong> she returns to Australia to<br />

perform it with the <strong>Queensland</strong> <strong>Symphony</strong><br />

<strong>Orchestra</strong> under the baton of Benjamin<br />

Northey. Her arrangement has been<br />

published by Chester Novello.<br />

Currently, composers writing for her<br />

include Peter Sculthorpe, Geoffrey Gordon,<br />

Piet Swerts and Jessica Wells. In the<br />

past, Ross Edwards, Graham Fitkin, Steve<br />

Martland, Huw Watkins, Martin Butler,<br />

Michael Csanyi-Wills, Cecilia McDowall<br />

and Timothy Salter have all dedicated<br />

works to her. In <strong>2012</strong> she will perform<br />

a new concerto by Ross Edwards, Full<br />

Moon Dances, with the Adelaide, Perth,<br />

Hobart and Sydney <strong>Symphony</strong> <strong>Orchestra</strong>s.<br />

Edwards also arranged his oboe concerto,<br />

Bird Spirit Dreaming for Dickson, and the<br />

first performance was with the Canberra<br />

<strong>Symphony</strong> <strong>Orchestra</strong>, under the baton of<br />

Nicholas Milton, in May 2011. In October<br />

2011, she gave the first performance of<br />

a new arrangement of Graeme Koehne’s<br />

concerto, InFlight Entertainment, with Brad<br />

Cohen and the West Australian <strong>Symphony</strong><br />

<strong>Orchestra</strong>, at the opening Gala concert at the<br />

2011 Commonwealth Heads of Government<br />

Meeting.<br />

Born in Sydney, Dickson made her<br />

concerto debut aged 16, playing the<br />

Dubois Concerto with Henryk Pisarek and<br />

the Ku-ring-gai Philharmonic <strong>Orchestra</strong>,<br />

and subsequently became a recipient of<br />

the James Fairfax Australian Young Artist of<br />

the Year award. On her 18th birthday she<br />

recorded the Dubois Divertissement with<br />

John Harding and the Sydney <strong>Symphony</strong><br />

<strong>Orchestra</strong>. The following year she moved<br />

to London where she took the Jane<br />

Melber Scholarship to study at the Royal<br />

College of Music with Kyle Horch, and the<br />

Conservatorium van Amsterdam with Arno<br />

Bornkamp. During this time she became<br />

the first saxophonist to be awarded the<br />

Gold Medal at the Royal Overseas League<br />

Competition (2004), the Prince’s Prize<br />

(2005), and to become the winner of the<br />

<strong>Symphony</strong> Australia Young Performer of the<br />

Year Competition (2004).<br />

Dickson is an ambassador of the Prince’s<br />

Trust and the Australian Children’s Music<br />

Foundation. She is a Selmer Paris Performing<br />

Artist, is dressed by Armani, and is endorsed<br />

by REN skincare.<br />

30 <strong>2012</strong> | QSO APRIL PROGRAM <strong>2012</strong> | QSO APRIL PROGRAM 31

MAESTRO 8<br />


The great Wagnerian returns in partnership with QSO and Bruckner’s<br />

massive Eighth<br />

8pm, Saturday 11 August <strong>2012</strong><br />

QPAC Concert Hall<br />


Johannes Fritzsch<br />


Lisa Gasteen<br />


Wesendonck Lieder<br />


<strong>Symphony</strong> No.8<br />

Johannes Fritzsch and the QSO<br />

demonstrate the synergy they have<br />

created in their magisterial Bruckner<br />

cycle with the most awesome of all,<br />

the Eighth; a work conductors and<br />

orchestras don’t perform as much<br />

as construct out of hewn granite.<br />

Despite its dark, sinister beginning, it<br />

ends in a blaze of glorious optimism,<br />

as befitted the God-fearing Bruckner.<br />

The intimacy and restrained passion<br />

of Wagner’s Wesendonck Lieder<br />

capture the intensity of forbidden<br />

love, anticipating the atmosphere<br />

of his opera, Tristan & Isolde<br />

and provide an opportunity for<br />

internationally acclaimed Australian<br />

soprano and Wagner specialist,<br />

Lisa Gasteen to captivate Brisbane<br />

audiences with rapturous singing.<br />

Lisa Gasteen

Thank You.<br />

<strong>Queensland</strong> <strong>Symphony</strong> <strong>Orchestra</strong> is proud to acknowledge the generosity and<br />

support of our donors for our philanthropic programs.<br />

Maestro Series Chair Donors<br />

Chair Donors support an individual<br />

musician’s role within the orchestra<br />

and gain fulfillment through<br />

personal interactions with their<br />

chosen musician.<br />

Principal Guest Conductor Chair<br />

($40,000+)<br />

Eivind Aadland<br />

Trevor & Judith St Baker & ERM Power<br />

Guest Chairs ($20,000+)<br />

Arthur Waring<br />

Concertmaster Chair ($5,000)<br />

Warwick Adeney<br />

Prof. Ian & Mrs Caroline Frazer<br />

Dr Cathryn Mittelheuser AM<br />

John & Georgina Story<br />

Principal Chairs ($3,000)<br />

Tim Corkeron, Timpani<br />

Dr Philip Aitken & Dr Susan Urquhart<br />

Peggy Allen Hayes<br />

Yoko Okayasu, Viola<br />

Dr Ralph & Mrs Susan Cobcroft<br />

Gail Aitken, Second Violin<br />

Leonie Henry<br />

Sarah Wilson, Trumpet<br />

Mrs Andrea Kriewaldt<br />

Jason Redman, Trombone<br />

Frances & Stephen Maitland OAM RFD<br />

Alexis Kenny, Flute<br />

Nola McCullagh<br />

David Montgomery, Percussion<br />

Dr Graham & Mrs Kate Row<br />

Player Chairs ($1,500)<br />

Matthew Kinmont, Cello<br />

Dr Julie Beeby<br />

Kate Travers, Clarinet<br />

Dr Julie Beeby<br />

Matthew Jones, Cello<br />

Dr David & Mrs Janet Ham<br />

Janine Grantham, Flute<br />

Desmond B Misso Esq<br />

Helen Poggioli , Viola<br />

Mrs Rene Nicolaides OAM & the late<br />

Dr Nicholas Nicolaides AM<br />

Delia Kinmont, Violin<br />

Jordan & Pat Pearl<br />

Stephen Phillips, Violin<br />

Dr Graham & Mrs Kate Row<br />

Andre Duthoit, Cello<br />

Anne Shipton<br />

Brenda Sullivan, Violin<br />

Anonymous<br />

Brian Catchlove, Clarinet<br />

Anonymous<br />

Instrument Gifts<br />

QSO thanks the National Instrument<br />

Bank and the Anthony Camden<br />

Fund for their generous loan of fine<br />

instruments to the recitalists of our<br />

Young Instrumentalist competition.<br />

Encore Annual Giving<br />

Encore Annual Giving Donors<br />

support the orchestra’s community<br />

outreach and education initiatives,<br />

the purchase of essential orchestra<br />

equipment and the engagement<br />

of the finest Australian and<br />

international conductors and artists.<br />

Gold Baton ($5,000-$9,999)<br />

Mrs Beverley J Smith<br />

<strong>Symphony</strong> ($2,000-$4,999)<br />

Dr Julie Beeby<br />

Mrs Marie Isackson<br />

Dr Les Masel & Ms Pam Masel<br />

Nola McCullagh<br />

Rodney Wylie<br />

Anonymous (1)<br />

Concerto ($1,000 – $1,999)<br />

Mrs I. L. Dean<br />

Mrs Elva Emmerson<br />

Gwenda Heginbothom<br />

Ian Paterson<br />

Justice Anthe Philippides<br />

Patrick Pickett CSM<br />

Pat & Jude Riches<br />

Gwen Warhurst<br />

Anonymous (4)<br />

Suite ($500 – $999)<br />

Dallas & Judith Allman<br />

David & Judith Beal<br />

Dr John & Mrs Jan Blackford<br />

Dr Betty Byrne Henderson AM<br />

Ian & Penny Charlton<br />

In memory of Mrs Betty Crouchley<br />

Dr Judith Gold<br />

Dr W.R. Heaslop & Dr L. M Heaslop<br />

Dr Alison Holloway<br />

Mrs Patricia Killoran<br />

John Martin<br />

Mrs Daphne McKinnon<br />

Dr Howard & Mrs Katherine Munro<br />

Dr Henry Nowik AO OBE & Mrs<br />

Kathleen Nowik<br />

Dr Richard & Mrs Awen Orme<br />

Mrs Leah Perry<br />

Anne Shipton<br />

Michael & Helen Sinclair<br />

Mr Bernard & Mrs Margaret<br />

Spilsbury<br />

Mr Ron Stevens OAM & the late<br />

Mrs Toni Stevens<br />

Dr Damien Thomson & Dr Glenise<br />

Berry<br />

Prof. Hans & Mrs Frederika<br />

Westerman<br />

Anonymous (4)<br />

All donors are acknowledged on our website www.qso.com.au.<br />

To learn more about our Philanthropic Programs please contact Gaelle Lindrea<br />

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

QSO_Philanthropy_Listing_20Mar<strong>2012</strong>_V2_ART.indd 1 20/03/12 4:41 PM<br />

PATRON<br />

Her Excellency the Governor of <strong>Queensland</strong><br />

Ms Penelope Wensley, AO<br />


Greg Wanchap Chairman<br />

Marsha Cadman<br />

Tony Denholder<br />

Jenny Hodgson<br />

Tony Keane<br />

John Keep<br />

Karen Murphy<br />

Jason Redman<br />


Patrick Pickett Chief Executive Officer<br />

Ros Atkinson Executive Assistant to the CEO<br />

Marjorie Griffiths Senior Administration<br />

Coordinator<br />

Alison Barclay Administration Officer<br />

Richard Wenn Director - Artistic Planning<br />

Kate Oliver Assistant Artistic Administrator<br />

Nicola Manson Assistant Artistic Administrator<br />

Samantha Cockerill ~ Education Liaison Officer<br />

Jaime Burke * Education Assistant<br />

Matthew Farrell Director - <strong>Orchestra</strong><br />

Management<br />

Nina Logan <strong>Orchestra</strong> Manager<br />

Peter Laughton Production Manager<br />

Judy Wood <strong>Orchestra</strong> Librarian /OH & S<br />

Coordinator<br />

Ashleigh Potter Operations Coordinator<br />

Fiona Lale * Assistant Librarian / Artist<br />

Liaison<br />

Nadia Myers * Assistant Librarian<br />

Gaelle Lindrea Director - Philanthropy<br />

Birgit Willadsen Philanthropy Officer<br />

David Martin Director – Development<br />

and Sales<br />

Katya Melendez Relationships and Sales<br />

Coordinator<br />

Rachael Wallis Director – Marketing and<br />

Communications<br />

Tegan Ward Marketing Officer<br />

Kendal Alderman Marketing and Media Relations<br />

Officer<br />

Miranda Cass * Media Relations Assistant<br />

John Waight Chief Financial Officer<br />

Sandy Johnston Accountant<br />

Donna Barlow * Accounts Payable Officer<br />

* Part time<br />

~ Funded with the Assistance of the <strong>Queensland</strong> Department<br />

of Education and Training<br />


PO Box 3567, South Bank, <strong>Queensland</strong> 4101<br />

Tel: (07) 3840 7444<br />

CHAIR<br />

Henry Smerdon AM<br />


Rachel Hunter<br />


Simon Gallaher<br />

Helene George<br />

Bill Grant<br />

Sophie Mitchell<br />

Paul Piticco<br />

Mick Power AM<br />

Susan Street<br />

Rhonda White<br />


John Kotzas Chief Executive<br />

Liesa Bacon Director-Marketing<br />

Ross Cunningham Director - Presenter Services<br />

Jacquelyn Malouf Director – Development<br />

Kieron Roost Director - Corporate Services<br />

Tony Smith Director - Patron Services<br />


The <strong>Queensland</strong> Performing Arts Trust is a Statutory<br />

Authority of the State of <strong>Queensland</strong> and is partially<br />

funded by the <strong>Queensland</strong> Government<br />

The Honourable Rachel Nolan MP<br />

Minister for Finance, Natural Resources and The Arts<br />

John Bradley<br />

Director-General, Department of the Premier<br />

and Cabinet<br />

Leigh Tabrett PSM<br />

Deputy Director-General, Arts <strong>Queensland</strong><br />

Patrons are advised that the Performing Arts Centre<br />


ALARM system and EXIT passageways. In case of an<br />

alert, patrons should remain calm, look for the closest<br />

EXIT sign in GREEN, listen to and comply with directions<br />

given by the inhouse trained attendants and move in an<br />

orderly fashion to the open spaces outside the Centre.<br />

<strong>2012</strong> | QSO APRIL PROGRAM 35

Our Partners<br />





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

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

or mechanical, including photocopy, recording or any information storage or retrieval system without permission in writing.<br />

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

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

<strong>Queensland</strong> <strong>Symphony</strong> <strong>Orchestra</strong> cannot accept responsibility for any errors or omissions, or for matters arising from<br />

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

36 <strong>2012</strong> | QSO APRIL PROGRAM

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