September 2013 - Queensland Symphony Orchestra

Contents 

QSO WITH Gillham & Aadland 

Morning Masterworks 2 

QSO Brahms Piano Trio 

Chamber Players 4 

QSO with Perianes & Aadland 

Maestro 7 

Musical Swoons & Lollipops 

Music on Sundays 5 

3 

9 

15 

23 

Biographies 28 

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2013 | QSO September Program 1

Morning 

Masterworks 2 

We hope you enjoy the complimentary 

morning tea provided by QPAC. 

2 2013 | QSO September Program

QSO WITH 

Gillham & 

Aadland 

11am, Friday 6 September 

QPAC Concert Hall 

Conductor 

Piano 

GRIEG 

GRIEG 

MOZART 

Eivind Aadland 

Jayson Gillham 

Norwegian Dances 

Piano Concerto 

Symphony No.39 

Morning Masterworks is proudly co-produced by QPAC 

and is proudly supported by Brisbane City Council 


Program Notes 

Edvard Grieg 

(1843-1907) 

Norwegian Dances, Op.35 

I Allegro marcato 

II Allegretto tranquillo e grazioso 

III Allegro moderato alla marcia 

IV Allegro molto 

At the age of 15, Grieg was sent away from 

his native Bergen to study at the conservatory 

in Leipzig. It was the opportunity of a lifetime 

but the reality fell far short of the dream, and 

for the rest of his life Grieg would speak of his 

years in Leipzig with loathing. Though he was 

taught by some of the most eminent musicians 

in Europe, he found the experience sterile 

and unsatisfying. He returned to Norway and 

began to establish himself as a concert pianist; 

as a composer, however, he felt keenly the 

inadequacies of his training and soon moved 

to Copenhagen, at the time the main cultural 

centre of Norwegian life. 

The lights went on for Grieg the composer 

in the summer of 1864, when he went to 

stay with the violinist Ole Bull on the island of 

Osterøy in western Norway. The two played 

the classics together, but the real revelation 

for Grieg was the village music he heard there 

for the first time. It’s almost like a wheel had 

come full circle: Bull, a passionate enthusiast 

for traditional Norwegian culture, was the man 

who eight years earlier had persuaded Grieg’s 

parents that the best place for nurturing the 

boy’s talent was the Leipzig Conservatory. 

A few months later, Grieg met the composer 

Rikard Nordraak, a devotee of Bull and a zealous 

advocate of Norwegian traditions. Grieg wrote 

later, ‘Suddenly it was as if a veil was lifted 

from my eyes and I knew what I wanted to 

do … I believe that he showed me the path to 

my inner self.’ The two quickly became firm 

friends and resolved to dedicate themselves to 

realising Bull’s vision of a Norwegian national 

style. Nordraak’s death two years later only 

strengthened Grieg’s commitment. 

The four Norwegian Dances Op.35 were 

written many years later, in 1880, well after 

the Piano Concerto (1868) and the Peer Gynt 

music (1875). Originally composed for piano 

duet, they draw their melodies from Ludwig 

Lindeman’s extensive collection of folk tunes, 

Aeldre og nyere norske fjeldmelodier (‘Older 

and Newer Norwegian Mountain Melodies’). 

Grieg first encountered this collection in 1868, 

when he set 25 of the melodies for piano solo. 

The dances are all in ternary form and duple 

time. The frenzied vamp of No.1 evokes the 

grotesqueness of In the Hall of the Mountain 

King, before yielding to a lyrical middle section. 

No.2 is a gentle, quirky little tune played 

first by the oboes with a delicate pizzicato 

accompaniment. The middle section is suddenly 

faster and more vigorous, but halts mid-phrase, 

and the piece ends with a return to the good 

humour of the opening. The third dance begins 

in G major before moving to the tonic minor. 

In the final dance the sprightly outer sections 

frame a plaintive, chromatic melody played by 

the oboes. 

Natalie Shea 

Symphony Australia © 2005 

The first performance of Grieg’s Norwegian Dances by 

the Queensland Symphony Orchestra took place on 19 

July 1953 under the direction of John Farnsworth Hall. 


Piano Concerto in A minor, Op.16 

Allegro molto moderato 

Adagio 

Allegro moderato molto e marcato 

Jayson Gillham, Piano 

Grieg’s Piano Concerto is his most celebrated 

composition, but in so many ways it is atypical 

of the rest of his work. For one thing, it is a 

much larger-scale work than he usually wrote: 

the only comparable work is a symphony which 

is not played much these days. So too, it’s a 

work which tends to employ an episodic rather 

than an organic structure – in marked contrast 

to many of his smaller-scale piano pieces. It 

also has an element of showmanship within it, 

which is an infrequent trait in this otherwise 

most personal and intimate of composers. He 

was never to score his music so lavishly again. 

It is the work of a young man: Grieg was just 

25 when he wrote it, and it emerged at a 

time of some happiness. He was beginning 

to be hailed as a pianist and composer of 

stature and his first daughter was born in 

March 1868 during its composition. The 

comparatively idyllic character of much of 

the concerto is sometimes attributed to this 

personal satisfaction, but there is also a noless-frequent 

darker element – one shouldn’t 

forget the minor key signature and the power 

of the concerto’s orchestral climaxes. 

At the time, Grieg’s compositional voice was 

testing itself against those giants of 19thcentury 

piano composition Liszt, Schumann 

and Chopin. Their influence – particularly 

that of Schumann – can be seen in the 

‘rhapsodic’ structure of the first movement 

of the concerto. Perhaps aware of these 

influences, Grieg continued to revise the 

work over many years, despite its immediate 

and ongoing popularity. Indeed, he even gave 

up an attempt at a second concerto in favour 

of a major revision of the first, and in the 

last year of his life he was still at it, making 

the substantial revision of the orchestration 

which is now regarded as the standard 

orchestral version of the work. 

And yet for all its derivative qualities, the 

concerto bears unmistakable signs of Grieg’s 

own distinctive compositional voice. Right 

from the famous opening piano flourish, 

Grieg’s grasp of the melodic inflections of 

Norwegian folk music is in evidence. The 

characteristic descending intervals of seconds 

and thirds which open the concerto are typical 

of Norwegian folk melodies and Grieg used 

these particular intervals on many subsequent 

occasions, particularly in his chamber works. 

The first movement itself employs multiple 

themes which are juxtaposed one against 

another, rather than being developed in 

any formal sense. The written-out cadenza 

occurs in the recapitulation and is based on 

the main theme. 

An early critic wrote, ‘Nothing could be more 

lovely than the orchestral introduction to the 

slow movement … a prelude illustrating Grieg’s 

gift of creating emotional atmosphere with the 

simplest means.’ A fanfare and a descending 

scale passage from the soloist lead without 

pause from the Adagio into the finale. In rondo 

form, this final movement is based on a spirited 

Norwegian dance known as a halling. 

Martin Buzacott 


Sir Bernard Heinze conducted the Queensland 

Symphony Orchestra’s first performance of the Grieg 

Piano Concerto, on 8-9 May 1944 at a Young People’s 

concert. The soloist was Hilda Woolmer. 


The first movement is a ‘singing Allegro’ 

– ‘strong ideas presented in a deliberately 

understated way’ (Zaslaw). Actually, the 

slow introduction allows Mozart to begin 

quietly, reserving the power for later. The 

same pattern obtains for the second subject, 

where magical use of pizzicato lower strings 

alternates with liquid clarinets. 

Wolfgang Amadeus Mozart 

(1756-1791) 

Symphony No.39 in E flat, K.543 

Adagio – Allegro 

Andante con moto 

Menuetto and Trio 

Finale (Allegro) 

We don’t know the exact occasion of this 

symphony’s premiere. It is possible that it 

was played in concerts in Vienna on 16 and 

17 April 1791, when a large orchestra under 

Salieri performed a ‘grand symphony’ by 

Mozart. Mozart’s friends, the clarinettists 

Johann and Anton Stadler, were in the 

orchestra, and this symphony, like many other 

Mozart works in E flat, omits oboes and gives 

very prominent parts to the pair of clarinets. 

Their mellow tone suffuses a symphony which 

Tovey described as ‘the locus classicus of 

euphony’. It is hard to say why it has remained 

less widely performed than the G minor 

and the Jupiter Symphonies, but the fact 

remains. Musicologist Neal Zaslaw suggests 

that it fares less well in large halls on modern 

instruments, partly because of the ‘flat’ key, 

but there is no lack of power and grandeur, 

as the slow introduction immediately reveals 

– only the third of these Haydn-inspired 

introductions in a Mozart symphony, and 

the last. 

The slow movement is in the (for Mozart) 

unusual key of A flat major. It is a long 

movement – basically serene in mood, despite 

a passionate episode in F minor. There is a 

great sense of forward momentum in spite of 

the somewhat sectional arrangement of the 

material, which becomes increasingly richly 

scored, notably in the successive wind entries 

over a pedal point. 

The Menuetto has courtly poise and pomp, 

with an accompaniment of repeated 

wind chords that Beethoven must have 

remembered when writing the second 

movement of his Eighth Symphony. In the Trio 

the world of the wind serenades is recalled in 

an Austrian Ländler, with the second clarinet 

in the low register gurgling its accompaniment 

to the first. 

The monothematic Finale may be a deliberate 

tribute to Haydn who used this method of 

construction so often. It is made witty and 

even perhaps saucy by interruptions from the 

bassoon and flute. 

Abridged from an annotation by David Garrett 

© 1991 

The first ABC orchestral performances of Mozart’s 

Symphony No.39 were given in Queensland in June 

1938, with conductor George Szell. 


SEASON 2014 

27 WORLD-CLASS 

MUSICAL EXPERIENCES 

including 

BLOCKBUSTERS 

Simone Young & Shlomo Mintz 15 Feb 

Johannes Fritzsch Grand Finale Mahler 3 29 Nov 

STANDOUTS 

QSO with Katie Noonan and Sydney Dance 

Company Les Illuminations 14 Jun 

Ghosts in the Orchestra The Australian Voices 

World premiere 9 Aug 

HEARTWARMERS 

Father and son, Schwarz and Schwarz 

Elgar’s Cello Concerto 27 Sep 

Husband and wife Pamela Page and Max Olding 

Piano Concerto for 4 Hands 11 May 

SHOWSTOPPERS 

1812 Overture 25 Oct 

Strauss’ Four Last Songs 19 Jul 

‘Rach 3’ 19 & 21 Jun 

Schubert’s The Great 10 Jul 

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Chamber Players 4 


QSO Brahms 

Piano Trio 

3pm, Sunday 8 September 2013 

QSO Studio South Bank 

Violin 

Cello 

Piano 

Schumann 

Schumann 

BraHms 

Warwick Adeney 

Simon Cobcroft 

Brieley Cutting 

Sonata in A Minor 

Fantasiestücke 

Piano Trio No.1 


Program Notes 

Robert SCHUMANN 

(1810-1856) 

Violin Sonata No.1 in A minor, Op.105 (1851) 

1 Mit leidenschaftlichem Ausdruck 

(With passionate expression) 

2 Allegretto 

3 Lebhaft (Lively) 

Fantasiestücke (Fantasy Pieces), 

Op.73 for cello and piano (1849) 

1 Zart und mit Ausdruck (Soft and with 

expression) – 

2 Lebhaft, leicht (Lively, light) – 

3 Rasch und mit feuer (Quick and with fire) 

Schumann composed these three linked 

Fantasy Pieces in two days in February 

1849. Originally titled ‘Soiree-stücke’, pieces 

suitable for informal house concerts, in printed 

form they would sell well to Schumann’s 

large following of amateur and professional 

admirers. Liszt, less of an admirer, criticised 

Schumann a year earlier for pandering to his 

public with music that he told him to his face 

was too ‘Leipziger-isch’, as if wilfully stranded 

with the late Mendelssohn in a Leipzig that 

was forever 1840, and still pedalling folktale 

fantasies as if they were an antidote to the 

stern realities of 1848. Liszt was not to 

know that Schumann’s more conservatively 

envisioned modernity would have its own 

significant future in the music of Brahms. But 

he was perhaps right in diagnosing that the 

troubled Schumann – with, as we now know, 

most of his major works behind him – was 

increasingly retreating into an interior world. 

These pieces nevertheless make seriously 

realistic demands on performers when played 

as a set, both in endurance (Schumann 

directs they are to follow each other attacca, 

without a significant pause) and emotional 

engagement, as they plot the progress from 

the shadowy fairy-tale world of the A minor 

first piece, into the mercurial second piece 

and its phantom central episode, to the 

unexpectedly vehement ebullience of the 

A major third. Clarinet in A was Schumann’s 

first choice of melody instrument here, but 

he authorised violin and cello as alternatives, 

which is interesting given that he extended 

his preference for the set’s home key of 

A minor/major to other violin and cello 

works around this time, notably the A minor 

Cello Concerto of 1850, and in 1851 the 

A minor Violin Sonata, to which we will 

return shortly. Interesting, too, that Brahms 

chose two of these Fantasy Pieces to play 

at his Hamburg memorial concert for their 

composer late in 1856, in the violin version, 

with Joseph Joachim. 

Two months after completing the Fantasy 

Pieces, Schumann’s Dresden was rocked by 

democracy protests and a ruthless crackdown 

that would see his fellow townsman Wagner 

forced into exile. Schumann, a democrat at 

heart, avoided conscription into the regime’s 

street patrols by escaping with his large 

family to safety in a nearby village, where he 

continued to compose unhindered, ending 

1849 having composed more music than 


in any other year, and declaring to a friend, 

‘I have never been busier or happier with 

my work.’ But thereafter things began to 

go seriously wrong. Quickly disabused of 

hopes that he might actually benefit from the 

turmoils by filling the void left by Wagner at 

Dresden’s opera house, in 1850 he accepted 

the post of music director in Düsseldorf, 

where his shortcomings as a conductor 

aroused the animosity of his musicians and 

employers. By the autumn of 1851, his 

frustrations were invading his compositions, 

or so he himself felt with regard to his First 

Violin Sonata, which he later had to explain 

was composed at a time when he was ‘very 

angry’. Kept under strict control in the first 

movement, they seem to spill over furiously in 

the contrapuntal rush of the finale’s opening, 

having been, if anything, intensified by the 

continual indecision of the curiously anodyne 

central movement. Throughout the first 

movement, the main theme acts more like 

a question than an answer, exercising a sort 

of harmonic undertow that robs even the 

point of recapitulation of its usual dramatic 

impact. Only when, unexpectedly, the same 

questioning theme returns in the coda of the 

finale, does Schumann’s grander, more original 

design become apparent. Not even Liszt could 

accuse this music of being ‘Leipziger-isch’! 

Violinist Ferdinand David had so liked the 

Fantasy Pieces that he asked Schumann 

to compose for him something new for 

violin, and duly gave the first public concert 

performance of the resulting First Violin 

Sonata, in Leipzig in 1852, with Clara 

Schumann on piano, though Schumann 

dedicated it on publication to Danish 

composer-violinist Niels Gade. 

Johannes BRAHMS 

(1833-1897) 

Piano Trio in B, Op.8 (1854; revised 1889) 

1 Allegro con brio 

2 Scherzo (Allegro molto) –Trio – Scherzo 

3 Adagio 

4 Allegro 

Brahms sketched this Trio in 1853, and its 

draft was among the songs and piano music 

that the 20-year-old showed Schumann on 

their fateful first meeting that September. A 

month later, Schumann introduced Brahms to 

readers of his monthly music magazine as a 

young man uniquely placed to give ‘expression 

to the times’, and was promoting him to 

his own Leipzig music publisher with such 

urgency that Brahms admitted ‘I’m beginning 

to feel dizzy.’ By December Brahms was 

correcting printer’s proofs of his Op.1 Piano 

Sonata and Op.3 Songs. Several sonatas and 

song sets later, the Op.8 Trio appeared in 

mid-1854, the largest and most ambitious of 

his first batch of published works, though, as 

he noted at the time, he would have preferred 

to ‘hold the trio back, since I would certainly 

have made more changes’. What stopped 

him tinkering with it further was catastrophic 

news from Düsseldorf that Schumann 

had finally succumbed to his demons and 

attempted to drown himself in the Rhine. 

It precipitated Brahms into a lingering 


personal and creative crisis that delayed the 

appearance of his next major score, the longgestating 

First Piano Concerto, until January 

1859, two and a half years after Schumann’s 

death in an asylum for the insane. 

Thirty years later still, and with most of his 

own major works now behind him, Brahms 

was preparing to draw his long career to a 

much more contented close. The prospect 

of a new edition of the Trio, and the example 

of his two other much more compressed and 

economical piano trios, persuaded him to 

revise it thoroughly, cutting about a third of its 

original length. Rather than censor its youthful 

exuberance, the older man’s revision only 

further focussed and channelled the energy 

hinted at in the spacious presentation of the 

first movement’s opening theme. By dint 

of repetition and expansion, this exuberant 

melody still fills some 60 bars before any 

major new materials are offered. With 

hindsight, it seems that Brahms’ conscious 

redeployment of once-novel options that had 

long since become personal trademarks now 

only lends richness to the sweet tang of string 

melodies scored in chains of thirds and sixths; 

or enhanced clarity to others scored in strong 

unisons and octaves to cut through the dense, 

brilliant piano writing. 

The second movement alternates a sketchy 

B minor Scherzo with a lush B major Trio. The 

1889 revision left this controlled, classically 

motivated piece (at times ventriloquising 

Schubert and Mendelssohn) virtually 

unaltered. The third movement opens with the 

quasi-religious calm of the piano’s organ-like 

chords, and continues as a dialogue between 

strings and keyboard. The piece warms again 

to a more fervent youthful romanticism 

beginning with the new cello melody. The 

fourth movement begins off-centre tonally, 

gradually circling through related keys towards 

its ‘B’ focus. Even then, the ambiguity of B 

major? or minor? remains the potent impetus 

in its unfolding. 

Program notes by © Graeme Skinner 2013 

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Special Event 

up Close with 

Lola Astanova 

2:30pm, Sunday 13 October 2013, QSO Studio South Bank 

Don’t Stop the Music! 

Scriabin, Chopin, Rachmaninov and Liszt 

Lola Astanova’s performance style harks back to the 

era of superstar recitalists like Franz Liszt, a time 

when performers were flamboyant and glamorous, 

the equivalent of today’s touring rock stars. 

Renowned for her heart-on-the sleeve, riveting 

interpretation of Liszt, Chopin, Rachmaninov and 

Scriabin, Astonova is passionate, uncompromising 

and technically brilliant as she journeys through 

her rewarding program of études, nocturnes and 

scherzos. Unusually, Astanova arranges scorching, 

versions of pop including Rihanna’s Don’t Stop the 

Music that has been viewed over a million times on 

YouTube. 

SCRIABIN Etude No. 11 in B flat minor 

LISZT 

Waldesrauschen; Forest Murmurs 

RACHMANINOV Musical moment No. 4 

in E minor 

RACHMANINOV Prelude No. 10 in B minor 

CHOPIN EtudeNo. 5 in E minor 

CHOPIN Scherzo No. 2 In B flat minor 

CHOPIN Nocturne No. 2 in D Flat minor 

CHOPIN Sonata No. 2 in B flat minor 

Hear Lola with the Queensland Symphony Orchestra in... 

Morning Masterworks 3 & Maestro 8 

QSO with Astanova & Schwarz 

An American in Paris 

11am, Friday 11 October 2013 

8pm, Saturday 12 October 2013 


Conductor Gerard Schwarz 

Piano Lola Astanova 

GERSHWIN An American in Paris 

GERSHWIN Rhapsody in Blue 

RAVEL Le Tombeau de Couperin 

RAVEL Daphnis et Chloe - Suite No.1 

RAVEL Daphnis et Chloe - Suite No.2

Maestro 7 


Queensland Symphony Orchestra and Brisbane Festival present 

QSO with 

Perianes 

& Aadland 

8pm, Saturday 14 September 


conductor 

Piano 

Brahms 


Javier Perianes 

Piano Concerto No.1 

— interval — 

Stravinsky 

Petrushka 

Brisbane Festival is an initiative of the Queensland 

Government and Brisbane City Council. 


Program Notes 

First Piano Concerto was initially an aborted 

attempt at a symphony derived from a sonata 

for two pianos, and as so often, the inspiration 

came (at least in part) from the Schumanns. 

Johannes Brahms 

(1833-1897) 

Piano Concerto No.1 in D minor, Op.15 

Maestroso 

Adagio 

Rondo (Allegro non troppo) 

Javier Perianes, Piano 

In 1853, Brahms met his idol, Robert 

Schumann. That night, the older composer 

noted simply in his diary: ‘Visit from Brahms, 

a genius’, and a month later wrote of Brahms, 

in an article which did much to publicise the 

budding composer: 

Sitting at the piano, he began to disclose 

wonderful regions to us…Should he direct 

his magic wand where the massive powers 

of chorus and orchestra may lend him their 

forces, we can look forward to even more 

wondrous glimpses of the secret world 

of spirit… 

However, it was to be more than 20 years 

before Brahms would produce his Symphony 

No.1 – before he was confident that his 

orchestral writing had reached the degree 

of accomplishment of his piano writing. The 

Soon after meeting, Brahms and Schumann 

became firm friends, despite a 23-year age 

gap. In 1854 Schumann attempted suicide, 

part of the mental decline which would see 

him spend the remaining two years of his life 

in a mental asylum. Brahms’ distress led to 

the composition of a sonata in D minor for 

two pianos; however he was not satisfied, 

and within a few months, the first movement 

formed part of a projected symphony in 

the same key. He had technical problems 

with the orchestration, despite assistance 

from a scholarly friend, Julius Grimm, who 

suggested a solution to the conflict between 

Brahms’ pianistic and orchestral concepts: a 

piano concerto. 

Brahms later destroyed the duo sonata and 

the incomplete symphony, but parts of the 

two works are in the concerto. After many 

revisions of the first two movements, and 

the addition of a Rondo finale, Brahms’ Piano 

Concerto No.1 was complete early in 1858, 

and received its first public performance in 

Hanover on 22 January 1859. 

Part of Brahms’ hesitation in writing a 

symphony can be traced to the influence 

of Beethoven and the first movement is 

a grandiose expansion of sonata form of 

Beethovenian proportions. The opening, with 

its roaring timpani, has been likened to an 

image of the young Brahms hurling his theme 

like a thunderbolt. Brahms’ writing for piano 

is robust and athletic. More significant is the 

consistent density of the texture, a vestige 

perhaps of the two equal partners for which 

this music was originally conceived. 


With Schumann’s collapse, Brahms moved 

in with Clara, took charge of the family’s 

financial affairs, and helped with the children. 

How close their relationship became we 

cannot now determine, but there is no doubt 

that the second movement of this concerto 

is a declaration of his love. ‘I am painting 

a lovely portrait of you,’ he wrote to Clara 

during the composition of this movement. ‘It 

is to be the Adagio.’ 

The Adagio opens into the Rondo finale in 

a manner clearly derived from Beethoven’s 

C minor Piano Concerto (No.3). The 

seriousness of Brahms’ artistic intentions can 

be gauged by the finale. Here is an almost 

typically 19th-century showy ending, but 

the musical material, though carried along 

at speed, is nearly of equal weight to that of 

the first movement. 

Brahms is often thought of as the most 

Classical of Romantic-era composers. But 

what Robert Schumann’s music taught him 

was Romantic in its own way – an intimate 

relationship among themes, a profound 

unity of inner relations revealing an ideal 

Hoffmannesque ‘kingdom of tones’ beyond. In 

this work, Brahms – who was yet to sign the 

declaration dissociating himself from Liszt and 

the New German School, which allowed into 

music narrative devices from the other arts – 

expresses his emotions as openly as he ever 

would again. 

G.K. Williams 


Igor Stravinsky 

(1882-1971) 

Petrushka – Ballet (1947 version) 

The Shrove-tide Fair 

Petrushka 

The Moor 

The Shrove-tide Fair and the Death of Petrushka 

Petrushka, first staged in Paris in 1911, 

may well be the most representative and 

successful collaboration between Stravinsky 

and Sergei Diaghilev’s Ballets Russes. The 

visual appearance of the ballet was Russian. 

Its scenario, by Alexander Benois and the 

composer, dealt with the universal world of 

the theatre, and the puppet-with-a-soul 

Petrushka, as danced by Nijinsky, was pathetic, 

moving and brilliant. The music matched all 

this with a sense of gesture which built on the 

colouristic inventions of the Russian nationalist 

composers, but with an originality and 

modernity all Stravinsky’s own. 

Petrushka originated in a musical idea of 

Stravinsky’s, as he explains: 

I had a vision of a puppet, suddenly endowed 

with life, exasperating the patience of 

the orchestra with diabolical cascades of 

arpeggios, the orchestra in its turn retaliating 

with menacing fanfares of brass…ending in 

the sorrowful and querulous collapse of the 

poor puppet. 


Stravinsky began to sketch this music in 1910, 

as a piece for piano and orchestra, which he 

described as a Konzertstück (‘Concert-piece’). 

It lacked a title, until one day Stravinsky 

‘jumped for joy – Petrushka! The immortal and 

unhappy hero of all the fairs of all countries: 

I had found my title!’. Diaghilev, as soon as 

Stravinsky described the idea to him, saw 

its potential as a ballet, and persuaded the 

composer to transform the music into a fullscale 

choreographic work. They agreed to set 

the action in the Shrove-tide Fair, the Mardi 

Gras in St Petersburg, where they had both 

grown up. 

Petrushka is the Russian version of Punch, 

who, in a stroke of genius on the part of the 

ballet’s creators, assumes the soulfulness of 

Pierrot. Although the character is universal, the 

ballet inhabits the world of Russian folklore, 

and Stravinsky makes use of Russian tunes and 

street songs. The dual nature of Petrushka as 

puppet and sensitive human being is conveyed 

by bitonality, using unrelated keys and 

derivations from Rimsky-Korsakov’s synthetic 

scales. The origins of this seem to be pianistic 

(one hand on the white keys, one on the black), 

and the piano part remains very important in 

the full ballet score, both in the original version 

and in the revision of the instrumentation 

and reduction of the number of instruments 

Stravinsky made in 1947, which is heard in 

this concert. 

to a cornet solo and then a waltz; the Moor 

tries to join in, but cannot manage the triple 

time! Petrushka, mad with jealousy, bursts in on 

the love scene which follows. 

Finally we are back at the fair, in the evening; 

nursemaids dance, as do a peasant’s performing 

bear, a rich merchant with two Gypsy girls, a 

group of coachmen, joined by the nursemaids, 

then some masqueraders. Suddenly a 

commotion is noticed in the little theatre: 

Petrushka runs out, chased by the Moor, 

who kills him with his scimitar. The Showman, 

picking up Petrushka, easily convinces everyone 

that the body is only wood and sawdust. The 

crowd disperses, but the Showman is terrified 

to see, above his booth, the ghost of Petrushka 

threatening and jeering at him. 

© David Garrett 

Choreographed by Mikhail Fokine, Petrushka was 

first performed by the Ballets Russes at the Théâtre 

du Châtelet, Paris on 13 June 1911 in a performance 

conducted by Pierre Monteux. The title roles were 

taken by Vaslav Nijinsky (Petrushka), Tamara Karsavina 

(the Ballerina) and Alexander Orlov (the Moor). 

In the original 1911 version, Petrushka is scored for 

a very large orchestra. In 1947 Stravinsky published 

a revised version, intended mainly for concert 

performance by a somewhat smaller orchestra. While 

the instrumentation is simplified in the later version, 

the piano part in Scenes 3 and 4 is extended. 

In a square in St Petersburg during the carnival 

in 1830 a Showman has set up his puppet 

theatre. A hurdy-gurdy and a music box 

compete and clash, then the Showman, gaining 

attention by playing a cadenza on his flute, 

brings three puppets to life: Petrushka, the 

Ballerina and the Moor. Beginning the Russian 

Dance, they leave their hooks and join the 

crowd. In the second tableau Petrushka woos 

the Ballerina, but she is repelled by his ugliness 

and uncouth gestures. In despair Petrushka 

hurls himself at a portrait of the Showman, 

tearing a hole in the cardboard wall of his cell. 

The third tableau opens with the Moor playing 

with a coconut. He tries to break it with his 

scimitar. The Ballerina is attracted to the Moor 

despite his stupidity; she dances to attract him, 


Backstage Pass 

JAVIER PERIANES, PIANO 

You will perform Brahms Piano Concert 

No.1 with the QSO. What do you find 

most challenging when performing this 

concerto? 

Brahms Piano Concerto No. 1 is a brilliant 

combination of a symphony and a concerto. It is an 

epic and grand work which I find thrilling to play. 

Brahms wanted the piano and the orchestra to be 

equal partners rather than being a showcase for 

the soloist and the orchestra simply accompanying. 

For this reason, it is much more like a very large 

chamber work. One of the biggest challenging 

things about performing this concerto is to try to 

stay true to Brahms’ intention which I believe was 

for the soloist to play as part of a symphony with a 

connection as if we were playing chamber music. 

You were Artist in Residence at the 

Granada Festival last year. Can you 

describe what this role involved? 

It was an exploration of different angles for an 

artist. My concerts took place at the Alhambra. 

I played a recital outdoors in the magical Patio de los 

Arrayanes, Schumann Piano Concerto with Toulouse 

Orchestra and Maestro Sokhiev at the Charles V 

Palace and had the chance to give some master 

classes. It was a great honour for me to be the first 

artist in residence of Granada Festival. 

You have performed in the most 

prestigious concerts halls with highly 

distinguished conductors, what is your 

most memorable performance so far? 

I have some great memories from some special 

performances like my debut at Lucerne Festival with 

Israel Philharmonic and Maestro Mehta, my London 

Philharmonic Orchestra debut at Royal Festival Hall, 

my first visit to the great New World Center with 

Maestro Tilson Thomas and New World Symphony 

Orchestra and most recently it was quite impressive 

to have the chance to play the legendary Grand 

Hall of Saint Petersburg with Saint Petersburg 

Philharmonic Orchestra with Maestro Temirkanov. 

When you are not performing, what 

takes up most of your time? 

When I have some time off, you could find me 

reading, at the cinema, playing some sports or 

spending some time with my wife, my family and 

friends. 

Where will you travel next after your 

performance with the QSO? 

Coming up after my performance with the QSO, 

I will return to Saint Petersburg to perform in 

recital at the Grand Hall, make a very fast trip to 

play to Oman to play in the amazing new Royal 

Opera House in Muscat, make my debut with the 

Orchestra National de France and will return to the 

New World Symphony Orchestra. In between all 

this, my new recital CD exploring the relationship 

between the music of Chopin and Debussy will be 

released on harmonia mundi. 


20 2013 | QSO September Program 

Music

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Music on Sundays 


Musical Swoons 

& lollipops 

11.30am, Sunday 29 September 2013 


Conductor 

Presenter 

Soprano 

Tenor 

Violin 

Marco Zuccarini 

Guy Noble 

Milica Ilic 

Kang Wang 

Glenn Christensen 

Music on Sundays Series is proudly presented 

by Bacchus Bar, Restaurant & Pool 


Program Notes 

Ambroise THOMAS (1811-1896) 

Mignon: Overture 

Eric WHITACRE (born 1970) 

Water Night 

Sergei RACHMANINOV (1873-1943) 

Sing not to me beautiful maiden Op.4 No.4 

Richard WAGNER (1813-1883 

Wesendonck Lieder: Traüme (Dreams) 

Felix MENDELSSOHN (1809-1847) 

Symphony No.4 Italian: Saltarello (Presto) 

Giuseppe VERDI (1813-1901) 

Rigoletto, Act I: Questa o quella 

Johann STRAUSS II (1825-1899) 

Cinderella: Prelude 

Camille SAINT-SAËNS (1835-1921) 

Violin Concerto No.3: Andantino quasi allegretto 

Giacomo PUCCINI (1858-1924) 

La bohème, Act III: Donde lieta uscì 

THOMAS 

Mignon, Act II: Adieu Mignon! 

Ferrucio BUSONI (1866-1924) 

Tanzwalzer, Op.53: Finale 

Best remembered these days for a Hamlet 

with a happy ending, Thomas based his 

earlier opera Mignon (1866) on a novel 

(Wilhelm Meister) by Goethe. Elizabeth 

Forbes writing in the New Grove Dictionary 

of Music and Musicians has praised the way 

Thomas was able to achieve ‘a freedom of 

emotional and dramatic expression in his 

score that Bizet, when he wrote Carmen, 

was able to achieve only by shattering [the] 

conventions [of opéra-comique]’. More 

about the story later, but Mignon’s overture 

begins with a slow introduction followed by 

a polonaise, the same material which serves 

as the basis for an Act II aria (‘Je suis Titania’) 

by the actress Philine, Mignon’s rival for 

Wilhelm’s heart. 

Eric Whitacre had wanted to be a pop star, 

but a teacher persuaded him to join his 

college choir in Nevada and he says that 

singing the Kyrie from Mozart’s Requiem 

at the first rehearsal was like seeing in 

technicolour for the first time. Whitacre 

has since gone on to become a Grammy 

Award-winning and chart-topping classical 

composer. Water Night was composed in 

a single sitting one day in January 1995 

after Whitacre’s teacher persuaded him to 

stay on in school. Whitacre says that after 

that meeting, he ‘can’t really describe what 

happened. The music sounded in the air … I 

just started taking dictation as fast as I could, 

and the thing was basically finished in about 

45 minutes.’ 

Rachmaninov’s song, Sing not to me, 

beautiful maiden, your sad songs of 

Georgia was written around 1892, soon 

after Rachmaninov’s graduation from the 

Moscow Conservatory. Other works he 

wrote at this time include his most famous 

piece, the Prelude in C sharp minor, and 


the opera, Aleko. This song is a setting of 

a verse by one of Russia’s favourite poets 

(Pushkin), and indeed a great many other 

Russian composers set this poem – among 

them Glinka, Balakirev, Liadov, Ippolitov- 

Ivanov and Rimsky-Korsakov. Rachmaninov’s 

haunting chromatic accompaniment conveys 

the reminder of a lost love. 

Wagner’s Wesendonck Lieder was conceived 

during an affair with Mathilde Wesendonck, 

the wife of a Zurich silk merchant. The affair 

unleashed Wagner’s creativity. He broke off 

work on Siegfried, the third opera in his Ring 

cycle, to write Tristan und Isolde, perhaps 

opera’s greatest love story. The Wesendonck 

Lieder were settings of Mathilde’s own 

poetry and a number of songs served as 

sketches for Tristan. Träume’s theme of 

desire and suffering ending in renunciation 

of the will and blissful surrender to death is 

of course the engine of Tristan und Isolde. 

Wagner later wrote a version of this song for 

violin and orchestra. 

Ideas for Mendelssohn’s Fourth Symphony 

came to him when he spent the winter of 

1830-31 in Italy and the work has been 

described as a ‘northern European’s love of 

the sun-drenched south’. He wrote to his 

parents that Naples ‘must play a part in it’ 

and indeed it did, in the Saltarello finale. 

Pedants have pointed out that one of the 

rhythms this movement belongs to an even 

wilder dance, the tarantella. The young 

Mendelssohn, in his 20s when he composed 

this symphonic masterpiece, may have 

been concerned about measuring up to the 

symphonic achievement of Beethoven, but 

he is entirely himself in the lightness of the 

music’s touch, the polished elegance of its 

scoring, and the ‘sureness of form which 

marks every movement’. 

The Italian opera composer Verdi once 

explained why he couldn’t write like his 

German contemporary Wagner by pointing to 

the blue sky above. The dark forests and fogshrouded 

mountains of Wagner’s Ring cycle 

were a long way from Verdi’s northern Italian 

environs. But Verdi’s operas still have their 

dark side. Rigoletto (1851) concerns a jester 

who murders his own daughter thinking he 

is doing away with her sleazy suitor, the 

jester’s employer, the Duke of Mantua. Early 

on in the opera, Verdi establishes the Duke’s 

libertine character with a jaunty two-verse 

ballad in praise of women, ‘Questa o quella’. 

The ballad soon segues into a minuet to 

which the insatiable Duke seduces the 

Countess Ceprano. 

Polonaises, minuets? Johann Strauss II was 

known as the ‘waltz king’. The critic Eduard 

Hanslick had been impressed by the Act III 

ballet in Strauss’ opera Ritter Pásmán and 

he suggested to the influential editor Rudolf 

Lothar that Strauss should write a full-length 

ballet. They appealed to Strauss’ vanity by 

launching a contest on 5 March 1898 to 

decide a proper scenario and convening a 

judging panel comprising such luminaries as 

Gustav Mahler. Strauss was not impressed by 

the scenario, a relocation of the traditional 

Cinderella story to a modern department 

store, but he set to work almost immediately. 

At the time of his death in June 1899, he had 

left sufficient sketches of the entire work for 

it to be completed by ballet composer Joseph 

Bayer. Naturally a ballet by Johann Strauss 

II would contain numerous waltzes and this 

prelude features the first of many. 

This concert’s ‘dance’ theme continues in 

a sense because the second movement of 

Saint-Saëns’ Third Violin Concerto can 

be thought of as a barcarolle. Saint-Saëns 

wrote this concerto in 1880 for the virtuoso 

Sarasate who can be credited with doing 

most to form the composer’s view of the 

instrument. The events of the Concerto 

No.3 unfold in an engaging manner without 

posing troubling questions about meaning; 

the prominence of the violin is assured by 

lean accompaniment. Saint-Saëns has been 


caricatured forever for his caustic reaction 

to Stravinsky’s ballet The Rite of Spring, but 

let’s not forget that his music exhibits the 

perennial values of French music: clarity, 

lucidity and order – and that’s why he was 

called ‘the French Mozart’. 

After depicting the highpoint of Mimì and 

Rodolfo’s relationship in the Cafe Momus 

scene in Act II of La bohème, Puccini has 

Mimì in Act III go to find their friend Marcello 

in a tavern to pour out her troubles. It’s 

some time later and Rodolfo is ruining their 

relationship with his jealousy. Rodolfo is at 

the tavern too, and Mimì hides when he 

appears only to overhear him tell Marcello 

that the real reason that he is leaving her 

is not because she is a flirt, but because he 

knows she has consumption and he can’t 

provide for her. This changes everything. She 

sings ‘Donde lieta uscì’ (From whence she 

happily left at the call of your love/ Mimì 

must return to her lonely nest) as she bids 

Rodolfo farewell. 

‘Adieu Mignon’ is another farewell, sung by 

the tenor in Act II of Thomas’ opera Mignon, 

but this time, after some travail, the heroine 

will end up with her love. Thomas’ librettists, 

Barbier and Carré, had shifted the focus of 

Goethe’s novel Wilhelm Meister to Mignon, 

a young woman stolen from her childhood 

home in Italy by gypsies. In Germany, she 

encounters Lothario, a nobleman searching 

for his abducted daughter, and Wilhelm, who 

buys her freedom. Wilhelm is infatuated with 

Philine, an actress, and Mignon is at first 

jealous, but in the end, she wins Wilhelm’s 

heart and is reconciled with Lothario, who 

turns out to be her father. 

The clue to understanding Ferruccio Busoni 

as a composer is that he combined the 

characteristics of Italian and German music 

– emotion and intellect. One of the great 

pianists of all time, Busoni devoted himself 

mostly to performance until the turn of the 

20th century, when composition assumed 

greater importance in his activities. Many 

of Busoni’s orchestral works espouse his 

philosophy of ‘New Classicism’: ‘the mastery, 

the sifting and the turning to account of 

all the gains of previous experiments and 

their inclusion in strong and beautiful forms’. 

You can see the exercise of this belief in 

his famous Bach transcriptions and in the 

expanded harmonic vocabulary of works like 

the Tanzwalzer of 1920, dedicated ‘to the 

memory of Johann Strauss II’. 

Gordon Kalton Williams © 2013

Biographies 

du Capitole de Toulouse, the Royal Flemish 

Philharmonic, Orchestre National de Belgique, 

the Swedish Radio Symphony Orchestra and 

the symphony orchestras of Iceland, Finnish 

Radio and SWR Stuttgart. 


Principal Guest Conductor 

Eivind Aadland, born in September 1956, is 

one of Norway’s most respected conductors. 

He was Chief Conductor and Artistic Leader of 

the Trondheim Symphony Orchestra for seven 

seasons from 2004, where he conducted the 

complete Beethoven and Mahler symphony 

cycles. Aadland’s extensive work with 

Scandinavian orchestras includes regular 

guest engagements with the Oslo and Bergen 

Philharmonics, the Stavanger Symphony, 

the Gothenburg Symphony and the Swedish 

Chamber Orchestra. He has conducted 

critically acclaimed productions of Don 

Giovanni, Le nozze di Figaro, Die Zauberflöte 

and Die Fledermaus for Den Norske Opera in 

Oslo. 

Eivind Aadland’s prolific discography spans 

a broad repertoire range and underlines his 

status as a tireless champion of Norwegian 

music. In 2011 the Audite label issued the 

first two SACDs in a five-volume set of Grieg’s 

complete symphonic works, recorded with the 

WDR Symphony Orchestra. He has recorded 

the symphonic works of Eivind Groven; an 

album of Norwegian orchestral favourites, and 

the complete music for violin and orchestra of 

Arne Nordheim with the Stavanger Symphony 

for BIS Records. Aadland recently recorded an 

album for EMI Classics with the Norwegian 

trumpeter Tine Thing Helseth and the Royal 

Liverpool Philharmonic Orchestra, complete 

with transcriptions and arrangements of songs 

by, among others, Grieg, Strauss, Dvořák, 

Sibelius, Korngold, Mahler and Weill. 

In addition to his career as conductor, Eivind 

Aadland is a devoted collector of and authority 

on contemporary art. His private collection 

encompasses works in the diverse media of 

painting, photography, video and installation 

and is widely considered to be among the 

most important of its kind in Scandinavia. 

Aadland has worked extensively in the Far East 

and Australia. In 2010 he led the Trondheim 

Symphony on a seven-concert tour to 

China and also made his debut with the KBS 

Symphony Orchestra in Seoul. In Europe he 

is a frequent visitor to the Oslo Philharmonic 

and WDR Symphony Orchestra Cologne. He 

has also worked with the Orchestre National 


Jayson Gillham 

Piano 

Australian-British pianist Jayson Gillham, from 

rural Queensland, has been based in London 

since 2007. While completing his Master’s 

degree at the Royal Academy of Music (RAM) 

in 2007-09, he won the Bach, Beethoven, 

Romantic and 20th Century piano prizes, and as 

the RAM’s elected representative, he went on to 

win first prize at the Beethoven Piano Society of 

Europe’s Intercollegiate Piano Competition. At his 

graduation Jayson was awarded the DipRAM for 

an outstanding final recital; the report from the 

panel reads: “The rare occasion when the word 

‘phenomenal’ is appropriate […] Perhaps the 

finest final recital we can remember.” 

In October 2010 Jayson was a semi-finalist 

in the renowned Chopin International Piano 

Competition in Warsaw. Out of an initial 350 

applicants, he reached the final twenty and is 

the first Australian ever to advance so far in 

this competition. 

Other successes include: Winner – Royal 

Over-Seas League Competition (London, 

2012); First prize – Brant International Piano 

Competition (Birmingham, 2011); First prize 

– Prix d’AmadeO de Piano (Aachen, 2008); 

First prize – Australian National Piano Award 

(Shepparton, 2008); and Third prize – London 

International Piano Competition (2005). 

Jayson has performed in many London venues, 

including the Royal Festival Hall (soloist with 

the London Philharmonic Orchestra), Queen 

Elizabeth Hall, Purcell Room, Wigmore Hall, 

St. Martin-in-the-Fields and Kings Place. As 

a member of the Countess of Munster Trust’s 

‘Recital Scheme’, he has delighted audiences 

in venues throughout the length and breadth 

of the UK. His relationship with the Keyboard 

Charitable Trust has taken him further afield, 

with performances in New York (Steinway Hall), 

Virginia (USA), Hamburg, Frankfurt, Verona, 

Vicenza, Padua and the Scottish North Highlands. 

In 2011 Jayson was invited to perform in China, 

where he played two Mozart concertos with 

the Wuhan Philharmonic Orchestra. On his 

return to the UK, he played at the Edinburgh 

Festival Fringe, and he has recently appeared 

as guest artist at the Brighton Festival, Linari 

Classic Festival (Tuscany), and the Deià 

International Music Festival (Majorca). 

Jayson performs regularly in Australia, 

returning each year for recital, concerto, 

chamber music and festival work. He has 

appeared as soloist with the Sydney Sinfonia, 

Southbank Sinfonia (Melbourne), Queensland 

Symphony Orchestra, West Australian 

Symphony Orchestra, Willoughby Symphony 

and Queensland Youth Symphony. He is a 

regular artist at the Tyalgum and Bangalow 

Music Festivals in northern New South Wales. 

In 2012 Jayson tours in South-East Asia and 

Europe with the Queensland Youth Symphony, 

playing Beethoven’s ‘Emperor’ Concerto. This 

follows recitals and radio broadcasts in Sydney, 

Melbourne and Brisbane. Other upcoming 

performance highlights include recitals in 

Bonn and at the Louvre Auditorium (Paris), 

and a concerto with the City of Birmingham 

Symphony Orchestra. 

Jayson currently lives in the King’s Cross 

neighbourhood in London, where he volunteers 

weekly as a maths tutor at Argyle primary 

school – an initiative he set up with other 

post-graduates and young professionals living 

in the area. He is also the Cultural Ambassador 

of the Hearts for Africa (Amani) Foundation, 

an NGO which empowers local people to 

overcome poverty in rural central Tanzania. 


QSO Chamber Players 

The QSO Chamber Players series is programmed 

by QSO musicians. Concerts are offered within 

QSO’s mainstage subscription season for the 

first time in 2013, representing an exciting new 

addition to the orchestra’s broad concert offering. 

Chamber music has long played a key role in 

QSO’s activities, with small ensembles from 

the orchestra touring regularly to schools and 

community outreach events throughout Brisbane 

and regional Queensland. 

QSO Chamber Players has grown out of the Ferry 

Road Chamber Players (FRCP) series which was 

administered as an entity separate from QSO 

between 1992 and 2011. Founded by Mark 

Vickers (timpani), John Harrison (bass clarinet) 

and Vivienne Collier-Vickers (horn), FRCP began 

as a recital series for QSO’s principal musicians. 

Early recitals featured David Lale (cello), Paul 

Dean (clarinet), Leesa Dean (bassoon) and Jason 

Redman (trombone). From the 1993 season 

chamber music became the dominant musical 

aspect of the series, with a number of QSO 

string, wind, brass and percussion ensembles 

featuring in the series each year. In memory of 

former QSO clarinettist Jenny Reuther, the QSO 

clarinet section performed a biennial charity 

benefit concert within the FRCP series. For many 

years John Harrison also organised regular art 

exhibitions in the foyer of the orchestra’s former 

studio at Ferry Road, West End to accompany 

FRCP concerts and add to patrons’ concert-going 

experience. 

QSO Chamber Players will continue the longestablished 

tradition of excellence in chamber 

music performance at QSO during the 2013 

season and beyond. 

Glenn Christensen 

violin 

Glenn Christensen is 23 years old and began 

playing violin at the age of four, learning by 

the Suzuki method in the regional Queensland 

town of Mackay. Under the tutelage of Diane 

Powell, he was awarded his A.Mus.A in 2005 

at the age of 15. 

Glenn graduated with a Bachelor of Music 

majoring in Advanced Performance with 

First Class Honours from the Queensland 

Conservatorium, Griffith University in 2011, 

and was the first student ever to be awarded 

the three highest prizes – the Conservatorium 

Medal, the Music Medal and the University 

Medal. He won most of the Conservatorium’s 

major prizes, including Most Outstanding String 

Instrumentalist of 2009, 2010 and 2011. 

After graduating from the Conservatorium, 

Glenn was appointed as a contract first violinist 

of the Queensland Symphony Orchestra, before 

winning the position of Principal First Violin with 

the same orchestra in June 2012. 

Glenn was the winner of the prestigious Kendall 

National Violin Competition in 2009, taking out 

every category. In 2011, he appeared as soloist 

with both the Brisbane Philharmonic Orchestra 

and the Conservatorium Chamber Orchestra 

performing the Mendelssohn Violin Concerto. 

As well as his position with the Queensland 

Symphony Orchestra, Glenn performs on a casual 

basis with the Australian Chamber Orchestra, 

the Melbourne Symphony Orchestra, is the 

Concertmaster of the 2013 Australian Youth 

Orchestra International Tour, and has also been an 

Australian Chamber Orchestra “Emerging Artist”. 


Javier Perianes 

Piano 

The acclaim accorded to the pianist Javier 

Perianes by audiences and critics alike confirms 

his status as one of Spain’s most exciting new 

artists. Hugely popular with Spanish audiences, 

he has a growing international reputation. 

A familiar and sought-after participant at 

many renowned festivals within Spain, he 

will be Artist in Residence at the Granada 

Festival in 2012 followed by the residency at 

Teatro de la Maestranza and Seville Orchestra. 

He has performed in distinguished concert 

series throughout the world, having made 

notable appearances in New York’s Carnegie 

Hall, Concertgebouw, Amsterdam, Wigmore 

Hall, London, the Tchaikovsky Conservatory, 

Moscow, the Shanghai Conservatory, Madrid’s 

Auditorio Nacional, recitals at the Ravinia and 

Gilmore International Festivals in Chicago, Le 

festival de La Roque-d'Anthéron, France and 

the Konzerthaus, Berlin. 

Javier Perianes has worked with leading 

conductors including Lorin Maazel, Daniel 

Barenboim, Zubin Mehta, Rafael Frühbeck de 

Burgos, Jesús López Cobos, Antoni Wit, Daniel 

Harding and Vassily Petrenko. Recent and 

forthcoming highlights include appearances 

with Orchestre National du Capitole de 

Toulouse under Tugan Sokhiev, BBC National 

Orchestra of Wales, the Yomiuri Nippon 

Symphony Orchestra under Hugh Wolff, 

Orchestre de Chambre de Paris under Joseph 

Swensen, the Filarmonica Arturo Toscanini 

under Kazushi Ono, Saint Petersbourgh 

Philharmonic under Yury Temirkanov, the 

New World Symphony conducted by Michael 

Tilson-Thomas, the London Philharmonic and 

the Sao Paulo Symphony under Eduardo Portal, 

Tokyo Symphony Orchestra with Hiroshi 

Kodama, Warsaw Philharmonic conducted by 

Claus Peter Flor as well as recitals in Tokyo, 

Madrid’s Scherzo series, the Zurich Tonhalle, 

the Moscow December Nights Festival and the 

Calouste Gulbenkian Foundation. 

Perianes has received critical acclaim for his 

recordings on Harmonia Mundi of Schubert’s 

Impromptus and Klavierstücke, Manuel Blasco 

de Nebra’s keyboard sonatas and Mompou’s 

Música Callada. In September 2011 he 

released on this label a disc devoted to the 

music for piano by Manuel de Falla, including a 

live recording of Nights in the Gardens of Spain 

with the BBC Symphony Orchestra under 

Josep Pons. Javier’s next CD will be released 

on Harmonia Mundi in September 2012 – 

Beethoven Moto perpetuo Sonatas Nos 12, 

17, 22, 27.

Guy Noble 

Presenter 

Guy Noble is one of Australia’s most versatile 

conductors and musical entertainers, 

conducting and presenting concerts with 

all the major Australian orchestras and 

performers such as The Beach Boys, Yvonne 

Kenny, David Hobson, Ben Folds, Dianne 

Reeves, Randy Newman and Clive James. He 

has cooked live on stage with Maggie Beer 

and Simon Bryant (The Cook, The Chef and 

the Orchestra, Adelaide Symphony) appeared 

as Darth Vader (The Music of John Williams, 

Sydney Symphony) and might be the only 

person to have ever sung the Ghostbusters 

theme live on stage on stage accompanied by 

The Whitlams (Queensland Symphony). 

Other recent performances include Opera 

in the Markets (Melbourne) , a Christmas 

concert with the Hong Kong Philharmonic and 

supervising the orchestral music for the 2011 

NRL Grand Final. 

He is a regular guest presenter on ABC Classic 

FM, writes a column for Limelight Magazine 

and lives in Sydney surrounded by a wife and 

two daughters. 

Kang Wang 

Tenor 

Kang Wang is one of Australia’s rising lyric 

tenors, son of two renowned opera singers 

originally from Harbin, China, he is currently 

studying voice with Joseph Ward OBE in the 

Master of Music Studies (Opera) program at 

Queensland Conservatorium Griffith University. 

Kang won the People’s Choice Award in the 

Dame Joan Sutherland National Vocal Award, 

and performed in the final concert of the 

Australian Singing Competition at the Sydney 

Opera House as one of the five finalists. He 

has also been a semi-finalist of 2011 Hans 

Gabor Belvedere Singing Competition in Vienna, 

Austria, finalist in McDonald Operatic Aria 

Competition 2011 and Italian Opera Foundation 

Australia Scholarship. 

Since 2010, Kang has appeared on several 

occasions with the Queensland Symphony 

Orchestra and was a special guest soloist in 

Lisa Gasteen’s return to the stage concert in 

2011. In September 2011, Kang made his 

operatic debut as "Rinuccio" in Queensland 

Conservatorium's production of "Gianni 

Schicchi" and also performed the title role “Tom 

Rakewell” in Queensland Conservatorium’s 

production of Stravinsky’s “The Rake’s Progress” 


Her performances have included the roles of 

Papagena in Die Zauberflöte, Cupid in Semele 

and Nannetta in Falstaff (for QCGU). In 2009, 

Milica created the role of Emma in the youth 

opera Dirty Apple and appeared in La Traviata 

- both for Opera Queensland. She also sang 

the role of Barbarina in Le nozze di Figaro for 

Macau International Music Festival. 

Milica Iilic 

Soprano 

Serbian-born Milica Ilic migrated to New 

Zealand in 1996. She commenced her musical 

training at a young age undertaking singing 

lessons with Professor David Griffiths. As a 

member of the Young Friends of Opera New 

Zealand, she performed as a soloist and in 

the chorus. Whilst appearing on the television 

series Dreams Come True, Milica met Dame 

Kiri Te Kanawa, which subsequently led to her 

participating in a weekend workshop hosted 

by the internationally-renowned soprano. 

Milica completed a Bachelor of Music Degree 

at the Queensland Conservatorium Griffith 

University (QCGU). She also studied German 

at the Goethe-Institut in Berlin (2005) and 

voice with Leandra Overmann (Professor of 

Singing at the Academy of Music in Würzburg 

in Germany). She has been the winner of the 

2008 Australian National Eisteddfod, the 

Dame Joan Sutherland Vocal Competition (at 

the youngest recorded age of 19), the Elwyn 

Barber Memorial Encouragement Trophy, 

as well as a two-time winner of both the 

Margaret Nixon Vocal Competition and the 

South East Queensland Aria and Concerto 

Competition (2006 and 2008). She was also 

a three-time semi-finalist at the Australian 

Singing Competition (2002, 2003 and 2005). 

In 2010, Milica continued her affiliation with 

Opera Queensland as a Young Artist and 

performed in their touring production of The 

Merry Widow. She also performed in the 

Opera Gala for the Queensland Symphony 

Orchestra and gave a private recital in the 

Utzon Room at the Sydney Opera House. The 

following year saw many performances as 

soloist with the QSO. 

In 2012, Milica appeared as Queen of Night 

in The Magic Flute for Opera Australia and will 

covered the title role in their new production 

of Lucia di Lammermoor. She took on several 

soprano solos in several concerts with the 

QSO and become a major recording artist with 

ABC Classics. 


QUEENSLAND SYMPHONY ORCHESTRA 

CONCERTMASTER 


ASSOCIATE CONCERTMASTER 

Alan Smith 

VIOLIN 1 

Glenn Christensen * 

Linda Carello 

Lynn Cole 

Margaret Connolly 

Priscilla Hocking 

Ann Holtzapffel 

Stephen Phillips 

Rebecca Seymour 

Joan Shih 

Brenda Sullivan 

Stephen Tooke 

Brynley White 

VIOLIN 2 

Gail Aitken ~ 

Wayne Brennan ~ 

Jane Burroughs 

Faina Dobrenko 

Simon Dobrenko 

Delia Kinmont 

Natalie Low 

Tim Marchmont 

Frances McLean 

Paulene Smith 

Helen Travers 

Harold Wilson 

VIOLA 

Yoko Okayasu ~ 

Charlotte Burbrook de Vere 

Bernard Hoey 

Kirsten Hulin-Bobart 

Jann Keir-Haantera 

Helen Poggioli 

Graham Simpson 

Paula Stofman 

Nicholas Tomkin 

CELLO 

David Lale ~ 

Simon Cobcroft >> 

Kathryn Close 

Andre Duthoit 

Matthew Jones 

Matthew Kinmont 

Jenny Mikkelsen-Stokes 

Kaja Skorka 

Craig Allister Young 

DOUBLE BASS 

John Fardon ~ 

Dushan Walkowicz >> 

Anne Buchanan 

Justin Bullock 

Paul O’Brien 

Ken Poggioli 

FLUTE 

Alexis Kenny ~ 

Hayley Radke >> 

Janine Grantham 

PICCOLO 

Michael Hallit * 

OBOE 

Huw Jones ~ 

Sarah Meagher >> 

Alexa Murray 

CLARINET 

Irit Silver ~ 

Brian Catchlove + 

Kate Travers 

BASS CLARINET 

Nicholas Harmsen * 

BASSOON 

Nicole Tait ~ 

David Mitchell >> 

Evan Lewis 

CONTRABASSOON 

Claire Ramuscak * 

FRENCH HORN 

Malcolm Stewart ~ 

Peter Luff >> 

Ian O’Brien * 

Vivienne Collier-Vickers 

Lauren Manuel 

TRUMPET 

Sarah Wilson ~ 

Richard Madden >> 

John Gould 

Paul Rawson 

TROMBONE 

Jason Redman ~ 

Dale Truscott >> 

BASS TROMBONE 

Tom Coyle * 

TUBA 

Thomas Allely * 

HARP 

Jill Atkinson * 

TIMPANI 

Tim Corkeron * 

PERCUSSION 

David Montgomery ~ 

Josh DeMarchi >> 

~ Section Principal 

= Acting Section Principal 

* Principal 

^ Acting Principal 

>> Associate Principal 

+ Acting Associate Principal 


Patron 

Her Excellency the Governor of Queensland 

Ms Penelope Wensley, AC 

Board of Directors 

Greg Wanchap Chairman 

Marsha Cadman 

Tony Denholder 

Jenny Hodgson 

Tony Keane 

John Keep 

Karen Murphy 

Jason Redman 

MANAGMENT 

Sophie Galaise Chief Executive Officer 

Ros Atkinson Executive Assistant to CEO 

Alison Barclay Administration Officer 

Richard Wenn Director - Artistic Planning 

Michael Sterzinger Artistic Coordinator 

Nicola Manson Artistic Officer 

Pam Lowry Education Liaison Officer 

Matthew Farrell Director - Orchestra 

Management 

Nina Logan Orchestra Manager 

Jacinta Ewers Operations Assistant 

Peter Laughton Production Manager 

Vince Scuderi Production Assistant 

Judy Wood Orchestra Librarian 

Fiona Lale Assistant Librarian/Artist Liaison 

Nadia Myers Library & Operations Assistant 

David Martin Director - Corporate 

Development 

Katya Melendez Relationships and Sales 

Coordinator 

Karen Soennichsen Director - Marketing 

Kendal Alderman Marketing Officer 

Zoe White Marketing Officer, Digital 

Miranda Cass Media Relations Assistant 

Gaelle Lindrea Director – Philanthropy 

Birgit Willadsen Philanthropy Services Officer 

Lisa Harris Philanthopy Officer 

Robert Miller Director – Human Resources 

Judy Wood OH & S Coordinator 

John Waight Chief Financial Officer 

Sandy Johnston Accountant 

Donna Barlow Accounts Payable Officer 

QUEENSLAND PERFORMING ARTS CENTRE 

PO Box 3567, South Bank, Queensland 4101 

Tel: (07) 3840 7444 

Chair 

Henry Smerdon AM 

Deputy Chair 

Rachel Hunter 

Trustees 

Simon Gallaher 

Helene George 

Bill Grant OAM 

Sophie Mitchell 

Paul Piticco 

Mick Power AM 

Susan Street 

Rhonda White 

Executive Staff 

John Kotzas Chief Executive 

Leisa Bacon Director – Marketing 

Ross Cunningham Director – Presenter Services 

Kieron Roost Director – Corporate Services 

Tony Smith Director – Patron Services 

ACKNOWLEDGMENT 

The Queensland Performing Arts Trust is a Statutory 

Authority of the State of Queensland and is partially 

funded by the Queensland Government 

The Honourable Ian Walker MP 

Minister for Science, Information Technology, 

Innovation and the Arts 

Director-General, Department of Science, 

Information Technology, 

Innovation and the Arts: Philip Reed 

Patrons are advised that the Performing Arts Centre 

has EMERGENCY EVACUATION PROCEDURES, a 

FIRE ALARM system and EXIT passageways. In case 

of an alert, patrons should remain calm, look for the 

closest EXIT sign in GREEN, listen to and comply with 

directions given by the inhouse trained attendants and 

move in an orderly fashion to the open spaces outside 

the Centre. 


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 


Trevor and Judith St Baker 

and ERM Power 

Concertmaster Chair 


Prof. Ian Frazer, AC and 

Mrs Caroline Frazer 

Dr Cathryn Mittelheuser, AM 

Mr John and Mrs Georgina Story 

Guest Artist Chair 

Anonymous 

Associate Concertmaster 

Chair 

Alan Smith 

Arthur Waring 

Principal Chairs 

Second Violin – Gail Aitken 

Leonie Henry 

Viola – Yoko Okayasu 

Dr Ralph and Mrs Susan 

Cobcroft 

Cello – Simon Cobcroft 

Dr Damien Thomson and 

Dr Glenise Berry 

Flute – Alexis Kenny 

Nola McCullagh 

Trumpet – Sarah Wilson 

Mrs Andrea Kriewaldt 

Trombone – Jason Redman 

Frances and Stephen Maitland, 

OAM RFD 

Harp – Jill Atkinson 

Noel Whittaker 

Timpani – Tim Corkeron 

Dr Philip Aitken and Dr Susan 

Urquhart 

Peggy Allen Hayes 

Player Chairs 

Violin – Brenda Sullivan 

Hans and Heidi Rademacher 

Anonymous 

Violin – Rebecca Seymour 

Ashley Harris 

Second Violin – Delia Kinmont 

Jordan and Pat Pearl 

Viola – Helen Poggioli 

Mrs Rene Nicolaides, OAM 

and the late Dr Nicholas 

Nicolaides, AM 

Viola – Graham Simpson 

Alan Galwey 

Cello – Kathy Close 

Dr David and Mrs Janet Ham 

Cello – Andre Duthoit 

Anne Shipton 

Flute – Janine Grantham 

Desmond B Misso Esq 

Oboe – Alexa Murray 

Dr Les and Ms Pam Masel 

Trumpet – Paul Rawson 

Barry, Brenda, Thomas and 

Harry Moore 

Multi-musician chair donors 

Section Principal Second Violin – 

Wayne Brennan 

Section Principal Cello – David Lale 

Section Principal Clarinet – Irit Silver 

Section Principal French Horn – 

Malcolm Stewart 

Principal Tuba – Thomas Allely 

Arthur Waring 

Section Principal Double Bass – 

John Fardon 

Section Principal Percussion – 

David Montgomery 

Violin – Stephen Phillips 

Dr Graham and Mrs Kate Row 

Cello – Matthew Kinmont 

Clarinet – Kate Travers 

Dr Julie Beeby 

Second Violin – Helen Travers 

Trumpet – Richard Madden 

Elinor and Tony Travers 

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

To learn more about our Philanthropic Programs please contact Gaelle Lindrea 

on (07) 3833 5050. 

QSO_Philanthropy_Maestro_Chair_Donors_Sep2013_V2_ART.indd 1 

30/08/13 12:54 PM

Patrons’ List 

Queensland Symphony Orchestra is proud to acknowledge the generosity 

and support of our donors for our philanthropic programs. 

Maestro ($50,000+) 

Bank of Queensland 

Tim Fairfax Family Foundation 

Jellinbah Group 

Harold Mitchell, AC 

The Pidgeon Family 

John B Reid, AO and Lynn Rainbow 

Reid 

Trevor and Judith St Baker and 

ERM Power 

Mr John and Mrs Georgina Story 

Greg and Jan Wanchap 

Arthur Waring 

Noel and Geraldine Whittaker 

Anonymous (1) 

Symphony ($20,000 - $49,999) 

Philip Bacon Galleries (20/21 

Series) 

Dr Julie Beeby 

Prof. Ian Frazer, AC and Mrs 

Caroline Frazer 

Leonie Henry 

Mrs Andrea Kriewaldt 

Frances and Stephen Maitland, 

OAM RFD 

Nola McCullagh 

Desmond B Misso Esq. 

Dr Cathryn Mittelheuser, AM 

Mrs Beverley J Smith 

The John Villiers Trust 

Rodney Wylie 

Anonymous (1) 

Concerto ($10,000 - $19,999) 

Dr Philip Aitken and Dr Susan 

Urquhart 

Mrs Iris Dean 

The English Family 

Gwenda Heginbothom 

Mrs Rene Nicolaides, OAM and the 

late Dr Nicholas Nicolaides, AM 

Hans and Heidi Rademacher 

Dr Graham and Mrs Kate Row 

Bruce and Sue Shepherd 

Dr Damien Thomson and Dr 

Glenise Berry 

Anonymous (1) 

Scherzo ($5,000 - $9,999) 

D.L and J.E Beal 

Trudy Bennett 

Dr John and Mrs Jan Blackford 

Dr Ralph and Mrs Susan Cobcroft 

Mrs Elva Emmerson 

Balena Tassa Pty Ltd 

David and Janet Ham 

Peggy Allen Hayes 

W.R. and L.M. Heaslop 

Dr Alison Holloway 

Sandy Horneman-Wren SC and 

Louise Horneman-Wren 

Ms Marie Isackson 

The Helene Jones Charity Trust 

Tony and Patricia Keane 

John and Helen Keep 

Mrs Pat Killoran 

Dr Les and Ms Pam Masel 

Ian Paterson 

Mr Jordan and Mrs Pat Pearl 

Anne Shipton 

Elinor and Tony Travers 

Mrs Gwen Warhurst 

Helen Zappala 

Anonymous (2) 

Rondo ($1,000 - $4,999) 

Mrs Valma Bird 

Mrs Nancy Bonnin 

Miss Cynthia Burnett 

Mrs Georgina Byrom 

Marsha Cadman 

Peter and Tricia Callaghan 

Dr John H. Casey 

Greg and Jacinta Chalmers 

Cherrill and David Charlton 

Mr Ian and Mrs Penny Charlton 

In memory of John Czerwonka- 

Ledez 

David Devine, Metro Property 

Development Pty Ltd 

Ralph Doherty 

Justice James Douglas 

In memory of Carol Ann Mills 

Chris and Sue Freeman 

Dr Bertram and Mrs Judith Frost 

C.M. and I.G. Furnival 

Alan Galwey 

Marilyn George 

Mrs Patricia Gibson 

Dr Joan E. Godfrey, OBE 

Dr Edgar Gold, AM and Dr Judith 

Gold, CM 

Ruth Lechte 1932 - 2012. 

Pacific Island Activist and 

Environmentalist 

Ian and Ruth Gough 

Dr Edward C.Gray 

Deirdre Greatorex (Hall), daughter 

of John Farnsworth Hall and 

member of the QSO. 

Lea and John Greenaway 

Fred and Maria Hansen 

Yvonne Hansen 

All donors to QSO are acknowledged on our website at 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_Patrons_List__Sep2013_V2_ART.indd All Pages

In memory of Muriel Fletcher 

Ashley Harris 

Havenwood Pty Ltd 

Miss Barbara Hawken 

Patrick and Enid Hill 

Jenny Hodgson 

In memory of Gordon and Evelyn 

Hodgson 

John Hughes 

Brendon and Shelli Hulcombe 

Bob and Joan James 

Sandra Jeffries and Brian Cook 

Mr Ainslie Just 

Dr Frank Leschhorn 

Rachel Leung 

Gaelle Lindrea 

Prof. Andrew and Mrs Kate Lister 

Mary Lyons and John Fardon 

Janette and David Marshall 

Mr John Martin 

Master Performers Pty Ltd 

In memory of Rosemary McKay 

Mrs Daphne McKinnon 

Annalisa and Tony Meikle 

Barry, Brenda, Thomas and 

Harry Moore 

Howard and Katherine Munro 

The Murray Family 

John and Robyn Murray 

Lois Murray 

Ron and Marise Nilsson 

Kathy and Henry Nowik 

Mrs Leah Perry 

Justice Anthe Philippides 

Dr Phelim Reilly 

In memory of Pat Riches 

Pat and Jude Riches 

Dr Spencer Routh 

Mr Michael and Mrs Helen Sinclair 

Benjamin, Susannah and 

Henry Skerman 

Joy Sleigh 

Bernard and Margaret Spilsbury 

Mrs Anne Stevenson 

Barb and Dan Styles 

William Turnbull 

Ray and Penny Weekes 

Prof. Hans and Mrs Frederika 

Westerman 

Mr Ian and Mrs Hannah Wilkey 

Anonymous (32) 

Variations ($500 - $1000) 

Mrs Penny Ackland 

Mr Dallas and Mrs Judith Allman 

Dr Geoffrey and Mrs Elizabeth 

Barnes 

Don Barrett 

Susan Blake 

Deidre Brown 

Bev Burgess and Des Buck 

Professors Catherin Bull and 

Dennis Gibson 

J.A. Cassidy 

Drew and Christine Castley 

Dr Alice Cavanagh 

Ms Debra Cunningham 

Donna Davis 

Laurie James Deane 

In memory of Cally Marna Evans 

Mr John and Mrs Shirley Florence 

Richard and Beryl Gardner 

Graeme and Jan George 

Hans Gottlieb 

Madeleine Harasty 

Dr Ted Henzell 

Miss Lynette Hunter 

John and Wendy Jewell 

Dr Ray and Mrs Beverley Kerr 

Miss Dulcie Little 

The Honourable Justice J.A. Logan, 

RFD 

Susan Mabin 

Jim and Maxine MacMillan 

Mr and Mrs G.D. Moffett 

Doreen Murphy 

Ms Gillian Pauli 

Mr Goetz and Mrs Helga Puetter 

Charles and Brenda Pywell 

Jason and Lois Redman 

Mr Dennis Rhind 

Rod and Joan Ross 

Leslie Simkin 

Mrs Judith Solley 

Patience Stevens 

Katherine Trent 

Jacqueline Walker 

Gillian Wilton 

Ms Jeanette Woodyatt 

Anonymous (29) 

John Farnsworth-Hall Circle 

Named in honour of the first Chief 

Conductor of QSO (1947-1954). 

Roberta Bourne Henry 

Notify us of your intention 

to bequeath and we will 

acknowledge your future gift now. 

All enquiries: 3833 5050 

Instruments on loan 

QSO thanks the National 

Instrument Bank and The NFA 

Anthony Camden Fund for 

their generous loan of fine 

instruments to the recitalists 

of our English Family Prize for 

Young Instrumentalists. 

Thank You 

30/08/13 12:53 PM

Our Partners 

Government Partners 

Corporate Partners 

Media Partners 

Co-Productions 

Queensland Symphony Orchestra thanks its 2013 partners for their generous support. 

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

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

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.

September 2013 - Queensland Symphony Orchestra

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