OCTOBER
CONTENTS
MAESTRO
QSO & SHLOMO MINTZ
2
Pre-concert talk at 6.30pm with Thomas Allely
CHAMBER PLAYERS SPECIAL EVENT
SHLOMO MINTZ WITH QSO STRINGS
Help us G
6
Green.
Please take one program between two
and keep your program for the month.
You can also view and download program notes one
week prior to the performance online at qso.com.au
PROGRAM October 1
SAT 17 OCT
7.30PM
PROGRAM NOTES
QPAC Concert Hall
Felix Mendelssohn
(1809-1847)
MAESTRO
QSO &
SHLOMO
MINTZ
Conductor/Violin
Shlomo Mintz
QSO Soloist-in-Residence
Mendelssohn Violin Concerto
Mahler Symphony No.5
Pre-concert talk at 6.30pm
with Thomas Allely
The Soloist-in-Residence
program is supported by the
T & J St Baker Charitable Trust.
2
PROGRAM October
Shlomo Mintz Conductor/Violin
Violin Concerto
Allegro molto appassionato –
Andante –
Allegro non troppo – Allegro molto vivace
Shlomo Mintz, Violin
In 1826, two precociously gifted teenage boys
met in Berlin; Felix Mendelssohn and violinist
Ferdinand David. By then, Mendelssohn had
already composed 13 string sinfonias and five
concertos, which were premiered at a series
of Sunday concerts instituted by Felix’s father
at the family home. Mendelssohn and David
would remain friends until Mendelssohn’s
early death in 1847, and David would be
involved in editing his friend’s work for
posthumous publication.
In 1836, David accepted Mendelssohn’s
invitation to move to Leipzig and become
leader of the Gewandhaus Orchestra.
There he also performed frequently with
Mendelssohn in chamber concerts, and
when the Leipzig Conservatorium opened
in 1843, David established its violin
department, with 14-year-old Joseph
Joachim among his first pupils.
In 1838 Mendelssohn remarked in a letter
to David: I would like to compose a violin
concerto for next winter. One in E minor
keeps running through my head, and the
opening gives me no peace.
Assuming that it is the same opening that
Mendelssohn eventually got down on paper,
we can understand how the composer
might have felt he was onto something.
That opening, with its flowing arpeggios and
distant, Beethovenian drum-taps, launches
without introduction or exposition into a
beautiful, Romantic melody for the soloist
that starts high and gently ascends further
into the stratosphere; the contrasting second
subject group exploits unusual warm voicing
in the wind section as it accompanies the
solo violin.
But for various reasons Mendelssohn was
unable to complete the work that winter or
the next, despite David’s constant reminders.
The sheer amount of work Mendelssohn had
at this time didn’t help matters. As well as
duties with the Gewandhaus, he directed
six music festivals in Germany and England,
and devoted himself to reviving historical
music from Bach to Schubert that had sunk
into desuetude. In 1841, he was appointed
Kapellmeister by King Friedrich Wilhelm IV of
Prussia, so divided his time between Leipzig
and Berlin until moving back to the latter
city in 1843. There, with the establishment
of the new Cathedral choir, and with various
composing and conducting engagements
in Germany and abroad, Mendelssohn
continued his hectic pace until the summer
of 1844, when he took a vacation. Finally,
after nearly a decade, he was able to return
to the Violin Concerto which he completed in
September of that year. David performed it
under the baton of Niels Gade (Mendelssohn
was ill) in March 1845. Joachim played it soon
after, and the rest is history.
Mendelssohn was averse to virtuosity for its
own sake, likening such effects to ‘juggler’s
tricks’. There seems little doubt that David
wrote the first movement’s cadenza, but it
was Mendelssohn’s genius to place it before
the recapitulation, thus making it part of the
dramatic structure of sonata form, rather
than an ‘add-on’, as in many other concertos.
PROGRAM October 3
PROGRAM NOTES
A long bassoon note at the end of the
first movement briefly holds the music in
suspense before it moves, without a break,
into a classically Mendelssohnian song.
The slow movement is in simple ABA form,
with a contrasting central section. It too
passes into the finale without a pause;
here the music has all the lightness and
grace of the great Mendelssohn scherzos.
© Gordon Kerry 2009
Gustav Mahler
(1860-1911)
Symphony No.5
Part I
Trauermarsch (In gemessenem Schritt.
Streng. Wie ein Kondukt)
Funeral march (With measured pace, stern,
like a funeral procession)
Stürmisch bewegt. Mit grösster Vehemenz
Stormy, with utmost vehemence
Part II
Scherzo (Kräftig, nicht zu schnell)
Strong, not too fast
Part III
Adagietto (Sehr langsam)
Very slow
Rondo-Finale (Allegro)
4
PROGRAM October
PROGRAM NOTES
Mahler’s first four symphonies were more
or less programmatic in their intention,
drawing their inspiration from folk poetry,
incorporating themes from songs, and
(in all but the first) using the human voice.
The Fifth, on the other hand, revealed
no obvious program and was scored for
orchestra alone.
It was written in 1901-02 around the time
of Mahler’s meeting with, and rather hasty
betrothal to, Alma Schindler. While no
period in Mahler’s life could be described
as unequivocally happy, there is no doubt
that the Fifth Symphony was conceived at a
time of substantial personal and professional
satisfaction. Yet any sign of outward pleasure
or optimism tends to be avoided, at least
early on in the symphony; pointedly, and
notoriously, it begins with a funeral march.
Mahler worked on the first two movements
and part of the third during the summer of
1901 (summer being the only opportunity he
had to compose because of his conducting
duties in winter). The rest of the symphony
was completed the following summer, by
which point Alma was very much part of
his life.
At the premiere in Cologne on 18 October
1904, the reception was mixed. Revision
after revision ensued and so thorough
was Mahler’s reworking that, while
the symphony’s popularity grew, each
performance was nevertheless different
from the last. ‘The Fifth is an accursed
work,’ Mahler wrote. ‘No one understands it!’
The symphony follows Mahler’s principle
of ‘progressive tonality’, working its way
from C sharp minor to a conclusion in a
triumphant D major. It passes through a
vast range of moods – ‘passionate, wild,
pathetic, sweeping, solemn, gentle, full of all
the emotions of the human heart’, in Bruno
Walter’s memorable description. A massive
work, it is in three parts and five movements.
The opening movement begins with a
distinctive trumpet call which recurs as
the movement proceeds. As if to belie
the claim that the symphony is ‘absolute’
rather than ‘programmatic’ music, the main
theme is based on a song by Mahler (‘Der
Tamboursg’sell’) about a drummer boy facing
execution. There are two trios; the first in
B flat minor with a brief violin theme, the
second a quieter section in A minor following
the return of the march theme. After an
impassioned climax, the movement dies away
amid echoes of the opening trumpet call.
Mahler leaves no doubt as to the intended
mood of the second movement – marked
‘Stormy, with utmost vehemence’. Much
of the material derives from that in the
first movement and there is a distinct
reminiscence of the march rhythms. A brass
chorale in part anticipates the conclusion of
the symphony as a whole.
celebration which begins with a series of
folk-like figures on solo wind instruments.
(The opening of the movement quotes the
witty ‘Lob des hohen Verstandes’ [In Praise
of Higher Understanding] from Des Knaben
Wunderhorn.) The main rondo theme is first
stated on the horns and the other ideas are
woven contrapuntally around this. When
the main melody from the Adagietto returns
it is so transformed with energy that it is
practically unrecognisable. The development
is elaborate, and the movement as a whole
works its way towards the ecstatic brass
chorale of the conclusion – as close as the
melancholy Mahler ever came to writing an
‘Ode to Joy’.
Abridged from an annotation
© Martin Buzacott
The Scherzo’s main thematic material
is in the form of a joyous Ländler. Ideas
tumble over themselves in an inventive
contrapuntal display while a slower waltz
theme is juxtaposed with the main material.
Contrasting trios add a more sombre note
and in one of these there occurs a striking
obbligato passage for the principal horn.
The Adagietto – arguably the most
famous single movement in all the Mahler
symphonies – is essentially a song without
words. Scored for harps and strings alone,
it is closely related to Mahler’s song ‘Ich bin
der Welt abhanden gekommen’ (I am lost to
the world). According to Mahler’s colleague,
Dutch conductor Willem Mengelberg, the
Adagietto was intended as a declaration of
love for Alma.
The Rondo-Finale shares material with each
of the previous four movements, particularly
with the Funeral March and the Adagietto.
Merging elements of fugue and sonata
form into a unified whole, it is a joyous
PROGRAM October 5
SUN 25 OCT
3PM
PROGRAM NOTES
QSO Studio
Johannes Brahms
(1833-1897)
String Quintet No.2 Op.111
CHAMBER PLAYERS
SHLOMO
MINTZ WITH
QSO STRINGS
Violin and viola
Shlomo Mintz,
QSO Soloist-in-Residence
QSO Strings
Violin Warwick Adeney
Violin Rebecca Seymour
Viola Yoko Okayasu
Viola Cédric David
Cello David Lale
Cello Kathy Close
Brahms String Quintet No.2
Schoenberg Verklärte Nacht
Allegro non troppo, ma con brio
Adagio
Un poco allegretto – Trio – Un poco allegretto
Vivace ma non troppo presto
Shlomo Mintz, First Viola
Brahms began his second string quintet in
Vienna early in 1890 and completed it midyear at Bad Ischl, the spa in Salzkammergut
on the Traun river where, later in life, he
habitually spent his summer vacations.
His first String Quartet (in F, Op.88, of 1882)
was already a popular concert work,
thanks to the advocacy of Brahms
regular collaborator, the violinist Joseph
Joachim. And it was Joachim’s request
for a companion piece that set Brahms to
composing this second (and final) quintet.
Not Joachim, but Arnold Rosé and his
Quartet (with an extra viola player)
introduced the new work at Vienna’s
Bösendorfersaal on 11 November 1890.
A decade later, Rosé and his colleagues
also gave the premiere of Schoenberg’s
sextet Verklärte Nacht, coincidentally
prompting comparisons between these two
late-Romantic string works. Like Transfigured
Night, the Adagio of Brahms’s quintet is often
performed by string orchestras, and from
the first, Joachim also thought the quintet’s
opening ‘too orchestral’ for just five strings.
Elisabeth von Herzogenberg, one of few
friends from whom the notoriously prickly
Brahms invited – though did not always
accept – criticism, warily categorised the
work as characteristic of his economical late
style, ‘all wonderfully clear and compact;
distinct in its manner of expression’.
Brahms’s economical approach to his
material is striking, with even secondary
features expected to bear a structural load,
like the opening tremolos for the upper
strings accompanying the cello’s main
theme. Always conjuring up positive images
(nothing dark or spectral here), tremolos
reappear throughout the first movement,
either in their original vibrantly energetic
guise, or transformed as a soft, shimmering
background for moments of summery lyricism.
Brahms interleaves these colouristic
moments with regular episodes of muscular
contrapuntal writing in which themes, or
fragments of them, are worked-over with
the Classical thoroughness of Haydn or early
Beethoven. Sometimes one melodic element
comes to the fore as the basis for sequential
repetition (the same notes repeated at
different pitches) in a fashion almost
reminiscent of Bach.
When Joachim played the piece in Berlin
a month after the Vienna premiere, he was
surprised that the Adagio, his favourite
movement, seemed to give the audience
least pleasure. On the other hand, the
Allegretto – a lighter piece, alternating minor
and major keys, and ‘rustic’ (Hungarian) and
‘urban’ (Viennese) allusions – was applauded
so enthusiastically that he was forced to
play it again before going on, much against
his principles. Elisabeth von Herzogenberg
sensed the interdependence of these two
pieces, ‘conceived in the spirit of contrast,
but here in a case of mutual reflection
and enhancement’.
The Soloist-in-Residence
program is supported by the
T & J St Baker Charitable Trust.
6
PROGRAM October
Rebecca Seymour Violin
PROGRAM October 7
PROGRAM NOTES
PROGRAM NOTES
The Allegretto might be ‘a relief after the
grim seriousness of the preceding piece’,
but, as she observed, somewhat tongue-incheek, ‘does not contain more liveliness
than is warranted artistically’.
and the style of Transfigured Night – both in
expressive content and musical technique.
The sextet’s tension between chromatic and
diatonic harmonies in a complex polyphonic
web illustrates the problems which
Schoenberg was to face as he pushed further
along the same line of stylistic development.
Not having heard the work yet,
Herzogenberg admitted it was difficult to
imagine the full effect of the finale; hardly
surprising since its 287 detail-packed bars
flash past in just five minutes. Risking
singling out one feature, however, she
noted: ‘The second theme is delicious!’.
Arnold Schoenberg
(1874-1951)
Verklärte Nacht (Transfigured Night)
Shlomo Mintz, First Violin
Graeme Skinner © 2009
Transfigured Night (Verklärte Nacht) was
first performed in Vienna in 1902 by the
augmented Rosé Quartet. The first audience
was baffled, but the work soon became
Schoenberg’s most frequently performed
music, and remains his most popular.
To an early critic, this music sounded ‘as if
someone had smeared the score of Tristan
und Isolde while it was still wet’. Transfigured
Night is neo-Wagnerian and late Romantic,
but in retrospect we can see that there is
continuity between the 12-note Schoenberg
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Originally composed for string sextet, by
1917 ‘amplified’ performances of Transfigured
Night for medium-sized string orchestra were
being given with Schoenberg’s approval,
and in that year he issued a string orchestra
version of the work, adding a double bass
part and making other adjustments. In 1943,
he again reworked the score for orchestral
strings, with second thoughts on tempo,
dynamics and tone colouring. Whether in this
form or as a string sextet, Transfigured Night
loads great expression into each line in the
texture and the work has been described as a
tone-poem or a music drama without words.
The music can equally well be experienced
as a large-scale single movement, in which
the basic thematic motives heard at the
beginning are transformed. Schoenberg
learnt this method from Wagner, to whose
music he had recently been introduced and
‘converted’ by Zemlinsky, having previously
regarded himself as a Brahmsian. The most
telling example of thematic transformation
in Transfigured Night is in the closing pages,
where the opening motif is delicately yet
radiantly reworked: a Liebesleben (Love-Life)
rather than a Liebestod (Love-Death).
There are traces of Brahms’ influence too,
in the sextet form and the asymmetrical
phrasing so characteristic of Schoenberg.
© David Garrett
Transfigured Night was composed in three
weeks in 1899 during a holiday spent with
the composer Alexander Zemlinsky, whose
sister Schoenberg was soon to marry. It was
inspired by a poem of Richard Dehmel,
and possibly by Schoenberg’s own love.
The poem is a conversation in a moonlit
forest between two lovers, in which the
woman tells the man she has conceived a
child by another. The man, inspired by the
radiance of the natural world, tells her that
the warmth now uniting them will transfigure
the child and make it theirs. They embrace,
and walk on through the ‘bright, lofty night’.
The structure of the ‘symphonic’ drama
follows that of the poem itself: five sections,
of which the first, third and fifth, describing
the lovers’ walking and the setting, frame
two more extended statements, one by the
woman, one by the man.
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8 PROGRAM October
PROGRAM October 9
BIOGRAPHIES
QSO Chamber Players
Shlomo Mintz
Soloist-in Residence
Violin
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Critics, colleagues and audiences regard
Shlomo Mintz as one of the foremost
violinists of our time, esteemed for his
impeccable musicianship, stylistic versatility
and commanding technique alike. Born
in Moscow in 1957, Mintz immigrated to
Israel with his family two years later, where
he studied with Ilona Feher. At the age of
14, he made his concert debut with the
Israel Philharmonic Orchestra and at 16
he made his debut in Carnegie Hall. Since
then he regularly appears with the most
celebrated orchestras and conductors on
the international music scene. Last season
he celebrated his 50th anniversary on stage.
Mintz has been a jury member of important
international competitions and presides over
the Munetsugu Angel Violin Competition
(Japan) and the Buenos Aires Violin
Competition. He is co-founder of the
online Music Academy (shlomo-mintz.com).
Mintz won several prestigious prizes including
the the Diapason D’Or, the Gramophone and
the Edison Award. Shlomo Mintz is QSO's
2015 Soloist-in-Residence. The Soloist-inResidence program is supported by the
T & J St Baker Charitable Trust.
The Chamber Players series features
intimate Sunday afternoon performances
in the QSO Studio, South Bank. Performed
and artistically directed by the musicians
of the QSO, the series invites audiences
to experience the beauty and passion of
chamber music masterworks in one of
Brisbane’s finest venues. Regular performers
in the series include the Adina String Quartet,
Norablo String Quartet, QSO Brass Quintet,
QSO Clarinet Quintet, QSO Wind Quintet
and QSO Strings. 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. The Australian newspaper
described a March 2014 Chamber Players
performance as: “One of the most refreshing,
fascinatingly programmed and enjoyable
concerts in Brisbane in recent times.”.
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PROGRAM
*Utility
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PROGRAM October 11
CHAIR DONORS
Chair Donors support an individual musician’s role within the orchestra
and gain fulfilment through personal interactions with their chosen musician.
CONCERTMASTER
Melbourne Cup
A stylish way to celebrate
Warwick Adeney
Prof. Ian Frazer AC
& Mrs Caroline Frazer
Cathryn Mittelheuser AM
John Story AO &
Georgina Story
ASSOCIATE CONCERTMASTER
Alan Smith
Arthur Waring
FIRST VIOLIN
Stephen Phillips
Dr Graham & Mrs Kate Row
Rebecca Seymour
Ashley Harris
Brenda Sullivan
Heidi and Hans Rademacher
Anonymous
Stephen Tooke
Tony & Patricia Keane
SECTION PRINCIPAL
SECOND VIOLIN
Wayne Brennan
Arthur Waring
SECOND VIOLIN
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VIOLA
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Di Jameson
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ASSOCIATE PRINCIPAL
DOUBLE BASS
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DOUBLE BASS
Justin Bullock
Michael Kenny &
David Gibson
Sarah Butler
Mrs Andrea Kriewaldt
ASSOCIATE PRINCIPAL
TRUMPET
SECTION PRINCIPAL FLUTE
TRUMPET
Alexis Kenny
Dr Damien Thomson
& Dr Glenise Berry
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Barry, Brenda, Thomas
& Harry Moore
ASSOCIATE PRINCIPAL FLUTE
SECTION PRINCIPAL
TROMBONE
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PRINCIPAL OBOE
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OBOE
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Irit Silver
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CLARINET
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SECTION PRINCIPAL
BASSOON
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Arthur Waring
ASSOCIATE PRINCIPAL
BASSOON
CELLO
David Mitchell
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Dr Julie Beeby
SECTION PRINCIPAL TRUMPET
Richard Madden
Elinor & Tony Travers
SECTION PRINCIPAL CELLO
Andre Duthoit
Anne Shipton
Lauren Manuel
Gaelle Lindrea
Paul O'Brien
Roslyn Carter
Nicole Tait
In memory of Margaret
Mittelheuser AM
Kathryn Close
Dr Graham & Mrs Kate Row
FRENCH HORN
SECTION PRINCIPAL
FRENCH HORN
Malcolm Stewart
Arthur Waring
Jason Redman
Frances & Stephen Maitland
OAM RFD
ASSOCIATE PRINCIPAL
TROMBONE
Dale Truscott
Peggy Allen Hayes
PRINCIPAL TUBA
Thomas Allely
Arthur Waring
PRINCIPAL HARP
Jill Atkinson
Noel & Geraldine Whittaker
PRINCIPAL TIMPANI
Tim Corkeron
Dr Philip Aitken &
Dr Susan Urquhart
Peggy Allen Hayes
SECTION PRINCIPAL
PERCUSSION
David Montgomery
Dr Graham & Mrs Kate Row
PERCUSSION
Josh DeMarchi
Dr Graham & Mrs Kate Row
Thank you
PROGRAM October
13
DONORS
Queensland Symphony Orchestra is proud to acknowledge the generosity
and support of our valued donors.
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($500,000+)
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In memory of
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14
PROGRAM October
Justice Anthe Philippides
Queensland Conservatorium
Griffith University
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Gillian Wilton
Jeanette Woodyatt
Anonymous (46)
Dr Alice Cavanagh
Terry and Jane Daubney
Dr C. Davison
R.R & B.A Garnett
Shirley Heeney
Richard Hodgson
Jacobitz Family
Miss Dulcie Little
The Honourable Justice
J.A. Logan, RFD
In memory of
Mr David Morwood
T. and M.M. Parkes
Charles and Brenda Pywell
Martin and Margot Quinn
Patience M. Stevens
Katherine Trent
Anonymous (32)
VARIATIONS ($500 - $999)
Mrs Penny Ackland
Warwick Adeney
Julieanne Alroe
Don Barrett
William and Erica Batt
Manus Boyce
Deidre Brown
Mrs Verna Cafferky
Alison G. Cameron
W.R. and H. Castles
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.
JOHN FARNSWORTH
HALL CIRCLE
Named in honour of the first
Chief Conductor of QSO
(1947-1954)
Roberta Bourne Henry
All enquiries, please call
Gaelle Lindrea on
(07) 3833 5050
Instruments on loan
Thank you
Please contact Gaelle Lindrea on 07 3833 5050, or you can donate online at qso.com.au/donatenow
All donations over $2 are tax deductible ABN 97 094 916 444
For a list of Building for the Future donors go to qso.com.au/giving/ourdonors
PROGRAM October
15
BOOK NOW
‘TIS THE SEASON!
2016
SEASON
PACKAGES
2015
SEASON
FINALE
SAT 28 NOV
7.30PM
qso.com.au
QSO
C HRIST M AS
T RAD IT ION
SAT 21 NOV
7.30PM
19-21 NOV
9.30AM & 11AM
QPAC Concert Hall
The Courier-Mail Piazza
South Bank Parklands
QPAC
Concert Hall
On sale now!
Call the QSO Box Office
on 3833 5044 or
book online qso.com.au
Single tickets on sale from 26 October.
16
PROGRAM October
QSO & MAXIM
VENGEROV
MESSIAH
SYMPHONIC
SANTA
Famous for its sparkling arias
and powerful choruses including
the magnificent Hallelujah!
It just wouldn’t be Christmas
without QSO’s Kiddies
Cushion Concert.
PROGRAM October 17
QUEENSLAND
SYMPHONY
ORCHESTRA
CELLO
PATRON
VIOLIN 1
His Excellency the
Stephen Tooke^
David Lale~
Honourable Paul de
Linda Carello
Kathryn Close David Mitchell>>
Jersey AC, Governor
Lynn Cole
Andre Duthoit
Evan Lewis
of Queensland
Priscilla Hocking
Matthew Jones
Ann Holtzapffel
Matthew Kinmont
Stephen Phillips
Kaja Skorka
Rebecca Seymour
Craig Allister Young
CONDUCTOR LAUREATE
Johannes Fritzsch
ASSISTANT CONDUCTOR
Joan Shih
Natalia Raspopova
Brenda Sullivan
CONDUCTOR EMERITUS
Werner Andreas Albert
Brynley White
VIOLIN 2
Gail Aitken~
Wayne Brennan~
SOLOIST-IN-RESIDENCE
Shlomo Mintz
Jane Burroughs
Faina Dobrenko
Simon Dobrenko
DOUBLE BASS
Dushan Walkowicz=
Anne Buchanan
Justin Bullock
Paul O’Brien
Ken Poggioli
FLUTE
Alexis Kenny~
Hayley Radke>>
CONCERTMASTER
Delia Kinmont
Warwick Adeney
Natalie Low
PICCOLO
Tim Marchmont
Kate Lawson*
ASSOCIATE
CONCERTMASTER
Alan Smith
Helen Travers
Harold Wilson
OBOE
VIOLA
Sarah Meagher>>
Yoko Okayasu~
Bernard Hoey+
Jann Keir-Haantera
Kirsten Hulin-Bobart
CLARINET
Irit Silver~
Nicholas Tomkin
>>
+
*
^
COR ANGLAIS
Charlotte Burbrook de Vere
Graham Simpson
=
Alexa Murray
Vivienne Brooke*
Helen Poggioli
~
Huw Jones~
Brian Catchlove+
Kate Travers
BASSOON
Nicole Tait~
CONTRABASSOON
Claire Ramuscak*
FRENCH HORN
Malcolm Stewart~
Peter Luff>>
Ian O’Brien*
Vivienne Collier-Vickers
Lauren Manuel
TRUMPET
Sarah Butler~
Richard Madden>>
Paul Rawson
TROMBONE
Jason Redman~
Dale Truscott>>
BASS TROMBONE
Tom Coyle*
TUBA
Thomas Allely*
HARP
Jill Atkinson*
TIMPANI
Tim Corkeron*
PERCUSSION
BASS CLARINET
David Montgomery~
Nicholas Harmsen*
Josh DeMarchi>>
Section Principal
Acting Section Principal
Associate Principal
Acting Associate Principal
Principal Acting Principal
The Soloist-in-Residence program is supported by the T & J St Baker Charitable Trust.
The Assistant Conductor program is supported through the Johannes Fritzsch Fund and Symphony Services International.
18
PROGRAM October
BOARD OF DIRECTORS
Greg Wanchap Chairman
Margaret Barrett
Tony Denholder
Tony Keane
John Keep
Page Maxson
James Morrison AM
Rod Pilbeam
MANAGEMENT
Sophie Galaise
Chief Executive Officer
Ros Atkinson
Executive Assistant to CEO
Richard Wenn
Director – Artistic Planning
Michael SterzingerArtistic Administration
Manager
Nadia MyersAssistant Artistic Administrator
Fiona Lale
Artist Liaison
Matthew FarrellDirector – Community
Engagement and
Commercial Projects
Nina Logan
Orchestra Manager
Helen Davies
Operations Assistant
Judy Wood
Orchestra Librarian/
WHS Coordinator
Nadia MyersLibrary and Operations
Assistant
Peter LaughtonOperations and Projects
Manager
Vince Scuderi
Production Coordinator
John Nolan Community Engagement
Officer
Pam Lowry
Education Liaison Officer
Karen Soennichsen Director – Marketing
Sarah Perrott
Marketing Manager
Zoe White
Digital Marketing Specialist
Miranda Cass
Marketing Coordinator
David Martin
Director – Corporate
Development & Sales
Katya Melendez
Corporate Relationships
Manager
Emma RuleTicketing Services Manager
George Browning
Sales Officer
Celia Fitz-Walter
Sales and Ticketing Coordinator
Michael Ruston
Ticketing Services Officer
Jake Donehue
Ticketing Services Officer
Gaelle Lindrea
Director – Philanthropy
Lisa Harris
Philanthropy Officer
Phil Petch
Philanthropy Services Officer
Robert Miller
Director – Human Resources
Debbie Draper Chief Financial Officer
Sue Schiappadori
Accountant
Amy Herbohn
Finance Officer
QUEENSLAND PERFORMING ARTS CENTRE
PO Box 3567, South Bank, Queensland 4101
T (07) 3840 7444 W qpac.com.au
CHAIR
Chris Freeman AM
DEPUTY CHAIR
Rhonda White AO
TRUSTEES
Kylie Blucher
Simon Gallaher
Sophie Mitchell
Mick Power AM
EXECUTIVE STAFF
Chief Executive: John Kotzas
Director – Presenter Services: Ross Cunningham
Director – Marketing: Roxanne Hopkins
Director – Corporate Services: Kieron Roost
Director – Patron Services: Jackie Branch
ACKNOWLEDGEMENT
The Queensland Performing Arts Trust is a
statutory body of the State of Queensland and is
partially funded by the Queensland Government
The Honourable Annastacia Palaszczuk MP,
Premier and Minister for the Arts
Director-General, Department of Science,
Information Technology, Innovation and the Arts:
Sue Rickerby
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.
PROGRAM October 19
PARTNERS
Government partners
Community and education partners
Corporate partners
Media partners
Co-production partners
20
PROGRAM October