YOUNG CONSERVATORIUM WIND ORCHESTRA Flute Eliza Barry Amy Choung Cailet Christie Matthew Ilii+ Grace Jin Thomas Mallet Nathan Smith Emily Welch Oboe Liam Robinson Elena Sgalippa+
Clarinet Isabel Airlie Robert Baillie+ Emily Beutel+ Bianca Cassiano+ Lily Connelly Lorrelai Conway Livianna Melai+ Mikayla O’Flynn Liberty Prentice+ Jan Rybka Xinlin (Katrina) Wan Hannah Schwantes Yilin Zeng Bridie Brunckhorst
Bass Clarinet Nicholas Massouras Stella Tomkins Alto Saxophone Daniel Daley+ Eden Gray Anthan Mai Hannah Peacock+ Tenor Saxophone Harmony Parker+ Abby Simons Baritone Saxophone Angus Bryer+ Charlotte Nixon
Trumpet Isabella Dean+ Emma Hobson Andrew Schwantes Michael Smith+ Mitchell Stewart Robert Thamm French Horn Dylan Jones + Hannah Waterfall Trombone Dana Day Annalize de Wet+ Jessica Logan Todd Markham+
Euphonium Sebastian Allan+ Claire Darmadjaja Daniel Laine Tuba Jack Gawith Nicholas Ironside Gabrielle Warner Percussion Sarah Darmadjaja Grant Dolbel+ Rhiannon Hermann Ella Hicks+ Ethan Lin+ Samuel Liu
Bassoon Val Yip+
+The Divine Comedy
QUEENSLAND CONSERVATORIUM WIND ORCHESTRA Piccolo Elinor Hillock Flute 1 Braden Simm Aliana Geisel Sophie Schafer Flute 2 Aaryn Wong Charlie Oelckers-Priest Jennifer Pittock Oboe Joshua Cass E-Flat Clarinet Amy Kuskopf
Clarinet 1 Lewis Blanchard Kristina Newton Josephine Daniel Amy Kubler
Alto Saxophone Ashlea Stiller Sean Thompson
Trumpet 1 Isabella Geeves Xavier Bradford
Euphonium Riley Mansfield Hannah Sheldon
Clarinet 2 Nathanael Duffy Thomas Cunningham Hinata Nishimura
Tenor Saxophone Olivia Marlton Baritone Saxophone Jamie Stevens
Trumpet 2 Riley Nimmo Samuel Schimming
Tuba Stan McDonald Daniel Kirakovski
Trumpet 3 Matthew Nash
Timpani Matthew Conway
Cooper Williams
Percussion Steven Bryer Aidan Carey Aiden Ericksson Quinn Ramsey Dara Williams
Bassoon Hayden Mears Madeline Nickelson Henry Stone Layni Cameron
Clarinet 3 Catherine Edwards Livianna Melai Liberty Prentice
Contrabassoon Layni Cameron
Bass Clarinet Hugo Anaya Partida Contrabass Clarinet Joshua Rosen
French Horn Arabella Davie Matilda Monaghan Isabelle Raiz-Scanlon Jessica Piva
Trombone 1 Harrison Steele-Homes Tyler Jones-Brennan Trombone 2 Jonah Nakagwa-Morrison Tate Cassells Bass Trombone Ethan Parfoot
CONSERVATORIUM WIND ORCHSETRA
FROM THE END OF THE WORLD
Piano/Celesta Mia Huang
YOUNG CONSERVATORIUM CONCERT CHOIR Conductor, Kevin Edwards Alexandra Benny Liam Campbell Samuel Caruana Kaitlyn Chester
Isaac Clark Alexandra Clayton Archie Geddes Oliver Greenaway Eoin Hartley
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Matilda Heck Aurora Johnson Emilee Keehn Baxter Melrose Ziggi Wilson
Alice Klump Penelope Robinson Saskia Tabakov Louis van Winden Stephanie Kairl
Scarlett Nye Amelia Tuff Phoenix Hamon
Queensland Conservatorium Acting Director Associate Professor Peter Morris
Ensembles Administrator Daniel Fossi
Deputy Director (Research) Professor Brydie-leigh Bartleet
Marketing Officer Kendal Alderman
Acting Deputy Director (Learning & Teaching) Associate Professor Donna Weston
Communications Officer Louise Crossen
Head of Performance Associate Professor Peter Luff
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Venue Officer Daniel Barkley
Technical Manager Cameron Hipwell Front of House Operations Manager Michael Hibbard Operations Administrator Clare Wharton
Special Thanks Queensland Conservatorium thanks all of our generous donors and supporters.
CONSERVATORIUM WIND ORCHESTRA CONDUCTOR, PETER MORRIS WITH SPECIAL GUESTS YOUNG CONSERVATORIUM WIND ORCHESTRA CONDUCTOR, STEFANIE SMITH
FRIDAY 19 MARCH 2021, 7.30 PM CONSERVATORIUM THEATRE QUEENSLANDCONSERVATORIUM.COM.AU
YOUNG CONSERVATORIUM WIND ORCHESTRA Stefanie Smith, conductor FRANK TICHELI Vesuvius
PROGRAM NOTES FRANK TICHELI
VESUVIUS
Peter Morris, conductor
Mt. Vesuvius, the volcano that destroyed Pompeii in A.D. 79, is an icon of power and energy in this work. The composer writes, “Originally I had in mind a wild and passionate dance such as might have been performed at an ancient Roman bacchanalia. During the compositional process, I began to envision something more explosive and fiery. With its driving rhythms, exotic modes, and quotations from the Dies Irae from the medieval Requiem Mass, it became evident that the bacchanalia I was writing could represent a dance from the final days of the doomed city of Pompeii.”
JOHN MACKEY Xerxes
JAMES CURNOW
JAMES CURNOW Canticles of Creatures i. Prologue ii. Brother Sun v. Mother Earth vi. Epilogue INTERVAL CONSERVATORIUM WIND ORCHESTRA
PAVEL TSCHESNOKOV Salvation is Created ROBERT W SMITH Symphony No. 1 The Divine Comedy* i. Inferno ii. Purgatorio iii. The Ascension iv. Paradiso *joined by selected students from the Young Conservatorium Wind Orchestra
FROM THE PODIUM: Welcome to Queensland Conservatorium Griffith University and our first Wind Orchestra concert for 2021, From the End of the World. The repertoire presented tonight carries a theme of epic, ancient and other-worldly power. We welcome back the Young Conservatorium Wind Orchestra for our sixth annual combined concert event and welcome the Young Conservatorium Concert Choir.. This collaboration has proven to be a tremendous success, with ongoing benefits to students, parents, educators, the Conservatorium and the wider community. I would also like to take the opportunity to invite you back to our next Wind Orchestra concert Winds of Change on April 30th, conducted by Rachel Howley. This concert will celebrate innovative works that have made significant impact on the art form and celebrate new works by women and underrepresented composers. On behalf of all of the performers tonight, I thank you for joining us! Associate Professor Peter Morris, Head of Ensembles
CANTICLES OF CREATURES This work was inspired by the writings of Saint Francis of Assisi (1181-1226) who founded the Franciscan religious order of the Roman Catholic Church. His simple life of poverty inspired many men during the Middle Ages. Today, people admire Francis because of his love of peace and his respect for all creatures. He expressed his religious ideas in poems as well as through his ministry. These poems and lauds were not written to be read in prayer books, but to be sung either by their friars as part of their preaching exercises or as a part of their own devotions. Canticle of the Creatures sings praise to many of God's creations, with each movement depicting the stanza of the poem after which it is entitled. The following four movements to be performed tonight:
i. Prologue ii. Brother Sun v. Mother Earth vi. Epilogue JOHN MACKEY
XERXES Xerxes takes its name from Xerxes the Great, the King of Persia from 485 to 465 BC. In the composer’s words. “The music, unexpectedly, is a concert march. Whereas most marches for concert band — at least the ones with which I’m familiar — are cheerful and in many cases patriotic (usually either American or British), I wanted to write a sort of anti-march: an angry, nasty march, that still follows the traditional structure one would expect from a military march. Xerxes, as the music hopefully suggests, was one of your nastier rulers, even by ancient standards. (His claim to “fame” was invading and burning Athens to the ground.) He was assassinated by Artabanus, who in turn was murdered by Xerxes’ son, Artaxerxes. It was, to put it lightly, a violent time. What better subject matter for a march?”
PAVEL TSCHESNOKOV
SALVATION IS CREATED Pavel Grigoryevich Tschesnokov (18771944) was possibly the most prominent Russian composer of sacred choral works during his time. Tschesnokov was praised by the Soviets for his skills in choral conducting, though they remained hostile to his sacred music throughout his lifetime. Most of his work was sacred, as a devout follower of the Russian Orthodox Church, however during the Russian revolution (Bolshevik Revolution) all artists was forced to stop producing any form of sacred art. His best-known composition, one of the works he is remembered for today, is Salvation is Created, a Communion hymn based on a chant from Kiev and Psalm 74: “Salvation is made in the midst of the earth, O God. Alleluia”. ROBERT W SMITH SYMPHONY NO. 1 THE DIVINE COMEDY Symphony No. 1 The Divine Comedy, is based on Dante Alighieri’s literary classic of the same name. The principal theme behind the literary work is the concept of symbolic retribution. Man’s eternal damnation in Hell is directly correlated to the character and weight of his sin. Dante is lost in a dark wood, then befriended and rescued by the Roman poet Virgil, who guides him through a contemplation of Hell and Purgatory. After confessing his faults and with the soul of his beloved Beatrice as his guide, Dante ascends into Paradise and attains a glimpse of the face of God.
i. The Inferno Four sections musically represent the four categories of sin: incontinence, violence, hypocrisy, and treacherous fraud. Lowered through the circles of hell they hear a dreadful blast of a bugle, and are confronted with the sight of Lucifer. ii. Purgatory The island mountain of Purgatory is the realm of hope, where guilty spirits voluntarily atone for the seven deadly sins: pride, envy, wrath, sloth, avarice, gluttony and lust. The completion of the penance allows the soul to ascend to heaven. iii. The Ascension Having been instructed and purified in Purgatory, Dante and Beatrice see the sun and are transformed, and surrounded by the music of the spheres. A flight of incredible speed begins as they ascend toward the light. iv. Paradiso A single tone, representing a beam of heavenly light develops into sounds of peace, love and hope. The work concludes with an explosion of joy as they complete the journey to Paradise.
ARTISTS STEFANIE SMITH Stefanie Smith is a current DMA candidate researching the emerging careers of Australian conductors, having completed her Master of Music Studies in Conducting at the Queensland Conservatorium Griffith University under Associate Professor Peter Morris. Stefanie has acted as assistant conductor for the Opera Béatrice et Bénédict and worked with the Queensland Symphony Orchestra. Stefanie is a freelance conductor who works regularly with the Brisbane Philharmonic Orchestra and across a number programs in Queensland. Stefanie is the founder and conductor of the ensemble Consorte Eclettica which supports emerging local artists in Brisbane, premiering and performing chamber orchestra works in collaboration with other art forms. Stefanie has participated in Australian Conducting Academy with the Tasmanian Symphony Orchestra and Johannes Fritzsch as well as conducting masterclasses with Larry Rachleff (Rice University, USA) and maestro Benjamin Zander at the London Master Classes Conducting Course, with members of the Royal Northern College of Music. She is an alumnus of the Symphony Services International Conductor Development Program where she worked with a number of state orchestras in Australia. Stefanie has participated in international conducting masterclasses in Olomouc, Czech Republic and Singapore with Maestro Charles OlivieriMunroe and the Moravian Philharmonic Orchestra and Douglas Bostock with the Singapore Armed Forces Band respectively. Stefanie is a sessional academic at the Queensland Conservatorium Griffith University where she assists with the Symphony Orchestra and Wind Orchestra and teaches undergraduate conducting courses. Stefanie is also the Young Conservatorium Ensemble Coordinator where she conducts the Symphony Orchestra, Wind Orchestra, and Woodwind Ensemble and teaches Chamber Music.
ASSOCIATE PROFESSOR PETER MORRIS
YOUNG CONSERVATORIUM WIND ORCHESTRA
Associate Professor Peter Morris is currently serving as Acting Director of the Conservatorium. His continuing role is Deputy Director (Engagement) and Head of Ensembles where he also leads the orchestral conducting program. He regularly conducts the Conservatorium Wind Orchestra, Symphony Orchestra, Musical Theatre pit orchestras and other interesting ensemble projects that arise. Prior to immigrating to Australia in 2002, Peter performed in the US and internationally on trumpet and as a conductor in a wide variety of genres from Baroque orchestras to commercial session work in Los Angeles for film and Television. Peter completed his doctoral studies in conducting at UCLA and has held teaching positions at American universities in California, Texas and Colorado. Over the past 19 years in Australia, he has worked across a wide variety of settings from primary, secondary, tertiary, community and professional settings. He was the Director of Music at Villanova College in Brisbane for 10 years, where he also served as Artistic Director for the Queensland Catholic Schools and Colleges Music Festival. Peter has complemented his academic work with professional conducting activity in largescale cultural projects and recording sessions for local film and TV. He conducted the Queensland Symphony Orchestra’s soundtrack recording to the new Australian film The Second, available on STAN, and often works with the QSO for their contemporary and collaborative WAVE projects and education concerts. Peter is an advocate for commissioning new works and re-imagining existing musical structures and has an enthusiasm for exploring exciting collaborations to create performances that matter.
The Young Conservatorium Wind Orchestra is the premier symphonic ensemble of the Young Conservatorium. Conducted by Stefanie Smith, this ensemble has performed extensively in the Conservatorium Theatre and as a guest ensemble at numerous schools throughout South-East Queensland. Regularly invited to participate in workshops or as the ensemble for numerous professional development programs, this ensemble is in high demand. The opportunity to perform in concert with the Conservatorium Wind Orchestra has become a highlight of the concert season for the Young Conservatorium Wind Orchestra. This year the ensemble will take part in the Young Conservatorium foyer concert series and performance engagements with Queensland Children’s Hospital and the BCC Bands in Parks program.
QUEENSLAND CONSERVATORIUM WIND ORCHESTRA The Conservatorium Wind Orchestra has enjoyed a long history of exciting and definitive performance, as one of Australia's premier wind, brass and percussion ensembles. Under the baton of Associate Professor Peter Morris, the ensemble continues to evolve within the everchanging trajectory of this relatively new art form. This ensemble continually strives to set the benchmark for performance across the nation presenting a vast scope of repertoire from time-honoured masterworks to contemporary works from across the globe and innovative new commissions from local Australian composers. This ensemble’s focus extends far beyond the walls of the Conservatorium, enriching and supporting the local community of composers, conductors, educators and school students.
Beethoven Symphony No.3 Eroica Friday 26 March, 7.30 pm
Winds of Change Friday 30 April, 7.30 pm
Conducted by Johannes Fritzsch, the Conservatorium Symphony Orchestra performs Beethoven’s majestic Symphony No.3 Eroica, as well as symphonic tone poem The Oak by influential African American composer, Florence Price.
Under the baton of Rachel Howley, the Conservatorium Wind Orchestra presents a program featuring Grainger’s much-loved Lincolnshire Posy and a World Premiere of a new work by Australian-based composer, Catherine Likhuta.