Concerto Festival Program

CONCERTO FESTIVAL CONSERVATORIUM SYMPHONY ORCHESTRA

CONDUCTORS PETER LUFF & PETER MORRIS

FRIDAY 11 DECEMBER, 5.30 PM AND 7.30 PM CONSERVATORIUM THEATRE QUEENSLANDCONSERVATORIUM.COM.AU

PROGRAM 1 JOSEPH HAYDN Concerto No.1 in D major for Horn, Hob.VIId:3 i. Allegro NICOLA ROBINSON, French Horn ERNEST CHAUSSON Poème for Violin & Orchestra, Op.25 FIONA QIU, Violin ÉDOUARD LALO Concerto in D minor for Violoncello & Orchestra i. Prelude, lento – Allegro maestoso NADIA BARROW, Cello WOLFGANG AMADEUS MOZART Concerto in A major for Clarinet & Orchestra, K.622 i. Allegro DAYNA JOHNSTON, Clarinet FRANZ WAXMAN Carmen Fantasie HARRY EGERTON, Violin

PROGRAM 2 DMITRI SHOSTAKOVICH Concerto No.2 in F major for Piano & Orchestra, Op.102 i. Allegro FRANCIS ATKINS, Piano ANTONIO VIVALDI Concerto in C major for Piccolo & Strings, RV 443 i. Allegro ii. Largo iii. Allegro molto LAURA CLIFF, Piccolo BRUCE BROUGHTON Concerto for Tuba and Orchestra i. Allegro moderato ii. Aria (Andante moderato) ii. Allegro leggiero RACHEL KELLY, Tuba NIGEL WESTLAKE Antarctica Suite for Guitar & Orchestra ii. Wooden Ships iii. Penguin Ballet JEREMY STAFFORD, Guitar SERGEI PROKOFIEV Concerto No.1 in D major for Violin & Orchestra, Op.19 i. Andantino DONICA TRAN, Violin RICHARD MILLS Concerto for Trumpet & Orchestra iii. Vivace MICHAEL WHITAKER, Trumpet

PROGRAM 1 NOTES CONCERTO NO.1 IN D MAJOR FOR HORN, HOB.VIID:3 (1762)

I. ALLEGRO Joseph Haydn Haydn’s first horn concerto was one of the earliest works he produced during his tenure at the Esterházy estate. Possibly written for the Esterházy court horn player Thaddaus Steinmüller, Haydn’s concerto explores the full range of the instrument throughout its three movements. Typical of concerti of the time, the first horn concerto is scored for strings and two oboes.

The opening arpeggio statement of the first movement resembles the Mannheim rocket, an exciting compositional feature that is exemplified in the works of Haydn’s friend Mozart. The first theme of the movement is characterised by this majestic arpeggio, which the horn develops from its initial statement in the strings. After the first entry of the primary theme by the horn a short pause is heard, leading to the next theme in the dominant key. Here, the horn soars near the top of its range, with semiquaver flourishes and trills. As the piece progresses, we hear the return of these themes in the original key, culminating in an exciting and brief cadenza and stately conclusion.

POÈME FOR VIOLIN & ORCHESTRA, OP.25 (1896) Ernest Chausson Commissioned by Eugène Ysaÿe, Chausson wrote of this work “I hardly know where to begin with a concerto . . . But I can cope with a shorter work. It will be in very free form with several [solo] passages”.

Originally titled Le Chant de l’amour triomphant, after a novella by Chausson’s acquaintance, Poème does not follow any particular structure.

Its passions and extremes of emotion follow Chausson’s own state of mind at the time.

Known for his melancholy, his personal writings and letters to others betray the mindset of a man who struggled to break free from selfdoubt. Isaac Albéniz, his friend and fellow composer, secretly arranged for Breitkopf to publish Poème out of his own pocket after they dismissed it as “vague and bizarre”. As Chausson was independently wealthy, this gesture was intended more to support the composer in his artistic endeavours rather than to financially benefit him.

Chausson’s sincere friendship with Eugène Ysaÿe contributed significantly to his compositional approach, along with his interests in literature, poetry and the teachings of his mentor César Franck. Ysaÿe claimed later to have written sections of the solo violin part; more specifically, the soloist’s double-stopped passage near the opening of the work, with the framework thereof supplied by Chausson and elaborated upon by Ysaÿe.

Twenty years after working with him, Debussy would write of the Poème: The freedom of its form never goes against its harmonious proportion. The sense of dreamy gentleness is at its most touching at the end when, leaving aside all trace of description and anecdote, the music becomes that very feeling which inspires its emotion. Such moments in the work of an artist are very rare.

CONCERTO IN D MINOR FOR VIOLONCELLO & ORCHESTRA (1876)

I. PRELUDE, LENTO –

ALLEGRO MAESTOSO Édouard Lalo Lalo’s musical career was a testament to his resolve and determination throughout his life. His earlier forays into writing chamber music and opera met with little acclaim, with his success in public life coming only once he had reached his fifties. He is most often recognised for his Symphonie Espagnole (1874) and his Concerto for Cello, the first movement of which will be played today.

The work opens in a tumultuous D minor from the orchestra, with a fortissimo dominant chord announcing the first solo entry in a recitativo style. Lalo orchestrates the accompaniment considerately, providing sustained chords underneath a passionate and driven cello line to allow it to soar effortlessly.

The strong tonal center continues into the Allegro moderato, before giving way to a second theme marked dolcissimo expressivo.

This departure coaxes sweetness out of the cello, with flutes and pianissimo strings supporting a gentler and more lyrical texture before abruptly returning to the minor, with the soloist’s thematic material giving way to a dizzying display of semiquaver flourishes.

For the remainder of the work, the cello leaps between thoughtful, richly presented melodic lines and technical virtuosity across the instrument’s registers before culminating in an upward flourish for the final tutti.

CONCERTO IN A MAJOR FOR CLARINET & ORCHESTRA, K.622 (1791)

I. ALLEGRO Wolfgang Amadeus Mozart Written for Anton Stadler, this concerto is thought to have been originally intended for performance on the basset clarinet, which Stadler championed despite its relative rarity.

The work was finished in 1791, the final year of Mozart’s life. It would be premiered only seven weeks before he passed away, and was formally published in 1802 for standard A clarinet. The original score’s whereabouts are unknown; despite musicologists’ work on the subject, we may never know precisely the alterations made in the process of publication.

The work consists of three movements, the first of which will be performed today. The Allegro is in sonata form, opening with a cheerful orchestral tutti that is returned to throughout the work (a ritornello). The soloist begins with a restatement of the theme, immediately moving to virtuosic scalic and arpeggiated lines that leap between registers.

After the second theme, the orchestral ritornello is played against the soloist’s accompanying figures, featuring a delightful Alberti bass line more typically seen as a piano left hand accompaniment. The development presents new key areas, including the relative minor and the subdominant. Finally, staccato strings lead the listener to the recapitulation and joyous final ritornello.

CARMAN FANTASIE (1946) Franz Waxman Written as part of Waxman’s score for the 1946 movie, Humeresque for which he received an Academy Award nomination for Best Music Scoring of a Dramatic or Comedy picture, Carmen Fantasie is a virtuosic showpiece for violin and orchestra. The music is based on various themes from Bizet’s opera Carmen and similar in structure to the similarly titled work Carmen Fantasy by Pablo de Sarasate was originally meant to be played

by Jascha Heifetz. For the film’s recording of the score, he was replaced with a young Issac Stern who hands can be seen in the close-up shots from the movie.

Heifetz asked Waxman after seeing the film is he could expand the work as he wanted to play it on The Bell Telephone Hour, where it premiered in September 1946. The work has since been performed by virtuoso violinists across the world and has been adapted for viola and trumpet as well.

PROGRAM 2 NOTES CONCERTO NO.2 IN F MAJOR FOR PIANO & ORCHESTRA, OP.102 (1957)

I. ALLEGRO Dmitri Shostakovich Composed as a birthday gift for his 19-yearold son Maxim, Dmitri Shostakovich intended this work to be the last he wrote for solo piano. This three-movement concerto was premiered by Maxim as part of his graduation from the Moscow Conservatory.

Unlike many of his works, the F major piano concerto is characterised by its positivity and cheerfulness, a quality which may be due to Shostakovich’s intention for it to be well understood by younger pianists who were still musically developing.

The first movement has a light march-like character and begins by featuring the piano in octaves. Despite the overall joyful character of the work, the undeniable dark touch of Shostakovich’s writing can be felt in the unsettling string parts as they play excitingly off the beat. Further familiar orchestrational touches are undeniably present in the woodwind unison parts, as the movement develops into a fugue-like section. This fugue is first featured in the piano alone before the woodwinds join in after a short while. From here, we can hear a triumphant close to the movement as the pianist plays scales and arpeggios, uncovering the main theme before concluding.

CONCERTO IN C MAJOR FOR PICCOLO & STRINGS, RV 443 (1728)

I. ALLEGRO II. LARGO III. ALLEGRO MOLTO Antonio Vivaldi Within his lifetime, Vivaldi was known as one of Europe’s premier composers. His remarkable facility for writing concerti is well known; he once claimed to be able to write works faster than scribes were able to copy them. With over five hundred concertos in his oeuvre, the Concerto in C is one of just three for flautino (little flute). It demonstrates the three-movement fast-slow-fast form that he used regularly, with the interior slow movement providing a contrast to the intense technicality and energy of the first and the final movements.

Opening with a buoyant tutti, the solo lines of the first Allegro feature relentless semiquaver passages that challenge the fingers while requiring extreme delicacy to remain in tune. The second movement (Largo) is an exquisitely beautiful exploration of the unique sounds of the instrument; it floats above the restrained tapestry of held chords, ornamenting freely. The work finishes with a relentless Allegro molto; of particular note here are the liquidly flowing triplet passages, effortless in their execution right up to the finale.

CONCERTO FOR TUBA AND ORCHESTRA (1987)

I. ALLEGRO MODERATO II. ARIA (ANDANTE MODERATO) III. ALLEGRO LEGGIERO Bruce Broughton The Concerto for Tuba and Orchestra began its life as a sonata for solo tuba and 24 orchestra winds. Later, in 2003, Broughton altered this sonata into a concerto so that a full orchestra could perform it. This short concerto is only a little over ten minutes long and initially written for the American tubist Tommy Johnson, a musician known for performing on over two thousand film soundtracks, including on John Williams’ score for Jaws.

The first movement of this playful concerto opens up with a lighthearted combination of strings and bassoon, joined by pizzicato cello and low contrabassoon stabs. As with the entire concerto, the instrumentation and harmonic writing of this movement is evocative of Hollywood films.

Opening with a beautiful melodic line in the solo tuba part, the second movement is reminiscent of an aria. Here, the wonderful qualities of the tuba as a melodic instrument shine through as it navigates through dark and dissonant harmonies and shimmering string textures before coming to rest.

To close the concerto, Broughton writes an exciting and angular finale. This finale, marked Allegro leggiero (Fast and light) features delightful combinations of woodwinds, harp and percussion throughout. A few bright declarations in the brass then push the work to a robust and decisive conclusion.

ANTARCTICA SUITE FOR GUITAR & ORCHESTRA (1991)

II. WOODEN SHIPS. I. PENGUIN BALLET Nigel Westlake Following on from his scoring of the films Candy Regentag (1989) and Act of Necessity (1991), and preceding his work on Babe (1995), Nigel Westlake wrote the score for the IMAX film Antarctica (1991). The suite, commissioned for the 60th birthday of the ABC, is based on the film score and was first recorded by the Tasmanian Symphony Orchestra, featuring Tim Kain as the soloist.

Wooden Ships is a tribute to the first explorers, whose fragile wooden ships were always at risk of being smashed by the ice. The music is lyrical and nostalgic, reflecting on the frailty of humankind in this environment.

Penguin Ballet opens with a trickling harp line, supported by the strings. This soon gives way to the guitar soloist, who is joined by the warmth of bass pizzicato before engaging in playful conversation with the violins, and woodwinds.

The violins then play a beautiful theme which continues to develop and cycle, along with the birdlike calls in the woodwinds, culminating in a gentle conclusion to this short movement.

CONCERTO NO.1 IN D MAJOR FOR VIOLIN & ORCHESTRA, OP.19 (1917)

I. ANDANTINO Sergei Prokofiev This beautiful movement from Prokofiev’s first violin concerto was written at a politically tumultuous time, which culminated in the abdication of Tsar Nicholas II and eventually the October Revolution. Prokofiev seemingly used this time of unrest well, finding a burst of productivity in his composing as he completed several piano works and his first symphony, in addition to this concerto.

The first movement opens with a shimmering and mysterious gesture in the violas which serve as a cloud for the violin soloist to rise from. The first entry of the solo is marked sognando (dreamily), and prefaces a growing in texture as more violins and woodwind instruments begin to emerge. As the violin descends from soaring heights, the oboe responds with an echo of the opening theme. From here the concerto develops a warmth with the introduction of the lower strings, gently pairing the first desk of double basses in unison with the pizzicato of the celli. Following some large ascending scales, Prokofiev introduces the more bold second theme, marked accordingly as narrante (as if narrating). This was clarified by the composer as he instructed the violinist David Oistrakh: “play it as though you’re trying to convince

someone of something.” The development is then marked with the pizzicato of the solo violin, and the recapitulation is interestingly ushered in by a statement of the theme by the flute, not the soloist.

CONCERTO FOR TRUMPET AND ORCHESTRA (1982) Richard Mills Richard Mills has had an extensive career as a composer and conductor in Australia receiving numerous prestigious awards and accolades including an Order of Australia. His Trumpet Concerto is one of his earlier works composed in 1982 for trumpet and orchestra, written for Tasmanian trumpeter Bruce Lamont.

Sydney Symphony Orchestra principal trumpet, David Elton described Mills as one of Australia’s greatest composers. “The concerto is a challenging piece for trumpet, it requires the trumpet to play very intensely up high, and then suddenly drop to play very soft and lyrically.”

ARTISTS ASSOCIATE PROFESSOR PETER LUFF, CONDUCTOR Peter Luff is Head of Performance at Queensland Conservatorium Griffith University and Associate Professor in Horn and Brass studies. He holds a Bachelor of Music Performance from Adelaide University’s Elder Conservatorium and a Master of Music specialising in Instrumental conducting from Queensland Conservatorium Griffith University (QCGU). As a conductor, Peter has extensive experience in a diverse array of performance disciplines which include symphonic repertoire, chamber music, Brass Band and Opera. Peter has conducted many orchestras and ensembles including the Queensland Symphony Orchestra, Tasmanian Symphony Orchestra brass ensemble, Bangalow Festival Orchestra, Brisbane Philharmonic, Brisbane Symphony Orchestra, Queensland Conservatorium Symphony and Opera Orchestras, the Brisbane Excelsior Band and Brisbane Brass. Peter made his debut with Opera Queensland earlier in 2019 with a performance of Verdi’s Requiem. During his time as a professional Horn player Peter has performed with orchestras and ensembles including the Queensland Symphony Orchestra, Melbourne Symphony Orchestra, Sydney Symphony Orchestra, West Australian Symphony Orchestra, Australian World Orchestra, Australian Chamber Orchestra, West Australian Symphony Orchestra, Hong Kong Philharmonic, Southern Cross Soloists and is amember of QCGU ensemble in residence, Ensemble Q.

ASSOCIATE PROFESSOR PETER MORRIS, CONDUCTOR Associate Professor Peter Morris is Head of Ensembles and Deputy Director (Engagement) at the Queensland Conservatorium Griffith University, 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.

NICOLA ROBINSON, FRENCH HORN Brisbane born and raised horn player Nicola Robinson recently graduated from the Queensland Conservatorium Griffith University (QCGU) where she studied under the tutelage of Peter Luff, Ysolt Clark and Malcolm Stewart. Nicola freelances across Brisbane and is a casual musician with the Queensland Symphony Orchestra, Queensland Pops Orchestra and Queensland Camerata. Nicola has performed several times as a mentee with EnsembleQ, most notably alongside the Lisa Gasteen National Opera School and conductor Simone Young.

Throughout her time at university Nicola has been an active member of chamber music ensembles including the awardwinning Anemoi Wind Quintet and has played frequently in the QCGU Symphony Orchestra.

A particular highlight was performing principal horn in Strauss’ Ein Heldenleben under maestro Johannes Fritzsch.

FIONA QIU, VIOLIN

DAYNA JOHNSTON, CLARINET

FRANCIS ATKINS, PIANO

Fiona Qiu has completed her third year at the Queensland Conservatorium Griffith University studying with Michele Walsh. She was concertmaster of the Australian Youth Orchestra National Music Camp twice, and the Conservatorium Symphony Orchestra’s performance of Strauss’ ‘Ein Heldenleben’. In 2019, she attended the AYO International Tour and Chamber Players. During her music degree, she was winner of the prestigious QCGU Ena Williams Award, Postgraduate Prize, Owen Fletcher Prize, Barbara Hebden Bursary, Matilda Jane Aplin Prize, Vada Jefferies Prize, Basil Jones Sonata Prize, Nora Baird Bursary and the German Travel Bursary.

As a soloist, Fiona was featured on 4MBS Classic FM as winner of the QCGU Brisbane Clubs Award, and played for Ray Chen in the 2018 Musica Viva masterclass. Along with her university quartet, Fiona has won the Ross Peters 4MBS Chamber Prize, and was mentored by the New Zealand String Quartet at the Adams Summer Music Festival. Outside of music, Fiona enjoys photography and eating food.

Dayna Johnston is a passionate clarinetist who is bringing a fresh wave of creative energy to today's music scene. Originally from Cairns, Dayna performs with a range of industry professionals as a recent Bachelor of Music in Performance graduate and Deans Sir Samuel Griffith Scholarship recipient at the Queensland Conservatorium Griffith University. She has performed with the Queensland Symphony Orchestra, held the position of principal clarinet with the Queensland Youth Symphony, worked with Ensemble Q and regularly performed in the Queensland Conservatorium Symphony Orchestra. She was also a founding member of the award-winning Anemoi Wind Quintet.

Under the guidance of renowned clarinetist and composer, Associate Professor Paul Dean, and tutelage of world-class clarinetists Andrew Marriner, Dimitri Ashkenazy and Johannes Peitz, Dayna’s musical journey continues to develop.

Francis Atkins is a young aspiring Australian pianist. He has performed in multiple musical hotspots around Australia, including the Sydney Opera House, the Queensland Performing Arts Centre, and is a regular at the Bangalow Music Festival. Guided through his Bachelor studies by Natasha Vlassenko, he has flourished into a fiery and passionate performer. Francis maintains a growing career as a pianist and is frequently engaged in performances with choral and chamber ensembles, as well as solo recitals. In 2019, he gave his debut concerto performance as soloist with the Ipswich City Symphony, and in 2020 was selected as a Brisbane Music Festival young artist, and as a Next Generation Artist with the Southern Cross Soloists. In his spare time, Francis enjoys watching nature documentaries and irreverent comedies, learning the music of Rachmaninoff and Debussy, cooking, and practising piano at midnight; much to the disdain of his neighbours and flatmate.

NADIA BARROW, CELLO Nadia’s performances have taken her throughout America, Australia, Germany and New Zealand, appearing on some of the World’s great stages such as Carnegie Hall.

Her passion for solo and small ensemble performance has motivated frequent appearances in Recitals Australia and Musica Viva concert series, and she was exhilarated by her invitation to return and perform in the Australian Festival of Chamber Music and North Australian Festival of Arts in the 2020 Professional Development Ensemble. Nadia made her professional concerto debut with the Norwood Symphony Orchestra as 2017 prize-winner. Nadia currently has the privilege of studying under internationally acclaimed soloist and chamber musician György Derí at the Queensland Conservatorium Griffith University where she is recipient of the Sir Samuel Griffith Scholarship, Nora Baird Audition Bursary and the George Alexander Foundation Scholarship, took great joy in leading the Conservatorium Symphony Orchestra cellists and has won the Piatti and 4MBS Chamber Music Prizes. She recently successfully auditioned to the Australian National Academy of Music.

HARRY EGERTON, VIOLIN Harry Egerton is a third year Bachelor of Music candidate, studying violin performance with Michele Walsh. During his studies at the Queensland Conservatorium of Music, Harry was awarded the Ronald Clifford Davis Prize (2018, 2019, 2020), Paganini Prize (2018, 2019, 2020), Matilda Jane Aplin Prize (2019) and Vada Jeffries Prize student vote (2020). In February 2020, he travelled to North America, receiving lessons from teachers such as Patty Kopec (Manhattan School of Music), Joseph Lin (Julliard), Atis Bankas (Toronto University) and Axel Strauss (Schulich School of Music). At the 2020 McGill University Musical Chairs festival, he recieved tuition from musicians including Kim Kashkashian, Andre Roy, Peter Wiley, and James Campbell. Previously, he also had lessons at the Conservatorium from visiting artists including Aiko Goto, Dale Barltrop, Corey Cerovsek, Dimity Hall, Julian Smiles, Janet Davies, Umberto Clerici, Natsuko Yoshimoto, Florian Dunderer and Gregory Lee. Harry has performed a number of times as a paid mentee for Ensemble Q and was invited to perform as a paid mentee for the Diggers Requiem in Canberra (2018).

LAURA CLIFF, PICCOLO NSW Open Age Flute Champion Laura Cliff has loved music from a young age. She is currently appointed principal flute for the Australian Youth Orchestra's 2020 programs.

Laura completed her Bachelor of Music (Performance) at QCGU this year with former Principal Flute of the Australian Chamber Orchestra, Virginia Taylor. She has undertaken the Queensland Symphony Orchestra Internship, the Adelaide Symphony Orchestra Fellowship and performed with Ensemble Q. Laura is passionate about promoting the piccolo as a standalone solo performance instrument. She has performed in principal piccolo positions with the Australian Youth Orchestra, Conservatorium Symphony Orchestra and with Opera Australia in their Opera on the Beach collaboration with QCGU. Laura is looking forward to pursuing a career as an orchestral musician.

RACHEL KELLY, TUBA

DONICA TRAN, VIOLIN

CONSERVATORIUM SYMPHONY ORCHESTRA

Rachel Kelly is a Brisbane-born tuba player who relishes in making meaningful music with others. She has performed with the Queensland Symphony Orchestra, the Australian Youth Orchestra and is an active member of chamber ensemble, The Boxties, with whom she has performed with in several original shows at the Queensland Performing Arts Centre. Rachel was awarded first place in the 2020 Beta Sigma Phi Brass Prize and is a recipient of the Sir Samuel Griffith Scholarship. This year Rachel is concluding her studies at the Queensland Conservatorium Griffith University where she has been guided

by Mr Thomas Allely. Alongside her peers from the Conservatorium, Rachel performs often with her brass quintet, the Unidentified Brass Objects.

Donica Tran is currently studying at the Queensland Conservatorium Griffith University under the tutelage of renowned pedagogue Michele Walsh, where she has been the recipient of major awards and scholarships including the Ross Peters 4MBS Chamber Music Prize, Vada Jefferies Bach Prize, Joyce Campbell Lloyd Scholarship and the Griffith Award for Academic Excellence.

With a keen interest in chamber music, Donica is a founding member of the prizewinning Emperor String Quartet, who have performed internationally and participated in masterclasses with artists from the Emmerson, Australian and Borodin String Quartets. Donica also has a love for orchestral music and has enjoyed playing with the Australian Youth Orchestra and with the Canberra Symphony Orchestra. As a soloist, Donica has performed throughout Brisbane and Canberra, playing concertos with the Canberra Youth Orchestra, Sunshine Coast Symphony Orchestra and Conservatorium Symphony Orchestra. In 2021, Donica will commence training at the Australian National Academy of Music with Dr Robin Wilson.

The Conservatorium Symphony Orchestra consists of approximately 90 of the most talented young instrumentalists in Queensland. The orchestra performs an annual series of orchestral concerts, large choral works, operatic and musical theatre productions in addition to a wide variety of creative collaborations both on-site as well as in the wider community.

Queensland Conservatorium supports an annual commissioning project, supporting the creation and performance of new works and the orchestra collaborates regularly with other departments in the Conservatorium, and across the university. Students in the Queensland Conservatorium orchestral program have the unique opportunity to perform under the baton of a variety of conductors, instilling a flexibility required in the profession. Resident conductors Johannes Fritzsch, Peter Luff and Peter Morris are joined each year by distinguished guest conductors from around the world, providing the students with the rich variety of experience they will find when entering the profession. Notable guest conductors have included Sir Neville Marriner, Peter Sculthorpe, Jessica Cottis, Nicholas Braithwaite, Natalia Raspopova, Larry Rachleff and Elim Chan, to name a few.

JEREMY STAFFORD, GUITAR First hearing the classical guitar on his family’s Julian Bream records, Jeremy was inspired to begin learning the instrument, and that spark carries through in his playing today.

Commencing his studies with renowned pedagogue Dr Paul Svoboda, Jeremy is now a student of the ARIA winning head of classical guitar at the Queensland Conservatorium Griffith University, Karin Schaupp. Recently the winner of the QCGU guitar prize, Jeremy’s abilities as a soloist have been on display throughout Australia, such as in the Melbourne Guitar Competition. In addition to his solo experience, Jeremy has been a member of both the Aurora and Riverside guitar ensembles, touring with them to the Adelaide Guitar Festival and Tyalgum Music Festival respectively.

MICHAEL WHITAKER, TRUMPET Michael Whitaker’s career as an orchestral trumpet player has seen him perform as a casual musician in the Queensland Symphony Orchestra and Camerata, as well as a freelance artist in several hotspot venues such as the Home Of The Arts (Gold Coast) and Brisbane Powerhouse. To date, he has worked with established theatre companies such as Understudy Productions and Brisbane Musical Theatre. A long-lasting family heritage in the Maryborough Brass band inspired Michael to pursue his passion for the trumpet which has since led to a successful career in performance and education. Michael currently teaches Upper Brass and directs Preparatory school ensembles at The Southport School on the Gold Coast. Michael is currently a third year Classical Trumpet student at QCGU and studies under Sarah Butler.

In 2020 Michael performed as Principal Trumpet for the Queensland Conservatorium Symphony Orchestra and Lead Trumpet in the Queensland Conservatorium Big Band.

CONSERVATORIUM SYMPHONY ORCHESTRA 5.30PM PERFORMANCE Violin 1 Haydn, Chausson

Jordan Hall*

Sola Hughes Lalo, Mozart, Waxman

Sola Hughes *

Julian Duthoit

Jordan Hall

Liam Freisberg

Emily Ampt

7.30PM PERFORMANCE Violin 1

Julia Hill*

James Tudball

Jordon He

Noah Van Den Berg

Kevin Hsu

Viola

Harrison Swainston*

Kyle Brady

Sebastien Masel

Nikhil Deo

Clarinet

Rory Davison*

Amy Kuskopf Bassoon

Christopher Buckley*

Sam Battock

Cello

Shuhei Lawson*

Michael Gibson

Ho-se Kim

Violin 2

Robert Smith*

Chae Eun Oh

Georgina Brindley

Edmund Mantelli

Chloe Mclean

Violin 2

Claire Litwinowicz*

Emilia Jarvela

Michalina Konopka

Kristelle Jaimes

Alison George

Brianna Coles

Viola

Murray Kearney*

Daniel You

Jeremy Egerton

Caitlin Annesley

Bass Trombone

Rhys Keane* Timpani

Grace Kruger* Percussion

Neacail McMillan*

Mikaela Thomsen

Cara Daily

Kaleah Scanlon

Bass

Georgia Lloyd*

French Horn

Rhiannon Hurn*

Patrick De Koster

Audrey Witmore

Lauren Owens

Flute

Rhoslyn Carney*

Abigail Dicks

Trumpet

Elisabeth Bell*

Isabella Geeves

Oboe

An Nguyen*

Joshua Cass

Trombone

Adam Haks*

William Muir

Cello

Francesca Masel

Daniel Shearer

Bass Clarinet

Rory Davison*

Bass Trombone

Brady Foxley-Conolly*

Bassoon

Jamie Dodd*

Madeline Nickelson

Tuba

Samuel West*

Bass

Ethan May*

Millie Antliff Flute Shostakovich, Broughton, Westlake, Prokofiev

Ev Ramadan* Mills

Vittoria Von Caemmerer*

Elinor Hillock Oboe

Ruby Cooper*

Shana Hoshino Clarinet

Simon Redshaw*

Caroline Pigerre

French Horn Shostakovich, Westlake, Prokofiev

Ben Messenger* Broughton

Natalie Douglas* Mills

Prudence Russell*

Preston Ellis Trumpet

Matthew Eisenmenger*

Nicholas Jones

Harp

Jemma Telleman*

Timpani Shostakovich, Broughton

Yvette Agapow* Westlake, Prokofiev

Skylar Sansome* Percussion

Skylar Sansome

Willow Giles

Yvette Agapow Harp

Jemma Telleman* Harpsichord/Piano

Tokiwa Onoda*

Trombone

Peter Kleinschmidt*

Katherine Keane SPECIAL THANKS

Queensland Conservatorium thanks all of our generous donors and supporters. Queensland Conservatorium would like to acknowledge our instrument bank donors supporting the following students in tonight’s performance.

Harry Egerton - Violin 1, purchased with the support of the Jani Haenke Charitable Trust Donica Tran - Boustred Violin, loaned by Mrs Maggie Goodfellow Sola Hughes - Victor Licciardi Violin, donated by Mrs Pauline Licciardi Daniel You - Viola, purchased with the support of the Jani Haenke Charitable Trust Joshua Cass - Oboe, purchased with the support of the Jani Haneke Charitable Trust Rory Davison - Clarinet Bb, purchased with the support of the Jani Haenke Charitable Trust Julia Hill - Violin 2, purchased with the support of the Jani Haenke Charitable Trust Francesca Masel - Cello, purchased with the support of the Jani Haenke Charitable Trust Caroline Pigerre - Clarinet A, purchased with the support of the Jani Haenke Charitable Trust *denotes Principal player

Acting Director Professor Gemma Carey Deputy Director (Engagement) Associate Professor Peter Morris Acting Deputy Director (Learning and Teaching) Associate Professor Donna Weston Deputy Director (Research) Professor Brydie-Leigh Bartleet Head of Performance Associate Professor Peter Luff Head of Opera and Orchestral Studies Professor Johannes Fritzsch Conservatorium Manager Stuart Jones Technical Manager Cameron Hipwell Front of House Operations Manager Michael Hibbard Operations Administrator Clare Wharton Ensembles Administrator Daniel Fossi Marketing Officer Kendal Alderman | Zehra Rabbani Communications Officer Louise Crossen Technical Officers Keith Clark | Len McPherson Venue Officers Daniel Barkley | Mauricio Iregui | Felicity Clark

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