Contents - Queensland Symphony Orchestra

Contents 

QSO with Markus Schirmer 

Maestro 2 

Espana! 

Music on Sundays 1 

QSO plays Elgar 

Morning Masterworks 1 

QSO with Sergio Tiempo 

Maestro 3 

3 

11 

17 

23 

Biographies 29 

CONCERT HALL ETIQUETTE 

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QSO ON THE RADIO 

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2012 | QSO MARCH PROGRAM 1

MAESTRO 2 

QSO WITH 

MARKUS SCHIRMER 

8pm, Saturday 3 March | QPAC Concert Hall 

CONDUCTOR 

PIANO 

Johannes Fritzsch 

Markus Schirmer 

R. STRAUSS Festliches Praeludium 

MOZART Symphony No.41, Jupiter 

-interval- 

MOZART 

JANÁCEK 

Piano Concerto No.24 

Sinfonietta 

2 2012 | QSO MARCH PROGRAM 


Program Notes 

RICHARD STRAUSS 

(1864-1949) 

Festliches Praeludium (Festival Prelude) Op.61 

The Vienna Konzerthaus, which opened in 

October 1913, was conceived as a multipurpose 

entertainment centre (its original 

design, made as early as 1890, included an 

ice-skating rink) with the three concert halls. 

It was envisaged as a home both for concerts 

of a more popular nature than those given 

at the established Musikverein, and as a 

platform for the presentation of new work. 

The crowning event of the building’s opening 

festivities was, inevitably, a performance of 

Beethoven’s Ninth Symphony, and Richard 

Strauss was commissioned to write the 

curtain-raiser. 

The Festival Prelude is a piece of occasional 

music by a master-craftsman. Reflecting 

the large dimensions of the new concert 

hall, and in keeping with the joyous occasion, 

it is an uncomplicated work that banishes 

instruments of delicate sonority and, as 

Norman Del Mar has put it, creates ‘massive 

effects with simple contrasts of colour’. The 

score calls for an orchestra of some 150 

players, including organ, six, or ideally 12, 

antiphonal trumpets, and a large band of 

strings and woodwinds. The work opens with 

a magisterial blast of seemingly unrelated 

major chords from the organ, which is 

answered by fanfares from the full orchestra. 

The main themes of the work, which remains 

almost totally in the bright key of C major, 

follow. Del Mar, who dismisses the piece as 

‘an inflated trifle’, regards them as derivative 

of Brahms and Weber, but Michael Kennedy, 

closer to the mark, hears them as a deliberate 

evocation and homage to the great tradition 

of Austrian music. 

Gordon Kerry © 2012 

WOLFGANG AMADEUS 

MOZART (1756-1791) 

Symphony No.41 in C, K.551 Jupiter 

Allegro vivace 

Andante cantabile 

Menuetto e Trio (Allegretto) 

Molto allegro 

Musicians often complain that titles or 

nicknames given to pieces are misleading, 

and that lack of a title has prevented many a 

fine work from becoming well-known. Only 

rarely was the title given by the composer. 

On the autograph of this, his last symphony, 

Mozart wrote only ‘Sinfonia’; the title ‘Jupiter’ 

probably originated in London, where it may 

have been coined by Haydn’s London sponsor, 

the violinist and entrepreneur Salomon. 

The title ‘Jupiter’ has a neoclassical ring. 

Images of stately architecture and godly 

nobility are conjured up by the grand opening 

of the symphony. Muted violins contribute 

to a completely different mood for the slow 

movement; intensely expressive figures for 

the strings are punctuated by strong chords, 

and a disturbing undercurrent of emotion is 

maintained by syncopations and repeated 

figures. The Minuet is this symphony’s most 

subtle movement, with its chromaticism 

and its brief but powerful reminders of the 

majesty of the whole symphony. The Trio 

seems more continuous with the Minuet 

than usual, though its beginning arrests the 

ear, causing us to wonder what will follow. 

In 19th-century Germany the ‘Jupiter’ was 

known as ‘the symphony with the fugal 

finale’. What is unusual here is the consistent 

seriousness and weight of the finale (though 

not without contrast), shifting the centre of 

gravity towards the end of the symphony, an 

example to Mozart’s successors in the next 

century. The coda of the movement, where 

five motives are combined, sweeps the 

listener away through its exciting power. 

Adapted from a note by © David Garrett 

WOLFGANG AMADEUS 

MOZART (1756-1791) 

Piano Concerto No.24 in C minor, K.491 

Allegro 

Larghetto 

Allegretto 

Markus Schirmer, piano 

This great concerto reverses an observation 

commonly made about masterpieces: its 

beginning is implicit in its ending. It was 

during a rehearsal of the last movement of 

K.491 that Beethoven exclaimed: ‘Cramer! 

Cramer! You and I will never be able to 

do anything like that!’ The passage which 

prompted Beethoven’s admiration was 

probably the second phrase of the final 

variation, in 6/8 time. Cuthbert Girdlestone 

compares this to a short, skipping verse, an 

unusual way of expressing sorrow. 

Like Mozart’s only other concerto in a minor 

key, K.466 in D minor, this concerto has 

both passion and pathos, but the C minor 

Concerto is less overtly dramatic. Although 

it uses the largest orchestra of any Mozart 

concerto, it does so with great refinement. 

The orchestral sound is rich and sombre: 

the trumpets and drums often play softly, 

achieving a strange, veiled quality. It is one 

of Mozart’s most truly concerto-like in the 

interplay between soloist and orchestra. 

From the first solo entry the piano voices 

its contribution in utterly distinct accents; 

searching, querying, then answered by the 

inexorable voice of the orchestra. 

The wind instruments carry the orchestra’s 

expression of emotion, and try several times 

to turn the music towards the major key. 

4 2012 | QSO MARCH PROGRAM 2012 | QSO MARCH PROGRAM 5

They come truly into their own in the slow 

movement, in the relative major of E flat. 

The theme of the finale is half-march, halfhymn. 

Eight variations follow, scored with 

richness and subtlety without, however, 

dispelling the feeling that we are back in 

the emotional world of the first movement. 

After the ferocity of the martial third 

variation, successive attempts to establish 

a different mood keep giving reminders of 

the inescapable minor-key gloom. And so 

we come to an ending typical of a finale, but 

still, somehow, speaking of an internalised, 

musically-mastered despair: the very 

character of the beginning of the concerto. 

David Garrett © 2001 

LEOŠ JANÁCEK 

(1756-1791) 

Sinfonietta 

Allegretto 

Andante 

Moderato 

Allegretto 

Andante con moto 

An enchanting open-air military band concert 

in the ancient south Bohemian town of Písek, 

in which the historically uniformed bandsmen 

stood to play solos, provided Janácek’s 

inspiration when it was suggested that he 

write something to celebrate a festival of 

the patriotic Sokol gymnastic organisation in 

1926. A single movement of fanfares soon 

grew to become five movements and his 

greatest orchestral work. In honour of the 

Czechoslovak armed forces he called it his 

‘Military’ Sinfonietta, and the massive forces 

it demanded included nine fanfare and three 

orchestral trumpets. 

Václav Talich premiered the Sinfonietta 

with the Czech Philharmonic in a special 

concert for the Sokol rally which ended with 

Smetana’s My Country. Displeased at seeing 

his work promoted as ‘Rally’ Sinfonietta 

rather than the ‘Military’ Sinfonietta, the 

fierce patriot hailing from rural Moravia 

devised some movement titles which would 

shift the focus from the Sokol organisation 

to his adopted home town of Brno: 1. 

Fanfares, 2. The Castle, 3. The Queen’s 

Monastery, 4. The Street, 5. The Town Hall. 

For it was in Brno, the erstwhile bastion of 

hated Germanness, that Janácek saw the 

most dramatic transformation following 

Czechoslovakia’s independence in 1918. 

Virtually overnight it had begun to be Czech: 

‘I saw myself there. I belonged.’ 

The solemn jubilation of the opening 

fanfares provides an intrada to the four main 

movements. This is absolute music with no 

formal program, yet expressing the composer’s 

love of country and, transcending that, 

belief in humankind. The Sinfonietta radiates 

power through its large brass section in the 

opening and closing fanfares; but a variety of 

different orchestral ensembles, often of almost 

chamber-music proportions, elsewhere affirm 

the work’s underlying serenity. 

Abridged from Anthony Cane © 2008 

Backstage Pass 

MARKUS SCHIRMER - PIANO 

What drew you to follow piano as a career? 

Although it´s really hard work and costs a 

lot of effort, blood, sweat and tears I never 

would have taken another way in my life. 

Since my early childhood it always has been 

my aim to play the piano professionally, to 

create a variety of magical sounds and to be 

able to perform some of the most wonderful 

music on earth. 

You will be performing Mozart’s Piano 

Concerto No.24 with QSO. What are 

your favourite qualities in this piece? 

To play one of the only two Mozart concerti 

written in a “minor” key is always something 

very special for me. You can find a very 

different atmosphere here - characterful 

music including great dialogs between the 

solo piano and the woodwinds - subtle 

phrases with tenderness cross sudden 

orchestral outbreaks - that´s absolutely 

unique and awesome. 

As a Professor of Piano at the Music 

University in Graz, what do you find 

most rewarding about teaching piano? 

For me it´s a worthy challenge to share 

my experiences in performing on stage or 

studying many masterworks myself with a 

young enthusiastic crowd of future pianists. 

I definitely bring a lot of interesting things 

back home from this work. 

Can you describe your improvisation 

project SCURDIA? 

SCURDIA is a breathtaking new kind of 

crossover project of the highest calibre 

combining various styles, roots, musical and 

human backgrounds. Top class musicians 

from every part of the world from the fields 

of classical music, jazz, ethno, folk want to 

replace the blinders of old perspectives with 

what could be called “mind blowing music 

without any border”. By coming together, 

listening to each other and tuning into their 

collective multicultural music consciousness, 

they channel into existence new and 

exhilarating musical expressions, giving a 

fresh view of music and the immense wealth 

that it possesses. 

What was the first piano that you owned 

and do you still play it? 

My first piano at our family apartment was 

an old Austrian one, after that I´ve worked on 

a Kawai followed by a Bösendorfer grand. But 

in the nineties I fell in love with one of the 

finest grand pianos on the market, a FAZIOLI 

concert grand that is produced in upper Italy, 

his marvellous and rich sound but also the 

possibility to bring out every little nuance in 

the music really is pure magic for me! 


We acknowledge the following donors who have contributed 

to the Building for the future campaign: 

Building for the future 

The success of the Queensland 

Symphony Orchestra (QSO) is 

directly linked to the generosity and 

commitment of our patrons. With 

each passing year the difference that 

can be made by private individuals 

becomes more significant, as the 

company strives to present classical 

music of the highest artistic standard. 

As you are aware, QSO is about to enter a 

new chapter in its history with the imminent 

move to our new home in the heart of the 

South Bank precinct, after four decades at 

the Ferry Road Studios in West End. 

The move brings with it many exciting 

opportunities, and a number of significant 

challenges. The expected increase in 

profile will bring new audiences with 

different demands and expectations, and 

an unprecedented increase in the number 

of performances, education programs, and 

touring commitments brought about by the 

new building will test the resolve of all our 

musicians and staff, particularly over the 

next twelve months. 

Our commitment to the Queensland 

community is unparalleled in this the 

inaugural year in our new home. 

The Federal and State Government have 

most generously contributed to the 

future of QSO by contributing towards 

our new premises, for which we thank 

them. However, this is a once in a lifetime 

opportunity to provide QSO with a 

performance space that is extraordinary 

– something truly state-of-the-art – 

something that all Queenslanders can be 

proud of – something that all Queenslanders 

can make possible. 

Our capital campaign target is $4 million 

of which we have achieved $2.5 million. 

A further $1.5 million for state-of-the-art 

seating, lighting, acoustics, and orchestra 

and choir-risers is urgently needed, and will 

transform the performance space into one 

at the vanguard of cutting edge design and 

performance in Australia. 

Many of you have already donated. Thank 

you for your early commitment to our future. 

To our donors, subscribers and friends who 

have not yet donated, we need your help 

to raise the remaining funds to make it 

happen. Please show your appreciation for 

our musicians’ life-time investment in the 

creation of such a vibrant cultural landscape 

in Queensland, by giving them the support 

they so richly deserve, at such a defining 

moment in QSO’s history. 

Harold Mitchell AC 

The Pidgeon Family 

John B Reid AO and Lyn Rainbow Reid 

The Bank of Queensland 

Greg and Jan Wanchap 

Arthur Waring 

Anonymous (1) 

Jellinbah Resources 

Mrs Andrea Kriewaldt 

John Story 

Rodney Wylie 

Prof. Edgar Gold AM CM and Prof. Judith Gold CM 

Lea and John Greenaway 

Dr W.R. Heaslop and Dr L. M. Healsop 

Gwenda Heginbothom 

Brendon and Shelli Hulcombe 

Bob and Joan James 

In memory of Mrs Rosalie R Martin AM 

Nola McCullagh 

Tony Keane and Patricia Holt 

Dr Damien Thomson and Dr Glenise Berry 

Helen Zappala 

Janette Mary Anderson 

David and Judith Beal 

Mrs Valma Bird 

Susan Blake 

Mrs Ruth Bowles 

Dr Gordon Bowman 

Bev Burgess and Des Buck 

Lynn Buxton 

Peter and Tricia Callaghan 

Alison G. Cameron 

Cherrill and David Charlton 

In memory of Geoff Spiller, late QSO trumpeter 

In memory of John Czerwonka-Ledez 

Dr Natalia Danilova 

Laurie James Deane 

Margaret Downes 

Don and Jan Edwards 

Nyrie Elcock 

Paul and Margaret-Ann Flood 

Robert and Elizabeth Foreman 

David and Anne Fraser 

Malcolm Frost 

C.M. and I.G. Furnival 

In memory of Eric M. Shimada 

Alan Galwey 

Richard and Beryl Gardner 

You can donate on line at www.qso.com.au/our-future-home or 

phone 07 3833 5017 to obtain a copy of the donation form 

Dr Joan E. Godfrey OBE 

Ian and Ruth Gough 

Fred and Maria Hansen 

Madeleine Harasty 

In memory of Muriel Fletcher 

Havenwood PTY LTD 

In memory of Frank Heeney 

Jenny Hodgson 

Dr Alison M. Holloway 

Sandy Horneman-Wren SC and Louise Horneman-Wren 

Brendon and Shelli Hulcombe 

Yvonne Hurst 

Janine Kesting 

Noela Klingsch 

Allan Kuhnemann 

Debbie Lancaster 

Jean Leary 

Jocelyn Leech 

Mrs H.G. Lehman 

Gaelle Lindrea 

Fiona Maxwell 

Annalisa and Tony Meikle 

Alison Mullery 

Howard and Katherine Munro 

Doreen Murphy 

Tony Keane and Patricia Holt 

Dr Patricia O’Connor 

Trevor and Margaret Parkes 

Ian Paterson 

John Pepper 

Peter and Babs 

Charles and Brenda Pywell 

Jason & Lois Redman 

Dennis Rhind 

Rod and Joan Ross 

Mr Bernard and Mrs Margaret Spilsbury 

Eithne Stafford 

Elizabeth and Don Stapleton 

Patience Stevens 

Sharon Stevens 

Dan and Barbara Styles 

Libby Teslenko 

Geraldine Vanco 

Colleeen Vanderstaay 

Ray and Penny Weekes 

Margaret White 

In memory of Cyril Williams 

Judith Williams 

Edna Winkel 

Patricia Winnett 

Bill Yarrow 

Anonymous (50) 

QSO_Philanthropy_program_pages_Feb2012_V2.indd 1-2 

16/02/12 12:38 PM

MUSIC ON SUNDAYS 1 

ESPANA! 

11:30am, Sunday 11 March | QPAC Concert Hall 

CONDUCTOR 

PRESENTER 

SOPRANO 

BARITONE 

Johannes Fritzsch 

Guy Noble 

Kiandra Howarth 

José Carbó 



Program Notes 

ESPANA! 

EMMANUEL CHABRIER (1841-1894) 

Espana 

GIOACHINO ROSSINI (1792-1868) 

The Barber of Seville, Act I: Largo al factotum 

GEORGES BIZET (1838-1875) 

Carmen 

Act II: Votre toast, je peux vous le rendre 

(Toreador Song) 

Act I: Intermezzo 

Act III: Les dragons de Alcala 

Act III: Je dis que rien ne m’épouvante 

Act IV: Intermezzo 

in 1882. Writing from Spain, Chabrier 

predicted: ‘My rhythms, my tunes will arouse 

the audience to a feverish pitch of excitement; 

everyone will embrace his neighbour madly...!’ 

The audience at the first performance didn’t 

exactly hug each other madly, but they and 

the critics adored Espana’s vitality, wit and 

brilliant orchestration. This work established 

Chabrier as a professional composer, rather 

than – as he had been seen to that point – 

a gifted amateur. Some writers have claimed 

Espana as a harbinger of later Spanish-inspired 

French works, such as Ravel’s Rapsodie 

espagnole and Debussy’s Ibéria, but Bizet’s 

Carmen pre-dated it, as we shall see. 

CLAUDE DEBUSSY (1862-1918) 

Ibéria: Le matin d’un jour de fête 

HEITOR VILLA-LOBOS (1887-1959) 

Bachianas brasileiras No.5: 

Aria (Cantilena) 

Dansa (Martelo) 

MAURICE RAVEL (1875-1937) 

Boléro 

It is perhaps as a place that Spain has had its 

greatest influence on our concert hall. Hispanic 

dance-forms and instruments immediately 

spell Spanish colour. But it’s not just Spain that 

has been the influence. Much repertoire has 

been influenced by Latin America and today’s 

concert even includes music from Brazil, 

Portugal’s former colony. 

Some of the ‘most Spanish’ music has been 

written by non-Spanish composers. French 

composers take the prize. Espana is the title 

of one of Emmanuel Chabrier’s best-known 

compositions, the musical result of a holiday 

Carmen was set in Seville. But so too was 

Rossini’s The Barber of Seville. Why? Rossini 

wasn’t Spanish. Nor was Pierre-Augustin 

Caron de Beaumarchais, who wrote the play 

on which Rossini’s opera was based. But 

Beaumarchais had spent some time in Spain. 

He may have set his Le Barbier, in Seville 

to soften its social critique of France in the 

latter years of the 18th century, but the main 

reason may be that he had come away from 

his various trips with the idea of writing a play 

with Spanish songs. The inherent musicality 

of Le Barbier may explain its appeal to Rossini, 

who allowed the tenor Manuel Garcia, as 

Count Almaviva, to interpolate actual Spanish 

songs in the first performance. ‘Largo al 

factotum’ is of course sung by the working 

man, Figaro, a baritone, who offers his many 

services to the Count in the Count’s quest 

for the hand of the soprano, Rosina. Figaro’s 

resourcefulness was one of the satirical 

aspects of the original play but audiences 

today love his Rossinian energy and zest. 

Seville is the setting also of Bizet’s 1875 

opera Carmen, the story of Don José, the 

upright sergeant of the local barracks, whose 

head is turned by Carmen, the feisty gypsy 

who works in the local cigarette factory. 

When Carmen flirts with the toreador 

Escamillo, Don José murders her and secures 

his own condemnation. In today’s selection 

you will hear interludes between the opera’s 

various acts but also Escamillo’s vaunting 

Toreador Song and Micaëla’s attempt to steel 

her courage when visiting a smugglers’ camp 

to convince Don José to return to the path of 

rightfulness (and her). Carmen provides an 

example of the theme of sexual transgression 

made more palatable to 19th-century 

European audiences by being set in Spain, but 

Bizet made immortal use of Spanish dance 

forms in Carmen’s alluring numbers. In today’s 

selection authentic Spanish music resides in 

the Act IV intermezzo which uses a theme 

from a collection of Spanish songs by Manuel 

Garcia – who sang Almaviva in Rossini’s 

Barber of Seville. 

Claude Debussy spent only one afternoon in 

Spain. But Spain was the source of inspiration 

for Ibéria, one of his greatest orchestral 

works. 

What might have attracted Debussy 

to Spain? Debussy wanted to create 

‘impressionistic’ music that could be 

appreciated moment by moment, rather than 

as the culmination of logically-structured 

argument. Spanish music might, therefore, 

have been useful to Debussy as a source 

of pungent colour that could immediately 

grab the listener’s attention. Le matin d’un 

jour de fête is the most unusual of Ibéria’s 

three movements. It comprises a series 

of apparently unrelated events in harsh 

juxtaposition, the sort of jumbled succession 

of sounds and images one might experience 

on the hot morning of a Spanish festival 

day. Characteristic Spanish sounds include 

castanets, tambourines and strings imitating 

the strumming of guitars. 


Villa-Lobos was heavily influenced by the 

musical richness of his native Brazil, Portugal’s 

former colony. 

The nine pieces of his Bachianas brasileiras 

are meant to be a synthesis of the musical 

styles of north-eastern Brazil and the music 

of Bach, whose music Villa-Lobos regarded as 

having the strength of folk music. As in all the 

other Bachianas brasileiras, the movements 

of No.5 have two titles: one traditionally 

European, the other a characterful, national 

one. Aria (Cantilena) was written in 1938. The 

cello orchestra is divided into four pairs, some 

playing pizzicato, as in a serenade, the others 

doubling the singing line. Over this foundation 

floats the wordless vocalise. In the middle 

section the singer breaks into the words 

of a Portuguese song, then the vocalise 

returns. In the second movement, composed 

in 1945, the composer follows the structure 

of a traditional song featuring fast delivery 

of words. 

Boléro was composed for the Russian dancer, 

Ida Rubinstein, and first performed at the Paris 

Opera in 1928 with sets and costumes by 

Alexandre Benois. On a table in a Spanish inn, 

a woman begins to dance. She dances quietly 

at first to a simple rhythm. But then, gradually 

and beguilingly, she excites spectators into 

a frenzy which culminates in a scene of 

turmoil and confusion. The music reflects the 

simplicity of the plot. It is all really one long 

crescendo, the constant rhythm of the drum 

varied with different orchestrations. 

Boléro is an exciting end to any concert, 

but how can you go wrong? Any program 

dedicated to Spanish or shall we say Luso- 

Hispanic music (in honour of Portugal) is 

destined to be exciting from start to end. 

Long may our orchestras present concerts 

entitled Espana! 

Gordon Kalton Williams © 2012 

Villa-Lobos was actually Brazilian. Of all the 

French composers in today’s concert, only 

Ravel could claim a blood relationship with 

Spain. His mother, Marie Delouarte, was a 

Basque. Perhaps none of his works is more 

alluringly Spanish than Boléro, his 15-minute 

working of a traditional dance rhythm. 

14 2012 | QSO MARCH PROGRAM

MORNING MASTERWORKS 1 

QSO PLAYS 

ELGAR 

11am, Thursday 15 March | QPAC Concert Hall 

CONDUCTOR 

HARP 

HAYDN 

BOIELDIEU 

ELGAR 

Nicholas Braithwaite 

Marshall McGuire 

Symphony No.88 

Harp Concerto 

Enigma Variations 

Morning Masterworks is 

proudly co-produced by 



Program Notes 

harp, dedicated to a Citizen Grécourt; and 

numerous other works. 

JOSEPH HAYDN 

(1732-1809) 

Symphony No.88 in G 

Adagio – Allegro 

Largo 

Menuetto e Trio (Allegretto) 

Finale (Allegro con spirito) 

Following the success of Haydn’s set of six Paris 

symphonies (Nos 82-87) in 1787, that city, 

still in its pre-Revolutionary heyday, was to take 

his next five symphonies as well. Johann Tost, 

a former violinist in Haydn’s orchestra, visited 

Paris in 1788 carrying with him Nos 88 and 

89 (composed the previous year), which he 

sold to the publisher Sieber. In 1788, too, the 

young French aristocrat Count d’Ogny, who had 

commissioned the first six Paris symphonies for 

the Concert de la Loge Olympique, requested a 

further three (Nos 90-92) for that organisation. 

Symphony No.88 is still occasionally nicknamed 

according to a misleading English connection 

– Letter V, which was no more than a 19th- 

century catalogue reference used by the 

Philharmonic Society of London. 

Following a solemn slow introduction, the 

first-movement Allegro makes a disarmingly 

modest entrance, soon unbuttoning into a 

merry scamper. 

The slow movement is a set of variations on 

a beatific melody, first heard in the delicate 

sonority of solo oboe supported by solo cello. 

Not only is the intrusion of the trumpets and 

kettledrums at bar 41 loud and forceful, but 

Parisians had never before experienced such 

instruments in the traditional serenity of a 

symphonic slow movement. 

Trumpets and timpani assist vigorously in the 

stamping rhythms of an earthy peasant dance 

in the Menuetto, while a bagpipe-like drone 

underpins the central Trio section. 

Like the first movement, the Finale opens in a 

mood of innocent pleasantry and proceeds in 

the brilliant, yet musically complex, combination 

of sonata and rondo form to which Haydn was 

increasingly attached, until it culminates in a 

spectacular canon between the upper and lower 

strings. The display of contrapuntal virtuosity 

exhausted, it remains only to restate the 

material in its original innocence, then rein 

in on an imposing cadence before ending 

in a jubilant sprint. 

Abridged from Anthony Cane © 1981/2003 

FRANÇOIS-ADRIEN BOIELDIEU 

(1775-1834) 

Harp Concerto in C 

Allegro 

Andante lento 

Rondo: Allegro agitato 

Marshall McGuire, Harp 

Boieldieu is best remembered these days for 

La Dame blanche, written in 1825, one of 

the first operas to deal with the fantastic. His 

Harp Concerto was written during the period 

1800-01, around the time he had been made 

a professor of piano at the Paris Conservatoire. 

An 1879 Dictionary of Music and Musicians 

estimates Boieldieu as ‘the greatest master of 

the French school of comic opera’, but cites his 

other pieces ‘less for their intrinsic value than 

for the sake of completeness’. 

It is significant however that Boieldieu wrote a 

number of works for harp, then a very popular 

instrument in Paris. There were ten romances 

dedicated to a Mme Cléry; a collection of 

romances with accompaniment by piano or 

The harp of Boieldieu’s day had limitations; the 

ability to modulate to remote regions had to 

wait until the improvements of the instrumentmaker 

Erard in 1810. But Boieldieu stretched 

that harp to its limit. Harp authority Roslyn 

Rensch says that Boieldieu was the first to use 

harp harmonics, no doubt for eerie effect, in La 

Dame blanche. This concerto makes ample use 

of the harp of 1801. 

The Allegro follows the first-movement 

concerto form familiar from numerous 

Classical/early Romantic works, but with 

orchestral material such as the opening fanfare 

rendered more characteristic of the harp when 

it comes time for the soloist to reiterate it. The 

Andante betrays Boieldieu’s operatic instincts in 

a movement that sounds much like a recitative 

or scene followed by an aria. This rondeau 

follows without a break. 

In his Memoirs Berlioz dismissed Boieldieu’s 

music as ‘soothing...simple and colourless’. But 

the modern listener might still enjoy music that 

is ‘clear, limpid and easily-grasped’ and prefer 

an alternative 19th-century soubriquet for 


EDWARD ELGAR 

(1857-1934) 

Variations on an Original Theme, Op.36 Enigma 

I (C.A.E.) – Caroline Alice Elgar, the 

composer’s wife 

II (H.D.S.-P) – Hew David Steuart-Powell, 

pianist in Elgar’s trioIII (R.B.T.) – Richard 

Baxter Townshend, author 

IV (W.M.B.) – William Meath Baker, 

nicknamed ‘the Squire’ 

V (R.P.A.) – Richard Penrose Arnold, son of 

Matthew Arnold 

VI (Ysobel) – Isabel Fitton, viola player 

VII (Troyte) – Arthur Troyte Griffith, 

architect 

VIII (W.N.) – Winifred Norbury 

IX (Nimrod) – August Johannes Jaeger, 

reader for the publisher Novello & Co 

X (Dorabella) Intermezzo – Dora Penny, later 

Mrs Richard Powell 

XI (G.R.S.) – Dr G.R. Sinclair, organist of 

Hereford Cathedral 

XII (B.G.N.) – Basil G. Nevinson, cellist in 

Elgar’s trio 

XIII (***) Romanza – Lady Mary Lygon, 

later Trefusis 

XIV (E.D.U.) Finale – Elgar himself (‘Edu’ 

being his nickname) 

In middle-age, Elgar was back in his native 

Malvern region, taking in students, making 

instrumental arrangements, playing in an 

occasional performance and continually 

threatening to give away music altogether. 

But one evening in October 1898, he began 

to doodle away at the piano. Chancing upon 

a brief theme that pleased him, he started 

imagining his friends confronting the same 

theme, commenting to his wife, ‘This is how 

so-and-so would have done it.’ Or, he would 

ask his wife to guess, ‘Who is that like?’ 

By February 1899 that harmless bit of fun 

had grown into one of England’s greatest 

orchestral masterpieces, Elgar’s Variations on 

an Original Theme, Op.36, which would turn 

Elgar’s career around. 

Where the word ‘Theme’ should have appeared 

in the score, the composer wrote ‘Enigma’. 

Elgar stated that the theme itself was a 

variation on a well-known tune which he 

refused to identify. It’s a conundrum which 

has occupied concertgoers and scholars ever 

since. Michael Kennedy has proposed that the 

unheard theme could be Elgar himself, with 

the famous two-quaver two-crotchet motive 

capturing the natural speech rhythm of the 

name Edward Elgar. Elgar went to his grave 

without revealing the truth. 

The second enigma was the identity of the 

characters depicted within each variation, who 

were identified at first only by their initials in 

the score. Fortunately this enigma has proved 

easier to solve and for many years the appeal 

of Enigma’s superb orchestration has been 

balanced by the appeal of the ‘snapshots’ 

which gave rise to it. 

Variation 1 depicts Elgar’s wife. Variation 2 

refers to the warm-up exercises of a pianist 

colleague. Variation 3 depicts the ham actor 

R.B. Townshend. A Cotswold squire is the 

subject of Variation 4; Variation 5 captures 

the mixture of seriousness and wit displayed 

by poet Matthew Arnold’s son Richard. 

Violist Isabel Fitton (Variation 6) had trouble 

performing music where the strings had to be 

crossed; Arthur Troyte Griffith (Variation 7) was 

a pianist whose vigorous style sounded more 

like drumming! Winifred Norbury (Variation 

8) is represented in a musical depiction of her 

18th-century country house. ‘Nimrod’ (No. 

9) was Elgar’s publisher and great friend A.J. 

Jaeger, ‘you solemn, wholesome, hearty old 

dear’. Variation 10 depicts young Dora Penny, 

whose soubriquet ‘Dorabella’ comes from 

Mozart’s Così fan tutte. Variation 11 refers to 

the organist at Hereford Cathedral, or rather his 

bulldog Dan. Variation 12 is a tribute to cellist 

Basil Nevinson. Variation 13 depicts Lady Mary 

Lygon’s departure by ship to Australia. And then 

finally we hear the composer depicting himself, 

cocking a snook at all those who said he’d never 

make it as a composer. 

Adapted from a note by Martin Buzacott © 2000 


MAESTRO 3 

QSO WITH 

SERGIO TIEMPO 

8pm, Friday 30 March | QPAC Concert Hall 

CONDUCTOR 

PIANO 

CHOIR 

Enrique Arturo Diemecke 

Sergio Tiempo 

The Australian Voices, 

directed by Gordon Hamilton 

DEBUSSY 

DEBUSSY 

Nocturnes 

La Mer 

-interval- 

RACHMANINOV Piano Concerto No.3 


Program Notes 

CLAUDE DEBUSSY 

(1862-1918) 

Nocturnes 

Nuages 

Fêtes 

Sirènes 

In 1894 Debussy wrote to the Belgian violinist 

Ysaÿe: 

“I am working at three nocturnes for violin and 

orchestra that are intended for you; the first is 

scored for strings, the second for three flutes, 

four horns, three trumpets and two harps; the 

third combines both these groups. This is, in 

fact, an experiment in the various arrangements 

that can be made with a single colour – what a 

study in grey would be in painting.” 

The reference to painting is notable. In few other 

works is the epithet ‘Impressionist’, borrowed 

from painting, more appropriate. Debussy did 

not intend the title Nocturnes to be understood 

in the sense of a Chopin Nocturne; it has more 

to do with Whistler paintings of the same name. 

The piece, inspired by the poems of Henri de 

Régnier, marks a break with 19th-century music 

in its subtler sense of form, non-directional 

harmony, less assertive melody, and the 

elevation of the importance of orchestral colour. 

Sound is something to luxuriate in, rather than a 

tool in the pursuit of statement or climax. 

Nuages renders the immutable aspect of the 

sky and the slow, solemn motion of the clouds, 

fading away in grey tones lightly tinged with 

white.’ The composer’s words find musical 

expression in the slowly changing background 

of rootless, floating chords which underlie the 

recurring tone of the cor anglais. 

No ‘study in grey’, Fêtes gives us a kaleidoscopic 

display of momentarily bright colours. At the 

end there is a gradual atomising of material and 

dulling of colour. 

Sirènes evolves almost as a continuum; it swells 

and ebbs, rather than marks out a path; the 

melody grows and decays by the addition or 

alteration of small details. Debussy wrote that 

this last movement, which foreshadowed La 

Mer, ‘depicts the sea and its countless rhythms 

and presently, amongst the waves silvered by 

moonlight...the mysterious song of the sirens as 

they laugh and pass on.’ 

Gordon Kalton Williams 

Symphony Australia © 1998/2008 

CLAUDE DEBUSSY 

(1862-1918) 

La Mer – Three Symphonic Sketches 

De l’Aube à midi sur la mer (From dawn to 

midday on the sea) 

Jeux de vagues (Play of waves) 

Dialogue du vent et de la mer (Dialogue of the 

wind and sea) 

Begun in landlocked Bichain, Burgundy, and first 

performed in Paris on 15 October 1905, La 

Mer gave expression to Debussy’s love of the 

sea. He shared with the Impressionist painters a 

fascination with water. 

Debussy also never entirely rejected the 

analogies drawn between his music and the 

visual arts. Edward Lockspeiser believes Monet’s 

attempts to depict the changing effects of light 

on objects in a series of pictures influenced 

Debussy. In music, a fluid art, all these effects 

could be represented, ‘unfolding’ in time. 

Lockspeiser headed his writing on La Mer 

‘Turner, Monet and Hokusai’. Debussy, founding 

a new style, may have drawn encouragement 

from Turner’s crazy perspectives and double 

focuses, but La Mer also embodies a clearer 

delineation of form, attributable to the 19thcentury 

Japanese artists Hiroshige and Hokusai. 

It was Hokusai’s woodcut The Hollow of the 

Wave off Kanagawa (pictured) which Debussy 

chose as the cover for the printed score. 

Cézanne’s statement ‘I work the motif’, could 

be true also of Debussy’s construction of From 

dawn to midday on the sea, its recurring melodic 

shapes the equivalent in sound of pictorial 

symbols; Debussy’s re-orchestration and recombination 

of them similar to the visual effect 

of changing light. Play of Waves is a scherzo, 

light and playful. Dialogue of the wind and sea 

has the clearest form of the three movements 

and the clearest examples of conventional 

melodic development. 

Debussy subtitled this work ‘Three Symphonic 

Sketches’. The title acknowledges an affinity 

with visual art, while identifying the work 

with the most ambitious form of orchestral 

music. Though La Mer’s themes are developed 

organically, first listeners may not have 

recognised this work as a symphony. Debussy’s 

visual analogies may have been necessary. But 

musicians who grasped what he had done may 

have been distracted. Of From dawn to midday 

on the sea Erik Satie said he particularly liked the 

bit at a quarter to eleven! 

Gordon Kalton Williams 

Symphony Services Australia © 2007 


SERGEI RACHMANINOV 

(1873-1943) 

Piano Concerto No.3 in D minor, Op.30 

Allegro ma non tanto 

Intermezzo (Adagio) – 

Finale (Alla breve) 

Sergio Tiempo, piano 

Rachmaninov’s Piano Concerto No.3 was 

composed at his summer estate at Ivanovka 

in 1909. He wanted a new concerto for his 

forthcoming American tour. This was a busy 

period in Rachmaninov’s life, and he was 

unable to spend much time practising prior 

to departure. It is extraordinary therefore, 

considering the difficulties in the solo part 

(almost mythologised in the movie Shine), that 

he practised much of the piano part on a dumb 

keyboard aboard ship. 

The work was first performed in New York City 

under Walter Damrosch, followed, not much 

later, by a second New York performance under 

Gustav Mahler, of which Rachmaninov recalled: 

‘He touched my composer’s heart straight away 

by devoting himself to my concerto until the 

accompaniment, which is rather complicated, 

had been practised to the point of perfection…’ 

This concerto has been described by critic John 

Culshaw as ‘a masterpiece of conciseness’. 

There are thematic ties between the first and 

third movements, which may explain why 

the second movement is labelled intermezzo. 

Much of the melodic material is derived from 

the opening rhythm (long-short, long-short), 

played by clarinet and bassoon accompanied 

by strings, though the concerto lacks none of 

Rachmaninov’s lyricism. 

The piano enters with a simple melody similar 

to a chant sung at the Monastery of the Cross 

at Kiev. The second subject, a characteristically 

romantic Rachmaninov melody, is first 

introduced very clearly as a variation of the 

trochaic rhythm of the opening. The piano 

has become increasingly dominant and the 

culmination of the movement is actually to 

be found in the cadenza. Then, after another 

straightforward statement of the simple 

opening piano theme, a sudden ending, almost 

breathless, promises more. 

The second movement begins with some of the 

saddest music ever to come from a composer 

whose characteristic mood, even at the best of 

times, was melancholic. 

The Finale breaks in with great urgency. The 

piano’s opening tattoo is derived from the 

theme of the very opening of the concerto, and 

Culshaw sees in the linking of the second and 

third movements further evidence of the tight 

binding of the concerto. 

Much is made of the difficulties of this concerto. 

‘Oh, the Rach Three!’ gasps Sir John Gielgud in 

Shine; but the greatness of the concerto lies not 

merely in its technical hurdles. It lies in the way 

the material organically grows – and in the way 

the immense technical challenges never swamp 

the lyrical purposes of the work. 

Abridged from Gordon Kalton Williams 

Symphony Australia © 1998/2001 

Backstage Pass 

SERGIO TIEMPO - PIANO 

What drew you to follow piano as a career? 

I bathed in music since before I was born. My 

maternal Grandparents, my Mum, my older sister 

and all of my Mum’s child students were pianists 

and made music all day long, so music and more 

specifically piano playing was a natural and organic 

part of my everyday life. In essence my professional 

career in music started without me noticing it 

because I had already been playing in public since I 

was three years old. It is only when I finished high 

school and that I had been playing professionally 

since I was 14 that I took a more conscious decision 

to continue down that road. 

You made your concert debut at the age of just 

three, what is one of your favourite childhood 

performing memories? 

Well, I can’t say that I remember the experience, but 

from watching a home-made video of the time and 

from the stories I was told about it, I find it quite 

amusing that the day of my first public performance 

my uncle gave me my first wristwatch as a gift and I 

insisted on wearing it throughout the presentation - 

otherwise I wouldn’t play! In the video I saw myself 

looking at my watch after every single piece… funny. 

In 2011 you made a sensational Brisbane debut, 

what are you looking forward to the most about 

returning to perform with the QSO? 

I keep a very vivid and fond memory of my last time 

in Brisbane. I loved the people, the musicians and 

the warmth with which I was received. I particularly 

look forward to seeing them all again. I also very 

much look forward to playing two of my favourite 

concertos with the QSO! 

You have performed with many of the world’s 

leading orchestras and ensembles. With so 

many different performance venues, does the 

type of piano alter your performance style? 

Every piano has its own personality and 

idiosyncrasies. It can be quite challenging to tame 

the instrument one is to make one’s own voice out 

of. Of course I try not to let that interfere with 

the conception I have of whatever piece I may be 

playing on it, but inevitably it has an influence, and 

given the possibilities or limitations of the piano at 

hand, I might have to change certain proportions 

around so as to serve my purpose and still make the 

most out of the actual possibilities offered to me. 

Sometimes it does limit the realization of what I am 

imagining, or it might be just good enough to render 

a merely pertinent picture of it, but occasionally 

one encounters a piano which is so inspiring and 

rich in possibilities that it far surpasses my own 

imagination. 

What are some of your future highlights for 2012? 

2012 is full of highlights –one of which is returning 

to Brisbane, by the way. Just to mention a few of 

them, I will be playing with Gustavo Dudamel and 

the Los Angeles Philharmonic a Ginastera Concerto. 

This is super exciting because not only do I get to 

play again with my very dear friend but also because 

it will be the first time that I play that piece! Also, 

I will be touring a lot of South America, both with 

my sister (Karin Lechner) and as soloist. I have a 

very challenging and exciting program to record as 

well (though I’d rather not divulge it yet). Among 

other fun things in Europe, I will be playing at the 

Tonhalle of Zurich as well as going to Istanbul for 

the first time. All in all, a very eclectic year both 

geographically as well as repertoire wise. 


Biographies 

Lucerne Festival, Rheingau Musik Festival, 

Klavierfestival Ruhr, Kissinger Sommer, 

Schubertiade, styriarte and Bregenz Festival. 

JOHANNES FRITZSCH, CHIEF CONDUCTOR 

Johannes Fritzsch was born in Meissen, 

Germany, in 1960. He received his first musical 

tuition in piano and organ from his father, a 

Cantor and Organist. He also studied violin and 

trumpet. His higher education was received at 

the Carl Maria von Weber Music Academy in 

Dresden, majoring in conducting and piano. 

In 1982, after completing his studies, Maestro 

Fritzsch was appointed 2 nd Kapellmeister 

(Conductor) at the Volkstheater in Rostock. 

There he gained acclaim in performances such 

as the East German premier of The English Cat 

by Hans Werner Henze in 1986. In 1987 Mo. 

Fritzsch accepted the position of Kapellmeister 

with the Staatsoper Dresden, Semperoper, 

where he conducted more than 350 opera and 

ballet performances within five years. 

After the German reunification Mo. Fritzsch 

was able to accept engagements outside of 

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

Kapellmeister at the Staatsoper Hannover. 

During that time Mo. Fritzsch was appointed 

Chief Conductor and Artistic Director at the 

Städtische Bühnen and the Philharmonisches 

Orchester in Freiburg. There he remained 

until 1999 enjoying widespread acclaim. The 

Verband Deutscher Musikverleger (association 

of German music publishers) honored his 

1998/99 season with the distinction of having 

the “Best Concert Program”. 

Mo. Fritzsch has performed with many 

orchestras, both within Germany and 

internationally. These include: Hamburger 

Sinfoniker, Düsseldorfer Sinfoniker, Philharmonie 

Essen, Nationaltheater-Orchester Mannheim, 

Staatskapelle Schwerin, Berliner Sinfonie 

Orchester, Staatskapelle Dresden, Norddeutsche 

Philharmonie Rostock, Staatsorchester Halle, 

the Swedish Radio Orchestra, the Norwegian 

Radio Orchestra, the Danish Radio Symphony 

Orchestra, the Orchestre Philharmonique 

Strassbourg, the Orchestra National de 

Montpellier, the Orchestra National du Capitole 

de Toulouse, the Sydney Symphony Orchestra, 

Orchestra Victoria, the Tasmanian, Queensland 

and West Australian Symphony Orchestras. 

Opera Companies with which he has worked 

include: Sächsische Staatsoper Dresden, 

Opernhaus Köln, Deutsche Oper Berlin, 

Komische Oper Berlin, Opera Bastille Paris, 

Grazer Oper, the Royal Opera Stockholm, 

Malmö Operan and Opera Australia in Sydney 

and Melbourne (including Wozzeck, Don 

Giovanni, Carmen, Tosca, Rigoletto, Salome, Der 

Rosenkavalier). 

Mo. Fritzsch recently held the position of 

Chief Conductor of Staatsoper Nürnberg. He 

is currently Chief Conductor of the Grazer 

Oper and Grazer Philharmonisches Orchester in 

Austria and Chief Conductor of the Queensland 

Symphony Orchestra. 

MARKUS SCHIRMER, PIANO 

Energy, expression and emotion characterise 

the music-making of leading Austrian pianist 

Markus Schirmer. No matter where he 

tours he receives audience acclaim for his 

charismatic musicianship and his ability 

to tell vivid stories with the instrument. One 

of his reviews goes straight to the point: 

“A pied piper on the piano… music that 

comes straight from the heart, the brain and 

the fingertips.” 

He works regularly with such renowned 

orchestras as Vienna Philharmonic, 

Royal Philharmonic Orchestra London, 

Tokyo Symphony, Mariinsky Orchestra 

St.Petersburg, Chamber Orchestra of Europe 

under conductors as Valery Gergiev, Sir 

Neville Marriner, Lord Yehudi Menuhin, Jukka 

Pekka Saraste, Michael Gielen, Vladimir 

Fedoseyev, Sir Charles Mackerras, John 

Axelrod, Fabio Luisi and Philippe Jordan 

amongst others. 

As a soloist and also with recitals he is a 

well-known and regular guest in most of the 

best concert halls and festivals of the world, 

amongst others Musikverein Vienna, Wigmore 

Hall London, Suntory Hall Tokyo, Gewandhaus 

Leipzig, Konzerthaus Berlin as well as 

Besides his love for the classical repertoire he 

likes to explore the unusual, discovering new 

territories to inspire his development of special 

events such as Scurdia, his improvisatory 

project which brings together extraordinary 

musicians from all over the world. Markus 

Schirmer also has great pleasure in working 

with actors, combining literature and music 

such as his own adaptation of Kurt Weill’s 

“The Seven Deadly Sins” with American singer 

and actress Helen Schneider. 

For his exceptional artistic diversity Markus 

Schirmer was awarded the “Music Manual 

Award” at the Euromusic International Music 

Convention and is a recipient of one of 

Austria’s most prestigious awards, the Karl 

Böhm Interpretation Prize. He received the 

German Record Critics’ Award for his debut 

CD of Schubert Sonatas. But also all further 

recordings including works by Mozart, 

Haydn, Beethoven, Ravel and Mussorgsky 

have won international prizes. 

In addition to his work as a Professor of Piano 

at the Music University in his hometown 

Graz Markus Schirmer regularly gives 

international masterclasses for piano and 

is a sought after adjudicator at several 

prestigious piano competitions. 


2010, she placed second in the Dame Joan 

Sutherland Awards in Noosa, and won first 

place in the Southeast Queensland Aria and 

Concerto Competition. 

GUY NOBLE, PRESENTER 

KIANDRA HOWARTH, SOPRANO 

Kiandra made her professional debut with 

Opera Queensland creating the role of Josie 

in the youth opera Dirty Apple - which saw 

its world premiere in July 2009. Kiandra was 

part of the 2011 Young Artist Program with 

Opera Queensland and understudied the role 

of Despina in Così fan tutte. 

JOSÉ CARBÓ, BARITONE 

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 

Orchestra). 

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. 

Kiandra Howarth graduated with a 

Bachelor of Music from the Queensland 

Conservatorium in 2010, whilst also 

a member of the Opera Queensland 

Developing Artist Program. In October 

2010, Kiandra won a number of prizes 

and scholarships in the Australian Singing 

Competition, including; the Guildhall School 

of Music and Drama Award, the Mozart 

Opera Institute Award, the Symphony 

Australia Young Vocalist Award and the Dr 

Handa Prize. Kiandra was also awarded a 

study prize in the Acclaim Italian Fellowship 

Awards in Melbourne, November 2010 to 

undertake one-month intensive study and 

coaching in Jesi, Italy in 2011. Whilst there, 

she worked with renowned Italian soprano 

Valeria Esposito and various conductors and 

coaches. 

Over the past 12 months, Kiandra has 

performed in many gala concerts and events 

with the Sydney Symphony Orchestra 

in the Sydney Opera House and also the 

Queensland Symphony Orchestra. 

In September 2010, Kiandra performed 

the title role in Massenet’s Cendrillon for 

the Queensland Conservatorium. Earlier in 

In 2012, Kiandra joins the Opera Australia 

Young Artist Program, and will perform the 

roles of Papagena in Die Zauberflöte and 

Zerlina in Don Giovanni. She will also perform 

as a soprano soloist in several concerts with 

the Queensland Symphony Orchestra. 

Australian baritone José Carbó was born in 

Argentina of Spanish and Italian descent, and 

moved with his family to Australia at an early 

age. He has studied under the tutelage of 

Thais Taras, Arax Mansourian and Margaret 

Baker Genovesi in Rome. He was the 

winner of the prestigious Australian Singing 

Competition Opera Award in 2005. 

José made his début with Opera Australia, 

in Strauss’ Ariadne auf Naxos (in 2002), and 

was soon engaged for their production of Il 

barbiere di Siviglia in the title role. 

His European début was in Madrid, at the 

Opera Real, where he sang once again the 

title role in Il barbiere di Siviglia; he was reengaged 

by this theatre to sing Belcore in 

L’elisir d’Amore in 2006; these performances 

led to an engagement as Dandini in La 

Cenerentola for the Festival in La Coruña in 

Spain’s northern region of Galicia. 

Most recently, he has sung Count Almaviva 

in Le nozze di Figaro, Rossini’s Barbiere, 

Enrico in Lucia di Lammermoor, Marcello 

in La bohème, Silvio in Pagliacci, Lescaut in 

Manon and Don Alfonso in Così fan Tutte for 


Opera Australia; for Opera Queensland – the 

title role in Don Giovanni, Il barbiere and 

Belcore; for State Opera of South Australia – 

Il barbiere; he also made his La Scala debut in 

2009 in Il Viaggio a Reims. 

José Carbó has extensive experience on the 

concert platform: his performed repertoire 

includes Beethoven’s Symphony No. 9, 

Mass in C and Choral Symphony, Carl Orff’s 

Carmina Burana, Rachmaninoff’s The Bells, 

Fauré’s Requiem, Brahms’ Ein Deutsches 

Requiem and Ralph Vaughan-Williams’ Mass 

in C minor with the major orchestras of 

Australia and New Zealand. In October 2006, 

José undertook a tour as the baritone soloist 

with the Sydney Symphony to Japan where 

he sang three Don Quixote songs by Ravel in 

Tokyo and Osaka. 

In 2011, he made his American debut singing 

Figaro in Il barbiere di Siviglia for Seattle 

Opera; appearances for Opera Australia 

included Figaro, Marcello and Don Giovanni. 

He also sang the baritone solos in Carmina 

Burana for the Melbourne Symphony 

Orchestra. 

In 2012, José sings Il barbiere and Fritz in 

Die tote Stadt for Opera Australia, Escamillo 

in Carmen for Opera Queensland, Tomsky 

in Pique Dame for the Sydney Symphony 

and appears as soloist with the Melbourne, 

Queensland and Adelaide Symphony 

Orchestras. 

NICHOLAS BRAITHWAITE, CONDUCTOR 

Born in London, Nicholas Braithwaite 

completed his formal musical studies at the 

Royal Academy of Music, at the Festival 

masterclasses in Bayreuth, and with Hans 

Swarowsky in Vienna. 

Mr Braithwaite’s career has been unusually 

wide-ranging, both musically and 

geographically. He has held positions as 

Music Director or Principal Conductor from 

Norway to New Zealand and many places in 

between. His years as Principal Conductor 

of the Adelaide and Tasmanian Symphony 

Orchestras were acclaimed by critics, public 

and players, and were notable for raising both 

standards and attendances. The Tasmanian 

Symphony Orchestra grew to be recognised 

as one of Australia’s finest ensembles, and 

when ABC Classics released his recording 

with the Adelaide Symphony Orchestra of 

Shostakovich Symphony No. 8, the Canberra 

Times said “Since his appointment as Chief 

Conductor, Braithwaite has brought the ASO 

to a high performance standard at which 

they can match any of the eastern states 

orchestras”. 

Concurrently with his Australian activities he 

was Principal Conductor of the Manchester 

Camerata, having been the orchestra’s 

Principal Guest Conductor for many years. 

Other orchestral appointments have 

included Permanent Guest Conductor of the 

Norwegian Radio Orchestra, and Associate 

Conductor of the Bournemouth Symphony 

Orchestra. Mr Braithwaite has been a 

frequent guest conductor of all the major 

orchestras in the UK and has toured Japan 

and Korea with the London Philharmonic 

Orchestra as Associate Conductor to Sir 

Georg Solti. 

He has appeared with, among others, the 

Orchestre National de Belgique, Orchestre 

National de France, the Oslo Philharmonic, 

Bergen Philharmonic, Odense Symphony, 

Aarhus Symphony, Aalborg Symphony, New 

Zealand Symphony, Auckland Philharmonia, 

Melbourne Symphony, Sydney Symphony, 

Queensland Symphony, West Australian 

Symphony, Danish National Radio Symphony 

and the Collegium Musicum Copenhagen. 

The last few years have seen the release by 

Lyrita Recorded Edition of many recordings 

conducted by Mr Braithwaite with orchestras 

such as the London Philharmonic, Royal 

Philharmonic, London Symphony and 

Philharmonia Orchestras of music by Holst, 

Cooke, Bridge, Wordsworth, Berkeley, 

Moeran, Rawsthorne, Stanford, Sterndale 

Bennett and Coleridge Taylor, as well as a CD 

of orchestral arrangements by Henry Wood, 

including his version of Mussorgsky Pictures 

at an Exhibition. 

Mr Braithwaite saw his first opera at the age 

of two months - a dress rehearsal conducted 

by his father, Warwick Braithwaite. This 

was the start of a life long involvement 

with opera during which he has conducted 

more than 70 different operas with many 

companies around the world. 

He has held positions as Music Director 

and Chief Conductor of Gothenberg’s Stora 

Teater, Music Director of Glyndebourne 

Touring Opera and Associate Principal 

Conductor of English National Opera, where 

his performances of Wagner’s Ring cycle 

received widespread critical and public 

acclaim. In 1987 he took the Gothenburg 

Stora Teater production of Katerina Ismailova 

to the newly restored Semper Oper in 

Dresden. He has also appeared with the 

Royal Opera, Covent Garden, Welsh National 

Opera, Scottish Opera, Hamburg State 

Opera, Norwegian Opera, State Opera of 

South Australia, New Zealand Opera with 

whom in recent years he has conducted 

productions of Peter Grimes, Boris Godunov 

and Turandot, and Opera Australia with 

whom he recently conducted Capriccio. 


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individual Opportunities exist musicians 

now to support 

of individual the Queensland musicians 

Symphony Orchestra 

of the Queensland Symphony Orchestra 

Becoming a Chair Donor means that you support the individual musician’s role 

within the orchestral experience by offsetting a range of costs associated with 

Becoming a Chair Donor means that you support the individual musician’s role 

their full time employment, and you experience a greater sense of fulfillment and 

within the orchestral experience by offsetting a range of costs associated with 

inspiration their full by time being employment, personally and connected you experience to the a musician. 

greater sense of fulfillment and 

inspiration by being personally connected to the musician. 

We believe that the personal touch is the best way to develop and nurture enduring 

relationships We believe with that supporters the personal and touch donors. is the best After way meeting to develop your and musician, nurture enduring you will 

receive relationships bi-annual with updates supporters from and them donors. and will After be meeting invited your to Open musician, Rehearsals. you will 

receive bi-annual updates from them and will be invited to Open Rehearsals. 

Positions now available are Player Chairs at $1,500 and Principal Chairs at $3,000. 

An opportunity 

Positions now 

also 

available 

exists 

are 

to 

Player 

support 

Chairs 

the 

at 

position 

$1,500 and 

of Chief 

Principal 

Conductor. 

Chairs at $3,000. 

An opportunity also exists to support the position of Chief Conductor. 

For further information, please contact 

Gaelle Lindrea, Director of Philanthropy, on 3833 5050 

For further information, please contact 

Gaelle Lindrea, Director of Philanthropy, on 3833 5050 

MARSHALL MCGUIRE, HARP 

Born in Melbourne, Marshall McGuire studied 

at the Victorian College of the Arts, the 

Paris Conservatoire and the Royal College 

of Music, London. His London debut recital 

was presented at the Purcell Room for the 

Park Lane Group. He has commissioned 

more than 30 new works for harp, and in 

recognition of this received the 1997 Sounds 

Australian Award for the Most Distinguished 

Contribution to the Presentation of 

Australian Music. 

He has performed as soloist with the 

Australian Chamber Orchestra, English String 

Orchestra, Les Talens Lyriques, Australian 

Brandenburg Orchestra, Melbourne 

Symphony and the Australia Ensemble 

and has appeared at international festivals 

including Aldeburgh, Melbourne, Milan, 

Geneva, Brighton, Vienna, Huddersfield, 

Huntington and Adelaide. 

From 1988-1992, Marshall was Principal 

Harpist with the Australian Opera and Ballet 

Orchestra. He has been a member of the 

ELISION ensemble since 1988 and lectured 

in harp at the Sydney Conservatorium 1990- 

2005. In 2003, he was appointed Artistic 

Director of The Seymour Group, and was 

awarded an inaugural Creative Fellowship 

from the State Library of Victoria to research 

the works of Peggy Glanville-Hicks. He 

received a Churchill Fellowship in 2004. 

He made his conducting debut in 

performances of Mozart’s The Magic Flute 

with Pacific Opera in 1999. From 1999- 

2001, he was curator of the Twilight 

Chamber Music Series for Sydney Festival 

and, in 2003, he was artist-in-residence at 

the Bundanon Trust. 

He has released seven CDs and received 

three ARIA Award nominations. 

Performances in 2009 included ELISION 

ensemble in Moscow, Paris and Huddersfield; 

recitals at the Perth Concert Hall and 

Sydney Opera House and at the Bangalow 

and Kangaroo Valley Festivals. Marshall 

is founding President of the New Music 

Network, a member of the Australian Youth 

Orchestra Artistic Advisory Committee, and 

was Music Director of the AYO’s National 

Music Camp in 2008. 

In December 2006, he took up the position 

of Executive Manager, Artistic Planning with 

the West Australian Symphony Orchestra. 

Marshall was a participant in the 2020 

Summit held in April 2008 at Parliament 

House, Canberra and has been Curator 

of the Utzon Music Series at the Sydney 

Opera House since 2007. In 2010, Marshall 

McGuire gave recitals at the Adelaide 

Festival, Sydney Opera House and in Perth, 

and appeared as soloist in the Four Winds 

Festival, with the Australian String Quartet 

and performed with ELISION in London and 

Bremen. He also conducted Purcell’s Dido and 

Aeneas for the Macau International Music 

Festival. 

Marshall will appear with the Queensland and 

West Australian Symphony Orchestras and 

the Australian String Quartet in 2012. 

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ENRIQUE ARTURO DIEMECKE, CONDUCTOR 

Grammy Award-winning conductor Enrique 

Artuo Diemecke is Music Director of the 

Buenos Aires Philharmonic and is in his 

inaugural season as Music Director of the 

Bogota Philharmonic. In the United States 

he is Music Director of the Long Beach 

Symphony in California and Flint Symphony 

Orchestra in Michigan. 

With 20 years at the helm of the Orquesta 

Sinfónica Nacional de México, Maestro 

Diemecke is a frequent guest of orchestras 

throughout the world, most notably the 

National Symphony Orchestra in Washington, 

San Francisco Symphony Orchestra, French 

National Orchestra, BBC Symphony, Royal 

Philharmonic Orchestra, L’Orchestre de Paris, 

Residentie Orkest in The Hague, Los Angeles 

Philharmonic, Simon Bolivar Orchestra in 

Caracas, l’Orchestre National de Lorraine, 

the National Orchestra of Montpellier, the 

Valladolid Symphony, the ORCAM Madrid, 

L’Orchestre de Isle de France, and the 

symphony orchestras of Baltimore, Houston, 

Minnesota, and Auckland. 

An experienced conductor of opera, Maestro 

Diemecke was Music Director of Mexico 

City Opera from 1984-1990. He returned 

to opera in 2008 with Werther at the Teatro 

Colón in Buenos Aires, which followed 

performances of Le Jongleur de Notre Dame 

with tenor Roberto Alagna in Montpellier. 

The Deutsche Grammophon release of that 

production was awarded the Grand Prix de 

l’Academie du Disque Lyrique for 2010. He 

is a regular guest of the Teatro Zarzuela 

in Madrid, was awarded the Jean Fontaine 

Orpheus d’Or Gold Medal for “best vocal 

music recording” for Donizetti’s The Exiles 

of Siberia, and was previously honored with 

the Bruno Walter Orpheus d’Or Prize for 

“Best Opera Conductor” for his recording of 

Mascagni’s Parisina. 

Maestro Diemecke is an accomplished 

composer. His Die-Sir-E was commissioned 

by the Radio France Festival for the World 

Cup Final concert in 1998. His works 

Chacona a Chávez, Guitar Concerto, 

and Camino y vision have received many 

performances both in Europe and in the 

United States. 

SERGIO TIEMPO, PIANO 

Described by Gramophone magazine as “a 

colourist in love with the infinite variety a piano 

can produce”, Sergio Tiempo has developed a 

reputation as one of the most individual and 

thought-provoking pianists of his generation. 

Tiempo established his international credentials 

at an early age, making his professional debut 

at the age of fourteen at the Concertgebouw 

in Amsterdam. A tour of the USA and a string of 

engagements across Europe quickly followed. 

Since then he has appeared with many of the 

world’s leading orchestras and conductors and is 

a frequent guest at major festivals worldwide. 

Born in Caracas, Venezuela, Tiempo began his 

piano studies with his mother, Lyl Tiempo, at 

the age of two and made his concert debut 

when he had just turned three. Whilst at the 

Fondazione per il Pianoforte in Como, Italy, 

he worked with Dimitri Bashkirov, Fou Tsong, 

Murray Perahia and Dietrich Fischer-Dieskau. 

He has received frequent musical guidance and 

advice from Martha Argerich, Nelson Freire and 

Nikita Magaloff and performs regularly with 

fellow-countryman and friend Gustavo Dudamel 

including concerts with the Simón Bolívar 

Orchestra. 

Sergio Tiempo has made a number of highly 

distinctive and acclaimed recordings. On EMI 

Classics’ ‘Martha Argerich Presents’ label, he 

recorded Mussorgsky Pictures at an Exhibition, 

Ravel Gaspard de la Nuit and three Chopin 

Nocturnes, and for Deutsche Gramophon he 

has recorded several discs with Mischa Maisky, 

including a disc of Rachmaninov which was 

awarded five stars by Classic FM and the BBC 

Music Magazine, which also named it their 

benchmark Recording. In June 2010, Tiempo 

gave the world premiere of a new work for 

two pianos and orchestra ‘Tango Rhapsody’ 

by Argentinean composer Federico Jusid with 

Karin Lechner and the RSI Lugano under Jacek 

Kaspszyk at the Martha Argerich Festival in 

Lugano, where he is a visitor each year. Most 

recently, Sergio Tiempo released a disc of French 

music for two pianos with Karin Lechner for 

Avanti Classic entitled La Belle Epoque. 

Recent concerto highlights for Tiempo 

have included return visits to the Orchestre 

Philharmonique de Radio France in Paris and on 

tour to his native South America, the Singapore 

Symphony and the Music Days in Lisbon Festival, 

as well as debuts with the BBC Symphony, 

City of Birmingham Symphony, Northern 

Sinfonia, Queensland Symphony Orchestra 

and the Auckland Philharmonia. Recent recital 

engagements have included a sell-out recital 

debut at the Queen Elizabeth Hall in London 

in the International Piano Series, debuts at the 

Vienna Konzerthaus, London’s Wigmore Hall, the 

Berlin Philharmonie and Edinburgh International 

Festival as well as return visits to the Oslo 

Chamber Music Festival and the Warsaw Chopin 

Festival. 

Highlights of the 2011/12 season and beyond 

include two return engagements with the 

Los Angeles Philharmonic with both Gustavo 

Dudamel and Nicholas McGegan and return 

engagements with the Queensland Symphony 

Orchestra, a European tour with the Buenos 

Aires Philharmonic Orchestra and debuts 

with the Zurich Chamber Orchestra, Brussels 

Philharmonic Orchestra and Orquestra Nacional 

do Porto as well as recital tours of Seoul, Italy 

and South America 


Thank You. 

Queensland Symphony Orchestra is proud to acknowledge the generosity 

and support of our donors for our philanthropic programs. 

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 

($40,000+) 

Eivind Aadland 

Trevor & Judith St Baker & ERM Power 

Guest Chairs ($20,000+) 

Arthur Waring 

Concertmaster Chair ($5,000) 

Warwick Adeney 

Prof. Ian & Mrs Caroline Frazer 

Dr Cathryn Mittelheuser AM 

John & Georgina Story 

Principal Chairs ($3,000) 

Tim Corkeron, Timpani 

Dr Philip Aitken & Dr Susan Urquhart 

Peggy Allen Hayes 

Yoko Okayasu, Viola 

Dr Ralph & Mrs Susan Cobcroft 

Gail Aitken, Second Violin 

Leonie Henry 

Sarah Wilson, Trumpet 

Mrs Andrea Kriewaldt 

Jason Redman, Trombone 

Frances & Stephen Maitland OAM RFD 

Alexis Kenny, Flute 


David Montgomery, Percussion 

Dr Graham & Mrs Kate Row 

Player Chairs ($1,500) 

Matthew Kinmont, Cello 

Dr Julie Beeby 

Kate Travers, Clarinet 


Matthew Jones, Cello 

Dr David & Mrs Janet Ham 

Janine Grantham, Flute 

Desmond B Misso Esq 

Helen Poggioli , Viola 

Mrs Rene Nicolaides OAM & the late 

Dr Nicholas Nicolaides AM 

Delia Kinmont, Violin 

Jordan & Pat Pearl 

Stephen Phillips, Violin 

Dr Graham & Mrs Kate Row 

Andre Duthoit, Cello 

Anne Shipton 

Brenda Sullivan, Violin 

Anonymous 

Brian Catchlove, Clarinet 

Anonymous 

Instrument Gifts 

QSO thanks the National Instrument 

Bank and the Anthony Camden 

Fund for their generous loan of fine 

instruments to the recitalists of our 

Young Instrumentalist competition. 

Encore Annual Giving 

Encore Annual Giving Donors 

support the orchestra’s community 

outreach and education initiatives, 

the purchase of essential orchestra 

equipment and the engagement 

of the finest Australian and 

international conductors and artists. 

Symphony ($2,000-$4,999) 


Mrs Marie Isackson 

Dr Les Masel & Ms Pam Masel 


Rodney Wylie 

Anonymous (1) 

Concerto ($1,000 – $1,999) 

Mrs I. L. Dean 

Mrs Elva Emmerson 

Gwenda Heginbothom 

Ian Paterson 

Justice Anthe Philippides 

Patrick Pickett CSM 

Pat & Jude Riches 

Gwen Warhurst 

Anonymous (4) 

Suite ($500 – $999) 

Dallas & Judith Allman 

David & Judith Beal 

Dr John & Mrs Jan Blackford 

Dr Betty Byrne Henderson AM 

Ian & Penny Charlton 

In memory of Mrs Betty Crouchley 

Dr Judith Gold 

Dr W.R. Heaslop & Dr L. M Heaslop 

Dr Alison Holloway 

Mrs Patricia Killoran 

John Martin 

Mrs Daphne McKinnon 

Dr Howard & Mrs Katherine Munro 

Dr Henry Nowik AO OBE & 

Mrs Kathleen Nowik 

Dr Richard & Mrs Awen Orme 

Mrs Leah Perry 

Anne Shipton 

Michael & Helen Sinclair 

Mr Bernard & Mrs Margaret 

Spilsbury 

Mr Ron Stevens OAM & the late 

Mrs Toni Stevens 

Dr Damien Thomson & Dr Glenise 

Berry 

Prof. Hans & Mrs Frederika 

Westerman 

Anonymous (4) 

All donors are acknowledged on our website 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. 

PATRON 

Her Excellency the Governor of Queensland 

Ms Penelope Wensley, AO 

BOARD OF DIRECTORS 

Greg Wanchap Chairman 

Philip Bracanin 

Marsha Cadman 

Tony Denholder 

Jenny Hodgson 

Tony Keane 

John Keep 

Karen Murphy 

Jason Redman 

MANAGMENT 

Patrick Pickett Chief Executive Officer 

Ros Atkinson Executive Assistant to the CEO 

Marjorie Griffiths Senior Administration 

Coordinator 

Alison Barclay Administration Officer 

Richard Wenn Director - Artistic Planning 

Kate Oliver Assistant Artistic Administrator 

Nicola Manson Assistant Artistic Administrator 

Samantha Cockerill ~ Education Liaison Officer 

Jaime Burke * Education Assistant 

Matthew Farrell Director - Orchestra 

Management 

Nina Logan Orchestra Manager 

Peter Laughton Production Manager 

Judy Wood Orchestra Librarian /OH & S 

Coordinator 

Ashleigh Ellson Operations Coordinator 

Fiona Lale * Assistant Librarian / Artist 

Liaison 

Nadia Myers * Assistant Librarian 

Gaelle Lindrea Director - Philanthropy 

Birgit Willadsen Philanthropy Officer 

David Martin Director – Development 

and Sales 

Rachael Wallis Director – Marketing and 

Communications 

Tegan Ward Marketing Officer 

Kendal Alderman Marketing and Media Relations 

Officer 

Miranda Cass * Media Relations Assistant 

John Waight Chief Financial Officer 

Sandy Johnston Accountant 

Donna Barlow * Accounts Payable Officer 

* 

Part time 

~ 

Funded with the Assistance of the Queensland Department of 

Education and Training 

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 

Sophie Mitchell 

Paul Piticco 

Mick Power AM 

Susan Street 

Rhonda White 

EXECUTIVE STAFF 

John Kotzas Chief Executive 

Liesa Bacon Director-Marketing 

Ross Cunningham Director - Presenter Services 

Jacquelyn Malouf Director – Development 

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 Rachel Nolan MP 

Minister for Finance, Natural Resources and The Arts 

John Bradley 

Director-General, Department of the Premier 

and Cabinet 

Leigh Tabrett PSM 

Deputy Director-General, Arts Queensland 

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. 

2012 | QSO MARCH PROGRAM 39 

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Our Partners 

GOVERNMENT PARTNERS 

CORPORATE PARTNERS 

MEDIA PARTNERS 

CO-PRODUCTIONS 

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

40 2012 | QSO MARCH PROGRAM

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