Queensland Youth Symphony 2017 International Tour Program

2017
Queensland Youth Symphony
Conductor John Curro a m mbe
INTERNATIONAL TOUR
China and Germany
26 November to 19 December

From the Conductor
Touring is one of the most important elements in
the development of youth orchestras. To represent
your city, state and country in foreign lands is a
challenge and a privilege.
From the first tour in 1972, QYO has endeavoured to
present the best quality performances that we can,
and the best image to our hosts. The responsibilities
are many and wherever we go, we are proud to be
ambassadors for our country.
Tours such as these rely on support from many
organisations and individuals including government
agencies, foundations, sponsors, donors, host
orchestras and local families. We have listed many of
them in this program and extend our sincere thanks
to all who have made the tour possible.
I know this orchestra will play well and trust that our
audiences will enjoy the experience.
John Curro AM MBE
Director of Music
Queensland Youth Orchestras
Conductor, Queensland Youth Symphony

Tour Repertoire
Orchestra
Conductor
Assistant Conductor
Piano Soloist
Violin Soloist
Queensland Youth Symphony
John Curro AM MBE
Chen Yang
Stefan Cassomenos
Leanne McGowan
SAMUEL DICKENSON
Fanfare Overture
MICHAEL KNOPF
Tchambreen
RIMSKY-KORSAKOV
Russian Easter Overture
RAVEL Daphnis and Chloe, Suite No. 2
MOZART Piano Concerto No. 20
Soloist Stefan Cassomenos
BRUCH
Scottish Fantasy
Soloist Leanne McGowan
BARTÓK
Concerto for Orchestra
PROKOFIEV
Suite from Romeo and Juliet
SHOSTAKOVICH Symphony No. 11 The Year 1905

Tour Concerts
Tuesday 28 November
8.00pm
Macau Cultural Centre
Thursday 30 November
8.00pm
Yulan Theatre, Dongguan
Friday 1 December
8.00pm
Culture and Art Centre, Huizhou
Sunday 3 December
2.00pm
Shenzhen Symphony Orchestra Studio
Wednesday 6 December
7.30pm
Church of the Cross, Bonn
Friday 8 December
10.40am
Waldorf School, Esslingen
Saturday 9 December
7.30pm
Lindenhalle Concert Hall, Ehingen
Sunday 10 December
5.00pm
Landau Concert Hall
Tuesday 12 December
10.30am
Mannheim Music School Börsensaal
Thursday 14 December
7.00pm
Speyer Concert Hall
Friday 15 December
8.00pm
Bamberg Concert Hall

Biographies
John Curro AM MBE, Conductor
Chen Yang, Assistant Conductor
John Curro is the Founder and Director of Music
of Queensland Youth Orchestras, conducting the
Queensland Youth Symphony since its beginning in 1966.
Mr Curro has completed 12 international tours with QYS,
including the 10-concert, 2012 tour to Asia and Europe
with the orchestra’s first ever performances in Singapore
and Malaysia. In 1972 QYS was the first Australian Youth
Orchestra to successfully audition for the prestigious
International Youth Orchestra Festival in Lausanne,
Switzerland. Festivals followed in 1976 and 1980 in
Aberdeen, Scotland, this last occasion being the first time
a Youth Orchestra from Australia has ever been chosen to
host the festival.
In December 2012, Mr Curro led a 145-member QYS
Alumni Orchestra in a most successful performance of
Richard Strauss’s Alpine Symphony and on 17 December
2016, a 144-member QYS Alumni Orchestra came
together to celebrate QYO’s 50 th anniversary year. Mr
Curro has conducted many of Australia’s professional
orchestras as well as many opera and ballet seasons
in Australia. His guest conducting appearances have
included the London Virtuosi, the Shanghai Philharmonic
Orchestra, the Australian and Bavarian Youth Orchestras,
the Bangkok Symphony Orchestra, and Principal Guest
Conductor with the Christchurch Symphony Orchestra.
Chen Yang has had a long association with QYO. He
served as concertmaster of QYS for its 1980 international
tour and then as conductor of QYO3 from 1983 to 1988
and since 1991, conductor of JSE.
Chen was the concertmaster of the Queensland Theatre
Orchestra after graduating from the Queensland
Conservatorium of Music and later joined the Queensland
Symphony Orchestra for many years. He now performs
regularly as leader and conductor for the Sinfonia of St
Andrew’s Orchestra, Corda Spiritus Orchestra of Brisbane
and the Gold Coast Chamber Orchestra.
Chen is a regular guest conductor with the Brisbane
Philharmonic Orchestra, Northern Rivers Symphony
Orchestra and the Brisbane City Pops Orchestra. Other
musical interests include playing baroque violin with The
Badinerie Players of Brisbane and arranging many of the
string works for QYO’s Junior String Ensemble repertoire.
At present, Chen is the string teacher and conductor at St
Hilda’s School, Southport.
Throughout his distinguished career, Mr Curro has
received many prestigious awards including Member
of the Order of Australia and Member of the British
Empire. He has received Honorary Doctorates from
the University of Queensland and Griffith University,
Rotary International’s Paul Harris Fellow Award, the
Australian Music Centre (Qld) Award, the Don Banks
Music Award, the Sir Bernard Heinze Memorial Award, the
Orchestras Australia Lifetime Achievement Award and the
Queensland Premier’s Millenium Award for Excellence in
the Arts.

Michael Knopf, Composer
Samual Dickenson, Composer
Dr. Michael Knopf is a concert guitarist, composer and
dedicated teacher from the United States, resident in
Queensland, Australia for 34 years. He completed a
Doctoral degree (2011) in composition at the Queensland
Conservatorium. This study explored techniques,
concepts and attitudes in composing new music using
diverse genre and style elements resulting in a new
taxonomy of this compositional and performance
field. Poly-genre and multi-style performances and
compositions are thus an integral component of
Michael’s artistic ethos. He plays a 7-string classical guitar
performing classical repertoire, jazz standards, and
evocative and engaging originals, combining elements
from his eclectic guitar-playing career spanning half a
century. As a composer Michael has been mostly self
directed. He has composed a guitar concerto that is
stylistically virtuosic, exemplifying genre and stylistic
synthesis from the guitar’s rich and varied history. His
commissions have included works for cello, choir and
orchestra, and chamber music.
Michael has been artistic director, ensemble leader and
composer on several projects including the fusion of Jazz
and Classical elements in the trio Acoustica, the quartet
Centauri and in the experimental fusion group Zafron
Road which combined Jazz, Rock, Flamenco, Classical
and traditional Persian music in new compositions. He
has produced 7 CD recordings of mostly original music.
Michael has won national awards in Australia for his work
in classical and jazz fusion notably the Allan Zavod Prizes
for both composition (2011) and performance (2010).
His guitar piece “Ancient Beauty”, performed by Michael,
was the leading track on the CD “Queensland’s Best
World Music 2015” issued by BEMAC in Brisbane. He has
performed at numerous festivals and venues throughout
Queensland and recently performed in the United States
as well as attending an orchestral performance of one of
his symphonic works. His music often appears on ABC
classic FM’s programmes.
Queensland based composer Samuel Dickenson has
been hailed as one of Australia’s most exciting young
talents, praised for his “singular and imaginative spark
of individuality.” During his study at the Queensland
Conservatorium of Music, Samuel achieved the Alan
Lane Award for the highest achieving composition
portfolio at the university. Currently a Ph.D. candidate
in composition at The University of Queensland, he has
studied composition under the guidance of Josephine
Jin, James Leger, Dr Gerardo Dirié and Dr Robert Davidson
and received mentoring from television composer Garry
Smith and Hollywood orchestrator and conductor Tim
Davies (Despicable Me, The Simpsons Movie, Frozen).
Samuel adjudicated the Percy Brier Memorial Prize for
composition at UQ. He currently lectures at both the
Queensland Conservatorium and UQ.
Samuel’s music has been performed in several countries,
reaching audiences in Malaysia, Singapore and Europe.
In 2014, Queensland Youth Orchestras appointed him
Composer-in-Residence, where he was commissioned to
write several new works for full orchestra, string orchestra
and concert band. Samuel has been commissioned by
the Arts Council of Darwin, Germany-based Würzburg
Chamber Players and various other ensembles such as
the Brisbane Philharmonic Orchestra and the Melbournebased
Plexus ensemble.
Currently, Samuel is exploring a stylistic extension of the
romantic aesthetic, with an emphasis on craftsmanship.
His music presents digestible, generous melodies and
accessible structures.
Currently Michael is working on performing opportunities
and composing for the guitar for a collection of 365
pieces, one for each day of the year. He teaches from
home and is also a sessional doctoral supervisor and
examiner at the Queensland Conservatorium.

Stefan Cassomenos, Piano Soloist
Leanne McGowan, Violin Soloist
Melbourne pianist and composer Stefan Cassomenos is
one of Australia’s most vibrant and versatile musicians.
He has been performing internationally since the age of
10, and is now established as one of Australia’s leading
pianists.
Born in 1985 in Melbourne, Stefan studied with Margarita
Krupina, Stephen McIntyre, Ian Munro and Michael Kieran
Harvey.
Cassomenos gave the world premiere of his own Piano
Concerto No. 1 with the Adelaide Symphony Orchestra
in 2001 at the age of 16. His concerto repertoire now
exceeds thirty works, and has led to engagements with
the Beethoven Orchestra Bonn, Malta Philharmonic
Orchestra, Queensland Symphony Orchestra, Melbourne
Symphony Orchestra, Orchestra Victoria, and Melbourne
Chamber Orchestra. In 2013, Cassomenos was a grand
finalist and recipient of both the Second Grand Prize and
the Chamber Music Prize in the prestigious International
Telekom Beethoven Piano Competition Bonn (Germany),
and he has been a grand finalist and prize winner in
various other competitions, including the 2012 Rhodes
International Piano Competition, the 2013 Lev Vlassenko
Piano Competition, the 2013 ABC Symphony Australia
Young Performer Awards, the 2009 Melbourne Asia-
Pacific Chamber Music Competition, and the 2009 Trieste
International Chamber Music Competition.
Leanne McGowan is 16 years old and studies violin with
Spiros Rantos. She began learning violin at the age of
5 with Yuri Djachenko, and has also had lessons with
Elizabeth Morgan.
This is Leanne’s fourth year as a violinist with the
Queensland Youth Symphony, previously having been in
the Junior String Ensemble. She is also a current member
of the Australian Youth Orchestra and has attended the
Australian Chamber Orchestra’s Academy program for the
past two years. She was the second prize winner at the
Animato International Violin Competition in 2016.
As winner of the Queensland Symphony Orchestra’s
2017 Young Instrumentalist Prize, Leanne performed as a
soloist with the QSO in April with conductor Alondra de
la Parra.
Earlier this year Leanne was invited to perform as a young
virtuoso in a local Festival of Classics and was a recitalist
for the 2017 National Youth Concerto Competition.
Although her first passion is the violin, Leanne also loves
singing and dancing. She has performed with Robbie
Williams, and played the Scarecrow earlier this year in her
school musical, the “Wizard of Oz”.
Cassomenos has given solo recitals at many international
venues and festivals, including Tonhalle Zurich,
Gewandhaus Leipzig, Beethoven Festival Bonn, Shanghai
Oriental Arts Centre, Bunkamura Orchard Hall Tokyo, and
Junge Stars der Klassik Kirchheimbolanden. Cassomenos
now performs regularly in Australia, Germany and the UK.
Cassomenos’ compositions are commissioned and
performed in Australia and overseas. He is also active as
an artistic director of festivals, projects and collaborations.
He is a founding member of acclaimed ensemble PLEXUS,
with violinist Monica Curro and clarinetist Philip Arkinstall.
Since launching in 2014, the ensemble has commissioned
over 100 composers and premiered over 70 new works.
Stefan is generously supported by Kawai Australia.

Queensland Youth Symphony
Established by John Curro in 1966, the Queensland Youth
Symphony is a world-class youth orchestra with 100
members aged from 13 to 25. It is the leading ensemble of
Queensland Youth Orchestras (QYO) and celebrated its 50 th
anniversary in 2016. The orchestra undertaking the 2017
international tour has 92 musicians.
QYO is based at The Old Museum at Bowen Hills, Brisbane
and has 460 musicians aged from 8 to 24 in three
symphony orchestras, two wind orchestras, a junior string
ensemble and a big band.
Under the direction of John Curro, the Queensland Youth
Symphony has consistently received acclaim from music
critics and audiences for its high quality performances in
Australia and overseas. The orchestra specialises in large
scale orchestral works from the late 19 th century through
to the present day and it regularly commissions new
Australian works.
The Queensland Youth Symphony has a proud touring
history with 12 international tours completed since 1972
plus the current tour to China and Europe.
First Violin
Kentaro Koido * ^
Concertmaster position and
scholarship dedicated to the
memory of Richard Pollett.
Lachlan Huang
Darryl Lee
Allyson Pong Ying
Liam Freisberg
Leanne McGowan
Sola Hughes
Samuel Andrews
Claire Weatherhead
Chae Eun Oh
Joey Wang
Kevin Hsu
Lili Stephens
Quiana Morgan
Thomas Riethmuller
Grace Choi
Second Violin
Jacqueline Webber *
How-Ying Low
Sophia Goodwin
Jacqueline Wang
Miriam Niessl
Isabel Young
Jordon He
April Ding
Matthew Geale
Genevieve Russell
Hanah Lee
Olivia Lambert
Mimi Versace
Rachel Olsen
Forté-Avant KiwiKiwi
Teresa Kao
Viola
Daniel You *
Iris Doo
Elizabeth Simmers
Flora Cawte
Heejin Kwen
Clarissa Wilson
Caitlin Duncombe
Sophie Ellis
Alexander Voltz
Chang Su
Jacob Seabrook
Ziyun Zhao
Cello
Chloe Yap *
Michael Gibson
Nicky Griffith
Hamish Jamieson
Felicity Mohr
Isabella McDonald
Joshua Jones
Francesca Masel
Connor Scott
Isabella Busby
Renee Edson
Double Bass
Samuel Dickenson *
Bryn Keane
Christopher Strom
Billee Mills
Georgia Lloyd
Harry Mulhall
Thomas Crilly
Flute
Josephine Lagerlow *
Cassie Slater
Piccolo
Greta Hunter *
Oboe
Ethan Seto *
Gabrielle Knight
Cor Anglais
Anneka Celotto *
Clarinet
Jessica Hort *
Courtney Cook
Bass Clarinet
Daniel Byrne *
Bassoon
James Dodd *
Gabrielle Kerin
Contrabassoon
Lachlan Buckley *
French Horn
William Tanner *
Daniel Sherson
Ryan Humphrey
Benjamin Tomarchio
Jessica Goodrich
Trumpet
Nicholas Corkeron *
George Wilson
Timothy Reed
Trombone
Zhao Ming Liu *
John Rotar
Bass Trombone
Phillip Soalheira *
Tuba
Neale Connor *
Percussion
Jason Connors *
Patrick Hassard
Davis Dingle
Nathan Gatenby
Grace Kruger
Harp
Linley Chai *
Piano/Celeste
Teresa Kao
* Principal Player
^ Concertmaster
Tour Manager
Geoff Rosbrook
Administrator
Alison Holm
Librarian
Victoria Whiting
Stage Manager
Noel Smith
Asst. Stage Manager
Tim Goodwin
Tour Doctor
Kay Strom
Videographer
Jason Whiting
Conductor Assistant
David Curro

Program Notes
Samuel Dickenson (1992 - )
Fanfare Overture (2017)
In 2012 I wrote my first fanfare, which was subsequently performed
on the previous international tour, and it seemed only fitting that
I had to do one better! Fanfare Overture does what it says on the
label, providing an opening work with plenty of brass gusto and that
ever-important trumpet opening. Throughout this work you will
hear each of these brilliant young musicians from the QYS showing
off their skills, an appropriate way to exhibit this world-class youth
orchestra to audiences locally and abroad. Keep your ears out for
romantic themes and heroic leaps in the strings, as well as solos from
the concertmaster and various members of the woodwind section.
Look forward to some challenging virtuosity, exciting drama and a
majestic finale!
This work is built from a few compact ideas, which are developed
throughout. The first idea is the initial fanfare motif, which is heard
in the trumpets and trombones in the opening. It can also be heard
in flourishes throughout the piece, with manipulations in rhythm
(diminution, truncation, elongation, extension) and pitch as it
reaches a peak near the end.
The next idea is the main theme, played first by the strings and horn.
It uses similar triadic ideas to the fanfare motif, but with a higher
frequency of harmonic rhythm change. The theme develops through
various secondary key areas throughout the work: the dominant (G
major), the Neapolitan (D-flat major), the parallel minor (C minor)
and the relative minor (A minor), all before returning to C major in
conclusion.
The third idea is an expanding harmonic motion, heard throughout
the work in various forms and with varying instrumentation. It is
initially heard in the brass, lower strings and lower woodwinds in
the contrasting phrase of the first theme, building in a crescendo
with each iteration to complement the “expanding” sound. This
progression allows a pivot from the tonic key to the dominant key,
and is used to ease the ear into the first elongated trumpet fanfare
section, built on the dominant chord (D major) of the dominant key
(G major).
The final idea is a contrapuntal expansion and a modal mixture.
The outer voices of the progression proceed inward in contrast to
the previous idea, concluding on a mixture chord that introduces
harmonic language from the incoming key areas. Each time this
idea come back (slightly altered each time), it signifies an important
structural section change. It appears after the first theme and
elongated trumpet fanfare and then at the end of the development
section and finally, just prior to the climax.
Keep your ear out for
the permutations of
each idea, and enjoy!
Michael Knopf (1955 - )
Tchambreen (2017)
My first acquaintance with the Queensland Youth Symphony and
Maestro John Curro was after sending the score and parts of my
symphonic suite “The Reef” in 1988 for a reading late that year. We
had arranged a date for the reading at a rehearsal which I would
attend and somehow I had thought it was a couple of weeks later.
John called to say he had the proverbial bad and good news: firstly,
I had missed the rehearsal that day and secondly, the orchestra had
liked the work so much they wanted to premiere it in ’89 and take it
on the Pacific Rim tour of San Diego, Vancouver, Beijing and Tokyo.
That was 28 years ago and we’ve been friends since.
In 2015, John asked me to write a concert opener for 2017, again to
take on an international tour. My wife and I moved to Tamborine
Mountain that year, and I began my love affair with the beautiful
national parks there, taking my daily exercise on the various nature
paths. I had, for some time, suffered a very real writer’s block.
Throughout my life, I had often found inspiration and ideas in
nature, so I took on my affliction by listening for internal music whilst
enjoying the rainforest’s sounds and air. The melodic treatment of
tonight’s premiere, Tchambreen, came about as a result.
Tchambreen is the original word for “the area” in the Yugumbah
language, which has obviously been subsequently anglicised. One
of my compositional foci is in the use of genre and style to compose
- the drawing of musical elements, ideas, and attitudes from often
disparate musics and combining such to discover new sonorities
and musical strategies. I wrote the music for tonight’s piece initially
using the mixolydian (Khamaj) mode in the style of some Indian Raga
music which I have used in solo pieces for the guitar. The piece uses
this stylistic treatment as a unifying, referential element in various
sections.
But the music unfolds through diverse soundscapes, sections
that I refer to as musical worldlets. These include other stylistic
inclusions such as mournful lyricism, expansive chordal textures, and
imitative polyphony over static harmonic surfaces, all leading to a
reintroduction of the Raga-like melody that precedes the big finale
ending the work. The piece has a variety of symphonic textures,
some lush, others dramatic or lyrical.
John and Carmel have often shared meals with my wife Farideh
and myself over the years and I have attended many QYO concerts
enjoying the vitality, strength and depth of the young players
in John’s wonderful orchestras. Tonight’s premiere is of special
importance to me as I wrote the work for an incredible musician, a
colourful character and a good friend.
Incidentally, tonight’s premiere has something in common with that
premiere of “The Reef” so many years ago. By coincidence, Ravel’s
gorgeous suite had also been placed on that night’s programme! I
take this as a good omen.
Program notes by composer Michael Knopf
Program notes by composer Samuel Dickenson

Nikolai Rimsky-Korsakov (1844-1908)
Russian Easter Overture (1888)
“Svetlyi prazdnik”, translated as “Bright Holiday” and known in
English as Russian Easter Overture, was one of three richly evocative
overtures including Capriccio Espagnole and Scheherazade that
Rimsky-Korsakov composed between 1887 and 1888. It was these
short works that made the composer famous across Europe, despite
his many operas including The Snow Maiden, Malda and The Tsar’s
Bride, which remain close to the Russian heart. Rimsky-Korsakov
was one of “The Mighty Handful”, including Mily Balakivev, César
Cui, Modest Mussorgsky and Alexander Borodin, forming a cradle
of Russian Nationalistic composers who developed and promoted
a uniquely Russian voice in music. Their aesthetics included a focus
on Russian folk song and folk lore, and musical orientalism that used
exotic harmony including pentatonic, diminished and whole tone
scales, parallel fifths, fourths and thirds, and rhythms based in folk
music.
Rimsky-Korsakov described Russian Easter Overture in his memoir,
My Musical Life, which was first published a year after his death in
1909, giving us a vivid insight into the work. “The rather lengthy, slow
introduction of the Easter Sunday Overture on the theme of “Let God
Arise!” alternating with the ecclesiastical theme of “An angel wailed,”
appeared to me, in its beginning, as it were, the ancient Isaiah’s
prophecy concerning the resurrection of Christ.” In the orchestra
we hear Rimsky-Korsakov contrast solos from the violin, cello, flute,
clarinet, and trombone with interjections from the full orchestra to
represent the Easter story being told to a congregation. He uses the
lower brass (trombone) to represent the Russian Orthodox Monks
and the solo violin cello and winds as “the angels in heaven.”
The priest tells the story of Christ’s descent into hell just before his
resurrection. This is represented by the violin solo, and then a tuba
solo playing the liturgical theme “Let God Arise and Let His Enemies
Be Scattered”. In Rimsky-Korsakov’s words: “The gloomy colours of
the Andante lugubre seemed to depict the holy sepulchre that had
shone with ineffable light at the moment of the resurrection.” The
liturgical theme develops to describe Christ releasing Hell’s captives
including Adam and Eve. The agitation and drama is emphasised by
the syncopation and virtuosic intensity of the strings. This solemn
voice of the Archangel is replaced by a tonal reproduction of the
joyous, almost dance-like bell tolling, alternating with the sexton’s
rapid reading and the conventional chant of the priest’s reading of
the glad tidings of the Evangel.
The orchestra settles into the “Poco sostenuto e tranquillo” section
which describes the lights in the church being extinguished as
everyone waits in silence and darkness for the stroke of midnight and
the resurrection of Jesus to be proclaimed. A trombone represents
the priests lighting incense. The solo violin plays the theme of
hope. The priests take the blessing cloth, a candle, a bible and a
cloth representing the shroud of Jesus to the church door, creating
anticipation and excitement from the congregation as they sing
peacefully in the adoration of Christ.
“Let God Arise” returns and a gentle violin melody describes Mary
Magdalene announcing the Resurrection to the Apostles, imitating
the congregation singing “Thy resurrection, O Christ our Saviour, the
angels sing in the heavens.” With the “Maestoso alla breve” section,
the main themes of the overture are recounted as the work comes to
a glorious and triumphant coda of rejoicing.
In Russian Easter Overture Rimsky-Korsakov described the dualities
of the Easter story and the congregation with a contrast of
descriptive and active music, and homophony (even monophony)
and polyphony: “This legendary and heathen side of the holiday,
this transition from the gloomy and mysterious evening of Passion
Saturday to the unbridled pagan-religious merry-making on the
morn of Easter Sunday, is what I was eager to reproduce in my
Overture.”
Program notes by Ellie Harrison
Maurice Ravel (1875 - 1937)
Daphnis and Chloe Suite No. 2
Daphnis and Chloe, Ravel’s biggest theatrical work, was
commissioned by Diaghilev for the Ballets Russes in 1909, but was
not completed by the perfectionist composer until 1912. In the
final ballet scenario, jointly worked on by Ravel with choreographer
Fokin, little remains of the original Greek pastoral by Longus. The
story of the ballet, set on the island of Lesbos, follows the love
of a young shepherd, Daphnis, for the shepherdess Chloe. After
several pastoral dances showing the couple’s love, there is a dance
competition between Daphnis and the jealous Doreen for a kiss from
Chloe. Daphnis wins this easily, but soon after Chloe is captured
by pirates. Pan ~ the Greek god of shepherds - intervenes, and the
couple is reunited. After acting a pantomime, they join with the other
shepherds in an ecstatic final dance.
From the complete ballet score Ravel drew two orchestral suites,
and the more famous second suite covers the whole third part of
the ballet. Here is the original ballet scenario for this section, with
additional musical commentary:
First Section - Dawn
No sound but the murmur of the brooklets gathered by the dew that
flows from the rocks. [The bubbling, fast notes of the brooklets pass
through all sections of the orchestra in this first slow section, which
swells to a climax as the sun rises]. Daphnis still lies stretched out in
front of the grotto of the Nymphs. Gradually day breaks. Birdsong is
heard. [Flute and piccolo interjections] In the distance, a shepherd
passes with his flock. [Falling piccolo line] Another shepherd crosses
the back of the stage going farther away. [Strident high Eb clarinet
line] Enter a group of shepherds looking for Daphnis and Chloe.
They discover Daphnis and awaken him. Anguished, he seeks Chloe
with his eyes. At last, she appears, surrounded by shepherdesses.
They throw themselves into each other’s arms. [“Love tune” in high
strings] Daphnis notices Chloe’s crown. His dream was a prophetic
vision. Pan’s intervention is manifest. [The first section climaxes
overwhelmingly at this point]
Second Section - Pantomime
The old shepherd Lammon explains that if Pan has saved Chloe, it
is in memory of the nymph Syrinx, with whom the god was once
in love. Daphnis and Chloe mime the tale of Pan and Syrinx. Chloe
depicts the young Nymph wandering in the meadow. Daphnis~Pan
appears and declares his love for her. The Nymph rejects him.
The god becomes more pressing. She disappears into the rushes.
Desperate, he tears off some reeds, makes a flute with them and
plays a melancholy air. [A long, sweet, languid flute solo, marked
“expressive and subtle”, accompanies Chloe’s next dance] Chloe
reappears and depicts, in her dance, the accents of the flute. The
dance becomes more and more animated, and, in a bewildered
swirling, Chloe falls into the arms of Daphnis.
Third Section - General Dance
Before the altar of the Nymphs, Daphnis pledges his fidelity by
offering a sacrifice of two sheep. Enter a group of young maidens,
dressed as bacchantes, shaking tambourines. Daphnis and Chloe
tenderly entwine. [Several very drawn out statements of the “love
tune” by the full orchestra.] A group of young men invades the stage.
Joyous tumult.
The music of the first two sections is mainly slow, by turns atmospheric,
erotic and dreamy. In the final section - a fast dance in the
unwieldy metre of 5/4- the music is more brazen, rising fitfully to a
tumultuous climax. Although in a ballet performance the choreography
has the characters dancing merrily around the stage, the music is
as violent and thrusting as the murderous “sacrificial dance” from the
Rite of Spring by Stravinsky.
Program notes by Anthea Craig

Max Bruch (1838-1920)
Scottish Fantasy (1880)
I Introduction; Grave, Adagio cantabile
II Scherzo; Allegro
III Andante sostenuto
IV Finale; Allegro guerriero
Max Bruch is today known primarily as a composer of works for the
violin. Even in his own lifetime, and much to his annoyance, the
popularity of his Violin Concerto in G minor overshadowed much of
his other work. However, in his day, Bruch was equally famous for
his large-scale choral works, to the extent that, for a short time, his
reputation briefly eclipsed that of Brahms. While his choral works are
largely forgotten now, his other works for violin - the Second Violin
Concerto and his Scottish Fantasy - are still performed frequently.
Born and trained in Cologne, with a series of Kapellmeister
appointments scattered throughout Germany, Bruch spent the first
half of his career thoroughly immersed in German Romanticism.
Like several German composers before him (including Mendelssohn,
Schubert and Beethoven), Bruch was captivated by folk legends of
the proud, fierce warriors of Scotland. In 1880 he was appointed
director of the Liverpool Philharmonic, and it was during his stay in
England that he wrote his Scottish Fantasy. He used Scottish folk
tunes to provide the thematic material for the work, drawing upon
an anthology of six hundred Scottish folksongs entitled “The Scots
Musical Museum” which had been co-compiled by poet Robert
Burns. Of folksong, Bruch said “I would never have come to anything
in the world if I had not ... studied the folk music of all nations with
seriousness, perseverance, and unending interest. There is nothing
to compare with the feeling, power, originality and beauty of the
folksong”
Although it is sometimes referred to as his Third Violin Concerto,
Bruch wrote of the title that “the term ‘Fantasy’ is very general, and
as a rule refers to a short piece rather than one in several movements
(all of which, moreover, are fully worked out and developed).
However, the work cannot properly be called a concerto because the
form of the whole is so completely free, and because folk melodies
are used.” The Scottish Fantasy is not only freer in form and more
rhapsodic than Bruch’s violin concertos, but the solo part is also
substantially more virtuosic. The work is full of technical challenges,
requiring the soloist to traverse a variety of difficult figurations,
double-stops, fiddly staccatos, trills, runs and arpeggios. As indicated
by the work’s full title, the violin shares the spotlight with the harp,
the traditional bardic affiliate, which is treated almost as a secondary
solo instrument, often playing as accompanist to the violin or in
dialogue with it.
The work begins with a solemn Introduction; according to one of
Bruch’s contemporaries, this section represents “an old bard, who
contemplates a ruined castle, and laments the glorious times of old.”
The first movement follows without pause, and features the nostalgic
Scottish folk song “Through The Wood Laddie” (often mislabelled
“Auld Robb Morris”). The second movement, a ternary form scherzo,
has the character of a dance. The folk song “Hey, The Dusty Miller”
is heard over the low strings and horns imitating the drone of
bagpipes. The soloist leads the way into the third movement, which
is built around an old air “I’m a-Doun for Lack O’Johnnie”, and in
which elements of sonata and variation form are freely combined.
The tempo marking for the final movement is Allegro guerriero,
meaning “fast and warlike”, an appropriate direction for a section
based on the Scottish war song “Scots wha hae,” which, according
to legend, was sounded by Robert the Bruce at the Battle of
Bannockburn in 1314.
Program notes by Angela McCurdie
Béla Bartók (1881-1945)
Concerto for Orchestra (1943)
I Introduction: Andante non troppo – Allegro Vivace
II Game of Pairs: Allegretto Scherzando
III Elegy: Andante, non troppo
IV Intermezzo interrotto: Allegretto
V Finale: Presto
Bartok’s Concerto for Orchestra is aptly named, offering scope for
virtuosic display not only for individual players but also for the
orchestra as a whole. The work was composed in 1943, two years
before the composer’s death, and may have been partly responsible
for prolonging his life. Conductor Sergei Koussevitzky visited Bartok
while he was in hospitle to commission a work in memory of his late
wife Natalie. According to Koussevitzky, Bartok immediately became
more animated, and kept the conductor by his bed for over an hour
discussing ideas for the new work. His health improved dramatically,
and his surprised doctors released him from hospital within weeks of
the commission. Bartok began the work in August of 1943 and it was
completed by October of the same year. The first performance was
given by the Boston Symphony Orchestra conducted by Koussevitzky
in December 1944 and the work was an immediate success.
Bartok said of the general mood of the work that it “represents, apart
from the jesting second movement, a gradual transition from the
sternness of the first movement and the lugubrious death-song of
the third, to the life-assertion of the last one.” This description could
be seen as a reflection of Bartok’s own experiences in his battle
against illness at the time. The first movement opens in typically
Hungarian style, with an expansive melody employing intervals of a
fourth. The first theme is heard in the lower strings against a series
of interjections from the brass and woodwind. The Allegro vivace
ushers in a completely new mood. The principal theme, with its
irregular meter and rhythmic vitality, is presented by all of the violins.
The movement passes through the full gamut of emotions, from
lively dance to tender song, ending in resplendent fanfare.
The title of the second movement refers to the pairing of wind
instruments at various intervals. Two by two, instruments introduce
their own themes, each playing the same melody at a fixed interval
apart. The bassoons are the first to take part in the light hearted
game, followed by oboes, clarinets, flutes and muted trumpets.
This light hearted mood is only interrupted in the middle of the
movement by a brass chorale together with the snare drum.
The third movement, described by Bartok as a “lugubrious deathsong”,
is a funeral dirge and its elegiac tone harks back to the
introduction of the first movement. Peace is found at the end of the
movement amongst bird calls and other sounds of nature.
The gently flowing line of the fourth movement is periodically
interrupted by snatches of operetta melody, parodied most
effectively by glissandi in the trombones. The tune is “Da geh’ ich
zu Maxim” from Lehar’s The Merry Widow. However, some say the
tune bears striking resemblance to a melody from Shostakovich’s
new Seventh Symphony, which, with its patriotic anti-German
subject matter, was frequently broadcast at the time. Bartok’s son
claims his father heard the work while working on the Concerto for
Orchestra. He apparently thought the theme so vapid and banal that
he parodied it in his own work. The vulgarity and raucousness are
therefore intentional.
The final movement was titled “Life Assertion” by the composer and
demonstrates a boisterous culmination of some of Bartok’s favourite
folk styles. It contains many folkloristic elements, including trumpet
tunes of Afro-American origin. The movement may represent a vote
of thanks by the composer to the American troops who were at that
time helping to turn the tide against Hitler’s forces. This wild and
brilliant movement brings the work to a heroic conclusion.
Program notes by Melanie Piddocke

Sergei Prokofiev (1891 - 1953)
Romeo and Juliet Suite
Towards the end of 1934 a suggestion came from the Kirov Theatre
in Leningrad to stage a new ballet by Prokofiev. The choice of
subject, Romeo and Juliet, was controversial from the start, and soon
the project was taken over by the Bolshoi Theatre in Moscow. The
problem was the ending to the story; as Prokofiev later put it, ‘live
people can dance, but the dying can hardly be expected to dance
in bed’. A happy ending, with Romeo arriving in the nick of time,
seemed the only solution, and it was with this denouement that the
first version of the score was composed. It was the longest ballet
Prokofiev had ever written, and the most intensely dramatic. Even
so, its composition took him only four months, and at the end of
summer 1935 his piano score was heard by the theatre directorate.
The work was rejected out of hand as being unsuitable for dancing.
Since the ballet was rejected, Prokofiev made two separate orchestral
suites from his score, each containing seven parts and not intended
to be performed consecutively. The first suite was performed in
November 1936 and the second on 15 April1937 in Leningrad with
Prokofiev himself conducting the Leningrad Philharmonic. It was not
until Prokofiev had carried out large-scale revisions to the music and
the choreographers restored the original tragic ending to the drama
that the ballet was premiered in Russia in 1940.
During this tour, the following Suite will be played in full at some
concerts while Suite No. II will be played at other concerts:
1. Montagues and Capulets (Suite II)
A short, slow introduction portrays the glowering hatred of the rival
families, followed by a ponderous, swinging march. Flutes, harp
and strings feature in a delicate, stately interlude between the two
sections of march music.
2. The Young Juliet (Suite II)
This movement is cast in a rondo-like form; the quick repeated
scherzo sections portraying the vivacity of Juliet, the slower episodes
portray her beauty and tragic destiny.
3. Minuet (Suite I)
The Minuet is a stately dance, again in rondo form. The music here
represents the arrival of the guests, featuring introductory fanfares
interspersed with smaller, more conversational ensemble work for
each arriving party.
4. Masks (Suite I)
Romeo, Mercutio and Benvolio arrive outside the Capulets’ house
while the other guests enter. The music captures the three friends’
cheek and masked tomfoolery.
5. The Death of Tybalt (Suite I)
Romeo avenges his friend Mercutio, who has just been murdered by
Tybalt. This is Romeo and Juliet’s wedding day, and Romeo, who is at
first hesistant to engage in battle, now slays Tybalt.
6. Friar Laurence (Suite II)
A short, slow movement in ternary form. Sombre, note-against-note
counterpoint frames a passionate, harmonically rich central section
for multiple divided strings.
7. Romeo at Juliet’s before Parting (Suite II)
Outer sections which suggest waiting for impending doom frame a
more active middle section which features expansive horn and solo
viola melodies and spectacular use of the full orchestra.
8. Dance of the Antilles Girls (Suite II)
A short divertissement interlude featuring solo wind instruments
over a chugging regular pulse.
9. Romeo at the Grave of Juliet (Suite II)
Emotionally wrought string writing dominates the beginning of this
slow movement. The string melody passes to horns, then full brass.
as the music develops into a powerful funeral march, with quotations
from fragments of the central section from the 5’” movement. The
piece then quietens down with a sense of resignation with the final,
hushed C major chords.
Program notes by Rhoderick McNeill
Wolfgang Amadeus Mozart (1756 - 1791)
Piano Concerto No. 20 in D minor
I Allegro
II Romanze
III Allegro assai
Mozart composed more than 600 works over the course of his
short lifetime, and is considered one of the most prolific, versatile
and popular composers of all time. Mozart’s catalogue of work
encompasses every major genre including symphonies, operas,
concertos (for various solo instruments), chamber music and
piano sonatas. The most significant of his concertos are the 23 he
wrote for piano, many of which he composed for his own personal
performance. In essence, he defined the genre. Mozart strived to
maintain a balance between writing a symphony with occasional
piano solos, and a virtuosic piano performance with orchestral
accompaniment. He aimed to treat the piano as an equal to the
orchestra and the results are varied and complex.
Mozart premiered his Piano Concerto No. 20 in D minor on 11
February 1785, the day after he finished composing it. Preparations
for the premiere were rushed and the copyist was still transcribing
the orchestral parts as the audience arrived. Mozart had no chance
to rehearse the final movement with the orchestra or to write
cadenzas for the piece as he had for his nine prior concertos, instead
improvising on the spot. Nevertheless, the concerto was well
received.
Of Mozart’s 23 piano concertos, only two are in a minor key: K. 466 in
D minor, and K. 491 in C minor. Of these two, the D minor concerto is
the most dramatic, brooding and passionate, displaying a completely
different character from the two major key concertos that bookend
it chronologically. It was a radical departure for Mozart, one that
anticipated the Romantic era to follow – yet the Classical elegance
and restraint found in the work serve to intensify the drama.
The first movement begins quietly, without stating an obvious
theme. Instead, the string sections move together in an agitated
syncopation before reaching a full orchestral forte. There are no
melodies to relieve the tension and any rhythmic balance is troubled
by syncopation. When the piano enters for the first time, it does
so with entirely new musical material. In fact, the soloist never
once plays the same chords as the orchestral opening, and the
orchestra never imitates the piano’s opening lines. This is the first
indication that a conflict exists between soloist and orchestra. The
interplay between the two carries the movement forward. There is
no compromise or resolution, and the movement ends without the
usual triumph or elation. Instead it fades away, as though both sides
of the argument were exhausted by the unresolved struggle.
The soloist begins the second movement, introducing a theme that is
beautiful in its simplicity. It brings relief, with the piano and orchestra
passing the melody between them, supporting and completing
each other’s phrases. Yet all is not well, and the central section of the
movement provides an unexpected, stormy contrast. It ultimately
gives way to a reprise of the initial theme before the movement ends
with an arpeggio, as light and delicate as a whisper.
The drama returns in the final movement, with the piano announcing
the main theme before passing it to the orchestra for development.
Despite some bright exchanges with the wind section, the brooding
atmosphere remains in effect. A second theme goes through
several chromatic modulations as both soloist and orchestra vie
for supremacy throughout the movement. This scuffle comes to a
head at the cadenza, after which the soloist seemingly acquiesces to
the orchestra’s authority and allows the work to finish in the major
key. The final section is simplistic and perhaps a tad trite, as though
Mozart felt compelled to stick to the Classical norm and give his
audience the expected upbeat, happy ending. Despite the jubilant
conclusion, the intensity and urgency of the prior material lingers,
leaving the listener to ponder whether the struggle has truly been
resolved.
Program notes by Gabrielle Knight

Dmitri Shostakovich (1906 - 1975)
Symphony No. 11 The Year 1905
I Adagio (The Palace Square)
II Allegro (The 9 th of January)
III Adagio (Eternal Memory)
IV Allegro non troppo (Tocsin)
It is impossible to speak of Shostakovich without mentioning politics.
Born into Lenin’s Russia, he spent his entire adult life under the Soviet
regime, the only political reality he ever experienced first-hand.
Although some critics maintain that he was a compliant supporter of
communism, most consider him a survivor of this oppressive regime,
encoding his own deep-felt protest within his music. Many artists,
writers and musicians, as well as political figures, paid dearly for
thoughts openly expressed, or, in many instances, thoughts simply
suspected. Many composers left Russia at this time, and those who
stayed faced constant and serious threats.
Symphony No. 11 commemorates a tragic event of ‘Bloody Sunday’,
where thousands of people gathered before the Winter Palace in
St. Petersburg to present their peaceful petition to the Tsar, who
had been advised of the demonstration by its organisers and was
expected to receive their respectful entreaties with kindness.
Unfortunately, the Tsar had taken his family out of the capital, and
the peaceful demonstrators were confronted by Cossack troops
and police, who ordered them to disperse. Stunned, and physically
immobilised by their own close-packed numbers, they were unable
to move, and were shot down by rifle fire.
The 1905 revolution was perhaps the darkest hour in modern Russian
history and was widely regarded as a prelude to the two revolutions
of 1917 (February and October), the first of which put an end to the
Czarist regime while the second brought the Bolsheviks to power.
There is good reason to believe that Shostakovich’s impetus in
composing this work was his traumatic reaction to the way his
own country had dealt with the uprising in Hungary the previous
year, during which time he was forming the music in his mind.
Certainly a grim parallel between the St Petersburg’s Bloody Sunday
massacre of 1905 and Budapest’s Parliament Square massacre in
1956 existed, and some thought the work was more reminiscent
of tanks than machine guns. Shostakovich said next to nothing to
confirm this interpretation, because the implications of that situation
made it necessary for him to disguise such a gesture. A friend of
Shostakovich, Lev Lebedinsky claimed “it deals with contemporary
themes even though it’s called ‘1905.’ It’s about the people, who
have stopped believing because the cup of evil has run over.”
Shostakovich had a compassionate regard for all fellow men. In this
symphony, his aim was to speak to a mass audience and through
music describe historic events. He took pains to make sure his
message was clear to every listener, by using adapted workers’
songs for principal themes, and even a funeral march sung by Lenin
himself. He took authentic music related to the historical event and
weaved it into the fabric of the symphony.
The four movements flow into each other and certain themes
reappear, punctuated by an ominous recurring motto, the first
given quietly by the timpani soon after opening. The ambiguity
created by the alternating major and minor thirds may also be
heard as a transposed variant of the DSCH theme. This theme was
Shostakovich’s personal musical fingerprint based on the initial of his
first name and the first three letters of his last name. He translated
them into equivalent notes in the German musical alphabet; D, Eb, C,
B. The motto appears in different guises, transformed as a theme or
accompaniment. These characteristic building blocks seem to create
an opera without words, portraying emotions, musical characters,
places and actions. It is no coincidence that the symphony was later
choreographed with great success in Russia.
The first movement opens with Mussorgskian scene-setting music
and depicts the bleak, snow-covered square in front of the Winter
Palace, suggesting oppressive calm. We hear the frozen stillness
of the River Neva in the darkness and the ominous timpani strokes
fatefully suggest an uneasy calm whilst distant sounds of military
bugles evoke the soldiers’ early morning ‘reveille’ in the barracks
and the equally distant chanting of the Russian Orthodox prayer for
the dead, the Kontakion. Then, like an echo from one of the prison
cells in the Peter-Paul Fortress immediately opposite the Winter
Palace, we catch the first song, “Listen!” This was a popular ballad
with nineteenth-century political prisoners and often sung in Stalin’s
Gulags. It tells a convict’s story of hearing a fellow prisoner being
led out to early morning execution. Shostakovich introduces it on
the gentle sound of two flutes (like two trumpets playing in the
distance), just after an eerie passage of softly beating drums. A little
further on, after a reprise of “Listen!” in the bassoon, violins, and
violas, Shostakovich introduces a second melody, gloomy and hymnlike,
first in the cellos and basses, then in the flute and clarinet. This
is “The Arrested Man,” a song from 1850.There follows a grief-filled
exchange of words between two equally oppressed individuals, a
despairing prisoner and the sentry who cannot help him.
The second movement portrays a crowd of workers as they approach
the palace to appeal to the absent Tsar. The troops turn on them and
1,000 workers are gunned down. The movement mostly features
melodies taken from Shostakovich’s own unaccompanied choral
setting of Arkady Kotz’s poem, “Bare your heads! Bare your heads!”
In musical language vividly reminiscent of the choral scenes from
Mussorgsky’s Boris Godunov, the unarmed protestors, carrying
portraits of Tsar Nicholas ll, proceed to the palace to ask for his help
stating “Hey you, father Tsar! Look around you. We have nothing
to live on, your servants give us no help. After a climax in which the
orchestra repeats over and over again the phrase “Bare your heads,”
Shostakovich returns for a moment to the opening of the symphony,
to the prayer for the dead and, again, the sound of the old song
“Listen!”
The third movement, titled “Eternal Memory”, laments those who
lost their lives in the atrocity. This funeral dirge to the fallen heroes
features a long, elegaic melody in the violas incorporating distinct
rhythms from the opening bars, accompanied by pizzicato cello and
double bass material derived from the motto theme. It is based on
the revolutionary funeral march, “You fell as victims, with unselfish
love for the people”, a song that was heard at Lenin’s funeral in
1924. This lovely old tune is soon answered by a stern, revolutionary
marching song, “Greetings to You, Unfettered Freedom.” Here,
Shostakovich combines several different sources into a single musical
utterance.
The finale, titled “Tocsin” (alarm bell), brings the promise of ultimate
victory and builds an insistent vision that determination and hope
must result in victory but warning that just as surely as people will
overcome, the guilty will be rightfully punished. This march-like
moto perpetuo is cast in three parts: a call to action, a meditation,
and the struggle ahead. Accordingly the principal theme or “call
to action” is based upon another Revolutionary song: “Rage, you
tyrants.” For relief a slow interlude is introduced with a haunting cor
anglais lament. After the extended solo, the bass clarinet returns
to the earlier violence where Shostakovich then builds up to a final
massive and resounding climax with the snare drum and chimes in
which the Tocsin (alarm bell) rings out in a resilient G minor, while
the orchestra insists on G major. In the end, neither party wins, as the
last full orchestra measure is simply a sustained G natural.
Though the ringing bells that close the work suggest a certain
triumph, they sound hollow in the context of a resilient G minor
tonality, and it could hardly be called an optimistic ending to what
is a very dark and brooding symphony as a whole. What is clear
in this Symphony is Shostakovich’s empathy with all who tried
to rise up against tyranny and his passionate antipathy towards
all who oppressed them. The symphony may on the surface be a
costume drama, but it is one that still resonates today. In the end,
Shostakovich writes about emotions and states of mind, rather than
specific dates, and even if he does use facts as his focus, they are
invariably symbols for universal sentiments. That is why his music
remains both timeless and topical.
Program notes by Joumanna Haddad

Management Credits
Tour Partners
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His Excellency the Honourable Paul de Jersey AC
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Theo Kotzas
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Additional thanks to the many host families in Bonn,
Ulm, Mannheim and Bamberg
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Louise Robinson
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Qld Youth Symphony
John Curro am mbe
Qld Youth Orchestra 2
Sergei V Korschmin
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Dr Bradley Voltz
Junior String Ensemble
Chen Yang
Wind Symphony
Dr Warwick Potter
Wind Ensemble
David Law
Big Band
Rafael Karlen
Contact
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Bowen Hills, Brisbane
Ph: +61 7 3257 1191
info@qyo.org.au
www.qyo.org.au

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