Concert Program

Beethoven's 'Eroica'

Saturday 27 Apr 2024 7:30pm
Federation Concert Hall, nipaluna / Hobart

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Streaming live & playback via TSO On Demand

Conducted by Johannes Fritzsch,
featuring Emily Sun on violin.
Beethoven's Eroica

The Tasmanian Symphony Orchestra acknowledges the traditional owners and continuing custodians of lutruwita / Tasmania. We pay respect to the Aboriginal community today, and to its Elders past and present. We recognise a history of truth, which acknowledges the impacts of colonisation upon Aboriginal and Torres Strait Islander people and stand for a future that profoundly respects their stories, culture, language and history.

About the concert


Harry Sdraulig Flashout (world premiere) (10 min)

Korngold Violin Concerto in D Major, Op 35 (24 min)

3 movements:

  1. Moderato nobile
  2. Romanze
  3. Allegro assai vivace

20 minute interval

Beethoven Symphony No 3 in E-flat, Op 55 (47 min)

4 movements:

  • Allegro con brio
  • Marcia funebre (funeral march) - Adagio assai
  • Scherzo allegro vivace
  • Finale allegro molto


A 'movement' is a longer piece of music broken up into bite-size pieces. It makes it easier to perform and provides contrast within the work. Find out more here.


Artist impression of Beethoven.

Concert 101: Learn about the works being performed

For the enjoyment of all in the concert hall, please only watch Concert 101 before or after the performance. 

Uncover the stories behind the works.

Vivid & Frenetic


Composed by Harry Sdraulig 

10 minutes

A fire alarm. A creak in the floorboards. Some approaching footsteps. An unexpected gust of wind. These everyday sound cues inspired young Australian composer Harry Sdraulig when crafting Flashout.

In his own words; Flashout explores, in musical terms, a kind of opposition between familiarity and continuity on the one hand, and disruption or impetus on the other. It begins with a discordant, declamatory brass fanfare which quickly dissipates into a series of busy, rapid textures punctuated by flashes of instrumental colour. The harmonic language remains rich and chromatic throughout the work, with heavy and often abrupt contrasts between forceful orchestral tuttis and soft, sparse soundscapes. The second half of the piece is marginally more relaxed but builds to a forceful, energetic conclusion which revisits the starkness of the opening.

Short and sharp, Flashout makes for a vivid and frenetic listening experience.

A graduate of the TSO’s Australian Composer School in 2019, it’s a thrill to play the music of an exciting and flourishing talent such as Harry.

Check out Harry’s Spotify here:

Hollywood Touch

Violin Concerto in D Major, Op 35 

  1. Moderato nobile
  2. Romanze
  3. Allegro assai vivace

Composed by Erich Wolfgang Korngold (1897–1957)

24 minutes


The names of movements in symphonies often follow traditional conventions that give insight into the character, tempo, and sometimes the form of each section.

These terms not only instruct performers on the tempo and mood of each movement but also guide listeners through the emotional and narrative arc of the symphony. For example, ‘Allegro’ refers to tempo and ‘molto’ translates to very, so: very fast!

Austrian composer and conductor Erich Wolfgang Korngold was a pioneering figure in the world of film music, composing scores for numerous Hollywood films in the 1930s and 1940s. And he was good at it! Korngold won Academy Awards for the film Anthony Adverse and later the Adventures of Robin Hood starring Errol Flynn.

This cinematic background has allowed Korngold to create music with a storytelling quality that appeals to a wider audience. Korngold's skill in thematic development is on full display in this Violin Concerto. He takes melodies originally written for films and reworks them into complex, classical forms, seamlessly integrating Hollywood glamour with traditional concert music.

Let’s break it down into the concerto’s three movements:

Moderato nobile

The opening movement begins with a rich, broad melody, setting up the concerto’s noble tone (that’s what nobile means!) Our soloist, Emily Sun,  is presented almost as a protagonist in a film, weaving through a narrative filled with dramatic contrasts, tender moments, and virtuosic flourishes. The orchestral accompaniment provides a sumptuous backdrop, enhancing the solo line's emotional depth. The use of thematic material derived from Korngold's film scores adds a layer of familiarity, making the movement accessible yet profoundly moving.

Romanze: Andante

Next is Romanze: Andante, the heart of the concerto, offering a moment of introspection and deep emotional resonance. This movement is characterised by its lyrical beauty, with the violin part singing a long, heartfelt melody that seems to speak directly to the listener's soul. The orchestration is more subdued here, allowing the solo violin to take center stage with its expressive capabilities. The mood is reflective, almost dreamlike, with Korngold exploiting the violin's upper register to create a sense of yearning and unfulfilled desire. The Romance showcases Korngold's skill in crafting melodies of exquisite beauty, reminiscent of his operatic works, and reinforces the concerto's romantic spirit. The movement unfolds like a tender love scene from one of Korngold's film scores, enveloping the listener in its warm, emotive embrace.

Finale: Allegro assai vivace

The finale, Allegro assai vivace, bursts forth with energy and vivacity, marking a stark contrast to the preceding movement. It's a dazzling display of virtuosity for the solo violin, filled with rapid passages, intricate double stops, and lively rhythms that challenge the performer's technical prowess. The movement harks back to the spirit of the first, with its cinematic sweep and dynamic contrasts, yet it introduces new themes that add to the concerto's rich thematic tapestry. The orchestration is vibrant and colourful, providing a thrilling backdrop to the soloist's acrobatics. This movement is a joyful, exuberant conclusion to the concerto, showcasing Korngold's mastery of both the violin's capabilities and the symphonic form. It leaves the listener uplifted, having experienced a journey through a world where the grandeur of the cinema and the depth of concert music are seamlessly fused.

A thrilling classic

Symphony No 3 in E-flat, Op 55

  • Allegro con brio
  • Marcia funebre (funeral march) - Adagio assai
  • Scherzo allegro vivace
  • Finale allegro molto

Composed by Ludwig van Beethoven (1770–1827)

47 minutes

Nicknamed the 'Eroica' symphony, Beethoven's Third Symphony was a groundbreaking work that marked a significant departure from the classical conventions of its time. The name "Eroica" means "Heroic" in English ,as the piece was originally dedicated to Napoleon Bonaparte, who Beethoven saw as liberator and champion of the people's rights during the early stages of his rise to power. The symphony as a whole is also heroic; it feels thrilling and triumphant.

Let’s break it down into the symphony's four movements:

Allegro con brio

The first movement, sets the scene for a dramatic and expansive musical journey. This movement is characterised by its vigorous energy and groundbreaking structure. Beethoven challenges the traditional symphonic form with surprising changes in dynamics and a development section that explores a wide range of themes and motifs. The result is a powerful and emotionally charged opening that prepares you for the epicness to come!

Marcia funebre: Adagio assai

The second movement serves as a solemn funeral march. Its somber melody reflects a deep sense of mourning and loss. This movement was revolutionary for its emotional depth and the use of the symphony to convey a personal and universal sense of grief. The march progresses through various stages of sorrow and reflection, culminating in a poignant climax before fading into silence, making for a  profound emotional experience.

Scherzo: Allegro vivace

Scherzo: Allegro vivace, brings a dramatic shift in mood with its lively and buoyant character. The word "scherzo" means "joke" in Italian, and this movement is indeed lighter and more playful than the funeral march before it. The movement features a rhythmic motif that is tossed around the orchestra, creating a sense of joy and exuberance. The central trio section offers a contrast with a more lyrical theme, before returning to the spirited scherzo, providing a delightful and refreshing interlude.

Finale: Allegro molto

The fourth and final movement, Finale: Allegro molto, is a triumphant and exhilarating conclusion to the symphony. It introduces a theme that undergoes a series of variations, showcasing Beethoven's mastery of form and development. You’ll hear elements of dance, leading to a grand and jubilant finale. This movement symbolises victory and the triumph of the human spirit, leaving the listener feeling uplifted and inspired - the perfect finale.

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Johannes Fritzsch

Principal Guest Conductor

Supported by Anonymous

Johannes Fritzsch

Johannes Fritzsch is currently the Principal Guest Conductor of the Queensland Symphony Orchestra, having previously served as their Chief Conductor (2008-2014) and as their Principal Conductor and Artistic Adviser (2021-2022). Since 2018, he has held the position of Principal Guest Conductor of the Tasmanian Symphony Orchestra.

From 2006 to 2013 he was Chief Conductor and Artistic Director of the Oper Graz, Grazer Philharmonisches Orchester (Austria). Prior to his appointment in Graz, Johannes held the position of Chief Conductor and Artistic Director of the Staatsoper Nürnberg. From 1993 until 1999, he was Chief Conductor and Artistic Director of the Städtische Bühnen and the Philharmonic Orchestra in Freiburg.

Johannes was born in 1960 in Meissen, near Dresden, Germany, where he completed his musical education. He has conducted many leading orchestras, both within Germany and internationally. He regularly conducts the major Australasian orchestras as well as leading productions for Opera Australia, Opera Queensland, West Australian Opera and State Opera of South Australia.

In January 2015, Johannes was appointed Adjunct Professor, The Conservatorium of Music, School of Creative Arts and Media at the University of Tasmania; in June 2019, he joined the Queensland Conservatorium, Griffith University as Professor of Opera and Orchestral Studies.

Over the past twenty years, Johannes has given many Masterclasses for the German conductor training and development organisation Dirigentenforum des Deutschen Musikrates. Similarly, he was active and enthusiastic in the training of conducting participants selected to take part in Symphony Services’ International Conductor Development Program.

In 2017, the Tasmanian Symphony Orchestra invited him to design and lead the newly founded Australian Conducting Academy.

Emily Sun

Solo Violinist

Supported by Anonymous

Emily Sun
“radiates vitality and optimism... Possessed of a superb talent... she has all the qualities you would wish for in a young musician.” – The Adelaide Advertiser

"Possessed of a superb talent" (The Australian), with "a searing and poetic tone" (The Guardian), violinist Emily Sun’s powerful sound and compelling, captivating interpretations have won her international renown. Awards and prizes have included the Tagore Gold Medal from the Royal College of Music, the 2018 ABC Young Performers Award (Australia), the 2016 Royal Overseas League Music Competition (UK), and the Brahms (Austria), Yampolsky (Russia) and Lipizer (Italy) International Violin Competitions. She was a Young Concert Artist for the Tillett Trust, The Worshipful Company of Musicians and City Music Foundation.

Adelaide Symphony Orchestra Artist-in-Association for 2023, including for the critically acclaimed world premiere of Elena Kats-Chernin’s violin concerto, Fantasie im Wintergarten described as “engrossing” and “magical” (Limelight), soloist engagements this year also include the Bruch, Tchaikovsky and Beethoven concertos with the Sydney, Melbourne and West Australian Symphony Orchestras with conductors Mark Wigglesworth, Jaime Martín, Asher Fisch, and Benjamin Northey, including regional touring with WASO to Albany, in Western Australia. Chamber music engagements in Australia include for the Australian Festival of Classical Music (Townsville), Hobart Town Hall for Musica Viva Tasmania, Bendigo Chamber Music Festival (VIC) and at Elder Conservatorium (SA) with pianist Andrea Lam.

Recent highlights include soloist performances with the West Australian, Adelaide and Melbourne Symphony Orchestras and London Mozart Players with conductors Vasily Petrenko, Benjamin Northey, Tan Dun and Howard Griffiths; national touring for Musica Viva Australia, Sydney Festival, and as soloist with the EU Chamber Orchestra, Orchestre de Royal Wallonie, Orchestre de Chambre Namur; the Arlington and Arizona Symphony Orchestras in USA, and the Shanghai Symphony and Qingdao Symphony Orchestras (China).

Emily Sun has been ABC Artist-in-Residence, BBC Introducing Artist, with regular broadcasts on Classic FM, BBC Radio 3 (UK), Kol Hamusica (Israel), WXQR (USA), and Musiq 3 (Belgium), and featured in the acclaimed Australian documentary Mrs Carey’s Concert. Significant solo debuts include Sydney Opera House, Wigmore Hall, Royal Albert Hall, Bridgewater Hall, Tchaikovsky Great Hall Moscow, and Seoul Arts Centre. Emily was invited to perform at Buckingham Palace alongside Maxim Vengerov in Bach’s Double Violin Concerto at the Royal Gala in the presence of HRH Prince of Wales, and at the Royal Palace of Brussels in the presence of the King and Queen of Belgium. Chamber collaborators have included Maxim Vengerov, Gary Hoffman, Miguel da Silva, Marc Coppey, and Danny Driver.

Her acclaimed debut album, Nocturnes (ABC Classics), was described as “a winner on every count” and reached no. 1 on the classical charts and nominated for Best Classical Album in the 2021 ARIA Awards. Her highly anticipated next album, featuring the Kats-Chernin violin concerto, is due for early 2024 release.

Violin Professor at the Royal College of Music, London since 2022, Emily has been a jury member of several international violin competitions. She plays a 1760 Nicolò Gagliano violin, kindly loaned to her through the Beare’s International Violin Society.

Orchestra List

Johannes Fritzsch Conductor

Emily Sun Violin

Tasmanian Symphony Orchestra


Ji Won Kim Concertmaster

Jennifer Owen Associate Concertmaster 

Lucy Carrig-Jones Principal Second

Rohana O'Malley Principal First

Kirsty Brenmer

Miranda Carson

Yue-Hong Cha

Tobias Chisnall

Margaret Connolly

Frances Davies

Michael Johnston

Christine Lawson

Susanna Low

Phoebe Masel

Hayato Simpson

Grace Thorpe



Did you know our Concertmaster plays a violin hand-crafted by one of the finest and most important luthiers (a string-instrument maker) of the nineteenth century, Jean-Baptiste Vuillaume (1798–1875).

He crafted 3000+ instruments in his time and we’re very proud to have a violin made in 1845 on loan from two of our generous Tasmanian patrons.


Caleb Wright Principal

Douglas Coghill

Anna Larsen Roach

William Newbery

Ariel Postmus


Jonathan Békés Principal

Ivan James 

Nicholas McManus 

Martin Penicka

Double Bass

Stuart Thomson Principal

Matthew McGrath

Adrian Whitehall


Katie Zagorski Principal

Lloyd Hudson Principal Piccolo


Eve Newsome Guest Principal

Dinah Woods Principal Cor Anglais


Irit Silver Guest Principal

Eloise Fisher Principal Bass Clarinet

Romola Smith Guest Bass Clarinet


Tahnee van Herk Principal

Evan Lewis Guest Principal Contrabassoon

French Horn

Greg Stephens Principal First

Julian Leslie Principal Third

Jules Evans

Roger Jackson


Dominic Longhurst Guest Principal

Mark Bain


David Robins Principal

Iain Faragher

Bass Trombone

James Littlewood Guest Principal


Rachel Kelly Principal


Matthew Goddard Principal


Gary Wain Principal

Tracey Patten


Meriel Owen Guest Principal


Jennifer Marten-Smith Guest Principal

*Correct at time of publishing

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TSO Concertmaster Emma McGrath plays an 1845 Jean-Baptiste Vuillaume violin on loan from two of our generous Tasmanian patrons.

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