Digital Concert Program: Brahms’s Violin Concerto

Concert Program

Brahms’s Violin Concerto

Saturday 1 March 2025 7:30pm
Federation Concert Hall, Nipaluna / Hobart

Looking for tickets? Go here.

James Ehnes performs Brahms's

Violin Concerto, with TSO

Chief Conductor and Artistic

Director, Eivind Aadland, for

the official 2025 Season Opening.

A black and white photograph of James Ehnes deeply focused on playing his instrument. He wears a formal black suit, and his bow glides across the violin strings with precision. The dark background emphasizes his concentrated expression and the elegance of the violin.

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.

How to use your Digital program

Housekeeping

We'd love for you to use this program in the concert hall following a few guidelines:

Dim your screen
Turn your phone on silent
Turn off your camera flash
Limit your time taking photos

If you need help with your digital program please chat to one of our friendly ushers.

Navigate

Scroll on to read the program or use the below buttons to skip ahead.

You can return to this section by clicking the "Return to Navigation →" hyperlink at the end of each program section.

First time at the orchestra?

Keep an eye out for our first-timer tips sprinkled throughout this program.

They'll look like this: 💡 FIRST-TIMER TIP

Questions & Tech Support

Chat with one of our friendly staff at the TSO Box Office.

We value your feedback

Let us know your thoughts and ideas on the new digital programs here.

About the concert

Works

Brahms Violin Concerto in D, Op 77 (38 mins)

3 movements

Allegro non troppo
Adagio
Allegro giocoso, ma non troppo vivace

20 minute interval

Sibelius Symphony No 1 in E minor, Op 39 (38 mins)

4 movements

Andante, ma non troppo – Allegro energico
Andante (ma non troppo lento)
Scherzo: Allegro
Finale (Quasi una Fantasia)

💡 FIRST-TIMER TIP

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.

Johannes Brahms.

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.

Formidable virtuosity

Violin Concerto in D, Op 77

Allegro non troppo
Adagio
Allegro giocoso, ma non troppo vivace

Composed by Johannes Brahms (1833 - 1897)

38 minutes

Composed by Johannes Brahms in 1878, while summering in the Austrian Alps, the Violin Concerto in D Major is considered to be one of the greatest and most challenging ever written. Dedicated to Joseph Joachim, a close friend and one of the leading violinists of the time, the concerto blends Brahms' characteristic warmth, grandeur, and deep emotional expression with formidable virtuosity. Unlike many other works of the time, Brahms’ concerto treats the violin and orchestra as equal partners, creating a symphonic rather than purely soloistic feel.

Our Chief Conductor has been waiting for the perfect violinist to bring this concerto to the Concert Hall stage; that violinist is James Ehnes.

Blicke mir nicht in die Lieder!

Blicke mir nicht in die Lieder!
Meine Augen schlag’ ich nieder,
Wie ertappt auf böser Tat.
Selber darf ich nicht getrauen,
Ihrem Wachsen zuzuschauen.
Deine Neugier ist Verrat!

Bienen, wenn sie Zellen bauen,
Lassen auch nicht zu sich schauen,
Schauen selbst auch nicht zu.
Wenn die reichen Honigwaben
Sie zu Tag gefördert haben,
Dann vor allen nasche du!

Do not look into my songs!

Do not look into my songs!
I lower my gaze,
As if caught in the act.
I dare not even trust myself
To watch them growing.
Your curiosity is treason.

Bees, when they build cells,
Let no one watch either,
And do not even watch themselves.
When the rich honeycombs
Have been brought to daylight,
You shall be the first to taste!

The concerto opens with a broad, symphonic first movement that introduces a majestic and heroic theme. Then the violin enters. The soloist navigates fiery runs, double stops (where two notes are played simultaneously), and lyrical passages, culminating in a dramatic cadenza (meaning the soloists plays alone). The cadenza is often improvised, showing off the violin’s full expressive range. Listen out for woodwinds and horns, they frequently trade melodies with the violin.

Ich atmet’ einen linden Duft

Ich atmet’ einen linden Duft!
Im Zimmer stand
Ein Zweig der Linde,
Ein Angebinde
Von lieber Hand.
Wie lieblich war der Lindenduft!
Wie lieblich ist der Lindenduft!
Das Lindenreis
Brachst du gelinde;
Ich atme leis
Im Duft der Linde
Der Liebe linden Duft.

I breathed a gentle fragrance

I breathed a gentle fragrance!
In the room stood,
A spray of lime,
A gift
From a dear hand.
How lovely the fragrance of lime was!
How lovely the fragrance of lime is!
The spray of lime
Was gently plucked by you;
Softly I breathe
In the fragrance of lime,
The gentle fragrance of love.

If the first movement is powerful, this one is peaceful, lyrical and deeply emotional. The orchestra begins with a beautiful melody played by the oboe (yes, the violin has to wait its turn!) setting the tone of what's to come. Listen for the violin’s long, lyrical phrases, moving between tender moments and quiet longing. Brahms gives the soloist space to breathe and express emotion freely, rather than demanding flashy virtuosity. This is the perfect movement to get lost in the music.

Um Mitternacht

Um Mitternacht
Hab’ ich gewacht
Und aufgeblickt zum Himmel;
Kein Stern vom Sterngewimmel
Hat mir gelacht
Um Mitternacht.

Um Mitternacht
Hab’ ich gedacht
Hinaus in dunkle Schranken.
Es hat kein Lichtgedanken
Mir Trost gebracht
Um Mitternacht.

Um Mitternacht
Nahm ich in acht
Die Schläge meines Herzens;
Ein einz’ger Puls des Schmerzes
War angefacht
Um Mitternacht.

Um Mitternacht
Kämpft’ ich die Schlacht,
O Menschheit, deiner Leiden;
Nicht konnt’ ich sie entscheiden
Mit meiner Macht
Um Mitternacht.

Um Mitternacht
Hab’ ich die Macht
In deine Hand gegeben!
Herr! über Tod und Leben
Du hältst die Wacht
Um Mitternacht!

At midnight

At midnight
I kept watch
And looked up to heaven;
Not a star in the galaxy
Smiled on me
At midnight.

At midnight
My thoughts went out
To the dark reaches of space;
No shining thought
Brought me comfort
At midnight.

At midnight
I paid heed
To the beating of my heart;
A single pulse of pain
Was set alight
At midnight.

At midnight
I fought the battle,
O Mankind, of your afflictions;
I could not gain victory
By my own strength
At midnight.

At midnight
I gave my strength
Into Thy hands!
Lord over life and death,
Thou keepest watch
At midnight.

We end with a lively dance-like finale with a strong Hungarian folk influence, and it’s quite the contrast! Brahms loved Hungarian music, and you can hear it in the bouncy, syncopated rhythms that make this movement feel full of life. You won’t want to take your eyes off James Ehnes in this movement. The soloist must execute quick string crossings, spiccato (bouncing bow), and tricky left-hand fingerwork.

Brahms gives us technical brilliance with a generous dose of joy in this finale.

Mysterious & stormy

Symphony No 1 in E minor, Op 39

Andante, ma non troppo – Allegro energico
Andante (ma non troppo lento)
Scherzo: Allegro
Finale (Quasi una Fantasia)

Composed by Jean Sibelius (1865 – 1957)

38 minutes

💡 FIRST-TIMER TIP

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!

While the Symphony No 1 by Jean Sibelius is less well known than the Brahms concerto, it is every bit as enthralling. Composed in 1898–1899, it was first performed in 1899 in Helsinki, conducted by Sibelius himself. This symphony marked his emergence as a major symphonic composer, showcasing his love for Finnish landscapes, deep lyricism, and bold orchestral colours. Tonight, Sibelius’ Symphony No 1 steps out of the shadow of Sibelius Symphony No 2 and into the lights of the Federation Concert Hall. Expect nature-inspired imagery with a cinematic feel.

Blicke mir nicht in die Lieder!

Blicke mir nicht in die Lieder!
Meine Augen schlag’ ich nieder,
Wie ertappt auf böser Tat.
Selber darf ich nicht getrauen,
Ihrem Wachsen zuzuschauen.
Deine Neugier ist Verrat!

Bienen, wenn sie Zellen bauen,
Lassen auch nicht zu sich schauen,
Schauen selbst auch nicht zu.
Wenn die reichen Honigwaben
Sie zu Tag gefördert haben,
Dann vor allen nasche du!

Do not look into my songs!

Do not look into my songs!
I lower my gaze,
As if caught in the act.
I dare not even trust myself
To watch them growing.
Your curiosity is treason.

Bees, when they build cells,
Let no one watch either,
And do not even watch themselves.
When the rich honeycombs
Have been brought to daylight,
You shall be the first to taste!

Symphony No 1 opens with one of the most striking and atmospheric introductions in the symphonic repertoire. We begin in near silence, with a haunting solo clarinet over a soft timpani roll, setting a mysterious, melancholy mood. Suddenly the orchestra joins with a stormy intensity. There’s a feeling of constant motion, like waves crashing.

Ich atmet’ einen linden Duft

I breathed a gentle fragrance

With this movement comes a moment of introspection. Nostalgia gives way to the occasional emotional outburst. Listen out for the swelling dynamics—the strings gradually build and fade, creating waves of emotion and sudden surges of brass when the music rises to passionate climaxes.

Um Mitternacht

Um Mitternacht
Hab’ ich gewacht
Und aufgeblickt zum Himmel;
Kein Stern vom Sterngewimmel
Hat mir gelacht
Um Mitternacht.

Um Mitternacht
Hab’ ich gedacht
Hinaus in dunkle Schranken.
Es hat kein Lichtgedanken
Mir Trost gebracht
Um Mitternacht.

Um Mitternacht
Nahm ich in acht
Die Schläge meines Herzens;
Ein einz’ger Puls des Schmerzes
War angefacht
Um Mitternacht.

Um Mitternacht
Kämpft’ ich die Schlacht,
O Menschheit, deiner Leiden;
Nicht konnt’ ich sie entscheiden
Mit meiner Macht
Um Mitternacht.

Um Mitternacht
Hab’ ich die Macht
In deine Hand gegeben!
Herr! über Tod und Leben
Du hältst die Wacht
Um Mitternacht!

At midnight

At midnight
I kept watch
And looked up to heaven;
Not a star in the galaxy
Smiled on me
At midnight.

At midnight
My thoughts went out
To the dark reaches of space;
No shining thought
Brought me comfort
At midnight.

At midnight
I paid heed
To the beating of my heart;
A single pulse of pain
Was set alight
At midnight.

At midnight
I fought the battle,
O Mankind, of your afflictions;
I could not gain victory
By my own strength
At midnight.

At midnight
I gave my strength
Into Thy hands!
Lord over life and death,
Thou keepest watch
At midnight.

The third movement of Sibelius’ Symphony No 1 is a Scherzo, but unlike the playful or dance-like scherzos of Beethoven or Mendelssohn, this one is fast, intense, and urgent. It feels more like a dramatic chase or a wild, driving force of nature than a lighthearted interlude. Violins and violas play fast, repeated figures (tremolos and rapid bowing) that create a relentless pulse, keeping the movement constantly in motion. Timpani provides a thunderous undercurrent.

Um Mitternacht

Um Mitternacht
Hab’ ich gewacht
Und aufgeblickt zum Himmel;
Kein Stern vom Sterngewimmel
Hat mir gelacht
Um Mitternacht.

Um Mitternacht
Hab’ ich gedacht
Hinaus in dunkle Schranken.
Es hat kein Lichtgedanken
Mir Trost gebracht
Um Mitternacht.

Um Mitternacht
Nahm ich in acht
Die Schläge meines Herzens;
Ein einz’ger Puls des Schmerzes
War angefacht
Um Mitternacht.

Um Mitternacht
Kämpft’ ich die Schlacht,
O Menschheit, deiner Leiden;
Nicht konnt’ ich sie entscheiden
Mit meiner Macht
Um Mitternacht.

Um Mitternacht
Hab’ ich die Macht
In deine Hand gegeben!
Herr! über Tod und Leben
Du hältst die Wacht
Um Mitternacht!

At midnight

At midnight
I kept watch
And looked up to heaven;
Not a star in the galaxy
Smiled on me
At midnight.

At midnight
My thoughts went out
To the dark reaches of space;
No shining thought
Brought me comfort
At midnight.

At midnight
I paid heed
To the beating of my heart;
A single pulse of pain
Was set alight
At midnight.

At midnight
I fought the battle,
O Mankind, of your afflictions;
I could not gain victory
By my own strength
At midnight.

At midnight
I gave my strength
Into Thy hands!
Lord over life and death,
Thou keepest watch
At midnight.

The finale is a dramatic, sweeping conclusion that ties together the symphony’s themes while maintaining an intensely emotional and stormy character. The title - Quasi una Fantasia - suggests that this movement is not rigidly structured, but instead unfolds freely and expressively, like an epic narrative.Instead of the grand ending we expect of a finale, the music slows and fades. The timpani quietly beats a final, ominous pulse, like a heartbeat fading into silence.

Pathos & exhilaration

Symphony No 7 in D minor

Allegro maestoso
Poco adagio
Scherzo: Vivace - Poco meno mosso
Finale: Allegro

Composed by Antonín Dvořák (1841-1904)

35 minutes

Dvořák’s Symphony No 7 is unique because it blends his national pride and love of Czech folk music with a more universal, serious symphonic style. It’s as if he’s speaking both as a Czech patriot and as a composer with a message for the world. Dvořák wrote this symphony during a time when he was becoming well-known beyond his native Bohemia (now part of the Czech Republic). He felt a strong sense of responsibility to represent his country and its culture on the world stage, but he was also grappling with personal struggles and the difficult political situation in his homeland. Dvořák’s work reflects those challenges, combining feelings of hope, struggle, and resilience. The symphony is admired for its emotional depth, and while it doesn’t have the bright, catchy tunes of some of his famous other works, it will draw you in with its sincerity and power.

The first movement opens with an ominous theme in D minor, immediately establishing a tense, brooding atmosphere. This movement exemplifies Dvořák’s mastery of thematic development, as he works and reworks the primary theme, allowing it to transform and intensify. Listen out for the clarinet in the opening, with it’s mournful resonance.

The second movement provides a lyrical, almost hymn-like respite from the intensity of the first. Dvořák’s orchestration here is particularly subtle, using the winds and strings to create layers of color and texture. There are some key moments for solo violin, adding a folk-like sound.

Folk elements are back in the third movement. The scherzo injects energy and rhythm, showcasing Dvořák’s love for Czech folk dances, particularly the furiant with its characteristic cross-rhythms. While lively, the scherzo is not without its shadows, carrying a subtle undercurrent of tension that ties it to the symphony’s darker themes.The timpani provides a grounded, rhythmic energy throughout.

Our finale is here! The symphony comes full circle, full of momentum, with strong, bold themes that feel almost heroic (looking at you trumpets). While the ending is intense and triumphant, it also feels a bit unresolved, leaving the listener with a lingering sense of mystery.

Enjoying the concert?

Rewatch all your favourite moments on TSO On Demand.

Streaming sixteen concerts from Federation Concert Hall, this is the full orchestra at its brilliant best.

Start Watching

Return to Navigation →

Musicians

Eivind Aadland

TSO Chief Conductor and and Artistic Director

Supported by Anonymous

Eivind Aadland is one of Norway’s most respected conductors. Since 2020 he has been Chief Conductor and Artistic Director of the Tasmanian Symphony Orchestra. He was Chief Conductor and Artistic Leader of the Trondheim Symphony Orchestra for seven seasons from 2004, during which time he conducted the complete Beethoven and Mahler symphony cycles. His extensive work with Scandinavian orchestras includes regular guest engagements with the Oslo and Bergen Philharmonics, the Stavanger Symphony, the Gothenburg Symphony and the Swedish Chamber Orchestra. In addition, he has conducted acclaimed productions of Don Giovanni, Le nozze di Figaro, Die Zauberflöte and Die Fledermaus for Den Norske Opera, Oslo.

He has also worked extensively in the Far East and Australia. He is a frequent visitor to the WDR Symphony Orchestra Cologne, the National Orchestra of Belgium and Iceland Symphony Orchestra. He has also worked with Orchestre national du Capitole de Toulouse, Gürzenich-Orchester Cologne, Strasbourg Philharmonic, Lausanne and Scottish Chamber Orchestras and the symphony orchestras of Melbourne, Finnish Radio, Bamberg, Staatskapelle Weimar, SWR Stuttgart and Tokyo Metropolitan Symphony Orchestra. In addition to his career as a conductor, Eivind Aadland is a devoted collector of, and authority on, contemporary art. His private collection encompasses works in the diverse media of painting, photography, video and installation.

James Ehnes

Violin, Viola | Artistic Director, Seattle Chamber Music Society

Supported by Anonymous

James Ehnes is one of the most sought-after violinists on the international stage, renowned for his virtuosity, lyricism, and musical depth. A frequent guest at the world’s leading concert halls, he has performed with major orchestras, including the Royal Concertgebouw, London Philharmonic, NHK Symphony, Boston Symphony, Chicago Symphony, and Cleveland Orchestra. In the 2024/25 season, he will be Artist in Residence with the Melbourne Symphony and tour Asia, performing the complete Beethoven sonatas in Tokyo.

A dedicated recitalist and chamber musician, Ehnes regularly appears at venues such as Wigmore Hall, Carnegie Hall, and Amsterdam’s Concertgebouw, and festivals including Verbier, Ravinia, and Montreux. He is the leader of the Ehnes Quartet and Artistic Director of the Seattle Chamber Music Society.

Ehnes has an extensive discography, earning two Grammy Awards, three Gramophone Awards, and twelve Juno Awards. In 2021, he was named Gramophone’s Artist of the Year for his acclaimed “Recitals from Home” series, recorded during the COVID-19 pandemic. His interpretations of Bach’s Sonatas and Partitas and Ysaÿe’s Six Sonatas received widespread critical acclaim.

Born in Canada, Ehnes began violin studies at five, made his orchestral debut at 13 with L’Orchestre symphonique de Montréal, and studied at Juilliard, where he won the Peter Mennin Prize. He is a Member of the Order of Canada, a Fellow of the Royal Society of Canada, and a Visiting Professor at the Royal Academy of Music. In 2024, he joined Indiana University’s Jacobs School of Music as Professor of Violin.

Ehnes performs on the 1715 "Marsick" Stradivarius.

Tonight’s orchestra

Eivind Aadland Conductor

James Ehnes Violin

Tasmanian Symphony Orchestra

Violin

Emma McGrath Concertmaster

Ji Won Kim Associate Concertmaster

Lucy Carrig-Jones Principal Second

Jennifer Owen Principal First

Margaret Blades

Miranda Carson

Yue-Hong Cha

Tobias Chisnall

Doreen Cumming

Frances Davies

Michael Johnston

Christine Lawson

Elinor Lea

Susanna Low

Xinyu Mannix

Phoebe Masel

Christopher Nicholas

Rohana O'Malley

Hayato Simpson

💡 FIRST-TIMER TIP

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.

Viola

Caleb Wright Principal

Douglas Coghill

Anna Larsen Roach

Curtis Lau

William Newbery

Karina Schmitz

Cello

Jonathan Békés Principal

Ivan James

Nicholas McManus

Martin Penicka

Sophie Radke

Brett Rutherford

Double Bass

Stuart Thomson Principal

Aurora Henrich

Matthew McGrath

James Menzies

Flute

Lily Bryant Guest Principal

Maria Hincapie Duque

Lloyd Hudson Principal Piccolo

Oboe

Rachel Bullen Guest Principal

Dinah Woods Principal Cor Anglais

Clarinet

Andrew Seymour Principal

Eloise Fisher Principal Bass Clarinet

Bassoon

David Mitchell Guest Principal

Melissa Woodroffe Principal Contrabassoon

Horn

Greg Stephens Principal First

Claudia Leggett Principal Third

Jules Evans

Roger Jackson

Julian Leslie

Trumpet

Fletcher Cox Principal

Mark Bain

Koominka

Trombone

David Robins Principal

Jackson Bankovic

Bass Trombone

James Littlewood Guest Principal

Tuba

Rachel Kelly Principal

Timpani

Matthew Goddard Principal

Percussion

Gary Wain Principal

Stephen Marskell

Harp

Meriel Owen Guest Principal

Piano/Celeste

Michael Power Guest Principal

Organ

Nathan Cox Guest Principal

Chorus List

Warren Trevelyan-Jones Chorus Master

Karen Smithies Repetiteur

Soprano

Christine Boyce

Emma Bunzli

Christine Coombe

Felicity Gifford

Yuliana Hammond

Kasia Kozlowska

Bernadette Large

Loretta Lohberger

Sophia Mitchell

Schuya Murray

Shaunagh O’Neill

Joy Tattam

Lesley Wickham

Alto

Claire Blichfeldt

Sally Brown

Carmelita Coen

Beth Coombe

Elizabeth Eden

Ann Godber

Sue Harradence

Caroline Miller

Sally Mollison

Rosemary Rayfuse

Louise Rigozzi

Georgie Stilwell

Meg Tait

Gill von Bertouch

Beth Warren

Tenor

Helen Chick

Phillip Clutterbuck

Michael Kregor

Bill MacDonald

Tony Marshall

Simon Milton

Dianne O’Toole

David Pitt

James Powell-Davie

Alexander Rodrigues

Peter Tattam

Bass

Geoffrey Attwater

John Ballard

Tim Begbie

Peter Cretan

Jack Delaney

Greg Foot

Sam Hindell

Reg Marron

Michael Muldoon

David Ovens

Tony Parker

Grant Taylor

*Correct at time of publishing

Return to Navigation →

Federation Concert Hall

Our Southern Home

Federation Concert Hall has been our home since 2001. It's distinctive curve, golden Tasmanian timber, contemporary design and deep red seats set the tone for the ultimate concert experience.

In 2020, major acoustical enhancements were made to the hall, amplifying the venue's, and the TSO's, reputation as world-class.

Photo credit: Fin Matson

💡 FIRST-TIMER TIP

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.

Orchestra performing in Federation Concert Hall.

Getting THere & Accessibility

Everything you need to know about Federation Concert Hall.

Find Out More

Make it an experience

Hotel Offers from Hadley's Orient Hotel

Nestled among other architectural masterpieces in Hobart's city centre, this heritage-listed hotel plays host to almost two centuries of stories, scandals and secrets. The floor boards whisper of the hotel’s rich and often tumultuous history.

💡 FIRST-TIMER TIP

What are acoustics and how do they affect my concert experience?

Acoustics are the science of sound, or the way a venue can deliver the thunderous feeling of strings and brass, or the ring of the triangle over all the other instruments.

Read more about the acoustics of the Hall here.

Coming up

Karen Gomyo

Sparks will fly, featuring Karen Gomyo.

Delius The Walk to the Paradise Garden
Dvořák Violin Concerto in A minor, Op 53
Robert Schumann Symphony No 1 in B-flat, Op 38, ‘Spring’

Australian soprano Siobhan Stagg in an elegant silver gown with lace detailing stands in front of a grand piano, appearing focused and poised. A pianist, partially visible in the background, is playing while another musician watches. The setting is an opulent concert hall with warm lighting and ornate decor, adding to the performance’s grandeur.

Coming up

Four Last Songs

TSO Chief Conductor Eivind Aadland leads the TSO and musicians from the Australian National Academy of Music, and Australian soprano Siobhan Stagg features.

Richard Strauss Don Juan, Op 20
Ravel Daphnis et Chloé, Suite No 2
Richard Strauss Vier letzte Lieder (Four Last Songs)
Ravel Bolero

Find Out More

Return to Navigation →

Our supporters

Whether sponsoring a musician in the orchestra, or supporting our invaluable community programs, so much of what we do relies on you. We offer our deepest thanks to all our Partners, Patrons and Friends.

Support the TSO and connect with our orchestra beyond the concert hall.

Donate Now

Huon Pine Patrons

John Cauchi AM & Catherine Walker Chair Patrons

Anne & Don Challen AM Chair Patrons

Dr Joanna de Burgh

Penny Le Couteur & Greg Dickson

Jane Drexler

Rob & Tricia Greenwell Chair Patrons

David & Catherine Hamilton Chair Patrons

Marie Heitz Chair Patron

In Memory of Ian Hicks Chair Patron

Patricia Leary Chair Patron

Ang Madden Chair Patron

Mountain Air Foundation

R H O'Connor

Andrew Parker & Caroline Sharpen Chair Patrons

TasPlates

Chris & John Sandow Chair Patrons

Dr Peter Stanton Chair Patron

Dr Hilary Wallace Chair Patron

Anonymous (2)

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

Sassafras Patrons

Cath Adams & Steve Craft Chair Patrons

Damian Bugg AM & Jenny Bugg

David & Elizabeth de Burgh Chair Patrons

Marc & Susan Duldig Chair Patrons

Richard & Harriett England

Emeritus Prof Andrew Glenn & Dr Odile Glenn Chair Patrons

Elizabeth Haworth & John Diment Chair Patrons

Mr Don Kay

Belinda Kendall-White Chair Patron

Suzanne Kirkham

John Langford

Diane Matthews

Anthony G McGee AM Chair Patron

Louise & Tim Mooney AM Chair Patrons

Bruce Neill & Penny Clive Chair Patrons

Bill Oakley OAM Chair Patron

Jan & Alan Rees Chair Patrons

Dr David & Mrs Glenys Rich Chair Patrons

Dr John & Mrs Barbara Roberts

James and Jacqueline Roberts-Thomson Chair Patrons

Rotary Satellite Club of Sandy Bay, Battery Point

Margaret Sharpen Chair Patron

Dr Di Stow Chair Patron

Michelle Warren

Deirdre & Trevor Wise

Anonymous (3)

Leatherwood Patrons

Andrew Bennett

Suzanne & Martin Betts

Peter Brooks

Elizabeth Bugg

Janet Carding

George & Jan Casimaty

Dr Josh & Wendy Cocker

Prof Mike Coffin

Beth Coombe

Stephanie Cooper

Simon Coultas

Vicki Cowles & Josef Neuschwanger

Prof Stephen Crump

David Davey & Annick Ansselin

Roger Fisher

TJ Foster

Giameos Constructions & Developments

Dr Donald Hempton

Peter & Jeanne Hepburn

Janet Holmes à Court AC

Dr David & Donna Humphries

Don & Christine Jeffrey

Prof Matthew Jose

Paavo Jumppanen

Veronica Keach

Judith Ker

Betty Kuhl

Harvey Lennon

David Lloyd

Marilla Lowe

Linda & Martin Luther

Dr Katherine Marsden

Maggie McKerracher

Dominic McNamara

Caryl McQuestin

Sarah Morrisby

Alison Nadebaum

Jan Nicholas

Sindi O'Hara & Peter Pickett

Alison E Parsons

Helen Ross & Margaret Whiteside

Margaret Sallis

Deirdre Schoe

Dr Johannes Schonborn

Jenny Scott

Dick & Sue Shoobridge

Christopher Spiegel

Tony Stacey AM & Mrs Jeanette Stacey

In memory of Jo St Leon

Janet Tomlinson

Rowland Turner

Frances Underwood

John Usher OAM

Hank & Elizabeth van Herk

Kim Waldock

Jacqui Walkden

Dr Michael Wilkinson

Jane Zimmerman

Anonymous (10)

Blackwood Patrons

Simon Allston & Janeil Hall

Kim Boyer

Dr Nicholas Brodie

Jill Burbury

Jenny & Ian Burleigh

Victoria Burley

Roger Carrington

Dr Helen Chick

Gail Cork

Janet Crane

Amy Crosby

Jane Edmanson OAM

Ms Gail Friesen

Furneaux Arts Committee

Ms Keri Handley & Mr Frank Martin

Dr Brita Hansen & Frank Halley

Susie Harrison

Susan Hawick AM

Shirley Honeysett

Peter Hordern

Ross Kelly

Richard & Julia Metcalf

Margret Monks

Gisele O'Byrne AM

Tony Purdon

Rotary Club of Sandy Bay

Dr Tanya Stephens

Priscilla Travers

Jeanette Tremayne

Judith & Rod Tudball

Residents of Vaucluse Gardens

Judith Waldock

Jane Wilcox

Polly Woods

Dr Rosemary Yeoland

Anonymous (9)

Silver Wattle Patrons

Trevor & Barbara Abbott

Michael Alchin

Chris Andrews & Jill-Maree Geeves

Jennifer Andrews

May Backhouse

Dennis Bewsher

Jacqui Blowfield

Dixie Brodribb

Deborah Brook

Dobson Mitchell & Allport Lawyers

Sonia Finlay & John Millwood

John Heathcote & Mary Feeley

Sharron Hewer

Ann Hopkins

Peter Jarvis & Ans van Heijster

Louise Klein

William Lo

Sandra Michael

Jane Monaghan

Clare Morrisby

Dr Robyn Munro

Meriel Owen

Leone Paget

Dr Vicki Passlow

Ian Preston

James Puustinen

John Sexton

Elaine Tack

Grant & Elizabeth Taylor

Diane & Neville Truskett

Julian Type

Anonymous (11)

Government Support

Premier Partners

Hospitality Partner

Event Partner

ANAM Australian National Academy of Music

Return to Navigation →

Questions & Tech Support

Chat with one of our friendly staff at the TSO Box Office.

We value your feedback

Let us know your thoughts and ideas on the new digital programs here.