Concert Program
Wednesday 8 Oct 2025 7:30pm
Federation Concert Hall, Nipaluna / Hobart
Looking for tickets? Go here.

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.
Mozart Oboe Concerto in C major K 314 (soloist: Ethan Seto) (21 mins)
3 movements
Barber Violin Concerto, Op 14 (soloist: Olivia Kowalik) (25 mins)
3 movements
20 minute interval
Nielsen Violin Concerto Op 33 (soloist: Theonie Wang) (35 mins)
3 movements
ANAM Concerto Competition
The ANAM Concerto Competition is a partnership between the Australian National Academy of Music and the Tasmanian Symphony Orchestra, and is supported by Lady Potter, AC. This performance is being recorded for delayed broadcast by ABC Classic.

Johannes Fritzsch, conductor.
Oboe Concerto in C Major, K 314
Composed by Wolfgang Amadeus Mozart (1756–1791)
21 minutes
Mozart’s Oboe Concerto in C Major is one of the most beloved works in the instrument’s repertoire – a piece full of elegance, charm, and youthful brilliance. Written in 1777 when Mozart was just 21 years old, it was composed for Giuseppe Ferlendis, an Italian virtuoso oboist who had recently joined the Salzburg court orchestra. The concerto quickly became a favourite, not only because it showcased the oboe’s lyrical voice but also because it allowed the instrument to shine with humour, wit and agility.
The concerto follows the traditional three-movement structure of the Classical era. The first movement, Allegro aperto, sparkles with energy and confidence. From its bright opening theme, the oboe weaves in and out of the orchestral texture, showing off both its nimbleness and its clear, singing tone.
The second movement, Adagio non troppo, is the emotional heart of the concerto. Here the oboe takes on a more vocal quality, almost like an operatic aria. Mozart’s gift for melody is on full display, allowing the soloist to soar with expressive lines that feel deeply personal and tender.
The final movement, Rondo: Allegretto, is full of good humour and playful spirit. Built on a jaunty theme that keeps returning with delightful variations, it demands quick fingerwork and lightness from the soloist. The movement ends with a flourish, leaving the audience smiling.
Though Mozart never wrote another oboe concerto, this work remains a cornerstone of the repertoire and a joyful reminder of his genius. Balancing technical brilliance with lyrical beauty, it gives the oboe its moment in the spotlight and continues to enchant listeners nearly 250 years after its first performance.
Violin Concerto, Op 14
Composed by Samuel Barber (1910–1981)
25 minutes
Samuel Barber’s Violin Concerto is one of the most lyrical and heartfelt concertos of the 20th century. Written in 1939, it was commissioned by Samuel Fels, a wealthy businessman, for his adopted son, violinist Iso Briselli. Barber composed the first two movements while staying in the Swiss Alps, just as Europe was on the brink of World War II.
The concerto’s early history was complicated. Briselli found the first two movements too gentle and lyrical, and when Barber responded with a fiery finale, Briselli thought it was too demanding and unbalanced. For a time, it seemed the work might never find a champion. Fortunately, another violinist, Albert Spalding, embraced it and gave the premiere in 1941 with the Philadelphia Orchestra, where it was immediately recognised as a masterpiece.
The concerto has three movements. The first, Allegro, is lyrical and expansive, with the violin singing long, expressive lines over warm orchestral textures. It feels almost like a song without words, full of sincerity and beauty.
The second movement, Andante, begins with a haunting oboe solo, setting a mood of quiet reflection before the violin enters with soaring, heartfelt phrases. This music has often been described as deeply emotional and touching.
The finale, Presto in moto perpetuo, is a dazzling contrast. Lasting only a few minutes, it demands non-stop virtuosity from the soloist, with rapid-fire notes racing almost breathlessly to the finish. The effect is exhilarating and brings the concerto to an electrifying close.
Barber’s Violin Concerto has since become one of the most frequently performed American concertos. Its combination of lyrical warmth, emotional depth, and brilliant display makes it a favourite for both audiences and performers – a work that speaks directly to the heart.
Violin Concerto, Op 33
Composed by Carl Nielsen (1865–1931)
35 minutes
Carl Nielsen’s Violin Concerto is a work full of vitality, imagination, and charm, reflecting the composer’s unique voice within early 20th-century music. Written in 1911 for the Danish violinist Peder Møller, a close friend of Nielsen, the concerto was premiered in Copenhagen with the composer conducting and Møller as soloist. Though Nielsen was already an established symphonist, this was his only concerto for violin and it remains one of his most enduring works.
The concerto is unusual in its design. Instead of the typical three movements, Nielsen gives us two large movements, each beginning with an introduction followed by a main section. This gives the music a sense of freedom and flexibility, while still providing plenty of opportunities for the violinist to shine.
The first movement opens with a thoughtful, almost searching introduction before launching into a lively Allegro cavalleresco. Here the violinist engages in spirited dialogue with the orchestra, showing both lyrical warmth and brilliant virtuosity.
The second movement begins with a slow, lyrical Poco adagio. The music is tender and songful, almost like an intimate conversation. This is followed by a sparkling Rondo, full of energy, humour, and rhythmic vitality. The concerto ends with a flourish, leaving the impression of both joy and playfulness.
Throughout the work, Nielsen combines technical brilliance with a deep sense of humanity. His melodies often have a folk-like simplicity, but they are enriched by surprising twists of harmony and rhythm that keep the listener engaged. The result is a concerto that feels fresh and inventive while still being approachable and deeply expressive.
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.
Conductor

Johannes Fritzsch is currently Conductor Laureate of the Queensland Symphony Orchestra, having previously served as their Chief Conductor (2008-2014) and as their Principal Conductor and Artistic Adviser (2021-2022). Until recently, he held the position of Principal Guest Conductor of the Tasmanian Symphony Orchestra .
From 2006 – 2013, he was Chief Conductor of Oper Graz and 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 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 .
In 2024, Johannes conducted new productions of Idomeneo and Tosca for Opera Australia and Die Zauberflöte for Semperoper Dresden. He returns to OA in 2025 for Rusalka and La traviata .
Oboe

Image credit: Pia Johnson.
Ethan is a passionate musician from Brisbane who studied under Eve Newsome at the Queensland Conservatorium Griffith University.
During his Bachelor of Music, Ethan received a comprehensive education that included a wide range of chamber music experiences and orchestral concerts, as well as concerto performances with the Queensland Youth Symphony and the Conservatorium’s Symphony Orchestra. He also had the opportunity to perform in masterclasses with Maurice Bourgue, Diana Doherty, Jacques Tys, Jean-Louis Capezzali, Nick Deutsch, Rossana Calvi, Huw Jones, and Emma Black. Ethan was the recipient of the Rudolph Pekarek Oboe Prize and was awarded the Griffith Award for Academic Excellence for three consecutive years.
Of the various modes of performance, Ethan most enjoys orchestral playing due to the immense energy that comes with being part of a larger ensemble. He has a fondness for music from the 19th and 20th centuries, which offer a balance of complexity and accessibility—music that engages the mind whilst also stirring the heart.
Outside of music, Ethan is a scientist with an interest in microbiology and human health, and he recently completed a Bachelor of Science at the University of Queensland. After a four-year hiatus from the oboe, Ethan has appreciated returning to the instrument and embracing the challenges it presents, which he believes are part of what makes it special.
Ethan is in first year at ANAM in 2025, studying with Jeffrey Crellin.
Ethan is supported by ANAM Syndicate donor Kerry Landman.
Violin

Image credit: Pia Johnson.
Olivia is currently in her second year of training at ANAM under the tutelage of Adam Chalabi.
Olivia completed a Bachelor of Music Performance at the Sydney Conservatorium where she studied with Janet Davies and was awarded the Dean’s List of Excellence in Academic Performance.
Olivia was born into a musical family and started learning violin with her father George Kowalik from the age of four. She always knew that music was the path that she wanted to take. Growing up in such a musical household, she aims to follow the footsteps of her older brothers who are in the Orava Quartet, one of Australia’s leading ensembles.
Olivia’s passion has grown, especially in orchestral playing. She was in the Sydney Youth Orchestra from 2018-2022 and was concertmaster in their flagship orchestra in 2022. She has held principal and associate positions in the Australian Youth Orchestra, Sydney Conservatorium Symphony Orchestra, and L’Estro Armonico String Orchestra, and has recently played with Sydney Philharmonic Orchestra and Ensemble Apex.
Olivia has performed as a guest soloist with Wollongong Steel City Strings after winning the Wollongong Eisteddfod concerto category. She was also scheduled to play as a guest soloist with Penrith Symphony Orchestra after winning the Sydney Conservatorium High School concerto competition in 2019, which unfortunately could not go ahead due to Covid-19.
Olivia’s recent interests in repertoire have included early 20th century music ranging from French impressionism to mid-century Russian music. She also enjoys listening to and playing works by Polish composers, such as Szymanowski and Lutosławski, as a tribute to her Polish heritage. Other than playing the violin, Olivia loves to paint and to draw.
Olivia is supported by ANAM Syndicate donors Jeanne McMullin, Jeanne and Frank Pleavin, Rosalind Price, Geoff and Margaret Stewart.
Olivia plays a Pressenda 1849 Violin 'Richard Pollett' on loan to ANAM from Janet Holmes à Court AC.
Violin

Image credit: Pia Johnson.
Theonie Wang is known for her musical sensitivity and flare. Currently in her second year at ANAM studying with Adam Chalabi, Theonie is a recent graduate of the Queensland Conservatorium under Associate Professor Michele Walsh.
While she began her violin playing at three years old learning from her aunty, Fong Fong Watson, Theonie’s recent highlights include performing in masterclasses for Maxim Vengerov and former Concertmaster of the Berlin Philharmonic, Guy Braunstien, performing alongside the Australian String Quartet, and being a featured young artist with ‘Ensemble Q’. Theonie was the recipient of the ADFAS Yarra Prize for the Most Outstanding Program in an ANAM Recital in 2024.
Theonie is a long-standing member of the Australian Youth Orchestra (AYO) and was appointed Concertmaster for both the autumn and winter seasons of 2024. She was also accepted for both Adelaide and Sydney Symphony Fellowships.
In 2020, Theonie was awarded first prize for the Young Instrumentalists Prize, allowing her to perform as a soloist with the Queensland Symphony Orchestra at the age of 16. During her degree at the Queensland Conservatorium, Theonie was awarded first prize for the coveted Brisbane Club Award, both Judges and Audience Prize, and the Ena Williams Award for Post Graduate Study. She had the opportunity to perform as a soloist with the Queensland Conservatorium Symphony Orchestra in 2023 and was also invited to perform as a soloist with the Bendigo Symphony Orchestra at the Bendigo Chamber Music Festival in 2025.
In her spare time, Theonie enjoys a competitive and fun card game or board game and playing soccer out in the Carlton Gardens with her friends.
Theonie is supported by ANAM Syndicate donors Maureen and Alan Cant, Dorothy and Hans Carlborg, Lyndsey Hawkins, Michael Kent and Cristina Cappa Legora, Michael Schwartz and David Clouston.
Marshall McGuire (Panel Chair) Chair of Australian Music Centre
Simon Rogers Director Artistic Identity, TSO
Ji Won Kim Associate Concertmaster, TSO
Violin
Ji Won Kim Concertmaster
Christopher Nicholas Associate Concertmaster
Jennifer Owen Principal Second
Tobias Chisnall Principal First
Kirsty Bremner
Yue-Hong Cha
Frances Davies
Michael Johnston
Christine Lawson
Elinor Lea
Susanna Low
Phoebe Masel*
Hayato Simpson
Viola
Caleb Wright* Principal
Sandra Ionescu
Anna Larsen Roach*
William Newbery*
Cello
Nicholas McManus* Guest Principal
Ivan James
Martin Penicka*
Sophie Radke
Double Bass
Stuart Thomson Principal
Luca Arcaro
Matthew McGrath
Flute
Lily Bryant* Guest Principal
Lloyd Hudson* Principal Piccolo
Oboe
Rachel Bullen* Guest Principal
Dinah Woods Principal Cor Anglais
Clarinet
Andrew Seymour Principal
Eloise Fisher Principal Bass Clarinet
Bassoon
Tahnee van Herk Principal
Melissa Woodroffe* Principal Contrabassoon
Horn
Greg Stephens Principal First
Claudia Leggett* Principal Third
Roger Jackson
Hannes Kaukoranta
Trumpet
Fletcher Cox* Principal
Mark Bain
Trombone
David Robins Principal
Jackson Bankovic*
Bass Trombone
James Littlewood* Principal
Timpani
Matthew Goddard Principal
Percussion
Gary Wain Principal
Piano
Jennifer Marten-Smith Guest Principal
Australian National Academy of Music (ANAM) Alum *
*Correct at time of publishing
Photo credit: Fin Matson

Everything you need to know about Federation Concert Hall.

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.

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.
Featuring Joyce DiDonato, mezzo-soprano, eith Eivind Aadland, TSO Chief Conductor & Artistic Director.
J Strauss Die Fledermaus Overture
Berlioz Les Nuits d’été, Op. 7
BeethovenSymphony No. 7, Op. 92
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.
Huon Pine Patrons
John Cauchi AM & Catherine Walker Chair Patrons
Anne & Don Challen AM Chair Patrons
Jane Drexler
Rob & Tricia Greenwell Chair Patrons
David & Catherine Hamilton Chair Patrons
Marie Heitz Chair Patron
In Memory of Ian Hicks Chair Patron
Belinda Kendall-White Chair Patron
Patricia Leary Chair Patron
Penny Le Couteur & Greg Dickson
Ang Madden Chair Patron
Emma & Dom McNamara
Mountain Air Foundation Chair Patron
R H O'Connor
Andrew Parker & Caroline Sharpen Chair Patrons
Chris & John Sandow Chair Patrons
Dr Peter Stanton Chair Patron
TasPlates
Dr Hilary Wallace Chair Patron
Deirdre & Trevor Wise
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
John & Marilyn Canterford
Dr Joanna de Burgh
Marc & Susan Duldig Chair Patrons
Richard & Harriett England
Emeritus Prof Andrew Glenn & Dr Odile Glenn Chair Patrons
Elizabeth Haworth & John Diment Chair Patrons
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
Dr Di Stow Chair Patron
Michelle Warren
Anonymous (3)
Leatherwood Patrons
Andrew Bennett
Suzanne & Martin Betts
Peter Brooks
Elizabeth Bugg
Janet Carding
Helen Carrig
George & Jan Casimaty
Dr Josh & Wendy Cocker
Prof Mike Coffin
Beth Coombe
Stephanie Cooper
Simon Coultas
Vicki Cowles & Josef Neuschwanger
Nick & Janet Cretan
Emeritus Prof Stephen Crump
David Davey & Annick Ansselin
Allanah Dopson
Roger Fisher
TJ Foster
Giameos Constructions & Developments
Mr Tony Hagar
Amelia Hagger
Ms Keri Handley & Mr Frank Martin
Susan Hawick AM
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
Yury Kudryavtsev
Betty Kuhl
Harvey Lennon
David Lloyd
Marilla Lowe
Linda & Martin Luther
Dr Katherine Marsden
Maggie McKerracher
Margret Monks
Sarah Morrisby
Professor Robert Morris-Nunn
Alison Nadebaum
Jan Nicholas
Sindi O'Hara & Peter Pickett
Alison E Parsons
Catherine Prideaux
Helen Ross & Margaret Whiteside
Margaret Sallis
Deirdre Schoe
Dr Johannes Schonborn
Jenny Scott
Dick & Sue Shoobridge
Christopher Spiegel
Tony Stacey AM & Mrs Jeanette Stacey
Mr Ken Stanton
Janet Tomlinson
Rowland Turner
Frances Underwood
John Usher OAM
Hank & Elizabeth van Herk
Kim Waldock
Jacqui Walkden
Dr Michael Wilkinson
Geoff & Vicki Willis
Lindsay & Rae Young
Jane Zimmerman
Anonymous (7)
Blackwood Patrons
Simon Allston & Janeil Hall
Jacqui Blowfield
Kim Boyer
Dr Nicholas Brodie
Robert and Lisa Brodribb
Deborah Brook
Cameron Bryer
Jenny & Ian Burleigh
Victoria Burley
Roger Carrington
Dr Helen Chick
Heather & Christopher Chong
Gail Cork
Janet Crane
Amy Crosby
Jane Edmanson OAM
Ms Gail Friesen
Dr Brita Hansen & Frank Halley
Susie Harrison
Shirley Honeysett
Peter Hordern
Ross Kelly
Mary Ellen i m Kerensa
Richard & Julia Metcalf
Gisele O'Byrne AM
Tony Purdon
School for Seniors Rosny
John Sexton
Dr Tanya Stephens
Priscilla Travers
Jeanette Tremayne
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
May Backhouse
Dennis Bewsher
Dixie Brodribb
Elizabeth Chelkowska
Christine Coombe
G. D. Couninis
Tony & Kate Dell
Heather Ebbott
Sam Finlay
Sari Goddam
John Heathcote & Mary Feeley
Sharron Hewer
Ann Hopkins
Linda Jackson
Peter Jarvis & Ans van Heijster
Louise Klein
Sue Kremer
Ted Lefroy
Chris & Dot Lloyd-Bostock
William Lo
Rose & Thomas Marwick
Sandra Michael
Jane Monaghan
Dr Robyn Munro
Meriel Owen
Leone Paget
Shefali Pryor
Springhaven Lifestyle Village
Grant & Elizabeth Taylor
Diane & Neville Truskett
Judith and Rod Tudball
Julian Type
Dr Johanna Wadsley
Dr Roland Warner
Christopher Waterhouse
Anonymous (12)
Chat with one of our friendly staff at the TSO Box Office.