Concert Program

ANAM Concerto Competition

Wednesday 8 Oct 2025 7:30pm
Federation Concert Hall, Nipaluna / Hobart

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Exceptional young musicians
on the cusp of their careers.
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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

Works

Mozart Oboe Concerto in C major K 314 (soloist: Ethan Seto) (21 mins)

3 movements

  1. Allegro aperto
  2. Andante ma non troppo
  3. Allegro

Barber Violin Concerto, Op 14 (soloist: Olivia Kowalik) (25 mins)

3 movements

  1. Allegro
  2. Romance. Andante
  3. Presto in moto perpetuo

20 minute interval

Nielsen Violin Concerto Op 33 (soloist: Theonie Wang) (35 mins)

3 movements

  1. Praeludium. Largo – Allegro cavalleresco
  2. Poco adagio
  3. Rondo. Allegretto scherzando

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. Queensland Symphony Orchestra Conductor Laureate.

Johannes Fritzsch, conductor.

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.

Graceful. Playful. Lyrical.

Oboe Concerto in C Major, K 314

  1. Allegro aperto
  2. Andante ma non troppo
  3. Allegro

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.

Tender. Soaring. Intimate.

Violin Concerto, Op 14

  1. Allegro
  2. Romance. Andante
  3. Presto in moto perpetuo

Composed by Samuel Barber (1910–1981)

25 minutes

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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!

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.

Playful. Bold. Inventive.

Violin Concerto, Op 33

  1. Praeludium. Largo – Allegro cavalleresco
  2. Poco adagio
  3. Rondo. Allegretto scherzando

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.

Tender. Radiant. Devotional.

Stabat Mater

Composed by Gioachino Rossini (1792-1868)

62 minutes

Gioachino Rossini is best remembered for his dazzling operas, but his Stabat Mater shows a different side of his artistry. Written in the 1830s and completed in 1841, the work sets a 13th-century Latin hymn that describes the Virgin Mary’s grief as she stands at the foot of the cross. For centuries this text has inspired composers, but Rossini brings his own unmistakable voice – dramatic, lyrical, and full of colour.

The Stabat Mater has an unusual history. Rossini began the piece while travelling in Spain in 1831, composing six movements before ill health forced him to hand the remaining sections to a colleague. For years the work existed in this mixed form, but Rossini later returned to complete the music himself. The final version was first performed in Paris in 1842 and was immediately hailed as a triumph.

The score alternates between large, powerful movements for chorus and orchestra, and more intimate arias and ensembles for the four soloists. Listeners encounter music that shifts effortlessly between sacred solemnity and operatic intensity. At times the music is hushed and devotional, at other times it soars with passion, reflecting both the suffering and the hope contained in the text.

Rossini’s operatic background is never far from the surface – there are moments of theatrical flair, lyrical melodies, and dramatic contrasts that would not be out of place on the stage. Yet beneath the brilliance lies genuine feeling, a deep response to one of the most moving texts in the Christian tradition.

The Stabat Mater remains a unique achievement: a sacred work that combines heartfelt devotion with the expressive power of the theatre.

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Musicians

Johannes Fritzsch

Conductor

Supported by Anonymous

Johannes Fritzsch.

Image credit Laura Oja.

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 .

Ethan Seto

Oboe

Image

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.

Olivia Kowalik

Violin

Supported by Anonymous

Olivia Kowalik. Image credit: Pia Johnson.

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.

Theonie Wang

Violin

Supported by Anonymous

Image

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.

ADJUDICATORS

Marshall McGuire (Panel Chair) Chair of Australian Music Centre

Simon Rogers Director Artistic Identity, TSO

Ji Won Kim Associate Concertmaster, TSO

Tonight’s orchestra

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

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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

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

Tuba

Rachel Kelly Principal

Timpani

Matthew Goddard Principal

Percussion

Gary Wain Principal

Harp

Meriel Owen Guest Principal

Piano

Jennifer Marten-Smith Guest Principal

Celeste

Jennifer Marten-Smith Guest Principal

Saxophone

Jabra Latham Guest Principal

Benjamin Price Guest Principal

Organ

Nathan Cox Guest Principal

TSO Chorus

Australian National Academy of Music (ANAM) Alum *

Soprano

Christine Coombe

Linda Coombes

Ruth Croser

Felicity Gifford

Yuliana Hammond

Lauren Hill

Kasia Kozlowska

Bernadette Large

Loretta Lohberger

Erin Murphy

Schuya Murray

Christine Ovens

Susannah Rawlinson

Chantal Roddy

Carolyn Seelen

Joy Tattam

Lesley Wickham

Alto

Nadeena Beck

Claire Blichfeldt

Beth Coombe

Elizabeth Eden

Ann Godber

Sue Harradence

Michelle Harris

Mary Harwood

Caroline Miller

Rosemary Rayfuse

Karen Sloane

Gillian von Bertouch

Beth Warren

Andrea Wild

Tenor

Helen Chick

Phillip Clutterbuck

Michael Kregor

Bill MacDonald

Tony Marshall

Mandy McKendrick

Dianne O’Toole

David Pitt

James Powell-Davies

Peter Tattam

Bass

Geoffrey Attwater

John Ballard

Tim Begbie

Roy Classey

Peter Cretan

Jack Delaney

Liam Filby

Greg Foot

Peter Hepburn

Michael Muldoon

David Ovens

Tony Parker

Philip Ridyard

Grant Taylor

Tane Thomas

*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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