Concert Program

Rachmaninov Rhapsody

Friday 18 Jul 2025 7:30pm
Federation Concert Hall, Nipaluna / Hobart

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Passion, fantasy, drama –
you’ll be swooning.
This image shows Alexander Gavrylyuk behind the piano.

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

Falla The Three-Cornered Hat, Suite No 1 (12 mins)

5 movements

  1. Introduction
  2. Afternoon
  3. Dance of the Miller’s Wife
  4. The Corregidor
  5. The Grapes

Rachmaninov Rhapsody on a Theme of Paganini, Op 43 (22 mins)

20 minute interval

Venegas At the Aegean Shores (8 mins)

Stravinsky The Firebird, Suite (1945 version) (29 mins)

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Longer pieces of music are often broken up into bite-size pieces called ‘movements’. It makes it easier to perform and provides contrast within the work. Find out more here.

Rachmaninov reading a score.

Sergei Rachmaninoff.

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.

Lively. Colourful. Playful.

The Three-Cornered Hat, Suite No 1

  1. Introduction
  2. Afternoon
  3. Dance of the Miller’s Wife
  4. The Corregidor
  5. The Grapes

Composed by Manuel de Falla (1876 – 1946)

12 minutes

Spanish composer Manuel de Falla’s The Three-Cornered Hat began life as a ballet, full of colour, dance, and humour. It was written in 1919 for the famous Ballets Russes company and tells a light-hearted story of love, mischief, and mistaken identity in a small Spanish village.

The music is bursting with the rhythms and spirit of Spanish folk dance. It’s lively, bright, and full of character. Suite No 1 brings together several highlights from the first part of the ballet.

The suite opens with the Introduction, a dramatic and bold piece that immediately sets the stage with strong rhythms and striking harmonies. Next comes the Afternoon, which paints a picture of a sunny village scene. The music is gentler here, with playful touches that hint at the humour and charm of the ballet’s characters.

The last movement in the suite is the Dance of the Miller’s Wife. This is one of the most famous parts of the ballet, full of energy and attitude. The music has sharp rhythms, fast footwork, and a real sense of Spanish flair. You can almost see the dancer’s fan snapping shut and her eyes flashing as she teases and twirls across the stage.

Falla worked closely with Spanish dancers and drew heavily on traditional Spanish music and rhythms. But he also used the full power of the orchestra to bring these scenes to life, blending folk style with classical technique in a fresh and exciting way.

Suite No1 from The Three-Cornered Hat gives a wonderful taste of this vibrant ballet – bold, joyful, and unmistakably Spanish. It’s a perfect example of how music can tell a story without a single word.

Brilliant. Romantic. Inventive.

Rhapsody on a Theme of Paganini, Op 43

Composed by Sergei Rachmaninov (1873 – 1943)

22 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!

Rachmaninov’s Rhapsody on a Theme of Paganini is one of his most popular works. It’s a dazzling showpiece for piano and orchestra that is full of drama, wit, and beauty. Written in 1934, it was one of his last major compositions and shows his genius for melody, colour and variation.

The piece is based on a short but famous tune by the 19th-century violinist Niccolò Paganini – his Caprice No 24. This theme has inspired many composers, but Rachmaninov’s version is among the most creative. He doesn’t just decorate the tune; he completely transforms it across 24 variations, each one bringing a new mood, style, or surprise.

Some variations are fiery and fast, showing off the pianist’s speed and power. Others are lyrical and tender. One of the most surprising moments comes in Variation 18, where Rachmaninov flips the theme upside down and turns it into a soaring, romantic melody – one of the most loved tunes in all of classical music.

Throughout the piece, you’ll also hear a dark, chant-like melody known as the Dies Irae, an ancient tune from the Latin Mass for the Dead. Rachmaninov often used this melody in his music, and here it adds a hint of mystery and drama.

Although it plays as one continuous piece, the Rhapsody feels almost like a mini piano concerto, with fast, slow, and fast sections. The piano and orchestra interact closely, sometimes in playful competition, sometimes in perfect harmony.

With its mix of bold ideas, emotional depth, and jaw-dropping virtuosity, Rhapsody on a Theme of Paganini shows just how much you can say through music – from playful sparks to heartfelt moments.

Hopeful. Sorrowful. Urgent.

At the Aegean Shores

Composed by Saskia Venegas Aernouts (b.1983)

8 minutes

Saskia Venegas Aernouts is a Spanish-Belgian composer, music theater maker, and violinist, now based in the Netherlands. At the Aegean Shores was written in 2017 and premiered by the Antwerp Symphony Orchestra. The work was revised and extended in 2022 for a performance Basque National Orchestra. Tonight’s performance is the premiere of a version of the work prepared especially for the Tasmanian Symphony Orchestra.

From the composer:

At the Aegean Shores is a programmatic piece that reflects on what I witnessed working as a volunteer at a refugee camp in Lesbos during the summer of 2016.

The piece starts by depicting a rubber boat that fights its way through the wild current that separates Turkey from Lesbos. This energetic and textural passage ends in an abrupt clash that depicts the brusque arrival of a dangerously overloaded rubber boat to “the land of hope.” The previously agitated passage is replaced by a contemplative drone that will slowly be coloured with a melody inspired by the rich melodic gestures and modal flavours of Greek music. This melody will be accompanied by rhythmical patterns that represent the prayers of the Orthodox Church (played by the cor anglais) that are imposed on the inhabitants of the island through big speakers placed outside the church walls. The textural metallic fragments played by the string section represent the wind passing through the leaves of the trees of the island, combined with the sound of the many insects that inhabit it. The continuous airy D and A drones performed by the brass are a mixture of the variety of airy sounds that can be perceived on the island, melted with the drones that are used to support soloistic sections of traditional Greek music.

The expressive melodic passage will attempt to develop itself but will gradually be swallowed by a new current (initiated by the strings) that will depict the European bureaucratic system. A system that will strip the newly arrived of their autonomy to decide the direction of their own lives, a system that will fence their movement and freeze their daily routines into an endless wait for approval – an agonizing non-existence. A system that drains the little spark left in their eyes.

And while time passes, these stories become “old news,” whereas boats continue to arrive and people continue to be stuck in huge, inhumane camps. I hope we will be able to find a decent way to include and assist all those who escape from horror. I hope that in the future we will not have to look back at this moment in history and say, “We should have ...”

Saskia Venegas Aernouts

Mystical. Vibrant. Cinematic.

The Firebird, Suite (1945 version)

Composed by Igor Stravinsky (1882 – 1971)

29 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!

The Firebird is one of Stravinsky’s most famous and beloved works. Based on a Russian fairy tale, it was originally written as a full ballet in 1910 and later reworked into several shorter concert versions. The 1945 suite is the final version Stravinsky created, carefully refined and arranged for concert performance.

The story follows Prince Ivan, who enters a magical garden and encounters the glowing Firebird – a mystical creature with shimmering feathers. He captures her, but she begs to be set free. Ivan agrees, and in return, she promises to help him if he is ever in danger.

Soon after, Ivan meets thirteen enchanted princesses (yes, thirteen) and falls in love with one of them. But their world is ruled by the evil sorcerer Kashchei, who turns people into stone. When Ivan is captured, the Firebird appears and uses her powers to break Kashchei’s spell. In the end, good triumphs, and the prince and princess are free to live happily.

Stravinsky’s music brings this story to life with vibrant colours, dramatic contrasts, and magical textures. The suite includes some of the most striking moments from the ballet: the mysterious opening, the sparkling Dance of the Firebird, the eerie and frantic Infernal Dance of Kashchei, and the warm, uplifting Finale.

The 1945 version is slightly more compact than the original ballet and is scored for a smaller orchestra, making it ideal for concert settings. Even without dancers, the music tells the story with vivid clarity.

With its mix of mystery, excitement, and wonder, The Firebird launched Stravinsky’s international career and helped shape the sound of 20th-century music. Over a century later, it still captivates audiences with its brilliance and sense of fantasy.

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Musicians

Pablo González

Conductor

Supported by Anonymous

Pablo González. Image credit May Zircus.

Image credit Laura Oja.

Pablo González brings passion, insight and a theatrical sensibility to communicating music to both orchestras and audiences, most recently as Principal Conductor of Spanish Radio and Television Symphony Orchestra (RTVE), where he also served as Artistic Adviser, between 2019 and 2023.

González enjoys a diverse repertoire, from which he draws compelling programmes. At RTVE he devised themes such as Music under Suspicion, focused on Soviet composers under Stalin’s rule, Echoes of the Belle Époque, culminating in a semi-staged performance of Carmen, and Roots, exploring the influence of folk elements of 19th and 20th-century orchestral repertoire. While drawn instinctively to the passion and power of Russian repertoire, at RTVE he also presented surveys of Berlioz, Mahler and Szymanowski, music by Spanish contemporary composers, and full Beethoven, Schumann and Brahms cycles.

As Music Director of Orquestra Simfònica de Barcelona i Nacional de Catalunya (OBC) from 2010 to 2015, he conducted full Mahler and Schumann cycles; led a central European tour, including an acclaimed appearance at Vienna’s Konzerthaus; recorded and released three volumes of orchestral works by Granados, and Bizet’s Carmen and L’Arlesienne suites (Naxos); and championed many new pieces by Catalan and Spanish composers. He strengthened the orchestra’s community focus, developing a collaborative social project Et toca a tu, bringing the musicians of the OBC together with children who were at risk of social exclusion.

Trained as an actor, he brings a dramatic understanding of music and stagecraft to opera and choral music, and while in Barcelona, conducted productions at Teatre Liceu including Strauss’s Daphne, Wagner’s Rienzi, Mozart’s Die Zauberflöte and Puccini’s Il tabarro, as well as all of Mahler’s orchestral lieder. Highlights of recent seasons include the world premiere of Zarqa AlYamama, the first Arabic-language Grand Opera, by Lee Bradshaw; Turandot for Latvian National Opera; and Tosca, Don Giovanni and Madama Butterfly at Opera de Oviedo.

As a guest conductor, González has developed close relationships with orchestras including Helsinki Philharmonic, Residentie Orchestra, Orchestre Philharmonique Royal de Liège, Orchestre National d’Île de France and Bochum Symphony. In recent seasons he has also collaborated with Frankfurt Radio Symphony, Konzerthausorchester Berlin, Dresden Philharmonic, Royal Philharmonic Orchestra and City of Birmingham Symphony Orchestra. Recent and future projects include debuts with London Philharmonic Orchestra, Milan Symphony Orchestra and NDR Hannover. He is highly in demand in his native Spain, enjoying collaborations with the country’s most prestigious orchestras.

Born in Oviedo, González studied at the Guildhall School of Music and Drama in London and won prizes at the prestigious Donatella Flick and Cadaqués International Conducting competitions. He also took formal training to be an actor at the Academy Drama School in London, as well as taking other drama courses, and has appeared as an actor on stage and film. He has previously served as Principal Guest Conductor of the Orchestra of the City of Granada and Assistant Conductor of the London Symphony Orchestra.

Alexander Gavrylyuk

Piano

Supported by Anonymous

Alexander Gavrylyuk. Image credit Tasmanian Symphony Orchestra.

A stunningly virtuosic pianist, Alexander is internationally recognised for his electrifying and poetic performances. His performance of Rachmaninov’s Piano Concerto No.3 at the BBC Proms was described as “revelatory” by The Times and “electrifying” by Limelight. Alexander was Artist-in-Residence at Wigmore Hall for the 23/24 season.

Highlights of the 2024-25 season include concerto debuts with Hamburger Symphoniker, Orchestre Philharmonique Royal de Liege, Australian Chamber Orchestra, Estonian National Symphony, Phil Zuid, Enescu Philharmonic and Taiwan National Symphony, as well as return visits to Rotterdam Philharmonic, Melbourne Symphony and New Zealand Symphony. Recent highlights also include NDR Hannover, Bournemouth Symphony, Sydney Symphony, Detroit Symphony, Dallas Symphony, Chicago Symphony, San Francisco Symphony and São Paulo Symphony. This season also sees a return to the Concertgebouw Master Pianists Series and a solo recital debut at Philharmonie Luxembourg, as well as recitals throughout Australia and the UK.

Alexander collaborates regularly with conductors including Rafael Payer, Thomas Sondergard, Kirill Karabit, Edward Gardner, Sir Donald Runnicles, Juraj Valcuha and Gustavo Gimeno.

Born in Ukraine in 1984 and holding Australian citizenship, Alexander began his piano studies at the age of seven and gave his first concerto performance when he was nine years old. At the age of 13, Alexander moved to Sydney where he lived until 2006. He won First Prize and Gold Medal at the Horowitz International Piano Competition (1999), First Prize at the Hamamatsu International Piano Competition (2000), and Gold Medal at the Arthur Rubinstein International Piano Masters Competition (2005).

As a recitalist Alexander has performed at the Musikverein in Vienna, Tonhalle Zurich, Victoria Hall Geneva, Southbank Centre’s International Piano Series, Wigmore Hall, Concertgebouw Master Pianists Series, Suntory Hall, Tokyo Opera City Hall, Great Hall of Moscow Conservatory, Cologne Philharmonie, Tokyo City Concert Hall, San Francisco, City Recital Hall in Sydney and Melbourne Recital Centre. Gavrylyuk has appeared at many of the world’s foremost festivals, including the Hollywood Bowl, Bravo! Vail Colorado, Mostly Mozart, the Ruhr Festival and the Kissinger Sommer International Music Festival. Alexander is currently Artist in Residence at Chautauqua Institution.

Jonathan Békés

Cello

Supported by Anonymous

Jonathan Békés

Jonathan Békés is one of Australia’s leading cellists and is a renowned solo artist, chamber musician, orchestral musician and educator.

Békés began playing the cello at the age of 10. He studied at the Sydney Conservatorium of Music and the Australian National Academy of Music (ANAM) learning from some of Australia’s leading cellists including Howard Penny, Julian Smiles and Susan Blake.

Currently, Békés is Principal Cello of the Tasmanian Symphony Orchestra, a position that he has held since 2021. He plays regularly with the Australian World Orchestra and the Southern Cross Soloists and has appeared as soloist with the Tasmanian Symphony Orchestra, Willoughby Symphony Orchestra and Sydney Youth Orchestra. As an educator Békés has worked closely with Musica Viva Australia and Australian Youth Orchestra and is a passionate advocate of music for all people in all walks of life.

In his spare time (not much these days), Békés is a keen sportsman and an outdoors enthusiast. He is an overly passionate golfer, crazed squash player and an AFL fanatic. He follows the Sydney Swans and the Hobart Hurricanes and loves to go on hiking adventures across Tasmania with his family.

Konstantin Shamray

Piano

Supported by Anonymous

Konstantin Shamray

Described as an exhilarating performer with faultless technique and fearless command of the piano, Russian-Australian concert pianist Konstantin Shamray performs at an international level with the world’s leading orchestras and concert presenters.

Konstantin was born in Novosibirsk and commenced his studies at the age of six with Natalia Knobloch. He then studied in Moscow at the Russian Gnessin Academy of Music with Professors Tatiana Zelikman and Vladimir Tropp, and the Hochschule fuer Musik in Freiburg, Germany, with Professor Tibor Szasz.

In 2008, Konstantin burst onto the concert scene when he won First Prize at the Sydney International Piano Competition. He is the first and only competitor to date in the 40 years of the competition to win both First and People’s Choice Prizes, in addition to six other prizes. He then went on to win First Prize at the 2011 Klavier Olympiade in Bad Kissingen,Germany and has performed at the Kissinger Sommer festival. In July 2013, following chamber recitals with Alban Gerhardt and Feng Ning, he was awarded the festival’s coveted Luitpold Prize for “outstanding musical achievements”.

Since then, Konstantin has performed extensively throughout the world in recitals, as a soloist with orchestras and as a chamber musician. In Australia, highlights have included engagements with the Adelaide, Queensland, West Australia, Tasmanian and Sydney Symphony Orchestras, as well as tours with the Australian Chamber Orchestra and ANAM Orchestra. Outside of Australia, he has performed with the Russian National Philharmonic, the Mariinsky Theatre Orchestra, Moscow Virtuosi, Orchestre National de Lyon, Prague Philharmonia, Belgrade Philharmonic Orchestra and the Calgary Philharmonic amongst many others. He has enjoyed collaborating with distinguished conductors such as Kirill Petrenko, Vladimir Spivakov, Dmitry Liss, Tugan Sokhiev and Nicholas Milton.

Chamber music plays a strong role in Konstantin’s musical career and collaborations have included tours with the Australian String Quartet, Southern Cross Soloists, Richard Tognetti, Natsuko Yoshimoto, Alban Gerhardt, Kristof Barati, Andreas Brantelid, Li Wei Qin and Leonard Elschenbroich. Konstantin has performed as part of the International Piano Series in Adelaide, and at the Melbourne Recital Centre and Ukaria Cultural Centre. He has enjoyed critical acclaim at the Klavier-Festival Ruhr, the Bochum Festival in Germany, the Mariinsky International Piano Festival and the White Nights Festival in St. Petersburg, Adelaide Festival, Musica Viva Sydney and Huntington festivals. Konstantin has recorded albums with the labels Naxos, ABC Classics and Fonoforum.

Konstantin was formerly Lecturer in Piano at the Elder Conservatorium of Music at the University of Adelaide and was awarded his PhD in 2020 for his performance-based project ‘The piano as Kolokola, Glocken and Cloches: performing and extending the European traditions of bell-inspired piano music’. He is currently Senior Lecturer in Piano at the University of Melbourne. Konstantin is open to research supervisions, with particular areas of interest being Russian piano music of the 20th century and bell-inspired piano performance traditions.

Tonight’s orchestra

Eivind Aadland Conductor

James Ehnes Violin

Tasmanian Symphony Orchestra

Violin

Emma McGrath Concertmaster 

Ji Won Kim Associate Concertmaster 

Jennifer Owen Principal Second

Margaret Blades Principal First

Adrian Biemmi

Natalya Bing

Kirsty Bremner

Miranda Carson

Yue-Hong Cha

Tobias Chisnall

Frances Davies

Michael Johnston

Christine Lawson

Elinor Lea

Susanna Low

Xinyu Mannix

Christopher Nicholas

Rohana O'Malley

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

Douglas Coghill

Sandra Ionescu

Sophie Kesoglidis

Anna Larsen Roach

William Newbery

Cello

Jonathan Békés Principal

Alexandra Békés

Ivan James

Nicholas McManus

Sophie Radke

Oliver Russell

Double Bass

Stuart Thomson Principal

Matthew McGrath

James Menzies

Stuart Riley

Flute

Lily Bryant  Guest Principal

Maria Hincapie Duque

Lloyd Hudson  Principal Piccolo

Oboe

Rachel Bullen Guest Principal

Alexandra King

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

Julian Leslie

Trumpet

Fletcher Cox Guest 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

Robert Allan

Matthew Brennan

Tracey Patten

Harp

Meriel Owen Guest Principal

Piano

Karen Smithies Guest Principal

Celeste

Jennifer Marten-Smith Guest Principal

Saxophone

Jabra Latham Guest Principal

Benjamin Price 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

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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

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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.

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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.

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Karen Gomyo

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’

This image shows Ji Won Kim, violinist and TSO Associate Concertmaster, in a sparkling red dress performs passionately on stage, her bow mid-motion as she faces Eivind Aadland, TSO Chief Conductor, in a black tuxedo. The background shows seated orchestra members focused on their instruments and the acoustic wood panel wall in the Federation Concert Hall behind them.

Coming up

Sinfonia Concertante

Featuring Ji Won Kim on violin, Caleb Wright on viola and TSO Chief Conductor Eivind Aadland.

Rossini William Tell, Overture
Mozart Sinfonia Concertante for Violin and Viola in E flat, K364
Shostakovich Symphony No 15 in A, Op 141

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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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