Digital Concert Program: Sinfonia Concertante – Tasmanian Symphony Orchestra

Concert Program

Sinfonia Concertante

Friday 1 Aug 2025 7:30pm
Federation Concert Hall, Nipaluna / Hobart

Looking for tickets? Go here.

Ji Won Kim and Caleb Wright

shine in Mozart’s radiant

masterpiece.

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.

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.

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About the concert

Works

Rossini William Tell, Overture (12 mins)

Mozart Sinfonia Concertante for Violin and Viola in E flat, K364 (30 mins)

3 movements

Allegro maestoso
Andante
Presto

20 minute interval

Shostakovich Symphony No 15 in A, Op 141 (42 mins)

4 movements

Allegretto
Adagio – Largo – Adagio – Largo
Allegretto
Adagio – Allegretto – Adagio – Allegretto

💡 FIRST-TIMER TIP

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.

Dmitri Shostakovich.

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.

A thrilling ride.

William Tell, Overture

Composed by Gioachino Rossini (1792 – 1868)

12 minutes

Rossini’s William Tell Overture is one of the most famous pieces of classical music ever written. Even if you don’t recognise the name, you’ve probably heard the music – especially the final section, which has appeared in countless films, TV shows, and cartoons (most famously as the theme for The Lone Ranger). The overture was written in 1829 as the introduction to Rossini’s final opera, William Tell, which tells the story of a Swiss hero who stands up to tyranny.

The overture is divided into four continuous sections, each painting a vivid musical scene. It begins with a quiet, peaceful introduction led by a solo cello that represents dawn breaking over the Swiss Alps. Suddenly, a powerful storm bursts in, full of thunder and lightning, portrayed through fast strings and crashing drums. After the storm, we hear a calm and gentle melody played by the English horn and flute, suggesting a peaceful pastoral scene, with shepherds calling across the hills.

Then comes the most famous part: the galloping finale. It’s full of excitement, energy and speed, with the full orchestra racing ahead in rhythmic unison. This music originally represented the Swiss soldiers charging into battle, but today it’s more often associated with dramatic chases, cartoon heroes, and high-speed adventure.

Rossini was known for his wit, brilliance and sense of drama. Each of these qualities shine through in this overture. Although he stopped writing operas after William Tell, the overture has lived on, beloved by audiences for its colour, energy, and vivid storytelling. Whether you hear it as a musical journey through mountains, a heroic call to arms, or simply a thrilling ride, the William Tell Overture is an unforgettable piece of music that continues to entertain and excite listeners of all ages.

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!

This piece paints a picture of a peaceful sunrise. Long, flowing melodies rise gently through the orchestra, starting with a solo flute answered by the oboe. Although often used in nature documentaries and cartoons (you might remember hearing it in The Simpsons or kid’s animated movie The Croods), it was originally written to accompany a scene in which Peer wakes up in the Moroccan desert and makes a flute. The music may sound serene, but in the context of the play, Peer is stranded and far from home — a nice contrast between mood and meaning.

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.

A slow, sorrowful string movement full of tenderness. This scene occurs as Peer sits by his dying mother’s bedside. The music is simple, quiet, and emotionally direct — just muted strings, with no brass or percussion. Each of the phrases is designed to sound like sighs of sorrow, building to the point of emotional heartbreak and then diminishing into quiet resignation. It’s one of Grieg’s most moving pieces, capturing grief with eloquence and simplicity.

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.

Light, graceful, and a little seductive, this piece represents Anitra, a dancer Peer encounters during his travels in North Africa. With pizzicato strings (plucked rather than bowed) and lilting rhythms, it has a teasing charm. Peer thinks Anitra is falling for him, but in the end, she robs him and disappears, another sign of his delusions.

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 most famous movement of the suite is impressive because it uses just one tiny fragment of music repeated with increasingly wild variations. We hear the pizzicato version first, with the lower strings depicting our hero Peer tiptoeing around the sleeping trolls who guard the Mountain King. As the trolls wake and start chasing Peer, the music gets faster and louder, with more instruments joining and becoming more intense. The relentless crescendo and wild flourishes make it one of the most familiar soundtracks for an exciting chase scene. So why are the trolls chasing poor Peer? Well, he impregnated the Troll Princess of course.

A musical friendship.

Sinfonia Concertante for Violin and Viola in E flat, K364

Allegro maestoso
Andante
Presto

Composed by Wolfgang Amadeus Mozart (1756 – 1791)

30 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!

Mozart’s Sinfonia Concertante for Violin and Viola in E-flat major, K.364 is one of his most beloved and expressive works. Written in 1779, it blends the sparkle of a concerto with the elegance of a symphony, creating something rich, colourful and full of life. The word “concertante” means that the solo instruments – in this case, violin and viola – are both given equal importance. Instead of one leading and the other following, they have a musical conversation, often finishing each other’s phrases or weaving melodies together.

The first movement is grand and lively, full of energy and dialogue between the soloists and the orchestra. The second movement is slow, lyrical and deeply emotional. Some believe Mozart composed it in the wake of his mother’s death, and its tender, sorrowful character suggests a personal expression of grief. The final movement lifts the mood with a bright, cheerful theme and playful exchanges between violin and viola.

Mozart had a special fondness for the viola – in fact, he often played it himself – and he gave it a role that highlights its warm, expressive tone. The result is a beautiful blend of brightness from the violin and richness from the viola, each voice complementing the other.

The Sinfonia Concertante is a wonderful example of Mozart’s gift for melody, balance and musical dialogue. It’s both virtuosic and deeply human, showing off the skill of the soloists while also speaking directly to the heart. Whether you’re listening for the lively exchanges, the emotional depth, or simply the beautiful tunes, this piece offers something special from start to finish. It’s Mozart at his most elegant, expressive and inventive.

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 first movement bursts in with a bold orchestral fanfare — an unmistakable “here we go!”. The harpsichord soon joins with lively, bubbling figures that sound like a regency dance for Bridgerton - but rewritten in Paris between the wars.

Despite its nods to the past, this is not a textbook exercise in neoclassicism — the fad where composers deliberately wrote in old fashioned styles. Poulenc throws in unusual harmonic twists and abrupt tempo shifts, creating musical cliffhangers, and cheekily interrupting listener’s expectations. The piano darts and glitters, at times teasing the orchestra into action, at others straining to rise above its weight.

Ich atmet’ einen linden Duft

I breathed a gentle fragrance

The second movement slows everything down. It’s in the style of a sicilienne — a lilting six-step folk dance with a gently rocking rhythm, often associated with pastoral scenes or nostalgic moods. Here, Poulenc gives us a slow, graceful melody that sounds like it’s half-remembered, hovering between innocence and sorrow.

It’s the emotional heart of the concerto. The piano plays elegant, delicate lines, sometimes echoing the orchestra, sometimes drifting apart like a private thought.

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 final movement is a bright and brilliant dash to the finish line. Even when played on piano rather than harpsichord, it still keeps all its mischief, charm, and athletic flair. Right from the start, the music is lively and unpredictable - full of sudden turns, playful rhythms, and bursts of colour. The piano part leaps and skips across the keyboard, dashing through intricate runs and quick-fire patterns. It’s showy, but never heavy.

A playful, haunting farewell.

Symphony No 15 in A, Op 141

Allegretto
Adagio – Largo – Adagio – Largo
Allegretto
Adagio – Allegretto – Adagio – Allegretto

Composed by Dmitri Shostakovich (1906 – 1975)

42 minutes

Shostakovich’s Symphony No 15 was his final symphony, written in 1971 when he was in his mid-60s and in declining health. Unlike some of his earlier, large-scale symphonies that tackle big political or emotional themes, this one is more mysterious and puzzling. Shostakovich himself described it as “a symphony about nothing” but as with much of his music, there was more going on beneath the surface.

The first movement is playful and strange, with a sense of childlike mischief. It famously opens with a quote from Rossini’s William Tell Overture, music many associate with galloping horses or cartoon chases. It’s an odd and humorous beginning for a symphony, but it sets the tone for a piece that is full of unexpected turns and quiet questions.

The second and third movements are much darker and more serious. Here, we hear long, searching melodies and ominous sounds, as if Shostakovich is reflecting on mortality, memory and loss. The music often feels sparse and haunting, with powerful solos and unsettling silences.

The final movement is full of musical references – not just Rossini, but also Wagner and even echoes of Shostakovich’s earlier works. These quotations seem to float in and out of the music like ghosts. The symphony ends not with a grand flourish, but with quiet, ticking percussion, fading into silence.

Symphony No 15 is a strange and deeply personal work. Some hear it as Shostakovich looking back on his life with irony, sorrow and humour. Others see it as a farewell. Whatever interpretation you bring to it, this symphony leaves a lasting impression – both baffling and beautiful in equal measure.

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Musicians

Eivind Aadland

Chief Conductor & Artistic Director

Supported by Anonymous

Image credit Laura Oja.

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 Asia 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.

Ji Won Kim

Violin

Supported by Anonymous

Ji Won Kim was raised in Melbourne before studying in Vienna at the Music Hochschule where she graduated as a 19-year-old with high distinction.

She won the first prize at the Brahms International Competition in Austria in 2005 before returning to Australia, where she continued her studies at the Sydney Conservatorium and Melbourne Conservatorium, earning two masters degrees. In 2009 Ji Won won the ABC Young Performers Award, which resulted in solo performances with major state orchestras in Australia including her debut with the Sydney Symphony Orchestra at the Sydney Opera House. It also led to performances in Korea, Israel and Taiwan.

Her teachers and mentors include Arkadij Vinokurow, Alice Waten and Nelli Shkolnikova.

Ji Won’s passion for chamber music led to the establishment of String Theorem and Melbourne Piano Trio, which performed in festivals in Australia, Finland, Italy and Sweden. She has been a member of the Melbourne Symphony Orchestra and has led the Adelaide, West Australian and Melbourne Symphony Orchestras. She has also performed as guest leading violin in Gothenburg Symphony Orchestra, KBS and Malaysian Philharmonic Orchestra.

In 2022, Ji Won became Associate Concertmaster of the Tasmanian Symphony Orchestra.

Caleb Wright

Viola

Supported by Anonymous

Caleb Wright studied in Adelaide, Melbourne and Berlin before embarking on an orchestral career that has taken him across Australia and overseas.

He has held Principal Viola positions with the Malaysian Philharmonic Orchestra, Adelaide Symphony Orchestra and West Australian Symphony Orchestra, and has also performed with the Melbourne Symphony Orchestra, Orchestra Victoria and Rundfunk-Sinfonieorchester Berlin.

A passionate chamber musician, Caleb has performed in ensembles both in Australia and abroad. He also enjoys teaching and occasionally swaps the viola for the violin.

In 2023, Caleb was appointed Principal Viola of the Tasmanian Symphony Orchestra.

Want to know more about this wife-and-husband duo?

Get to know Ji Won Kim and Caleb Wright in this at-home interview.

Konstantin Shamray

Piano

Supported by Anonymous

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

Margaret Blades Associate Concertmaster

Jennifer Owen Principal Second

Susanna Low Principal First

Kirsty Bremner

Yue-Hong Cha

Tobias Chisnall

Frances Davies

Matthew Hassall

Michael Johnston

Christine Lawson

Elinor Lea

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

Katharine Brockman Guest Principal

Sandra Ionescu

Sophie Kesoglidis

Anna Larsen Roach

William Newbery

Cello

Jonathan Békés Principal

Ivan James

Nicholas McManus

Oliver Russell

Brett Rutherford

Double Bass

Stuart Thomson Principal

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

Tahnee van Herk Principal

Melissa Woodroffe Principal Contrabassoon

Horn

Greg Stephens Principal First

Claudia Leggett Principal Third

Jules Evans

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

Caleb Goldsmith

Jonathan Parker

Tracey Patten

Harp

Meriel Owen Guest Principal

Piano

Karen Smithies Guest Principal

Celeste

Karen Smithies 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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Federation Concert Hall

Our Southern Home

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

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.

Orchestra performing in Federation Concert Hall.

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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.

Read more about the acoustics of the Hall here.

Coming up

Karen Gomyo

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Dvořák Violin Concerto in A minor, Op 53
Robert Schumann Symphony No 1 in B-flat, Op 38, ‘Spring’

A full orchestra performs on stage in a modern concert hall with wooden acoustic paneling, while a pianist plays a grand piano at center stage. The audience watches attentively in the dimly lit foreground.

Coming up

Beethoven’s Emperor

Featuring Javier Perianes on piano and TSO Chief Conductor Eivind Aadland.

Schnelzer Through the Eye of the Pegasus
Beethoven Piano Concerto No 5 in E flat, Op 73, ‘Emperor’
Robert Schumann Symphony No 2 in C, Op 61

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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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