Friday 28 Jun 2024 7:30pm
Federation Concert Hall, nipaluna / Hobart
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Streaming live & playback via TSO On Demand
Conducted by Alan Buribayev,
featuring Karin Schaupp on guitar.
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
Borodin Polovtsian Dances (14 min)
Rodrigo Concierto de Aranjuez (21 min)
3 movements:
- Allegro con spirito
- Adagio
- Allegro gentile
20 minute interval
Rimsky-Korsakov Scheherazade, Op 35 (42 min)
4 movements:
- Largo e maestoso – Allegro non troppo (The Sea and Sinbad’s Ship)
- Lento – Andantino – Allegro molto – Vivace scherzando (The Story of the Kalendar Prince)
- Andantino quasi allegretto (The Young Prince and the Young Princess)
- Allegro molto – Vivo – Allegro non troppo e maestoso (The Festival at Baghdad – The Sea – The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior– Conclusion)
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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.
Portrait of Joaquín Rodrigo.
Uncover the stories behind the works.
Lush & Exotic
Polovtsian Dances
Composed by Aleksandr Borodin (1833-1887)
14 minutes
Borodin was a professor of chemistry, with a side hustle as a composer. The Polovtsian Dances are from the opera Prince Igor, which occupied Borodin on and off for nearly 20 years. Although the opera remained incomplete at the time of Borodin’s death, the Polovtsian Dances, which form an episode in Act II, were composed in 1875. Set in 12th-century Russia, Prince Igor takes place against a background of territorial disputes between Russian expansionists and a nomadic Turkic tribe This piece is from Act II of the opera, during a lavish feast. The dances display the cultural richness and the vigorous, free-spirited lifestyle of the Polovtsians.
Spirited, Brilliant, Bright
Concierto de Aranjuez
- Allegro con spirito
- Adagio
- Allegro gentile
Composed by Joaquin Rodrigo (1901-1999)
21 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!
Spanish composer Joaquin Rodrigo managed a rare thing with the Concierto de Aranjuez - a concerto for guitar and orchestra. Rodrigo faced the challenge of composing a work strikes the right balance between a solo instrument with limited powers of projection and a symphony orchestra. He more than succeeded; the guitar shines unadorned and lightly scores those passages where the guitar and orchestra sound together.
Throughout the 3 movements, you’ll hear a captivating blend of energy, emotion, and Spanish spirit. After a rhythmic and vibrant first movement, the concerto takes an inward turn for the long and ruminative Adagio, the heart of the concerto. Here, a haunting principal theme is introduced by the cor anglais, an instrument noted for its plaintive tone, before being taken up and embellished by the guitar. The middle section brings a change of tone leading to a long and deeply-felt guitar cadenza. The concerto is rounded off with a cheerful closing movement where the orchestration remains delicate and provides a backdrop for the guitarist to execute many virtuosic flourishes.
Here’s our soloist Karin Schaupp playing a snippet from the Adagio.
Arabian Nights
Scheherazade, Op 35
- Largo e maestoso – Allegro non troppo (The Sea and Sinbad’s Ship)
- Lento – Andantino – Allegro molto – Vivace scherzando (The Story of the Kalendar Prince)
- Andantino quasi allegretto (The Young Prince and the Young Princess)
- Allegro molto – Vivo – Allegro non troppo e maestoso (The Festival at Baghdad – The Sea – The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior– Conclusion)
Composed by Nikolai Rimsky-Korsakov (1844-1908)
42 minutes
Nikolai Rimsky-Korsakov was largely a self taught composer. He joined the navy, went to sea and was appointed Professor of Practical Composition and Instrumentation at the St Petersburg Conservatory at the age of 27. Rimsky-Korsakov’s inspiration was the 1001 Nights (also known as the Arabian Nights), where the storyteller Scheherazade narrates the tales of Sinbad, Ali Baba and others. The storytelling role might be said to be represented in the orchestral setting by the prominent solo violin.
The four movements convey an enchanting and cinematic adventure. The first movement, The Sea and Sinbad's Ship portrays the vastness of the sea, with a majestic opening theme representing the sultan. Next is The Kalender Prince; it’s unusual rhythms make for a mysterious moment and we get some solos from instruments like bassoon and clarinet. The third movement is The Young Prince and the Young Princess. It’s charming, elegant and feels very romantic. Festival at Baghdad is the final movement, and what a triumphant end. It portrays a ship on stormy seas, the brass and percussion create a sense of urgency and chaos.
Storytelling aside, the great achievement of Scheherazade is the sheer variety of sounds it musters. Rimsky-Korsakov was a master orchestrator, listen out for instrumental colours popping out from all sections of the orchestra, the wind, brass and percussion ranks in particular. Scheherazade is an astounding achievement by any measure, especially from a self-taught composer.
Watch this performance with added ‘pirate shouts from both the conductor and musicians!
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Musicians
Alan Buribayev
Conductor
Alan Buribayev is Chief Conductor of the Astana Opera House in Kazakhstan. He completed his tenure as Chief Conductor of the RTE Orchestra in 2016, and previous roles include Chief Conductor of the Norrköping Symphony Orchestra (2006-2011), Chief Conductor of the Brabants Orchestra in the Netherlands (2007-2012) and Principal Guest conductor of the Japan Century Symphony Orchestra in Osaka (2014-2018).
Highly acclaimed for his intensity and spontaneity, his precision and musicianship is equally praised, and his success brings him regular invitations to guest conduct at the highest level. Recent and future highlights include engagements with the Helsinki Philharmonic, Finnish National Opera, St. Petersburg Symphony, Royal Philharmonic Orchestra, Auckland Philharmonia, Stavanger Symphony and the St. Gallen Symphony.
Karin Schaupp
Guitar Soloist
Karin Schaupp is one of the most outstanding guitarists on the international scene. She performs widely on the international stage as a recitalist, concerto soloist and festival guest, and has given countless recitals in Australia, Europe, Asia, the US, Mexico and Canada. Karin’s playing receives the highest acclaim from critics and audiences alike and she is held in great esteem by her peers worldwide. Her unique stage presence and magical, passionate playing have inspired several composers to write works especially for her.
Karin Schaupp began her guitar training at age five, making her public debut the following year. As a teenager, she won international competitions in Italy and Spain, where she was also honored for her interpretation of Spanish music. Taught primarily by her mother, Isolde Schaupp, Karin completed her music studies at The University of Queensland, earning First Class Honours, a Masters degree, and a University Gold Medal. Karin also trained at National Institute of Dramatic Art (NIDA), extending her performance activities to the theatrical stage.
She has an extensive discography with Warner Music International and ABC Classics, including her acclaimed debut "Soliloquy" (1997) and the ARIA-nominated "Leyenda" (1998). Karin's collaborations include albums with Saffire, The Australian Guitar Quartet, and a duo with Genevieve Lacey. Her recent works include "Songs of the Latin Skies" (2017) with Katie Noonan and "Wayfaring" (2018) with cellist Umberto Clerici.
Karin's orchestral recordings feature award-winning premieres, including Phillip Bracanin's Guitar Concerto and Ross Edwards' Concerto for Guitar and Strings. She has performed with major orchestras worldwide, including the London Philharmonic Orchestra and at 2018 Commonwealth Games Closing Ceremony.
She is the Head of Classical Guitar at the Queensland Conservatorium, Griffith University, and lives in Brisbane with her husband and two children.
Orchestra List
Alan Buribayev Conductor
Karin Schaupp guitar
Tasmanian Symphony Orchestra
Violin
Emma McGrath Concertmaster
Ji Won Kim Associate Concertmaster
Wilma Smith Guest Principal Second
Miranda Carson Principal First
Kirsty Bremner
Yue-Hong Cha
Margaret Connolly
Frances Davies
Michael Johnston
Elinor Lea
Xinyu Mannix
Phoebe Masel
Christopher Nicholas
Rohana O’Malley
Lynette Rayner
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
Anna Larsen Roach
Susanna Low
Rodney McDonald
Ariel Postmus
Cello
Jonathan Békés Principal
Alexandra Békés
Ivan James
Nicholas McManus
Martin Penicka
Sophie Radke
Double Bass
Stuart Thomson Principal
Matthew McGrath
James Menzies
Adrian Whitehall
Flute
Katie Zagorski Principal
Rachel Howie
Lily Bryant Guest Principal Piccolo
Oboe
Emmanuel Cassimatis Guest Principal
Dinah Woods Principal Cor Anglais
Clarinet
Andrew Seymour Principal
Eloise Fisher Principal Bass Clarinet
Bassoon
Jane Kircher-Lindner Guest Principal
Melissa Woodroffe Principal Contrabassoon
French 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 Guest Principal
Tuba
Rachel Kelly Principal
Timpani
Matthew Goddard Principal
Percussion
Gary Wain Principal
Robert Allan
Matthew Brennan
Stephen Marskell
Tracey Patten
Harp
Yinuo Mu Guest Principal
*Correct at time of publishing
Federation Concert Hall
Our Southern Home
Federation Concert Hall has been our home since 2001. It's distinctive curve, golden Tasmanian timber, contemporary design and deep red seats set the tone for the ultimate concert experience.
In 2020, major acoustical enhancements were made to the hall, amplifying the venue's, and the TSO's, reputation as world-class.
Photo credit: Fin Matson
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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
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’
Find Out More
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