Sat 2 November 2024 7:30pm
Federation Concert Hall, nipaluna / Hobart
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Conducted by Eivind Aadland,
featuring Nobuyuki Tsujii on
piano, and musicians from the
Australian National Academy of
Music.
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
Ludwig van Beethoven Piano Concerto No 2 in B-flat, Op 19 (28 mins)
3 movements
- Allegro con brio
- Adagio
- Rondo: Allegro molto
20 minute interval
Anton Bruckner Symphony No 4 in E-flat, ‘Romantic’ (66 mins)
4 movements
- Bewegt, nicht zu schnell
- Andante, quasi allegretto
- Scherzo: Bewegt – Trio: Nicht zu schnell
- Finale: Bewegt, doch nicht zu schnell
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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 Joseph Anton Bruckner.
Uncover the stories behind the works.
Youthful charm
Piano Concerto No 2 in B-flat, Op 19
- Allegro con brio
- Adagio
- Rondo: allegro molto
Composed by Ludwig van Beethoven (1770 – 1827)
28 minutes
Ludwig van Beethoven’s Piano Concerto No 2 is a delightful and energetic piece that reflects the confidence and flair of the young composer (he was in his early 20s when he started work on the piece). Though it is called his “second” piano concerto, it was actually written before his Piano Concerto No 1. Beethoven began composing it in the late 1780s and he revised it several times before its premiere in 1795, with the man himself as the soloist. This concerto showcases Beethoven’s early style, which was heavily influenced by Mozart and Haydn, but already hints at his own unique voice.
We begin with the Allegro con brio, a bright and lively first movement. It opens with the orchestra presenting a cheerful theme before the piano enters with its own version of the melody. The piano and orchestra then take turns sharing playful and sparkling musical ideas. Beethoven’s music here is full of energy and charm, with quick passages for the piano that highlight the soloist’s skill. The movement has a light-hearted spirit, with moments of dramatic flair that hint at the boldness that would later define Beethoven’s work.
The second movement, Adagio , is slower and more lyrical, showing Beethoven’s talent for creating beautiful, expressive melodies. In this movement, the piano plays gentle, flowing lines that feel almost like a vocal solo, with the orchestra providing a soft and supportive accompaniment. The music has a calm and introspective quality, inviting you to relax and enjoy the simple beauty of the music. This movement is warm, graceful and showcases Beethoven’s ability to convey deep emotion with subtlety and elegance.
The final movement, Rondo: Allegro molto, is lively and full of character. It has a playful, almost mischievous quality, with the piano leading the way through a series of joyful and spirited themes. The rondo form means that the main theme keeps returning, like a familiar refrain, with variations that make each appearance fresh and exciting. Beethoven includes plenty of fast runs, trills, and other virtuosic elements that allow our soloist Nobu to shine, making this movement a true showcase for the pianist’s technique. The music builds to a joyful and exuberant finish, and we hope you’ll leave with a sense of lightness and happiness.
A force of nature
Symphony No 4 in E-flat, ‘Romantic’
- Bewegt, nicht zu schnell
- Andante, quasi allegretto
- Scherzo: Bewegt - Trio: nicht zu schnell
- Finale: Bewegt, doch nicht zu schnell
Composed by Anton Bruckner (1809 – 1847)
66 minutes
Anton Bruckner’s Symphony No 4 in E-flat major, known as the ‘Romantic’ Symphony, is one of his most beloved and accessible works. Composed in 1874 and revised multiple times over the years, it captures Bruckner’s fascination with the grandeur of nature, medieval romance, and the mysteries of the world. This symphony is a wonderful example of Bruckner’s distinctive style—expansive, deeply expressive, and full of rich orchestral textures. The nickname ‘Romantic’ was given by Bruckner himself, not to describe love but rather to evoke a sense of wonder and adventure, reminiscent of medieval knights, forests, and castles. This symphony is rarely performed in Tasmania due to the sheer size of the orchestra required. Musicians from the Australian National Academy of Music join us to bring you this grand work.
The symphony opens with a magical sense of dawn, as if a new day is breaking over a vast landscape. The first movement begins quietly, with a mysterious horn call that feels like it is coming from deep within the woods. This opening theme slowly builds, unfolding into a grand, sweeping musical panorama. The movement is full of contrasts—moments of calm give way to powerful climaxes, capturing the beauty and majesty of the natural world. Throughout, Bruckner’s music creates a sense of wide open spaces, inviting the listener to imagine an expansive landscape full of possibilities.
The second movement, Andante quasi Allegretto, is more introspective and gentle. It features a beautiful, lyrical melody that passes between the strings and winds, creating a serene and reflective atmosphere. This movement has a song-like quality, almost as if it is telling a quiet story. The music is both tender and solemn, offering a moment of rest and contemplation amidst the grandeur of the symphony. Bruckner’s use of harmony and orchestral colour here is particularly expressive, evoking emotions that range from melancholy to hopeful.
The third movement, Scherzo , is lively and rustic, bringing a burst of energy to the symphony. Listen out for the horns here; sounding like hunting calls, they give this movement an outdoorsy, almost festive feel. It’s easy to imagine a scene from the countryside, with people bustling about or perhaps a group of hunters setting off on an adventure. The middle section, called the Trio, provides a contrasting, more relaxed theme, before the energetic hunting rhythms return to bring the movement to a spirited close. This movement is full of rhythmic drive and vitality, showcasing Bruckner’s ability to create excitement and movement within his music.
The final movement, Finale: Allegro moderato , brings the symphony to a dramatic and powerful conclusion. It begins with a sense of anticipation, as if something important is about to unfold. Themes from earlier movements reappear, giving the music a sense of cohesion and bringing the entire symphony together. This movement is full of dramatic contrasts, with passages that range from quiet and mysterious to bold and triumphant. Bruckner’s use of the full orchestra here is particularly striking, building towards a glorious, uplifting finale. The ending of the symphony feels like the culmination of a grand journey, with a sense of triumph and resolution.
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Musicians
Eivind Aadland
Chief Conductor
Supported by Anonymous
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 the Far East 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.
Nobuyuki Tsujii
Pianist
Japanese pianist Nobuyuki Tsujii (Nobu), blind from birth, won the joint Gold Medal at the 2009 Van Cliburn International Piano Competition and has since gained worldwide recognition for his passionate performances. In the 2024/25 season, Nobu embarks on a major tour of Japan with the London Philharmonic Orchestra, followed by appearances with the Malaysian Philharmonic, and a tour of Australia, including performances with the Sydney, Queensland, and Tasmanian symphonies. U.S. highlights include concerts at Carnegie Hall and with the Seattle Symphony, while European engagements feature recitals at London’s Southbank Centre and concerti with orchestras in Spain, Romania, and Israel. .
Nobu has previously performed with top orchestras such as the Los Angeles Philharmonic, Philharmonia Orchestra, and NHK Symphony. He has collaborated with conductors including Valery Gergiev, Vasily Petrenko, and Domingo Hindoyan. His recital venues include Carnegie Hall, Berlin Philharmonie, and the Royal Albert Hall. .
An exclusive artist for Avex Classics International, Nobu’s discography features works by Chopin, Rachmaninov, Tchaikovsky, and Beethoven. His live DVD of a 2011 Carnegie Hall recital and the documentary "Touching the Sound" have received critical acclaim. Nobu’s international tours are supported by All Nippon Airways (ANA). .
Orchestra List
Eivind Aadland Conductor
Nobuyuki Tsujii piano
Tasmanian Symphony Orchestra
Musicians from the Australian National Academy of Music (ANAM)^
Violin
Emma McGrath Concertmaster
Ji Won Kim Associate Concertmaster
Lucy Carrig-Jones Principal Second
Wilma Smith Guest Principal First
James Armstrong^
Kirsty Bremner
Yue-Hong Cha
Tobias Chisnall
Doreen Cumming
Frances Davies
Matthew Hassall
Michael Johnston
Olivia Kowalik^
Christine Lawson
Elinor Lea
Susanna Low
Xinyu Mannix
Phoebe Mansel
Jasmine Milton^
Christopher Nicholas
Rohana O’Malley
Liam Pilgrim^
Lynette Rayner
Lydia Sawires^
Hayato Simpson
Theonie Wang^
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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
Stepanie Farrands
Sandra Ionescu
Angelina Kim^
Anna Larsen Roach
Jamie Miles^
William Newbery
Mattea Osenk^
Hanna Wallace^
Cello
Jonathan Békés Principal
Ivan James
Joshua Jones^
Heesoo Kim^
Cindy Masterman^
Nicholas McManus
Martin Penicka
Ariel Volovelsky^
Double Bass
Stuart Thomson Principal
Aurora Henrich
Dylan Holly
Matthew McGrath
James Menzies
Adrian Whitehall
Flute
Lily Bryant Guest Principal
Lloyd Hudson Principal Piccolo
Oboe
Sarah Young 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
French Horn
Greg Stephens Principal First
Claudia Leggett Principal Third
Jules Evans
Roger Jackson
Julian Leslie
Trumpet
Fletcher Cox Principal
Mark Bain
Melanie Wilkinson
Trombone
David Robins Principal
Jackson Bankovic
Bass Trombone
Mitchell Nissen Principal
Tuba
Rachel Kelly Principal
Timpani
Matthew Goddard Principal
*Correct at time of publishing
Federation Concert Hall
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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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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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Coming up
Clara-Jumi Kang
Conducted by Eivind Aadland, featuring Clara-Jumi Kang on violin.
Scott Cabinet of Curiosities
Tchaikovsky Violin Concerto in D, Op 35Dvořák Symphony No 7 in D minor, Op 70
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