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Sunday 26th June 2016 Print E-mail
Symphony No. 4 in A major, Op. 90, "Italian"
Felix Mendelssohn (1809-1847)

1. Allegro vivace
2. Andante con moto
3. Con moto moderato
4. Presto and Finale: Saltarello

Born in Hamburg, Mendelssohn developed his musical talent from an early age. After his first public piano performance at the age of nine, his wealthy father was able to provide tuition from the most talented musicians available. As a teenager he composed prolifically, including twelve string symphonies which were performed by a private orchestra at home. From 1829 he travelled extensively around Europe and wrote music inspired by the countries he visited.

Mendelssohn began composing what he himself called the "Italian symphony" while staying in Italy. He completed the work in Berlin and conducted its first performance in London in 1833, where it was highly successful. Despite its success Mendelssohn was never satisfied with the piece and revised it in 1837. After his untimely death in 1847 the symphony was eventually published in 1851.

The vigorous opening movement Allegro vivace is in classical sonata form. The following slow movement is likely to have been inspired by a religious procession in Naples. The third movement is a delicate minuet. The final Presto energetically concludes the symphony in a minor key, drawing on both saltarello and tarantella dance forms.

*** Interval ***

Danse macabre
Camille Saint-Saëns (1835-1921)


Saint-Saëns was a French composer, pianist and organist. He originally wrote Danse macabre in 1872 for voice and piano using the text of the poem Égalité, Fraternité by Henri Cazalis. In 1874 he reworked it as an orchestral piece with solo violin replacing the vocal line. Initially the piece was poorly received but it went on to become one of his most famous and often performed works.

The poem describes skeletons rising from their graves and gleefully dancing while Death plays the violin. In today's performance that solo violin role is played by concertmaster Tara Murphy. Unusually, the top string of the solo violin is tuned down by one semitone to form a tritone with the adjacent string. Since the 18th century the tritone has had the nickname diabolus in musica - "the Devil in music".

Égalité, Fraternité begins:
Zig et zig et zig, la mort en cadence
Frappant une tombe avec son talon,
La mort à minuit joue un air de danse
Zig et zig et zag sur son violin.

Le vent d'hiver souffle et la nuit est sombre;
Les gémissements sortent des tilleuls;
Les squelettes blancs vont à travers l'ombre,
Courant et sautant sous leurs grands linceuls.

Zig et zig et zig, chacun se trémousse.
On entend claquer les os des danseurs;
Un couple lassif s'asseoit sur la mousse,
Comme pour goûter d'anciennes douceurs.
English translation:
(Zig et zig et zig, Death in cadence,
Striking a tomb with his heel,
Death at midnight plays a dance-tune,
Zig, zig, zag on his violin.

The winter wind blows, and the night is dark;
Moans are heard in the linden trees.
White skeletons pass through the gloom,
Running and leaping in their shrouds.

Zig, zig, zig, each one is frisking,
You can hear the cracking of the bones of the dancers.
A lustful couple sits on the moss
So as to taste long lost delights.)
Slavonic Dances, Op. 46 (Nos. 2, 7, and 8)
Antonín Dvorák (1841-1904)


Dvorák was a Czech composer who often drew on Slavic folk music for inspiration. After achieving success in Prague the Slavonic Dances brought Dvorák to international attention. He wrote the first set, Op. 46, in 1878 originally for four hands on piano. Owing to its rapid success he was quickly asked to produce an orchestrated version. Eight years later he would go on to compose a second set of eight, Op. 72.

Each movement is styled on a type of dance. No. 2 is a melancholy dumka, a relatively calm moment in an otherwise energetic work. No. 7 is a skocná, a rapid hopping and spinning dance in 2/4. No. 8 is a furiant, a fast dance featuring alternating 2/4 and 3/4 rhythms.

Capriccio Italien
Pyotr Ilyich Tchaikovsky (1840-1893)


Tchaikovsky was the first Russian composer to achieve international fame. He had already composed his first four symphonies when he wrote Capriccio Italien in 1880. After a brief and disastrous marriage in 1877, he was travelling widely and composing under the patronage of Nadezhda von Meck.

While on a trip to Rome he wrote to von Meck, "I have already completed the sketches for an Italian fantasia on folk tunes for which I believe a good fortune may be predicted. It will be effective, thanks to the delightful tunes which I have succeeded in assembling partly from anthologies, partly from my own ears in the streets."

The piece explores multiple tunes, beginning with a bugle call that Tchaikovsky heard from the barracks near his hotel in Rome. The end is based on a tarantella named Cicuzza.

About our conductor: Jonathan Wallis

A lectureship in Classics at the University of Tasmania brought Jonathan to Tasmania in 2009. Since then Jonathan has been very active in Hobart's musical life. As a performer, Jonathan has sung with the Tasmanian Chorale, and is currently a member of Hobart's Allegri Ensemble. As a conductor, Jonathan has worked with the Loose Canon Chamber Singers and the Hobart Chamber Orchestra, most recently in 2015 for a collaboration between these two groups to perform Vivaldi's lesser-known "Gloria" RV588.

Jonathan brings extensive experience in chamber and choral music. He has toured Europe several times as a member of Melbourne's Ensemble Gombert and Choir of Ormond College. Before coming to Hobart, Jonathan spent five years in the United Kingdom while undertaking a PhD at the University of Cambridge; during this period he was a member of the Pembroke College Choir, and was the founding director of a Graduate Choir and Orchestra (still named "The Wren Choir" after the chapel at Pembroke, designed by Sir Christopher Wren). This afternoon's concert is Jonathan's first performance with the Derwent Symphony Orchestra.

 
Sunday 10th April 2016 Print E-mail

Overture to I Vespri Siciliani
Giuseppe Verdi (1813-1901)


I Vespri Siciliani (The Sicilian Vespers) is a grant opera in five acts. It is also commonly known as Les vêpres siciliennes, from its French libretto by Eugène Scribe and Charles Duveyrier. Verdi had very deliberately sought out the French opera scene to try out a diffrent form and structure, as well as an audience open to novelty and variation.

The opera tells the story of the War of the Sicilian Vespers in 1282, when the people of Sicily rebelled against the rule of King Charles I of France. Within three weeks over three thousand French were dead and the Sicilians triumphed.

The overture begins hushed and in the grim and determined-sounding key of E minor, denoting the quiet yet steely resolve of the rebels. The opening is a reference to a vocal motif of the opera, sung by the Sicilian rebels: "oui, vengeance!" ("yes, vengeance!"). As is typical for an opera overture, it goes through various episodes based on arias from the opera, before closing at a wild speed in the triumphant key of E major.

Si, mi chiamano Mimi from La Bohème
Giacomo Puccini (1858-1924)

Soloist: Isobel Latimer, soprano

La Bohème was composed in 1890s and is one of the most popular and frequently performed of operas. It is set in Paris, and describes the ordinary life of prespective artists (bohemians) who, despite being poor, are happy. Rodolfo, a poet, meets his neighbour, Mimi, who asks him to light her candle for her. After feeling faint and resting a while, Mimi goes to leave Rodolfo's place and their candles blow out. Mimi loses her key and Rodolfo, wanting to stay with her longer, pockets the key without telling her. As their hands meet in the darkness, they fall in love. Rodolfo sings about her cold little hand in Che gelida manina and tells her of his life as a poet. Mimi then describes her life as an embroiderer in this song Si, mi chiamano Mimi (Yes, they call me Mimi). These two songs are their only two arias.

Whilst their love story ends tragically with Mimi's illness, the song tells of a moment of youthful love and hope:

English Translation:

"Yes, they call me Mimi,
but my true name is Lucia.
My story is short.
A canvas or a silk
I embroider at home and abroad...
I am happy and at peace
and my pastime
is to make lilies and roses.
I love all things
that have gentle sweet smells,
that speak of love, of spring,
of dreams and fanciful things,
those things that have poetic names...
Do you understand me?
They call me Mimi,
I do not know why.
Alone, I make
lunch by myself.
I do not go to church,
but I pray a lot to the Lord.
I stay all alone
there in a white room
and look upon the roofs and the sky
but when the thaw comes
The first sun, like my
first kiss, is mine!
Buds in a vase...
Leaf and leaf I spy!
That gentle perfume of a flower!
But the flowers that I make,
Alas! no smell.
Other than telling you about me, I know nothing.
I am only your neighbour who comes out to bother you."


Una donna a quindici anni from Cosi fan tutte
W. A. Mozart (1756-1791)

Soloist: Isobel Latimer, soprano

The opera, written in 1789, has two acts. Set in Naples, it opens with Don Alfonso's bet that two girls, Fiordiligi and Dorabella, are no more trustworthy in matters of love than any other women. He tells them that their lovers are to be called away to war, and they pledge to remain faithful. Then the servant girl Despina is bribed by Don Alfonso to urge the girls to find other lovers, but is initially unsuccessful.

Later, the men disguise themselves as Albanians and eventually pretend to take poison, with the help of Despina disguised as a doctor. The two girls begin to waver.

In the second act, the girls at last agree to Despina's suggestion of harmless flirtation, and each unwittingly chooses the other's partner. This leads to a wedding, at which the men appear as themselves and pretend shock and horror, before revealing their duplicity. All ends happily, as Don Alfonso urges the power of reason in these circumstances.

Una donna a quindici anni is Despina's aria, in which she urges the girls to succumb to the "Albanians":

A woman of 15 years
Must know all the good methods,
Where the devil keeps his tail,
What's good and what's bad.
She must know the little malices
That enamour lovers:
To feign laughter, to feign tears,
And invent good reasons.
She must pay attention to a hundred at a time
Speak through her eyes with a thousand
Give hope to all, be they handsome or ugly,
Know how to obfuscate without getting confused
And know how to lie without blushing.
And this queen from her high throne
Can make them obey with "I can," and "I want."
(It seems they like this doctrine,
Long live Despina, who knows how to serve!)

"Serve" is meant with a double meaning: Literally, Despina is a servant; also, she is dishing up some salty advice.

(Text by Lorenzo da Ponte, translation by Naomi Gurt Lind)

Soloist: Isobel Latimer, soprano

Isobel is 17 years old, born in Tasmania. She has been singing since the age of 8 with Suzanne Ortuso and Bel Canto Australia.

She has performed as a soloist in many recitals and charity concerts at both Meadowbank Estate and the Town Hall and radio broadcasts at the ABC through Bel Canto Australia. She has performed in AMEB family open days and competed in the City of Hobart and City of Clarence Eisteddfods, achieving many award certificates in both singing as well as speech and drama.

Some of her performing roles include the lead in St Michael's Collegiate School's production of Oliver and in the children's chorus in Tosca for the Melbourne Opera Company. She was cast as the lead role of Juliet in Benjamin Britten's opera The Little Sweep for the Tasmanian Conservatorium of Music.

More recently, in 2012 Isobel was a featured soloist for the Cancer Council's annual "Luminary Ceremony" and in the City of Clarence Eisteddfod was awarded the award for singer showing most promise. In 2013 she was awarded the Celeste Thomsen (Quinn) award for exceptional standard. In 2014 she achieved her A. Mus. A. in singing and her AMEB grade 5 Theory.

Isobel is looking to classical voice and opera and will aim to study at Sydney Conservatorium next year.

Piano Concerto in A minor, Op. 16 (1st movement)
Edvard Grieg (1843-1907)

Soloist: James He, piano

Composed in 1868 in three movements, this is the only piano concerto Grieg completed and is amongst the most popular of all piano concerti. At the beginning of the first movement (Allegro molto moderato), there is a timpani roll that leads to a dramatic piano flourish. It ends with a virtuosic cadenza and a similar flourish as in the beginning.

The concerto has featured in a wide variety of contexts, including in a number of films, telvision shows, a pop song and musical.

Soloist: James He, piano

James was born in Tasmania, and apart from 3 years in Sydney, has lived here ever since. He is currently a year 12 student at The Hutchins School and from an early age has studied piano with Annette Stilwell. Over the years he has gained many awards in Eisteddfods and TMTA competitions, and has consistently gained honours in his AMEB exams. Last year he achieved his A. Mus. A. and is currently preparing a program for his L. Mus. A.

Symphony No. 3 in C Major, Op. 32
Nicolay Rimsky-Korsakov (1844-1908)

1. Moderato assai - Allegro
2. Scherzo. Vivo
3. Andante
4. Allegro con spirito.

This work was initially planned by Tchaikovsky and Borodin as merely a technical exercise. Rimsky-Korsakov agreed and revised the piece twice. This final version is far richer musically, and a showcase for the composer's mastery of orchestration.

The first movement begins with a simple statement of the main motif in the strings before the winds emerge, floating above the strings' pedal tone in an excellent display of Rimsky-Korsakov's understanding of orchestral colour. The movement features various incarnations, snippets and reiterations of both the main theme and the more tranquil and lyrical second theme.

The middle movements arguably contribute most substance to the symphony. The second movement is a fantastical scherzo in the uneven metre of 5/4, with a lilting yet harmonically uneasy-feeling trio.

Rimsky-Korsakov's contrapuntal writing is perhaps at its strongest in the andante, a plodding slow movement with some delightful interplay between the strings and winds. Material from the andante motif makes up both the transition into the final movement, a triumphant allegro con spirito, as well as the main theme of the movement. Joy and wonder are strongly invoked and the brass are more involved than in any other movement, bringing to mind a miliary celebration or parade. The piece ends after a brief reminder of the first movement's main theme and closes triumphantly.

About our conductor: Jamie Allen

Having studied at The NSW Conservatorium of Music in Sydney and Newcastle, Jamie finished his studies with flute in High Distinction. beginning a freelance career as an orchestral player and teacher.

Jamie became attracted to singing and set about training as a tenor. An audition with Opera Australia was successful, and he was offered the roles of one of the apprentices in Wagner's Die Meistersinger Von Nürnberg and a permanent chorus position.

After winning the Australian Singing Competition and the Remy Martin Opera Award, Jamie was made a young artist with Opera Australia where he performed roles such as Benedict in Beatrice and Benedict, Rodolfo in La Bohème, Pinkerton in Madama Butterfly, Max in Der Freischütz and Orpheus in Orpheus in the Underworld. Overseas work has included the role of Nadir in The Pearlfishers in Sri Lanka and Steva in Jenufa for New Zealand Opera.

Concert work has also been a feature of Jamie's musical life, working with all of the Australian Symphony Orchestras, with repertoire ranging from Monteverdi through to the present time.

In 2010 Jamie participated in Symphony Australia's conductor masterclasses, working with the TSO and Orchestra Victoria and receiving guidance with conductors Sebastien Lang-Lessing and Christopher Seamen. Presently Jamie is Music Director of both St Mary's Cathedral Choir and The Tasmanian Chorale.

 
Saturday 21st November 2015 Print E-mail
Twenty-five studies for piano (Op. 100)
Johann Friedrich Franz Burgmüller (1806 - 1874)

Orchestrated by Hans-Eduard Kooij

Burgmüller is best known for his piano studies and additional music to Adam Adolphe's score for the ballet Giselle. These studies, composed in the 1830s, have both challenged and delighted piano students ever since. The orchestral arrangement presented in this concert began as an orchestration exercise in the late 1990s, under instruction by the Australian composer Stephen Cronin, and was completed this year for its premiere by the DSO. It is scored for woodwinds in pairs, two horns, strings, timpani and percussion, with the addition of a choral setting of no. 19: Ave Maria. Translating piano idiomatic ideas to other instruments presents several problems and various adjustments of tempi and layout were necessary. However, the arrangement intends to keep as much of the original character of the studies intact, while providing additional colour and keeping all players involved as much as possible. The process of learning and completing this work has been a co-operative effort between the arranger and members of the DSO. It is intended for this work to be published soon, so other orchestras may delight audiences with these 25 little crafty musical gems contained in Burgmüller's original piano score.
1. La Candeur - (Artless mind)
2. Arabesque
3. Pastorale
4. Petite réunion - (Children's party)
5. Innocence
6. Progrès
7. Courant limpide - (By the limpid stream)
8. La gracieuse - (The sweet grace)
9. La chasse - (The chase)
10. Tendre fleur - (Tender flower)
11. La bergeronette - (The young shepherdess)
12. Adieu - (Farewell)
13. Consolation
14. La styrienne - (The lady from Styria)
15. Ballade
16. Douce plainte - (Gentle plaint)
17. Babillarde - (Chatterbox)
18. Inquiétude - (Discomfort)
19. Ave Maria
20. Tarantelle
21. Harmonie des anges - (Angels' voices)
22. Barcarolle - (Gondola song)
23. Retour - (Returning home)
24. L'hirondelle - (The Swallow)
25. La chevaleresque - (My lady's ride)

Mass in C (Op. 86)
Ludwig van Beethoven (1770 - 1827)


Beethoven composed his Mass in C for the birthday of Princess Maria Hermengild Esterhazy in 1807. The composer conducted a private first performance in Eisenstadt in September of that year in the presence of Princess Maria and Prince Nicolaus Esterhazy. It was not a success. Being more used to the masses of Haydn, the Prince expressed his displeasure to Beethoven. However, the Mass was heard by a wider public just over a year later when, in December 1808, it was part of a massive concert at the Theater an der Wien in Vienna. Its durability and popularity over the next two centuries rather suggests that it was Prince Nicolaus's ear that was at fault and not the Mass! Its quality was recognised by Mendelssohn who conducted it in Düsseldorf in 1837, a decade after Beethoven's death. It remains often overshadowed by the larger Missa Solemnis, written some 15 years later. Yet, this work has a youthful directness and an emotional content that the latter work sometimes lacks.

 
Sunday 6th September 2015 Print E-mail

Overview

Our concert this afternoon, 'Celebrating Spring', in fact celebrates the journey of the year and the renewal that Spring represents when it arrives. We start in Spring with Johann Strauss and Delius, move through Delius's languid Summer Night, before finishing the first half in Autumn overlooking the Derwent River with Don Kay. The Grey Clouds of Liszt bring forth winter before Schumann's Spring Symphony ushers us in to the new Spring once more.

Frühlingsstimmen (Voices of Spring)
Johann Strauss Jnr (1825-1899)


"Frühlingsstimmen" ("Spring's Voices," or commonly "Voices of Spring") an orchestral waltz, with optional solo soprano voice, was written in 1882 by Johann Strauss II. An excerpt of the lyric is as follows:

The lark rises into the blue,
the mellow wind mildly blowing;
his lovely mild breath revives
and kisses the field, the meadow.
Spring in all its splendour rises,
ah all hardship is over,
sorrow becomes milder,
good expectations,
the belief in happiness returns;
sunshine, you warm us,
ah, all is laughing, oh,oh awakes!

 Two Pieces for Small Orchestra
Frederick Delius (1862-1934)

I – On hearing the first Cuckoo in Spring
II – Summer Night on the River

These Two Pieces for Small Orchestra composed in 1911/12 by Delius contain one very famous depiction of spring and the cuckoo song, and one far less well known depiction of a lazy summer night. On hearing the first Cuckoo in Spring sets a Norwegian folk song in typically rhapsodic fashion. The Summer Night on the River specifically focuses on the river Loing at the end of Delius's garden near Fontainebleau. This is the exact musical equivalent of a nature painting by Monet, Pissarro or Sisley.

(adapted from a note by Hugh Priory)

River Views
Don Kay (1933-)

Soloist: David Scaife

I am constantly fascinated by the ever changing colours and surface textures of the Derwent River viewed from my Taroona home. The invitation to compose a work for Conservatorium resources provided the opportunity to explore some related ideas. The work is scored for tenor trombone and string orchestra. The following images acted as the starting point for each of the five movements:

I
A patch of gleaming, silver sunlight on the leaden
surface of the river in winter.

II
The brilliant sparkling effect of bright sunlight.

III
The light of the full moon suffusing the river on
a very still night.

IV
Incessant turbulance as far as the eye can see.

V
Very smooth, silk-like, pale blue surface in summer.

(note by the composer)

Trübe Wolken (Grey Clouds)
Franz Liszt (1811-1886)

Arranged by Simon Reade

More commonly known by it's title in French, nuages gris, these 'grey clouds' composed by Liszt in his final years are the perfect representation in music of a winter mood. This transcription was written for the Derwent Symphony Orchestra in July 2015 as part of a Spring themed concert, and was designed to form a prelude to the Spring Symphony of Robert Schumann.

The last comment is on the orchestration - I only scored it only for the instruments to be used at this concert, which made for a dramatic contrast to the other famous orchestration of this work by Heinz Holliger - for a VERY large orchestra. I have hinted at some of Holliger's colours, but in a much more restrained and enigmatic mood. There is also a brief orchestrational quote from my own work, Voyage - the opening of which shares a very similar mood and co-incidentally uses a similar melodic shape.

(note by the arranger)

Symphony No. 1 (Spring)
Robert Schumann (1810-1856)


The Symphony No. 1 in B-flat major, Op. 38, also known as the Spring Symphony, is the first symphonic work composed by Robert Schumann. Although he had made some "symphonic attempts" in the autumn of 1840 soon after he married Clara Wieck, he did not compose his First Symphony until early 1841. Schumann sketched the symphony in four days from 23 to 26 January and completed the orchestration by 20 February. The premiere took place under the baton of Felix Mendelssohn on 31 March 1841 in Leipzig, where the symphony was warmly received. Until this symphony, Schumann was largely known for his works for the piano and for voice. Clara encouraged him to write symphonic music. The title of "Spring Symphony" was bestowed upon it, according to Clara's diary, because of the Spring poems of Adolph Boettger. However, Schumann himself said he was merely inspired by his Liebesfrühling (spring of love). The last movement of the symphony also uses the final theme of Kreisleriana, and therefore recalls the romantic and fantastic inspiration of this piano composition.

The symphony has four movements:

1. Andante un poco maestoso – Allegro molto vivace (B flat major)
2. Larghetto (E flat major)
3. Scherzo: Molto vivace – Trio I: Molto piu vivace – Trio II (G minor)
4. Allegro animato e grazioso (B flat major)

The text that Clara suggests was the inspiration is reproduced below. It suggests clearly the awakening from winter into spring that the very opening of this Symphony depicts in music:

O wende, wende deinen lauf –
Im Thale blüht der Frühling auf!
(Oh turn, oh turn and change your course –
Now in the valley blooms the spring!)

(Adolf Boettger)

 

 
Sunday 28th June 2015 Print E-mail
Oberon Overture
Carl Maria von Weber (1786-1826)


Weber is representative of the move from classicism to romanticism. He is especially remembered for his operas Die Freischutz and Euryanthe. Both have scenes of immensely dramatic quality, a precursor to the operas of Wagner.

In Oberon, we have a typically Romantic subject set in English with obvious parallels with A Midsummer Night's Dream, to which Mendelssohn, another German romantic, also set music.

Weber's overture is evocative of the ethereal and other-worldly fairy music in its first half and a bustling Allegro with a second subject based on Reiza's aria Ocean, thou Mighty Monster.

Harp Concerto in B flat major Op. 4 No. 6, First Movement
Georg Friedrich Händel (1685-1759)

Soloist: Kate Bohmer

Our first soloist, the harpist Kate Bohmer presents the first movement of Handel's Harp Concerto in B flat. Its con sordini strings, doubled by flutes, provides a transparent sound that supports the harp perfectly.

Violin Concerto No. 3 in G major, K216, First Movement
Wolfgang Amadeus Mozart (1756-1791)

Soloist: Alice Pickering

Alice Pickering is our violin soloist in one of Mozart's favourite concertos amongst violinists.

The first movement of this concerto is in a typical sonata form. The first subject provides an ideal foil for the more lyrical second. The development section provides a dialogue between the soloist and the first oboe that is rather operatic in nature.

Moses in Egypt, variations for Double Bass
Niccolò Paganini (1782-1840)

Soloist: Monty Wain

Monty Wain provides an unashamedly virtuosic set of variations by Paganini on a theme from Rossini's Moise.

Symphony No. 104 in D major
Franz Joseph Haydn (1732-1809)


The concert concludes with Haydn's last symphony, the London (No. 104). It is constructed in the usual four movement classical design.

The tension of the opening Adagio in D minor is similar in tone to his Nelson Mass, which shares the same key. The Allegro in D major provides relief and is unusual in form as the first subject becomes the second subject, albeit in the dominant of A major.

The second movement provides an exquisite and typically Haydnesque slow movement in G major. The contrasts between the various sonorities of the orchestra are bought out tellingly with the opening theme transformed into a woodwind moment which modulates to F sharp major!

The minuet also has its share of surprises both rhythmic and harmonic. The trio section is in the remote key of B flat major and is lyrically conceived to contrast with the dance-like quality of the Minuet.

The final movement, as is typical of Haydn, uses a Croatian folk song as the opening theme. This movement is a fitting climax to Haydn's take on the Symphony.

 
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Next Concert

Sunday 25th November 2018
2.30pm

Borodin
In the Steppes of Central Asia

Schumann
Violin Concerto No. 1
Soloist: Alethea Coombe

Tchaikovsky
Symphony No. 1

Conductor: Will Newbery

Stanley Burbury Theatre
University of Tasmania
Churchill Ave, Sandy Bay

Tickets at door $25 $20(conc)

 
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