Thursday 9 October 11am Friday 10 & Saturday 11 October 7.30pm Perth Concert Hall CLARINET CONCERTO

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1 Thursday 9 October 11am Friday 10 & Saturday 11 October 7.30pm Perth Concert Hall CLARINET CONCERTO

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3 3 kids CUSHIoN CoNCERTS Fri 24 october 9.45am & 11.15am Midland Town Hall Sat 25 october 9.45am & 11.15am Joondalup Reception Centre WASO s energetic 15-piece EChO ensemble, featuring one of each instrument of the Orchestra, is joined by an enthusiastic presenter who leads the audience in sing-alongs, dancing and music-making. Suitable for children aged 0-6 years. EChO Kids Cushion Concerts are supported by Commonwealth Bank. Book Now Call waso Tickets $15* FAMILY CONCERT Maximus Musicus Visits the orchestra Sun 2 November 1pm & 3pm Perth Concert Hall The enchanting tale of a mouse who finds himself in a concert hall. Featuring music by Ravel, Beethoven, Copland and more. Suitable for 5-10 year olds. Brett kelly conductor Stephen Curry narrator MACA LIMITED presents MORNING symphony CONCERT Romeo & Juliet Thurs 13 November 11am Perth Concert Hall BERLIoZ Roman Carnival PRokoFIEV Romeo and Juliet (excerpts) Marko Letonja conductor Tickets $25* Tickets from $27* Book Now Call visit waso.com.au or ticketek.com.au *Transaction fees may apply.

4 4 ALCOHOL.THINK AGAIN MASTERS SERIES Fri 5 Dec 7.30pm Sat 6 Dec 2pm Perth Concert Hall Join an outstanding cast, the WASO Chorus and acclaimed conductor Matthew Halls for a powerful Messiah soaring heavenwards! BOOK NOW Call quoting 1086 Visit waso.com.au or ticketek.com.au The WASO Chorus is supported by Lotterywest. *Transaction fees may apply.

5 5 welcome In every era, there have been composers who elevated their art to stand apart from the rest. The singular genius in truly great music is in the individuality of its creator, and in every such case the music they wrote shares a most important quality: it could have been written by no one else. In these concerts, we have on the program two such original voices in Wolfgang Amadeus Mozart and Sergei Rachmaninov, in two of their finest creations. And bringing them together on this wonderful program lends a sense of poignant finality. Mozart s incomparable Clarinet Concerto from 1791 was his last instrumental work, written just before he died and published posthumously; similarly, Rachmaninov published no other music after his astonishing Symphonic Dances was premiered in 1941, and he died two years later. In both works, then, we are hearing these great musicians at the height of their powers, bringing to bear all their experience and insight into their most profound, beautiful, and thrilling music. Mozart was much influenced by the great clarinettist Anton Stadler, who also inspired him to write the glorious Clarinet Quintet, among other works. It would be wrong I think to argue that Mozart forged new paths in music he is not the pioneer that was Beethoven, Berlioz, Wagner, or Stravinsky, to name only a few. Of course, we cannot know what would have been had Mozart lived to see his 35th birthday. Nevertheless, he helped to define all music that followed him, writing music that on the surface was not so different from that of his Classical era contemporaries. But in many cases, their music has faded, and Mozart endures. Simply put, he did it better more profoundly, more skilfully, and more beautifully, lifting the Classical ideal to its highest point, even as it was poised to slip into the Romanticism of the 19th century. Making this valedictory concerto even more special for us is the extraordinary artistry of Michael Collins. With him, the sublime suspension of time in this perfect work promises to be pure magic. Rachmaninov also etched his personal signature into music of his time as one century tumbled into the next. He may not have set out to define the Romanticism of his time, but the Romanticism of the early 20th century came to be defined through him. His Symphonic Dances is a suite of three dances, lush, energetic, and extraordinarily colourful. His treatment of the sonic possibilities of the orchestra is a treatise in imagination, right down to the marvellous saxophone solo which mournfully carries a nostalgic breeze from 19th century Russia into the first movement glorious stuff. The entire program is virtuoso music, which includes a world premiere by Carl Vine, who s brilliant and colourful Concerto for Orchestra has its first performances on this weekend. Helping a new piece of music take its first steps in the world is always an honour and a thrilling responsibility. Between the great musicians of WASO and such a wonderful composer as Carl Vine, and I am thrilled to be back in Perth and have the chance to work with Australia s best. Michael Stern Conductor

6 6 Program MORNING symphony series Mozart s Clarinet Concerto MoZART Clarinet Concerto (28 mins) Allegro Adagio Rondo (Allegro) RACHMANINoV Symphonic Dances (35 mins) Non Allegro Andante con moto (Tempo di valse) Lento assai Allegro vivace Michael Stern conductor Michael Collins clarinet Pre-concert Talk Find out more about the music in the concert with this week s speaker Ashley Smith. Pre-concert talks take place at 9.40am in the auditorium on Thursday morning. Pre-concert talks are supported by Wesfarmers Arts.

7 7 Program CLAssICs series Mozart s Clarinet Concerto CARL VINE Concerto for Orchestra WORLD PREMIERE (21 mins) MoZART Clarinet Concerto (28 mins) Allegro Adagio Rondo (Allegro) INTERVAL (25 mins) RACHMANINoV Symphonic Dances (35 mins) Non Allegro Andante con moto (Tempo di valse) Lento assai Allegro vivace Michael Stern conductor Michael Collins clarinet Carl Vine s Concerto for Orchestra was commissioned by Geoff Stearn for the West Australia Symphony Orchestra. Pre-concert Talk Find out more about the music in the concert with this week s speaker Ashley Smith. Pre-concert talks take place at 6.45pm in the Terrace Level foyer on Friday and Saturday nights. Pre-concert talks are supported by Wesfarmers Arts. Meet the Artists Meet conductor Michael Stern & composer Carl Vine post-concert Friday and Saturday nights in the Terrace Level foyer. Meet the Artists is supported by Wesfarmers Arts.

8 8 Making The Most of Your Visit FooD & BEVERAgES Foyer bars are open for drinks and coffee two hours before, during interval and after the concert. To save time we recommend you pre-order your interval drinks. Free water stations are set up at the corner bar on Terrace Level near the western window and in the Wardle Room, ground floor near the southern window. FIRST AID There are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance. waso RECoRDINgS Continue to experience WASO in your own home! A variety of WASO CDs are available for purchase at the Encore gift shop in the foyer at interval and post-concert. Concert Etiquette Tips when To APPLAUD? At most classical concerts audience members refrain from clapping between movements of a piece, but we encourage you to show your appreciation as you wish and if you are unsure, simply follow your fellow audience members. what IF I NEED To CoUgH? If you need to cough, try to muffle or bury your cough in a handkerchief or during a louder section of the music. Cough lozenges are available from the WASO Customer Service Desk before each performance and at the interval. Connect with waso LISTEN Tune in to 720 ABC Perth for Breakfast on Friday mornings when Prue Ashurst joins Eoin Cameron to provide the latest on classical music and WASO s upcoming concerts. This performance is being recorded for delayed broadcast on ABC Classic FM. For further details please refer to abc.net.au/classic CoNCERT PLAYLISTS Listen to music featured in 2014 concerts at waso.com.au waso webcasts WASO will be streaming four concerts live and on demand in 2014, thanks to iinet. For more details visit waso.com.au E-NEwS Stay up to date with the activities of your Orchestra by subscribing to SymphonE-news. Go to waso.com.au to join our mailing list. SoCIAL MEDIA FEEDBACk We would love to hear from you! Please send your feedback to PO Box 3041, East Perth WA 6892, send an to waso@waso.com.au, call , or leave us a message on Facebook or Twitter.

9 9 waso News waso on the Road Tour Photo: WASO on The Road musicians perform for students via video conferencing technology at the Pilbara Education Regional Office. PILBARA On Monday 8 September, WASO embarked on the year s first 5-day WASO on the Road Tour to the Pilbara (WOTR) with support of Chevron. A brass quintet made up of two trumpets, a trombone, tuba, and a horn presented six free in-school performances and three community concerts in Karratha, Roebourne, Onslow and Dampier plus a workshop with the band at Karratha Senior High School. ALBANY After the success of our recent visit to Albany with the full orchestra as part of the Beethoven Festival, WASO returned to the community in mid-september to present its second WASO on the Road Tour visiting the coastal town along with Denmark and Jerramungup. On this tour, made possible by the support of Water Corporation, a string quartet took centre stage to run workshops with the Albany Youth Orchestra and music students at Albany Primary School, and to present two free community concerts and five in-school performances that reached students from six schools. Commission celebrates Carl Vine s 60th birthday As part of tonight s program, we are delighted to unveil a new work by Australian composer Carl Vine, his Concerto for Orchestra. These world premiere performances celebrate Carl s 60th birthday. WASO commissioned Carl s Concerto in 2012 following a donation by Patron Geoff Stearn. Geoff has been a generous Patron since 2010, commissioning four works for WASO. Carl Vine first rose to prominence as a composer of music for classical dance and has since emerged as a major orchestral composer with seven symphonies and ten concertos heading the catalogue. In the 2014 Queen's Birthday Honours List for Australia, Carl was appointed an Officer (AO) of The Order Of Australia for distinguished service to the performing arts. Carl s connection to WASO goes back to his grandfather Lambert Green, who was a clarinettist with the 6WF Radio Band, the precursor to WASO. Lambert is pictured below, second from the left, in this photo that was taken almost 100 years ago. WASO on the Road Pilbara is supported by Chevron. WASO on the Road Albany is supported by Water Corporation.

10 10 JOHN HOLLAND S HOSPITAL ORCHESTRA At John Holland we are committed to supporting our community. With the Hospital Orchestra Project, John Holland is helping bring music to the children at Princess Margaret Hospital through concerts and ward visits. JOHN HOLLAND S NEXT VISIT TO PRINCESS MARGARET HOSPITAL WILL BE IN AUGUST COMMERCIAL SALES LEASING AND MANAGEMENT Level 7, 12 St Georges Terrace Perth, Western Australia 6000 Tony Brooks Managing Director altegraproperty.com.au Proudly Supporting

11 11 Biographies Photo: Ben Ealovega Michael Stern Conductor Michael Stern is in his eighth season as Music Director of the Kansas City Symphony. He and the orchestra have partnered with Reference Recordings for an ongoing series of highly praised CDs, including their latest release, Miraculous Metamorphoses, with music of Prokofiev, Bartók and Hindemith. He also serves as the founding Artistic Director and Conductor of IRIS Orchestra in Germantown, Tennessee. Previous appointments include Chief Conductor of Germany s Saarbrücken Radio Symphony Orchestra (the first American chief conductor in the orchestra s history); Permanent Guest Conductor of the Orchestre National de Lyon; and Guest Conductor of the Orchestre national de Lille. He has guest conducted major orchestras throughout North America, Europe, Israel and Asia. Michael Stern received his music degree from the Curtis Institute of Music in Philadelphia, and is a 1981 graduate of Harvard University, where he earned a degree in American History. Michael Collins Clarinet Michael Collins virtuosity and musicianship have earned him recognition as one of today s most distinguished artists and a leading exponent of his instrument. He has given world and local premieres of John Adams Gnarly Buttons, Elliott Carter s Clarinet Concerto, Brett Dean s Ariel s Music, Elena Kats-Chernin s Ornamental Air and Mark-Anthony Turnage s Riffs and Refrains. In great demand as a chamber musician, Michael Collins performs with musical colleagues such as the Belcea and Takács quartets, Martha Argerich, Stephen Hough, Mikhail Pletnev, Lars Vogt, Joshua Bell and Steven Isserlis. His ensemble, London Winds, celebrated its twenty-fifth anniversary in 2013 and maintains a busy diary with engagements at the BBC Proms, Aldeburgh Festival, Edinburgh Festival, City of London Festival, Cheltenham Music Festival and Bath Mozartfest. In recent seasons Michael Collins has become increasingly highly regarded as a conductor, and in September 2010 took the position of Conductor of the City of London Sinfonia.

12 12 waso on Stage Tonight VIoLIN wilma Smith Guest Concertmaster Semra Lee-Smith A/Associate Concertmaster graham Pyatt A/Assistant Concertmaster Shaun Lee-Chen A/ 1st Violin Zak Rowntree A/ 2nd Violin Sarah Blackman Fleur Challen Dorothy Ford^ John Ford^ Beth Herbert Alexandra Isted Sunmi Jung Andrea Mendham^ Akiko Miyazawa Lucas O Brien Kathleen O Hagan^ Melanie Pearn Ken Peeler Louise Sandercock Jolanta Schenk Jane Serrangeli Ellie Shalley Kathryn Shinnick^ Jacek Slawomirski Bao Di Tang Cerys Tooby Teresa Vinci David Yeh VIoLA Paul McMillan Guest Alex Brogan A/Assoc Kierstan Arkleysmith George Batey^ Kathy Corecig^ Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey Aaron Wyatt^ CELLo Rod Mcgrath Louise McKay Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver Fotis Skordas Tim South Jon Tooby^ DoUBLE BASS Andrew Rootes Libby Browning^ Sarah Clare^ Andrew Tait Mark Tooby Giovanni Vinci^ Phil Waldron^ FLUTE Andrew Nicholson Chair partnered by Apache Mary-Anne Blades PICCoLo Michael waye oboe Peter Facer Elizabeth Chee CoR ANgLAIS Leanne Glover CLARINET Allan Meyer Lorna Cook BASS CLARINET Alexander Millier Chair partnered by Altegra Property Group BASSooN Adam Mikulicz A/ Chair partnered by Ron & Sue Wooller Colin Forbes-Abrams CoNTRABASSooN Chloe Turner ALTo SAxoPHoNE Matt Styles^ HoRN David Evans Sharn McIver Julia Brooke Francesco Lo Surdo Brendan Parravacini TRUMPET Brent grapes Tim Keenihan^ Peter Miller TRoMBoNE Joshua Davis Liam O Malley BASS TRoMBoNE Philip Holdsworth TUBA Cameron Brook TIMPANI Alex Timcke PERCUSSIoN Troy Greatz Joel Bass^ Amanda Dean^ Robyn Gray^ Paul Tanner^ HARP Sarah Bowman PIANo/CELESTE Graeme Gilling^ Associate Guest Musician^

13 13 Meet the Musician graham Pyatt Acting Assistant Concertmaster what s your earliest memory of playing music? One of my earliest recollections is playing violin for a troupe of Morris dancers around Leicestershire and having to wear a white smock and felt hat. Don t ask me to explain Morris dancing, I don t understand it either. Do you have a shortlist of works or composers that you love to play the most? Brahms is a joy to play, there s always something new to find in his writing and I m looking forward to playing all his big works next year in the Brahms Festival. Mahler because he pushes the boundaries of orchestral playing like nobody else and like all the great composers he has a real understanding of the instruments he writes for. Have you played in any other orchestras other than waso? I spent fifteen years in the Royal Philharmonic Orchestra, London. It was a very intense period of touring, recordings and concerts. Do you have a most memorable conductor s comment? Rehearsals can be very tedious at times and a well-known (and knighted) English conductor once said in the middle of a boring rehearsal, I don t mind you looking at your watches, but I do object to you shaking them to check they are still working. what is the best advice you ve received during your career? During one of my violin lessons at the Royal College of Music I was trying to play a challenging passage and was contorting myself in the process. My teacher warned me that my career would be shortened if I didn t make posture a priority and although I wasn t good at taking advice at the time, somehow the comment has always stuck with me. what do you love the most about working and living in Perth? Work/life balance is good here in Perth. Since the first day I arrived here over twenty years ago I knew this is where I wanted to be.

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15 15 Timeline of Composers & works WOLFGANG AMADEUS MOZART 1756 Ð 1791 Born in Salzburg, Austria. Died in Vienna, Austria. Mozart's Clarinet Concerto 1791 SERGEI RACHMANINOV 1873 Ð 1943 Born in Semyonov, Russia. Died in California, USA. Rachmaninov's Symphonic Dances 1940 CARL VINE 1954 Born in Perth, Australia. Carl Vine's Concerto for Orchestra

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17 17 Program Notes Carl Vine (born 1954) Concerto for Orchestra WORLD PREMIERE Concertos for orchestra are a uniquely 20th-century phenomenon, evolving from the Baroque model of the concerto grosso and the ensuing sinfonia concertante. They generally feature multiple solo instruments and alternating focus on contrasting instrumental families. More than 70 have been composed since Hindemith s landmark work of 1925, including eight by Alan Hovhaness and five by Robin Holloway. None have been as successful as Bartók s remarkable work of I have used this opportunity to feature every instrument in the orchestra in one way or another. Although classical concertos follow the symphonic fashion of incorporating sonata form, I have deliberately chosen to mutate the form beyond recognition, eliminating the precepts of primary and secondary themes, and the very notion of exposition-development-recapitulation. In place of these traditional formulae I have used a process developed in my piano trio (The Village, 2014): a broad family of musical elements evolve organically through a chain of episodes to create a complex web of melodies and harmonies that are related but not identical. This network of ideas is tied together by strong lateral bonds but remains fluid and flexible, creating a series of fleeting glimpses what Prokofiev called visions fugitives or abstract patterns glimpsed in the half-light or imagined behind clouds. Concerto for Orchestra is dedicated to Geoff Stearn. Carl Vine, 2014 Concerto for Orchestra was commissioned by Geoff Stearn for the West Australian Symphony Orchestra. IF YoU LIkE THIS work YoU MAY ALSo ENJoY JAMES LEDGER S New Work featured in Asher Fisch Conducts Tchaikovsky Fri 4 & Sat 5 September 2015 Photo: Karen Steains glossary concerto grosso A form of Baroque music in which the musical material is passed between a small group of soloists and full orchestra. This is in contrast to the concerto which features a single solo instrument with the melody line, accompanied by the orchestra. sinfonia concertante An 18th-century style of symphony where one or more instruments have solo parts. sonata form A term conceived in the 19th century to describe the way most Classical composers structured some movements of a symphonic work or a sonata. It involves the exposition or presentation of themes or subjects: the first subject is in the tonic or home key, the second in a contrasting key. The resulting tension between keys is intensified in the development, where recognisable melodic and rhythmic aspects of the themes are manipulated as the music moves further and further away from the ultimate goal of the home key. Tension is resolved at the recapitulation where both subjects are fully restated in the tonic. There is sometimes a coda (literally, tail ) to enhance the sense of finality.

18 18 Program Notes wolfgang Amadeus Mozart ( ) Clarinet Concerto in A, K622 Allegro Adagio Rondo (Allegro) My thanks to you, brave virtuoso! I have never before heard the like of what you contrived with your instrument. Never should I have thought that a clarinet could be capable of imitating the human voice as it was imitated by you. Indeed, your instrument has so soft and so lovely a tone that no one with a heart can resist it Johann Friedrich Schink (1784) The brave virtuoso was the clarinettist Anton Stadler ( ), whom Schink had heard in a performance of four movements from Mozart s Serenade in B flat, K361 (the Gran Partita ). Stadler probably first met Mozart in Vienna in As well as their musical association, both were members of the Masonic order. Another Mason was Theodor Lotz, instrument-maker to the Viennese court. Lotz and Stadler collaborated on a new version of the clarinet. Instead of the lower written range finishing with E below middle C, the addition of more key-work extended this to a full octave below middle C. Mozart soon exploited the advantages of the extra four notes in pieces for Stadler s new instrument, the basset clarinet. Of the works Mozart wrote for Stadler, the Clarinet Concerto in A, K622 is arguably the most important. Stadler gave its premiere at Prague s National Theatre on 16 October Over the next four years he performed the work in Berlin, Warsaw, Vilnius, Riga, St Petersburg, Lübeck, Hamburg and Hanover. Stadler s last documented performance of the work was in Sadly, this is also the last known use of Mozart s own manuscript, which subsequently disappeared. After Stadler s death, the basset clarinet all but faded into obscurity, with subsequent 19th-century performances of the concerto being given on the ordinary clarinet in A. In the late 20th century, the basset clarinet was revived in historically informed models, to give timbral authority; at the same time attempts were made to re-establish the score.

19 19 However, the Concerto continues to be played, as in the first published versions, on the ordinary clarinet in A. Using essentially the same score as first appeared around 1801, this evening s performance has something of a contemporary textual authority. We are indeed fortunate that someone, possibly Mozart s publisher Johann André, had access to the original manuscript and had transcribed a version for clarinet in A, making the concerto available for generations of performers. No less a figure than English clarinettist Gervase de Peyer claimed to be able to do things with the A clarinet that I cannot do with the basset these things add more to the overall performance than the few extra notes at the bottom. In the Concerto, Mozart balances the clarinet s mellifluous timbre with subtle colours of flutes, bassoon and horns, in addition to the regular string section. The opening orchestral exposition of the Allegro establishes the elegant, singing nature of the first movement. The soloist s initial entry is cast in the clarinet s operatic upper register. Throughout this movement Mozart displays his intimate knowledge of the clarinet s registral and dynamic flexibility, utilising its complete compass in a manner truly sublime. The structural simplicity of the Adagio contrasts Mozart s timbral innovation. He bathes the solo line in a variety of textures. In particular, the French horns lower tessitura complements the movement s wistful and somewhat introspective character. The Rondo ebulliently blends sonata and rondo forms, and the clarinet line abounds with wit and exuberance. Despite Mozart s untimely death on 5 December 1791, soon after the Concerto s premiere, this final monument to his favourite wind instrument provides a fitting testimony to the vitality and sheer genius of his musical gifts. In the words of the Concerto s first critic, writing in 1802: Good execution of this concerto will bestow honour and admiration upon every able clarinettist as it will bestow pleasure upon every listener whatever his sensibilities. Ingrid E. Pearson 2010 WASO last performed this work on 11 &12 March 2011, performed by Paul Dean and conducted by Paul Daniel. IF YoU LIkE THIS work YoU MAY ALSo ENJoY MOZART Oboe Concerto in C Major featured in Diana Doherty Plays Mozart Fri 31 July & Sat 1 Aug 2015 glossary basset clarinet A variant of the clarinet, with an extended downwards range, allowing it to play an extra four notes in the lower, or chalumeau, register of the instrument. Mozart was especially fond of this sound, writing his Clarinet Concerto (K622) and Clarinet Quintet (K581) for Stadler and his basset clarinet, as well as giving it an obbligato part in his opera La clemenza di Tito. The basset clarinet was revived with modern keywork in Not to be confused with the basset horn. timbre (timbral) the distinctive sound quality or colour produced by an instrument or a voice, or by particular combinations of instruments and voices

20 20 Program Notes Sergei Rachmaninov ( ) Symphonic Dances, Op.45 Non Allegro Andante con moto (Tempo di valse) Lento assai Allegro vivace After Rachmaninov left Russia in 1917, the seizure of his Russian income by the Soviets meant he had to earn a living as a performing musician and so he set about establishing his career as a concert pianist. Although famous for interpreting his own music, he had never been called upon to perform music by other composers in public, and now, at the age of 44, he began building up a soloist s repertoire. This left little time for composition, and he wrote no original work for another nine years. Then the urge to compose began to reassert itself. A fitful procession of Indian summer pieces emerged between 1926 and 1940, many of which are now regarded as among his finest compositions. But at the time most of these works met with indifference from audiences and hostility from critics. His success as a pianist far outstripped that of his music. Among the first fruits of his period in the West were the Fourth Piano Concerto (1926) and the Variations on a theme of Corelli (1931). Neither was successful. The public and critical acclaim for his Rhapsody on a theme of Paganini (1934) gave him the confidence to write his Third Symphony (1936), to which, in the composer s words, audiences and critics responded sourly. This indifference to his music sapped his confidence once again. The orchestral style Rachmaninov cultivated in his later years was marked by great clarity of texture, a freer and more independent approach to brass and woodwind writing, and a tendency to express ideas more concisely than in his earlier large-scale pieces. Harmonically and rhythmically, his music of the 1930s bears the influence of Prokofiev and Stravinsky, but very much on Rachmaninov s own terms. His melodies still move, on the whole, in stepwise fashion, in the manner of Russian Orthodox chant, and although he clothes his melodies in lighter textures, he is not ashamed to write tunes that could be called vintage Rachmaninov. The result was too modern and leansounding for audiences who wanted him to keep rewriting the Second Piano Concerto, and too conservative for critics, whose twin gods were Stravinsky and Schoenberg. Collectively, the Symphonic Dances represent perhaps the richest results of Rachmaninov s new approach to the orchestra. They were also his last original composition.

21 21 The idea of a score for a programmatic ballet had been at the back of Rachmaninov s mind since 1915, and when Michel Fokine successfully choreographed the Paganini Rhapsody in 1939 the opportunity presented itself again. He wrote the Dances the following year, giving the three movements the titles Midday, Twilight and Midnight respectively. At this point the work was called Fantastic Dances. Fokine was enthusiastic about the music but noncommittal about its balletic possibilities. His death a short time later cooled Rachmaninov s interest in the ballet idea. He deleted his descriptive titles, substituted the word Symphonic for Fantastic, and dedicated the triptych to his favourite orchestra, the Philadelphia, and its chief conductor Eugene Ormandy. It is a work full of enigmas which Rachmaninov, surely one of the most secretive of composers, does nothing to clarify. In the coda of the first movement, for example, there is a transformation from minor to major of a prominent theme from his first symphony, which at that time Rachmaninov thought he had destroyed (it was reconstructed from orchestral parts after his death). The premiere of that work in 1897 had been such a fiasco that Rachmaninov could not compose at all for another three years. The reference in this new piece had a meaning that was entirely private. There is also the curious paradox that the word dance, with its suggestion of life-enhancing, joyous activity, is here put at the service of a work that is essentially concerned for all its vigour and sinew with endings, with a chromaticism that darkens the colour of every musical step. The sense of foreboding and finality is particularly strong in the second movement, with its evocations of a spectral ballroom, and in the bell-tolling and chant-intoning that pervade the finale. Here the extensive use of the Dies irae (Day of Wrath) theme from the Mass for the Dead (a regular source for Rachmaninov) and the curious inscription Alliluya, written in the score above the last motif in the work to be derived from Orthodox chant, suggest the most final of endings mingled with a sense of thanksgiving. Abridged from a note by Phillip Sametz 1999 WASO last performed this work on14 & 14 May 2009, conducted by Paul Daniel. IF YoU LIkE THIS work YoU MAY ALSo ENJoY RACHMANINOV Symphony No.2 featured in Ravishing Rachmaninov Thu 16, Fri 17 & Sat 18 April 2015 glossary Chromaticism In tonal music, the use of foreign notes and harmonies that do not belong to the key, together with a tendency to frequent modulation to other keys. The impression is one of harmonic richness and while chromaticism has been used as an expressive effect since the 16th century, it is most strongly associated with the Romantic style of the 19th century.

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23 Meet the InstruMent the trombone 23 The trombone is a member of the brass family. It has a predominantly cylindrical bore, and is characterised by a slide that the player uses to extend the length of the tubing, thereby lowering the pitch. The slide is based on seven positions that lower the pitch progressively by semitones, with first position (slide fully retracted) being the highest, and seventh position (slide fully extended) being the lowest. For trombones with an F attachment, it is possible to engage an extra length of tubing that lowers the basic pitch of the instrument by the interval of a perfect fourth. Trombones have been made in a variety of sizes, from piccolo to contrabass, but the most commonly encountered types today are the tenor and bass trombone. Scholars are unsure exactly when and where the trombone first appeared, but its earliest known description appears in a late 15th-century fresco by Filippino Lippi. The early trombone was known by a variety of names, including posaune in German-speaking countries, saquebot in French, and sackbut in English. The trombone was used primarily in church music and small ensembles, and did not become a part of the orchestra until the late 18th century. Composers have recognised the expressive capabilities of the trombone as a solo instrument, and have featured it in some notable orchestral solos including the Tuba mirum of Mozart s Requiem, Mahler s Symphony No.3, Sibelius Symphony No.7 and Bartók s The Miraculous Mandarin. By the 20th century, jazz trombonists such as J.J. Johnson and Tommy Dorsey had become particularly influential in technical developments of trombone performance, such as irregular attacks, microtones, and glissandos. These can be heard on albums such as The Eminent J.J. Johnson and The Trombone Master. Clare Krier. Symphony Services International The pitch range of the trombone: Tuning slide 2 2 Mouthpiece 3 Bell 4 Main slide / outer slide 5 Water key 4 5

24 24 waso Philanthropy Philanthropy Partner we are nearly there! Please join us in celebrating ten years of waso Annual giving by helping raise $500, is the tenth year of our Annual Giving program and over that time it has grown to become the foundation of WASO s Philanthropy program with donations from individuals vital to the day-to-day running of your Orchestra. Thank you to the many waso Patrons and Friends who have contributed to this important campaign this year. To ensure we continue to achieve our vision to touch souls and enrich lives through music, this year we aim to raise $500,000 through our Annual Giving campaign. We are nearly there! We have raised $450,000 but we still need your support to reach our goal of $500,000. we invite you to support waso this year and make a donation to our Annual giving campaign. WASO Philanthropy information and donation forms are available at the Programs and Information desk. To learn more about supporting WASO and regular giving options, please contact Jane Clare, Fundraising and Philanthropy Coordinator, on or clarej@waso.com.au. You can also donate online at waso.com.au. Every donation helps, no matter the size. All donations over $2 are tax deductible. Thank you. Amazing things can happen through philanthropy. Patrons & Friends Event waso in Rehearsal Three Friday 17 October, 10am, Perth Concert Hall Piers Lane Plays Liszt The program being rehearsed features three of Liszt s most popular works, including the ground-breaking symphonic poem Les Préludes. There will be a pre-rehearsal talk commencing at 9.30am. Tickets are $25 for Patrons & Friends ($30 for guests) and include a lovely morning tea with the musicians. To book, call the WASO Box Office on World Artist Piers Lane appears courtesy of Japan Australia LNG (MIMI) Pty Ltd.

25 25 our Supporters Your attendance helps sustain the Orchestra and we thank you for your commitment. We are also very grateful to our corporate supporters who make a significant contribution to WASO, and of course for government funding which is critical. However, these three sources of income are simply not enough to cover the ongoing costs of the Orchestra and increasingly it is our Patrons that enable us to continue to achieve our vision to touch souls and enrich lives through music. There are many ways you can be involved and your support is deeply appreciated. Endowment Fund for the orchestra The Endowment fund includes major donations from individuals and bequests. The income earned is used for the benefit of the orchestra. Tom & Jean Arkley Janet Holmes à Court AC Sagitte Yom-Tov Fund Estates waso is extremely grateful for the bequests received from the Estates of the following benefactors: Mrs Roslyn Warrick Symphony Circle Recognises Patrons who have made a provision in their will to the orchestra. John Bonny Anita and James Clayton Judith Gedero Wolfgang Lehmkuhl Tosi Nottage in memory Edgar Nottage Judy Sienkiewicz Sheila Wileman Anonymous (16) The waso Song Book New works commissioned for the orchestra by waso. we gratefully acknowledge the support of the following individuals who have commissioned new music performed since Janet Holmes à Court AC Peter Dawson Geoff Stearn Anonymous (1) Reach out Recognises Patrons who support our Education and Community Engagement programs. Prue Ashurst Creative Partnerships Australia The James Galvin Foundation Robyn Glindemann Barrie & Jude Lepley Mathie Family McCusker Charitable Foundation Minderoo Foundation John & Alison Rigg Simon Lee Foundation Beethoven Circle waso acknowledges Patrons who generously supported our Beethoven Festival. Jean Arkley in memory of Tom Arkley Bob & Gay Branchi Janet Holmes à Court AC in memory of her mother Torsten & Mona Ketelsen Tony & Gwenyth Lennon Joshua & Pamela Pitt

26 26 our Supporters Annual giving We thank the following Patrons for their generous contribution to WASO in the last twelve months through WASO s Annual Giving Program. Conductor s Circle gifts $20,000+ Janet Holmes à Court AC Brian & Nancy Murphy Patricia New Anonymous (1) Impresario Patron gifts $10,000 - $19,999 Gay & Bob Branchi Tony & Gwenyth Lennon Joshua & Pamela Pitt Anonymous (1) Maestro Patron gifts $5,000 - $9,999 Jean Arkley in memory of Tom Arkley Bill Bloking Gavin Bunning Ian & Elizabeth Constable Moira & John Dobson Bridget Faye AM Gilbert George & Associates Dr Patricia Kailis Margaret & Rod Marston Robert May Jill Mulheron Spinifex Trust Peter & Jean Stokes Trish Williams Strategic Interactions Sue & Ron Wooller Anonymous (2) Virtuoso Patron gifts $2,500 - $4,999 Prof Fred & Mrs Margaret Affleck Neil Archibald & Alan R. Dodge AM Peter & Marjorie Bird Sally Burton Don Conroy Mark Coughlan & Dr Pei-Yin Hsu Stephen Davis Tim & Lexie Elliott Robyn Glindemann Sylvia & Wally Hyams Keith & Gaye Kessell Michael & Dale Kitney Bryant Macfie Mrs Morrell Anne Nolan Ron & Philippa Packer John & Paula Phillips Ms Elizabeth Sachse & Dr Lance Risbey Judy Sienkiewicz Ros Thomson M. & H. Tuite Joyce Westrip OAM Andrew & Marie Yuncken Anonymous (1) Patron gifts $ $2,499 Margaret Atkins OAM Colin & Eve Beckett Tony & Mary Beeley Suzanne & David Biddles John & Sue Bird in memory of Penny Bird Kevin Blake Matthew J.C. Blampey Alan & Anne Blanckensee Mr John Bonny Mrs Debbie Borshoff Dr & Mrs P. Breidahl Jean Brodie-Hall AM Ann Butcher & Dean R. Kubank Dr G Campbell-Evans Prof. Jonathan Carapetis & Prof. Sue Skull Arthur & Nerina Coopes Hon June Craig AM Gay & John Cruickshank Norman & Denia Daffen Lesley & Peter Davies Russell & Susan Dixon Margaret Dobson Julian Dowse Don & Marie Forrest Dr Andrew Gardner Roger & Ann Gillbanks Graham & Barbara Goulden Jannette Gray Sandra Gray Deidre Greenfeld David & Valerie Gulland Brian & Romola Haggerty Richard B. Hammond Pauline & Peter Handford Michael Harding Shigeki & Hinako Hirano

27 27 our Supporters Michael & Liz Hollingdale John & Katrina Hopkins Jim & Freda Irenic Cynthia Jee Lilian & Roger Jennings Anthony Kane & Jane Leahy-Kane Bill Kean Anthony & Noelle Keller Dorothy Kingston Dr Rob Kirk & Sarah Gallinagh Nelly Kleyn Stephanie & John Kobelke Ulrich & Gloria Kunzmann Irving Lane Paul Lee Rosalind Lilley Megan Lowe Graham & Muriel Mahony Gregg & Sue Marshman Mervyn Matthews Jennifer & Arthur McComb Betty & Con Michael AO Vicki Mizen Hon Justice S.R. Moncrieff Jane & Jock Morrison Lynn Murray Val & Barry Neubecker Dr Phillip & Mrs Erlene Noble John Overton The Family of Hilary Owens Michael & Lesley Page Athena Paton Associate Prof. Tim Pavy Alan Pedersen in memory of Hilary Owens Charmian Phillips in memory of Colin Craft Pamela Platt Andrew & Suzanne Poli Thomas & Diana Potter Dr Leon Prindiville Chester Reeve John & Alison Rigg Nigel & Dr Heather Rogers Maurice & Gerry Rousset Roger Sandercock Dr R. & J. Schwenger Margaret & Roger Seares Paula & Melanie Shannon Eve Shannon-Cullity Julian & Noreen Sher Laurel & Ross Smith Dr Paul Smith & Denham Harry Michael Snell & Vicki Stewart Gail & Tony Sutherland Anna Sweetingham Richard Tarala & Lyn Beazley AO Gene Tilbrook Mary Townsend Dr Robert Turnbull Maggie Venerys Stan & Valerie Vicich Watering Concepts Ian Watson Alan Whitham Ann Whyntie Jean & Ian Williams AO Jim & Gill Williams Dr Peter Winterton Anonymous (18) Tutti Patron gifts $500 - $999 Geoff & Joan Airey Catherine Bagster Merle I. Bardwell Betty Barker Bernard & Jackie Barnwell Shirley Barraclough P.M. Bennet Michael & Nadia Berkeley-Hill Dermot & Jennifer Blackweir Elaine Bonds Diane & Ron Bowyer Elizabeth & James Brown Marilyn & Ian Burton Nanette Carnachan Claire Chambers & Dr Andrea Shoebridge Dr Anne Chester Lyn & Harvey Coates AO Agatha & Alex Cohen AO Helen Cook Brian Cresswell Gina & Neil Davidson Frances Davies Jop & Hanneke Delfos Rai & Erika Dolinschek Lorraine Ellard Mrs G. Ewen The Farghaly Family Annette Finn Jim & Pamela Flaherty Joan Gagliardi Pat Gallaher George Gavranic Elaine Gimson Isobel Glencross Jacqui Grove Douglas M & Regina Hansen Prof Alan Harvey & Dr Paulien de Boer Richard Hatch Dr Penny Herbert in memory of Dunstan Herbert Helen Hollingshead John Isherwood Peter S. Jones B.M. Kent

28 28 our Supporters In memory of Dr Brenton Knott Trevor & Ane Marie Lacy Meg Lewis Teresa & Jemima Loveland Dr Mary Ellen MacDonald Mrs Carolyn Milton-Smith in loving memory of Emeritus Prof. John Milton-Smith S.B. Monger-Hay Dr Peter Moss Marianne Nilsson Marjan Oxley Graham & Hildegarde Pennefather Bev Penny Adrian & Ruth Phelps Alpha & Richard Pilpel OAM Sheila Pinch Alison & John Price Ann Rawlinson Clarissa Repton James & Nicola Ridsdill-Smith Leigh Robinson Judith E. Shaw The Sherwood Family Hendrick Smit Louise Sparrow & Family Peggy & Tom Stacy Ruth E. Thorn Dr Julian Todres S.R. Vogt Adrienne & Max Walters Diana Warnock Anne Watson Joy Wearne Dr Chris & Mrs Vimala Whitaker Violette William Janet Williams Judith Wilton & David Turner Patricia Wong Yalambi Farm Stud Anonymous (22) Friends gifts $40 - $499 Thank you to all our Friends who support WASO through their gift. As we celebrate our tenth year of annual giving, we are extremely proud to be supported by the following Patrons who have supported us since 2005: Fred & Margaret Affleck Sally Burton Brian Cresswell Gerty Ewen Annette Finn David & Valerie Gulland Janet Holmes à Court AC B.M. Kent Bryant Macfie Peter & Patricia Moss Jill Mulheron John Overton Heather Rogers Judith Sienkiewicz David Turner & Judith Wilton Andrew & Marie Yuncken We would like thank them for their invaluable ongoing support. If you are interested in becoming a Patron or learning more about waso Philanthropy please contact Jane Clare, Fundraising and Philanthropy Coordinator, on or clarej@waso.com.au. WASO Philanthropy brochures are available from the WASO Programs & Information desk located in the main foyer of the Perth Concert Hall or you can visit waso.com.au. All donations over $2 are fully tax deductible.

29 29 west Australian Symphony orchestra VIoLIN Semra Lee-Smith A/Associate Concertmaster Graham Pyatt A/Assistant Concertmaster Shaun Lee-Chen* A/ 1st Violin Zak Rowntree A/Associate 2nd Violin Kylie Liang Assistant 2nd Violin Sarah Blackman Fleur Challen Stephanie Dean Rebecca Glorie Beth Hebert Alexandra Isted Sunmi Jung Akiko Miyazawa Lucas O Brien Anna O Hagan Melanie Pearn Ken Peeler Louise Sandercock Jolanta Schenk Jane Serrangeli Ellie Shalley Jacek Slawomirski Bao Di Tang Cerys Tooby Teresa Vinci David Yeh VIoLA Alex Brogan A/Associate Kierstan Arkleysmith Nik Babic Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey CELLo Rod McGrath Louise McKay Assoc Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver* Fotis Skordas Tim South Xiao Le Wu DoUBLE BASS Andrew Rootes* Joan Wright Assoc Christine Reitzenstein Louise Ross Andrew Tait Mark Tooby *Instruments used by these musicians are on loan from Janet Holmes à Court AC. ASSISTANT CoNDUCToR Christopher Dragon Conductor Asher Fisch Partnered by Wesfarmers Arts CHoRUS DIRECToR Christopher van Tuinen FLUTE Andrew Nicholson Chair partnered by Apache Mary-Anne Blades Assoc PICCoLo Michael Waye oboe Peter Facer Elizabeth Chee Assoc CoR ANgLAIS Leanne Glover CLARINET Allan Meyer Lorna Cook BASS CLARINET Alexander Millier Chair partnered by Altegra property Group BASSooN Jane Kircher-Lindner Chair partnered by Ron & sue Wooller Adam Mikulicz Assoc Colin Forbes-Abrams CoNTRABASSooN Chloe Turner CHoRUS VoCAL CoACH Andrew Foote Conductor Laureate Vladimir Verbitsky HoRN David Evans Sharn McIver Assoc Robert Gladstones 3rd Julia Brooke Francesco Lo Surdo Brendon Parravicini TRUMPET Brent Grapes Evan Cromie Assoc Peter Miller TRoMBoNE Joshua Davis Liam O Malley Assoc BASS TRoMBoNE Philip Holdsworth TUBA Cameron Brook TIMPANI Alex Timcke PERCUSSIoN Troy Greatz Assoc HARP Sarah Bowman

30 30 BoARD of DIRECToRS Janet Holmes à Court AC Chairman Mark Coughlan Keith Kessell Barrie Lepley Deputy Chairman Anne Nolan Paul Shannon Julian Sher Michael Utsler ExECUTIVE Craig Whitehead Chief Executive Claire Burlington Executive Assistant Ellen Wisdom Executive Manager, Human Resources Rachel Taylor Human Resources Assistant ARTISTIC PLANNINg Evan Kennea Executive Manager, Artistic Planning Maya Kraj-Krajewski Artist Liaison/Chorus Administrator Claire Stokes Program Manager Alan Tyrrell Program Manager CoMMUNITY ENgAgEMENT Cassandra Lake Executive Manager, Community Engagement Fiona Taylor Education Coordinator Gemma McDonald Community Development Coordinator orchestral MANAgEMENT Keith McGowan Executive Manager, Orchestral Management Richie Burton Orchestral Operations Manager David Cotgreave Production & Technical Manager Alistair Cox Orchestral Manager Breanna Evangelista Orchestra Management Assistant Wee Ming Khoo Music Librarian Noel Rhind Orchestral Operations Coordinator BUSINESS SERVICES Peter Freemantle Chief Financial Officer Andrew Chew Systems Administrator Angela Miller Accountant Svetlana Williams Payroll Officer Sushila Bhudia Accounts Officer CoRPoRATE DEVELoPMENT Marina Woodhouse Executive Manager, Corporate Development Cliona Hays Corporate Partnerships Coordinator Luci Steinhardt Corporate Partnerships Executive Ginny Luff Corporate Partnerships & Events Coordinator PHILANTHRoPY Alecia Benzie Executive Manager, Philanthropy Josie Aitchison Customer Service & Philanthropy Coordinator Jane Clare Fundraising & Philanthropy Coordinator MARkETINg Kelli Carnachan Executive Manager, Marketing Kirsty Chisholm Marketing Coordinator Nancy Hackett Marketing Manager Gina Beers Graphic Designer Marc Missiaen Relationship Marketing Manager Paula Schibeci Public Relations Manager Amanda Lim Marketing Assistant Sava Papos Customer Service Manager Josie Aitchison Customer Service & Philanthropy Coordinator Beverley Trolio Customer Service Coordinator Alana Arnold Margaret Daws Vicki Prince Debbie Silvester Robyn Westbrook Customer Service Officers Perth Concert Hall AEg ogden (Perth) Pty Ltd Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues. Andrew Bolt General Manager Helen Stewart Deputy General Manager Peter Robins Technical Manager Paul Richardson Assistant Technical Manager Penelope Briffa Event Coordinator AEg ogden (Perth) Pty Ltd Rodney M Phillips Chief Executive The Perth Theatre Trust The Hon. Mr Peter Blaxell Chairman WASO programs are printed by Pilpel Print who are proud to be Green Stamp Accredited. This certification acknowledges Pilpel Print s commitment to minimising environmental impacts associated with producing printed material. All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing from the publisher. Whilst every effort has been made to ensure the accuracy of statements in this publication we cannot accept responsibility for errors or omissions, or for matters arising from clerical or printers error. Every effort has been made to secure permission for copyright material prior to printing. Please address all correspondence to the Executive Manager, Marketing, West Australian Symphony Orchestra, PO Box 3041, East Perth. WA waso@waso.com.au

31 Corporate Partners PLATINUM PARTNERS CONCERTO PARTNERS OVERTURE PARTNERS SONATA PARTNERS EDUCATION PARTNERS School of Music Tertiary Education Partner KEYNOTE PARTNERS ORCHESTRA SUPPORTERS MARGARET RIVER WINE PARTNERS Aravina Estate, Edwards Wines, Howard Park Wines, Leeuwin Estate, Moss Wood, Pierro Margaret River Vineyards, Vasse Felix. MEDIA PARTNERS FUNDING PARTNERS The West Australian Symphony Orchestra is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

32 ALCOHOL.THINK AGAIN MASTERS SERIES PIERS LANE PLAYS LISZT Don t miss dazzling pianist Piers Lane return to WASO in Liszt s rapturously virtuosic First Piano Concerto! Fri 17 & Sat 18 Oct 7.30pm Perth Concert Hall BRAHMS Hungarian Dance No.1 LISZT Les Préludes JOHN ADAMS The Chairman Dances DVORAK Carnival Overture LISZT Hungarian Rhapsody No.2 LISZT Piano Concerto No.1 Andrew Grams conductor Piers Lane piano BOOK NOW Tickets from $30 * Call quoting 1086 Visit waso.com.au or ticketek.com.au Piers Lane appears courtesy of Japan Australia LNG (MIMI) Pty Ltd. *Transaction fees may apply