PROGRAM. ALCOHOL.THINK AGAIN MASTERS SERIES Friday 5 & Saturday 6 August 7.30pm Perth Concert Hall

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1 PROGRAM ALCOHOL.THINK AGAIN MASTERS SERIES Friday 5 & Saturday 6 August 7.30pm Perth Concert Hall

2 Keep your performance sharp Have no more than two standard drinks a day WASO Associate Double Bass Joan Wright

3 WELCOME Some of the best ideas are born during a relaxed chat over a glass of good red wine West Australian, of course! - and such was the conversation that came up with the rather exotic and explosive combination of The Planets and The Rite of Spring. What started as a light-hearted It s a crazy idea, but what if from Evan Kennea (WASO's Executive Manager, Artistic Planning) resonated and developed into a serious and rather wonderful commitment to perform these two monumental works in the one programme. The early 20th century was a time of turmoil social, international and artistic. Wagner s extended chromaticism in Tristan und Isolde had posed one existential question for the composers who followed him: how to develop further now? What had always been quite individual, but closely linked, schools of compositional development the Austrians, the Russians, the Italians, the Germans, the French, the English began to splinter further apart as a number of visionary artists committed to one or another school of thought in compositional language Schoenberg, Berg and Webern in Vienna built on the orchestral exoticism of Mahler and Strauss, but created a new language with their 12-tone technique. Debussy in France researched ancient modes and achieved an astonishing fragility in his orchestrations, closely linked to the impressionists of art and literature; Pfitzner and later Hindemith and Schmidt continued in a stringently tonal, but also polytonal, language with its roots firmly embedded in the structures of Beethoven, Schumann and Wagner; Puccini continued to advance the lush late-romantic harmonies of Italian verismo opera while Respighi continued to expand the form of the tone poem, and in England, links to pastoral themes, the English mediaeval world and the rise of industrialism and egalitarianism all combined to create a fertile ground for the new generations of English composers Vaughan Williams, Holst, but also Delius (well, almost English!) Walton and Britten. The Russians split into two very clear schools continued lush romanticism amongst the more conservative and then there was Stravinsky! Firmly rooted in the folkloric elements of Russian traditions, but influenced by the decadence of the French, and writing for the ballet Stravinsky created a unique musical language that is essentially tonal, if complex, with extravagant orchestrations and rhythms of such vitality and complexity that his music is compelling, pulsing, a force of nature. And it is these last qualities that I link also to the work of Holst in The Planets the rhythmic vitality, the orchestral exoticism (where else will you hear a bass oboe?) and the inescapable foundation in the natural world. Composed in consecutive years The Rite in 1913 and Planets begun in 1914, these are sensual, physical works and in bringing them together in one programme, WASO and I will test our strength, our energy and our emotional expression in what we hope will be a memorable occasion for you, our public. Simone Young Conductor Photo: Berthold Fabricius

4 2016 UPCOMING CONCERTS TICKETS FROM $28 * Photo: Nik Babic MORNING SYMPHONY SERIES ASHER FISCH CONDUCTS MOZART & BARTOK THURS 18 AUG 11AM Perth Concert Hall Béla Bartók s Concerto for Orchestra is a towering classic of twentieth-century orchestral music. Horn David Evans stars in Mozart s delightful Fourth Horn Concerto. MOZART Horn Concerto No.4 BARTOK Concerto for Orchestra Asher Fisch conductor David Evans horn (pictured) Asher Fisch appears courtesy of Wesfarmers Arts TICKETS FROM $30* Photo: Emma Van Dordrecht MACA LIMITED CLASSICS SERIES ASHER FISCH CONDUCTS SCHUBERT & BARTOK FRI 19 & SAT 20 AUG 7.30PM Perth Concert Hall Béla Bartók s Concerto for Orchestra is a brilliant showpiece for both orchestra and conductor. Horn David Evans stars in Mozart s delightful Fourth Horn Concerto. SCHUBERT Symphony No.4 Tragic MOZART Horn Concerto No.4 BARTOK Concerto for Orchestra Asher Fisch conductor (pictured) David Evans horn Asher Fisch appears courtesy of Wesfarmers Arts TICKETS FROM $30* Photo: Berthold Fabricius ALCOHOL.THINK AGAIN MASTERS SERIES ASHER FISCH & WASO BAIBA SKRIDE PLAYS MOZART FRI 26 & SAT 27 AUG 7.30PM Perth Concert Hall An exhilarating concert with Baiba Skride s brilliant sound, ideally suited to Mozart s elegant Fourth Violin Concerto and Schoenberg s romantic masterpiece Verklärte Nacht. SCHOENBERG Verklärte Nacht (Transfigured Night) MOZART Violin Concerto No.4 BRAHMS orch. SCHOENBERG Piano Quartet No.1 Asher Fisch conductor Baiba Skride violin (pictured) Asher Fisch appears courtesy of Wesfarmers Arts Baiba Skride appears courtesy of Japan Australia LNG (MIMI) Pty Ltd BOOK NOW CALL VISIT WASO.COM.AU *A handling fee of $5.50 per transaction applies all purchases. An additional fee of $4.40 per transaction applies for delivery via Registered Post. 4

5 ALCOHOL.THINK AGAIN MASTERS SERIES THE PLANETS & THE RITE OF SPRING HOLST The Planets (48 mins) Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of Old Age Uranus, the Magician Neptune, the Mystic Interval (25 mins) STRAVINSKY The Rite of Spring (32 mins) Part 1 Adoration of the Earth Introduction Dance of the Young Girls Ritual of Abduction Spring Rounds Games of the Rival Tribes Procession of the Sage Adoration of the Earth Dance of the Earth Part 2 Le Sacrifice Introduction Mystic Circles of Young Girls Glorification of the Chosen Virgin Evocation of the Ancestors Ritual of the Ancestors Sacrificial dance The Chosen Virgin Simone Young conductor WASO Chorus Pre-concert Talks 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. Meet the Musicians Enjoy a conversation with Alex Timcke, Timpani & Jane Kircher-Lindner, Bassoon postconcert Friday night in the Terrace Level Foyer. Pre-concert Talks are supported by Wesfarmers Arts The Chair of Bassoon is supported by Sue and Ron Wooller 5

6 WASO IN THE COMMUNITY 6 Education Week 2016 It was fabulous to see WASO investing so wholeheartedly in the vital job of reaching a young audience. Rosalind Appleby, 28 June, The West Australian Education Week celebrates the diverse programs delivered by our Community Engagement Department. Throughout the year, WASO presents workshops, performances and music classes to audiences across the State, and for one week of the year, the company focuses entirely on this suite of activities to present Education Week as part of Community Support Month. This year, from June, the Community Engagement Team worked with a terrific group of presenters to reach audiences as young as babies through to 70+, delivering a range of performance based and participatory programs encouraging appreciation of live music and music-making. The stats are in for what can only be described as a very fun week for all involved; #educaitonweek16 reached more than 7000 audience members over 7 days 13 performances and workshops across 8 different programs 5 different performance sites across Perth Concert Hall, Hale School and Princess Margaret Hospital for Children 5 world premiere performances Welcome to Country Ceremony with Mr Barry McGuire featuring a side-by-side performance of Kolbang djn-djin, written by Dr Gerard Brophy and gifted to WASO by Guildford Grammar School 21 schools groups and 52 home school families attended projects at Perth Concert Hall one 21st Birthday Party, celebrating EChO (our Education Chamber Orchestra), one of the longest running education programs delivered by an Australian Orchestra 46 active amateur musicians performed side-by-side WASO players to create our larger than life Rusty Orchestra one wolf 3 pairs of blue converse The Rusty Orchestra performance on Saturday 25 June was presented in loving memory of our dear friend and supporter from 720 ABC Perth, Eoin Cameron ( ). For more information about WASOs extensive Community Engagement program visit waso.com.au/education Photo: Kate Ferguson Photo: Kate Ferguson

7 ABOUT THE ARTIST Simone Young Conductor Simone Young, AM, was General Manager and Music Director of the Hamburg State Opera and Music Director of the Philharmonic State Orchestra Hamburg from 2005 to She has conducted several complete cycles of The Ring of the Nibelung and her Hamburg recordings include the Ring cycle, Mathis der Maler (Hindemith), and symphonies of Bruckner, Brahms and Mahler. Simone Young has been Music Director of Opera Australia, Chief Conductor of the Bergen Philharmonic Orchestra and Guest Conductor of the Gulbenkian Orchestra, Lisbon. She conducts at all the leading opera houses including the Vienna, Berlin and Bavarian State Operas, Opéra National de Paris, Royal Opera House Covent Garden, Metropolitan Opera New York, Zurich and Los Angeles Opera and regularly leads some of the world s great orchestras including the Berlin, Vienna, Munich, London and New York Philharmonic Orchestras, the Staatskapelle Dresden, the Bruckner Orchestra, City of Birmingham Symphony, and the Wiener Symphoniker. She has been elected to the Academy of Arts in Hamburg, awarded a Professorship at the College of Music in Hamburg and Honorary Doctorates from Griffith University, Monash University and the University of New South Wales. Other awards include Green Room and Helpmann Awards, the 2014 International Opera Awards for best anniversary production for the Verdi trilogy - La battaglia di Legnano, I due Foscari, I Lombardi with the Hamburg State Opera, and Chevalier de l Ordre des Arts et des Lettres from France. Simone Young regularly returns to Australia, and this year works with the Queensland, Adelaide, West Australian and Melbourne Symphony Orchestras, and the Australian National Academy of Music. Photo: Berthold Fabricius 7

8 WEST AUSTRALIAN SYMPHONY ORCHESTRA Photo: Emma Van Dordrecht The West Australian Symphony Orchestra (WASO) is Western Australia s largest and busiest performing arts organisation. With a reputation for excellence, engagement and innovation, WASO s resident company of full-time, professional musicians plays a central role in creating a culturally vibrant Western Australia. WASO is a not for profit company, funded through government, ticket revenue and the generous support of the community through corporate and philanthropic partnerships. WASO s vision is to touch souls and enrich lives through music. Each year the Orchestra entertains and inspires the people of Western Australia through its concert performances, regional tours, innovative education and community programs, and its artistic partnerships with West Australian Opera and West Australian Ballet. The Orchestra is led by Conductor and Artistic Adviser Asher Fisch. The Israeli-born conductor is widely acclaimed for his command of the Romantic German repertoire and is a frequent guest at the world s great opera houses. Each year the Orchestra performs over 175 concerts with some of the world s most talented conductors and soloists to an audience in excess of 190,000. An integral part of the Orchestra is the WASO Chorus, a highly skilled ensemble of auditioned singers who volunteer their time and talent. waso.com.au 8

9 WASO ON STAGE TONIGHT VIOLIN Laurence Jackson Concertmaster Graeme Norris Assoc Concertmaster Semra Lee-Smith Assistant Concertmaster Rebecca Glorie A/ 1st Violin Zak Rowntree* 2nd Violin Kylie Liang Assoc 2nd Violin Sarah Blackman Fleur Challen John Ford^ Beth Hebert Alexandra Isted^ Jane Johnston Sunmi Jung Christina Katsimbardis Ellie Lawrence Andrea Mendham^ Akiko Miyazawa Melanie Pearn Ken Peeler Louise Sandercock Jolanta Schenk Jane Serrangeli Kathryn Shinnick Kate Sullivan Bao Di Tang Cerys Tooby Susannah Williams^ Paul Wright^ VIOLA Alex Brogan Kierstan Arkleysmith Nik Babic Benjamin Caddy Katherine Corecig^ Alison Hall Rachael Kirk Kathryn McKay^ Allan McLean Helen Tuckey Aaron Wyatt^ Associate Guest Musician^ CELLO Rod McGrath Louise McKay Chair partnered by Penrhos College Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver* Fotis Skordas Tim South Jon Tooby^ DOUBLE BASS Andrew Sinclair* Joan Wright Elizabeth Browning^ Louise Elaerts Christine Reitzenstein Andrew Tait Mark Tooby FLUTE Andrew Nicholson Mary-Anne Blades Georgia Lane^ PICCOLO Michael Waye Diane Riddell^ OBOE Peter Facer Elizabeth Chee Annabelle Farid Guest Assoc Huw Jones^ Stephanie Nicholls^ COR ANGLAIS Leanne Glover CLARINET Allan Meyer Lorna Cook Catherine Cahill^ Philip Everall^ BASS CLARINET Alexander Millier BASSOON Jane Kircher-Lindner Chair partnered by Sue & Ron Wooller Adam Mikulicz Linda Charteris^ Simone Walters^ CONTRABASSOON Chloe Turner HORN David Evans Robert Gladstones 3rd Horn Jessica Armstrong^ Julia Brooke Stephanie Davis^ Francesco Lo Surdo Peter Luff^ Lauren Manuel^ TRUMPET Brent Grapes Evan Cromie Matthew Dempsey^ Peter Miller William Theis^ TROMBONE Joshua Davis Damian Patti^ Guest Trombone Liam O Malley BASS TROMBONE Philip Holdsworth TUBA Cameron Brook Scott Frankcombe^ Guest Tuba TIMPANI Alex Timcke Chiron Meller A/Assoc Percussion and Timpani PERCUSSION Brian Maloney Joel Bass^ Robyn Gray^ Paul Tanner^ HARP Sarah Bowman Bronwyn Wallis^ CELESTE Graeme Gilling^ ORGAN Jonathan Bradley^ *Instruments used by these musicians are on loan from Janet Holmes à Court AC. 9

10 WASO CHORUS Formed in 1988, the WASO Chorus brings together auditioned singers who volunteer their time and talents to perform under the WASO banner, led by Chorus Director Christopher van Tuinen and Vocal Coach Andrew Foote. In 2016 the Chorus will perform at Symphony in the City and throughout the WASO season with acclaimed conductors Asher Fisch, Stephen Layton and Paul Dyer. For more information visit waso.com.au Christopher van Tuinen Chorus Director SOPRANO Julie Anderson Valerie Bannan Lisa Barz Imogen Castledine Cate Creedon Ciara Donegan Ceridwen Dumergue Catherine Dunn Bronwyn Elliott Andrew Foote Vocal Coach Nike Etim Kaye Fairbairn Joanna Fawcett Jenny Fay Kath Goodman Lesley Goodwin Dianne Graves Pauline Handford Diane Hawkins Louise Hayes Michelle John Lea Hayward Accompanist Ginny Luff Diana MacCallum Tina McDonald Elysia Murphy Philomena Nulsen Rochelle Rabel Fiona Robson Chelsea Seymour Gosia Slawomirski Claire Taylor Nicole Zago UWA School of Music Proud Tertiary Education Partner of the West Australian Symphony Orchestra. As one of Australia s leading music programs, in one of the world s leading universities, we create the future leaders of the Arts community. music.uwa.edu.au 10 CRICOS Provider Code: 00126G UniPrint Pursue impossible

11 Christopher Van Tuinen Chorus Director Christopher graduated with a B.Mus from the Victorian College of the Arts in In 2005 he completed a Masters in Conducting at the VCA. Experienced in both vocal and instrumental music he was awarded the John Williams Conducting Scholarship for He also holds a B.A. from the University of Queensland, an LLB from Q.U.T. and an A.Mus.A from the AMEB. In 2005 year he was nominated by the Musical Theatre Guild for Best Music Direction. In 2006 he received a Green Room Award nomination in the Best Conductor category. In 2007 Chris was appointed as the inaugural Conducting Fellowship at the Australian Ballet. During 2008 & 2009 he was a member of the Young Artists program as a Conductor with Opera Australia. Chris has worked with Orchestra Victoria, AOBO and the QSO. Chris has also conducted WASO, is Conductor of UWACS, Musical Director of Fremantle Chamber Orchestra and Co-Artistic Director of Lost and Found Opera. As a pianist and conductor he recently recorded Poulenc s La Voix Humaine and The Emperor of Atlantis for ABC Classic FM. Andrew Foote Chorus Vocal Coach Helpmann Award-winner Andrew Foote is one of the most experienced singers and teachers of voice in Australia. For more than 30 years he has been a regular guest artist for Western Australian arts companies, a national broadcast artist for ABC Classic FM, a freelance opera principal artist performing throughout Australia with Opera Australia, OzOpera and West Australian Opera, a regular recitalist and oratorio soloist, and more recently as an opera director. In his professional concert and operatic career, Andrew has performed more than 30 operatic roles for professional companies throughout Australia - including his acclaimed Ned Keene in Peter Grimes for which he received a 2010 Helpmann Award. His soloist and concert repertoire, including recordings for ABC Classic FM, have consistently drawn superb accolades. Andrew is Head of Vocal Studies at the University of Western Australia School of Music. 11

12 YOUR CONCERT EXPERIENCE PRINTED PROGRAMS Please share or download our free printed programs to help us be environmentally responsible. WASO s programs can be downloaded from our website waso.com.au FOR THE ENJOYMENT OF ALL When to applaud? Musicians love applause. Audience members normally applaud: When the concertmaster (violin) walks onto the stage When the conductor walks onto the stage After the completion of each piece and at the end of the performance When 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 Ticket Collection Desk before each performance and at the interval. Hearing aids that are incorrectly adjusted may disturb other patrons, please be mindful of those around you. Mobile phones and other electronic devices need to be switched off throughout the performance. Photography, sound and video recordings are permitted prior to the start of the performance. Latecomers and patrons who leave the auditorium will be seated only after the completion of a work. MOVING TO EMPTY SEATS Please do not move to empty seats prior to the performance as this may affect seating for latecomers when they are admitted during a suitable break. FEEDBACK ABOUT THIS CONCERT Please send your feedback to PO BOX 3041, East Perth WA 6892, call , waso@waso.com.au or leave us a message on Facebook or Twitter. LISTEN TO WASO ABC Classic FM This performance is being recorded for broadcast on ABC Classic FM. For further details visit abc.net.au/classic 720 ABC PERTH Tune in to 720 ABC Perth on Friday morning at 6.15am when Prue Ashurst joins James Lush to provide the latest on classical music and WASO s upcoming concerts. CONNECT WITH WASO Join us on Facebook facebook.com/ WestAustralianSymphonyOrchestra Follow us on Twitter twitter.com/_waso_ Tag your photos #WASO on Instagram instagram.com/_waso_ Watch us on YouTube youtube.com/westaustsymorchestra E-News Stay up to date and sign-up to our SymphonE-news at waso.com.au WASO On The Go Download WASO s free app on itunes or Google Play. Visit waso.com.au For concert information and to listen to concert playlists. 12

13 PERTH CONCERT HALL THE HOME OF THE WEST AUSTRALIAN SYMPHONY ORCHESTRA Perth Concert Hall is renowned for having one of the finest acoustics in the southern hemisphere. The concert hall is the home and serves as the primary performance venue for the West Australian Symphony Orchestra (WASO), and hosts a number of diverse performances and events all year round. FOOD & BEVERAGES Please visit the Perth Concert Hall website perthconcerthall.com.au for full information on food and beverage offerings at the venue. 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 Free water stations are set up at the Corner Bar on Terrace Level near the western window Lower and Upper Gallery 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 ACCESSIBILITY Perth Concert Hall is equipped to assist people with disabilities: A universal accessible toilet is available on the ground floor (Level 1) A hearing induction loop operates in rows N6:35 to X6:35 in the stalls area WASO BOX OFFICE AT PERTH CONCERT HALL You can now buy WASO tickets and subscriptions, exchange tickets and make a donation at the Box Office on the ground floor (Level 1) prior to each performance and at interval. Tickets for other performances at Perth Concert Hall will be available for purchase only at interval. The Box Office is open Monday to Friday, 9am to 5pm, and contactable on DONATE YOUR TICKET Can t attend a concert? Contact the WASO Box Office on to donate your ticket for re-sale and you will receive a tax deductible receipt. CONNECT WITH PERTH CONCERT HALL Join us on Facebook facebook.com/perthconcerthallwa Follow us on Twitter twitter.com/perthconcerthal Follow us on Instagram instagram.com/perthconcerthall Visit perthconcerthall.com.au For concert information. 13

14 PATRONS & FRIENDS EVENTS 2016 There are two more events this year for our Patrons & Friends community that directly support our Friends of WASO Scholarship, providing professional development opportunities for WASO musicians. The 10k Musical Quiz Night has been cancelled and replaced with: Louise McKay In Conversation and Recital Sunday 23 October, 2pm 4pm Venue TBC Spend an afternoon with WASO s Associate Cello Louise McKay. It s often quoted that 10,000 hours of practice are required to achieve mastery in any field, but musicians never stop learning and striving to perfect their artistry. The annual Friends of WASO Scholarship invests in the development of your Orchestra s musicians, and is directly supported by ticket sales to our Patrons & Friends events. Louise was the recipient of this year s Scholarship, and has returned from her trip to Berlin ready to share stories from her experiences overseas and her musical career. Complementing her work with WASO, Louise is an active chamber musician and soloist and will perform a selection of beautiful works for solo cello. Don t miss your chance to hear from one of our talented musicians in an intimate setting. Tickets are $45 for Patrons & Friends ($55 for guests) including wine and refreshments and can be purchased by calling the WASO Box Office on Associate Cello Chair is partnered by Penrhos College. Patrons & Friends Christmas Party Thursday 8 December, 4.30pm Perth Concert Hall Join WASO Patrons & Friends, staff and musicians to celebrate another wonderful year of music-making at the annual Patrons & Friends Christmas Party. Tickets are $45 for Patrons & Friends ($55 for guests) and can be purchased by calling the WASO Box Office on

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16 ABOUT THE MUSIC Gustav Holst ( ) The Planets, Op.32 Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of Old Age Uranus, the Magician Neptune, the Mystic The Planets must be one of the most influential musical works of the 20th century. Russell Crowe and his cohorts in Gladiator seemed that bit more craggily determined thanks to a score that reminded us of Mars. At the close of Neptune, Holst invents the fade-out. The iridescent opening of Jupiter foreshadows the work of John Adams, and for many years Anglicans have sung its big central tune as the patriotic hymn, I vow to thee my country. As a repository of orchestral special effects and memorable tunes, the piece has certainly earned its pop status, but its very popularity and the imitations it has spawned have disadvantaged it and its composer. We need to make an effort to hear the work with fresh ears and to remind ourselves that this was very radical music for its time. Moreover, we should note that it is atypical of its composer. An artist of great integrity, Holst refused to imitate the piece to ensure his own status, so that we sadly hear little of his other work, even though much of it is of the same quality as The Planets. Holst, like his great friend Vaughan Williams, was of a generation educated at London s Royal College of Music which rejuvenated British music through the study of Tudor music and the collection of folksong. The young Holst was at first a Wagnerian, and his early works show this influence in their opulence and richly chromatic harmony. After some years as a professional trombonist, Holst decided in 1903 to devote himself to composition. In practice, though, this meant beginning his career as an outstanding teacher at St Paul s Girls School, Morley College, and later the RCM. He also became drawn to eastern mysticism, particularly that of Hinduism, which led, indirectly, to his development of a much leaner harmonic style. Composed between 1914 and 1917, the seven movements of The Planets are less about depicting large balls of gas and rock than about each planet s astrological significance. Given the outbreak of the First World War at the time, it is hard not to see Mars as grimly prophetic of the carnage of the first hi-tech war. 16

17 Where a composer like Mahler uses military music for an ambiguously thrilling effect, Holst takes pains to make his music simply inhuman: the opening three-note theme traces the tritone, an unstable interval often called the devil in music. The relentlessly repeated rhythm, or ostinato, is no simple march, having five beats to a bar. The harmony is bitonal, that is, it superimposes chords of two different keys to give it its sense of unrelieved dissonance, especially at the shattering climax. Venus, the Bringer of Peace offers a complete contrast: the orchestration is sweet and languorous and the harmony, while still frequently bitonal, uses chords which avoid direct clashes of adjacent notes, creating subtle voluptuousness. Mercury is rather like a symphonic scherzo: short, fast and orchestrated with the utmost delicacy. At the heart of the suite, Jupiter is an orchestral tour de force. The glittering fast music with which it opens is busy but crystal clear; its theme, like that of Mars, is based on a three-note motive, but here it is completely and solidly diatonic. The Planets was first planned during a holiday in Spain, so we shouldn t be surprised to hear certain Iberian sounds and rhythms in the dance music which follows. This is interrupted by a fanfare of repeated chords, which ushers in the quiet statement of the celebrated maestoso theme. The quintessentially British tune may seem out of place in a celebration of the Bringer of Jollity it is hardly thighslappingly funny. Curiously, too, it doesn t reach a full close: what should be the second last chord sets off an echo of the shimmering sounds of the opening. The tune does, however, stride through tumultuous last pages of the movement. If Jupiter s big tune was a reminder that joy is fleeting, Saturn makes this very clear in its portentous, death-ward tread and ever more disturbing brass chords. Uranus, however, casts a spell in music as innocent as The Sorcerer s Apprentice. Taking his cue from Debussy s Sirènes, Holst imbues Neptune with the mystery of wordless, offstage female voices. With its translucent scoring and the hypnotic use of repeated chord patterns, the work ends as perhaps no other had before, fading imperceptibly into night and silence. Gordon Kerry 2003 First public performance of complete work: 15 November 1920, London. London Symphony Orchestra; Adrian Boult, conductor. First WASO performance: 2-3 October John Farnsworth Hall, conductor. Most recent WASO performance: July Matthias Bamert, conductor. Instrumentation: four flutes, two piccolos, alto flute, three oboes, bass oboe, cor anglais, three clarinets, bass clarinet, three bassoons, contrabassoon, six horns, four trumpets, three trombones, tuba, tenor tuba, timpani, percussion, two harps, celeste, organ and strings. Offstage female chorus for Neptune. YOU MAY ALSO ENJOY BERLIOZ Symphonie fantastique featured in Asher Fisch Conducts Symphonie Fantastique Fri 18 & Sat 19 November 2016 Glossary Ostinato a brief fragment or phrase which is repeated persistently through a section of music 17

18 ABOUT THE MUSIC Igor Stravinsky ( ) Le Sacre du printemps (The Rite of Spring) Part 1 L Adoration de la terre (Adoration of the Earth) Introduction Danse des adolescentes (Dance of the Young Girls) Jeu du rapt (Ritual of Abduction) Rondes printanières (Spring Rounds) Jeux des cités rivales (Games of the Rival Tribes) Cortège du sage (Procession of the Sage) L Adoration de la terre (Adoration of the Earth) Danse de la terre (Dance of the Earth) Part 2 Le Sacrifice Introduction Cercles mystérieux des adolescentes (Mystic Circles of Young Girls) Glorification de l élue (Glorification of the Chosen Virgin) Evocation des ancêtres (Evocation of the Ancestors) Action rituelle des ancêtres (Ritual of the Ancestors) Danse sacrale L élue (Sacrificial dance The Chosen Virgin) The trouble started as soon as the solo bassoon began its plaintive version of a Lithuanian folksong. Heckling, spreading from the gallery of the new Théâtre des Champs-Élysées into the stalls, became so loud that the choreographer Nijinsky stood on a chair in the wings shouting directions at the dancers who could no longer hear the orchestra. The theatre s electrician frantically flicked the house lights on and off to try and settle the audience; there was a brawl and the police had to be called. The orchestra soldiered on and gave what those who could hear it describe as a fine performance. The riot at The Rite of Spring s premiere is legendary scholar Richard Taruskin says that Stravinsky spent the rest of his long life telling lies about it! But it was not the score that caused a fracas among the Philistines. (Debussy s Jeux also premiered by Sergei Diaghilev s Ballets Russes had been booed a fortnight before.) Nijinsky s choreography (described by Jean Cocteau as automaton-like monotony ) caused the most offence. A year later Pierre Monteux conducted a concert performance in Paris, and Stravinsky experienced the success such as composers rarely enjoy as he was carried through the streets like a sporting hero on the shoulders of his audience. There had, though, never been anything like it. In his two previous ballets for Diaghilev s company Stravinsky had mined Russian folklore and fairytale: The Firebird was a story of enchanted princesses, ogres and a magic phoenix; Petrushka s protagonists are fairground puppets. Certainly since the political upheavals of 1905, and arguably 18

19 well before, folklore had been a powerful force in Russian art. But in 1910, Stravinsky had a vision of wise elders, seated in a circle, watching a young girl dancing herself to death to propitiate the god of spring and drafted a scenario with the designer Nicholas Roerich. (They later fought over whose idea it was.) The work is, as scholar Stephen Walsh puts it, hardly a story ballet with characters [but] a strict liturgical sequence, a sequence which, we understand, will always happen this way, with different participants but the same meaning. Stravinsky s Russian title for the work is better translated as Holy Spring, and its subtitle is Scenes from Pagan Russia. Musicologist Paul Griffiths quotes Stravinsky s long-time assistant Robert Craft s assertion that the composer repeatedly said that he wrote The Rite of Spring in order to send everyone in his Russian past, Tsar, family, instructors, to hell. This suggests that The Rite attempts to be a clean slate untouched by the corruptions of musical civilisation. The composer later said that he was the vessel through which The Rite passed, and the sketches suggest that many of his ideas sprang, fully formed, onto the page. At the same time, Stravinsky s sumptuous orchestration and harmony could not have existed without the music of Glinka and Rimsky-Korsakov; Debussy rightly called the score primitive music with all modern conveniences. Moreover, Stravinsky long maintained that the opening bassoon melody, whose timbre suggests traditional dudki or reed pipes, was the only folk tune in the score, but the publication of his sketchbooks in 1969 showed that he had copied out several tunes that found their way into the work. These tunes are usually relevant in subject matter to the events of the ballet, but as Stephen Walsh puts it, Stravinsky reduces them to simple essences which could then be used as motives of rhythmic and ostinato treatment. Walsh goes on to say, What nobody seems to have done before The Rite of Spring was to take dissonant, irregularly formed musical objects of very brief extent and release their latent energy by firing them off at one another like so many particles in an atomic accelerator. The cells that Stravinsky creates out of the simple rhythmic essences of folk tunes are repeated, distorted by the addition of extra beats, interrupted by contrasting cells. The Rite, then, is the ultimate abstraction of Stravinsky s early Russian style, and the foundation for much of his subsequent music. Gordon Kerry 2005/13 First performance: The Ballets Russes gave the first performance of The Rite of Spring on 29 May 1913 at the Théâtre des Champs-Élysées in Paris. The conductor was Pierre Monteux and the choreographer, Vaslav Nijinsky. The principal dancers were Maria Plitz (Chosen Virgin), Ludmila Guliuk (Old Woman) and Alexander Vorontzov (Sage). First WASO performance of complete work: 7-8 August Jorge Mester, conductor. Most recent WASO performance: September Vladimir Verbitsky, conductor. Instrumentation: two piccolos, three flutes, alto flute, four oboes, two cors anglais, three clarinets, two bass clarinets, E flat clarinet, four bassoons, two contrabassoons, eight horns, two Wagner tubas, four trumpets, bass trumpet, piccolo trumpet, three trombones, two tubas, timpani, percussion and strings. YOU MAY ALSO ENJOY BARTOK Concerto for Orchestra featured in Asher Fisch Conducts Schubert & Bartók Fri 19 & Sat 20 August 2016 Glossary Ostinato a brief fragment or phrase which is repeated persistently through a section of music 19

20 MACA LIMITED CLASSICS SERIES ASHER FISCH CONDUCTS SCHUBERT BARTOK& Joy, tragedy and bohemian colour - a concert of contrasts. SCHUBERT Symphony No.4 Tragic MOZART Horn Concerto No.4 BARTOK Concerto for Orchestra Asher Fisch conductor David Evans horn FRI 19 & SAT 20 AUGUST 7.30PM Perth Concert Hall BOOK NOW Tickets from $30 * Call or visit waso.com.au 20 Asher Fisch appears courtesy of Wesfarmers Arts.*A handling fee of $5.50 per transaction applies all purchases. An additional fee of $4.40 per transaction applies for delivery via Registered Post. Part of City of Perth Winter Arts Festival 2016.

21 MEET THE MUSICIAN Joan Wright Associate Double Bass Can you remember your first WASO concert? I certainly can. It included Beethoven s 5th Symphony and this contains lots of music that regularly crops up in auditions. I was well prepared however, having practised and played along many times with my CD of the Berlin Phil. The opening of the first movement, with its famous 4 note motif, can be quite troublesome for conductor and orchestra alike, but when the beat went down in my first ever rehearsal, I played strongly and confidently-at least a quaver ahead of the rest of the orchestra! Such embarrassment! So my first WASO appearance was an (unintended) solo much, I think, to the amusement of the rest of the orchestra. Do you have a shortlist of works or composers that you love to play the most? My shortlist lasts only until the next conductor comes along who has a flair or passion for a particular composer or style of music and then I find myself adding another piece or composer to that list (it is becoming quite a long list). But I always look forward to playing the late Romantic/early twentieth century composers who write really meaty double bass parts within a huge symphonic sound, and it is still my dream to play an entire Wagner Ring Cycle! Has your opinion of good music changed over your lifetime? I ve become more open to exploring music outside of the traditional classical repertoire, although when we play a Beethoven or Brahms cycle, as we have the past 2 years, it s like falling in love again. But I now know that there is wonderful music still being written in the twenty first century and I really enjoy the cutting edge excitement of working with composers and introducing a new potential classic to an audience. You ve recently been announced as Healthway s Alcohol.Think Again Ambassador for WASO. What does that health message mean to you? As the double bass is such a large and physically quite demanding instrument, it s important for me to try staying fit and healthy as I believe that contributes a great deal to my getting the most out of my practice and performance. I enjoy running, cycling and bush walking and am hoping to complete my sectional end to end of the Bibbulmun Track this year. For me, Healthway s message feeds into a whole healthy living lifestyle which doesn t deny me treats but cautions moderation in what I eat and drink. I really love My partner read this question and wrote JIM as my answer, so I would be foolish not to say that! But I can also add that I really love the way that each week I turn up to a first rehearsal and it s a moment of such potential as we begin to work with a new conductor or continue exploring repertoire with Asher: anything can happen! Not all weeks are excellent but we all know that a week soon passes and the next one comes with fresh potential! 21

22 experts in diagnosis and management musicians, athletes, mums and dads! west perth : CBD : mosman park starphysiowa.com.au proud WASO physiotherapy partners pictured-alex Chia-star physiotherapist, musician Ricoh Australia is a proud supporter of the West Australian Symphony Orchestra. Change the way you work. Providing clever business solutions has always been central to what we do. 22 Many people first came to know Ricoh through our printers and copiers products that spearheaded office automation and provided significant gains in productivity. Today, we re still improving work-life through our range of managed business services across IT, Workflow and Print. To find out more call today and speak to your local team or visit ricoh.com.au

23 WASO PHILANTHROPY Philanthropy Partner WASO is the cultural heart of this state and on each visit I am reminded how lucky we are to have an Orchestra of the finest standard resident here. Whenever I conduct WASO, I am moved by the commitment of the musicians and by the audience s great affection for their Orchestra. I admire the extent of WASO s community reach both inside the Concert Hall and out in schools, hospitals, at the opera and ballet, and in metropolitan and regional areas. Orchestras around the world are sustained through philanthropic support. I encourage you to support your Orchestra by becoming a Patron and supporting WASO through your gift. Simone Young, Conductor Ongoing philanthropic support is critical to our ability to touch souls and enrich lives through music. We invite you to become or renew as a WASO Patron and make a donation to our 2016 Annual Giving campaign. Those who give $500 or more in a year (including regular monthly donations of $42 or more) are recognised as Patrons and enjoy opportunities to experience the Orchestra from different perspectives not just from the auditorium through invitations to exclusive Patron-only events, getting to know our musicians and receiving regular updates. Need more information or want to join our community? If you wish to become a Patron, increase or renew your gift, please contact Jane Clare on or janec@waso.com.au. You can also make a donation online at waso.com.au or at the Box Office with your ticket purchases. All donations over $2 are fully tax deductible. 23

24 OUR SUPPORTERS Philanthropic partnerships come in all shapes and sizes Whatever the shape or size, you are helping WASO make a difference and we thank you for your support. WASO s philanthropy program continues to grow, supporting our vision now and into the future. It is an exciting time be a part of this community, to meet our musicians and to know you have helped your Orchestra to touch souls and enrich lives through music. Together we can do amazing things. Symphony Circle Recognising Patrons who have made a provision in their Will to the Orchestra Mr John Bonny Dr G Campbell-Evans Deirdre Carlin Anita & James Clayton Dr Michael Flacks Judith Gedero Robyn Glindemann Gwenyth Greenwood Emi & Warren Jones Rachael Kirk & Tim White Wolfgang Lehmkuhl Deborah Marsh Tosi Nottage in memory of Edgar Nottage Nigel & Dr Heather Rogers Gavin Toovey & Jaehan Lee Sheila Wileman Sagitte Yom-Tov Fund Anonymous (30) Endowment Fund for the Orchestra This fund includes major donations and bequests Tom & Jean Arkley Janet Holmes à Court AC Sagitte Yom-Tov Fund Estates WASO is extremely grateful for the bequests received from Estates Rachel Mabel Chapman Judy Sienkiewicz Mrs Roslyn Warrick Anonymous (3) Excellence Circle Supporting excellence across all we do Jean Arkley Bob & Gay Branchi Janet Holmes à Court AC Dr Patricia Kailis Torsten & Mona Ketelsen Michael Utsler The WASO Song Book We are grateful to those who have supported new works commissioned for the Orchestra by WASO Janet Holmes à Court AC Peter Dawson Geoff Stearn Bernard & Jackie Barnwell Anonymous (3) Reach Out Supporting our Education & Community Engagement programs John Albright & Susan Lorimer purchase of the EChO Double Bass Jean Arkley Ron & Penny Crittall Ken Evans Feilman Foundation The James Galvin Foundation Robyn Glindemann Barrie & Jude Lepley Minderoo Foundation Mrs Morrell Lynn Murray Joan Reyland Simon Lee Foundation The Stan Perron Charitable Foundation Jean & Peter Stokes Trish Williams Strategic Interactions Anonymous (1) If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Jane Clare, Fundraising and Philanthropy Manager, on or janec@waso.com.au. WASO Philanthropy brochures are available from the WASO Programs & Information Desk located in the main foyer of Perth Concert Hall, or you can visit waso.com.au. All donations over $2 are fully tax deductible. 24

25 Annual Giving We are proud to acknowledge the following Patrons for their generous contribution to WASO in the last twelve months through our Annual Giving program. Conductor s Circle Gifts $20,000+ Janet Holmes à Court AC Patricia New Judy Sienkiewicz (dec.) Impresario Patron Gifts $10,000 - $19,999 John Albright & Susan Lorimer Gay & Bob Branchi Gavin Bunning Tony & Gwenyth Lennon Margaret & Rod Marston Joshua & Pamela Pitt Trish Williams Strategic Interactions Maestro Patron Gifts $5,000 - $9,999 Jean Arkley in memory of Tom Arkley Bill Bloking Dr Roland & Therese Brand Ian & Elizabeth Constable Moira & John Dobson Tim & Lexie Elliott Bridget Faye AM Gilbert George Warwick Hemsley & Melissa Parke Dr Patricia Kailis Alison Kennedy Keith & Gaye Kessell Dr Ronny Low & Dr Emma Richardson Bryant & Louise Macfie Robert May Paula & John Phillips Peter & Jean Stokes Richard Tarala & Lyn Beazley AO Ros Thomson Alan Whitham Sue & Ron Wooller Anonymous (5) Virtuoso Patron Gifts $2,500 - $4,999 Prof Fred & Mrs Margaret Affleck Neil Archibald & Alan R Dodge AM David & Suzanne Biddles Peter & Marjorie Bird Alan & Anne Blanckensee Sally Burton Dr G Campbell-Evans Prof Jonathan Carapetis & Prof Sue Skull Mark Coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda Savage Richard Farago Robyn Glindemann Annette & Vincent Goerke Brian & Romola Haggerty Jacoba Hohnen & Ted Samson Sylvia & Wally Hyams Eleanor John Michael & Dale Kitney Mrs Morrell Jane & Jock Morrison Anne Nolan Tim Pavy & Cathy Cole Melanie & Paul Shannon Gail & Tony Sutherland Gene Tilbrook M & H Tuite Stan & Valerie Vicich Ian Watson Joyce Westrip OAM Andrew & Marie Yuncken Anonymous (1) Patron Gifts $1,000 - $2,499 Ron & Sue Adams Caroline Allen & Sandy Dunn Prue Ashurst in memory of Eoin Cameron Margaret Atkins Dan & Gail Bam Betty Barker Noelle Beasley Tony & Mary Beeley Kevin Blake Matthew J C Blampey Namy Bodinner Peter & Eve Boland Mr John Bonny John & Debbie Borshoff Dr & Mrs P Breidahl Jean Brodie-Hall AM James & Gay Brown Marilyn & Ian Burton Peter & Sue Clifton Arthur & Nerina Coopes Hon June Craig AM Gay & John Cruickshank Lesley & Peter Davies Julian Dowse Bev East Megan Edwards Lorraine Ellard Dane Etheridge & Brooke Fowels Annette Finn Don & Marie Forrest E & EA Fraunschiel Dr Andrew Gardner Roger & Ann Gillbanks Graham & Barbara Goulden Jannette Gray Deidre Greenfeld Grussgott Family Trust 25

26 OUR SUPPORTERS 26 David & Valerie Gulland Richard B Hammond Pauline & Peter Handford Dr Penny Herbert in memory of Dunstan Herbert Michael Hollingdale Helen Hollingshead John & Katrina Hopkins Sue Hovell Jim & Freda Irenic Lilian & Roger Jennings Anthony Kane & Jane Leahy-Kane Bill Kean Noelle & Anthony Keller AM Nelly Kleyn Stephanie & John Kobelke In memory of Eileen Hayes Irving Lane Paul Lee Meg Lewis Rosalind Lilley Teresa & Jemima Loveland Graham & Muriel Mahony Gregg & Sue Marshman Betty & Con Michael AO Mrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Hon Justice S R Moncrieff Valmae & Geoff Morris Val & Barry Neubecker Delys & Alan Newman Dr P J Noble John Overton Ron & Philippa Packer Michael & Lesley Page Athena Paton Rosemary Peek Adrian & Ruth Phelps Charmian Phillips in memory of Colin Craft Pamela Platt Andrew & Suzanne Poli Thomas & Diana Potter Alison & John Price Barry & Dot Price Dr Leon Prindiville Chester Reeve Joan Reyland John & Alison Rigg Ms Elizabeth Sachse & Dr Lance Risbey Leigh Robinson Nigel & Dr Heather Rogers Gerry & Maurice Rousset OAM Roger Sandercock Dr R & J Schwenger Margaret & Roger Seares Eve Shannon-Cullity Glenice Shephard Julian & Noreen Sher Laurel & Ross Smith PAI Smith & DA Harry Michael Snell & Vicki Stewart The Ambient Foundation Ruth Thomas Gavin Toovey & Jaehan Lee Mary Townsend James & Rosemary Trotter Dr Robert Turnbull Maggie Venerys Adrienne & Max Walters Diana Warnock Watering Concepts Ann Whyntie Ian Williams AO & Jean Williams Jim & Gill Williams Margaret Wilson Judith Wilton & David Turner Hilary & Peter Winterton AM Anonymous (26) Tutti Patron Gifts $500 - $999 Geoff & Joan Airey Ian Apps Catherine Bagster Merle I Bardwell Bernard & Jackie Barnwell Shirley Barraclough Mrs Berwine Barrett-Lennard Colin Beckett Pamela M Bennet Michael & Nadia Berkeley-Hill John & Sue Bird in memory of Penny Bird Dermot & Jennifer Blackweir Susy Bogle Elaine Bonds Diane & Ron Bowyer Lucia Buralli Ann Butcher & Dean R Kubank Michelle Candy Nanette Carnachan Claire Chambers & Dr Andrea Shoebridge Fred & Angela Chaney Dr Sarah Cherian Dr Anne Chester Lyn & Harvey Coates AO Agatha & Alex Cohen AO Helen Cook Brian Cresswell Gina & Neil Davidson Professor Wayne Iwan Lee Davies FRSB Jop & Hanneke Delfos Judy Dolan Rai & Erika Dolinschek Simon & Pamela Douglas Mrs G Ewen Joan Gagliardi Jennifer & Stephen Gardiner George Gavranic Elaine Gimson Isobel Glencross Alan Harvey & Dr Paulien de Boer Eric & Elizabeth Heenan John and Sue Huan Julie, Christopher, Rosemary & Bronwyn Hudson Mr John Hylton-Davies JP, VJ Peter Ingram Cynthia Jee Peter S Jones Warren & Emi Jones B M Kent Dorothy Kingston

27 Ulrich & Gloria Kunzmann John Kusinski & Annie Motherway Trevor & Ane Marie Lacy Louis & Miriam Landau Martin & Ruth Levit Megan Lowe Mary Ellen in memory of Kerensa Geoff Massey Jennifer & Arthur McComb James Meneghello & Mabel Chew S B Monger-Hay André & Barbara Morkel Dr Peter Moss Phuong Nguyen Marianne Nilsson Dr Walter Ong & Graeme Marshall Marjan Oxley Graham & Hildegarde Pennefather Bev Penny Alpha & Richard Pilpel OAM Ann Rawlinson Clarissa Repton James & Nicola Ridsdill-Smith Chris & Serge Rtshiladze Carole Sexton The Sherwood Family Paul & Margaret Skerritt Hendrik Smit Dr L Sparrow & Family Peggy & Tom Stacy Eleanor Steinhardt In Memoriam of Mr Andrew David Stewart Lisa & Andrew Telford Ruth E Thorn Patricia Turner S R Vogt Anne Watson Joy Wearne Patricia Weston Dr Chris & Mrs Vimala Whitaker B M Wilcox Geoff Wilkinson Violette William Janet Williams Dr Robyn Yeo & Ms Cyn Johnson Chris Ziatis Anonymous (23) Friend Gifts $40 - $499 Thank you to all our Friends who support WASO through their gift 27

28 WEST AUSTRALIAN SYMPHONY ORCHESTRA PRINCIPAL CONDUCTOR Asher Fisch Partnered by Wesfarmers Arts CONDUCTOR LAUREATE Vladimir Verbitsky CHORUS DIRECTOR Christopher van Tuinen CHORUS VOCAL COACH Andrew Foote VIOLIN Laurence Jackson Concertmaster Graeme Norris Assoc Concertmaster Semra Lee-Smith Assistant Concertmaster Rebecca Glorie A/ 1st Violin Zak Rowntree 2nd Violin Kylie Liang Assoc 2nd Violin Sarah Blackman Fleur Challen Stephanie Dean Beth Hebert Christina Katsimbardis Ellie Lawrence Shaun Lee-Chen* Akiko Miyazawa Anna O Hagan Melanie Pearn Ken Peeler Graham Pyatt Louise Sandercock Jolanta Schenk Jane Serrangeli Jacek Slawomirski Kate Sullivan Bao Di Tang Cerys Tooby David Yeh VIOLA Alex Brogan Assoc Kierstan Arkleysmith Nik Babic Benjamin Caddy Alison Hall Rachael Kirk Allan McLean Helen Tuckey CELLO Rod McGrath Louise McKay Assoc Chair partnered by Penrhos College Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver* Fotis Skordas Tim South Xiao Le Wu DOUBLE BASS Andrew Sinclair* Joan Wright Assoc Louise Elaerts Christine Reitzenstein Andrew Tait Mark Tooby FLUTE Andrew Nicholson 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 BASSOON Jane Kircher-Lindner Chair partnered by Ron & Sue Wooller Adam Mikulicz Assoc CONTRABASSOON Chloe Turner HORN David Evans Sharn McIver Assoc Robert Gladstones 3rd Julia Brooke Francesco Lo Surdo 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 Brian Maloney Troy Greatz Assoc *Instruments used by these musicians are on loan from Janet Holmes à Court AC. HARP Sarah Bowman 28

29 BOARD OF DIRECTORS Janet Holmes à Court AC Chairman Anne Nolan Mark Coughlan Keith Kessell Barrie Lepley Deputy Chairman Paul Shannon Julian Sher Michael Utsler EXECUTIVE Craig Whitehead Chief Executive Rebecca Smith Executive Assistant Anthony Pickburn Executive Manager, Human Resources Narelle Coghill Human Resources Assistant Svetlana Williams Payroll Officer ARTISTIC PLANNING Evan Kennea Executive Manager, Artistic Planning Alan Tyrrell Program Manager Natalie De Biasi Program Coordinator Maya Kraj-Krajewski Artist Liaison/Chorus Administrator ORCHESTRAL MANAGEMENT Keith McGowan Executive Manager, Orchestral Management Jenna Boston Orchestral Operations Manager David Cotgreave Production & Technical Manager Alistair Cox Orchestral Manager Breanna Evangelista Orchestral Coordinator Wee Ming Khoo Music Librarian COMMUNITY ENGAGEMENT Cassandra Lake Executive Manager, Community Engagement Fiona Taylor Education Coordinator Lily Protter Community Engagement Assistant BUSINESS SERVICES Peter Freemantle Chief Financial Officer Andrew Chew Systems Administrator Alex Spartalis IT Support Angela Miller Accountant Sushila Bhudia Accounts Officer Renu Kara Accounts Assistant CORPORATE DEVELOPMENT Marina Woodhouse Executive Manager, Corporate Development Jamie Parkin Corporate Partnerships Manager Cliona Hayes Corporate Partnerships Coordinator Ginny Luff Corporate Partnerships & Events Coordinator MARKETING Kelli Carnachan Executive Manager, Marketing Nancy Hackett Marketing Manager Marc Missiaen Relationship Marketing Manager Luke Pownall Public Relations Manager Kirsty Chisholm Marketing Coordinator Zoe Lawrence Marketing Officer Lily Protter Marketing Assistant PHILANTHROPY Alecia Benzie Executive Manager, Philanthropy Jane Clare Fundraising & Philanthropy Manager Sarah Tompkin Planned Giving Manager Megan Lo Surdo Philanthropy & Events Coordinator PERTH CONCERT HALL Brendon Ellmer General Manager Lorraine Rice Deputy General Manager Brad Matthews Operations Manager Penelope Briffa Events Manager Paul Richardson Presentations Coordinator Bruce Gaw Maintenance Officer Nancy Hackett Marketing Manager Ryan Sandilands Marketing Assistant Sarah Salleo Reception & Administration Josie Aitchison Tim Chandler Vanessa Woolley Ticketing Client Account Managers Eleanor Aitchison Alana Arnold Cheryl Butler Leticia Cannell Mary-Louise Carbone Wendy Cooper Helen Gortmans Emily Kennedy Talei Louie Rebekah Ryan Kaitlin Tinker Beverley Trolio Customer Service and Sales Representatives 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 29

30 2016 CORPORATE PARTNERS We encourage you to support these partners for generously supporting your Orchestra PARTNER OF EXCELLENCE PLATINUM PARTNERS SYMPHONY PARTNER CONCERTO PARTNER OVERTURE PARTNERS SONATA PARTNERS KEYNOTE PARTNERS ORCHESTRA SUPPORTERS 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. To share in our vision and discuss the many opportunities available through corporate partnerships please contact Corporate Development on

31 Photo: Caitlin Worthington Design: BronWYnrogers.CoM WesF1341

32 ALCOHOL.THINK AGAIN MASTERS SERIES Asher Fisch & WASO Baiba Skride Mozart PL AYS The elegant lyricism of Mozart and Brahms re-imagined. SCHOENBERG Verklärte Nacht (Transfigured Night) MOZART Violin Concerto No.4 BRAHMS orch. SCHOENBERG Piano Quartet No.1 Asher Fisch conductor Baiba Skride violin BOOK NOW Tickets from $30 * FRI 26 & SAT 27 AUGUST 7.30PM Perth Concert Hall Call or visit waso.com.au Asher Fisch appears courtesy of Wesfarmers Arts. Baiba Skride appears courtesy of Japan Australia LNG (MIMI) Pty Ltd. Part of City of Perth Winter Arts Festival *A one-off handling fee of $5.50 per transaction applies to all purchases. An additional fee of $4.40 per transaction applies for delivery via Registered Post.