Mahler s Titan PROGRAM. MORNING SYMPHONY SERIES Thursday 19 November 11am

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1 PROGRAM MORNING SYMPHONY SERIES Thursday 19 November 11am ALCOHOL.THINK AGAIN MASTERS SERIES Friday 20 & Saturday 21 November 7.30pm Perth Concert Hall Mahler s Titan

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3 3 WELCOME This weekend we are delighted to bring together again our Conductor Asher Fisch and pianist Ingrid Fliter. They last worked together in Perth in 2013 and have developed a wonderful artistic rapport. We are also delighted to welcome Trombone, Liu Shuchang and Tutti Horn, Jiang Feng from the China Philharmonic Orchestra in Beijing who will be performing with WASO as part of our ongoing cultural exchange program. Beethoven s First Piano Concerto (well, actually his Second, this one was just published first) is his most classical and conventional - his musical language and style still bearing the hallmarks of his predecessors Haydn and Mozart. His development sections, however, reveal a composer of great imagination who is eager to push stylistic norms and accepted boundaries. This concerto, with its classical poise, moments of mystery and good humour is a wonderful vehicle for Ingrid Filter s crystalline touch and exquisite musicianship. A symphony should be like the world, Mahler told Jean Sibelius in It must contain everything. Even with this First Symphony, Mahler seems to be expressing a whole world s worth of emotion. The breathtaking opening reveals a sense of almost primal awakening, a coming into consciousness and an expression of love and nature that few other composers have captured. Mahler conducted the premiere of his First Symphony in 1889, but to a very mixed reception. In response to the bad reviews it received, Mahler heavily revised the work and completely omitted the original second movement Blumine. However, this weekend Maestro Fisch has decided to include this beautiful serenadelike movement as a stand alone work to open our evening concerts. Beethoven and Mahler may have been in their green years when these works were written, but even in the relatively early stages of their careers there was no sign of inexperience or lack of confidence. I hope you enjoy your journey through these two firsts by two musical titans. Alan Tyrrell Program Manager

4 4 MORNING SYMPHONY SERIES MAHLER S TITAN MAHLER Symphony No.1 (56 mins) Langsam, schleppend Im Anfang sehr gemächlich (Slow, dragging Very comfortably) Kräftig bewegt, doch nicht zu schnell (Forcefully, yet not too fast) Feierlich und gemessen, ohne zu schleppen (Solemn and measured, without dragging) Stürmisch bewegt (Stormily) Asher Fisch conductor Asher Fisch appears courtesy of Wesfarmers Arts Pre-concert Talk Find out more about the music in the concert with this week s speaker Phil Robertson. The pre-concert talk takes place at 9.40am in the auditorium on Thursday morning. The Pre-concert Talk is supported by Wesfarmers Arts

5 5 ALCOHOL.THINK AGAIN MASTERS SERIES BEETHOVEN & MAHLER MAHLER Blumine (7 mins) BEETHOVEN Piano Concerto No.1 (37 mins) Allegro con brio Largo Rondo (Allegro) Interval (25 mins) MAHLER Symphony No.1 (56 mins) Langsam, schleppend Im Anfang sehr gemächlich (Slow, dragging Very comfortably) Kräftig bewegt, doch nicht zu schnell (Forcefully, yet not too fast) Feierlich und gemessen, ohne zu schleppen (Solemn and measured, without dragging) Stürmisch bewegt (Stormily) Asher Fisch conductor Ingrid Fliter piano Asher Fisch appears courtesy of Wesfarmers Arts Ingrid Fliter appears courtesy of Singapore Airlines Pre-concert Talks Find out more about the music in the concert with this week s speaker, Phil Robertson. Pre-concert talks take place at 6.45pm in the Terrace Level Foyer. The Pre-concert Talks are supported by Wesfarmers Arts

6 UPCOMING CONCERTS Photo: James Campbell MACA LIMITED CLASSICS SERIES RAVEL S BOLERO Thu 26, Fri 27 & Sat 28 November 7.30pm Perth Concert Hall Ravel s mesmerising Bolero features in this dazzling Spanish-inspired program led by Conductor Asher Fisch. Be swept away by the infectious rhythms and sultry melodies of Spain in this intoxicating concert. TURINA Danzas fantásticas RAVEL Alborada del gracioso VILLA-LOBOS Chôros No.10 Rasga o coração FALLA Nights in the Gardens of Spain RAVEL Bolero Asher Fisch conductor (pictured) Ingrid Fliter piano WASO Chorus Asher Fisch appears courtesy of Wesfarmers Arts Ingrid Fliter appears courtesy of Singapore Airlines TICKETS FROM $50* EY PRESENTS James Morrison & WASO A Journey Through Jazz Thurs 3 & Fri 4 December 8pm Perth Concert Hall WASO, talented young vocalist Hetty Kate and Australia s favourite trumpet player, James Morrison perform the greatest jazz hits made famous by Louis Armstrong, Ella Fitzgerald, Benny Goodman, Duke Ellington and many more. Benjamin Northey conductor James Morrison trumpet (pictured) Hetty Kate vocals TICKETS FROM $30* CITY OF PERTH Symphony in the City Sat 12 December 7.30pm Langley Park, Perth This spectacular free outdoor concert will feature classical and movie favourites performed by the Orchestra and WASO Chorus led by Conductor Asher Fisch. Asher Fisch conductor Stephen Curry presenter Asher Fisch appears courtesy of Wesfarmers Arts FREE EVENT Andrew Nicholson flute Andrew Sinclair double bass WASO Chorus BOOK NOW CALL VISIT WASO.COM.AU OR TICKETEK.COM.AU *Transaction fees may apply.

7 7 WASO IN THE COMMUNITY Harmony Music visit to Koorana Educational Support Centre WASO musicians visited Koorana Education Support Centre, as part of our Harmony Music program. Musicians introduced students to a variety of classical music including Orlando Gibbons The Silver Swan and Pastorale from Handel s Messiah. The Paperbag Princess story came to life, with moments being played on the violin, to create an atmosphere of Princes and fire breathing dragons. A highlight was the interactive nature of the visit - students had a go playing nursery rhymes on studentsized instruments and drew how the music made them feel. The visit received wonderful feedback from their teacher: The students thoroughly enjoyed having the musicians from WASO come and perform at their school. It is wonderful to see the musicians share their enthusiasm as they lead the students through a journey of classical pieces. it is enjoyable to see our students being mesmerized by the sounds and their infectious smiles. Harmony Music is supported by Mitsubishi Corporation This Harmony Music visit was kindly supported by Patron Robyn Glindemann WASO on the Road The Sound of Picture Books WASO on the Road travelled to Geraldton at the end of September for a week of amazing performances. WASO partnered with The Literature Centre to present The Sound of Picture Books to over 2,300 children and community members. The 50-minute workshop brought story books to life through a journey of sound, imagery and words. Matt Ottley s (illustrator/composer) original score was performed by a WASO string quintet and Yamaha pianist Alf Demasi, while author Danny Parker narrated his text as Matt s beautiful illustrations were projected on a large screen. In addition to these school performances, the WASO quintet also performed a very special concert at Nazareth House nursing home, and performed a surprise pop up concert at the local Dome café. While we would like to thank everyone for their support and engagement, a very special thank you goes to Geraldton Grammar School our wonderful hosts for the week. WASO on the Road - Geraldton was supported by Creative Partnerships +1, Water Corporation, Yamaha and Double the Fun campaign donors

8 8 YOUR WASO EXPERIENCE PLEASE SHARE OR DOWNLOAD Help us to be environmentally responsible by sharing your printed programs. You can also read WASO s programs on your computer or mobile device by visiting waso.com.au WHEN TO APPLAUD Musicians love applause. As a guide, audience members normally applaud: When the conductor or soloist walks onto the stage After the completion of each piece and at the end of the performance WHEN YOU NEED TO COUGH Please try to muffle your cough in a handkerchief during a louder section of the music. Cough lozenges are available from the WASO Customer Service Desk before each performance and at the interval. HEARING AIDS Please note that incorrectly adjusted hearing aids may disturb other patrons. TOILETS Male and female toilets are located on each of the four foyer levels of Perth Concert Hall. The largest number of toilets are available on the ground floor of the venue, with further toilets on the Terrace Level, Lower Gallery and Upper Gallery levels. A universal accessible toilet is available on the ground floor of the venue. FIRST AID There are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance. FEEDBACK 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. 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. WASO ON 720 ABC PERTH Tune in to 720 ABC Perth on Friday mornings when Prue Ashurst joins Eoin Cameron to provide the latest on classical music and WASO s upcoming concerts. WASO ON ABC CLASSIC FM This performance is being recorded for delayed broadcast on ABC Classic FM. For further details visit abc.net.au/classic

9 9 PERTH CONCERT HALL WASO Box Office now at Perth Concert Hall On 9 November 2015, the WASO Customer Service and Box Office team moved from their Hay Street office to WASO s performance home, Perth Concert Hall. Now you are able to purchase your WASO tickets and tickets to any other events and performances at Perth Concert Hall from the box office at Perth Concert Hall. The box office will operate Monday to Friday, 9am to 5pm and 90 minutes prior to performances in the Ground Floor (Level 1) Foyer. You are able to purchase concert tickets, subscriptions, exchange tickets, book Patrons & Friends events and make donations at the new WASO Box Office location at Perth Concert Hall. The contact phone number has not changed: WASO s friendly customer service team will continue to take your WASO bookings over the phone on (08) , or you can book directly on the WASO website at waso.com.au. If you wish to book tickets to non-waso events at Perth Concert Hall, please call the box office on (08) , or book on the Perth Concert Hall website perthconcerthall.com.au. Due to the larger volume of concert sales that the new, combined WASO and Perth Concert Hall box office team will handle, the team has also expanded. Led by Customer Relations and Operations Manager Simon Keen, the team includes Ticketing Client Account Managers Josie Aitchison and Vanessa Woolley, Customer Service Supervisors Christina Ballico and Julie Wood, and Customer Service and Sales Representatives Alana Arnold, Leticia Cannell, Margaret Daws, Helen Gortmans, Talei Louie, Vicki Prince, Krista Tanuwibawa, Bev Trolio, Emily Wallis and Robyn Westbrook. Please stop by and say hi to the team in their new home! Limited number of car parking bays available for lease! There are a very limited number of car parking bays available for lease in Perth Concert Hall s secure car park (access via St Georges Terrace) at a cost of $360 ex GST per month. The bays are accessible Monday-Friday 6am to 6pm. Please contact Deputy General Manager Lorraine Rice on ricel@perthconcerthall.com.au for more information. CONNECT WITH PERTH CONCERT HALL Join us on Facebook facebook.com/perthconcerthallwa Follow us on Twitter twitter.com/perthconcerthal Tag your photos #perthconcerthall instagram.com/perthconcerthall Visit perthconcerthall.com.au

10 10 ABOUT THE ARTISTS Asher Fisch Conductor Asher Fisch s first season with the WASO included a range of classical repertoire, as well as a West Australian first; Beethoven s nine symphonies performed over two weekends. A seasoned conductor in both the operatic and symphonic worlds, he is known best for his interpretative command of German and Italian repertoire of the Romantic and post-romantic era, in particular Wagner, Brahms, Strauss and Verdi. He is currently Guest Conductor of the Seattle Opera, where he conducted its quadrennial Wagner Ring cycle in 2013, and his former posts include Music Director of the New Israeli Opera ( ) and the Vienna Volksoper ( ). He first worked with WASO in He has long maintained strong ties to the Bavarian State Opera, and in the season conducted a new production by Martin Kušej of The Force of Destiny, plus revival performances of Parsifal, Salome, Ariadne auf Naxos, La bohème and Turandot. Other highlights of the season included concerts with the Munich Philharmonic; Stuttgart Radio Symphony Orchestra; National Orchestra of Belgium; Aarhus Symphony Orchestra (Denmark); a tour in Italy with the Orchestra della Toscana; and a visit to the Melbourne Festival in October 2013, where he conducted an all-wagner program with the Melbourne Symphony Orchestra. He conducted the State Opera of South Australia s Wagner Ring cycle in 2005, which won ten Helpmann Awards. Asher Fisch began his conducting career as Daniel Barenboim s assistant and kapellmeister at the Berlin State Opera. He is an accomplished pianist and released his first solo disc of Wagner piano transcriptions in Asher Fisch appears courtesy of Wesfarmers Arts Photo: Chris Gonz

11 11 Ingrid Fliter Piano Ingrid Fliter has established a reputation as one of the preeminent interpreters of Chopin; her two all-chopin albums on EMI Classics were named Editor s Choice in Gramophone and Classic FM magazines. Her engagements in the season includes performances with the Amsterdam Sinfonietta; Royal Philharmonic Orchestra; Hungarian National Philharmonic Orchestra; Copenhagen Philharmonic Orchestra; Malmö Symphony Orchestra; Basque National Orchestra; and recitals in London at the Southbank Centre s International Piano Series. She previously appeared with the West Australian Symphony Orchestra in 2013, performing Chopin s Piano Concerto No.2. Born in Buenos Aires, Ingrid Fliter studied in Argentina with Elizabeth Westerkamp and in Europe with Vitaly Margulis, Carlo Bruno, Franco Scala and Boris Petrushansky. She has also worked with and been mentored by Zoltán Kocsis, Louis Lortie, Alexander Lonquich and Alfred Brendel. In 2006 she was awarded the Gilmore Artist Award, one of only a handful of pianists to have received this honour. Ingrid Fliter appears courtesy of Singapore Airlines

12 12 ALCOHOL.THINK AGAIN MASTERS SERIES 8 CONCERTS ASHER FISCH THE PLANETS BEHZOD ABDURAIMOV THE RITE OF SPRING STUART SKELTON MAHLER S RESURRECTION JEAN-YVES THIBAUDET SIMONE YOUNG GET THE BEST SEATS & SAVE 20% SUBSCRIBE NOW CALL VISIT waso.com.au Asher Fisch appears courtesy of Wesfarmers Arts

13 13 WASO ON STAGE TODAY VIOLIN Wilma Smith Guest Concertmaster Graeme Norris Assoc Concertmaster Semra Lee-Smith Assistant Concertmaster Ji Won Kim 1st Violin Zak Rowntree* 2nd Violin Akiko Miyazawa Assoc 2nd Violin Kylie Liang Assistant 2nd Violin Rachael Aquilina^ Sarah Blackman Fleur Challen Stephanie Dean Sara Duhig John Ford^ Rebecca Glorie Beth Hebert Jane Johnston^ Sunmi Jung^ Christina Katsimbardis Ellie Lawrence Melanie Pearn Elena Phatak Graham Pyatt Louise Sandercock Jolanta Schenk Jane Serrangeli Jacek Slawomirski Bao Di Tang Cerys Tooby David Yeh VIOLA Caleb Wright Alex Brogan Kierstan Arkleysmith Nik Babic Benjamin Caddy Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey Aaron Wyatt^ CELLO Rod McGrath Louise McKay Chair partnered by Penrhos College Jessica Brittain^ Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Anna Sarcich^ Fotis Skordas Tim South DOUBLE BASS Andrew Sinclair* Joan Wright Elizabeth Browning^ Louise Elaerts Christine Reitzenstein Andrew Tait Mark Tooby FLUTE Andrew Nicholson Chair partnered by Quadrant Energy Mary-Anne Blades Georgia Lane^ PICCOLO Michael Waye OBOE Peter Facer Elizabeth Chee Stephanie Nicholls^ COR ANGLAIS Leanne Glover CLARINET Allan Meyer Catherine Cahill^ Lorna Cook BASS CLARINET Alexander Millier BASSOON Jane Kircher-Lindner Chair partnered by Sue & Ron Wooller Adam Mikulicz *Instruments used by these musicians are on loan from Janet Holmes à Court AC. CONTRABASSOON Chloe Turner HORN David Evans Sharn McIver Robert Gladstones 3rd Julia Brooke Doree Dixon^ Feng Jiang^^ Geoff Lierse^ Francesco Lo Surdo TRUMPET Brent Grapes Chair partnered by ConocoPhillips Evan Cromie Mark Bain^ Brody Linke^ Peter Miller TROMBONE Joshua Davis Liam O Malley Shuchang Liu^^ BASS TROMBONE Philip Holdsworth TUBA Cameron Brook TIMPANI Alex Timcke PERCUSSION Kirk Etheridge Guest Troy Greatz A/ Percussion Joel Bass^ Paul Tanner^ HARP Sarah Bowman Associate Guest Musician^ Guest Musician from China Philharmonic Orchestra^^

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15 15 ABOUT THE MUSIC Gustav Mahler ( ) Blumine: Symphonic movement (originally Andante from Symphony No.1) Mahler s decision to call his First Symphony a Symphonic Poem in Two Parts immediately signalled that this was not absolute music but had some literary pretensions. After the first performance in Budapest in 1889, friends persuaded Mahler to give the work a program to make it easier to understand ; in its second and third performances he gave the movements explicit titles, and nicknamed the symphony Titan in reference to a novel by Jean-Paul Richter. The fivemovement work thus became a narrative of Endless Spring, Blumine (with a sense of flowering ) and In full sail, and, in the second part (Commedia humana), Funeral March and Dall inferno. It thus conformed to a notion of the work as the story of a Romantic hero, whom we can identify with Mahler himself. Blumine, the original second movement, was discarded by Mahler after its third performance. The symphony as a whole contains much recycled material, and Blumine appears to have been lifted from some incidental music that Mahler had written in 1884 for Scheffel s play The Trumpeter of Säkkingen. The trumpet melody seems to represent the play s hero, Werner, serenading his beloved Margareta from across the Rhine. One Budapest critic instinctively noted that in the alternation of trumpet and oboe it is not hard to recognise the lovers exchanging their tender feelings in the silence of night. Conductor Bruno Walter recounts how he saved the score of Blumine when Mahler was burning a lot of old manuscripts, but it remained unperformed for 70 years until Benjamin Britten conducted it in 1967 with the New Philharmonia Orchestra. Why Mahler chose to discard it is a mystery. It may be that in the context of the work s overall mood - which is frequently ironic and angst-ridden - Blumine is simply too beautiful. Abridged from Gordon Kerry Symphony Australia 2002

16 16 ABOUT THE MUSIC Ludwig van Beethoven ( ) Piano Concerto No.1 in C, Op.15 Allegro con brio Largo Rondo (Allegro) When Beethoven first performed this concerto in Prague in 1798, it had a demoralising effect on his peers. Beethoven s magnificent playing and particularly daring flights of his improvisation moved me strangely, the Czech pianist and composer Václav Jan Tomášek wrote subsequently. Indeed I felt so humbled that I did not touch my own piano for several days afterwards. Given an impact like that, together with the fact that Beethoven himself thought highly enough of the concerto to write out three different cadenzas for it, it s surprising that he described it to a publisher as not one of my best compositions of that type. (He d said a similar thing about his first concerto, now known as No.2. Evidently the young Beethoven had a lot to learn about stimulating a publisher s interest and negotiating a fee!) In any case, despite having been composed after the B flat concerto, this C major work was the first to be published and hence bears the title of No.1. In fact Beethoven had performed both of his first two concertos on that visit to Prague in 1798, playing this one on the first night and No.2 on the second. This C major concerto calls for a slightly larger orchestra than its predecessor, employing clarinets, trumpets and timpani, and while they are used quite sparingly, they bring with them a greater expressive range within the orchestra. Where the opening movement of the B flat work uses up to nine themes, here in the opening to the C major work this is reduced to a rather more manageable four. Again there is a lengthy orchestral ritornello. Indeed we hear the second subject, in the comparatively distant key of E flat, before the soloist enters. When at last we do hear the piano, it s with an entirely new idea which makes only a fleeting appearance in the concerto as a whole.

17 17 This opening movement is laid out on a grand scale and calls for extreme virtuosity from the soloist. It s in movements like this that we gain some idea of just what a good pianist Beethoven himself must have been. It and the Largo which follows were singled out for particular praise when the work was reviewed in the Allgemeine musikalische Zeitung in The Largo moves into the key of A flat with a glorious melody which generates great richness of tone throughout the orchestra. There is an inherently poetic feeling in the rapt stillness of this movement and it s filled with subtle lyrical invention, ending with a coda in which the piano weaves in and out of the clarinets. Then Beethoven repeats the formula not only of his Second Concerto but also of those of Mozart in finishing with a boisterous Rondo. Its scherzando nature is characterised by an almost vulgar main theme on piano and then a series of folk-like dance episodes, as if the listener is transported into some local holiday celebration. Martin Buzacott There is uncertainty over exactly when the Piano Concerto No.1 was first performed. It is generally held that Beethoven premiered it on a visit to Prague in 1798 when it was programmed in the first of two concerts he gave in the Konviktsaal. However some reports suggest that Beethoven could have performed it as early as March 1795 at the Burgtheater, during the first concert he gave as a composer-virtuoso in Vienna. The West Australian Symphony Orchestra first performed it on 26 August 1941 with pianist Trixie Shephard and conductor Clive Douglas. WASO last performed this work on 22 March, 2003, performed by Michael Roll and conducted by Tuomas Ollila. YOU MAY ALSO ENJOY BEETHOVEN Piano Concerto No.3 featured in Heroic Beethoven Fri 29 & Sat 30 July 2016 Glossary Cadenza A virtuoso passage by a solo instrument, usually towards the end of a concerto movement. Originally, cadenzas were improvised by the soloist to show off their brilliant technique. Ritornello A passage for full orchestra, often with a distinctive dance-like rhythm, which recurs, interleaving with passages for the soloist or a small group of solo instruments. Coda A concluding section added to the basic structure of a piece or movement to emphasise the sense of finality.

18 18 ABOUT THE MUSIC Gustav Mahler ( ) Symphony No.1 in D Langsam, schleppend Im Anfang sehr gemächlich (Slow, dragging Very comfortably) Kräftig bewegt, doch nicht zu schnell (Forcefully, yet not too fast) Feierlich und gemessen, ohne zu schleppen (Solemn and measured, without dragging) Stürmisch bewegt (Stormily) Drawing on music written some years earlier, Mahler composed the bulk of his First Symphony in just six weeks in 1888 whilst juggling the conducting of opera rehearsals and performances at the Leipzig City Theatre. By contemporary standards, the completed symphony was massive: employing a large orchestra, it was nearly an hour long and in five movements. Mahler conducted the premiere the following year in Budapest, heading it A Symphonic Poem in Two Sections and including a detailed program. The Hungarian audience was divided, with some hailing it as a masterpiece, but with the majority of the public being mystified, or worse, offended. In response, Mahler locked his manuscript away, only returning to it in As a whole, everything has become more slender and transparent, he wrote to Richard Strauss about the revision, successfully performed in Hamburg in Strauss himself programmed it in Weimar, but there, wrote Mahler, it was received with furious opposition by some and wholehearted approval by others. One of the major criticisms was that the program of the symphony, adapted from Jean Paul Richter s novel Titan, was confused and unintelligible. Mahler himself said that he had in mind only a generalised concept of a powerfully heroic individual, his life and suffering, struggles and defeat at the hands of Fate. As he would do in subsequent symphonies, Mahler took the criticism to heart and when the next performance occurred in 1896, it bore no program and was labelled simply Symphony in D major. The original second movement, Blumine, was dropped, turning it into the four-movement work familiar today, but even then the symphony failed to capture the imagination of its audience. For years afterwards Mahler lamented the work s cold effect on the listener. And yet for all the apparent coldness which its first audiences attributed to it, Mahler himself loved this symphony and it has now become one of his most popular. Even today, the originality of its conception can be striking. Right from the outset, the score gives a clear indication of the work s intentions. Over a suspended note, the composer writes the direction Like a sound of nature and soon we hear a cuckoo s call which will permeate the movement as a whole.

19 19 As the original program stated, it s intended to depict Spring without end the awakening of nature in the early morning. It need hardly be stated how revolutionary this natural approach to composition would have sounded back in But this was a naturalistic revolution which was sweeping not just music but theatre and literature at the time. Mahler adapted the aesthetic to music, and in doing so created a new kind of symphonic form. In it, the inconsistencies, the expansive structures, and the clash between the sublime and the facile that so characterise everyday existence found a musical form, as the tight classical structures of sonata form were exploded, quite literally, with instruments now going beyond the frame and playing offstage. Each of the work s four movements has its own take on this revolutionary aesthetic. In the now-customary second movement (played third tonight), it s Mahler s employment of the ländler not the refined waltz that we have come to expect but a much cruder and more authentic kind of peasant dance. The slow movement is the first of Mahler s famous funeral marches, but set to a children s nursery tune Bruder Martin in German, Frère Jacques in French. Its inspiration was a woodcut entitled The Huntsman s Funeral Procession in which animals follow a dead man s coffin. Mahler s take on the children s illustration begins on a solo double bass and is later interrupted by crude street music. It s the sound of everyday life, but with fantasy and grotesquerie thrown in for an intensely unsettling effect. And then there is one of the most famous transitions in all Mahler, with the Funeral March giving way to the shocking, shrieking, almost despairing final movement. But this ends in triumph, with the radiant key of D major gradually taking over for a conclusion of deep beauty and emotion. Abridged from a note by Martin Buzacott 2003 The West Australian Symphony Orchestra first performed the four-movement version of Mahler s First Symphony in 1966 under the direction of Thomas Mayer, WASO last performed this work on 19 September 2009, in the same program they performed Blumine as a stand-alone work conducted by Paul Daniel. YOU MAY ALSO ENJOY MAHLER Symphony No.2 Resurrection featured in Resurrection Fri 1 & Sat 2 April 2016 Glossary 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.

20 20 Fresh water thinking is music to our ears. Music has the power to inspire and unite us. So we are pleased to support WASO in spreading the joy of classical music to schools and communities across WA. Proudly supporting cultural events that connect communities.

21 MEET THE INSTRUMENT THE CELLO 21 The violoncello, commonly abbreviated as the cello, is the second largest member of the violin family. The modern cello is tuned in fifths, with C2 (two octaves below middle C) being its lowest string, followed by G, D, and A. Various special techniques are possible, including double stops (playing two notes at the same time), spiccato (allowing the bow to rebound off the strings), and vibrato (a small pulsation in pitch created by a rocking motion in the left hand). The early history of the cello is difficult to trace, since it was made in a variety of sizes and known by many different names, but the earliest known evidence of its existence dates back to the mid-16th century. Early performers played with the cello resting directly on the floor or by supporting it solely with the legs. The endpin was adopted nearly universally by the late 19th century as a means to support the instrument and provide cellists with greater comfort. Originally the strings were made of sheep gut, but by the early 18th century these started to be replaced by wire-wound string, allowing for greater volume of sound and better intonation. Around the same time, Stradivari had established a body length of cm, which has served as the standard ever since. The expressive capabilities of the cello have been frequently used in both ensemble and solo settings. Pablo Casals ( ) is widely credited for making J.S. Bach s Cello Suites a part of the regular repertory. Other favourite works for the cello include Schumann s Concerto in A minor, Saint-Saëns Concerto No.1 in A minor, Rachmaninov s Sonata for Cello and Piano in G minor and Elgar s Concerto for Cello in E minor. Symphony Services International The pitches of the open strings on a cello: C G D A Scroll 2. Tuning pegs 3. Fingerboard 4. Strings 5. Bridge 6. F-holes 7. Finetuners 8. Tailpiece 9. Endpin 10. Bow 9 10

22 22 MEET THE MUSICIAN FAREWELL KATHIE Kathie Drake Viola Tonight we farewell one of WASO s kindest and most talented musicians as Kathie Drake retires after an incredible career. Kathie has brought so much happiness to the Orchestra and especially to the viola section. We wish Kathie a very happy retirement. When and where did your musical journey begin? I think my musical journey began before I was born, as my Dad played clarinet and saxophone in dance bands for many years before he was married, my Mum was a very good amateur pianist and my older sister is an amazing pianist, so there was always music. I started the violin aged 7 and I remember my first orchestral experience was playing the New World Symphony with the Victorian Junior Symphony Orchestra when I was 13. Do you have a most memorable concert? Over the WASO years there have been some standout performances: The St John Passion many years ago in which the wonderful Peter Schreier conducted the whole thing, sang the Evangelist spinechillingly brilliantly and at the last minute also sang the tenor arias was an amazing musical experience for me. Frank Peter Zimmermann playing the Beethoven Violin Concerto sublimely, Lyn Harrell performing the Elgar Cello Concerto with such deep power, Simone Young s Turangalîla-symphonie was a revelation and our Beethoven Festival last year with Asher Fisch was quite an adrenaline rush. Perhaps my most memorable concert was when I was playing in the Zurich Chamber Orchestra and my hero, Martha Argerich played two Beethoven piano concertos with us at the Menuhin Festival in Gstaad. It was thrilling music making. What is the best thing about being a musician in WASO? Hmm The baking roster for every pit season? The wide range of repertoire that WASO plays, including opera, which I love? Really, I have to say the fantastic colleagues with whom I ve been privileged to make music with. And particularly, I am so happy to have shared my playing with the dedicated, amusingly idiosyncratic and totally lovable members of the viola section. With your new-found freedom, what are your grand plans? Well, I start the Cambridge course to teach English as a second language in February and I want to help migrants here. Maybe, if I really love it, I ll go to some other country for a while and teach there. I can also enroll in language courses and not miss half the lessons because of our changing schedule. My partner Dave and I will be taking off in our 4WD ute more often to explore this fabulous country of ours: next year for two months we ll be in the Kimberley which we both love. I hope to get to many more of the theatre performances Perth has to offer: even if I come to WASO concerts regularly, I ll still have so many free nights!

23 23 WASO PHILANTHROPY Philanthropy Partner HOW MANY PEOPLE DOES IT TAKE TO MAKE WASO S CONCERT RAVEL S BOLERO HAPPEN? 1 Conductor 2 Chorus Directors 1 Chorus Accompanist 42 WASO Administration Staff 90 Orchestral Musicians 1 Soloist 19 Perth Concert Hall Front of House Staff Choristers Backstage Staff Removalists 2 6 St John s Ambulance Volunteers WASO Volunteers 13 2 Security Guards Perth Concert Hall Administration Staff Please consider joining a community that believes in WASO s vision & commitment to inspirational performances by making a donation. The musicians you see on stage tonight are one part of a community of people that make a WASO concert happen. In addition to our wonderful musicians and volunteer choristers, there are teams at Perth Concert Hall and in the WASO office that you might not see so often. The other group that makes it all possible is you! Your Orchestra would be a very different one without ongoing support through donations. When we say we couldn t do it without you, we really do mean it and we invite you, our WASO community, to continue on our musical journey with us. If you wish to make a donation to support the Orchestra please complete and return the form in your concert program, contact Jane Clare on or janec@waso.com.au, or go to waso.com.au. You can also make a donation at the Box Office or with your ticket purchases. All donations over $2 are fully tax deductible.

24 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 Anita & James Clayton Judith Gedero Wolfgang Lehmkuhl Tosi Nottage in memory of Edgar Nottage Nigel & Dr Heather Rogers Judy Sienkiewicz Gavin Toovey & Jaehan Lee Sheila Wileman Anonymous (17) Estates WASO is extremely grateful for bequests received from Estates Mrs Roslyn Warrick Rachel Mabel Chapman Endowment Fund for the Orchestra This fund includes major donations and bequests Tom & Jean Arkley Janet Holmes à Court AC Sagitte Yom-Tov Fund Excellence Circle Supporting excellence across all we do Jean Arkley Bob & Gay Branchi Janet Holmes à Court AC Torsten and Mona Ketelsen Andrew Marsden Mike 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 Anonymous (2) Reach Out Supporting our Education & Community Engagement programs Jean Arkley Prue Ashurst Creative Partnerships Australia Ron & Penny Crittall Ken Evans Feilman Foundation The James Galvin Foundation Robyn Glindemann Ken Johnson Barrie & Jude Lepley Mathie Family McCusker Charitable Foundation Minderoo Foundation Mrs Morrell Lynn Murray Joan Reyland John & Alison Rigg 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.

25 25 OUR SUPPORTERS 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 Gay & Bob Branchi Gavin Bunning Tony & Gwenyth Lennon Margaret & Rod Marston Joshua & Pamela Pitt Maestro Patron Gifts $5,000 - $9,999 John Albright & Susan Lorimer Jean Arkley in memory of Tom Arkley Bill Bloking Dr Roland & Therese Brand Gavin Bunning Ian & Elizabeth Constable Moira & John Dobson Tim & Lexie Elliott Bridget Faye AM Gilbert George Dr Patricia Kailis Keith & Gaye Kessell Dr Ronny Low & Dr Emma Richardson Bryant Macfie Robert May Jill Mulheron Paula & John Phillips Peter & Jean Stokes Richard Tarala & Lyn Beazley AO Trish Williams Strategic Interactions Sue & Ron Wooller Anonymous (5) Virtuoso Patron Gifts $2,500 - $4,999 Prof Fred & Mrs Margaret Affleck Neil Archibald & Alan R Dodge AM Peter & Marjorie Bird Alan & Anne Blanckensee Sally Burton Dr G Campbell-Evans Mark Coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda Savage Richard Farago Robyn Glindemann Annette & Vincent Goerke Jacoba Hohnen & Ted Samson Sylvia & Wally Hyams Mrs Morrell Jane & Jock Morrison Anne Nolan Tim Pavy & Cathy Cole Gail & Tony Sutherland Ros Thomson M & H Tuite Joyce Westrip OAM Alan Whitham Andrew & Marie Yuncken Anonymous (1) Patron Gifts $ $2,499 Ron & Sue Adams Caroline Allen & Sandy Dunn Prue Ashurst Margaret Atkins Tony & Mary Beeley David & Suzanne Biddles 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 Marilyn & Ian Burton Prof Jonathan Carapetis & Prof Sue Skull Peter & Sue Clifton Helen Cook Arthur & Nerina Coopes Hon June Craig AM Gay & John Cruickshank Lesley & Peter Davies Julian Dowse Bev East Lorraine Ellard Annette Finn Don & Marie Forrest Erich & Liz Fraunschiel Dr Andrew Gardner Roger & Ann Gillbanks Graham & Barbara Goulden Jannette Gray Sandra Gray Deidre Greenfeld David & Valerie Gulland

26 26 OUR SUPPORTERS Brian & Romola Haggerty Richard B Hammond Pauline & Peter Handford Warwick Hemsley & Melissa Parke Dr Penny Herbert in memory of Dunstan Herbert Michael & Liz 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 Michael & Dale Kitney Nelly Kleyn Stephanie & John Kobelke Irving Lane Paul Lee Meg Lewis Rosalind Lilley Teresa & Jemima Loveland Graham & Muriel Mahony Gregg & Sue Marshman Jennifer & Arthur McComb Betty & Con Michael AO Hon Justice S R Moncrieff Valmae & Geoff Morris Val & Barry Neubecker Delys & Alan Newman Dr Phillip & Mrs Erlene Noble John Overton Ron & Philippa Packer Michael & Lesley Page Athena Paton 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 Nigel & Dr Heather Rogers Maurice & Gerry Rousset Roger Sandercock Dr R & J Schwenger Margaret & Roger Seares Melanie & Paul Shannon Eve Shannon-Cullity Glenice Shephard Julian & Noreen Sher Laurel & Ross Smith Paul Smith Michael Snell & Vicki Stewart Anna Sweetingham Lisa & Andrew Telford The Ambient Foundation Ruth Thomas Gene Tilbrook Gavin Toovey & Jaehan Lee Mary Townsend James & Rosemary Trotter Dr Robert Turnbull Maggie Venerys Stan & Valerie Vicich Adrienne & Max Walters Watering Concepts Ian Watson Patricia Weston Ann Whyntie Jean & Ian Williams AO Jim & Gill Williams Margaret Wilson Judith Wilton & David Turner Hilary & Peter Winterton AM Anonymous (20) Tutti Patron Gifts $500 - $999 Geoff & Joan Airey Catherine Bagster Merle I Bardwell Bernard & Jackie Barnwell Shirley Barraclough Berwine Barrett-Lennard Colin Beckett Pamela M Bennet Michael & Nadia Berkeley-Hill John & Sue Bird in memory of Penny Bird Dermot & Jennifer Blackweir Elaine Bonds Diane & Ron Bowyer Elizabeth & James Brown Lucia Buralli Ann Butcher & Dean R Kubank Michelle Candy Nanette Carnachan Claire Chambers & Dr Andrea Shoebridge Fred & Angela Chaney Dr Anne Chester Lyn & Harvey Coates AO Agatha & Alex Cohen AO Brian Cresswell Gina & Neil Davidson Jop & Hanneke Delfos Rai & Erika Dolinschek Simon & Pamela Douglas Mrs G Ewen Joan Gagliardi George Gavranic Elaine Gimson Isobel Glencross Douglas M & Regina Hansen Alan Harvey & Dr Paulien de Boer Eric & Elizabeth Heenan John & Sue Huan Christopher, Julie & Rosemary Hudson Mr John Hylton-Davies JP, VJ

27 27 Peter Ingram Cynthia Jee Peter S Jones B M Kent Dorothy Kingston Ulrich & Gloria Kunzman John Kusinski & Annie Motherway Trevor & Ane Marie Lacy Louis & Miriam Landau Martin & Ruth Levit Megan Lowe Mary Ellen in memory of Kerensa Mrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith S B Monger-Hay Dr Peter Moss Marianne Nilsson Graham & Hildegarde Pennefather Bev Penny Alpha & Richard Pilpel OAM Ann Rawlinson Clarissa Repton James & Nicola Ridsdill-Smith Leigh Robinson Chris & Serge Rtshiladze Judith E Shaw The Sherwood Family Paul & Margaret Sherritt Hendrik Smit L Sparrow & Family Peggy & Tom Stacy Eleanor Steinhardt Ruth E Thorn Patricia Turner S R Vogt Diana Warnock Anne Watson Joy Wearne Dr & Mrs Chris Whitaker Violette William Janet Williams Dr Robyn Yeo Chris Ziatis Anonymous (20) Friends Gifts $40 - $499 Thank you to all our Friends who support WASO through their gift. UWA School of Music Proud Tertiary Education Partner of the West Australian Symphony Orchestra. Pursue impossible 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 UNIPRINT

28 28 WEST AUSTRALIAN SYMPHONY ORCHESTRA CONDUCTOR LAUREATE Vladimir Verbitsky PRINCIPAL CONDUCTOR Asher Fisch Partnered by Wesfarmers Arts ASSISTANT CONDUCTOR Christopher Dragon CHORUS DIRECTOR Christopher van Tuinen CHORUS VOCAL COACH Andrew Foote VIOLIN Graeme Norris Associate Concertmaster Semra Lee-Smith Assistant Concertmaster Zak Rowntree* 2nd Violin Akiko Miyazawa Assoc 2nd Violin Kylie Liang Assistant 2nd Violin Sarah Blackman Fleur Challen Shaun Lee-Chen* Stephanie Dean Rebecca Glorie Beth Hebert Anna O Hagan Ellie Lawrence Melanie Pearn Ken Peeler Graham Pyatt Louise Sandercock Jolanta Schenk Jane Serrangeli Jacek Slawomirski Bao Di Tang Cerys Tooby David Yeh VIOLA Caleb Wright Alex Brogan Assoc Kierstan Arkleysmith Nik Babic Katherine Drake 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 Christine Reitzenstein Louise Elaerts Andrew Tait Mark Tooby *Instruments used by these musicians are on loan from Janet Holmes à Court AC. FLUTE Andrew Nicholson Chair partnered by Quadrant Energy Mary-Anne Blades Assoc PICCOLO Michael Waye OBOE Peter Facer Liz 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 Horn Julia Brooke Francesco Lo Surdo TRUMPET Brent Grapes Chair partnered by ConocoPhillips 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 A/ HARP Sarah Bowman

29 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 PERTH CONCERT HALL Brendon Ellmer General Manager Lorraine Rice Deputy General Manager Brad Matthews Operations Coordinator Penelope Briffa Events Manager Bruce Gaw Maintenance Officer Nancy Hackett Marketing Manager Ryan Sandilands Marketing Assistant COMMUNITY ENGAGEMENT Cassandra Lake Executive Manager, Community Engagement Fiona Taylor Education Coordinator Lily Protter Community Engagement Assistant 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 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 Megan Lo Surdo Sarah Salleo Reception & Administration Simon Keen Customer Relations and Operations Manager Josie Aitchison Vanessa Woolley Ticketing Client Account Managers Christina Ballico Julie Wood Customer Service Supervisors Alana Arnold Leticia Cannell Margaret Daws Helen Gortmans PHILANTHROPY Alecia Benzie Executive Manager, Philanthropy Jane Clare Fundraising & Philanthropy Manager Megan Lo Surdo Philanthropy Coordinator CORPORATE DEVELOPMENT Marina Woodhouse Executive Manager, Corporate Development Cliona Hayes Corporate Partnerships Coordinator Ginny Luff Corporate Partnerships & Events Coordinator MARKETING Kelli Carnachan Executive Manager, Marketing Kirsty Chisholm Marketing Coordinator Nancy Hackett Marketing Manager Gina Beers Graphic Designer Marc Missiaen Relationship Marketing Manager Luke Pownall Public Relations Manager Zoe Lawrence Marketing Officer Lily Protter Marketing Assistant Rebekah Ryan Outbound Sales Team Leader Talei Louie Vicki Prince Krista Tanuwibawa Beverley Trolio Emily Wallis Robyn Westbrook Customer Service and Sales Representatives perthconcerthall.com.au Reception: Box Office: 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

30 CORPORATE PARTNERS We encourage you to support these partners for generously supporting your Orchestra PARTNERS OF EXCELLENCE PLATINUM PARTNERS CONCERTO PARTNERS 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 MACA LIMITED CLASSICS SERIES Thurs 26, Fri 27 & Sat 28 Nov 7.30pm Perth Concert Hall TURINA Danzas fantásticas RAVEL Alborada del gracioso VILLA-LOBOS Chôros No.10 Rasga o coração FALLA Nights in the Gardens of Spain RAVEL Bolero Asher Fisch conductor Ingrid Fliter piano WASO Chorus Ravel s mesmerising Bolero features in this dazzling Spanish-inspired program. BOOK NOW Tickets from $50* Call quoting 1258 Visit waso.com.au or ticketek.com.au Asher Fisch appears courtesy of Westfarmers Arts. Ingrid Fliter appears courtesy of Singapore Airlines. *Transaction fees may apply.