FORCE TOUR DE PROGRAM ASHER FISCH & WASO. MORNING SYMPHONY SERIES Thursday 29 September 11am

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1 PROGRAM MORNING SYMPHONY SERIES Thursday 29 September 11am ALCOHOL.THINK AGAIN MASTERS SERIES Friday 30 September & Saturday 1 October 7.30pm Perth Concert Hall ASHER FISCH & WASO TOUR DE FORCE

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

3 WELCOME From the Premier of Western Australia On behalf of the Western Australian Government I welcome you to this special "Tour de Force" concert celebrating the West Australian Symphony Orchestra's tour to the United Arab Emirates and China. This is a particularly significant tour as it will mark the first visit to the United Arab Emirates by an Australian Major Performing Arts Company, and the first time an Australian Orchestra has been invited to perform at the prestigious Beijing Music Festival. The fact that it is our very own West Australian Symphony Orchestra speaks volumes for the excellence of our local arts sector, and the important role that our arts companies play in promoting our State to the rest of the world. The Western Australian Government is proud to support the West Australian Symphony Orchestra and we extend our best wishes to everyone at the company for a safe and successful tour. From the WASO Chairman It s my pleasure to welcome you to Tour de Force, an Alcohol. Think Again Masters Series concert. Tonight is a momentous occasion for the West Australian Symphony Orchestra. In a matter of days WASO will embark on their first overseas tour in 10 years, having been invited to perform in Abu Dhabi, Beijing and Shanghai. This will mark the first time an Australian orchestra has ever performed in the United Arab Emirates or the prestigious Beijing Music Festival. The tour is also a key milestone in the Symphony Cultural Bridge Project a threeway partnership between WASO, the China Philharmonic Orchestra and the Australia China Business Council (WA). While other Australian performing arts companies have toured to China, this is the only longterm collaborative exchange between an Australian and Chinese orchestra. We thank you for your support of our exceptional Orchestra. Please join me in wishing WASO every success on their tour. Hon Colin Barnett MLA Premier of Western Australia Janet Holmes à Court AC WASO Chairman

4 INTERNATIONAL TOUR CONCERT ITINERARY ABU DHABI, UNITED ARAB EMIRATES Thursday 6 October 2016 Abu Dhabi Classics Emirates Palace Concert Hall, Abu Dhabi WAGNER Tannhäuser: Overture WAGNER Die Walküre: Winterstürme & Siegmund Heiss WAGNER Lohengrin Act I: Prelude WAGNER Lohengrin: In fernem Land WAGNER Tristan und Isolde: Prelude and Liebestod WAGNER Parsifal: Amfortas! Die Wunde WAGNER Die Meistersinger - Suite Sir Richard Armstrong conductor Simon O'Neill tenor BEIJING, CHINA Sunday 9 October 2016 School Performances: WASO s Education Chamber Orchestra (EChO) at Nr.8 Middle School (Pre-primary - 7) WASO s Brass Quintet at Nr.1 Middle School (Grades 6-8) BEIJING, CHINA 10 October 2016, 7.30pm Beijing Music Festival Forbidden City Concert Hall, Beijing MENDELSSOHN A Midsummer Night s Dream: Overture SAINT-SAENS Piano Concerto No.5 Egyptian MAHLER Symphony No.5 Asher Fisch conductor Jean-Yves Thibaudet piano Asher Fisch appears courtesy of Wesfarmers Arts SHANGHAI, CHINA Wednesday 12 October 2016, 7.30pm Shanghai Symphony Concert Hall, Shanghai SCULTHORPE Kakadu SAINT-SAENS Piano Concerto No.5 Egyptian MAHLER Symphony No.5 Asher Fisch conductor Jean-Yves Thibaudet piano Asher Fisch appears courtesy of Wesfarmers Arts And thank you to all our philanthropic partners who have generously supported out WASO Touring Campaign. 4

5 MORNING SYMPHONY SERIES ASHER FISCH & WASO: TOUR DE FORCE 2016 INTERATIONAL TOUR FAREWELL CONCERTS THURSDAY MORNING PROGRAM MAHLER Symphony No.5 (1hr 12mins) Part I Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) [Funeral march (With measured pace, stern, like a funeral procession)] Stürmisch bewegt. Mit grösster Vehemenz [Stormy, with utmost vehemence] Part II Scherzo (Kräftig, nicht zu schnell) [Strong, not too fast] Part III Adagietto (Sehr langsam) [Very slow] Rondo-Finale (Allegro) 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, John Shepherd. The Pre-concert Talk take place at 9.40am in the Auditorium. The Pre-concert Talk is supported by Wesfarmers Arts 5

6 ALCOHOL.THINK AGAIN MASTERS SERIES ASHER FISCH & WASO: TOUR DE FORCE 2016 INTERATIONAL TOUR FAREWELL CONCERTS FRIDAY NIGHT PROGRAM MENDELSSOHN A Midsummer Night s Dream: Overture (11 mins) SAINT-SAENS Piano Concerto No.5 Egyptian (29 mins) Allegro animato Andante Allegretto tranquillo Andante Molto allegro Interval (25 mins) MAHLER Symphony No.5 (1hr 12mins) Part I Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) [Funeral march (With measured pace, stern, like a funeral procession)] Stürmisch bewegt. Mit grösster Vehemenz [Stormy, with utmost vehemence] Part II Scherzo (Kräftig, nicht zu schnell) [Strong, not too fast] Part III Adagietto (Sehr langsam) [Very slow] Rondo-Finale (Allegro) Asher Fisch conductor Jean-Yves Thibaudet piano Asher Fisch appears courtesy of Wesfarmers Arts Pre-concert Talks Find out more about the music in the concert with this week s speaker, John Shepherd. Pre-concert Talks take place at 6.45pm in the Terrace Level Foyer. Meet the Artist Enjoy a conversation with Conductor Asher Fisch & WASO Chair Janet Holmes à Court AC post-concert in the Terrace Level Foyer. Pre-concert Talks and Meet the Artist are supported by Wesfarmers Arts 6

7 SATURDAY NIGHT PROGRAM SCULTHORPE Kakadu (15 mins) SAINT-SAENS Piano Concerto No.5 Egyptian (29 mins) Allegro animato Andante Allegretto tranquillo Andante Molto allegro Interval (25 mins) MAHLER Symphony No.5 (1hr 12mins) Part I Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) [Funeral march (With measured pace, stern, like a funeral procession)] Stürmisch bewegt. Mit grösster Vehemenz [Stormy, with utmost vehemence] Part II Scherzo (Kräftig, nicht zu schnell) [Strong, not too fast] Part III Adagietto (Sehr langsam) [Very slow] Rondo-Finale (Allegro) Asher Fisch conductor Jean-Yves Thibaudet piano Asher Fisch appears courtesy of Wesfarmers Arts Pre-concert Talks Find out more about the music in the concert with this week s speaker, John Shepherd. Pre-concert Talks take place at 6.45pm in the Terrace Level Foyer. Meet the Artist Enjoy a conversation with Conductor Asher Fisch & WASO Chair Janet Holmes à Court AC post-concert in the Terrace Level Foyer. Pre-concert Talks and Meet the Artist are supported by Wesfarmers Arts 7

8 2016 UPCOMING CONCERTS FAMILY SERIES THE GRUFFALO & THE GRUFFALO S CHILD SUN 30 OCT 1PM & 3PM Perth Concert Hall Children and adults alike will be captivated as best-selling children s picture books come to life on the big screen. Suitable for 5 10 year olds. Terry Davies conductor TICKETS $27* TICKETS FROM $49* POPS SERIES FROM BROADWAY TO HOLLYWOOD FRI 4 NOV 7.30PM & SUN 6 NOV 2PM (MATINEE) Perth Concert Hall WASO and British singing sensation Mary Carewe perform timeless hits and screen classics such as Les Misérables, The Sound of Music, Chicago, The Wizard of Oz and many more. Guy Noble conductor Mary Carewe vocals DAVID BOWIE - NOTHING HAS CHANGED A TRIBUTE WITH WASO THU 10 NOV 8PM & FRI 11 NOV 8PM Riverside Theatre, Perth Convention and Exhibition Centre WASO and Australian music industry greats celebrate the legacy of David Bowie. Join iota, Tim Rogers, Steve Kilbey, Deborah Conway and Adalita as they perform Changes, China Girl, Life on Mars, Rebel Rebel, Let s Dance, Starman and more. Book at ticketek.com.au 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. 8

9 WASO IN THE COMMUNITY Education Programs for Schools Our suite of Education programs presented at the Perth Concert Hall continue to go from strength to strength in 2016 with over 1200 students participating already this year. Comprising Backstage Pass, Morning Symphony and Open Rehearsals, these events give students the opportunity to meet our Orchestra in a variety of situations, from intensive work-mode in final rehearsals, to on-stage performances and special behind-the-scenes access to our musicians and facilities. Musicians join schools as guest speakers for pre-concert and rehearsal talks, before performing well-known orchestral repertoire and introducing inspirational new works alongside Chief Conductor, Asher Fisch, and acclaimed international artists will see Education & Community Engagement continue to expand access to our Orchestra through these programs, with details released at the start of Term 4 in early October. For further details, please visit Open Rehearsal and Backstage Pass are supported by Mitsubishi Corporation Harmony Music In September we visited two new schools as part of our Harmony Music program. Perth Airport supported a WASO Brass Quintet visit to Moorditj Noongar Community College. The students enjoyed meeting the different instruments of the brass family and hearing familiar songs like Amazing Grace and of course the all-time favourite Frozen. A String Quartet also had students wheeling and dancing at Carson Street School. This highly interactive visit involved students singing along karaoke style to favourite songs. There were many requests! The at Moorditj Noongar Community College said Thank you for the wonderful performance. The students really enjoyed the opportunity to hear the musicians, something that is so far from their everyday lives. It was lovely to be able to share music with both of these schools and a fantastic way to finish our Harmony Music program for the year. Carson Street School visit was supported by Mitsubishi Corporation Moorditj Noongar Community College visit was supported by Perth Airport 9

10 ABOUT THE ARTIST Asher Fisch Conductor & Artistic Adviser Asher Fisch s first two seasons with WASO included a range of classical repertoire, a Beethoven Symphony Cycle in 2014 and a Brahms Festival in 2015, both Western Australian firsts. 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 10

11 ABOUT THE ARTIST Jean-Yves Thibaudet Piano Jean-Yves Thibaudet has performed around the world for more than 30 years and recorded over 50 albums. He has an artistic depth and natural charisma that have made him one of today s most sought-after pianists. Jean-Yves Thibaudet s season highlights include residencies with the Royal Concertgebouw Orchestra, Seattle Symphony, and Colburn School of Music, performing repertoire including the Saint- Saëns Piano Concerto No. 5, Ravel Piano Concerto in G, Gershwin Piano Concerto in F, James MacMillan Piano Concerto No. 3 and Beethoven Emperor Concerto. Thibaudet also takes the Grieg Piano Concerto on tour with the Tonhalle Orchestra Zurich and gives a recital tour across the USA, Europe, and Asia. In 2010 he was inducted into the Hollywood Bowl Hall of Fame. Previously a Chevalier of the Ordre des Arts et des Lettres, Thibaudet was awarded the title Officier by the French Ministry of Culture in PATRONS & FRIENDS EVENT Louise McKay In Conversation And Recital Sunday 23 October, 2.00pm pm Aquinas College Spend an afternoon with WASO s Associate Cello Louise McKay in the lovely setting of Aquinas College. 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 catered by Aquinas College, and can be purchased by calling the WASO Box Office on The Chair of Associate Cello is partnered by Penrhos College. 11

12 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 12

13 WASO ON STAGE TODAY VIOLIN Laurence Jackson Concertmaster Semra Lee-Smith A/Assoc Concertmaster Graeme Norris A/Assistant Concertmaster Rebecca Glorie A/ 1st Violin Zak Rowntree* 2nd Violin Kylie Liang Assoc 2nd Violin Sarah Blackman Fleur Challen Sara Duhig^ Jane Johnston Sunmi Jung Christina Katsimbardis Ellie Lawrence Shaun Lee-Chen* Lucas O Brien^ Ken Peeler Elena Phatak^ Louise Sandercock Jolanta Schenk Jane Serrangeli Kathryn Shinnick Jacek Slawomirski Kate Sullivan Bao Di Tang Cerys Tooby Teresa Vinci^ Susannah Williams^ David Yeh VIOLA Alex Brogan Kierstan Arkleysmith Nik Babic Benjamin Caddy Katherine Corecig^ Alison Hall Rachael Kirk Kathryn McKay^ Allan McLean Helen Tuckey Aaron Wyatt^ CELLO Louise McKay Chair partnered by Penrhos College Shigeru Komatsu Oliver McAslan Sacha McCulloch^ Nicholas Metcalfe Eve Silver* Fotis Skordas Jon Tooby^ Xiaole Wu 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 OBOE Liz Chee Annabelle Farid^ COR ANGLAIS Leanne Glover CLARINET Allan Meyer 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 Robert Gladstones 3rd Horn Julia Brooke Doree Dixon^ Deborah Hart^ Geoffrey Lierse^ Francesco Lo Surdo TRUMPET Brent Grapes Evan Cromie Jenny Coleman^ Peter Miller TROMBONE Joshua Davis Liam O Malley BASS TROMBONE Philip Holdsworth TUBA Cameron Brook TIMPANI Alex Timcke PERCUSSION Brian Maloney Chiron Meller A/Assoc Percussion and Timpani Amanda Dean^ Paul Tanner^ HARP Sarah Bowman Associate Guest Musician^ 13

14 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 Saturday 8 October at 1pm (or 11am online) 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. 14

15 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 Level 1 Ground Floor foyer across from box office Wardle Room western side of bar Terrace Level Corner Bar one water station on either side of the bar near windows Lower Gallery level Upper Gallery level 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) The Sennheiser MobileConnect Personal Hearing Assistance system is available for every seat in the Perth Concert Hall auditorium. Visit perthconcerthall.com.au/ your-visit/accessibility/ for further information. 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. 15

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17 TIMELINE OF COMPOSERS & WORKS FELIX MENDELSSOHN Born in 1809, Hamburg, Germany Died in 1849, Leipzig, Germany Mendelssohn's A Midsummer Night's Dream Overture 1826 CAMILLE SAINT-SAENS Born in 1835, Paris, France Died in 1921, Algiers, Algeria GUSTAV MAHLER Born in 1860, Bohemia, Czech Republic Died in 1911, Vienna, Austria Saint-Saens' Piano Concerto No PETER SCULTHORPE Born in 1929, Tasmania, Australia Died in 2014, Sydney, Australia Mahler's Symhony No Sculthorpe's Kakadu

18 2017 SEASON WAGNER & BEYOND Conductor Asher Fisch, one of today s finest Wagnerians, takes you on a thrilling journey of discovery through Wagner s music, the composers Wagner influenced and those who inspired him. WED 6 & SAT 9 SEPTEMBER 7.30PM Perth Concert Hall SUBSCRIBE NOW CALL VISIT waso.com.au or BOOK at Perth Concert Hall 18

19 ABOUT THE MUSIC Felix Mendelssohn ( ) A Midsummer Night s Dream Overture, Op.21 Mendelssohn s overture to A Midsummer Night s Dream begins with four woodwind chords, poised and shimmering in the night air, an evocation of Hippolyta s first lines in Shakespeare s play: Four days will quickly steep themselves in night; Four nights will quickly dream away the time; And then the moon, like to a silver bow new bent in heaven, shall behold the night of our solemnities. Then the fairies enter: feathery whisperings from the violins. This is magical music from a composer who lived and breathed Shakespeare. Felix Mendelssohn s family entertained themselves with readings of Shakespeare plays, not just in German translations but in English too. And one day, when he was 17, Felix decided he d go into the garden and dream there music for his favourite among old Will s beloved plays. He knew this was an enormous audacity, but the result a 12-minute overture is an undisputed masterpiece, worthy of the inspiration. It wasn t all written during that afternoon in the garden. Typically for Mendelssohn, he made painstaking revisions, striving to to imitate the content of the play in tones and bring its character to life. Where the original draft (according to his friend Adolph Bernhard Marx) was simply delightful and charming, the final version is dreamlike, full of elfin humor and musical enchantments. To those opening chords and fairy music Mendelssohn added the lyrical wanderings of the mortal lovers in the forest, the horns of the hunting party and the boisterous rustics. And although he was tempted to leave it out, his friends persuaded him to keep the comical braying of Bottom with his ass s head (listen for the downward swooping ee-yore in the violins). Within the conventions of classical form, Mendelssohn evokes the whimsy and confusion of the plot, and the fairies have the last word (as in the play) with the return of the four woodwind chords from the opening. Yvonne Frindle First performance: February 1827, Stettin. First WASO performance: April E.J. Roberts, conductor. Most recent WASO performance: October Paul McCreesh, conductor. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, ophicleide (an obsolete instrument replaced in modern performances by tuba), timpani, percussion, and strings. 19

20 ABOUT THE MUSIC Peter Sculthorpe ( ) Kakadu Peter Sculthorpe s Kakadu fulfilled much of the promise of the works that were to have followed Mangrove in the early 1980s. Curiously, it came after a period of intense involvement in string quartet-writing for Sculthorpe, the most personal form of expression and it followed reflection on Australian historical subjects, notably the mid-19th-century expeditions of Ludwig Leichhardt and Burke and Wills. Curious, too, that a work of such overtly joyous nature, written at the height of the self-congratulatory Bicentennial celebrations, should have had its impetus from America. The major theme of the renowned Aspen Music Festival in 1988 was Australian music. Of the 28 Australian compositions played, several were by Peter Sculthorpe, the principal Resident Composer at that particular festival. In the minds of the Aspen planners, a new work from Sculthorpe would be an especially happy and lustrous addition to their program and it fell to one of the Festival s trustees to coax a new work from the composer. Dr Emanuel Papper, a Miami-based anaesthesiologist, managed to extract a new piece as a birthday present for his wife, Patricia. Touched by Papper s approach, Sculthorpe produced a new 15-minute work in almost record time. So it was that, one summer Sunday afternoon, Peter Sculthorpe took the stage in that famed tent, originally designed by Eero Saarinen, mentor of Jørn Utzon and one of the judges of the competition to design the Sydney Opera House. Almost 2,500 metres high in the Colorado Rockies, Sculthorpe introduced the work: Since the set of variations by Beethoven have the same name, it is well known that Kakadu is the German word for cockatoo. My work, however, takes its name from Kakadu National Park in northern Australia. This enormous wilderness area stretches from coastal tidal plains to rugged mountain plateaux, and in it may be found the living culture of its Aboriginal inhabitants, dating back over fifty thousand years. Sadly, there are only a few speakers of the language of the local inhabitants, Gagadju, left today. The work, then, is concerned with my feelings about this place, its landscape, its changes of seasons, its dry season and its wet, its cycle of life and death 20

21 As Sculthorpe extolled the virtues of Kakadu National Park, images of Crocodile Dundee swirled in the imaginations of many of his adulatory audience. Others were reflecting on another crocodile in northern Australia, one that had killed an American tourist only several weeks earlier. She had been the reigning Miss Aspen. Jorge Mester conducted the 120 members of the Aspen Festival Orchestra at that premiere performance, on 24 July The composer was rewarded by a standing ovation somewhat longer than the duration of his new work. Kakadu consists of three sections. The two outer parts the composer describes as dance-like and energetic, sharing similar ideas. The middle section, by way of contrast, is more introspective. It represents Dr Papper s quiet manner and gentle persistence, amply rewarded in the new composition, in an elegant cor anglais melody sinuous, smooth, civilised and European, in the composer s words. It is heard above another quasi-aboriginal melody, based on Djilile, whistling-duck on a billabong, from Arnhem Land. In the French horns, there is a striking musical reference, a descending melody notated by two French explorers, Peron and Freycinet, whose transcriptions of three short Aboriginal chants were made in 1804 and published in Paris in 1824, possibly the first annotated encounter of European men with Aboriginal music. That distinctive falling melody figures prominently in Sculthorpe s music from this time, even in Child of Australia, sung at the Sydney Opera House forecourt on Bicentennial Day, 26 January Peter Sculthorpe was not to visit the Kakadu National Park until April Kakadu is another of his imaginings of sites unseen. On that initial visit, he drew in the breathtaking vistas from Nourlangie Rock, which gave rise to a series of serene and introspective works. Peter Sculthorpe always sought the sacred in Nature and, in so doing, reaffirmed his hope in the human spirit, just as he aligned himself to the ancient culture of this continent. In its exuberance and forward thrust, Kakadu offers optimism and hope for the jubilation that is still ahead of us. Vincent Plush First performance: 24 July 1988, Aspen Music Festival. Jorge Mester, conductor. First WASO performance: 19 July David Shallon, conductor. Most recent WASO performance: September Pietari Inkinen, conductor. Instrumentation: two flutes, two oboes, cor anglais, two clarinets, two bassoons, contrabassoon, four horns, four trumpets, three trombones, timpani, large battery of percussion, and strings. 21

22 ABOUT THE MUSIC Camille Saint-Saëns ( ) Piano Concerto No.5 in F, Op.103 Egyptian Allegro animato Andante Allegretto tranquillo Andante Molto allegro By 1896, fifty years had elapsed since Saint-Saëns debut as an 11-year-old pianist at the Salle Pleyel, Paris. A concert was given to celebrate his anniversary, and the program included his Second Violin Sonata, Op.102, featuring the great violinist Sarasate, and the premiere of the Fifth Piano Concerto, composed the previous winter in Egypt. On that anniversary evening in 1896, Saint-Saëns paused on his way to the piano and read a poem he had written which looked back to the time when a sallow little boy had dared to measure himself against Beethoven and Mozart. The audience cheered. It is difficult for us today to think of Saint-Saëns, in the term of his contemporaries, as the French Beethoven. A genius or prodigy perhaps, given that 11-year-old Saint-Saëns could perform any of Beethoven s 32 piano sonatas from memory! But Saint-Saëns mature compositions lack the psychological penetration and dramatic revolution we associate with Beethoven. They are more typical of the French aesthetic pleasure, taste and elegance. On that evening in 1896, Saint-Saëns was recalling his debut as a pianist. Saint-Saëns lived into the era of the phonograph, becoming the earliest-born pianist to have his performances recorded for posterity. His recordings connect us with a style of playing which was contemporary with Chopin and Liszt. But it is in the concertos that we today can gain the clearest sense of Saint-Saëns pianism. Critic Harold C. Schonberg describes the playing on those scratchy wax cylinders as fluent, flexible, with a dry touch, restricted dynamics ( He had none of those fortissimi that shatter you as if you d dived head first into the sea said novelist Marcel Proust) and a tendency towards speed. On the basis of this work we can add: a comfortable sense of formal shape, a taste for the exotic, and a perfect calculation of effect. 22

23 Saint-Saëns wrote the Egyptian Concerto at a time when middle-class Europeans were curious about African travel. Travellers tales and armchair adventures in Africa were a popular topic. The opening of the Suez Canal, the development of regular steamship routes across the Mediterranean, and widely reported archaeological finds in Egypt all contributed to the 19th-century fascination with Northern Africa. In music this interest resulted in works as diverse as Verdi s Aïda and certain Strauss waltzes! Saint-Saëns was perhaps even more susceptible than most of his contemporaries to the appeal of North Africa. Algeria and Egypt were favourite travel destinations, and provided him with the inspiration also for the Suite algérienne (1880) for orchestra and Africa (1891) for solo piano and orchestra. Saint-Saëns in fact died while on his annual pilgrimage to Algiers in The Piano Concerto No.5 has been described by Saint-Saëns biographer James Harding as a travelogue with its reminiscences of a translucent Egyptian morning, the croaking of frogs in the Nile Valley, and the thud of ships propellers in the last movement. It is not hard to understand the impact this work might have had on late 19th-century audiences for whom a work such as this conveyed so deliberately the feel of exotic locations. Though Saint-Saëns music is more Mozartian than Romantic, he was able to do much with the simplest of means. So often, as in the opening of this concerto, the most effective material turns out to be, on closer study, a simple common chord. The opening piano melody seems simple and singable, but the metre is slightly equivocal. The work is one of continual charm and colour. The second movement is clearly the most illustrative, and for that reason, perhaps, the most episodic. There is marvellously innovative piano writing here. Melismas running at tangents to the throbbing string accompaniment recall Eastern vocal style. Despite the sound of ships propellers, the final movement seems as Parisian as African, but perhaps catching the sense of a swift gliding through a changing panorama. G.K. Williams Symphony Australia First performance: 2 June 1896, Salle Pleyel, Paris. Saint-Saëns, soloist. First WASO performance: 1 August Lorin Hollander, soloist; Tibor Paul, conductor. Most recent WASO performance: 1 September Stephen Hough, soloist; Robert Spano, conductor. Instrumentation: two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, tamtam, and strings. Glossary Melisma a long melody all sung to the one syllable. By extension, an extended, flowing, lyrical phrase in instrumental music. 23

24 ABOUT THE MUSIC 24 Gustav Mahler ( ) Symphony No.5 in C sharp minor Part I Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) [Funeral march (With measured pace, stern, like a funeral procession)] Stürmisch bewegt. Mit grösster Vehemenz [Stormy, with utmost vehemence] Part II Scherzo (Kräftig, nicht zu schnell) [Strong, not too fast] Part III Adagietto (Sehr langsam) [Very slow] Rondo-Finale (Allegro) Mahler s first f our symphonies were more or less programmatic in their intention, drawing their inspiration from folk poetry, incorporating themes from songs, and (in all but the first) using the human voice. The Fifth, on the other hand, revealed no obvious program and was scored for orchestra alone. It was written in around the time of Mahler s meeting with, and rather hasty betrothal to, Alma Schindler. While no period in Mahler s life could be described as unequivocally happy, there is no doubt that the Fifth Symphony was conceived at a time of substantial personal and professional satisfaction. Yet any sign of outward pleasure or optimism tends to be avoided, at least early on in the symphony; pointedly, and notoriously, it begins with a funeral march. Mahler worked on the first two movements and part of the third during the summer of 1901 (summer being the only opportunity he had to compose because of his conducting duties in winter). The rest of the symphony was completed the following summer, by which point Alma was very much part of his life. At the premiere in Cologne on 18 October 1904, the reception was mixed. Revision after revision ensued, and so thorough was Mahler s reworking that, while the symphony s popularity grew, each performance was nevertheless different from the last. The Fifth is an accursed work, Mahler wrote. No one understands it! The symphony follows Mahler s principle of progressive tonality, working its way from C sharp minor to a conclusion in a triumphant D major. It passes through a vast range of moods passionate, wild, pathetic, sweeping, solemn, gentle, full of all the emotions of the human heart, in Bruno Walter s memorable description. A massive work, it is in three parts and five movements. The opening movement begins with a distinctive trumpet call which recurs as the movement proceeds. As if to belie the claim that the symphony is absolute rather than programmatic music, the main theme is based on a song by Mahler ( Der Tamboursg sell ) about a drummer boy facing execution. There are two trios: the first in B flat minor with a brief violin theme, the second a quieter section in A minor following the return of the march theme. After an impassioned climax, the movement dies away amid echoes of the opening trumpet call.

25 Mahler leaves no doubt as to the intended mood of the second movement marked Stormy, with utmost vehemence. Much of the material derives from that in the first movement and there is a distinct reminiscence of the march rhythms. A brass chorale in part anticipates the conclusion of the symphony as a whole. The Scherzo s main thematic material is in the form of a joyous ländler. Ideas tumble over themselves in an inventive contrapuntal display while a slower waltz theme is juxtaposed with the main material. Contrasting trios add a more sombre note and in one of these there occurs a striking obbligato passage for the principal horn. The Adagietto arguably the most famous single movement in all the Mahler symphonies is essentially a song without words. Scored for harps and strings alone, it is closely related to Mahler s song Ich bin der Welt abhanden gekommen (I am lost to the world). According to Mahler s colleague, Dutch conductor Willem Mengelberg, the Adagietto was intended as a declaration of love for Alma. Sharing material with each of the previous four movements, particularly with the Funeral March and the Adagietto, the Rondo-Finale is a joyous celebration which begins with a series of folk-like figures on solo wind instruments. (The opening of the movement quotes the witty Lob des hohen Verstandes [In Praise of Higher Understanding] from Des Knaben Wunderhorn.) The main rondo theme is first stated on the horns and the other ideas are woven contrapuntally around this. When the main melody from the Adagietto returns it is so transformed with energy that it is practically unrecognisable. The movement works its way towards the ecstatic brass chorale of the conclusion as close as the melancholy Mahler ever came to writing an Ode to Joy. Abridged from an annotation Martin Buzacott First performance: 18 October 1904, Cologne. Mahler, conductor. First WASO performance: 6 & 8 August Percy Code, conductor. Most recent WASO performance: August Paul Daniel, conductor. Instrumentation: four flutes (two doubling piccolo), three oboes (one doubling cor anglais), three clarinets (one doubling E flat clarinet and bass clarinet), three bassoons (one doubling contrabassoon), six horns, four trumpets, three trombones, tuba, timpani, harp, percussion, and strings. YOU MAY ALSO ENJOY BRUCKNER Symphony No.9 featured in Asher Fisch & WASO: Stuart Skelton Sings Wagner Fri 25 & Sat 26 November Glossary Absolute/programmatic music refers to the idea that music is nothing more than music itself, and does not describe or represent anything else or tell any story; the opposite of programmatic music. Contrapuntal describes music in which two or more lines of music or melodies are played at the same time. Des Knaben Wunderhorn influential anthology of Germanic folk-poems from the early 19th century, some of which were set as songs by Mahler. Wunderhorn songs with their orchestral accompaniment became the basis of movements in Mahler s Second, Third and Fourth symphonies. Ländler rustic triple-time Austrian dance, a precursor to the waltz. Obbligato a prominent accompanying melody. Rondo a musical form where a main idea (refrain) alternates with a series of musical episodes. Classical composers often wrote the final movement of their symphonic works in rondo form. Trio in a minuet or scherzo, the trio is the middle section of the movement; the minuet or scherzo is performed on either side of the trio. 25

26 MEET THE MUSICIAN Kylie Liang Associate 2nd Violin When did music first come into your life? I ve been told that at two or three years old I would wake my Mum up early in the morning by singing all the songs she d ever taught me. I d then demand that she teach me more, and she had no choice but to oblige. What is the best thing about being a musician in WASO? I love getting the chance, with each rehearsal and performance, to make music alongside such talented musicians. I get an immense sense of pride and excitement through recreating works that prolific composers bent their minds to hundreds of years ago. The immediate sensory stimulation of the surround sound experience brings you into the moments of the music like nothing else can. Feeling that every person plays a vital role in creating those feelings and that we can bring those emotions and ideas to an audience is quite thrilling. What are your favourite orchestral works to perform or listen to? I feel a bit clichéd saying it, but I love almost all of Mozart s works. To me, his compositional structures walk a delicate line between being new, exciting, and natural while exuding a sense of pure joy. It is difficult, but if I had to name a few favourite pieces they would be: Prokofiev s Fifth Symphony, for its stimulating and unpredictability and many emotions, Rachmaninov s Second Symphony and, after performing it with WASO recently, Stravinsky s The Rite of Spring. Where was your last holiday destination? I spent last Christmas in Broome with my partner Brandon. The entire town had emptied for the holidays - almost every store and restaurant had closed - so we had the place to ourselves. There s nothing like walking (or riding camels) up and down a beautiful, empty stretch of coastline to make you feel relaxed and rejuvenated. 26

27 WASO PHILANTHROPY Philanthropy Partner Your last chance to support WASO s 2016 International Tour - now including Abu Dhabi! Our musicians are about to leave for WASO s first international tour in ten years and we need to raise the final $20,000 to cover associated costs! In very exciting news, WASO s 2016 International Tour will now include a performance at the Abu Dhabi Classics Season on 6 October, which makes us the first Australian major performing arts company to tour to the United Arab Emirates. The three-stage 2016 International Tour will incorporate the opening of the Abu Dhabi Classics, performances at the Beijing Music Festival and at Shanghai Symphony Concert Hall, as well as two education performances at renowned Chinese schools in Beijing. This tour will be a rare chance to continue enhancing WASO s international reputation and will mark the first time WASO has toured in response to invitations to represent Australia at international music festivals. It is also a wonderful opportunity to foster artistic connections that can result in bringing world artists back to Perth and into our very own Perth Concert Hall. Every dollar donated to the Touring Campaign will be matched by a WASO Board contribution! We are delighted that every donation made to this campaign will be matched by a WASO Board contribution, which means that your $100 becomes $200, your $200 becomes $400 or your $500 becomes $1,000 No matter the size, every gift makes a difference and we would love you to join us on our touring journey. You can donate by completing and returning this donation form, online at waso.com.au, via EFT (BSB , ACC , putting your name and donation in the transaction description), or in person at the WASO Box Office. You can also contact Sarah Tompkin on or tompkins@waso.com.au. All donations over $2 are fully tax deductible. Thank you for your support. 27

28 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 Paul Lee 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 (31) Endowment Fund for the Orchestra This fund includes major donations and bequests Tom & Jean Arkley Janet Holmes à Court AC Minderoo Foundation 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 Rod & Margaret Marston 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 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 Mrs Morrell 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. 28

29 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 Kelly Family 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 (4) Virtuoso Patron Gifts $2,500 - $4,999 Prof Fred & Mrs Margaret Affleck Neil Archibald & Alan R Dodge AM Tony & Mary Beeley 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 Sue Hovell 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 Michael & Nadia Berkeley-Hill Kevin Blake Matthew J C Blampey Namy Bodinner Susy Bogle Peter & Eve Boland Mr John Bonny 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 Rai & Erika Dolinschek Julian Dowse Bev East Megan Edwards Lorraine Ellard Dane Etheridge & Brooke Fowles Annette Finn Don & Marie Forrest E & EA Fraunschiel Dr Andrew Gardner Roger & Ann Gillbanks Graham & Barbara Goulden 29

30 OUR SUPPORTERS 30 Jannette Gray Deidre Greenfeld Grussgott Family Trust David & Valerie Gulland Richard B Hammond Pauline & Peter Handford Dr Penny Herbert in memory of Dunstan Herbert Michael Hollingdale Helen Hollingshead John & Katrina Hopkins 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 Geoff & Christine Soutar 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 (27) 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 John & Sue Bird in memory of Penny Bird Dermot & Jennifer Blackweir Elaine Bonds Diane & Ron Bowyer Alison Bunker & Myles Harmer 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 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 Christopher, Julie, Rosemary & Bronwyn Hudson Mr John Hylton-Davies JP, VJ Peter Ingram Cynthia Jee Peter S Jones Warren & Emi Jones B M Kent Dorothy Kingston

31 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 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 John & Nita Walshe 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 (24) Friend Gifts $40 - $499 Thank you to all our Friends who support WASO through their gift 31

32 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 32 VIOLIN Laurence Jackson Concertmaster Semra Lee-Smith A/Assoc Concertmaster Graeme Norris A/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 Chair partnered by Tokyo Gas Louise McKay Assoc Chair partnered by Penrhos College Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver* Fotis Skordas Tim South Xiaole Wu DOUBLE BASS Andrew Sinclair* Joan Wright Assoc Louise Elaerts Christine Reitzenstein Andrew Tait Mark Tooby *Instruments used by these musicians are on loan from Janet Holmes à Court AC. FLUTE Andrew Nicholson 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 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 HARP Sarah Bowman

33 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 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 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 33

34 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

35 Francesco Lo Surdo, French Horn BRONWYNROGERS.COM WESF1389A 35

36 POPS SERIES FRI 4 NOV 7.30PM SUN 6 NOV 2PM MATINEE Perth Concert Hall BOOK NOW Tickets from $49 * Join WASO and British singing sensation Mary Carewe as they perform timeless hits from stage and screen classics such as Cabaret, Les Misérables, The Sound of Music, Chicago and many more! Guy Noble conductor Mary Carewe vocals Call quoting 1538 or visit waso.com.au 36 *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.