SIMONE YOUNG 20 YEARS WITH WASO

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1 PROGRAM MORNING SYMPHONY SERIES Thursday 3 August 2017, 11am MASTERS SERIES Friday 4 & Saturday 5 August 2017, 7.30pm Perth Concert Hall SIMONE YOUNG 20 YEARS WITH WASO

2 BRONWYNROGERS.COM WESF1389A Frankie Lo Surdo, French Horn

3 WELCOME It s hard to believe it has been 20 years! That s quite a relationship in anyone s book, and between conductor and an orchestra, it s a wonderful way to span the years, examining the works of certain composers more closely and connecting, through the music, with the audience of a city. Back in 1997, Haydn 99 and Bruckner 9 were on the programme when I made my WASO debut, so to celebrate this year, we thought it would be fun to revisit the Haydn and to add some Brahms, loved by the orchestra, myself and by you, the WASO audience. The Academic Festival Overture is a joyful celebration which, after the sensitive and exquisite Brahms' Haydn Variations, should leave us all looking to the future with great optimism. And to the future we look with Andrew Schultz new Maali concerto for oboe, clarinet, horn and bassoon, which he has composed for the WASO wind soloists. I m looking forward to the celebrations I hope you enjoy it!!! Simone Young AM Conductor TIMELINE OF COMPOSERS & WORKS JOHANNES BRAHMS Born in 1833, Hamburg, Germany Died in 1897, Vienna, Austria Brahms' Variations on a theme by Haydn 1873 JOSEPH HAYDN Born in 1732, Rohrau, Austria Died in 1809, Vienna, Austria ANDREW SCHULTZ 1960 Born in 1960, Adelaide, Australia Haydn's Symphony No Brahms' Academic Festival Overture 1881 Andrew Schultz's Maali

4 MORNING SYMPHONY SERIES SIMONE YOUNG: 20 YEARS WITH WASO HAYDN Symphony No.99 (22 mins) Adagio Vivace assai Adagio Menuetto (Allegretto) Finale (Vivace) BRAHMS Variations on a Theme by Haydn (19 mins) BRAHMS Academic Festival Overture (10 mins) Simone Young AM conductor Wesfarmers Arts Pre-concert Talk Find out more about the music in the concert with this week s speaker, Prue Ashurst. The Pre-concert Talk takes place at 9.40am in the Auditorium. 4

5 MASTERS SERIES SIMONE YOUNG: 20 YEARS WITH WASO HAYDN Symphony No.99 (22 mins) Adagio Vivace assai Adagio Menuetto (Allegretto) Finale (Vivace) ANDREW SCHULTZ Maali WORLD PREMIERE (27 mins) Lively, fast and playful Slow, dreamlike Variations: Fast, joyous Interval (25 mins) BRAHMS Variations on a Theme by Haydn (19 mins) BRAHMS Academic Festival Overture (10 mins) Simone Young AM conductor Peter Facer oboe Allan Meyer clarinet Adam Mikulicz bassoon David Evans horn Wesfarmers Arts Pre-concert Talk Find out more about the music in the concert with this week s speaker, Prue Ashurst. The Pre-concert Talk takes place at 6:45pm in the Terrace Level Foyer Wesfarmers Arts Meet the Artist Talk Enjoy a conversation with Simone Young post-concert Saturday night in the Terrace Level Foyer 5

6 2017 UPCOMING CONCERTS WAGNER & BEYOND Come on a 2-concert adventure with WASO s Principal Conductor and one of the world s foremost Wagnerians, Asher Fisch, to find out more about this ambitious, innovative and provocative composer who changed the course of music forever. Fisch will speak about the music during the concerts and the Orchestra will perform excerpts to illustrate his observations of Wagner s revolutionary style. INSPIRING WAGNER WED 6 SEPTEMBER 7.30PM Perth Concert Hall An exhilarating journey through the music that inspired Wagner, his immense artistic achievement and mastery of orchestral writing as showcased in five orchestral extracts from his Ring Cycle. WAGNER S WORLD SAT 9 SEPTEMBER 7.30PM Perth Concert Hall TICKETS FROM $32 * An exploration of Wagner s musical legacy through the spacious grandeur of Bruckner s Seventh Symphony and the overture from Chabrier s opera Gwendoline. Acclaimed Australian bass-baritone Shane Lowrencev performs arias from Wagner s Die Walküre and Die Meistersinger. TICKETS FROM $32 * Photo: Matt Black MACA LIMITED CLASSICS SERIES KARIN SCHAUPP PLAYS RODRIGO FRI 6 & SAT 7 OCTOBER 7.30PM Perth Concert Hall Former WASO Assistant Conductor Christopher Dragon is joined by acclaimed Australian guitarist Karin Schaupp in this enchanting concert. Ravel s Pavane evokes the courtly world of Renaissance Spain with as much perfumed nostalgia as Rodrigo s popular guitar concerto does. Rodrigo described his glorious concerto as capturing the fragrance of magnolias, the singing of birds, and the gushing of fountains. RAVEL Pavane pour une infante défunte RODRIGO Concierto de Aranjuez RIMSKY-KORSAKOV Scheherazade Christopher Dragon conductor Karin Schaupp guitar (pictured) TICKETS FROM $32 * BOOK NOW CALL VISIT WASO.COM.AU Asher Fisch appears courtesy of Wesfarmers Arts. *A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $6.60 applies to phone and mail bookings. A fee of $3.85 applies to all over the counter bookings.an additional fee of $4.40 per transaction applies for delivery via Registered Post.

7 ABOUT THE ARTIST Simone Young AM Conductor Simone Young was General Manager and Music Director of the Hamburg State Opera and Music Director of the Philharmonic State Orchestra Hamburg from 2005 to She has conducted complete cycles of Wagner s Ring in Vienna, Berlin and Hamburg and her recordings include the Ring Cycle, Mathis der Maler (Hindemith), and symphonies of Bruckner, Brahms and Mahler. Simone Young has been Music Director of Opera Australia, Chief Conductor of the Bergen Philharmonic Orchestra and Principal Guest Conductor of the Gulbenkian Orchestra, Lisbon. She conducts at all the leading opera houses including the Vienna, Berlin and Bavarian State Operas, Opéra National de Paris, Royal Opera House Covent Garden, Metropolitan Opera New York, Zurich and Los Angeles Opera and regularly leads the world s great orchestras including the Berlin, Vienna, Munich, London and New York Philharmonic Orchestras, Staatskapelle Dresden, Bruckner Orchestra, City of Birmingham Symphony and the Wiener Symphoniker. She recently made her BBC Proms and BBC Symphony debuts, and this year commences her appointment as Principal Guest Conductor of the Lausanne Chamber Orchestra. She has been elected to the Akademie der Künste in Hamburg, awarded a Professorship at the Musikhochschule in Hamburg and Honorary Doctorates from Griffith University, Monash University and the University of New South Wales. Other awards include Green Room and Helpmann Awards, the International Opera Award and the Chevalier de l Ordre des Arts et des Lettres from France. This year Simone Young returns to Australia to conduct WASO, the Queensland and Sydney Symphony Orchestras, and the Australian World Orchestra. 7

8 ABOUT THE ARTISTS 8 Peter Facer Oboe Peter joined WASO in Peter grew up in Hertfordshire, and then attended Girton College Cambridge, graduating with a double first class degree in music. He then began to focus on oboe playing, studying it at postgraduate level at the Royal Academy of Music in London where he graduated with distinction and earned the DipRAM for an outstanding final exam. He then moved to Germany, and went on to study at music conservatories in Hannover and Rostock. Peter performed as Guest Principal Oboe with the Auckland Philharmonia Orchestra in He also plays regularly in the oboe section of the Staatskapelle Berlin and was thrilled to perform in their complete Ring Cycle at the BBC Proms in Peter was the Principal Oboe with the European Union Youth Orchestra from At the end of his final tour, Peter was awarded the Lionel Bryer Memorial Prize for outstanding musicianship. He plays on a Marigaux 2001 oboe. Allan Meyer Clarinet Allan joined WASO in Allan s distinguished career has seen him perform throughout Australia as well as in Massachusetts, USA. He has been Guest Principal Clarinet with the Melbourne Symphony Orchestra and the Springfield Symphony Orchestra (USA). Allan was born in Perth and studied with WASO s former Principal Clarinet, Jack Harrison. He graduated from UWA with a Master of Music and completed postgraduate studies in London with John McCaw, Antony Pay and Jack Brymer. After 7 years with the Adelaide Symphony Orchestra, Allan returned to Perth as Principal Clarinet. He teaches at the School of Music at the University of WA and at the WA Academy of Performing Arts. Allan has appeared as soloist with WASO on many occasions and has premiered works by Australian composers Ledger, Grandage and Mills. In 2016 he performed the Mozart Concerto as part of a regional tour conducted by his former student and Associate Conductor of the Colorado Symphony Orchestra, Chris Dragon.

9 Adam Mikulicz Bassoon Adam joined WASO in Originally from Melbourne, Adam began his study on the bassoon at the age of 12 and is a graduate of both the Victorian College of the Arts and the Australian National Academy of Music. During his studies he was Principal Bassoon of Melbourne Youth Orchestra and appeared with them also as a soloist. Further study took Adam to Switzerland where he studied with the Principal Bassoon of the Munich Philharmonic, Lyndon Watts. Throughout his time in Australia, Adam has held contract positions in a number of Australian orchestras including the Melbourne Symphony Orchestra and Orchestra Victoria amongst others. Still in demand outside WA as an orchestral and chamber musician, Adam has held guest positions with MSO, Southern Cross Soloists and most recently with the Australian World Orchestra. Adam also teaches at UWA and WAAPA and is a member of Ensemble Vagabond, ensemble in residence at UWA. David Evans Horn David joined WASO in David studied Horn at the University of Melbourne and the Victorian College of the Arts, before completing three programs at the Australian National Academy of Music. In 2002 David was appointed Principal Horn with the West Australian Symphony Orchestra, and has since appeared as soloist with WASO on numerous occasions, performing works by Schumann, Mozart and Britten. David has performed as Guest Principal Horn in the Melbourne, Tasmanian, New Zealand Symphony and China Philharmonic Orchestras and has appeared as a guest artist at the Melbourne International Festival of Brass and the 42nd International Horn Symposium in Brisbane. David was a member of the Australian World Orchestra in 2013, and was made an Honorary Fellow of the Faculty of the Victorian College of the Arts and Melbourne Conservatorium of Music in September

10 WEST AUSTRALIAN SYMPHONY ORCHESTRA 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 mission 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 Principal 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 CONNECT WITH WASO facebook.com/ WestAustralianSymphonyOrchestra twitter.com/_waso_ instagram.com/_waso_ youtube.com/westaustsymorchestra Stay up to date and sign-up to our SymphonE-news at waso.com.au Download WASO s free app on itunes or Google Play 10

11 ON STAGE TONIGHT VIOLIN Laurence Jackson Concertmaster Semra Lee-Smith A/Assoc Concertmaster Graeme Norris A/Assistant Concertmaster Rebecca Glorie A/Principal 1st Violin Zak Rowntree* Principal 2nd Violin Sarah Blackman Stephanie Dean Sara Duhig^ John Ford^ Beth Hebert Jane Johnston Sunmi Jung Christina Katsimbardis Andrea Mendham^ Lucas O Brien Ken Peeler Melanie Pearn Penny Reiss^ Louise Sandercock Jane Serrangeli Kathryn Shinnick Jacek Slawomirski Kate Sullivan Bao Di Tang Luisa Theis^ Susannah Williams Paul Wright^ Casual TBC VIOLA Alex Brogan A/Principal Viola Sally Boud^ Kierstan Arkleysmith Nik Babic Chair partnered by Lesley & Peter Davies Benjamin Caddy Alison Hall Rachael Kirk Allan McLean Elliot O Brien Katherine Potter^ Helen Tuckey CELLO Rod McGrath Chair partnered by Tokyo Gas Louise McKay 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 Elizabeth Browning^ Louise Elaerts Christine Reitzenstein Andrew Tait Mark Tooby FLUTE Andrew Nicholson Mary-Anne Blades PICCOLO Michael Waye OBOE Liz Chee COR ANGLAIS Leanne Glover CLARINET Lorna Cook BASS CLARINET Alexander Millier BASSOON Colin Forbes-Abrams Chair partnered by Sue & Ron Wooller CONTRABASSOON Chloe Turner HORN Robert Gladstones Principal 3rd Horn Sarah Barrett^ Julia Brooke Francesco Lo Surdo TRUMPET Brent Grapes Evan Cromie Peter Miller TROMBONE Joshua Davis Liam O Malley BASS TROMBONE Philip Holdsworth TUBA Cameron Brook TIMPANI Alex Timcke PERCUSSION Brian Maloney Chair partnered by Stott Hoare Chiron Meller Assoc Principal Percussion and Timpani Robyn Gray^ HARP Sarah Bowman CELESTE Graeme Gilling^ *Instruments used by these musicians are on loan from Janet Holmes à Court AC. Principal Associate Principal Guest Musician^ Contract Playerº 11

12 Tianqi is proud to support WASO and the Crescendo Program in the Kwinana area Changing the world with lithium 12 EL SISTEMA INSPIRED MUSIC EDUCATION PROGRAM

13 WASO IN THE COMMUNITY Education Week +, June 2017 Bravo WASO! The excitement and enthusiasm generated with the young audience at one of [the] concerts at the Perth Concert Hall had to be experienced to be believed. Thank you and well done WASO, its players and musicians. B.Lillis, Letter to the Editor, published in The West Australian 26 June 2017 WASO s Community Engagement Department were delighted to reach 6,355 audience members across 15 performances in seven different locations during Education Week + this year. We welcomed UK composer and educationalist Paul Rissmann as our Artist- In-Residence. We presented a selection of his programs for children for full orchestra as well as chamber programs with our newly formed EChO9 and EChO11 ensembles, and our first ever education programs in Mandurah to a capacity audience at the gorgeous Mandurah Performing Arts Centre. Across the eight days, we delivered performances for primary school students and families at Perth Concert Hall and Mandurah Performing Arts Centre, Composition Project Final Showing as part of our flagship Young and Emerging Artists program, a 90+ member Rusty Orchestra performance that concluded with the world premiere of The Rusties! - March and confetti canons exploding to Tchaikovsky s 1812 Overture, Kids' Cushion Concerts with EChO11, Hospital Orchestra Project at Princess Margaret Children s Hospital, Harmony Music and a Conducting Masterclass with Benjamin Northey. In addition, we also gave six free music education classes in our El Sistema Inspired Music Education Program, Crescendo, teaching more than 100 students in Kwinana. Education Week takes place during Community Support Month, and we were delighted that Paul Rissmann was able to meet a number of Patrons and guests at the annual Judy Sienkiewicz Lecture. Paul spoke animatedly about the importance and value of education and outreach programming for a modern 21st century orchestra. Sincere thanks to our corporate partners and individual donors who help us reach diverse audiences throughout this special week in our calendar. Young and Emerging Artists programs are supported by The James Galvin Foundation. Kids' Cushion Concerts are supported by Water Corporation. Harmony Music at Moorditj Noongar Community College was supported by Perth Airport. WASO s Community Outreach Program is proudly presented by Healthway, promoting the Act-Belong- Commit message. The Conducting Masterclass was presented with support from ABODA (WA) and Churchlands Concert Hall. 13

14 Asher Fisch Conducts SCHUBERT S THE GREAT MORNING SYMPHONY SERIES THURS 17 AUGUST 11AM PERTH CONCERT HALL MACA LIMITED CLASSICS SERIES FRI 18 & SAT 19 AUGUST 7.30PM PERTH CONCERT HALL SCHUMANN Genoveva: Overture* SCHUMANN Piano Concerto* SCHUBERT Symphony No.9 The Great Asher Fisch conductor Jayson Gillham piano* *Jayson Gillham and both Schumann works appear in Friday and Saturday concerts only. BOOK NOW WASO.COM.AU TICKETS FROM $29/32^ 14 Asher Fisch appears courtesy of Wesfarmers Arts. ^A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $6.60 applies to phone and mail bookings. A fee of $3.85 applies to over the counter bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

15 MEET THE MUSICIAN Semra Lee-Smith A/Assoc Concertmaster What s your earliest memory of playing music? My mother is a violin teacher and I started playing (or copying her) at the age of three. One of my first playing memories is of a duet we played at my school when I was about four. Do you have any stand out concerts or performances in your time with WASO? The Brahms Festival in 2015 was incredible and so was the concert in Shanghai during the recent China tour. Messiaen s Turangalîla-symphonie and Mahler s Ninth Symphony with Simone Young were also pretty amazing. What piece of music would you play to convince someone of the power of music? I ve often thought about this and I do really think it depends on the person. For instance, on Mother s Day this year, I played a string quartet concert comprising pieces by Haydn, Webern and Shostakovich. Initially, I thought the Webern and Shostakovich might be a little challenging for our audience. To my surprise, the Shostakovich was overwhelmingly the crowd favourite. People commented on how they loved the power and energy in the music and its expressive quality. And then there was the one lady who told me she d come to the conclusion that Shostakovich must have hated his mother! I absolutely loved that response! How do you feel after a concert? Exhilarated, relieved and exhausted! When no one s watching, what music do you listen to? I don t really have any current guilty secret listening pleasures but when I was 14, I listened to a LOT of New Kids on the Block and Debbie Gibson. Who is your favourite violin soloist? I think Leonidas Kavakos is an absolute god of the violin. I got to play with him a number of times when I was a member of the Malaysian Philharmonic Orchestra. He never disappointed and I always came offstage totally gobsmacked by his mastery of the instrument. I also love listening to historic recordings of violinists like Fritz Kreisler and Arthur Grumiaux. When I was a teenager, I had a photo of Jascha Heifetz on my bedroom wall. Next to a poster of New Kids on the Block... If you were stranded on a desert island, what 3 things would choose to have with you? A comfy chair, my dog and Netflix. I really dislike pineapple on pizza. 15

16 HAND PRUNED, HAND PICKED, HAND MADE 98 TOM CULLITY DRIVE COWARAMUP WESTERN AUSTRALIA A NIGHT TO REMEMBER COMO THE TREASURY Make sure your night with the WA Symphony Orchestra is one to remember at COMO The Treasury. Begin your evening with indulgent dining at Post, and after an inspiring concert experience come back to our hotel to spend the night in our sophisticated surrounds. Visit comohotels.com/thetreasury to learn more, or contact our reservations team by calling

17 YOUR CONCERT EXPERIENCE 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. LISTEN TO WASO This performance is being recorded for broadcast on ABC Classic FM. For further details visit abc.net.au/classic 720 ABC PERTH Tune in to 720 ABC Perth on Friday morning at 6.15am when Peter Bell provides the latest on classical music and WASO s upcoming concerts. FOOD & BEVERAGES Visit perthconcerthall.com.au for 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 across from box office Wardle Room western side of bar Terrace Level Corner Bar one water station on either side of the bar Lower & 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 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 auditorium. Visit perthconcerthall.com.au/your-visit/ accessibility/ for further information. WASO BOX OFFICE Buy your WASO tickets and subscriptions, exchange tickets, or 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. 17

18 ABOUT THE MUSIC Joseph Haydn ( ) Symphony No. 99 in E flat Adagio Vivace assai Adagio Menuetto (Allegretto) Finale (Vivace) Returning to London in February 1794 for the second of the two extended visits that set the seal on his international standing as the greatest living composer, the 61-year-old Haydn brought with him a new symphony in E flat, composed during his 18 months at home in Vienna, as well as drafts for others to be completed in London. The six new London symphonies composed for his return visit, together with the half-dozen that were the fruits of his first visit in , would uniquely crown a symphonic career extending over the best part of four decades and bear witness to the Father of the Symphony mantle that Haydn wears to this day. The new symphony, No.99, was premiered within days of the composer s arrival in London, in the concert series promoted by his violinist impresario Johann Peter Salomon in the Hanover Square Rooms. As usual, Haydn presided at the keyboard and Salomon led the orchestra. The success of the symphony was immediate and the first performance was received with rapturous applause, according to The Morning Chronicle. When it was heard a second time, the following week, the first movement was encored; in a later performance the first two movements were encored. The opening of the new symphony would have made an imposing effect a grave stately introduction launched on a powerful chord of E flat major, enriched by clarinets which here make their first appearance in a Haydn symphony. Rarely had clarinets been available during Haydn s earlier long-time service with the Esterházy princes in Austria-Hungary. He had used them in wind divertimenti and in his charming late notturni for the King of Naples. His beloved, now sorely lamented, young friend Mozart, on the other hand, had used clarinets in his orchestra as early as the Paris Symphony of Haydn must have negotiated the addition of clarinets to Salomon s orchestra at the end of his first sojourn in London. They would henceforth feature in all his symphonies bar only No.102. From its dramatic opening chord, the slow introduction advances cautiously, dynamic contrasts building tension, until a carefree main subject breaks free in the Vivace assai. In this symphony Haydn piquantly explores unorthodox key relationships, both within movements and between them. 18

19 The Adagio is an idyll of mingled thanksgiving and despair. If the slow movement of Symphony No.98 had been Haydn s elegy on the untimely death of Mozart so, H.C. Robbins Landon suggests, he may here have been mourning the equally untimely loss of his dear friend Marianne von Genzinger, wife of the Esterházy court physician. It was she, not the wife of his long and unhappy marriage, to whom he had written long, wide-eyed traveller s tales from London during his earlier visit, she whom he had asked to ensure the safe despatch or receipt of parcels of music. Haydn s correspondence with her was unfailingly and disarmingly chaste. But no more would he write from London I kiss your Grace s hands The woodwinds poignantly echo the strings in a theme both tender and nostalgic; they join forces in a deeply felt, lyrical second subject. Trumpets and drums add weight to a vehement, ultimately futile, outburst, after which the lyrical second subject, now richly orchestrated, achieves a plateau of serenity. Although Haydn had of late been tending towards fast minuets, he now adopts a slower tread, as in the traditional dance, in keeping with his solemn mood. The central trio section, in the remote key of C major, is charmingly rustic. The finale, a freewheeling amalgam of sonata and rondo forms, is typical of the composer s last symphonic period. In a brilliant, poker-faced fugal development the theme is turned upside-down; at a moment of mock sentimentality the theme is slowed to adagio for a single bar. Several instruments, even the second horn, have brief moments of display. The young Beethoven, studying intermittently with Haydn in Vienna during the composition of Symphony No.99, would have learnt more about freedom, Tovey suggests, from its heart-rending slow movement than from all his aging teacher s lessons. Certainly, it is said, Beethoven thought the fugato section of the finale worth copying out for study. Abridged from a note by Anthony Cane 2010 First performance: 10 February 1794, London, Haydn conducting. First WASO performance: 8-9 August Simone Young, conductor. This is the only previous WASO performance. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, strings. Glossary Fugue/fugal a contrapuntal style of composition in which a short melody is sounded by one voice or part and subsequently taken up by others. Subject, first and second melodies which play an important part in the structure of a piece of music. 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. Rondo forms 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. Sonata form a term conceived in the 19th century to describe the way most Classical composers structured at least the first movement of a symphonic work or a sonata. It involves the exposition or presentation of themes or subjects: the first subject is in the 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. 19

20 ABOUT THE MUSIC Andrew Schultz (b. 1960) Maali, Op.101 (2016) Concerto for oboe, clarinet, horn and bassoon with orchestra I Lively, fast and playful II Slow, dreamlike III Variations. Fast, joyous WORLD PREMIERE Maali is a large-scale three-movement work in the tradition of the sinfonia concertante works for a small group of concerto soloists with orchestra. In this case the soloists are the wind quartet combination of oboe, clarinet, bassoon and horn. Each of the parts is quite challenging and virtuosic and there are also intense ensemble demands on the quartet as a group. The work is accompanied by a large orchestra including full brass and percussion sections the orchestral scoring does omit oboe, clarinet and bassoon but includes three flutes (which have a prominent role in the work) and also cor anglais, bass clarinet and contrabassoon. The latter are the bass siblings of the solo woodwind parts and, with the flutes, complement the sonorities of the solo instruments. The three movements are arranged fastslow-fast with the second running without a break into the final movement. The first movement is by turns rhythmically playful and expressively lyrical, with the interchange of moods suggesting the natural world of great birds at play. The second movement is dreamlike as one musical image floats into another, in each case expressively led by a soloist. The final movement is an extremely buoyant and jubilant set of double variations. There are two themes (or one theme with two halves, if you prefer) followed by ten variations (or five pairs of variations). The music of the double theme alternates a rhythmic melodic line (first heard in the solo horn) with an answering chorale-like passage; this pattern continues through the movement. The great birds referred to in the title, Maali, also provide a clue to the source of the musical ideas in this movement. Andrew Schultz 2016 Maali was commissioned by Geoff Stearn for the West Australian Symphony Orchestra. Composer Andrew Schultz was born in Australia in 1960 and lives in Sydney. He studied at the Universities of Queensland and Pennsylvania and at King's College London. His music, which covers a broad range of chamber, orchestral and vocal works, has been performed, recorded and broadcast widely by leading groups and musicians internationally. Andrew has held residencies and academic posts in Australia, Canada, France, the UK and USA. YOU MAY ALSO ENJOY PAUL STANHOPE Trombone Concerto featured in Asher Fisch Conducts Schumann Fri 17 & Sat 18 November 20

21 ABOUT THE MUSIC Johannes Brahms ( ) Variations on a theme by Haydn, Op.56a The violinist Joseph Joachim once reassured a youthful Brahms, who had pestered him anxiously for an opinion on his new Variations on a theme by Schumann, If I could, I would turn every one of the Variations into a triumphal arch and the theme into a laurel wreath for you to wear as I led you through them, you young Emperor of Music! For Brahms, like Haydn and Beethoven before him, the variation form was central to his musical life. While he declared a particular affection for the form, which he argued should be used more creatively and with greater freedom, his own exploration of variation form nevertheless remained conservative, a challenge to his ingenuity in remaining faithful to the theme. His creativity shone in spinning off entirely new ideas from fragments of the original theme. Brahms was at a crossroads when he came, aged 40, to consider a theme from an old manuscript apparently by Haydn. He was in 1873 still three years from completing his long-gestating first symphony. His experience of the art of orchestration was limited to a first piano concerto and a pair of serenades, all composed long before he had even arrived from his native Hamburg in 1862 to make a permanent home in Vienna. Now, in his Variations on a Theme by Haydn, the composer turned two notable corners. Composing the work in two separate versions more or less concurrently, one for two pianos (Op.56b) and one for orchestra (Op.56a), Brahms on one hand closed his career as a composer of major piano works henceforth there would be only miniatures; and on the other hand he created, triumphantly, the world s first free-standing variations for orchestra. At the same time, in his confident and subtle mastery of a constantly varying instrumental palette through ten distinct environments (theme, eight variations and finale), he announced his arrival as an orchestrator. The theme by Haydn had been discovered and shown to Brahms three years previously by his Viennese friend Carl Ferdinand Pohl, librarian of the Society of the Friends of Music and Haydn s first comprehensive biographer. Pohl had unearthed a set of half a dozen wind band divertimenti, or Feldparthien (literally, field partitas), in which it appeared, as the second movement of the last, under the heading Corale St Antonii. All six divertimenti are now considered spurious, possibly by Ignaz Pleyel, and the St Antony Chorale itself perhaps an old Austrian pilgrims hymn. 21

22 Brahms in his opening statement of the theme consciously imitates the early Classical wind sonorities in the original divertimento. He reserves his upper strings for the actual variations, which follow, as John Horton has suggested, in a loosely symphonic sequence energetic in the first three variations; Romantically melancholy in the fourth (Andante con moto); scherzo-like in 5, 6 and 8, with Variation 7 (Grazioso) a contrasting centrepiece; and gloriously cumulative in a passacaglia finale which builds in Bachian fashion from a ground bass constantly reiterating the first five bars of the St Antony theme. The bell-like tolling of the note B flat from the end of the theme echoes constantly through Variation 1, interwoven with sweeping string figures. Variation 2, in the minor, propels each scampering phrase with a peremptory shove, but the more delicate Variation 3 flows placidly, evoking Romantic horn sighs. The poignant expressiveness of the minor-key Variation 4, based on two new, wistfully flowing melodies, is achieved with a deceptive simplicity which refuses to proclaim its extraordinary contrapuntal skill. The impetuous Variation 5 pits different rhythms against each other within a basic 6/8 metre and a swaggering march follows in the equally brilliant Variation 6. The languorous siciliano of Variation 7 is another contrapuntal tour de force with glowing Brahmsian harmonies. A final, fleeting ghost-like variation the third in the minor leads to the solemn ground bass of the finale, a mere ten notes from which Brahms builds a kaleidoscopic edifice, rising inexorably to a majestic return of the full chorale theme. Brahms unprecedented use of a passacaglia, or ground bass, finale to a set of variations is both a homage to the towering example of Bach and an advance hint of the great passacaglia, based on a theme of Bach himself, with which, 12 years later, he would close his fourth, and final, symphony. Anthony Cane 2004 First performance: 2 November 1873, Vienna, composer conducting. First WASO performance: 6 February Eugene Goossens, conductor. Most recent WASO performance: July Michael Christie, conductor. Instrumentation: piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, timpani, triangle, strings. Glossary 6/8 a metre where each bar has two beats, each of which is made of up of three smaller beats. Contrapuntal music which features counterpoint, i.e. where two or more independent lines of music are played at the same time. Divertimento a light piece of music designed for entertainment. Passacaglia a piece consisting of continuous variations of a melody over a short, repeated bass pattern (ground bass) or harmonic scheme. Siciliano a lilting dance originally from Sicily. Symphonic sequence constructed like a symphony, i.e. in three or four movements: the first and sometimes the last movement in sonata form; a slow second movement; and the third often a minuet or scherzo. 22

23 ABOUT THE MUSIC Johannes Brahms ( ) Academic Festival Overture, Op.80 Brahms had never been a formally enrolled university student, but in 1853 he d had a rattling good time leading a student-style existence in Göttingen, singing drinking songs with the local student population. In 1880, after receiving an honorary doctorate from the University of Breslau, the by-nowfamous composer responded with a concert overture in honour of the occasion. But rather than writing an academic work, Brahms set out to complete a jovial piece based on the convivial aspects of student life which he had known firsthand. Brahms took four of his favourite student drinking songs and worked them into a free sonata structure using the largest and most percussion-dominated orchestra that he had ever employed. He noted that it was a very boisterous potpourri of student songs à la Suppé a reference to Suppé s opera Flotte Bursch, which is constructed in the same way. The four songs on which the work is based are Wir hatten gebauet ein stattliches Haus (We had built a stately house), which is introduced in chorale-like fashion by the brass; Der Landesvater (The father of our country), heard first on the second violins; the undergraduate initiation song Was kommt dort von der Hoh, introduced by bassoons over pizzicato figures in the violas and cellos; and finally, a full orchestral version of Gaudeamus igitur, a medieval student song that Suppé had also used in Flotte Bursch. The fun starts right at the beginning, with a pompously solemn opening, rapidly giving way to the high spirits which characterise the piece as a whole. Abridged from a note by Martin Buzacott Symphony Australia First performance: 4 January 1881, Breslau, composer conducting. First WASO performance: 6 July Rudolf Pekárek, conductor. Most recent WASO performance: March Jahja Ling, conductor. Instrumentation: piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, strings. YOU MAY ALSO ENJOY SZYMANOWSKI Concert Overture featured in Asher Fisch Conducts Schumann Fri 17 & Sat 18 November Glossary Chorale a type of slow, stately hymn tune, especially one associated with the German Lutheran Church. A harmonised passage of music resembling this. Pizzicato plucking, rather than bowing, the strings. 23

24 WASO PHILANTHROPY WASO & Wagner Campaign We invite you to be part of WASO s most exciting artistic project to date by joining our WASO & Wagner campaign today. WASO & Wagner presents a once-in-alifetime opportunity for West Australians to join a thrilling journey of discovery through Wagner s music, as well as the composers Wagner influenced and those who inspired him. WASO & Wagner will see WASO and world renowned Wagner conductor Asher Fisch joined by some of the finest artists in the world to deliver an innovative program of music, lectures and events inspired by the seminal composer. This two-year project across the 2017 and 2018 orchestral seasons will explore how Wagner s work transformed the art form of classical music forever. We invite you to also be transformed! Meet the Percussion Section Sunday 15 October 2017, 2 4pm Perth Concert Hall Stage Join us when we venture onto the Perth Concert Hall stage to meet the members and instruments of the self-proclaimed noisy section of the Orchestra! Often relegated to the back of the Orchestra, our talented percussionists will be showcased centre stage, framed by a backdrop of the beautiful Perth Concert Hall auditorium. The evening will conclude with wine, refreshments and a raffle on Terrace level. Tickets are $45 for Patrons & Friends ($55 for guests) and include wine and light refreshments. To book, please call the WASO Box Office on WASO & Wagner is an expensive undertaking for the company as the scale of Wagner productions incur significant costs, and we are seeking your support to help fund this bold artistic project. We ask you to join us on this extraordinary musical journey through a two-year donation. For further details or to arrange your gift, please contact Sarah Tompkin on (08) or tompkins@waso.com.au; or go to waso.com.au/supportus. Ticket sales and proceeds from our raffle support the Friends of WASO Scholarship. Principal Percussion Chair, Brian Maloney (pictured) is partnered by Stott Hoare. Photo: Nik Babic 24

25 OUR SUPPORTERS Philanthropic partnerships come in all shapes and sizes Whatever the shape or size, your donation helps 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 Ms Davilia Bleckly Mr John Bonny Dr G Campbell-Evans Deirdre Carlin Anita & James Clayton Dr Michael Flacks Judith Gedero Robyn Glindemann Gwenyth Greenwood The Guy Family Liz Harrison Emi & Warren Jones Colin & Jo King Rachael Kirk & Tim White Paul Lee Wolfgang Lehmkuhl Deborah Marsh Suzanne Nash Tosi Nottage in memory of Edgar Nottage Nigel & Dr Heather Rogers Gavin Toovey & Jaehan Lee Sheila Wileman Sagitte Yom-Tov Fund Anonymous (30) Endowment Fund for the Orchestra This fund includes major donations and bequests Tom & Jean Arkley Janet Holmes à Court AC Minderoo Foundation Sagitte Yom-Tov Fund Estates WASO is extremely grateful for the bequests received from Estates Rachel Mabel Chapman Mrs Roslyn Warrick Judy Sienkiewicz Anonymous (5) 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 Leanne & Sam Walsh The WASO Song Book We are grateful to those who have supported new works commissioned for the Orchestra Janet Holmes à Court AC Peter Dawson Barrie and Jude Lepley Geoff Stearn Crescendo Giving Circle AOT Consulting Pty Ltd Jean Arkley Kaylene Cousins Euroz Charitable Foundation Madeleine King MP, Federal Member for Brand Rosalind Lilley Pamela Pitt Deborah & Miles Protter The Spivakovsky Jubilee Valerie Vicich Anonymous (1) Reach Out Supporting our Education & Community Engagement programs Jean Arkley Ron & Penny Crittall Ann Darby Robyn Glindemann Barrie & Jude Lepley Rosalind Lilley Mrs Morrell Peter & Jean Stokes Ruth Stratton Anonymous (2) Trusts & Foundations Crown Resorts Foundation & Packer Family Foundation The Ionian Club Perth '81 The James Galvin Foundation Simon Lee Foundation Instrument Fund John Albright & Susan Lorimer - EChO Double Bass Deborah Marsh - Cor Anglais Peggy & Tom Stacy - Cor Anglais Jean & Peter Stokes - Cello & Tuba Orchestral Partnerships Sue & Ron Wooller for the Chair of Principal Bassoon Lesley & Peter Davies for the Chair of Tutti Viola WASO & Wagner Constance Chapman Stephen Davis & Linda Savage Mr M Hawkins Dr Penny Herbert in memory of Dunstan Herbert John Overton Joshua & Pamela Pitt Richard Wagner Society of WA Anonymous (3) 25

26 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. Principal Conductor s Circle Gifts $20,000+ Janet Holmes à Court AC John Albright & Susan Lorimer Patricia New Peter & Jean Stokes Impresario Patron Gifts $10,000 - $19,999 Gay & Bob Branchi Gavin Bunning Peter & Lesley Davies Orchestral Chair Partners - Tutti Viola 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 E & EA Fraunschiel Gilbert George Dr Patricia Kailis Kelly Family Alison Kennedy Keith & Gaye Kessell Dr Ronny Low & Dr Emma Richardson Bryant & Louise Macfie Robert May Paula & John Phillips Richard Tarala & Lyn Beazley AO Ros Thomson Alan Whitham Sue & Ron Wooller (Orchestral Chair Partners - Principal Bassoon) Anonymous (2) Virtuoso Patron Gifts $2,500 - $4,999 Dr Fred Affleck AO & Mrs Margaret Affleck Neil Archibald & Alan R Dodge AM Tony & Mary Beeley David & Suzanne Biddles Peter & Marjorie Bird Alan & Anne Blanckensee Dr G Campbell-Evans Prof Jonathan Carapetis & Prof Sue Skull Mark Coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda Savage Bev East Richard Farago Robyn Glindemann Brian & Romola Haggerty Warwick Hemsley & Melissa Parke Sue Hovell Sylvia & Wally Hyams Jim & Freda Irenic Eleanor John & Finn Barrett Michael & Dale Kitney Stephanie & John Kobelke Dr Richard & Patricia Lyon Mrs Morrell Anne Nolan Tim Pavy & Cathy Cole Dr Lance Risbey & Ms Elizabeth Sachse G. J. Seach Melanie & Paul Shannon Gail & Tony Sutherland Gene Tilbrook Michael & Helen Tuite Stan & Valerie Vicich Joyce Westrip OAM Andrew & Marie Yuncken Anonymous (2) Principal Patron Gifts $1,000 - $2,499 Caroline Allen & Sandy Dunn Prue Ashurst in memory of Eoin Cameron Margaret Atkins Betty Barker Noelle Beasley Colin and Sarah Beckett Kevin Blake Matthew J C Blampey Namy Bodinner Susy Bogle Peter & Eve Boland Dr & Mrs P Breidahl Jean Brodie-Hall AM Marilyn & Ian Burton Rev Dr John Cardell-Oliver Dr Anne Chester Peter & Sue Clifton David Cooke Arthur & Nerina Coopes Hon June Craig AM Maree Creighton & Kevin Davis Brian Cresswell Gay & John Cruickshank Lesley & Peter Davies Rai & Erika Dolinschek Julian Dowse Megan Edwards Lorraine Ellard Dane Etheridge & Brooke Fowles Annette Finn P & J Fisher Don & Marie Forrest Dr Andrew Gardner Roger & Ann Gillbanks Graham & Barbara Goulden Jannette Gray Deidre Greenfeld Grussgott Family Trust Richard B Hammond Pauline & Peter Handford Dr Harry Hansen-Knarhoi In memory of Eileen Hayes Dr Penny Herbert in memory of Dunstan Herbert Jacoba Hohnen & Stuart Cooksey Michael Hollingdale Helen Hollingshead John & Katrina Hopkins J & S Huan Judith Hugo Cynthia Jee Lilian & Roger Jennings Warren & Emi Jones Anthony Kane in memory of Jane Leahy-Kane 26

27 OUR SUPPORTERS Bill Kean David Keast & Victoria Mizen Noelle & Anthony Keller AM Irving Lane Meg Lewis Teresa & Jemima Loveland Graham & Muriel Mahony Gregg & Sue Marshman S. McWhirter Betty & Con Michael AO Mrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Hon Justice S R Moncrieff Geoffrey & Valmae Morris Jane & Jock Morrison Lyn Murray Val & Barry Neubecker Delys & Alan Newman Dr Phil and Mrs Erlene Noble John Overton Ron & Philippa Packer Michael & Lesley Page Athena Paton Rosemary Peek Charmian Phillips in memory of Colin Craft Pamela Platt Thomas & Diana Potter Barry & Dot Price Dr Leon Prindiville Joan Reyland John & Alison Rigg Bryan & Jan Rodgers Nigel & Dr Heather Rogers Gerry & Maurice Rousset OAM Roger Sandercock Dr R & J Schwenger Margaret & Roger Seares Glenice Shephard Julian & Noreen Sher Laurel & Ross Smith Paul Smith & Denham Harry Michael Snell & Vicki Stewart Geoff and Christine Soutar Ruth Thomas Gavin Toovey & Jaehan Lee Mary Townsend James & Rosemary Trotter Maggie Venerys Adrienne & Max Walters AM Watering Concepts Ian Watson Dai and Anne Williams Ian Williams AO & Jean Williams Jim & Gill Williams Judith Wilton & David Turner Hilary & Peter Winterton AM Sara Wordsworth In memory of youth concerts at the Capital Theatre in the 1950s Anonymous (21) Tutti Patron Gifts $500 - $999 Geoff & Joan Airey Catherine Bagster Bernard & Jackie Barnwell Shirley Barraclough Mrs Berwine Barrett-Lennard Pamela M Bennet Michael & Nadia Berkeley-Hill John & Sue Bird in memory of Penny Bird Dermot & Jennifer Blackweir Elaine Bonds Diane & Ron Bowyer James & Gay Brown Alison Bunker & Myles Harmer Lucia Buralli Ann Butcher & Dean R Kubank Michelle Candy Prof Rachel Cardell-Oliver Nanette Carnachan Claire Chambers & Dr Andrea Shoebridge Fred & Angela Chaney Dr Sarah Cherian 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 In memory of Arbutus Beaver Falatko Maxine & Bill Farrell AM Gavin & Susan Fielding Joan Gagliardi Jennifer & Stephen Gardiner George Gavranic Elaine Gimson Isobel Glencross Pitsamai & Kevin Green David & Valerie Gulland Paul & Barbara Harris Alan Harvey & Dr Paulien de Boer Eric & Elizabeth Heenan John Hill Rosemary Howarth Christopher, Julie, Rosemary & Bronwyn Hudson Peter Ingram Peter S Jones B M Kent Dorothy Kingston Nelly Kleyn Ulrich & Gloria Kunzmann John Kusinski & Annie Motherway Trevor & Ane Marie Lacy Louis & Miriam Landau Paul Lee Martin & Ruth Levit Ann Lewis Megan Lowe The Lucas Family Ian and Judith Lunt Mary Ellen in memory of Kerensa Geoff Massey Jennifer & Arthur McComb James Meneghello & Mabel Chew Tony & Gillian Milne S B Monger-Hay André & Barbara Morkel Dr Peter Moss Phuong Nguyen Marianne Nilsson Peter O Sullivan Dr Walter Ong & Graeme Marshall Marjan Oxley Bev Penny Adrian & Ruth Phelps Alpha & Richard Pilpel OAM Dr Brad Power Alison & John Price Tony & Val Ramshaw Rosie Reeman James & Nicola Ridsdill-Smith Paul Roberts Leigh Robinson Chris & Serge Rtshiladze Her Excellency the Hon. Kerry Sanderson, AC Carole Sexton 27

28 OUR SUPPORTERS The Sherwood Family In memory of Judith Sienkiewicz Jacinta Sirr Paul & Margaret Skerritt Hendrik Smit DR L Sparrow & Family Peggy & Tom Stacy Eleanor Steinhardt In Memoriam of Mr Andrew David Stewart Lisa & Andrew Telford Rhondda Tilbrook Ruth E Thorn Gwen Treasure Dr Robert Turnbull Patricia Turner S R Vogt Margaret Wallace John & Nita Walshe Diana Warnock Anne Watson Joy Wearne Patricia Weston Dr Chris & Mrs Vimala Whitaker Margaret Whitter Mrs Barbara Wilcox Geoff Wilkinson Violette William Janet Williams Chris Ziatis Anonymous (25) Friend Gifts $40 - $499 Thank you to all our Friends who support WASO through their gift. If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Sarah Tompkin, Acting Executive Manager, Philanthropy, on or tompkins@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. Empowering digital workplaces. For over 80 years, Ricoh has been singularly focused on innovations made to improve work life. Products and services that revolutionise the modern workplace, enabling you to collaborate smarter, faster and better than ever before. ricoh.com.au 28

29 Supporting WASO and the local community Proudly sponsored by 29

30 2017 CORPORATE PARTNERS We encourage you to support these partners for generously supporting your Orchestra PARTNER OF EXCELLENCE PLATINUM PARTNERS CONCERTO PARTNERS OVERTURE PARTNERS SONATA PARTNERS KEYNOTE PARTNERS AQUINAS COLLEGE 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

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32 ASHER FISCH CONDUCTS MOZART & MAHLER FRI 25 & SAT 26 AUGUST 7.30PM PERTH CONCERT HALL MOZART Violin Concerto No.3 MAHLER Symphony No.6 Asher Fisch conductor Karen Gomyo violin BOOK NOW WASO.COM.AU TICKETS FROM $32 * Asher Fisch appears courtesy of Wesfarmers Arts. *A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $6.60 applies to phone and mail bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.