Behzod Abduraimov Plays Prokofiev PROGRAM. MORNING SYMPHONY SERIES Thursday 2 June 11am

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1 PROGRAM MORNING SYMPHONY SERIES Thursday 2 June 11am ALCOHOL.THINK AGAIN MASTERS SERIES Friday 3 & Saturday 4 June 7.30pm Perth Concert Hall & Behzod Abduraimov Plays Prokofiev

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3 WELCOME This week we are absolutely delighted to welcome pianist Behzod Abduraimov back to WASO. Behzod returns to perform Prokofiev s Third Piano Concerto, the same concerto that launched his career when he won the 2009 London International Piano Competition. A solitary clarinet starts this concerto with a simple, very Russian-sounding melody before the soloist bursts in at 100 mph! From his first entry the opening movement is relentless for the soloist, it is the perfect vehicle for displaying Behzod s musical muscularity, virtuosity and his artistic sensitivity. For all the concerto s dazzling and complex personality it is a compelling work that completely engages the audience from beginning to end. It could fairly be said that Pyotr Ilyich Tchaikovsky was the master of melody. While he wrote wonderful works across all genres, he declared his Sixth Symphony the best thing I ever composed or shall compose. His symphonies are loved for their big, lush, romantic writing and generally end with a pretty big climax - but not this one! With this masterpiece he rewrote the structure of the symphony. The first movement establishes a mood of bleak despair, intense and all-enveloping. Somehow, out of this dark world flowers one of the most well-loved, yearning romantic melodies in the repertoire. The two inner movements are entirely different characters the second a famous offkilter yet flowing waltz and the third a triumphant, brass-reinforced march. I don t think I have ever been to a performance of this work where the audience did not burst into applause following the third movement! It s often been pointed out that had Tchaikovsky simply switched the order of the final two movements, he would have preserved the optimistic, Beethovenian model of light over darkness, of triumph over adversity. But by reversing that model and ending with a movement whose life-force slowly drains away (in the same tempo with which the Symphony began), he introduces a radical new concept of the symphonic journey, one that Mahler would follow in his Ninth Symphony. Our concerts open with one of Schumann s finest orchestral creations, his Manfred Overture, and to conduct these concerts we are delighted to welcome Maestro Daniel Blendulf to Perth for the first time. Alan Tyrrell Program Manager

4 MORNING SYMPHONY SERIES TCHAIKOVSKY S PATHETIQUE SCHUMANN Manfred: Overture (12 mins) TCHAIKOVSKY Symphony No.6 Pathétique (45 mins) Adagio Allegro non troppo Allegro con grazia Allegro molto vivace Finale (Adagio lamentoso Andante) Daniel Blendulf conductor Pre-concert Talk Find out more about the music in the concert with this week s speaker, Phil Robertson. The Pre-concert Talk take place at 9.40am in the Auditorium. The Pre-concert Talk is supported by Wesfarmers Arts 4

5 ALCOHOL.THINK AGAIN MASTERS SERIES BEHZOD ABDURAIMOV PLAYS PROKOFIEV SCHUMANN Manfred: Overture (12 mins) PROKOFIEV Piano Concerto No.3 (28 mins) Andante Allegro Andantino (with variations) Allegro non troppo Interval (25 mins) TCHAIKOVSKY Symphony No.6 Pathétique (45 mins) Adagio Allegro non troppo Allegro con grazia Allegro molto vivace Finale (Adagio lamentoso Andante) Daniel Blendulf conductor Behzod Abduraimov piano Pre-concert Talks Find out more about the music in the concert with this week s speaker, Phil Robertson. Pre-concert Talks take place at 6.45pm in the Terrace Level Foyer. Pre-concert Talks are supported by Wesfarmers Arts 5

6 2016 UPCOMING CONCERTS TICKETS FROM $45 * Photo: Australian Brandenburg Orchestra MACA LIMITED CLASSICS SERIES VIVALDI S GLORIA FRI 10 & SAT 11 JUNE 7.30PM Perth Concert Hall Baroque specialist Paul Dyer returns with a spectacular choral program featuring Vivaldi s celebrated Gloria - don t miss this opportunity to experience it for yourself! VIVALDI Gloria HANDEL Music for the Royal Fireworks ELENA KATS-CHERNIN Prelude and Cube Paul Dyer director (pictured) Sara Macliver soprano Fiona Campbell mezzo soprano WASO Chorus INDIANA JONES AND THE RAIDERS OF THE LOST ARK LIVE IN CONCERT WED 15 & THU 16 JUNE 7.30PM Riverside Theatre, PCEC Winner of four Academy Awards, the iconic soundtrack is John Williams at his best, and will be performed live by the Orchestra while the entire film plays on the big screen. Benjamin Northey conductor 1981 Lucasfilm Ltd. All Rights Reserved. Oscar A.M.P.A.S. Book at ticketek.com.au TICKETS FROM $45 * WASO IN THE COMMUNITY WASO EDUCATION WEEK MON 20 TO SUN 26 JUNE Perth Concert Hall WASO shines the spotlight on the variety of its music education activities by presenting a selection of programs for students of all ages: Young & Emerging Artist Composition Project, primary and secondary workshops, Kids Cushion Concerts and full symphony orchestra performances. For WASO s Education Week program details visit waso.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. 6

7 WASO IN THE COMMUNITY WASO ON THE ROAD WASO on the Road Regional Touring 2016 commenced with a fanfare recently as a WASO Brass Quintet featuring Julia Brooke (Horn), Brent Grapes ( Trumpet), Evan Cromie (Associate Trumpet), Liam O Malley (Associate Trombone) and Cameron Brook ( Tuba) travelled to the Goldfields. Leinster Community School was our first stop where we were joined by students from Wiluna Remote Community School who drove almost 200km. Musicians presented two performances, have-a-go sessions, and spent the afternoon in a creative workshop to help students make 82 hose-a-phones. A combined ensemble of WASO musicians and students then performed the iconic Queen melody We Will Rock You! as a fun finale to a hugely successful Community Concert that evening. From there, it really was time to be on the road. We travelled 370km to Kalgoorlie, stopping off at Leonora District High School and Menzies Community School, performing for students, staff and families before more have-a-go sessions where we unearthed some fabulous talent! Travelling via Lake Ballard and seeing the iconic Gormley Figures, WASO was then welcomed back to Kalgoorlie-Boulder with performances, have-a-go sessions and side-by-side rehearsals in four schools. Thursday evening saw the Brass Quintet perform a final Community Concert in the beautiful surroundings of the Kalgoorlie Town Hall. The commitment of the musicians to supporting the Education & Community Engagement program was only amplified when Cameron Brook jumped into a taxi after our final school performance with less than an hour before his flight back to Perth to be at His Majesty s Theatre for Friday evening s performance of Beauty and the Beast with the WA Ballet. Many thanks to all who supported, hosted and welcomed the WASO Brass Quintet into their communities during this amazing week. 7

8 MACA LIMITED CLASSICS SERIES Simone Lamsma Plays Tchaikovsky Brilliant Dutch violinist Simone Lamsma performs Tchaikovsky s popular Violin Concerto GRIEG Peer Gynt: Suite No.1 TCHAIKOVSKY Violin Concerto ELGAR Enigma Variations Andrew Grams conductor Simone Lamsma violin (pictured) FRI 1 & SAT 2 JULY 7.30PM Perth Concert Hall BOOK NOW Tickets from $30 * Call or visit waso.com.au 8 *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.

9 ABOUT THE ARTISTS Photo: Marco Borggreve Photo: Cristian Fatu Daniel Blendulf Conductor Daniel Blendulf appears regularly with orchestras in his country of birth, Sweden. He is Chief Conductor of the Dalasinfoniettan. Recent performances have included debuts with the Sydney Symphony, New Zealand Symphony, Malaysian Philharmonic and Norwegian Radio orchestras, Zurich Chamber Orchestra and BBC National Orchestra of Wales. With the Malmö Symfoniorkester he conducted the world premiere of Britta Byström s Invisible Cities and his latest recording is of Nielsen s Violin Concerto with Cecilia Zilliacus and the Helsingborg Symphony Orchestra. Blendulf has conducted the Royal Swedish Opera (Carmen, Don Pasquale, and Anders Eliasson s Karolinas sömn (world premiere). He has also conducted Gounod s Faust and Berg s Wozzeck. Blendulf began his career as a cellist before going on to win First Prize at the Swedish Conducting Competition and graduating from Stockholm s Royal College of Music. In 2014 he was awarded the Herbert Blomstedt Conducting Prize. Behzod Abduraimov Piano Recent seasons have seen Behzod Aburaimov work with orchestras such as the Los Angeles Philharmonic (with conductor, James Gaffigan), Boston Symphony (conducted by Dutoit), NHK Symphony Tokyo (with Ashkenazy) and the Czech Philharmonic (with Béhlolávek). He performed on tour with the Mariinsky Orchestra and Valery Gergiev in their Prokofiev Piano Concerto cycle of concerts. As a recitalist, Behzod Abduraimov is a featured artist for the Junge Wilde series at the Konzerthaus Dortmund for the next three years. He has recently given recitals at Munich s Prinzregententheater and London s Wigmore Hall. After an award-winning recital disc, his first concerto disc - Prokofiev s Piano Concerto No.3 and Tchaikovsky s Piano Concerto No.1 - was released in Born in Tashkent in 1990 Behzod Abudraimov is now Artist in Residence at the International Center for Music at Park University, Kansas City. 9

10 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 10

11 WASO ON STAGE TODAY VIOLIN Laurence Jackson Concertmaster Rebecca Chan^ Guest Assoc Concertmaster Graeme Norris Assoc Concertmaster Semra Lee-Smith Assistant Concertmaster Rebecca Glorie A/ 1st Violin Zak Rowntree* 2nd Violin Kylie Liang Assoc 2nd Violin Sarah Blackman Fleur Challen Beth Hebert Jane Johnston Sunmi Jung Christina Katsimbardis Ellie Lawrence Shaun Lee-Chen* Akiko Miyazawa Melanie Pearn Graham Pyatt Louise Sandercock Jolanta Schenk Jane Serrangeli Kathryn Shinnick Jacek Slawomirski Kate Sullivan Bao Di Tang Cerys Tooby Susannah Williams^ David Yeh VIOLA Alex Brogan Sally Boud^ Guest Assoc Kierstan Arkleysmith Nik Babic Benjamin Caddy Katherine Corecig^ Alison Hall Rachael Kirk Allan McLean Elliot O Brien^ Helen Tuckey CELLO Rod McGrath Louise McKay Chair partnered by Penrhos College Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver* Fotis Skordas Tim South Xiao Le Wu DOUBLE BASS Andrew Sinclair* Joan Wright Elizabeth Browning^ Louise Elaerts Christine Reitzenstein Andrew Tait Mark Tooby FLUTE Andrew Nicholson Mary-Anne Blades PICCOLO Michael Waye OBOE Peter Facer Elizabeth Chee COR ANGLAIS Leanne Glover CLARINET Allan Meyer Lorna Cook BASS CLARINET Alexander Millier BASSOON Jane Kircher-Lindner Chair partnered by Ron & Sue Wooller CONTRABASSOON Chloe Turner HORN David Evans Robert Gladstones 3rd Horn Julia Brooke Dorée Dixon^ 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 Percussion Chiron Meller A/Assoc Percussion and Timpani *Instruments used by these musicians are on loan from Janet Holmes à Court AC. Associate Guest Musician^ 11

12 YOUR CONCERT EXPERIENCE PRINTED PROGRAMS Please share or download our free printed programs to help us be environmentally responsible. WASO s programs can be downloaded from our website waso.com.au FOR THE ENJOYMENT OF ALL When to applaud? Musicians love applause. Audience members normally applaud: When the concertmaster (violin) walks onto the stage When the conductor walks onto the stage After the completion of each piece and at the end of the performance When you need to cough, try to muffle or bury your cough in a handkerchief or during a louder section of the music. Cough lozenges are available from the WASO Ticket Collection Desk before each performance and at the interval. Hearing aids that are incorrectly adjusted may disturb other patrons, please be mindful of those around you. Mobile phones and other electronic devices need to be switched off throughout the performance. Photography, sound and video recordings are not permitted. 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 at on ABC Classic FM. For further details visit abc.net.au/classic 720 ABC PERTH Tune in to 720 ABC Perth on Friday mornings when Prue Ashurst joins James Lush to provide the latest on classical music and WASO s upcoming concerts. CONNECT WITH WASO Join us on Facebook facebook.com/ WestAustralianSymphonyOrchestra Follow us on Twitter twitter.com/_waso_ Tag your photos #WASO on Instagram instagram.com/_waso_ Watch us on YouTube youtube.com/westaustsymorchestra E-News Stay up to date and sign-up to our SymphonE-news at waso.com.au WASO On The Go Download WASO s free app on itunes or Google Play. Visit waso.com.au For concert information and to listen to concert playlists. 12

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

14 FRIENDS OF WASO SCHOLARSHIP The Friends of WASO Scholarship was created to enable full time members of the Orchestra to take up opportunities for professional development, both in Australia and overseas. The funds can be used to assist with travel, tuition, attendance at conferences, masterclasses and other learning activities. WASO management and the WASO Patrons & Friends Committee are delighted to announce this year s recipient of the Friends of WASO Scholarship is Associate Cello Louise McKay. Louise requested funds to support her participation in a one-week intensive masterclass to study with Professor Gerinagas in Berlin. Louise was accepted as a performer/ participant and travelled to Berlin in April to undertake this masterclass. Congratulations to Louise on being awarded the Scholarship and we look forward to learning about the experience. Chair partnered by Penrhos College experts in diagnosis and management musicians, athletes, mums and dads! west perth : CBD : mosman park starphysiowa.com.au proud WASO physiotherapy partners pictured-alex Chia-star physiotherapist, musician

15 TIMELINE OF COMPOSERS & WORKS ROBERT SCHUMANN Born in 1810, Zwickau, Germany Died in 1856, Endenich, Germany PETER ILYICH TCHAIKOVSKY Born in 1840, Votkinsk, Russia Died in 1893, St Petersburg, Russia Schumann's Manfred Overture 1852 SERGEI PROKOFIEV Born in 1891, Sontsovka, Ukraine Died in 1953, Moscow, Russia Tchaikovsky's Symphony No.6 Pathétique 1893 Prokofiev's Piano Concerto No

16 ABOUT THE MUSIC Robert Schumann ( ) Manfred: Overture, Op.115 The conductor Felix Weingartner singled out this piece as Schumann s only piece of orchestral music which can be compared with what he wrote for the piano. Nowadays Manfred still stands out, even for its treatment of the orchestra, usually considered Schumann s weakest point. Committed to the idea of the overture as a tone poem, Schumann composed this overture first, in Dresden, following it later in the same year, 1848, with incidental music for Byron s 1817 dramatic poem. The overture itself was a concentrated response to Byron s reclusive hero living high in the Swiss Alps, some kind of a magician, who is dominated by a species of remorse, the cause of which is left half-explained. Manfred s sin concerns his sister Astarte, and Byron may have been portraying himself and his sexual liaison with his halfsister, Augusta Leigh. What particularly appealed to Schumann was Manfred s characteristic guilt and remorse, pushing him to the edge of madness. Schumann himself was tormented by fears of mental illness all too justifiably, as it turned out. In the overture he was interested in the poem s psychological issues. Glossary There is a kind of mania in the way in which Schumann s main themes are assembled from juggled and repeated short motifs. Some contrast comes in a group of more lyrical themes. But these themes add to the sense of yearning and Romantic alienation with which Schumann identified. It was daring of Schumann to end the overture quietly, in keeping with Romantic pessimism. In Byron, Manfred dies fearless and unrepentant. David Garrett 2005 First performance: 14 March 1852, Leipzig Gewandhaus. Schumann, conductor. First WASO performance: 9 August John Farnsworth Hall, conductor. Most recent WASO performance: 6-7 June Vladimir Verbitsky, conductor. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, one trumpet, harp and strings. YOU MAY ALSO ENJOY DUKAS Polyeucte: Overture featured in Asher Fisch Conducts Symphonie Fantastique Fri 18 & Sat 19 November 2016 Tone poem a programmatic work for orchestra, usually in a single movement. 16

17 How can business work in concert with the arts? We recognise the leading role that the arts play in contributing to our vibrant and diverse culture. EY s support of the business of arts helps institutions to grow, innovate and become more accessible to our local communities. Find out more about our commitment to the arts ey.com/au/arts 2016 Ernst & Young Australia. All Rights Reserved. Liability limited by a scheme approved under Professional Standards Legislation. ED None. P

18 ABOUT THE MUSIC Sergei Prokofiev ( ) Piano Concerto No.3 in C, Op.26 Andante Allegro Andantino (with variations) Allegro non troppo Prokofiev was a virtuoso pianist, who made an authoritative recording of his own Third Concerto. One of his most successful and popular concert works, the concerto shows the most typical aspects of his mature musical style in ideal balance: a mixture of rather Romantic passages with incisive, humorous, sometimes even grotesque episodes. This is obvious right at the start: the opening Andante melody for clarinet is lyrical, almost wistful, and Russian-sounding. But immediately the piano comes in, the music becomes very busy, incisive, almost icy. The lyricism of the opening will return in place of a development section in the middle of the first movement. Prokofiev conceived musical materials for his first three concertos in the years before he left Russia at the time of the 1917 Revolution. The first two concertos, in their driving rhythms and crunching discords, illustrate Prokofiev s not altogether unwelcome casting as the enfant terrible of Russian music, and evoked a corresponding critical reaction ( cats on a roof make better music, wrote one Russian critic of Concerto No.2). No.3, on the other hand, shows much more of the tunefulness and accessibility which it is wrong to regard as having entered Prokofiev s music only after he returned to Russia in the early 1930s. The lyrical opening of this concerto, completed in 1921, recalls that of the First Violin Concerto of Even earlier, the great Russian impresario Diaghilev had perceived Prokofiev s true musical nature: Few composers today have Prokofiev s gift of inventing personal melodies, and even fewer have a genuine flair for a fresh use of simple tonal harmonies he doesn t need to hide behind inane theories and absurd noises. The Third Piano Concerto reflects Prokofiev s world-travelling existence around the time of its creation. He had been collecting its themes for over ten years by the time he put them together in Prokofiev rarely threw away anything that might come in handy later on. He began the concerto in Russia in 1917, completed it in France in 1921, and gave the premiere later that year in Chicago, where his opera The Love of Three Oranges was premiered. An American critic wrote, It is greatly a matter of slewed harmony, neither adventurous enough to win the affection nor modernist enough to be annoying. You can t win! A New York critic was wrong, but more perceptive, when he wrote, It is hard to imagine any other pianist than Mr Prokofiev playing it. 18

19 Prokofiev s own playing pioneered a new kind of piano virtuosity. A rewarding piece for any virtuoso, this concerto is formally clear and satisfying, full of memorable tunes harmonised and orchestrated with a peculiarly personal piquancy, and sufficiently of our time to be bracing and refreshing. The second movement is a set of five variations on a theme Prokofiev had composed in 1913, intending it even then for variation treatment. This theme has an old-world, rather gavotte-like character, which in the first variation is treated solo by the piano in what Prokofiev describes as quasi-sentimental fashion. Then the tempo changes to a furious Allegro, one of the abrupt contrasts in which the concerto abounds. After a quiet, meditative fourth variation, and an energetic fifth one, the theme returns on flutes and clarinets in its original form and at its old speed, while the piano continues at top speed but more quietly. This has been compared to a sprinter viewed from the window of a train. Prokofiev s own program note describes the finale as beginning with a staccato theme for bassoons and pizzicato strings, interrupted by the blustering entry of the piano: The orchestra holds its own with the opening theme, however, and there is a good deal of argument, with frequent differences of opinion as regards key. Eventually the piano takes up the first theme and develops it to a climax. With a reduction of tone and slackening of tempo, an alternative theme is introduced in the woodwinds. The piano replies with a theme that is more in keeping with the caustic humour of the work. The unabashedly Romantic alternative theme is worked up to an emotional pitch that shows Prokofiev as having more in common with Rachmaninov than is usually suspected, and both as owing much to Tchaikovsky. Then the opening returns in a brilliant coda. First performance: 16 December 1921, Chicago. Frederick Stock, conductor; Prokofiev, soloist. First WASO performance: 7 August John Farnsworth Hall, conductor; Gary Graffman, soloist. Most recent WASO performance: June Arvo Volmer, conductor; Denis Kozhukhin, piano. Instrumentation: two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, percussion and strings. YOU MAY ALSO ENJOY SAINT-SAENS Piano Concerto No.5 Egyptian featured in Asher Fisch & WASO: Tour de Force Fri 30 September & Sat 1 October Glossary Coda a concluding section added to the basic structure of a piece or movement to emphasise the sense of finality. Pizzicato plucking, rather than bowing, the strings. Staccato short, detached notes. 19

20 ABOUT THE MUSIC Peter Ilyich Tchaikovsky ( ) Symphony No.6 in B minor, Op.74, Pathétique Adagio Allegro non troppo Allegro con grazia Allegro molto vivace Finale (Adagio lamentoso Andante) The original audience for the Sixth Symphony was uncomprehending and ambivalent. Tchaikovsky had expected this, writing to his nephew and the dedicatee, Bob Davidov, that he wouldn t be surprised if the symphony were torn to pieces, even though he considered it his best and most sincere work. The critic Hermann Laroche suggested that audiences who did not get to the core of the symphony would in the end, come to love it. As it turned out, it took them only 12 days. In the intervening period its composer had died, and for the second performance, in a memorial concert, it was promoted with the composer s subtitle: Pathétique (or Pateticheskaia Simfoniia impassioned symphony as he had conceived it in Russian). The symphony was declared a masterpiece. The myth of the-pathétique-as-suicide-note (not to mention Tchaikovsky s suicide itself) has been more or less debunked in the past two decades. There are no grounds for doubting that Tchaikovsky died from post-choleric complications; the court of honour theory has been undermined; and his social, financial and artistic situation all speak against any other motivation for suicide, even if he continued to be troubled by his homosexuality. The Sixth Symphony, specifically, seems to have been a source of immense pride, satisfaction and joy to him. And shortly after its premiere he s reported to have said, I feel I shall live a long time. He was wrong. His audience, now in mourning and seeking portents, immediately heard the Sixth Symphony (the Pathétique) in a new way. New significance was given to the appearance in the first movement of an Orthodox burial chant, Repose the Soul a hymn sung only when someone has died and to the otherworldly, dying character of the adagio finale. Even if the symphony is not a suicide note, there is a programmatic and semiautobiographical underpinning that is the source of its unusual form and turbulent emotions. Tchaikovsky admitted the existence of a program but was cagey about the details, perhaps because it reflected his romantic feelings for Davidov. The closest we have is a sketched scenario, devised originally for an abandoned symphony in E flat but appearing to correspond with much of the Sixth Symphony: Following is essence of plan for a symphony Life! First movement all impulse, confidence, thirst for activity. Must be short (Finale death result of collapse). Second movement love; third disappointment; fourth ends with a dying away (also short). 20

21 There are aspects of this program and the Sixth Symphony that suggest suffering, but for Tchaikovsky the composition of the symphony was a cathartic experience rather than an expression of current sufferings. He himself wrote: Anyone who believes that the creative person is capable of expressing what he feels out of a momentary effect aided by the means of art is mistaken. Melancholy as well as joyous feelings can always be expressive only out of the Retrospective. In its art this is Tchaikovsky s most innovative symphony. He dares to conclude with a brooding slow movement and uses boldly dramatic gestures to give the music its emotional impulse. The limping elegance of the second-movement waltz would have been less surprising, to Russians at least its five-beat metre was a part of a tradition that was embraced by Borodin, Rimsky-Korsakov and Mussorgsky (in his Pictures at an Exhibition), and later Rachmaninov (in The Isle of the Dead). In the Sixth Symphony Tchaikovsky comes to terms with his professed inadequacies in structural matters. His solution in the first movement was to extend the exposition section, so well suited to his melodic gifts, and to compress the development section in which he felt his skills inadequate. The music begins in the depths with the dark colour of the bassoon and yet somehow Tchaikovsky sustains a downward trajectory, or the impression of one, for the whole work. In the third movement the idea of disappointment is replaced by something more malevolent. In purely musical terms it conflates two musical figures feverish tarantella triplets and a spiky march but the juxtapositions and incursions into each other s thematic territory create a disturbing sense of antagonism. The movement s applause-provoking conclusion could be triumphant, or it could be the crash of self-delusion. The finale may not fit the formula established by Tchaikovsky s classical predecessors, but within the emotional journey of the symphony its stark sense of tragedy provides an inevitable conclusion all the more powerful for the grace and jauntiness of the preceding movements. Yvonne Frindle 2008 First performance: 28 October 1893, St Petersburg. Tchaikovsky, conductor. First WASO performance: 19 September E.J. Roberts, conductor. Most recent WASO performance: March Paul Daniel, conductor. Instrumentation: three flutes (third doubling piccolo), two oboes, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings. YOU MAY ALSO ENJOY BEETHOVEN Symphony No.3 Eroica featured in Heroic Beethoven Fri 29 & Sat 30 June 2016 Glossary Exposition/Development in sonata form, in which the first movements of most symphonies of the Classical period are structured, the main themes are introduced in the exposition; in the development section these themes are explored according to key relationships; finally, the themes are restated and resolved in the recapitulation. Triplet group of three (usually fairly quick) notes. 21

22 MEET THE MUSICIAN Benjamin Caddy Viola Do you remember the first orchestral work you heard? I was apparently a very poorly behaved baby, especially during the night. It was with great relief that my parents found I would fall asleep if they played late Romantic opera on the stereo, so although I have no recollection of it, I guess this was my first introduction to orchestral music. What are your highlights from 2016 so far? Also sprach Zarathustra has been the clear highlight for me so far, as Strauss is one of my favourite composers. I am also really looking forward to playing Verklärte Nacht later in the year - it s at the top of the list of things I have always wanted to play. Did you always imagine you would have a musical career, or did you ever have something else in mind? When I was in my early teens I wanted to be a marine biologist. Even as late as last year I was considering pursuing a career in environmental management, but was lucky enough to win a job at WASO. I couldn t be happier! How do you like to spend your time outside WASO? I teach quite a few students, and that takes up quite a lot of time. If the surf is good you will find me at Trigg Point some mornings, I m also trying to learn Mandarin. Do you have any advice for students interested in pursuing a career as an orchestral musician? Find yourself an exceptional teacher, not just a good one. If you have to travel interstate or overseas to find an amazing teacher then do it, it s worth it in the long run! Also make sure your teacher focuses on your technical ability, in my experience students who only focus on pieces rather than technique may struggle to win a job later on. Try to audition for a casual position in an orchestra, not only for the audition experience but to see for yourself how professional orchestras work. Do you have a favourite viola joke? What do you do when a violist comes to your door? Hand him the money, take the pizza and close the door. 22

23 WASO PHILANTHROPY Philanthropy Partner June is WASO Community Support Month June is our annual WASO Community Support Month when we celebrate and showcase our deep connection and commitment to the community of Western Australia. For the community Throughout June we are building awareness about WASO s life-changing and awardwinning Community Engagement and Education programs, culminating in Education Week, a week jam-packed with free and exciting activities for music-lovers and their families. From the community We are also celebrating the power of giving by highlighting how donations from the community help WASO provide as many people as possible with access to live classical music. WASO is a not-for-profit organisation and community support is critical for us to continue creating inspiring and joyful music for thousands of Western Australians at Perth Concert Hall, in schools, hospitals and in regional communities across the state. Join us on the journey Become part of the incredible community of Patrons and Friends who believe in our commitment to creating exceptional and accessible musical opportunities for children, young and emerging artists and communities across WA. Need more information or want to join our community? You can make a donation today at one of the WASO Community Support Month desks, or by completing and returning the donation form in your concert program. You can also contact Jane Clare on or janec@waso.com.au or visit waso.com.au to learn more. All donations over $2 are fully tax deductible. We invite you to join us on the journey in 2016 and support the Orchestra with a gift. 23

24 OUR SUPPORTERS Philanthropic partnerships come in all shapes and sizes Whatever the shape or size, you are helping WASO make a difference and we thank you for your support. WASO s philanthropy program continues to grow, supporting our vision now and into the future. It is an exciting time be a part of this community, to meet our musicians and to know you have helped your Orchestra to touch souls and enrich lives through music. Together we can do amazing things. Symphony Circle Recognising Patrons who have made a provision in their Will to the Orchestra Mr John Bonny Dr G Campbell-Evans Deirdre Carlin Anita & James Clayton Judith Gedero Robyn Glindemann Gwenyth Greenwood Rachael Kirk & Tim White Wolfgang Lehmkuhl Deborah Marsh Tosi Nottage in memory of Edgar Nottage Nigel & Dr Heather Rogers Gavin Toovey & Jaehan Lee Sheila Wileman Sagitte Yom-Tov Fund Anonymous (19) Endowment Fund for the Orchestra This fund includes major donations and bequests Tom & Jean Arkley Janet Holmes à Court AC Sagitte Yom-Tov Fund Estates WASO is extremely grateful for the bequests received from Estates Rachel Mabel Chapman Judy Sienkiewicz Mrs Roslyn Warrick Anonymous (2) Excellence Circle Supporting excellence across all we do Jean Arkley Bob & Gay Branchi Janet Holmes à Court AC Torsten & Mona Ketelsen Michael Utsler The WASO Song Book We are grateful to those who have supported new works commissioned for the Orchestra by WASO Janet Holmes à Court AC Peter Dawson Geoff Stearn Anonymous (2) Reach Out Supporting our Education & Community Engagement programs John Albright & Susan Lorimer purchase of the EChO Double Bass Jean Arkley Prue Ashurst Creative Partnerships Australia Ron & Penny Crittall Ken Evans Feilman Foundation The James Galvin Foundation Robyn Glindemann Ken Johnson Barrie & Jude Lepley Minderoo Foundation Mrs Morrell Lynn Murray Joan Reyland John & Alison Rigg Simon Lee Foundation The Stan Perron Charitable Foundation Jean & Peter Stokes Trish Williams Strategic Interactions Anonymous (1) If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Jane Clare, Fundraising and Philanthropy Manager, on or janec@waso.com.au. WASO Philanthropy brochures are available from the WASO Programs & Information Desk located in the main foyer of Perth Concert Hall, or you can visit waso.com.au. All donations over $2 are fully tax deductible. 24

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

26 OUR SUPPORTERS 26 John & Katrina Hopkins Sue Hovell Jim & Freda Irenic Lilian & Roger Jennings Anthony Kane & Jane Leahy-Kane Bill Kean Noelle & Anthony Keller AM Michael & Dale Kitney Nelly Kleyn Stephanie & John Kobelke Irving Lane Paul Lee Meg Lewis Rosalind Lilley Teresa & Jemima Loveland Graham & Muriel Mahony Gregg & Sue Marshman 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 Nigel & Dr Heather Rogers Gerry & Maurice Rousset OAM Roger Sandercock Dr R & J Schwenger Margaret & Roger Seares Melanie & Paul Shannon Eve Shannon-Cullity Glenice Shephard Julian & Noreen Sher Laurel & Ross Smith Paul Smith Michael Snell & Vicki Stewart The Ambient Foundation Ruth Thomas Gene Tilbrook Gavin Toovey & Jaehan Lee Mary Townsend James & Rosemary Trotter Dr Robert Turnbull Maggie Venerys Adrienne & Max Walters Diana Warnock Watering Concepts Patricia Weston Ann Whyntie Dai & Anne Williams Jean & Ian Williams AO Jim & Gill Williams Margaret Wilson Judith Wilton & David Turner Hilary & Peter Winterton AM Anonymous (24) Tutti Patron Gifts $500 - $999 Geoff & Joan Airey Ian Apps Catherine Bagster Merle I Bardwell Bernard & Jackie Barnwell Shirley Barraclough Mrs Berwine Barrett-Lennard Colin Beckett Pamela M Bennet Michael & Nadia Berkeley-Hill John & Sue Bird in memory of Penny Bird Dermot & Jennifer Blackweir Susy Bogle Elaine Bonds Diane & Ron Bowyer Elizabeth & James Brown Lucia Buralli Ann Butcher & Dean R Kubank Michelle Candy Nanette Carnachan Claire Chambers & Dr Andrea Shoebridge Fred & Angela Chaney Sarah Cherian Dr Anne Chester Lyn & Harvey Coates AO Agatha & Alex Cohen AO Brian Cresswell Gina & Neil Davidson Jop & Hanneke Delfos Judy Dolan Rai & Erika Dolinschek Simon & Pamela Douglas Mrs G Ewen Joan Gagliardi Jennifer & Stephen Gardiner George Gavranic Elaine Gimson Isobel Glencross Douglas & Regina Hansen Alan Harvey & Dr Paulien de Boer Eric & Elizabeth Heenan John and Sue Huan Christopher, Julie & Rosemary Hudson Mr John Hylton-Davies JP, VJ Peter Ingram Cynthia Jee Peter S Jones B M Kent Dorothy Kingston

27 Ulrich & Gloria Kunzmann John Kusinski & Annie Motherway Trevor & Ane Marie Lacy Louis & Miriam Landau Martin & Ruth Levit Megan Lowe Mary Ellen in memory of Kerensa Jennifer & Arthur McComb S B Monger-Hay Dr Peter Moss Marianne Nilsson Dr Walter Ong & Graeme Marshall Marjan Oxley Graham & Hildegarde Pennefather Bev Penny Alpha & Richard Pilpel OAM Ann Rawlinson Clarissa Repton James & Nicola Ridsdill-Smith Leigh Robinson Chris & Serge Rtshiladze Carole Sexton The Sherwood Family Paul & Margaret Skerritt Hendrik Smit Dr L Sparrow & Family Peggy & Tom Stacy Eleanor Steinhardt In Memoriam of Mr Andrew David Stewart Lisa & Andrew Telford Ruth E Thorn Patricia Turner S R Vogt Anne Watson Joy Wearne Dr Chris & Mrs Vimala Whitaker B M Wilcox Geoff Wilkinson Violette William Janet Williams Dr Robyn Yeo Chris Ziatis Anonymous (20) Friend Gifts $40 - $499 Thank you to all our Friends who support WASO through their gift. Proudly orchestrating WASO s mobility and removal needs for over 35 years GRACE.COM.AU 27

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

29 BOARD OF DIRECTORS Janet Holmes à Court AC Chairman Anne Nolan Mark Coughlan Keith Kessell Barrie Lepley Deputy Chairman Paul Shannon Julian Sher Michael Utsler EXECUTIVE Craig Whitehead Chief Executive Rebecca Smith Executive Assistant Anthony Pickburn Executive Manager, Human Resources Narelle Coghill Human Resources Assistant Svetlana Williams Payroll Officer ARTISTIC PLANNING Evan Kennea Executive Manager, Artistic Planning Alan Tyrrell Program Manager Natalie De Biasi Program Coordinator Maya Kraj-Krajewski Artist Liaison/Chorus Administrator COMMUNITY ENGAGEMENT Cassandra Lake Executive Manager, Community Engagement Fiona Taylor Education Coordinator Lily Protter Community Engagement Assistant ORCHESTRAL MANAGEMENT Keith McGowan Executive Manager, Orchestral Management Jenna Boston Orchestral Operations Manager David Cotgreave Production & Technical Manager Alistair Cox Orchestral Manager Breanna Evangelista Orchestral Coordinator Wee Ming Khoo Music Librarian BUSINESS SERVICES Peter Freemantle Chief Financial Officer Andrew Chew Systems Administrator Alex Spartalis IT Support Angela Miller Accountant Sushila Bhudia Accounts Officer Renu Kara Accounts Assistant PHILANTHROPY Alecia Benzie Executive Manager, Philanthropy Jane Clare Fundraising & Philanthropy Manager Sarah Tompkin Planned Giving Manager Megan Lo Surdo Philanthropy & Events Coordinator 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 Nancy Hackett Acting Marketing Manager Marc Missiaen Relationship Marketing Manager Luke Pownall Public Relations Manager Kirsty Chisholm Marketing Coordinator Zoe Lawrence Marketing Officer Lily Protter Marketing Assistant 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 Ryan Sandilands Acting Marketing Manager Sarah Salleo Reception & Administration Josie Aitchison Tim Chandler Vanessa Woolley Ticketing Client Account Managers Eleanor Aitchison Alana Arnold Cheryl Butler Leticia Cannell Mary-Louise Carbone Wendy Cooper Helen Gortmans Emily Kennedy Talei Louie Rebekah Ryan Kaitlin Tinker Beverley Trolio Customer Service and Sales Representatives WASO programs are printed by Pilpel Print who are proud to be Green Stamp Accredited. This certification acknowledges Pilpel Print s commitment to minimising environmental impacts associated with producing printed material. All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing from the publisher. Whilst every effort has been made to ensure the accuracy of statements in this publication we cannot accept responsibility for errors or omissions, or for matters arising from clerical or printers error. Every effort has been made to secure permission for copyright material prior to printing. Please address all correspondence to the Executive Manager, Marketing, West Australian Symphony Orchestra, PO Box 3041, East Perth. WA waso@waso.com.au 29

30 2016 CORPORATE PARTNERS We encourage you to support these partners for generously supporting your Orchestra PARTNER OF EXCELLENCE PLATINUM PARTNERS SYMPHONY PARTNER CONCERTO PARTNER OVERTURE PARTNERS SONATA PARTNERS KEYNOTE PARTNERS ORCHESTRA SUPPORTERS MEDIA PARTNERS FUNDING PARTNERS The West Australian Symphony Orchestra is assisted by the Australian Government through the Australia Council, its arts funding and advisory body. To share in our vision and discuss the many opportunities available through corporate partnerships please contact Marina Woodhouse, Executive Manager, Corporate Development on or 30

31 Photo: Caitlin Worthington Design: BronWYnrogers.CoM WesF1341

32 Wed 15 & Thurs 16 June 7.30pm Riverside Theatre, PCEC The iconic music performed live by WASO while the entire film plays on the big screen. BOOK NOW Visit ticketek.com.au 1981 Lucasfilm Ltd. All Rights Reserved.