WEST AUSTRALIAN SYMPHONY ORCHESTRA

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1 WEST AUSTRALIAN SYMPHONY ORCHESTRA MORNINg SYMPHONY SERIES Thursday 5 September 2013, 11am Perth Concert Hall CHEvRON AUSTRALIA MASTERS SERIES Friday 6 & Saturday 7 September 2013, 7.30pm Perth Concert Hall

2 Inspiring minds with music In the hands of a child, a musical instrument can inspire delight, imagination and a world of possibility. That is why Chevron Australia is proud to support WASO On the Road, bringing music to children across Perth and the Pilbara. CHEVRON, the CHEVRON Hallmark and HUMAN ENERGY are registered trademarks of Chevron Intellectual Property LLC Chevron U.S.A. Inc. All rights reserved. ABU chevronaustralia.com

3 Upcoming concerts HEADING HERE Recital SeRieS AlBAN GERHARDT IN REcITAl Monday 9 September, 7.30pm Government House Ballroom BacH, J. S. Cello Suite No.6 BRaHMS Cello Sonata No.1 KODalY Sonata for solo cello Alban Gerhardt, cello Asher Fisch, piano Tickets $50* classics SeRieS INGRID FlITER PlAyS chopin Friday 13 & Saturday 14 September, 7.30pm Perth Concert Hall WeBeR Der Freischütz: Overture chopin Piano Concerto No.2 ScHUMaNN Symphony No.1 Spring Asher Fisch, conductor Ingrid Fliter, piano Ingrid Fliter appears courtesy of Mitsubishi Corporation. Tickets from $30* MORNiNg SYMPHONY SeRieS BEETHovEN S PASToRAl SyMPHoNy Thursday 10 october, 11am Perth Concert Hall MeNDelSSOHN A Midsummer Night s Dream: Overture BeetHOVeN Symphony No.6 Pastoral Paul Mccreesh, conductor Paul McCreesh appears courtesy of Japan Australia LNG (MIMI) Pty Ltd. Tickets from $25* *Transaction fees may apply. Book Now Call or visit waso.com.au waso.com.au 3

4 welcome War of the Romantics is how the dichotomy in the classical music world in the middle of the 19th century is often referred to. The two warring camps were spearheaded by two great composers Richard Wagner and Johannes Brahms. Wagner was the revolutionary, challenging the rules prevailing in his time in all aspects of music composition. He dissolved form, expanded the harmonic language, redefined orchestration, invented new instruments and pushed the aesthetic values of the art form to its limits. Brahms was the arch conservative. He looked to continue the Beethovenian tradition, composing symphonies and sonatas, chamber music and art song. He spoke in a high romantic language while adhering to the composition rules of the classicists. The progressive camp won. Brahms s Third Symphony is one of the last pearls of a waning classical world its hushed ending says it all: no pompous finales for a cheap effect but rather a search for inner meaning, beauty and calm. The horn solo melody in the third movement is one of his finest creations the orchestra speaks like a pianist sitting in his dark room, playing one of the composer s late piano intermezzi. May all battles and wars produce such fine results. Asher Fisch conductor Designate In tonight s program we hear two great works by the two composers. The prelude to Tristan und Isolde was maybe the turning point in the historic battle. The New Harmony, epitomized by the famous Tristan Chord, (heard in the second bar of the prelude) won over the hearts of composers s of the new generation, and changed the course of music forever. Photo: Klaus Lefebvre 4 waso.com.au

5 PRoGRAM MORNiNg SYMPHONY SeRieS ASHER FIScH conducts WagNeR Tristan und Isolde: Prelude & Liebestod (17 mins) BRaHMS Symphony No.3 (33 mins) Allegro con brio Andante Poco allegretto Allegro Asher Fisch, conductor chevron australia MaSteRS SeRieS ASHER FIScH conducts WagNeR Tristan und Isolde: Prelude & Liebestod (17 mins) ScHUMaNN Cello Concerto in A minor (26 mins) Nicht zu schnell (Not too fast) Langsam (Slowly) Sehr lebhaft (Very lively) INTerVAL (20 mins) BRaHMS Symphony No.3 (33 mins) Allegro con brio Andante Poco allegretto Allegro Asher Fisch, conductor Alban Gerhardt, cello waso.com.au 5

6 MAkING THE MoST of your TIME with us Pick up a 2013 concert diary from the WASO desk to ensure you don t miss out on future concerts. FREE PRE-coNcERT TAlkS Find out more about the music in this concert with this week s speaker, Yvonne Frindle. Pre-concert talks take place at 9.40am in the auditorium on Thursday morning and 6.45pm in the Terrace Level foyer on Friday and Saturday nights. MEET THE ARTIST Meet the artist Alban Gerhardt post-concert Friday night on the Terrace Level of the Perth Concert Hall. FooD & BEvERAGES Foyer bars are open for drinks and coffee two hours before, during interval and afterwards. To save time we recommend you pre-order your interval drinks. At Morning Symphony concerts enjoy a free tea or coffee prior to the start of the concert, and then stay afterwards for a $17.30 Chef s Country Luncheon Buffet (bookings essential through WASO). Plus collect your complimentary copy of The West Australian newspaper. FIRST AID There are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance. waso REcoRDINGS Continue to experience WASO in your own home! A variety of WASO CDs and DVDs are available for purchase at the Encore Gift Shop in the foyer. connect with waso Tune in to 720 ABC Perth for breakfast on Friday mornings when Prue Ashurst joins Eoin Cameron to provide the latest on classical music and WASO s upcoming concerts. This performance is being recorded for delayed broadcast on ABC Classic FM. The Morning Symphony performance is being broadcast live. For further details please refer to limelight magazine or abc.net.au/classic concert PlAylISTS Listen to music featured in concerts throughout 2013 at waso.com.au waso webcasts WASO will be streaming four concerts live and on demand in 2013, thanks to iinet. For more details and to watch webcasts visit waso.com.au youtube.com/ WestAustSymOrchestra facebook.com/westaustralian SymphonyOrchestra twitter.com/_waso_ E-NEwS Stay up to date with the activities of your Orchestra by subscribing to SymphonEnews. Go to waso.com.au to join our mailing list. FEEDBAck We would love to hear from you! Please send your feedback to PO BOX 3041, East Perth WA 6892, send an to waso@waso.com.au, call , or leave us a message on Facebook or Twitter. 6 waso.com.au

7 WASO NEWS WASO MUSICIANS HIT THE ROAD During the last week of August two small ensembles hit the road for WASO on the Road tours, with one heading north and one heading south. A string trio featuring Margaret Blades (Associate Concertmaster), Louise McKay (Associate Cello) and Sally Boud (former Australian String Quartet Viola) spent five days travelling through the Southern Wheatbelt and Great Southern Regions to deliver presentations in schools and perform three community concerts. The trio visited schools in Cunderdin, Corrigin, Katanning, Mt Barker The WOTR Pilbara Tour is presented by Chevron Australia. The WOTR Wheatbelt & Great Southern Region Tour is presented by Water Corporation with the support of RAC. and Albany and performed community concerts in Northam, Narrogin and Albany. At the same time Rachael Kirk (viola), Cerys Tooby (violin), Rebecca Glorie (violin) and Fotis Skordas (cello) flew north for a WASO on the Road tour to the Pilbara. The quartet performed two community concerts in Onslow and Karratha and visited schools in Dampier, Karratha and Onslow. The tours are part of WASO s Education and Community program and they enable the Orchestra to share the fun of live music performance with Western Australians living in regional areas. Above: WASO musicians on the road in the Pilbara. PERCUSSION FUN AT PMH On Tuesday 27 August, in a first for WASO s Hospital Orchestra Project (HOP), musicians facilitated a workshop for primary school students. The HOP program aims to provide students at Princess Margaret Hospital (PMH) with a broad range of musical experiences and an informal workshop setting is the ideal opportunity for kids to try something new. Percussionists Paul Tanner and Steve Richter introduced the students to weird and wonderful instruments from all over the world. Paul s home-made Australian thong-a-phone was a big hit! Students thoroughly enjoyed the chance to play different instruments and the opportunity to work together to create a multi-layered percussion piece. Earlier that morning string and brass players visited students on the wards, sharing stories about life as a WASO musician and performing classical favourites and nursery rhymes. The Hospital Orchestra Project is presented in partnership with John Holland. Above: Percussion workshop in action waso.com.au 7

8 BIoGRAPHIES ASHER FIScH conductor Israeli-born conductor Asher Fisch will take up the position of Conductor and Artistic Adviser of the West Australian Symphony Orchestra in 2014 for a period of three years. He appears with many of the world s most renowned opera companies and symphony orchestras and is currently Guest Conductor of Seattle Opera. He previously served as Music Director of New Israeli Opera ( ) and the Vienna Volksoper ( ). With a vast repertoire that spans three centuries stylistically from Gluck to Adams, he is particularly known for his command of core German Romantic and post-romantic repertoire, including almost the entire canon of Wagner and Strauss. A protégé of Daniel Barenboim, Asher Fisch began his conducting career as Barenboim s assistant and kapellmeister at the Berlin State Opera in the 1990s. He is a frequent guest at such leading European opera houses as La Scala, Paris Opera, Dresden Semperoper, Royal Opera House Covent Garden, and the state opera companies in Vienna, Hamburg and Munich. In the US he has conducted at the Metropolitan Opera, Lyric Opera of Chicago, Los Angeles Opera and Houston Grand Opera. His engagements in 2013 have included Seattle Opera s quadrennial ring cycle. He also led the State Opera of South Australia s award-winning ring cycle in On the concert stage he appears regularly with the Munich Philharmonic, and has also conducted the Berlin Philharmonic, Leipzig Gewandhaus Orchestra, London Philharmonic, Dresden Staatskapelle, National Orchestra of France, and many of the major orchestras in North America including those of New York, Chicago, Boston, Philadelphia, Los Angeles, Dallas, Houston, Seattle, Atlanta, Saint Louis, Minnesota, Washington, Toronto and Montreal. Asher Fisch is also an accomplished pianist, with a first solo disc of piano transcriptions recently released on the Melba label. He often play-conducts in addition to participating in chamber music and vocal recitals. 8 waso.com.au

9 AlBAN GERHARDT cello Over the past decade, Alban Gerhardt has established himself among the leading cellists of our time. Since his early competition successes and debut with the Berlin Philharmonic Orchestra under Semyon Bychkov, he has performed with almost 250 orchestras worldwide under such conductors as Masur, Dohnányi, Eschenbach, Marriner, Davis, Tilson Thomas, Järvi, Salonen and Jurowski, among others. His repertoire comprises over 70 cello concertos and his collaborations with composers such as Thomas Larcher, Pēteris Vasks, Brett Dean, Jörg Widmann, Osvaldo Golijov, Mathias Hinke and Matthias Pintscher demonstrate his commitment to enlarging it. At the 2009 Proms he gave the world premiere of Unsuk Chin s Cello Concerto which was commissioned by the BBC and composed for him. He has since performed it in the Netherlands, Germany, Asia, and with the Oslo Philharmonic and Boston Symphony Orchestra. His recent and forthcoming engagements include performances with the Hallé, Philharmonia Orchestra, London Philharmonic, BBC Philharmonic, Berlin Radio Symphony, Czech Philharmonic, Boston Symphony, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philharmonic and San Francisco Symphony, among many others. From 2012 to 2015 he is Artist in Residence at the Oregon Symphony Orchestra. He is a frequent visitor to the Edinburgh Festival and BBC Proms, and his regular chamber partners include Steven Osborne, Cecile Licad, Lars Vogt, Christian Tetzlaff, Lisa Batiashvili, Arabella Steinbacher, Gergana Gergova and Emmanuel Pahud. A highly acclaimed recording artist, Alban Gerhardt has won three ECHO Classic Awards, most recently for his all-reger double CD (2009), and spearheads Hyperion s Romantic Cello Concertos series. Recent releases include Prokofiev s Symphony-Concerto and Cello Concerto Op.58; his CD Casals encores, selected as BBC Music Magazine s Chamber Choice in August 2011; and, most recently, his acclaimed double CD of Britten s complete works for cello. albangerhardt.com Photo: Eric Richmond waso.com.au 9

10 west AuSTRAlIAN SyMPHoNy orchestra conductor Paul Daniel Partnered by Wesfarmers Arts conductor laureate Vladimir Verbitsky chorus Director Marilyn Phillips concertmaster Giulio Plotino MEET THE MuSIcIAN NIck METcAlFE cello How did you find yourself playing the cello? When I was eight, my mum gave me the choice of learning the guitar, drums, or electric bass to which I replied, No mother, these instruments are the tools of rock stars and their heathen ways. I wish to embark on the long and perilous journey of study to become a classical cellist. Or maybe mum just gave me a cello and said, Learn this. One of the two. can you remember your first performance? Not my own. But my first clear memory is attending an Australian Youth Orchestra concert where Li Wei Qin played Tchaikovsky s rococo variations. That was the first time I saw what was possible on the cello and he made it look so easy. The last time Alban Gerhardt visited waso he sat in the cello section for the entire concert (when he wasn t performing as a soloist). Have you ever experienced this with any other visiting artists? Never. He is totally unique in that sense. He s also incredibly humble, so sitting at the back of the cello section playing the symphony in the second half is still enjoyable for the guy. He doesn t always have to be in the spotlight. How do you like to spend your time outside waso? I like doing things with my hands like working on the house or bike. Whether it s changing a tyre or embarking on major renovations it s satisfying to step back at the end of the day and actually see what you ve created. That s something that as a musician you don t get to experience having the product of your labours be something tangible. 10 waso.com.au

11 on STAGE ToNIGHT violin Giulio Plotino Concertmaster Margaret Blades Assoc Concertmaster Semra lee-smith Assistant Concertmaster Graham Pyatt A/ 1st Violin Zak Rowntree A/ 2nd Violin Kylie Liang A/Assoc 2nd Violin Sarah Blackman Fleur Challen Stephanie Dean Sara Duhig Rebecca Glorie Beth Herbert Sunmi Jung^ Shaun Lee Chen Akiko Miyazawa Kathleen O Hagan^ Melanie Pearn Ken Peeler Louise Sandercock Jolanta Schenk Jane Serrangeli Kathryn Shinnick^ Jacek Slawomirski Bao Di Tang Cerys Tooby Teresa Vinci^ David Yeh viola Giovanni Pasini Nik Babic Alex Brogan Kathy Corecig^ Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey Aaron Wyatt^ cello Rod McGrath Louise McKay Shigeru Komatsu Oliver McAslan Nick Metcalfe Fotis Skordas Tim South Jon Tooby^ Xiao Le Wu DouBlE BASS Andrew Rootes Joan wright Libby Browning^ Christine Reitzenstein Louise Ross Andrew Tait Mark Tooby FluTE Andrew Nicholson Chair partnered by Apache. Mary-Anne Blades Diane Riddell^ Michael waye Piccolo oboe Pierre Makarenko Guest leanne Glover A/ Elizabeth Chee Stephanie Nicholls clarinet Allan Meyer Lorna Cook Alexander Millier Bass Clarinet Chair partnered by Alessandrino Property Group. BASSooN Jane kircher-lindner Adam Mikulicz Chloe Turner Contrabassoon HoRN David Evans Emma Gregan A/Assoc Robert Gladstones 3rd Francesco Lo Surdo TRuMPET Brent Grapes A/ Evan Cromie Peter Miller TRoMBoNE Joshua Davis Liam O Malley Philip Holdsworth Bass Trombone TuBA cameron Brook TIMPANI Alex Timcke HARP Bronwyn Wallis^ Associate Guest Musician^ waso.com.au 11

12 Proud sponsor of waso apachecorp.com/australia 12 waso.com.au

13 TIMElINE of composers AND works Robert Schumann 1810 Ð 1856 Richard Wagner 1813 Ð 1883 Johannes Brahms 1833 Ð 1897 Schumann's Cello Concerto in A minor 1850 Wagner's Tristan und Isolde 1859 Brahms' Symphony No waso.com.au 13

14 PRoGRAM NoTES RIcHARD wagner ( ) Tristan und Isolde: Prelude and Liebestod In many senses, the preoccupations of Tristan and Isolde are fundamental to Wagner s whole creative output. Its central theme the consummation of passion in death is one which is shared not only by The Flying Dutchman and Parsifal, but which finds an unstated resonance in the ring also. Tristan is, perhaps, Wagner s most perfect expression of the Romantic love-death concept: the notion that only through a physical, earthly death will the spirit be free to find fulfilment in a mystical realm. At the end of The Flying Dutchman Senta plunges herself into the waves; in Götterdämmerung Brünnhilde goes through fire and water; in Tristan, Isolde sings of the flood of oblivion. In each case it is only by returning to the physical, elemental universe that the characters attain wholeness and fulfilment. Musically there is, perhaps, no work about whose significance more has been written than Tristan. It represents the pinnacle of 19th-century chromaticism, and laid the foundation for a harmonic freedom which culminates in the atonality of Schoenberg. The Prelude to Act I and the Liebestod (Love-Death), taken respectively from the beginning and the end of the opera, convey the essence of the whole work. The Prelude commences with a mere wisp of sound which grows and intensifies to symbolise an attraction between hero and heroine, so overwhelming that it dominates their lives and brings them tragedy and death. In the final Liebestod, Tristan is dead and Isolde, dying too of a broken heart, sings of their final, ecstatic union in eternity. Adapted from an annotation by Anthony Fogg 1996 WASO last performed this work on 17 & 18 June, 2005, conducted by Matthias Bamert. If you like this work you may also enjoy STRAuSS & RAvEl Friday 18 & Saturday 19 october, 7.30pm Perth concert Hall STRAUSS, R. Don Juan GloSSARy chromaticism use of notes which are not part of the key. Atonality or atonal music in this sense is music which does not have any key, so that there is no established relationship between the notes and chords used. 14 waso.com.au

15 RoBERT ScHuMANN ( ) Cello Concerto in A minor, Op.129 Nicht zu schnell (Not too fast) Langsam (Slowly) Sehr lebhaft (Very lively) The fluency and spontaneous grace of this work could be thought to reflect the single span of inspiration in which Schumann composed it. The work was composed by the 40-year-old, newly arrived in Düsseldorf from Dresden, in the space of 15 days from 10 to 24 October Schumann at first considered calling this masterpiece a Konzertstück, to reflect its less than concerto-length dimensions (it runs to about 25 minutes). However, it is only the brevity of the slow movement which could in any way threaten its claim to the grander title. In contrast with certain passages in the Violin Concerto of 1853, Schumann here composed solo music which is well pitched for the instrument. Schumann, though remembered as a pianist, in fact possessed a reasonably deep first-hand knowledge of the cello, having taken it up briefly after the injury in 1832 which put an end to his piano career. He once explained that he was able to handle the bow despite the paralysis which affected one of the fingers of his right hand. Though Schumann didn t study cello for long, this concerto is evidence that his time on the instrument paid off. As his wife, Clara, confided in her diary (16 November 1850): Last month [Robert] composed a concerto for violoncello It appears to be written in the true violoncello style. As always, Clara was Schumann s most perceptive critic and keenest admirer, and she added in her diary, a year later: I have played Robert s Violoncello Concerto again and thus procured for myself a truly musical and happy hour. The romantic quality, the flight, the freshness and the humour, and also the highly interesting interweaving of cello and orchestra are, indeed, wholly ravishing, and what euphony and what deep sentiment are in all the melodic passages. One could forgive Clara for being partisan, but in this case, her summary is quite apt. For once, Schumann s habitually overpainted orchestration is under control. The cello is exploited for its eloquent tenor tone, and the work has a wonderful lyricism waso.com.au 15

16 Schumann the musical poet is evident in the way each movement is linked to the next to allow for a continuity of thought unlikely to be broken by applause, and in the eschewal of virtuosity for its own sake. I cannot write a concerto for the virtuosos, Schumann had commented early in his career. The cadenza is in fact shifted from the first movement to the last, so that an audience may first attend to the warmth and scope of the musical ideas. The triplets in the first movement are the only early concessions to virtuosity. There is no orchestral introduction as was customary in the Classical concerto just four bars of material which introduces a sweeping opening melody in the cello. The cello goes on for some time in its attractive tenor register, until a more vigorous orchestral passage takes over. Then a secondary, slightly more chromatic, more rhythmically pointed melody is heard, before triplets are introduced in the codetta, taking the listener almost imperceptibly into the development section, a passage notable for pert, light scoring for the orchestra and long, flowing responses in the solo cello. A recollection of the opening melody in more languorous mood, in the remote key of F sharp minor, marks the furthest point of the development, before a return to the material of the opening section, now slightly varied. A gradual retarding of the coda leads to the slow movement, where traditionally the soloist plays in duet with the leader of the orchestral cellos. It is only 34 bars long, but rises to a glorious climax with the cello in its tenor register. An accelerating coloratura leads to the last movement. Here the cello takes on a more playful character, while remaining essentially melodic. G.K. Williams Symphony Australia 1997 WASO last performed this work on 30 April & 1 May, 2010, conducted by Roy Goodman If you like this work you may also enjoy Sol GABETTA PlAyS DvoRAk Friday 15 & Saturday 16 November, 7.30pm Perth concert Hall DVORAK Cello Concerto in B minor 16 waso.com.au

17 PRoGRAM NoTES JoHANNES BRAHMS ( ) Symphony No.3 in F, Op.90 Allegro con brio Andante Poco allegretto Allegro While the connection between Beethoven and Brahms has long been remarked, the influence of Goethe on Brahms has never been acknowledged fully. Like Brahms, Goethe was at heart a Classicist whose artistic vision was nevertheless broad enough to embrace, and indeed to be embraced by, the Romantic spirit of his age. Perhaps because their art strived to reconcile these two conflicting impulses of passion and order, and perhaps because of the magnitude of the messages which they sought to convey, both Goethe and Brahms struggled for decades over their greatest masterpieces. In Brahms case, the breakthrough First Symphony took 15 years of painstaking effort. For Goethe, Faust emerged only after 60 years of intermittent rejection and revision. So perhaps it should be no surprise that when Brahms sought to convey his most personal thoughts through music, he turned to Goethe for his texts. So too the middle movements of the Third Symphony emerged (according to Max Kalbeck) from incidental music which Brahms had sketched (but apparently never used) for a production of Goethe s Faust. While no obvious traces of this appear in the Third Symphony, the dramatic power and universalist vision embodied within it suggest that no ordinary motivations were behind its composition. Brahms began formal work on the Third Symphony during 1882 and completed it in Wiesbaden in 1883, when he was 50 years old. He had moved to Wiesbaden primarily to be near the contralto Hermine Spies, and it seems that she was the latest in a longish line of female idols whom Brahms wished to marry but didn t dare ask. Brahms unrequited love for Hermine was exacerbated by other personal crises at this time not least the recent death of his revered teacher Eduard Marxsen and a temporary estrangement from Joseph Joachim. Small wonder then that the sunny disposition of the Second Symphony gave way now to more mixed emotions. The symphony s first performance was given by the Vienna Philharmonic under Hans Richter in December 1883, and was well received on first hearing. It has never really fallen out of favour, owing to its mastery of construction, its persuasive blend of lyricism and drama, and its exceptional orchestration. Apparently during the first rehearsals Brahms made many minor adjustments to the instrumental arrangements, subtly altering the orchestral colouring. And the resulting work, with its extraordinary clarity of instrumental effects and chamber music textures, demonstrates that Brahms was a much underrated orchestrator waso.com.au 17

18 He was even better at providing spectacular openings for his symphonies, and the Third is no exception. It begins with three dramatic chords which immediately give way to the passionate main theme in the strings. As in so much of Brahms greatest music, the first 30 seconds have penetrated directly into the heart of the musical matter and the soundworld of the entire symphony has largely been established. After the graceful secondary theme appears in the clarinet, the development is followed by the return of the opening motif in the horns, leading to an unusually diverse recapitulation and a coda which brings a more tranquil restatement of the opening material. The slow movement contains one of Brahms most famous melodies which is introduced by the clarinet and then imitated by the violas and other sections of the orchestra. It is music which is so evocative that it lends itself to a variety of conflicting interpretations it is choralelike but also pastoral, its grace is Mozartian but its reflectiveness is typically Brahmsian, it is almost naive in sentiment but extraordinarily sophisticated in execution, and its musical material is basically diatonic but with interjections of wrong-key foreign chords. The third movement serves as a kind of melancholy minuet and trio. The minuet opens in the cellos and, after a brief trio section, it returns with the horn leading the way. As in his other symphonies, Brahms throws the weight back on in the finale. It begins sotto voce and with a sense of suppressed agitation but soon boils over, the blaring brass and woodwind working up to a climax during the development. In the recapitulation the tempo slows and at last, in pianissimo whispers in the strings, the very first theme of the symphony returns, and consolation takes over from conflict as this most unified and beautifully proportioned of symphonies ushers in its sublime conclusion. Had he lived to hear it, Goethe may well have been impressed. Adapted from a note by Martin Buzacott Symphony Australia 1997 WASO last performed this work on 23 & 24 November, 2007, conducted by Lothar Zagrosek If you like this work you may also enjoy Sol GABETTA PlAyS DvoRAk Friday 15 & Saturday 16 November, 7.30pm Perth concert Hall BRAHMS Symphony No.2 GloSSARy Recapitulation a return to the opening material of a piece or a movement. Pianissimo very quiet. 18 waso.com.au

19 Fri 13 & Sat 14 Sept, 7.30pm Perth Concert Hall Tickets from $30 * WEBER Der Freischütz: Overture CHOPIN Piano Concerto No.2 SCHUMANN Symphony No.1 Spring Asher Fisch, conductor Ingrid Fliter, piano BOOK NOW Call Visit waso.com.au or ticketek.com.au Ingrid Fliter appears courtesy of Mitsubishi Corporation. *Transaction fees may apply waso.com.au 19

20 Technology and business in symphony. Data & Internet I Unified Comms I Cloud I Managed Services IT Services I Licensing & Maintenance I Training I Data Centres 20 waso.com.au

21 Meet the InstruMent DOuBLe BAss Meet WASO s double basses! See page 30 for details The double bass is the largest and lowest pitched member of the string family. Originating in 15th-century Europe, it was often described as a violone, over time evolving into the form it takes today. The shape of the double bass differs from other members of the string family in that the shoulders typically slope downwards, allowing players easier access to the strings. Double basses are made out of different types of wood such as maple for the back, spruce for the front and ebony for the fingerboard. These woods are glued together and the bridge is held in place by the tension of the strings. The strings of early double basses were made from animal gut and, due to its distinct timbre, this is sometimes still used today for Baroque repertoire. However, these days steel is the preferred material as it is less fragile and affords a higher level of musical control to the player. Double bassists use a variety of techniques to create different sounds, including drawing the bow across the strings (arco), plucking strings with the fingers (pizzicato), or striking strings with the wooden part of the bow (col legno). Classical double bass players predominantly use the bow, but jazz and blues double bassists generally pluck the strings. Compared with other string instruments there are relatively few solo works for double bass. One of the earliest known concertos for the instrument was by Haydn. However this work has since been lost and only two bars remain in the Entwurf-Katalog of the composer s works. Popular works for double bass include Koussevitzky s Double Bass Concerto, Bottesini s Concerto No.2 and Passione Amorosa, and Dittersdorf s Double Bass Concerto. Symphony Services International 1. scroll 2. Peg box 3. Fingerboard 4. F-holes 5. Bridge 6. tailpiece 7. end pin The pitches of open strings on a standard double bass: waso.com.au 21

22 celeste AND BRASS campaign Help us fill the last four trombone cases! Thank you to everyone who has donated so far every gift makes a difference towards our goal of raising $80,000 to purchase a new celeste and five German trombones. With nearly $60,000 raised, we have ordered the celeste from Europe and are grateful to have received a donation from Andrew and Suzanne Poli for the purchase of the cases for the set of five German trombones. We are delighted to announce that Patrons and Morning Symphony subscribers Jean and Peter Stokes have generously donated $9,900, covering the cost of the German bass trombone! Please help us fill the four remaining cases! In anticipation of the arrival of our Conductor designate Asher Fisch, who specialises in German repertoire, and in addition to the German bass trombone, we hope to purchase: Two German tenor trombones $6,300 each A German contrabass trombone $12,600 A German bass trumpet $7,300 Whether you can help us purchase an entire hand-crafted instrument, or make a valuable contribution towards one, every donation helps us achieve our goal of creating an authentic German sound the sound Mahler, Brahms, Wagner and Strauss would have heard in their day. As a donor, you will be invited to meet and hear the new instruments. To make a donation please contact Jane on or clarej@waso.com.au. To donate online go to waso.com.au, click on the red Make a Donation button and choose Celeste & Brass from the drop-down menu. Logging in to donate online is quick and easy. Thank you for your support. Supporters Peter and Jean Stokes All donations over $2 are tax deductible. Photo: Andrew Chew 22 waso.com.au

23 commercial sales, leasing and ManageMenT Tony Brooks, Managing Director Proudly SuPPorting Placing People. The Placer Management Group are office support specialists in temporary and permanent placements. Like the West Australian Symphony Orchestra s brilliant musicians and staff, we help companies and candidates reach new heights of excellence and we re proud to officially sponsor the West Australian Symphony waso.com.au Orchestra. 23

24 PRIvATE GIvING PRoGRAM Next week we launch our exciting 2014 Season and we are delighted to have principal conductor designate Asher Fisch here with us to celebrate. We are strengthening programs, adding depth and building more opportunities for access, both inside and outside Perth Concert Hall. In all we are creating, we strive to create the finest work. Our programs in the Concert Hall and across Western Australia are supported by our Patrons. Philanthropy at WASO is about building partnerships with a community of supporters who are passionate about what we do. There are many reasons people decide to become a Patron. These might range from listening to an emotionally-charged performance in the Concert Hall to watching the sheer joy on a grandchild s face at a Cushion Concert or it might result from hearing a musician talk about the powerful impact of a Hospital Orchestra Project performance on the spirit of a sick child or their carer. whatever your reason, we invite you to join us in making music by becoming a Patron. For more information, please contact Alecia Benzie on or benziea@waso.com.au. We hope you enjoy the performance. Asher Fisch Donations over $2 are fully tax deductible. Private Giving Partner Photo: Chris Gonz 24 waso.com.au

25 our SuPPoRTERS Your attendance helps sustain the Orchestra and we thank you for your commitment. We are also very grateful to our corporate supporters who make a significant contribution to WASO, and of course for government funding which is critical. However, these three sources of income are simply not enough to cover the ongoing costs of the Orchestra and increasingly it is our Patrons that enable us to continue to achieve our vision to touch souls and enrich lives through music. There are many ways you can be involved and your support is deeply appreciated. Endowment Fund for the orchestra The Endowment fund includes major donations from individuals and bequests. The income earned is used for the benefit of the orchestra. Tom & Jean Arkley Janet Holmes à Court AC Estates waso is extremely grateful for the bequests received from the Estates of the following benefactors: Mrs Roslyn Warrick Symphony circle Recognises Patrons who have made a provision in their will to the orchestra. Anita Clayton Judith Gedero Wolfgang Lehmkuhl Tosi Nottage (in memory Edgar Nottage) Judy Sienkiewicz Sheila Wileman Anonymous (16) The waso Song Book New works commissioned for the orchestra by waso. we gratefully acknowledge the support of the following individuals who have commissioned new music performed since Janet Holmes à Court AC Peter Dawson Geoff Stearn Anonymous (1) Making Music Together The Making Music Together campaign raised $30,000 to fund an original composition by an acclaimed composer. Many thanks to Janet Holmes à court Ac, founding patron of the waso Song Book, who generously matched $15,000 raised by the community. we thank the following Patrons for their donation in 2012: Catherine Bagster (in memory of Christine Bagster) Bernard Barnwell Tony & Mary Beeley Glenda Campbell-Evans Deirdre Chell Robyn Glindemann Myles Harmer and Alison Bunker Prof. Louis Landau AO Rosalind Lilley waso.com.au 25

26 our SuPPoRTERS Annual Giving We thank the following Patrons for their generous contribution to WASO in the last twelve months through WASO s Annual Giving progam. conductor s circle Gifts $20,000+ Janet Holmes à Court AC Jill Mulheron Brian & Nancy Murphy Patricia New Impresario Patron Gifts $10,000 - $19,999 Gay & Bob Branchi Tony & Gwenyth Lennon Joshua & Pamela Pitt Maestro Patron Gifts $5,000 - $9,999 Jean Arkley (in memory of Tom Arkley) Bill Bloking Don Conroy Ian & Elizabeth Constable Bridget Faye AM Gilbert George & Associates Dr Patricia Kailis Margaret & Rod Marston Robert May & Daniel Lee Shing Kong Spinifex Trust Peter & Jean Stokes Sue & Ron Wooller Anonymous (4) virtuoso Patron Gifts $2,500 - $4,999 Prof Fred & Mrs Margaret Affleck Neil Archibald & Alan R Dodge AM Sally Burton William Carr Mark Coughlan & Dr Pei-Yin Hsu Stephen Davis Robyn Glindemann Keith & Gaye Kessell Michael & Dale Kitney Bryant Macfie Mrs Morrell Dr W B Muston Anne Nolan John & Paula Phillips Ms Elizabeth Sachse & Dr Lance Risbey Ros Thomson Tuite Family Foundation Ian Watson Joyce Westrip OAM Ken & Jan Williams Trish Williams Strategic Interactions Andrew & Marie Yuncken Patron Gifts $ $2,499 Gail Archer SC & Patrick O Neal Margaret Atkins OAM Colin & Eve Beckett Tony & Mary Beeley Suzanne & David Biddles Kevin Blake Matthew J C Blampey Mr John Bonny Mrs Debbie Borshoff Dr & Mrs P Breidahl Jean Brodie-Hall AM Marilyn & Ian Burton Dr G Campbell-Evans Dr S L Cooke Arthur & Nerina Coopes Hon June Craig AM Gay & John Cruickshank Norman & Denia Daffen Frances Davies Rai & Erika Dolinschek Julian Dowse Tim & Lexie Elliott Don & Marie Forrest Dr Andrew Gardner Roger and Ann Gillbanks Graham & Barbara Goulden Jannette Gray Sandra Gray Joe & Deidre Greenfeld Penelope Grosjean Jacqui Grove David and Valerie Gulland Brian & Romola Haggerty Richard B Hammond Michael Harding Warwick Hemsley Michael & Liz Hollingdale Jim & Freda Irenic Lilian & Roger Jennings Anthony Kane & Jane Leahy-Kane Bill Kean Anthony & Noelle Keller Dorothy Kingston Dr Rob Kirk & Sarah Gallinagh Stephanie & John Kobelke Gloria & Ulrich Kunzmann Irving Lane Ledge Finance Limited Paul Lee Rosalind Lilley Graham & Muriel Mahony Gregg & Sue Marshman Betty and Con Michael AO Vicki Mizen Hon Justice S R Moncrieff Jane and Jock Morrison Lynn Murray Val & Barry Neubecker Dr Phil & Erlene Noble John Overton 26 waso.com.au

27 The Family of Hilary Owens Ron & Philippa Packer Michael & Lesley Page Associate Prof. Tim Pavy Alan Pedersen (in memory of Hilary Owens) Charmian Phillips (in memory of Colin Craft) Pamela Platt Andrew & Suzanne Poli Alison & John Price Dr Leon Prindiville Chester Reeve John & Alison Rigg Maurice & Gerry Rousset Roger Sandercock Dr R & J Schwenger Margaret & Roger Seares Eve Shannon-Cullity Julian & Noreen Sher Anne & Frank Sibbel Judy Sienkiewicz Laurel & Ross Smith Dr Paul Smith & Denham Harry Richard Tarala & Lyn Beazley AO Gene Tilbrook Mary Townsend Dr Robert Turnbull Maggie Venerys Stan & Valerie Vicich Watering Concepts Freddi Wilkinson Jean & Ian Williams AO Dr Peter Winterton Anonymous (12) Tutti Patron Gifts $500 - $999 Geoff & Joan Airey Catherine Bagster Merle I Bardwell Bernard & Jackie Barnwell Shirley Barraclough P M Bennet Michael & Nadia Berkeley-Hill John & Sue Bird (in memory of Penny Bird) Robert & Judith Bower Dr Vin & Diane Brennan Kay Brice Elizabeth and James Brown C & K Brownlie Diane & Ron Bowyer Gavin Bunning Ann Butcher & Dean R Kubank Nanette Carnachan Claire Chambers and Dr Andrea Shoebridge Lyn & Harvey Coates AO Agatha & Alex Cohen AO Brian Cresswell Gina & Neil Davidson Lesley & Peter Davies Jop & Hanneke Delfos Lorraine Ellard Mrs G. Ewen Annette Finn George Gavranic Elaine Gimson Isobel Glencross Yi & Jieqi Gong Prof Des Gurry Pauline & Peter Handford Douglas M & Regina Hansen Prof Alan Harvey & Dr Paulien de Boer Richard Hatch Dr David & Annie Haultain Dr Penny Herbert (in memory of Dunstan Herbert) Helen Hollingshead John Isherwood Cynthia Jee Catherine and Bernth Johansson B. M. Kent Trevor & Ane Marie Lacy George Lipton Megan Lowe Dr M. E. MacDonald and Mr Michael Pauly Mrs Carolyn Milton-Smith (in loving memory of Emeritus Prof. John Milton-Smith) S.B. Monger-Hay Dr Peter Moss Lynne Naylor (in memory of Paul F Naylor) Marianne Nilsson Marjan Oxley Graham & Hildegarde Pennefather Bev Penny Adrian & Ruth Phelps Alpha & Richard Pilpel OAM Sheila Pinch Thomas & Diana Potter Clarissa Repton James & Nicola Ridsdill-Smith Nigel & Dr Heather Rogers Judith E Shaw Hendrick Smit Michael Snell & Vicki Stewart Peggy & Tom Stacy Tony & Gail Sutherland Elizabeth Syme Harvey Tijou Mrs Joan Tonkin MBE JP S R Vogt Adrienne & Max Walters Diana Warnock Anne Watson Dr Chris & Mrs Vimala Whitaker Alan Whitham Ann Whyntie Violette William Janet Williams Judith Wilton & David Turner Patricia Wong Yalambi Farm Stud Anonymous (13) If you are interested in becoming a Patron or learning more about our Private Giving Program, please contact Jane clare, Fundraising and Philanthropy officer, on or clarej@waso.com.au Private Giving brochures are also available from the WASO Programs and Information desk located in the main foyer of the Perth Concert Hall or you can visit waso.com.au All donations over $2 are fully tax deductible waso.com.au 27

28 west Australian Symphony orchestra THE company PRINcIPAl conductor Paul Daniel Partnered by Wesfarmers Arts conductor laureate Vladimir Verbitsky chorus DIREcToR Marilyn Phillips concertmaster Giulio Plotino violin Margaret Blades Associate Concertmaster Semra Lee-Smith Assistant Concertmaster Graham Pyatt A/ 1st Violin Zak Rowntree A/ 2nd Violin Kylie Liang A/Assoc 2nd Violin Sarah Blackman Fleur Challen Stephanie Dean Rebecca Glorie Beth Hebert Shaun Lee-Chen* Akiko Miyazawa Anna O Hagan Melanie Pearn Ken Peeler Louise Sandercock Jolanta Schenk Jane Serrangeli Ellie Shalley Jacek Slawomirski Bao Di Tang Cerys Tooby David Yeh viola Giovanni Pasini Kierstan Arkleysmith Nik Babic Alex Brogan Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey cello Rod McGrath Louise McKay Assoc Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver* Fotis Skordas Tim South Xiao Le Wu DouBlE BASS Andrew Rootes* Joan Wright Assoc Christine Reitzenstein Louise Ross Andrew Tait Mark Tooby FluTE Andrew Nicholson Chair partnered by Apache Mary-Anne Blades Assoc PIccolo Michael Waye oboe Stephanie Nicholls cor ANGlAIS Leanne Glover clarinet Allan Meyer Lorna Cook BASS clarinet Alexander Millier Chair partnered by Alessandrino Property Group BASSooN Jane Kircher-Lindner Adam Mikulicz Assoc contrabassoon Chloe Turner HoRN David Evans Emma Gregan A/Assoc Robert Gladstones 3rd Francesco Lo Surdo TRuMPET Brent Grapes A/ Evan Cromie Assoc Peter Miller TRoMBoNE Joshua Davis Liam O Malley Assoc BASS TRoMBoNE Philip Holdsworth TuBA Cameron Brook TIMPANI Alex Timcke PERcuSSIoN Troy Greatz A/ HARP Sarah Bowman * Instruments used by these musicians are on loan from Janet Holmes à Court AC. 28 waso.com.au

29 BoARD of DIREcToRS Janet Holmes à Court AC Chairman Bill Bloking Mark Coughlan Jeff Dowling Keith Kessell Barrie Lepley Deputy Chairman Anne Nolan Julian Sher ExEcuTIvE Craig Whitehead Chief executive Fiona Kelly Human resources Manager Megan Lo Surdo executive Assistant ARTISTIc PlANNING Evan Kennea executive Manager, Artistic Planning Stephen McAllan Artist Liaison/Chorus Administrator Claire Stokes Program Manager Alan Tyrrell Program Manager community ENGAGEMENT Cassandra Lake Community engagement Manager Hannah Clemen education Coordinator orchestral MANAGEMENT Keith McGowan executive Manager, Orchestral Management David Cotgreave Production & Technical Manager Alistair Cox Orchestra Manager Wee Ming Khoo Music Librarian Noel Rhind Orchestral Operations Coordinator BuSINESS SERvIcES Peter Freemantle executive Manager, Business Services Daniela Antulov Payroll Administrator Andrew Chew Systems Administrator Angela Miller Accountant Svetlana Williams Accounts Officer corporate DEvEloPMENT Simon Lodge executive Manager, Corporate Development Sharmini Poulsen Corporate Partnerships Manager Luci Steinhardt Corporate Partnerships executive Megan Lo Surdo events Coordinator PRIvATE GIvING Alecia Benzie executive Manager, Private Giving Jane Clare Fundraising & Philanthropy Officer MARkETING Kelli Carnachan executive Manager, Marketing Kirsty Chisholm Digital Marketing Coordinator Jessica Holmes Graphic Designer Marc Missiaen relationship Marketing Manager Paula Schibeci Public relations Manager Lisa Westcott Marketing Manager Annie Loo Marketing Assistant Sava Papos Customer Service Manager Josie Aitchison Beverley Trolio Customer Service Coordinators Alana Arnold Margaret Daws Vicki Prince Debbie Silvester Robyn Westbrook Customer Service Officers Perth concert Hall Aeg ogden (Perth) Pty ltd. Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues. Andrew Bolt General Manager Helen Stewart Mandy Allen Deputy General Manager Paul Richardson Assistant Technical Manager Penelope Briffa event Coordinator Aeg ogden (Perth) Pty ltd Rodney M Phillips Chief executive The Perth Theatre Trust The Hon. Mr Peter Blaxell Chairman 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 waso.com.au 29

30 FRIENDS of waso Join us for behindthe-scenes events with our musicians. MEET THE DouBlE BASSES Sunday 15 September, 2.30pm llew woodford Function centre, Penrhos college Each year our Patrons and Friends Committee organise some wonderful events that allow a unique entrée into the life of the Orchestra. All proceeds from these events support the Friends of WASO Scholarship, a professional development opportunity for WASO musicians. Join us to meet the grandfathers of the Orchestra, the double basses. Between listening to some wonderful music, learn more about these majestic instruments and the musicians that play them. Catch up on WASO news over nibbles and a glass of wine. Tickets are $42 for Patrons and Friends and $45 for guests. Call the WASO Box Office on to book. For more information about events for our Patrons & Friends, please contact Jane Clare on or clarej@waso.com.au. All proceeds raised from Patrons and Friends events support the Friends of WASO Scholarship. 30 waso.com.au

31 2013 CORPORATE PARTNERS PLATINUM PARTNERS SYMPHONY PARTNERS CONCERTO PARTNERS OVERTURE PARTNERS SONATA PARTNERS KEYNOTE PARTNERS ORCHESTRA SUPPORTERS MARGARET RIVER WINE PARTNERS Cape Mentelle Vineyards, Clairault Wines, Hamelin Bay Wines, Happs Wines, Howard Park Wines, Hutton Wines, Juniper Estate, Leeuwin Estate, Moss Wood, Pierro Margaret River Vineyards, Stella Bella Wines, UMAMU Estate, Vasse Felix. 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 waso.com.au 31

32 INTERNATIONAL RECITAL SERIES Mon 9 Sept, 7.30pm Government House Ballroom Alban Gerhardt, cello Asher Fisch, piano Tickets $50* (one reserve) Alban Gerhardt is joined by Asher Fisch at the piano for an extraordinary and intimate experience not to be missed. CELLIST BOOK NOW Call Visit waso.com.au *Transaction fees may apply.