MACA LIMITED PRESENTS Thursday 7 August 11am Friday 8 & Saturday 9 August 7.30pm Perth Concert Hall

Transcription

1 MACA LIMITED PRESENTS Thursday 7 August 11am Friday 8 & Saturday 9 August 7.30pm Perth Concert Hall

2 2 MACA Limited are proud to support the West Australian Symphony Orchestra. We care. We are flexible. We deliver. MACA Can do With a team of over 1000 industry-experienced personnel, we offer contract mining, civil earthworks, crushing & screening and material haulage solutions tailored to the needs of your company. Our can do approach is the key to MACA s success. MACA Limited 45 Division Street, Welshpool WA 6106 Tel mining drill & blast crushing & screening civil works materials handling Your complete solution to contracting

3 3 Beethoven Festival August 2014 Perth Concert Hall WASO and Conductor Asher Fisch present a Western Australian first: Beethoven s nine symphonies performed over two extraordinary weekends. Asher Fisch conductor Asher Fisch appears courtesy of Wesfarmers Arts. Jam on a Classic Saturday 23 August 1.30pm Tickets from $35* Wardle Room, Perth Concert Hall A large-scale music event created with families and fun in mind. Over the course of an hour, participants of all ages and all levels of playing ability will develop an original piece of music. BYO instrument or soundmaker (a range of tuned and untuned percussion instruments will be supplied). Suitable for music learners and enthusiasts aged 6 years +. Tickets: $20 (Bookings through waso only) CHAMBER SERIES Brahms Clarinet Quintet Fri 19 September 2pm Government House Ballroom Sun 21 September 2pm Fremantle Town Hall IAIN GRANDAGE After Silence SCHUBERT Quartettsatz BRAHMS Clarinet Quintet Rebecca Glorie violin Cerys Tooby violin Rachael kirk viola Fotis Skordas cello Allan Meyer clarinet Shaun Lee-Chen violin Akiko Miyazawa violin Alex Brogan viola Louise Mckay cello Tickets from $42* (Bookings through waso only) Book Now Call visit waso.com.au or ticketek.com.au *Transaction fees may apply.

4 4 welcome When I was asked to conduct the finals of the Rubinstein Master Pianist Competition in Tel Aviv this year, I decided to offer the winner of the competition a prize of our own an engagement as a soloist with WASO. The competition, which is considered to be one of the leading piano competitions in the world, has produced in the past fine soloists who went on the have major careers. Daniel Trifonov, one of the hottest new pianists on the scene, was the winner the last time around. The finals were fascinating: out of six finalists, four played on such a high level that it was difficult to guess who could end up first. It so happened that both the first and the second prize winners played the same concerto with the Israel Philharmonic Orchestra Prokofiev s Second Piano Concerto. This is a brilliant concerto and one of the most technically demanding in the repertory. A huge cadenza in the first movement which explores all aspects of piano playing can almost stand as a short piano extravaganza showpiece by itself. From my viewpoint on the conductor s podium the second prize winner, Steven Lin - a student at the prestigious Curtis School of Music in Philadelphia - was superior in his interpretation of the work to his colleague who received the first prize. He introduced flow and lyricism to the first movement, phenomenal finger dexterity in the second and rode the keyboard to an energy-packed finale. I therefore have decided to invite him to Perth and play this concerto with us a consolation prize courtesy of WASO. I am sure that you will find him as exciting as I did. We contrast Prokofiev s modernistic concerto with two highly romantic symphonies: Schubert s Unfinished and Schumann s Third they need no introduction as they speak for themselves. Asher Fisch Conductor & Artistic Adviser Asher Fisch appears courtesy of Wesfarmers Arts.

5 5 Program MACA LIMItEd presents Schubert & Schumann Thurs 7 Aug 11am Perth Concert Hall SCHUBERT Symphony in B minor Unfinished (22 mins) Allegro moderato Andante con moto SCHUMANN Symphony No.3 Rhenish (31 mins) Lebhaft Scherzo: Sehr mäßig Nicht schnell Feierlich Lebhaft Asher Fisch conductor Asher Fisch appears courtesy of Wesfarmers Arts. MACA LIMItEd presents Schubert & Schumann Fri 8 & Sat 9 Aug 7.30pm Perth Concert Hall SCHUBERT Symphony in B minor Unfinished (22 mins) Allegro moderato Andante con moto PRokoFIEV Piano Concerto No. 2 (31 mins) Andantino Scherzo: vivace Intermezzo: allegro moderato Allegro tempestoso INTERVAL (25 mins) SCHUMANN Symphony No.3 Rhenish (31 mins) Lebhaft Scherzo: Sehr mäßig Nicht schnell Feierlich Lebhaft Asher Fisch conductor Steven Lin piano Asher Fisch appears courtesy of Wesfarmers Arts. Pre-concert Talks Find out more about the music in the concert with this week s speaker William Yeoman, 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. Pre-concert Talks are supported by Wesfarmers Arts

6 6 Making The Most of Your Visit FooD & BEVERAGES 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 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. waso RECoRDINGS Continue to experience WASO in your own home! A variety of WASO CDs are available for purchase at the Encore gift shop in the foyer at interval and post-concert. Concert Etiquette Tips when To APPLAUD? At most classical concerts audience members refrain from clapping between movements of a piece, but we encourage you to show your appreciation as you wish and if you are unsure, simply follow your fellow audience members. what IF I NEED To CoUGH? If 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 Customer Service Desk before each performance and at the interval. Connect with waso LISTEN 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. For further details please refer to abc.net.au/classic CoNCERT PLAYLISTS Listen to music featured in 2014 concerts at waso.com.au waso webcasts WASO will be streaming four concerts live and on demand in 2014, thanks to iinet. For more details visit waso.com.au E-NEwS Stay up to date with the activities of your Orchestra by subscribing to SymphonE-news. Go to waso.com.au to join our mailing list. SoCIAL MEDIA 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.

7 7 waso News On Monday 28 July, more than 1500 students from Kelmscott to Kalgoorlie were treated to the music and drama spectacle Beethoven Lives Upstairs, WASO s first Primary School concert for 2014 at the Perth Concert Hall. Featuring the full Orchestra and actors from the Chicago-based company Classical Kids Live!, this show gave young people insight into the music and life of Beethoven, as well as the many struggles he went through to bring his art to the world. Accompanying them on-stage were two Auslan interpreters, enabling hearing-impaired students and family members to attend and enjoy the performance. Activities continued into the afternoon with two interactive workshops in which a WASO string quartet, the actors from the show and WASO s Education Coordinator guided the students through an exploration of music and acting, including an activity featuring Auslan signing words. Auslan Interpreters provided by Sign Language Communications WA at the WA Deaf Society. Interpreters: Adrian Chia and Christy Filipich. waso in Albany On Friday 15 August, the West Australian Symphony Orchestra will provide members of the Albany community with the first concert in our Beethoven Festival. The full orchestra will tour to the region to perform three of the master composer s famous works including Symphony No.5. Asher Fisch is excited to travel with the Orchestra on this regional tour, and is looking forward to tasting some of the local produce, and meeting local residents at a post-concert Q + A. In addition to the evening performance, WASO will open the afternoon rehearsal to schools groups at no cost, and provide them with a pre-concert talk. It is rare that we have the opportunity to offer students in regional centres the opportunity to hear the full orchestra live. Sheena Prince from the Music Department at Albany Senior High School says Although YouTube and audio recordings are valuable tools for music teaching in country areas, they cannot possibly compare with the excitement of attending a live concert, meeting the musicians and being able to ask questions. WASO will perform in the stunning Albany Entertainment Centre, and are grateful for support from the Government of Western Australia through the Department of Regional Development and Department of Culture and the Arts for their support of this tour. Thanks also to the Water Corporation for their vital support.

8 8 Biographies Asher Fisch Conductor Asher Fisch s first season with the West Australian Symphony Orchestra includes a range of classical repertoire, as well as a West Australian first; Beethoven s nine symphonies performed over two weekends in August. A seasoned conductor in both the operatic and symphonic worlds, he is known best for his interpretative command of German and Italian repertoire of the Romantic and post-romantic era, in particular Wagner, Brahms, Strauss and Verdi. He is currently Guest Conductor of the Seattle Opera, where he conducted its quadrennial Wagner Ring cycle in 2013, and his former posts include Music Director of the New Israeli Opera ( ) and the Vienna Volksoper ( ). He first worked with WASO in He has long maintained strong ties to the Bavarian State Opera, and in the season conducts a new production by Martin Kušej of The Force of Destiny, plus revival performances of Parsifal, Salome, Ariadne auf Naxos, La bohème and Turandot. Other highlights of the season include concerts with the Munich Philharmonic; Stuttgart Radio Symphony Orchestra; National Orchestra of Belgium; Aarhus Symphony Orchestra (Denmark); a tour in Italy with the Orchestra della Toscana; and a visit to the Melbourne Festival in October 2013, where he conducted an all-wagner program with the Melbourne Symphony Orchestra. He conducted the State Opera of South Australia s Wagner Ring cycle in 2005, which won ten Helpmann Awards. Asher Fisch began his conducting career as Daniel Barenboim s assistant and kapellmeister at the Berlin State Opera. He is an accomplished pianist and released his first solo disc of Wagner piano transcriptions in Asher Fisch appears courtesy of Wesfarmers Arts. Photo: Corrado Maria Falsini

9 9 Biographies Steven Lin Piano Taiwanese American pianist Steven Lin s awards include the 2012 Concert Artists Guild Victor Elmaleh Competition and the John Giordano Jury Chairman Discretionary Award at the 2013 Van Cliburn International Piano Competition. In May 2014, he was awarded the Silver Medal at the Arthur Rubinstein Piano Competition in Israel. Steven Lin made his debut with the New York Philharmonic at the age of thirteen. He obtained his Bachelor and Master degrees from The Juilliard School and is currently pursuing a Performance Diploma at the Curtis Institute of Music. Forthcoming highlights include concerto performances with the Kansas City Symphony, a tour with the Taipei Symphony Orchestra, and engagements in Israel, Germany, Poland and London, including a recital at Wigmore Hall. ENGAGE CHALLENGE EXCITE SURPRISE REFLECT Photograph Tony McDonough

10 10 waso on Stage Today VIoLIN Paul wright Guest Concertmaster Semra Lee-Smith A/Associate Concertmaster Graham Pyatt A/Assistant Concertmaster Akiko Miyazawa A/ 1st Violin Zak Rowntree 2nd Violin Kylie Liang A/Assoc 2nd Violin Sarah Blackman Fleur Challen Erin Chen Dorothy Ford^ John Ford^ Beth Hebert Alexandra Isted Sunmi Jung Christina Katsimbardis^ Shaun Lee-Chen Andrea Mendham^ Lucas O Brien Melanie Pearn Ken Peeler Louise Sandercock Jolanta Schenk Jane Serrangeli Jacek Slawomirski Bao Di Tang Cerys Tooby Teresa Vinci David Yeh VIoLA Paul McMillan Guest Alex Brogan A/Assoc Kierstan Arkleysmith Nik Babic Katherine Drake Alison Hall Tom Higham^ Rachael Kirk Allan McLean Helen Tuckey Aaron Wyatt^ CELLo Rod McGrath Louise McKay Melinda Gourlay^ Shigeru Komatsu Emma McCoy^ Nicholas Metcalfe Eve Silver Fotis Skordas Tim South DoUBLE BASS Andrew Rootes Joan Wright Elizabeth Browning^ Sarah Clare^ Christine Reitzenstein Louise Ross Mark Tooby FLUTE Andrew Nicholson Chair partnered by Apache. Mary-Anne Blades oboe Elizabeth Chee Leanne Glover Cor Anglais CLARINET Allan Meyer Lorna Cook Alex Millier Chair partnered by Altegra Property Group BASSooN Adam Mikulicz A/ Chair partnered by Ron & Sue Wooller Chloe Turner Colin Forbes-Abrams HoRN David Evans Sharn McIver Julia Brooke Francesco Lo Surdo TRUMPET Brent Grapes Evan Cromie Jeremy Coleman^ Peter Miller TRoMBoNE Joshua Davis Liam O Malley BASS TRoMBoNE Philip Holdsworth TUBA Cameron Brook TIMPANI Alex Timcke PERCUSSIoN Troy Greatz Joel Bass^ *Instruments used by these musicians are on loan from Janet Holmes à Court AC. Associate Guest Musician^

11 11 Meet the Musician Fleur Challen Violin what is your first musical memory? My parents had classical music playing constantly in the house or car so I can t really remember a time when I was not listening to music. What I remember particularly though was the Brandenburg Concerti by J.S. Bach which I absolutely loved. It was a tremendous thrill to play them for the first time when I was quite young and later record all of them with my teacher John Exton at the University of Western Australia (UWA). The other recording on high rotation in our house was of Yehudi Menuhin playing Beethoven s Violin Concerto. I also loved that and performed it for my final recital at UWA and for my audition for this job at WASO. when did you join waso? I started working as a casual with WASO while I was studying at UWA and joined virtually as soon as I finished studying. My first concerts were on tours to Albany, Narrogin and Geraldton. I was so surprised to see the musicians in such casual clothes as I had been coming to the concerts since I was a child and had only ever seen the men in tails. The other thing that was an eye opener to me was how little time we have to learn a new programme compared to my time in youth orchestras. I could not believe that we would prepare in 2 or 3 days something that I was used to spending weeks on. who are your favourite composers? When I was young it was always Bach, Beethoven, Brahms and Bartók but since I ve joined WASO and performed so many amazing works the list has grown considerably. I think the Mahler symphonies are extraordinary and always a thrill to play and also Richard Strauss and Wagner. I also love performing any Puccini Opera. what is your most memorable concert as an audience member? It is always thrilling to hear the great orchestras who visit Perth and I particularly enjoyed hearing The Royal Concertgebouw last year. When I first joined WASO, I had the job of turning pages for many great visiting artists in recital, the most memorable being The Beaux Arts Trio, Paul Tortelier, Salvatore Accardo and Pinchas Zukerman. It was very nerve wracking but a real privilege to see them rehearse and to be on stage with such great musicians. what do enjoy most about your career? Aside from playing wonderful repertoire all the time I really enjoy the fact that for the most part we are doing something different every week and sometimes that can be quite different! One week we are immersed in Mahler s Ninth Symphony and the next playing the soundtrack along to The Lord of the Rings. We play such a diverse range of concerts that there really is something for everyone. One of the best things of all about being in WASO for me is that I have made so many wonderful friends in the orchestra itself and in the audience.

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13 13 Timeline of Composers & works FRANZ SCHUBERT 1797 Ð 1828 ROBERT SCHUMANN 1810 Ð 1856 Schubert's Symphony No.8 'Unfinished' 1822 Romantic Period 1825 Ð 1900 Schumann's Symphony No.3 'Rhenish' 1850 SERGEI PROKOFIEV 1891 Ð th Century Period 1900 Ð 2000 Classical Period 1750 Ð 1825 Prokofiev's Piano Concerto No

14 14 Program Notes Franz Schubert ( ) Symphony No.8 in B minor, D759 Unfinished Allegro moderato Andante con moto Why is Schubert s Unfinished Symphony so much admired by musicians and their public alike? Because of its lyrical outpouring of one melody after another? Because romanticallyminded people are attracted to the idea of the incomplete masterpiece? Or because of the sentimental legend that Schubert was unable to finish his symphony through illness and lack of public appreciation? The latter idea can be banished by noting that Schubert composed the music in Still to come, in 1825, was the grandly affirmative Great C major Symphony, and in the remaining six years of his life Schubert could have returned to the Unfinished and completed it. Instead, two movements survive, and an incomplete sketch of a third. There have been attempts to finish the symphony, however musicologists these days agree that it should be left as it stands. The two movements which constitute the Unfinished Symphony seem, on first hearing, almost like two slow movements, one after another. Schubert s musical thinking is extraordinarily broad, its essential feature being a new kind of long-range harmonic movement: amazing modulations, but all making sense in the whole. Schubert presented his work to the Styrian Musical Society of Graz, in gratitude for an honorary diploma. He entrusted it to Anselm Hüttenbrenner, a member of the Society, who never delivered it. In 1860, 32 years after Schubert s death, the score was rescued from Hüttenbrenner, who had kept it in a drawer stuffed full of papers. The first performance was given by the orchestra of the Society of the Friends of Music in Vienna in Adapted from a note by David Garrett 1998 WASO last performed this work on 30 April & 1 May 2010, conducted by Roy Goodman. IF YoU LIkE THIS work YoU MAY ALSo ENJoY BEETHOVEN Symphony No.5 featured in Beethoven s Fifth Fri 22 & Sun 24 August Glossary Modulations A change of key

15 15 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 Australia Pty Ltd. All rights reserved. ABU chevronaustralia.com

16 16 Program Notes Sergei Prokofiev ( ) Piano Concerto No.2 in G minor, Op.16 Andantino Scherzo: vivace Intermezzo: allegro moderato Allegro tempestoso In 1918, Prokofiev was in the United States. Performances of his Piano Concerto No.1 and Scythian Suite took places like Chicago by storm, and led to the commission for The Love for Three Oranges. Meanwhile, back home in Petrograd, the tenant in his flat somehow managed to burn the score of his Piano Concerto No.2. Some versions of the story describe it as a fire ; on the other hand, friends of Prokofiev s informed him at the time that the score was used as fuel to cook an omelette. Be that as it may, it required the composer to reconstruct the piece from memory. Again, there are differing accounts both emanating from Prokofiev of the extent to which this required new composition: he wrote to a friend that the recomposition effectively made the piece a new concerto his fourth ; in his memoirs, however, he claimed merely to have improved the overall form, orchestration and counterpoint. In its original version, the concerto had enjoyed the sort of reception about which early 20th-century composers tended to dream. Premiered, with the composer at the keyboard, in 1913 in Pavlovsk, the piece famously had the audience walking out with their hair standing on end, remarking loudly (a story that Prokofiev proudly retailed in his autobiography) about how the music would send them crazy and that the cats on the roof make better music! Most of those that stayed obligingly booed and hissed, though one critic predicted that ten years from now [the audience] will atone for last night s catcalls by unanimously applauding a new composer with a European reputation. In fact the response to the reconstructed version, which Prokofiev, as luck would have it, made ten years later, was rather more measured when he premiered it in Paris in 1924; it may be that Prokofiev had toned it down, but equally, Stravinsky and the group known as Les Six had naturalised the sort of modernism that Prokofiev cultivates in this work and it no longer shocked. After making his professional debut (and simultaneously wowing his Conservatorium examiners) with his First Piano Concerto, Prokofiev had been accused of writing superficial showiness and keyboard acrobatics. The 22-year-old had therefore resolved to strive for greater depth in the Second. Whether he achieved that is another question; certainly the work has far greater length than the first. The outer movements, for instance, each play for over ten minutes, and the work as a whole is almost twice the length of the earlier work.

17 17 The Andantino first movement is expansive, as signalled by the brief pizzicato theme answered by a section for piano (marked narratively ) that suggests Prokofiev s older contemporary, Rachmaninov. The focal point of the movement is a breathtaking cadenza which ushers in a fortissimo statement of the opening pizzicato theme. Here the Rachmaninovian manner is even more pronounced, as the soloist sails through increasingly opulent orchestral textures. The scherzo which follows is vintage Prokofiev, with its unrelenting stream of piano semiquavers glittering coldly throughout. So too is the Intermezzo, which has nothing autumnal or late-brahmsian about it. Rather than using the term to denote an instrumental entr acte, it is almost as if Prokofiev were conjuring the 18th-century sense of the word to describe a miniature comic opera. This was, after all, written around the time of his Love for Three Oranges, with its cast of commedia dell arte characters, giants and witches, and the Concerto s intermezzo is a grotesque and theatrical piece. The finale draws together a number of thematic threads from the previous three movements, and binds them into a fearsomely energetic structure: there are moments of dark introspection related to the opening movement and brief passages of nostalgic Russian melody. There is also much carnivalesque humour here and, after a false ending, another brilliant solo passage which leads to the work s somewhat ironic conclusion. It is an extremely demanding work to play, and even Prokofiev neglected it in favour of the Third Concerto during his years as a virtuoso. Apart from a brief vogue in the Soviet Union at the time of Prokofiev s return in the 1930s, it remained a rarity until rescued from obscurity by pianists such as Vladimir Ashkenazy only in the 1960s. Gordon Kerry 2009 WASO last performed this work on31 July & 1 August 2009, performed by Cedric Tiberghien and conducted by Simone Young. IF YoU LIkE THIS work YoU MAY ALSo ENJoY BEETHOVEN Piano Concerto No.5 Emperor featured in Stephen Hough Plays Beethoven Fri 26 & Sat 27 September LISZT Piano Concerto No.1 featured in Piers Lane Plays Liszt Fri 17 & Sat 18 October Glossary Counterpoint Two or more lines of music or melodies that are played at the same time. Pizzicato Plucking, rather than bowing, the strings. Fortissimo Very loud

18 18 Program Notes Robert Schumann ( ) Symphony No.3 in E flat, Op.97 Rhenish Lebhaft [Lively] Scherzo (Sehr mässig [Very moderately]) Nicht schnell [Not fast] Feierlich [Ceremonially] Lebhaft [Lively] As a young composer, Robert Schumann wrote music chiefly on an intimate scale. His love for Clara Wieck, whom he married after a bitter legal battle with her father (teacher to them both), greatly nurtured his creative life. Robert came forth with an astonishing wealth of Lieder and song cycles; these, and his highly imaginative piano works, place him among the most revered Romantic composers. The depth of his lyricism, however, sought larger means of expression. Clara, a celebrated concert pianist and a composer in her own right, earnestly encouraged Robert in this direction, believing his music is all orchestral in feeling. An early attempt at symphonic composition, premiered during Robert s student days, led him to lament, I consider this art so difficult that it will take long years study to give me certainty and self-control. Beethoven s nine symphonies loomed as great models to emulate. Schumann also noted the undeniable originality of Berlioz s Symphonie fantastique and rejoiced in Schubert s Great C major Symphony, whose rediscovery and first performance he helped bring about. His first completed symphony, the Spring Symphony in B flat, was premiered by Mendelssohn in Leipzig in It served as a musical calling-card for Robert s European concert tours with Clara. In performances led by its composer, the work elicited mixed reactions. Vienna s especially cold reception in November 1846, along with Leipzig s tepid response to his Symphony No.2 that same month, bitterly disappointed both Robert and Clara. Still Robert persevered. The Schumanns had not been especially happy in Dresden and in 1850 embraced their move to the Rhineland, delighting in what they found. Late in September 1850, they took a Sunday boat excursion on the Rhine from Düsseldorf (where Robert had assumed the position of Municipal Music Director) to Cologne, a city which enchanted us instantly, Clara wrote in her diary. The new symphony, begun earlier that month, was finished by December and received its premiere in Düsseldorf, with the composer conducting, the following February.

19 19 The opening movement of Schumann s Symphony No.3 is immediately expansive in spirit, an overriding exuberance prevailing. An amiable, rounded melody in the low strings and bassoons sets the second-movement Scherzo rowing through deep water in triple-metre motion, with a lighter contrasting second theme of scattered droplet-figures interwoven above it. An eloquent, sombre trio of winds and brass ensues, encouraging the return of the initial theme in increasingly bolder guises. The third-movement A flat intermezzo radiates soulful warmth and contentment as the symphony s centrepiece, with the woodwind (prominently, the clarinet) blooming in gentle, graceful passages. The contrasting theme (initially in the bassoons and divided low strings, joined by the horns) sings from the depths of the heart. Dark, sustained, contrapuntally ascending lines, first in the low brass, intone the austere, Feierlich fourth movement. Motivic repetition over slow-moving minor chords builds sonorities layer upon layer, summoning the awesome majesty of Cologne Cathedral, which greatly impressed the Schumanns on their visit. (In the cathedral a few months later, an archbishop was elevated to the position of cardinal; Schumann ultimately deleted the title he first gave to this movement, In the character of an accompaniment to a solemn ceremony.) The buoyant fifth movement instantly restores the earlier Lebhaft optimism of E flat, gaining energy and momentum, and accelerating to a triumphant conclusion. Schumann s symphonies have continued to draw their detractors over the years. Glossary The German conductor Felix Weingartner ( ) wrote rather disparagingly of the Rhenish, judging its themes as essentially pianistic (therefore inadequately short for symphonic development), criticising its orchestration as thick and awkward, and prescribing corrections to the score. Attitudes of this nature lingered through much of the 20th century. Recent scholarship and the period-instrument movement have encouraged efforts to achieve greater transparency in the performance of early-romantic orchestral works. This has helped to develop a more enlightened understanding of Schumann s orchestration; though to this day, conductors occasionally take judicious liberties with the scores, often to lighten textures so that instrumental voices (and Schumann s ideas) may be heard more clearly. The Rhenish was a turning-point in Schumann s symphonic evolution, a sincere and masterful expression of his musical spirit. Following its premiere, the work quickly received performances in Germany and the Netherlands. To Tchaikovsky, there was no mightier or deeper manifestation of an artist s creative power than in the fourth movement of the Rhenish. Samuel C. Dixon 2001 WASO last performed this work on 6 & 7 April 2001, conducted by András Ligeti. IF YoU LIkE THIS work YoU MAY ALSo ENJoY BEETHOVEN Symphony No.3 Eroica featured in Beethoven s Eroica Sat 23 August Triple-metre Three beats in each bar. Waltzes are an example of music in triple metre Contrapuntally Of, relating to, or incorporating counterpoint.

20 20 ALCOHOL.THINK AGAIN MASTERS SERIES Fri 26 & Sat 27 Sept 7.30pm Perth Concert Hall BEETHOVEN Piano Concerto No.5 Emperor DEBUSSY Images RAVEL La valse Baldur Brönnimann conductor Stephen Hough piano STEPHEN HOUGH PLAYS BEETHOVEN MIGHTY, MAJESTIC AND HEROIC VOTED NO.1 ON ABC CLASSIC FM S TOP 100 CONCERTOS BOOK NOW Tickets from $30 * Call Visit waso.com.au or ticketek.com.au *Transaction fees may apply.

21 Meet the InstruMent the oboe 21 The oboe is a double reed member of the woodwind family. Developed in the mid- 17th century from early instrument the shawm, the Baroque oboe was embraced by composers such as Vivaldi, Telemann and Handel, inspiring them to create concertos for the new and improved instrument. Favourite orchestral oboe works include Prokofiev s Peter and the Wolf, Tchaikovsky s Swan Lake, and Mussorgsky s Pictures at an Exhibition: Ballet of the Unhatched Chicks. Symphony Services International The oboe as we know it today developed in 19th-century Europe, and the cities of Paris and Vienna in particular gained a reputation for their oboe-making tradition. The body of the present-day oboe is predominantly made out of African Blackwood and the keys usually of silver alloy. The oboe has a double reed constructed of two pieces of cane tied together. Sound is created as the air vibrates between the two reeds into the instrument s body. The size and shape of the reed in relation to the player s technique and style of playing have a dramatic effect on the quality of the eventual sound, so as a result oboists customise or make their own reeds. 1. Reed 2. Staple 3. Key 4. Bell The coned bore of the oboe, in comparison to the cylindrical bore of other woodwind instruments such as the flute, aids its audible dominance over other instruments. This is why it is used to tune the orchestra, as its penetrating timbre enables it to be heard clearly by other members of the orchestra. The range of the oboe:

22 22 Supporting WASO and the local community Proudly sponsored by

23 23 waso Philanthropy Philanthropy Partner Leaving a Legacy Help the Music Play on WASO is a charitable organisation that relies on the support of donations and bequests. A bequest is a special gift which we preserve as your legacy. It is a wonderful opportunity to ensure that WASO remains a part of the lives of future generations of Western Australians, underpinning our vision to touch souls and enrich lives through music. Monies received from bequests to WASO are invested and preserved in the Endowment Fund for the Orchestra and the income earned, less inflation, is used to support WASO s activities and programs. This means that your money lives on forever, providing funds for the development of young artists, the commissioning of new works, education programs and regional touring. For further information about leaving a bequest to WASO, please contact Alecia Benzie, Executive Manager Philanthropy, on or benziea@waso.com.au. All enquiries will be treated in confidence. Patrons & Friends Event Meet the Chamber Ensemble Sunday 21 September, 2pm Fremantle Town Hall Brahms Clarinet Quintet Make an afternoon of it and chat to WASO musicians over a glass of wine after they perform Brahms heartwarming Clarinet Quintet in a stunning one-hour chamber concert. The concert starts at 2pm and tickets can be purchased for $42. Tickets for the post-concert event are $10 for Patrons & Friends ($15 for guests) and include a glass of wine and nibbles. To book, please call the WASO Box Office on

24 24 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 Sagitte Yom-Tov Fund 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) Reach out Recognises Patrons who support our Education and Community Engagement programs. Prue Ashurst Creative Partnerships Australia The James Galvin Foundation Robyn Glindemann Barrie & Jude Lepley McCusker Charitable Foundation Minderoo Foundation John & Alison Rigg Simon Lee Foundation Beethoven Circle waso acknowledges Patrons who are generously supporting our Beethoven Festival. Jean Arkley in memory of Tom Arkley Bob & Gay Branchi Janet Holmes à Court AC in memory of her mother Torsten & Mona Ketelsen Tony & Gwenyth Lennon Joshua & Pamela Pitt

25 25 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 Program. Conductor s Circle Gifts $20,000+ Janet Holmes à Court AC Jill Mulheron Brian & Nancy Murphy Patricia New Anonymous (1) Impresario Patron Gifts $10,000 - $19,999 Gay & Bob Branchi Tony & Gwenyth Lennon Joshua & Pamela Pitt Anonymous (1) Maestro Patron Gifts $5,000 - $9,999 Jean Arkley in memory of Tom Arkley Bill Bloking Ian & Elizabeth Constable Moira & John Dobson Bridget Faye AM Gilbert George & Associates Dr Patricia Kailis Margaret & Rod Marston Robert May Spinifex Trust Peter & Jean Stokes Trish Williams Strategic Interactions Sue & Ron Wooller Anonymous (2) Virtuoso Patron Gifts $2,500 - $4,999 Prof Fred & Mrs Margaret Affleck Neil Archibald & Alan R. Dodge AM Peter & Marjorie Bird Sally Burton Don Conroy Mark Coughlan & Dr Pei-Yin Hsu Stephen Davis Tim & Lexie Elliott Robyn Glindemann Sylvia & Wally Hyams Keith & Gaye Kessell Michael & Dale Kitney Bryant Macfie Mrs Morrell Anne Nolan Ron & Philippa Packer John & Paula Phillips Ms Elizabeth Sachse & Dr Lance Risbey Judy Sienkiewicz Ros Thomson M. & H. Tuite Andrew & Marie Yuncken Anonymous (1) Patron Gifts $ $2,499 Margaret Atkins OAM Colin & Eve Beckett Tony & Mary Beeley Suzanne & David Biddles John & Sue Bird in memory of Penny Bird Kevin Blake Matthew J.C. Blampey Alan & Anne Blanckensee Mr John Bonny Mrs Debbie Borshoff Jean Brodie-Hall AM Gavin Bunning Ann Butcher & Dean R. Kubank Dr G Campbell-Evans Arthur & Nerina Coopes Hon June Craig AM Gay & John Cruickshank Norman & Denia Daffen Russell & Susan Dixon Margaret Dobson Julian Dowse Don & Marie Forrest Dr Andrew Gardner Roger & Ann Gillbanks Graham & Barbara Goulden Jannette Gray Sandra Gray Joe & Deidre Greenfeld David & Valerie Gulland Brian & Romola Haggerty Richard B. Hammond

26 26 our Supporters Pauline & Peter Handford Michael Harding Shigeki & Hinako Hirano Michael & Liz Hollingdale John & Katrina Hopkins Jim & Freda Irenic Cynthia Jee Lilian & Roger Jennings Anthony Kane & Jane Leahy-Kane Bill Kean Anthony & Noelle Keller Dorothy Kingston Dr Rob Kirk & Sarah Gallinagh Stephanie & John Kobelke Ulrich & Gloria Kunzmann Irving Lane Paul Lee Rosalind Lilley Graham & Muriel Mahony Gregg & Sue Marshman Mervyn Matthews Jennifer & Arthur McComb Betty & Con Michael AO Vicki Mizen Hon Justice S.R. Moncrieff Jane & Jock Morrison Lynn Murray Val & Barry Neubecker Dr Phillip & Mrs Erlene Noble John Overton The Family of Hilary Owens Michael & Lesley Page Athena Paton Associate Prof. Tim Pavy Alan Pedersen in memory of Hilary Owens Charmian Phillips in memory of Colin Craft Pamela Platt Andrew & Suzanne Poli Dr Leon Prindiville Chester Reeve John & Alison Rigg Nigel & Dr Heather Rogers Maurice & Gerry Rousset Roger Sandercock Dr R. & J. Schwenger Margaret & Roger Seares Paula & Melanie Shannon Eve Shannon-Cullity Julian & Noreen Sher Laurel & Ross Smith Dr Paul Smith & Denham Harry Gail & Tony Sutherland Anna Sweetingham Richard Tarala & Lyn Beazley AO Gene Tilbrook Mary Townsend Dr Robert Turnbull Maggie Venerys Stan & Valerie Vicich Watering Concepts Ian Watson Joyce Westrip OAM Alan Whitham Ann Whyntie Jean & Ian Williams AO Jim & Gill Williams Dr Peter Winterton Anonymous (19) Tutti Patron Gifts $500 - $999 Geoff & Joan Airey Catherine Bagster Merle I. Bardwell Betty Barker Bernard & Jackie Barnwell Shirley Barraclough P.M. Bennet Michael & Nadia Berkeley-Hill Elaine Bonds Diane & Ron Bowyer Elizabeth & James Brown Marilyn & Ian Burton Nanette Carnachan Claire Chambers & Dr Andrea Shoebridge Dr Anne Chester Lyn & Harvey Coates AO Agatha & Alex Cohen AO Helen Cook Brian Cresswell Gina & Neil Davidson Frances Davies Lesley & Peter Davies Jop & Hanneke Delfos Rai & Erika Dolinschek Lorraine Ellard Mrs G. Ewen The Farghaly Family Annette Finn Jim & Pamela Flaherty Joan Gagliardi Pat Gallaher George Gavranic Elaine Gimson Isobel Glencross Jacqui Grove Douglas M & Regina Hansen Prof Alan Harvey & Dr Paulien de Boer Richard Hatch Dr Penny Herbert in memory of Dunstan Herbert Helen Hollingshead

27 27 our Supporters John Isherwood Peter S. Jones B.M. Kent Nelly Kleyn In memory of Dr Brenton Knott Trevor & Ane Marie Lacy Megan Lowe Dr Mary Ellen MacDonald Mrs Carolyn Milton-Smith in loving memory of Emeritus Prof. John Milton-Smith S.B. Monger-Hay Dr Peter Moss Marianne Nilsson Marjan Oxley Graham & Hildegarde Pennefather Bev Penny Adrian & Ruth Phelps Alpha & Richard Pilpel OAM Sheila Pinch Thomas & Diana Potter Alison & John Price Ann Rawlinson Clarissa Repton James & Nicola Ridsdill-Smith Leigh Robinson Judith E. Shaw The Sherwood Family Hendrick Smit Louise Sparrow & Family Peggy & Tom Stacy Ruth E. Thorn Dr Julian Todres S.R. Vogt Adrienne & Max Walters Diana Warnock Anne Watson Joy Wearne Dr Chris & Mrs Vimala Whitaker Violette William Janet Williams Judith Wilton & David Turner Patricia Wong Yalambi Farm Stud Anonymous (19) Friends Gifts $40 - $499 Thank you to all our Friends who support WASO through their gift. As we celebrate our tenth year of annual giving, we are extremely proud to be supported by the following Patrons who have supported us since 2005: Fred & Margaret Affleck Sally Burton Brian Cresswell Gerty Ewen Annette Finn David & Valerie Gulland Janet Holmes à Court AC B.M. Kent Bryant Macfie Peter & Patricia Moss Jill Mulheron John Overton Heather Rogers Judith Sienkiewicz David Turner & Judith Wilton Andrew & Marie Yuncken We would like thank them for their invaluable ongoing support. If you are interested in becoming a Patron or learning more about waso Philanthropy please contact Jane Clare, Fundraising and Philanthropy Coordinator, on or clarej@waso.com.au. WASO Philanthropy brochures are available from the WASO Programs & 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.

28 28 west Australian Symphony orchestra VIoLIN Semra Lee-Smith Assistant Concertmaster Graham Pyatt 1st Violin Zak Rowntree 2nd Violin Kylie Liang Assistant 2nd Violin Sarah Blackman Fleur Challen Erin Chen Stephanie Dean Rebecca Glorie Beth Hebert Alexandra Isted Sunmi Jung Shaun Lee-Chen* Akiko Miyazawa Lucas O Brien Anna O Hagan Melanie Pearn Ken Peeler Louise Sandercock Jolanta Schenk Jane Serrangeli Ellie Shalley Jacek Slawomirski Bao Di Tang Cerys Tooby Teresa Vinci David Yeh VIoLA Caleb Wright 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 *Instruments used by these musicians are on loan from Janet Holmes à Court AC. ASSISTANT CoNDUCToR Christopher Dragon Conductor Asher Fisch Partnered by Wesfarmers Arts CHoRUS DIRECToR Christopher van Tuinen FLUTE Andrew Nicholson Chair partnered by Apache 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 Chair partnered by Altegra property Group BASSooN Jane Kircher-Lindner Chair partnered by Ron & Sue Wooller Adam Mikulicz Assoc Colin Forbes-Abrams CoNTRABASSooN Chloe Turner CHoRUS VoCAL CoACH Andrew Foote Conductor Laureate Vladimir Verbitsky 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 Robyn Gray Troy Greatz Assoc HARP Sarah Bowman

29 29 BoARD of DIRECToRS Janet Holmes à Court AC Chairman Mark Coughlan Keith Kessell Barrie Lepley Deputy Chairman Anne Nolan Paul Shannon Julian Sher Michael Utsler ExECUTIVE Craig Whitehead Chief Executive Claire Burlington Executive Assistant Ellen Wisdom Executive Manager, Human Resources Rachel Taylor Human Resources Assistant ARTISTIC PLANNING Evan Kennea Executive Manager, Artistic Planning Maya Kraj-Krajewski Artist Liaison/Chorus Administrator Claire Stokes Program Manager Alan Tyrrell Program Manager CoMMUNITY ENGAGEMENT Cassandra Lake Executive Manager, Community Engagement Fiona Taylor Education Coordinator Gemma McDonald Community Development Coordinator orchestral MANAGEMENT Keith McGowan Executive Manager, Orchestral Management Richie Burton Orchestral Operations Manager David Cotgreave Production & Technical Manager Alistair Cox Orchestra Management Assistant Breanna Evangelista Orchestral Management Wee Ming Khoo Music Librarian Noel Rhind Orchestral Operations Coordinator BUSINESS SERVICES Peter Freemantle Chief Financial Officer Andrew Chew Systems Administrator Angela Miller Accountant Svetlana Williams Payroll Officer Sushila Bhudia Accounts Officer CoRPoRATE DEVELoPMENT Marina Woodhouse Executive Manager, Corporate Development Simon Lodge Executive Manager, Corporate Development Sharmini Poulsen Corporate Partnerships Manager Luci Steinhardt Corporate Partnerships Executive Ginny Luff Events Coordinator PHILANTHRoPY Alecia Benzie Executive Manager, Philanthropy Josie Aitchison Customer Service & Philanthropy Coordinator Jane Clare Fundraising & Philanthropy Coordinator MARkETING Kelli Carnachan Executive Manager, Marketing Kirsty Chisholm Digital Marketing Coordinator Nancy Hackett Marketing Manager Gina Beers Graphic Designer Marc Missiaen Relationship Marketing Manager Paula Schibeci Public Relations Manager Amanda Lim Marketing Assistant Courtney Walsh Marketing Intern Sava Papos Customer Service Manager Josie Aitchison Customer Service & Philanthropy Coordinator Beverley Trolio Customer Service Coordinator 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 Deputy General Manager Peter Robins Technical 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

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

31 Corporate Partners PLATINUM PARTNERS CONCERTO PARTNERS OVERTURE PARTNERS SONATA PARTNERS EDUCATION PARTNERS School of Music Tertiary Education Partner KEYNOTE PARTNERS ORCHESTRA SUPPORTERS MARGARET RIVER WINE PARTNERS Aravina Estate, Edwards Wines, Howard Park Wines, Leeuwin Estate, Moss Wood, Pierro Margaret River Vineyards, 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.

32 9 SYMPHONIES 4 CONCERTS 2 WEEKENDS August Perth Concert Hall BOOK NOW Buy all 4 concerts and save 10%! Individual tickets from $30* Call quoting 1086 or visit waso.com.au *Transaction fees may apply. $30 Choir stall seats not available for Beethoven s Ninth.