PROGRAM. ALCOHOL.THINK AGAIN MASTERS SERIES Friday 26 & Saturday 27 August 7.30pm Perth Concert Hall. Asher Fisch & WASO. Baiba. Skride.

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1 PROGRAM ALCOHOL.THINK AGAIN MASTERS SERIES Friday 26 & Saturday 27 August 7.30pm Perth Concert Hall Asher Fisch & WASO Baiba Skride Mozart PL AYS

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

3 WELCOME This week s concerts sees Asher Fisch in his element, conducting great romantic and post-romantic works by Brahms and Schoenberg. In the early part of his career, Brahms was chiefly known as a composer of chamber and choral music, and it was only later in his life that he turned his attention to the symphonic genre. His Piano Quartet in G minor is one of the great piano quartets, but was not often played when Schoenberg orchestrated it in For the most part, Schoenberg is reasonably faithful to Brahms s own orchestral sound world, though he uses a bigger orchestra than Brahms would have enjoyed, and utilises instruments that Brahms did not employ in his own symphonic works. Schoenberg was a masterful orchestrator, and his deep love of and respect for Brahms music is much in evidence in this wonderful work. Of Schoenberg s own output, it is the earlier works that are most heard in concert; the free atonal and 12-tone period works not enjoying popular success. The early string work Transfigured Night (Verklärte Nacht) is one of the most performed. Like many leading Viennese musicians at end of the 19th century, Schoenberg grappled with the question of who was the more progressive composer, Wagner or Brahms? With Transfigured Night Schoenberg resolved for himself the conflict between the Brahmsian aesthetic of pure, abstract music and the Wagnerian aesthetic which to some extent relied on an extra-musical program to propel the musical discourse. Schoenberg combines Brahms s formal structures with Wagner s advanced harmonic language in a work of voluptuous harmony and lush string writing. In this concert Mozart s Violin Concerto No.4 could be viewed as a kind of musical sorbet, something to clear the ears of the rich sound world of Brahms and Schoenberg. But if it is a sorbet, it is a particularly elegant and graceful one - though not a simple one to perform! Right from the very first notes, played up high on the E string, the exposed melodic line demands superb intonation and purity of tone. Thankfully, our soloist is Baiba Skride, whose artistry sees her performing with the world s finest conductors and orchestras. Baiba gave a superb performance of Tchaikovsky s Violin Concerto in her WASO debut in 2013, and we have eagerly awaited this return visit. I hope you enjoy this evening s performance. Evan Kennea Executive Manager, Artistic Planning

4 2016 UPCOMING CONCERTS TICKETS FROM $55 * Photo: Chris Gonz MACA LIMITED CLASSICS SERIES ASHER FISCH CONDUCTS MOZART S REQUIEM FRI 2 & SAT 3 SEPT 7.30PM Perth Concert Hall Mozart s Requiem has always been the object of legend. The profound depth and sincerity with which Mozart gives voice to both grief and hope, showcases his great genius. MAGNUS LINDBERG EXPO RAVEL Le Tombeau de Couperin MOZART Requiem Asher Fisch conductor (pictured) Sara Macliver soprano Stefanie Irányi mezzo soprano Asher Fisch appears courtesy of Wesfarmers Arts Steve Davislim tenor Derek Welton bass WASO Chorus TICKETS FROM $28* MORNING SYMPHONY SERIES ASHER FISCH & WASO: TOUR DE FORCE 2016 INTERNATIONAL TOUR FAREWELL CONCERT THURS 29 SEPT 11AM Perth Concert Hall As the Orchestra prepares for its first international tour in a decade, Asher Fisch and WASO performs Mahler s mighty and deeply personal Fifth Symphony. MAHLER Symphony No.5 Asher Fisch conductor (pictured) Asher Fisch appears courtesy of Wesfarmers Arts TICKETS FROM $30* Photo: Decca Kasskara ALCOHOL.THINK AGAIN MASTERS SERIES ASHER FISCH & WASO: TOUR DE FORCE 2016 INTERNATIONAL TOUR FAREWELL CONCERTS FRI 30 SEPT & SAT 1 OCT 7.30PM Perth Concert Hall As WASO prepare for their international tour to Beijing and Shanghai, and to showcase the Orchestra's musicianship on a grand scale they will perform Mahler s mighty and deeply personal Fifth Symphony and Saint-Saëns glittering and exotic Piano Concerto No.5. MENDELSSOHN Midsummer Night s Dream: Overture (Friday Night only) SCULTHORPE Kakadu (Saturday Night only) SAINT-SAENS Piano Concerto No.5 Egyptian MAHLER Symphony No.5 Asher Fisch conductor Jean-Yves Thibaudet piano (pictured) Asher Fisch appears courtesy of Wesfarmers Arts BOOK NOW CALL VISIT WASO.COM.AU *A handling fee of $5.50 per transaction applies all purchases. An additional fee of $4.40 per transaction applies for delivery via Registered Post. 4

5 ALCOHOL.THINK AGAIN MASTERS SERIES BAIBA SKRIDE PLAYS MOZART SCHOENBERG Verklärte Nacht (Transfigured Night) (32 mins) MOZART Violin Concerto No.4 (24 mins) Allegro Andante cantabile Rondeau (Andante grazioso Allegro ma non troppo, alternating) Interval (25 mins) BRAHMS orch. SCHOENBERG Piano Quartet No.1 (43 mins) Allegro Intermezzo (Allegro ma non troppo) Trio (Animato) Intermezzo Andante con moto Rondo alla zingarese (Presto) Asher Fisch conductor Baiba Skride violin Pre-concert Talks Find out more about the music in the concert with this week s speaker, Kathie Drake. Pre-concert Talks take place at 6.45pm in the Terrace Level Foyer Season Post-concert Talk Following tonight's performance, Conductor Asher Fisch and Executive Manager, Artistic Planning Evan Kennea will present an overview of the 2017 WASO season from the main auditorium. Pre-concert Talks are supported by Wesfarmers Arts 5

6 MACA LIMITED CLASSICS SERIES ASHER FISCH CONDUCTS Mozarts Requiem Mozart s final, transcendental work: music for beyond this world. Magnus Lindberg Expo RAVEL Le Tombeau de Couperin MOZART Requiem FRI 2 & SAT 3 SEPT 7.30PM Perth Concert Hall Asher Fisch conductor Sara Macliver soprano Stefanie Irányi mezzo soprano Steve Davislim tenor Derek Welton bass WASO Chorus BOOK NOW Tickets from $55 * Call quoting 1538 or visit waso.com.au Asher Fisch appears courtesy of Wesfarmers Arts. *A handling fee of $5.50 per transaction applies all purchases. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

7 WASO IN THE COMMUNITY Rusty Orchestra Now in its third year, the Rusty Orchestra program invites active amateur musicians from all over Western Australia to sit side-by-side WASO musicians to create our larger than life Rusty Orchestra. The 2016 concert was a huge success with 46 Rusty musicians alongside their WASO counterparts performing to a full house of over The program contained many classical favourites including; Shostakovich s Festive Overture, excerpts from Mussorgsky s Pictures at an Exhibition and excerpts from Dvořák s gorgeous Symphony No.8. In a post event survey 100% of respondents said they would recommend the Rusty Orchestra program to colleagues. Excellent. It is such a pleasure to play alongside such accomplished players. I love it Rusty Orchestra Participant Applications for 2017 are now open! Please visit waso.com.au/education to apply and be a part of this program, presented as part of Education Week. Harmony Music visit to Leeming Senior High School On 15 August, a WASO percussion ensemble visited Leeming Senior High School s Special Educational Needs Students as part of our Harmony Music program. We have visited this school for many years now, and taken ensembles from different families of the orchestra, but this is the first time they have heard a percussion ensemble. It was very well received and the musicians delighted students by introducing their various percussion instruments through exciting and upbeat African Drumming, and a gentler Japanese piece ShichiKarak, that introduced students to the marimba and vibraphone. The final piece was "Happy", which is always a hit, and got the students up and dancing! Harmony Music is supported by Mitsubishi Corporation. 7

8 ABOUT THE ARTIST Asher Fisch Conductor & Artistic Adviser Asher Fisch s first two seasons with WASO included a range of classical repertoire, a Beethoven Symphony Cycle in 2014 and a Brahms Festival in 2015, both Western Australian firsts. A seasoned conductor in both the operatic and symphonic worlds, he is known best for his interpretative command of German and Italian repertoire of the Romantic and post-romantic era, in particular Wagner, Brahms, Strauss and Verdi. He is currently Guest Conductor of the Seattle Opera, where he conducted its quadrennial Wagner Ring cycle in 2013, and his former posts include Music Director of the New Israeli Opera ( ) and the Vienna Volksoper ( ). He first worked with WASO in He has long maintained strong ties to the Bavarian State Opera, and in the season conducted a new production by Martin Kušej of The Force of Destiny, plus revival performances of Parsifal, Salome, Ariadne auf Naxos, La bohème and Turandot. Other highlights of the season included concerts with the Munich Philharmonic; Stuttgart Radio Symphony Orchestra; National Orchestra of Belgium; Aarhus Symphony Orchestra (Denmark); a tour in Italy with the Orchestra della Toscana; and a visit to the Melbourne Festival in October 2013, where he conducted an all-wagner program with the Melbourne Symphony Orchestra. He conducted the State Opera of South Australia s Wagner Ring cycle in 2005, which won ten Helpmann Awards. Asher Fisch began his conducting career as Daniel Barenboim s assistant and kapellmeister at the Berlin State Opera. He is an accomplished pianist and released his first solo disc of Wagner piano transcriptions in Asher Fisch appears courtesy of Wesfarmers Arts Photo: Chris Gonz 8

9 ABOUT THE ARTIST Baiba Skride Violin Baiba Skride has worked with orchestras such as the Berlin Philharmonic, Boston Symphony, Orchestre de Paris, London Philharmonic, and NHK Symphony, Tokyo. Conductors with whom she collaborates include Christoph Eschenbach, Sakari Oramo, Yannick Nézet- Séguin, and Jukka-Pekka Saraste. Recent concert highlights include the Beethoven Orchester Bonn, duo recitals with Lauma Skride in Prague and London, and her debut with the New York Philharmonic. In August 2015 Skride released her latest disc (including the Nielsen and Sibelius concertos). Her Szymanowski concertos CD received the Award of the German Record Critics. Skride was born in Riga where she began her studies, transferring in 1995 to the Conservatory of Music and Theatre in Rostock. In 2001 she won First Prize in the Queen Elisabeth Competition. Skride plays the Stradivarius Ex Baron Feilitzsch violin (1734), which is generously on loan to her from Gidon Kremer. Baiba Skride appears courtesy of Japan Australia LNG (MIMI) Pty. Ltd. Photo: Marco Borggreve PATRONS & FRIENDS EVENT Louise McKay In Conversation and Recital Sunday 23 October, 2pm 4pm McAppion Theatre, Aquinas College Spend an afternoon with WASO s Associate Cello Louise McKay. It s often quoted that 10,000 hours of practice are required to achieve mastery in any field, but musicians never stop learning and striving to perfect their artistry. The annual Friends of WASO Scholarship invests in the development of your Orchestra s musicians, and is directly supported by ticket sales to our Patrons & Friends events. Louise was the recipient of this year s Scholarship, and has returned from her trip to Berlin ready to share stories from her experiences overseas and her musical career. Complementing her work with WASO, Louise is an active chamber musician and soloist and will perform a selection of beautiful works for solo cello. Don t miss your chance to hear from one of our talented musicians in an intimate setting. Tickets are $45 for Patrons & Friends ($55 for guests) including wine and refreshments and can be purchased by calling the WASO Box Office on Associate Cello Chair is partnered by Penrhos College. 9

10 WEST AUSTRALIAN SYMPHONY ORCHESTRA Photo: Emma Van Dordrecht The West Australian Symphony Orchestra (WASO) is Western Australia s largest and busiest performing arts organisation. With a reputation for excellence, engagement and innovation, WASO s resident company of full-time, professional musicians plays a central role in creating a culturally vibrant Western Australia. WASO is a not for profit company, funded through government, ticket revenue and the generous support of the community through corporate and philanthropic partnerships. WASO s vision is to touch souls and enrich lives through music. Each year the Orchestra entertains and inspires the people of Western Australia through its concert performances, regional tours, innovative education and community programs, and its artistic partnerships with West Australian Opera and West Australian Ballet. The Orchestra is led by Conductor and Artistic Adviser Asher Fisch. The Israeli-born conductor is widely acclaimed for his command of the Romantic German repertoire and is a frequent guest at the world s great opera houses. Each year the Orchestra performs over 175 concerts with some of the world s most talented conductors and soloists to an audience in excess of 190,000. An integral part of the Orchestra is the WASO Chorus, a highly skilled ensemble of auditioned singers who volunteer their time and talent. waso.com.au 10

11 WASO ON STAGE TONIGHT VIOLIN Laurence Jackson Concertmaster Graeme Norris Assoc Concertmaster Semra Lee-Smith Assistant Concertmaster Rebecca Glorie A/ 1st Violin Zak Rowntree* 2nd Violin Kylie Liang Assoc 2nd Violin Sarah Blackman Fleur Challen Beth Hebert Alexandra Isted^ Jane Johnston Sunmi Jung Christina Katsimbardis Ellie Lawrence Shaun Lee-Chen* Akiko Miyazawa Melanie Pearn Ken Peeler Graham Pyatt Louise Sandercock Jolanta Schenk Jane Serrangeli Kathryn Shinnick Jacek Slawomirski Kate Sullivan Bao Di Tang Cerys Tooby David Yeh VIOLA Alex Brogan Kierstan Arkleysmith Nik Babic Benjamin Caddy Katherine Corecig^ Alison Hall Rachael Kirk Kathryn McKay^ Allan McLean Elliot O Brien^ Helen Tuckey CELLO Rod McGrath Chair partnered by Tokyo Gas Louise McKay Chair partnered by Penrhos College Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver* Fotis Skordas Tim South Xiaole Wu DOUBLE BASS Andrew Sinclair* Joan Wright Elizabeth Browning^ Louise Elaerts Christine Reitzenstein Andrew Tait Mark Tooby FLUTE Andrew Nicholson Mary-Anne Blades PICCOLO Michael Waye OBOE Peter Facer Liz Chee Annabelle Farid Guest Assoc COR ANGLAIS Leanne Glover CLARINET Allan Meyer Lorna Cook BASS CLARINET Alexander Millier BASSOON Jane Kircher-Lindner Chair partnered by Sue & Ron Wooller Adam Mikulicz *Instruments used by these musicians are on loan from Janet Holmes à Court AC. CONTRABASSOON Chloe Turner HORN David Evans Robert Gladstones 3rd Horn Julia Brooke Francesco Lo Surdo TRUMPET Brent Grapes Peter Miller Fletcher Cox^ TROMBONE Joshua Davis Liam O Malley BASS TROMBONE Philip Holdsworth TUBA Cameron Brook TIMPANI Alex Timcke PERCUSSION Brian Maloney Chiron Meller Assoc Percussion and Timpani Robyn Gray^ Paul Tanner^ Associate Guest Musician^ 11

12 YOUR CONCERT EXPERIENCE PRINTED PROGRAMS Please share or download our free printed programs to help us be environmentally responsible. WASO s programs can be downloaded from our website waso.com.au FOR THE ENJOYMENT OF ALL When to applaud? Musicians love applause. Audience members normally applaud: When the concertmaster (violin) walks onto the stage When the conductor walks onto the stage After the completion of each piece and at the end of the performance When you need to cough, try to muffle or bury your cough in a handkerchief or during a louder section of the music. Cough lozenges are available from the WASO Ticket Collection Desk before each performance and at the interval. Hearing aids that are incorrectly adjusted may disturb other patrons, please be mindful of those around you. Mobile phones and other electronic devices need to be switched off throughout the performance. Photography, sound and video recordings are permitted prior to the start of the performance. Latecomers and patrons who leave the auditorium will be seated only after the completion of a work. MOVING TO EMPTY SEATS Please do not move to empty seats prior to the performance as this may affect seating for latecomers when they are admitted during a suitable break. FEEDBACK ABOUT THIS CONCERT Please send your feedback to PO BOX 3041, East Perth WA 6892, call , waso@waso.com.au or leave us a message on Facebook or Twitter. LISTEN TO WASO ABC Classic FM This performance is being recorded for broadcast at 1pm (or 11am online) on Sunday 4 September on ABC Classic FM. For further details visit abc.net.au/classic 720 ABC PERTH Tune in to 720 ABC Perth on Friday morning at 6.15am when Prue Ashurst joins James Lush to provide the latest on classical music and WASO s upcoming concerts. CONNECT WITH WASO Join us on Facebook facebook.com/ WestAustralianSymphonyOrchestra Follow us on Twitter twitter.com/_waso_ Tag your photos #WASO on Instagram instagram.com/_waso_ Watch us on YouTube youtube.com/westaustsymorchestra E-News Stay up to date and sign-up to our SymphonE-news at waso.com.au WASO On The Go Download WASO s free app on itunes or Google Play. Visit waso.com.au For concert information and to listen to concert playlists. 12

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

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15 TIMELINE OF COMPOSERS & WORKS WOLFGANG AMADEUS MOZART Born in 1756, Salzburg, Austria Died in 1791, Vienna, Austria JOHANNES BRAHMS Born in 1833, Hamburg, Germany Died in 1897, Vienna, Austria Brahms' Piano Quartet No ARNOLD SCHOENBERG Born in 1874, Vienna, Austria Died in 1951, Los Angeles, USA Schoenberg's Verklärte Nacht (Transfigured Night) 1902 Mozart's Violin Concerto No Schoenberg's orchestration of Piano Quartet

16 ABOUT THE MUSIC Arnold Schoenberg ( ) Transfigured Night The inspiration for Schoenberg s Transfigured Night (Verklärte Nacht) was a poem by the late 19th-century German poet Richard Dehmel. It tells of a simple journey by night which changes everything. Two lovers are walking through a forest: the woman confesses to the man that she has been unfaithful to him, and is now carrying a stranger s child. The man, inspired by the radiance of the natural world, responds not with anger or rejection, but with wonder: the warmth now uniting them, he says, will transfigure the child and make it theirs. They embrace, and walk on: the bare, cold grove with oak branches like claws black against the moon has been transformed into bright, lofty night. The first audience was baffled one early critic claimed it sounded as if someone had smeared the score of Tristan und Isolde while it was still wet. The work was originally composed in 1899 for string sextet, and the music has the clarity of chamber music with its interweaving lines, but the lush textures and rich Wagnerian harmonies laden with exquisite dissonance are heavy with emotion. Schoenberg s revision of the work for string orchestra (1917) allows the intensity of the music to shine. In 1943 Schoenberg again reworked the score for orchestral strings, with second thoughts on tempo, dynamics and tone colouring. It is this version that you will hear in this performance. Natalie Shea Symphony Australia 2004 First performance (original version): 18 March 1902, Vienna. Rosé Quartet. First WASO performance: March Thomas Mayer, conductor. Most recent WASO performance: September Matthias Bamert, conductor. Instrumentation: originally for string sextet, later arranged by the composer for string orchestra. Glossary Tristan und Isolde 1865 opera by Wagner which is regarded as the pinnacle of 19th-century chromaticism, and which laid the foundation for a harmonic freedom which culminated in the atonality of Schoenberg. 16

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18 ABOUT THE MUSIC Wolfgang Amadeus Mozart ( ) Violin Concerto No.4 in D, K218 Allegro Andante cantabile Rondeau (Andante grazioso Allegro ma non troppo, alternating) Mozart s father once suggested to him that the best way to introduce himself in a place where he wasn t known was to play a violin concerto. It is easy to take for granted how masterly are Mozart s violin concertos, because they are not as great as the best of his piano concertos. We think of Mozart as a pianist, and the most that many people know about his violin playing comes from letters written to him by his father Leopold, one of the leading violin teachers of the time, exhorting him not to give up practising, and claiming that he could be, if he worked at it, the finest violinist in Europe. Mozart composed all but the first of his five violin concertos, including this one, in a sustained burst in 1775 when he was 19. They have sometimes been regarded as attempts to please his father rather than himself. Yet none of the piano concertos Mozart had written up to this time show the maturity of conception of the last three of these violin concertos, the ones in G, (K216), in D (K218), and in A (K219). It was after Mozart left Salzburg for Vienna, which he called the land of the piano, that his concerto energies flowed exclusively into keyboard works. He wrote no further violin concertos. Of the countless violin concertos composed in the 18th century, the standard modern symphony concert repertoire retains only a few of Vivaldi s, those of JS Bach, and Mozart s. Mozart s violin concertos are standard because they are very good music. Listening illustrates this better than words, but part of it is that the musical ideas are so strong, and there are so many of them. Mozart, even at this age, can organise his many ideas concisely and convincingly. Composing opera, his main preoccupation, has already taught him how to make the soloist the protagonist in a drama. The solo violin parts of these concertos put musical substance and idiomatic writing for the instrument ahead of virtuoso display. This wasn t because Mozart s own violin technique was limited. The concertos were possibly intended not for him but for his Salzburg colleague Antonio Brunetti (first violin and soloist in the Court Orchestra). 18

19 Both men certainly played at least some of them, and Brunetti himself said, Mozart could play anything. In some of Mozart s Serenades, which he did play, the solo violin parts are more brilliant than anything in the concertos. The style of the concertos was a matter of preference a direct, uncluttered mode of expression in writing for the violin. Concerto No.4, in D, is similar to its immediate predecessor composed a few weeks earlier, No.3 in G. It is also more brilliant and sonorous, as one might expect from the brighter key. Indeed it opens with fanfare figures suggesting trumpets and drums, though the orchestra contains neither. The horns and oboes are used more assertively. Mozart has so many ideas that he can afford to throw some away: the theme of the opening tutti, although it is repeated by the soloist, does not appear again, either in development or recapitulation. The soloist s part is almost continuous, without the interchanges with the orchestra which mark the previous concerto. The most memorable of the many themes is the sinuous one presented by the soloist in the lower register, with its sudden forte. The impression left by this movement is of delightfully unpredictable regrouping of the material, rather than regular sonata form. The slow movement, in A, has the soloist playing almost throughout. The opening theme is of the kind which used to be called hymn-like when the more reposeful of Handel s opera arias, which this rather resembles, were considered religious melodies. The loveliest passage has the oboe echoing the solo violin over tiptoeing figures from the strings. The finale contains fascinating episodes of a popular cast. The alternation of metres, tempos and character is so rapid, yet so sure, that the effect is charmingly capricious rather than odd. In a movement appropriately given the French title Rondeau, there is a musette-like episode in which a drone bass is produced by the oboe doubling the soloist s long sustained low note. David Garrett First WASO performance: 22 July Malcolm Sargent, conductor; Vaughan Hanly, soloist. Most recent WASO performance: June Vladimir Verbitsky, conductor; Sophie Rowell, soloist. Instrumentation: two oboes, two horns, strings. Glossary Forte loud Musette French bagpipe of the 17th and 18th centuries, or a tune with a drone bass imitating its sound. Rondeau (or rondo) musical form where a main idea alternates with a series of episodes. Classical composers often wrote the final movement of their symphonic works in rondo form. Sonata form form in which the first movements of most symphonies of the Classical period are structured: the main themes are introduced in the exposition; in the development section these themes are explored according to key relationships; finally, the themes are restated and resolved in the recapitulation. Tutti all the instruments of the orchestra playing at the same time. 19

20 ABOUT THE MUSIC Johannes Brahms ( ) orch. Arnold Schoenberg ( ) Piano Quartet No.1 in G minor, Op.25 Allegro Intermezzo (Allegro ma non troppo) Trio (Animato) Intermezzo Andante con moto Rondo alla zingarese (Presto) Late in life, Brahms was so impressed by a young Viennese composer s work that he helped arranged a stipend, which the young man then turned down. Half a century later, in 1947, the composer, Arnold Schoenberg, wrote his famous article, Brahms the Progressive, in which he argued that the conventional view of Brahms as an academic classicist was wrong: Brahms command of chromatic harmony was as advanced as that of Wagner, and his elaboration of large structures from small motivic cells was greater. Numerous scholars have pointed out that Schoenberg played down the conservative elements in Brahms, like his adherence to classical forms and genres, in favour of those that appeared in his own music, and in a sense a more searching tribute can be found in the orchestration of Brahms G minor Piano Quintet that Schoenberg made in Los Angeles in His motivation for making the arrangement was simply that he liked the piece, but that it was, at the time, rarely heard and usually played badly. In 1857, Brahms received his first professional position. For three months work each year in the prince s court at Detmold, Brahms received the equivalent of a year s salary: his duties included performing as pianist at court concerts, giving lessons to the Princess Friederike, and conducting the amateur choral society which Brahms described as richly adorned with Serene Highnesses and other music-loving aristocrats. It was at this time (which was in the wake of Robert Schumann s tragic death in 1856), that Brahms began work on, among other things, the two piano quartets in G minor and A major. Both works were ultimately completed in 1861, the year before Brahms, with the considerable advice and support of Clara Schumann, made his debut in Vienna with the G minor Quartet. The scale of the first movement, and the roiling emotions it unleashes, mask how rigorously Brahms derives his material from the initial mosaic of four-note motifs something of which Schoenberg greatly approved. In his version, Schoenberg uses a much larger and more varied orchestra than Brahms ever had, but despite some of the opulence of Mahler and Richard Strauss, the piece displays a deep knowledge of the Brahmsian sound. The opening use of winds has several precedents in Brahms (though admittedly not the inclusion of E flat and bass clarinets) as does the warm writing 20

21 for strings and solo horn. Schoenberg, moreover, reflects what he called Brahms technique of developing variation in a kind of developing orchestration through out the work. The recapitulation of this movement is rendered in significantly different colouring including the fleeting glitter of the glockenspiel. At Clara Schumann s suggestion Brahms changed the title of his scherzo to Intermezzo, and it is certainly a far cry from some of the boisterous early Brahms scherzos, preferring instead quiet suggestion and nuance. Schoenberg responds with the pastoral sound of oboe and cor anglais, followed by flutes, who dominate again at the movement s end. The Andante is the essence of simplicity, a ternary design full of Brahmsian melodising and the constant variation of material, and a Schumannesque march (though in 3) as the central trio. Schoenberg s orchestration is richly Brahmsian here, though soon enough we hear solo violins and wind choruses and an almost Mahlerian intensity in the trio. Schoenberg s scoring brings out the expressive counterpoint in the return to the opening section. Glossary Like the Intermezzo, the finale looks ahead to later Brahms, this time in his assimilation of Hungarian idioms, learned in the taverns in Hamburg but more closely as duo-partner to violinists Eduard Reményi and Joseph Joachim. The latter, also well known as the composer of the Hungarian Concerto, heard this Rondo alla zingarese, and announced that Brahms had beaten him on his own turf. Here Schoenberg (who was of Hungarian descent) has a great deal of fun, with the (in)famous use of the xylophone for those piano passages, in the original, that imitate the cimbalom, or dulcimer. In some of the slower, syncopated sections, Schoenberg evokes certain klezmer-influenced passages in Mahler, and throughout, chinks in the fully scored tutti reveal fragments of delicate solo writing. The final moments feature extravagant cadenzas for clarinet, that most Brahmsian/Hungarian of instruments, and a rhythmically thrilling finish. Gordon Kerry 2016 First performance: 7 May 1938, Los Angeles. Otto Klemperer, conductor. [16 Nov 1861 Hamburg] Only WASO performance: 7-8 June Matthias Bamert, conductor. Instrumentation: three flutes (third doubling piccolo), three oboes (third doubling cor anglais), two clarinets (second doubling bass clarinet), E flat clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, strings. Cadenza a showy passage by a solo instrument, usually towards the end of a concerto movement. Originally, cadenzas were improvised by the soloist to show off their brilliant technique. Counterpoint two or more lines of music or melodies that are played at the same time. Intermezzo a light, reasonably short movement which goes in between two weightier ones. Klezmer genre of Jewish music rooted in Yiddish folk traditions, often characterised by the distinctive sounds of the clarinet, violin and dulcimer. Recapitulation a return to the opening material of a piece or a movement. Scherzo literally, a joke; the term generally refers to a movement in a fast, light triple time which may involve whimsical, startling or playful elements. Ternary a musical structure consisting of three parts, where the third part is the same as the first (A B A). Trio in a minuet or scherzo, the trio is the middle section of the movement; the minuet or scherzo is performed on either side of the trio. Tutti all the instruments of the orchestra playing at the same time. Alla zingarese in the gypsy style. 21

22 MEET THE MUSICIAN Kate Sullivan Violin 22 What is your first musical memory? Music filled my house for as long as I can remember. My mother is a musician and was always playing music or singing as she did things around our home. My first memory of classical music was when I was about 3 or 4 years old. My mother took me to see a symphony orchestra play, and I vividly remember pointing to the violins and saying What s that? I want to play that! What path did you take before starting with WASO? After school I started a bachelor of music in Queensland, which I then transferred across to the University of Melbourne. Once I finished, I spent three years at ANAM - The Australian National Academy of Music. During and after that time, I freelanced in Melbourne with professional orchestras and my string quartet before winning a job in WASO. Do you have any stand-out concerts or performances in your time with WASO? In my short time at WASO so far, there have been so many enjoyable performances. However the recent Rite of Spring and The Planets concert with Simone Young would have to be my absolute favourite. I loved every moment of the rehearsal process and performances. She is very considered in her approach to the music and so inspiring. What other non WASO concerts have you enjoyed? I have always especially enjoyed performing chamber music, particularly string quartet. Some of my favourite performances have been intimate house concerts where the audience are so close they are almost breathing down your neck. I love it because you can feel their energy and that definitely improves your performance. I have found that audiences love it as well because they can see and hear absolutely everything that s going on and they feel involved in the process. Musicians are always busy people, what do you do when you have time to relax? When I'm not at WASO, I spend time with my Pug puppy Winston. In summer I love being outdoors at the beach and lately in the colder weather I have been getting into some really great TV series! What s your favourite city in the world? My favourite city in the world would have to be either New York or Hong Kong. New York for obvious reasons but I love Hong Kong for its hectic pace, its food, the shopping, but mostly the fascinating collision of Traditional Chinese and Western cultures.

23 WASO PHILANTHROPY Philanthropy Partner WASO Song Book Patrons with Mark-Anthony Turnage and Håkan Hardenberger (2015) New WASO Song Book Commission In 2013 a community of Patrons donated to commission an exciting new work by acclaimed composer Mark-Anthony Turnage for Swedish trumpeter Håkan Hardenberger. The commission of Håkan last year was a great experience for everyone involved and WASO continues its commitment to the creation of new music. Three years on, we now have an exciting new project and we are inviting you to join us on the journey! We are planning a co-commission between the Adelaide Symphony Orchestra, the Tasmanian Symphony Orchestra, the Britten Sinfonia and WASO. The commission will be a new Oboe Concerto by Judith Weir, current Master of the Queen s Music. WASO is making a contribution of $9,500 to this commission and we invite you to support it through a donation of $ or more. If this entry commitment is not appropriate for you, please let us know and we can discuss alternative levels of giving. Commissions are a matter very close to the heart of everyone at WASO as we continually aim to perform new works for our audiences, provide opportunities to nurture musical careers and create new music that may become the classics of tomorrow. The WASO Song Book gives you the opportunity to become part of the Orchestra s history. As we did with our Turnage commission, we look forward to introducing Patrons to the composer, inviting you to rehearsals and celebrating the commission together. Please contact Sarah Tompkin on or tompkins@waso.com.au to make a contribution. 23

24 OUR SUPPORTERS Philanthropic partnerships come in all shapes and sizes Whatever the shape or size, you are helping WASO make a difference and we thank you for your support. WASO s philanthropy program continues to grow, supporting our vision now and into the future. It is an exciting time be a part of this community, to meet our musicians and to know you have helped your Orchestra to touch souls and enrich lives through music. Together we can do amazing things. Symphony Circle Recognising Patrons who have made a provision in their Will to the Orchestra Mr John Bonny Dr G Campbell-Evans Deirdre Carlin Anita & James Clayton Dr Michael Flacks Judith Gedero Robyn Glindemann Gwenyth Greenwood Emi & Warren Jones Rachael Kirk & Tim White Wolfgang Lehmkuhl Deborah Marsh Tosi Nottage in memory of Edgar Nottage Nigel & Dr Heather Rogers Gavin Toovey & Jaehan Lee Sheila Wileman Sagitte Yom-Tov Fund Anonymous (31) Endowment Fund for the Orchestra This fund includes major donations and bequests Tom & Jean Arkley Janet Holmes à Court AC Minderoo Foundation Sagitte Yom-Tov Fund Estates WASO is extremely grateful for the bequests received from Estates Rachel Mabel Chapman Judy Sienkiewicz Mrs Roslyn Warrick Anonymous (3) Excellence Circle Supporting excellence across all we do Jean Arkley Bob & Gay Branchi Janet Holmes à Court AC Dr Patricia Kailis Torsten & Mona Ketelsen Rod & Margaret Marston Michael Utsler The WASO Song Book We are grateful to those who have supported new works commissioned for the Orchestra by WASO Janet Holmes à Court AC Peter Dawson Geoff Stearn Reach Out Supporting our Education & Community Engagement programs John Albright & Susan Lorimer purchase of the EChO Double Bass Jean Arkley Ron & Penny Crittall Ken Evans Feilman Foundation The James Galvin Foundation Robyn Glindemann Barrie & Jude Lepley Mrs Morrell Simon Lee Foundation The Stan Perron Charitable Foundation Jean & Peter Stokes Trish Williams Strategic Interactions Anonymous (1) If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Jane Clare, Fundraising and Philanthropy Manager, on or janec@waso.com.au. WASO Philanthropy brochures are available from the WASO Programs & Information Desk located in the main foyer of Perth Concert Hall, or you can visit waso.com.au. All donations over $2 are fully tax deductible. 24

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

26 OUR SUPPORTERS 26 David & Valerie Gulland Richard B Hammond Pauline & Peter Handford Dr Penny Herbert in memory of Dunstan Herbert Michael Hollingdale Helen Hollingshead John & Katrina Hopkins Sue Hovell Jim & Freda Irenic Lilian & Roger Jennings Anthony Kane & Jane Leahy-Kane Bill Kean Noelle & Anthony Keller AM Nelly Kleyn Stephanie & John Kobelke In memory of Eileen Hayes Irving Lane Paul Lee Meg Lewis Rosalind Lilley Teresa & Jemima Loveland Graham & Muriel Mahony Gregg & Sue Marshman Betty & Con Michael AO Mrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Hon Justice S R Moncrieff Valmae & Geoff Morris Val & Barry Neubecker Delys & Alan Newman Dr P J Noble John Overton Ron & Philippa Packer Michael & Lesley Page Athena Paton Rosemary Peek Adrian & Ruth Phelps Charmian Phillips in memory of Colin Craft Pamela Platt Andrew & Suzanne Poli Thomas & Diana Potter Alison & John Price Barry & Dot Price Dr Leon Prindiville Chester Reeve Joan Reyland John & Alison Rigg Ms Elizabeth Sachse & Dr Lance Risbey Leigh Robinson Nigel & Dr Heather Rogers Gerry & Maurice Rousset OAM Roger Sandercock Dr R & J Schwenger Margaret & Roger Seares Eve Shannon-Cullity Glenice Shephard Julian & Noreen Sher Laurel & Ross Smith PAI Smith & DA Harry Michael Snell & Vicki Stewart The Ambient Foundation Ruth Thomas Gavin Toovey & Jaehan Lee Mary Townsend James & Rosemary Trotter Dr Robert Turnbull Maggie Venerys Adrienne & Max Walters Diana Warnock Watering Concepts Ann Whyntie Ian Williams AO & Jean Williams Jim & Gill Williams Margaret Wilson Judith Wilton & David Turner Hilary & Peter Winterton AM Anonymous (26) Tutti Patron Gifts $500 - $999 Geoff & Joan Airey Ian Apps Catherine Bagster Merle I Bardwell Bernard & Jackie Barnwell Shirley Barraclough Mrs Berwine Barrett-Lennard Colin Beckett Pamela M Bennet Michael & Nadia Berkeley-Hill John & Sue Bird in memory of Penny Bird Dermot & Jennifer Blackweir Susy Bogle Elaine Bonds Diane & Ron Bowyer Lucia Buralli Ann Butcher & Dean R Kubank Michelle Candy Nanette Carnachan Claire Chambers & Dr Andrea Shoebridge Fred & Angela Chaney Dr Sarah Cherian Dr Anne Chester Lyn & Harvey Coates AO Agatha & Alex Cohen AO Helen Cook Brian Cresswell Gina & Neil Davidson Professor Wayne Iwan Lee Davies FRSB Jop & Hanneke Delfos Judy Dolan Rai & Erika Dolinschek Simon & Pamela Douglas Mrs G Ewen Joan Gagliardi Jennifer & Stephen Gardiner George Gavranic Elaine Gimson Isobel Glencross Alan Harvey & Dr Paulien de Boer Eric & Elizabeth Heenan John and Sue Huan Christopher, Julie, Rosemary & Bronwyn Hudson Mr John Hylton-Davies JP, VJ Peter Ingram Cynthia Jee Peter S Jones Warren & Emi Jones B M Kent Dorothy Kingston

27 Ulrich & Gloria Kunzmann John Kusinski & Annie Motherway Trevor & Ane Marie Lacy Louis & Miriam Landau Martin & Ruth Levit Megan Lowe Mary Ellen in memory of Kerensa Geoff Massey Jennifer & Arthur McComb James Meneghello & Mabel Chew S B Monger-Hay André & Barbara Morkel Dr Peter Moss Phuong Nguyen Marianne Nilsson Dr Walter Ong & Graeme Marshall Marjan Oxley Graham & Hildegarde Pennefather Bev Penny Alpha & Richard Pilpel OAM Ann Rawlinson James & Nicola Ridsdill-Smith Chris & Serge Rtshiladze Carole Sexton The Sherwood Family Paul & Margaret Skerritt Hendrik Smit Dr L Sparrow & Family Peggy & Tom Stacy Eleanor Steinhardt In Memoriam of Mr Andrew David Stewart Lisa & Andrew Telford Ruth E Thorn Patricia Turner S R Vogt Anne Watson Joy Wearne Patricia Weston Dr Chris & Mrs Vimala Whitaker B M Wilcox Geoff Wilkinson Violette William Janet Williams Dr Robyn Yeo & Ms Cyn Johnson Chris Ziatis Anonymous (23) Friend Gifts $40 - $499 Thank you to all our Friends who support WASO through their gift Ricoh Australia is a proud supporter of the West Australian Symphony Orchestra. Change the way you work. Providing clever business solutions has always been central to what we do. Many people first came to know Ricoh through our printers and copiers products that spearheaded office automation and provided significant gains in productivity. Today, we re still improving work-life through our range of managed business services across IT, Workflow and Print. To find out more call today and speak to your local team or visit ricoh.com.au 27

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

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

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

31 BRONWYNROGERS.COM WESF1389A Francesco Lo Surdo, French Horn

32 2017 SEASON MASTERS SERIES ASHER FISCH DANIIL TRIFONOV PINCHAS ZUKERMAN HELENE GRIMAUD KAREN GOMYO LI-WEI QIN ALEXANDER GAVRYLYUK Eight concerts of powerful and inspiring music. Pianist Hélène Grimaud SUBSCRIBE NOW GET THE BEST SEATS & SAVE 20% CALL VISIT waso.com.au or BOOK at Perth Concert Hall Asher Fisch appears courtesy of Wesfarmers Arts.