PROGRAM. MACA LIMITED CLASSICS SERIES Friday 2 & Saturday 3 October 7.30pm Perth Concert Hall

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1 PROGRAM MACA LIMITED CLASSICS SERIES Friday 2 & Saturday 3 October 7.30pm Perth Concert Hall

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3 3 WELCOME In WASO s penultimate Classics Series concert for 2015 we experience a feast of Russian and French music (and a blend of the two together!) led by one of Russia s foremost conductors Alexander Lazarev. We open the concert with two well-known Chopin piano pieces which were later orchestrated by Igor Stravinsky. Sergei Diaghilev, the founder of Russia s famous Ballet Russes, was unhappy with the initial orchestrations for his new ballet Les Sylphides, and called upon one of Rimsky- Korsakov s most talented students to assist him. Stravinsky, who was virtually an unknown composer at the time continued this collaboration for many years and produced such masterpieces as The Firebird, Petrushka and The Rite of Spring. Winter Dreams was not just a first symphony and major orchestral work for Tchaikovsky, but also a first of its kind for Russia. In writing it he remodelled the symphonic form into a truly Russian style, one which his other five symphonies continued to explore and develop. Tchaikovsky agonised over this work for many years, rewriting sections and movements, and he was never truly happy with his creation. However, it is a work full of tragically beautiful and memorable melodies with a dash of Russian folk tune. While Tchaikovsky laboured for many years to compose his First Symphony, Saint- Saëns wrote his Second Piano Concerto in less than three weeks. Perhaps due to the rushed nature of its composition and Saint-Saëns lack of preparation time before the première (he performed the solo part himself), it was not initially a success, however it is now widely considered one of his most popular works. It has been 20 years (to the week) since Kathryn Stott last performed with WASO and we are delighted that she has returned to perform this dazzling and virtuosic concerto with us. We hope you enjoy these performances. Natalie De Biasi Program Coordinator

4 UPCOMING CONCERTS MORNING SYMPHONY SERIES Dvor ák s New World Thurs 15 October 11am Perth Concert Hall Australia s favourite symphony - Dvořák s New World is the centrepiece of this American-inspired program. Aaron Copland s heroic fanfare opens the concert with grand, soaring rhetoric. COPLAND Fanfare for the Common Man JOAN TOWER Fanfare for the Uncommon Woman DVORAK Symphony No.9 From the New World Giancarlo Guerrero conductor (pictured) TICKETS FROM $27* ALCOHOL.THINK AGAIN MASTERS SERIES Dvor ák s New World Fri 16 & Sat 17 October 7.30pm Perth Concert Hall Photo by Juergen Frank The exciting American violinist Jennifer Koh makes her WASO debut in Bernstein s Serenade. Australia s favourite symphony - Dvořák s New World concludes this American-inspired program. COPLAND Fanfare for the Common Man JOAN TOWER Fanfare for the Uncommon Woman BERNSTEIN Serenade (After Plato s Symposium) DVORAK Symphony No.9 From the New World Giancarlo Guerrero conductor Jennifer Koh violin (pictured) TICKETS FROM $30* FAMILY SERIES Symphonic Sorcery - The Music of Harry Potter Sun 1 November 1pm & 3pm Perth Concert Hall Experience the magical symphonic music of Harry Potter performed live by WASO. A delightful old wizard guides you through Harry s thrilling years in a world filled with witches, wizards and muggles, with all the live action projected onto a big screen. Suitable for 5-12 year olds. Jon Tooby conductor Braden Griffiths actor Philip Fulton actor Dandi Productions TICKETS $26* BOOK NOW CALL VISIT WASO.COM.AU OR TICKETEK.COM.AU *Transaction fees may apply.

5 5 MACA LIMITED CLASSICS SERIES TCHAIKOVSKY S WINTER DREAMS CHOPIN orch. STRAVINSKY Nocturne Op.32 No.2 (8 mins) CHOPIN orch. STRAVINSKY Grande valse brillante (5 mins) SAINT-SAENS Piano Concerto No.2 (23 mins) Andante sostenuto Allegro scherzando Presto Interval (25 mins) TCHAIKOVSKY Symphony No.1 Winter Dreams (43 mins) Dreams of a winter journey (Allegro tranquillo) Land of desolation, land of mists (Adagio cantabile ma non tanto) Scherzo (Allegro scherzando giocoso) Andante lugubre Allegro maestoso Alexander Lazarev conductor Kathryn Stott piano Pre-concert Talks Find out more about the music in the concert with this week s speaker, Yvonne Frindle. Pre-concert talks take place at 6.45pm in the Terrace Level Foyer. The Pre-concert Talk is supported by Wesfarmers Arts Meet the Musician Enjoy a post-concert conversation with Liz Chee, Associate Oboe, post-concert Saturday night in the Terrace Level Foyer.

6 6 YOUR WASO EXPERIENCE PLEASE SHARE OR DOWNLOAD Help us to be environmentally responsible by sharing your printed programs. You can also read WASO s programs on your computer or mobile device by visiting waso.com.au WHEN TO APPLAUD Musicians love applause. As a guide, audience members normally applaud: When the conductor or soloist walks onto the stage After the completion of each piece and at the end of the performance WHEN YOU NEED TO COUGH Please try to muffle your cough in a handkerchief during a louder section of the music. Cough lozenges are available from the WASO Customer Service Desk before each performance and at the interval. HEARING AIDS Please note that incorrectly adjusted hearing aids may disturb other patrons. TOILETS Male and female toilets are located on each of the four foyer levels of Perth Concert Hall. The largest number of toilets are available on the ground floor of the venue, with further toilets on the Terrace Level, Lower Gallery and Upper Gallery levels. A universal accessible toilet is available on the ground floor of the venue. FIRST AID There are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance. FEEDBACK 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. 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. WASO ON 720 ABC PERTH Tune in to 720 ABC Perth on Friday mornings when Prue Ashurst joins Eoin Cameron to provide the latest on classical music and WASO s upcoming concerts. WASO ON ABC CLASSIC FM This performance is being recorded for delayed broadcast on ABC Classic FM. For further details visit abc.net.au/classic

7 7 PERTH CONCERT HALL Meet Our Operations Coordinator The work that goes on behind the scenes at Perth Concert Hall is largely invisible. But a large team of casuals look after the technical aspects of performances and venue management, led by Perth Concert Hall s Operations Coordinator Brad Matthews. Tell us a bit more about your role. I started at the Concert Hall as a Mechanist and soon after was promoted to Venue Head Mechanist, where I was responsible for setting up all staging elements and ensuring the safety of all personnel on stage. During WASO performances, you may have seen me wearing a huge headset and carrying out the stage changes. Recently I moved into the Operations Coordinator position, which involves client liaison and backstage staff rostering and training. What is the most unusual request you ever had to deal with? A comedian who requested a tent for his dressing room. He didn t expect us to take him seriously but was very impressed when he walked in to find a tent set up in his dressing room. What do you love most about Perth Concert Hall? The staff I get to work with. If I didn t have such a great team working for me backstage, then my life would be so much harder. What is one thing you really would like to change here? From an operations view, it would be storage space. There is very limited space to store equipment backstage. What is your favourite concert or event that you worked on at Perth Concert Hall? I enjoy WASO s special events as I work with WASO production staff and other PCH crew to bring lighting and staging ideas to life. It s one thing to have an idea, it s another to work out how to get it to work inside the venue. What do people not know about you? When I came to Perth Concert Hall I was thinking it would only be a casual job while I worked out what I wanted to do in life. Here I am, eight years later Limited number of car parking bays available for lease! There are a very limited number of car parking bays available for lease in Perth Concert Hall s secure car park (access via St Georges Terrace) at a cost of $360 ex GST per month. The bays are accessible Monday-Friday 6am to 6pm. Please contact Deputy General Manager Lorraine Rice on ricel@perthconcerthall.com.au for more information. CONNECT WITH PERTH CONCERT HALL Join us on Facebook facebook.com/perthconcerthallwa Follow us on Twitter twitter.com/perthconcerthal Visit perthconcerthall.com.au Tag your photos #perthconcerthall instagram.com/perthconcerthall

8 8 MACA LIMITED CLASSICS SERIES 8 CONCERTS ASHER FISCH MOZART S REQUIEM SIMONE LAMSMA BEETHOVEN S EROICA SIMONE YOUNG VIVALDI S GLORIA ZARATHUSTRA ALBAN GERHARDT GET THE BEST SEATS & SAVE 20% SUBSCRIBE NOW CALL VISIT waso.com.au

9 9 WASO IN THE COMMUNITY Harmony Music visit to Leeming SHS On Tuesday 18 August, a WASO brass quintet visited Leeming Senior High School s Special Educational Needs Students as part of WASO s Harmony Music program. The students, led by inspiring music teacher Marietta Damos formed a welcome committee to greet musicians and staff on arrival. The brass quintet, with presenter by Lee Stanley, performed a variety of music in different styles including the classic Londonderry Air ( Danny Boy ), the show tune America from Leonard Bernstein s West Side Story and Jazz tune Chega de Saudade. The major highlight was the main theme from Star Wars that made the students very excited. It was fantastic to see the delight on so many of the student s faces when they heard a familiar tune that is obviously a favourite. Students were also given the opportunity to ask questions about the instruments and the musician s careers. It was wonderful to return to Leeming SHS after previously enjoyable visits, and we look forward to sharing more Harmony Music programs with them in the future. Harmony Music is supported by Mitsubishi Corporation International Artist Masterclass Violinists Olivia Bartlett, Emmalena Huning and Eliza McCracken were selected to work with Pinchas Zukerman (pictured), recently in our 2015 International Artist Masterclass Program. A unique perspective was offered with participants working one-on-one with Mr Zukerman, extending and enhancing their already outstanding skills. Mr Zukerman not only demonstrated through performance, but encouraged all manner of technique development including standing on a chair when considering posture! The audience was enthralled with anecdotes from Mr Zukerman s extensive career, and the opportunity for musicians, teachers and students to ask questions was very well received. The International Artist Masterclass Program is presented by Quadrant Energy in partnership with the UWA School of Music. The Young and Emerging Artists program is supported by McCusker Charitable Foundation and James Galvin Foundation. Pinchas Zuckerman appeared courtesy of Stott Hoare

10 10 Chair Partner Brent Grapes WASO Trumpet

11 11 ABOUT THE ARTISTS Photo by Nikolaj Lund Alexander Lazarev Conductor Alexander Lazarev has been Conductor of the Japan Philharmonic Orchestra since Previous appointments include Chief Conductor and Artistic Director of the Bolshoi Theatre ( ); Guest Conductor of the BBC Symphony Orchestra ( ); and Conductor of the Royal Scottish National Orchestra ( ) where he conducted the complete Shostakovich symphonies. He now holds the title of Conductor-in-Residence with the Bolshoi Theatre, and in recent years has worked as a regular guest with orchestras and opera companies around the world. In 1978 he founded the Ensemble of Soloists of the Bolshoi Theatre, whose most important aim was the programming of contemporary music by both Soviet and foreign composers. Alexander Lazarev s recordings with the Japan Philharmonic Orchestra are extensively represented on Octavia Records. Following the success of his complete series of Prokofiev and Rachmaninov symphonies, he is now embarking on a Shostakovich cycle. Kathryn Stott Piano Kathryn Stott is internationally recognised as one of Britain s most versatile and imaginative musicians. A regular visitor to international festivals, she has recently performed at the Kennedy Center, Tonhalle Zürich and the BBC Proms. Other recent highlights include a tour with cellist Giovanni Sollima in the UK and Italy, and performances with JP Jofre and his Hard Tango Chamber Band in New York. She makes her first visit to New Zealand in 2015 and returns to Australia for performances with the Tasmanian and West Australian Symphony Orchestras. Kathryn Stott has been performing and recording with Yo-Yo Ma for nearly 30 years, a collaboration that resulted in the Grammy Award-winning CD Soul of the Tango and its successor Obrigado Brazil. She is a visiting professor at the Royal Academy of Music in London and was recently made an Honorary Member.

12 12 WASO ON STAGE TONIGHT VIOLIN Wilma Smith^ Guest Concertmaster Graeme Norris Assoc Concertmaster Semra Lee-Smith Assistant Concertmaster Ji Won Kim 1st Violin Zak Rowntree 2nd Violin Akiko Miyazawa Assoc 2nd Violin Kylie Liang Assistant 2nd Violin Sarah Blackman Fleur Challen Stephanie Dean Sara Duhig Rebecca Glorie Beth Hebert Jane Johnston^ Sunmi Jung^ Andrea Mendham^ Ken Peeler Melanie Pearn Elena Phatak Graham Pyatt Louise Sandercock Jolanta Schenk Jane Serrangeli Kathryn Shinnick Jacek Slawomirski Bao Di Tang Cerys Tooby David Yeh VIOLA Caleb Wright Alex Brogan Kierstan Arkleysmith Nik Babic George Batey^ Benjamin Caddy Katherine Drake Alison Hall Allan McLean Helen Tuckey Aaron Wyatt^ CELLO Rod McGrath Louise McKay Chair partnered by Penrhos College Melinda Forsythe^ Shigeru Komatsu Oliver McAslan Laura McGrogan^ Nicholas Metcalfe Fotis Skordas Tim South DOUBLE BASS Andrew Sinclair* Joan Wright Caitlin Bass^ Elizabeth Browning^ Christine Reitzenstein Andrew Tait Giovanni Vinci^ FLUTE Andrew Nicholson Chair partnered by Quadrant Energy Mary-Anne Blades PICCOLO Michael Waye OBOE Peter Facer Liz Chee CLARINET Allan Meyer Lorna Cook BASS CLARINET Alexander Millier BASSOON Adam Mikulicz Chair partnered by Ron & Sue Wooller Peter Moore^ CONTRABASSOON Chloe Turner *Instruments used by these musicians are on loan from Janet Holmes à Court AC. HORN David Evans Sharn McIver Robert Gladstones 3rd Horn Julia Brooke Francesco Lo Surdo TRUMPET Brent Grapes Chair partnered by ConocoPhillips Peter Miller TROMBONE Joshua Davis Liam O Malley BASS TROMBONE Philip Holdsworth TUBA Cameron Brook TIMPANI Alex Timcke PERCUSSION Brian Maloney^ Guest Percussion Troy Greatz A/ Percussion Richard Gleeson Assoc Percussion and Timpani HARP Sarah Bowman CELESTE Graeme Gilling^ Associate Guest Musician^

13 13 MEET THE MUSICIAN Helen Tuckey Viola Do you come from a musical family? My grandfather and mother played the organ and piano, my mother sang in choirs, my daughter plays and teaches violin, oldest son plays guitar in a metal band, youngest son plays piano and percussion in the school orchestra. What are your favourite orchestral works to perform or listen to? Fortunately, I enjoy playing music from a wide variety of periods and composers, as that s just what we do in WASO all the time! Most cherished conductor s comment? After playing a season of the chamber version of Carmen, which opens with a viola solo that I had to play in the dark during the Festival of Perth, the conductor confided I wish you were available for our Paris season bit tricky to manage, as I had a 12 week old baby at the time! Did you always imagine you would have a musical career, or did you ever have something else in mind? When I was four I wanted to be a postie, as I liked the idea of all those parcels and riding a bike. What are you most looking forward to in the 2016 season? In general, working more with the inspiring Asher Fisch. But I m particularly looking forward to performing Bruckner s Ninth Symphony, when I will think of my friend Judy Sienkiewicz, a great music lover and patron of WASO who recently passed away. I am most proud of The many achievements of the Light for Riley campaign set up so bravely by my daughter and son-in-law immediately after the loss of their 32-day-old son Riley Hughes from whooping cough earlier this year.

14 14 PATRONS & FRIENDS EVENT Patrons & Friends Christmas Party Thurs 10 December, 4.30pm, Perth Concert Hall Conductor Asher Fisch will join WASO Patrons & Friends, staff and musicians to celebrate another wonderful year of music-making. Experience Asher Fisch conduct an hour of rehearsal for the 2015 City of Perth Symphony in the City before mingling with WASO musicians over a light dinner and drinks. Tickets are $45 for Patrons & Friends ($55 for guests). Please note that this is event is no longer being held at ABC Studios. Tickets can be purchased by calling the WASO Box Office on and all proceeds support the Friends of WASO Scholarship, providing professional development opportunities for WASO musicians. If you would like to make a donation to become a Patron or a Friend and attend this event, please contact Jane on or janec@waso.com.au, or go to waso.com.au. Proud sponsor of waso quadrantenergy.com.au

15 15 TIMELINE OF COMPOSERS & WORKS Fryderyk Chopin Born in Żelazowa, Poland Died in Paris, France Chopin's Grande valse brilliante in E flat, Op Saint-Saëns Born in Paris, France Died in Algiers, Algeria Chopin's Nocturne in A flat, Op. 32 No Peter Ilyich Tchaikovsky Born in Votkinsk, Vyatka Province, Russia Died in Saint Petersburg, Russia Saint-Saëns' Piano Concerto No.2 in G minor, Op Igor Stravinsky Born in Oranienbaum, Russia Died in New York, New York Tchaikovsky's Symphony No.1 in G minor, Op.13 Winter Dreams

16 16 ABOUT THE MUSIC Fryderyk Chopin ( ) Nocurne in A flat, Op.32 No.2 (arr. Igor Stravinsky) Grande valse brilliante in E flat, Op.18 (arr. Igor Stravinsky) It seems that early in 1909 the impresario Sergei Diaghilev attended a concert in St Petersburg at which he heard two new works by the young Stravinsky: the Scherzo fantastique and Fireworks. According to his manager, Diaghilev had enthusiastically commented on the young composer s new and original work, with a tone quality that should the surprise the public. By June that year Diaghilev had commissioned Stravinsky and several of his contemporaries to make orchestral arrangements for a revival of Chopiniana, a ballet by Mikhail Fokine now entitled Les Sylphides. Les Sylphides has no narrative, but is a series of formal set-pieces to different works of Chopin s. Stravinsky s task was to score the two movements that would open and conclude the show: the second Nocturne from Op.32 and the Waltz Op.18. The arrangements are never heard in the theatre today. Stravinsky s were not immediately published and indeed the Nocturne score was lost until 1992 when a manuscript surfaced at a Sotheby s auction. While they were in a sense hack-work, the orchestrations tell us a lot about the early Stravinsky and his milieu. Robert Schumann famously compared Chopin s music to cannons hidden under flowers, combining deceptive simplicity with huge emotional power. In the Nocturnes, for instance, Chopin appropriated a genre invented in 1812 by the Russian-based Irish composer John Field, where a simple melody is given out in the right hand while the left offers an accompaniment often based on a reiterated rhythmic figure, and this texture is then contrasted with a new central section before the opening material returns transformed. The power of the work stems largely from the minute changes of emphasis that a pianist might choose to employ; orchestrating such music seldom improves it.

17 17 Chopin s Op.32 pieces were composed in 1836, when he frequented the Paris salon of Liszt s partner, Countess Marie d Agoult. Stravinsky s version of the A flat Nocturne is respectful, maintaining the primacy of the melody that is largely assigned to solo woodwinds. The accompaniment features a shimmering texture of harp and string figures, but the movement progresses to a brief moment of full orchestral tutti before sinking back into the delicate sounds of the opening. Stravinsky s handling of the orchestra reflects his admiration for the music of his teacher and mentor Rimsky- Korsakov, who had died the previous year. The Grande valse brillante was probably composed in 1830 in, appropriately enough, Vienna, though Chopin complained that he had nothing of what is needed for Viennese waltzes. I can t even dance one properly! Again, Stravinsky brings to bear the brilliant colour and scrupulous balance of Rimsky-Korsakov s orchestration in his version, though here he permits himself a degree of levity that would have been inappropriate to the Nocturne. The clipped phrasing, sudden changes of dynamic and a certain waywardness in the harmony are all genuinely funny, but not at the expense of Chopin. Stravinsky s orchestral deftness led to other unique arrangements (of Beethoven and Mussorgsky), but, more importantly, to his long and fruitful partnership with Diaghilev, beginning with The Firebird in Gordon Kerry 2015 The Ballets Russes premiered Les Sylphides at Paris Théâtre du Châtelet on 2 June This is the first performance of Stravinsky s Les Sylphides orchestrations by the West Australian Symphony Orchestra. Glossary Tutti all the instruments of the orchestra playing at the same time. Valse French for waltz. Harmony the chords in a piece of music and how they are arranged.

18 18 ABOUT THE MUSIC Camille Saint-Saëns ( ) Piano Concerto No.2 in G minor, Op.22 Andante sostenuto Allegro scherzando Presto The Paris that we those of us who don t actually live there, that is all love in the springtime came into being in the 1860s. The Second Empire was a time of huge renovation in Paris: Haussmann oversaw the demolition of medieval slums and the creation of those boulevards and avenues which give the city its spacious character; part of a fever of new construction, now-iconic buildings such as the Gare du Nord, L Opéra and the Trinité church appeared. This fusion of modernism and classicism is evident in the visual arts this is the period of the Realist painters like Corot, Manet and the young Degas and perhaps, too, in music. Saint-Saëns began his studies at the Paris Conservatoire in 1848, so by the late 1860s was in the period of his early maturity as an artist. From 1857 he had been organist at the Madeleine; in 1861 he took up a teaching position at the Ecole Niedermeyer. (Niedermeyer, the school s founder, was determined to train musicians who were able to build on the long traditions of Catholic church music; he had written a treatise on how modern harmony is submitted to the form of the ancient modes, another case of the fusion of modern and classical ideas.) It was at the Ecole Niedermeyer that Saint-Saëns met the young student composer Gabriel Fauré, beginning a lifelong friendship. Debussy and Saint-Saëns, by contrast, loathed each other but, writing as his alterego Monsieur Croche in 1903, Debussy observed that a scientific approach to music has meant that Saint-Saëns will never allow himself to overload his music with too many of his personal feelings. We are indebted to him for having recognised the tumultuous genius of Liszt, and we should remember that he professed admiration for old Bach at a time when such an act of faith was also an act of courage. Debussy was, of course, a small child when Saint-Saëns Piano Concerto No.2 appeared in 1868, but M Croche s remarks are pertinent to it. The piece was composed in 17 days after Saint-Saëns had been invited, at the last minute, to perform a concerto with visiting Russian conductor Anton Rubinstein. One wag has noted that it starts with Bach and ends with Offenbach, a bon mot that illustrates the concerto s fusion of Baroque and 19th-century sensibilities. It also recognises one of Saint-Saëns structural innovations in this piece: each movement is notably faster than the one before.

19 19 A church organist was expected to be able to improvise, and organists who were also composers, like Bruckner and Saint-Saëns, regarded improvisation as an important skill. While we don t, sadly, have any recording of Saint-Saëns improvising at the keyboard, the opening of his Second Piano Concerto might give us a hint of what that might have sounded like. The expansive opening flourish for piano over a pedal note is frankly serious and Bachian. One can almost imagine Saint- Saëns trying it out on the instrument at the Madeleine. The orchestra s tutti entry breaks any Baroque spell, however, and leads into the main body of the movement. The principal theme of this movement is a melody written by Fauré for a discarded setting of the hymn Tantum ergo (the words, from St Thomas Aquinas Pange lingua, are traditionally sung in the liturgy of Benediction; Fauré made several settings of the text). The central scherzo has become one of Saint-Saëns best-known pieces. And, just as the composition had been rushed, the concert at which the concerto was premiered was woefully under-rehearsed, but the critics and audience all loved the scherzo. It is arguably the most Offenbachian movement in its light step, glittering scoring and good-humoured themes. The faster final movement is a tarantella in all but name, mounting in speed and intensity and with hints, in certain harmonic sequences, of the Danse macabre of six years later. This concerto is in many ways a document of artistic life in Second Empire Paris. It also brings together Saint-Saëns trailblazing interest in the Baroque with the tumultuous genius of the 19th-century concerto, and demonstrates the immaculate craftsmanship for which Saint-Saëns is rightly celebrated. Indeed Liszt himself praised the fact that Saint-Saëns had not compromised either his compositional rigour or his pianistic virtuosity. Gordon Kerry 2008 Saint-Saëns himself gave the premiere of his Second Piano Concerto, at a performance in Paris on 13 May 1868 led by Anton Rubinstein. The West Australian Symphony was the first of the Australian state orchestras to perform the concerto, on 27 July 1938 with conductor Georg Szell and soloist Nora Coalstad. WASO last performed this piece on 12 July 2008, performed by Simon Trpceski and conducted by Oleg Caetani. YOU MAY ALSO ENJOY BEETHOVEN Piano Concerto No.1 featured in Beethoven & Mahler Fri 20 & Sat 21 November Glossary Improvisation when performers makes up the music as they go along. Pedal note a low-pitched note played for a long time while the harmonies change above it. Tarantella a fast dance from Naples once reputed to cure tarantula bites.

20 20 ABOUT THE MUSIC Peter Ilyich Tchaikovsky ( ) Symphony No.1 in G minor, Op.13 Winter Dreams Dreams of a winter journey (Allegro tranquillo) Land of desolation, land of mists (Adagio cantabile ma non tanto) Scherzo (Allegro scherzando giocoso) Andante lugubre Allegro maestoso Tchaikovsky s First Symphony is the product of a nervous young man in his mid-20s just appointed to a responsible teaching position in a strange city, and trying to juggle his wish to compose with his newfound professional responsibilities. It is a remarkably assured work to have been composed under such circumstances, and to many listeners unfamiliar with it, may display more of the composer s mature stylistic fingerprints than they might expect. Tchaikovsky had just joined the staff of the Moscow Conservatoire in 1866 when its Director, Nikolay Rubinstein, urged him to write a symphony. Tchaikovsky, who had completed his first orchestral score only two years before, began sketches immediately, and was soon working so hard on it writing well into the night and teaching during the day that his health began to suffer, and he made fitful progress. By the following summer he had worked his sketches up into full orchestral score. He chose this moment to show his former teachers Anton Rubinstein (Nikolay s brother) and Nikolay Zaremba, who were quick to find fault. Tchaikovsky s consternation at this criticism was allayed by Nikolay s continuing enthusiasm, and it was this Moscow Rubinstein who conducted the first complete performance in February It was a big success for Tchaikovsky, and became one of the first Russian symphonies to find public favour; but the composer continued to make alterations, revising it in 1874 and Despite these changes, Tchaikovsky told a friend: I have a soft spot for it, for it is a sin of my sweet youth. With young composers it is often fun to play pick the influences. Tchaikovsky scholar John Warrack has discussed the symphony s particular debt to Mendelssohn. Following Mendelssohn s Scottish and Italian symphonies, Tchaikovsky seems to have wanted to create his own Romantic musical landscape, but one arising out of the emotions stirred in him by his own country. The idea must have lost its appeal, for the final two movements lack the subtitles of the symphony s first half. The attempt at a lightness of texture in many key passages and the surprising independence of the woodwind writing suggests Mendelssohn s immediate influence on the work s musical language. Yet many of the ideas seem to prefigure passages we know well from Tchaikovsky s later music.

21 21 The first movement opens with a flowing woodwind melody that has the light, questioning quality and gentle interjections that suggest a Mendelssohnian response to landscape. The passionate development of the main ideas, and healthy doses of bombast that follow, suggest the Tchaikovsky to come, as does a balletic passage for horns and woodwinds. The brass fanfares that dominate much of the development section prefigure the tense opening of the Fourth Symphony. The slow movement resembles one of the great ballet adagios in both atmosphere and texture. Muted divisi violins play the beautiful first subject, which is followed by a long, songful oboe melody of the kind that Tchaikovsky used to complain came to him in so finished a state that he had difficulty developing them in a symphonic context. His phenomenal gifts as an orchestrator, even in this early work, are an exquisite disguise for such structural concerns. The Scherzo is perhaps the most overtly Mendelssohnian movement. At the opening, the lightness of the scoring is offset by a pervasive chromaticism. The Trio begins as a waltz in all but name, then develops considerable tension. The Scherzo s reprise is followed by an unusual passage in which the timpani taps out the rhythm of the main Scherzo tune under the strings reminiscence of the Trio s waltz theme. A coda that begins quietly goes on to end with two abrupt final chords. Although some of the symphony s ideas sound like Russian folksong, the Finale s opening Andante lugubre, taken from a folksong called The Gardens Bloomed, is the first folk-music to be employed in the work. The pace soon quickens and the mood becomes more festive for the main body of the movement. In the middle of the festivities there is a sudden return to the darker mood of the opening, much like the return to the motto theme at the equivalent moments in the finales of the Fourth and Fifth symphonies. However a spirit of brightness and grandeur gradually emerges and the symphony ends in a mood of brash jubilation. Abridged from an annotation Phillip Sametz Nikolay Rubinstein conducted the Scherzo of Tchaikovsky s First Symphony in Moscow in December 1866, followed by a performance of the Adagio and the Scherzo in Saint Petersburg the following February. He conducted the first complete performance of the work in February The West Australian Symphony Orchestra s only previous public performance of this symphony took place in May YOU MAY ALSO ENJOY DVORAK Symphony No.9 From the New World featured in Dvořák s New World Fri 16 & Sat 17 October Glossary Divisi divided, where the instruments in a single section of the orchestra (e.g. the violas) are divided into two or more groups, each of which plays different notes. This makes it possible to get richer, fuller chords from within a single instrumental section. 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. Chromaticism use of notes which are not part of the key. Coda a concluding section added to the basic structure of a piece or movement to emphasise the sense of finality.

22 22 MEET THE INSTRUMENT THE TROMBONE The trombone is a member of the brass family. It has a predominantly cylindrical bore, and is characterised by a slide that the player uses to extend the length of the tubing, thereby lowering the pitch. The slide is based on seven positions that lower the pitch progressively by semitones, with first position (slide fully retracted) being the highest, and seventh position (slide fully extended) being the lowest. For trombones with an F attachment, it is possible to engage an extra length of tubing that lowers the basic pitch of the instrument by the interval of a perfect fourth. Trombones have been made in a variety of sizes, from piccolo to contrabass, but the most commonly encountered types today are the tenor and bass trombone. Scholars are unsure exactly when and where the trombone first appeared, but its earliest known description appears in a late 15thcentury fresco by Filippino Lippi. The early trombone was known by a variety of names, including posaune in German-speaking countries, saquebot in French, and sackbut in English. The trombone was used primarily in church music and small ensembles, and did not become a part of the orchestra until the late 18th century. Composers have recognised the expressive capabilities of the trombone as a solo instrument, and have featured it in some notable orchestral solos including the Tuba mirum of Mozart s Requiem, Mahler s Symphony No.3, Sibelius Symphony No.7 and Bartók s The Miraculous Mandarin. By the 20th century, jazz trombonists such as J.J. Johnson and Tommy Dorsey had become particularly influential in technical developments of trombone performance, such as irregular attacks, microtones, and glissandos. These can be heard on albums such as The Eminent J.J. Johnson and The Trombone Master. Symphony Services International The pitch range of the trombone: Tuning slide 2 2. Mouthpiece 3. Bell 4. Main slide / outer slide 5. Water key 4 5

23 23 WASO PHILANTHROPY Philanthropy Partner Annual Giving We are sure you would agree that this year we have had many wonderful and exhilarating concerts at Perth Concert Hall, matched by a diverse program of Education and Community Engagement activities stretching right across this vast state of ours. We are all looking forward to the exciting 2016 season with Conductor Asher Fisch at the helm. The Orchestra continues to achieve new artistic heights and our ongoing commitment to our broader community ensures we will continue to live and breathe our vision to touch souls and enrich lives through music. The impact of supporting your Orchestra is powerful and far-reaching. Donations, no matter how small or large they might be, are vital for WASO to continue growing, educating and positively changing the lives of so many people in Western Australia. We invite you to become a WASO Patron by making a donation to our Annual Giving program. WASO Patrons enjoy opportunities to experience WASO from different perspectives not just from the auditorium being invited to exclusive events, getting to know our musicians and receiving regular updates. Why give to WASO? Join a community that believes in: WASO s vision, musicians and commitment to inspirational performances. Life-changing and accessible musical opportunities for children, young and emerging artists and communities across WA. If you wish to find out more, become a Patron, increase or renew your gift, please contact Jane Clare on or janec@waso.com.au. You can also find out more or donate at waso.com.au. All donations over $2 are fully tax deductible.

24 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 Anita & James Clayton Judith Gedero Wolfgang Lehmkuhl Tosi Nottage in memory of Edgar Nottage Nigel & Dr Heather Rogers Judy Sienkiewicz Sheila Wileman Anonymous (16) Estates WASO is extremely grateful for bequests received from Estates Mrs Roslyn Warrick Rachel Mabel Chapman Endowment Fund for the Orchestra This fund includes major donations and bequests Tom & Jean Arkley Janet Holmes à Court AC Sagitte Yom-Tov Fund Excellence Circle Supporting excellence across all we do Jean Arkley Bob & Gay Branchi Janet Holmes à Court AC Torsten and Mona Ketelsen Andrew Marsden The WASO Song Book We are grateful to those who have supported new works commissioned for the Orchestra by WASO Janet Holmes à Court AC Peter Dawson Geoff Stearn Anonymous (2) Reach Out Supporting our Education & Community Engagement programs Jean Arkley Prue Ashurst Creative Partnerships Australia Ron & Penny Crittall Ken Evans Feilman Family Foundation The James Galvin Foundation Robyn Glindemann Ken Johnson Barrie & Jude Lepley Mathie Family McCusker Charitable Foundation Minderoo Foundation Mrs Morrell Lynn Murray Joan Reyland John & Alison Rigg Simon Lee Foundation The Stan Perron Charitable Foundation Jean & Peter Stokes Trish Williams - Strategic Interactions Anonymous (1) If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Jane Clare, Fundraising and Philanthropy Manager, on or janec@waso.com.au. WASO Philanthropy brochures are available from the WASO Programs & Information Desk located in the main foyer of Perth Concert Hall, or you can visit waso.com.au. All donations over $2 are fully tax deductible.

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

26 26 OUR SUPPORTERS David & Valerie Gulland Brian & Romola Haggerty Richard B Hammond Pauline & Peter Handford Warwick Hemsley & Melissa Parke Dr Penny Herbert in memory of Dunstan Herbert Michael & Liz Hollingdale John & Katrina Hopkins Sue Hovell Jim & Freda Irenic Lilian & Roger Jennings Anthony Kane & Jane Leahy-Kane Bill Kean Noelle & Anthony Keller AM Michael & Dale Kitney Nelly Kleyn Stephanie & John Kobelke Louis & Miriam Landau Irving Lane Paul Lee Meg Lewis Rosalind Lilley Teresa & Jemima Loveland Graham & Muriel Mahony Gregg & Sue Marshman Jennifer & Arthur McComb Betty & Con Michael AO Hon Justice S R Moncrieff S B Monger-Hay Valmae & Geoff Morris Val & Barry Neubecker Dr Phillip & Mrs Erlene Noble John Overton Ron & Philippa Packer Michael & Lesley Page Athena Paton Charmian Phillips in memory of Colin Craft Pamela Platt Andrew & Suzanne Poli Thomas & Diana Potter Alison & John Price Barry & Dot Price Dr Leon Prindiville Chester Reeve Joan Reyland John & Alison Rigg Ms Elizabeth Sachse & Dr Lance Risbey Nigel & Dr Heather Rogers Maurice & Gerry Rousset Roger Sandercock Margaret & Roger Seares Melanie & Paul Shannon Eve Shannon-Cullity Glenice Shephard Julian & Noreen Sher Laurel & Ross Smith Paul Smith Michael Snell & Vicki Stewart Gail & Tony Sutherland Anna Sweetingham Lisa & Andrew Telford The Ambient Foundation Ruth Thomas Gene Tilbrook Mary Townsend James & Rosemary Trotter Dr Robert Turnbull Maggie Venerys Stan & Valerie Vicich Adrienne & Max Walters Watering Concepts Ian Watson Patricia Weston Ann Whyntie Jean & Ian Williams AO Jim & Gill Williams Judith Wilton & David Turner Hilary & Peter Winterton AM Anonymous (25) Tutti Patron Gifts $500 - $999 Geoff & Joan Airey Catherine Bagster Merle I Bardwell Bernard & Jackie Barnwell Shirley Barraclough Berwine Barrett-Lennard Colin Beckett Pamela M Bennet Michael & Nadia Berkeley-Hill John & Sue Bird in memory of Penny Bird Dermot & Jennifer Blackweir Elaine Bonds Diane & Ron Bowyer Dr & Mrs P Breidahl Elizabeth & James Brown Ann Butcher & Dean R Kubank Lucia Buralli Michelle Candy Nanette Carnachan Claire Chambers & Dr Andrea Shoebridge Fred & Angela Chaney Dr Anne Chester Lyn & Harvey Coates AO Agatha & Alex Cohen AO Brian Cresswell Gina & Neil Davidson Jop & Hanneke Delfos Rai & Erika Dolinschek Simon & Pamela Douglas Mrs G Ewen Joan Gagliardi Elaine Gimson Isobel Glencross Douglas M & Regina Hansen Alan Harvey & Dr Paulien de Boer Eric & Elizabeth Heenan Helen Hollingshead Kee Huan Christopher, Julie & Rosemary Hudson

27 27 Mr John Hylton-Davies JP, VJ Peter Ingram Cynthia Jee Peter S Jones B M Kent Dorothy Kingston Ulrich & Gloria Kunzman Trevor & Ane Marie Lacy Martin & Ruth Levit Megan Lowe Mary Ellen in memory of Kerensa Mrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Dr Peter Moss Marianne Nilsson Marjan Oxley Graham & Hildegarde Pennefather Bev Penny Adrian & Ruth Phelps Richard OAM & Alpha Pilpel Ann Rawlinson Clarissa Repton James & Nicola Ridsdill-Smith Leigh Robinson Chris & Serge Rtshiladze Judith E Shaw The Sherwood Family Hendrik Smit L Sparrow & Family Peggy & Tom Stacy Eleanor Steinhardt Ruth E Thorn Patricia Turner S R Vogt Diana Warnock Anne Watson Joy Wearne Dr & Mrs Chris Whitaker Violette William Janet Williams Patricia Wong Anonymous (22) Friends Gifts $40 - $499 Thank you to all our Friends who support WASO through their gift. THE LEEUWIN ESTATE CONCERT SERIES

28 28 WEST AUSTRALIAN SYMPHONY ORCHESTRA CONDUCTOR LAUREATE Vladimir Verbitsky PRINCIPAL CONDUCTOR Asher Fisch Partnered by Wesfarmers Arts ASSISTANT CONDUCTOR Christopher Dragon CHORUS DIRECTOR Christopher van Tuinen CHORUS VOCAL COACH Andrew Foote VIOLIN Graeme Norris Associate Concertmaster Semra Lee-Smith Assistant Concertmaster Zak Rowntree* 2nd Violin Akiko Miyazawa Assoc 2nd Violin Kylie Liang Assistant 2nd Violin Sarah Blackman Fleur Challen Shaun Lee-Chen* Stephanie Dean Rebecca Glorie Beth Hebert Anna O Hagan Ellie Lawrence Melanie Pearn Ken Peeler Graham Pyatt Louise Sandercock Jolanta Schenk Jane Serrangeli Jacek Slawomirski Bao Di Tang Cerys Tooby David Yeh VIOLA Caleb Wright Alex Brogan Assoc Kierstan Arkleysmith Nik Babic Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey CELLO Rod McGrath Louise McKay Assoc Chair partnered by Penrhos College Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver* Fotis Skordas Tim South Xiao Le Wu DOUBLE BASS Andrew Sinclair* Joan Wright Assoc Christine Reitzenstein Louise Elaerts Andrew Tait Mark Tooby *Instruments used by these musicians are on loan from Janet Holmes à Court AC. FLUTE Andrew Nicholson Chair partnered by Quadrant Energy 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 Horn Julia Brooke Francesco Lo Surdo TRUMPET Brent Grapes Chair partnered by ConocoPhillips Evan Cromie Assoc Peter Miller TROMBONE Joshua Davis Liam O Malley Assoc BASS TROMBONE Philip Holdsworth TUBA Cameron Brook TIMPANI Alex Timcke PERCUSSION Troy Greatz A/ HARP Sarah Bowman

29 29 BOARD OF DIRECTORS Janet Holmes à Court AC Chairman Anne Nolan Mark Coughlan Keith Kessell Barrie Lepley Deputy Chairman Paul Shannon Julian Sher Michael Utsler EXECUTIVE Craig Whitehead Chief Executive Rebecca Smith Executive Assistant Anthony Pickburn Executive Manager, Human Resources Narelle Coghill Human Resources Assistant Svetlana Williams Payroll Officer ARTISTIC PLANNING Evan Kennea Executive Manager, Artistic Planning Alan Tyrrell Program Manager Natalie De Biasi Program Coordinator Maya Kraj-Krajewski Artist Liaison/Chorus Administrator COMMUNITY ENGAGEMENT Cassandra Lake Executive Manager, Community Engagement Fiona Taylor Education Coordinator Lily Protter Community Engagement Assistant ORCHESTRAL MANAGEMENT Keith McGowan Executive Manager, Orchestral Management Jenna Boston Orchestral Operations Manager David Cotgreave Production & Technical Manager Alistair Cox Orchestral Manager Breanna Evangelista Orchestral Coordinator Wee Ming Khoo Music Librarian BUSINESS SERVICES Peter Freemantle Chief Financial Officer Andrew Chew Systems Administrator Alex Spartalis IT Support Angela Miller Accountant Sushila Bhudia Accounts Officer Renu Kara Accounts Assistant PHILANTHROPY Alecia Benzie Executive Manager, Philanthropy Jane Clare Fundraising & Philanthropy Manager Megan Lo Surdo Philanthropy Coordinator CORPORATE DEVELOPMENT Marina Woodhouse Executive Manager, Corporate Development Luci Steinhardt Corporate Partnerships Executive Cliona Hayes Corporate Partnerships Coordinator Ginny Luff Corporate Partnerships & Events Coordinator MARKETING Kelli Carnachan Executive Manager, Marketing Kirsty Chisholm Marketing Coordinator Nancy Hackett Marketing Manager Gina Beers Graphic Designer Marc Missiaen Relationship Marketing Manager Zoe Lawrence Marketing Officer Courtney Walsh Marketing Assistant Rebekah Ryan Outbound Sales Team Leader Josie Aitchison A/Customer Service Manager Beverley Trolio Customer Service Coordinator Alana Arnold Leticia Cannell Margaret Daws Vicki Prince Robyn Westbrook Customer Service Officers PERTH CONCERT HALL Brendon Ellmer General Manager Lorraine Rice Deputy General Manager Brad Matthews Operations Coordinator Penelope Briffa Events Manager Bruce Gaw Maintenance Officer Nancy Hackett Marketing Manager Ryan Sandilands Marketing Assistant Simon Keen Customer Relationship & Operations Manager Megan Lo Surdo Reception & Administration Sarah Salleo Reception & Administration Sushila Bhudia Accounts Officer perthconcerthall.com.au 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 CORPORATE PARTNERS We encourage you to support these partners for generously supporting your Orchestra PARTNERS OF EXCELLENCE PLATINUM PARTNERS CONCERTO PARTNERS 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 Photo: Caitlin Worthington Design: BronWYnrogers.CoM WesF1341

32 An American-inspired program featuring Australia s favourite symphony Dvořák s New World. MORNING SYMPHONY SERIES Thurs 15 October 11am ALCOHOL.THINK AGAIN MASTERS SERIES Fri 16 & Sat 17 October 7.30pm Perth Concert Hall BOOK NOW Tickets from $27* Call quoting 1258 Visit waso.com.au or ticketek.com.au *Transaction fees may apply.