Friday 28 & Saturday 29 March pm

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1 ALCOHOL.THINK Alcohol.Think AGAIN AgAin MAsTers series series Friday 28 & Saturday 29 March pm Perth Concert concert Hall hall

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3 3 kids Cushion Concerts Tues 1 April 9.45am & 11.15am Western Australian Maritime Museum WASO s energetic 15-piece EChO ensemble, featuring one of each instrument of the Orchestra, is joined by an enthusiastic presenter who leads the audience in sing-alongs, dancing and music-making. Suitable for children aged 0-6 years. Kids Cushion Concerts are supported by Commonwealth Bank. Presented in partnership with the WA Museum. classics series Bernstein & Gershwin Fri 4 & Sat 5 April 7.30pm Perth Concert Hall CoPLAND Appalachian Spring BARBER Violin Concerto BERNSTEIN West Side Story Symphonic Dances GERSHwIN An American in Paris Benjamin Northey conductor karen Gomyo violin (pictured) Karen Gomyo appears courtesy of Mitsui E&P Australia Pty Ltd. Tickets $15 Tickets from $30 community event wesfarmers Centenary Community Concert Sat 12 April, 7pm Henry Street Oval, Northam WASO and West Australian Opera join forces to celebrate the centenary of the founding of Wesfarmers, with a free outdoor concert filled with classical masterpieces and popular favourites. For more information visit wesfarmers.com.au 4.30pm Gates open 4.30pm - 6pm Community performances 7pm - 9pm WASO & WA Opera Free Event Book Now *Transaction fees may apply. Call or visit waso.com.au

4 4 welcome Over the last 35 years I have been privileged to wield my baton before all of the major orchestras in the US and most of Europe s and Asia s too, and tonight I am delighted to return to your wonderful West Australia Symphony Orchestra. The music that I am conducting tonight falls well within the great central European musical tradition that has played such a large role in my education and career. Our soloist for these concerts, Alina Pogostkina, has fortuitously chosen to play the Brahms Violin Concerto, a celebrated part of that great tradition. It is, in fact, to my mind the grandest and most profound of all violin concertos. I have chosen to place it as the centrepiece of this program, and to surround it with other compatible, yet contrasting, pieces from the same era. Weber was one of the foremost composers of the early 18th century. His opera, Oberon, is not often played on stages today, but the overture he wrote for it has remained a musical hit for a couple of hundred years thus far. Weber s compositions helped to develop the orchestras of his era by virtue of his skillful orchestration, and his themes remain familiar and popular. His characteristic capacity to create brilliant endings for his overtures lead audiences to sit up straight and prepare themselves for further musical stimulation. What more can be asked of an overture? Dvořák s Eighth Symphony is a justifiable favourite whenever and wherever it is played. I must confess that Dvořák is one of my absolutely favourite composers. His melodic invention is often incomparable, filling works such as this symphony with warmth and tenderness but with unmistakably Slavic characteristics. Brahms recognised the younger man s genius. He promoted him when he could, and always encouraged him. Thus, it is appropriate to follow a great Brahms masterpiece with a great Dvořák work, but this symphony, in the happy key of G major, could almost follow anything and is like sunshine of hope and optimism. The composer made sure that it could serve as a terrific concert finale by creating a last movement with sets of variations of considerable pace and brilliance, just like Weber did in his own finale to the overture with which we started this concert. Every time I conduct this piece, I feel like I have been lifted into a different realm. I hope that this program will bring utmost joy to Perth s music-loving public and its orchestra as well. Jahja Ling Conductor

5 5 Program Alcohol.Think AgAin MAsTers series Brahms Violin Concerto weber Oberon: Overture (10 mins) BRAHMS Violin Concerto (36 mins) Allegro non troppo Adagio Allegro giocoso INTERVAL (20 mins) DVoRAk Symphony No.8 (36 mins) Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo Jahja Ling, conductor Alina Pogostkina, violin Pre-Concert Talks Find out more about the music in the concert with this week s speaker, Margaret Pride. Pre-concert talks take place at 6.45pm in the Terrace Level foyer. Pre-Concert Talks are supported by Wesfarmers Arts. Meet the Artist Meet soloist Alina Pogostkina post-concert Friday night in the Terrace Level foyer. Meet the Artist is supported by Wesfarmers Arts.

6 6 Making The Most of Your Visit FooD & BEVERAGES Foyer bars are open for drinks and coffee two hours before, during interval and after the concert. To save time we recommend you pre-order your interval drinks. FIRST AID There are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance. waso RECoRDINGS Continue to experience WASO in your own home! A variety of WASO CDs are available for purchase at the Encore Gift Shop in the foyer at interval and post-concert. Connect with waso LISTEN Tune in to 720 ABC Perth for Breakfast on Friday mornings when Prue Ashurst joins Eoin Cameron to provide the latest on classical music and WASO s upcoming concerts. This performance is being recorded for delayed broadcast on ABC Classic FM. For further details please refer to abc.net.au/classic CoNCERT PLAYLISTS Listen to music featured in 2014 concerts at waso.com.au waso webcasts WASO will be streaming four concerts live and on demand in 2014, thanks to iinet. For more details visit waso.com.au SoCIAL MEDIA youtube.com/westaustsymorchestra facebook.com/westaustraliansymphonyorchestra twitter.com/_waso_ E-NEwS Stay up to date with the activities of your Orchestra by subscribing to SymphonE-news. Go to waso.com.au to join our mailing list. FEEDBACk We would love to hear from you! Please send your feedback to PO Box 3041, East Perth WA 6892, send an to waso@waso.com.au, call , or leave us a message on Facebook or Twitter.

7 7 waso News Another gigglytastic year with ECho On Fri 21 and Sat 22 March, our Education Chamber Orchestra (EChO) tuned up for another wonderful year of performances for 0 6 year olds and launched the 2014 Kids Cushion Concert season at the South Perth Community Centre. This year, we welcome back presenters Lee Stanley, Ella Hetherington, EChO the Gecko and Melody Monkey and, and look forward to introducing our audiences to jazz diva Libby Hammer. EChO programs are designed for having fun, and if our runner up Best Kids Show in the Buggybuddy 2013 Awards is anything to go by, we think our little audiences are enjoying themselves as much as we are. WASO musicians love meeting children after the performances and helping them to have-a-go on our child sized instruments. With a number of programs scheduled across metropolitan Perth, EChO are sure to visit a location near you. An Auslan interpreter will sign on April 16 at the Perth Concert Hall, so that hearing impaired family members can also join in the EChO fun. Auslan interpreters provided by Sign Language Communications W.A at the W.A Deaf Society. Students access Backstage Pass At the end of the evening, one student said to me, Mr Taylor, this kills any disco! Bob Taylor, Teacher, St Mark s Anglican Community School WASO s Backstage Pass program turns the concert experience into a night out. Students enter the Perth Concert Hall through the backstage door and enjoy light refreshments in the Green Room while members of the WASO can be heard warming up backstage. One of our musicians talks to the students about the evening program, and spends time answering questions they may have about life as a musician, their time at WASO and any behind the scenes gossip from the week in rehearsal. Students are taken through to their seats in the choir stalls via the backstage area, where they can say hello (or toi toi) to our players on the way. It s a great way to see WASO up close and personal! Presenter Lee Stanley with Melody Monkey

8 8 Biography JAHJA LING Conductor The season marks Jahja Ling s tenth season as Music Director of the San Diego Symphony. In October 2013 he led the orchestra s first, sold-out appearance at Carnegie Hall, followed by a tour to China. Mr Ling previously served as Music Director of The Florida Orchestra ( ), Artistic Director of the Taiwan National Symphony Orchestra ( ), and has a 30-year relationship with The Cleveland Orchestra in various capacities. He made his European debut with the Leipzig Gewandhaus Orchestra in 1988, and has appeared throughout Asia, Europe and the United States, where he has conducted all the major symphony orchestras. His CD was nominated for a Grammy and he has performed for Queen Elizabeth II in San Francisco. Born in Jakarta, of Chinese descent, Jahja Ling completed a master s degree at The Juilliard School and a Doctor of Musical Arts degree at the Yale School of Music. For more information, please visit jahjaling.com ALINA PoGoSTkINA Violin Winner of the 2005 International Jean Sibelius Violin Competition, Alina Pogostkina s recent concert tours have seen her perform at some of the world s most renowned festivals and concert venues. Highlights for the 2013/14 season include performances with the Luxembourg Philharmonic Orchestra, Simón Bolívar Symphony Orchestra, Quebec Symphony Orchestra, WDR Symphony Orchestra Cologne and Bamberger Symphony. Other recent engagements include concerts with the Los Angeles Philharmonic, San Francisco Symphony, Orchestre National de France and return visits to the Philharmonia Orchestra. Her current Australian tour includes performances with the Adelaide Symphony Orchestra in addition to her West Australian Symphony Orchestra debut. Born in St. Petersburg, Alina Pogostkina moved to Germany in 1992 and received her first violin lessons from her father. She later studied with Antje Weithaas at Berlin s Hanns Eisler School of Music. Her recording of Pēteris Vasks complete works for violin was released in 2012.

9 Ravishingly romantic and full of lush melodies. Fri 2 & Sat 3 May 7.30pm Perth Concert Hall RACHMANINoV Caprice bohémien RACHMANINoV Piano Concerto No.2 SHoSTAkoVICH Symphony No.5 Alexander Lazarev conductor Lukáš Vondráček violin (pictured) It comes as no surprise that this young musician, Lukáš Vondráček, is recognised as one of the greatest pianistic talents of our times. Stuttgarter Zeitung Book Now Tickets from $30 * Call quoting 1086 Visit waso.com.au or ticketek.com.au *Transaction fees may apply.

10 10 waso on Stage Tonight VIoLIN Paul wright Concertmaster Semra Lee-Smith A/Associate Concertmaster Graham Pyatt A/Assistant Concertmaster Akiko Miyazawa A/ 1st Violin Zak Rowntree A/ 2nd Violin Kylie Liang A/Assoc 2nd Violin Sarah Blackman Fleur Challen Erin Chen Dorothy Ford^ John Ford^ Beth Hebert Alexandra Isted Sunmi Jung Lawrence Lee^ Shaun Lee-Chen* Kathleen O Hagan^ Melanie Pearn Ken Peeler Louise Sandercock Jolanta Schenk Jane Serrangeli Ellie Shalley Jacek Slawomirski Bao Di Tang Cerys Tooby Andrea White^ David Yeh VIoLA Paul McMillan Guest Kierstan Arkleysmith Nik Babic Sally Boud^ Alex Brogan Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey Anthony Wyatt^ CELLo Rod McGrath Jess Brittain^ Melinda Gourlay^ Shigeru Komatsu Oliver McAslan Fotis Skordas Tim South Jon Tooby^ Xiao Le Wu DoUBLE BASS Andrew Rootes* Joan Wright Elizabeth Browning^ Sarah Clare^ Christine Reitzenstein Andrew Tait Mark Tooby FLUTE Andrew Nicholson Chair partnered by Apache PICCoLo Michael waye oboe Leanne Glover Elizabeth Chee CLARINET Allan Meyer Lorna Cook BASS CLARINET Alexander Millier Chair partnered by Alessandrino Property Group BASSooN Adam Mikulicz CoNTRABASSooN Chloe Turner HoRN wendy Page^ Guest Robert Gladstones 3rd Julia Brooke Francesco Lo Surdo Wendy Tait^ TRUMPET Brent Grapes Evan Cromie Peter Miller TRoMBoNE Joshua Davis Liam O Malley BASS TRoMBoNE Philip Holdsworth TUBA Cameron Brook TIMPANI Troy Greatz *Instruments used by these musicians are on loan from Janet Holmes à Court AC. Associate Guest Musician^

11 11 Meet the Musician Francesco Lo Surdo Horn what path did you take before starting with waso? After taking a break from university for a year s contract with the Queensland Symphony Orchestra, I finished my Bachelor of Music at the Sydney Conservatorium of Music in 2009, and then took part in the Sydney Symphony s Fellowship program in After I got married I continued to freelance around the country (including several trips to WASO) and overseas, until I successfully auditioned for WASO at the end of 2011 and moved to Perth to start with WASO at the beginning of How do you like to spend your time outside waso? Since moving to Perth, I ve managed to fall into a couple of amazing hobbies outside the music world. Dave Evans ( Horn) taught me how to roast my own coffee beans using a bread machine and heat gun. Cycling seems to be the WASO sport of choice and not long after I moved here it became pretty clear that squeezing into some lycra was a good way to spend time with colleagues. Because WASO often works at night, I ve also been very fortunate to spend some of my days volunteering for the Red Cross Migration Support Program assisting asylum seekers with their transition into society around Perth. If you had to choose any other instrument to play in the orchestra, what would it be? Playing 4th horn can often feel like playing bass trombone so I would probably feel pretty comfortable on the opposite side of the brass section. what is your favourite concert of all time? I was lucky enough to attend the second half of Wagner s Ring cycle (Siegfried and Götterdämmerung) conducted by Christian Thielmann at the Bayreuth Wagner Festspiele in 2009, in the opera house designed by Wagner himself. That s by far the most amazing performance I ve seen live. which musicians do you most admire? Sarah Willis who is 2nd horn in the Berlin Philharmonic. She has been a great encouragement to me during some rough patches in my playing career, and she is a great advocate for creating connections in the international horn world. She s very very busy, yet she travels the world giving concerts, masterclasses, and lessons, and always makes time to share her talent and wisdom with horn players no matter who they are. She tried to make me sing once though, never a good idea! what qualities are most important in order to play the horn? Recovering well and mentally moving on from mistakes. Horn players notoriously miss a lot of notes, so we get a lot of practice at this. I am most proud of My wife.

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13 13 Timeline of Composers & works Johannes Brahms Carl Maria von Weber 1786 Ð 1826 Pyotr Ilyich Tchaikovsky Weber's Oberon: Overture 1826 Edward Elgar ROMANTIC PERIOD 1830 Ð 1920 Johannes Brahms 1833 Ð 1897 ROMANTIC PERIOD Richard Strauss Antonin Dvorak 1841 Ð 1904 Tchaikovsky's Symphony No.4 Brahms' Academic Festival Overture Brahms' Violin Concerto Strauss' 1879Till Eulenspiegel CLASSICAL C PERIOD EARLY ROMANTIC PERIOD 1750 Ð 1830 Dvorak's Symphony No.8 Elgar's Introduction and Allegro

14 14 Program Notes Carl Maria von weber ( ) Oberon: Overture When Charles Kemble, the lessee of Covent Garden, offered Weber a commission for a new opera, the composer, stricken with tuberculosis, accepted in the hope that it would provide financial support for his family on his death. Oberon premiered on 12 April 1826, by which time Weber was gravely ill. He died on 5 June in the home of London musician Sir George Smart. The plot of Oberon is based on a poem by Christoph Martin Wieland which was in turn inspired by the 13th-century French chivalric tale Huon de Bordeaux. The fairy king Oberon argues with Titania over whether men or women are more prone to infidelity. They vow not to meet again until they find a faithful couple. Puck tells Oberon about Huon of Bordeaux, a knight in Charlemagne s court who has been commanded to go to Baghdad to kill the Caliph and marry Reiza, his daughter. After receiving a magic horn from Oberon, Huon rescues Reiza and returns happily with his bride to Charlemagne s court. The Overture has remained the most frequently performed part of the opera. Its magical opening unveils a fairyland with the three-note rising call of the elf king s magic horn, followed by the staccato woodwind figures which appear in the opening chorus Light as fairy foot can fall. Weber s ability to create exquisite orchestral textures was admired by his contemporaries, and Debussy later wrote: He was the master of every known means of interpreting the fantastic through music. Even in our own days, few have surpassed him. Adapted from a note by Catherine Hocking 2001 WASO last performed this work on 19 & 20 June 2009, conducted by Marko Letonja IF YoU LIkE THIS work YoU MAY ALSo ENJoY DVORAK Carnival Overture featured in Piers Lane Plays Liszt Fri 17 & Sat 18 October Glossary Staccato Short, detached notes

15 15 Aquinas College is a keynote partner of the West Australian Symphony Orchestra. This partnership is used to encourage boys in their pursuit of musical excellence. Aquinas College Mt Henry Road, Salter Point, WA. Tel: development@aquinas.wa.edu.au To help your son succeed we teach an extra subject. The best he can be. JOHN HOLLAND S HOSPITAL ORCHESTRA At John Holland we are committed to supporting our community. With the Hospital Orchestra Project, John Holland is helping bring music to the children at Princess Margaret Hospital through concerts and ward visits. JOHN HOLLAND S NEXT VISIT TO PRINCESS MARGARET HOSPITAL WILL BE IN AUGUST 2013.

16 16 Program Notes Johannes Brahms ( ) Violin Concerto in D, Op.77 Allegro non troppo Adagio Allegro giocoso Brahms spent the summers of in the lakeside village of Pörtschach in Carinthia, producing his first Motet, Op.74, the Ballades for piano Op.75, the Symphony No.2 and his Violin Sonata in G Op.78 all works which share an atmosphere of pastoral beauty shot through with nostalgia. But as Brahms scholar Karl Geiringer notes, the crowning masterpiece of this time is the Violin Concerto. The Concerto, like the G major Sonata, was composed for the great virtuoso Joseph Joachim, whom an ecstatic 15-year old Brahms had heard play the Beethoven Concerto. In 1853 their friendship began in earnest, with Joachim writing to Brahms parents of how Johannes had stimulated my work as an artist to an extent beyond my hopes my friendship is always at his disposal. Brahms similarly admired Joachim significantly as a composer rather than performer, saying that there is more in Joachim than in all the other young composers put together. While Joachim was intimately involved with the creation of early works of Brahms chamber music, it was not, strangely enough, until those summers by the lake at Pörtschach in the 1870s that Brahms wrote solo music for his friend. Geiringer notes that, in the case of both Concerto and Sonata, Brahms conscientiously asked his friend s advice on all technical questions and then hardly ever followed it, but in fact at crucial points Joachim s advice on technical matters was invaluable. This consisted mainly of tinkering with certain figurations to make them more gratifying to play. But Joachim was also a profoundly serious artist like Brahms and out of their collaboration came works in which the element of virtuosity never overshadows the musical argument, despite the work s many technical challenges. Joachim also wrote a cadenza for the concerto which is still frequently heard today. The Concerto has some of the expansive dimensions of Brahms First Piano Concerto. This is especially true of the spacious first movement which, like that of Beethoven s Violin Concerto, takes up more than half the work s playing time, and which begins with a long, symphonic exposition of its main themes. Like its companion Second Symphony, the Concerto is in D, a key which composers like Beethoven, Tchaikovsky and Sibelius used for violin concertos as it makes use of the instrument s natural resonance; like the Symphony it has something of a visionary Romantic tone.

17 17 Brahms originally thought to write the piece in four movements, making the central pair a scherzo and contrasting slow movement. But he wrote to Joachim that the middle movements naturally the best ones have fallen through. So I have substituted a feeble adagio. Feeble is of course hardly the word for this piece: derived from the simplest of musical figures the falling broken chord with which the violin begins it evolves into one of Brahms most soulful but restrained movements. As such it provides a wonderful contrast to the gypsystyle finale, with its pyrotechnic solo line and exciting use of displaced accents. Joachim premiered the piece on New Year s Day, 1879 at the Leipzig Gewandhaus with Brahms conducting, but the response was tepid, and only through Joachim s persistence did it gradually gain its rightful place in the standard repertoire. Brahms and Joachim fell out over the violinist s divorce in 1884, the rift lasting until Brahms wrote the Concerto for Violin and Cello in But that s another story. Gordon Kerry 2006 WASO last performed this work on 1 & 2 July 2005, performed by Shlomo Mintz and conducted by Matthias Bamert. IF YoU LIkE THIS work YoU MAY ALSo ENJoY BARBER Violin Concerto featured in Bernstein & Gershwin Fri 4 & Sat 5 April Glossary Cadenza A cadenza is an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a free rhythmic style, and often allowing for virtuosic display. Exposition The first section of a fugue or a sonata form, in which the principal themes normally are introduced.

18 18 Program Notes Antonín Dvořák ( ) Symphony No.8 in G, Op.88 B.163 Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo The success that Dvořák enjoyed, thanks to Brahms advocacy in the late 1870s, made his name beyond Vienna and Prague, and in 1883 he made the first of eight visits to England where his music became and remained extremely popular. In 1890, now a regular visitor, Dvořák arrived with the score of his Eighth Symphony (published originally as No.4), which he had recently premiered in Prague but which for some time was colloquially known as the English Symphony. In fact the piece has, even for Dvořák, an especially Bohemian accent; its immediate popularity with the British audience perhaps has more to do with its relaxed attitude to the formal rigours of Germanic symphonism, and an abundance of memorable, folk-inflected melody. For Brahms, normally a great supporter, this was a major flaw. He argued (offering, in passing, a seriously backhanded compliment to his rival Anton Bruckner) that too much that s fragmentary, incidental, loiters about in the piece. Everything fine, musically captivating and beautiful but no main points! When one says of Dvořák that he fails to achieve anything great and comprehensive with his pure, individual ideas, this is correct. Not so with Bruckner, all the same he offers so little. In fact, the formal freedom and melodic richness are precisely what makes this work special. According his early biographer, Otakar Šourek, Dvořák aimed to write something different from his other symphonies and shape the musical content of his ideas in a new manner. He did so not by piling up beautiful incidents, as Brahms suggests, though; as he is said to have told his student, Josef Michl: To have a beautiful idea is nothing special. The idea comes from itself and if it is beautiful and great, man can take no credit for that. But to develop the idea well and make something great from it, that is the most difficult, that is art! While the Symphony is a work of absolute music, it was composed in close proximity to a series of concert overtures originally known as Nature, Life and Love the more customary titles In Nature s Realm, Carnival and Othello came later. This triptych shows Dvořák s essential Romanticism in his adherence to the cult of Nature and his delight in celebrating his ethnic musical roots, and in similar musical language to that of the Eighth Symphony.

19 19 The first movement is in G major and marked Allegro con brio, but Dvořák disguises both speed and tonality by beginning with a slow-moving minor-mode melody in the cellos, richly doubled by horn, clarinet and bassoon. When the music makes it to the home key of G major it is with a chirping melody for the flute. In a breathtaking display of orchestration that ranges from translucent shimmering to the richness of divided violas and cellos, Dvořák elaborates his themes through an audacious series of key changes; the conventional recapitulation is here a shining G major chord with the flute melody now given to a more introspective cor anglais. The Adagio, in C minor, is often brightened with rapid, falling major scales like pealing bells, and has an impassioned central section. The scherzo begins with a lyrical G minor dance contrasting with a more buoyant G major trio and fast coda. The finale is a set of variations on the bright fanfare announced by the trumpet as the movement opens. What Brahms, of all people, failed to hear in this music is how the varying episodes, across the movements, are unified by pervasive rhythmic cells. The long-shortshort figure with which the work opens also dominates the slow movement s main theme. Groups of four repeated even notes crotchets or quavers appear at structural points; groups of triplets can appear as distant drum taps, or the opening gesture of an important melody (like that of the Adagio), and be transformed into the three-note up-beat of the third movement; the dotted rhythm of the third movement s trio is transmuted in the rhythm of the fourth movement s fanfare, and when that theme is stated by the orchestra its rising arpeggio reveals it to be related to the flute s theme from the first movement. This almost subliminal motivic manipulation gives coherence to some of Dvořák s most expansive and poetic music. Gordon Kerry 2013 WASO last performed this work on 11 & 12 June 2010, conducted by Richard Tognetti. IF YoU LIkE THIS work YoU MAY ALSo ENJoY BRUCKNER Symphony No.4 Romantic featured in Elgar s Cello Concerto Fri 1 & Sat 2 August Glossary Coda A concluding section added to the basic structure of a piece or movement to emphasise the sense of finality. Arpeggio A musical gesture in which the notes of a chord are spread, or played one after the other instead of simultaneously. It nearly always starts at the bottom of the chord.

20 20 POURING PURE GOLD FOR AN ENCORE The Perth Mint offers visitors a score of unique golden attractions and is proud to support the West Australian Symphony Orchestra. 310 Hay Street, East Perth WA. Open 7 days Telephone Placing People. The Placer Management Group are office support specialists in temporary and permanent placements. Like the West Australian Symphony Orchestra s brilliant musicians and staff, we help companies and candidates reach new heights of excellence and we re proud to officially sponsor the West Australian Symphony Orchestra.

21 21 Meet the Instrument The Tuba The tuba is the largest and lowest pitched member of the brass section, and a relatively new addition to the symphony orchestra. The lowest pitched tubas are the contrabass tubas, pitched in C (or Bb); the fundamental pitch of a C tuba is 32 Hz. Bass tubas are pitched in F (or Eb) a fourth above the contrabass tubas. The first tubas were most likely developed during the 1820s, when several makers in Europe were experimenting with the production of low-pitched valved brass instruments. By 1835 Wilhelm Wieprecht and the instrument maker J.G. Moritz had created an instrument patented as the Bass Tuba in F, which began to replace the ophicleide in bands and orchestras throughout Germany and later in Britain and France. The tuba started being used in orchestras at the beginning of the Romantic period, the first composers to write for it were Berlioz and Wagner. The modern tuba typically has five valves, which add tubing to the main tube of theinstrument, thus lowering its fundamental pitch. The mechanism of the valves may be piston or rotary, the choice of type depending on the preference of the performer. The fourth and fifth valves are used to provide alternative fingering possibilities to improve intonation, and are also used to reach into the low register of the instrument. The main tube of a C tuba is almost 5m long, and is conical throughout its length. The tubing is generally coiled so that it is positioned in the lap of the player while seated. However, in the case of the helicon and sousaphone it is a circular shape so that it may be wrapped around the body of the player while marching. Tubas with a forwardfacing recording bell were used in the early days of recorded music, but the tone quality of an upward-facing bell is more suitable for orchestral use. Works for solo tuba include concertos by Vaughan Williams and Gregson. Mahler often scored solo passages for tuba in his works, notably Symphony No.2 and Symphony No.6, and Strauss explored additional tone colours through use of a mute in Don Quixote and Ein Heldenleben. The tuba is also featured in Gershwin s An American in Paris and Holst s The Planets. Clare Krier Symphony Services International 2012 Range of pitches on a tuba: Key: 1 Bell 2 Valves 3 Mouthpiece 3 1 2

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23 23 waso Philanthropy Philanthropy Partner Annual Giving Philanthropy has the power to sustain, build and enrich our lives and WASO Patrons have been doing this for nearly ten years is the tenth year of WASO s Annual Giving program. Over that time, it has grown to become the foundation of WASO s Philanthropy program with donations from individuals becoming vital to the day-to-day running of your Orchestra. Join us in celebrating ten years of waso Annual Giving by helping raise $500,000. Philanthropy at WASO is so much more than giving to an organisation you love. It is joining in partnership with this wonderful Orchestra to continue sharing the joy of music throughout Western Australia. WASO Philanthropy helps to build a strong, vibrant Orchestra for this state that enriches lives and brings joy to many thousands of people. We are extremely proud to be supported by the many individuals who, each year, renew their gift to our Annual Giving campaign. To ensure we continue to achieve our vision to touch souls and enrich lives through music this year we aim to raise, for the first time, $500,000 through our Annual Giving campaign. We invite you to become a WASO Patron this year by making a donation to our Annual Giving campaign. To learn more please call Jane Clare on or clarej@waso.com.au. You can find out more on our website at waso.com.au under the Support tab. It is also quick and easy to log in and make a donation online by clicking the red Make a Donation button. All donations over $2 are fully tax deductible. waso in Rehearsal Two Friday 6 June, 10am, Perth Concert Hall Rossini s Stabat Mater The grand tradition of sacred music and Rossini s operatic genius come together in the Stabat Mater, combining heartfelt solemnity and devotion with theatrical drama. The music of Haydn and Puccini completes this sublime program. There will be a pre-rehearsal talk commencing at 9.30am. Tickets are $25 for Patrons & Friends ($30 for guests) and include a lovely morning tea with the musicians. Call the WASO Box Office to book on All proceeds support the Friends of WASO Scholarship. Rachelle Durkin, soprano

24 24 our Supporters Your attendance helps sustain the Orchestra and we thank you for your commitment. We are also very grateful to our corporate supporters who make a significant contribution to WASO, and of course for government funding which is critical. However, these three sources of income are simply not enough to cover the ongoing costs of the Orchestra and increasingly it is our Patrons that enable us to continue to achieve our vision to touch souls and enrich lives through music. There are many ways you can be involved and your support is deeply appreciated. Endowment Fund for the orchestra The Endowment fund includes major donations from individuals and bequests. The income earned is used for the benefit of the orchestra. Tom & Jean Arkley Janet Holmes à Court AC Estates waso is extremely grateful for the bequests received from the Estates of the following benefactors: Mrs Roslyn Warrick Symphony Circle Recognises Patrons who have made a provision in their will to the orchestra. Anita Clayton Judith Gedero Wolfgang Lehmkuhl Tosi Nottage (in memory Edgar Nottage) Judy Sienkiewicz Sheila Wileman Anonymous (16) The waso Song Book New works commissioned for the orchestra by waso. we gratefully acknowledge the support of the following individuals who have commissioned new music performed since Janet Holmes à Court AC Peter Dawson Geoff Stearn Anonymous (1) Reach out Recognises Patrons who support our Education and Community Engagement programs. Prue Ashurst Andrew & Nicola Forrest The James Galvin Foundation Robyn Glindemann Barrie & Jude Lepley McCusker Charitable Foundation Simon Lee Foundation Beethoven Circle waso acknowledges Patrons who are generously supporting our Beethoven Festival. Jean Arkley (in memory of Tom Arkley) Bob & Gay Branchi Janet Holmes à Court AC (in memory of her mother) Torsten & Mona Ketelsen Joshua & Pamela Pitt

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

26 26 our Supporters Michael Harding Shigeki & Hinako Hirano Michael & Liz Hollingdale Jim & Freda Irenic Cynthia Jee Lilian & Roger Jennings Anthony Kane & Jane Leahy-Kane Bill Kean Anthony & Noelle Keller Dorothy Kingston Dr Rob Kirk & Sarah Gallinagh Stephanie & John Kobelke Ulrich & Gloria Kunzmann Irving Lane Paul Lee Rosalind Lilley Graham & Muriel Mahony Gregg & Sue Marshman Jennifer & Arthur McComb Betty & Con Michael AO Vicki Mizen Hon Justice S R Moncrieff Jane & Jock Morrison Lynn Murray Val & Barry Neubecker Dr Phil & Erlene Noble John Overton The Family of Hilary Owens Michael & Lesley Page Athena Paton Associate Prof. Tim Pavy Alan Pedersen (in memory of Hilary Owens) Charmian Phillips (in memory of Colin Craft) Pamela Platt Andrew & Suzanne Poli Dr Leon Prindiville Chester Reeve John & Alison Rigg Nigel & Dr Heather Rogers Maurice & Gerry Rousset Roger Sandercock Dr R & J Schwenger Margaret & Roger Seares Eve Shannon-Cullity Julian & Noreen Sher Laurel & Ross Smith Dr Paul Smith & Denham Harry Gail & Tony Sutherland Richard Tarala & Lyn Beazley AO Gene Tilbrook Mary Townsend Dr Robert Turnbull Maggie Venerys Stan & Valerie Vicich Watering Concepts Joyce Westrip OAM Alan Whitham Jean & Ian Williams AO Dr Peter Winterton Anonymous (15) Tutti Patron Gifts $500 - $999 Geoff & Joan Airey Catherine Bagster Merle I Bardwell Betty Barker Bernard & Jackie Barnwell Shirley Barraclough P M Bennet Michael & Nadia Berkeley-Hill Diane & Ron Bowyer Elizabeth & James Brown C & K Brownlie Marilyn & Ian Burton Nanette Carnachan Claire Chambers and Dr Andrea Shoebridge Dr Anne Chester Lyn & Harvey Coates AO Agatha & Alex Cohen AO Helen Cook Brian Cresswell Gina & Neil Davidson Frances Davies Lesley & Peter Davies Jop & Hanneke Delfos Rai & Erika Dolinschek Lorraine Ellard Mrs G. Ewen The Farghaly Family Annette Finn Joan Gagliardi George Gavranic Elaine Gimson Isobel Glencross Jacqui Grove Pauline & Peter Handford Douglas M & Regina Hansen Prof Alan Harvey & Dr Paulien de Boer Richard Hatch Dr Penny Herbert (in memory of Dunstan Herbert) Helen Hollingshead John Isherwood B. M. Kent In memory of Dr Brenton Knott

27 27 our Supporters Trevor & Ane Marie Lacy George Lipton Megan Lowe Dr M. E. MacDonald & Mr Michael Pauly Mrs Carolyn Milton-Smith (in loving memory of Emeritus Prof. John Milton-Smith) S.B. Monger-Hay Dr Peter Moss Marianne Nilsson Marjan Oxley Graham & Hildegarde Pennefather Bev Penny Adrian & Ruth Phelps Alpha & Richard Pilpel OAM Sheila Pinch Thomas & Diana Potter Alison & John Price Clarissa Repton James & Nicola Ridsdill-Smith Judith E Shaw Hendrick Smit Michael Snell & Vicki Stewart Peggy & Tom Stacy Dr Julian Todres S R Vogt Adrienne & Max Walters Diana Warnock Anne Watson Joy Wearne Dr Chris & Mrs Vimala Whitaker Ann Whyntie Violette William Janet Williams Judith Wilton & David Turner Patricia Wong Yalambi Farm Stud Anonymous (14) Friends Gifts $40 - $499 Thank you to all our Friends who support WASO through their gift. If you are interested in becoming a Patron or learning more about waso Philanthropy please contact Jane Clare, Fundraising and Philanthropy officer, on or clarej@waso.com.au. WASO Philanthropy brochures are available from the WASO Programs & Information desk located in the main foyer of the Perth Concert Hall or you can visit waso.com.au. All donations over $2 are fully tax deductible.

28 28 west Australian Symphony orchestra Conductor Asher Fisch Partnered by Wesfarmers Arts Conductor Laureate Vladimir Verbitsky VIoLIN Semra Lee-Smith A/Associate Concertmaster Graham Pyatt A/Assistant Concertmaster Rebecca Glorie A/ 1st Violin Zak Rowntree A/ 2nd Violin Kylie Liang A/Assoc 2nd Violin Sarah Blackman Fleur Challen Erin Chen Stephanie Dean Beth Hebert Alexandra Isted Sunmi Jung Shaun Lee-Chen* Akiko Miyazawa Lucas O Brien Anna O Hagan Melanie Pearn Ken Peeler Louise Sandercock Jolanta Schenk Jane Serrangeli Ellie Shalley Jacek Slawomirski Bao Di Tang Cerys Tooby David Yeh VIoLA Paul McMillan Guest Kierstan Arkleysmith Nik Babic Alex Brogan Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey CELLo Rod McGrath Louise McKay Assoc Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver* Fotis Skordas Tim South Xiao Le Wu DoUBLE BASS Andrew Rootes* Joan Wright Assoc Christine Reitzenstein Louise Ross Andrew Tait Mark Tooby FLUTE Andrew Nicholson chair partnered by Apache Mary-Anne Blades Assoc PICCoLo Michael Waye oboe Elizabeth Chee Stephanie Nicholls CoR ANGLAIS Leanne Glover CLARINET Allan Meyer Lorna Cook BASS CLARINET Alexander Millier chair partnered by Alessandrino Property group BASSooN Jane Kircher-Lindner Adam Mikulicz Assoc Colin Forbes-Abrams CoNTRABASSooN Chloe Turner HoRN David Evans Robert Gladstones 3rd Julia Brooke Francesco Lo Surdo TRUMPET Brent Grapes A/ Evan Cromie Assoc Peter Miller TRoMBoNE Joshua Davis Liam O Malley Assoc BASS TRoMBoNE Philip Holdsworth TUBA Cameron Brook TIMPANI Alex Timcke PERCUSSIoN Robyn Gray Troy Greatz HARP Sarah Bowman ASSISTANT CoNDUCToR Christopher Dragon CHoRUS DIRECToR Christopher van Tuinen CHoRUS VoCAL CoACH Andrew Foote *Instruments used by these musicians are on loan from Janet Holmes à Court AC.

29 29 BoARD of DIRECToRS Janet Holmes à Court AC Chairman Bill Bloking Mark Coughlan Jeff Dowling Keith Kessell Barrie Lepley Deputy Chairman Anne Nolan Paul Shannon Julian Sher ExECUTIVE Craig Whitehead Chief Executive Ellen Wisdom Human Resources Manager Hannah North Executive Assistant ARTISTIC PLANNING Evan Kennea Executive Manager, Artistic Planning Maya Kraj-Krajewski Artist Liaison/Chorus Administrator Claire Stokes Program Manager Alan Tyrrell Program Manager CoMMUNITY ENGAGEMENT Cassandra Lake Community Engagement Manager Hannah Clemen Education Coordinator orchestral MANAGEMENT Keith McGowan Executive Manager, Orchestral Management Richie Burton Orchestral Operations Manager David Cotgreave Production & Technical Manager Alistair Cox Orchestra Manager Wee Ming Khoo Music Librarian Noel Rhind Orchestral Operations Coordinator BUSINESS SERVICES Peter Freemantle Chief Financial Officer Andrew Chew Systems Administrator Angela Miller Accountant Svetlana Williams Payroll Officer Sushila Bhudia Accounts Officer CoRPoRATE DEVELoPMENT Simon Lodge Executive Manager, Corporate Development Sharmini Poulsen Corporate Partnerships Manager Luci Steinhardt Corporate Partnerships Executive Holly Norman Events Coordinator PHILANTHRoPY Alecia Benzie Executive Manager, Philanthropy Josie Aitchison Customer Service & Philanthropy Coordinator Jane Clare Fundraising & Philanthropy Officer MARkETING Kelli Carnachan Executive Manager, Marketing Kirsty Chisholm Digital Marketing Coordinator Nancy Hackett Marketing Manager Gina Beers Graphic Designer Marc Missiaen Relationship Marketing Manager Paula Schibeci Public Relations Manager Annie Loo Marketing Assistant Sava Papos Customer Service Manager Josie Aitchison Customer Service & Philanthropy Coordinator Beverley Trolio Customer Service Coordinator Alana Arnold Margaret Daws Vicki Prince Debbie Silvester Robyn Westbrook Customer Service Officers Perth Concert Hall AEG ogden (Perth) Pty Ltd Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues. Andrew Bolt General Manager Helen Stewart Deputy General Manager Peter Robins Technical Manager Paul Richardson Assistant Technical Manager Penelope Briffa Event Coordinator AEG ogden (Perth) Pty Ltd Rodney M Phillips Chief Executive The Perth Theatre Trust The Hon. Mr Peter Blaxell Chairman WASO programs are printed by Pilpel Print who are proud to be Green Stamp Accredited. This certification acknowledges Pilpel Print s commitment to minimising environmental impacts associated with producing printed material. All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing from the publisher. Whilst every effort has been made to ensure the accuracy of statements in this publication we cannot accept responsibility for errors or omissions, or for matters arising from clerical or printers error. Every effort has been made to secure permission for copyright material prior to printing. Please address all correspondence to the Executive Manager, Marketing, West Australian Symphony Orchestra, PO Box 3041, East Perth. WA waso@waso.com.au

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

31 Corporate Partners PLATINUM PARTNERS CoNCERTo PARTNERS overture PARTNERS SoNATA PARTNERS EDUCATIoN PARTNERS School of Music Tertiary Education Partner keynote PARTNERS orchestra SUPPoRTERS MARGARET RIVER wine PARTNERS Aravina Estate, Edwards Wines, Howard Park Wines, Leeuwin Estate, Moss Wood, Pierro Margaret River Vineyards, Vasse Felix. MEDIA PARTNERS FUNDING PARTNERS The West Australian Symphony Orchestra is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

32 A first-rate artist of real musical command, vitality, brilliance and intensity Chicago Tribune Packed with jazz, dance and Latin rhythms! Fri 4 & Sat 5 April 7.30pm Perth Concert Hall CoPLAND Appalachian Spring BARBER Violin Concerto BERNSTEIN West Side Story Symphonic Dances GERSHwIN An American in Paris Benjamin Northey conductor karen Gomyo violin (pictured) Book Now Tickets from $30 * Call quoting 1086 Visit waso.com.au or ticketek.com.au Karen Gomyo appears courtesy of Mitsui E&P Australia Pty Ltd. *Transaction fees may apply.