NEWSLETTER FOR THE SUBSCRIBERS, PATRONS & FRIENDS OF THE WEST AUSTRALIAN SYMPHONY ORCHESTRA

Transcription

1 SPECIAL EDITION illuminating notes AUG 14 NEWSLETTER FOR THE SUBSCRIBERS, PATRONS & FRIENDS OF THE WEST AUSTRALIAN SYMPHONY ORCHESTRA Beethoven and Us For some of the most wonderful composers, there is a body of work which runs through their creative lives, providing a sort of barometer to their development. For Mozart, Tchaikovsky and Britten it's the operas; for Haydn, Shostakovich and Vaughan Williams it's the symphonies. Some composers don't have such a reference point, as their focus changed through their careers. Bach, Handel, Cherubini, Brahms and Stravinsky are good examples. Beethoven is, in some ways, an example of both. In the so-called three periods of his life, his major means of expressing his most radical ideas changed. In the early years it was in the piano sonatas, while in the middle years it was in the symphonies. And it was in the late string quartets that his most personal utterances came in the years before his death. Despite this, the symphonies remain a constant throughout his life; they provide a remarkable glimpse of the journey he underwent in about 25 years. The first two symphonies come from the early period, while the third to eighth symphonies come from the middle years. The Ninth Symphony - with the Missa Solmenis and the late sonatas and quartets - is one of the fruits of his last period. Being able to experience this journey in a cyclic presentation of all the symphonies is one of life's great musical experiences. We can marvel at the precocious talent of the first two symphonies developing into the shatteringly powerful statements of the Seventh and Ninth, and ask ourselves what might have happened had he stopped writing symphonies after the enigmatic Eighth! Beethoven's symphonies grew out of the late symphonies of Mozart and Haydn. Those two masters took the symphony far from the light diversions of the early 18th century symphonies. Beethoven continued the journey with a series of firsts: the Third Symphony shattered all preconceptions about what a symphony could be. The Fourth and Eighth pushed orchestral musicians to the edge in terms of technical virtuosity. The Fifth introduced piccolo, contrabassoon and trombones to the symphony. It also showed what the symphony could achieve even when the melodic raw material was limited to a mere four notes. The Sixth created the idea of the program symphony (an idea taken even further by Berlioz). The Seventh explores an obsession with rhythm, and an obsession with harmony which moves constantly by thirds rather than fifths. And the Ninth perhaps destroyed the classical symphony in one sense, by adding voices and real words to what had hitherto always been an abstract narrative. But in destroying the old, Beethoven always created the new. The symphony was never the same after that. These are just a few ideas I'll be discussing in my talk Beethoven and You. I want to focus on what's great and unique about the Beethoven symphonies but I also want to get under the surface and explore what Beethoven can do to you... if you let him. Graham Abbott ABC Classic FM presenter

2 Why Beethoven? And why now? When Asher Fisch and I started nearly two years ago to plan the 2014 season, and in particular his own concerts, we often found that our conversations boiled down to a few simple questions: What, Why and When? Broadly speaking, we were asking of each other what repertoire should we play, why that repertoire, and when in the season should we perform it. These three simple questions helped shape concert programs designed to support Asher's vision for WASO: to give the orchestra a distinctive playing style, to further improve performance standards and to engage and inspire our audience. There was one crucial additional question we asked ourselves: how can we "turbocharge" that vision? What repertoire, what special project will inspire and challenge our Orchestra and help Asher to forge a distinctive playing style? What project will inspire and engage our audience in a way they hadn't previously experienced? What project will inspire, engage and indeed challenge the company as a whole? And the answer to that question was the Beethoven Festival. Why Beethoven? Because Beethoven's symphonies are arguably the very core of the orchestral repertoire and because Beethoven paved the way for so much of the wonderful orchestral music of the mid to late 19th century - music that now forms the cornerstone of so many concert programs. In addition there are a few immensely practical reasons. Beethoven wrote nine symphonies of reasonably moderate length, which allows them to all be performed over a quite short period of time. Try doing that with Mozart's fourty-one symphonies or Mahler's gigantic nine (or ten or eleven, depending on which works you count as symphonies!). There is a great stylistic development from Beethoven's first to his last symphony, so the journey through all nine is a hugely rewarding and entertaining one for conductor, orchestra and audience. For the Orchestra, three weeks of working intensely with their Principal Conductor on this wonderful music will be a great way to learn more about the stylistic and interpretative ideals of a conductor steeped in the core Germanic repertoire. For Asher, it's a tremendous opportunity to impart his knowledge quickly and in great depth. For the audience, as Graham Abbott says on the front page, being able to experience this symphonic journey is one of life's great musical experiences. Witnessing the stamina required to perform all nine symphonies will give the audience an enhanced appreciation of the virtuosity and physical demands needed to perform even one of these mighty works. And why now? Beethoven Symphony cycles are often directed by conductors coming to the end of their tenure with an orchestra, recipients of a kind of "thank you" present from the organisation for years of service and endeavour. WASO presents its Beethoven Festival for very different reasons. We have an orchestra playing better than ever and ready for a challenge, a superb Principal Conductor with a bold vision, a company dedicated to supporting that vision and a loyal and enthusiastic audience who we believe are eager to join us on that journey. To quote Gough Whitlam's 1972 election campaign theme, the simple answer is "It's Time!" It may not be a very subtle or nuanced answer, but it's the right one. Evan Kennea Executive Manager, Artistic Planning Beethoven Circle WASO proudly acknowledges Beethoven Circle Patrons who are generously supporting our Beethoven Festival. Jean Arkley in memory of Tom Arkley Bob & Gay Branchi Janet Holmes à Court AC in memory of her mother Torsten & Mona Ketelsen Tony & Gwenyth Lennon Joshua & Pamela Pitt For more information please contact Alecia Benzie, Executive Manager, Philanthropy on or benziea@waso.com.au. 2

3 Why do you love the music of Beethoven? Beethoven s symphonies are, to me, an intriguing puzzle of cause and effect. They have elements of his Viennese classical past and elements of a more Germanic romantic future. Did these symphonies cause this transition to German romanticism, or were they affected by the rising currents, as much in literature and art, that whirled around Beethoven at this time? If we see Beethoven as a romantic symphonist, how do we account for the Eighth Symphony? If he s still primarily a classicist, why is it that his Ninth Symphony is structurally, tonally, and in orchestration well in advance of the works of contemporaries of successors such as Schubert and Schumann? It s these constant enigmas of Beethoven s music that so fascinate me. Professor Margaret Seares AO, pre-concert speaker The symphonies are amongst the pinnacles of classical composition. Listening to them is meditation in hyperdrive mode. Steve Davislim, tenor For me, the power of Beethoven's music has an earthy honesty that totally lacks any pretence. Andrew Rootes, Principal Bass I love Beethoven's music because, no matter how many times I play it or listen to it, it never sounds tired. I always hear something new and at the end I feel exhilarated. Joan Wright, Associate Principal Bass The harmonic and rhythmic intensity with which Beethoven invests his music allows us to explore our own human emotions and passions at their most profound. Dr John Shepherd, pre-concert speaker What is your favourite Beethoven symphony or movement? The hardest choice. The symphonic movement that gets me every time is the slow second movement of the Seventh Symphony. Haunting and measured it seems tragic, inevitable and celebratory at the same time an impossible task it would seem! Christopher van Tuinen, WASO Chorus Director I think my all-time favourite Beethoven movement is the finale to his Ninth Symphony. The sheer uplifting glory and beauty of this music never ceases to deeply affect me. Leanne Glover, Principal Cor Anglais I know everybody puts the Ninth on their desert island list but for me the Fifth has a special place in my heart. How this guy did so much with a four note theme just blows my mind! Without a doubt, being an old horn player from way back, the opening of the third movement is a winner. James Clayton, bass I have always loved the Third Symphony, the Eroica, the best. In part this is because I received a recording, with Sir Adrian Boult conducting, as a Christmas present when I was in Year 9 at school. I treasured that recording even though I purchased other versions of the work as I grew older. A favourite was Leonard Bernstein's recording with the New York Philharmonic Orchestra. In a later re-recording, Bernstein's lecture on the Eroica was included, which imparts not only the extreme wisdom of his observations, but also inspires the listener with his profound enthusiasm for the symphony. For me, when I used to listen to the first recording of the Eroica I owned, I wished the second movement would end so that I could get on to the more interesting scherzo and final movement; however, today I love to immerse myself in the second movement which I consider to be Beethoven's best second movement of all the symphonies. Alan Dodge AM, host It s so difficult to choose! I love his piano sonatas, late string quartets and his Violin Concerto is my favourite in the genre. The first movement of his Eroica Symphony was the very first one I fell in love with because of its sheer optimism. Although, when I listen to all nine symphonies in a row, it would have to be the last movement of his last symphony. As we travel across this astonishing arc from No.1 through to the finale of the last symphony, only a visionary could have created a climax such as this outpouring of ecstasy with the human voice thrilling! Fiona Campbell, mezzo soprano What is it about Beethoven that makes him so special? I was at a performance of Beethoven s Ninth symphony recently and I found myself still learning from it: things such as orchestration, momentum and timing. I then imagined what modern music might sound like if he had not been born. Of course, there are several composers whose impact on music history has been profound. However, if Beethoven had not been born, it would have directly impacted on the music of Wagner in particular, but also Brahms, Mahler and Strauss. So the great dissolving of tonal harmony that occurred at the end of the 19th century would have been completely different. James Ledger, composer For me, Beethoven is so special because he communicates on so many levels in so many ways to so many different people. Rod McGrath, Principal Cello 3

4 Beethoven is born in Bonn, Germany. Beethoven has music published for the first time a set of keyboard variations. The French Revolution begins. Beethoven proposes to Magdalena Willmann, but she refuses him. Premiere of Symphony No.1 in Vienna on 2 April. Beethoven writes a letter to his brothers Carl and Johann while in Heiligenstadt, explaining his despair and suicidal thoughts prompted by his increasing deafness. This came to be known as the 'Heiligenstadt Testament'. Napoleon is proclaimed Emperor and Beethoven tears up the front page of the Eroica, which was dedicated to him. Beethoven begins a relationship with the young widow, Josephine von Brunsvik. Composition of Symphony No.4. Composition of Symphony No.6 Pastoral. After much delay, Beethoven's benefit concert at the Theater ander Wien, Vienna, is held 22 December, including the premieres of Symphony No.5 and Symphony No.6 Pastoral. Josephine von Brunsvik leaves Vienna and enters her second marriage. Composition of Symphony No.8. Beethoven writes a passionate letter to an un-named woman on 6 and 7 July speculated to be Antonie Brentano who he refers to as the immortal beloved'. He had had a brief love affair with the married woman just days earlier. Premiere of Symphony No.8 in Vienna on 27 February. The Congress of Vienna took place from September to June of 1815 with the objective to provide a long-term peace for Europe by settling critical issues from the French Revolutionary Wars and the Napoleonic Wars. Beethoven wins sole custody of Karl. Napoleon dies. Premiere of Symphony No.9 in Vienna on 7 May, along with three parts of Missa Solemnis. 4 Beethoven dies on 26 March in Vienna, Austria, at the age of Beethoven's first known public performance, in Cologne, on 26 March. Beethoven travels to Vienna and meets Mozart who agrees to teach him, but returns to Bonn on hearing that his mother is dying of consumption. Beethoven returns to Vienna and begins studying with Haydn. Mozart died the previous year. Beethoven starts working on Symphony No.1. The French Revolution comes to an end. Beethoven writes of his deafness for the first time in a letter to a friend, describing difficulties in professional and social situations. He falls in love with his pupil, 17-year-old Countess Giulietta Guicciardi, and dedicates his Piano Sonata No.14 (the Moonlight Sonata ) to her. He starts working on Symphony No.2. Premiere of Symphony No.2 in Vienna on 5 April. Composition of Symphony No.3 Eroica. Premiere of Symphony No.3 Eroica in Vienna on 7 April. Premiere of Symphony No.4 in Vienna in March. Beethoven starts working on Symphony No.5. Austria declares war on France Beethoven starts working on Symphony No.7. Premiere of Piano Concerto No.5 Emperor in November. Premiere of Symphony No.7 in Vienna on 8 December. Wellington defeated the French in Spain, inspiring Beethoven to write the Battle Symphony (Op.91). Beethoven's brother, Caspar, dies and Beethoven begins a legal battle to win sole custody of his nephew Karl. Beethoven becomes completely deaf and starts using his conversation books to communicate with other people. The Congress of Aix-la-Chapelle takes place, in which the European powers agree to withdraw their armies occupying France. Beethoven starts working on Symphony No.9. Beethoven writes what are to be his last string quartets; his last major completed compositions. His nephew, Karl, attempts to commit suicide.

5 Philanthropy A generous donation gives WASO a new tuba Clockwise from top: Cameron Brook (Principal Tuba); Dr Andrew Marsden & Cameron Brook; Rudy Meinl. Nik Babic Many thanks to everyone who made a donation to last year s Celeste and Brass Campaign. WASO has now purchased a set of five German trombones to be used in much of Principal Conductor Asher Fisch s core repertoire. To complement these new instruments, and thanks to a generous donation from Dr Andrew Marsden, WASO now also has a traditional German rotary valve F tuba. You may have read in the most recent edition of Illuminating Notes that Andrew donated a German contrabass trombone in memory of his late wife Dr Jane Talbot, and we are very fortunate and grateful that Andrew has extended his generosity to the brass section once again. Andrew is a self-taught E-flat tuba player. He started playing the instrument after the bandmaster of his daughter s children s band discovered that Andrew could read music and approached him, saying they could do with a tuba! He played with the Bull Creek children s band on Saturday mornings and then progressed to the senior band with whom he played from 1987 to Andrew had the opportunity to meet and play the new instrument on stage at the Perth Concert Hall, coincidentally on International Tuba Day, and describes it as an extraordinary instrument a stunning piece of kit. Principal Tuba Cameron Brook spoke to us about how he chose the new tuba for WASO. Some of the best German rotary valve F tubas are made by Rudolf Meinl, a small artisan firm that marries the best of traditional handcraft and experience with computer test equipment to refine and develop their instruments. Rudy Meinl Jr is the fourth generation of master craftsmen in the family and they are based in Diespeck, a small village about 40 kilometers north west of Nuremberg. In February I attended the International Orchestras Conference in Oslo and on the way there I had the opportunity to visit the Rudy Meinl factory and choose the new tuba for WASO. The tuba model is officially RM 1 F 41 5 Sb, with 5 rotary valves and a 41cm bell - more commonly known in tuba speak as a Rudy Meinl 4/4 F tuba. I was staying east of Zurich with my friend and colleague in the St Gallen Orchestra, Karl Schimke (who also has a Rudy Meinl 4/4 F tuba), so on the morning of Thursday 20 February we put his tuba in the car and left for the three and a half hour trip on the autobahn to Bavaria. We arrived in Diespeck at about 11am and walking into the factory saw a tuba held together with tape and twisted wire, standing alongside another tuba body. Rudy had made one valve section, along with two different lead-pipes, two different bodies and an additional set of fourth valve tubing with a slightly smaller bore. As you can see in the photo, everything was held together in a manner to allow for substitution of parts. We went straight into testing the various options for the new F tuba. Immediately it was apparent that this is an excellent instrument and it didn t take long to choose the best lead-pipe. Rudy wouldn t tell me the difference between the two lead-pipes until I d selected one, and it was interesting to learn that a small change to the taper (about 0.25mm at the mid-point) made such a noticeable difference to the response. Once the choices of lead-pipe and valves were made, we moved on to sorting out the ergonomics. I chose the optimum height of the lead-pipe for me - a bit higher than the usual location, and we spent quite a long time adjusting the layout of the fifth valve paddle and its pivot point. Small adjustments of a few millimeters have a big impact on the ergonomics for the player and fitting the revised fifth valve lever made it possible to find the best location for mounting the thumb ring, so now the tuba is an excellent fit for me. I was very fortunate to have Karl there, both as another set of ears and also as an experienced player of the identical model of tuba. His understanding of the instruments made it easier to communicate (in German) the details of feedback in conversations with Rudy and he was very generous in arranging his schedule to drive 330 kilometres each way. As you can see, this was a great opportunity to do much more than choose an existing instrument from a shop - we were able to have a custom-made instrument at no extra cost. I really enjoyed the experience and truly appreciate the opportunity to have such a great instrument for use in WASO. 5

6 Philanthropy Annual Giving This year is my first year with WASO as Principal Conductor and Artistic Adviser. I was delighted and honoured to accept this role. Your Orchestra, your West Australian Symphony Orchestra, is an excellent one. From my first encounter, I was taken by the high level of music making, personal excellence of the players and the hard work and the commitment in rehearsals and concerts. In my first year with WASO we are celebrating ten years of annual giving. Since 2005, individuals have been making donations to the Annual Giving Program and over time it has grown to become an extremely important source of income. Government funding no longer covers all our fixed costs, including musician salaries, and annual giving directly supports these ongoing costs. This year our goal is to raise $500,000 through annual giving and I am delighted to report that we are well on the way with $355,122 received to date. I am inviting you to join our community of supporters by making a donation to WASO. Every gift makes a difference. Yours Asher Fisch Principal Conductor and Artistic Adviser Asher Fisch appears courtesy of Wesfarmers Arts WASO is a charitable organisation that increasingly depends on the inspiring generosity of its Patrons to be at the cultural heart of Western Australia, presenting the finest orchestral music played by the world's leading artists. Annual donations underpin our ability to touch souls and enrich lives in all corners of the state. As we celebrate our tenth year of annual giving, it is an exciting time to be a part of our musical journey and we invite you to support WASO and help us raise $500,000 by making a donation. We are extremely proud to be supported by the following Patrons who have supported us since 2005: Fred & Margaret Affleck Sally Burton Brian Cresswell Gerty Ewen Annette Finn David & Valerie Gulland Janet Holmes à Court AC Patricia Kailis B M Kent Bryant Macfie Peter & Patricia Moss Jill Mulheron John Overton Heather Rogers Judith Sienkiewicz David Turner & Judith Wilton Andrew & Marie Yuncken We thank them for their invaluable ongoing support. We hope you are able to join us and celebrate ten years of annual giving with your Orchestra by making a donation. Our Patrons are invited to exclusive events, receive regular updates and have opportunities to get to know our musicians. James Campbell You can now give regular donations to WASO and support your Orchestra on an ongoing basis. Regular donations are simple and easy to set up, and every donation helps, no matter how big or small. Your chosen amount is automatically debited from your credit card and you can choose to give every month, 3 months, 6 months or annually. Your regular donation is secure and can be changed, paused or cancelled at any time. At the end of the financial year you will receive a receipt for your contributions. All donations over $2 are tax deductible. 6 To learn more please call Jane Clare on or clarej@waso.com.au. It is also quick and easy to log in and make a donation online by going to waso.com.au and clicking the red Make a Donation button.

7 On Stage with Asher Fisch Sagitte Yom-Tov The Sagitte Yom-Tov Fund A Gift of Love Sagitte Yom-Tov was an artist, musician, anthropologist, academic and philanthropist. Her paintings were eclectic; she played percussion and piano, having been a Perth Modern music scholarship student and later touring with the Mt Lawley High School Orchestra. She sang in the Novaquire, performed with the State s Girls Chorale at the Sydney Opera House, toured Germany with IVoci and loved performing as part of the WASO Chorus at Perth Concert Hall. Sagitte graduated from The University of Western Australia with honours in anthropology and worked in the area of cultural heritage. She studied for a post-graduate degree in Community Development. Sagitte was involved in helping those less fortunate through volunteering to teach literacy to adults, care for children with cancer, help at a hostel for the homeless and donating even when young with a modest income. Sagitte tragically passed away last year. Her parents, Carmela and Zvi have been seeking ways to remember Sagitte through generous gifts of love to celebrate, commemorate and remember their wonderful daughter s life. They have made several donations to organisations that Sagitte supported or in some way represented the life she led. They want to celebrate Sagitte s love of music and singing and have done this through a donation to the Orchestra s Endowment Fund. This is a fund where capital is invested (major gifts and estates) and income generated from this investment is used to fund ongoing costs at WASO. Where and when possible, the Sagitte Yom-Tov Fund earnings will be used to help fund Chorus activities. Asher Fisch was joined by a group of Patrons on stage at the Perth Concert Hall in June, giving them the opportunity to learn more about our new Principal Conductor. Maestro Fisch performed Sibelius beautiful piano work Valse Triste before talking to WASO Board member Mark Coughlan and taking questions from the audience. Mark then joined Asher at the piano for a surprise duet of Dvořák s Slavonic Dance Op.46 No.8 before the evening concluded with canapés and lovely Margaret River wines in the Wesfarmers Arts Lounge. To learn more about the Orchestra s Endowment Fund, please contact Alecia Benzie, Executive Manager, Philanthropy on or benziea@waso.com.au or visit waso.com.au. 7

8 Philanthropy Patrons & Friends Events We are delighted to present our calendar of events for Patrons & Friends for the rest of the year. All proceeds raised from Patrons & Friends events support the Friends of WASO Scholarship. To book these events please call the WASO Box Office on SEPTEMBER OCTOBER NOVEMBER NOVEMBER Meet the Chamber Ensemble Two Sunday 21 September, 2pm Fremantle Town Hall Brahms Clarinet Quintet Make an afternoon of it and chat to WASO musicians over a glass of wine after they perform Brahms heartwarming Clarinet Quintet in a stunning one-hour chamber concert. The concert starts at 2pm and tickets can be purchased for $42. Tickets for the post-concert event are $10 for Patrons & Friends ($15 for guests) and include a glass of wine and nibbles. WASO in Rehearsal Three Friday 17 October, 10am Perth Concert Hall Piers Lane Plays Liszt Come and see how an orchestral rehearsal is run and mingle informally with players over morning tea. Dazzling pianist Piers Lane returns with Liszt s rapturously virtuosic First Piano Concerto. 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. WASO in Rehearsal Four Friday 21 November, 10am Perth Concert Hall WASO at the Movies Get a behind the scenes insight into your Orchestra and mingle informally with players over morning tea. Take a walk down the red carpet and experience a spectacular showcase of the best film scores including Star Wars, The Mission, The Godfather, Casablanca and more. Tickets are $25 for Patrons & Friends ($30 for guests) and include a lovely morning tea with the musicians. Meet the Chamber Ensemble Three Sunday 30 November, 2pm Fremantle Town Hall Tchaikovsky s Serenade Celebrate the arrival of summer with WASO musicians after an exquisite one-hour chamber concert. The concert starts at 2pm and tickets can be purchased for $42. Tickets for the post-concert event are $10 for Patrons & Friends ($15 for guests) and include a glass of wine and nibbles. Piers Lane appears courtesy of Japan Australia LNG (MIMI) Pty Ltd. DECEMBER Annual Patrons & Friends Christmas Party Thursday 11 December, 4.30pm Perth Concert Hall Our Annual Patrons & Friends Christmas Party is always great fun and a lovely opportunity to celebrate a year of wonderful music together. Watch an hour of WASO's final rehearsal for 2014 s Symphony in the City and then join WASO musicians for a stand up light dinner and drinks. Tickets are $45 for Patrons & Friends and $55 for guests. 8 FEEDBACK We would like to hear what you think about Illuminating Notes. All feedback is welcome. Please send your comments to waso@waso.com.au with the words Illuminating Notes in the subject line.

9 Onslow Kids Music Education OK Me! Paul Tanner (pictured) and Mark Cain will teach WASO's new regional music education program in Onslow. In June WASO, in partnership with Chevron, launched a new music education program in the remote Pilbara town of Onslow. Onslow Kids Music Education (OK Me!) will provide free music lessons to every student in Kindergarten to Year 7 as well as deliver professional development opportunities to non-music specialist teachers at Onslow Primary School. Chevron has previously supported the Orchestra to visit Onslow and the broader Pilbara region through our annual WASO On The Road Tours since These tours have enabled us to enthusiastically reach new audiences by performing free school incursions, workshops and community concerts. As a significant extension of the Chevron partnership, this new music education program has been launched to meet a community need in Onslow and offer a music education program to the brighteyed kids at the school who have always warmly welcomed our small ensemble visits. The program will teach students new skills, bring them together to actively participate in music-making and creative play, encourage well-being and inspire the broader community to celebrate the efforts and talents of these young kids through performance opportunities both within the school environment and in community settings. Percussionists Paul Tanner and Mark Cain will teach a percussionbased program as well as work with the students to make their own instruments. It s going to be the best kind of education program - fun! The OK Me! two-year pilot program is a first for WASO and a new chapter in our commitment to music education. The program supports our efforts to directly assist a regional school to have an ongoing music education program, as well as support non-music specialist teachers to integrate music into their teaching program. Pre-Concert Talk Speakers Free pre-concert talks are held on the Terrace Level of the Perth Concert Hall at 6.45pm prior to every Classics and Masters concert. Morning Symphony pre-concert talks take place on the stage of the Perth Concert Hall at 9.40am prior to each concert. Beethoven s Fifth Fri 22 & Sun 24 August Pre-concert talk with James Ledger Beethoven s Eroica Sat 23 August Pre-concert talk with Professor Margaret Seares AO Beethoven s Pastoral Fri 29 August Pre-concert talk with Dr John Shepherd Beethoven s Ninth Sat 30 & Sun 31 August Pre-concert talk with Prue Ashurst Stephen Hough Plays Beethoven Fri 26 & Sat 27 September Pre-concert talk with Tim White Mozart s Clarinet Concerto Thu 9, Fri 10 & Sat 11 October Pre-concert talk with Ashley Smith Piers Lane Plays Liszt Fri 17 & Sat 18 October Pre-concert talk with Phil Robertson Romeo & Juliet / Sibelius Violin Concerto Thu 13, Fri 14 & Sat 15 November Pre-concert talk with Yvonne Frindle Handel s Messiah Fri 5 & Sat 6 December Pre-concert talk with Prue Ashurst Pre-concert Talks are supported by Wesfarmers Arts. Post-Concert Meet The Artist Following select concerts join guest artists in the terrace level foyer for an informal interview. Discover more about the music and gain an insight into the life of an artist. Sat 27 September Stephen Hough Plays Beethoven Post-concert interview with Stephen Hough Fri 10 & Sat 11 October Mozart s Clarinet Concerto Post-concert interview with Carl Vine & Michael Stern Meet the Artist is supported by Wesfarmers Arts. Post-Concert Conversations Join featured artists for free informal discussions following each concert to gain a greater insight into their experiences with the music of Beethoven. Fri 22 August Beethoven s Fifth Post-concert interview with ABC Classic FM s Graham Abbott & Asher Fisch (Principal Conductor) Sat 23 August Beethoven s Eroica Post-Concert interview with Evan Kennea, WASO executive Manager, Artistic Planning, Rod McGrath (Principal Cello) & Allan Meyer (Principal Clarinet) Sun 24 August Beethoven s Fifth Post-concert interview with Alan Dodge AM, Zak Rowntree (Principal Second Violin) and Joshua Davis (Principal Trombone) Fri 29 August Beethoven s Pastoral Post-concert interview with WASO Board Member Mark Coughlan, Joan Wright (Associate Principal Double Bass) and Alexander Millier (Principal Bass Clarinet) Post-Concert Meet The Musician Following select concerts join us in the Terrace Level Foyer for an informal interview with some of WASO's talented musicians. Sat 18 October Piers Lane Plays Liszt Post-concert interview with Michael Waye (Principal Piccolo) & Mary-Anne Blades (Associate Principal Flute) Meet the Musician is supported by Altegra Property Group. 9

10 Spotlight on Richard Kaufman Richard Kaufman WASO is thrilled to welcome back conductor and film music guru Richard Kaufman for WASO at the Movies in November, following his exciting performance of Pirates of the Caribbean: The Curse of the Black Pearl last year. Kaufman comes with a lifetime of experience in film and television music; he spent nine years as a violinist for LA film studios, three years as music supervisor at Fox Studios and 19 years at MGM. His incredibly successful career has been rewarded with two Emmy Awards and a Grammy Award to date. What inspired you to become a conductor? I began studying violin at age seven and played in my school orchestra as well as several other youth orchestras. I loved playing the violin, but quickly discovered a fascination and yearning to be able to work with all the instruments of the orchestra; and this meant conducting. I was so blessed to have extremely nurturing music teachers who allowed me to stand on the podium at such an early age, even though I really didn t have a clue what I was doing. Can you remember the film score that inspired you to work in film music? My parents were always exposing me to music of all kinds, especially the music of Broadway and motion pictures. The Oscar-winning music by Victor Young written for Around the World in 80 Days was my favourite. I memorised what the violins were doing and would play along with the recording. Whenever my parents would have friends to our home for dinner, I was asked to play my violin. And so rather than just playing alone, I would put on the recording of Around the World in 80 Days at a very high volume and would play along. My parents and their friends watched me playing, but all they could hear was the original recording. Of all the different music and film jobs that you have had over the years, what has been the strangest? I suppose the strangest and definitely one of the most interesting jobs I ve done in film is working with actors whose characters are supposed to be professional musicians. My job was to help them look like they had been playing or conducting music their entire lives. One of the assignments was working with Jack Nicholson on the film The Witches of Eastwick. I worked with Jack every day for three months so that he could look like he was playing the violin and piano. He worked extremely hard and in the end he really looked terrific during the music scenes, and we had a great time working together. Could you pick just a few of your favourite film scores or soundtracks? So you are really asking, which of your children do you like best? I ve been so incredibly blessed to work in film and television music for so many years so the list of the music that I love could go on forever. However, since you have asked so nicely, here is a short list that comes to mind: Around the World in 80 days (Victor Young); Sunset Boulevard (Franz Waxman); Friendly Persuasion (Dimitri Tiomkin); Forrest Gump (Alan Silvestri); Silverado (Bruce Broughton); Everything by Henry Mancini; and the amazing music created by John Williams. I have had a personal connection to John s work since, as a studio violinist, I had the great honour of playing on several of his scores including Jaws and Close Encounters of the Third Kind. How does an orchestra convey the emotions, actions, and scenes in film? The emotions conveyed in motion pictures are many, as are the colours of the orchestra. To be a great film music composer, one must not only be able to create melody and harmony, but (to quote the legendary film composer Elmer Bernstein), a film composer must, above all, be a great dramatist. Bringing film music into the concert hall is an exciting experience for both the audience and the musicians. If we close our eyes during a performance, the music can take our senses back to when we saw the actual film. In concert, the music can be experienced as it sounded on the scoring stage, with no sound effects to get in the way. And the older film scores that were recorded with ancient recording techniques and sound quality can now be heard in all their glory just the way the composer envisioned them. Film music is truly its own art form and the concert hall is the gallery in which this music lives! WASO at the Movies Fri 21 & Sat 22 November 8pm Perth Concert Hall To book go to waso.com.au or call Subscriber Benefits 10 Use your West Australian Symphony Orchestra subscriber card to receive some great discounts and special privileges from the following companies: ABC Shops Adelaide Symphony Orchestra Australian Chamber Orchestra Black Swan State Theatre Company Ellington Jazz Club Grace Removals Group Limelight Magazine Luna Palace Cinemas Melbourne Symphony Orchestra Musica Viva Perth Concert Hall Perth Theatre Company Public House Kitchen & Bar Queensland Symphony Orchestra Sydney Symphony Orchestra Tasmanian Symphony Orchestra West Australian Ballet West Australian Opera West Australian Youth Jazz Orchestra West Australian Youth Music Association

11 WASO Welcomes WASO is excited to welcome five new musicians to the Orchestra Elizabeth Chee (Associate Principal Oboe), Peter Facer (Principal Oboe), Brent Grapes (Principal Trumpet), Sharn McIver (Associate Principal Horn) and Teresa Vinci (Tutti Violin). Elizabeth Chee has held contract oboe and cor anglais positions with most of the Australian and New Zealand orchestras, and also the Malaysian Philharmonic Orchestra. She studied at the Sydney Conservatorium of Music with Alexandre Oguey, and also in Paris with Paris Conservatoire teacher, David Walter. Outside of music Elizabeth enjoys coffee, sparkling mineral water, markets, karaoke (especially Cher hits), swimming, dog walking and being a part of the local church community. Peter Facer wanted to be a musician from a very young age after seeing a violinist perform on a children s television program. He took up the violin but then switched to the oboe which he much preferred. Peter grew up in Hertfordshire and attended Girton College, Cambridge, graduating with a double first class degree. He began to focus on oboe playing, studying at the Royal Academy of Music in London. He then moved to Germany and studied at music conservatories in Hannover and Rostock. Brent Grapes was born in Perth and completed his Bachelor of Music at The University of Western Australia. In 2007, Brent was accepted into the Juilliard School in New York, and won first place in the Juilliard School Concerto Competition. Brent was appointed Principal Trumpet with the Auckland Philharmonia Orchestra in In 2013 Brent moved back to Perth and took up a position as Guest Principal Trumpet with WASO. He is also the Head of Brass at the West Australian Academy of Performing Arts. Sharn McIver was born in Emerald, Central Queensland and began playing trumpet at the age of 10. After completing two years of her Bachelor degree she fell in love with the French horn and made the switch in After completing her tertiary studies at the Queensland Conservatorium, Sharn attended the Australian National Academy of Music in Before moving to Perth she was on a contract as Associate Principal Horn with the Adelaide Symphony Orchestra. Teresa Vinci completed her Bachelor of Music (Performance) at UWA in 2010, studying under Shaun Lee-Chen. During this time she participated in the WASO Orchestral Training Program. For the past three years Teresa has freelanced around Perth with a variety of ensembles including WASO, the Perth Chamber Orchestra and the Fremantle Chamber Orchestra. Teresa also performs with local Hungarian folk band Hot Paprika. WASO News Rebecca Glorie (violin) and husband Peter welcomed twins Lucy and Laura into the world on 24 March. At 31 weeks they made an early appearance by emergency caesarean and spent six weeks in intensive care at King Edward Memorial Hospital and St John of God before going home. WASO and Water Corporation inspiring music students in the Great Southern region WASO and Water Corporation have enjoyed a longstanding and rewarding partnership. Recently Water Corporation supported WASO in delivering a series of innovative and successful musical programs for school children and families across the state, by way of the inaugural WASO on the Road tour to the Wheatbelt and Great Southern regions. Through musical programs such as the 4Arts Festival and Summer Family Concerts, a taste of brilliance usually reserved for Perth audiences was brought to the wider regional community. Coming up in August, WASO will be providing school students in the Great Southern region with an opportunity to see the final preparations for the Beethoven s Fifth concert (part of WASO s Beethoven Festival), which will be performed at the exciting new Albany Entertainment Centre. Schools from the region, including Waterwise schools, will be invited to attend a pre-concert talk by WASO s Education Coordinator. This will be followed by an audience with Principal Conductor, Asher Fisch. Students will also be able to observe WASO musicians alongside Maestro Fisch in work mode. And the informal pre-rehearsal talk will give students an insight into the works performed. By directly supporting WASO in presenting an Open Rehearsal at the Albany Entertainment Centre as part of the Beethoven Festival, Water Corporation is continuing to enrich people s lives across WA by connecting them to creativity, culture and community spirit. Beethoven s Fifth Open Rehearsal for schools will be taking place at Albany Entertainment Centre on Friday, 15 August

12 Students from Palmyra Primary School enjoy Danny Parker's animated explanation with Matt Ottley and WASO musicians looking on. The Sound of Picture Books In May 2014 WASO embarked on an exciting new partnership with The Literature Centre. Titled The Sound of Picture Books, this was the pilot of what is planned to be an annual series of workshops and performances combining literature, visual arts and music. The inspiration for this project sprang from a long-term partnership between The Literature Centre and illustrator, author and composer Matt Ottley, who created the music and illustrations for Tree, the book featured in this year s presentations. The author, Danny Parker, is an experienced drama teacher and workshop facilitator, and between these two artists and The Literature Centre grew the concept for a series of workshop presentations for school children that combine all of these art forms. WASO joined in the brainstorming soon after, and by late 2013 The Sound of Picture Books was beginning to take shape as a fully-fledged collaboration. These workshops are designed to give students insight into the creative processes of writing, painting and composing, and how these art forms can be combined to express complex and powerful themes. Following an initial performance of the work in which Danny narrated the text to a live performance of the music and screening of images from the book, Matt led students through some of his own creative methods. By both explaining and demonstrating he discussed with students how the shape, movement, light and colour in visual themes can inspire musical ideas. Throughout the workshops Danny also explained some of his methods of creative writing in picture books, and for the younger students some elements of physical theatre. During the workshops students also had the opportunity to hear explanations and demonstrations by all the musicians about their instruments. The music for Tree was written for string quintet and piano and was played by WASO musicians Louise Sandercock, Sara Duhig, Rachael Kirk, Melinda Gourlay and Libby Browning. The piano was played by Yamaha Music representative Alf Demasi. Over the four days there were 11 sold out workshops that catered for students from Kindergarten to Year 12, with a total attendance of more than 1,000. With such a successful start to the collaboration, The Sound of Picture Books is set to return with a new book in 2015 as part of WASO s Education Week, with an additional aim to tour the program to regional centres. This publication is printed using green energy onto paper stock which is elemental chlorine free and manufactured from pulp sourced from sustainable, well managed forests. Both paper manufacturer and printer are approved to the highest environmental standards. 445 Hay Street, Perth WA 6000 Postal: PO Box 3041, East Perth, WA 6892 Telephone: Facsimile: waso.com.au facebook.com/westaustraliansymphonyorchestra twitter.com/_waso_