PROGRAM. MORNING SYMPHONY SERIES Thursday 2 July 11am. MACA LIMITED CLASSICS SERIES Friday 3 & Saturday 4 July 7.30pm Perth Concert Hall

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1 PROGRAM MORNING SYMPHONY SERIES Thursday 2 July 11am MACA LIMITED CLASSICS SERIES Friday 3 & Saturday 4 July 7.30pm Perth Concert Hall

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3 3 Welcome Tonight we welcome back to WASO our Conductor Laureate Vladimir Verbitsky to conduct a program of music that is filled with drama and passion and that holds a special place in his heart and his homeland. Throughout his short life time Kalinnikov created some real masterpieces and his First Symphony takes a very special position among them. His amazing melodic talent and outstanding mastery of composition is embodied in this rarely performed symphony. It is very easy to hear the influences of other great Russian composers Tchaikovsky and Rachmaninov who both supported the young composer. The central works in tonight s concert both feature the cello and WASO s own Cellist, Rod McGrath. Written in only two movements Saint-Saëns Second Cello Concerto makes strenuous demands on the soloist s virtuosity, especially in the fiendishly difficult cadenza and finale. While the concerto is filled with musical energy for the soloist and the orchestra, Rachmaninov s Vocalise explores the deep and melancholic capabilities of the cello. Following this weekend s performances Rod McGrath will be joining the Australian World Orchestra in Sydney after being personally invited by esteemed conductor Sir Simon Rattle to lead the cello section in their next performances. Our Classics Series concerts open with Tchaikovsky s symphonic interpretation of the tragic tale of Francesca da Rimini, a beauty who was immortalised in Dante s epic poem Divine Comedy. Tchaikovsky knows how to set a romantic tale to music better than most and this work is filled with sweeping melodies and passion that inevitably ends in a dramatic and chilling conclusion. Alan Tyrrell Program Manager

4 4 Morning symphony SERIES THE ROMANTIC CELLO SAINT-SAENS Cello Concerto No.2 (17 mins) Allegro moderato e maestoso Andante sostenuto (Le double plus lent) Allegro non troppo Cadenza Mouvement du premier morceau KALINNIKOV Symphony No.1 (35 mins) Allegro moderato Andante commodamente Scherzo: Allegro non troppo Moderato assai Finale: Allegro moderato Vladimir Verbitsky conductor Rod McGrath cello Pre-concert Talk Find out more about the music in the concert with this week s speaker, Alan Lourens. The pre-concert talk takes place at 9.40am in the auditorium. The Pre-concert Talk is supported by Wesfarmers Arts

5 5 MACA LIMITED CLASSICS SERIES THE ROMANTIC CELLO TCHAIKOVSKY Francesca da Rimini (24 mins) SAINT-SAENS Cello Concerto No.2 (17 mins) Allegro moderato e maestoso Andante sostenuto (Le double plus lent) Allegro non troppo Cadenza Mouvement du premier morceau RACHMANINOV Vocalise (6 mins) Interval (25 mins) KALINNIKOV Symphony No.1 (35 mins) Allegro moderato Andante commodamente Scherzo: Allegro non troppo Moderato assai Finale: Allegro moderato Vladimir Verbitsky conductor Rod McGrath cello Pre-concert Talk Find out more about the music in the concert with this week s speaker, Alan Lourens. Pre-concert Talks take place at 6.45pm in the Terrace Level Foyer. The Pre-concert Talks are supported by Wesfarmers Arts

6 UPCOMING CONCERTS Josh Pyke with Waso Fri 24 July 8pm Perth Concert Hall ARIA Award-winning singer/songwriter Josh Pyke joins forces with WASO for one night only. Described as a modern-day storyteller, Josh Pyke s unique and intelligent lyrics weave warm melodies that place him in a league of his own. Don t miss this chance to hear hits like Leeward Side, The Lighthouse Song and Middle of the Hill like you ve never heard before. Tickets from $50* MACA LIMITED CLASSICS SERIES Diana Doherty Plays Mozart Fri 31 Jul & Sat 1 Aug 7.30pm Perth Concert Hall Australia s favourite oboist, Diana Doherty, joins WASO to perform Mozart s enchanting Oboe Concerto, followed by Elgar s majestic final symphony. HAYDN Symphony No.22 The Philosopher MOZART Oboe Concerto in C Major ELGAR elab. ANTHONY PAYNE Symphony No.3 Nicholas Carter conductor Diana Doherty oboe (pictured) Tickets from $30* Photo by Klaus Lefebvre ALCOHOL.THINK AGAIN MASTERS SERIES Simone Young Conducts Fauré s Requiem Fri 7 & Sat 8 August 7.30pm Perth Concert Hall Fauré s intimate and consoling choral masterpiece is the finale of this program of sublime French music. Conductor Simone Young s superb musicianship will make this an evening to remember. FAURE Pavane POULENC Les Animaux modèles Suite FAURE Requiem Simone Young conductor (pictured) Siobhan Stagg soprano Douglas McNicol baritone WASO Chorus Simone Young appears courtesy of Lepley Properties Tickets from $45* Book Now Call visit waso.com.au or ticketek.com.au *Transaction fees may apply.

7 7 WASO IN THE COMMUNITY Inspiring Kwinana Students Through Music As the new school year started, so did WASO s El Sistema-inspired Music Education program. After a successful 8-week pilot program in three Kwinana primary schools in Term 4, 2014, WASO has begun its first full year of teaching, introducing a new group of Pre-Primary students and welcoming back the Year 1 students. With nearly 200 students participating from Medina Primary School, North Parmelia Primary School and Kwinana Christian School there is already a lot of excitement from students, teachers and parents. Vocal lessons are held once a week at the schools with two WASO Teaching Artists who teach students music basics such as tempo (fast and slow) and pitch (high and low) through a variety of songs and movement games. And as Kwinana is quite culturally diverse the songs are often in the different languages spoken by students. Open Rehearsals WASO Education will share three very special Open Rehearsals with students this year, all featuring world-class artists performing as part of the Masters and Classics programs. Open Rehearsals are a unique opportunity for school students to see the Orchestra in work-mode as they place the final touches to the concert program. An informal preconcert talk with one of WASO s musicians gives students an insiders view into the program being rehearsed, and what life on-stage is all about. The opportunity to see WASO behind the scenes working with incredible artists and conductors, including Conductor Asher Fisch with Mischa Maisky and Ingrid Fliter and visiting conductor Nicholas Carter with Diana Doherty, is one that is not only inspirational, but brings the music and the musicians to life.

8 8 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. 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 broadcast at 1pm on Saturday 11 July on ABC Classic FM. For further details visit abc.net.au/classic

9 9 Perth Concert Hall Did you know Since Perth Concert Hall opened its doors on Australia Day, 1973, the venue has hosted thousands of concerts and events and welcomed hundreds of thousands of visitors. But even if you have been to Perth Concert Hall numerous times, you might not know these interesting facts: The land on which Perth Concert Hall is now situated used to be part of the Government domain, and was used as a vegetable garden and site of old stables. Perth Concert Hall was designed by Howlett and Bailey Architects, who had also designed Council House ten years earlier. An acoustics consultant, Dr. Harold Marshall, used a computer in a remarkable study to predict before the hall was built, how well people will hear in every one of the seats. In the early 1970s, the use of a computer for such a purpose was indeed remarkable! White concrete was specially imported from Japan to be used in the majority of exposed surfaces of the building. The concrete was given a timber-grain effect using New Zealand Oregon timber. The white concrete was similar to traditional building materials like sandstone and limestone in that it achieved comparable qualities of light and shadow. The wildflower mural, still on display in the ground floor foyer, and just temporarily covered for WASO s Community Support Month, was created by Melbourne potter and artist Tom Sanders. Many of Sanders sculptures and ceramic works are now held by the Powerhouse Museum and National Gallery of Australia. The opening of Perth Concert Hall on 26 January 1973 also marked the 21st anniversary of the Festival of Perth. The event was televised and featured WASO and the South Australian Symphony Orchestra, as well as a midnight to dawn ball attended by nearly 1,700 guests. Sources: Content/PdfLoader.aspx?id=6b5fdacc-69ff-4aa2-9c4e f5f&type=assessment known-potter-44-tom-sanders/ 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

10 10 Providing Specialist IT Services to the West Australian Symphony Orchestra and Your Business Today. Are you ge ng the most out of your IT? IT Audit and Report Valued at $2,720 FREE! Contact us today* We are your IT Department providing IT services and solutions, including: Managed IT Services Service Desk Technology Consulting IT Auditing Remote and On-site Services Back Up Disaster Recovery Project Management Network/System Maintenance Cloud & VoIP Solutions Integrated Network Design Strategic IT Planning Level 1, 620 Newcastle St.Leederville WA 6007 Post Office Box 850 Mount Lawley WA Enquiries Facsimile *To claim your FREE IT Audit and report, please contact sales with the code WASO. ENGAGE CHALLENGE EXCITE SURPRISE REFLECT Photograph Tony McDonough

11 11 about The Artists Vladimir Verbitsky Conductor Laureate Russian-born Vladimir Verbitsky is a graduate of the Leningrad Conservatory, where he studied piano and conducting. Following graduation he studied with Yevgeny Mravinsky, Chief Conductor of the Leningrad Philharmonic Orchestra. He regularly conducts the major orchestras in Russia, and has been Chief Conductor and Music Director of the Voronezh Philharmonic since He has also held the position of Chief Conductor of the Slovak Philharmonic, Chief Conductor of the Saratov Philharmonic, Music Director of Orchestra Victoria and Guest Conductor of the USSR State Symphony Orchestra. He has conducted world premieres of works by Russian, Australian and New Zealand composers. In 2012 he marked the 25th Anniversary of his association with the West Australian Symphony Orchestra with two gala concerts. Engagements in include concerts in Moscow, Saint Petersburg, Taipei, Switzerland, France, Israel, Belarus, Singapore and the United States. Rod McGrath Cello Rod McGrath took up the cello at the relatively late age of 12, then went on to study at the Royal Academy of Music in London and was made Cello of the Academy s symphony orchestra in his first term, the first time this had happened in the Academy s history. During his third year at the Academy Rod joined the London Philharmonic Orchestra as number two cello. Four years later Rod joined the London Symphony Orchestra (LSO) as Co-, where he stayed for 20 years. During his time in London he not only worked with most of the world s leading conductors and soloists but also played in contemporary music ensembles with Irvine Arditti and was a founding member of the Rossetti Ensemble. Rod became Cello of WASO in 1997 and plays on a Duke cello (c.1750) loaned to him by Chris and June Johnson of Cambridge, England.

12 12 WASO On Stage today VIOLIN Graeme Jennings Guest Concertmaster Semra Lee-Smith Assistant Concertmaster Zak Rowntree 2nd Violin Akiko Miyazawa Assoc 2nd Violin Sarah Blackman Fleur Challen Stephanie Dean Rebecca Glorie Beth Hebert Alexandra Isted Jane Johnston^ Sunmi Jung^ Christina Katsimbardis Ji Won Kim^ Shaun Lee-Chen* Andrea Mendham^ Ken Peeler Elena Phatak Graham Pyatt Jane Serrangeli Ellie Shalley Kathryn Shinnick Jacek Slawomirski Bao Di Tang Cerys Tooby Teresa Vinci^ Susannah Williams^ David Yeh VIOLA Caleb Wright Alex Brogan Kierstan Arkleysmith Nik Babic Ben Caddy^ Katherine Corecig^ Katherine Drake Alison Hall Rachael Kirk Allan McLean Aaron Wyatt^ CELLO Louise McKay Chair partnered by Penrhos College Melinda Forsythe^ Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Fotis Skordas Tim South Jon Tooby^ Xiao Le Wu DOUBLE BASS Andrew Sinclair* Joan Wright Elizabeth Browning^ Christine Reitzenstein Louise Ross Andrew Tait Mark Tooby FLUTE Andrew Nicholson Chair partnered by Quadrant Energy Mary-Anne Blades PICCOLO Michael Waye OBOE Peter Facer Elizabeth Chee CLARINET Allan Meyer Catherine Cahill^ Lorna Cook BASSOON Jane Kircher-Lindner Chair partnered by Sue & Ron Wooller Adam Mikulicz Contrabassoon Chloe Turner HORN Dave Evans Sharn McIver Rob Gladstones 3rd Horn Julia Brooke Francesco Lo Surdo TRUMPET Brent Grapes Chair partnered by ConocoPhillips Evan Cromie Breanna Evangelista^ Peter Miller TROMBONE Joshua Davis Liam O Malley BASS TROMBONE Philip Holdsworth TUBA Cameron Brook PERCUSSION Troy Greatz A/ Percussion Richard Gleeson Joel Bass^ Robyn Gray^ HARP Sarah Bowman Associate Guest Musician^ *Instruments used by these musicians are on loan from Janet Holmes à Court AC.

13 13 Meet the Musician Peter Facer Oboe What path did you take before starting with WASO? My undergraduate degree is actually in musicology, rather than performance. It turns out that I m even geekier than you first thought. As a postgrad I then studied the oboe in the UK and Germany, and also did lots of freelance work with various orchestras and ensembles in Europe. Then I accidentally boarded the wrong plane and here I am. I meant to go to Perth in Scotland. Has it been an easy adjusting to life in Perth? The language barrier is the hardest. To me, flip-flops will never be thongs. Also, in the southern hemisphere it s customary to hold the oboe the other way up. That took a while to get used to. What are your highlights from the 2015 Season so far? I thought Mischa Maisky was sensational, and Vivaldi s Quattro Formaggi was delicious! If you could program your own concert what would you play and who would be the conductor? The first half would be The Rite of Spring and the second half would be a concert performance of Sweeney Todd with Leonard Bernstein at the helm. So let s grab Emma Thompson and jump in a time machine and make this happen! What challenges you? I m not very good at catching, catching balls that is. I m quite good at catching colds. On the oboe? I m not very good at fluttertonguing; it makes my eyes wobble. What was the first album you owned? Spice, by the Spice Girls. It was very formative.

14 14 Patrons & Friends Event Ali, Andrew & Friends at The Ellington Tuesday 8 & Wednesday 9 September 5.30pm for 6.00pm, The Ellington Jazz Club WASO s Flute Andrew Nicholson and singer Ali Bodycoat bring their friends together for a musical sojourn from the world of contemporary to classic jazz at The Ellington Jazz Club one of Perth s most exciting live music venues! Embracing classical and jazz perspectives, Ali and Andrew will perform with a trio from the cream of Perth s jazz musicians and will also be joined by one or two special guest WASO musicians. Tickets are $60 for cabaret-style table seating and $40 for standing, and include a drink on arrival and tasty tapas bites from a shared platter. To book, call the WASO Box Office on Chair of Flute, Andrew Nicholson, is partnered by Quadrant Energy. 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

15 15 TIMELINE of composers & works CAMILLE SAINT-SAËNS Born in Paris, France Died in Algiers, Algeria PETER ILYICH TCHAIKOVSKY Born in Vyatka Province, Russia Died in Saint Petersburg, Russia VASILY SERGEYEVICH KALINNIKOV Born in Voina, Oryol District, Russia Died in Yalta, Crimea SERGEI RACHMANINOV Born Semyonovo, Russia Died Beverly Hills, USA Saint-Saëns' Cello Concerto No.2 in D minor, Op Tchaikovsky's Francesca da Rimini - Fantasia after Dante, Op Kalinnikov's Symphony No.1 in G minor 1897 Rachmaninov's Vocalise, Op.34, No

16 16 ABOUT THE MUSIC Peter Ilyich Tchaikovsky ( ) Francesca da Rimini Fantasia after Dante, Op.32 In his Commedia, Dante Alighieri s powerfully imagined journey through Hell, Purgatory and finally Heaven, figures from myth, scripture and history take time out from their particular punishment (or bliss) to tell the poet their story. In the second circle of Hell, the souls of the lustful are tossed around like a flock of starlings in an unceasing gale. Francesca, a young bride, tells Dante how, when she and her crippled husband s beautiful younger brother Paolo were reading the story of Lancelot and Guinevere one day, they were overwhelmed by the story and fell into each other s arms. Her husband found them making love and as he tried to kill Paolo, Francesca interposed herself. Both were killed, and their punishment is that they should never be separated. In 1876 Tchaikovsky considered composing a Wagnerian opera on the Francesca and Paolo story, but decided instead to turn it into a symphonic poem. A baleful introduction represents the motto inscribed above the gates of hell ( Abandon hope, all who enter here ) complemented by the cries of the damned. The infernal wind with its hysterical energy is graphically treated with a series of sequences and crescendos, rising and falling. A solo clarinet, (perhaps the voice of Francesca) introduces the long central section. Here, Tchaikovsky said, she tells her story in the symphonic development of her lyrical and beautiful theme. As in Tristan, however, the erotic idyll is brutally shattered, and the music returns us to the unrelenting wind, demonic braying from the brass and crushing chords from the full orchestra. Gordon Kerry 2014 The first performance of Francesca da Rimini was given in Moscow on 9 March 1877 under conductor Nikolai Rubinstein. The West Australian Symphony Orchestra first performed it on 2 September 1973 with conductor Bernard Heinze. WASO last performed this work on 14 November, 2008, conducted by Arvo Volmer. YOU MAY ALSO ENJOY TCHAIKOVSKY Symphony No.5 featured in Asher Fisch Conducts Tchaikovsky Fri 4 & Sat 5 September Glossary Symphonic poem A programmatic work for orchestra, usually in a single movement. Crescendo Getting louder (literally, growing ).

17 17 Camille Saint-Saëns ( ) Cello Concerto No.2 in D minor, Op.119 I Allegro moderato e maestoso Andante sostenuto (Le double plus lent) II Allegro non troppo Cadenza Mouvement du premier morceau The short, inspired burst of work Saint- Saëns expended composing his First Cello Concerto was one of the best investments he ever made. From its 1873 Paris premiere onward, the compact, debonair concerto was one of a handful of his pieces that took on a life of its own, not only during the remaining half-century of his own long and active career, but well into the 1900s, so that, even long after this Second Cello Concerto was added to his enormous oeuvre, the First remained the only one most people had either heard, or heard of. The Dutch-born Gerard Vollmar gave its first Australian performance on Christmas Day 1897 in Sydney, and after calls for the clever and novel work to be repeated, there were further outings in 1898 and A decade before settling in Adelaide in 1891, Vollmar spent three concert seasons playing in Britain, when another Dutch cellist, Joseph Hollman ( ) was a rising star. In December 1880, at the Crystal Palace, Hollman had given the First Concerto its inaugural London performance, only confirming Saint-Saëns s standing reputation there already as England s favourite French composer. Having been introduced by a friend they both admired, Gabriel Fauré, Hollman and Saint-Saëns developed a long and fruitful if prickly musical partnership, in which Hollman s Stradivarius cello (known as Madame Hollman ) was an essential third member. From the 1890s they regularly toured together playing classical chamber music in duo and trios. And in , it was for the Hollmans cellist and cello that the almost 70-year-old Saint-Saëns composed this Second Concerto. Later still, there was a third double-concerto-like work premiered by Hollman, La Muse et le poète, Op.132, written while Saint-Saëns was holidaying in Egypt in 1910, that cast Hollman s cello as the poet and Eugène Ysaÿe s violin as the muse. Saint-Saëns gave what he hoped would be his last public performance as a pianist and conductor in But events called him out of retirement again, and he and Hollman ended up spending much of 1915 and 1916 touring again raising money for war charities. By then, another shorter cello piece had effectively upstaged anything else either of them had done. In 1906 Hollman recorded Saint-Saëns s Le Cygne (from Carnival of the Animals) for the Victor Talking Machine Company (you can still hear it on YouTube), and because of its runaway sales, they were called on to play it as an encore everywhere they went.

18 18 ABOUT THE MUSIC Having just done so again in Paris in October 1916, at a soiree for General Pau, Saint-Saëns admitted that Hollman always plays better and better, it s amazing. (Like the musicians, Pau had also been called out of retirement, briefly to command the French army in Alsace, but then memorably on a French fundraising tour of Australia where, in Perth in November 1918, he was overwhelmed by the generosity of local schools donating to destitute French children.) Having retained the concerto form s standard three-movement layout in the first three of his five piano concertos, Saint-Saëns broke away from it radically in his First Cello Concerto, subsuming three shorter than usual sections together into a single movement. Then in the Fourth Piano Concerto and this Second Cello Concerto he experimented with compact two-movement designs that nevertheless retain formal features both of their threemovement predecessors and the extended single-movement layout of his symphonic poems, like Le Rouet d Omphale (Omphale s Spinning Wheel). The Second Cello Concerto opens powerfully with the soloist entering and taking the lead after the briefest six-bar orchestral unison tutti. Even the surging orchestral fortes are so lightly scored and carefully dovetailed that the soloist sings out clearly in its high tenor register. An early reprise leads prematurely into what shapes up to be a strenuous developmental episode, only for the momentum suddenly to evaporate, as orchestra and soloist are becalmed in an extended slow section from which the movement never again manages to extricate itself. Already, the second movement s nervous opening indicates we are launching into a sort of scherzofinale. The soloist s gossamer passage work steadily intensifies towards its long cadenza, at the final moment of which trumpets softly pre-signal the climactic D major transformation of the work s opening music, and a final appassionato solo into the molto allegro close. Graeme Skinner 2015 The only previous performances of Saint-Saëns s Second Cello Concerto by the West Australian Symphony Orchestra took place in 1998 with conductor Christopher Hogwood and soloist Steven Isserlis. YOU MAY ALSO ENJOY SAINT-SAENS Piano Concerto No.2 featured in Tchaikovsky s Winter Dreams Fri 2 & Sat 3 October Glossary Tutti All the instruments of the orchestra playing at the same time. Cadenza A showy passage by a solo instrument, usually towards the end of a concerto movement. Originally, cadenzas were improvised by the soloist to show off their brilliant technique. Appassionato Passionate. Molto allegro Very fast.

19 19 Sergei Rachmaninov ( ) Vocalise, Op.34, No.14 I understand now why God allowed me to live to the age of 70: it was so that I should have the chance to hear His greatest creation Nezhdanova. Such was George Bernard Shaw s praise for Antonina Nezhdanova ( ) and her soprano voice. Perhaps an even more eloquent tribute to Nezhdanova is the music created for her by contemporary composers: operatic roles such as Parasya in Mussorgsky s Sorochintsky Fair or the title character in Rachmaninov s Francesca da Rimini (from which she subsequently withdrew), not to mention of course his most famous song, Vocalise. Rachmaninov s achievements in composing operas, choral music and songs were overshadowed by the enormous popularity of his solo piano pieces and orchestral works, in particular the symphonies and piano concertos. It is not surprising that the most popular song he ever wrote was essentially instrumental. His Vocalise is the last in a set of 14 songs, Op.34 ( ), the other 13 being settings of poems by some of the greatest Russian Romantics. Despite his elegant and effective responses to these texts, the final song without words has eclipsed them all with its enduring appeal. Without syllabic constraints, Rachmaninov s considerable melodic imagination is free to roam where it will. By the time he came to compose the Op.34 songs, he was well into his mature creative period, producing vocal music of particular beauty, with simple yet striking accompaniments for the piano. The Vocalise is no exception, as the melody, built out of a small and easily-identified motif, spins itself out in endless variation over the course of the piece. Adapted from an annotation by Drew Crawford Symphony Australia 1998 Rachmaninov dedicated Vocalise to Antonina Nezhdanova, who gave the first performance in Moscow in 1916 in an arrangement by Rachmaninov for voice and orchestra, conducted by Serge Koussevitzky. Tonight s orchestral version was prepared by Rachmaninov in 1919, and first performed by the West Australian Symphony Orchestra on 26 January 1975 under conductor Verdon Williams. WASO last performed this work on 12 December, 2009 conducted by Guy Noble and performed by Rod McGrath. Glossary Motif A short, distinctive melodic or rhythmic figure, often part of or derived from a theme.

20 20 ABOUT THE MUSIC Vasily Sergeyevich Kalinnikov ( ) Symphony No.1 in G minor Allegro moderato Andante commodamente Scherzo: Allegro non troppo Moderato assai Finale: Allegro moderato Puccini s La bohème romanticised the myth of the starving artist, but the all-toobrief life and career of Vasily Kalinnikov demonstrates the horrid reality of what can happen when artistic talent is not matched by financial security. The son of a minor police official, Kalinnikov grew up in the Oryol District of Russia but the family was so poor that the child prodigy suffered from cold and hunger, growing into adulthood with a blazing musical talent and a weakened physical constitution. Everyone acknowledged the young multi-instrumentalist s talent, whether as bassoonist, percussionist, violinist or composer, and ways were found to get him a seminary education and then entry to the Moscow Philharmonic Society Music School, but poverty and ill-health dogged him wherever he went. During the 1880s he was accepted without hesitation into the famed Moscow Conservatory but couldn t afford the fees and had to abandon his studies, Tchaikovsky finding him a position in 1892 as the Musical Director of Moscow s Malïy Theatre. He then took on a similar, additional role at the Italian Theatre but only months into the job had to abandon it, as tuberculosis began to exert its grip. Still in his twenties, the ailing Kalinnikov moved to the warmer climate of Yalta in the Crimea, where he composed two symphonies, incidental music for Alexey Tolstoy s play Tsar Boris, a string quartet and a couple of minor tone poems, but his life was hellish and doomed. When Rachmaninov visited him, Kalinnikov was living in such deprivation that the famous composer arranged publication of several of his works, but it all came too late. Kalinnikov died two days short of his 35th birthday, his new publisher noting that his premature death had increased the value of his small output tenfold, and duly paying Kalinnikov s widow a handsome sum for the music left behind. Kalinnikov had a rare gift for melody and much of his orchestral writing has been compared with the sumptuous textures of his supporter Tchaikovsky. In terms of one melody after another, however, nothing compares with his First Symphony. While it earned him very little, it was a much-admired work during the final years of Kalinnikov s life. Composed in , it was premiered in Kiev in 1897 and subsequently performed in Moscow, Vienna and Berlin.

21 21 An immediately engaging work, the Symphony No.1 is built on a cyclical form, its main recurring themes imprinting themselves on the memory. And none does so more than the very Russian-sounding opening theme of the first movement, stated first on unison strings and contrasted with more bustling secondary material initially introduced on the horns. With its soaring melodies and colourful orchestration, the spirit of Tchaikovsky is never far away. Increasingly celebratory as it proceeds, driving through tremendous climaxes, the first movement reaches a dramatic conclusion, the main theme now firmly established and destined to recur. The slow movement opens hypnotically, the harp and violin providing a kind of ostinato over which oboe and cor anglais weave a sublime melody, taken over by richly scored strings and other wind instruments. This is Russian sentimentalism at its finest both shamelessly melodic yet painfully sad. The Scherzo on the other hand is a jolly folk-dance, with chirruping winds and tripping strings, contrasted by an elegiac trio that provides moments of respite. After repeated alternations of mood, the bustling scherzo theme proper reasserts itself, with its scurrying strings, brass punctuations and swirling wind figurations ushering in a triumphant conclusion. The finale opens immediately with a restatement of the first movement s main theme, but then that instantly recognisable tune disappears as the vibrant and energetic actual finale theme emerges. One by one, though, the finale works its way back through the themes from the previous three movements, buoyant in mood and rushing from one climax to another, with massive tunes in the brass, and orchestral tuttis filled with sound and fury. By the blazing conclusion, you feel like you know the symphony so well there are few easier works to appreciate on a first hearing, and it begs the question of just what its unfortunate composer might have achieved had he lived longer. Martin Buzacott Kalinnikov s First Symphony was given its first performance on 20 February 1897 in Kiev by the Russian Music Society Orchestra conducted by Alexander Vinogradsky. The West Australian Symphony Orchestra first performed it on 15 May 1943 under conductor Percy Code. YOU MAY ALSO ENJOY TCHAIKOVSKY Symphony No.1 Winter Dreams featured in Tchaikovsky s Winter Dreams Fri 2 & Sat 3 October Glossary Tone Poem Another term for symphonic poem Ostinato A brief fragment or phrase which is repeated persistently through a section of music. 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.

22 22 MEET THE INSTRUMENT THE CELLO The violoncello, commonly abbreviated as the cello, is the second largest member of the violin family. The modern cello is tuned in fifths, with C2 (two octaves below middle C) being its lowest string, followed by G, D, and A. Various special techniques are possible, including double stops (playing two notes at the same time), spiccato (allowing the bow to rebound off the strings), and vibrato (a small pulsation in pitch created by a rocking motion in the left hand). The early history of the cello is difficult to trace, since it was made in a variety of sizes and known by many different names, but the earliest known evidence of its existence dates back to the mid-16th century. Early performers played with the cello resting directly on the floor or by supporting it solely with the legs. The endpin was adopted nearly universally by the late 19th century as a means to support the instrument and provide cellists with greater comfort. Originally the strings were made of sheep gut, but by the early 18th century these started to be replaced by wire-wound string, allowing for greater volume of sound and better intonation. Around the same time, Stradivari had established a body length of cm, which has served as the standard ever since. The expressive capabilities of the cello have been frequently used in both ensemble and solo settings. Pablo Casals ( ) is widely credited for making J.S. Bach s Cello Suites a part of the regular repertory. Other favourite works for the cello include Schumann s Concerto in A minor, Saint-Saëns Concerto No.1 in A minor, Rachmaninov s Sonata for Cello and Piano in G minor and Elgar s Concerto for Cello in E minor. Symphony Services International The pitches of the open strings on a cello: C G D A Scroll 2. Tuning pegs 3. Fingerboard 4. Strings 5. Bridge 6. F-holes 7. Finetuners 8. Tailpiece 9. Endpin 10. Bow 9 10

23 23 WASO Philanthropy Philanthropy Partner We would like to thank everyone who has made a donation to WASO in As a not-for-profit organisation, WASO exists through the support of government funding, ticket sales, corporate support and philanthropic partnerships. Community donations are increasingly vital in helping keep alive what we do. What you see today at Perth Concert Hall is one part of the WASO story. As well as supporting our main stage concerts, your donations also enable WASO to continue producing beautiful music for thousands of Western Australians in schools, hospitals and in regional communities across the state. Thank you for being part of a community that believes in WASO s vision to touch souls an enrich lives through music, in our musicians and in our commitment to inspirational performances. If you are interested in learning more about WASO Philanthropy or wish to make a donation, please contact Jane on or clarej@waso.com.au, or visit waso.com.au.

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 Joan Reyland John & Alison Rigg Simon Lee Foundation The Stan Perron Charitable Foundation Jean & Peter Stokes Trish Williams - Stragegic 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 clarej@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 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 Jean Arkley in memory of Tom Arkley Bill Bloking Gavin Bunning Ian & Elizabeth Constable Moira & John Dobson Bridget Faye AM Gilbert George & Associates Dr Patricia Kailis Keith & Gaye Kessell Dr Ronny Low & Dr Emma Richards Bryant Macfie Robert May Jill Mulheron Paula & John Phillips Judy Sienkiewicz Spinifex Trust 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 Don Conroy 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 Ms Elizabeth Sachse & Dr Lance Risbey 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 John Albright & Susan Lorimer Caroline Allen & Sandy Dunn Margaret Atkins Tony & Mary Beeley Suzanne & David Biddles Kevin Blake Matthew J C Blampey Namy Bodinner Mr John Bonny John & Debbie Borshoff Jean Brodie-Hall AM Marilyn & Ian Burton Dr G Campbell-Evans Prof Jonathan Carapetis & Prof Sue Skull Peter & Sue Clifton Helen Cook Arthur & Nerina Coopes Hon June Craig AM Gay & John Cruickshank Norman & Denia Daffen Lesley & Peter Davies Russell & Susan Dixon Margaret Dobson Julian Dowse Bev East Lorraine Ellard Richard Farago Don & Marie Forrest Dr Andrew Gardner George Gavranic Roger & Ann Gillbanks Graham & Barbara Goulden Jannette Gray Sandra Gray

26 26 Our Supporters Deidre Greenfeld David & Valerie Gulland Brian & Romola Haggerty Richard B Hammond Pauline & Peter Handford Michael Harding Michael & Liz Hollingdale John & Katrina Hopkins Sue Hovell Jim & Freda Irenic Lilian & Roger Jennings Anthony Kane & Jane Leahy-Kane Bill Kean Anthony & Noelle Keller Michael & Dale Kitney Nelly Kleyn Stephanie & John Kobelke Ulrich & Gloria Kunzmann Louis & Miriam Landau Irving Lane Paul Lee Meg Lewis Rosalind Lilley Graham & Muriel Mahony Gregg & Sue Marshman Mervyn Matthews Jennifer & Arthur McComb Betty & Con Michael AO Vicki Mizen Hon Justice S R Moncrieff S B Monger-Hay Valmae & Geoff Morris Lynn Murray Val & Barry Neubecker Dr Phillip & Mrs Erlene Noble John Overton The Family of Hilary Owens Ron & Philippa Packer Michael & Lesley Page Athena Paton Tim Pavy & Cathy Cole Alan Pedersen in memory of Hilary Owens 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 Nigel & Dr Heather Rogers Maurice & Gerry Rousset Roger Sandercock Margaret & Roger Seares Melanie & Paul Shannon Eve Shannon-Cullity Julian & Noreen Sher Laurel & Ross Smith Dr Paul Smith & Denham Harry 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 (27) Tutti Patron Gifts $500 - $999 Geoff & Joan Airey Catherine Bagster Merle I Bardwell Bernard & Jackie Barnwell Shirley Barraclough Berwine Barrett-Lennard Colin Beckett P 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 Dr Anne Chester Lyn & Harvey Coates AO Agatha & Alex Cohen AO Brian Cresswell Gina & Neil Davidson Frances Davies Jop & Hanneke Delfos Rai & Erika Dolinschek Mrs G Ewen Farghaly Family Annette Finn Jim & Pamela Flaherty Joan Gagliardi Pat Gallaher Elaine Gimson Isobel Glencross Jacqui Grove Douglas M & Regina Hansen Alan Harvey & Dr Paulien de Boer Richard Hatch

27 27 Dr Penny Herbert in memory of Dunstan Herbert Helen Hollingshead Mr John Hylton-Davies JP, VJ Peter Ingram Cynthia Jee Peter S Jones B M Kent Dorothy Kingston In memory of Dr Brenton Knott Trevor & Ane Marie Lacy Teresa & Jemima Loveland 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 & Alpha Pilpel OAM Sheila Pinch Ann Rawlinson Clarissa Repton James & Nicola Ridsdill-Smith Leigh Robinson Chris & Serge Rtshiladze Judith E Shaw The Sherwood Family Hendrik Smit Louise Sparrow & Family Peggy & Tom Stacy Ruth E Thorn Dr Julian Todres Patrcia Turner S R Vogt Diana Warnock Anne Watson Joy Wearne Dr Chris & Mrs Vimala Whitaker Violette William Janet Williams Patricia Wong Anonymous (21) Friends Gifts $40 - $499 Thank you to all our Friends who support WASO through their gift. 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 is a Catholic School for boys in the Edmund Rice tradition. 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.

28 28 West Australian Symphony Orchestra CONDUCTOR LAUREATE Vladimir Verbitsky 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 Kylie Liang Assistant 2nd Violin Akiko Miyazawa Assoc 2nd Violin Sarah Blackman Fleur Challen Shaun Lee-Chen* Stephanie Dean Rebecca Glorie Beth Hebert Anna O Hagan Melanie Pearn Ken Peeler Graham Pyatt Louise Sandercock Jolanta Schenk Jane Serrangeli Ellie Shalley 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 Ross 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 Elizabeth Chee Assoc COR ANGLAIS Leanne Glover CLARINET Allan Meyer Lorna Cook BASS CLARINET Alexander Millier Chair partnered by Altegra Property Group BASSOON Jane Kircher-Lindner Chair partnered by Ron & Sue Wooller Adam Mikulicz Assoc CONTRABASSOON Chloe Turner HORN David Evans Sharn McIver Assoc Robert Gladstones 3rd 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 Claire Burlinson Executive Assistant Ellen Wisdom Executive Manager, Human Resources Rachael Taylor Human Resources Assistant Narelle Coghill Human Resources Assistant Svetlana Williams Payroll Officer Artistic Planning Evan Kennea Executive Manager, Artistic Planning Claire Stokes Program Manager Alan Tyrrell Program Manager Maya Kraj-Krajewski Artist Liaison/Chorus Administrator Community Engagement Cassandra Lake Executive Manager, Community Engagement Fiona Taylor Education Coordinator Orchestral Management Keith McGowan Executive Manager, Orchestral Management Richie Burton Orchestral Operations Manager David Cotgreave Production & Technical Manager Alistair Cox Orchestral Manager Breanna Evangelista Orchestral Management Assistant 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 Josie Aitchison Customer Service & Philanthropy Coordinator Jane Clare Fundraising & Philanthropy Manager 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 Paula Schibeci Public Relations Manager Zoe Lawrence Marketing Officer Courtney Walsh Marketing Assistant Caris Pong Marketing Intern Sava Papos Customer Service Manager Josie Aitchison Customer Service & Philanthropy Coordinator 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 Paul Richardson Assistant Technical Manager 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 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 School of Music Tertiary Education Partner OVERTURE PARTNERS SONATA PARTNERS KEYNOTE PARTNERS ORCHESTRA SUPPORTERS MEDIA PARTNERS FUNDING PARTNERS The West Australian Symphony Orchestra is assisted by the Australian Government through the Australia Council, its arts funding and advisory body. To share in our vision and discuss the many opportunities available through corporate partnerships please contact Corporate Development on WASO.COM.AU

31 Photo: Caitlin Worthington Design: BronWYnrogers.CoM WesF1341

32 MACA LIMITED CLASSICS SERIES Fri 31 Jul & Sat 1 Aug 7.30pm Perth Concert Hall Mozart s enchanting Oboe Concerto and Elgar s majestic final symphony. HAYDN Symphony No.22 The Philosopher MOZART Oboe Concerto in C Major ELGAR elab. ANTHONY PAYNE Symphony No.3 Nicholas Carter conductor Diana Doherty oboe BOOK NOW Tickets from $30* Call quoting 1258 Visit waso.com.au or ticketek.com.au *Transaction fees may apply