ALCOHOL. THINK AGAIN MASTERS SERIES Friday 1 & Saturday 2 August 7.30pm Perth Concert Hall CELLO CONCERTO

ALCOHOL. THINK AGAIN MASTERS SERIES Friday 1 & Saturday 2 August 7.30pm Perth Concert Hall CELLO CONCERTO

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3 MACA LIMITED PRESENTS Schubert & Schumann Thurs 7 August 11am Perth Concert Hall SCHUBERT Symphony in B minor Unfinished SCHUMANN Symphony No.3 Rhenish Asher Fisch conductor Asher Fisch appears courtesy of Wesfarmers Arts Tickets from $27* MACA LIMITED PRESENTS Schubert & Schumann Fri 8 & Sat 9 Aug 7.30pm Perth Concert Hall SCHUBERT Symphony in B minor Unfinished PRokoFIEV Piano Concerto No.2 SCHUMANN Symphony No.3 Rhenish Asher Fisch conductor Steven Lin piano Asher Fisch appears courtesy of Wesfarmers Arts. Tickets from $30* BEETHoVEN FESTIVAL 9 Symphonies 4 Concerts 2 weekends 21-31 August 2014 Perth Concert Hall WASO and Conductor Asher Fisch present a Western Australian first: Beethoven s nine symphonies performed over two extraordinary weekends. Asher Fisch conductor Asher Fisch appears courtesy of Wesfarmers Arts. Tickets from $35* Book Now Call 9326 0000 visit waso.com.au or ticketek.com.au *Transaction fees may apply.

4 welcome Bruckner generally gets bad press. Many concertgoers are all too ready to put him in the too hard basket, citing undefined criticism of the works as too heavy, too religious, too ponderous. The problem, I believe, is that we are generally familiar with his symphonies from the later, rewritten versions and from unnecessarily slow-tempo interpretations of the 60 s and 70 s. His first endeavours, generally dismissed by his contemporaries as uneven, unplayable and unbalanced I find to be muscular and vibrant. They clearly show his musical pedigree, drawing as they do on the great symphonic master, Beethoven. It s hard to believe that Bruckner s first version of his Second Symphony was criticised for following the same movement structure (scherzo following the first movement and then the slow movement) as the great Ninth Symphony of Beethoven - where Bruckner sought homage and reference, his critics heard only influence and lack of an original voice. How wrong they were! This most timid of men, most compliant of musicians, quietly swallowing his disappointment at the lack of success of his symphonic works - I find the drama, romanticism and passion that was so clearly missing in his life in his musical expression. This lover of opera, who never wrote one, structured his huge symphonic movements on the scale of his hero, Wagner, and created highly original and expressive music. When we now listen to the early versions of Bruckner s symphonies (1, 2, 3, 4, and 8 exist in numerous versions) it is the rhythmic vitality and surprising harmonic structure that impresses our post-romantically - trained ears. Simone Young They are highly demanding for the musicians - particularly strings and horns - but the developments of the instruments and playing techniques mean that they are not as dramatically difficult as they must have seemed to the instrumentalists of Bruckner s day. But we start our program with one of the acknowledged masterpieces of the concerto repertoire - Elgar s Cello Concerto. Full of soaring melodies and virtuosic fireworks, the beauty and charm of this work has made it a centrepiece of most modern cellist s repertoire. Alternating quasi-operatic recitatives from the soloist with comment from the orchestra, Elgar leads us on a searching emotional examination of the most lyrical of solo instruments - the work needs no program, no scheme of events, as its abstract beauty engages our minds and sentiments. Simone Young Conductor Simone Young appears courtesy of Lepley Properties

5 Program ALCOHOL.THINK AGAIN MASTERS SERIES Elgar s Cello Concerto ELGAR Cello Concerto (30 mins) Adagio Moderato Lento Allegro molto Adagio Allegro Moderato Allegro, ma non troppo INTERVAL (20 mins) BRUCkNER Symphony No.4 Romantic (1874 version) (1 hour 04 mins) Bewegt nicht zu schnell Andante quasi allegretto Scherzo: Bewegt Finale: Bewegt doch nicht zu schnell Simone Young conductor Alban Gerhardt cello Simone Young appears courtesy of Lepley Properties 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. Pre-concert Talks are supported by Wesfarmers Arts Meet the Artist Meet Alban Gerhardt, post-concert Friday night in the Terrace Level foyer. Meet the Artist is supported by Wesfarmers Arts

6 Making The Most of Your Visit Food & BEVERAGES Foyer bars are open for drinks and coffee two hours before, during interval and after the concert. To save time we recommend you pre-order your interval drinks. Free water stations are set up at the corner bar on Terrace Level near the western window and in the Wardle Room, ground floor near the southern window. FIRST AId There are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance. waso RECoRdINGS Continue to experience WASO in your own home! A variety of WASO CDs are available for purchase at the Encore gift shop in the foyer at interval and post-concert. Concert Etiquette Tips when To APPLAUd? At most classical concerts audience members refrain from clapping between movements of a piece, but we encourage you to show your appreciation as you wish and if you are unsure, simply follow your fellow audience members. what IF I NEEd To CoUGH? If you need to cough, try to muffle or bury your cough in a handkerchief or during a louder section of the music. Cough lozenges are available from the WASO Customer Service Desk before each performance and at the interval. Connect with waso LISTEN Tune in to 720 ABC Perth for Breakfast on Friday mornings when Prue Ashurst joins Eoin Cameron to provide the latest on classical music and WASO s upcoming concerts. This performance is being recorded for delayed broadcast on ABC Classic FM. For further details please refer to abc.net.au/classic CoNCERT PLAYLISTS Listen to music featured in 2014 concerts at waso.com.au waso webcasts WASO will be streaming four concerts live and on demand in 2014, thanks to iinet. For more details visit waso.com.au E-NEwS Stay up to date with the activities of your Orchestra by subscribing to SymphonE-news. Go to waso.com.au to join our mailing list. SoCIAL MEdIA FEEdBACk We would love to hear from you! Please send your feedback to PO Box 3041, East Perth WA 6892, send an email to waso@waso.com.au, call 9326 0000, or leave us a message on Facebook or Twitter.

7 waso News waso in Albany On Friday 15 August, the West Australian Symphony Orchestra will provide members of the Albany community with the first concert in our Beethoven Festival. The full orchestra will tour to the region to perform three of the master composer s famous works including Symphony No.5. Asher Fisch is excited to travel with the Orchestra on this regional tour, and is looking forward to tasting some of the local produce, and meeting local residents at a post-concert Q + A. In addition to the evening performance, WASO will open the afternoon rehearsal to schools groups at no cost, and provide them with a pre-concert talk. It is rare that we have the opportunity to offer students in regional centres the opportunity to hear the full orchestra live. Sheena Prince from the Music Department at Albany Senior High School says Although YouTube and audio recordings are valuable tools for music teaching in country areas, they cannot possibly compare with the excitement of attending a live concert, meeting the musicians and being able to ask questions. WASO will perform in the stunning Albany Entertainment Centre, and are grateful for support from the Government of Western Australia through the Department of Regional Development and Department of Culture and the Arts for their support of this tour. Thanks also to the Water Corporation for their vital support. Nik Babic photography exhibit on display at Perth Concert Hall Until August 31 audiences have the opportunity to see a whole new side to Nik Babic, one of our talented viola players. Nik has been a member of the viola section since 2002 but in recent years he s started to explore another creative pursuit photography. Nik s adventures in photography began back in 2005 right before WASO s tour to China when he thought that buying a second hand SLR camera from David Evans, the principal horn player, might be a great opportunity to try his hand at slightly more creative travel photography. The fascinating landscape of the country and an unruly beast that the new camera proved to be was a challenge he was more than happy to take and the rest is as they say history. Almost ten years later, Nik has found his niche not in urban landscapes but closer to home in the world of performance and artists whose lives revolve around the stage. Nik s images have recently won several distinguished professional awards and have been exhibited in galleries across the country such as Melbourne s Eleven40, Mechanics Institute in Ballarat, WA Museum, and the Perth Centre for Photography.

8 MACA LIMITED PRESENTS Fri 8 & Sat 9 Aug 7.30pm Perth Concert Hall SCHUBERT Symphony in B minor Unfinished PROKOFIEV Piano Concerto No.2 SCHUMANN Symphony No.3 Rhenish Asher Fisch conductor Steven Lin Piano Take a romantic, stirring and dramatic journey through the music of two masterful composers. BOOK NOW Tickets from $30 * Call 9326 0000 Visit waso.com.au or ticketek.com.au Asher Fisch appears courtesy of Wesfarmers Arts. *Transaction fees may apply.

9 Biographies Simone Young Conductor Simone Young, AM, has been General Manager and Music Director of the Hamburg State Opera and Music Director of the Hamburg Philharmonic State Orchestra since 2005. She is an acknowledged interpreter of Wagner and Strauss operas, having conducted Der Ring des Nibelungen at the Vienna State Opera, Berlin State Opera and Hamburg. Her Hamburg recordings include the Ring cycle and symphonies of Bruckner, Brahms and Mahler. Simone Young has been Music Director of Opera Australia, Chief Conductor of the Bergen Philharmonic Orchestra and Guest Conductor of the Gulbenkian Orchestra, Lisbon. She regularly conducts at leading opera houses and orchestras around the world including the Vienna, Berlin, New York and London Philharmonic Orchestras, and Staatskapelle Dresden. Her many accolades include a Professorship at the Musikhochschule, Hamburg; Honorary Doctorates from Griffith and Monash Universities and UNSW; and the Chevalier de l Ordre des Arts et des Lettres, France. Simone Young appears courtesy of Lepley Properties Alban Gerhardt Cello Since his early competition successes and debut with the Berlin Philharmonic Orchestra under Semyon Bychkov, Alban Gerhardt has performed with almost 250 orchestras worldwide. His repertoire includes more than 70 cello concerti, and his collaborations with composers such as Thomas Larcher, Brett Dean, Jörg Widmann, Pēteris Vasks, Osvaldo Golijov and Matthias Pintscher demonstrate his commitment to enlarging the cello repertoire. In 2009 he gave the world premiere of Unsuk Chin s Cello Concerto - which was composed for him - at the BBC Proms, and has since performed the concerto with the Bavarian State Orchestra, Oslo Philharmonic and Boston Symphony Orchestra. From 2012-15 he will be artist in residence at the Oregon Symphony. Alban Gerhardt is a highly acclaimed recording artist and has won three ECHO Klassik Awards, most recently for his double CD of works by Max Reger (2009).

10 waso on Stage Tonight VIoLIN kirsty Hilton Guest Concertmaster Semra Lee-Smith A/Associate Concertmaster Graham Pyatt A/Assistant Concertmaster Akiko Miyazawa A/ 1st Violin Zak Rowntree 2nd Violin Kylie Liang A/Assoc 2nd Violin Sarah Blackman Fleur Challen Erin Chen Sara Duhig^ Dorothy Ford^ John Ford^ Beth Herbert Alexandra Isted Shaun Lee-Chen Andrea Mendham^ Lucas O Brien Melanie Pearn Ken Peeler Louise Sandercock Jolanta Schenk Jane Serrangeli Kathryn Shinnick^ Jacek Slawomirski Bao Di Tang Cerys Tooby Teresa Vinci David Yeh VIoLA Paul McMillan Guest Alex Brogan A/Assoc Kierstan Arkleysmith Nik Babic Katherine Drake Alison Hall Tom Higham^ Rachael Kirk Katie McKay^ Helen Tuckey Aaron Wyatt^ CELLo Rod McGrath Louise McKay Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver Fotis Skordas Tim South Jon Tooby^ double BASS Andrew Rootes Joan Wright Elizabeth Browning^ Christine Reitzenstein Louise Ross Andrew Tait Mark Tooby FLUTE Andrew Nicholson Chair partnered by Apache PICCoLo Michael waye oboe Leanne Glover Cor Anglais Annabelle Badcock^ CLARINET Allan Meyer Lorna Cook BASSooN Adam Mikulicz A/ Chair partnered by Ron & Sue Wooller Colin Forbes-Abrams HoRN David Evans Sharn McIver Julia Brooke Francesco Lo Surdo Wendy Tait^ TRUMPET Brent Grapes Evan Cromie Jenny Coleman^ Peter Miller TRoMBoNE Liam O Malley Bruce Thompson^ BASS TRoMBoNE Philip Holdsworth TUBA Cameron Brook TIMPANI Alex Timcke *Instruments used by these musicians are on loan from Janet Holmes à Court AC. Associate Guest Musician^

11 Meet the Musician Shigeru komatsu Cello do you remember the first orchestral work you heard? The first orchestral piece I heard was Beethoven s Sixth Symphony Pastoral from an LP record that accompanied a children s story book when I was three. A cellist called Gohshu wasn t the best player to begin with, but became the top member of the local orchestra after the lessons he received from visiting animals (a bird, some rats and a racoon). On the LP record his orchestra played this symphony in rehearsal and in performance. It was then that I decided to become a cellist, but I had to wait until I was 16 years old to get my first cello. Tonight we welcome back to waso Alban Gerhardt, what other cellist s do you love to listen to? When I was studying cello, Rostropovich was at the top of his career. I saw him perform live, sitting in the front row. It was sensational! I couldn t believe how good he was. I then bought his LP recording of the Rococo Variations with the French National Orchestra. I still listen to it often, which brings back all the memories of my younger days. Also seeing Janos Starker perform Kodaly s Cello Sonata is the same story. And, of course, my big brother Yo-Yo! what is your most memorable performance with waso? Don Quixote, performed with the Brazilian cello player Antonio Meneses, was my first concert with WASO in 1987. It was such an amazing piece to start my career with WASO. I was so happy to be on stage with a professional orchestra after spending 18 months studying with the ABC training orchestra Sinfonia in Sydney. I couldn t speak English very well at the time (my son says still I can t!). Musicians are always busy people what do you do when you have time to relax? I love to watch my two sons (15 and 13 years old) basketball games and training sessions. Both are going to the national championships this year representing WA, and I m very excited for them. I also swim 40 laps at 5:30am every morning. I don t know if you call this relaxing, especially in winter, but I really enjoy it. If you could choose a favourite holiday destination, where would it be? Hokkaido Island, which is in the north of Japan. After skiing, you can jump into an outdoor hot spring bath in the snow with monkeys, and share a big bottle of Sake with them. They get very red! I am looking forward to going there at the end of this year. I am most proud of Being a member of this fantastic Orchestra and being part of the best cello section in Australia under the superb leadership of Rod McGrath.

13 Timeline of Composers & works ANTON BRUCKNER 1824 Ð 1896 Romantic Period 1825 Ð 1900 EDWARD ELGAR 1857 Ð 1934 Bruckner's Symphony No.4 1874 20th Century Period 1900 Ð 2000 Classical Period 1750 Ð 1825 Elgar's Cello Concerto 1919 1800 1900 2000

14 Program Notes Edward Elgar (1857-1934) Cello Concerto in E minor, Op.85 (1919) Adagio Moderato Lento Allegro molto Adagio Allegro Moderato Allegro, ma non troppo Elgar s career reached its last zenith with his Violin Concerto in 1910, and Second Symphony in 1911. Between them and this 1919 Cello Concerto his last major work Elgar faced down worsening prospects in almost every aspect of his life, from the personal challenges of age, ill-health and bereavement, to the professional affront of being elbowed aside by younger colleagues. There was also the war. While Britain s youth marched into France in August 1914 singing It s a long way to Tipperary, Elgar s Land of Hope and Glory composed during the Boer War as trio of his first Pomp and Circumstance March (1901) was re-mobilised at home as a patriotic anthem. Rendered semisuperfluous by his own old tune, Elgar, at 57, struggled to find a new wartime voice in works like Carillon, a musically slight but eloquent response to the tragedy in Belgium. His more substantial choral score, The Spirit of England, setting war poems by Laurence Binyon, appeared in 1916-17, however it was Binyon s lines commemorating the millions fallen ( They shall grow not old Age shall not weary them ), and not Elgar s music for them, that everyone remembered. Binyon, by day, was a curator at the British Museum under Elgar s close friend, Sidney Colvin, who first suggested Elgar turn Binyon s poems into the wonderful Requiem for the slain that The Spirit of England became. Binyon himself approached Elgar again immediately the Armistice was declared with a request to set his new ode Peace. But by letter on 18 November 1918, Elgar demurred: I do not feel drawn to write peace music somehow the whole atmosphere is too full of complexities for me to feel music to it. He had anyway, as his wife Alice recorded in her diary, already conceived another lament which should be in a war symphony, music that evolved over the spring and summer of 1919 into a real large work & I think good and alive, as he described the nearly completed concerto in a letter to Colvin and his wife Frances on 26 June, asking permission to dedicate it to them.

15 On 27 October Elgar himself, out of duty to soloist Felix Salmond, reluctantly proceeded to direct the premiere, well knowing it was destined for near disaster after his coconductor, Albert Coates, used up most of the London Symphony s available rehearsal time preparing Scriabin s Poem of Ecstasy. It was not until Elgar and Beatrice Harrison made their 1928 recording that a new public, many of them unfamiliar with his earlier successes, began to appreciate the work as a masterpiece in its own right. The score is laid out in four movements, though listeners tend to hear the first and second movements, played without break, as a single span. Whereas his violin concerto opened into a conventionally spacious orchestral introduction, pending the princely arrival of its soloist, Elgar sets his cello in a more intimate frame. Denied welcoming brass or upper strings, the brief opening cello recitative (Adagio) sets its own unusually pared-back terms hereinafter will be lyricism, light orchestration, simple layouts. The violas, eerily unaccompanied, announce the dreamy, modal, muchloved main theme (Moderato), its rocking rhythm Elgar s characteristic pastoral lilt. The winds introduce the airy, major-tending contrasting theme, which the cello then sets about varying, before the main theme simply returns. A longer, second cello recitative (Lento) inducts into faster, lighter scherzo-like Allegro molto, the cello driving the music forward with its scrubbing semiquavers. Elgar anticipated that the Adagio, despite its anticipatory half-close, would often be played without the rest of the concerto, and scored it with just strings and wind sextet. The cello melody gives the uncanny impression of being an internal dialogue between two separate voices, higher and lower, each merging in and out of the countermelodies of the supporting strings. The finale opens, exceptionally, announcing its fragmentary theme (Allegro) without the cello. The cello then reworks it in a parenthetic recitative and short cadenza (Moderato), before it takes over fully (Allegro, ma non troppo). The soloist sweetly but firmly pulls the music up, introducing its arcing subsidiary idea, then carried on by flowing semiquavers into the extensive development. There s a heady reprise of the fast theme, echoes of earlier quiet asides, and a penultimate throwback to the concerto s opening gesture, caught up into a rapid, surging close. Graeme Skinner 2014 WASO last performed this work on 7 & 8 October 2011, performed by Sol Gabetta and conducted by Mario Venzago. IF YoU LIkE THIS work YoU MAY ALSo ENJoY SIBELIUS Violin Concerto featured in Sibelius Violin Concerto Fri 14 & Sat 15 November Glossary Recitative In vocal music a recitative is a kind of sung speech ; transferred to instrumental music, it refers to passages in which the melody and rhythms mimic the inflections of speech. Cadenza A virtuoso 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.

16 Program Notes Anton Bruckner (1824-1896) Symphony No.4 in E flat, Romantic. WAB 104 (1874 version) Bewegt nicht zu schnell Andante quasi allegretto Scherzo: Bewegt Finale: Bewegt doch nicht zu schnell Many listeners have been introduced to Bruckner s music through his Fourth Symphony, frequently because, as Ralph Hill once put it, in a weak moment he allowed a nickname Romantic to be attached to it along with a program describing castles, knights and maidens, birdsong and hunting. All very Game of Thrones. Romanticism s medieval utopia, with its evocation of a pre- Enlightenment Europe, is a thread that runs through the operas of Wagner, the Gothic Revival in church architecture, the paintings of the pre-raphaelites, and Bruckner was, of course, very much under the spell of Wagner. But in reality his symphonic ideal, like that of his supposed rival Brahms, was to create works of purely abstract musical thought, an ideal that had gone into partial eclipse with the deaths of Schumann and Mendelssohn. This symphony is replete with horn-calls and birdsong, but it is only a decade after the first version of the work that Bruckner alludes to the nickname or program; in the interim Bruckner had, after extensive revision, created the second version. He never heard the first, and after a performance of the second in 1881 he undertook, with the help of trusted students, further revisions to create the piece with which we are familiar today. The 1874 version gives us a fascinating insight into Bruckner s first thoughts, some of which are more striking than in the final version, though less helpful in creating the sense of inexorability that defines his mature work. At the start, the music trembles with anticipation, over which texture we hear the fall and rise of a perfect fifth from the horn; this is the seed of the work. The first period is more inclined to roam harmonically, and the countermelodies are more chromatic than in the final version. Bruckner s orchestration is lighter (though the final version adds only a third flute and cymbals to the orchestra of double winds, four horns, three trumpets, three trombones, tuba, timpani and strings) so the chorale-like passage that forms the first major climax of the movement is radiant rather than brassy. The woodwind scoring is often more colourful, with an especially avian passage of repeated figures before the movement s recapitulation.

17 The movement generally has more dramatic ebb and flow than the final version, and this continues into the movement s coda where the restless mood perhaps weakens the movement s argument. As Bruckner later realised, a slightly slower rate of harmonic change makes those unexpected shifts all the more galvanising. The slow movement, as later, begins with the down-up perfect fifth motif, now on low strings. There is, again, a much more fluid sense of harmony in this version, with many, often delightfully unexpected, harmonic sidesteps. It introduces a passage of canonic imitation about halfway through and its second theme contains a memory of the chorale-like passage from the first movement, which is somehow clearer in this version. Bruckner completely replaced the Scherzo from the first version. Its Beethovenian outer sections gain much of their drama from the opposition of a solo horn with a busy orchestral tutti. The horn melody has the down-up fifth at its centre but is slightly overused, especially in the movement s coda. The Scherzo s central trio is a fine example of the sort of music labelled as Brucknerian forest murmurings. The Finale, which subsequently went through two major overhauls (and was briefly entitled folk festival ), begins with the characteristic unison call, leading to an otherworldly texture of flute- and string-sound that prefigures moments in the Ninth Symphony. A since discarded passage of ostinato strings and brass forges ahead to a statement of the horn s fifth motif, many unison scale passages and some chromatic string tremolos that remind us of the Magic Fire Music from Wagner s Die Walküre. There is more woodland music, laughing strings and distant horn calls. A broad theme, that survived Bruckner s scalpel, is stated and elaborated with ornamentation, canonic writing and more harmonic sidestepping. A maelstrom of ostinato figures prepares for the movement s triumphant return to the tonic chord, underlined by the famous Bruckner rhythm (two crotchets followed by a triplet across two beats). The work s final affirmation implies, but sadly does not state, the slow-moving horn-call that we hear in later versions. Gordon Kerry 2014 WASO last performed 1880 version of this work on 12 & 13 April 2002, conducted by János Fürst. IF YoU LIkE THIS work YoU MAY ALSo ENJoY SCHUMANN Symphony No.3 Rhenish featured in Schubert & Schumann Fri 8 & Sat 9 August Glossary Recapitulation A return to the opening material of a piece or a movement Coda A concluding section added to the basic structure of a piece or movement to emphasise the sense of finality. Tremolos Repeating the same note many times very quickly, producing a shaking sound. ostinato A brief fragment or phrase which is repeated persistently through a section of music. Tonic chord In the system of major and minor keys that dominates in Western tonal music, the main note of a key (the note after which it is named) is the tonic. A tonic chord is the chord built on the tonic note.

18 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 75-76 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 (1876-1973) 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. Clare Krier Symphony Services International 2012 The pitches of the open strings on a cello: C G D A 4 5 7 8 9 1 3 6 2 10 Key: 1 Scroll 2 Tuning pegs 3 Fingerboard 4 Strings 5 Bridge 6 F-holes 7 Finetuners 8 Tailpiece 9 Endpin 10 Bow

19 waso Philanthropy Philanthropy Partner A Message from Conductor Simone Young WASO is the cultural heart of this state and on each visit I am reminded how lucky we are to have an Orchestra of the finest standard resident here. Whenever I conduct WASO, I am moved by the commitment of the musicians and by the audience s great affection for their Orchestra. I admire the extent of WASO s community reach both inside the Concert Hall and out in schools, hospitals, at the opera and ballet, and in metropolitan and regional areas. Orchestras around the world are sustained through philanthropic support. I encourage you to support your Orchestra by becoming a Patron and supporting WASO through your gift. This year we hope to raise $500,000 through Annual Giving. WASO Philanthropy helps to build a strong, vibrant Orchestra for this state that brings joy to many thousands of people. We invite you to help us continue to achieve our vision to touch souls and enrich lives through music by making a donation. To learn more or to make a donation please contact Jane Clare on 9326 0014 or clarej@waso.com.au. You can also go to waso.com.au and find out more by clicking the Support tab or make a donation online by clicking the red Make a Donation button. All donations over $2 are fully tax deductible. Thank you for your support. Patrons & Friends Event Meet the Chamber Ensemble 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 postconcert event are $10 for Patrons & Friends ($15 for guests) and include a glass of wine and nibbles. To book, please call the WASO Box Office on 9326 0000.

20 our Supporters Your attendance helps sustain the Orchestra and we thank you for your commitment. We are also very grateful to our corporate supporters who make a significant contribution to WASO, and of course for government funding which is critical. However, these three sources of income are simply not enough to cover the ongoing costs of the Orchestra and increasingly it is our Patrons that enable us to continue to achieve our vision to touch souls and enrich lives through music. There are many ways you can be involved and your support is deeply appreciated. Endowment Fund for the orchestra The Endowment fund includes major donations from individuals and bequests. The income earned is used for the benefit of the orchestra. Tom & Jean Arkley Janet Holmes à Court AC Sagitte Yom-Tov Fund Estates waso is extremely grateful for the bequests received from the Estates of the following benefactors: Mrs Roslyn Warrick Symphony Circle Recognises Patrons who have made a provision in their will to the orchestra. Anita Clayton Judith Gedero Wolfgang Lehmkuhl Tosi Nottage in memory of Edgar Nottage Judy Sienkiewicz Sheila Wileman Anonymous (16) The waso Song Book New works commissioned for the orchestra by waso. we gratefully acknowledge the support of the following individuals who have commissioned new music performed since 2010. Janet Holmes à Court AC Peter Dawson Geoff Stearn Anonymous (1) Reach out Recognises Patrons who support our Education and Community Engagement programs. Prue Ashurst Creative Partnerships Australia Andrew & Nicola Forrest The James Galvin Foundation Robyn Glindemann Barrie & Jude Lepley McCusker Charitable Foundation John & Alison Rigg Simon Lee Foundation Beethoven Circle waso acknowledges Patrons who are generously supporting our Beethoven Festival. Jean Arkley in memory of Tom Arkley Bob & Gay Branchi Janet Holmes à Court AC in memory of her mother Torsten & Mona Ketelsen Tony & Gwenyth Lennon Joshua & Pamela Pitt

21 our Supporters Annual Giving We thank the following Patrons for their generous contribution to WASO in the last twelve months through WASO s Annual Giving Program. Conductor s Circle Gifts $20,000+ Janet Holmes à Court AC Jill Mulheron Brian & Nancy Murphy Patricia New Anonymous (1) Impresario Patron Gifts $10,000 - $19,999 Gay & Bob Branchi Tony & Gwenyth Lennon Joshua & Pamela Pitt Anonymous (1) Maestro Patron Gifts $5,000 - $9,999 Jean Arkley in memory of Tom Arkley Bill Bloking Ian & Elizabeth Constable Moira & John Dobson Bridget Faye AM Gilbert George & Associates Dr Patricia Kailis Margaret & Rod Marston Robert May Spinifex Trust Peter & Jean Stokes Trish Williams Strategic Interactions Sue & Ron Wooller Anonymous (2) Virtuoso Patron Gifts $2,500 - $4,999 Prof Fred & Mrs Margaret Affleck Neil Archibald & Alan R. Dodge AM Peter & Marjorie Bird Sally Burton Don Conroy Mark Coughlan & Dr Pei-Yin Hsu Stephen Davis Tim & Lexie Elliott Robyn Glindemann Sylvia & Wally Hyams Keith & Gaye Kessell Michael & Dale Kitney Bryant Macfie Mrs Morrell Anne Nolan Ron & Philippa Packer John & Paula Phillips Ms Elizabeth Sachse & Dr Lance Risbey Judy Sienkiewicz Ros Thomson M. & H. Tuite Andrew & Marie Yuncken Anonymous (1) Patron Gifts $1000 - $2,499 Margaret Atkins OAM Colin & Eve Beckett Tony & Mary Beeley Suzanne & David Biddles John & Sue Bird in memory of Penny Bird Kevin Blake Matthew J.C. Blampey Alan & Anne Blanckensee Mr John Bonny Mrs Debbie Borshoff Jean Brodie-Hall AM Gavin Bunning Ann Butcher & Dean R. Kubank Dr G Campbell-Evans Arthur & Nerina Coopes Hon June Craig AM Gay & John Cruickshank Norman & Denia Daffen Russell & Susan Dixon Margaret Dobson Julian Dowse Don & Marie Forrest Dr Andrew Gardner Roger & Ann Gillbanks Graham & Barbara Goulden Jannette Gray Sandra Gray Joe & Deidre Greenfeld David & Valerie Gulland Brian & Romola Haggerty Richard B. Hammond

22 our Supporters Pauline & Peter Handford Michael Harding Shigeki & Hinako Hirano Michael & Liz Hollingdale John & Katrina Hopkins Jim & Freda Irenic Cynthia Jee Lilian & Roger Jennings Anthony Kane & Jane Leahy-Kane Bill Kean Anthony & Noelle Keller Dorothy Kingston Dr Rob Kirk & Sarah Gallinagh Stephanie & John Kobelke Ulrich & Gloria Kunzmann Irving Lane Paul Lee Rosalind Lilley Graham & Muriel Mahony Gregg & Sue Marshman Mervyn Matthews Jennifer & Arthur McComb Betty & Con Michael AO Vicki Mizen Hon Justice S.R. Moncrieff Jane & Jock Morrison Lynn Murray Val & Barry Neubecker Dr Phillip & Mrs Erlene Noble John Overton The Family of Hilary Owens Michael & Lesley Page Athena Paton Associate Prof. Tim Pavy Alan Pedersen in memory of Hilary Owens Charmian Phillips in memory of Colin Craft Pamela Platt Andrew & Suzanne Poli Dr Leon Prindiville Chester Reeve John & Alison Rigg Nigel & Dr Heather Rogers Maurice & Gerry Rousset Roger Sandercock Dr R. & J. Schwenger Margaret & Roger Seares Melanie & Paul Shannon Eve Shannon-Cullity Julian & Noreen Sher Laurel & Ross Smith Dr Paul Smith & Denham Harry Gail & Tony Sutherland Anna Sweetingham Richard Tarala & Lyn Beazley AO Gene Tilbrook Mary Townsend Dr Robert Turnbull Maggie Venerys Stan & Valerie Vicich Watering Concepts Ian Watson Joyce Westrip OAM Alan Whitham Ann Whyntie Jean & Ian Williams AO Jim & Gill Williams Dr Peter Winterton Anonymous (19) Tutti Patron Gifts $500 - $999 Geoff & Joan Airey Catherine Bagster Merle I. Bardwell Betty Barker Bernard & Jackie Barnwell Shirley Barraclough P.M. Bennet Michael & Nadia Berkeley-Hill Elaine Bonds Diane & Ron Bowyer Elizabeth & James Brown Marilyn & Ian Burton Nanette Carnachan Claire Chambers & Dr Andrea Shoebridge Dr Anne Chester Lyn & Harvey Coates AO Agatha & Alex Cohen AO Helen Cook Brian Cresswell Gina & Neil Davidson Frances Davies Lesley & Peter Davies Jop & Hanneke Delfos Rai & Erika Dolinschek Lorraine Ellard Mrs G. Ewen The Farghaly Family Annette Finn Jim & Pamela Flaherty Joan Gagliardi Pat Gallaher George Gavranic Elaine Gimson Isobel Glencross Jacqui Grove Douglas M & Regina Hansen Prof Alan Harvey & Dr Paulien de Boer Richard Hatch Dr Penny Herbert in memory of Dunstan Herbert Helen Hollingshead

23 our Supporters John Isherwood Peter S. Jones B.M. Kent Nelly Kleyn In memory of Dr Brenton Knott Trevor & Ane Marie Lacy Megan Lowe Dr Mary Ellen MacDonald Mrs Carolyn Milton-Smith in loving memory of Emeritus Prof. John Milton-Smith S.B. Monger-Hay Dr Peter Moss Marianne Nilsson Marjan Oxley Graham & Hildegarde Pennefather Bev Penny Adrian & Ruth Phelps Alpha & Richard Pilpel OAM Sheila Pinch Thomas & Diana Potter Alison & John Price Ann Rawlinson Clarissa Repton James & Nicola Ridsdill-Smith Leigh Robinson Judith E. Shaw The Sherwood Family Hendrick Smit Michael Snell & Vicki Stewart Louise Sparrow & Family Peggy & Tom Stacy Ruth E. Thorn Dr Julian Todres S.R. Vogt Adrienne & Max Walters Diana Warnock Anne Watson Joy Wearne Dr Chris & Mrs Vimala Whitaker Violette William Janet Williams Judith Wilton & David Turner Patricia Wong Yalambi Farm Stud Anonymous (19) Friends Gifts $40 - $499 Thank you to all our Friends who support WASO through their gift. As we celebrate our tenth year of annual giving, 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 B.M. Kent Bryant Macfie Peter & Patricia Moss Jill Mulheron John Overton Heather Rogers Judith Sienkiewicz David Turner & Judith Wilton Andrew & Marie Yuncken We would like thank them for their invaluable ongoing support. If you are interested in becoming a Patron or learning more about waso Philanthropy please contact Jane Clare, Fundraising and Philanthropy Coordinator, on 9326 0014 or email clarej@waso.com.au. WASO Philanthropy brochures are available from the WASO Programs & Information desk located in the main foyer of the Perth Concert Hall or you can visit waso.com.au. All donations over $2 are fully tax deductible.

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

25 BoARd of directors Janet Holmes à Court AC Chairman Mark Coughlan Keith Kessell Barrie Lepley Deputy Chairman Anne Nolan Paul Shannon Julian Sher Michael Utsler ExECUTIVE Craig Whitehead Chief Executive Claire Burlinson Executive Assistant Ellen Wisdom Executive Manager, Human Resources Rachel Taylor Human Resources Assistant ARTISTIC PLANNING Evan Kennea Executive Manager, Artistic Planning Maya Kraj-Krajewski Artist Liaison/Chorus Administrator Claire Stokes Program Manager Alan Tyrrell Program Manager CoMMUNITY ENGAGEMENT Cassandra Lake Executive Manager, Community Engagement Fiona Taylor Education Coordinator Gemma McDonald Community Development Coordinator Perth Concert Hall AEG ogden (Perth) Pty Ltd Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues. orchestral MANAGEMENT Keith McGowan Executive Manager, Orchestral Management Richie Burton Orchestral Operations Manager David Cotgreave Production & Technical Manager Alistair Cox Orchestra Manager Wee Ming Khoo Music Librarian Noel Rhind Orchestral Operations Coordinator BUSINESS SERVICES Peter Freemantle Chief Financial Officer Andrew Chew Systems Administrator Angela Miller Accountant Svetlana Williams Payroll Officer Sushila Bhudia Accounts Officer CoRPoRATE development Marina Woodhouse Executive Manager, Corporate Development Simon Lodge Executive Manager, Corporate Development Sharmini Poulsen Corporate Partnerships Manager Luci Steinhardt Corporate Partnerships Executive Ginny Luff Events Coordinator Andrew Bolt General Manager Helen Stewart Deputy General Manager Peter Robins Technical Manager Paul Richardson Assistant Technical Manager Penelope Briffa Event Coordinator PHILANTHRoPY Alecia Benzie Executive Manager, Philanthropy Josie Aitchison Customer Service & Philanthropy Coordinator Jane Clare Fundraising & Philanthropy Coordinator MARkETING Kelli Carnachan Executive Manager, Marketing Kirsty Chisholm Digital Marketing Coordinator Nancy Hackett Marketing Manager Gina Beers Graphic Designer Marc Missiaen Relationship Marketing Manager Paula Schibeci Public Relations Manager Amanda Lim Marketing Assistant Courtney Walsh Marketing Intern Sava Papos Customer Service Manager Josie Aitchison Customer Service & Philanthropy Coordinator Beverley Trolio Customer Service Coordinator Alana Arnold Margaret Daws Vicki Prince Debbie Silvester Robyn Westbrook Customer Service Officers AEG ogden (Perth) Pty Ltd Rodney M Phillips Chief Executive The Perth Theatre Trust The Hon. Mr Peter Blaxell Chairman WASO programs are printed by Pilpel Print www.pilpel.com.au 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 6892. Email waso@waso.com.au

Don t miss one of the most cherished chamber works, Brahms heartwarming Clarinet Quintet, in a stunning one-hour concert! IAIN GRANDAGE After Silence SCHUBERT Quartettsatz BRAHMS Clarinet Quintet Fri 19 Sept 2pm Government House Ballroom Sun 21 Sept 2pm Fremantle Town Hall Rebecca Glorie violin Cerys Tooby violin Rachael Kirk viola Fotis Skordas cello Allan Meyer clarinet (pictured) Shaun Lee-Chen violin (pictured) Akiko Miyazawa violin (pictured) Alex Brogan viola (pictured) Louise McKay cello (pictured) BOOK NOW Tickets $42 * Call 9326 0000 quoting 1086 Visit waso.com.au *Transaction fees may apply.

27 2014 Corporate Partners PLATINUM PARTNERS CONCERTO PARTNERS OVERTURE PARTNERS SONATA PARTNERS EDUCATION PARTNERS School of Music Tertiary Education Partner KEYNOTE PARTNERS ORCHESTRA SUPPORTERS MARGARET RIVER WINE PARTNERS Aravina Estate, Edwards Wines, Howard Park Wines, Leeuwin Estate, Moss Wood, Pierro Margaret River Vineyards, Vasse Felix. MEDIA PARTNERS FUNDING PARTNERS The West Australian Symphony Orchestra is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

9 SYMPHONIES 4 CONCERTS 2 WEEKENDS 21 31 August Perth Concert Hall BOOK NOW Buy all 4 concerts and save 10%! Individual tickets from $30* Call 9326 0000 quoting 1086 or visit waso.com.au *Transaction fees may apply. $30 Choir stall seats not available for Beethoven s Ninth.