ALCOHOL. THINK AGAIN MASTERS SERIES Friday 26 & Saturday 27 September 7.30pm Perth Concert Hall STEPHEN HOUGH PLAYS BEETHOVEN

ALCOHOL. THINK AGAIN MASTERS SERIES Friday 26 & Saturday 27 September 7.30pm Perth Concert Hall STEPHEN HOUGH PLAYS BEETHOVEN

2 Save the drama for the stage. Avoid excess alcohol. To stay at low risk, have no more than two standard drinks on any day. To find out more, visit alcoholthinkagain.com.au

3 SINGAPORE AIRLINES PRESENTS LATITUDE NEw MUSIC FESTIVAL CoLD HEAT wednesday 1 october 8pm Astor Theatre Baldur Brönnimann conductor (pictured) Ashley Smith clarinet FEARFUL SYMMETRIES Saturday 4 october 8pm Astor Theatre Baldur Brönnimann conductor (pictured) Matt Styles saxophone Visit waso.com.au for the full program. Tickets $45* or both concert for only $85.50* MORNING SYMPHONY SERIES Mozart s Clarinet Concerto Thursday 9 october 11am Perth Concert Hall MoZART Clarinet Concerto RACHMANINoV Symphonic Dances Michael Stern conductor Michael Collins clarinet (pictured) CLASSICS SERIES Mozart s Clarinet Concerto Fri 10 & Sat 11 october 7.30pm Perth Concert Hall CARL VINE Concerto for Orchestra WORLD PREMIERE MoZART Clarinet Concerto RACHMANINoV Symphonic Dances Michael Stern conductor Michael Collins clarinet (pictured) Tickets from $27* Tickets from $30* Book Now Call 9326 0000 visit waso.com.au or ticketek.com.au *Transaction fees may apply.

4 welcome This program is in many ways a journey from Beethoven s wartime Fifth Piano Concerto to the apocalypses of the waltz and its era in Ravel s La Valse. This journey is illustrated by the travel imagery and reminiscences in Debussy s three orchestral Images. The Emperor nickname for Beethoven s Fifth Piano Concerto is unfortunate: he must have been fed up with emperors, having lived through a long period of bloody wars in Europe and writing his concerto while Napoleon s army fired artillery shells at Vienna, his home city. It is also not extrovertly heroic, despite its key of E flat. The only heroic aspect is the concerto s grand and symphonic design, even going several steps beyond his Fourth Piano Concerto. This was part of Beethoven s compositional thinking at the time and pieces like his Fifth and Sixth Symphony, written around the same period, testify for the exploration and magnitude of his works leading up to the Fifth Piano Concerto. For the ears at the time, Beethoven s music was very new, but the Fifth Piano Concerto is a work that served as a model for many later concertos, especially in its idealistic struggle to go beyond the formal boundaries. It stands for the ideas and optimism of a period that came to a deadly end just before Maurice Ravel wrote his La Valse. La Valse is much more than the story of the birth and the decay of the waltz. It s about a time when Vienna was the capital of the world and about its glory and its downfall. At the beginning of the piece, the waltz rhythm is turned into a deadly machine building up to a climax that leads to the waltz s obliteration and destruction: It s the end of an era that started in Beethoven s Vienna and ended on the battlefields of World War 1. Baldur Brönnimann Conductor Photo: Julieta Schildknecht

5 Program ALCOHOL.THINK AGAIN MASTERS SERIES Stephen Hough Plays Beethoven BEETHoVEN Piano Concerto No.5 Emperor (38 mins) Allegro Adagio un poco mosso Rondo (Allegro) INTERVAL (20 mins) DEBUSSY Images (35 mins) Gigues Ibéria Rondes de printemps RAVEL La Valse (13 mins) Baldur Brönnimann conductor Stephen Hough piano Pre-concert Talk Find out more about the music in the concert with this week s speaker Tim White. Pre-concert talks take place at 6.45pm in the Terrace Level foyer on Friday and Saturday nights. Meet the Artist Meet Stephen Hough post-concert Saturday night in the Terrace Level foyer. Meet the Artist is supported by Wesfarmers Arts Pre-concert talks are 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 on the Road Tour Photo: Waso on The Road musicians perform for students via video conferencing technology at the Pilbara Education Regional Office. PILBARA On Monday 8 September, WASO embarked on the year s first 5-day WASO on the Road Tour to the Pilbara (WOTR). A brass quintet made up of two trumpets, a trombone, tuba, and a horn presented six free in school performances and three community concerts in Karratha, Roebourne, Onslow and Dampier plus a workshop with the band at Karratha Senior High School. In an exciting development this tour WASO was also able to link up to the Port Hedland School of the Air through the Pilbara Educational Regional Office, to broadcast a series of live video performances to children living and doing their schooling in remote parts of Western Australia including South Hedland and Cassia Primary Schools, Yandeyarra Remote Community School and 22 sites across the East and West Pilbara. After the performance children were able to ask questions of the musicians and interact with them in real time allowing WASO to reach even more of the community thanks to the wonders of technology. Michael Jennings, at the Port Hedland School of the Air later thanked WASO saying the well-considered incorporation of classical and contemporary pieces made the performance relevant, educative and extremely enjoyable to all attendees. ALBANY After the success of our recent visit to Albany with the full orchestra as part of the Beethoven Festival, WASO returned to the community in mid-september to present its second WASO on the Road Tour visiting the coastal town along with Denmark and Jerramungup. On this tour a string quartet took centre stage to run workshops with the Albany Youth Orchestra and music students at Albany Primary School, and to present two free community concerts and five in school performances that reached students from six schools. Peter Moore also conducted the Albany string community in a full rehearsal as they prepare for their part in the upcoming ANZAC Centenary Concert. A highlight of the tour was an interactive performance visit to with the students of Spencer Park Special Education Support Centre. It was an absolutely fabulous night and a magnificent performance by a dedicated and professional group who obviously enjoyed bringing enjoyment to others. I don t often take part in standing ovations but could not help myself this time. Please keep coming back. Graham Foster, Chief Executive City of Albany WASO on the Road Pilbara is supported by Chevron. WASO on the Road Albany is supported by Water Corporation.

8 Biographies Photo: Julieta Schildknecht Baldur Brönnimann Conductor Baldur Brönnimann is the new Conductor of the Orquestra Sinfónica do Porto Casa da Música from January 2015, following a long-standing relationship with the orchestra during which he has collaborated with artists and composers such as Luca Francesconi, Jonathan Harvey, Håkan Hardenberger, John Adams, Kaija Saariaho and Thomas Adès. In the 2014-15 season he appears as guest conductor to the BBC Symphony Orchestra, Klangforum Wien, Helsinki Philharmonic Orchestra, Copenhagen Philharmonic, Philharmonia Orchestra and Strasbourg Philharmonic Orchestra, among others. He debuts this season with the Gothenburg Symphony Orchestra, Orchestre National Bordeaux Aquitaine and Brussels Philharmonic. Born in Switzerland, Baldur Brönnimann trained at the City of Basel Music Academy and at the Royal Northern College of Music in Manchester. He is Artistic Director of Norway s contemporary music ensemble BIT20 and was previously Music Director of the National Symphony Orchestra of Colombia. Stephen Hough Piano Stephen Hough combines a distinguished career as a concert pianist with those of a composer and a writer. He was the first classical performer to be awarded a MacArthur Fellowship, and was appointed CBE in the 2014 New Year Honours. In the 2013/14 season he undertook a residency with the BBC Philharmonic, and he was the BBC Symphony Orchestra s Artist in Focus throughout the 2012/13 season. Stephen Hough s career was launched when he won first prize at the 1983 Naumburg International Piano Competition in New York, and he has since performed with many of the world s major orchestras. He is a regular guest at festivals such as Salzburg, Mostly Mozart, Tanglewood, Edinburgh and the BBC Proms, where he has made over twenty concerto appearances. A celebrated writer, he has been published by The Guardian, The Times and The Telegraph, where he is the author of a popular cultural blog.

The audience was held spellbound by Collins superb solo work Classical Voice of North Carolina CLARINET CONCERTO Thur 9 Oct, 11am Fri 10 & Sat 11 Oct, 7.30pm Perth Concert Hall MOZART Clarinet Concerto RACHMANINOV Symphonic Dances Michael Stern conductor Michael Collins clarinet BOOK NOW Tickets from $30 * Call 9326 0000 quoting 1086 Visit waso.com.au or ticketek.com.au *Transaction fees may apply.

10 waso on Stage Tonight VIoLIN graeme Norris Guest Concertmaster Semra Lee-Smith A/Associate Concertmaster graham Pyatt A/Assistant Concertmaster Shaun Lee-Chen A/ 1st Violin Zak Rowntree 2nd Violin Kylie Liang A/Assoc 2nd Violin Sarah Blackman Fleur Challen Sarah Duhig^ Beth Herbert Alexandra Isted Sunmi Jung Andrea Mendham^ Akiko Miyazawa Lucas O Brien Kathleen O Hagan^ Melanie Pearn Ken Peeler Kathryn Shinnick^ Jolanta Schenk Jane Serrangeli Ellie Shalley Jacek Slawomirski Bao Di Tang Cerys Tooby Teresa Vinci David Yeh VIoLA Sally Boud Guest Alex Brogan A/Assoc Kierstan Arkleysmith Nik Babic George Batey^ Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey Aaron Wyatt^ CELLo Rod Mcgrath Louise McKay Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver Fotis Skordas Tim South Xiao Le Wu DoUBLE BASS Andrew Rootes Elizabeth Browning^ Sarah Clare^ Christine Reitzenstein Andrew Tait Mark Tooby Phil Waldron^ FLUTE Andrew Nicholson Chair partnered by Apache. Mary-Anne Blades Diane Riddell^ PICCoLo Michael waye oboe Peter Facer Elizabeth Chee Stephanie Nicholls^ CoR ANgLAIS Leanne glover CLARINET Allan Meyer Lorna Cook Catherine Cahill^ BASS CLARINET Alexander Millier Chair partnered by Altegra Property Group. BASSooN Adam Mikulicz A/ Linda Charteris^ Colin Forbes-Abrams CoNTRABASSooN Chloe Turner HoRN David Evans Sharn McIver Julia Brooke Francesco Lo Surdo Brendan Parravacini TRUMPET Brent grapes Evan Cromie Breanna Evangelista^ Tim Keenihan^ TRoMBoNE Joshua Davis Liam O Malley BASS TRoMBoNE Philip Holdsworth TUBA Cameron Brook TIMPANI Alex Timcke PERCUSSIoN Troy Greatz Joel Bass^ Amanda Dean^ Robyn Gray^ Paul Tanner^ HARP Catherine Ashley^ Bronwyn Wallis^ CELESTE Graeme Gilling^ *Instruments used by these musicians are on loan from Janet Holmes à Court AC. Associate Guest Musician^

11 Meet the Musician Mark Tooby Double Bass what initially inspired you to play the Double Bass? My brother Jon and his friend Tom Woods (now a successful conductor) started playing the cello at the age of six. A year later Tom s sister and I thought it would be cool to take up the largest stringed instrument. Amazingly we all became professional musicians. How long have you been performing with waso and what have been your highlights? I have been in WASO for 24 years now and there have been many highlights, including performing Shostakovich s Symphony No.11 with Maestro Alexander Lazarev and Mahler s Third Symphony with Vladimir Verbitsky back in 1991. Another highlight for me has been writing educational programs with Lee Stanley. Together we have created EChO the Gecko s Sea Adventure and have just completed EChO the Gecko s Outback Adventure. I get tremendous satisfaction out of introducing music to children of all ages. what (or who) has been your greatest inspiration? Knut Guettler (Professor at Oslo University in Norway) and Kevin Rundell ( Bass London Philharmonic Orchestra). Both are amazing players who have taught me so much. what is the most challenging thing about playing the double bass? Getting it in a car! Although I love the sound of the double bass it really is a ridiculous instrument to play, also an expensive one. I still love it though. Do you have any advice for students interested in pursuing a career as a double bass player? Take up the flute! Did you always imagine you would have a musical career, or did you ever have something else in mind? It was furthest from my mind when I was younger and it wasn t until university when I thought how fantastic it would be to play music for a living. I love water and particularly the sea so marine biology was always something I would love to do.

13 Timeline of Composers & works LUDWIG VAN BEETHOVEN 1770 Ð 1827 Born in Bonn, Germany Died in Vienna, Austria Beethoven's Piano Concerto No.5 1811 CLAUDE DEBUSSY 1862 Ð 1918 Born in Saint-Germain-en-laye, France Died in Paris, France MAURICE RAVEL 1875 Ð 1937 Born in Ciboure, France Died in Paris, France Debussy's Images 1905 Ð 1913 Ravel's La Valse 1920 1800 1900 2000

14 Program Notes Ludwig van Beethoven (1770-1827) Piano Concerto No.5 in E flat, Op.73 Emperor Allegro Adagio un poco mosso Rondo (Allegro) In May 1809 Napoleon s armies occupied Vienna for the second time and with considerable violence. Beethoven took shelter with his brother Carl and his wife Johanna and to protect his failing hearing spent the bombardment of 11 and 12 May with pillows over his ears in the cellar. Despite his misery, Beethoven managed to work. He composed the Op.70 piano trios and three piano sonatas including Op.81a, Das Lebewohl (Les Adieux) which reflects Beethoven s sorrow at seeing his patron Archduke Rudolf leaving Vienna, as did so many of the aristocracy during the invasion. He also composed the String Quartet Op.74, popularly known as the Harp Quartet, and completed the Fifth Piano Concerto (also dedicated to Rudolf). Curiously, most of these are in the key of E flat the key of The Magic Flute and other music where Mozart sought to create a sense of solemnity, and one that Beethoven used at his most Promethean in works like the Eroica Symphony. These works don t bear any obvious resemblance to one another: the transcendent serenity of the Harp Quartet seems miles away from the high style of the outer movements of the concerto. But all of these works break new ground in some way. By this time Beethoven s deafness made it impossible for him to perform with an orchestra, so the concerto s first performance in Leipzig in 1811 was given by a young organist, Friedrich Schneider. At the Viennese premiere in 1812, Carl Czerny was soloist. Given the political circumstances, it is hardly surprising that the concerto is, in Alfred Einstein s word, the apotheosis of the military concept in Beethoven s music. Biographer Maynard Solomon quotes Einstein as saying that the audience expected a first movement in four-four time of a military character; and they reacted with unmixed pleasure when Beethoven not only fulfilled but far surpassed their expectations. In the Fifth Concerto, Beethoven solved the problem of how to exploit the soloist s virtuosity without downgrading the role of the orchestra, while constructing the kind of musical argument and drama which was so crucial to the Classical style.

15 This is achieved partly through masterstrokes like the very opening gesture: a single chord is sounded by the orchestra, to which the piano responds in such flamboyant style, creating a sense of uncertainty about how and when the orchestra will rejoin the music, and what form the actual thematic material will take. A standard practice in much Classical music was to get louder and more agitated in the lead-up to a point of structural significance, but Beethoven made those moments even more dramatic. The overwhelming impression left by the first movement of the Fifth Concerto is of ceremonial grandeur and pomp hence the nickname (not authorised by Beethoven) of Emperor. But the movement s massive scale is made possible by the frequent contrast of the military, with its characteristic march rhythms, and the reflective. Beethoven prepares the movement s climactic moments with what scholar William Kinderman calls the withdrawal of the music into a mysterious stillness. To prepare the moment of recapitulation, where the opening material returns, Beethoven allows the music to become rarified and serene: a passage of ever-quieter scales and trills gives way to a pastoral dialogue between the winds and the bell-tones of the piano. The short Adagio movement, rightly described as dreamlike by one writer, is in B major, which in terms of Classical tonal logic is a fair way away from the home key of E flat. And its mood couldn t be further from the military episodes, despite its material being dominated by the scales and trills that featured in the first movement. A justly celebrated instance of the withdrawal of the music into a mysterious stillness occurs at the transition from the slow movement into the finale. The transition is almost imperceptible Beethoven changes a note here or there to subtly change the direction of the music as it seems to fade, and the piano begins ruminating on a common chord which will ultimately flower as the final movement s bounding theme, which again is contrasted with moments of deep calm. Whatever the misery in which Beethoven wrote this work, or its immediate political context, it turns out to be another ode to joy. Gordon Kerry 2003 WASO last performed this work on the 26 & 27 March 2010, performed by François-Frédéric Guy and conducted by Paul Daniel. IF YoU LIkE THIS work YoU MAY ALSo ENJoY LISZT Piano Concerto No.1 featured in Piers Lane Plays Liszt Fri 17 & Sat 18 October glossary Chord Three or more notes played together. Trills A very rapid alternation of two notes.

16 Ricoh Australia is a proud supporter of the West Australian Symphony Orchestra. Change the way you work. Providing clever business solutions has always been central to what we do. Many people first came to know Ricoh through our printers and copiers products that spearheaded office automation and provided significant gains in productivity. Today, we re still improving work-life through our range of managed business services across IT, Workflow and Print. To find out more call 9347 0444 today and speak to your local team or visit ricoh.com.au 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 1300 366 520 www.perthmint.com.au/visit

17 Program Notes Claude Debussy (1862-1918) Images for orchestra Gigues Ibéria Rondes de printemps Three of Debussy s four orchestral works are triptychs. The amount of connection between the movements within each work varies: La Mer has been described as almost symphonic; Nocturnes abruptly contrasts meditations on the basic idea of the title. Images is less unified. The three parts were written over a period of eight years and first performed as separate pieces. Indeed, they are published as separate scores, Images pour orchestre appearing as a subtitle. The extra-musical intention of Images, to evoke three different European countries (England, Spain and France), suggests diversity and even eclecticism. However, Images is more than a set of musical postcards. The orchestration outdoes any of Debussy s earlier scoring in sophistication and brilliance, but mostly the resources are deployed with subtlety and understatement. Even the rousing climaxes fail to raise the roof; Debussy prefers to remain objective. Almost incredibly, the music was originally conceived for two pianos. Gigues, published first, was actually the last Image to be composed, reaching completion in 1913. It is Debussy s portrait of England, a country he visited several times, and lays claim to being one of his strangest, yet most utterly characteristic, achievements. Its paradox is indicated by its original title Gigues tristes (sad jigs). The basic material is the well-known English tune The Keel Row, but presented in distorted and truncated form. The other main element is a melancholy, folk-like tune for the sweet but rare oboe d amore. At first the music moves in fits and starts, until the introduction of the second half of the Keel Row seems to signal an escape from gloom. But this is abruptly halted by an icy blast which descends from the piccolos through the entire woodwind section, leaving the stage to the oboe d amore and reminiscences of the opening. Ibéria comes from a long tradition of French composers evocations of Spain. Debussy only ever visited Spain for one afternoon. However, even Manuel de Falla, Spain s most eminent composer of the time, regarded Ibéria as the best example of a French work on a Hispanic subject. It is the longest of the Images, and is itself subdivided into three movements. Par les rues et par les chemins (Along the streets and pathways) is in a spirited dance tempo.

18 Les parfums de la nuit (The perfumes of the night), longer than either Gigues or Rondes de printemps, is a sensual Spanish nocturne, enriched by harps and muchdivided strings. The finale, Le matin d un jour de fête (Morning of a festival day), follows without a break; Debussy was particularly proud of the transition from night to morning, effected with the sound of distant bells. This is Debussy at his most realistic, giving us a festive jumble of sounds and images. Rondes de printemps (Spring Rounds) is based on the idea of a festival parade, but in a restrained and coherent way. The score is headed by Tuscan lyrics, but the piece s locale is indicated by a French folksong, Nous n irons plus au bois (We ll go to the woods no more). After a subdued opening, the tempo quickens and a solo oboe presents phrases of the folksong (in the unusual time signature of 15/8). This builds to a climactic phrase for the strings, which is to recur throughout (the rondo of the title?). There are contrasting episodes, many suggesting Nous n irons, but the music keeps returning to the dance-like tempo and A major tonality of the string phrase. Images is a problematic work for concert programmers. All three together is potential overkill, a surfeit of consummate orchestral pictorialism. However, there are justifications for considering the set as a single work: parallel moments of sonority; the frequent use of solo doublereed timbres. The three Images together also form a satisfying whole, with the flamboyant trilogy of Ibéria complemented by the other, subtler panels; the patriotic Debussy expressing, perhaps, the welladjusted French national character, in comparison with English morbidity and Spanish vulgarity! Elliott Gyger 1996/2006 WASO last performed this work on 21 & 22 April 2006, conducted by Paul Daniel. IF YoU LIkE THIS work YoU MAY ALSo ENJoY RACHMANINOV Symphonic Dances featured in Mozart s Clarinet Concerto Thurs 09, Fri 10 & Sat 11 October glossary Tonality The key of a piece, where the music is considered to be governed or organized with respect to a single key.

19 Program Notes Maurice Ravel (1875-1937) La Valse poème chorégraphique La Valse is a tribute to An Imperial Court, around 1855, a court in which the Strausses are kings. Ravel imagined the music as a sort of apotheosis of the Viennese waltz, associated in his mind with the impression of a fantastic, fatal whirling. The effect is achieved through a simple device: the crescendo. In this respect it is similar to Bolero, but instead of one long overwhelming crescendo, La Valse offers two. The music begins with a grumble Ravel s scenario describes eddying clouds that part from time to time, offering fleeting glimpses of waltzing couples. The mists disperse to reveal a brilliantly lit ballroom and a whirling crowd as the music embarks on a chain of waltzes. The fantastic melodic invention is matched by scintillating orchestral effects. But the potential of Ravel s huge orchestra is kept in reserve we are overwhelmed by its exquisite colours before we are overwhelmed by its power. By the time Ravel brings on his second crescendo, we are completely intoxicated. Not all were intoxicated, however. Sergei Diaghilev of the Ballets Russes, offered this music for a ballet, rejected it as too symphonic and lacking in choreographic variety. He said it wasn t a ballet but the portrait of a ballet. In doing so he lost the friendship of the composer who had created Daphnis et Chloé for his company. La Valse reached the ballet stage in the end, but the music was first performed in the concert hall and it is there that its exhilarating momentum and surging climaxes continue to sweep us away. Abridged from a note by Yvonne Frindle 2005 WASO last performed this work on 4 & 5 December 2009, conducted by Paul Daniel. IF YoU LIkE THIS work YoU MAY ALSo ENJoY LISZT Hungarian Rhapsody No.2 featured in Piers Lane Plays Liszt Fri 17 & Sat 18 October glossary Crescendo Getting louder (literally, growing )

Meet the InstruMent the oboe 21 The oboe is a double reed member of the woodwind family. Developed in the mid- 17th century from early instrument the shawm, the Baroque oboe was embraced by composers such as Vivaldi, Telemann and Handel, inspiring them to create concertos for the new and improved instrument. Favourite orchestral oboe works include Prokofiev s Peter and the Wolf, Tchaikovsky s Swan Lake, and Mussorgsky s Pictures at an Exhibition: Ballet of the Unhatched Chicks. Symphony Services International The oboe as we know it today developed in 19th-century Europe, and the cities of Paris and Vienna in particular gained a reputation for their oboe-making tradition. The body of the present-day oboe is predominantly made out of African Blackwood and the keys usually of silver alloy. The oboe has a double reed constructed of two pieces of cane tied together. Sound is created as the air vibrates between the two reeds into the instrument s body. The size and shape of the reed in relation to the player s technique and style of playing have a dramatic effect on the quality of the eventual sound, so as a result oboists customise or make their own reeds. 1. Reed 2. Staple 3. Key 4. Bell The coned bore of the oboe, in comparison to the cylindrical bore of other woodwind instruments such as the flute, aids its audible dominance over other instruments. This is why it is used to tune the orchestra, as its penetrating timbre enables it to be heard clearly by other members of the orchestra. The range of the oboe:

22 Inspiring minds with music In the hands of a child, a musical instrument can inspire delight, imagination and a world of possibility. That is why Chevron Australia is proud to support WASO On the Road, bringing music to children across Perth and the Pilbara. CHEVRON, the CHEVRON Hallmark and HUMAN ENERGY are registered trademarks of Chevron Intellectual Property LLC. 2014 Chevron Australia Pty Ltd. All rights reserved. ABU111200291. chevronaustralia.com

23 waso Philanthropy Philanthropy Partner Leaving a Legacy Help the Music Play on WASO is a charitable organisation that relies on support through donations and bequests. A bequest is a special gift which we preserve as your legacy. It is a wonderful opportunity to ensure that WASO remains a part of the lives of future generations of Western Australians, underpinning our vision to touch souls and enrich lives through music. Monies received from bequests to WASO are invested and preserved in the Endowment Fund for the Orchestra and the income earned, less inflation, is used to support WASO s activities and programs. This means that your money lives on forever, providing funds for the development of young artists, the commissioning of new works, education programs and regional touring. For further information about leaving a bequest to WASO, please contact Alecia Benzie, Executive Manager Philanthropy, on 9326 0020 or benziea@waso.com.au. All enquiries will be treated in confidence. Patrons & Friends Christmas Party Thursday 11 December, 4.30pm, Perth Concert Hall Our annual Patrons & Friends Christmas Party is always great fun and a lovely opportunity to celebrate a year of wonderful music together. Watch an hour of WASO's final rehearsal for 2014 s Symphony in the City and then join WASO musicians for a stand up light dinner and drinks. Tickets are $45 for Patrons & Friends ($55 for guests). All proceeds raised support the Friends of WASO Scholarship. To book please call the WASO Box Office on 9326 0000.

24 our Supporters Your attendance helps sustain the Orchestra and we thank you for your commitment. We are also very grateful to our corporate supporters who make a significant contribution to WASO, and of course for government funding which is critical. However, these three sources of income are simply not enough to cover the ongoing costs of the Orchestra and increasingly it is our Patrons that enable us to continue to achieve our vision to touch souls and enrich lives through music. There are many ways you can be involved and your support is deeply appreciated. Endowment Fund for the orchestra The Endowment fund includes major donations from individuals and bequests. The income earned is used for the benefit of the orchestra. Tom & Jean Arkley Janet Holmes à Court AC 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. John Bonny Anita and James Clayton Judith Gedero Wolfgang Lehmkuhl Tosi Nottage in memory Edgar Nottage Judy Sienkiewicz Sheila Wileman Anonymous (16) The waso Song Book New works commissioned for the orchestra by waso. we gratefully acknowledge the support of the following individuals who have commissioned new music performed since 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 The James Galvin Foundation Robyn Glindemann Barrie & Jude Lepley Mathie Family McCusker Charitable Foundation Minderoo 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

25 our Supporters Annual giving We thank the following Patrons for their generous contribution to WASO in the last twelve months through WASO s Annual Giving Program. Conductor s Circle gifts $20,000+ Janet Holmes à Court AC Jill Mulheron Brian & Nancy Murphy Patricia New Anonymous (1) Impresario Patron gifts $10,000 - $19,999 Gay & Bob Branchi Tony & Gwenyth Lennon Joshua & Pamela Pitt Anonymous (1) Maestro Patron gifts $5,000 - $9,999 Jean Arkley in memory of Tom Arkley Bill Bloking Ian & Elizabeth Constable 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 Prof. Jonathan Carapetis & Prof. Sue Skill 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

26 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 Nelly Kleyn 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 Thomas & Diana Potter Dr Leon Prindiville Chester Reeve John & Alison Rigg Nigel & Dr Heather Rogers Maurice & Gerry Rousset Roger Sandercock Dr R. & J. Schwenger Margaret & Roger Seares Paula & Melanie Shannon Eve Shannon-Cullity Julian & Noreen Sher Laurel & Ross Smith Dr Paul Smith & Denham Harry Michael Snell & Vicki Stewart 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 (18) 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

27 our Supporters John Isherwood Peter S. Jones B.M. Kent In memory of Dr Brenton Knott Trevor & Ane Marie Lacy Teresa & Jemima Loveland 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 Alison & John Price Ann Rawlinson Clarissa Repton James & Nicola Ridsdill-Smith Leigh Robinson Judith E. Shaw The Sherwood Family Hendrick Smit 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 (21) 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.

28 west Australian Symphony orchestra VIoLIN Semra Lee-Smith Assistant Concertmaster Graham Pyatt 1st Violin Zak Rowntree 2nd Violin Kylie Liang Assistant 2nd Violin Sarah Blackman Fleur Challen Erin Chen Stephanie Dean Rebecca Glorie Beth Hebert Alexandra Isted Sunmi Jung Shaun Lee-Chen* Akiko Miyazawa Lucas O Brien Anna O Hagan Melanie Pearn Ken Peeler Louise Sandercock Jolanta Schenk Jane Serrangeli Ellie Shalley Jacek Slawomirski Bao Di Tang Cerys Tooby Teresa Vinci David Yeh VIoLA Caleb Wright Kierstan Arkleysmith Nik Babic Alex Brogan Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey CELLo Rod McGrath Louise McKay Assoc Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver* Fotis Skordas Tim South Xiao Le Wu DoUBLE BASS Andrew Rootes* Joan Wright Assoc Christine Reitzenstein Louise Ross Andrew Tait Mark Tooby *Instruments used by these musicians are on loan from Janet Holmes à Court AC. ASSISTANT CoNDUCToR Christopher Dragon Conductor Asher Fisch Partnered by Wesfarmers Arts CHoRUS DIRECToR Christopher van Tuinen FLUTE Andrew Nicholson Chair partnered by Apache 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 Colin Forbes-Abrams CoNTRABASSooN Chloe Turner CHoRUS VoCAL CoACH Andrew Foote Conductor Laureate Vladimir Verbitsky 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

29 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 Burlington 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 orchestral MANAgEMENT Keith McGowan Executive Manager, Orchestral Management Richie Burton Orchestral Operations Manager David Cotgreave Production & Technical Manager Breanna Evangelista Orchestra Management Assistant Alistair Cox Orchestral 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 Philippa Bradshaw Corporate Partnerships Executive Luci Steinhardt Corporate Partnerships Executive Ginny Luff Corporate Partnerships & Events 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 Marketing Coordinator Nancy Hackett Marketing Manager Gina Beers Graphic Designer Marc Missiaen Relationship Marketing Manager Paula Schibeci Public Relations Manager Amanda Lim Marketing Assistant Sava Papos Customer Service Manager Josie Aitchison Customer Service & Philanthropy Coordinator Beverley Trolio Customer Service Coordinator Alana Arnold Margaret Daws Vicki Prince Debbie Silvester Robyn Westbrook Customer Service Officers Perth Concert Hall AEg ogden (Perth) Pty Ltd Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues. Andrew Bolt General Manager Helen Stewart Deputy General Manager Peter Robins Technical Manager Paul Richardson Assistant Technical Manager Penelope Briffa Event Coordinator AEg ogden (Perth) Pty Ltd Rodney M Phillips Chief Executive The Perth Theatre Trust The Hon. Mr Peter Blaxell Chairman WASO programs are printed by Pilpel Print 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

31 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.

0 SUBSCRIBE NOW GET THE BEST SEATS AND SAVE UPTO 20% ALCOHOL.THINK AGAIN 5*MASTERS* CALL WASO 9326 0000 VISIT WASO.COM.AU MISCHA MAISKY TCHAIKOVSKY SARAH CHANG DVORAK BEETHOVEN FAURE S REQUIEM MOZART MAHLER S TITAN