Contempo Series ERNST & YOUNG PRESENTS Star Wars and Beyond 7.30pm, Fri 4 May 2.00pm & 7.30pm, Sat 5 May 2012 Perth Concert Hall
ERNST & YOUNG PRESENTS WASO joins vocal phenomenon, Rajaton, to perform ABBA hits Dancing Queen, Mamma Mia, Waterloo and many more! 7.30pm, Fri 7 & Sat 8 Sept Perth Concert Hall *Transaction fees may apply. Tickets from $50* BOOK NOW WASO 9326 0000 BOCS 9484 1133 waso.com.au ERNST & YOUNG PRESENTS WASO is joined on stage by artist Phil Doncon painting his interpretations of popular classics. ily Co n c r t e Fam 3pm, Sun 22 July Perth Concert Hall Tickets $20* Warwick Potter, conductor Phil Doncon, artist (pictured) Suitable for 6 to 13 year olds. *Transaction fees may apply. BOOK NOW WASO 9326 0000 BOCS 9484 1133 waso.com.au
CONTEMPO series At the concert Free Concert Programs Pick up your free concert program from the Programs and Information Desk, or download them from waso. com.au. As part of our ongoing commitment to reducing our environmental footprint we would like to encourage you to share your program with a friend. WASO Recordings Experience WASO in your own home! A variety of WASO CDs and DVDs are available for purchase at the Encore Gift Shop in the foyer tonight. Cough Lozenges Free cough lozenges are available from the WASO Customer Service Desk in the foyer before each performance and at the interval. First Aid There are St. John Ambulance officers present at every concert so please speak to them if you require any first aid assistance. Beverages Foyer bars are open for drinks and coffee two hours before, during interval and after each WASO performance. To save time we recommend you pre-order your interval drinks. Watch, Listen, Learn Playlists Many WASO performances are recorded by ABC Classic FM for delayed broadcast. For further details please refer to limelight magazine or at www.abc.net. au/classic Listen to the complete playlist for our Masters, Classics, Morning Symphony and Chamber concerts at waso.com.au WASO Webcasts 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 learn more about WASO s upcoming concerts. WASO Podcasts Go behind the scenes and deeper into the music. Listen to our podcasts at at waso.com.au WASO will be streaming five concerts live and on demand in 2012, thanks to iinet. Visit waso.com.au to find out more. YouTube See interviews and behind-the-scenes action at www.youtube.com/westaustsymorchestra Program Ernst & Young Presents Star Wars and Beyond JOHN WILLIAMS Olympic Fanfare JOHN WILLIAMS Jaws Suite: The Shark Theme JOHN WILLIAMS arr. BELL Lost in Space Suite JOHN WILLIAMS Jurassic Park: Theme JOHN WILLIAMS Memoirs of a Geisha: Sayuri s Theme JOHN WILLIAMS JFK Suite: Theme JOHN WILLIAMS Harry Potter and the Sorcerer s Stone Suite: Hedwig s Theme JOHN WILLIAMS Far and Away Suite JOHN WILLIAMS Raiders of the Lost Ark: Raider s March Interval JOHN WILLIAMS E.T.: Adventures on Earth JOHN WILLIAMS Close Encounters of the Third Kind: Excerpts JOHN WILLIAMS Schindler s List: Theme JOHN WILLIAMS Star Wars: The Phantom Menace Suite: Duel of the Fates JOHN WILLIAMS Star Wars Suite: Princess Leia s Theme JOHN WILLIAMS Star Wars Suite: Imperial March JOHN WILLIAMS Star Wars Suite: Throne Room and End Title Anthony Inglis, conductor & presenter Connect with WASO Presented by arrangement with Raymond Gubbay Ltd. Facebook Like us on Facebook to become part of WASO s online community. Go to: facebook.com/westaustraliansymphonyorchestra E-News Stay up to date with the activities of your Orchestra by subscribing to SymphonE-news. Go to waso.com.au to subscribe to our mailing list. 4 Twitter Follow us at twitter.com/_waso_for all the latest WASO news. Darth Vader and the 501st Legion are representatives of the 501st Terror Australis Garrison who operate to raise funds for charities supporting children in need. 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. Concert Partner 5
Anthony Inglis Conductor & Presenter On Stage Today Grammy nominated Anthony Inglis, the artist who it is said has featured more times at London s Royal Albert Hall than anyone else in the building s history, has been described in the UK press as one of Britain s most popular conductors (Manchester Evening News). He leads a busy international career, appearing with some of the greatest orchestras in concert halls from Australia to Scotland via Japan and The East. For 15 years he was well-known around the world as the conductor of Classical Spectacular and he is currently Music Director of The National Symphony Orchestra in London and the Music Consultant/Supervisor for Phantom of The Opera at Her Majesty s Theatre. He returns every year to Australia where he has a close association with the orchestras. Mr. Inglis was educated on a Music Scholarship at Marlborough College, and at the Royal College of Music where he won many conducting prizes. During his college years he supplemented his student grant conducting West End shows and being on the staff for two of Ken Russell s composer films. Afterwards he began his career with European orchestras, appearing on BBC Television with the Ulster Orchestra, and making videos with the Philharmonia Orchestra and The Netherlands Radio Symphony Orchestra. He has also conducted six royal concerts. He was Musical Director and conductor of the Bournemouth Symphony Orchestra and Chorus and massed bands of the Coldstream, Scots and Irish Guards when HM The Queen named the Queen Elizabeth liner in 2010. In 2011 he appeared in the film Sherlock Holmes: A Game of Shadows and musically supervised and conducted the 25th anniversary concert of Phantom of The Opera at The Royal Albert Hall which is now available on DVD. The final performance was broadcast live to cinemas around the world. His studio, TV and concert recordings have been broadcast in the UK, Australia, Scandinavia, Europe and The Far East and he has made recent DVD recordings with the Melbourne Symphony Orchestra, and two with Katherine Jenkins and the National Symphony plus CD recordings with various orchestras around the world. In 2005 he conducted the Royal Philharmonic at the largest regular live TV show in Europe called Wetten Dass. He lives by the banks of the River Thames in Kingston Surrey, with his wife and three children. Violin Margaret Blades* Assoc Concertmaster Semra Lee Assistant Concertmaster Graham Pyatt A/Principal 1st Violin John Ford Principal 2nd Violin Zak Rowntree Assoc Principal 2nd Violin Sarah Blackman Fleur Challen Stephanie Dean Beth Hebert Sara Herriman^ Shaun Lee-Chen* Akiko Miyazawa Lucas O Brien^ Anna O Hagan Melanie Pearn Ken Peeler Brendon Richards Louise Sandercock Jolanta Schenk Ellie Shalley Kathryn Shinnick^ Jacek Slawomirski Bao Di Tang Cerys Tooby Susannah Williams^ Rebecca White David Yeh Viola Giovanni Pasini Berian Evans Kierstan Arkleysmith Nik Babic Alex Brogan Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey Cello Rod McGrath Louise McKay Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Fotis Skordas Xiao Le Wu Double Bass Joan Wright Elizabeth Browning^ Christine Reitzenstein Louise Ross Andrew Tait Phillip Waldron Flute Andrew Nicholson Mary-Anne Blades Michael Waye Principal Piccolo Oboe Leanne Glover A/Principal Benjamin Opie A/Assoc Principal Elizabeth Chee A/Principal Cor Anglais Clarinet Allan Meyer Lorna Cook Alexander Millier Principal Bass Clarinet Alessandrino Property Group Chair of Principal Bass Clarinet Bassoon Jane Kircher-Lindner Adam Mikulicz Oscar Garrido De La Rosa Principal Contrabassoon Horn David Evans Robert Gladstones Principal 3rd Jenna Breen Doree Dixon^ Francesco Lo Surdo Rachel Silver Wendy Tait^ Trumpet Mark Fitzpatrick^ Evan Cromie Jenny Coleman^ Tim Keenihan^ Peter Miller Trombone Joshua Davis David Robins A/Assoc Principal Philip Holdsworth Principal Bass Trombone Daniel Riek^ Tuba Cameron Brook Timpani Alex Timcke Percussion Troy Greatz A/Principal Robyn Gray^ Rebecca Lagos^ Paul Tanner^ Tim White Harp Yinuo Mu^ Keyboards Graeme Gilling^ * Instruments used by these musicians are on loan from Janet Holmes á Court AC. 6 www.anthonyinglis.com Principal Associate Principal Guest Musician^ 7
Program Notes When Steven Spielberg heard John Williams recording some music for his magical fantasy E.T.: The Extra-Terrestrial (1982), he was so impressed that he invited Williams to play the music to his own liking, and offered to re-edit the film to match the music. The sequence, which follows E.T. s flight from his government captors to the rescue spaceship, is celebrated as the Adventures on Earth cue. The annals of cinema history contain few greater expressions of a director s esteem for a screen composer. Max Steiner, Sergei Prokofiev and Bernard Herrmann were notable as beneficiaries of similar gestures from directors John Ford, Sergei Eisenstein and Orson Welles for their work on The Informer (1935), Alexander Nevsky (1938) and Citizen Kane (1941), respectively. This careful selection of items from the vast range of Williams prodigious output pays tribute to a man who has provided inspiring musical accompaniment to some of the most popular films of all time, and whose name has been linked to those of Steven Spielberg and George Lucas as his main collaborators, and to Richard Strauss, Richard Wagner, Sergei Prokofiev and Igor Stravinsky as his main musical influences. The Wagner connection refers largely to Williams use of leitmotiv, the application of musical tags to recurring ideas, attitudes, characters, objects or places in an operatic, symphonic or, now, cinematic narrative. Max Steiner, a pioneer of leitmotiv in film music, happily acknowledged his debt, saying, If Wagner had lived in this century, he would have been the Number One film composer. From this concert, it s easy to see how Williams deserves an honoured place in the Wagner/ Steiner tradition. Olympic Fanfare (1984) Williams, the master of screen fanfares, was the obvious home-town choice to compose the fanfare for the Los Angeles Olympic Games. It s in strictly-beaten common time, befitting its purpose as music to which athletes can salute, march and punch the air. Jaws Suite: The Shark Theme Between the two notes of the opening theme of this blockbuster film about a massive shark lies a semitone, the smallest interval in Western classical music. The theme has become the simplest musical expression of the binary relationship between good and evil, man and nature, modernity and tradition. It appears whenever the shark is ready to strike. Lost in Space Suite Johnny Williams, who led a jazz ensemble in the 1960s, is credited as composer of the score for the first series, and the themes for the first and third series, of this pioneering television space adventure. It illustrates the distance Williams and others have travelled in depicting the outer limits of our universe, from creepy and often comical electronic effects to the lush, classically-derived orchestral scores of today. Both opening themes are incorporated in this suite. Jurassic Park: Theme On its release, Jurassic Park became the most financially successful film ever, depriving E.T. of its record, and is still among the top twenty earners. The exhilarating theme appears as Sam Neill s paleontologist goggles in awe at the mighty Brachiosaurus on a Caribbean island inhabited by dinosaurs cloned by scientists. This is preceded in the film by a triumphant but menacing theme which becomes associated with the more malign species on the island. In this suite, the themes are played in reverse order. Memoirs of a Geisha: Sayuri s Theme Marred for English-speaking audiences by the cast s variable diction and for Asian audiences by the casting of Chinese actors in Japanese roles, this film of Arthur Golden s novel won praise for Australian Dion Beebe s cinematography and Williams evocative score. The theme follows the child Chiyo s journey to slavery in Kyoto, through her transformation into the celebrated geisha Sayuri and, in its saddest form, as Sayuri contemplates death. JFK Suite: Theme The second of Williams three scores for Oliver Stone, JFK dramatises Jim Garrison s investigations into the assassination of John F. Kennedy in 1963. The theme appears on trumpet accompanied by snare drums, on solo horn in the beautiful elegy for the Arlington Cemetery scene, and in the Motorcade sequence, beginning with warnings from bass clarinet and horns, lower-register piano rumblings, martial trumpets, restless snares and swirling strings in crescendo, eventually subsiding into lone snare figures. Harry Potter and the Sorcerer s Stone Suite: Hedwig s Theme Williams scored the first three of the seven movie versions of J.K. Rowling s successful Harry Potter novels. Hedwig s Theme opens the first, played on the celeste. It s the only leitmotiv that continues throughout the movie series. Although Hedwig is Harry s magnificent snowy owl, this motif most often refers to Harry himself. Far and Away: Suite Far and Away made a moderate impact at the box office, despite the presence of Tom Cruise and Nicole Kidman playing, respectively, the poor Irish crofter and his landlord s runaway daughter. Williams alternates two levels of Irishness in his score. The first, played on the soundtrack by The Chieftans (The Fighting Donnellys and Blowing off Steam), uses traditional instruments, and the other, more orchestral, setting retains Celtic tonalities, especially in the main theme, introduced in the cue County Galway, 1892 and reprised in the second half of Joseph and Shannon, all of which appear in this suite. Raiders of the Lost Ark: Raider s March Producer George Lucas and director Spielberg delved into their childhood memories of cinema matinees and television action shows to deliver a film about an archaeologist s quest for the mythical lost Ark of the Covenant. The thrilling and very funny desert chase scenes must rank among the greatest of all action sequences. Williams use of leitmotiv is prominent, including the striking march, with its fanfare theme for Indiana Jones. E.T.: Adventures on Earth Williams has described how, when recording the music for the end reel of the film, synchronising the cues proved elusive despite repeated takes with the orchestra. Spielberg s decision to edit the film around 8 9
the music lent it a kind of rhythm, or rubato : The last ten minutes, as it builds to the mothership lifting off, gains this kind of rhythmic cohesion because it was edited to the discipline of the music. Close Encounters of the Third Kind: Excerpts This story dubbed E.T. for grown-ups pits scientists against government agents who deny that aliens have been abducting humans for years. The scientists believe the aliens seek contact by sending a fivenote musical signal. In a sequence which celebrates the universal power of music, the scientists sound the signal on a synthesizer as the alien scout ships appear. The ships reply and the musical conversation gets more sophisticated as if, in the words of a scientist, they re trying to teach us a basic tonal vocabulary. The aliens are represented by one of the simplest scales available, the pentatonic, whereas the disbelieving humans are depicted by high strings at chromatic intervals and deep rumblings in the lower strings and winds. Schindler s List: Theme The dramatisation of Oscar Schindler s rescue of more than a thousand Jews from the Holocaust is unforgettable; painful to watch, but impossible to ignore. The main theme is mournful and graceful, first appearing in the scenes of the establishment of the Krakow ghetto. Star Wars: The Phantom Menace Suite: Duel of the Fates A long time ago, in a galaxy far, far away... With these words began a new era in cinema, with fans waiting 28 years for the six-episode Star Wars saga to end (or pause) its run. The series also returned the full orchestral score, performed by none other than the London Symphony Orchestra, to its rightful place in adventure movies. This suite includes themes which first appeared in Episode I, the fourth in order of production. Duel of the Fates, representing the clash between the Dark and the Light Sides, features two minor mode ostinati and in the film and the soundtrack choral declamations from an old Celtic poem. Star Wars Suite: Princess Leia s Theme This is the leitmotiv for the Princess Leia Organa, a principal protagonist of the original trilogy, appearing first in Episode IV when she is captured by Darth Vader. In story sequence, the theme s first appearance is soon after Leia s birth, when she is left in the care of Bail Organa and his wife (Episode III). Star Wars Suite: Imperial March This is the leitmotiv for the bad guys. It features a relentless martial rhythm and dark, harsh tonality. In production chronology, the theme first appears in Episode V, in effect leaving Vader without a theme until his second movie. In story terms, a few notes of the theme are first heard during Yoda s conversation with Obi-Wan towards the end of Episode I. Star Wars Suite: The Throne Room and End Title Also called The Force theme, this striking leitmotiv appears in all episodes, beginning (in production chronology) with Episode IV, when Luke gazes on the setting of Tatooine s two moons. That binary sunset also appears with the theme in Episode III, when the baby Luke is delivered to his family. Rod Webb 2011 Private Giving Program How your donation supports the Orchestra Becoming a Patron of the West Australian Symphony Orchestra is a meaningful way in which you can help ensure the continued strength of our Orchestra. WASO s community of Patrons individually make financial contributions that have a genuine impact on the scope and quality of performances and activities that the Orchestra are able to provide to the Western Australian community. As music lovers, they contribute to sharing the joy of music with current and future generations and help ensure Western Australians continue to have a world class Symphony Orchestra based in their state. Contributions made through WASO s Philanthropy programs support all aspects of the Orchestra s activities; including performances of all types, community and education programs and special events. Donations help support: Free public performances by the Orchestra, including the Symphony in the City concert, which attracts approximately 20,000 people every year. Three wonderful family concerts each year enjoyed by hundreds of children. Many more children delight in our EChO Cushion Concerts across the metro area, from Joondalup to Fremantle. The touring of WASO ensembles into schools and communities across Western Australia enriching the lives of thousands of young Western Australians in all corners of the state. A WASO chamber ensemble performing in the Starlight Theatre at Princess Margaret Children s Hospital six times a year bringing moments of joy to the lives of very ill children, their parents and the staff. Please help us share the joy of music and become more deeply involved in the life of WASO. To learn more or to become a patron, please call Alecia Benzie, WASO s Executive Manager, Private Giving, on 9326 0020 or email benziea@waso.com.au. Donations are fully tax deductible. Every gift makes a difference. 10 11
Corporate Partners Platinum Partners Outdoor Family Concert & Sound Shell Partner World Artist Partners Symphony in the City Partner Chamber Series Partner Orchestral Partners Education & Community Partners Keynote Partners Symphony Supporters Margaret River Wine Partners Cape Mentelle Vineyards, Clairault Wines, Fraser Gallop Estate, Hamelin Bay Wines, Happs Wines, Howard Park Wines, Hutton Wines, Juniper Estate, Leeuwin Estate, Moss Wood, Pierro Margaret River Vineyards, Stella Bella, UMAMU Estate, Vasse Felix, Wise Wines 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 extended through corporate partnerships please contact Melanie Roosendaal, Executive Manager Corporate Development on 08 9326 0088 or roosendaalm@waso.com.au 12