ALCOHOL.THINK AGAIN MASTERS SERIESFriday 17 & Saturday 18 October 7.30pmPerth Concert Hall

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MACA LIMITED prEsEnTs

Romeo & Juliet

Thurs 13 November 11amPerth Concert Hall

BERLIoZ Roman Carnival PRokoFIEV Romeo and Juliet (excerpts)

Marko Letonja conductor

MACA LIMITED prEsEnTs

Sibelius’ Violin Concerto

Fri 14 & Sat 15 November 7.30pm Perth Concert Hall

BERLIoZ Roman Carnival SIBELIUS Violin Concerto PRokoFIEV Romeo and Juliet (excerpts)

Marko Letonja conductor Alina Ibragimova violin

Alina Ibragimova appears courtesy of Mitsubishi Corporation.

FAMILY COnCErT

Maximus Musicus Visits the orchestra

Sun 2 November 1pm & 3pmPerth Concert Hall

The enchanting tale of a mouse who finds himself in a concert hall. Featuring music by Ravel, Beethoven, Bizet and more.

Suitable for 5 - 10 year olds.

Brett kelly conductor Stephen Curry narrator

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welcome

This program is just… fun! All these pieces showcase the endless variety of glorious sounds a symphony orchestra can make, as well as delight and entertain, for anyone who lends an ear. Each of these little masterpieces encourage listeners to create their very own dramatic journey, as evocative melodies, harmonies and rhythms fertilise their imaginations.

Franz Liszt was a brilliant pianist, composer and showman. The three works by him in this concert highlight each of these roles. His Piano Concerto No.1 puts his technical skills as a pianist at the forefront. The great tone-poem, Les Préludes, shows Liszt as a sensitive, masterful composer, but it is his Second Hungarian Rhapsody, arranged for full orchestra, that allows his centre-ring showmanship to blaze like a bonfire.

The composers Antonin Dvořák and Johannes Brahms were musical soul mates. Dvořák idolized Brahms, his elder, and used folk music from his native Slavic region as source material to create highly sophisticated works. Brahms, on the other hand, used Slavic folk melodies to create straight-forward little pieces that captured the rustic folk music performed in the pub by a slap-dash band!

Finally, one of the greatest living American composers, John Adams, wrote a ‘Foxtrot for Orchestra’ and titled it The Chairman Dances. The ‘Chairman’ in this instance is Chairman Mao and the scenario for this sleek, sensuous dance is that his wife has ‘crashed the Presidential Banquet’ between Nixon and Mao. She dances to the memory of the record-player she and her husband used to move to and the music builds to a high level of excitement, but, gradually, the phonograph winds down…

If you are looking for a musical experience that has great energy and positive attitude, this is the concert program for you!

Andrew Grams Conductor

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Program

ALCOHOL.THInK AGAIn MAsTErs sErIEs

Piers Lane Plays Liszt

BRAHMS Hungarian Dance No.1 (3 mins)

LISZT Les Préludes (16 mins)

JoHN ADAMS The Chairman Dances (12 mins)

INTERVAL (25 mins)

DVoRAk Carnival Overture (9 mins)

LISZT Hungarian Rhapsody No.2 (10 mins)

LISZT Piano Concerto No.1 (21 mins)

Allegro maestoso – Quasi adagio – Allegro vivace – Allegro animato – Allegro marziale animato

Andrew Grams conductor Piers Lane piano

Piers Lane appears courtesy of Japan Australia LNG (MIMI) Pty Ltd.

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Pre-concert TalksFind out more about the music in the concert with this week’s speaker Phil Robertson. Pre-concert talks take place at 6.45pm in the Terrace Level foyer on Friday and Saturday nights.

Pre-concert Talks are supported by Wesfarmers Arts

Meet the MusiciansMeet WASO’s Principal Piccolo Michael Waye and Associate Principal Flute Mary-Anne Blades, post-concert Saturday night in the Terrace Level foyer.

Meet the Musician is supported by Altegra Property Group.

FooD & BEVERAGESFoyer 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 RECoRDINGSContinue 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.

Making The Most of Your Visit

E-NEwSStay 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

FEEDBACkWe 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.

Connect with wASo

LISTENTune 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 PLAYLISTSListen to music featured in 2014 concerts at waso.com.au

wASo wEBCASTSWASO will be streaming four concerts live and on demand in 2014, thanks to iiNet. For more details visit waso.com.au

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.

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wASo News

Commission celebrates Carl Vine’s 60th birthday

As part of last weeks program, WASO unveiled a new work by Australian composer Carl Vine, his Concerto for Orchestra. These world premiere performances celebrated Carl’s 60th birthday. WASO commissioned Carl’s Concerto in 2012 following a donation by Patron Geoff Stearn. Geoff has been a generous Patron since 2010, commissioning four works for WASO. 

Carl Vine first rose to prominence as a composer of music for classical dance and has since emerged as a major orchestral composer with seven symphonies and ten concertos heading the catalogue. In the 2014 Queen's Birthday Honours List for Australia, Carl was appointed an Officer (AO) of The Order Of Australia for distinguished service to the performing arts.

Carl’s connection to WASO goes back to his grandfather Lambert Green, who was a clarinettist with the 6WF Radio Band, the precursor to WASO. Lambert is pictured below, second from the left, in this photo that was taken almost 100 years ago.

Harmony Music

On 23 September, WASO presented its first Harmony Music performance at Leeming Senior High School. Harmony Music is a Community Engagement program that enables students with impairments to experience live classical music in the comfort of their school environment. A WASO string quartet featuring Louise Sandercock, Sarah Blackman, Kierstan Arkleysmith and Emma McCoy, with the ever enthusiastic Peter Moore presenting, played an array of traditional and popular songs, allowing the students to get up close and personal with the music and the instruments. To finish, students were invited to stand around and join in with the quartet as they played ‘Let It Go’ from the animated movie Frozen. The ensuing sing-a-long was so joyful and passionate that the quartet offered to do it all over again to the delight of the audience.

“What a feel good concert that was today! The students were beaming with joy and happiness. So many came up and said how much they enjoyed it and that the music was wonderful. Being invited to sing along to Frozen I think was the highlight!”

(Marietta Damos, Music Teacher Leeming Senior High School)

Harmony Music is supported by the Mitsuibishi Corporation.

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Biographies

Andrew GramsConductor

One of America’s most promising and talented young conductors, Andrew Grams has appeared with orchestras throughout the United States. Internationally he has conducted the Toronto, Montreal and Vancouver Symphony Orchestras; National Arts Centre Orchestra; Orchestre National de Lyon; BBC Symphony Orchestra; Royal Scottish National Orchestra; City of Birmingham Symphony Orchestra; Netherlands Radio Philharmonic Orchestra; Residentie Orchestra; Hamburg Symphony Orchestra; Oslo Philharmonic; Bergen Philharmonic Orchestra; and the Sydney, Melbourne and New Zealand Symphony Orchestras, among others. This season he makes his debut with the West Australian Symphony Orchestra the Hong Kong Philharmonic, and the Oregon Symphony.

Andrew Grams received a Bachelor of Music in violin performance from The Juilliard School and a conducting degree from the Curtis Institute of Music. He was a protégé of Franz Welser-Möst and served as Assistant Conductor of The Cleveland Orchestra from 2004 to 2007. He is the newly appointed Music Director of the Elgin Symphony Orchestra of Illinois.

Piers LanePiano

London-based Australian pianist Piers Lane is one of the most inquisitive and engaging live performers of his generation. Recent highlights include a performance of Busoni’s Piano Concerto at Carnegie Hall, Chopin’s complete nocturnes at Wigmore Hall, and the world premiere of Carl Vine’s Piano Concerto No.2 with the Sydney Symphony Orchestra, a piece composed especially for him. A five-time soloist at the BBC Proms, his concerto repertoire exceeds ninety works and has led to engagements with many of the world’s great orchestras. He has premiered works by Brett Dean, Dave Heath, Colin Matthews, Richard Mills, Benjamin Wallfisch and Malcolm Williamson, among others.

Piers Lane has been the Artistic Director of the Australian Festival of Chamber Music since 2007. His discography consists of over 50 CDs, including his most recent solo recording, Piers Lane Goes to Town. He was appointed an Officer of the Order of Australia in June 2012.Piers Lane appears courtesy of Japan Australia LNG (MIMI) Pty Ltd.

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Placing People.

The Placer Management Group are office support specialists in temporary and permanent placements.

Like the West Australian Symphony Orchestra’s brilliant musicians and staff, we help companies and candidates reach new heights of excellence and we’re proud to officially sponsor the West Australian Symphony Orchestra.

PG0022_WASO_mono_Updated.indd 1 1/2/08 4:08:36 PM

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 daysTelephone 1300 366 520www.perthmint.com.au/visit

POURING PURE GOLD FOR AN ENCORE

wASo on Stage Tonight

PrincipalAssociate PrincipalGuest Musician^

VIoLINwilma SmithGuest ConcertmasterSemra Lee-Smith A/Associate ConcertmasterGraham Pyatt A/Assistant ConcertmasterShaun Lee-ChenA/Principal 1st ViolinZak RowntreePrincipal 2nd ViolinKylie Liang A/Assoc Principal 2nd ViolinRachael Aquilina^Sarah BlackmanFleur ChallenJohn Ford^Beth HebertAlexandra IstedSunmi JungAndrea Mendham^Akiko MiyazawaLucas O’BrienMelanie PearnKen PeelerLouise SandercockJolanta SchenkJane SerrangeliEllie ShalleyKathryn Shinnick^Jacek SlawomirskiBao Di TangCerys ToobyTeresa VinciDavid Yeh

VIoLASally Boud^Guest PrincipalAlex BroganA/Assoc PrincipalKierstan ArkleysmithGeorge Batey^Katherine DrakeAlison HallRachael KirkKatie McKay^Allan McLeanHelen TuckeyAaron Wyatt^

CELLoRod McGrath Louise McKayShigeru KomatsuOliver McAslan Nicholas MetcalfeEve SilverFotis SkordasTim SouthXiao Le Wu

DoUBLE BASSAndrew RootesJoan Wright Elizabeth Browning^Christine ReitzensteinLouise RossAndrew TaitMark Tooby

FLUTEAndrew Nicholson Chair partnered by Apache.

Mary-Anne Blades

PICCoLoMichael waye

oBoEPeter FacerElizabeth Chee

CoR ANGLAISLeanne Glover

CLARINETAllan Meyer Lorna Cook

BASS CLARINETAlexander Millier Chair partnered by Altegra Property Group.

BASSooNAdam MikuliczA/PrincipalChair partnered by Ron & Sue Wooller.

CoNTRABASSooNChloe Turner

HoRNDavid EvansSharn McIverJulia BrookeFrancesco Lo SurdoBrendan Parravacini

TRUMPETGeoff PayneGuest PrincipalEvan Cromie Peter Miller

TRoMBoNEJoshua Davis Liam O’Malley

BASS TRoMBoNEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIoNTroy GreatzJoel Bass^Amanda Dean^Robyn Gray^

HARPSarah Bowman

PIANoGraeme Gilling^

*Instruments used by these musicians are on loan from Janet Holmes à Court AC.

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Meet the Musician

Michael wayePrincipal Piccolo

when did you realise that you wanted to become a professional musician? I don’t ever remember not having music in my life. My mother, Margaret was a great opera fan, a sentimental romantic, in love with music and a devoted follower of Herbert von Karajan, her all-time favourite recording being Karajan’s Deutsche Grammophon box set of Beethoven’s Nine Symphonies. Consequently, I grew up on a diet of the Berlin Philharmonic, Nana Mouskouri and Joan Sutherland…along with many others. Being involved in music seemed like a natural progression, but the spark that lit the flame to contemplate it as a career was a chance encounter with Sydney flautist Linda Vogt and her piccolo playing husband Colin Evans. They were great, inspirational people and wonderful musicians both working in the Sydney orchestral scene who inspired me to borrow my brother’s flute and ‘give it a go’. And here I am!

when did you join wASo?I have the honour to have started with WASO the same time as our wonderful Russian friend and Conductor Laureate, Maestro Vladimir Verbitsky, enjoying many great concerts with him over the years. When I joined WASO in 1987 I was one of the youngest players in the orchestra, and, as the expression goes, “time flies when fun is afoot!”

If you had to choose any other instrument to play in the orchestra, what would it be? The cello wins hands down! No other instrument has the combination of its depth and beauty of sound, range and repertoire. Added to which, being hand crafted in timber, it goes hand in hand with my deep fondness for beautiful things created from wood, appealing to my other love, antique furniture restoration.

what advice would you give to a young musician who is just embarking on their career? Practise, practise and then practise some more! Seriously, I’d take up yoga. I’ve recently come to enjoy yoga and have discovered that it fits the music profession like a glove. It requires practise, discipline, breathing, concentration and above all a cool head under pressure. I’d also say to make the very most of every opportunity and to keep in touch with your teachers and mentors.

what is your most memorable experience as a performer? I have many great memories, including playing Stravinsky’s Rite of Spring with the touring Odessa Philharmonic, Wagner’s Ring Cycle with Opera Australia in Melbourne last year and working in WASO under wonderful conductors such as Alexander Lazarev on Shostakovich, Simone Young on Mahler, Vladimir Ashkenazy on Tchaikovsky and unforgettably our recent Beethoven Festival under Asher Fisch.

One stand out moment was an impromptu solo for a group of fellow travellers at the base of the ancient Egyptian monument of Abu Simbel on September 11, 2001.

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Timeline of Composers & works

1800 1850 1900 1950 2000 2050 2100

ANTONIN DVORAK

1841 – 1904

Born in Nelahozeves, Czech Republic.Died in Prague, Czech Republic.

FRANZ LISZT

1811 – 1886

Born in Doborjan, Hungary.Died in Bayreuth, Germany.

JOHN ADAMS1947

Born in Worcester, USA.

Liszt's Les Preludes1856

Brahms' Hungarian Dance No.11869

JOHANNES BRAHMS

1833 – 1897

Born in Hamburg, Germany.Died in Vienna, Austria.

Adams' The Chairman Dances1985

Dvorak's Carnival Overture1891

Liszt's Hungarian Rhapsody No.21851

Liszt's Piano Concerto No.11849

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Program Notes

Johannes Brahms(1833-1897)

Hungarian Dance No.1 in G minor

In 1848, the Hungarian uprising was crushed, and a stream of refugees flooded into Brahms’ native Hamburg en route to North America. Thus the 15-year-old Brahms first came into contact with ‘Hungarian music’ – or more precisely, with gypsy styles, which the Germans of the time (and even Hungarian-born Franz Liszt), mistook for Hungarian folk music. The violinist Eduard Hoffmann (or Reményi, in Hungarian) was among the Hungarians who arrived in Hamburg. In 1850, Brahms was captivated when he heard Reményi play and accepted the violinist’s invitation to accompany him on tour a few years later.

From Reményi, Brahms learnt how to play alla zingarese (gypsy-style) and even after Brahms shifted his focus to symphonic music, he retained his love of folk music. The Hungarian Dances, published in 1869 and 1880, have a lightness that we do not normally associate with the North German symphonist.

In the accompanying letter Brahms sent to his publisher in 1869, he expressly disclaimed authorship of the melodies, which he described as ‘genuine gypsy children’. But at least three of the complete dances (Nos 11, 14 and 16) contain original melodies, and it is worth remembering that when Brahms wanted a touch of the exotic in his own music, he would often go to the gypsies for his models.

The 21 Hungarian Dances originally appeared in versions for piano four hands, with Brahms himself subsequently preparing orchestrations for only three: Nos 1, 3 and 10. Among the composers hired to orchestrate the remaining 18 was Antonín Dvořák, whose own Slavonic Dances, inspired by the success of Brahms’ Hungarian set, had established his international reputation only a few years before.

G.K. Williams

Symphony Australia © 2002

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Program Notes

Franz Liszt (1811-1886)

Les Préludes

Franz Liszt was one of the most sensational artists of the 19th century. After debuting as a pianist at the age of nine, he began touring like no other keyboard prodigy probably since Mozart. The Romantic poet, Heinrich Heine, described the hysteria around Liszt as ‘Lisztomania’ (later the title of a Ken Russell ‘biopic’). Female admirers were so infatuated that they collected souvenirs such as hair clippings and even dregs from his coffee cups. And though Liszt enjoyed the company of beautiful women (Countess Marie d’Agoult bore him children while married to someone else) he was also obsessed with death and religion, and ended up a priest in minor orders. He was a flamboyant, riven character – a biographer’s dream.

But Liszt’s fame as a performer wasn’t just flash-in-the-pan. His innovations in piano technique are still with us today; and we benefit from his hard work behind the scenes, such as his championship of composers like Berlioz and Wagner. His invention of the ‘symphonic poem’ is probably his enduring contribution to orchestral literature. Liszt composed 12 such works in Weimar during the years when he had given up touring and resided there as the Grand Duke’s Kapellmeister-in-Extraordinary (1848-1861). But what are they?

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‘Symphonic poem,’ says Liszt biographer Alan Walker, ‘is meant to describe a one-movement composition, connected in some way with the other arts (particularly poetry and painting), and whose internal musical contrasts are held together by thematic metamorphosis.’ The term was used in public for the first time at Weimar on 19 April 1854, where Liszt’s Tasso: Lamento e trionfo was premiered. Five days later, Liszt wrote to the conductor Hans von Bülow, describing his Orpheus and Les Préludes, which had been premiered on 23 February, as ‘poèmes symphoniques’.

It may seem ironic, given that a symphonic poem ‘seeks to be understood in terms of its program’ (Walker’s definition), that Les Préludes does not relate more closely to the poem by Alphonse de Lamartine which gave the work its title. Yet Lamartine’s poem was chosen as a program only after much of the music had already been completed.

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The work originated as an orchestral introduction Liszt wrote to an 1844 choral piece The Four Elements, which used themes from the four movements – The Earth, The Winds, The Oceans, The Stars. This is what became Les Préludes. It has in common with Lamartine’s ode the combination of ‘pastoral and warlike elements’, but the succession of contrasting moods and statements might best be understood from Liszt’s own literary introduction to the score:

What else is life but a series of preludes to that unknown hymn, the first and solemn note of which is intoned by Death? Love is the enchanted dawn of all existence; but what fate is there whose first delights … are not dissipated by some mortal blast? And what cruelly wounded soul, issuing from one of these tempests, does not endeavour to solace its memories in the calm serenity of rural life? Nevertheless, the man does not resign himself for long to … that beneficent warmth which he first enjoyed in nature’s bosom, and when ‘the trumpet sounds the alarm’ he takes up his perilous post, no matter what struggle calls him to its ranks …

WASO last performed Les Préludes on 7 February 1990, conducted by Vladimir Polkin.

Hungarian Rhapsody No.2

Like many Hungarians of his time, Liszt grew up speaking German and not the Hungarian of his birthplace Doborján in Western Hungary, which was, then, part of the Austrian empire. But Liszt was intensely patriotic, and in this, was a major exponent of one of the other movements that was important in 19th-century music: nationalism.

Liszt returned to his native land for the first time since childhood in 1839. Hungary was struggling for independence from Austria and everywhere Liszt went, this most famous of living Hungarians was greeted by the cry ‘Eljan! Liszt Ferenc’ (Hail! Franz Liszt). He donned national costume and made other patriotic gestures, such as playing his arrangement of the outlawed Rákóczy March.

At the time, Liszt renewed his contact with gypsy music and Hungarian folk music, both of which had been familiar to him in his childhood. He visited a gypsy camp and wrote a vivid account; and he began writing a series of Hungarian National Melodies, which were later revised and published under the generic title ‘Hungarian Rhapsodies’.

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Hungarian Rhapsody No.2, first published as a piano solo in 1851, is the second of an eventual total of 19. Liszt later helped Franz Doppler create an orchestration, and in either version (piano or orchestral), it became one of Liszt’s most famous pieces. In the mid-20th century, it reached popular culture through cartoons but concert audiences still love it – its brooding lassù (to use the term for the slow introduction to the traditional dance, the csárdás) and exuberant, catchy friska. The piano version remains a test of a concert pianist’s virtuosity.

Liszt has been criticised for supposedly mistaking gypsy music for genuine Hungarian folk music in his Rhapsodies. But modern scholarship has shown that Liszt incorporated genuine Magyar melodies, even if filtered through gypsy-style improvisation.

Piano Concerto No.1 in E flatAllegro maestoso – Quasi adagio – Allegro vivace – Allegro animato – Allegro marziale animato

Liszt’s piano concertos bring together two of his selves – the performer who had spectacularly increased the expressive possibilities of the piano; and the revolutionary composer who pointed the way to music’s future. Liszt’s principal contribution to musical form was the symphonic poem; his principal method, ‘thematic transformation’. In this and other works, all the musical contrast is provided by the dramatically different metamorphoses of a limited number of themes.

Liszt began sketching his two piano concertos in the period 1838-1840, but the first concerto was not completed until 1849 when Liszt had taken up his appointment in Weimar. Even then the work was not premiered until 17 February 1855 with Berlioz, a composer Liszt championed, conducting.

The concerto begins with a theme to which Liszt is reputed to have sung the words ‘Das versteht ihr alle nicht’ (‘None of you understands this’). The rhythm fits. Soon after, the piano enters with a cadenza demonstrating massive octave and chordal runs and some elaboration of the opening theme. The movement ends with intricate arpeggios and runs in the piano while the orchestra restates the main theme.

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Muted cellos and double basses amplified by the solo piano begin the Adagio. The dreamlike melody for the piano gives way to a magical moment where the flute and then clarinet enter while the pianist’s trills die away to nothing.

Eduard Hanslick, the critic who despised the direction in which Liszt was taking music (‘symphonic poems’ rather than symphonies), bitterly criticised the prominence given to the triangle in the scherzo, but it may have been more perceptive to highlight the mastery of orchestration elsewhere in the work. A development section then leads to the final movement in which all the themes of the concerto are transformed.

This is an extraordinarily unified work; the four movements flow seamlessly without a break. The wonder is it feels almost ‘improvisatory’. This is possibly Liszt’s greatest achievement: apparent freedom underpinned by the firmest of compositional foundations.

Gordon Kalton Williams

Symphony Australia © 2014

WASO last performed Liszt’s Piano Concerto No.1 on 17 & 18 July 1998, performed by Yuki Takao and conducted by Michael Christie.

Cadenza A cadenza is an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a free rhythmic style, and often allowing for virtuosic display.

octave A particular interval. For example, in the scale ‘do re mi fa so la ti do’, the interval between the first and last ‘do’s is an octave.

Arpeggio A musical gesture in which the notes of a chord are ‘spread’ or played one after the other instead of simultaneously. It nearly always starts at the bottom of the chord.

Glossary

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John Adams(born 1947)

The Chairman Dances [foxtrot for orchestra]

John Adams describes The Chairman Dances as an ‘out-take’ of Act III of his opera Nixon in China, based on Richard Nixon’s historic visit to China in 1972. In 1985, whilst preparing to write an overdue commission for the Milwaukee Symphony, Adams received the scenario of the final act of the opera, in which the main characters privately reminisce about their younger years. This fired Adams’ imagination, and his response was The Chairman Dances, which ‘began as a “foxtrot” for Chairman Mao and his bride, Chiang Ch’ing, the fabled “Madame Mao”, firebrand, revolutionary executioner, architect of China’s calamitous Cultural Revolution, and (a fact not universally realised) a former Shanghai movie actress’. Powered along by a relentless chugging rhythm, the music ‘takes full cognisance of her past as a movie actress. Themes, sometimes slinky and sentimental, at other times bravura and bounding, ride above a bustling fabric of energised motives.’

The scenario for the piece, as devised by the opera’s director Peter Sellars and librettist Alice Goodman, is as follows:

Chiang Ch’ing, a.k.a. Madame Mao, has gatecrashed the Presidential Banquet. She is first seen standing where she is most in the way of the waiters. After a few minutes, she brings out a box of paper lanterns and hangs them around the hall, then strips down to a cheongsam, skin-tight from neck to ankle and slit up the hip. She signals the orchestra to play and begins dancing by herself. Mao is becoming excited. He steps down from his portrait on the wall, and they begin to foxtrot together. They are back in Yenan, dancing to the gramophone…

© Symphony Services International

WASO last performed this work on 1 & 2 October 2010, conducted by Kristian Järvi.

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Motives Short, distinctive melodic or rhythmic figures, often part of or derived from a theme.

Glossary

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Program Notes

Antonín Dvořák (1841-1904)

Carnival overture, op.92

Dvořák’s sense of national identity was firmly rooted in the natural world around him and throughout his life he harboured a deep love of the Bohemian countryside and a humble respect for its traditions. His music, whilst founded on classical principles, was infused with Czech folk idioms, and its immediacy and sincerity resonated with audiences throughout Europe and America.

This overture was conceived in 1891 as the second part of a triptych which Dvořák originally titled Nature, Life and Love. The three pieces were subsequently renamed and published separately in 1894 as In Nature’s Realm, Carnival and Othello. Collectively, they represent a celebration by the composer of nature in all its life-affirming (and malign) glory. Although Dvořák envisaged the three overtures as a cycle (and unified them by means of a ‘nature’ theme which appears in all three), these days they are rarely performed together, Carnival being the firm favourite of concert programmers.

The high-spirited opening of the Carnival Overture is a bustle of activity, the work’s original title ‘Life’ perhaps capturing the mood more effectively.

There is a slower, dream-like middle section, during which the ‘nature’ theme is played by a solo clarinet (and echoed a few bars later by the cor anglais), but this gives way to an almost strident excitement, and the work ends as boisterously as it began. Dvořák himself conducted the premiere of all three overtures in Prague on 28 April 1892, at the final concert of his farewell tour before departing for New York to take up the position of director of the National Conservatory of Music.

© Symphony Australia

WASO last performed this work on 14 & 15 June 2002, conducted by Vladimir Verbitsky.

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Alina Ibragimova appears courtesy of Mitsubishi Corporation. *Transaction fees may apply.

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BERLIOZ Roman CarnivalSIBELIUS Violin Concerto PROKOFIEV Romeo & Juliet (excerpts)

Marko Letonja conductorAlina Ibragimova violin

Fri 14 & Sat 15 Nov 7.30pm Perth Concert Hall

BBC Music Magazine

“Four notes. That’s all it took for Alina Ibragimova to entrance her audience.“

Violin Concerto

MACA LIMITED PRESENTS

Meet the InstruMent the troMBone

The trombone is a member of the brass family. It has a predominantly cylindrical bore, and is characterised by a slide that the player uses to extend the length of the tubing, thereby lowering the pitch. The slide is based on seven positions that lower the pitch progressively by semitones, with first position (slide fully retracted) being the highest, and seventh position (slide fully extended) being the lowest. For trombones with an F attachment, it is possible to engage an extra length of tubing that lowers the basic pitch of the instrument by the interval of a perfect fourth. Trombones have been made in a variety of sizes, from piccolo to contrabass, but the most commonly encountered types today are the tenor and bass trombone.

Scholars are unsure exactly when and where the trombone first appeared, but its earliest known description appears in a late 15th-century fresco by Filippino Lippi. The early trombone was known by a variety of names, including ‘posaune’ in German-speaking countries, ‘saquebot’ in French, and ‘sackbut’ in English. The trombone was used primarily in church music and small ensembles, and did not become a part of the orchestra until the late 18th century.

capabilities of the trombone as a solo instrument, and have featured it in some notable orchestral solos including the Tuba mirum of Mozart’s Requiem, Mahler’s Symphony No.3, Sibelius’ Symphony No.7 and Bartók’s The Miraculous Mandarin. By the 20th century, jazz trombonists such as J.J. Johnson and Tommy Dorsey had become particularly influential in technical developments of trombone performance, such as irregular attacks, microtones, and glissandos. These can be heard on albums such as The Eminent J.J. Johnson and The Trombone Master.

Clare Krier. Symphony Services International © 2012.

The pitch range of the trombone:

1 Tuning slide 2 Mouthpiece 3 Bell 4 Main slide / outer slide 5 Water key

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Composers have recognised the expressive

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we are nearly there! Please join us in celebrating ten years of wASo Annual Giving by helping raise $500,000.

2014 is the tenth year of our Annual Giving program and over that time it has grown to become the foundation of WASO’s Philanthropy program with donations from individuals vital to the day-to-day running of your Orchestra.

Thank you to the many wASo Patrons and Friends who have contributed to this important campaign this year.

To ensure we continue to achieve our vision to touch souls and enrich lives through music, this year we aim to raise $500,000 through our Annual Giving campaign. We are nearly there! We have raised $472,914 but we still need your support to reach our goal of $500,000.

we invite you to support wASo this year and make a donation to our Annual Giving campaign.

WASO Philanthropy information and donation forms are available at the Programs and Information desk. To learn more about supporting WASO, please contact Jane Clare, Fundraising and Philanthropy Coordinator, on 9326 0014 or clarej@waso.com.au. You can also donate online at waso.com.au.

Every donation helps, no matter the size. All donations over $2 are tax deductible.

Thank you. Amazing things can happen through philanthropy.

wASo Philanthropy Philanthropy Partner

Patrons & Friends Event

wASo in Rehearsal Friday 21 November, 10am, Perth Concert Hall Special Event – WASO at the Movies

Take a walk down the red carpet and experience a spectacular showcase of the best film scores including Star Wars, The Mission, The Godfather, Casablanca and more.

Join the Orchestra on a journey through timeless Hollywood classics, accompanied by entertaining visuals on the big screen.

Tickets are $25 for Patrons & Friends ($30 for guests) and include a lovely morning tea with the musicians.

To book call the WASO Box Office on 9326 0000.

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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 ArkleyJanet Holmes à Court ACSagitte Yom-Tov Fund

Estates wASo is extremely grateful for the bequests received from the Estates of the following benefactors: Mrs Roslyn Warrick

Symphony CircleRecognises Patrons who have made a provision in their will to the orchestra.John BonnyAnita & James ClaytonJudith GederoWolfgang LehmkuhlTosi Nottage in memory Edgar NottageJudy SienkiewiczSheila WilemanAnonymous (16)

The wASo Song BookNew 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 ACPeter DawsonGeoff StearnAnonymous (1)

Reach outRecognises Patrons who support our Education and Community Engagement programs.Prue Ashurst Creative Partnerships AustraliaThe James Galvin FoundationRobyn GlindemannBarrie & Jude LepleyMatnie FamilyMcCusker Charitable FoundationMinderoo FoundationJohn & Alison RiggSimon Lee Foundation

Beethoven CirclewASo acknowledges Patrons who are generously supporting our Beethoven Festival.Jean Arkley in memory of Tom Arkley Bob & Gay BranchiJanet Holmes à Court AC in memory of her motherTorsten & Mona KetelsenTony & Gwenyth LennonJoshua & Pamela Pitt

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our Supporters

Annual GivingWe thank the following Patrons for their generous contribution to WASO in the last twelve months through WASO’s Annual Giving Program.

Principal Conductor’s Circle Gifts $20,000+Janet Holmes à Court ACBrian & Nancy MurphyPatricia NewAnonymous (1)Impresario PatronGifts $10,000 - $19,999Gay & Bob BranchiTony & Gwenyth LennonJoshua & Pamela PittAnonymous (1)

Maestro Patron Gifts $5,000 - $9,999Jean Arkley in memory of Tom ArkleyBill BlokingGavin BunningIan & Elizabeth ConstableMoira & John DobsonBridget Faye AMGilbert George & AssociatesDr Patricia KailisMargaret & Rod MarstonRobert May Jill MulheronSpinifex TrustPeter & Jean StokesTrish Williams – Strategic InteractionsSue & Ron WoollerAnonymous (2)

Virtuoso Patron Gifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R. Dodge AMPeter & Marjorie BirdSally BurtonDon ConroyMark Coughlan & Dr Pei-Yin HsuDr Stephen Davis & Ms Linda SavageTim & Lexie ElliottRobyn GlindemannSylvia & Wally HyamsKeith & Gaye KessellMichael & Dale KitneyBryant MacfieMrs MorrellAnne NolanRon & Philippa PackerJohn & Paula PhillipsMs Elizabeth Sachse & Dr Lance RisbeyJudy Sienkiewicz Ros ThomsonM. & H. TuiteJoyce Westrip OAMAndrew & Marie YunckenAnonymous (1)

Principal PatronGifts $1000 - $2,499Margaret Atkins OAMColin & Eve BeckettTony & Mary BeeleySuzanne & David BiddlesJohn & Sue Bird in memory of Penny BirdKevin BlakeMatthew J.C. BlampeyAlan & Anne BlanckenseeNamy BodinnerMr John BonnyMrs Debbie BorshoffDr & Mrs P. BreidahlJean Brodie-Hall AMAnn Butcher & Dean R. KubankDr G Campbell-EvansProf Jonathan Carapetis & Prof Sue SkullArthur & Nerina CoopesHon June Craig AMGay & John CruickshankNorman & Denia DaffenLesley & Peter DaviesRussell & Susan DixonMargaret DobsonJulian DowseDon & Marie ForrestDr Andrew GardnerRoger & Ann GillbanksGraham & Barbara GouldenJannette GraySandra Gray

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Deidre GreenfeldDavid & Valerie GullandBrian & Romola HaggertyRichard B. HammondPauline & Peter HandfordMichael HardingShigeki & Hinako HiranoMichael & Liz HollingdaleJohn & Katrina HopkinsJim & Freda IrenicCynthia JeeLilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill KeanAnthony & Noelle KellerDorothy KingstonDr Rob Kirk & Sarah GallinaghNelly KleynStephanie & John KobelkeUlrich & Gloria KunzmannIrving LanePaul LeeRosalind LilleyMegan LoweGraham & Muriel MahonyGregg & Sue MarshmanMervyn MatthewsJennifer & Arthur McCombBetty & Con Michael AOVicki MizenHon Justice S.R. MoncrieffJane & Jock MorrisonLynn MurrayVal & Barry NeubeckerDr Phillip & Mrs Erlene NobleJohn OvertonThe Family of Hilary OwensMichael & Lesley PageAthena Paton

Associate Prof. Tim PavyAlan Pedersen in memory of Hilary OwensCharmian Phillips in memory of Colin CraftPamela PlattAndrew & Suzanne PoliThomas & Diana PotterDr Leon PrindivilleChester ReeveJohn & Alison RiggNigel & Dr Heather RogersMaurice & Gerry RoussetRoger SandercockDr R. & J. SchwengerMargaret & Roger SearesPaula & Melanie ShannonEve Shannon-CullityJulian & Noreen SherLaurel & Ross SmithDr Paul Smith & Denham HarryMichael Snell & Vicki StewartGail & Tony SutherlandAnna SweetinghamRichard Tarala & Lyn Beazley AOGene TilbrookMary TownsendJames & Rosemary TrotterDr Robert TurnbullMaggie VenerysStan & Valerie VicichWatering ConceptsIan WatsonAlan WhithamAnn WhyntieJean & Ian Williams AOJim & Gill WilliamsDr Peter WintertonAnonymous (18)

Tutti PatronGifts $500 - $999Geoff & Joan AireyCatherine BagsterMerle I. BardwellBetty BarkerBernard & Jackie BarnwellShirley BarracloughP.M. BennetMichael & Nadia Berkeley-HillDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerElizabeth & James BrownMarilyn & Ian BurtonNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeDr Anne ChesterLyn & Harvey Coates AOAgatha & Alex Cohen AOHelen CookBrian CresswellGina & Neil DavidsonFrances DaviesJop & Hanneke DelfosRai & Erika DolinschekLorraine EllardMrs G. EwenThe Farghaly FamilyAnnette FinnJim & Pamela FlahertyJoan GagliardiPat GallaherGeorge GavranicElaine GimsonIsobel GlencrossJacqui GroveDouglas M & Regina HansenProf Alan Harvey & Dr Paulien de Boer

our Supporters

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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.

Richard HatchDr Penny Herbert in memory of Dunstan HerbertHelen HollingsheadPeter IngramJohn IsherwoodPeter S. JonesB.M. Kent In memory of Dr Brenton KnottTrevor & Ane Marie LacyMeg LewisTeresa & Jemima LovelandDr Mary Ellen MacDonaldMrs Carolyn Milton-Smith in loving memory of Emeritus Prof. John Milton-SmithS.B. Monger-HayDr Peter MossMarianne NilssonMarjan OxleyGraham & Hildegarde PennefatherBev PennyAdrian & Ruth PhelpsAlpha & Richard Pilpel OAMSheila PinchAlison & John PriceAnn RawlinsonClarissa ReptonJames & Nicola Ridsdill-SmithLeigh RobinsonJudith E. Shaw

The Sherwood FamilyHendrick SmitLouise Sparrow & FamilyPeggy & Tom StacyRuth E. ThornDr Julian TodresS.R. VogtAdrienne & Max WaltersDiana WarnockAnne WatsonJoy WearneDr Chris & Mrs Vimala WhitakerViolette WilliamJanet WilliamsJudith Wilton & David TurnerPatricia WongYalambi Farm StudAnonymous (22)

FriendsGifts $40 - $499Thank you to all our Friends who support WASO through their gift.

our Supporters

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 AffleckSally BurtonBrian CresswellGerty EwenAnnette FinnDavid & Valerie Gulland Janet Holmes à Court ACB.M. Kent Bryant MacfiePeter & Patricia Moss Jill MulheronJohn OvertonHeather RogersJudith SienkiewiczDavid Turner & Judith Wilton Andrew & Marie YunckenWe would like thank them for their invaluable ongoing support.

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west Australian Symphony orchestra

VIoLINSemra Lee-Smith Assistant Concertmaster Graham Pyatt Principal 1st ViolinZak RowntreePrincipal 2nd ViolinKylie Liang Assistant Principal 2nd ViolinSarah BlackmanFleur ChallenErin ChenStephanie DeanRebecca GlorieBeth HebertAlexandra IstedSunmi JungShaun Lee-Chen*Akiko Miyazawa Lucas O’BrienAnna O’HaganMelanie PearnKen PeelerLouise SandercockJolanta SchenkJane SerrangeliEllie ShalleyJacek SlawomirskiBao Di Tang Cerys ToobyTeresa VinciDavid Yeh

VIoLACaleb Wright PrincipalKierstan ArkleysmithNik BabicAlex BroganKatherine DrakeAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLoRod McGrath PrincipalLouise McKayAssoc PrincipalShigeru KomatsuOliver McAslan Nicholas MetcalfeEve Silver* Fotis SkordasTim SouthXiao Le Wu

DoUBLE BASSAndrew Rootes* PrincipalJoan Wright Assoc PrincipalChristine ReitzensteinLouise RossAndrew TaitMark Tooby

FLUTEAndrew Nicholson PrincipalChair partnered by Apache

Mary-Anne Blades Assoc Principal

PICCoLoMichael Waye Principal

oBoEPeter FacerPrincipalElizabeth CheeAssoc Principal

CoR ANGLAISLeanne GloverPrincipal

CLARINETAllan Meyer PrincipalLorna Cook

BASS CLARINETAlexander Millier PrincipalChair partnered by Altegra property Group

BASSooNJane Kircher-Lindner PrincipalChair partnered by ron & sue Wooller

Adam Mikulicz Assoc Principal Colin Forbes-Abrams

CoNTRABASSooNChloe Turner Principal

HoRNDavid Evans PrincipalSharn McIverAssoc Principal Robert Gladstones Principal 3rdJulia Brooke Francesco Lo Surdo

TRUMPETBrent GrapesPrincipalEvan Cromie Assoc PrincipalPeter Miller

TRoMBoNEJoshua Davis PrincipalLiam O’MalleyAssoc Principal

BASS TRoMBoNEPhilip Holdsworth Principal

TUBACameron Brook Principal

TIMPANIAlex Timcke Principal

PERCUSSIoNRobyn GrayPrincipalTroy Greatz Assoc Principal

HARPSarah Bowman Principal

*Instruments used by these musicians are on loan from Janet Holmes à Court AC.

ASSISTANT CoNDUCToRChristopher Dragon

CHoRUS DIRECToRChristopher van Tuinen

CHoRUS VoCAL CoACHAndrew Foote

Principal ConductorAsher FischPartnered by Wesfarmers Arts

Conductor Laureate Vladimir Verbitsky

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BoARD oF DIRECToRSJanet Holmes à Court AC ChairmanMark CoughlanKeith KessellBarrie Lepley Deputy ChairmanAnne NolanPaul ShannonJulian Sher Michael Utsler

ExECUTIVECraig Whitehead Chief Executive Claire Burlington Executive AssistantEllen Wisdom Executive Manager, Human ResourcesRachel Taylor Human Resources Assistant

ARTISTIC PLANNINGEvan Kennea Executive Manager, Artistic PlanningMaya Kraj-Krajewski Artist Liaison/Chorus AdministratorClaire Stokes Program ManagerAlan Tyrrell Program Manager

CoMMUNITY ENGAGEMENTCassandra Lake Executive Manager, Community EngagementFiona Taylor Education CoordinatorGemma McDonald Community Development Coordinator

oRCHESTRAL MANAGEMENTKeith McGowan Executive Manager, Orchestral ManagementRichie Burton Orchestral Operations ManagerDavid Cotgreave Production & Technical ManagerAlistair Cox Orchestral ManagerBreanna Evangelista Orchestra Management Assistant Wee Ming Khoo Music LibrarianNoel Rhind Orchestral Operations Coordinator

BUSINESS SERVICESPeter Freemantle Chief Financial OfficerAndrew Chew Systems AdministratorAngela Miller AccountantSvetlana Williams Payroll OfficerSushila BhudiaAccounts Officer

CoRPoRATE DEVELoPMENT Marina WoodhouseExecutive Manager, Corporate DevelopmentLuci Steinhardt Corporate Partnerships ExecutiveCliona Hayes Corporate Partnerships CoordinatorGinny LuffCorporate Partnerships & Events Coordinator

PHILANTHRoPY Alecia Benzie Executive Manager, Philanthropy Josie AitchisonCustomer Service & Philanthropy CoordinatorJane Clare Fundraising & Philanthropy Coordinator

MARkETINGKelli Carnachan Executive Manager, MarketingKirsty Chisholm Marketing CoordinatorNancy Hackett Marketing ManagerGina Beers Graphic DesignerMarc Missiaen Relationship Marketing ManagerPaula Schibeci Public Relations ManagerAmanda LimMarketing AssistantSava Papos Customer Service ManagerJosie AitchisonCustomer Service & Philanthropy Coordinator Beverley Trolio Customer Service CoordinatorAlana ArnoldMargaret Daws Vicki Prince Debbie SilvesterRobyn WestbrookCustomer Service Officers

Perth Concert Hall AEG ogden (Perth) Pty LtdPerth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues.

Andrew Bolt General ManagerHelen StewartDeputy General ManagerPeter RobinsTechnical Manager Paul RichardsonAssistant Technical ManagerPenelope Briffa Event Coordinator

AEG ogden (Perth) Pty LtdRodney M Phillips Chief Executive

The Perth Theatre TrustThe 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

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FUNDING PARTNERS

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School of Music | Tertiary Education Partner

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2014 Corporate Partners

The West Australian Symphony Orchestra is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

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2015*

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