PROGRAMALCOHOL.THINK AGAIN MASTERS SERIESFriday 26 & Saturday 27 August 7.30pmPerth Concert Hall

Asher Fisch & WASO Baiba

Skride MozartPLAY

S

Keep your performance sharp Have no more than two standard drinks a day

WASO Associate Principal Double BassJoan Wright

WELCOME

This week’s concerts sees Asher Fisch in his element, conducting great romantic and post-romantic works by Brahms and Schoenberg.

In the early part of his career, Brahms was chiefly known as a composer of chamber and choral music, and it was only later in his life that he turned his attention to the symphonic genre. His Piano Quartet in G minor is one of the great piano quartets, but was not often played when Schoenberg orchestrated it in 1937. For the most part, Schoenberg is reasonably faithful to Brahms’s own orchestral sound world, though he uses a bigger orchestra than Brahms would have enjoyed, and utilises instruments that Brahms did not employ in his own symphonic works. Schoenberg was a masterful orchestrator, and his deep love of and respect for Brahms’ music is much in evidence in this wonderful work.

Of Schoenberg’s own output, it is the earlier works that are most heard in concert; the free atonal and 12-tone period works not enjoying popular success. The early string work Transfigured Night (Verklärte Nacht) is one of the most performed. Like many leading Viennese musicians at end of the 19th century, Schoenberg grappled with the question of who was the more progressive composer, Wagner or Brahms? With Transfigured Night Schoenberg resolved for himself the conflict between the Brahmsian aesthetic of “pure, abstract” music and the Wagnerian aesthetic which to some extent relied on an extra-musical program to propel the musical discourse. Schoenberg combines Brahms’s formal structures with Wagner’s advanced harmonic language in a work of voluptuous harmony and lush string writing.

In this concert Mozart’s Violin Concerto No.4 could be viewed as a kind of musical sorbet, something to clear the ears of the rich sound world of Brahms and Schoenberg. But if it is a sorbet, it is a particularly elegant and graceful one - though not a simple one to perform! Right from the very first notes, played up high on the E string, the exposed melodic line demands superb intonation and purity of tone. Thankfully, our soloist is Baiba Skride, whose artistry sees her performing with the world’s finest conductors and orchestras. Baiba gave a superb performance of Tchaikovsky’s Violin Concerto in her WASO debut in 2013, and we have eagerly awaited this return visit. 

I hope you enjoy this evening’s performance.

Evan Kennea Executive Manager, Artistic Planning

Keep your performance sharp Have no more than two standard drinks a day

WASO Associate Principal Double BassJoan Wright

2016 UPCOMING CONCERTS

Phot

o: C

hris

Gon

z

TICKETS FROM $55*

MACA LIMITED CLASSICS SERIES

ASHER FISCH CONDUCTS MOZART’S REQUIEMFRI 2 & SAT 3 SEPT 7.30PM Perth Concert Hall

Mozart’s Requiem has always been the object of legend. The profound depth and sincerity with which Mozart gives voice to both grief and hope, showcases his great genius.

MAGNUS LINDBERG EXPO RAVEL Le Tombeau de Couperin MOZART Requiem

Asher Fisch conductor (pictured) Sara Macliver soprano Stefanie Irányi mezzo soprano

Steve Davislim tenor Derek Welton bass WASO Chorus

Asher Fisch appears courtesy of Wesfarmers Arts

BOOK NOW CALL 9326 0000 VISIT WASO.COM.AU*A handling fee of $5.50 per transaction applies all purchases. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

4

Phot

o: D

ecca

Kas

skar

a

TICKETS FROM $30*

ALCOHOL.THINK AGAIN MASTERS SERIES

ASHER FISCH & WASO: TOUR DE FORCE 2016 INTERNATIONAL TOUR FAREWELL CONCERTSFRI 30 SEPT & SAT 1 OCT 7.30PM Perth Concert Hall

As WASO prepare for their international tour to Beijing and Shanghai, and to showcase the Orchestra's musicianship on a grand scale they will perform Mahler’s mighty and deeply personal Fifth Symphony and Saint-Saëns’ glittering and exotic Piano Concerto No.5.

MENDELSSOHN Midsummer Night’s Dream: Overture (Friday Night only) SCULTHORPE Kakadu (Saturday Night only) SAINT-SAENS Piano Concerto No.5 Egyptian MAHLER Symphony No.5

Asher Fisch conductor Jean-Yves Thibaudet piano (pictured)Asher Fisch appears courtesy of Wesfarmers Arts

TICKETS FROM $28*

MORNING SYMPHONY SERIES

ASHER FISCH & WASO: TOUR DE FORCE 2016 INTERNATIONAL TOUR FAREWELL CONCERTTHURS 29 SEPT 11AM Perth Concert Hall

As the Orchestra prepares for its first international tour in a decade, Asher Fisch and WASO performs Mahler’s mighty and deeply personal Fifth Symphony.

MAHLER Symphony No.5

Asher Fisch conductor (pictured)Asher Fisch appears courtesy of Wesfarmers Arts

Pre-concert TalksFind out more about the music in the concert with this week’s speaker, Kathie Drake. Pre-concert Talks take place at 6.45pm in the Terrace Level Foyer.

2017 Season Post-concert Talk Following tonight's performance, Principal Conductor Asher Fisch and Executive Manager, Artistic Planning Evan Kennea will present an overview of the 2017 WASO season from the main auditorium.

Pre-concert Talks are supported by Wesfarmers Arts

ALCOHOL.THINK AGAIN MASTERS SERIES

BAIBA SKRIDE PLAYS MOZART

SCHOENBERG Verklärte Nacht (Transfigured Night) (32 mins)

MOZART Violin Concerto No.4 (24 mins)

AllegroAndante cantabileRondeau (Andante grazioso – Allegro ma non troppo, alternating)

Interval (25 mins)

BRAHMS orch. SCHOENBERG Piano Quartet No.1 (43 mins)

AllegroIntermezzo (Allegro ma non troppo) – Trio (Animato) – IntermezzoAndante con motoRondo alla zingarese (Presto)

Asher Fisch conductor Baiba Skride violin

5

Asher Fisch appears courtesy of Wesfarmers Arts. *A handling fee of $5.50 per transaction applies all purchases. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

FRI 2 & SAT 3 SEPT 7.30PM Perth Concert Hall

Asher Fisch conductorSara Macliver soprano

Stefanie Irányi mezzo sopranoSteve Davislim tenor

Derek Welton bassWASO Chorus

MACA LIMITED CLASSICS SERIES

Mozarts Requiem

ASHER FISCH CONDUCTS

Mozart’s final, transcendental work: music for beyond this world.

Magnus Lindberg ExpoRAVEL Le Tombeau de Couperin

MOZART Requiem

BOOK NOW Call 9326 0000 quoting 1538 or visit waso.com.auTickets from $55*

WASO IN THE COMMUNITY

Harmony Music visit to Leeming Senior High School On 15 August, a WASO percussion ensemble visited Leeming Senior High School’s Special Educational Needs Students as part of our Harmony Music program. We have visited this school for many years now, and taken ensembles from different families of the orchestra, but this is the first time they have heard a percussion ensemble. It was very well received and the musicians delighted students by introducing their various percussion instruments through exciting and upbeat African Drumming, and a gentler Japanese piece ShichiKarak, that introduced students to the marimba and vibraphone. The final piece was "Happy", which is always a hit, and got the students up and dancing!

Harmony Music is supported by Mitsubishi Corporation.

Rusty OrchestraNow in its third year, the Rusty Orchestra program invites active amateur musicians from all over Western Australia to sit side-by-side WASO musicians to create our larger than life Rusty Orchestra. The 2016 concert was a huge success with 46 Rusty musicians alongside their WASO counterparts performing to a full house of over 1100. The program contained many classical favourites including; Shostakovich’s Festive Overture, excerpts from Mussorgsky’s Pictures at an Exhibition and excerpts from Dvořák’s gorgeous Symphony No.8. In a post event survey 100% of respondents said they would recommend the Rusty Orchestra program to colleagues.

“Excellent. It is such a pleasure to play alongside such accomplished players. I love it.” 2016 Rusty Orchestra Participant

Applications for 2017 are now open! Please visit waso.com.au/education to apply and be a part of this program, presented as part of Education Week.

7

Asher FischPrincipal Conductor & Artistic Adviser

Asher Fisch’s first two seasons with WASO included a range of classical repertoire, a Beethoven Symphony Cycle in 2014 and a Brahms Festival in 2015, both Western Australian firsts.

A seasoned conductor in both the operatic and symphonic worlds, he is known best for his interpretative command of German and Italian repertoire of the Romantic and post-Romantic era, in particular Wagner, Brahms, Strauss and Verdi. He is currently Principal Guest Conductor of the Seattle Opera, where he conducted its quadrennial Wagner Ring cycle in 2013, and his former posts include Music Director of the New Israeli Opera (1998-2008) and the Vienna Volksoper (1995-2000). He first worked with WASO in 1999.

He has long maintained strong ties to the Bavarian State Opera, and in the 2013-14 season conducted a new production by Martin Kušej of The Force of Destiny, plus revival performances of Parsifal, Salome, Ariadne auf Naxos, La bohème and Turandot. Other highlights of the 2013-14 season included concerts with the Munich Philharmonic; Stuttgart Radio Symphony Orchestra; National Orchestra of Belgium;

Aarhus Symphony Orchestra (Denmark); a tour in Italy with the Orchestra della Toscana; and a visit to the Melbourne Festival in October 2013, where he conducted an all-Wagner program with the Melbourne Symphony Orchestra.

He conducted the State Opera of South Australia’s Wagner Ring cycle in 2005, which won ten Helpmann Awards. Asher Fisch began his conducting career as Daniel Barenboim’s assistant and kapellmeister at the Berlin State Opera. He is an accomplished pianist and released his first solo disc of Wagner piano transcriptions in 2012.

Asher Fisch appears courtesy of Wesfarmers Arts

ABOUT THE ARTIST

Phot

o: C

hris

Gon

z

8

Baiba SkrideViolin

Baiba Skride has worked with orchestras such as the Berlin Philharmonic, Boston Symphony, Orchestre de Paris, London Philharmonic, and NHK Symphony, Tokyo. Conductors with whom she collaborates include Christoph Eschenbach, Sakari Oramo, Yannick Nézet-Séguin, and Jukka-Pekka Saraste.

Recent concert highlights include the Beethoven Orchester Bonn, duo recitals with Lauma Skride in Prague and London, and her debut with the New York Philharmonic. In August 2015 Skride released her latest disc (including the Nielsen and Sibelius concertos). Her Szymanowski concertos CD received the Award of the German Record Critics.

Skride was born in Riga where she began her studies, transferring in 1995 to the Conservatory of Music and Theatre in Rostock.

In 2001 she won First Prize in the Queen Elisabeth Competition. Skride plays the Stradivarius ‘Ex Baron Feilitzsch’ violin (1734), which is generously on loan to her from Gidon Kremer.

Baiba Skride appears courtesy of Japan Australia LNG (MIMI) Pty. Ltd.

ABOUT THE ARTIST

Phot

o: M

arco

Bor

ggre

ve

Louise McKay In Conversation and RecitalSunday 23 October, 2pm – 4pm McAppion Theatre, Aquinas College

Spend an afternoon with WASO’s Associate Principal Cello Louise McKay.

It’s often quoted that 10,000 hours of practice are required to achieve mastery in any field, but musicians never stop learning and striving to perfect their artistry. The annual Friends of WASO Scholarship invests in the development of your Orchestra’s musicians, and is directly supported by ticket sales to our Patrons & Friends events.

Louise was the recipient of this year’s Scholarship, and has returned from her trip to Berlin ready to share stories from her experiences overseas and her musical career. Complementing her work with WASO, Louise is an active chamber musician and soloist and will perform a selection of beautiful works for solo cello. Don’t miss your chance to hear from one of our talented musicians in an intimate setting.

Tickets are $45 for Patrons & Friends ($55 for guests) including wine and refreshments and can be purchased by calling the WASO Box Office on 9326 0000.

Associate Principal Cello Chair is partnered by Penrhos College.

PATRONS & FRIENDS EVENT

9

The West Australian Symphony Orchestra (WASO) is Western Australia’s largest and busiest performing arts organisation. With a reputation for excellence, engagement and innovation, WASO’s resident company of full-time, professional musicians plays a central role in creating a culturally vibrant Western Australia. WASO is a not for profit company, funded through government, ticket revenue and the generous support of the community through corporate and philanthropic partnerships.

WASO’s vision is to touch souls and enrich lives through music. Each year the Orchestra entertains and inspires the people of Western Australia through its concert performances, regional tours, innovative

education and community programs, and its artistic partnerships with West Australian Opera and West Australian Ballet.

The Orchestra is led by Principal Conductor and Artistic Adviser Asher Fisch. The Israeli-born conductor is widely acclaimed for his command of the Romantic German repertoire and is a frequent guest at the world’s great opera houses.

Each year the Orchestra performs over 175 concerts with some of the world’s most talented conductors and soloists to an audience in excess of 190,000. An integral part of the Orchestra is the WASO Chorus, a highly skilled ensemble of auditioned singers who volunteer their time and talent.

waso.com.au

Phot

o: E

mm

a Va

n D

ordr

echt

WEST AUSTRALIAN SYMPHONY ORCHESTRA

10

WASO ON STAGE TONIGHT

VIOLINLaurence JacksonConcertmasterGraeme NorrisAssoc ConcertmasterSemra Lee-Smith Assistant Concertmaster Rebecca GlorieA/Principal 1st ViolinZak Rowntree*Principal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenBeth HebertAlexandra Isted^Jane JohnstonSunmi JungChristina KatsimbardisEllie LawrenceShaun Lee-Chen*Akiko MiyazawaMelanie PearnKen PeelerGraham PyattLouise SandercockJolanta SchenkJane SerrangeliKathryn ShinnickJacek SlawomirskiKate SullivanBao Di TangCerys ToobyDavid Yeh

VIOLAAlex BroganKierstan ArkleysmithNik BabicBenjamin CaddyKatherine Corecig^Alison HallRachael KirkKathryn McKay^Allan McLeanElliot O’Brien^Helen Tuckey

CELLORod McGrath Chair partnered by Tokyo Gas

Louise McKayChair partnered by Penrhos College Shigeru KomatsuOliver McAslan Nicholas MetcalfeEve Silver*Fotis SkordasTim SouthXiaole Wu

DOUBLE BASSAndrew Sinclair*Joan Wright Elizabeth Browning^Louise ElaertsChristine ReitzensteinAndrew TaitMark Tooby

FLUTEAndrew Nicholson Mary-Anne Blades

PICCOLOMichael Waye

OBOEPeter Facer Liz CheeAnnabelle FaridGuest Assoc Principal

COR ANGLAISLeanne Glover

CLARINETAllan Meyer Lorna Cook

BASS CLARINETAlexander Millier

BASSOONJane Kircher-Lindner Chair partnered by Sue & Ron Wooller

Adam Mikulicz

CONTRABASSOONChloe Turner

HORNDavid EvansRobert Gladstones Principal 3rd HornJulia BrookeFrancesco Lo Surdo

TRUMPETBrent GrapesPeter MillerFletcher Cox^

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONBrian MaloneyChiron MellerAssoc Principal Percussion and TimpaniRobyn Gray^Paul Tanner^

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

PrincipalAssociate PrincipalGuest Musician^

WEST AUSTRALIAN SYMPHONY ORCHESTRA

11

YOUR CONCERT EXPERIENCE

PRINTED PROGRAMS Please share or download our free printed programs to help us be environmentally responsible. WASO’s programs can be downloaded from our website waso.com.au

FOR THE ENJOYMENT OF ALLWhen to applaud? Musicians love applause. Audience members normally applaud:• When the concertmaster (violin) walks onto

the stage • When the conductor walks onto the stage • After the completion of each piece and at

the end of the performance

When 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 Ticket Collection Desk before each performance and at the interval.

Hearing aids that are incorrectly adjusted may disturb other patrons, please be mindful of those around you.

Mobile phones and other electronic devices need to be switched off throughout the performance.

Photography, sound and video recordings are permitted prior to the start of the performance.

Latecomers and patrons who leave the auditorium will be seated only after the completion of a work.

MOVING TO EMPTY SEATSPlease do not move to empty seats prior to the performance as this may affect seating for latecomers when they are admitted during a suitable break.

FEEDBACK ABOUT THIS CONCERT Please send your feedback to PO BOX 3041, East Perth WA 6892, call 9326 0000, email waso@waso.com.au or leave us a message on Facebook or Twitter.

Join us on Facebook facebook.com/WestAustralianSymphonyOrchestra

Follow us on Twitter twitter.com/_WASO_

Tag your photos #WASO on Instagram instagram.com/_waso_

Watch us on YouTube youtube.com/WestAustSymOrchestra

E-News Stay up to date and sign-up to our SymphonE-news at waso.com.au

WASO On The Go Download WASO’s free app on iTunes or Google Play.

Visit waso.com.au For concert information and to listen to concert playlists.

CONNECT WITH WASO

LISTEN TO WASOABC Classic FM

This performance is being recorded for broadcast at 1pm (or 11am online) on Sunday 4 September on ABC Classic FM. For further details visit abc.net.au/classic

720 ABC PERTHTune in to 720 ABC Perth on Friday morning at 6.15am when Prue Ashurst joins James Lush to provide the latest on classical music and WASO’s upcoming concerts.

12

THE HOME OF THE WEST AUSTRALIAN SYMPHONY ORCHESTRAPerth Concert Hall is renowned for having one of the finest acoustics in the southern hemisphere. The concert hall is the home and serves as the primary performance venue for the West Australian Symphony Orchestra (WASO), and hosts a number of diverse performances and events all year round.

FOOD & BEVERAGESPlease visit the Perth Concert Hall website perthconcerthall.com.au for full information on food and beverage offerings at the venue.

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• Level 1 Ground Floor foyer across from

box office• Wardle Room – western side of bar• Terrace Level Corner Bar – one water

station on either side of the bar near windows

• Upper Gallery level• Lower Gallery level

FIRST AIDThere are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance

ACCESSIBILITY Perth Concert Hall is equipped to assist people with disabilities:• A universal accessible toilet is available on

the ground floor (Level 1)• A hearing induction loop operates in

rows N6:35 to X6:35 in the stalls area

WASO BOX OFFICE AT PERTH CONCERT HALLYou can now buy WASO tickets and subscriptions, exchange tickets and make a donation at the Box Office on the ground floor (Level 1) prior to each performance and at interval.

Tickets for other performances at Perth Concert Hall will be available for purchase only at interval.

The Box Office is open Monday to Friday, 9am to 5pm, and contactable on 9326 0000.

DONATE YOUR TICKETCan’t attend a concert? Contact the WASO Box Office on 9326 0000 to donate your ticket for re-sale and you will receive a tax deductible receipt.

PERTH CONCERT HALL

CONNECT WITH PERTH CONCERT HALL

Join us on Facebook facebook.com/perthconcerthallwa

Follow us on Twitter twitter.com/perthconcerthal

Follow us on Instagram instagram.com/perthconcerthall

Visit perthconcerthall.com.au For concert information.

13

14

1800 1900 2000

ARNOLD SCHOENBERG

1874 – 1951Born in 1874, Vienna, AustriaDied in 1951, Los Angeles, USA

Schoenberg's Verklärte Nacht (Transfigured Night)1902

Mozart's Violin Concerto No.41775

Brahms' Piano Quartet No.11861

WOLFGANG AMADEUS MOZART

1756 – 1791Born in 1756, Salzburg, AustriaDied in 1791, Vienna, Austria

JOHANNES BRAHMS

1833 – 1897Born in 1833, Hamburg, GermanyDied in 1897, Vienna, Austria

Schoenberg's orchestration of Piano Quartet1937

TIMELINE OF COMPOSERS & WORKS

15

Arnold Schoenberg(1874-1951)

Transfigured Night

The inspiration for Schoenberg’s Transfigured Night (Verklärte Nacht) was a poem by the late 19th-century German poet Richard Dehmel. It tells of a simple journey by night which changes everything. Two lovers are walking through a forest: the woman confesses to the man that she has been unfaithful to him, and is now carrying a stranger’s child. The man, inspired by the radiance of the natural world, responds not with anger or rejection, but with wonder: the warmth now uniting them, he says, will transfigure the child and make it theirs. They embrace, and walk on: the bare, cold grove with oak branches like claws black against the moon has been transformed into ‘bright, lofty night’.

The first audience was baffled – one early critic claimed it sounded ‘as if someone had smeared the score of Tristan und Isolde while it was still wet’. The work was originally composed in 1899 for string sextet, and the music has the clarity of chamber music with its interweaving lines, but the lush textures and rich Wagnerian harmonies laden with exquisite dissonance are heavy with emotion.

Schoenberg’s revision of the work for string orchestra (1917) allows the intensity of the music to shine. In 1943 Schoenberg again reworked the score for orchestral strings, with second thoughts on tempo, dynamics and tone colouring. It is this version that you will hear in this performance.

Natalie Shea

Symphony Australia © 2004

First performance (original version): 18 March 1902, Vienna. Rosé Quartet.First WASO performance: 29-30 March 1968. Thomas Mayer, conductor.Most recent WASO performance: 10-11 September 2004. Matthias Bamert, conductor.Instrumentation: originally for string sextet, later arranged by the composer for string orchestra.

ABOUT THE MUSIC

Tristan und Isolde – 1865 opera by Wagner which is regarded as the pinnacle of 19th-century chromaticism, and which laid the foundation for a harmonic freedom which culminated in the atonality of Schoenberg.

Glossary

16

17

Level 1, 620 Newcastle St.Leederville WA 6007Post O� ce Box 850 Mount Lawley WA 6929Email: sales@futurelogic.com.au

*To claim your FREE IT Audit and report, please contact sales with the code “WASO”.

Enquiries 08 9471 6500Facsimile 08 9463 6013www.futurelogic.com.au

• Managed IT Services• Service Desk• Technology Consulting• IT Auditing• Remote and On-site Services• Back Up Disaster Recovery• Project Management• Network/System Maintenance• Cloud & VoIP Solutions• Integrated Network Design• Strategic IT Planning

Providing Specialist IT Services to the West Australian Symphony Orchestra and

Your Business Today.

Are you ge ng the most out of your IT?

IT Audit and ReportValued at $2,720 FREE!

Contact us today*

We are your IT Department providing IT services and solutions, including:

Wolfgang Amadeus Mozart (1756-1791)

Violin Concerto No.4 in D, K218

AllegroAndante cantabileRondeau (Andante grazioso – Allegro ma non troppo, alternating)

Mozart’s father once suggested to him that the best way to introduce himself in a place where he wasn’t known was to play a violin concerto. It is easy to take for granted how masterly are Mozart’s violin concertos, because they are not as great as the best of his piano concertos. We think of Mozart as a pianist, and the most that many people know about his violin playing comes from letters written to him by his father Leopold, one of the leading violin teachers of the time, exhorting him not to give up practising, and claiming that he could be, if he worked at it, the finest violinist in Europe. Mozart composed all but the first of his five violin concertos, including this one, in a sustained burst in 1775 when he was 19. They have sometimes been regarded as attempts to please his father rather than himself. Yet none of the piano concertos Mozart had written up to this time show the maturity of conception of the last three of these violin concertos, the ones in G, (K216), in D (K218), and in A (K219). It was after Mozart left Salzburg for Vienna, which he called ‘the land of the piano’, that his concerto energies flowed exclusively into keyboard works. He wrote no further violin concertos.

Of the countless violin concertos composed in the 18th century, the standard modern ‘symphony concert’ repertoire retains only a few of Vivaldi’s, those of JS Bach, and Mozart’s. Mozart’s violin concertos are standard because they are very good music. Listening illustrates this better than words, but part of it is that the musical ideas are so strong, and there are so many of them. Mozart, even at this age, can organise his many ideas concisely and convincingly. Composing opera, his main preoccupation, has already taught him how to make the soloist the protagonist in a drama.

The solo violin parts of these concertos put musical substance and idiomatic writing for the instrument ahead of virtuoso display. This wasn’t because Mozart’s own violin technique was limited. The concertos were possibly intended not for him but for his Salzburg colleague Antonio Brunetti (first violin and soloist in the Court Orchestra).

ABOUT THE MUSIC

18

The slow movement, in A, has the soloist playing almost throughout. The opening theme is of the kind which used to be called ‘hymn-like’ when the more reposeful of Handel’s opera arias, which this rather resembles, were considered religious melodies. The loveliest passage has the oboe echoing the solo violin over tiptoeing figures from the strings.

The finale contains fascinating episodes of a popular cast. The alternation of metres, tempos and character is so rapid, yet so sure, that the effect is charmingly capricious rather than odd. In a movement appropriately given the French title Rondeau, there is a musette-like episode in which a drone bass is produced by the oboe doubling the soloist’s long sustained low note.

© David Garrett

First WASO performance: 22 July 1939. Malcolm Sargent, conductor; Vaughan Hanly, soloist.Most recent WASO performance: 22-23 June 2001. Vladimir Verbitsky, conductor; Sophie Rowell, soloist.Instrumentation: two oboes, two horns, strings.

Both men certainly played at least some of them, and Brunetti himself said, ‘Mozart could play anything.’ In some of Mozart’s Serenades, which he did play, the solo violin parts are more brilliant than anything in the concertos. The style of the concertos was a matter of preference – a direct, uncluttered mode of expression in writing for the violin.

Concerto No.4, in D, is similar to its immediate predecessor composed a few weeks earlier, No.3 in G. It is also more brilliant and sonorous, as one might expect from the brighter key. Indeed it opens with fanfare figures suggesting trumpets and drums, though the orchestra contains neither. The horns and oboes are used more assertively. Mozart has so many ideas that he can afford to throw some away: the theme of the opening tutti, although it is repeated by the soloist, does not appear again, either in development or recapitulation. The soloist’s part is almost continuous, without the interchanges with the orchestra which mark the previous concerto. The most memorable of the many themes is the sinuous one presented by the soloist in the lower register, with its sudden forte. The impression left by this movement is of delightfully unpredictable regrouping of the material, rather than regular sonata form.

Forte – loudMusette – French bagpipe of the 17th and 18th centuries, or a tune with a drone bass imitating its sound.Rondeau (or rondo) – musical form where a main idea alternates with a series of episodes. Classical composers often wrote the final movement of their symphonic works in rondo form.Sonata form – form in which the first movements of most symphonies of the Classical period are structured: the main themes are introduced in the exposition; in the development section these themes are explored according to key relationships; finally, the themes are restated and resolved in the recapitulation.Tutti – all the instruments of the orchestra playing at the same time.

Glossary

19

Johannes Brahms (1833 – 1897)

orch. Arnold Schoenberg (1874 – 1951)

Piano Quartet No.1 in G minor, Op.25

AllegroIntermezzo (Allegro ma non troppo) – Trio (Animato) – IntermezzoAndante con motoRondo alla zingarese (Presto)

Late in life, Brahms was so impressed by a young Viennese composer’s work that he helped arranged a stipend, which the young man then turned down. Half a century later, in 1947, the composer, Arnold Schoenberg, wrote his famous article, Brahms the Progressive, in which he argued that the conventional view of Brahms as an academic classicist was wrong: Brahms’ command of chromatic harmony was as advanced as that of Wagner, and his elaboration of large structures from small motivic cells was greater. Numerous scholars have pointed out that Schoenberg played down the conservative elements in Brahms, like his adherence to classical forms and genres, in favour of those that appeared in his own music, and in a sense a more searching tribute can be found in the orchestration of Brahms’ G minor Piano Quintet that Schoenberg made in Los Angeles in 1937. His motivation for making the arrangement was simply that he liked the piece, but that it was, at the time, rarely heard and usually played badly.

In 1857, Brahms received his first professional position. For three months’ work each year in the prince’s court at Detmold, Brahms received the equivalent of a year’s salary: his duties included performing as pianist at court concerts, giving lessons to the Princess

Friederike, and conducting the amateur choral society which Brahms described as ‘richly adorned with Serene Highnesses’ and other music-loving aristocrats.

It was at this time (which was in the wake of Robert Schumann’s tragic death in 1856), that Brahms began work on, among other things, the two piano quartets in G minor and A major. Both works were ultimately completed in 1861, the year before Brahms, with the considerable advice and support of Clara Schumann, made his debut in Vienna with the G minor Quartet.

The scale of the first movement, and the roiling emotions it unleashes, mask how rigorously Brahms derives his material from the initial mosaic of four-note motifs – something of which Schoenberg greatly approved. In his version, Schoenberg uses a much larger and more varied orchestra than Brahms ever had, but despite some of the opulence of Mahler and Richard Strauss, the piece displays a deep knowledge of the Brahmsian sound. The opening use of winds has several precedents in Brahms (though admittedly not the inclusion of E flat and bass clarinets) as does the warm writing

ABOUT THE MUSIC

20

Like the Intermezzo, the finale looks ahead to later Brahms, this time in his assimilation of ‘Hungarian’ idioms, learned in the taverns in Hamburg but more closely as duo-partner to violinists Eduard Reményi and Joseph Joachim. The latter, also well known as the composer of the Hungarian Concerto, heard this Rondo alla zingarese, and announced that Brahms had beaten him on his own turf. Here Schoenberg (who was of Hungarian descent) has a great deal of fun, with the (in)famous use of the xylophone for those piano passages, in the original, that imitate the cimbalom, or dulcimer. In some of the slower, syncopated sections, Schoenberg evokes certain klezmer-influenced passages in Mahler, and throughout, chinks in the fully scored tutti reveal fragments of delicate solo writing. The final moments feature extravagant cadenzas for clarinet, that most Brahmsian/Hungarian of instruments, and a rhythmically thrilling finish.

© Gordon Kerry 2016

First performance: 7 May 1938, Los Angeles. Otto Klemperer, conductor. [16 Nov 1861 Hamburg]Only WASO performance: 7-8 June 1996. Matthias Bamert, conductor.Instrumentation: three flutes (third doubling piccolo), three oboes (third doubling cor anglais), two clarinets (second doubling bass clarinet), E flat clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, strings.

for strings and solo horn. Schoenberg, moreover, reflects what he called Brahms’ technique of ‘developing variation’ in a kind of developing orchestration through out the work. The recapitulation of this movement is rendered in significantly different colouring including the fleeting glitter of the glockenspiel.

At Clara Schumann’s suggestion Brahms changed the title of his scherzo to Intermezzo, and it is certainly a far cry from some of the boisterous early Brahms scherzos, preferring instead quiet suggestion and nuance. Schoenberg responds with the pastoral sound of oboe and cor anglais, followed by flutes, who dominate again at the movement’s end.

The Andante is the essence of simplicity, a ternary design full of Brahmsian melodising and the constant variation of material, and a Schumannesque ‘march’ (though in 3) as the central trio. Schoenberg’s orchestration is richly Brahmsian here, though soon enough we hear solo violins and wind choruses and an almost Mahlerian intensity in the trio. Schoenberg’s scoring brings out the expressive counterpoint in the return to the opening section.

Cadenza – a showy passage by a solo instrument, usually towards the end of a concerto movement. Originally, cadenzas were improvised by the soloist to show off their brilliant technique.Counterpoint – two or more lines of music or melodies that are played at the same time.Intermezzo – a light, reasonably short movement which goes in between two weightier ones.Klezmer – genre of Jewish music rooted in Yiddish folk traditions, often characterised by the distinctive sounds of the clarinet, violin and dulcimer.Recapitulation – a return to the opening material of a piece or a movement.Scherzo – literally, a joke; the term generally refers to a movement in a fast, light triple time which may involve whimsical, startling or playful elements.Ternary – a musical structure consisting of three parts, where the third part is the same as the first (A – B – A).Trio – in a minuet or scherzo, the trio is the middle section of the movement; the minuet or scherzo is performed on either side of the trio.Tutti – all the instruments of the orchestra playing at the same time.Alla zingarese – ‘in the gypsy style’.

Glossary

21

MEET THE MUSICIAN

Kate SullivanViolin

What is your first musical memory?Music filled my house for as long as I can remember. My mother is a musician and was always playing music or singing as she did things around our home. My first memory of classical music was when I was about 3 or 4 years old. My mother took me to see a symphony orchestra play, and I vividly remember pointing to the violins and saying ‘What’s that? I want to play that!’

What path did you take before starting with WASO?After school I started a bachelor of music in Queensland, which I then transferred across to the University of Melbourne. Once I finished, I spent three years at ANAM - The Australian National Academy of Music. During and after that time, I freelanced in Melbourne with professional orchestras and my string quartet before winning a job in WASO.

Do you have any stand-out concerts or performances in your time with WASO?In my short time at WASO so far, there have been so many enjoyable performances. However the recent Rite of Spring and The Planets concert with Simone Young would have to be my absolute favourite. I loved every moment of the rehearsal process and performances. She is very considered in her approach to the music and so inspiring.

What other non WASO concerts have you enjoyed?I have always especially enjoyed performing chamber music, particularly string quartet. Some of my favourite performances have been intimate house concerts where the audience are so close they are almost breathing down your neck. I love it because you can feel their energy and that definitely improves your performance. I have found that audiences love it as well because they can see and hear absolutely everything that’s going on and they feel involved in the process.

Musicians are always busy people, what do you do when you have time to relax? When I'm not at WASO, I spend time with my Pug puppy Winston. In summer I love being outdoors at the beach and lately in the colder weather I have been getting into some really great TV series!

What’s your favourite city in the world? My favourite city in the world would have to be either New York or Hong Kong. New York for obvious reasons…but I love Hong Kong for its hectic pace, its food, the shopping, but mostly the fascinating collision of Traditional Chinese and Western cultures.

22

New WASO Song Book CommissionIn 2013 a community of Patrons donated to commission an exciting new work by acclaimed composer Mark-Anthony Turnage for Swedish trumpeter Håkan Hardenberger. The commission of Håkan last year was a great experience for everyone involved and WASO continues its commitment to the creation of new music.

Three years on, we now have an exciting new project and we are inviting you to join us on the journey! We are planning a co-commission between the Adelaide Symphony Orchestra, the Tasmanian Symphony Orchestra, the Britten Sinfonia and WASO. The commission will be a new Oboe Concerto by Judith Weir, current Master of the Queen’s Music.

WASO PHILANTHROPYPhilanthropy Partner

WASO is making a contribution of $9,500 to this commission and we invite you to support it through a donation of $500.00 or more. If this entry commitment is not appropriate for you, please let us know and we can discuss alternative levels of giving.

Commissions are a matter very close to the heart of everyone at WASO as we continually aim to perform new works for our audiences, provide opportunities to nurture musical careers and create new music that may become the classics of tomorrow. The WASO Song Book gives you the opportunity to become part of the Orchestra’s history.

As we did with our Turnage commission, we look forward to introducing Patrons to the composer, inviting you to rehearsals and celebrating the commission together.

Please contact Sarah Tompkin on 9326 0017 or tompkins@waso.com.au to make a contribution.

WASO Song Book Patrons with Mark-Anthony Turnage and Håkan Hardenberger (2015)

23

OUR SUPPORTERS

Whatever the shape or size, you are helping WASO make a difference and we thank you for your support. WASO’s philanthropy program continues to grow, supporting our vision now and into the future. It is an exciting time be a part of this community, to meet our musicians and to know you have helped your Orchestra to touch souls and enrich lives through music. Together we can do amazing things.

Symphony CircleRecognising Patrons who have made a provision in their Will to the OrchestraMr John BonnyDr G Campbell-EvansDeirdre CarlinAnita & James Clayton Dr Michael FlacksJudith Gedero Robyn GlindemannGwenyth GreenwoodEmi & Warren JonesRachael Kirk & Tim WhiteWolfgang Lehmkuhl Deborah MarshTosi Nottage in memory of Edgar NottageNigel & Dr Heather RogersGavin Toovey & Jaehan LeeSheila Wileman Sagitte Yom-Tov FundAnonymous (31)

Endowment Fund for the OrchestraThis fund includes major donations and bequests Tom & Jean ArkleyJanet Holmes à Court ACMinderoo FoundationSagitte Yom-Tov Fund

Estates WASO is extremely grateful for the bequests received from Estates Rachel Mabel ChapmanJudy Sienkiewicz Mrs Roslyn WarrickAnonymous (3)

Excellence CircleSupporting excellence across all we doJean ArkleyBob & Gay BranchiJanet Holmes à Court ACDr Patricia KailisTorsten & Mona KetelsenRod & Margaret MarstonMichael Utsler

The WASO Song BookWe are grateful to those who have supported new works commissioned for the Orchestra by WASOJanet Holmes à Court ACPeter DawsonGeoff Stearn

Reach OutSupporting our Education & Community Engagement programsJohn Albright & Susan Lorimer – purchase of the EChO Double BassJean ArkleyRon & Penny CrittallKen EvansFeilman FoundationThe James Galvin FoundationRobyn GlindemannBarrie & Jude LepleyMrs MorrellSimon Lee FoundationThe Stan Perron Charitable FoundationJean & Peter StokesTrish Williams – Strategic InteractionsAnonymous (1)

If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Jane Clare, Fundraising and Philanthropy Manager, on 9326 0014 or email janec@waso.com.au.

WASO Philanthropy brochures are available from the WASO Programs & Information Desk located in the main foyer of Perth Concert Hall, or you can visit waso.com.au.

All donations over $2 are fully tax deductible.

Philanthropic partnerships come in all shapes and sizes

24

We are proud to acknowledge the following Patrons for their generous contribution to WASO in the last twelve months through our Annual Giving program.

Principal Conductor’s CircleGifts $20,000+Janet Holmes à Court ACPatricia NewJudy Sienkiewicz (dec.)

Impresario PatronGifts $10,000 - $19,999John Albright & Susan Lorimer Gay & Bob Branchi Gavin BunningTony & Gwenyth Lennon Margaret & Rod Marston Joshua & Pamela PittTrish Williams – Strategic Interactions

Maestro Patron Gifts $5,000 - $9,999Jean Arkley in memory of Tom ArkleyBill Bloking Dr Roland & Therese BrandIan & Elizabeth ConstableMoira & John DobsonTim & Lexie ElliottBridget Faye AM Gilbert GeorgeWarwick Hemsley & Melissa ParkeDr Patricia KailisKelly FamilyAlison KennedyKeith & Gaye Kessell Dr Ronny Low & Dr Emma RichardsonBryant & Louise Macfie Robert MayPaula & John Phillips Peter & Jean Stokes

Richard Tarala & Lyn Beazley AORos ThomsonAlan WhithamSue & Ron WoollerAnonymous (5)

Virtuoso PatronGifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AMDavid & Suzanne Biddles Peter & Marjorie BirdAlan & Anne BlanckenseeSally BurtonDr G Campbell-EvansProf Jonathan Carapetis & Prof Sue SkullMark Coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda SavageRichard FaragoRobyn Glindemann Annette & Vincent GoerkeBrian & Romola HaggertyJacoba Hohnen & Ted SamsonSylvia & Wally HyamsEleanor JohnMichael & Dale Kitney Mrs MorrellJane & Jock MorrisonAnne NolanTim Pavy & Cathy ColeMelanie & Paul ShannonGail & Tony Sutherland Gene TilbrookM & H TuiteStan & Valerie VicichIan WatsonJoyce Westrip OAMAndrew & Marie YunckenAnonymous (1)

Principal PatronGifts $1,000 - $2,499Ron & Sue AdamsCaroline Allen & Sandy DunnPrue Ashurst in memory of Eoin CameronMargaret Atkins Dan & Gail BamBetty BarkerNoelle BeasleyTony & Mary Beeley Kevin Blake Matthew J C Blampey Namy BodinnerPeter & Eve BolandMr John BonnyJohn & Debbie Borshoff Dr & Mrs P BreidahlJean Brodie-Hall AMJames & Gay BrownMarilyn & Ian BurtonPeter & Sue Clifton Arthur & Nerina CoopesHon June Craig AM Gay & John Cruickshank Lesley & Peter DaviesJulian Dowse Bev EastMegan EdwardsLorraine EllardDane Etheridge & Brooke FowelsAnnette FinnDon & Marie Forrest E & EA FraunschielDr Andrew GardnerRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Deidre Greenfeld Grussgott Family Trust

Annual Giving

25

David & Valerie GullandRichard B Hammond Pauline & Peter HandfordDr Penny Herbert in memory of Dunstan HerbertMichael HollingdaleHelen Hollingshead John & Katrina HopkinsSue HovellJim & Freda Irenic Lilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill Kean Noelle & Anthony Keller AMNelly KleynStephanie & John Kobelke In memory of Eileen HayesIrving Lane Paul LeeMeg LewisRosalind Lilley Teresa & Jemima LovelandGraham & Muriel Mahony Gregg & Sue MarshmanBetty & Con Michael AOMrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Hon Justice S R Moncrieff Valmae & Geoff MorrisVal & Barry NeubeckerDelys & Alan NewmanDr P J NobleJohn OvertonRon & Philippa PackerMichael & Lesley PageAthena PatonRosemary PeekAdrian & Ruth PhelpsCharmian Phillips in memory of Colin CraftPamela PlattAndrew & Suzanne PoliThomas & Diana Potter Alison & John PriceBarry & Dot Price

Dr Leon Prindiville Chester ReeveJoan ReylandJohn & Alison RiggMs Elizabeth Sachse & Dr Lance RisbeyLeigh RobinsonNigel & Dr Heather RogersGerry & Maurice Rousset OAMRoger Sandercock Dr R & J SchwengerMargaret & Roger SearesEve Shannon-Cullity Glenice ShephardJulian & Noreen Sher Laurel & Ross SmithPAI Smith & DA HarryMichael Snell & Vicki StewartThe Ambient FoundationRuth ThomasGavin Toovey & Jaehan LeeMary Townsend James & Rosemary TrotterDr Robert TurnbullMaggie VenerysAdrienne & Max Walters Diana WarnockWatering ConceptsAnn Whyntie Ian Williams AO & Jean WilliamsJim & Gill WilliamsMargaret WilsonJudith Wilton & David TurnerHilary & Peter Winterton AMAnonymous (26)

Tutti PatronGifts $500 - $999Geoff & Joan AireyIan Apps Catherine BagsterMerle I BardwellBernard & Jackie Barnwell Shirley Barraclough Mrs Berwine Barrett-LennardColin Beckett

Pamela M BennetMichael & Nadia Berkeley-Hill John & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirSusy BogleElaine BondsDiane & Ron BowyerLucia BuralliAnn Butcher & Dean R Kubank Michelle CandyNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeFred & Angela ChaneyDr Sarah CherianDr Anne ChesterLyn & Harvey Coates AOAgatha & Alex Cohen AOHelen CookBrian Cresswell Gina & Neil DavidsonProfessor Wayne Iwan Lee Davies FRSB Jop & Hanneke DelfosJudy Dolan Rai & Erika DolinschekSimon & Pamela DouglasMrs G EwenJoan GagliardiJennifer & Stephen GardinerGeorge GavranicElaine GimsonIsobel Glencross Alan Harvey & Dr Paulien de BoerEric & Elizabeth HeenanJohn and Sue HuanChristopher, Julie, Rosemary & Bronwyn HudsonMr John Hylton-Davies JP, VJPeter Ingram Cynthia JeePeter S JonesWarren & Emi JonesB M KentDorothy Kingston

OUR SUPPORTERS

26

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

Change the way you work.

Providing clever business solutions has always been central to what we do.

Ricoh Australia is a proud supporter of the West Australian Symphony Orchestra.

Ricoh-corporate-Ads-WASO-D2.indd 1 12/09/2014 9:27 am

Ulrich & Gloria Kunzmann John Kusinski & Annie MotherwayTrevor & Ane Marie Lacy Louis & Miriam LandauMartin & Ruth LevitMegan LoweMary Ellen in memory of KerensaGeoff MasseyJennifer & Arthur McCombJames Meneghello & Mabel ChewS B Monger-HayAndré & Barbara MorkelDr Peter MossPhuong NguyenMarianne NilssonDr Walter Ong & Graeme MarshallMarjan Oxley

Graham & Hildegarde PennefatherBev Penny Alpha & Richard Pilpel OAMAnn RawlinsonJames & Nicola Ridsdill-SmithChris & Serge Rtshiladze Carole SextonThe Sherwood FamilyPaul & Margaret SkerrittHendrik SmitDr L Sparrow & FamilyPeggy & Tom Stacy Eleanor SteinhardtIn Memoriam of Mr Andrew David StewartLisa & Andrew TelfordRuth E ThornPatricia TurnerS R Vogt

Anne Watson Joy WearnePatricia WestonDr Chris & Mrs Vimala WhitakerB M WilcoxGeoff WilkinsonViolette William Janet WilliamsDr Robyn Yeo & Ms Cyn JohnsonChris ZiatisAnonymous (23)

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

27

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

Change the way you work.

Providing clever business solutions has always been central to what we do.

Ricoh Australia is a proud supporter of the West Australian Symphony Orchestra.

Ricoh-corporate-Ads-WASO-D2.indd 1 12/09/2014 9:27 am

WEST AUSTRALIAN SYMPHONY ORCHESTRA

VIOLINLaurence JacksonConcertmasterGraeme NorrisAssoc Concertmaster Semra Lee-Smith Assistant Concertmaster Rebecca GlorieA/Principal 1st ViolinZak RowntreePrincipal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenStephanie DeanBeth HebertChristina KatsimbardisEllie LawrenceShaun Lee-Chen*Akiko Miyazawa Anna O’HaganMelanie PearnKen PeelerGraham Pyatt Louise SandercockJolanta SchenkJane SerrangeliJacek SlawomirskiKate SullivanBao Di TangCerys ToobyDavid Yeh

VIOLAAlex BroganAssoc PrincipalKierstan ArkleysmithNik BabicBenjamin CaddyAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLORod McGrath PrincipalChair partnered by Tokyo Gas

Louise McKayAssoc PrincipalChair partnered by Penrhos College

Shigeru KomatsuOliver McAslan Nicholas MetcalfeEve Silver* Fotis SkordasTim SouthXiaole Wu

DOUBLE BASSAndrew Sinclair* PrincipalJoan Wright Assoc PrincipalLouise ElaertsChristine ReitzensteinAndrew TaitMark Tooby

FLUTEAndrew Nicholson PrincipalMary-Anne Blades Assoc Principal

PICCOLOMichael Waye Principal

OBOEPeter FacerPrincipalLiz CheeAssoc Principal

COR ANGLAISLeanne GloverPrincipal

CLARINETAllan Meyer PrincipalLorna Cook

BASS CLARINETAlexander Millier Principal

BASSOONJane Kircher-Lindner PrincipalChair partnered by Ron & Sue Wooller

Adam Mikulicz Assoc Principal

CONTRABASSOONChloe Turner Principal

HORNDavid Evans PrincipalSharn McIverAssoc PrincipalRobert Gladstones Principal 3rdJulia BrookeFrancesco Lo Surdo

TRUMPETBrent GrapesPrincipalEvan Cromie Assoc PrincipalPeter Miller

TROMBONEJoshua Davis PrincipalLiam O’MalleyAssoc Principal

BASS TROMBONEPhilip Holdsworth Principal

TUBACameron Brook Principal

TIMPANIAlex Timcke Principal

PERCUSSIONBrian Maloney PrincipalTroy Greatz Assoc Principal

HARPSarah Bowman Principal

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

CONDUCTOR LAUREATE Vladimir Verbitsky

CHORUS DIRECTOR Christopher van Tuinen

PRINCIPAL CONDUCTORAsher FischPartnered by Wesfarmers Arts

CHORUS VOCAL COACH Andrew Foote

28

WEST AUSTRALIAN SYMPHONY ORCHESTRA

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

BOARD OF DIRECTORSJanet Holmes à Court AC ChairmanAnne NolanMark CoughlanKeith KessellBarrie Lepley Deputy ChairmanPaul ShannonJulian SherMichael Utsler

EXECUTIVECraig Whitehead Chief Executive Rebecca Smith Executive AssistantAnthony PickburnExecutive Manager, Human ResourcesNarelle CoghillHuman Resources AssistantSvetlana Williams Payroll Officer

ARTISTIC PLANNINGEvan Kennea Executive Manager, Artistic PlanningAlan Tyrrell Program ManagerNatalie De Biasi Program Coordinator

ORCHESTRAL MANAGEMENTKeith McGowan Executive Manager, Orchestral ManagementJenna BostonOrchestral Operations ManagerDavid Cotgreave Production & Technical ManagerAlistair CoxOrchestral ManagerBreanna Evangelista Orchestral CoordinatorWee Ming Khoo Music Librarian

COMMUNITY ENGAGEMENTCassandra Lake Executive Manager, Community EngagementFiona Taylor Education CoordinatorLily Protter Community Engagement Assistant

BUSINESS SERVICESPeter FreemantleChief Financial OfficerAndrew Chew Systems AdministratorAlex Spartalis IT SupportAngela Miller AccountantSushila BhudiaAccounts OfficerRenu Kara Accounts Assistant

CORPORATE DEVELOPMENTMarina WoodhouseExecutive Manager, Corporate DevelopmentJamie Parkin Corporate Partnerships ManagerCliona Hayes Corporate Partnerships CoordinatorGinny LuffCorporate Partnerships & Events Coordinator

MARKETINGKelli Carnachan Executive Manager, MarketingNancy Hackett Marketing ManagerMarc MissiaenRelationship Marketing ManagerLuke PownallPublic Relations ManagerKirsty ChisholmMarketing CoordinatorZoe LawrenceMarketing OfficerLily ProtterMarketing Assistant

PHILANTHROPY Alecia BenzieExecutive Manager, PhilanthropyJane Clare Fundraising & Philanthropy ManagerSarah Tompkin Planned Giving ManagerMegan Lo Surdo Philanthropy & Events Coordinator

PERTH CONCERT HALLBrendon Ellmer General ManagerLorraine Rice Deputy General ManagerBrad Matthews Operations ManagerPenelope Briffa Events ManagerPaul Richardson Presentations CoordinatorBruce Gaw Maintenance OfficerNancy Hackett Marketing ManagerRyan Sandilands Marketing AssistantSarah Salleo Reception & AdministrationJosie AitchisonTim ChandlerVanessa WoolleyTicketing Client Account ManagersEleanor AitchisonAlana ArnoldCheryl ButlerLeticia CannellMary-Louise CarboneWendy Cooper Helen GortmansEmily KennedyTalei LouieRebekah RyanKaitlin TinkerBeverley TrolioCustomer Service and Sales Representatives

29

34

2016 CORPORATE PARTNERS

PARTNER OF EXCELLENCE

SYMPHONY PARTNER CONCERTO PARTNER

OVERTURE PARTNERS SONATA PARTNERS

KEYNOTE PARTNERS

PLATINUM PARTNERS

ORCHESTRA SUPPORTERS

MEDIA PARTNERS

FUNDING PARTNERS

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

We encourage you to support these partners for generously supporting your Orchestra

To share in our vision and discuss the many opportunities available through corporate partnerships please contact Corporate Development on 08 9326 0004.

Booklet Sponsors page.indd 1 18/08/2016 10:28 AM

2016 CORPORATE PARTNERS

30

Francesco Lo Surdo, French Horn

BRON

WYN

ROGE

RS.C

OM

WES

F138

9A

1389_WESF - Arts Sponsorship Campaign 2016 - WASO_Program Ad_210x148mm_V3_UPDATED.indd 1 26/07/16 1:54 PM

MASTERS SERIES

CALL 9326 0000 VISIT waso.com.auor BOOK at Perth Concert HallSUBSCRIBE NOW

Asher Fisch appears courtesy of Wesfarmers Arts.

GET THE BEST SEATS & SAVE 20%

2017 SEASON

Eight concerts of powerful and inspiring music.

Pianist Hélène Grimaud

ASHER FISCH

DANIIL TRIFONOV

PINCHAS ZUKERMAN

HELENE GRIMAUD

KAREN GOMYO

LI-WEI QIN

ALEXANDER GAVRYLYUK