PROGRAM

ASHER FISCH & WASO

TOUR DE FORCE

MORNING SYMPHONY SERIESThursday 29 September 11amALCOHOL.THINK AGAIN MASTERS SERIESFriday 30 September & Saturday 1 October 7.30pmPerth Concert Hall

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

WASO Associate Principal Double BassJoan Wright

WELCOME

From the Premier of Western AustraliaOn behalf of the Western Australian Government I welcome you to this special "Tour de Force" concert celebrating the West Australian Symphony Orchestra's tour to the United Arab Emirates and China. This is a particularly significant tour as it will mark the first visit to the United Arab Emirates by an Australian Major Performing Arts Company, and the first time an Australian Orchestra has been invited to perform at the prestigious Beijing Music Festival.

The fact that it is our very own West Australian Symphony Orchestra speaks volumes for the excellence of our local arts sector, and the important role that our arts companies play in promoting our State to the rest of the world.

The Western Australian Government is proud to support the West Australian Symphony Orchestra and we extend our best wishes to everyone at the company for a safe and successful tour.

Hon Colin Barnett MLA Premier of Western Australia

From the WASO ChairmanIt’s my pleasure to welcome you to Tour de Force, an Alcohol. Think Again Masters Series concert. Tonight is a momentous occasion for the West Australian Symphony Orchestra. In a matter of days WASO will embark on their first overseas tour in 10 years, having been invited to perform in Abu Dhabi, Beijing and Shanghai. This will mark the first time an Australian orchestra has ever performed in the United Arab Emirates or the prestigious Beijing Music Festival.

The tour is also a key milestone in the Symphony Cultural Bridge Project – a three-way partnership between WASO, the China Philharmonic Orchestra and the Australia China Business Council (WA). While other Australian performing arts companies have toured to China, this is the only long-term collaborative exchange between an Australian and Chinese orchestra.

We thank you for your support of our exceptional Orchestra. Please join me in wishing WASO every success on their tour.

Janet Holmes à Court AC WASO Chairman

INTERNATIONAL TOUR CONCERT ITINERARY

ABU DHABI, UNITED ARAB EMIRATESThursday 6 October 2016

Abu Dhabi Classics Emirates Palace Concert Hall, Abu Dhabi

WAGNER Tannhäuser: OvertureWAGNER Die Walküre: Winterstürme & Siegmund HeissWAGNER Lohengrin Act I: PreludeWAGNER Lohengrin: In fernem Land WAGNER Tristan und Isolde: Prelude and LiebestodWAGNER Parsifal: Amfortas! Die WundeWAGNER Die Meistersinger - Suite

Sir Richard Armstrong conductor Simon O'Neill tenor

BEIJING, CHINASunday 9 October 2016

School Performances:

WASO’s Education Chamber Orchestra (EChO) at Nr.8 Middle School (Pre-primary - 7)

WASO’s Brass Quintet at Nr.1 Middle School (Grades 6-8)

BEIJING, CHINA10 October 2016, 7.30pm

Beijing Music Festival Forbidden City Concert Hall, Beijing

MENDELSSOHN A Midsummer Night’s Dream: OvertureSAINT-SAENS Piano Concerto No.5 Egyptian MAHLER Symphony No.5

Asher Fisch conductor Jean-Yves Thibaudet pianoAsher Fisch appears courtesy of Wesfarmers Arts

SHANGHAI, CHINAWednesday 12 October 2016, 7.30pm

Shanghai Symphony Concert Hall, Shanghai

SCULTHORPE KakaduSAINT-SAENS Piano Concerto No.5 Egyptian MAHLER Symphony No.5

Asher Fisch conductor Jean-Yves Thibaudet pianoAsher Fisch appears courtesy of Wesfarmers Arts

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And thank you to all our philanthropic partners who have generously supported out WASO Touring Campaign.

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Pre-concert TalkFind out more about the music in the concert with this week’s speaker, John Shepherd. The Pre-concert Talk take place at 9.40am in the Auditorium.

The Pre-concert Talk is supported by Wesfarmers Arts

MORNING SYMPHONY SERIES

ASHER FISCH & WASO: TOUR DE FORCE

THURSDAY MORNING PROGRAM

MAHLER Symphony No.5 (1hr 12mins)

Part ITrauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) [Funeral march (With measured pace, stern, like a funeral procession)]Stürmisch bewegt. Mit grösster Vehemenz [Stormy, with utmost vehemence]Part IIScherzo (Kräftig, nicht zu schnell) [Strong, not too fast]Part IIIAdagietto (Sehr langsam) [Very slow]Rondo-Finale (Allegro)

Asher Fisch conductorAsher Fisch appears courtesy of Wesfarmers Arts

2016 INTERATIONAL TOUR FAREWELL CONCERTS

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ALCOHOL.THINK AGAIN MASTERS SERIES

ASHER FISCH & WASO: TOUR DE FORCE

FRIDAY NIGHT PROGRAM

MENDELSSOHN A Midsummer Night’s Dream: Overture (11 mins)

SAINT-SAENS Piano Concerto No.5 Egyptian (29 mins)

Allegro animatoAndante – Allegretto tranquillo – AndanteMolto allegro

Interval (25 mins)

MAHLER Symphony No.5 (1hr 12mins)

Part ITrauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) [Funeral march (With measured pace, stern, like a funeral procession)]Stürmisch bewegt. Mit grösster Vehemenz [Stormy, with utmost vehemence]Part IIScherzo (Kräftig, nicht zu schnell) [Strong, not too fast]Part IIIAdagietto (Sehr langsam) [Very slow]Rondo-Finale (Allegro)

Asher Fisch conductor Jean-Yves Thibaudet pianoAsher Fisch appears courtesy of Wesfarmers Arts

2016 INTERATIONAL TOUR FAREWELL CONCERTS

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

Meet the Artist Enjoy a conversation with Principal Conductor Asher Fisch & WASO Chair Janet Holmes à Court AC post-concert in the Terrace Level Foyer.

Pre-concert Talks and Meet the Artist are supported by Wesfarmers Arts

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SATURDAY NIGHT PROGRAM

SCULTHORPE Kakadu (15 mins)

SAINT-SAENS Piano Concerto No.5 Egyptian (29 mins)

Allegro animatoAndante – Allegretto tranquillo – AndanteMolto allegro

Interval (25 mins)

MAHLER Symphony No.5 (1hr 12mins)

Part ITrauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) [Funeral march (With measured pace, stern, like a funeral procession)]Stürmisch bewegt. Mit grösster Vehemenz [Stormy, with utmost vehemence]Part IIScherzo (Kräftig, nicht zu schnell) [Strong, not too fast]Part IIIAdagietto (Sehr langsam) [Very slow]Rondo-Finale (Allegro)

Asher Fisch conductor Jean-Yves Thibaudet pianoAsher Fisch appears courtesy of Wesfarmers Arts

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

Meet the Artist Enjoy a conversation with Principal Conductor Asher Fisch & WASO Chair Janet Holmes à Court AC post-concert in the Terrace Level Foyer.

Pre-concert Talks and Meet the Artist are supported by Wesfarmers Arts

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2016 UPCOMING CONCERTS

TICKETS FROM $49*

POPS SERIES

FROM BROADWAY TO HOLLYWOODFRI 4 NOV 7.30PM & SUN 6 NOV 2PM (MATINEE) Perth Concert Hall

WASO and British singing sensation Mary Carewe perform timeless hits and screen classics such as Les Misérables, The Sound of Music, Chicago, The Wizard of Oz and many more.

Guy Noble conductorMary Carewe vocals

DAVID BOWIE - NOTHING HAS CHANGED A TRIBUTE WITH WASOTHU 10 NOV 8PM & FRI 11 NOV 8PM Riverside Theatre, Perth Convention and Exhibition Centre

WASO and Australian music industry greats celebrate the legacy of David Bowie. Join iOTA, Tim Rogers, Steve Kilbey, Deborah Conway and Adalita as they perform Changes, China Girl, Life on Mars, Rebel Rebel, Let’s Dance, Starman and more.

Book at ticketek.com.au

TICKETS $27*

FAMILY SERIES

THE GRUFFALO & THE GRUFFALO’S CHILDSUN 30 OCT 1PM & 3PM Perth Concert Hall

Children and adults alike will be captivated as best-selling children’s picture books come to life on the big screen.

Suitable for 5 –10 year olds.

Terry Davies conductor

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.

Harmony Music In September we visited two new schools as part of our Harmony Music program. Perth Airport supported a WASO Brass Quintet visit to Moorditj Noongar Community College. The students enjoyed meeting the different instruments of the brass family and hearing familiar songs like Amazing Grace and of course the all-time favourite Frozen. A String Quartet also had students wheeling and dancing at Carson Street School. This highly interactive visit involved students singing along karaoke style to favourite songs. There were many requests!

The Principal at Moorditj Noongar Community College said “Thank you for the wonderful performance. The students really enjoyed the opportunity to hear the musicians, something that is so far from their everyday lives.”

It was lovely to be able to share music with both of these schools and a fantastic way to finish our Harmony Music program for the year.

Carson Street School visit was supported by Mitsubishi Corporation

Moorditj Noongar Community College visit was supported by Perth Airport

WASO IN THE COMMUNITY

Education Programs for SchoolsOur suite of Education programs presented at the Perth Concert Hall continue to go from strength to strength in 2016 with over 1200 students participating already this year. Comprising Backstage Pass, Morning Symphony and Open Rehearsals, these events give students the opportunity to meet our Orchestra in a variety of situations, from intensive work-mode in final rehearsals, to on-stage performances and special behind-the-scenes access to our musicians and facilities. Musicians join schools as guest speakers for pre-concert and rehearsal talks, before performing well-known orchestral repertoire and introducing inspirational new works alongside Chief Conductor, Asher Fisch, and acclaimed international artists.

2017 will see Education & Community Engagement continue to expand access to our Orchestra through these programs, with details released at the start of Term 4 in early October. For further details, please visit www.waso.com.au/education

Open Rehearsal and Backstage Pass are supported by Mitsubishi Corporation

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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

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ABOUT THE ARTIST

Jean-Yves Thibaudet Piano

Jean-Yves Thibaudet has performed around the world for more than 30 years and recorded over 50 albums. He has an artistic depth and natural charisma that have made him one of today’s most sought-after pianists.

Jean-Yves Thibaudet’s 2015-16 season highlights include residencies with the Royal Concertgebouw Orchestra, Seattle Symphony, and Colburn School of Music, performing repertoire including the Saint-Saëns Piano Concerto No. 5, Ravel Piano Concerto in G, Gershwin Piano Concerto in F, James MacMillan Piano Concerto No. 3 and Beethoven Emperor Concerto. Thibaudet also takes the Grieg Piano Concerto on tour with the Tonhalle Orchestra Zurich and gives a recital tour across the USA, Europe, and Asia.

In 2010 he was inducted into the Hollywood Bowl Hall of Fame. Previously a Chevalier of the Ordre des Arts et des Lettres, Thibaudet was awarded the title Officier by the French Ministry of Culture in 2012.

Louise McKay In Conversation And RecitalSunday 23 October, 2.00pm - 4.00pm Aquinas College

Spend an afternoon with WASO’s Associate Principal Cello Louise McKay in the lovely setting of Aquinas College.

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 catered by Aquinas College, and can be purchased by calling the WASO Box Office on 9326 0000.

The Chair of Associate Principal Cello is partnered by Penrhos College.

PATRONS & FRIENDS EVENT

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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

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WEST AUSTRALIAN SYMPHONY ORCHESTRA

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WASO ON STAGE TODAY

VIOLINLaurence JacksonConcertmasterSemra Lee-Smith A/Assoc ConcertmasterGraeme NorrisA/Assistant ConcertmasterRebecca GlorieA/Principal 1st ViolinZak Rowntree*Principal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenSara Duhig^Jane JohnstonSunmi JungChristina KatsimbardisEllie LawrenceShaun Lee-Chen*Lucas O’Brien^Ken PeelerElena Phatak^Louise SandercockJolanta SchenkJane SerrangeliKathryn ShinnickJacek SlawomirskiKate SullivanBao Di TangCerys ToobyTeresa Vinci^Susannah Williams^David Yeh

VIOLAAlex BroganKierstan ArkleysmithNik BabicBenjamin CaddyKatherine Corecig^Alison HallRachael KirkKathryn McKay^Allan McLeanHelen TuckeyAaron Wyatt^

CELLOLouise McKayChair partnered by Penrhos College Shigeru KomatsuOliver McAslanSacha McCulloch^Nicholas MetcalfeEve Silver*Fotis SkordasJon Tooby^Xiaole Wu

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

FLUTEAndrew Nicholson Mary-Anne Blades Georgia Lane^

PICCOLOMichael Waye

OBOELiz CheeAnnabelle Farid^

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 BrookeDoree Dixon^Deborah Hart^Geoffrey Lierse^Francesco Lo Surdo

TRUMPETBrent GrapesEvan Cromie Jenny Coleman^Peter Miller

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONBrian MaloneyChiron MellerA/Assoc Principal Percussion and TimpaniAmanda Dean^Paul Tanner^

HARPSarah Bowman

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

PrincipalAssociate PrincipalGuest Musician^

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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 on Saturday 8 October at 1pm (or 11am online) 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.

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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

• Lower Gallery level• Upper 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)• The Sennheiser MobileConnect Personal

Hearing Assistance system is available for every seat in the Perth Concert Hall auditorium. Visit perthconcerthall.com.au/ your-visit/accessibility/ for further information.

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.

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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”.

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16 13 14 42 GRACE.COM.AU

Proudly orchestrating WASO’s mobility and removal needs for over 35 years.

WASO 2014 2.indd 1 22/10/2014 11:09:00 AM

1800 1900 2000

Mendelssohn's A Midsummer Night's Dream Overture1826

GUSTAV MAHLER

1860 – 1911Born in 1860, Bohemia, Czech RepublicDied in 1911, Vienna, Austria

Sculthorpe's Kakadu1988

Mahler's Symhony No.51902

Saint-Saens' Piano Concerto No.51896

CAMILLE SAINT-SAENS

1835 – 1921Born in 1835, Paris, FranceDied in 1921, Algiers, Algeria

FELIX MENDELSSOHN

1809 – 1847Born in 1809, Hamburg, GermanyDied in 1849, Leipzig, Germany

PETER SCULTHORPE

1929 – 2014Born in 1929, Tasmania, AustraliaDied in 2014, Sydney, Australia

TIMELINE OF COMPOSERS & WORKS

1713 14 42 GRACE.COM.AU

Proudly orchestrating WASO’s mobility and removal needs for over 35 years.

WASO 2014 2.indd 1 22/10/2014 11:09:00 AM

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

2017 SEASONWAGNER & BEYOND

Principal Conductor Asher Fisch, one of today’s finest

Wagnerians, takes you on a thrilling journey of discovery through Wagner’s music, the

composers Wagner influenced and those who inspired him.

WED 6 & SAT 9 SEPTEMBER 7.30PM

Perth Concert Hall

Felix Mendelssohn (1809 – 1847)

A Midsummer Night’s Dream – Overture, Op.21

Mendelssohn’s overture to A Midsummer Night’s Dream begins with four woodwind chords, poised and shimmering in the night air, an evocation of Hippolyta’s first lines in Shakespeare’s play:

Four days will quickly steep themselves in night; Four nights will quickly dream away the time; And then the moon, like to a silver bow new bent in heaven, shall behold the night of our solemnities.

Then the fairies enter: feathery whisperings from the violins. This is magical music from a composer who lived and breathed Shakespeare. Felix Mendelssohn’s family entertained themselves with readings of Shakespeare plays, not just in German translations but in English too. And one day, when he was 17, Felix decided he’d go into the garden and ‘dream there’ music for his ‘favourite among old Will’s beloved plays’. He knew this was ‘an enormous audacity’, but the result – a 12-minute overture – is an undisputed masterpiece, worthy of the inspiration.

It wasn’t all written during that afternoon in the garden. Typically for Mendelssohn, he made painstaking revisions, striving to ‘to imitate the content of the play in tones’ and bring its character to life. Where the original draft (according to his friend Adolph Bernhard Marx) was simply delightful and charming, the final version is dreamlike, full of elfin humor and musical enchantments.

To those opening chords and fairy music Mendelssohn added the lyrical wanderings of the mortal lovers in the forest, the horns of the hunting party and the boisterous rustics. And although he was tempted to leave it out, his friends persuaded him to keep the comical braying of Bottom with his ass’s head (listen for the downward swooping ‘ee-yore’ in the violins). Within the conventions of classical form, Mendelssohn evokes the whimsy and confusion of the plot, and the fairies have the last word (as in the play) with the return of the four woodwind chords from the opening.

© Yvonne Frindle

First performance: February 1827, Stettin.First WASO performance: 26-27 April 1944. E.J. Roberts, conductor.Most recent WASO performance: 10-12 October 2013. Paul McCreesh, conductor.Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, ophicleide (an obsolete instrument replaced in modern performances by tuba), timpani, percussion, and strings.

ABOUT THE MUSIC

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Peter Sculthorpe (1929 – 2014)

Kakadu

Peter Sculthorpe’s Kakadu fulfilled much of the promise of the works that were to have followed Mangrove in the early 1980s. Curiously, it came after a period of intense involvement in string quartet-writing – for Sculthorpe, the most personal form of expression – and it followed reflection on Australian historical subjects, notably the mid-19th-century expeditions of Ludwig Leichhardt and Burke and Wills. Curious, too, that a work of such overtly joyous nature, written at the height of the self-congratulatory Bicentennial celebrations, should have had its impetus from America.

The major theme of the renowned Aspen Music Festival in 1988 was Australian music. Of the 28 Australian compositions played, several were by Peter Sculthorpe, the principal Resident Composer at that particular festival. In the minds of the Aspen planners, a new work from Sculthorpe would be an especially happy and lustrous addition to their program and it fell to one of the Festival’s trustees to coax a new work from the composer.

Dr Emanuel Papper, a Miami-based anaesthesiologist, managed to extract a new piece as a birthday present for his wife, Patricia. Touched by Papper’s approach, Sculthorpe produced a new 15-minute work in almost record time.

So it was that, one summer Sunday afternoon, Peter Sculthorpe took the stage in that famed tent, originally designed by Eero Saarinen, mentor of Jørn Utzon and one of the judges of the competition to design the Sydney Opera House. Almost 2,500 metres high in the Colorado Rockies, Sculthorpe introduced the work:

Since the set of variations by Beethoven have the same name, it is well known that Kakadu is the German word for cockatoo. My work, however, takes its name from Kakadu National Park in northern Australia. This enormous wilderness area stretches from coastal tidal plains to rugged mountain plateaux, and in it may be found the living culture of its Aboriginal inhabitants, dating back over fifty thousand years. Sadly, there are only a few speakers of the language of the local inhabitants, Gagadju, left today. The work, then, is concerned with my feelings about this place, its landscape, its changes of seasons, its dry season and its wet, its cycle of life and death…

ABOUT THE MUSIC

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That distinctive falling melody figures prominently in Sculthorpe’s music from this time, even in Child of Australia, sung at the Sydney Opera House forecourt on Bicentennial Day, 26 January 1988.

Peter Sculthorpe was not to visit the Kakadu National Park until April 1989. Kakadu is another of his imaginings of sites unseen. On that initial visit, he drew in the breathtaking vistas from Nourlangie Rock, which gave rise to a series of serene and introspective works.

Peter Sculthorpe always sought the sacred in Nature and, in so doing, reaffirmed his hope in the human spirit, just as he aligned himself to the ancient culture of this continent. In its exuberance and forward thrust, Kakadu offers optimism and hope for the jubilation that is still ahead of us.

© Vincent Plush

First performance: 24 July 1988, Aspen Music Festival. Jorge Mester, conductor.First WASO performance: 19 July 1990. David Shallon, conductor.Most recent WASO performance: September 2009. Pietari Inkinen, conductor.Instrumentation: two flutes, two oboes, cor anglais, two clarinets, two bassoons, contrabassoon, four horns, four trumpets, three trombones, timpani, large battery of percussion, and strings.

As Sculthorpe extolled the virtues of Kakadu National Park, images of Crocodile Dundee swirled in the imaginations of many of his adulatory audience. Others were reflecting on another crocodile in northern Australia, one that had killed an American tourist only several weeks earlier. She had been the reigning Miss Aspen.

Jorge Mester conducted the 120 members of the Aspen Festival Orchestra at that premiere performance, on 24 July 1988. The composer was rewarded by a standing ovation somewhat longer than the duration of his new work.

Kakadu consists of three sections. The two outer parts the composer describes as ‘dance-like and energetic, sharing similar ideas’. The middle section, by way of contrast, is more introspective. It represents Dr Papper’s quiet manner and gentle persistence, amply rewarded in the new composition, in an elegant cor anglais melody – ‘sinuous, smooth, civilised and European’, in the composer’s words. It is heard above another quasi-Aboriginal melody, based on Djilile, ‘whistling-duck on a billabong’, from Arnhem Land.

In the French horns, there is a striking musical reference, a descending melody notated by two French explorers, Peron and Freycinet, whose transcriptions of three short Aboriginal ‘chants’ were made in 1804 and published in Paris in 1824, possibly the first annotated encounter of European men with Aboriginal music.

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Camille Saint-Saëns (1835 – 1921)

Piano Concerto No.5 in F, Op.103 Egyptian

Allegro animatoAndante – Allegretto tranquillo – AndanteMolto allegro

By 1896, fifty years had elapsed since Saint-Saëns’ debut as an 11-year-old pianist at the Salle Pleyel, Paris. A concert was given to celebrate his anniversary, and the program included his Second Violin Sonata, Op.102, featuring the great violinist Sarasate, and the premiere of the Fifth Piano Concerto, composed the previous winter in Egypt.

On that anniversary evening in 1896, Saint-Saëns paused on his way to the piano and read a poem he had written which looked back to the time when a ‘sallow little boy’ had dared to measure himself against Beethoven and Mozart. The audience cheered. It is difficult for us today to think of Saint-Saëns, in the term of his contemporaries, as ‘the French Beethoven’. A genius or prodigy perhaps, given that 11-year-old Saint-Saëns could perform any of Beethoven’s 32 piano sonatas from memory! But Saint-Saëns’ mature compositions lack the psychological penetration and dramatic revolution we associate with Beethoven. They are more typical of the French aesthetic – pleasure, taste and elegance.

On that evening in 1896, Saint-Saëns was recalling his debut as a pianist. Saint-Saëns lived into the era of the phonograph, becoming the earliest-born pianist to have his performances recorded for posterity. His recordings connect us with a style of playing which was contemporary with Chopin and Liszt. But it is in the concertos that we today can gain the clearest sense of Saint-Saëns’ pianism. Critic Harold C. Schonberg describes the playing on those scratchy wax cylinders as fluent, flexible, with a dry touch, restricted dynamics (‘He had none of those fortissimi that shatter you as if you’d dived head first into the sea’ said novelist Marcel Proust) and a tendency towards speed. On the basis of this work we can add: a comfortable sense of formal shape, a taste for the exotic, and a perfect calculation of effect.

ABOUT THE MUSIC

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Though Saint-Saëns’ music is more Mozartian than Romantic, he was able to do much with the simplest of means. So often, as in the opening of this concerto, the most effective material turns out to be, on closer study, a simple common chord. The opening piano melody seems simple and singable, but the metre is slightly equivocal. The work is one of continual charm and colour. The second movement is clearly the most illustrative, and for that reason, perhaps, the most episodic. There is marvellously innovative piano writing here. Melismas running at tangents to the throbbing string accompaniment recall Eastern vocal style.

Despite the sound of ships’ propellers, the final movement seems as Parisian as African, but perhaps catching the sense of a swift gliding through a changing panorama.

G.K. Williams © Symphony Australia

First performance: 2 June 1896, Salle Pleyel, Paris. Saint-Saëns, soloist.First WASO performance: 1 August 1972. Lorin Hollander, soloist; Tibor Paul, conductor.Most recent WASO performance: 1 September 2012. Stephen Hough, soloist; Robert Spano, conductor.Instrumentation: two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, tamtam, and strings.

Saint-Saëns wrote the Egyptian Concerto at a time when middle-class Europeans were curious about African travel. Travellers’ tales and ‘armchair adventures’ in Africa were a popular topic. The opening of the Suez Canal, the development of regular steamship routes across the Mediterranean, and widely reported archaeological finds in Egypt all contributed to the 19th-century fascination with Northern Africa. In music this interest resulted in works as diverse as Verdi’s Aïda and certain Strauss waltzes!

Saint-Saëns was perhaps even more susceptible than most of his contemporaries to the appeal of North Africa. Algeria and Egypt were favourite travel destinations, and provided him with the inspiration also for the Suite algérienne (1880) for orchestra and Africa (1891) for solo piano and orchestra. Saint-Saëns in fact died while on his annual pilgrimage to Algiers in 1921.

The Piano Concerto No.5 has been described by Saint-Saëns biographer James Harding as ‘a travelogue … with its reminiscences of a translucent Egyptian morning, the croaking of frogs in the Nile Valley, and the thud of ships’ propellers in the last movement’. It is not hard to understand the impact this work might have had on late 19th-century audiences for whom a work such as this conveyed so deliberately the ‘feel’ of exotic locations.

Melisma – a long melody all sung to the one syllable. By extension, an extended, flowing, lyrical phrase in instrumental music.

Glossary

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Gustav Mahler (1860 – 1911)

Symphony No.5 in C sharp minor

Part ITrauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) [Funeral march (With measured pace, stern, like a funeral procession)]Stürmisch bewegt. Mit grösster Vehemenz [Stormy, with utmost vehemence]Part IIScherzo (Kräftig, nicht zu schnell) [Strong, not too fast]Part IIIAdagietto (Sehr langsam) [Very slow]Rondo-Finale (Allegro)

Mahler’s first f our symphonies were more or less programmatic in their intention, drawing their inspiration from folk poetry, incorporating themes from songs, and (in all but the first) using the human voice. The Fifth, on the other hand, revealed no obvious program and was scored for orchestra alone.

It was written in 1901-02 around the time of Mahler’s meeting with, and rather hasty betrothal to, Alma Schindler. While no period in Mahler’s life could be described as unequivocally happy, there is no doubt that the Fifth Symphony was conceived at a time of substantial personal and professional satisfaction. Yet any sign of outward pleasure or optimism tends to be avoided, at least early on in the symphony; pointedly, and notoriously, it begins with a funeral march.

Mahler worked on the first two movements and part of the third during the summer of 1901 (summer being the only opportunity he had to compose because of his conducting duties in winter). The rest of the symphony was completed the following summer, by which point Alma was very much part of his life.

At the premiere in Cologne on 18 October 1904, the reception was mixed. Revision after revision ensued, and so thorough was Mahler’s reworking that, while the symphony’s popularity grew, each performance was nevertheless different from the last. ‘The Fifth is an accursed work,’ Mahler wrote. ‘No one understands it!’

The symphony follows Mahler’s principle of ‘progressive tonality’, working its way from C sharp minor to a conclusion in a triumphant D major. It passes through a vast range of moods – ‘passionate, wild, pathetic, sweeping, solemn, gentle, full of all the emotions of the human heart’, in Bruno Walter’s memorable description. A massive work, it is in three parts and five movements.

The opening movement begins with a distinctive trumpet call which recurs as the movement proceeds. As if to belie the claim that the symphony is ‘absolute’ rather than ‘programmatic’ music, the main theme is based on a song by Mahler (‘Der Tamboursg’sell’) about a drummer boy facing execution. There are two trios: the first in B flat minor with a brief violin theme, the second a quieter section in A minor following the return of the march theme. After an impassioned climax, the movement dies away amid echoes of the opening trumpet call.

ABOUT THE MUSIC

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instruments. (The opening of the movement quotes the witty ‘Lob des hohen Verstandes’ [In Praise of Higher Understanding] from Des Knaben Wunderhorn.) The main rondo theme is first stated on the horns and the other ideas are woven contrapuntally around this. When the main melody from the Adagietto returns it is so transformed with energy that it is practically unrecognisable. The movement works its way towards the ecstatic brass chorale of the conclusion – as close as the melancholy Mahler ever came to writing an ‘Ode to Joy’.

Abridged from an annotation © Martin Buzacott

First performance: 18 October 1904, Cologne. Mahler, conductor.First WASO performance: 6 & 8 August 1949. Percy Code, conductor.Most recent WASO performance: 24-25 August 2012. Paul Daniel, conductor.Instrumentation: four flutes (two doubling piccolo), three oboes (one doubling cor anglais), three clarinets (one doubling E flat clarinet and bass clarinet), three bassoons (one doubling contrabassoon), six horns, four trumpets, three trombones, tuba, timpani, harp, percussion, and strings.

Mahler leaves no doubt as to the intended mood of the second movement – marked ‘Stormy, with utmost vehemence’. Much of the material derives from that in the first movement and there is a distinct reminiscence of the march rhythms. A brass chorale in part anticipates the conclusion of the symphony as a whole.

The Scherzo’s main thematic material is in the form of a joyous ländler. Ideas tumble over themselves in an inventive contrapuntal display while a slower waltz theme is juxtaposed with the main material. Contrasting trios add a more sombre note and in one of these there occurs a striking obbligato passage for the principal horn.

The Adagietto – arguably the most famous single movement in all the Mahler symphonies – is essentially a song without words. Scored for harps and strings alone, it is closely related to Mahler’s song ‘Ich bin der Welt abhanden gekommen’ (I am lost to the world). According to Mahler’s colleague, Dutch conductor Willem Mengelberg, the Adagietto was intended as a declaration of love for Alma.

Sharing material with each of the previous four movements, particularly with the Funeral March and the Adagietto, the Rondo-Finale is a joyous celebration which begins with a series of folk-like figures on solo wind

Absolute/programmatic music – refers to the idea that music is nothing more than music itself, and does not describe or represent anything else or tell any story; the opposite of programmatic music.Contrapuntal – describes music in which two or more lines of music or melodies are played at the same time.Des Knaben Wunderhorn – influential anthology of Germanic folk-poems from the early 19th century, some of which were set as songs by Mahler. Wunderhorn songs with their orchestral accompaniment became the basis of movements in Mahler’s Second, Third and Fourth symphonies.Ländler – rustic triple-time Austrian dance, a precursor to the waltz.Obbligato – a prominent accompanying melody.Rondo – a musical form where a main idea (refrain) alternates with a series of musical episodes. Classical composers often wrote the final movement of their symphonic works in rondo form.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.

Glossary

YOU MAY ALSO ENJOYBRUCKNER Symphony No.9featured in Asher Fisch & WASO: Stuart Skelton Sings WagnerFri 25 & Sat 26 November

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Kylie LiangAssociate Principal 2nd Violin

When did music first come into your life? I’ve been told that at two or three years old I would wake my Mum up early in the morning by singing all the songs she’d ever taught me. I’d then demand that she teach me more, and she had no choice but to oblige.

What is the best thing about being a musician in WASO? I love getting the chance, with each rehearsal and performance, to make music alongside such talented musicians. I get an immense sense of pride and excitement through recreating works that prolific composers bent their minds to hundreds of years ago. The immediate sensory stimulation of the surround sound experience brings you into the moments of the music like nothing else can. Feeling that every person plays a vital role in creating those feelings and that we can bring those emotions and ideas to an audience is quite thrilling.

What are your favourite orchestral works to perform or listen to? I feel a bit clichéd saying it, but I love almost all of Mozart’s works. To me, his compositional structures walk a delicate line between being new, exciting, and natural while exuding a sense of pure joy. It is difficult, but if I had to name a few favourite pieces they would be: Prokofiev’s Fifth Symphony, for its stimulating and unpredictability and many emotions, Rachmaninov’s Second Symphony and, after performing it with WASO recently, Stravinsky’s The Rite of Spring.

Where was your last holiday destination? I spent last Christmas in Broome with my partner Brandon. The entire town had emptied for the holidays - almost every store and restaurant had closed - so we had the place to ourselves. There’s nothing like walking (or riding camels) up and down a beautiful, empty stretch of coastline to make you feel relaxed and rejuvenated.

MEET THE MUSICIAN

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WASO PHILANTHROPYPhilanthropy Partner

Your last chance to support WASO’s 2016 International Tour - now including Abu Dhabi!Our musicians are about to leave for WASO’s first international tour in ten years and we need to raise the final $20,000 to cover associated costs!

In very exciting news, WASO’s 2016 International Tour will now include a performance at the Abu Dhabi Classics Season on 6 October, which makes us the first Australian major performing arts company to tour to the United Arab Emirates.

The three-stage 2016 International Tour will incorporate the opening of the Abu Dhabi Classics, performances at the Beijing Music Festival and at Shanghai Symphony Concert Hall, as well as two education performances at renowned Chinese schools in Beijing.

This tour will be a rare chance to continue enhancing WASO’s international reputation and will mark the first time WASO has toured in response to invitations to represent Australia at international music festivals. It is also a wonderful opportunity to foster artistic connections that can result in bringing world artists back to Perth and into our very own Perth Concert Hall.

Every dollar donated to the Touring Campaign will be matched by a WASO Board contribution!

We are delighted that every donation made to this campaign will be matched by a WASO Board contribution, which means that your $100 becomes $200, your $200 becomes $400 or your $500 becomes $1,000… No matter the size, every gift makes a difference and we would love you to join us on our touring journey.

You can donate by completing and returning this donation form, online at waso.com.au, via EFT (BSB 306 057, ACC 0166609, putting your name and ‘donation’ in the transaction description), or in person at the WASO Box Office.

You can also contact Sarah Tompkin on 9326 0017 or tompkins@waso.com.au.

All donations over $2 are fully tax deductible. Thank you for your support.

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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 WhitePaul LeeWolfgang 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

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 (4)

Virtuoso PatronGifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AMTony & Mary Beeley David & 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 SamsonSue HovellSylvia & 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 OAM

Andrew & 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 BeasleyMichael & Nadia Berkeley-Hill Kevin Blake Matthew J C Blampey Namy BodinnerSusy BoglePeter & Eve BolandMr John BonnyDr & Mrs P BreidahlJean Brodie-Hall AMJames & Gay BrownMarilyn & Ian BurtonPeter & Sue Clifton Arthur & Nerina CoopesHon June Craig AM Gay & John Cruickshank Lesley & Peter DaviesRai & Erika DolinschekJulian Dowse Bev EastMegan EdwardsLorraine EllardDane Etheridge & Brooke FowlesAnnette FinnDon & Marie Forrest E & EA FraunschielDr Andrew GardnerRoger & Ann GillbanksGraham & Barbara Goulden

Annual Giving

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Jannette Gray Deidre Greenfeld Grussgott Family TrustDavid & Valerie GullandRichard B Hammond Pauline & Peter HandfordDr Penny Herbert in memory of Dunstan HerbertMichael HollingdaleHelen Hollingshead John & Katrina HopkinsJim & 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 PriceDr 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 StewartGeoff & Christine SoutarThe 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 (27)

Tutti PatronGifts $500 - $999Geoff & Joan AireyIan Apps Catherine BagsterMerle I BardwellBernard & Jackie Barnwell

Shirley Barraclough Mrs Berwine Barrett-LennardColin BeckettPamela M BennetJohn & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerAlison Bunker & Myles HarmerLucia 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 Simon & 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

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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

John & Nita WalsheAnne Watson Joy WearnePatricia WestonDr Chris & Mrs Vimala WhitakerB M WilcoxGeoff WilkinsonViolette William Janet WilliamsDr Robyn Yeo & Ms Cyn JohnsonChris ZiatisAnonymous (24)

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

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WEST AUSTRALIAN SYMPHONY ORCHESTRA

VIOLINLaurence JacksonConcertmasterSemra Lee-Smith A/Assoc Concertmaster Graeme NorrisA/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

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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 CarboneHelen GortmansEmily KennedyTalei LouieRebekah RyanKaitlin TinkerBeverley TrolioCustomer Service and Sales Representatives

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2016 CORPORATE PARTNERS

PARTNER OF EXCELLENCE

SYMPHONY PARTNER CONCERTO PARTNER

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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.

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2016 CORPORATE PARTNERS

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Francesco Lo Surdo, French Horn

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

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FRI 4 NOV 7.30PM SUN 6 NOV 2PM MATINEE

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Join WASO and British singing sensation Mary Carewe as they perform timeless hits from stage and

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Guy Noble conductorMary Carewe vocals

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