PROGRAMALCOHOL.THINK AGAIN MASTERS SERIESFriday 25 & Saturday 26 November 7.30pmPerth Concert Hall

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

WASO Associate Principal Double BassJoan Wright

WELCOME

Tonight’s concert features one of Australia’s very finest musicians – tenor Stuart Skelton. It is ten years since Stuart last sang with WASO, and his is a very welcome (and very overdue) return. Since we last worked with Stuart he has ascended to the very top of the international arena, and is in huge demand across the world. This year Stuart added the daunting role of Tristan to his repertoire, performing in Baden-Baden and Berlin with Sir Simon Rattle and the Berlin Philharmonic and at the Metropolitan Opera in New York with Sir Simon Rattle and Asher Fisch. In combination, Asher Fisch and Stuart Skelton must surely be considered a Wagnerian “Dream Team”, and we are thrilled that they bring us their love and immense understanding of the music of this revolutionary composer. It whets the appetite for what will be the centrepiece of our 2018 season, two performances of Wagner’s Tristan und Isolde. Singers of Stuart’s calibre are rare indeed and we are proud and excited to work with this great Australian artist.

The second half of tonight’s concert is the last (uncompleted) symphony of Anton Bruckner. Bruckner greatly admired Wagner and dedicated his Third Symphony to him. For some reason, Bruckner’s symphonies (in Australia at least) have never been as popular with audiences as those of his great contemporary (and rival) Johannes Brahms, or for that matter as his immediate successor, Gustav Mahler. It’s true that Bruckner’s music has a certain monumental, monolithic quality and in the hands of conductors who over-emphasise this aspect of his music and adopt overly-spacious tempi, the music can lose vitality and interest for an audience. But Bruckner’s music can be a cosmic, transcendent, brutal, consoling – even ecstatic. As (I am a little ashamed to say) a bit of a late convert

to Bruckner (and even to Wagner, even more embarrassingly), I am grateful that I have discovered his intoxicating, revelatory music.

Evan Kennea Executive Manager, Artistic Planning

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

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

Meet the ArtistsEnjoy a conversation with Asher Fisch and Stuart Skelton post-concert Saturday night in the Terrace Level Foyer.

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

WAGNER Parsifal: Prelude (14 mins)

WAGNER Rienzi: Allmächt’ger Vater (8 mins)

WAGNER Die Meistersinger: Morgenlich leuchtend im rosigen Schein (Walter’s Prize Song) (4 mins)

WAGNER Lohengrin: Prelude to Act III (4 mins)

WAGNER Parsifal: Nur eine Waffe taugt (6 mins)

WAGNER Walküre: Winterstürme (4 mins)

Interval (25 mins)

BRUCKNER Symphony No.9 (59 mins)

Feierlich, misterioso (Solemn, mysteriously)Scherzo: Bewegt, lebhaft (Lively)Adagio: Langsam, feierlich (Slow, solemn)

Asher Fisch conductor Stuart Skelton tenorTonight the Orchestra dedicates its performance of Bruckner’s Ninth Symphony to the memory of Judy Sienkiewicz who passed away in July 2015. Judy was a subscriber, Patron and Bequestor and her deep love of the Orchestra will live on through her bequest. In her words, “For me, it’s wonderful that Perth, so isolated from other cities, should have at its cultural core an orchestra of WASO’s quality. I feel indebted to the musicians who, with their artistry and dedication, have given me so much joy. By making a bequest, I hope to pass on to the future a contribution towards the continued development and strength of the Orchestra so it can continue to inspire others in the way that it has inspired me.”

ALCOHOL.THINK AGAIN MASTERS SERIES

ASHER FISCH & WASO STUART SKELTON SINGS WAGNER

After the event, Transperth ferries will operate on a Summer timetable and additional train services will run on all lines.

CALL 9326 0000

VISIT WASO.COM.AU

FREE EVENT

SAT 10 DEC 7.30PM LANGLEY PARK, PERTH

CITY OF PERTH

Enjoy an evening under the stars with WASO and the WASO Chorus as they perform audience favourites including Tchaikovsky’s

explosive 1812 Overture. Presented and conducted by Guy Noble.

BIR T HDAY

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WASO ON TOUR

WASO and Principal Conductor Asher Fisch performing at the Forbidden City Concert Hall as part of the Beijing Music Festival

WASO Return from Exceptional TourThe West Australian Symphony Orchestra has returned to Perth following performances and ecstatic receptions in Abu Dhabi, Beijing and Shanghai, from October 6-12. WASO is now Australia’s first major performing arts company to tour to the United Arab Emirates, where the Orchestra opened the 2016-17 Abu Dhabi Classics season. WASO then performed in the prestigious Beijing Music Festival – a concert that was streamed live by over 586,000 Chinese viewers via LeTV, and presented the Festival’s first ever education performances to two of China’s leading schools.

“This experience was utterly overwhelming for everyone involved," said Craig Whitehead, WASO’s Chief Executive.

“We have known our Orchestra is performing at an exceptional standard, but these performances propelled WASO to the world stage, where we received the most rapturous, unrelenting applause I’ve ever witnessed. It was the same in each city, and this confirms the outstanding calibre of our Orchestra.”

“Our artistic excellence has cemented our relationships with these regions, and we have already received invitations to return to both Abu Dhabi and China.”

WASO’s 2016 International Tour was made possible with the generous support of the Government of Western Australia, Rio Tinto, Barbagallo Motors, COMO The Treasury, Lepley Properties, Metals of Africa, Pierro Wines, Singapore Airlines and through generous donations from many philanthropic partners.

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After the event, Transperth ferries will operate on a Summer timetable and additional train services will run on all lines.

CALL 9326 0000

VISIT WASO.COM.AU

FREE EVENT

SAT 10 DEC 7.30PM LANGLEY PARK, PERTH

CITY OF PERTH

Enjoy an evening under the stars with WASO and the WASO Chorus as they perform audience favourites including Tchaikovsky’s

explosive 1812 Overture. Presented and conducted by Guy Noble.

BIR T HDAY

235 _SITC Program_Ad colour.indd 2 11/11/16 10:53 am

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

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Stuart SkeltonTenor

Winner of the 2014 International Opera Awards for Best Male Singer and two Helpmann Awards, Stuart Skelton appears regularly on the leading concert and operatic stages of the world performing many of opera’s most challenging roles from Wagner’s Tristan, Lohengrin, Parsifal, Rienzi, Siegmund and Erik to Richard Strauss’s Kaiser and Bacchus, Janáček’s Laca, Saint-Saëns’ Samson and Beethoven’s Florestan.

His recent and upcoming performances include Tristan (Tristan und Isolde) at the Metropolitan Opera conducted by Sir Simon Rattle and Asher Fisch, English National Opera, and at the Baden-Baden Festival with the Berlin Philharmonic Orchestra; Lohengrin for Opéra National de Paris; Laca (Jenůfa) for the

Bavarian State Opera; The Song of the Earth with the Australian Chamber Orchestra at the Edinburgh Festival, with the Cincinnati Symphony Orchestra under Louis Langrée, and with Sir Andrew Davis and the Melbourne Symphony Orchestra; and Peter Grimes with the Bergen Philharmonic Orchestra.

ABOUT THE ARTIST

Patrons & Friends Christmas PartyThursday 8 December, 4.30pm Perth Concert Hall

Get a sneak preview of the final WASO performance for 2016 as we watch an hour of rehearsal for the special tenth anniversary City of Perth Symphony in the City with guest conductor Guy Noble, before mingling with WASO musicians over a light dinner and drinks while the sun sets on the Perth Concert Hall riverside balcony (weather permitting).

Tickets are $45 for Patrons & Friends ($55 for guests). To book, please call the WASO Box Office on 9326 0000.

PATRONS & FRIENDS EVENT

All proceeds support the Friends of WASO Scholarship, providing professional development opportunities for WASO musicians.

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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 mission 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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WEST AUSTRALIAN SYMPHONY ORCHESTRA WASO ON STAGE TONIGHT

VIOLINLaurence JacksonConcertmasterSemra Lee-Smith A/Assoc ConcertmasterGraeme NorrisA/Assistant ConcertmasterRebecca GlorieA/Principal 1st ViolinZak Rowntree*Principal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinSarah BlackmanMadeline Boud^Fleur ChallenJohn Ford^Beth HebertJane JohnstonSunmi JungChristina KatsimbardisJi Won Kim^Ellie LawrenceKen PeelerGraham PyattLouise SandercockJolanta SchenkJane SerrangeliKathryn ShinnickJacek SlawomirskiKate SullivanBao Di TangCerys ToobyDavid Yeh

VIOLAAlex BroganSally Boud^Kierstan ArkleysmithNik BabicBenjamin CaddyAlison HallRachael KirkAllan McLeanElliot O’Brien^Helen TuckeyAaron Wyatt^

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*Steve Reeves^Elizabeth Browning^Louise ElaertsChristine ReitzensteinAndrew TaitMark Tooby

FLUTEAndrew Nicholson Mary-Anne Blades

PICCOLOMichael Waye

OBOEPeter Facer Liz CheeStephanie Nicholls^COR ANGLAISLeanne Glover

CLARINETAllan Meyer Catherine Cahill^Matthew Kidd^

BASS CLARINETAlexander Millier

BASSOONJane Kircher-Lindner Chair partnered by Sue & Ron Wooller

Adam Mikulicz Kate Pitcher^

CONTRABASSOONChloe Turner

HORNDavid EvansRobert Gladstones Principal 3rd HornJulia BrookeTahlia Denn^Aidan Gabriels^Deborah Hart^Francesco Lo SurdoEmily Newham^Heather Thompson^

TRUMPETBrent GrapesPeter MillerBrody Linke^

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONBrian MaloneyChiron MellerA/Assoc Principal Percussion and TimpaniPaul Tanner^

HARPSarah Bowman Bronwyn Wallis^

*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.

LISTEN TO WASOABC Classic FMThis performance is being recorded for broadcast 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 Peter Bell to provide the latest on classical music and WASO’s upcoming concerts.

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

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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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Penrhos College is proud to support the West Australian Symphony Orchestra

www.penrhos.wa.edu.au

Laurence JacksonConcertmaster

When did you realize that you wanted to become a professional musician? I have always wanted to be a violinist and since my very earliest memory, I have been playing, listening or dreaming about it. I grew up in the country between Liverpool and Manchester and not having many friends nearby meant that I could play all day and listen to LPs of the great violinists. I was always encouraged to play, although my parents were not musicians, and I also composed and played the viola (although I like to keep that quiet these days!). I went to Chetham’s School of Music when I was 10 years old and later I gained a scholarship to the Royal Academy of Music in London to study with Emanuel Hurwitz and later, the French virtuoso Maurice Hasson.

What piece of music would you play to convince someone of the power of music?That’s such a difficult question, but I would probably play whatever I happened to be playing that week, as we invariably play such great music in WASO. Just this morning I was listening to Berlioz’s Symphonie fantastique and thinking how incredible that is - but any Beethoven slow movement from either his symphonies or quartets would surely sell classical music to a sceptic?

You have worked with some of the world’s greatest conductors. Do you have a most cherished conductor’s comment?Well, not necessarily cherished, but certainly memorable ones come to mind. A lovely comment was from the Geordie-born conductor and arranger John Wilson, who has made a real name for himself worldwide with the John Wilson Orchestra, performing many of his arrangements of the classic Hollywood movie scores and songs of that era. He has a refreshingly dry sense of humour, and introduced the solo vocalist at the first morning rehearsal, saying “and I would like to welcome

G*** W*******, probably one of the finest light music singers on the circuit in the world today… in his particular price bracket”.

We are delighted that you made the move from England to Perth. What has been the biggest adjustment? The cold! Seriously, we thought that just because we were from Europe, we would be immune to the cold of a Perth winter and given that our house is not well insulated, it’s been a major shock! Also, the internet speeds are equivalent to the UK some twenty years ago, so that has been an issue for us. Besides those minor irritations, there have been so many positive adjustments to be made here. The environment is far more pleasant, with fewer people and less pollution, and people tend to have more time for you and for themselves also. WASO is also such a friendly welcoming orchestra, that the transition has been relatively smooth given the upheaval involved in moving to the other side of the world.

Musicians are always busy people. What do you do when you have time to relax? I particularly enjoy nature photography, particularly the wonderful and colourful birdlife in WA and cooking also, especially when I have the time and no pressure to enjoy the results of my labour!

MEET THE MUSICIAN

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1800 1900

Bruckner's Symphony No.91903

RICHARD WAGNER

1813 – 1883Born in 1813, Leipzig, GermanyDied in 1883, Venice, Italy

Wagner's Parsifal1882

Wagner's Lohengrin1850

Wagner's Die Meistersinger1867

ANTON BRUCKNER

1824 – 1896Born in 1824, Ansfelden, AustriaDied in 1896, Vienna, Austria

Wagner's Die Walküre1856

TIMELINE OF COMPOSERS & WORKS

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Richard Wagner(1813-1883)

Parsifal, Act I: PreludeRienzi, Act V: ‘Allmächt’ger Vater’The Mastersingers of Nuremberg, Act III: Walther’s Prize-SongLohengrin, Act III: PreludeParsifal, Act III: ‘Nur eine Waffe taugt’ Die Walküre, Act I: ‘Winterstürme

These selections, arranged so that there will be a musically satisfying structure in the return, about two-thirds through, of Parsifal material, also provide an insight into Wagner’s development as a composer. Spanning 1842’s Rienzi, the earliest Wagner opera to be considered part of the canon, to Parsifal (1882), they provide a lens through which we can consider Wagner as a dramatist, orchestrator, setter of words, and myth-maker.

Wagner’s reputation as a major opera reformer can be attributed to the balance he achieved between words and music. Midway through his career, however, just as he had achieved this balance, he fell under the influence of the philosopher Schopenhauer who promoted the supremacy of music. In Wagner’s later operas, music is balanced with action and the orchestra assumes a role complementary to the singers in the melodic continuity.

Wagner’s last opera, based on medieval poems by Wolfram von Eschenbach, concerns Parsifal (the father of Lohengrin), who redeems Amfortas and, with him, the order of the Holy Grail. The plot is extremely simple, the action spare. But the orchestra spins a rich and beguiling tapestry of sound.

Act I’s prelude presents three important themes – a kind of metre-less arc which comes to be associated with the spear and Christ’s suffering, a second phrase (actually the ‘Dresden Amen’) associated with the Grail itself, and a sturdy step-wise theme that has been nicknamed ‘faith’. These are intensified over the next few minutes, principally through Wagner’s late-period chromatic harmonisation.

Leaving aside the Ring cycle’s god-king Wotan (a bass-baritone) and his daughter Brünnhilde (a soprano), the hero in Wagner’s operas is usually a tenor who possesses ‘a clarion timbre and unusual endurance’; in short: a ‘heldentenor’ or heroic tenor, whose voice can cut through Wagner’s usually large orchestra.

Rienzi, too, is a tenor, though in this early opera, of a less mythic character than Lohengrin, Siegmund or Parsifal. Based on H. Bulwer-Lytton’s novel, Rienzi tells of the tribune who defeated the nobles and raised the power of the people, only to be defeated when popular opinion and the church turned against him.

ABOUT THE MUSIC

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In Act V, Rienzi asserts his faith through the prayer Allmächt’ger Vater, but the populace burns the Capitol. In contrast to Wagner’s later operas and their dramatically unfolding flow, Rienzi is a traditional ‘number opera’ of arias, ensembles and choruses. Perhaps the biggest indication that Wagner had yet to invent his own dramatically appropriate type of song is the melodic turn in Rienzi’s prayer under the word: ‘You’ [Du] (‘Du stärktest mich, du gabst mir hohe Kraft…’) – a purely musical inspiration.

Inspiration, especially as it applies to respect for tradition, is one of the themes of Wagner’s only comic opera, The Mastersingers of Nuremberg (1868). The young knight Walther von Stolzing has fallen in love with Eva Pogner, who is to be given in marriage to the winner of the next day’s song contest. To win the contest, Walther must strike a balance between his enthusiastic youthful excesses and the more conservative precepts of the Mastersingers’ guild. He clearly succeeds, as he wins Eva by opera’s end. In a nod to German medievalism (the period of the opera’s setting), Wagner composed Walther’s Prize-Song in the medieval bar-form – two verses, or stollen, that are melodically similar, followed by a variation (abgesang).

Rienzi and The Mastersingers were based on historical figures, but most of Wagner’s operas delve into legend. Wagner had become interested in stories of the Grail in 1845 after reading Eschenbach’s Parzivâl and Titurel and the anonymous epic, Lohengrin.

In Wagner’s Lohengrin, a knight of the grail arrives in Brabant to save a young woman, Elsa, accused of murder. In return he demands that she never ask his name, a condition she can’t meet, losing him forever. At the beginning of Act III, however, all is in preparation for Elsa and Lohengrin’s wedding. The prelude represents the wedding’s rambunctious festivity.

Parsifal is a strange sort of hero, whose heroic action really is to resist the sexual advances of Kundry, who induced the Grail king, Amfortas, to forget his custodial duty to the Grail. To this day, Parsifal is highly controversial in its idiosyncratic quasi-Christianity; there is a strong strain of anti-Semitism in the portrayal of Kundry. But the success of the work lies, in Barry Millington’s words, in a ‘diaphanous score of unearthly beauty and refinement’.

Cola di Rienzi monument Rome

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Chromaticism – use of notes which are not part of the key. In the groundbreaking and richly expressive Tristan und Isolde (1865), Wagner’s music broke free of the conventions of the classical key and harmonic system, stretching tonality to its limit and paving the way for atonal music in the early 20th century.Turn – a melodic ornament consisting of a note, the note immediately above it, the first note again, the note below it and finishing with the original note, played very quickly one after the other.

Glossary

YOU MAY ALSO ENJOYWagner & BeyondWed 6 & Sat 9 September 2017

The vocal line is that distinctive form of declamation and melodic convergence with the orchestra that Wagner evolved in his later career. In ‘Nur eine Waffe’, Parsifal’s final monologue on retrieving the spear, the symbol of Amfortas’ authority, you will hear how the orchestra often completes the melodic line.

Wagner’s great epic The Ring of the Nibelung was based, like Lohengrin and Parsifal, on myth, but this time on the anonymous Nibelungenlied and the Norse Eddas. The Ring tells of a theft of gold from the bed of the Rhine which sets in train a spiral of destruction – outside the control of the pagan Norse gods – which must be arrested if the world is not to be destroyed. Wagner’s original idea was to write an opera on the Germanic hero Siegfried, but he found that in order to explain how this hoped-for hero came about he had to invent ‘prequels’ and go back to Siegfried’s parents, Siegmund and Sieglinde, in the first generation of humans created to arrest the gods’ downfall. In Die Walküre, Siegmund and Sieglinde’s love blooms but is then proven to be incestuous and cannot stand. Not to worry: in Act I it is undetected and infectious, and Wagner composed some of his most radiant music to accompany their attraction. Siegmund’s Winter Song is possibly the most lyrically successful of Wagner’s complete fusions of text and melody, a perfect rounding-off of this concert’s selections.

Gordon Kalton Williams © 2016

ParsifalFirst performance: 26 July 1882, Bayreuth. Hermann Levi, conductor.The only previous performance of the Prelude by the West Australian Symphony Orchestra: 13-14 March 1970; Uri Mayer, conductor.Instrumentation: three flutes, three oboes, cor anglais, three clarinets, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, strings.

LohengrinFirst performance: 28 August 1850, Weimar. Franz Liszt, conductor.First WASO performance of Prelude to Act III: 14 June 1938. E.J. Roberts, conductor.Most recent WASO performance: 13 December 2014 (Symphony in the City). Richard Mills, conductor.Instrumentation: three flutes, three oboes, three clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timp

Parsifal - Paul von Joukowsky grail set design for 1882 premiere production.

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Anton Bruckner (1824-1896)

Symphony No.9 in D minor (1894 version, ed. Cohrs)Feierlich, misterioso (Solemn, mysteriously)Scherzo: Bewegt, lebhaft (Lively)Adagio: Langsam, feierlich (Slow, solemn)

Bruckner greatly admired Richard Wagner, even idolised him. In 1873, he visited Wagner at Bayreuth and dedicated to him his Third Symphony. Both composers shared a similarly large conception of music and Bruckner’s harmonic language, especially in lyrical secondary themes, owed much to the chromatic explorations of Wagner post-Tristan und Isolde. But Wagner was a theatrical wizard; Bruckner a Catholic church organist. If Wagner’s version of Christianity in Parsifal was highly idiosyncratic, the devotion of Bruckner to his God was real and traditional.

In 1887, Bruckner sent the score of his newly completed Eighth Symphony to the conductor Hermann Levi and immediately began sketching his Symphony No.9. But Levi, who had loved Symphony No.7, found fault with No.8. Bruckner stopped work on Symphony No.9 to revise it.

He resumed work on No.9 in 1891 and by 1894 had completed the first three movements. But his health was failing. He had planned to dedicate the symphony to God, but noted: ‘If God does not spare me to complete this Symphony, He must take responsibility for its incompleteness.’ Extensive sketches show that Bruckner planned a crowning finale incorporating figuration from his Te Deum; and the dying Bruckner may have suggested using the Te Deum as the finale when he realised the symphony might remain incomplete. But the style of the symphony does not match the Te Deum, nor does the key (the Te Deum is in C).

Though there are extensive sketches for a fourth movement, there is no indication of the sort of coda Bruckner had in mind, a major drawback when one considers how significant Bruckner’s codas usually are. The work is generally performed these days in three movements; anti-climactic perhaps but, on the other hand, there is something reverberant, even poignant in knowing that this is where Bruckner left off. (And even at three movements it’s an hour long.)

Typically this work is composed of long paragraphs of contrasting character rising to resounding climaxes. The sudden contrasts between loud tuttis and silence (luftpausen) seem almost to sketch the immensity of the cosmos. Some writers have commented on the considerable originality in the Ninth: the longer-than-usual withholding of truly melodic passages, for example. But Bruckner lovers will find many of the familiar features: the wealth of themes, alternation of duplet and triplet rhythms, massive contrasts. The first movement is built from three basic ideas. Starting with string tremolos, three thematic fragments arise from the horns. Bruckner was annoyed that initial ideas came to him in D minor: everyone would associate his Ninth with Beethoven’s (also in D minor). Bruckner’s Ninth also seems to emerge from a formless chaos.

ABOUT THE MUSIC

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Yet this type of opening had been characteristic of Bruckner since Symphony No.3. D minor is soon contradicted by an E flat horn motif. Other ideas are added as the music moves to the first of many peaks, a huge unison passage for full orchestra.

Treading pizzicato next leads to a slow, flowing melody, beginning in A major, chorale-like in its fast-changing harmonies, yet romantically lush in its orchestration. Clearly expounded thus, these three themes are further varied in the ensuing movement until the orchestra’s unison theme is seemingly assailed by stormy string figures. Such despair cannot win out in music from a composer who has his eye on eternal values, and the movement closes with a powerful, awe-inspiring coda. Bruckner’s scherzos were often transmutations of peasant dances, but this one, the second movement, has a rugged ferocity, even a type of brutality.

The third movement opens with an anguished violin melody arching over chords on lower strings and brass in a passage of almost Parsifal-like chromaticism. The violins, supported first by trumpets and then woodwinds, continue to describe this melody, now more like a chorale, into higher, almost celestial, regions. The oboe begins a consequent passage, and this too builds to a huge double climax.

Such is the scale of Bruckner’s intention that the listener wonders where he can go from here. The opening passages and their repetitions promise to stand like the pillars of a huge architectural vault, but there is a sense of winding down. The movement comes to a resigned close. In spite of Bruckner’s hopes, he also accepted that this symphony might be his farewell to life.

Gordon Kalton Williams

Symphony Australia © 1997/2016

First performance: The first performance of the Ninth Symphony took place on 11 February 1903 under Ferdinand Löwe, but Löwe had largely recomposed the score to an extent nowadays considered unacceptable. The first authentic performance of the work was in Munich on 2 April 1932 under Siegmund von Hausegger.First WASO performance: 8-9 August 1997; Simone Young, conductor.Most recent WASO performance: 27-28 July 2007; Jeffrey Tate, conductor.Instrumentation: three flutes, three oboes, three clarinets, three bassoons, eight horns (horns 5-8 Wagner tubas), three trumpets, three trombones, one tuba, timpani and strings.

Chorale – a type of slow, stately hymn tune, especially one associated with the German Lutheran Church. A harmonised passage of music resembling this.Chromatic – use of notes that are not part of the key.Coda – a concluding section added to the basic structure of a piece or movement to emphasise the sense of finality.Triplet – group of three notes played in the time of two.Duplet – two equal notes played in the time of three.Pizzicato – plucking, rather than bowing, the strings.Scherzo – literally, a joke; a movement in a fast triple time which may involve playful elements and which, as the second or third movement in a symphony, replaced the minuet and trio.Tremolo – repeating the same note many times very quickly, producing a ‘shaking’ soundTristan 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.Tutti – all of the instruments of the orchestra playing at the same time.

Glossary

YOU MAY ALSO ENJOYMAHLER Symphony No.6featured in Asher Fisch Conducts Mahler 6Fri 25 & Sat 26 August 2017

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TEXT & TRANSLATION

Rienzi: Allmächt’ger Vater

Allmächt’ger Vater, blick herab! Hör mich im Staube zu dir flehn! Die Macht, die mir dein Wunder gab, lass jetzt noch nicht zugrunde gehn! Du stärktest mich, du gabst mir hohe Kraft, du liehest mir erhabne Eigenschaft: zu hellen den, der niedrig denkt, zu heben, was im Staub versenkt. Du wandeltest des Volkes Schmach zu Hoheit, Glanz und Majestät! O Gott, vernichte nicht das Werk, das dir zum Preis errichtet steht!

Ach, löse, Herr, die tiefe Nacht, die noch der Menschen Seelen deckt! Schenk uns den Abglanz deiner Macht, die sich in Ewigkeit erstreckt! Mein Herr und Vater, o blicke herab! Senke dein Auge aus deinen Höhn! Die Kraft, die mir dein Wunder gab, lass jetzt noch nicht zugrunde gehn! Allmächt’ger Vater, blick herab! Hör mich im Staube zu dir flehn! Mein Gott, der hohe Kraft mir gab, erhöre mein tiefinbrünstig Flehn!

English translation: Robert Gibson © 2016

Almighty Father, look down! Hear me in the dust praying to you! Do not forsake the power that you gave me! You fortified me and bestowed strength upon me; you granted me exalted qualities: to brighten that which was thought base; to lift up what was sunk in the dust. You took the humiliation of the people and transformed it to grandeur, glory and majesty! O God, do not destroy the work that stands as a prize to you!

O Lord, dispel the deep night that covers the souls of the people! Grant us the reflection of your might, which extends to all eternity! My Lord and Father, oh look upon me! Cast down your eye from on high! Do not forsake the power that you gave me! Almighty Father, look down! Hear me in the dust praying to you! My God, you who gave me great power, grant my deep and fervent prayer!

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Die Meistersinger: Morgenlich leuchtend im rosigen Schein (Walter’s Prize Song)

Morgenlich leuchtend im rosigen Schein, von Blüt’ und Duft geschwellt die Luft, voll aller Wonnen, nie ersonnen, ein Garten lud mich ein, dort unter einem Wunderbaum, von Früchten reich behangen, zu schau’n in sel’gem Liebestraum, was höchstem Lustverlangen. Erfüllung kühn verhiess, das schönste Weib: Eva im Paradies!

Abendlich dämmernd umschloss mich die Nacht; auf steilem Pfad war ich genaht zu einer Quelle reiner Welle, die lockend mir gelacht: dort unter einem Lorbeerbaum, von Sternen hell durchschienen, ich schaut’ im wachen Dichtertraum, von heilig holden Mienen, mich netzend mit dem edlen Nass, das hehrste Weib, die Muse des Parnass!

Huldreichster Tag, dem ich aus Dichters Traum erwacht! Das ich erträumt, das Paradies, in himmlisch neu verklärter Pracht hell vor mir lag, dahin lachend nun der Quell den Pfad mir wies; die, dort geboren, mein Herz erkoren, der Erde lieblichstes Bild, als Muse mir geweiht, so heilig hehr als mild, ward kühn von mir gefreit, am lichten Tag der Sonnen, durch Sanges Sieg gewonnen Parnass und Paradies!

English translation: Robert Gibson © 2016

Shining in the rosy light of morning, with blossom and fragrance heavy in the air, full of every undreamed of joy, a garden beckoned me. There, under a magnificent tree richly adorned with fruit, to behold in a blissful dream of love, the highest of joy’s desires. Fulfilment boldly promised the most beautiful woman: Eva in Paradise!

In the evening twilight, night wrapped around me; on a steep path I had approached a spring of pure water, which laughed alluringly to me. There, under a laurel tree, with stars shining brightly through its leaves, I beheld in a poet’s waking dream, holy and lovely of countenance, and sprinkling me with the precious water, the most lofty woman, the Muse of Parnassus!

Most gracious day, to which I awoke from a poet’s dream! The paradise of which I had dreamed in heavenly, newly transfigured splendour, lay bright before me, to which the spring laughingly now showed me the way; she, born there, my heart’s chosen one, earth’s most lovely picture, destined to be my muse, as holy and noble as she is mild, was boldly wooed by me; in the bright sunlight of day, through victory in song, I had won Parnassus and Paradise!

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TEXT & TRANSLATION

Parsifal: Nur eine Waffe taugt

Nur eine Waffe taugt: – die Wunde schliesst der Speer nur, der sie schlug. Sei heil – entsündigt und entsühnt! Denn ich verwalte nun dein Amt. Gesegnet sei dein Leiden, das Mitleids höchste Kraft und reinsten Wissens Macht dem zagen Toren gab. Den heil’gen Speer – ich bring’ ihn euch zurück! – Oh! Welchen Wunders höchstes Glück! Der deine Wunde durfte schliessen, ihm seh’ ich heil’ges Blut entfliessen in Sehnsucht nach dem verwandten Quelle, der dort fliesst in des Grales Welle! Nicht soll der mehr verschlossen sein: Enthüllet den Gral! – Öffnet den Schrein!

One weapon only serves: Only the spear which gave the wound heals the wound. Be whole, forgiven and absolved! For I must now perform your charge! And blessed be your suffering, which gave the power of love and strength of purity to him – the timid fool! The sacred spear – I bring it back to you! Oh! Wondrous joy beyond compare! The spear that touched the wound and healed it is flowing now with blood most holy which seeks to rejoin its kindred fountain that wells within the holy vessel. Nevermore let the cup be hid! Uncover the grail! Open the shrine!

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Walküre: Winterstürme

Winterstürme wichen dem Wonnemond, in mildem Lichte leuchtet der Lenz; auf linden Lüften leicht und lieblich, Wunder webend er sich wiegt; durch Wald und Auen weht sein Atem, weit geöffnet lacht sein Aug’: – aus sel’ger Vöglein Sange süss er tönt, holde Düfte haucht er aus; seinem warmen Blut entblühen wonnige Blumen, Keim und Spross entspringt seiner Kraft. Mit zarter Waffen Zier bezwingt er die Welt; Winter und Sturm wichen der starken Wehr: wohl musste den tapfern Streichen die strenge Türe auch weichen, die trotzig und starr uns trennte von ihm. – Zu seiner Schwester schwang er sich her; die Liebe lockte den Lenz: in unsrem Busen barg sie sich tief; nun lacht sie selig dem Licht. Die bräutliche Schwester befreite der Bruder; zertrümmert liegt, was je sie getrennt: jauchzend grüsst sich das junge Paar: vereint sind Liebe und Lenz!

English translation: Birgit Balean © Symphony Services International

Winter’s storms gave way To the moon of delight, Spring shines in the mild light; And over soft airs she gently sways, Weaving wonders; Her breath flows through woods and fields, Her eyes wide-open laugh: – She resonates in blessed birds’ songs, She breathes sweet perfumes; Beautiful flowers blossom from her warm blood, Seeds and buds emerge from her power. She subjugates the world with tender weapons; Winter and storm yielded to her mighty force: And to her playful powers Had also given way this strong door, Which stubborn and stiff divided us from her. – She joined her sister; Love allured the spring: She was shrouded deep in our chests, Now she laughs happily in the light. The brother rescued bride and sister; In ruins now lies what divided them: Joyfully greets the couple each other: United are love and spring!

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Thank you to the following individuals:Lead Gifts Gifts $5,000 and aboveJean ArkleyGay & Bob BranchiBridget FayeGilbert GeorgeJanet Holmes à Court ACKeith KessellTorsten and Mona KetelsenJohn Poynton AOMichael UtslerAnonymous (1)

DonorsBernard & Jackie BarnwellPamela BeardGebor BedoDavilia BlecklyBill and Jenny BunburyDr G Campbell-EvansSandra CarruthersKeith and Frauke ChambersJames and Anita ClaytonBarry J CobbMiss Ann DarbyAssociate Professor Wayne Iwan Lee DaviesLesley Davies Monique De Vianna Paul DuncanBev EastRowena EirrellMargaret EllertonJenny FayDavid ForsterGary Giles and Stuart Pekin Dale HalnanLaura Hamilton

Dr Penny Herbert in memory of Dunstan HerbertJo HillerHelen HollingsheadRosemary HowarthMargaret L HuntsmanCynthia JeeBob KelliherWolfgang LehmkuhlDavid Lewis Rosalind LilleyGregg and Sue MarshmanPam Mathews & Mark BroganMrs MorrellSuzanne NashBarry and Val NeubeckerMarianne NilssonTim Pavy and Cathy ColePamela PlattEveline ReadShirley RidgwellJohn & Alison RiggLeigh Robinson Chris RtshiladzeMichael Snell and Vicki StewartGeoff and Christine SoutarGeoff StearnDavid StevensonDr Donald Stewart Ann Ten SeldamJan TrazonaSheila WadeCraig Whitehead & Gabrielle ShepherdMargaret WhitterB M Wilcox Ian Williams AO & Jean WilliamsTrish Williams and Strategic Interactions Sally Willis Anonymous (29)

TOURING WASO CAMPAIGN ACKNOWLEDGEMENTS

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WASO PHILANTHROPYPhilanthropy Partner

We invite you to make a gold coin donation to help purchase Christmas gifts for our Crescendo students in Kwinana.WASO’s El Sistema-inspired Music Education Program, Crescendo, lies at the heart of our Community Engagement portfolio, and offers free weekly music lessons to students at North Parmelia and Medina Primary Schools in Kwinana.

We are very proud of our Crescendo students who have worked hard and achieved so much in music lessons throughout the year. We would love you to join us in celebrating their musicianship, confidence and respectfulness through music classes and performances in 2016.

As we celebrate the end of the third year of Crescendo, we invite you to make a small donation towards end of year gifts for each student who has participated in the program in 2016. The gifts will be related to our lessons, and encourage students to keep playing music during the school holidays.

The gifts will be presented along with Certificates of Participation at our end of year Christmas Concert at both schools.

Volunteers will be accepting gold coin donations before the concert and during interval.

Want to learn more about our Crescendo music program in Kwinana or join our Crescendo Giving Circle? Please go to waso.com.au/supportus/philanthropy/crescendo_giving_circle or contact Sarah Tompkin on 9326 0017.

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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 OrchestraMs Davilia BlecklyMr John BonnyDr G Campbell-EvansDeirdre CarlinAnita & James Clayton Dr Michael FlacksJudith Gedero Robyn GlindemannGwenyth GreenwoodThe Guy FamilyEmi & 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 UtslerLeanne & Sam Walsh

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

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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 Thomson

Alan 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 HaggertySue HovellSylvia & Wally HyamsEleanor JohnMichael & Dale Kitney Mrs MorrellJane & Jock MorrisonAnne NolanTim Pavy & Cathy ColeDr Lance Risbey & Ms Elizabeth SachseMelanie & 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 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 FinnP & J FisherDon & Marie Forrest E & EA FraunschielDr Andrew GardnerRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Deidre Greenfeld

Annual Giving

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Grussgott Family TrustRichard B Hammond Pauline & Peter HandfordDr Penny Herbert in memory of Dunstan HerbertJacoba Hohnen & Stuart CookseyMichael HollingdaleHelen Hollingshead John & Katrina HopkinsJ & S HuanJim & Freda Irenic Cynthia JeeLilian & Roger JenningsAnthony Kane in memory of Jane Leahy-KaneBill Kean Noelle & Anthony Keller AMStephanie & 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 PeekCharmian Phillips in memory of Colin CraftPamela PlattThomas & Diana Potter Alison & John PriceBarry & Dot PriceDr Leon Prindiville

Chester ReeveJoan ReylandJohn & Alison RiggLeigh 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 SoutarRuth 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 Bardwell (dec.)Bernard & Jackie Barnwell Shirley Barraclough Mrs Berwine Barrett-LennardColin BeckettPamela M BennetJohn & Sue Bird in memory of Penny BirdDermot & Jennifer Blackweir

Elaine 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 EwenMaxine & Bill Farrell AMJoan GagliardiJennifer & Stephen GardinerGeorge GavranicElaine GimsonIsobel Glencross Pitsamai & Kevin GreenDavid & Valerie GullandAlan Harvey & Dr Paulien de BoerEric & Elizabeth HeenanJohn and Sue HuanJohn HillChristopher, Julie, Rosemary & Bronwyn HudsonMr John Hylton-Davies JP, VJPeter Ingram Peter S JonesWarren & Emi JonesB M KentDorothy KingstonNelly KleynUlrich & Gloria Kunzmann John Kusinski & Annie Motherway

OUR SUPPORTERS

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Trevor & 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 NilssonPeter O'SullivanDr Walter Ong & Graeme MarshallMarjan Oxley Graham & Hildegarde PennefatherBev Penny

Adrian & Ruth PhelpsAlpha & Richard Pilpel OAMAnn RawlinsonJames & Nicola Ridsdill-SmithPaul RobertsChris & 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

Margaret WallaceJohn & Nita WalsheAnne Watson Joy WearnePatricia WestonDr Chris & Mrs Vimala WhitakerB M WilcoxGeoff WilkinsonViolette William Janet WilliamsDr Robyn Yeo & Ms Cyn JohnsonChris ZiatisAnonymous (25)

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

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A NIGHT TO REMEMBERCOMO THE TREASURY

Make sure your night with the WA Symphony Orchestra is one to remember at COMO The Treasury. Begin your evening with indulgent dining at Post, and after an inspiring concert experience come back to our hotel to spend the night in our sophisticated surrounds.

Visit comohotels.com/thetreasury to learn more, or contact our reservations team by calling 08 6168 7899.

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 Advance Press www.advancepress.com.au who are proud to be ‘Green Stamp Accredited’. This certification acknowledges Advance Press'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 AssistantJulie Read Payroll Administrator

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

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 28/10/16 11:23 am

2016 CORPORATE PARTNERS

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1341_WESF - Arts Sponsorship Campaign 2014 - WASO_Program Ad_210x148mm_V2_FA.indd 1 16/02/15 1:16 PM

BOOK NOW Call 9326 0000 quoting 1538 or visit waso.com.auTickets from $40*

*A one-off handling fee of $5.50 per transaction applies to all purchases. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

FRI 2 DEC 7.30PM SAT 3 DEC 2PM MATINEE

Perth Concert Hall

Stephen Layton conductor Eleanor Dennis soprano Helen Charlston mezzo soprano

Gwilym Bowen tenor Robert Davies bass WASO Chorus

Conductor Stephen Layton leads WASO, the WASO Chorus and soloists in a performance of one of the best-loved choral works.

247 _HM Program_Ad colour.indd 1 28/10/16 10:16 am