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MORNING SYMPHONY SeRIeSThursday 13 March 2014 11am STOTT + HOARe PReSeNT CLASSICS CONCeRTFriday 14 & Saturday 15 March 2014 7.30pm Perth Concert Hall

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Call 9326 0000 or visit waso.com.auBook Now*Transaction fees may apply.

Alcohol.think AgAin MAStERS SERiES

Brahms’ Violin Concerto

Fri 28 & Sat 29 March 7.30pmPerth Concert Hall

wEBER Oberon: Overture BRAHMS Violin Concerto DVoRAk Symphony No.8

Jahja Ling conductor Alina Pogostkina violin (pictured)

Tickets $42*

Tickets from $30*

chAMBER SERiES

Glorious Baroque

Sun 23 March 2pmFremantle Town Hall

HANDEL Concerto grosso HWV 317 BRESCIANELLo Violin Concerto No.4 & Chaconne in A major TELEMANN Flute Concerto in E minor HANDEL Concerto HWV 310: Passacaglia GEMINIANI Concerto grosso La Folia

Paul Dyer director/harpsichord (pictured) Shaun Lee-Chen violin Andrew Nicholson flute Andrew Nicholson appears courtesy of Apache.

EDUcAtion chAMBER oRchEStRA

kids’ Cushion Concerts

Fri 21 & Sat 22 March 9.45am & 11.15am South Perth Community Centre

WASO’s energetic 15-piece EChO ensemble, featuring one of each instrument of the Orchestra, is joined by an enthusiastic presenter who leads the audience in sing-alongs, dancing and music-making.

Suitable for children aged 0 - 6 years.

Kids Cushion Concerts supported by Commonwealth Bank.

Tickets $15

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welcome

The sound of a string quartet is the purest sound of all classical music. The string quartets of Haydn, Mozart, Beethoven and Schubert, which started the genre at the end of the 18th and beginning of the 19th century, also contain some of the finest music these giants ever composed. New ideas of form, harmony and melody were first tried out in the compact scope of a string quartet before they were implemented in the bigger scale works like the symphony, concerto or even opera. Most composers in the Romantic era composed for a string quartet, and in the 20th century composers like Bartók, Debussy and Ravel kept the medium alive and developed it further. The British composer Edward Elgar was the first, however, to combine the world of the string quartet and the larger string orchestra in his work Introduction and Allegro. In a way this work is looking back to a Baroque form called concerto grosso in which the first desk leaders of the string groups would alternate between playing with the rest or as soloists, but after a century of string quartets this combination takes on a new meaning. Of course, this is an opportunity for us to show off our fantastic principal players who are the soloists in this work.

Who would believe that the other three works in our program were composed within two decades of each other? Here we have a perfect representation of the late 19th century classical music landscape. Brahms the traditionalist: always looking back, trying in his later years to cling on to the classical style, adhering to the strict rules of form and structure, harmony and counterpoint. Tchaikovsky the romantic: redefining the symphonic form by pouring passionate melodies and sweeping climaxes into his Fourth Symphony. And Richard Strauss the modernist: who breaks loose from all old forms and looks for a substitute for the abstract symphonic form in the poetic and storytelling world of the symphonic poem.

Asher Fisch Principal Conductor & Artistic AdviserAsher Fisch appears courtesy of Wesfarmers Arts.

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Program

MoRning SyMphony SERiES

Jahja Ling Conducts TchaikovskyThursday 13 March 11am Perth Concert Hall

BRAHMS Academic Festival Overture (10 mins) TCHAIkoVSkY Symphony No.4 (44 mins)

Andante sostenuto – Moderato con anima – Moderato assai, quasi Andante – Allegro vivo Andantino in modo di canzona Scherzo (Pizzicato ostinato) – Allegro Finale (Allegro con fuoco)

Jahja Ling conductor

Stott + hoARE pRESEntS clASSicS concERt

Jahja Ling Conducts TchaikovskyFriday 14 & Saturday 15 March 7.30pm Perth Concert Hall

BRAHMS Academic Festival Overture (10 mins) ELGAR Introduction and Allegro (13 mins) STRAUSS, R. Till Eulenspiegel’s Merry Pranks (16 mins)

INTERVAL (20 mins)

TCHAIkoVSkY Symphony No.4 (44 mins)


Jahja Ling conductor Paul wright violin Zak Rowntree violin Paul McMillan viola Rod McGrath cello

Pre-Concert TalksFind out more about the music in the concert with this week’s speaker, Callum Moncrieff. Pre-concert talks take place at 9.40am in the auditorium on Thursday morning and 6.45pm in the Terrace Level foyer on Friday and Saturday nights.

Pre-Concert Talks are supported by Wesfarmers Arts.

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FooD & BEVERAGESFoyer bars are open for drinks and coffee two hours before, during interval and afterwards. To save time we recommend you pre-order your interval drinks.

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

wASo RECoRDINGSContinue to experience WASO in your own home! A variety of WASO CDs are available for purchase at the Encore Gift Shop in the foyer at interval and post-concert.

Making The Most of Your Visit

LISTEN Tune in to 720 ABC Perth for Breakfast on Friday mornings when Prue Ashurst joins Eoin Cameron to provide the latest on classical music and WASO’s upcoming concerts. This performance is being recorded for delayed broadcast on ABC Classic FM. For further details please refer to abc.net.au/classic CoNCERT PLAYLISTS Listen to music featured in 2014 concerts at waso.com.au wASo wEBCASTS WASO will be streaming four concerts live and on demand in 2014, thanks to iiNet. For more details visit waso.com.au SoCIAL MEDIA youtube.com/WestAustSymOrchestra

facebook.com/WestAustralianSymphonyOrchestra

twitter.com/_WASO_

E-NEwS Stay up to date with the activities of your Orchestra by subscribing to SymphonE-news. Go to waso.com.au to join our mailing list. FEEDBACk We would love to hear from you! Please send your feedback to PO Box 3041, East Perth WA 6892, send an email to [email protected], call 9326 0000, or leave us a message on Facebook or Twitter.

Connect with wASo

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The Big Sing moves to Harmony week The WASO Chorus and WASO musicians are joining forces again with hundreds of Perth’s enthusiastic singing community to present The Big Sing on Tuesday 18 March. Participants will enjoy rehearsing choral works that appeal to a broad range of musical tastes and abilities. This year’s program, our seventh, celebrates Harmony Week* with a selection of repertoire from around the world chosen by guest conductor Prue Ashurst. Prue is one of Perth’s most passionate and experienced choral directors who many of you will know from her Friday morning segment on 720 ABC Perth’s Breakfast Show with Eoin Cameron. Participants will rehearse alongside the WASO Chorus, and for the final ‘Big Sing’, perform the selected works with members of WASO. Program highlight’s include a traditional Ngoongar welcome song and Dan Walker’s Laudate for Another Place, Another Time.

*Harmony Week runs from 15-21 March and encourages everyone to experience, explore and appreciate WA’s wealth of cultural, religious, linguistic and ethnic diversity.

The WASO Chorus is supported by Lotterywest.

Bringing “set works” to life for students On 24 February, 370 secondary students enjoyed a performance of the 2013-2015 School Curriculum and Standards Authority Set Works at Hale School Auditorium. This program has become a regular in our education calendar and helps students studying Western Art Music, to understand the context of the musical selections – when they were written, why they were written and more about the great composers who wrote them. Students from 20 different secondary schools across the state had the opportunity to hear conductor and presenter Peter Moore, pull the pieces apart, analyse and reassemble them in performance. Two members of WASO performed solos in the program – Semra Lee-Smith (A/Associate Concertmaster) performed the first movement of Mendelssohn’s exquisite Violin Concerto in E minor, and Brent Grapes (A/Principal Trumpet) treated students with a performance of the horrendously difficult piccolo trumpet part in J.S Bach’s Brandenburg Concerto No.2.

wASo News

WASO NEWS IMAGE TBC

Semra Lee-Smith, A/Associate Concertmaster

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Biography

Jahja LingConductor

Jahja Ling’s distinguished career as an internationally renowned conductor has earned him an exceptional reputation for musical integrity, intensity and expressivity.

The 2013-14 season marks Jahja Ling’s tenth season as Music Director of the San Diego Symphony. In October 2013 he led the orchestra in a performance at Carnegie Hall, followed by a tour to China. He holds an ongoing relationship with The Cleveland Orchestra, and during his tenure he has conducted over 450 concerts and 600 works. He previously served as Assistant and Associate Conductor of the San Francisco Symphony; Music Director of The Florida Orchestra (1988-2003); and Artistic Director of the Taiwan National Symphony Orchestra (1998-2001). He made his European debut with the Leipzig Gewandhaus Orchestra in 1988, and has appeared throughout Asia and the United States, where he has conducted all the major symphony orchestras.

Born in Jakarta, Indonesia, of Chinese descent and now an American citizen, Ling began to play the piano at age four. At age 17 he won the Jakarta Piano Competition and one year later was awarded a Rockefeller grant to attend The Juilliard School, where he studied piano with Mieczysław Munz and conducting with John Nelson. After completing a master’s degree at Juilliard, he studied orchestral conducting at the Yale School of Music under Otto-Werner Mueller and received a Doctor of Musical Arts degree in 1985. He was also awarded an honorary doctorate by Wooster College in 1993.

Jahja Ling makes his home in San Diego with his wife, Jessie, and their young daughters Priscilla and Stephanie.

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wASo on Stage Tonight

PrincipalAssociate PrincipalGuest Musician^

VIoLINPaul wrightConcertmasterSemra Lee-Smith A/Associate ConcertmasterGraham Pyatt A/Assistant ConcertmasterAkiko MiyazawaA/Principal 1st ViolinZak RowntreeA/Principal 2nd ViolinKylie Liang A/Assoc Principal 2nd ViolinRachel Aquilina^Sarah BlackmanFleur ChallenErin ChenBeth HebertAlexandra IstedSunmi JungShaun Lee-Chen*Lawrence LeeMelanie PearnKen PeelerLouise SandercockJolanta SchenkJane SerrangeliEllie ShalleyKathryn Shinnick^Jacek SlawomirskiBao Di TangCerys ToobyTeresa Vinci^David Yeh

VIoLAPaul McMillanGuest PrincipalKierstan ArkleysmithNik BabicAlex BroganKatherine DrakeAlison HallRachael KirkAllan McLeanCaleb Wright^Aaron Wyatt^Casual Player^

CELLoRod McGrath Louise McKayMelinda Gourlay^Oliver McAslan Nicholas MetcalfeFotis SkordasTim SouthJon Tooby^Xiao Le Wu

DoUBLE BASSAndrew Rootes* Elizabeth Browning^Sarah Clare^Christine ReitzensteinLouise RossAndrew TaitMark ToobyGiovanni Vinci^

FLUTEAndrew Nicholson Chair partnered by Apache.

Mary-Anne Blades Georgia Lane^

PICCoLoMichael waye

oBoEElizabeth CheeStephanie Nicholls

CoR ANGLAISLeanne Glover

CLARINETAllan Meyer Cath Cahill^Lorna Cook

BASS CLARINETAlexander Millier Chair partnered by Alessandrino Property Group.

BASSooNAdam Mikulicz Joanne Brown^Colin Forbes-Abrams

CoNTRABASSooNChloe Turner

HoRNDavid EvansRobert Gladstones Principal 3rdJess Armstrong^Julia BrookeFrancesco Lo Surdo

TRUMPETBrent GrapesEvan Cromie Peter Miller

TRoMBoNEJoshua Davis Liam O’Malley

BASS TRoMBoNEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIoNRobyn GrayAmanda Dean^ Paul Tanner^

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

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Meet the Musician

Rod McGrathPrincipal Cello

Do you remember the first orchestral work you heard?

I first heard the Hallé Orchestra when I was about 13 years old and I fell in love with the sound of a full cello section.

Have you played in any other orchestras other than wASo?

I played as a casual musician with the BBC Symphony Orchestra when I was 18 for a whole season of the BBC Proms. I Joined the London Philharmonic Orchestra as number two cello aged 21 and moved to the London Symphony Orchestra as Co-Principal four years later where I stayed for 20 years.

Is there anything special about your instrument?

I play on a cello made in London around 1750 by Richard Duke. Duke is renowned for making many extremely fine violins and some violas but only a handful of cellos. I have yet to hear of another one having survived.

How would you describe tonight’s concert in one sentence?

Some of the most enjoyable pieces to play and listen to in the whole repertoire.

what do you love the most about working and living in Perth?

I love the lifestyle that Perth offers. On top of that the Perth Concert Hall has perhaps the best acoustic that I have ever performed in and certainly we have the best audience!

what inspires you?

Every time I play the Duke I marvel at the existence of classical music and all of its history, the composers, the instrument makers, the first players to perform and so on. I always try to imagine exactly what the composer was trying to communicate in a fresh way no matter how many times I have played a piece – or how few!

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Timeline of Composers & works

1825 1850 1875 1900 1925 1950

ROMANTIC PERIOD

1860 Ð 1920

Tchaikovsky's Symphony No.41878

Brahms' Academic Festival Overture1880

Johannes Brahms

1833 Ð 1897

EARLY ROMANTIC PERIOD

1830 Ð 18601830 Ð 1860Elgar's Introduction and Allegro1905


Richard Strauss

1864 Ð 1949


1830 Ð 1860

Pyotr Ilyich Tchaikovsky

1840 Ð 1893

Strauss' Till Eulenspiegel1895


Edward Elgar

1857 Ð 1934

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Program Notes

Johannes Brahms (1833-1897)

Academic Festival Overture, Op.80

Brahms had never been a formally enrolled university student, but in 1853 he’d had a rattling good time leading a student-style existence in Göttingen, singing drinking songs with the local student population.

In 1880, after receiving an honorary doctorate from the University of Breslau, the by-now-famous composer responded with a concert overture in honour of the occasion. But rather than writing an ‘academic’ work, Brahms set out to complete a jovial piece based on the convivial aspects of student life which he had known first-hand. Brahms took four of his favourite student drinking songs and worked them into a free sonata structure using the largest and most percussion-dominated orchestra that he had ever employed. He noted that it was ‘a very boisterous potpourri of student songs à la Suppé’ – a reference to Suppé’s opera Flotte Bursch, which is constructed in the same way.

The four songs on which the work is based are Wir hatten gebauet ein stattliches Haus (We had built a stately house), which is introduced in chorale-like fashion by the brass; Der Landesvater (The father of our country), heard first on the second violins; the undergraduate initiation song Was kommt dort von der Hoh, introduced by bassoons

over pizzicato figures in the violas and cellos; and finally, a full orchestral version of Gaudeamus igitur, a medieval student song that Suppé had also used in Flotte Bursch.

The fun starts right at the beginning, with a pompously solemn opening, rapidly giving way to the high spirits which characterise the piece as a whole.

Abridged from a note by Martin Buzacott Symphony Australia © 1997

WASO last performed this work on 12 & 13 May, 1990, conducted by Max McBride.

Sonata form A term conceived in the 19th century to describe the way most Classical composers structured at least the first movement of a symphonic work or a sonata. It involves the exposition or presentation of themes or subjects: the first subject is in the tonic or home key, the second in a contrasting key. The resulting tension between keys is intensified in the development, where recognisable melodic and rhythmic aspects of the themes are manipulated as the music moves further and further away from the ultimate goal of the home key. Tension is resolved at the recapitulation where both subjects are fully restated in the tonic. There is sometimes a coda (literally, ‘tail’) to enhance the sense of finality.

Pizzicato Plucking, rather than bowing, the strings..

Glossary

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BRAHMS Hungarian Dance No.1 featured in Piers Lane Plays Liszt Fri 17 & Sat 18 October

IF YoU LIkE THIS woRk YoU MAY ALSo ENJoY

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Program Notes

Edward Elgar(1857-1934)

Introduction and Allegro, Op.47

Paul wright violinZak Rowntree violinPaul McMillan violaRod McGrath cello

Elgar wrote his Introduction and Allegro in 1905 after his publisher Jaeger suggested that he compose a piece for strings. As Elgar wrote to Jaeger: ‘I’m doing that string thing – Intro. and Allegro – no working-out part but a devil of a fugue instead.’

The Introduction and Allegro reveals considerable debt to Handel’s concerto grosso form (in the layout for solo string quartet and full string orchestra), and Haydn’s later symphonies (in the way the Introduction’s material is worked into the main body of the Allegro).

A violinist himself, Elgar enjoyed rich and varied string sonorities and the Introduction and Allegro is ‘really stringy in effect’, to use his own phrase. However the powerful impression made by the work owes most to its emotional content. Elgar wrote, ‘The work is really a tribute to that sweet borderland where I have made my home.’ His house in Hereford stood above the Wye River, where in 1904 he heard a voice singing in the distance. The song in turn reminded him of music he had heard a Welsh choir singing three years earlier.

This tune became the third theme of the Introduction, where it is introduced by a solo viola. It is preceded by a downward-sweeping theme for the full band, to which the quartet replies with a wistfully rising and falling theme, over which Elgar wrote ‘smiling with a sigh’. In the recapitulation which follows the fugue, the themes are compressed and the piece culminates in Elgar’s typical nobilmente manner, ending with a radiant extension of the Welsh tune.

Adapted from a note by David Garrett © 2001

WASO last performed this work on 1 & 2 August,1997, conducted by Vernon Handley.

Concerto grosso A form of Baroque music in which the musical material is passed between a small group of soloists and full orchestra. This is in contrast to the concerto which features a single solo instrument with the melody line, accompanied by the orchestra.

Recapitulation A return to the opening material of a piece or a movement.

Glossary

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HANDEL Concerto grosso featured in Glorious BaroqueFri 21 & Sun 23 March


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Program Notes

Richard Strauss(1864-1949)

Till Eulenspiegel’s Merry Pranks – Symphonic Poem, Op.28

Strauss conceived Till Eulenspiegel as a staged work, but after the failure of his opera Guntram he decided he had no gift for that genre. This was something of a rash judgment, and – happily – one that he later revised; but as a tone poem, Till Eulenspiegel is wholly delightful. It tells the story of the legendary peasant folk hero Till Eulenspiegel, from ‘the old rogue’s tale’, who is said to have lived during the 14th century and who became the hero of an expanding pool of anecdotes.

‘Once upon a time there was a roguish jester,’ wrote Strauss in the score; and above the horn call, ‘whose name was Till Eulenspiegel.’ Strauss uses rondo form, and describes Till’s adventures in the episodes. Our hero is unlucky in love; dressed as a priest he ‘oozes unction and morality’.

He commits any number of pranks, but the main theme continues to return, and Till is restored to where he started. He resembles nothing so much as an indestructible cartoon character, always ready for trouble again by the next frame.

Finally, our hero’s antics catch up with him. Till is confronted with the full force of the law, and punished in a rather terminal way: ‘There he dangles, the breath leaves his body, the last convulsion and Till’s mortal self is finished.’ A gory ending, but we sense the composer’s delight even in this, as he leaves us, smiling, with Till’s death throes, and an echo of the beginning.

Anna Goldsworthy © 2001

WASO last performed this work on 14 & 15 May, 2009, conducted by Paul Daniel.

If you like this work you may also enjoy

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STRAVINSKY Petrushka featured in Stravinsky’s Petrushka Fri 30 & Sat 31 May


Tone poem Music which is inspired by and suggests a non-musical idea, such as a story or a particular scene. Frequently such a work has a descriptive title.

Rondo form A musical form where a main idea (refrain) alternates with a series of musical episodes.

Glossary

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Program Notes

Pyotr Ilyich Tchaikovsky(1840–1893)

Symphony No.4 in F minor, Op.36


‘The Introduction is the kernel of the whole symphony, without question its main idea. This is Fate, the force of destiny…’ This could be a description of the beginning of Beethoven’s Fifth. But the words are Tchaikovsky’s and they describe the strident horn fanfares of his Fourth Symphony.

Tchaikovsky’s patron, Nadezhda von Meck, heard in the symphony a profound emotional drama. After the premiere in 1878 she asked him whether the symphony had a definite program, a literary underpinning. Tchaikovsky had told others that the symphony’s drama couldn’t be formulated in words, but for von Meck, who paid his bills, he went to the trouble of finding those words.

“in truth, it is a hard question to answer … In our symphony there is a program (that is, the possibility of explaining in words what it seeks to express) … Of course, I can do this here only in general terms.

The Introduction is the kernel of the whole symphony, without question its main idea. This is Fate, the force of destiny, which ever prevents our pursuit of happiness from reaching its goal… It is invincible, inescapable. One can only resign oneself and lament fruitlessly. This disconsolate and despairing feeling grows ever stronger and more intense. Would it not be better to turn away from reality and immerse oneself in dreams?”

Tchaikovsky continues, identifying musical ideas representing tender dreams and fervent hope, then a climax suggesting the possibility of happiness, before the Fate theme awakens us from the dreams …

“And thus, all life is the ceaseless alternation of bitter reality with evanescent visions and dreams of happiness … There is no refuge. We are buffeted about by this sea until it seizes us and pulls us down to the bottom. There you have roughly the program of the first movement.”

All this matches the emotional character of the first movement – the music’s ‘profound, terrifying despair’ – and if we allow for Tchaikovsky’s personal turmoil at the time (he’d emerged from an ill-advised marriage) then it could be given an autobiographical interpretation.

More striking, though, is Tchaikovsky’s handling of his two principal ideas: Fate and ‘self’. Fate is the fanfare (actually a polonaise, writes Richard Taruskin); ‘self’ is the first real melody – a glorious waltz.

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These two ideas collide in the music. Copying a dramatic strategy from Mozart’s Don Giovanni, Tchaikovsky superimposes his dances, matching three bars of waltz time to one bar of the slower, aristocratic polonaise (also in three). Then, in the coda, we hear the ‘complete subjection of self to Fate’ and the waltz returns one last time, stretched to match the pulse of the polonaise – hardly a waltz at all.

The effect of this collision is one of music – and a composer – torn between extremes. Tchaikovsky’s instinct was for lyrical outpourings (his waltz), but he understood that to be a symphonist in 1878 meant observing the symphonic conventions established by Beethoven. The Fate fanfare gave him a motto he could manipulate.

Tchaikovsky’s student, Sergei Taneyev, observed that the ‘disproportionately long’ first movement gave ‘the appearance of a symphonic poem to which three movements have been appended fortuitously to make up a symphony’. Perhaps Tchaikovsky agreed: after the wealth of detail for the first movement, his descriptive program peters out.

The second movement is summed up as an expression of ‘the melancholy feeling that arises in the evening as you sit alone, worn out from your labours’. The Scherzo appears to contain no definite feelings at all: ‘One’s mind is a blank, and the imagination has free rein.’ But the Scherzo is one of the most effective parts of the symphony – the relentless plucking of pizzicato strings combining with brilliant writing for woodwinds and brass, in particular the scampering piccolo.

In the Finale, Tchaikovsky chooses a Russian folk song, ‘The Birch Tree’, as the theme for a set of variations. He gives the apparently cheerful scenario of holiday festivities a depressing cast: ‘If you can find no impulse for joy within yourself, look at others … Never say that all the world is sad. You have only yourself to blame … Why not rejoice through the joys of others?’ It’s as if we are to hear the finale as festivity – but second hand. If this isn’t resignation to Fate, nothing is.

Yvonne Frindle © 2009/2013

WASO last performed this work on 24 & 25 June, 2011, conducted by Vladimir Verbitsky.

SHOSTAKOVICH Symphony No.5 featured in Romantic RachmaninovFri 2 & Sat 3 May


Coda A concluding section added to the basic structure of a piece or movement to emphasise the sense of finality.

Glossary

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The French HornThe French horn – or horn, as it is now more commonly referred to – is a brass instrument consisting of around twelve feet of tubing wound into a coil expanding into a flared bell.

It is a descendant of the natural horn, on which notes were produced solely by means of variations in lip tension and air pressure. Crooks, or extra lengths of tubing, could be inserted to alter the harmonic series (the notes obtainable naturally from the instrument) and pitch was manipulated by means of ‘hand-stopping’, or inserting the hand into the bell.

Modern horns have three or four valves which render the instrument fully chromatic. As the 19th century progressed the demands placed on symphony orchestras from increasingly harmonically complex music by composers such as Wagner led to the widespread adoption of the valve horn.

The use of four horns is standard in today’s orchestral line-up, with horns 1 and 3 playing the higher parts and horns 2 and 4 the lower parts. This interlocked scoring reflects the historical deployment of two pairs of high and low horns, each pair in a different key.

Double and triple tonguing are possible on the horn, however flutter tonguing can be tricky. Other techniques or special effects include cuivré, which calls for a loud, brassy timbre produced by a more forceful attack, and ‘bells up’, which instructs the player to lift the bell of the horn into the air.

The horn’s hunting origins and heroic qualities have long been exploited by composers, and in addition to famous concertos by Mozart and Richard Strauss, favourite works and orchestral solos include Schumann’s Adagio and Allegro and Concertstück for four horns and orchestra, Strauss’ Till Eulenspiegel’s Merry Pranks, (featured in Jahja Ling conducts Tchaikovsky) and Weber’s Der Freischütz. The British horn virtuoso Dennis Brain (1921-1957) was the inspiration behind works by several composers, including Hindemith, Britten and Malcolm Arnold.

© Symphony Services International 2011

Meet the Instrument

Meet the Instrument The French Horn

The French horn – or horn, as it is now more commonly referred to – is a brass instrument consisting of around twelve feet of tubing wound into a coil expanding into a flared bell.

It is a descendant of the natural horn, on which notes were produced solely by means of variations in lip tension and air pressure. Crooks, or extra lengths of tubing, could be inserted to alter the harmonic series (the notes obtainable naturally from the instrument) and pitch was manipulated by means of ‘hand-stopping’, or inserting the hand into the bell.

Modern horns have three or four valves which render the instrument fully chromatic. As the 19th century progressed the demands placed on symphony orchestras from increasingly harmonically complex music by composers such as Wagner led to the widespread adoption of the valve horn.

The use of four horns is standard in today’s orchestral line-up, with horns 1 and 3 playing the higher parts and horns 2 and 4 the lower parts. This interlocked scoring reflects the historical deployment of two pairs of high and low horns, each pair in a different key.

Double and triple tonguing are possible on the horn, however flutter tonguing can be tricky. Other techniques or special effects include cuivré, which calls for a loud, brassy timbre produced by a more forceful attack, and ‘bells up’, which instructs the player to lift the bell of the horn into the air.

The horn’s hunting origins and heroic qualities have long been exploited by composers, and in addition to famous concertos by Mozart and Richard Strauss, favourite works and orchestral solos include Schumann’s Adagio and Allegro and Concertstück for four horns and orchestra, Strauss’ Till Eulenspiegel’s Merry Pranks, and Weber’s Der Freischütz. The British horn virtuoso Dennis Brain (1921-1957) was the inspiration behind works by several composers, including Hindemith, Britten and Malcolm Arnold.© Symphony Services International 2011

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1. Mouthpiece2. 3 valve levers 3. 3 rotary valves 4. Bell

1. Mouthpiece

2. 3 valve levers

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4. Bell

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The Philanthropy team at WASO wishes you a Happy New Year and welcomes you to the opening Classics concert for 2014. We are also delighted to welcome our new Principal Conductor Asher Fisch and look forward to sharing with you what will be a wonderful year of music-making.

The impact of supporting your Orchestra is powerful and far-reaching. Many of the instruments on stage are the result of philanthropic partnerships. You may already have seen our gorgeous new celeste on stage at the Perth Concert Hall, made possible through many generous donations to our Celeste and Brass Campaign last year. We are also excited about the imminent arrival of WASO’s five new German trombones, which are certain to make a valuable contribution during our Beethoven Festival.

Support from our Patrons is central to bringing concerts like this one to our audiences.

Philanthropic support not only helps create these wonderful concerts in the Concert Hall, it helps take music all over Western Australia. 2013 saw the launch of our first Giving Catalogue, supporting our ever-growing Education and Community Engagement programs across the state. The response has been fantastic, but if you haven’t seen it yet, contact Jane or go online to waso.com.au/giving_catalogue, and help give someone a magical musical experience. This is your philanthropic support at work, with every gift making a difference.

Philanthropy at WASO helps us to build a strong, vibrant Orchestra for this state that enriches the lives of many thousands of people. We invite you to become a WASO Patron this year. There are many ways you can be involved to help support and sustain your Orchestra.

To learn more please call Jane Clare on 9326 0014 or email [email protected]

Philanthropy News

welcome to 2014 from wASo Philanthropy

Patrons & Friends Event Make an afternoon of it and join us to meet acclaimed director of the Australian Brandenburg Orchestra, Paul Dyer, after he leads WASO musicians in a delightful one-hour chamber concert at Fremantle Town Hall. Principal Flute Andrew Nicholson and violinist Shaun Lee-Chen both feature as soloists in this charming program of exquisite music from the Baroque period.

The concert starts at 2pm and tickets can be purchased for $42. Tickets for the post-concert event are $10 for Patrons & Friends ($15 for guests) and include a glass of wine and nibbles.

Meet the Chamber Ensemble Sunday 23 March, 2pm, Fremantle Town Hall

Call the WASO Box Office to book on 9326 0000.

waso.com.au | 08 9326 0000

Philanthropy Partner

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waso.com.au | 08 9326 0000

our Supporters

Your attendance helps sustain the Orchestra and we thank you for your commitment. We are also very grateful to our corporate supporters who make a significant contribution to WASO, and of course for government funding which is critical.

However, these three sources of income are simply not enough to cover the ongoing costs of the Orchestra and increasingly it is our Patrons that enable us to continue to achieve our vision to touch souls and enrich lives through music.

There are many ways you can be involved and your support is deeply appreciated.

Endowment Fund for the orchestra The Endowment fund includes major donations from individuals and bequests. The income earned is used for the benefit of the orchestra.Tom & Jean ArkleyJanet Holmes à Court AC

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

Symphony CircleRecognises Patrons who have made a provision in their will to the orchestra.Anita ClaytonJudith GederoWolfgang LehmkuhlTosi Nottage (in memory Edgar Nottage)Judy SienkiewiczSheila WilemanAnonymous (16)

The wASo Song BookNew works commissioned for the orchestra by wASo. we gratefully acknowledge the support of the following individuals who have commissioned new music performed since 2010.Janet Holmes à Court ACPeter DawsonGeoff StearnAnonymous (1)

Reach outRecognises Patrons who support our Education and Community Engagement programs.Prue Ashurst Andrew & Nicola ForrestThe James Galvin FoundationBarrie & Jude LepleyMcCusker Charitable FoundationSimon Lee Foundation

Beethoven CirclewASo acknowledges Patrons who are generously supporting our Beethoven Festival.Jean Arkley (in memory of Tom Arkley) Bob & Gay Branchi Janet Holmes à Court AC (in memory of her mother) Torsten & Mona Ketelsen Joshua & Pamela Pitt

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our Supporters

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

Principal Conductor’s Circle Gifts $20,000+Janet Holmes à Court ACJill MulheronBrian & Nancy MurphyPatricia New Anonymous (1)

Impresario PatronGifts $10,000 - $19,999Gay & Bob BranchiTony & Gwenyth LennonJoshua & Pamela PittAnonymous (1)

Maestro Patron Gifts $5,000 - $9,999Jean Arkley (in memory of Tom Arkley)Bill BlokingDon ConroyIan & Elizabeth ConstableBridget Faye AMGilbert George & AssociatesDr Patricia KailisMargaret & Rod MarstonRobert May Spinifex TrustPeter & Jean StokesSue & Ron WoollerAnonymous (1)

Virtuoso Patron Gifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AMSally BurtonMark Coughlan & Dr Pei-Yin HsuStephen DavisTim & Lexie ElliottRobyn GlindemannSylvia & Wally HyamsKeith & Gaye KessellMichael & Dale KitneyBryant MacfieMrs MorrellAnne NolanRon & Philippa PackerJohn & Paula PhillipsMs Elizabeth Sachse & Dr Lance RisbeyJudy Sienkiewicz Ros ThomsonM & H TuiteIan WatsonTrish Williams – Strategic InteractionsAndrew & Marie Yuncken Anonymous (1)

Principal PatronGifts $1000 - $2,499Margaret Atkins OAMColin & Eve BeckettTony & Mary BeeleySuzanne & David BiddlesJohn & Sue Bird (in memory of Penny Bird)Kevin BlakeMatthew J C BlampeyMr John BonnyMrs Debbie BorshoffJean Brodie-Hall AMGavin BunningAnn Butcher & Dean R KubankDr G Campbell-EvansArthur & Nerina CoopesHon June Craig AMGay & John CruickshankNorman & Denia DaffenRussell & Susan DixonMargaret DobsonJulian DowseDon & Marie ForrestDr Andrew GardnerRoger & Ann GillbanksGraham & Barbara GouldenJannette GraySandra GrayJoe & Deidre GreenfeldPenelope GrosjeanDavid & Valerie GullandBrian & Romola HaggertyRichard B Hammond

waso.com.au | 08 9326 0000

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Michael HardingShigeki & Hinako HiranoMichael & Liz HollingdaleJim & Freda IrenicCynthia JeeLilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill KeanAnthony & Noelle KellerDorothy KingstonDr Rob Kirk & Sarah GallinaghStephanie & John KobelkeUlrich & Gloria KunzmannIrving LanePaul LeeRosalind LilleyGraham & Muriel MahonyGregg & Sue MarshmanJennifer & Arthur McCombBetty & Con Michael AOVicki MizenHon Justice S R MoncrieffJane & Jock MorrisonLynn MurrayVal & Barry NeubeckerDr Phil & Erlene NobleJohn OvertonThe Family of Hilary OwensMichael & Lesley PageAthena PatonAssociate Prof. Tim PavyAlan Pedersen (in memory of Hilary Owens)Charmian Phillips (in memory of Colin Craft)Pamela PlattAndrew & Suzanne PoliDr Leon Prindiville

Chester ReeveJohn & Alison RiggNigel & Dr Heather RogersMaurice & Gerry RoussetRoger SandercockDr R & J SchwengerMargaret & Roger SearesEve Shannon-CullityJulian & Noreen SherJudy SienkiewiczLaurel & Ross SmithDr Paul Smith & Denham HarryGail & Tony SutherlandRichard Tarala & Lyn Beazley AOGene TilbrookMary TownsendDr Robert TurnbullMaggie VenerysStan & Valerie VicichWatering ConceptsJoyce Westrip OAMAlan WhithamJean & Ian Williams AODr Peter WintertonAnonymous (15)

Tutti PatronGifts $500 - $999Geoff & Joan AireyCatherine BagsterMerle I BardwellBetty BarkerBernard & Jackie BarnwellShirley BarracloughP M BennetMichael & Nadia Berkeley-HillDiane & Ron BowyerElizabeth & James Brown

C & K BrownlieMarilyn & Ian BurtonNanette CarnachanClaire Chambers and Dr Andrea ShoebridgeDr Anne ChesterLyn & Harvey Coates AOAgatha & Alex Cohen AOHelen CookBrian CresswellGina & Neil DavidsonFrances DaviesLesley & Peter DaviesJop & Hanneke DelfosRai & Erika DolinschekLorraine EllardMrs G. EwenThe Farghaly FamilyAnnette FinnJoan GagliardiGeorge GavranicElaine GimsonIsobel GlencrossJacqui GrovePauline & Peter HandfordDouglas M & Regina HansenProf Alan Harvey & Dr Paulien de BoerRichard HatchDr Penny Herbert (in memory of Dunstan Herbert)Helen HollingsheadJohn IsherwoodB. M. Kent In memory of Dr Brenton KnottTrevor & Ane Marie LacyGeorge LiptonMegan Lowe

our Supporters

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If you are interested in becoming a Patron or learning more about wASo Philanthropy please contact Jane Clare, Fundraising and Philanthropy officer, on 9326 0014 or email [email protected].

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

All donations over $2 are fully tax deductible.

Dr M. E. MacDonald & Mr Michael PaulyMrs Carolyn Milton-Smith (in loving memory of Emeritus Prof. John Milton-Smith)S.B. Monger-HayDr Peter MossMarianne NilssonMarjan OxleyGraham & Hildegarde PennefatherBev PennyAdrian & Ruth PhelpsSheila PinchThomas & Diana PotterAlison & John PriceClarissa ReptonJames & Nicola Ridsdill-SmithJudith E ShawHendrick SmitMichael Snell & Vicki StewartPeggy & Tom StacyDr Julian TodresS R VogtAdrienne & Max WaltersAnne WatsonJoy WearneDr Chris & Mrs Vimala WhitakerAnn WhyntieViolette William

Janet WilliamsJudith Wilton & David TurnerPatricia WongYalambi Farm Stud

Anonymous (14)

FriendsGifts $40 - $499

Thank you to all our Friends who support WASO through their gift.

our Supporters

Sadly, Mrs Joan Tonkin MBE JP has passed away. Joan was a valued Patron, and will be missed.

waso.com.au | 08 9326 0000

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waso.com.au | 08 9326 0000

west Australian Symphony orchestra

VIoLINSemra Lee-Smith A/Associate Concertmaster Graham Pyatt A/Assistant ConcertmasterRebecca Glorie A/Principal 1st ViolinZak RowntreeA/Principal 2nd ViolinKylie Liang A/Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenErin ChenStephanie DeanBeth HebertAlexandra IstedSunmi JungShaun Lee-Chen*Akiko MiyazawaLucas O’BrienAnna O’HaganMelanie PearnKen PeelerLouise SandercockJolanta SchenkJane SerrangeliEllie ShalleyJacek SlawomirskiBao Di Tang Cerys ToobyDavid Yeh

VIoLAPaul McMillan Guest PrincipalKierstan ArkleysmithNik BabicAlex BroganKatherine DrakeAlison HallRachael KirkAllan McLeanHelen Tuckey

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

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

FLUTEAndrew Nicholson Principalchair partnered by Apache

Mary-Anne Blades Assoc Principal

PICCoLoMichael Waye Principal

oBoEElizabeth CheeStephanie Nicholls

CoR ANGLAISLeanne GloverPrincipal

CLARINETAllan Meyer PrincipalLorna Cook

BASS CLARINETAlexander Millier Principalchair partnered by Alessandrino property group

BASSooNJane Kircher-Lindner PrincipalAdam Mikulicz Assoc Principal Colin Forbes-Abrams

CoNTRABASSooNChloe Turner Principal

HoRNDavid Evans PrincipalRobert Gladstones Principal 3rdJulia Brooke Francesco Lo Surdo

TRUMPETBrent GrapesA/PrincipalEvan Cromie Assoc PrincipalPeter Miller

TRoMBoNEJoshua Davis PrincipalLiam O’MalleyAssoc Principal

BASS TRoMBoNEPhilip Holdsworth Principal

TUBACameron Brook Principal

TIMPANIAlex Timcke Principal

PERCUSSIoNRobyn GrayPrincipalTroy Greatz

HARPSarah Bowman Principal

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

ASSISTANT CoNDUCToRChristopher Dragon

CHoRUS DIRECToRChristopher van Tuinen

CHoRUS VoCAL CoACHAndrew Foote

Principal ConductorAsher FischPartnered by Wesfarmers Arts

Conductor Laureate Vladimir Verbitsky

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

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

AEG ogden (Perth) Pty LtdRodney M Phillips Chief Executive

The Perth Theatre TrustThe Hon. Mr Peter Blaxell Chairman

WASO programs are printed by Pilpel Print www.pilpel.com.au who are proud to be ‘Green Stamp Accredited’. This certification acknowledges Pilpel Print’s commitment to minimising environmental impacts associated with producing printed material.

All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing from the publisher. Whilst every effort has been made to ensure the accuracy of statements in this publication we cannot accept responsibility for errors or omissions, or for matters arising from clerical or printers’ error. Every effort has been made to secure permission for copyright material prior to printing. Please address all correspondence to the Executive Manager, Marketing, West Australian Symphony Orchestra, PO Box 3041, East Perth. WA 6892. Email [email protected]

BoARD oF DIRECToRSJanet Holmes à Court AC ChairmanBill BlokingMark CoughlanJeff DowlingKeith KessellBarrie Lepley Deputy ChairmanAnne NolanPaul ShannonJulian Sher

ExECUTIVECraig Whitehead Chief Executive Ellen Wisdom Human Resources Manager Hannah North Executive Assistant

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

CoMMUNITY ENGAGEMENTCassandra Lake Community Engagement ManagerHannah Clemen Education Coordinator

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

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

CoRPoRATE DEVELoPMENT Simon LodgeExecutive Manager, Corporate DevelopmentSharmini Poulsen Corporate Partnerships ManagerLuci Steinhardt Corporate Partnerships ExecutiveHolly NormanEvents Coordinator

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

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

waso.com.au | 08 9326 0000

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Proud sPonsor of wAso

apachecorp.com/Australia

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waso.com.au | 08 9326 0000

FUNDING PARTNERS

EDUCATIoN PARTNERS

oRCHESTRA SUPPoRTERS

MEDIA PARTNERS

kEYNoTE PARTNERS

PLATINUM PARTNERS

CoNCERTo PARTNERS

oVERTURE PARTNERS

SoNATA PARTNERS

MARGARET RIVER wINE PARTNERS

School of Music | Tertiary Education Partner

Aravina Estate, Edwards Wines, Howard Park Wines, Leeuwin Estate, Moss Wood, Pierro Margaret River Vineyards, Vasse Felix.

2014 Corporate Partners

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

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Enchanting folk tunes and vibrant orchestral colour.

Alcohol.Think AgAin mAsTErs sEriEs

Fri 28 & Sat 29 March 7.30pmPerth concert hall

WEBER Oberon: Overture BRAHMS Violin concerto DVORAK symphony no.8 Jahja Ling conductor Alina Pogostkina violin (pictured)

*Transaction fees may apply.

Call 9326 0000 quoting 1086 Visit waso.com.au or ticketek.com.au

BOOK NOWTickets from $30*

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