MASTERS SERIES

Friday 10 & Saturday 11 March 2017, 7.30pmPerth Concert Hall

PROGRAM

TRIFONOV PLAYS TCHAIKOVSKY

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Frankie Lo Surdo, French Horn

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It is a great privilege to return to Perth with such a monumental programme. I am very much looking forward to working together with the wonderful musicians of the WASO and the incomparable Daniil Trifonov. We are also very happy to open the season with the world premiere of Lachlan Skipworth’s new work Spiritus.

The Lemminkäinen Suite by Jean Sibelius is one of the first orchestral pieces by the great master and I have a special affinity to his earlier works. The writing ranges between the most ethereal writing to the most brutal, it is a thrilling ride and I hope you will enjoy tonight’s concert! Daniel Blendulf

Conductor

1900 2000

JEAN SIBELIUS

1865 – 1957Born in 1865, Hämeenlinna, FinlandDied in 1957, Järvenpää, Finland LACHLAN SKIPWORTH

1982Born in 1982, Perth, Australia

Sibelius' Four Legends1896

PETER ILYICH TCHAIKOVSKY

1840 – 1893Born in 1840, Votkinsk, RussiaDied in 1893, St Petersburg, Russia

Lachlan Skipworth's Spiritus2017

Tchaikovsky's Piano Concerto No.11875

WELCOME

TIMELINE OF COMPOSERS & WORKS

Frankie Lo Surdo, French Horn

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From the MinisterIt is my great pleasure to welcome you to the opening Masters Series concert of the West Australian Symphony Orchestra’s 2017 season.

This year, WASO will once again enchant audiences with an exciting range of concerts performed at Perth Concert Hall. It is inspiring to see WASO breathing life into this iconic venue, in partnership with the City of Perth and the State Government.

Tonight we begin with arguably the finest young pianist in the world, Daniil Trifonov, performing Tchaikovsky’s ever-popular Piano Concerto No.1. We will be treated to a world premiere by composer Lachlan Skipworth, and we welcome back Swedish conductor Daniel Blendulf.

This concert provides a great introduction to what is sure to be a fantastic season. I hope you enjoy it.

John Day Minister for Culture and the Arts

From the WASO Chairman On behalf of the West Australian Symphony Orchestra, I’m delighted to welcome you to Trifonov Plays Tchaikovsky.

This year marks 20 years of support from Principal Partner Wesfarmers Arts. We recognise the extraordinary contribution that Wesfarmers Arts makes to the arts community of WA, and we are thrilled to celebrate this continuing partnership.

Under the guidance of Maestro Asher Fisch, our Orchestra is in exceptional form. We had an outstanding tour to Abu Dhabi and China late last year, and in 2017 we welcome back Asher for his fourth year as WASO’s Principal Conductor and Artistic Adviser.

Thank you for joining us tonight. Together we have an exciting year of music-making ahead.

Janet Holmes à Court AC WASO Chairman

WELCOME

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

LACHLAN SKIPWORTH Spiritus WORLD PREMIERE (13 mins)

TCHAIKOVSKY Piano Concerto No.1 (33 mins)

Allegro non troppo e molto maestoso – Allegro con spirito

Andantino semplice – Prestissimo – Andantino semplice

Allegro con fuoco

Interval (25 mins)

SIBELIUS Four Legends from the Kalevala (Lemminkäinen Suite) (59 mins)

Lemminkäinen and the Maidens of Saari

The Swan of Tuonela

Lemminkäinen in Tuonela

Lemminkäinen’s Return

Daniel Blendulf conductor Daniil Trifonov pianoWASO Composer in Residence Lachlan Skipworth is supported by the Simon Lee Foundation

TRIFONOV PLAYS TCHAIKOVSKYMASTERS SERIES

MORNING SYMPHONY SERIES

BEETHOVEN 7THURS 16 MAR 11AM Perth Concert Hall

The Romeo and Juliet Fantasy Overture is one of Tchaikovsky’s most popular works, full of sweeping drama and sublime, passion-drenched melodies. Beethoven’s Seventh Symphony is a joyous whirlwind of sound and rhythm.

TCHAIKOVSKY Romeo and Juliet - Fantasy OvertureBEETHOVEN Symphony No.7

Daniel Cohen conductor (pictured)

MACA LIMITED CLASSICS SERIES

BEETHOVEN 7FRI 17 & SAT 18 MAR 7.30PM Perth Concert Hall

Beethoven’s Seventh Symphony is a joyous whirlwind of energetic sound and rhythm culminating in an exhilarating finale. Yu-Chien (Benny) Tseng, winner of the 2015 Singapore Violin Competition, performs Bruch’s ever popular Scottish Fantasy.

TCHAIKOVSKY Romeo and Juliet - Fantasy OvertureBRUCH Scottish FantasyBEETHOVEN Symphony No.7

Daniel Cohen conductor Yu-Chien (Benny) Tseng violin (pictured)

MACA LIMITED CLASSICS SERIES

ASHER FISCH CONDUCTS SIBELIUSFRI 21 & SAT 22 APR 7.30PM Perth Concert Hall

WASO’s Concertmaster, Laurence Jackson, takes centre stage for a rare Perth performance of Stravinsky’s Violin Concerto. Sibelius’ stirring Second Symphony evokes the expansive, glacial landscape of Finland in this concert conducted by Principal Conductor Asher Fisch. Asher Fisch appears courtesy of Wesfarmers Arts

TICKETS FROM $32*

MORNING SYMPHONY SERIES

ASHER FISCH CONDUCTS SIBELIUSTHURS 20 APR 11AM Perth Concert Hall

Sibelius’ Second Symphony is a stirring masterpiece that evokes the expansive, glacial landscape of Finland. WASO’s Concertmaster Laurence Jackson takes centre stage for a rare Perth performance of Stravinsky’s sparkling Violin Concerto.

TICKETS FROM $29*

TICKETS FROM $32*

TICKETS FROM $39*

2017 UPCOMING CONCERTS

BOOK NOW CALL 9326 0000 VISIT WASO.COM.AU*A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $6.60 applies to phone and mail bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

Assistant Conductor Elena SchwarzThis year WASO welcomes Elena Schwarz as Assistant Conductor, a split role between WASO and TSO. Elena is a Swiss-Australian conductor and she will be mentored by WASO Principal Conductor Asher Fisch and TSO Chief Conductor Marko Letonja.

Elena studied at the Geneva University of Music in the class of Laurent Gay, subsequently specialising in contemporary performance with Arturo Tamayo at the Conservatorio della Svizzera Italiana. Elena has participated in conducting courses with Asher Fisch, Christopher Seaman, Johannes Fritzsch and Giordano Bellincampi. She was awarded first prize at the “Princess Astrid” competition with the Trondheim Symphony Orchestra (Norway) and the second prize at the 2015 Jorma Panula competition in Vaasa (Finland).

At WASO, Elena’s position will be funded through the Simon Lee Foundation, which aspires to build an alumni body of young artists in WA that can connect, create and support each other.

WASO IN THE COMMUNITY

ATAR 2017The 2017 ATAR Western Art Music Designated Works performances were held on Wednesday 15 February at the John Inverarity Music & Drama Centre, Hale School.

Two performances were presented to a combined audience of over 520 students and staff from 29 schools, including 6 new schools. This was not only our largest audience, but also the largest orchestra for an ATAR performance with 80 musicians on stage.

The 2017 program consisted of Berlioz's Symphonie fantastique Mvt 4 and 5, and Ravel's Piano Concerto in G from compulsory genres of Symphony (Year 11) and Concerto (Year 12). The performances covered key excerpt analysis, with additional information and discussion around the cultural and historical context supported by both a written resource and in-performance with presenter/conductor Peter Moore OAM.

In another first, each performance featured a young and emerging artist as soloist in the concerto. Adrian Soares (3rd year, UWA School of Music) and Alexander Chua (Honours, UWA Mathematics) performed to great acclaim and not only helped to illustrate key compositional concepts and provided incredible inspiration to students around performance preparation and presentation. Recognition and thanks must go to their teachers, Assistant Professor Graeme Gilling and Mark Coughlan respectively.

The reaction to this years’ ATAR performances is perhaps best summed up in just one response from feedback received:

"An invaluable opportunity that they would not get otherwise - makes all the difference to their study of not only the works but the course and western art music in general."

Our sincere thanks to staff and parents who facilitated student attendance at this event.

Presented in partnership with Hale School.

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Daniel BlendulfConductor

Daniel Blendulf is Chief Conductor and Artistic Advisor of the Dalasinfoniettan. He regularly conducts other orchestras in his native Sweden.

Blendulf recently made his US debut with the Detroit Symphony Orchestra, and previously conducted the BBC National Orchestra of Wales, New Zealand Symphony, Malaysian Philharmonic, and Finnish Radio Symphony orchestras, as well as WASO.

An advocate for contemporary Swedish music, he conducted the world premieres of Britta Byström’s Invisible Cities and, for Royal Swedish Opera, Anders Eliasson’s Karolinas sömn. For RSO he has also conducted Carmen and Don Pasquale. His latest orchestral recording is of Nielsen’s Violin Concerto with Cecilia Zilliacus and the Helsingborg Symphony Orchestra.

Blendulf began his career as a cellist before winning First Prize at the Swedish Conducting Competition and graduating from Stockholm’s Royal College of Music. In 2014 he won the Herbert Blomstedt Conducting Prize.

Daniil TrifonovPiano

Born in Nizhny-Novgorod, Daniil Trifonov first performed with orchestra at the age of eight. He studied at Moscow’s Gnessin School of Music with Tatiana Zelikman.

Since winning the Rubinstein and Tchaikovsky Competitions, Trifonov has travelled the world as recitalist and concerto soloist. His credits include recitals at Wigmore Hall, the Berlin Philharmonie, Tokyo’s Opera City, and a host of other leading venues. He has appeared with the Vienna Philharmonic, London Symphony Orchestra, New York Philharmonic, Boston Symphony, Israel Philharmonic, Orchestre Philharmonique de Radio France, and recently, the Los Angeles Philharmonic, Kansas City Symphony (performing his own concerto) and Berlin Philharmonic Orchestra.

Daniil Trifonov signed with Deutsche Grammophon in February 2013, and his debut recital on that label (a live concert at Carnegie Hall) combines Liszt’s B minor Sonata, with Scriabin’s Sonata No. 2 and Chopin’s 24 Preludes.

ABOUT THE ARTISTS

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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

WEST AUSTRALIAN SYMPHONY ORCHESTRA

CONNECT WITH WASOfacebook.com/ WestAustralianSymphonyOrchestra

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VIOLINLaurence JacksonConcertmasterSemra Lee-Smith A/Assoc ConcertmasterGraeme NorrisA/Assistant ConcertmasterRebecca GlorieA/Principal 1st ViolinZak Rowntree*Principal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinFleur ChallenStephanie DeanBeth HebertJane Johnston°Sunmi JungChristina KatsimbardisEllie LawrenceEliza McCracken^Andrea Mendham^Lucas O’Brien°Ken PeelerLouise SandercockJolanta SchenkJane SerrangeliKathryn Shinnick°Jacek SlawomirskiKate SullivanBao Di TangCerys ToobyTeresa Vinci^Susannah Williams°David YehSarah BlackmanShaun Lee-ChenAkiko MiyazawaMelanie Pearn

VIOLAAlex BroganA/Principal ViolaSally Boud^Kierstan ArkleysmithNik BabicChair partnered by Peter & Lesley Davies Benjamin CaddyAlison HallRachael KirkAllan McLeanElliot O’Brien^Katherine Potter^Helen Tuckey

CELLORod McGrath Chair partnered by Tokyo Gas

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

DOUBLE BASSAndrew Sinclair*Joan Wright Elizabeth Browning^Louise ElaertsChristine ReitzensteinMark ToobyPhillip Waldron^Andrew Tait

FLUTEAndrew Nicholson Mary-Anne Blades

PICCOLOMichael Waye

OBOEPeter Facer Elizabeth Chee

COR ANGLAISLeanne Glover

CLARINETAllan Meyer Lorna Cook

BASS CLARINETAlexander Millier

BASSOONAdam MikuliczChair partnered by Sue & Ron Wooller

Colin Forbes-Abrams°A/Assoc Principal BassoonJane Kircher-Lindner

CONTRABASSOONChloe Turner

HORNDavid EvansDeborah Hart^Robert Gladstones Principal 3rd HornJulia Brooke Francesco Lo Surdo

TRUMPETBrent GrapesMatthew DempseyºPeter MillerEvan Cromie

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONBrian MaloneyChair partnered by Stott Hoare

Chiron Meller°Troy GreatzAssoc Principal Percussion and Timpani

HARPSarah Bowman

PIANOGraeme Gilling^

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

PRINCIPAL CONDUCTORAsher FischPartnered by Wesfarmers Arts

YOUR ORCHESTRA

PrincipalAssociate PrincipalGuest Musician^Grey: Permanent member of WASO not appearing in this concertContract Playerº

ASSISTANT CONDUCTOR Elena Schwarz

CHORUS DIRECTOR Christopher van Tuinen

CHORUS VOCAL COACH Andrew Foote

CONDUCTOR LAUREATE Vladimir Verbitsky

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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 seats. Please 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.

LISTEN TO WASOThis performance is being recorded for broadcast on ABC Classic FM on Sunday 26 March 2pm (or 11am online). For further details visit abc.net.au/classic

720 ABC PERTHTune in to 720 ABC Perth on Friday morning at 6.15am when Fiona Campbell joins Peter Bell to provide the latest on classical music and WASO’s upcoming concerts.

FOOD & BEVERAGESVisit perthconcerthall.com.au for 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 across from box office• Wardle Room – western side of bar• Terrace Level Corner Bar – one water

station on either side of the bar• Lower & 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 • 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 auditorium. Visit perthconcerthall.com.au/your-visit/accessibility/ for further information.

WASO BOX OFFICEBuy your WASO tickets and subscriptions, exchange tickets, or 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.

YOUR CONCERT EXPERIENCE

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MEET THE MUSICIAN

Andrew SinclairDouble Bass

What (or who) made you want to learn to play the double bass? I was fortunate to be in a school with a fantastic music program. When asked who wanted to play an instrument I shot up my hand thinking I would get something cool like drums or saxophone. The music teacher took one look at the tall thin streak of a boy and said “you’ve got big hands, you can play the double bass. By the way, how big is your parent’s car?” As they drove a station wagon, the deal was struck. 

Can you remember your first WASO concert?My first concert with WASO was Mahler's Sixth Symphony with Simone Young in 2006. I was seated next to the famous hammer blow which I can still feel pounding my back to this day. Nothing like first impressions! We are playing that Symphony later this year with Asher Fisch and I plan to sit as far away from the hammer as possible this time. 

Has anything odd ever happened to you during a WASO performance? I broke my bow! That may not sound amazing, but I’ve never heard of another bass player ever snapping their precious stick simply by playing. Too much red cordial I guess. That’s the great thing about live performance though, you never know what might happen. 

Speaking about bows, you hold yours differently to your colleagues. Why?There are two different ways of holding the bass bow and two different bows. The French bow is held overhand like the cellos and the German is held underhand. I play the German method. All orchestras in Vienna and Germany only play this style. If you turned up at the airport with a French bow, immigration would consider it a weapon and have it destroyed - just kidding!

What do you feel makes a successful performance?There is a collective energy that is produced when all the musicians on stage play with commitment and passion. The audience sense this and respond. For me, that’s what makes a successful performance.

What inspires you?People inspire me. Whether they are world famous soloists or someone in the orchestra who does something memorable to the music. A well placed timpani strike or amazing flute cadenza - it doesn’t matter. As long as there is awareness and generosity in the execution. 

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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.

PROUD SPONSOR OF WASO

AND CATERING PARTNER

AT PERTH CONCERT HALL

WWW.HEYDERSHEARS.COM.AU

Lachlan Skipworth 1982

Spriritus

Dotted throughout our various cultural histories, depictions of the wind are imbued with a range of supernatural connotations. For example, the Latin word spiritus aligns the ideas of “breeze” and “breath” with the deeper concepts of “soul” and “life”. Then there are the anemoi, the gods of the Four Winds personified in Greek mythology. Similarly, Indigenous Australian folklore tells of a menacing spirit emerging from the vortex of a spiralling willy-willy. My own psychological and emotional response to the winds of my native Perth informed my orchestral work Spiritus, a series of episodes evoking the various shapes and moods of the Fremantle Doctor, stormy winter cold fronts, morning Easterlies, and late-night zephyrs.

Initially, sounds of wind and breath circulate through the orchestra before a trumpet motif drifts fleetingly over a slowly shifting harmonic background. A long spiralling melody in the cor anglais and solo cello takes us towards the centre of the work, a nocturne in which a gently chiming celesta floats above a low woodwind figure.

A timpani call heralds the arrival of six monolithic cluster-chords which sweep through menacingly before receding to reveal a lighter texture of strings dancing around melodies in the high woodwinds and solo horn. The violas and bassoon then trace a path through interjections of cello pizzicato and swirling scalic runs until finally, two snare drums wind the tension to its fullest amid flurries of strings and winds to take the work to its conclusion.

Note by Lachlan Skipworth © 2017

WASO Composer in Residence Lachlan Skipworth is supported by the Simon Lee Foundation

ABOUT THE MUSIC

PROUD SPONSOR OF WASO

AND CATERING PARTNER

AT PERTH CONCERT HALL

WWW.HEYDERSHEARS.COM.AU

Motif - a short, distinctive melodic or rhythmic figure, often part of or derived from a theme. Pizzicato - plucking, rather than bowing, the strings.

Glossary

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Peter Ilyich Tchaikovsky (1840 - 1893)

Piano Concerto No.1 in B flat minor, Op.23 Allegro non troppo e molto maestoso – Allegro con spirito Andantino semplice – Prestissimo – Andantino semplice Allegro con fuoco

If it was fortuitous that Tchaikovsky succeeded at his first attempt, writing perhaps the ‘greatest piano concerto of all time’, then it is remarkable that he simultaneously created a new Russian genre. The striking mix of lyricism and virtuosity in his First Piano Concerto, Op.23, which was written over six weeks late in 1874, would later be emulated by many Russian composers. The concerto is not Tchaikovsky’s only youthful work to find a permanent place in the repertoire – Romeo and Juliet (1869, but later revised) and Swan Lake (1876) are distinguished inclusions – but it was the first to receive an international premiere. The dedicatee of the concerto, Hans von Bülow, performed it in Boston, Massachusetts in 1875 to positive reviews, yet one wonders if the small band, consisting of only four first violins, were a match for the music’s potential. (A critic noted that, after a missed entry of the trombones in the first movement, von Bülow cried out ‘the brass may go to hell!’) Rather, it is likely that the potential of the new concerto was first realised in a performance in Moscow by Sergei Taneyev later that year, following an apparently mediocre performance given by Gustav Kross in St Petersburg.

It had been to Anton Rubinstein’s younger brother, Nikolai – equally as gifted by all accounts – that Tchaikovsky had turned within days of the score’s completion, seeking advice about piano composition that only a professional could offer. Instead, and quite notoriously, he savaged the concerto, devastating its composer with comments suggesting that, in all, only a few pages could be salvaged and that the remainder should be discarded. There has been speculation ever since over the reason for Rubinstein’s reaction – ranging from jealousy to a tempestuous personality – but the defiant young Tchaikovsky remained true to his word, publishing the work exactly as it stood. Nikolai Rubinstein was soon to recant his position, however: as well as conducting the first Moscow performance with Taneyev, he performed it often as soloist in the years before his early death.

ABOUT THE MUSIC

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In hindsight, it may have been over the demanding solo part that he had voiced concerns, or about sections where piano textures might be lost beneath the orchestration. Similarly, it could have been about structural matters that are still difficult to explain today, chief of which is the famous melody that begins the concerto but which, inexplicably, never returns. In this opening passage, Tchaikovsky eventually relented to advice, replacing lightweight arpeggios that had previously accompanied the soaring melody with the now-famous double-octave chords (revised version, 1889). In terms of structure, it is the brisk, dotted theme that quietly follows which is the real first subject in this sonata-form movement. And here, as if to indicate to the world the ethnic authenticity of his music, Tchaikovsky follows in the style of the newly formed nationalist group of composers (the so-called kuchka, or ‘Mighty Handful’) by using a Ukrainian folksong, ‘Oy, kryatshe, kryatshe’.

The simple theme that opens the second movement typifies Tchaikovsky’s innate gift for melody, the solo flute conjuring folk-like affinities. A central section – originally marked Allegro vivace assai but later escalated to Prestissimo, no doubt capitalising on the concerto’s virtuosic appeal – briefly quotes a café waltz, Il faut s’amuser, danser et rire, well-known to the composer’s circle of friends.

And it is to another Ukrainian folksong, ‘Vïdy, vïdy, Ivan’ku’, that Tchaikovsky turns for the principal theme of the finale, its dance-like cross-rhythms again evoking national character. The broadly lyrical melody that contrasts with this material twice succeeds in holding back the momentum, before the concerto arrives at a seemingly inevitable conclusion: a forceful octave cadenza traverses the entire keyboard, and moves headlong into an apotheosised statement of the movement’s main lyrical theme. With the pianist indefatigably leading the entire orchestra with fortissimo treble chords, it is a famous and satisfying ending. (And for more than a few composers who followed, one that proved irresistible to copy!)

Scott Davie © 2011/2013

First performance: 25 October 1875, Boston. Benjamin Johnson Lang, conductor; Hans von Bülow, soloist.First WASO performance: 14 April 1945. William Cade, conductor; Marshall Sumner, soloist.Most recent WASO performance: 9-10 March 2012. Alexander Lazarev, conductor; Behzod Abduraimov, soloist.Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, strings.

Allegro vivace assai – very lively and fastArpeggio – notes of a chord played in successionCadenza – a showy passage by a solo instrument, usually towards the end of a concerto movement. Originally, cadenzas were improvised by the soloist to show off their brilliant technique.Dotted rhythm – a pattern of alternating long and short notesFortissimo – very loudPrestissimo – as fast as possibleSonata form – in sonata form, in which the first movements of most symphonies of the Classical period are structured, the main themes are introduced in the exposition; in the development section these themes are explored according to key relationships; finally, the themes are restated and resolved in the recapitulation.

Glossary

BARTOK Piano Concerto No.3 featured in Stravinsky’s FirebirdFri 2 & Sat 3 June

YOU MAY ALSO ENJOY

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Jean Sibelius (1865 - 1957)

Four Legends from the Kalevala (Lemminkäinen Suite), Op.22 Lemminkäinen and the Maidens of Saari The Swan of Tuonela Lemminkäinen in Tuonela Lemminkäinen’s Return

The Sibelius heard most frequently in live performance and on radio is an orchestral composer. It seems surprising, then, to find him writing in 1893:

Music attains its fullest power only when it is motivated by poetic impulse. In other words, when words and music blend. Then the vague atmosphere music engenders becomes more defined and things can be said that not even the most powerful can formulate.

Under the spell of Wagner’s music dramas, the young Sibelius had decided to fulfil his ambition to create an opera on a grand scale, The Building of the Boat, from a legend in the Finnish national epic, the Kalevala. Sibelius was clearly fired by the Wagnerian possibilities inherent in his proposed tale of a young Finnish hero, his amorous adventures, tests of bravery and journeys to the underworld. Following his initial work on the opera, Sibelius visited Bayreuth, and was overwhelmed by Parsifal and, even more so, by Tristan und Isolde.

Sibelius wrestled with The Building of the Boat for more than a year, but finally gave up on the piece. So it was that four orchestral works – known collectively as the Lemminkäinen Suite (and sometimes as Four Legends from the Kalevala) – emerged from the wreckage of the Boat.

The best known, The Swan of Tuonela, is a re-casting of the Building of the Boat’s overture, but all are infused with musical ideas originally devised for the spectacular adventures of the would-be opera’s hero, Väinö. They are souvenirs of a period in Sibelius’ composing life when vivid and varied orchestral colour still meant a great deal to him. Although his orchestral palette would become more restrained in the decades to come, he would always hold these pieces in much affection. Indeed, towards the end of his life, Sibelius remarked that the Legends were worthy to stand as one of his symphonies.

The pieces, first performed together in 1896, concern themselves with the exploits of Lemminkäinen, the most famous hero in the Kalevala epic, and his journeys to the enchanted island of Saari (where he sows more than one wild oat) and to Tuonela, the land of the dead; his resurrection there, aided by his mother’s magic powers; and his return home. Sibelius is interested primarily in the atmosphere of the original stories, and does not follow a detailed program.

ABOUT THE MUSIC

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The influence of Tristan und Isolde is most clearly evident in the first two legends. Lemminkäinen and the Maidens of Saari opens with two gleaming chords, scored for horns only, that seem to welcome us into a landscape of legend. A dance-like theme on the woodwind over a gentle, rustic string accompaniment is followed by a mood of passionate brooding. The main melodic material develops an increasingly intense energy; this is the most overtly operatic music in the Legends, like a love duet without singing. The movement now takes on the character of a gradual crescendo, with the rustic dance interwoven with sensuous developments of Lemminkäinen’s love music. The work ends quietly and expectantly, sending the hero on to his next adventure.

Where the first Legend is quite lavishly orchestrated, The Swan of Tuonela represents Sibelius’ ability to achieve a unique sound picture by a distinctive treatment of relatively modest orchestral resources. Tuonela is the land of death, surrounded by black waters on which the swan glides, singing. Trumpets, clarinets and flutes are absent. There is a bass clarinet where there was none in the first Legend. But it is the cor anglais solo that dominates everything here. The first and second violins are frequently divided into four groups each, which, great writer for strings that he was, Sibelius employs to indelible effect. Where other composers of this period might use multiple string choirs to create an impression of lusciousness, Sibelius evokes something cold, ancient and complete.

Lemminkäinen in Tuonela is the most macabre of the Kalevala episodes Sibelius chose to illustrate. Setting out to kill the swan, Lemminkäinen is himself killed, cut into pieces, and thrown into the black river. Lemminkäinen’s mother then combs the river with a rake, gathers up the pieces of her son’s body and magically sews them back together.

The suite ends with Lemminkäinen’s Return, the most vigorous of the four pieces, and a moto perpetuo of great drive and rhythmic energy.

Abridged from a note by Phillip Sametz © 2002

First performance: 13 April 1896. Orchestra of the Helsinki Philharmonic Society, composer conducting.First WASO performance: The first movement to be performed by the WASO was ‘Lemminkaïnen’s Return’ on 2-3 July 1954 under Eugene Goossens. This is the Orchestra’s first performance of the complete suite.Most recent WASO performance: ‘The Swan of Tuonela’ on 8-9 May 2015 conducted by Baldur Brönnimann.Instrumentation: two piccolos, two flutes, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, strings.

SIBELIUS Symphony No.2featured in Asher Fisch Conducts SibeliusFri 21 & Sat 22 April

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Moto perpetuo – ‘perpetual motion’: passage of music which consists of an apparently never-ending string of fast-moving notes.Music drama – term that refers to Wagner’s later operas in which he sought to integrate the musical, dramatic and visual elements into a complete work of art. It was for these that he built the specially designed festival theatre in the Bavarian town of Bayreuth.

Glossary

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The impact of supporting your Orchestra is powerful and far-reaching.

Thank you for your ongoing support!

This year we invite you to become, or continue as, a Patron by making a donation to WASO in 2017. WASO Patrons enjoy opportunities to experience the Orchestra from different perspectives – not just from the auditorium – through invitations to exclusive Patron-only events, getting to know our musicians and receiving regular updates.

If you wish to become a Patron, renew or increase your gift, please contact Sarah Tompkin on 9326 0017 or tompkins@waso.com.au. It is also quick and easy to make a donation online at waso.com.au or you can make a donation at the Box Office with your ticket purchases.

All donations over $2 are fully tax deductible.

WASO PHILANTHROPY

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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 Jones Rachael 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 ChapmanMrs Roslyn WarrickJudy Sienkiewicz Anonymous (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 programsInstrument purchasesJohn Albright & Susan Lorimer – purchase of the EChO Double BassJean & Peter Stokes - Cello & Tuba

Jean ArkleyRon & Penny CrittallRobyn GlindemannBarrie & Jude LepleyMrs MorrellAnonymous (1)

Trusts & FoundationsCrown Resorts Foundation & Packer Family FoundationThe James Galvin FoundationSimon Lee FoundationThe Stan Perron Charitable Foundation

Crescendo Giving CircleAOT Consulting Pty LtdKaylene CousinsEuroz Charitable FoundationMadeleine King MP, Federal Member for BrandRosalind LilleyPamela PittValerie VicichThe Spivakovsky Jubilee

If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Sarah Tompkin, Fundraising and Philanthropy Manager, on 9326 0017 or email tompkins@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

OUR SUPPORTERS

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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 New

Impresario PatronGifts $10,000 - $19,999John Albright & Susan Lorimer Gay & Bob Branchi Gavin BunningPeter & Lesley Daries (Orchestral Chair Partners - Tutti Viola)Tony & Gwenyth Lennon Margaret & Rod Marston Joshua & Pamela PittTrish Williams – Strategic InteractionsRon & Sue Wooller (Orchestral Chair Partners - Principal Bassoon)

Maestro Patron Gifts $5,000 - $9,999Jean Arkley in memory of Tom ArkleyBill Bloking Dr Roland & Therese BrandIan & Elizabeth ConstableMoira & John DobsonTim & Lexie ElliottBridget Faye AM Gilbert GeorgeWarwick Hemsley & Melissa ParkeDr Patricia KailisKelly FamilyAlison KennedyKeith & Gaye Kessell Dr Ronny Low & Dr Emma RichardsonBryant & Louise Macfie Robert MayPaula & John Phillips Peter & Jean Stokes Richard Tarala & Lyn Beazley AORos ThomsonAlan WhithamAnonymous (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 Hovell Sylvia & Wally HyamsEleanor John Michael & 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 (2)

Principal PatronGifts $1,000 - $2,499Ron & Sue AdamsCaroline Allen & Sandy DunnPrue Ashurst in memory of Eoin CameronMargaret Atkins Dan & Gail Bam

Betty BarkerNoelle BeasleyMichael & Nadia Berkeley-Hill Kevin Blake Matthew J C Blampey Namy BodinnerSusy BoglePeter & Eve BolandDr & Mrs P BreidahlJean Brodie-Hall AMJames & Gay BrownMarilyn & Ian BurtonDr Anne ChesterPeter & Sue Clifton David CookeArthur & 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 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 Jee

Annual Giving

OUR SUPPORTERS

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Lilian & Roger JenningsAnthony Kane in memory of Jane Leahy-KaneBill Kean Noelle & Anthony Keller AMStephanie & John Kobelke In memory of Eileen HayesIrving Lane Natasha LanglandsMeg 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 and Christine Soutar

Ruth ThomasGavin Toovey & Jaehan LeeMary Townsend James & Rosemary TrotterDr Robert TurnbullMaggie VenerysAdrienne & Max Walters Diana WarnockWatering ConceptsDai and Anne WilliamsIan Williams AO & Jean WilliamsJim & Gill WilliamsMargaret WilsonJudith Wilton & David TurnerHilary & Peter Winterton AMAnonymous (26)

Tutti PatronGifts $500 - $999Geoff & Joan Airey Ian AppsCatherine BagsterBernard & Jackie Barnwell Shirley Barraclough Mrs Berwine Barrett-LennardColin BeckettPamela M BennetJohn & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerAlison Bunker & Myles HarmerLucia BuralliAnn Butcher & Dean R Kubank Michelle CandyNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeFred & Angela ChaneyDr Sarah CherianLyn & Harvey Coates AOAgatha & Alex Cohen AOHelen CookBrian CresswellGina & Neil DavidsonProfessor Wayne Iwan Lee Davies FRSB Jop & Hanneke DelfosJudy Dolan Simon & Pamela Douglas

Mrs G EwenMaxine & Bill Farrell AMJoan GagliardiJennifer & Stephen GardinerGeorge GavranicElaine GimsonIsobel Glencross Pitsamai & Kevin GreenDavid & Valerie GullandAlan Harvey & Dr Paulien de BoerEric & Elizabeth HeenanJohn 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 MotherwayTrevor & Ane Marie Lacy Louis & Miriam LandauMartin & Ruth LevitAnne LewisMegan LoweKen & Yoko LucasMary 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 Her Excellency the Hon. Kerry Sanderson, AC

OUR SUPPORTERS

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Carole SextonThe Sherwood FamilyPaul & Margaret SkerrittHendrik SmitDr L Sparrow & FamilyPeggy & Tom Stacy Eleanor SteinhardtIn Memoriam of Mr Andrew David StewartLisa & Andrew TelfordRuth E Thorn

Patricia TurnerS R VogtMargaret WallaceJohn & Nita WalsheAnne Watson Joy WearnePatricia WestonDr Chris & Mrs Vimala WhitakerB M WilcoxGeoff Wilkinson

Violette William Janet WilliamsDr Robyn Yeo & Ms Cyn Johnson Chris ZiatisAnonymous (26)

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

OUR SUPPORTERS

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

EXECUTIVECraig Whitehead Chief Executive Anthony 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 CostelloOrchestral Operations ManagerDavid Cotgreave Production & Technical ManagerAlistair CoxOrchestra 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 ManagerGinny LuffCorporate Partnerships & Events Coordinator

MARKETINGMarc Missiaen Executive Manager, MarketingKirsty Chisholm Marketing ManagerLuke AndersonDigital Marketing ManagerLuke PownallPublic Relations ManagerCliona HayesMarketing CoordinatorImogen ArnoldGraphic Designer

PHILANTHROPY Alecia BenzieExecutive Manager, PhilanthropySarah 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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