ALCOHOL.THINK AGAIN MASTERS SERIESFriday 13 & Saturday 14 March 7.30pmPerth Concert Hall

PROGRAM

SEASON OpENiNg cONcErt!

SARAh ChAnG PlAyS BRuCh

WelCOMe

After presenting the Beethoven symphonic cycle last August, I thought that we should pay a tribute to the other two great Classical composers in our opening concert of the 2015 season. We open each half of tonight’s concert with a symphony – one by Mozart and one by Haydn. And even though these are two “classical” works, they could not be more different in style and character. Mozart’s Prague Symphony is drenched in light, both elegant and profound, with its solemn Adagio opening of the first movement, and the spirited finale.

Haydn’s Mourning Symphony is somber and sinister, a true representative of the “Sturm und Drang” style; the stormy romantic precursor to the 19th century, which excited central European composers five decades before the word “Romantic” was first mentioned. Even though these two symphonies are not counted amongst the most popular of their respective creators, I find that they truly reflect the essence of the genius of both Mozart and Haydn. They are rigid in structure but free in expression, they make perfect use of the limited orchestral forces at hand, and their classical purity, proportion and beauty are moving listeners today as they did more than 200 years ago.

We balance these classical symphonies with the highly romantic violin concerto by Max Bruch and arguably the greatest orchestral work of the impressionistic French period – Claude Debussy’s La Mer. The four works gives the listener a chance to examine the three most important aesthetic approaches to musical composition in the span of the century they represent – through structure with the classics, emotion with the romantics and sonorities with the impressionists.

Asher Fisch Principal Conductor & Artistic Adviser

Asher Fisch appears courtesy of Wesfarmers Arts

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WelCOMe

From the MinisterIt is my great pleasure to welcome you to the opening Masters Series concert of the West Australian Symphony orchestra’s 2015 season.

This year WASo will once again delight audiences with a diverse range of works, performed at their new home, the Perth Concert Hall. It is wonderful to see WASo working closely with both the City of Perth and the State Government to activate this significant venue.

This first concert sees violinist Sarah Chang performing Bruch’s Violin Concerto No. 1. Chang is a talented performer that has been inspiring audiences since a very young age, and it is a great privilege to hear her play alongside the orchestra, here at the Perth Concert Hall.

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

Hon John Day MLA Minister for Planning; Culture and the Arts

From the Lord MayorThis year WASo continues to bring exquisite performances to the people of Perth. It is my pleasure to welcome you to the Perth Concert Hall for this special performance, Sarah Chang Plays Bruch. This concert is an example of the evocative and irresistible works performed in partnership with our State orchestra.

Sarah Chang’s performance of Bruch’s First Violin Concerto complete with rich harmonies, powerful melodies and an exhilarating finale will be sure to captivate and inspire audiences.

The exciting works of WASo’s 2015 Season await you and I encourage you to join us in engaging in a season of compelling classical performances.

Lisa-M. Scaffidi The Right Honourable the Lord Mayor, City Of Perth

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From the WASO Chairmanon behalf of the West Australian Symphony orchestra, I’m delighted to welcome you to Sarah Chang Plays Bruch, our opening Alcohol. Think Again Masters Series concert for the 2015 season.

Tonight marks an exciting occasion, not only as we welcome back Maestro Asher Fisch for his second year as WASo’s Principal Conductor and Artistic Adviser, but also as we celebrate a new era for WASo in our new home, the Perth Concert Hall.

After more than 40 years of performing in this magnificent venue, we are delighted to finally call it our home. The Perth Concert Hall is considered one of Australia’s finest music venues, with its exceptional acoustic. It is a privilege to hear our orchestra perform here week after week. There is a tremendous amount of potential for this venue, and we are looking forward to working towards achieving our vision to create a vibrant cultural hub in the city.

I would like to acknowledge the ongoing support of Wesfarmers Arts, who are not only WASo’s Principal Partner but who also support Asher’s position. Their assistance is vital in enabling us to continue to strive towards our vision to touch souls and enrich lives through music.

Thank you to each and every one of you for joining us tonight. Together we have an exciting year of music-making ahead. We look forward to welcoming you into our new home for many more concerts throughout 2015.

Janet Holmes à Court AC WASO Chairman

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uPCOMInG COnCeRTS

BOOk NOw CAll 9326 0000 vISIT wASO.cOm.Au OR tickEtEk.cOm.Au*Transaction fees may apply.

ALCOHOL.THINK AGAIN MASTERS SERIES

mischa maisky in concertFri 27 & Sat 28 March 7.30pm Perth Concert Hall

BEETHOVEN Leonore Overture No.3 BLOCH Schelomo – Hebraic Rhapsody STRAUSS, R. Don Quixote

Asher Fisch conductor Mischa Maisky cello (pictured)Asher Fisch appears courtesy of Wesfarmers Arts

MORNING SYMPHONY SERIES

rhapsody in Blue Thurs 19 March 11am Perth Concert Hall

STRAUSS, J. Jr Excerpts from Gypsy Baron GERSHWIN Rhapsody in Blue And a selection of Viennese operetta arias and Gershwin songs.

Asher Fisch conductor/piano (pictured) Stefanie Irányi mezzo sopranoAsher Fisch appears courtesy of Wesfarmers Arts

tickEtS frOm $27*

MACA LIMITEd CLASSICS SERIES

rhapsody in Blue Fri 20 & Sat 21 March 7.30pm Perth Concert Hall

STRAUSS, J. Jr Excerpts from Gypsy Baron GERSHWIN arr. MCBRIDE Girl Crazy: overture GERSHWIN Rhapsody in Blue And a selection of Viennese operetta arias and Gershwin songs.

Asher Fisch conductor/piano (pictured) Stefanie Irányi mezzo sopranoAsher Fisch appears courtesy of Wesfarmers Arts

tickEtS frOm $30*

tickEtS frOm $30*

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Pre-concert TalksFind out more about the music in the concert with this week’s speaker, Marilyn Phillips. Pre-concert talks take place at 6.45pm in the Wardle Room.

Meet the ArtistMeet soloist Sarah Chang post-concert Saturday night in the Wardle Room.

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

Meet the WASO Musicians and Asher Fisch post-concertJoin our musicians and Principal Conductor, Asher Fisch after the concert on the Balcony Verandah (Level 2). Bar service will be available on the Balcony Verandah, along with music entertainment from The Russell Holmes Trio.

ALCOHOL.THINK AGAIN MASTERS SERIES

SARAh ChAnG PlAyS BRuCh

MOZART Symphony No.38 Prague (23 mins)Adagio – Allegro Andante Presto

BRUCH Violin Concerto No.1 (23 mins)Vorspiel [Prelude] (Allegro moderato) – Adagio Finale (Allegro energico)

Interval (25 mins)

HAYDN Symphony No.44 Trauer-Symphonie (22 mins) Allegro con brio Menuetto e trio (Allegretto: Canone in diapason) Adagio Finale (Presto)

DEBUSSY La Mer (23 mins)De l’aube à midi sur la mer (From Dawn to Noon on the Sea) Jeux de vagues (Play of Waves) Dialogue du vent et de la mer (Dialogue of the Wind and the Sea)

Asher Fisch conductor Sarah Chang violin

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Tickets from $30*

STRAUSS, J. Jr Excerpts from Gypsy BaronGERSHWIN arr. MCBRIDE Girl Crazy: OvertureGERSHWIN Rhapsody in BluePlus a selection of Viennese operetta arias and Gershwin songs.

Asher Fisch conductor/piano Stefanie Irányi mezzo soprano

Fri 20 & Sat 21 Mar 7.30pmPerth Concert Hall

Principal Conductor Asher Fisch performs Gershwin’s worldwide favourite!

Asher Fisch appears courtesy of Wesfarmers Arts

MACA LIMITED CLASSICS SERIES

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WASO In The COMMunITy

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Masterclass with Karen Gomyo and Charis MacFarlane

Sophia Sherring

WASO Education for Kindergarten – Year 12 students in 2015WASo is proud to offer an Education program that complements the curriculum, improves social and emotional wellbeing and encourages participation in, and appreciation of, live music and music making in a variety of settings.

WASo Education kicked off in 2015 with a sold-out WACE Designated Works concert. In the final year of the 2013-15 School Curriculum and Standards Authority Designated Works List, WASo performed an exciting variety of works across Year 11 and 12 areas of study, presenting chamber music and choral works for the first time alongside symphony and concerto. The WACE concert included discussion of historical and cultural perspectives, as well as analysis of key compositional concepts, and was presented by the highly regarded and well-loved conductor and educator, Peter Moore.

WASo loves sharing music with people across the state. With a commitment to visiting regional and remote locations, WASo on the Road will continue to

see small ensembles present school performances and workshops, as well as free community concerts. WASo on the Road – Pilbara, supported by Chevron, sees us return to Karratha, Dampier, Roebourne and onslow in May this year, and our second WASo on the Road tour will see us travel to Geraldton in September to present a multi-arts program in partnership with The Literature Centre.

ECho in Schools continues in 2015 with a view to finding new ways to reach audiences and making it easier for school communities to experience the joy of live music. These interactive performances are an exciting extension of our ECho Kids’ Cushion Concerts (including have-a-go and musician Q&A sessions) and are a really special opportunity for WASo musicians to interact with young people (and educators!) in their school.

With Primary School Concerts, open Rehearsals, Morning Symphony and Backstage Pass and an always-developing suite of special events including our inaugural Education Week in June, we are looking forward to working with students and educators from Kindergarten to Year 12 across the state through an ever-growing menu of programs that support and encourage young people’s participation in, and appreciation of live music and music-making.

*Transaction fees may apply

Call 9326 0000 quoting 1258 Visit waso.com.au or ticketek.com.au

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Tickets from $30*

STRAUSS, J. Jr Excerpts from Gypsy BaronGERSHWIN arr. MCBRIDE Girl Crazy: OvertureGERSHWIN Rhapsody in BluePlus a selection of Viennese operetta arias and Gershwin songs.

Asher Fisch conductor/piano Stefanie Irányi mezzo soprano

Fri 20 & Sat 21 Mar 7.30pmPerth Concert Hall

Principal Conductor Asher Fisch performs Gershwin’s worldwide favourite!

Asher Fisch appears courtesy of Wesfarmers Arts

MACA LIMITED CLASSICS SERIES

yOuR WASO eXPeRIenCe

PLEASE SHARE OR DOWNLOADHelp us to be environmentally responsible by sharing your printed programs. You can also read WASo’s programs on your computer or mobile device by visiting waso.com.au

WHEN TO APPLAUDMusicians love applause. As a guide, audience members normally applaud:•Whentheconductororsoloistwalksonto

the stage • Afterthecompletionofeachpieceand

at the end of the performance

WHEN YOU NEED TO COUGHPlease try to muffle your cough in a handkerchief during a louder section of the music. Cough lozenges are available from the WASo Customer Service Desk before each performance and at the interval.

TOILETSMale and female toilets are located on each of the four foyer levels of Perth Concert Hall. The largest number of toilets are available on the ground floor of the venue, with further toilets on the Terrace Level, Lower Gallery and upper Gallery levels. A universal accessible toilet is available on the ground floor of the venue.

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

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

WASO ON 720 ABC PERTHTune in to 720 ABC Perth on Friday mornings when Prue Ashurst joins Eoin Cameron to provide the latest on classical music and WASo’s upcoming concerts.

WASO ON ABC CLASSIC FMThis performance is being recorded for delayed broadcast on ABC Classic FM. For further details visit abc.net.au/classic

Join us on Facebook facebook.com/WestAustralianSymphonyorchestra

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

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

COnneCT WITh WASO

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PeRTh COnCeRT hAll

Perth Concert Hall – Under WASO Management!The beginning of 2015 marked a major milestone for both WASo and the Perth Concert Hall: WASo took over the management of Perth Concert Hall on 1 January 2015 for an initial 12 month term. During this transition year, WASo will begin planning for a full relocation to the Perth Concert Hall and start developing the strategy to make Perth Concert Hall a vibrant, exciting venue, hosting a broad range of classical and contemporary music and events.

WASo has set up a separate not-for-profit entity, WA Venues & Events Pty Ltd, as a sister company to WASo Pty Ltd and the venue management company for Perth Concert Hall.

Key staff appointments include Brendon Ellmer as the new General Manager, and Lorraine Rice as the Deputy General Manager. Brendon has spent the last six years as General Manager of the State Theatre Centre of Western Australia, where Lorraine worked with him as the venue’s operations Manager.

Brendon Ellmer & Lorraine Rice

What changes will you see during 2015?The new management team is looking to bring more concerts and events, new hirers and new audiences into the venue, turning Perth Concert Hall into a hub of activity. While this will be a gradual process, you may have already noticed a number of other changes:

•Theteamhaveusedthequietertimeafter New Year’s Eve to give the venue a thorough “New Year’s clean”, do some interior painting and perform minor repairs and maintenance work.

•Lightinginthefoyerareashasbeenre-focused to provide greater ambience and showcase architectural features.

•LeadingWesternAustraliancateringconsultancy service Heyder & Shears have been awarded the food and beverage contract and are revitalising the food and beverage options with new menus and a greater choice of small meals and snacks.

•Inanefforttogivepatronsbetteruseofthefoyer spaces and improve audience traffic flow, the venue and WASo are testing different locations for talks, buffets and bars.

The team is keen to hear any feedback or suggestions you may have – feel free to speak to any usher or member of the Front-of-House team or contact us at info@perthconcerthall.com.au.

Join us on Facebook facebook.com/perthconcerthallwa

Follow us on Twitter twitter.com/perthconcerthal

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COnneCT WITh PeRTh COnCeRT hAll

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ABOuT The ARTIST

Asher FischPrincipal Conductor

Asher Fisch’s first season with the WASo included a range of classical repertoire, as well as a West Australian first; Beethoven’s nine symphonies performed over two weekends. A seasoned conductor in both the operatic and symphonic worlds, he is known best for his interpretative command of German and Italian repertoire of the Romantic and post-Romantic era, in particular Wagner, Brahms, Strauss and Verdi. He is currently Principal Guest Conductor of the Seattle opera, where he conducted its quadrennial Wagner Ring cycle in 2013, and his former posts include Music Director of the New Israeli opera (1998-2008) and the Vienna Volksoper (1995-2000). He first worked with WASo in 1999.

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

(Denmark); a tour in Italy with the orchestra della Toscana; and a visit to the Melbourne Festival in october 2013, where he conducted an all-Wagner program with the Melbourne Symphony orchestra. He conducted the State opera of South Australia’s Wagner Ring cycle in 2005, which won ten Helpmann Awards.

Asher Fisch began his conducting career as Daniel Barenboim’s assistant and kapellmeister at the Berlin State opera. He is an accomplished pianist and released his first solo disc of Wagner piano transcriptions in 2012.

Asher Fisch appears courtesy of Wesfarmers Arts.

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ABOuT The ARTIST

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ENGAGE CHALLENGE EXCITE SURPRISE REFLECT

Photograph © Tony McDonough

Sarah Chang Violin

Since her debut with the New York Philharmonic at the age of eight, Sarah Chang has performed with the world’s greatest orchestras.

Recent and future highlights include performances with the BBC Scottish Symphony orchestra, Cincinnati Symphony orchestra, Houston Symphony, The Philadelphia orchestra, Los Angeles Philharmonic, New Jersey Symphony orchestra, Ravinia Festival and Aspen Music Festival. In addition to her engagement with WASo, she appears this season with the Adelaide, Melbourne and Queensland Symphony orchestras.

Sarah Chang is a past recipient of the Avery Fisher Prize, Echo Klassik award, Gramophone’s

Young Artist of the Year award and Korea’s Nanpa award. Her many recordings include Bruch/Brahms: Violin Concertos with Kurt Masur and the Dresden Philharmonic.Sarah Chang appears courtesy of Mitsubishi Corporation

WASO On STAGe TOnIGhT

PrincipalAssociate PrincipalGuest Musician^

VIOLINKirsty HiltonGuest ConcertmasterGraeme NorrisAssoc ConcertmasterSemra Lee-Smith Assistant Concertmaster Zak RowntreePrincipal 2nd ViolinKylie Liang Assistant Principal 2nd ViolinSarah BlackmanFleur ChallenStephanie DeanSara Duhig^Beth HebertAlexandra IstedChristina Katsimbardis^Shaun Lee-Chen*Andrea Mendham^Akiko MiyazawaKathleen o’Hagan^Ken PeelerElena PhatakGraham PyattLouise SandercockJolanta SchenkJane SerrangeliKathryn ShinnickJacek SlawomirskiBao Di TangCerys ToobyTeresa Vinci^David Yeh

VIOLACaleb WrightAlex BroganKierstan ArkleysmithNik BabicGeorge Batey^Kathy Corecig^Katherine DrakeAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLORod McGrath Louise McKayChair partnered by Penrhos CollegeShigeru Komatsuoliver McAslan Nicholas MetcalfeEve Silver*Fotis SkordasTim SouthXiao Le Wu

DOUBLE BASSAndrew Rootes*Joan Wright Elizabeth Browning^Christine ReitzensteinLouise RossAndrew TaitMark Tooby

FLUTEAndrew Nicholson Chair partnered by Apache

Mary-Anne Blades

PICCOLOMichael Waye

OBOEPeter Facer Elizabeth Chee

COR ANGLAISLeanne Glover

CLARINETAllan Meyer Lorna Cook

BASS CLARINETAlexander Millier Chair partnered by Altegra Property Group

BASSOONJane Kircher-Lindner Chair partnered by Sue & Ron WoollerLinda Charteris^Adam Mikulicz

CONTRABASSOONChloe Turner

HORNDavid Evans Sharn McIverRobert Gladstones Principal 3rdJulia Brooke Francesco Lo Surdo

TRUMPETBrent GrapesEvan Cromie Breanna Evangelista^Brody Linke^Peter Miller

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONTroy Greatz A/PrincipalJoel Bass^Amanda Dean^

HARPSarah Bowman Bronwyn Wallis^

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

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MeeT The MuSICIAn

Elizabeth CheeAssociate Principal oboe

What is your first musical memory? I don’t have a specific first memory of music as I was always surrounded by music since birth. My dad was a keen concert goer, music lover and high school music teacher so we always had a variety of music playing in the home: from opera, Andrew Lloyd Webber musicals or Noel Coward, to symphonic works, oratorios and world music.

What are you most looking forward to in the upcoming season? The Mozart oboe Concerto with Diana Doherty of course.

Has your opinion of good music changed over your lifetime? My opinion of music is always changing as I learn new works and go to different concerts. If any form of music is performed well I think it can be ‘good’. I also think as I get older and experience more of life’s emotions it impacts the way I hear music. For example: the heart wrenching moments in a Shostakovich symphony seem so much more powerful and moving to me now than they did 15 years ago.

How do you like to spend your time outside WASO? My time outside WASo is mostly spent in four other places: with family, at the beach, in my paddling pool or at church. I play the piano for my church and also do a lot of socialising with the people there. When I can, I get back to Sydney and visit my family (especially my two beautiful nieces and nephew). I love them so much!

How did you spend your summer holidays this year?This summer break I went on holiday to Myanmar (Burma) and Thailand for a month. I had a great time visiting temples, lakes, hill tribe villages, riding elephants and hugging tigers. I can highly recommend these places for a visit!

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TIMelIne Of COMPOSeRS & WORkS

1700 1800 1900 2000

JOSEPH HAYDN

1732 – 1809

Born in Rohrau, AustriaDied in Vienna

MAX BRUCH

1838 – 1920

Born in CologneDied in Friedenau, Berlin

Haydn's Symphony No.441771

WOLFGANG AMADEUS MOZART

1756 – 1791

Born in SalzburgDied in Vienna

Mozart's Symphony No.381786

CLAUDE DEBUSSY

1862 – 1918

Born in Saint-Germain-en-Laye, FranceDied in Paris

Bruch's Violin Concerto No.11868

Debussy's La Mer1905

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Wolfgang Amadeus Mozart (1756 – 1791)

Symphony No.38 in D, K.504, Prague Adagio – Allegro Andante Presto

In January 1787, Mozart was in Prague for a series of musical events, including the highlight of conducting his opera The Marriage of Figaro. The city was already in the grip of a craze. ‘Nothing is played, sung or whistled but Figaro,’ wrote Mozart. A reference to Figaro has been detected in this symphony: the bustling, leaping figure which begins the finale turns up under the duet for Susanna and Cherubino, which climaxes with the page’s escape by leaping out the window. But perhaps the similarity was not a deliberate plant of Mozart’s to delight the audience in Prague. The symphony was finished on 6 December 1786, and research has suggested that the last movement was composed earlier in 1786, possibly as a new finale for the Paris Symphony, K.297.

That the symphony was aimed at the ‘connoisseurs and music-lovers’ who had invited Mozart to Prague there can be no doubt. Mozart’s sketches for the first movement show that not everything came to him easily, and the results have been described by H.C. Robbins Landon as ‘one of Mozart’s supreme contrapuntal gestures, worked out in staggering detail’. The very prominent parts given to wind instruments are thought to reflect Mozart’s excitement at writing for the excellent wind players of the Bohemian capital.

This is in many ways Mozart’s grandest and most ambitious symphony, deserving of an equal footing with the three last symphonies, of 1788. Perhaps the absence of a minuet has suggested that the Prague Symphony lacks their stature. Alfred Einstein’s defence is that the Prague says everything it has to say in three movements.

Adapted from a note by David Garrett © 2004

Mozart himself conducted the first performance of this symphony, on 19 January 1787 at a concert in Prague during which he improvised a set of piano variations on the aria ‘Non più andrai’ from The Marriage of Figaro. WASO first performed it on 10 August 1940 with Antal Dorati. WASO last performed this work on 17 November, 2007, conducted by Lothar Zagrosek.

ABOuT The MuSIC

Contrapuntal of, relating to, or incorporating counterpoint (two or more lines of music or melodies that are played at the same time).

Minuet A dance in triple time, which became popular in France in the 17th and 18th centuries. The term is now used to refer to a dance-like piece or movement in moderately fast triple time.

Glossary

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MOZART Violin Concerto No.3featured in Pictures at an ExhibitionFri 5 & Sat 6 June

Glossary

Contrapuntal of, relating to, or incorporating counterpoint (two or more lines of music or melodies that are played at the same time).

Minuet A dance in triple time, which became popular in France in the 17th and 18th centuries. The term is now used to refer to a dance-like piece or movement in moderately fast triple time.

You MAY ALSo ENJoY

MOZART Violin Concerto No.3featured in Pictures at an ExhibitionFri 5 & Sat 6 June 2015

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Motif A short, distinctive melodic or rhythmic figure, often part of or derived from a theme.

Canon A type of counterpoint where each part plays exactly the same melody but starting one after the other.

Glossary

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HAYDN Symphony No.22 Philosopherfeatured in Diana Doherty Plays MozartFri 31 July & Sat 1 August

Joseph Haydn (1732 – 1809)

Symphony No.44 in E minor Trauer-Symphonie Allegro con brio Menuetto e trio (Allegretto: Canone in diapason) Adagio Finale (Presto)

The Symphony No.44 is in many ways the crowning achievement among Haydn’s intense and stormy Sturm und Drang (Storm and Stress) works, which date mostly from the decade 1765-1775. The designation Trauer-Symphonie (Mourning Symphony) may be considered authentic, since Haydn is said to have asked that the slow movement be played at his funeral.

For years Haydn had been trying to translate into a symphonic structure the solemn gravity of the old church sonata (sonata da chiesa) form, with an opening slow movement. Here, he achieves the synthesis he was seeking by placing the slow movement third rather than second, thereby creating a central focus for the symphony which aptly counterbalances the strong opening Allegro.

The symphony opens with a four-note motif which goes on to play a vital role throughout the movement, building the tension to a level unprecedented in Haydn’s symphonies at this point. In the Minuet, Haydn solemnly has the top and bottom lines moving in canon. The second part of the major-key Trio section brings dramatic offbeat accents and dynamic contrasts typical of Sturm und Drang style.

In the Adagio Haydn uses his wind instruments sparingly against the strings which characteristically, in this context, are muted. There is no emotional letdown in the Finale, but instead a fierce presto, tense and concentrated.

The ‘Mourning’ Symphony marks a watershed in Haydn’s output. It is arguable that without his Sturm und Drang adventures, Haydn would never have gone on to achieve the London symphonies, The Creation, The Seasons and the last six masses.

Abridged from a note © Anthony Cane

The Symphony No.44 was probably composed in 1771, during Haydn’s long period of service at the Esterházy court. The West Australian Symphony Orchestra first performed it on 14 and 15 April 1978 under David Measham. WASO last performed this work on 26 August, 1995, conducted by Vernon Handley.

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Max Bruch (1838 – 1920)

Violin Concerto No.1 in G minor, op.26 Vorspiel [Prelude] (Allegro moderato) – Adagio Finale (Allegro energico)

Max Bruch’s First Violin Concerto is one of the greatest success stories in the history of music. The violinist Joseph Joachim, who gave the first performance of the definitive version in 1868, and had a strong advisory role in its creation, compared it with the other famous 19th-century German violin concertos, those of Beethoven, Mendelssohn and Brahms. Bruch’s, said Joachim, is ‘the richest, the most seductive’. (Joachim was closely associated as performer with all four of these concertos, and with the creation of Brahms’ concerto, which he premiered in 1879.) Soon Bruch was able to report that his concerto was ‘beginning a fabulous career’. In addition to Joachim, the most famous violinists of the day took it into their repertoire: Auer, Ferdinand David, Sarasate. With his first important large-scale orchestral work, the 30-year-old Bruch had a winner.

The success of this concerto was to be a mixed blessing for Bruch. Few composers so long-lived and prolific are so nearly forgotten except for a single work. (Kol nidrei for cello and orchestra is Bruch’s only other frequently performed piece, its use of Jewish melodies having erroneously led many to assume that Bruch himself was Jewish.) Bruch followed up this violin concerto with two more, and another six pieces for violin and orchestra.

But although he constantly encouraged violinists to play his other concertos, he had to concede that none of them matched his first. This must have been especially frustrating considering that Bruch had sold full rights in it to a publisher for the paltry sum of 250 thalers.

In 1911 an American friend, Arthur Abell, asked Bruch why he, a pianist, had taken such an interest in the violin. He replied, ‘Because the violin can sing a melody better than the piano can, and melody is the soul of music.’ It was the composer’s association with Johann Naret-Koning, concertmaster of the Mainz orchestra, which first set Bruch on the path of composing for the violin. He did not feel sure of himself, regarding it as ‘very audacious’ to write a violin concerto, and reported that between 1864 and 1868 ‘I rewrote my concerto at least half a dozen times, and conferred with x violinists.’ The most important of these was Joachim. Many years later Bruch had reservations about the publication of his correspondence with Joachim about the concerto, worrying that ‘the public would virtually believe when it read all this that Joachim composed the concerto, and not I’.

ABOuT The MuSIC

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Like Mendelssohn in his E minor Violin Concerto, Bruch brings the solo violin in right from the start, after a drum roll and a motto-like figure for the winds. The alternation of solo and orchestral flourishes suggests to Michael Steinberg a dreamy variant of the opening of Beethoven’s Fifth Piano Concerto.

With the main theme launched by the solo violin in sonorous double-stopping, and a contrasting descending second subject, a conventional opening movement in sonata form seems to be under way. The rhythmic figure heard in the plucked bass strings plays an important part. But at the point where the recapitulation would begin, Bruch, having brought back the opening chords and flourishes, uses them instead to prepare a soft subsiding into the slow movement, which begins without a pause.

The songful character of the violin is to the fore in Bruch’s Adagio, where two beautiful themes are linked by a memorable transitional idea featuring a rising scale.

The Hungarian or Gypsy dance flavour of the last movement’s lively first theme must be a tribute to the native land of Joachim, who had composed a ‘Hungarian’ Concerto for violin. Bruch’s theme was surely in Brahms’ mind at the same place in the concerto he composed for Joachim. Bruch’s writing for the solo violin here scales new heights of virtuosity. of the bold and grand second subject, Tovey observes that Bruch’s work ‘shows one of its noblest features just where some of its most formidable rivals become vulgar’. In this concerto for once Bruch was emotional enough to balance his admirable skill and tastefulness. The G minor Violin Concerto is just right, and its success shows no sign of wearing out.

Abridged from a note by David Garrett © 2004

The premiere of Bruch’s First Violin Concerto was given in Bremen in January 1868 with Karl Martin Reinthaler conducting and Joseph Joachim as soloist. The West Australian Symphony Orchestra first performed it on 15 May 1943 with conductor Percy Code and soloist Lionel Lawson. WASO last performed this work on 11 August, 2012, performed by Tasmin Little and conducted by Paul Daniel.

Sonata form A term conceived in the 19th century to describe the way most Classical composers structured some movements 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.

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

Glossary

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VIVALDI Four Seasonsfeatured in Vivaldi’s Four SeasonsThu 30 April, Fri 1 & Sat 2 May

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Claude Debussy(1862 – 1918)

La Mer – Three Symphonic SketchesDe l’aube à midi sur la mer (From Dawn to Noon on the Sea)Jeux de vagues (Play of Waves)Dialogue du vent et de la mer (Dialogue of the Wind and the Sea)

‘Never before had that marvellous music La Mer appeared so seductive and yet mysterious at the same time, so imbued with the enigmatic life of the Cosmos, than on that evening when her great creator, with a gentle hand, was ruling over her waves.’

So wrote a young Russian composer, Lazare Saminsky, on hearing Debussy conduct La Mer in St Petersburg in 1913. But the work’s greatness had by no means seemed self evident when it had first appeared in 1905. Debussy himself was weathering a personal scandal, having left his second wife, and part of the lack of enthusiasm on the part of the Parisian public may have stemmed from its disapproval. The first performance, too, was by all accounts under-rehearsed and the conductor Camille Chevillard unsympathetic to Debussy’s style. The composer and conductor Lalo complained that he could neither hear, see nor feel the sea, and a reviewer in Boston wrote that ‘we clung like a drowning man to a few fragments of the tonal wreck, a bit of theme here, a comprehensible figure there, but finally this muted-horn sea overwhelmed us’.

The point missed by the authors of such remarks, however, is that Debussy’s music (both generally speaking and with regard to this work) is not intended as visual imagery, or the soundtrack to some imaginary film. The composer may have invited such misinterpretations: in subtitling the work ‘Three Symphonic Sketches’ he of course evokes the media of visual art; moreover, he often used terms like ‘colour’ and ‘shading’ when discussing his music. But in 1903, when he began work on La Mer, Debussy wrote to a friend from the Burgundian countryside:

You may not know that I was destined for a sailor’s life, and that only chance led me in another direction … You will say that the ocean does not exactly bathe the hills of Burgundy, and my seascapes may be studio landscapes, but I have an endless store of memories, and in my mind they are worth more than reality, whose beauty often weighs heavily on the imagination.

ABOuT The MuSIC

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Orchestration The scoring or arrangement of a piece of music for orchestra.

Timbre The distinctive sound quality or ‘colour’ produced by an instrument or a voice, or by particular combinations of instruments and voices.

Scherzo Literally, a joke; the term generally refers to a movement in a fast, light triple time, which may

Glossary

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POULENC Les Animaux modèles – Suitefeatured in Simone Young conducts Fauré’s RequiemFri 7 & Sat 8 August

The work, then, is about the idea of the sea rather than being a representation of it; significantly, much of the composition of the work took place away from the coast.

Debussy’s genius for orchestration and subtle rhythmic organisation certainly make for an evocative work where it is possible to imagine the crash of waves, the call of seagulls and the protean movement of light on water. The final climactic moments of the first movement, for instance, somehow create a sense of emerging from the deep into the light.

other masterly touches abound: the unusual timbre of cellos divided into four parts; the use of muted horns (which Debussy admitted to taking from the music of Weber) to evoke space; the soloistic use of wind instruments and harp.

But La Mer is as much ‘symphonic’ as it is ‘sketch’. Its three movements are by no means simply rhapsodic, but rather show Debussy’s subtle and careful approach to form. In the first movement his careful development of short motifs is perfectly symphonic; the second movement, ‘Play of Waves’, is, among other things, a symphonic scherzo; and the third movement – which has one of the rare ‘big finishes’ of any work by this composer – is a symphonic finale.

The pianist and Debussy expert Roy Howat has also shown how Debussy’s structure corresponds to the ancient Greek idea of the Golden Section where a line is divided so that the ratio of the shorter portion to the longer portion forms the same ratio as the longer portion does to the whole length. By applying this formula to time, a composer can plot where significant events (changes of speed, colour moods or metre) will have the greatest dramatic effect. Howat has argued persuasively that the moment in the last movement of La Mer where the violins play a soft, impossibly high harmonic represents the Golden Section of the piece.

By a nice paradox, Debussy’s marvellous musical reflection on the constant flux of the sea is achieved by the most painstaking and careful calculation. Not for nothing did the published score carry the intricately designed woodcut The Hollow Wave by the Japanese artist Hokusai.

Gordon Kerry © 2005

Camille Chevillard conducted the Lamoureux Orchestra in the first performance of La Mer, in Paris on 15 October 1905. The West Australian Symphony Orchestra first performed it on 22 and 23 July 1966 under Thomas Mayer. WASO last performed this work on 13 March, 2010, conducted by Paul Daniel.

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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, (featured in Asher Fisch 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

MEET THE INSTRUMENT THE FRENCH HORN

1. Mouthpiece2. 3 valve levers3. 3 rotary valves4. Bell

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Rod McGrath & Brilliant BrittenSunday 12 April, 2pm Perth Institute of Contemporary Arts (PICA), Perth Cultural Centre

Principal Cello Rod McGrath will treat Patrons & Friends to a wonderful rendition of a Benjamin Britten’s first cello suite, complete with an explanation of its complicated musical structure and Britten’s compositional techniques.

This suite is full of Britten’s trademark qualities of fabulous musical ideas, wonderful structure and incredible knowledge of what the cello is capable of. The whole piece could represent two friends journeying through life. Are our two characters friends at the end? You decide!” – Rod McGrath

PATROnS & fRIendS evenT

Tickets for this event are $45 for Patrons & Friends ($55 for guests) and include a glass of wine and light refreshments.

To book call the WASo Box office on 9326 0000.

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PROUD SPONSOR OF WASO

AND CATERING PARTNER

AT PERTH CONCERT HALL

WWW.HEYDERSHEARS.COM.AU

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WASO Excellence CircleWASo’s strives to be excellent across all of its performances and programs, whether on stage at our magnificent Perth Concert Hall, or at a school in Kwinana. To do this, we engage the finest performers, artists and educators and our wonderful WASo musicians are led by Principal Conductor, Asher Fisch.

Behind the scenes they are supported by a hard-working team that constantly seeks to engage audiences and create new opportunities to help touch souls and enrich lives through music. We work to innovate, to inspire, to be audacious. We strive to be excellent in all we do.

We are supported in this goal by our philanthropic partners who form what we are calling the WASo Excellence Circle. These supporters help make programs such as the Brahms Festival possible, as well as extending our community programs across Western Australia.

We sincerely thank our Excellence Circle partners for joining us on this exciting journey.

To learn more about our Excellence Circle, please contact Alecia Benzie, Executive Manager, Philanthropy on 9326 0020 or benziea@waso.com.au.

WASO PhIlAnThROPy Philanthropy Partner

Annual Giving It Starts with YouWASo is a charitable organisation that relies on the support of donations and bequests.

The impact of supporting your orchestra is powerful and far-reaching. Donations, no matter how small or large they might be, are vital for WASo to continue growing, educating and positively changing the lives of so many people in Western Australia.

We invite you to become a WASO Patron this year by making a donation to our Annual Giving campaign. WASo Patrons enjoy opportunities to experience WASo from different perspectives – not just from the auditorium – being invited to exclusive events, getting to know our musicians and receiving regular updates.

If you wish to find out more, become a Patron, increase or renew your gift, please contact Jane on 9326 0014 or clarej@waso.com.au. You can also find out more or donate at waso.com.au. All donations over $2 are fully tax deductible.

When we say we could not do what we do without you, we mean it.

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OuR SuPPORTeRS

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

Symphony CircleRecognising Patrons who have made a provision in their Will to the Orchestra

Mr John BonnyAnita & James Clayton Judith Gedero Wolfgang Lehmkuhl Tosi Nottage in memory of Edgar NottageNigel & Dr Heather RogersJudy SienkiewiczSheila Wileman Anonymous (16)

Estates WASO is extremely grateful for bequests received from EstatesMrs Roslyn Warrick

Rachel Mabel Chapman

Endowment Fund for the Orchestra This fund includes major donations and bequestsTom & Jean ArkleyJanet Holmes à Court ACSagitte Yom-Tov Fund

Excellence CircleSupporting excellence across all we doJean ArkleyBob & Gay BranchiJanet Holmes à CourtTorsten and Mona KetelsenAndrew Marsden

The WASO Song BookWe are grateful to those who have supported new works commissioned for the Orchestra by WASOJanet Holmes à Court ACPeter DawsonGeoff StearnAnonymous (2)

If you are interested in becoming a Patron or learning more about WASo Philanthropy please contact Jane Clare, Fundraising and Philanthropy Manager, on 08 9326 0014 or email clarej@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

Reach OutSupporting our Education & Community Engagement programs

Prue Ashurst Creative Partnerships AustraliaFeilman Family FoundationThe James Galvin FoundationRobyn GlindemannBarrie & Jude LepleyMathie FamilyMcCusker Charitable FoundationMinderoo FoundationJohn & Alison RiggSimon Lee FoundationThe Stan Perron Charitable Foundation

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OuR SuPPORTeRS

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 Circle Gifts $20,000+

Janet Holmes à Court AC Brian & Nancy Murphy Patricia New

Impresario PatronGifts $10,000 - $19,999

Gay & Bob Branchi Tony & Gwenyth Lennon Joshua & Pamela Pitt

Maestro Patron Gifts $5,000 - $9,999Jean Arkley in memory of Tom ArkleyBill Bloking Gavin BunningIan & Elizabeth ConstableMoira & John DobsonBridget Faye AM Gilbert George & AssociatesDr Patricia KailisBryant Macfie Margaret & Rod Marston Robert MayJill MulheronSpinifex Trust Peter & Jean Stokes Trish Williams – Strategic InteractionsSue & Ron WoollerAnonymous (5)

Virtuoso Patron Gifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AMSally BurtonDon ConroyMark Coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda SavageTim & Lexie ElliottRobyn Glindemann Jacoba Hohnen & Ted SamsonSylvia & Wally HyamsKeith & Gaye Kessell Michael & Dale Kitney Mrs MorrellJane & Jock MorrisonAnne NolanJohn & Paula Phillips Ms Elizabeth Sachse & Dr Lance Risbey Dr R & J Schwenger Judy SienkiewiczRos ThomsonM & H TuiteJoyce Westrip oAMAlan WhithamAndrew & Marie Yuncken

Principal PatronGifts $1000 - $2,499Ron & Sue AdamsJohn Albright & Susan LorimerMargaret Atkins oAM Tony & Mary Beeley Suzanne & David Biddles Peter & Marjorie BirdKevin Blake Matthew J C Blampey Alan & Anne BlanckenseeNamy BodinnerMr John BonnyMrs Debbie Borshoff Jean Brodie-Hall AMMarilyn & Ian BurtonDr G Campbell-EvansProf Jonathan Carapetis & Prof Sue SkullPeter & Sue Clifton Arthur & Nerina CoopesHon June Craig AM Gay & John Cruickshank Norman & Denia Daffen Lesley & Peter DaviesRussell & Susan DixonMargaret DobsonJulian Dowse Lorraine EllardDon & Marie Forrest Dr Andrew GardnerGeorge GavranicRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Sandra GrayDeidre Greenfeld David & Valerie Gulland

Annual Giving

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Brian & Romola HaggertyRichard B Hammond Pauline & Peter HandfordMichael HardingMichael & Liz HollingdaleJohn & Katrina HopkinsJim & Freda Irenic Lilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill Kean Anthony & Noelle Keller Dorothy KingstonDr Rob Kirk & Sarah Gallinagh Nelly KleynStephanie & John Kobelke ulrich & Gloria Kunzmann Louis & Miriam LandauIrving Lane Paul LeeRosalind Lilley Graham & Muriel Mahony Gregg & Sue MarshmanMervyn MatthewsJennifer & Arthur McCombBetty & Con Michael AoVicki MizenHon Justice S R Moncrieff S B Monger-HayLynn MurrayVal & Barry NeubeckerDr Phillip & Mrs Erlene NobleJohn overtonThe Family of Hilary owensRon & Philippa PackerMichael & Lesley PageAthena PatonAssociate Prof Tim PavyAlan Pedersen in memory of Hilary owensCharmian Phillips in memory of Colin CraftPamela PlattAndrew & Suzanne Poli

Thomas & Diana Potter Dr Leon Prindiville Chester ReeveJohn & Alison RiggNigel & Dr Heather RogersMaurice & Gerry RoussetRoger Sandercock Margaret & Roger SearesMelanie & Paul ShannonEve Shannon-Cullity Julian & Noreen Sher Laurel & Ross SmithDr Paul Smith & Denham Harry Michael Snell & Vicki StewartGail & Tony SutherlandAnna SweetinghamRichard Tarala & Lyn Beazley AoLisa & Andrew Telford Gene TilbrookMary Townsend James & Rosemary TrotterDr Robert TurnbullMaggie VenerysStan & Valerie VicichWatering ConceptsIan WatsonAnn WhyntieJean & Ian Williams AoJim & Gill WilliamsHilary & Peter Winterton AMYalambi Farm StudAnonymous (25)

Tutti PatronGifts $500 - $999Geoff & Joan Airey Catherine BagsterMerle I BardwellBernard & Jackie Barnwell Shirley Barraclough Colin Beckett

P M BennetMichael & Nadia Berkeley-HillJohn & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerDr & Mrs P BreidahlElizabeth & James BrownAnn Butcher & Dean R KubankNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeDr Anne ChesterLyn & Harvey Coates AoAgatha & Alex Cohen AoHelen CookBrian Cresswell Gina & Neil Davidson Frances DaviesJop & Hanneke DelfosRai & Erika DolinschekMrs G EwenFarghaly FamilyAnnette Finn Jim & Pamela FlahertyJoan GagliardiPat GallaherElaine GimsonIsobel Glencross Jacqui GroveDouglas M & Regina HansenProf Alan Harvey & Dr Paulien de BoerRichard Hatch Dr Penny Herbert in memory of Dunstan HerbertHelen Hollingshead Peter Ingram John IsherwoodCynthia JeePeter S JonesB M KentIn memory of Dr Brenton Knott

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Trevor & Ane Marie Lacy Meg LewisTeresa & Jemima LovelandMegan LoweMary Ellen in memory of Kerensa Mrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Dr Peter MossMarianne NilssonMarjan oxley Graham & Hildegarde PennefatherBev Penny Adrian & Ruth PhelpsRichard & Alpha Pilpel oAM

Sheila PinchAlison & John PriceAnn RawlinsonClarissa ReptonJames & Nicola Ridsdill-SmithLeigh RobinsonJudith E ShawThe Sherwood FamilyHendrik SmitLouise Sparrow & FamilyPeggy & Tom Stacy Ruth E ThornDr Julian TodresS R VogtAdrienne & Max Walters Diana Warnock

Anne Watson Joy WearneDr Chris & Mrs Vimala WhitakerViolette William Janet WilliamsJudith Wilton & David TurnerPatricia WongAnonymous (20)

FriendsGifts $40 - $499Thank you to all our Friends who support WASo through their gift.

OuR SuPPORTeRS

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The Perth Mint offers visitors a score of unique golden attractions and is proud to support the West Australian Symphony Orchestra.

310 Hay Street, East Perth WA. Open 7 daysTelephone 1300 366 520www.perthmint.com.au/visit

POURING PURE GOLD FOR AN ENCORE

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Proudly sponsored by

Supporting WASO and the local community

WeST AuSTRAlIAn SyMPhOny ORCheSTRA

VIOLINGraeme Norris Associate Concertmaster Semra Lee-Smith Assistant Concertmaster Zak RowntreePrincipal 2nd ViolinKylie Liang Assistant Principal 2nd ViolinSarah BlackmanFleur Challen Shaun Lee-Chen*Stephanie DeanRebecca GlorieBeth HebertAkiko Miyazawa Anna o’HaganMelanie PearnKen PeelerGraham Pyatt Louise SandercockJolanta SchenkJane SerrangeliEllie ShalleyJacek SlawomirskiBao Di Tang Cerys ToobyDavid Yeh

VIOLACaleb WrightPrincipalAlex BroganAssociate PrincipalKierstan ArkleysmithNik BabicKatherine DrakeAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLORod McGrath PrincipalLouise McKayAssoc Principal Chair partnered by Penrhos College

Shigeru 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

OBOEPeter FacerPrincipalElizabeth CheeAssoc Principal

COR ANGLAISLeanne GloverPrincipal

CLARINETAllan Meyer PrincipalLorna Cook

BASS CLARINETAlexander Millier PrincipalChair partnered by Altegra Property Group

BASSOONJane Kircher-Lindner PrincipalChair partnered by Ron & Sue Wooller

Adam Mikulicz Assoc Principal

CONTRABASSOONChloe Turner Principal

HORNDavid Evans PrincipalSharn McIverAssoc Principal Robert Gladstones Principal 3rdJulia Brooke Francesco Lo Surdo

TRUMPETBrent GrapesPrincipalEvan Cromie Assoc PrincipalPeter Miller

TROMBONEJoshua Davis PrincipalLiam o’MalleyAssoc Principal

BASS TROMBONEPhilip Holdsworth Principal

TUBACameron Brook Principal

TIMPANIAlex Timcke Principal

PERCUSSIONTroy Greatz Assoc Principal

HARPSarah Bowman Principal

ASSISTANT CONDUCTOR Christopher Dragon

CONDUCTOR LAUREATE Vladimir Verbitsky

CHORUS DIRECTOR Christopher van Tuinen

PRINCIPAL CONDUCTORAsher FischPartnered by Wesfarmers Arts CHORUS VOCAL COACH Andrew Foote

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

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BOARD OF DIRECTORSJanet Holmes à Court AC ChairmanMark CoughlanKeith KessellBarrie Lepley Deputy Chairman

Anne NolanPaul ShannonJulian SherMichael utsler

ExECUTIVECraig Whitehead Chief Executive Claire Burlinson Executive AssistantEllen Wisdom Executive Manager, Human ResourcesRachael Taylor Human Resources Assistant

ARTISTIC PLANNINGEvan Kennea Executive Manager, Artistic PlanningClaire Stokes Program ManagerAlan Tyrrell Program ManagerMaya Kraj-Krajewski Artist Liaison/Chorus Administrator

COMMUNITY ENGAGEMENTCassandra Lake Executive Manager, Community EngagementFiona Taylor Education Coordinator

Gemma McDonald Community Development Coordinator

ORCHESTRAL MANAGEMENTKeith McGowan Executive Manager, Orchestral Management

Richie Burton Orchestral Operations Manager

David Cotgreave Production & Technical Manager

Alistair Cox Orchestral Manager

Breanna Evangelista Orchestra Management Assistant

Wee Ming Khoo Music Librarian

Noel Rhind Orchestral Operations Coordinator

BUSINESS SERVICESPeter Freemantle Chief Financial Officer

Andrew Chew Systems Administrator

Angela Miller Accountant

Svetlana Williams Payroll Officer

Sushila Bhudia Accounts Officer

CORPORATE DEVELOPMENTMarina Woodhouse Executive Manager, Corporate Development

Luci Steinhardt Corporate Partnerships Executive

Cliona Hayes Corporate Partnerships Coordinator

Ginny Luff Corporate Partnerships & Events Coordinator

PHILANTHROPY Alecia Benzie Executive Manager, Philanthropy

Josie Aitchison Customer Service & Philanthropy Coordinator

Jane Clare Fundraising & Philanthropy Manager

MARKETINGKelli Carnachan Executive Manager, Marketing

Kirsty Chisholm Marketing Coordinator

Nancy Hackett Marketing Manager

Gina Beers Graphic Designer

Marc Missiaen Relationship Marketing Manager

Paula Schibeci Public Relations Manager

Zoe Lawrence Marketing Officer

Courtney Walsh Marketing Assistant

Sava Papos Customer Service Manager

Josie Aitchison Customer Service & Philanthropy Coordinator Beverley Trolio Customer Service CoordinatorAlana ArnoldMargaret Daws Vicki Prince Robyn Westbrook Customer Service Officers

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

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

PERTH CONCERT HALLBrendon Ellmer General ManagerLorraine Rice Deputy General ManagerPeter Robins Technical ManagerPaul Richardson Assistant Technical Manager

Penelope Briffa Events ManagerLauranne Swinnen Accounts AssistantBruce Gaw Maintenance OfficerNancy Hackett Marketing Manager

perthconcerthall.com.au 08 9231 9900

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

2015 CORPORATE PARTNERSWe encourage you to support these partners for generously supporting your Orchestra

PARTNERS OF EXCELLENCE

CONCERTO PARTNERS

OVERTURE PARTNERS

SONATA PARTNERS

ORCHESTRA SUPPORTERS

MEDIA PARTNERS

FUNDING PARTNERS

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

KEYNOTE PARTNERS

PLATINUM PARTNERS

School of Music | Tertiary Education Partner

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*Transaction fees may apply.Asher Fisch appears courtesy of Wesfarmers Arts

ALCOHOL.THINK AGAIN MASTERS SERIES

Call 9326 0000 quoting 1258 Visit waso.com.au or ticketek.com.au

BOOK NOW

Tickets from $30*

BEETHOVEN Leonore Overture No.3BLOCH Schelomo – Hebraic Rhapsody

STRAUSS, R. Don Quixote

Asher Fisch conductorMischa Maisky cello

Fri 27 & Sat 28 Mar 7.30pmPerth Concert Hall

IN CONCERT

Don’t miss this legendary cellist in his first ever Perth performances with WASO!

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