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PROGRAM Asher Fisch Conducts Mahler 4 MORNING SYMPHONY SERIES Thu 21 June 2018, 11am Perth Concert Hall MASTERS SERIES Fri 22 & Sat 23 June 2018, 7.30pm Perth Concert Hall

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Page 1: Asher Fisch Conducts Mahler 4 - …d35ivtiultdflj.cloudfront.net/res/Concert programs for web/WASO... · Jazz great James Morrison returns to WASO with timeless ... William Morrison

PROGRAM

Asher Fisch Conducts Mahler 4MORNING SYMPHONY SERIES

Thu 21 June 2018, 11am Perth Concert Hall

MASTERS SERIES

Fri 22 & Sat 23 June 2018, 7.30pm Perth Concert Hall

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Frankie Lo Surdo, French Horn

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1389_WESF - Arts Sponsorship Campaign 2016 - WASO_Program Ad_210x148mm_V2.indd 1 20/07/16 2:21 PM

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Wesfarmers Arts Pre-concert TalkFind out more about the music in the concert with this week’s speaker, Kathie Drake (see page 20 for her biography). The Pre-concert Talk will take place at 9.40am in the Auditorium.

Listen to WASOThis performance is being recorded for broadcast on ABC Classic FM on Wed 27 June at 1pm AWST (or 11am online). For further details visit abc.net.au/classic

Asher Fisch Conducts Mahler 4MORNING SYMPHONY SERIES

MAHLER Symphony No.4 (55 mins)

Bedächtig – Recht gemächlich [Deliberately – Really unhurried]In gemächlicher Bewegung, ohne Hast [In a leisurely tempo, without haste]Ruhevoll [Peacefully]Sehr behaglich [Very homely and comfortable]

Asher Fisch conductor Stefanie Irányi mezzo-sopranoAsher Fisch appears courtesy of Wesfarmers Arts

The West Australian Symphony Orchestra respectfully acknowledges the Traditional Owners, Custodians and Elders of the Indigenous Nations across Western Australia on whose Lands we work.

Frankie Lo Surdo, French Horn

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1389_WESF - Arts Sponsorship Campaign 2016 - WASO_Program Ad_210x148mm_V2.indd 1 20/07/16 2:21 PM

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Wesfarmers Arts Pre-concert TalkFind out more about the music in the concert with this week’s speaker, Kathie Drake (see page 20 for her biography). The Pre-concert Talk will take place at 6.45pm in the Terrace Level Foyer.

Listen to WASOThis performance is being recorded for broadcast on ABC Classic FM on Wed 27 June at 1pm AWST (or 11am online). For further details visit abc.net.au/classic

Asher Fisch Conducts Mahler 4MASTERS SERIES

SCHUBERT arr. MAHLER Death and the Maiden: Andante con moto (15 mins)

BERIO Folk Songs (21 mins)

Black is the colour…I wonder as I wander…Loosin yelav…Rossignolet du bois A la femminisca La donna ideale Ballo Motettu de tristura Malurous qu’o uno fenno Lo fïolairé Azerbaijan Love Song

Interval (25 mins)

MAHLER Symphony No.4 (55 mins)

Bedächtig – Recht gemächlich [Deliberately – Really unhurried]In gemächlicher Bewegung, ohne Hast [In a leisurely tempo, without haste]Ruhevoll [Peacefully]Sehr behaglich [Very homely and comfortable]

Asher Fisch conductor Stefanie Irányi mezzo-sopranoAsher Fisch appears courtesy of Wesfarmers Arts

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2018 Upcoming Concerts

TICKETS FROM $49*

POPS SERIES

James Morrison with WASOFri 3 & Sat 4 Aug 8pm Perth Concert Hall

Jazz great James Morrison returns to WASO with timeless hits from his latest album, The Great American Songbook, performing on a variety of instruments and bringing his trademark virtuosity to classic tunes including Summertime and It Don’t Mean a Thing if it Ain’t Got That Swing.

James Morrison trumpet (pictured) William Morrison guitar Harry Morrison bass Patrick Danao drums Marc Taddei conductor (WASO debut)

TICKETS FROM $49*

SPECIAL EVENT

Last Night at the PromsFri 27 July 8pm & Sun 29 July 2pm Perth Concert Hall

A classical spectacular of flag-waving favourites! Including Wood’s Fantasia on British Sea Songs, Elgar’s Land of Hope and Glory, a spirited Rule, Britannia! and, of course, a rousing rendition of Parry’s stirring Jerusalem.

Guy Noble conductor Emma Matthews soprano WASO Chorus

TICKETS FROM $53*

MACA LIMITED CLASSICS SERIES

The Best of BernsteinFri 29 & Sat 30 June 7.30pm Perth Concert Hall

A spectacular program showcasing ‘Lenny’s’ work for Broadway, film screen, and concert stage to mark the 100th anniversary of his birth, including:

BERNSTEIN On the Waterfront: Suite BERNSTEIN Chichester Psalms BERNSTEIN West Side Story: Symphonic Dances

Benjamin Northey conductor Nicholas Tolputt countertenor (WASO debut) WASO Chorus

BOOK NOW – 9326 0000 – waso.com.au*A one-off handling fee of $6.60 per transaction applies to all web, phone and mail bookings. A fee of $3.85 applies to all over the counter bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

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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 200,000. 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

Connect With WASOfacebook.com/ WestAustralianSymphonyOrchestra

twitter.com/_WASO_

instagram.com/_waso_

youtube.com/ WestAustSymOrchestra

Stay up to date and sign-up to our SymphonE-news at waso.com.au

wasorchestra

WASO Celebrating 90 Years in 2018

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VIOLINLaurence JacksonConcertmasterLena ZeliszewskaAssoc ConcertmasterSemra Lee-Smith Assistant ConcertmasterGraeme NorrisPrincipal 1st ViolinZak Rowntree*Principal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinKate SullivanAssistant Principal 2nd ViolinSarah BlackmanFleur ChallenStephanie DeanJohn Ford^Rebecca GlorieBeth HebertAlexandra IstedJane Johnston°Sunmi JungChristina KatsimbardisEllie LawrenceAkiko MiyazawaLucas O’BrienMelanie PearnKen PeelerLouise SandercockJolanta SchenkJane SerrangeliKathryn ShinnickBao Di TangCerys ToobyTeresa Vinci^David Yeh

VIOLAAlex BroganA/Principal ViolaBenjamin CaddyA/Assoc Principal ViolaKierstan ArkleysmithNik BabicAlison HallRachael KirkAllan McLeanElliot O’BrienKatherine Potter^Helen TuckeyAaron Wyatt^

CELLORod McGrath Chair partnered by Tokyo Gas

Louise McKayChair partnered by Penrhos College

Shigeru KomatsuOliver McAslan Nicholas MetcalfeFotis SkordasTim SouthJon Tooby^Xiao Le Wu

DOUBLE BASSAndrew Sinclair*Caitlin BassElizabeth Browning^Sarah Clare^Louise ElaertsChristine ReitzensteinMark Tooby

FLUTEAndrew Nicholson Mary-Anne Blades Andrew Freeman

PICCOLOMichael Waye

OBOELiz CheeA/Principal OboeZhiyu Xu°

COR ANGLAISLeanne Glover

CLARINETAllan Meyer Lorna Cook

BASS CLARINETAlexander Millier

BASSOONJane Kircher-LindnerChair partnered by Sue & Ron Wooller

Adam Mikulicz

CONTRABASSOONChloe Turner

HORNDavid EvansRobert Gladstones Principal 3rd HornJulia BrookeFrancesco Lo Surdo

TRUMPETBrent GrapesChair partnered by NAB

Evan CromieMatthew Dempsey°

TROMBONEJoshua Davis Chair partnered by Dr Ken Evans and Dr Glenda Campbell-Evans

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONBrian MaloneyChair partnered by Stott Hoare

Joel Bass^Robyn Gray^Paul Tanner^

HARPSarah Bowman Bronwyn Wallis^

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

PrincipalAssociate PrincipalAssistant Principal Contract Player˚ Guest Musician^

WASO On Stage

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Asher FischPrincipal Conductor & Artistic Adviser

A renowned conductor in both the operatic and symphonic worlds, Asher Fisch is especially celebrated for his interpretative command of core German and Italian repertoire of the Romantic and post-Romantic era. He conducts a wide variety of repertoire from Gluck to contemporary works by living composers. Asher Fisch took up the position of Principal Conductor and Artistic Adviser of the West Australian Symphony Orchestra in 2014, and in 2017 extended his contract until the end of 2023. His former posts include Principal Guest Conductor of the Seattle Opera (2007-2013), Music Director of the New Israeli Opera (1998-2008), and Music Director of the Wiener Volksoper (1995-2000).

Highlights of the 2017-18 season include guest engagements with the Milwaukee Symphony, Seoul Philharmonic, Würth Philharmonic, a jubilee concert celebrating the 200th anniversary of the Chorus of the Semperoper Dresden, and a tour to Japan with the Bayerische Staatsoper conducting Mozart’s The Magic Flute. Guest opera engagements include The Flying Dutchman at both Semperoper Dresden and at Bayerische Staatsoper, where he also conducts La traviata and Un ballo in maschera this season. In addition, Asher Fisch and WASO celebrate the orchestra’s 90th anniversary, and will present a concert version of Tristan und Isolde with Stuart Skelton and Eva-Maria Westbroek in the title roles. Fisch recently made debuts with the Sydney Symphony and the New Japan Philharmonic.

Born in Israel, Fisch began his conducting career as Daniel Barenboim’s assistant and kappellmeister at the Berlin Staatsoper. He has built his versatile repertoire at the major opera houses such as the Metropolitan Opera, Lyric Opera of Chicago, Teatro alla Scala, Royal Opera House at Covent Garden, and Semperoper Dresden. Fisch is also a regular guest conductor at leading American symphony orchestras including those of Boston, Chicago, Cleveland, New York, and Philadelphia. In Europe he has appeared at the Berlin Philharmonic, Munich Philharmonic, London Symphony Orchestra, Leipzig Gewandhaus Orchestra, and the Orchestre National de France, among others.

Asher Fisch recently recorded the complete Brahms symphonies with WASO, released in September 2016 on ABC Classics to great acclaim. His recording of Wagner’s Ring Cycle with the Seattle Opera was released on the Avie label in 2014. His first Ring Cycle recording, with the State Opera of South Australia, won ten Helpmann Awards, including best opera and best music direction. Fisch is also an accomplished pianist and has recorded a solo disc of Wagner piano transcriptions for the Melba label.

Asher Fisch appears courtesy of Wesfarmers Arts

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About The Artists

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Stefanie IrányiMezzo-soprano

Stefanie Irányi was a prize-winner in Zwickau’s Robert Schumann Competition and Berlin’s National Song Competition. Her debut in Menotti’s The Consul at Turin’s opera house while still a student was followed by engagements in Palermo, Parma and Venice in repertoire ranging from Vivaldi to Wagner. She has appeared at venues such as the Vienna Konzerthaus and Musikverein, Suntory Hall Tokyo, and the Théâtre des Champs-Elysées, and under conductors such as Rafael Frühbeck de Burgos, Zubin Mehta and Jeffrey Tate. With a special love for lieder, she has given recitals in Perth and appeared in Schubertiades in Barcelona and Vilabertran. Recent appearances have included Dvorák’s Stabat mater with Manfred

Honeck and the Munich Philharmonic and Beethoven’s Missa solemnis in Hamburg’s Elbphilharmonie. In 2014, she represented Germany in a World War I memorial concert in Moscow’s Tchaikovsky Hall. stefanieiranyi.de

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UWA Conservatorium of Music

Proud Tertiary Education Partner of the West Australian Symphony Orchestra.

As one of Australia’s leading music programs, in one of the world’s leading universities, we create the future leaders of the Arts community.

music.uwa.edu.au

CRICOS Provider Code: 00126G UWA DCS 214978716

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WASO’s 90th Anniversary GalaTristan und Isolde – Opera in ConcertThursday 16 August 6pm – 11pm Sunday 19 August 2pm – 7pm MATINEE Perth Concert Hall

To celebrate WASO’s 90th year, Principal Conductor Asher Fisch, one of today’s supreme Wagner interpreters, leads two performances of Richard Wagner’s Tristan und Isolde at Perth Concert Hall.

Composed in a state of ecstatic infatuation, Tristan und Isolde is one of the greatest of all tragic love stories. Young lovers Tristan and Isolde share a passion so overwhelming that it transcends the bounds of their earthly existence. Thwarted in life, only in death can their love be transfigured and their souls united in a metaphysical hereafter.

To portray the heightened passions of this epic drama, Wagner pushed his music into unprecedented expressive territory, testing the limits of the musical “rules” of the time. In doing so, he revolutionised the art form.

Such an extraordinary work deserves an extraordinary cast. WASO welcomes the finest Tristan of our time, superstar tenor Stuart Skelton, the first ever Australian Tristan at the Metropolitan Opera. World-renowned soprano Eva-Maria Westbroek brings her acclaimed Isolde to Australia for the first time. The exceptional cast also includes Ain Anger as King Marke, Ekaterina Gubanova as Brangäne, and Boaz Daniel as Kurwenal.

Witnessing a great performance of Tristan und Isolde is a revelatory experience. Be transported by the emotions, intensity, drama and sheer sumptuous beauty of Wagner’s masterpiece. We hope you join us on this magnificent musical journey!Asher Fisch appears courtesy of Wesfarmers Arts.

Stuart Skelton Eva-Maria Westbroek

“The future really did start here.” – The Guardian

“It’s as impressive a cast as you’d be lucky to find at Covent Garden or The Met.” – Limelight Magazine

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For more information and to book, visit waso.com.au or call the Box Office at 9326 0000

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Franz Schubert (1797 - 1828)

String Quartet in D minor, D.810, Death and the Maiden: II Andante con moto

Arranged for string orchestra by Gustav Mahler (1860-1911)

This arrangement of Schubert’s masterpiece by another great Austrian composer takes us to the heart of the Viennese musical tradition. It is a transcription of Schubert’s string quartet for full string orchestra, which Mahler made so that he could conduct the work in concert. A score of Schubert’s Death and the Maiden has come down to us marked by Mahler in pencil to show how the arrangement should be made, and on that basis an edition was published in 1984.

This quartet is Schubert’s most played and admired, not only because it has a suggestive title, but because of its unity and power. All four movements are in minor keys. The use of material from Schubert’s song Death and the Maiden, a setting of a poem by Claudius, gives the clue to the whole quartet. The agitated girl expresses her terror of Death, and begs him to leave her untouched. Death solemnly and reassuringly offers himself as a friend, in whose arms she will find sleep.

Schubert, when he composed this quartet in 1824, after recovering from treatment for syphilis, had mortality much in mind. He also seems to have been suffering a crisis of creative confidence.

Yet this was one of the most fruitful periods of Schubert’s life, producing his A minor and G major string quartets and also the Great C major Symphony (No.9).

The slow movement is a theme and set of five variations; only one of these, the fourth, is in a major key, otherwise G minor prevails, except in the coda, where the major key seems to suggest that Death’s invitation has been accepted.

Abridged from a note by David Garrett © 2004

First performance: Mahler conducted the Andante con moto on 19 November 1894 in Hamburg. The entire work was first performed in public by the American Symphony Orchestra with Moshe Atzman following publication of the edited score in 1984.

First WASO performance: This is the first performance of the work by the West Australian Symphony Orchestra.

Instrumentation: string orchestra.

About The Music

Coda – a concluding section added to the basic structure of a piece or movement to emphasise the sense of finality.String quartet – a group of four string instruments – usually two violins, a viola, and a cello – or a type of composition written for them.String orchestra – an orchestra consisting of string instruments only.Theme and variations – structure in which each section of the piece is a variation of the theme, i.e. it has been altered in some way, by changing elements such as the rhythm, the harmony, the melody and/or the accompaniment.Transcription – arranging a piece to be played on a different instrument(s).

Glossary

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Luciano Berio (1925 – 2003)

Folk Songs

Black is the colour… (USA)I wonder as I wander… (USA) Loosin yelav… (Armenia) Rossignolet du bois (France) A la femminisca (Sicily) La donna ideale (Italy)Ballo (Italy)Motettu de tristura (Sardinia) Malurous qu’o uno fenno (Auvergne, France) Lo fïolairé (Auvergne)Azerbaijan Love Song (Azerbaijan)

It was provocative for a composer of Berio’s generation to produce a set of folksongs in 1964. Colleagues like Pierre Boulez and Karlheinz Stockhausen were rigorous in avoiding the trappings of tonal harmony and melody, and the suggestion of pre-existing material, in their works. But from this time on Berio made a habit of composing works that often included pastiche of other composer’s music, notably in the Sinfonia of 1968. In later years Berio lovingly completed unfinished works like Schubert’s Tenth Symphony (as Rendering) and Puccini’s Turandot.

Berio ‘always sensed a profound uneasiness while listening to popular songs performed with piano accompaniment’. The relationship between folk and ‘art’ music has been complex: numerous composers have heavily modified folk material to fit the phrase structure, metre and harmony of their own musical language; Beethoven and Haydn produced exquisite settings of British and Irish folk music for the salon-friendly combination of voice and piano trio. When Vaughan Williams, Bartók and Grainger began publishing tunes collected ‘in the field’, there was some

debate about whether to tidy the tunes up, to rationalise variations of phrase length or metrical irregularity between verses, let alone versions, and add tasteful harmonisations. Bartók and Grainger, and later Britten and Berio, opted to keep a sense of the strangeness of the material; paradoxically making the songs sound more ‘modern’ than anything published by Cecil Sharp in the UK.

Berio’s setting, originally for singer and seven instruments, and delicately orchestrated in 1973, was ‘a tribute to the artistry and the vocal intelligence of Cathy Berberian’. Berberian, a US-born singer and composer, was fearsomely accurate in her rendition of complex modern scores, her diction in several (though not all) languages, and in her always affectionate, but hilariously funny, mimicry of other singers’ mannerisms.

The set is, as Berio notes:

an anthology of eleven folk songs of various origins (United States, Armenia, France, Sicily, Sardinia, etc.), chosen from old records, printed anthologies, or heard sung from folk musicians and friends. I have given the songs a new rhythmic and harmonic interpretation: in a way, I have recomposed them.

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About The Music

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Counterpoint – two or more independent lines of music or melodies that are played at the same time and make musical ‘sense’ when combined.Drone – a single (usually low-pitched) note held for a long time while other melodies are played above it.Motif – a short, distinctive melodic or rhythmic figure, often part of or derived from a theme.Piano trio – ensemble consisting of piano and two other instruments, usually violin and cello.Tonal harmony/melody – refers to the ‘conventional’ system of Western composition in which a piece of music is structured around a single, ‘tonic’ key (usually major or minor). Late 19th-century music increasingly stretched the boundaries of tonality, with some composers opting to reject it completely during the 20th century.

Glossary

The scoring, Berio notes, reflects ‘not only the ethnic origins of the songs but also the history of the authentic uses that have been made of them’.

Berio’s use of the term ‘folk’ covers a multitude of sources. The first two songs were composed, after local models, by Kentucky-based singer John Jacob Niles (1892-1980). Berio echoes the folk-style of Niles’ tunes, with string writing in the first, ‘Black is the colour’, that evokes ‘fiddling’, and in ‘I wonder as I wander’ provides an atmospheric burst of orchestral birdsong. ‘Loosin yelav’ matches the Armenian poem’s simple imagery of the moonlight dispelling the darkness. More wind-instrument birdsong leads to ‘Rossignolet du bois’ in which a nightingale gives relationship advice.

‘A la femminisca’ is a woman’s prayer to keep her lover safe at sea, the hint of waves from the percussion giving way to a brief hymn.

The texts of ‘La donna ideale’ (which lists desirable attributes on a prospective bride) and ‘Ballo’ (which noisily enacts the madness of love) are traditional Italian, but the music is entirely by Berio. ‘Motettu de tristura’ introduces another, this time sorrowful nightingale, heard, again, in the wind section.

‘Malurous qu’o uno fenno’ (Sorry the man who has a wife) and ‘Lo fïolairé’ are both lifted from Canteloube’s Songs of the Auvergne, Berio providing a beautiful flute

counterpoint in the first, and a more febrile accompaniment, growing out of a folkish drone-based string motif, in the second.

With the ‘Azerbaijan Love Song’ Berberian’s ear failed her, as she transcribed the song from a battered 78 rpm record found in Moscow. Not knowing Azeri, she produced a text that was more or less gibberish, with some babbled Russian comparing love to a stove thrown in at the end. But whatever she’s singing, the singer is happy – or so the music tells us.

Berio sought to create ‘a unity between folk music and our music – a real, perceptible, understandable conduit between ancient, popular music-making which is so close to everyday work and music’. Whether he did is moot, but Folk Songs is a small masterpiece of wit and charm.

© Gordon Kerry 2018

First performance: 1964, Cathy Berberian and the Juilliard Ensemble, California, composer conducting.First WASO performance: This is the first performance of the work by the West Australian Symphony Orchestra.

Instrumentation: two flutes, oboe, three clarinets, bassoon, horn, trumpet, trombone, percussion, harp, strings.

YOU MAY ALSO ENJOYBERNSTEIN Chichester Psalmsfeatured in The Best of BernsteinFri 29 & Sat 30 June 2018

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Gustav Mahler (1860 – 1911)

Symphony No.4 in G

Bedächtig – Recht gemächlich [Deliberately – Really unhurried]In gemächlicher Bewegung, ohne Hast [In a leisurely tempo, without haste]Ruhevoll [Peacefully]Sehr behaglich [Very homely and comfortable]

Mahler’s Fourth Symphony is at once the culmination of certain aspects of the previous two and their complete antithesis. The Second Symphony is Mahler’s musical dramatisation of nothing less than death and resurrection, while in the Third, as he put it, ‘all nature finds a voice’. The Fourth, by contrast, is on an altogether more modest scale: it consists of the ‘standard’ four movements (the first time Mahler adhered to that pattern), plays for a comparatively short 55 minutes or so, and is scored for a much smaller orchestra. What it shares with its two predecessors is a preoccupation with ideas of life and death, and a relationship to the collection of folk poetry, Des Knaben Wunderhorn (The Youth’s Magic Horn), which Mahler mined for various song settings. The final movement – which Mahler first set in 1892 and which was originally planned for inclusion in the Third Symphony – is taken from the Wunderhorn collection, and describes a child’s vision of heaven.

Commentator Paul Bekker has suggested that the whole symphony was germinated by the song, and Michael Kennedy has noted that all the movements are ‘thematically interconnected’. Dramatically, too, the work is unified by a pervasive sense of innocence: Mahler’s music is never naïve, and its simplicity is deceptive given the formal sophistication

of its structure and elaboration of its counterpoint, but the work is careful to avoid the obtuse, the rhetorical and the monumental. Philosopher Theodor Adorno points out that the whole work’s ‘image-world is of childhood. The means are reduced, without heavy brass; horns and trumpets are more modest in number. No father figures are admitted to its precincts.’

The first movement quickly establishes the mood of childish innocence with the sound of four flutes and sleigh bells, simple melodies with pizzicato accompaniment from low strings. But as the great Mahler scholar Deryck Cooke once put it, the serene surface of the work conceals figures whom he described as ‘moving behind a veil which obscures their naked horror and makes them like the bogeymen who appear in illustrations to books of fairy-tales’. There is perhaps latent danger in the brief eruption of the Fifth Symphony’s tempestuous fanfare, but the movement ends with a moment of seraphic peace before its good-humoured conclusion.

One ‘bogeyman’ is ‘Freund Hain’, a devilish fiddler such as we also meet in Saint-Saëns’ Danse macabre. In an early sketch for his scherzo Mahler wrote ‘Freund Hain

About The Music

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Counterpoint – two or more independent lines of music or melodies that are played at the same time and make musical ‘sense’ when combined.Des Knaben Wunderhorn – influential anthology of Germanic folk-poems from the early 19th century, some of which were set as songs by Mahler. Wunderhorn songs with their orchestral accompaniment became the basis of movements in Mahler’s Second, Third and Fourth symphonies.Pizzicato – plucking, rather than bowing, the strings.Scherzo – literally, a joke; a movement in a fast triple time which may involve playful elements and which, as the second or third movement in a symphony, replaced the minuet. In a minuet or scherzo, the trio is the middle section of the movement; the minuet or scherzo is performed on either side of the trio.Variation form – a structure in which each section of the piece is a variation of the theme.

Glossary

spielt auf’ (Our friend Hain strikes up). In the final version of this movement with its ländler (a peasant dance in triple time) Trio section, there is a prominent solo for a violin which is tuned higher than normal to make it sound like ‘ein Fiedel’ (a fiddle). Mahler compared composing this work with ‘wandering through the flower-scented garden of Elysium and it suddenly changes to a nightmare of finding oneself in a Hades full of horrors’.

There is no horror in the opening of the central Adagio. A set of variations, it is unified by the device of the pizzicato double bass which plays a repeated figure. There is a violent passage towards the end of the movement, where the timpani take over the basses’ figure, playing, as Adorno says, ‘as drums once seemed before the age of seven’.

In the final movement the orchestra is joined by the soprano soloist for the Wunderhorn song, ‘Das himmlische Leben’ (The Heavenly Life), and it is here that the work’s ambiguities come into clear focus. Ostensibly a cute account of how a child might see heaven, it is actually a cleverly disguised set of variations which allows Mahler to seem simple while constantly spinning new and fascinating sounds. It characterises various saints carrying on their earthly tasks to produce the gastronomic delights of the afterlife: St Martha cooks, of course; St Peter fishes; Herod is the butcher. As Adorno notes:

These are not only the modest joys of the useful south German vegetable plot…Immortalised in them are blood and violence; oxen are slaughtered, deer and hare run to the feast in full view on the roads. The poem culminates in an absurd Christianity.

After hymning St Cecilia, the work ends quietly. For Cooke it is a ‘peaceful close’, for Adorno this ‘fairy-tale symphony is as sad as the late works…Joy remains unattainable, and no transcendence is left but yearning.’

Abridged from a note by Gordon Kerry © 2003

First performance: 25 November 1901, Munich, composer conducting.First WASO performance: 8-9 July 1960. John Farnsworth Hall, conductor; Lorna McKean, soprano solo.Most recent WASO performance: 25-26 July 2008. Simone Young, conductor; Leanne Kenneally, soprano solo.

Instrumentation: soprano solo, four flutes (two doubling piccolo), three oboes (one doubling cor anglais), three clarinets (one doubling E flat clarinet and one doubling bass clarinet), three bassoons (one doubling contrabassoon), four horns, three trumpets, timpani, percussion, harp, strings.

YOU MAY ALSO ENJOYDVORAK Symphony No.9 From the New Worldfeatured in Grieg’s Piano Concerto & Dvorák’s New World SymphonyFri 16 & Sat 17 November 2018

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BERIO Folk Songs 1. Black is the colour (USA) Black is the colour Of my true love’s hair, His lips are something Rosy fair, The sweetest smile And the kindest hands; I love the grass whereon he stands. I love my love and well he knows, I love the grass where on he goes; If he no more on earth will be, ‘twill surely be the end of me. Black is the colour, etc.

2. I wonder as I wander (USA) I wonder as I wander out under the sky How Jesus our Saviour did come for to die For poor orn’ry people like you and like I. I wonder as I wander out under the sky.

When Mary birthed Jesus ‘twas in a cow stall With wise men and farmers and shepherds and all. But high from the Heavens a star’s light did fall, The promise of ages it then did recall.

If Jesus had wanted of any wee thing, A star in the sky or a bird on the wing, Or all of God’s angels in Heaven for to sing, He surely could have had it ‘cause he was the king.

3. Loosin yelav (Armenia) Loosin yelav ensareetz saree partzòr gadareetz shegleeg megleeg yeresov Pòrvetz kedneen loosni dzov.

Jan a loosin jan ko loosin jan ko gòlor sheg yereseen.

Xavarn arten tchòkatzav oo el kedneen tchògatzav loosni loosov halatzvadz moot amberi metch mònadz.

Jan a loosin, etc.

4. Rossignolet du bois (France) Rossignolet du bois, rossignolet sauvage, apprends-moi ton langage, apprends-moi-z à parler, apprends-moi la manière comment il faut aimer.

The moon has risen The moon has risen over the hill, over the peak of the hill its rosy face round casting its radiant light all over the ground.

O dear moon with your dear light and your dear, round, rosy face.

Before, darkness was spread around all over the ground Now, moonlight has chased it away into the dark clouds to stay.

O dear moon, etc.

English translations by Matthew Absolom

Little nightingale Little nightingale of the woods, Wild little nightingale, Teach me your language, Teach me how to speak it, Teach me how one should love.

Translation

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Comment il faut aimer je m’en vais vous le dire, faut chanter des aubades deux heures après minuit, faut lui chanter: ‘La belle, c’est pour vous réjouir.’

On m’avait dit, la belle, que vous avez des pommes, des pommes de reinettes qui sont dans vot’ jardin. Permettez-moi, la belle, que j’y mette la main.

Non, je ne permettrai pas que vous touchiez mes pommes, prenez d’abord la lune et le soleil en main, puis vous aurez les pommes qui sont dans mon jardin.

5. A la femminisca (Sicily) E Signuruzzu miù faciti bon tempu ha iu l’amanti miù’mmezzu lu mari l’ arvuli d’oru e li ntinni d’argentu la Marunnuzza mi l’av’aiutari, chi pozzanu arrivòri ’nsarvamentu. E comu arriva ‘na littra ma fari ci ha mittiri du duci paroli comu ti l’ha passatu mari, mari.

6. La donna ideale (Italy) L’omo chi mojer vor piar, de quattro cosse de’e spiar. La primiera è com’el è naa, l’altra è se l’è ben accostumaa, l’altra è como el è forma, la quarta è de quanto el è dotaa. Se queste cosse ghe comprendi a lo nome di Dio la prendi.

7. Ballo (Italy) La la la la la la… Amor fa disviare li più saggi e chi più l’ama meno ha in sé misura. Più folle è quello che più s’innamura.

How one should love I’m going to tell you, One must sing a serenade Two hours after midnight, One must sing to her: ‘My lovely, This is for your delight.’

I was told, my lovely, That you have apples, Reinette apples, in your garden. Allow me, my lovely, to touch them.

No, I will not let you touch my apples, First take the moon And the sun in your hand, Then you will have the apples That are in my garden.

English translation by Symphony Australia

Song of the fishermen’s wives May the Lord bring good weather My beloved is at sea His mast is of gold and his sails of silver May Our Lady give me her help, so that they arrive safe and sound. And if a letter comes let it have but a few sweet words of how you spent your time out at sea.

English translations by Matthew Absolom

The ideal woman The man who wants to take a wife must consider four things. The first is her family, next is her manners, then comes her figure, the fourth is her dowry. If she has these things in order in God’s name let him take her.

English translations by Matthew Absolom

Dance La la la la la la… Love makes the wisest men lose their way and he who loves the most has the least sense. The most foolish is he who is most in love.

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La la la la la la… Amor non cura di fare suoi dannaggi. Co li suoi raggi mette tal cafura che non può raffreddare per freddura.

8. Motettu de tristura (Sardinia) Tristu passirillanti comenti massimbillas. Tristu passirillanti e puita mi consillas a prongi po s’amanti.

Tristu passirillanti cand’ happess interrada tristu passirillanti faimi custa cantada cand’ happess interrada.

9. Malurous qu’o uno fenno (Auvergne) Malurous qu’o uno fenno, Malurous qué n’o cat! Qué n’o cat n’en bou uno, Qué n’o uno n’en bou pas! Tradèra, ladèri dèra!

Urouzo lo fenno Qu’o l’omé qué li cau! Urouz’ inquèro maito Oquèlo qué n’o cat! Tradèra, ladèri dèra!

10. Lo fïolairé (Auvergne) Ton qu’èrè pitchounèlo Gordavè loui moutous, ti lirou lirou lara!

Obio ‘no counoulhèto è n’ai près un postrou, ti lirou lirou lara!

Per fa l’obiroudèto Mè domound’un poutou, ti lirou lirou lara!

E ièu soui pas ingrato, Èn lièt d’un n’in fau dous, ti lirou lirou lara!

11. Azerbaijan Love Song The lyrics of this songs were transcribed phonetically by Cathy Berberian from a recording of a song sung in a dialect of Azerbaijani. Berberian did not speak the language and so no meaningful translation can be made.

La la la la la la… Love does not care what damage it does with its rays that cause such a fever that not even the cold can cool.

English translations by Matthew Absolom

Song of sorrow Sad nightingale how much you are like me. Sad nightingale if you can, console me as I cry for my lover

Sad nightingale when I am buried Sad nightingale sing me this song when I am buried.

English translations by Matthew Absolom

Sorry the man who has a wife Sorry the man who has a wife, sorry the man who has none! Whoever doesn’t have one, wants one, Whoever has one, doesn’t want one! Tra la la …

Happy the woman who has the man she needs! But even happier the woman who has none! Tra la la …

English translation by Symphony Australia

The spinner When I was a little girl I tended the sheep, tra la la!

I had a spindle and I took a shepherd, tra la la!

For looking after my sheep he wants a kiss, tra la la!

And I’m not ungrateful: instead of one, I gave him two, tra la la!

English translation by Symphony Australia

Translation

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Wir geniessen die himmlischen Freuden d’rum thun wir das Irdische meiden. Kein weltlich’ Getümmel hört man nicht im Himmel! Lebt Alles in sanftester Ruh’! Wir führen ein englisches Leben! Sind dennoch ganz lustig daneben! Wir tanzen und springen wir hüpfen und singen! Sanct Peter in Himmel sieht zu!

Johannes das Lämmlein auslasset, der Metzger Herodes drauf passet! Wir führen ein geduldig’s, unschuldig’s, geduldig’s, ein liebliches Lämmlein zu Tod! Sanct Lucas den Ochsen thät schlachten ohn’ einig’s Bedenken und Achten, der Wein kost kein Heller im himmlischen Keller, die Englein, die backen das Brot.

Gut’ Kräuter von allerhand Arten, die wachsen im himmlischen Garten! Gut’ Spargel, Fisolen, und was wir nur wollen! Ganze Schüsseln voll sind uns bereit! Gut’ Äpfel, gut’ Birn’ und gut’ Trauben! Die Gärtner, die Alles erlauben! Willst Rehbock, willst Hasen, Auf offener Strassen sie laufen herbei!

Sollt ein Fasttag etwa kommen alle Fische gleich mit Freuden angeschwommen! Dort läuft schon Sanct Peter mit Netz und mit Köder zum himmlischen Weiher hinein. Sanct Martha die Köchin muss sein!

Kein Musik ist ja nicht auf Erden, die uns’rer verglichen kann werden. Elftausend Jungfrauen zu tanzen sich trauen! Sanct Ursula selbst dazu lacht! Kein Musik ist ja nicht auf Erden, die uns’rer verglichen kann werden. Cäcilia mit ihren Verwandten sind treffliche Hofmusikanten! Die englischen Stimmen ermuntern die Sinnen! dass Alles für Freuden erwacht.

We taste the joys of Heaven leaving behind all that is earthly. No worldly strife is heard in Heaven. We live here in sweetest peace! We live an angelic life, yet we are merry as can be. We dance and spring and skip and sing while St Peter in heaven looks on.

St John lets the lamb go running, the butcher Herod is waiting for it. We lead the patient, meek, guiltless dear little Lambkin to death! St Luke is slaughtering the oxen without care or consideration, The wine is free in the heavenly tavern, and the angels, they bake the bread.

Fine vegetables of every kind grow in the gardens of Heaven, good asparagus and beans, whatever we fancy, big bowls are prepared for us! Good apples and pears and grapes! The gardeners let us take all! Do you want a roebuck or hare? Here in the open streets they run about!

And when there is a fast day the fish come swarming in merrily! St Peter, he runs with net and with bait to fish in the heavenly pond. St Martha is the cook, who else?

No music on earth can compare with ours. Eleven thousand virgins come forward to dance! Even St Ursula laughs to see that! No music on earth can compare with ours. Cecilia and her relations are excellent court musicians! The angelic voices lift our spirits and all things awaken to joy!

Translation: Hedwig Roediger ABC/Symphony Australia © 1986

MAHLER Symphony No.4: IV Sehr behaglich [Very homely and comfortable]

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1800 1825 1850 1875 1900 1925 1950 1975 2000

Berio's Folk Songs1964

LUCIANO BERIO

1925 – 2003

Born in Oneglia, ItalyDied in Rome, Italy

String Quartet in D minor, D.810, Death and the Maiden: II Andante con motoarranged for string orchestra by Gustav Mahler

1894

FRANZ SCHUBERT

1797 – 1828

Born in Vienna, AustriaDied in Vienna, Austria

Mahler's Symphony No.4 in G1901

GUSTAV MAHLER

1860 – 1911

Born in Kalischt, BohemiaDied in Vienna, Austria

Kathie DrakeKathie retired from WASO at the end of 2015 after 27 years in the viola section. During this time she also performed with several chamber music groups, including Camerata WA, Quartet Noir and The Darlington Ensemble.

Prior to this she lived in Europe for eight years, first studying with Bruno Giuranna in Germany and then playing in orchestras in Switzerland and Italy, including her last three years there in the Zurich Chamber Orchestra.

Her first fulltime job was Principal Second Violin in the Queensland Theatre Orchestra, after completing a Diploma of Arts in Music at the Tasmanian Conservatorium and a BA(Hons) in English Literature at Melbourne University.

She now plays viola for fun, helps migrants and asylum seekers with their English, and looks after her two-year-old grandson.

She and her husband Dave love camping while exploring the more remote parts of Australia.

Timeline of Composers & Works

About The SpeakerWESFARMERS ARTS PRE-CONCERT TALK

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FOR THE ENJOYMENT OF ALLWhen to applaud? Musicians love applause. Audience members normally applaud:• 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.

FOOD & BEVERAGESFoyer 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.

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. Please note that 30 minutes prior to performance, the Box Office will only be available for sales to that night's performance.

The Box Office is open Monday to Friday, 9am to 5pm, and contactable on 9326 0000.

Your Concert Experience

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Semra Lee-SmithA/Associate Concertmaster

What drew you to classical music?My mother is a violin teacher so I don’t remember a time when I wasn’t surrounded by classical music - it has always been part of my life.

Did you come from a musical family? Well I’ve already mentioned my violin teacher mother and my brother Shaun (Lee-Chen) really doesn’t need any introduction. However, I have another brother Ian, an excellent cellist who could easily have had a playing career too but chose the far more sensible path of being a banker!

Can you remember your first WASO concert? My first concert as a permanent member of the WASO was in 2003 and we played Harmonielehre by John Adams with David Porcelijn conducting.

You are a violin lecturer at University of Western Australia, what is the best advice you could give to the next generation of upcoming violin players?Practise with a metronome!!! Please!!!

Recently you took part in WASO on the Road to the Pilbara region for the 2018 Karijini Experience, tell us about what was involved and the most rewarding moment? Karijini Experience is a multi-arts event celebrating indigenous culture. Events are held at various locations in the Karijini National Park. I was there as part of a WASO string quartet. We camped on the Karijini airstrip in tepees alongside other artists and presenters, were limited to 90 second showers and rehearsed in a sea container! We performed with Dr Deborah Cheetham AO, Mark Atkins (didgeridoo virtuoso), Gina Williams and Guy Ghouse in gorges and on the airstrip. On our last day, we visited Knox Gorge, which is a Class 5 gorge - 5 being the most difficult to access.

I am the clumsiest person I know so I was quite chuffed at having made it in and out of that gorge in one piece!

This year is WASO’s 90th anniversary, what do you think a symphony concert will look and sound like 90 years from now?I hope that much of what we do now is retained. I think the way an orchestra functions is incredible and that it would be a shame to lose the art of playing in an orchestra.

What kind of violin do you play and tell us what is special about your instrument? I play on a violin made around 1750 in Milan by Joseph Antonio Finolli. It’s a 7/8 size violin which is quite unusual as most people play a full size instrument. Its diminutive size affords me greater ease of playing since my hands and frame are rather small.

I really love…Everything Bartók! I think I might have been Hungarian in a past life.

Meet The Musician

Watch Semra's interview with The West: bit.ly/2ISAmMX

To learn more about WASO musicians, visit waso.com.au or connect with WASO.

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24*A one-off handling fee of $6.60 per transaction applies to all web, phone and mail bookings.

A fee of $3.85 applies to over the counter bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

MACA LIMITED CLASSICS SERIES

Fri 13 & Sat 14 July 2018, 7.30pm Perth Concert Hall

2018 SEASON

BOOK NOW – 9326 0000 – waso.com.au – tickets from $33*

Pablo Ferrández Plays Dvorák’s Cello Concertoˇ

Exciting Spanish cellist Pablo Ferrández makes his WASO debut performing a cornerstone of the cello repertoire, Dvorák’s ever-popular Concerto.

WASO presents the Australian premiere of Anna Clyne’s Masquerade, and Joshua Weilerstein leads Prokofiev’s blazing Fifth Symphony.

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UWA Conservatorium Tertiary Education Partner Profile “We are very excited to have this partnership with UWA, one of the finest Universities in the world. WASO is also a very fine orchestra and together I think we can give the students a very unique and unusual opportunity to get an insight as to the work of an orchestral musician and the making of classical music.” WASO Principal Conductor and Artistic Advisor, Asher Fisch

This week we were delighted to officially launch a masters degree program in collaboration with WASO tertiary education partner, UWA Conservatorium of Music. We are proud of our leadership role in the development of the next generation of creative musicians through our broad suite of Young & Emerging Artists Programs that are amongst the finest in the country. This unique Masters in Orchestral Playing course provides UWA music students opportunities to bridge the gap to a professional music career with direct access to the orchestra through mentoring, individual lessons, attendance at open rehearsals and professional performance opportunities.

WASO In The Community

WASO and UWA share a rich history of working together to enhance the education experience of talented music students by providing access to WASO performances, rehearsals and international guest artists. What started as a sponsorship has evolved into a multi-faceted Higher Education Collaboration. 2018 marks a significant milestone in the relationship. This partnership with UWA is a wonderful way to share our music as well as the talents and expertise of our musicians, with aspiring orchestral musicians as well as future leaders of our profession.

ABC Radio PerthTune in to ABC Radio Perth on Friday mornings at 6.15am when WASO’s Executive Manager, Community Engagement, Cassandra Lake joins Peter Bell and Paula Kruger to share stories about classical music and WASO’s upcoming concerts.

Listen on 720AM or via the ABC Listen app.

25*A one-off handling fee of $6.60 per transaction applies to all web, phone and mail bookings.

A fee of $3.85 applies to over the counter bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

MACA LIMITED CLASSICS SERIES

Fri 13 & Sat 14 July 2018, 7.30pm Perth Concert Hall

2018 SEASON

BOOK NOW – 9326 0000 – waso.com.au – tickets from $33*

Pablo Ferrández Plays Dvorák’s Cello Concertoˇ

Exciting Spanish cellist Pablo Ferrández makes his WASO debut performing a cornerstone of the cello repertoire, Dvorák’s ever-popular Concerto.

WASO presents the Australian premiere of Anna Clyne’s Masquerade, and Joshua Weilerstein leads Prokofiev’s blazing Fifth Symphony.

ˇ

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Endowment Fund for the OrchestraThis fund includes major donations and bequests Tom & Jean ArkleyBendat Family FoundationJanet Holmes à Court ACMinderoo FoundationSagitte Yom-Tov Fund

Estates WASO is extremely grateful for the bequests received from Estates Rachel Mabel ChapmanMalcolm HoodPaul LeeJudy Sienkiewicz Mrs Roslyn WarrickAnonymous (5)

Symphony CircleRecognising Patrons who have made a provision in their Will to the OrchestraMs Davilia BlecklyMr John BonnyDr G Campbell-EvansDeirdre CarlinAnita & James Clayton S & J DaleDr Michael FlacksJudith Gedero Robyn GlindemannGwenyth GreenwoodThe Guy FamilyEmi & Warren Jones Colin & Jo KingRachael Kirk & Tim WhiteWolfgang Lehmkuhl Deborah MarshSuzanne NashTosi Nottage in memory of Edgar NottagePaula PhillipsNigel & Dr Heather RogersJacinta SirrGavin Toovey & Jaehan LeeSheila Wileman Sagitte Yom-Tov FundAnonymous (35)

Excellence CircleSupporting excellence across all we doJean ArkleyBob & Gay BranchiJanet Holmes à Court ACDr Patricia KailisTorsten & Mona KetelsenRod & Margaret MarstonJohn RodgersMichael UtslerLeanne & Sam Walsh

WASO & Wagner Margaret & Fred Affleck AOShirley BarracloughDr & Mrs P BreidahlConstance ChapmanStephen Davis & Linda SavageLorraine EllardJannette GrayGwenyth GreenwoodMr M HawkinsDr Penny Herbert in memory of Dunstan Herbert Hon Jane Mathews AODr John MeyerJohn OvertonJoshua and Pamela Pitt Michael & Helen TuiteThe Wagner Society NSW Inc.The Richard Wagner Society of Western Australia (Inc)Adrienne & Max Walters AMJoyce Westrip OAMI & J WilliamsAnonymous (4)

Instrument FundJohn Albright & Susan Lorimer –EChO Double Bass and set of TrumpetsDeborah Marsh – Conductor's Podium & Cor AnglaisMargaret & Rod Marston – Bass ClarinetPeggy & Tom Stacy – Cor AnglaisJean & Peter Stokes – Cello, Tuba, Tenor Trombone, Bass Trombone and Wooden Trumpet

The WASO Song BookWe are grateful to those who have supported new works commissioned for the Orchestra by WASOJanet Holmes à Court ACDr Ken EvansBarrie & Jude Le PleyGeoff Stearn

Reach OutSupporting our Education & Community Engagement programsJean ArkleyRobyn GlindemannThe Ionian Club Perth ‘81The James Galvin FoundationBarrie & Jude Le PleyRosalind LilleyMcCusker Charitable FoundationSimon Lee FoundationRuth StrattonAnonymous (1)

Crescendo Supporting our free music education program delivered in Kwinana.Trusts & FoundationsThe Crown Resorts Foundation & Packer Family FoundationThe Stan Perron Charitable FoundationCrescendo Giving CircleAOT Consulting Pty LtdJean ArkleyGavin Bunning FamilyKaylene CousinsEuroz Charitable FoundationMadeleine King MP, Federal Member for BrandRosalind LilleyMrs MorrellPamela PittDeborah & Miles ProtterDr Lance RisbeyThe Spivakovsky JubileeAnonymous (3)

Whatever the shape or size, your donation helps 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 to 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.

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 ACJohn Albright & Susan Lorimer Jean Arkley in memory of Tom ArkleyDr Ken Evans & Dr Glenda Campbell-Evans *Patricia NewPeter & Jean StokesSue & Ron Wooller *

Impresario PatronGifts $10,000 - $19,999Gay & Bob Branchi Gavin BunningGilbert GeorgeTony & Gwenyth Lennon Joshua & Pamela PittAlan WhithamTrish Williams

Maestro Patron Gifts $5,000 - $9,999Prue Ashurst in memory of Eoin CameronBill Bloking Ian & Elizabeth ConstableMoira & John DobsonBridget Faye AM E & EA FraunschielMr & Mrs HillDr Patricia KailisKeith & Gaye Kessell Dr Ronny Low & Dr Emma RichardsonBryant & Louise Macfie Paula & John PhillipsChristine & Bernard SchelfhoutG. J. SeachRichard Tarala & Lyn Beazley AORos ThomsonAnonymous (2)

Virtuoso PatronGifts $2,500 - $4,999Dr Fred Affleck AO & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AMDavid & Suzanne Biddles Peter & Marjorie BirdProf Jonathan Carapetis & Prof Sue SkullRev Dr John & Prof Rachel Cardell-OliverMark Coughlan & Dr Pei-Yin HsuThe late Diane Coxon Stephen Davis & Linda SavageBev EastRoger & Ann GillbanksRobyn Glindemann Brian & Romola HaggertyWarwick Hemsley & Melissa ParkeJacoba Hohnen & Stuart CookseySue Hovell Peter Ingram Jim & Freda Irenic Eleanor John & Finn BarrettKelly FamilyMichael & Dale Kitney Stephanie & John Kobelke Dr Richard & Patricia LyonDeborah MarshMrs MorrellAnne NolanDr Lance Risbey & Ms Elizabeth SachseMelanie & Paul ShannonMichael Snell & Vicki Stewart Gail & Tony Sutherland Gene TilbrookMichael & Helen TuiteStan & Valerie VicichJoyce Westrip OAMAndrew & Marie YunckenAnonymous (2)

Principal PatronGifts $1,000 - $2,499Caroline Allen & Sandy DunnMargaret Atkins Dan BamBetty BarkerNoelle BeasleyColin and Sarah Beckett Tony & Mary BeeleyKevin Blake Matthew J C Blampey Namy BodinnerPeter & Eve BolandDr & Mrs P BreidahlJean Brodie-HallIan & Marilyn BurtonDr Anne ChesterChurchill ConsultingPeter & Sue Clifton Arthur & Nerina CoopesHon June Craig AMMaree Creighton & Kevin Davis Brian CresswellPeter & Lesley DaviesRai & Erika DolinschekPamela Joy Douglas and Simon DouglasJulian Dowse Megan EdwardsLorraine EllardThe late Richard FaragoP & J FisherDon & Marie Forrest Dr Andrew GardnerGeorge GavranicJannette Gray Deidre Greenfeld Grussgott Family TrustDavid & Valerie GullandRichard B Hammond Pauline & Peter HandfordDr & Mrs H Hansen-KnarhoiIn memory of Eileen HayesDr Penny Herbert in memory of Dunstan HerbertDallas Hickman & Alex Hickman

Annual Giving

Our Supporters

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Michael HollingdaleHelen Hollingshead John & Katrina HopkinsJudith HugoP & M JamesRoger Jennings in memory of Lilian JenningsWarren & Emi JonesAnthony Kane in memory of Jane Leahy-KaneBill Kean David Keast & Victoria MizenNoelle & Anthony Keller AMUlrich & Gloria Kunzmann Irving LaneAnn LewisKathleen LucasBarry & Elizabeth LydonGraham & Muriel Mahony Gregg & Sue MarshmanS. McWhirter Betty & Con Michael AOTony & Gillian MilneMrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Hon Justice S R Moncrieff Geoffrey & Valmae MorrisJane & Jock MorrisonLyn MurrayVal & Barry NeubeckerMarianne NilssonDr Phil and Mrs Erlene NobleJohn OvertonRon & Philippa PackerMichael & Lesley PageAthena PatonRosemary PeekCharmian Phillips in memory of Colin CraftPamela PlattThomas & Diana Potter Barry & Dot PriceDr Leon Prindiville Tony & Val RamshawJames & Nicola Ridsdill-SmithJohn & Alison RiggBryan & Jan RodgersGerry & Maurice Rousset OAMRoger & Helen Sandercock Her Excellency the Hon. Kerry Sanderson, ACDr R & J Schwenger

Margaret & Roger SearesGlenice ShephardJulian & Noreen Sher Laurel & Ross SmithPaul Smith & Denham HarryGeoff and Christine SoutarRuth ThomasClare Thompson & Brad PowerRuth E ThornGavin Toovey & Jaehan LeeMary Townsend James & Rosemary TrotterMaggie VenerysAdrienne & Max Walters AM Watering ConceptsIan WatsonDr Chris & Mrs Vimala WhitakerGeoff WilkinsonDai and Anne WilliamsIan Williams AO & Jean WilliamsJudith Wilton & David TurnerHilary & Peter Winterton AMFred & Caroline WittingSara WordsworthIn memory of youth concerts at the Capitol Theatre in the 1950s Anonymous (22)

Tutti PatronGifts $500 - $999Anne ActonGeoff & Joan Airey Kim & Paul AndersonCatherine BagsterBernard & Jackie Barnwell Shirley Barraclough Mrs Berwine Barrett-LennardPamela M BennetMichael & Nadia Berkeley-HillJohn & Sue Bird in memory of Penny BirdElaine BondsDiane & Ron BowyerJames & Gay BrownAnn Butcher & Dean R Kubank Michelle CandyNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeFred & Angela ChaneyDr Sarah CherianLyn & Harvey Coates AO

Alex Cohen AO & Agatha van der SchaafHelen CookGina & Neil DavidsonJop & Hanneke DelfosIn memory of Arbutus Beaver FalatkoMaxine & Bill Farrell AMDr Jenny FayGavin & Susan FieldingEleonore FuchterJoan GagliardiJennifer & Stephen GardinerIsobel Glencross Pitsamai & Kevin GreenPaul & Barbara HarrisAlan Harvey & Dr Paulien de BoerEric & Elizabeth HeenanRosemary HowarthCynthia JeePeter Sherwill JonesB M KentDorothy KingstonNelly KleynTrevor & Ane Marie Lacy Louis & Miriam LandauDr Sunny & Ann LeeMartin & Ruth LevitMegan LoweIan & Judith LuntMary Ellen in memory of KerensaOliver & Sophie MarkGeoff MasseyPam Mathews & Dr Mark BroganJennifer McCombDr Peter MossPhuong NguyenDr Walter Ong & Graeme MarshallBrian & Diana OslerMarjan Oxley Bev Penny Adrian & Ruth PhelpsJohn & Elizabeth Picton-WarlowRosie ReemanPaul RobertsLeigh Robinson & Deborah GelleNigel & Dr Heather RogersChris & Serge Rtshiladze Carole Sexton

Our Supporters

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The Sherwood FamilyIn memory of Judith SienkiewiczJacinta SirrPaul & Margaret SkerrittHendrik SmitDr L Sparrow & FamilyJohn & Elizabeth SpoorPeggy & Tom Stacy Eleanor SteinhardtIn Memoriam of Mr Andrew David StewartJanet StewartLois & Robert StoutLisa & Andrew Telford

Gwen TreasureDr Robert TurnbullJan TurnerPatricia TurnerMargaret WallaceJohn & Nita WalsheDoris WaltonDiana & the late Bill WarnockAnne Watson Joy WearnePatricia WestonMargaret WhitterBarbara WilcoxViolette William

Janet WilliamsSally WillisPari Willis-JonesMargaret WoodKin & Lillian YungChris & Kathy ZiatisAnonymous (25)

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

* Orchestral Chair Partnership

Our Supporters

If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Sarah Tompkin, Planned Giving Manager, on 9326 0017 or email [email protected]

WASO Philanthropy brochures are available from the WASO Programs and 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.

WASO 90th Anniversary DinnerThursday 15 November | 6.30pm Frasers Restaurant, Kings Park

For all Patrons & Bequestors

Join us in celebrating WASO’s 90th Anniversary year with a sumptuous evening at Fraser’s Restaurant in Kings Park.

Be entertained by your very own WASO musicians through intimate performance and conversation throughout the evening. The entertainment will be complemented by a three course meal and beautiful Margaret River wines.

This event will sell out, so book early to avoid disappointment! Tickets are $110 (early bird $100 till 30 June 2018) and include a three course dinner and performances throughout the evening.

Tickets are available via the WASO Box Office on 9326 0000. Please advise of guest names and any food allergies at the time of booking.

WASO Philanthropy

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2018 Corporate Partners

PARTNER OF EXCELLENCE

OVERTURE PARTNERS

FUNDING PARTNERS

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

ORCHESTRA SUPPORTERS

COLL EGEAQUINAS

KEYNOTE PARTNERS

PLATINUM PARTNERS

SONATA PARTNERS

CONCERTO PARTNERS

MEDIA PARTNERS

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

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2018 SEASON

BOOK NOW – 9326 0000 – waso.com.au – tickets from $53*

Composer, conductor, educator - Leonard Bernstein was quite simply one of the greatest musicians of the twentieth-century. We mark the 100th

anniversary of his birth by showcasing his work, from streetwise West Side Story to the uplifting Chichester Psalms.

The Best of Bernstein

*A one-off handling fee of $6.60 per transaction applies to all web, phone and mail bookings. A fee of $3.85 applies to over the counter bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

MACA LIMITED CLASSICS SERIES

Fri 29 & Sat 30 June 2018, 7.30pm Perth Concert Hall

2018 Corporate Partners

PARTNER OF EXCELLENCE

OVERTURE PARTNERS

FUNDING PARTNERS

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

ORCHESTRA SUPPORTERS

COLL EGEAQUINAS

KEYNOTE PARTNERS

PLATINUM PARTNERS

SONATA PARTNERS

CONCERTO PARTNERS

MEDIA PARTNERS

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

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Thursday 16 August 6pm - 11pm Sunday 19 August 2pm - 7pm MATINEE

Perth Concert Hall

WASO’s 90th Anniversary Gala

Tristan und Isolde

WAGNER Tristan und Isolde

Asher Fisch conductor Stuart Skelton Tristan

Eva-Maria Westbroek Isolde Ekaterina Gubanova Brangäne

Boaz Daniel Kurwenal Ain Anger King Marke

Asher Fisch appears courtesy of Wesfarmers Arts. *A one-off handling fee of $6.60 per transaction applies to all web, phone and mail bookings.

A fee of $3.85 applies to over the counter bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

Angus Wood Melot Paul O'Neill Young Sailor/

Shepherd Adrian Tamburini Steersman

WASO Chorus St George’s Cathedral

Consort

BOOK NOW – 9326 0000 – waso.com.au – tickets from $60*

Principal Conductor Asher Fisch conducts Wagner’s groundbreaking opera with the finest cast ever assembled in Australia.