PROGRAM

Friday 25 & Saturday 26 August 2017, 7.30pmPerth Concert Hall

MOZART & MAHLERASHER FISCH CONDUCTS

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Frankie Lo Surdo, French Horn

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Former Prime Minister Paul Keating was famously committed to “the big picture”.

A life-long devotee of classical music, one of his favourite composers is Gustav Mahler. While reading a new Keating biography recently, I found myself wondering why Keating would find Mahler and his music so attractive. And my conclusion (coloured no doubt by my personal views of them both!) is that Keating might conclude that Mahler was also committed to “the big picture”. His symphonies tackle the “Big Questions” – is there life after death, how do we glimpse another realm beyond our worldly experience, why do we suffer in love and life?

Mahler’s music can be intoxicatingly seductive one moment, emotionally overwhelming and psychologically devastating the next (sounds to me like a Keating performance in Question Time!). Perhaps there was a 'touch of the Maddie' about Mahler, as was sometimes said of Keating. If so, then I for one am grateful for it, as I think it is the emotional rawness and honesty of his “Big Picture” music that makes Mahler so compelling and a great performance of it a life changing experience.

Evan Kennea Executive Manager, Artistic Planning

1750 1775 1800 1825 1850 1875 1900 1925 1950

WOLFGANG AMADEUS MOZART

1756 – 1791Born in 1756, Salzburg, AustriaDied in 1791, Vienna, Austria

GUSTAV MAHLER

1860 – 1911Born in 1860, Kalischt, Czech RepublicDied in 1911, Vienna, Austria

Mozart's Violin Concerto No.31775

Mahler's Symphony No.61906

WELCOME

TIMELINE OF COMPOSERS & WORKS

Frankie Lo Surdo, French Horn

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2017 UPCOMING CONCERTS

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

TICKETS FROM $32*

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MACA LIMITED CLASSICS SERIES

KARIN SCHAUPP PLAYS RODRIGOFRI 6 & SAT 7 OCTOBER 7.30PM Perth Concert HallFormer WASO Assistant Conductor Christopher Dragon is joined by acclaimed Australian guitarist Karin Schaupp in this enchanting concert. Ravel’s Pavane evokes the courtly world of Renaissance Spain with as much perfumed nostalgia as Rodrigo’s popular Guitar Concerto does. Rodrigo described his glorious Concerto as capturing “the fragrance of magnolias, the singing of birds, and the gushing of fountains.”

RAVEL Pavane pour une infante défunte RODRIGO Concierto de Aranjuez RIMSKY-KORSAKOV Scheherazade

Christopher Dragon conductor Karin Schaupp guitar (pictured)

TICKETS FROM $29*

MORNING SYMPHONY SERIES

LI-WEI QIN PLAYS SAINT-SAENSTHURS 12 OCTOBER 11AM Perth Concert HallChinese-born Australian cello virtuoso Li-Wei Qin and conductor Douglas Boyd make a welcome return to WASO. Saint-Saëns’ stormy, mercurial First Cello Concerto is an audience favourite, a virtuosic showpiece that positively erupts with melodic invention.

SAINT-SAENS Cello Concerto No.1 VAUGHAN WILLIAMS Symphony No.5

Douglas Boyd conductor Li-Wei Qin cello (pictured)

MASTERS SERIES

FRENCH CONNECTIONSFRI 13 & SAT 14 OCTOBER 7.30PM Perth Concert HallVaughan Williams’ Fifth Symphony is imbued with the delicate handling of lyricism and orchestral colour evident in Ravel’s Mother Goose ballet. By contrast, musical prodigy Saint-Saëns’ stormy, mercurial First Cello Concerto positively erupts with melodic invention.

RAVEL Ma Mère L’Oye (Mother Goose) – Suite SAINT-SAENS Cello Concerto No.1 VAUGHAN WILLIAMS Symphony No.5

Douglas Boyd conductor Li-Wei Qin cello (pictured)

TICKETS FROM $32*

ASHER FISCH CONDUCTS MOZART AND MAHLER

MASTERS SERIES

MOZART Violin Concerto No.3 (24 mins)

Allegro

Adagio

Rondeau (Allegro – Andante – Allegretto – Allegro)

Interval (25 mins)

MAHLER Symphony No.6 (75 mins)

Allegro energico, ma non troppo. Heftig, aber markig

Scherzo: Wuchtig

Andante moderato

Finale. Allegro moderato – Allegro energico

Asher Fisch conductor Karen Gomyo violinAsher Fisch appears courtesy of Wesfarmers Arts.

Wesfarmers Arts Pre-concert TalkFind out more about the music in the concert with this week’s speaker, William Yeoman. The Pre-concert Talk takes place at 6:45pm in the Terrace Level Foyer

Wesfarmers Arts Meet the Musician TalkEnjoy a conversation with WASO’s Principal Percussion Brian Maloney post-concert Friday night in the Terrace Level Foyer. Principal Chair, Brian Maloney, is partnered by Stott Hoare

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On Saturday 24 June, a capacity audience at the Perth Concert Hall enjoyed the 2017 program which included Die Fledermaus: Overture by J. Strauss Jr., the exquisite Intermezzo from Act III of Pucinni’s Manon Lescaut, the ever-exciting main theme of John Williams’ Star Wars, with Tchaikovsky’s 1812 Overture complete with confetti canons firing form the rooftops. The program concluded with the world premiere of The Rusties! - March written by a previous Rusty participant in memory of great times spent playing in our Rusty Orchestra. Well done John!

The 2018 Rusty Orchestra will take place on Saturday 9 June. For information, please contact Lily Protter at protterl@waso.com.au or call 9326 0002. To download an application form please visit waso.com.au/education

WASO’s Community Outreach Program is proudly presented by Healthway, promoting the Act-Belong-Commit message.

Rusty Orchestra • 100% Rusty Participants surveyed

would recommend the program to their colleagues

• 100% Rusty Participants surveyed said that participation in Rusty had improved their playing

A highlight of our annual Community Engagement program is the opportunity for WASO players to share the stage with musicians of all ages. Each year, through various Education and Community Outreach programs, we create opportunities for students and adults to sit side by side WASO musicians to make music together.

The biggest of these side by side programs is our Rusty Orchestra. First introduced in 2014, active community musicians apply to form a larger than life symphony and prepare a public performance through sectional and full orchestra rehearsals. Community musicians join us from all over Western Australia to be in the Rusty Orchestra, and each year our numbers swell above 90 musicians on stage for the free public performance that is presented during Education Week. Peter Moore OAM conducts and presents the program, bringing the exact right balance of fun and demand to the podium.

”I had such a fabulous time playing with the Rusty Orchestra. I’d thoroughly recommend it to any amateur musician! Everyone was super friendly, from the organisers to the WASO musicians. The conductor was just the right combination of brilliant, funny and technical. I really feel like the experience has improved my playing. THANK YOU SO MUCH!!! :)” Rusty Participant, 2017

WASO IN THE COMMUNITY

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The West Australian Symphony Orchestra (WASO) is Western Australia’s largest and busiest performing arts organisation. With a reputation for excellence, engagement and innovation, WASO’s resident company of full-time, professional musicians plays a central role in creating a culturally vibrant Western Australia. WASO is a not for profit company, funded through government, ticket revenue and the generous support of the community through corporate and philanthropic partnerships.

WASO’s mission is to touch souls and enrich lives through music. Each year the Orchestra entertains and inspires the people of Western Australia through its concert performances, regional tours, innovative education and community programs, and its artistic partnerships with West Australian Opera and West Australian Ballet.

The Orchestra is led by Principal Conductor and Artistic Adviser Asher Fisch. The Israeli-born conductor is widely acclaimed for his command of the Romantic German repertoire and is a frequent guest at the world’s great opera houses.

Each year the Orchestra performs over 175 concerts with some of the world’s most talented conductors and soloists to an audience in excess of 190,000. An integral part of the Orchestra is the WASO Chorus, a highly skilled ensemble of auditioned singers who volunteer their time and talent.

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WEST AUSTRALIAN SYMPHONY ORCHESTRA

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VIOLINLaurence JacksonConcertmasterVivien Jeffery^Guest Assoc ConcertmasterSemra Lee-Smith A/Assoc ConcertmasterGraeme NorrisA/Assistant ConcertmasterRebecca GlorieA/Principal 1st ViolinZak Rowntree*Principal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenStephanie DeanJohn Ford^Beth HebertJane Johnston°Sunmi JungChristina KatsimbardisBrian Kruger^Andrea Mendham^Lucas O’Brien°Melanie Pearn Ken PeelerJane SerrangeliKathryn Shinnick°Jacek SlawomirskiKate SullivanBao Di TangCerys ToobyTeresa Vinci^Susannah Williams°

VIOLAAlex BroganA/Principal ViolaKierstan ArkleysmithNik BabicChair partnered by Lesley & Peter DaviesBenjamin CaddyNicole Greentree^Alison HallRachael KirkAllan McLeanElliot O’BrienKatherine Potter^Helen Tuckey

CELLORod McGrath Chair partnered by Tokyo Gas

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

DOUBLE BASSAndrew Sinclair*Joan Wright Elizabeth Browning^Louise ElaertsChristine ReitzensteinAndrew TaitMark Tooby

FLUTEMary-Anne Blades Andrew Freeman^Georgia Lane^Diane Riddell^

PICCOLOMichael Waye

OBOEPeter Facer Liz CheeGiselle Gabriels^Stephanie Nicholls^

COR ANGLAISLeanne Glover

CLARINETAllan Meyer Lorna CookGeoff Bourgault^Catherine Cahill^

BASS CLARINETAlexander Millier

BASSOONAdam MikuliczA/Principal BassoonChair partnered by Sue & Ron Wooller

Colin Forbes-Abrams°Linda Charteris^Peter Moore^

CONTRABASSOONChloe Turner

HORNDavid EvansJulian Leslie Robert Gladstones Principal 3rd HornJessica Armstrong^Julia BrookeRiley Byfield^Dorée Dixon^Deborah Hart^ Francesco Lo Surdo

TRUMPETBrent GrapesEvan CromieMatthew Dempsey^Adam Hawksworth^Yoram Levy^Peter Miller

TROMBONEJoshua Davis Liam O’MalleyNigel Crocker^

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke Chiron Meller°Assoc Principal Percussion and Timpani

PERCUSSIONBrian MaloneyChair partnered by Stott HoareJoel Bass^Amanda Dean^Robyn Gray^Paul Tanner^

HARPSarah BowmanCatherine Ashley^

CELESTEGraeme Gilling^

YOUR ORCHESTRA

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

PrincipalAssociate PrincipalGuest Musician^Contract Playerº

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Sunmi JungViolin

How and where did your musical journey begin?My father was a violinist and conductor in Korea. When I was seven years old, I was influenced by him to start learning violin. I went to Germany to learn more after graduating with a bachelor degree in Yonsei University, Korea. Düsseldorf Musikhochschule in Germany was the best place for me. I was also very lucky to have a great teacher, Andreas Krecher in there. He was an inspiration to me, especially for the Chamber music. So, I have grown my dream as a professional chamber orchestra player.

When did you join WASO and where did you play before then?Fortunately, I had a lot of opportunities to play in Orchestras when I was in Germany. I worked at Duisburger Philharmoniker and Bielefeld Philharmonic Orchestra as a casual player during my study. After completing my exams and Chamber music degree, I joined Beethoven Orchestra in Bonn as a tutti violin. Within my career in Germany, I’ve learned many repertories and met lots of great musicians. After marriage, I moved to Perth due to my husband’s new job. I have been working for WASO since 2013.

What has been the biggest highlight from your time at WASO so far? Every Master Series concert is my biggest highlight at WASO. It is always very exciting to play with an eminent conductor and soloist in the world. With them, I’m learning how to love classical music! However, the most fruitful concerts for me are the Family Series concerts. For the first time in my little son’s life, he watched a concert and told me how he is proud of my job.

Do you have a shortlist of works or composers that you love to play the most?I really like to play Beethoven symphonies. A few years ago, WASO played all of Beethoven symphonies as a ‘Beethoven Festival’. I really enjoyed it. And also I love to play Brahms and Mahler.

What’s your favourite city in the world?My favourite city is Bonn, Germany, where I lived before. It’s a small city but well-balanced city between the nature and historic culture. I really want to visit Bonn again later with my family.

What’s the essential item you must take on a flight with you?Recently, I bought noise cancelling earphones. It’s fantastic! I have no idea about the advanced technologies, but it makes me very comfortable and relaxed during the flight. That’s my ‘must take’ item.

MEET THE MUSICIAN

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11WASO Composer in Residence Lachlan Skipworth is supported by the Simon Lee Foundation. *A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $3.85 applies to over the counter bookings.

A fee of $6.60 applies to phone and mail bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

TICKETS $30*BOOK NOW 9326 0000WASO.COM.AU

LUX AETERNAWASO CHORUS SINGS

LIGETI Lux aeternaBACH, J.S. Wie sich ein Vater erbarmet, BWV 17 BARBER Agnus Dei (Adagio for Strings) BACH, J.S. Wie soll ich dich empfangen, BWV 248

LACHLAN SKIPWORTH New Work WORLD PREMIERE

BACH, J.S. Kyrie! Gott Vater in Ewigkeit, BWV 371 MAHLER Adagietto from Symphony No.5

Christopher van Tuinen conductor

WASO Chorus

SUN 24 SEPT 2PMST MARY’S CATHEDRAL, PERTH

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. In 2014, Fisch became the Principal Conductor and Artistic Advisor of the West Australian Symphony Orchestra (WASO). 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 2016-17 season include debuts with the Sydney Symphony and the New Japan Philharmonic, and a tour to China with WASO. In addition, Fisch returns to the Stuttgart Philharmonic, Milwaukee Symphony, and Kansas City Symphony. Guest opera engagements include Tristan und Isolde at the Metropolitan Opera, Die Zauberflöte at Teatro Regio di Torino, and five titles including La forza del destino and Falstaff at the Bayerische Staatsoper where he has long maintained enduring ties.

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, San Francisco Opera, 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. Last year, his 2013 recording of Wagner’s Ring Cycle with the Seattle Opera was released on the Avie label. 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 a solo disc of Wagner piano transcriptions on the Melba label.

Asher Fisch appears courtesy of Wesfarmers Arts

ABOUT THE ARTIST

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Karen GomyoViolin

Karen Gomyo’s recent appearances have included her Paris debut in Britten’s Violin Concerto with the Orchestre Philharmonique de Radio France, Bartók with the Minnesota Orchestra and Beethoven with the Toronto Symphony. Future performances include the National Arts Center Orchestra Ottawa, Kirstiansand Symphony Norway and St. Louis and Detroit Symphony Orchestras.

Conductors with whom Karen Gomyo has worked include Sir Andrew Davis, Neeme Järvi, David Robertson, Pinchas Zukerman, Jakub Hrůša, and Mark Wigglesworth. Her chamber music partners have included Leif Ove Andsnes, Olli Mustonen, and Isabelle Van Keulen.

In 2015, Gomyo presented the North American premiere of Matthias Pintscher’s Violin Concerto No.2 Mar’Eh with the National Symphony Orchestra, Washington DC under the direction of the composer and she presented that work again in Dallas in January. Gomyo is deeply interested in the Nuevo Tango music of Astor Piazzolla, and has recorded with Paizzolla’s longtime pianist and tango legend Pablo Ziegler and his partners. Gomyo was violinist, guide, and narrator for the 2014 documentary film The Mysteries of the Supreme Violin, which was broadcast worldwide on NHK WORLD.

Karen Gomyo was born in Japan and moved with her mother to Canada at the age of two, growing up in Montreal. She began playing the violin at the age of five and moved to New York to study at Juilliard’s pre-college. While there, she studied with Dorothy DeLay.

Karen Gomyo plays on the ‘Aurora, ex-Foulis’ Stradivarius violin of 1703 that was bought for her exclusive use by a private sponsor.

ABOUT THE ARTIST

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FOR THE ENJOYMENT OF ALLWhen to applaud? Musicians love applause. Audience members normally applaud:• When the concertmaster (violin) walks onto

the stage • When the conductor walks onto the stage • After the completion of each piece and at

the end of the performance

When you need to cough, try to muffle or bury your cough in a handkerchief or during a louder section of the music. Cough lozenges are available from the WASO Ticket Collection Desk before each performance and at the interval.

Hearing aids that are incorrectly adjusted may disturb other patrons, please be mindful of those around you.

Mobile phones and other electronic devices need to be switched off throughout the performance.

Photography, sound and video recordings are permitted prior to the start of the performance.

Latecomers and patrons who leave the auditorium will be seated only after the completion of a work.

Moving to empty seats. Please do not move to empty seats prior to the performance as this may affect seating for latecomers when they are admitted during a suitable break.

LISTEN TO WASOThis performance is being recorded for broadcast on ABC Classic FM on Sunday 3 September at 12pm (or 10am online). For further details visit abc.net.au/classic

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

FOOD & BEVERAGESVisit perthconcerthall.com.au for information on food and beverage offerings at the venue.Foyer bars are open for drinks and coffee two hours before, during interval and after the concert. To save time we recommend you pre-order your interval drinks.

FREE WATER STATIONS• Level 1 Ground Floor across from box office• Wardle Room – western side of bar• Terrace Level Corner Bar – one water

station on either side of the bar• Lower & Upper Gallery level

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

ACCESSIBILITY • A universal accessible toilet is available on

the ground floor (Level 1)• The Sennheiser MobileConnect Personal

Hearing Assistance system is available for every seat in the auditorium. Visit perthconcerthall.com.au/your-visit/accessibility/ for further information.

WASO BOX OFFICEBuy your WASO tickets and subscriptions, exchange tickets, or make a donation at the Box Office on the ground floor (Level 1) prior to each performance and at interval. Tickets for other performances at Perth Concert Hall will be available for purchase only at interval.

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

DONATE YOUR TICKETCan’t attend a concert? Contact the WASO Box Office on 9326 0000 to donate your ticket for re-sale and you will receive a tax deductible receipt.

YOUR CONCERT EXPERIENCE

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Wolfgang Amadeus Mozart(1756 – 1791)

Violin Concerto No.3

Allegro Adagio Rondeau (Allegro – Andante – Allegretto – Allegro)

Mozart’s father once suggested to him that the best way to introduce himself in a place where he wasn’t known was to play a violin concerto. We think of Mozart as a pianist, and all many people know about his violin playing comes from letters written to him by his father Leopold, one of the leading violin teachers of the time, exhorting him not to give up practising, and claiming that he could, if he worked at it, play like the finest violinist in Europe. Mozart composed all but the first of his five violin concertos, including this one, in a sustained burst in 1775 when he was 19. They have sometimes been regarded as attempts to please his father rather than himself. Yet none of his piano concertos up to this time show the maturity of conception of the last three of these violin concertos, the ones in G major (K216), D (K218) and A (K219).

Of the numberless violin concertos composed in the 18th century, the standard modern ‘symphony concert’ repertoire retains only a few of Vivaldi’s, those of J.S. Bach, and Mozart’s. Mozart’s violin concertos are standard because they are very good music. Listening illustrates this better than words, but part of it is that the musical ideas are so strong, and there are so many of them. Yet Mozart, even at this age, can organise his many ideas concisely and convincingly. Composing operas, his main preoccupation, has already taught him how to make the soloist the protagonist in a drama.

The solo violin parts of these concertos put musical substance, and idiomatic writing for the instrument, ahead of virtuoso display. This wasn’t because Mozart’s own violin technique was limited. The concertos were possibly intended not for him but for his Salzburg colleague Antonio Brunetti (first violin and soloist in the Court Orchestra). Both men certainly played at least some of them, and Brunetti himself said, ‘Mozart could play anything.’

The concerto in G major is in many ways the most endearing of Mozart’s violin concertos, the most intimate, charming and sensual in expression. Here Mozart displays the assurance to transcend the more conventional, sometimes short-winded style of the first two concertos.

To begin this concerto, Mozart reuses music from the aria ‘Aer tranquillo’ of his opera Il re pastore, composed five months earlier. There’s a flood of contrasting ideas, and the solo violin becomes a willing contributor to the thematic richness. This violin concerto anticipates the mature piano concertos in the variety of exchanges between solo and orchestra, and within the orchestra, setting off strings against oboes and horns in the development.

ABOUT THE MUSIC

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3/8 time – triple time signature, with three quaver (short, quick notes) beats to each bar.Development – in sonata form, in which the first movements of most symphonies of the Classical period are structured, the main themes are introduced in the exposition; in the development section these themes are explored according to key relationships; finally, the themes are restated and resolved in the recapitulation.Pizzicato – plucking, rather than bowing, the strings.Recitative – a style of singing which follows speech-like rhythms rather than having a sense of regular metre. Triplet – group of three notes to a single beat. A ‘broken’ triplet rhythm is one in which one of the triplet notes is not articulated (in this case, the first).

Glossary

Here the first oboe takes over as the brilliant high voice. Eventually the violin takes over the oboe phrase, and leads the music towards the reprise, its solo role, as if a singer, underlined by a brief passage of recitative.

Whereas the first movement is energetically playful, the second is rapturous. This is the type of Mozart slow movement aptly described as dreamy, like that of the Piano Concerto in C, K467 (used in the film Elvira Madigan). The similarities include the broken triplet accompaniment, muted strings and pizzicato bass.

The Rondeau, in a jaunty 3/8 time, has a main theme which comes back five times, and is especially marked by its throwaway ending, where the horns and oboes are left on their own. Indeed the punctuation from these instruments is a feature of the movement. Eventually the dominance of the 3/8 rhythm is broken by two fanciful episodes. The first, in a slower tempo (Andante), has a pizzicato string accompaniment overlapping a kind of stately pavane from the violin. This gives way immediately to a much simpler, folk-like theme in common time.

This is the theme some scholars believe made Mozart and his father refer to this concerto as ‘the Strassburger’, the name of a (Hungarian) folk-melody; others believe they were referring to a similar passage in the D major Concerto, K218. After this rather whimsical interruption, which we must suppose contained in-jokes more obvious to the first audiences than to us, but is delightful anyway, the Rondeau resumes its earlier course, but fantasy has the last word: the throwaway line gracefully waves as the concerto leaves the stage.

© David Garrett

First performance: exact circumstances unknown, but the first performance was probably given by either Antonio Brunetti or Mozart himself, in Salzburg.First WASO performance: 13 June 1942. E.J. Roberts, conductor; Vaughan Manly, violin.Most recent WASO performance: 4-6 June 2015. Eugene Tzigane, conductor; Paul Wright, violin.

Instrumentation: two flutes, two oboes, two horns, strings.

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Gustav Mahler(1860 – 1911)

Symphony No.6 in A minor

Allegro energico, ma non troppo. Heftig, aber markig Scherzo: Wuchtig Andante moderato Finale. Allegro moderato – Allegro energico

Mahler’s first four symphonies mine his many song-settings of folk poetry from the collection Des Knaben Wunderhorn and three of them contain significant vocal elements. His three central symphonies are all works of ‘absolute’ as against programmatic music. Nevertheless, his Fifth, Sixth and Seventh Symphonies derive some of their thematic material from two sets of songs to poetry by Friedrich Rückert (1788-1866): the song-cycle Kindertotenlieder (Songs on the death of children) and five songs (which do not constitute a cycle) which include the masterpieces ‘Ich bin der Welt abhanden gekommen’ (I have lost touch with the world) and ‘Um Mitternacht’ (At midnight).

For all its epic scale, the Sixth is the work, as Mahler put it, of ‘an old-fashioned composer’ in that it is cast in a traditional four-movement design. From the outset, though, its tone – which led to the occasional use, even in Mahler’s time, of the nickname Tragic – is unambiguous. A fully scored A major chord, underpinned by an obsessive rhythmic motif from the timpani, fades and, as it fades, changes to the minor mode. This is music which will end in darkness. The movement begins as a march, though as scholar Michael Kennedy points out, it is not the triumphant approach of spring as in the Third Symphony, or the doom-laden funeral march of the Fifth.

It is ‘modern music [that] marches in with this sinister tramping start’. The movement’s starkly contrasting second subject is a lyrical tune which rises and falls largely by step. In her memoirs, Alma Mahler describes how, when Mahler began work on the piece on their summer vacation in 1903, ‘after he had drafted the first movement, he came down from [his study] to tell me he had tried to express me in a theme’. Its contour and mood certainly relate to any number of Romantic love-themes. The yearning lyricism provides a perfect foil for the implacable march with which the movement begins – ‘change and conflict are the secret of effective music’, as Mahler said. Another unique aspect of this work is the celebrated evocation of alpine scenery, first heard toward the end of the movement, said by Mahler to represent the ‘last earthly sounds heard from the valley below by the departing spirit on the mountain top’. He noted that ‘the cowbells should be played with discretion – so as to produce a realistic impression of a grazing herd of cattle, coming from a distance…’.

Mahler never quite resolved the issue of the order of the two central movements.

ABOUT THE MUSIC

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Originally the Scherzo followed the first movement (as it does in this performance), but Mahler tried it out with the Andante second and Scherzo third before swapping them back. The Scherzo, too, has an insistent rhythm to begin with. There is much Mahlerian irony in this movement, both in the dry clattering of the xylophone and what Kennedy calls the ‘delicate pastiche Haydn’. As a caution against over-interpreting, the Scherzo has been interpreted as ‘diabolical’ and ‘catastrophic’ on one hand, where Alma’s reminiscences insist that it depicts the ‘tottering’ of their children at play before the intrusion of tragedy at the end of the movement.

The Andante represents a complete contrast with both the Scherzo and the finale, and its thematic reference to the Songs on the Death of Children may give some credence to the theory that the scherzo dealt with Mahler’s family life. But the tone is hardly tragic. Rather, with its horn calls and reminiscence of the cowbells it is poignant and romantic.

The Finale is one of Mahler’s largest and most complex structures, and it bears the weight of the symphony as a whole, recalling material from earlier in the work. Its introductory section contains material that will be developed as the movement unfolds, particularly the impassioned melody heard first high in the violins.

The movement depicts a nightmarish world, where the Allegro energico strains towards climactic release, only to be brutally interrupted on three occasions. Mahler originally included a sickening thud ‘like an axe-stroke’ at each of these points, but later omitted the third out of superstition. Theodor Adorno wrote that in Mahler ‘happiness flourishes on the brink of catastrophe’. Mahler himself said that the movement describes ‘the hero on whom falls three blows of fate, the last of which fells him as a tree is felled’. The piece ends in dissolution.

Abridged from a note by Gordon Kerry © 2006

First performance: 27 May 1906, Essen, composer conducting.First WASO performance: 16-17 August 1991, Jorge Mester, conductor.Most recent WASO performance: 18-19 September 1998. János Fürst, conductor.

Instrumentation: piccolo, four flutes (two doubling piccolo), four oboes (two doubling cor anglais), another cor anglais, three clarinets plus E flat clarinet and bass clarinet, four bassoons, contrabassoon, eight horns, six trumpets, four trombones, tuba, timpani, two harps, celesta, large battery of percussion, strings.

Absolute music – refers to the idea that music is nothing more than music itself, and does not describe or represent anything else or tell any story, such as with programmatic music.Subject, first and second – melodies which play an important part in the structure of a piece of music.

Glossary

STRAUSS, R. Ein Heldenlebenfeatured in Asher Fisch & WASO: Destiny, Fate and Heroes Fri 1 & Sat 2 December

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We need a new Bass Clarinet and Tuba! WASO Philanthropy regularly seeks donations to help us purchase quality hand-crafted instruments. Specialist instruments enable the Orchestra to maintain artistic excellence, to perform historic repertoire and to perfect our distinct ‘WASO sound’. After 13 years of service, we are now looking to retire our Bass Clarinet as unlike stringed instruments, woodwind instruments don’t improve with age. We now need a new instrument that is of appropriate standard to match the outstanding quality of the Orchestra in tone, stability of intonation and dynamic range.  

As WASO is forging a reputation of excellence in the German Romantic repertoire under Principal Conductor, Asher Fisch, we are also after a new Bb ‘Kaiser’ Tuba for our brass section. This particular Tuba is handmade by renowned German instrument maker, Rudolf Meinl and is the optimum instrument for much of Asher Fisch’s repertoire.

If you are able to help us with one of these purchases, you will be invited to meet the players backstage and be acknowledged with a plaque. For further questions please contact Sarah Tompkin on (08) 9326 0017 or tompkins@waso.com.au. 

WASO PHILANTHROPY

Did you know that all ticket sales from our Patrons and Friends events support the Friends of WASO Scholarship? We hold a series of exciting events throughout the year and all proceeds are directed towards the Scholarship fund. There are two remaining for 2017 – come join us!

Meet the Percussion SectionSunday 15 October 2017 | 2:00–4:00pm Perth Concert Hall Stage

Join us when we venture onto the Perth Concert Hall stage to meet the members and instruments of the self-proclaimed ‘noisy section’ of the Orchestra! The afternoon will include a raffle, afternoon tea and light refreshments.

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

Patrons & Friends Christmas PartyThursday 14 December | 4:30 – 7:30pm Perth Concert Hall

The Patrons & Friends Christmas Party tradition will continue this year on Thursday 14 December! Gather to celebrate the musical year that was and mingle with WASO musicians over a relaxed dinner and drinks after watching the final WASO rehearsal of 2017.

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

PATRONS & FRIENDS EVENTS

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OUR SUPPORTERS

Symphony CircleRecognising Patrons who have made a provision in their Will to the OrchestraMs Davilia BlecklyMr John BonnyDr G Campbell-EvansDeirdre CarlinAnita & James Clayton Dr Michael FlacksJudith Gedero Robyn GlindemannGwenyth GreenwoodThe Guy FamilyLiz HarrisonEmi & Warren Jones Colin & Jo KingRachael Kirk & Tim WhitePaul LeeWolfgang Lehmkuhl Deborah MarshSuzanne NashTosi Nottage in memory of Edgar NottageNigel & Dr Heather RogersGavin Toovey & Jaehan LeeSheila Wileman Sagitte Yom-Tov FundAnonymous (30)

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

Estates WASO is extremely grateful for the bequests received from Estates Rachel Mabel ChapmanMrs Roslyn WarrickJudy Sienkiewicz Anonymous (5)

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

WASO & WagnerConstance ChapmanStephen Davis & Linda SavageGwenyth GreenwoodMr M HawkinsDr Penny Herbert in memory of Dunstan HerbertDr John MeyerJohn OvertonJoshua & Pamela PittThe Richard Wagner Society of WAJoyce Westrip OAMAnonymous (2)

The WASO Song BookWe are grateful to those who have supported new works commissioned for the OrchestraJanet Holmes à Court ACPeter DawsonJude and Barrie LepleyGeoff Stearn

Instrument FundJohn Albright & Susan Lorimer - EChO Double BassDeborah Marsh - Cor AnglaisPeggy & Tom Stacy - Cor AnglaisJean & Peter Stokes - Cello & Tuba

Reach OutSupporting our Education & Community Engagement programsJean ArkleyRon & Penny CrittallAnn DarbyRobyn GlindemannBarrie & Jude LepleyRosalind LilleyMrs MorrellPeter & Jean StokesRuth StrattonAnonymous (1)

Crescendo Giving CircleAOT Consulting Pty LtdJean ArkleyKaylene CousinsEuroz Charitable FoundationMadeleine King MP, Federal Member for BrandRosalind LilleyMrs MorrellPamela PittDeborah & Miles ProtterThe Spivakovsky Jubilee Valerie VicichAnonymous (1)

Trusts & FoundationsCrown Resorts Foundation & Packer Family FoundationThe Ionian Club Perth '81The James Galvin FoundationSimon Lee Foundation

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

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We are proud to acknowledge the following Patrons for their generous contribution to WASO in the last 12 months through our Annual Giving program.

Principal Conductor’s CircleGifts $20,000+Janet Holmes à Court ACJohn Albright & Susan Lorimer Patricia NewPeter & Jean Stokes

Impresario PatronGifts $10,000 - $19,999Gay & Bob Branchi Gavin BunningPeter & Lesley Davies* Tony & Gwenyth Lennon Margaret & Rod Marston Joshua & Pamela PittTrish Williams – Strategic Interactions

Maestro Patron Gifts $5,000 - $9,999Jean Arkley in memory of Tom ArkleyBill Bloking Dr Roland & Therese BrandIan & Elizabeth ConstableMoira & John Dobson Tim & Lexie ElliottBridget Faye AM E & EA FraunschielGilbert GeorgeDr Patricia KailisKelly FamilyAlison KennedyKeith & Gaye Kessell Dr Ronny Low & Dr Emma RichardsonBryant & Louise Macfie Robert MayPaula & John PhillipsRichard Tarala & Lyn Beazley AORos ThomsonAlan WhithamSue & Ron Wooller* Anonymous (2)

Virtuoso PatronGifts $2,500 - $4,999Dr Fred Affleck AO & Mrs Margaret Affleck

Neil Archibald & Alan R Dodge AMTony & Mary Beeley David & Suzanne Biddles Peter & Marjorie BirdAlan & Anne BlanckenseeDr G Campbell-EvansProf Jonathan Carapetis & Prof Sue SkullMark Coughlan & Dr Pei-Yin HsuDiane CoxonStephen Davis & Linda SavageBev EastRichard FaragoRobyn Glindemann Brian & Romola HaggertyWarwick Hemsley & Melissa ParkeSue Hovell Sylvia & Wally HyamsJim & Freda Irenic Eleanor John & Finn BarrettMichael & Dale Kitney Stephanie & John Kobelke Dr Richard & Patricia LyonMrs MorrellAnne NolanTim Pavy & Cathy ColeDr Lance Risbey & Ms Elizabeth SachseG. J. SeachMelanie & Paul ShannonGail & Tony Sutherland Gene TilbrookMichael & Helen TuiteStan & Valerie VicichJoyce Westrip OAMAndrew & Marie YunckenAnonymous (2)

Principal PatronGifts $1,000 - $2,499Caroline Allen & Sandy DunnPrue Ashurst in memory of Eoin CameronMargaret Atkins Betty BarkerNoelle BeasleyColin and Sarah Beckett Kevin Blake

Matthew J C Blampey Namy BodinnerSusy BoglePeter & Eve BolandDr & Mrs P BreidahlJean Brodie-Hall AMMarilyn & Ian BurtonRev Dr John Cardell-OliverDr Anne ChesterPeter & Sue Clifton David CookeArthur & Nerina CoopesHon June Craig AMMaree Creighton & Kevin Davis Brian CresswellGay & John Cruickshank Rai & Erika DolinschekJulian Dowse Megan EdwardsLorraine EllardDane Etheridge & Brooke FowlesAnnette FinnP & J FisherDon & Marie Forrest Dr Andrew GardnerRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Deidre Greenfeld Grussgott Family TrustRichard B Hammond Pauline & Peter HandfordDr Harry Hansen-KnarhoiIn memory of Eileen HayesDr Penny Herbert in memory of Dunstan HerbertJacoba Hohnen & Stuart CookseyMichael HollingdaleHelen Hollingshead John & Katrina HopkinsJ & S HuanJudith HugoCynthia JeeLilian & Roger JenningsWarren & Emi JonesAnthony Kane in memory of Jane Leahy-KaneBill Kean

Annual Giving

OUR SUPPORTERS

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David Keast & Victoria MizenNoelle & Anthony Keller AMIrving LaneMeg LewisTeresa & Jemima LovelandGraham & Muriel Mahony Gregg & Sue MarshmanS. McWhirter Betty & Con Michael AOMrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Hon Justice S R Moncrieff Geoffrey & Valmae MorrisJane & Jock MorrisonLyn MurrayVal & Barry NeubeckerDelys & Alan NewmanDr 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 Joan ReylandJohn & Alison RiggBryan & Jan RodgersNigel & Dr Heather Rogers Gerry & Maurice Rousset OAMRoger Sandercock Dr R & J SchwengerMargaret & Roger SearesGlenice ShephardJulian & Noreen Sher Laurel & Ross SmithPaul Smith & Denham HarryMichael Snell & Vicki Stewart Geoff and Christine SoutarRuth ThomasGavin Toovey & Jaehan LeeMary Townsend James & Rosemary TrotterMaggie VenerysAdrienne & Max Walters AM Watering ConceptsIan WatsonDr Chris & Mrs Vimala Whitaker

Dai and Anne WilliamsIan Williams AO & Jean WilliamsJim & Gill WilliamsJudith Wilton & David TurnerHilary & Peter Winterton AMSara WordsworthIn memory of youth concerts at the Capital Theatre in the 1950s Anonymous (21)

Tutti PatronGifts $500 - $999Geoff & Joan Airey Catherine BagsterBernard & Jackie Barnwell Shirley Barraclough Mrs Berwine Barrett-LennardPamela M BennetMichael & Nadia Berkeley-Hill John & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerJames & Gay BrownAlison Bunker & Myles HarmerLucia BuralliAnn Butcher & Dean R Kubank Michelle CandyProf Rachel Cardell-OliverNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeFred & Angela ChaneyDr Sarah CherianLyn & Harvey Coates AOAgatha & Alex Cohen AOHelen CookBrian CresswellGina & Neil DavidsonProfessor Wayne Iwan Lee Davies FRSB Jop & Hanneke DelfosJudy Dolan Simon & Pamela DouglasMrs G EwenIn memory of Arbutus Beaver FalatkoMaxine & Bill Farrell AMGavin & Susan FieldingJoan GagliardiJennifer & Stephen GardinerGeorge Gavranic

Elaine GimsonIsobel Glencross Pitsamai & Kevin GreenDavid & Valerie GullandPaul & Barbara HarrisAlan Harvey & Dr Paulien de BoerEric & Elizabeth HeenanJohn HillRosemary HowarthChristopher, Julie, Rosemary & Bronwyn HudsonPeter Ingram Peter S JonesB M KentDorothy KingstonNelly KleynUlrich & Gloria Kunzmann John Kusinski & Annie MotherwayTrevor & Ane Marie Lacy Louis & Miriam LandauPaul LeeMartin & Ruth LevitAnn LewisMegan LoweThe Lucas FamilyIan and Judith LuntMary Ellen in memory of KerensaGeoff MasseyJennifer & Arthur McCombJames Meneghello & Mabel ChewTony & Gillian MilneS B Monger-HayAndré & Barbara MorkelDr Peter MossPhuong NguyenMarianne NilssonPeter O’SullivanDr Walter Ong & Graeme MarshallMarjan Oxley Bev Penny Adrian & Ruth PhelpsAlpha & Richard Pilpel OAMDr Brad PowerAlison & John PriceTony & Val RamshawRosie ReemanJames & Nicola Ridsdill-SmithPaul RobertsLeigh RobinsonChris & Serge Rtshiladze Her Excellency the Hon. Kerry Sanderson, ACCarole Sexton

OUR SUPPORTERS

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The Sherwood FamilyIn memory of Judith SienkiewiczJacinta SirrPaul & Margaret SkerrittHendrik SmitDr L Sparrow & FamilyPeggy & Tom Stacy Eleanor SteinhardtIn Memoriam of Mr Andrew David StewartLisa & Andrew TelfordRhondda TilbrookRuth E Thorn

Gwen TreasureDr Robert TurnbullPatricia TurnerS R VogtMargaret WallaceJohn & Nita WalsheDiana WarnockAnne Watson Joy WearnePatricia WestonMargaret WhitterMrs Barbara WilcoxGeoff Wilkinson

Violette William Janet WilliamsChris ZiatisAnonymous (25)

FriendGifts $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, Acting Executive Manager, Philanthropy, on (08) 9326 0017 or email tompkins@waso.com.au.

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

All donations over $2 are fully tax deductible.

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25Proudly sponsored by

Supporting WASO and the local community

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2017 CORPORATE PARTNERS2017 CORPORATE PARTNERS

SONATA PARTNERS

PARTNER OF EXCELLENCE

COLL EGEAQUINAS

CONCERTO PARTNERS

OVERTURE PARTNERS

KEYNOTE PARTNERS

PLATINUM PARTNERS

ORCHESTRA SUPPORTERS

MEDIA PARTNERS

FUNDING PARTNERS

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

We encourage you to support these partners for generously supporting your Orchestra

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

*A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $6.60 applies to phone and mail bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post. A fee of $3.85 applies to over the counter bookings.

TICKETS FROM $32*BOOK NOW 9326 0000WASO.COM.AU

KARIN SCHAUPP PLAYS RODRIGORAVEL Pavane pour une infante défunteRODRIGO Concierto de Aranjuez RIMSKY-KORSAKOV Scheherazade

Christopher Dragon conductorKarin Schaupp guitar

FRI 6 & SAT 7 OCT7.30PMPerth Concert Hall

An exhilarating concert of fantastical tales and exotic colours.

MACA LIMITED CLASSICS SERIES

TICKETS FROM $32*BOOK NOW 9326 0000WASO.COM.AU

Asher Fisch appears courtesy of Wesfarmers Arts. *A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $6.60 applies to phone and mail bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

WAGNER & BEYOND

WASO’s Principal Conductor Asher Fisch, one of today’s finest Wagnerians, takes you on a thrilling journey of discovery through Wagner’s music, the composers Wagner influenced and those who inspired him.

INSPIRING WAGNERWED 6 SEPTEMBER 7.30PMPerth Concert Hall

WAGNER’S WORLDSAT 9 SEPTEMBER 7.30PMPerth Concert Hall

INTRODUCED ON STAGE BY ASHER FISCH