PROGRAMMACA LIMITED CLASSICS SERIESFriday 2 & Saturday 3 September 7.30pmPerth Concert Hall

Mozarts Requiem

ASHER FISCH CONDUCTS

MACA is proud to be a leader in supporting a wide range of community initiatives, small and large.

We value our position as a platinum sponsor of the West Australian Symphony Orchestra and their vision to touch souls and enrich lives through music.

Established in 2002 MACA delivers a range of solutions in:• Mining• Crushing and Screening• Civil works

With over 850 experienced professionals in Australia and Brazil.

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www.maca.net.auPh: (08) 6242 2600MACA Ltd | 45 Division Street, Welshpool WA 6106

WELCOME

Tonight’s concert features a program of musical beginnings and endings and in the first half features works by two composers who are renowned as virtuoso orchestrators – Magnus Lindberg and Maurice Ravel.

We begin with a work by the Finnish composer Magnus Lindberg. Lindberg is one of today’s finest composers, blessed with a fine sense for orchestral colour and a terrific feel for building and manipulating an exhilarating sense of momentum in his music. Striking and exciting, his musical language is also seductive and approachable and has echoes of the music of earlier composers such as Stravinsky, Ravel and even Strauss.

EXPO was commissioned by the New York Philharmonic Orchestra in 2009 to mark both the commencement of Alan Gilbert’s tenure as their Principal Music Director and Magnus Lindberg’s appointment as their Composer in Residence. It has a sparkling, almost “film-like” quality that is laced with energy and features bold brass writing.

The music of Maurice Ravel is subtle and sophisticated and, as noted above, superbly orchestrated. Le Tombeau de Couperin was originally conceived as a solo piano work and only later orchestrated, its composition being interrupted by the First World War, in which Ravel himself served as truck driver. Each of the original six movements was dedicated to the memory of friends who had fallen at the front, although curiously these dedications are not carried over to the orchestral version, which also omits two of the original six movements. The music is haunting and beautiful, though it has air of melancholy rather than sombreness. Accused of making the music too cheerful Ravel replied: "The dead are sad enough, in their eternal rest.”

Mozart‘s Requiem is one of the most famous choral works in the classical repertoire, and thanks in part to the film “Amadeus”, it is well known that Mozart wrote this work while himself mortally ill. It is impossible not to be moved by Mozart’s poised, poignant and even stately music, which although quite simple and straightforward in its construction, carries an enormous emotional weight.

Following tonight’s performance we invite you to remain in the auditorium for a post-concert talk with Maestro Asher Fisch and learn more about our exciting 2017 Season.

Evan Kennea Executive Manager, Artistic Planning

MACA is proud to be a leader in supporting a wide range of community initiatives, small and large.

We value our position as a platinum sponsor of the West Australian Symphony Orchestra and their vision to touch souls and enrich lives through music.

Established in 2002 MACA delivers a range of solutions in:• Mining• Crushing and Screening• Civil works

With over 850 experienced professionals in Australia and Brazil.

We CareWe are FlexibleWe Deliver

Health & SafetyAS 4801

Quality ISO 9001

EnvironmentISO 14001

www.maca.net.auPh: (08) 6242 2600MACA Ltd | 45 Division Street, Welshpool WA 6106

TICKETS FROM $28*

MORNING SYMPHONY SERIES

ASHER FISCH & WASO: TOUR DE FORCE 2016 INTERNATIONAL TOUR FAREWELL CONCERTTHURS 29 SEPT 11AM Perth Concert Hall

As the Orchestra prepares for its first international tour in a decade, Asher Fisch and WASO performs Mahler’s mighty and deeply personal Fifth Symphony.

MAHLER Symphony No.5

Asher Fisch conductor (pictured)Asher Fisch appears courtesy of Wesfarmers Arts

TICKETS $27*

FAMILY SERIES

THE GRUFFALO & THE GRUFFALO’S CHILDSUN 30 OCT 1PM & 3PM Perth Concert Hall

Children and adults alike will be captivated as best-selling children’s picture books come to life on the big screen with the magical scores performed live by WASO.

Suitable for 5 –10 year olds.

Terry Davies conductor

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2016 UPCOMING CONCERTS

BOOK NOW CALL 9326 0000 VISIT WASO.COM.AU*A handling fee of $5.50 per transaction applies all purchases. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

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TICKETS FROM $30*

ALCOHOL.THINK AGAIN MASTERS SERIES

ASHER FISCH & WASO: TOUR DE FORCE 2016 INTERNATIONAL TOUR FAREWELL CONCERTSFRI 30 SEPT & SAT 1 OCT 7.30PM Perth Concert Hall

As the West Australian Symphony Orchestra prepare for their international tour to showcase the Orchestra's musicianship on a grand scale they will perform Mahler’s mighty and deeply personal Fifth Symphony and Saint-Saëns’ glittering and exotic Piano Concerto No.5.

MENDELSSOHN Midsummer Night’s Dream: Overture (Friday Night only) SCULTHORPE Kakadu (Saturday Night only) SAINT-SAENS Piano Concerto No.5 Egyptian MAHLER Symphony No.5

Asher Fisch conductor

Jean-Yves Thibaudet piano (pictured)Asher Fisch appears courtesy of Wesfarmers Arts

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MACA LIMITED CLASSICS SERIES

ASHER FISCH CONDUCTS MOZART’S REQUIEM

MAGNUS LINDBERG EXPO (10 mins)

RAVEL Le Tombeau de Couperin (17 mins)

Prélude Forlane Menuet Rigaudon

Interval (25 mins)

MOZART Requiem (55 mins)

Asher Fisch conductor Sara Macliver soprano Stefanie Irányi mezzo soprano Steve Davislim tenor Derek Welton bass WASO Chorus

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

2017 Season Post-concert Talk Following the performance, Principal Conductor Asher Fisch and Executive Manager, Artistic Planning Evan Kennea will present an overview of the 2017 WASO season, from the main auditorium.

Pre-concert Talks are supported by Wesfarmers Arts

CALL 9326 0000 VISIT waso.com.auor BOOK at Perth Concert HallSUBSCRIBE NOW

GET THE BEST SEATS & SAVE 20%

2017 SEASON

Eight concerts featuring Classical music’s ‘greastest hits’.

MACA LIMITED

CLASSICS SERIES

Pianist Louis Lortie

ASHER FISCH

YU-CHIEN TSENG

LAURENCE JACKSON

STEFAN DOHR

LOUIS LORTIE

JAYSON GILLHAM

KARIN SCHAUPP

Asher Fisch appears courtesy of Wesfarmers Arts

Education Programs for SchoolsOur suite of Education programs presented at the Perth Concert Hall continue to go from strength to strength in 2016 with over 1200 students participating already this year. Comprising Backstage Pass, Morning Symphony and Open Rehearsals, these events give students the opportunity to meet our Orchestra in a variety of situations, from intensive work-mode in final rehearsals, to on-stage performances and special behind-the-scenes access to our musicians and facilities. Musicians join schools as guest speakers for pre-concert and rehearsal talks, before performing well-known orchestral repertoire and introducing inspirational new works alongside Chief Conductor, Asher Fisch, and acclaimed international artists.

2017 will see Education & Community Engagement continue to expand access to our Orchestra through these programs, with details released at the start of Term 4 in early October. For further details, please visit www.waso.com.au/education

Open Rehearsal and Backstage Pass are supported by Mitsubishi Corporation

WASO IN THE COMMUNITY

Rusty OrchestraNow in its third year, the Rusty Orchestra program invites active amateur musicians from all over Western Australia to sit side-by-side WASO musicians to create our larger than life Rusty Orchestra. The 2016 concert was a huge success with 46 Rusty musicians alongside their WASO counterparts performing to a full house of over 1100. The program contained many classical favourites including; Shostakovich’s Festive Overture, excerpts from Mussorgsky’s Pictures at an Exhibition and excerpts from Dvořák’s gorgeous Symphony No.8. In a post event survey 100% of respondents said they would recommend the Rusty Orchestra program to colleagues.

“Excellent. It is such a pleasure to play alongside such accomplished players. I love it.” 2016 Rusty Orchestra Participant

Applications for 2017 are now open! Please visit waso.com.au/education to apply and be a part of this program, presented as part of Education Week.

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ABOUT THE ARTISTS

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Asher FischPrincipal Conductor & Artistic Adviser

Asher Fisch’s first two seasons with WASO included a range of classical repertoire, a Beethoven Symphony Cycle in 2014 and a Brahms Festival in 2015, both Western Australian firsts.

A seasoned conductor in both the operatic and symphonic worlds, he is known best for his interpretative command of German and Italian repertoire of the Romantic and post-Romantic era, in particular Wagner, Brahms, Strauss and Verdi. He is currently Principal Guest Conductor of the Seattle Opera, where he conducted its quadrennial Wagner Ring cycle in 2013, and his former posts include Music Director of the New Israeli Opera (1998-2008) and the Vienna Volksoper (1995-2000). He first worked with WASO in 1999.

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

Aarhus Symphony Orchestra (Denmark); a tour in Italy with the Orchestra della Toscana; and a visit to the Melbourne Festival in October 2013, where he conducted an all-Wagner program with the Melbourne Symphony Orchestra.

He conducted the State Opera of South Australia’s Wagner Ring cycle in 2005, which won ten Helpmann Awards. Asher Fisch began his conducting career as Daniel Barenboim’s assistant and kapellmeister at the Berlin State Opera. He is an accomplished pianist and released his first solo disc of Wagner piano transcriptions in 2012.

Asher Fisch appears courtesy of Wesfarmers Arts

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Sara MacliverSoprano

Sara is one of Australia’s most popular and versatile artists, and is regarded as one of the leading exponents of Baroque repertoire. Sara is a regular performer with all the Australian symphony orchestras as well as the Perth, Melbourne and Sydney Festivals, Pinchgut Opera, the Australian Chamber Orchestra and Australian Brandenburg Orchestra, Musica Viva, and a number of international companies. Sara records for ABC Classics with more than 35 CDs and many awards to her credit. 

In 2015 Sara sang Creation with the Hong Kong Philharmonic, in Pinchgut Opera’s Bajazet, and in the inaugural Brisbane Baroque amongst many others. In 2016 Sara sings with WASO, ANAM, ASQ, St George’s Cathedral, the TSO, and the Festival of Voices amongst many others. Sara has been awarded an honorary doctorate from the University of Western Australia in recognition of her services to singing.

Stefanie Irányi Mezzo

Bavaria-born Stefanie Irányi studied at the University Music School in Munich and has been a prize-winner of many competitions, including the Robert Schumann Competition in Zwickau.

In 2006, during her studies, she debuted in Turin in a new production of Menotti’s The Consul, which was followed by engagements in Palermo, Turin, Naples, Parma and Venice in repertoire ranging from Vivaldi to Wagner. She has appeared at venues such as the Vienna Musikverein and Tokyo’s Suntory Hall, and under conductors such as Frühbeck de Burgos, Mehta, Tate and Asher Fisch.

Recent performances have included Verdi’s Requiem in Milwaukee, Berio’s Folksongs in Munich’s Herkulessaal and, also there, Rheingold with Sir Simon Rattle (also recorded). Other recordings include Simon Mayr’s operas and a DVD of Rigoletto produced by the Festival Verdi, Parma. Lamenti, her first solo CD, includes arias by Hasse, Haydn and Handel.

ABOUT THE ARTISTS

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Steve DavislimTenor

Twice awarded the Queen Elizabeth II Silver Jubilee award, Steve Davislim studied voice at the Victorian College of the Arts under Dame Joan Hammond. After attending Zurich Opera’s Opernstudio, he started his career as an ensemble member of the Zurich Opera. 

Engagements have included Beethoven’s Ninth (London), Das Lied von der Erde (Bordeaux), Dvořák’s Stabat mater (Paris), Tamino in The Magic Flute (Semperoper, Dresden), and Mozart’s Requiem with Thielemann (Salzburg).

Recordings include Bach cantatas with Sir John Eliot Gardiner, Martinů’s Giulietta with Sir Charles Mackerras, Tippett’s A Child of Our Time with Sir Colin Davis, and Richard Strauss songs with Orchestra Victoria and Simone Young.

2015/16 highlights include Beethoven’s Ninth (Berlin Philharmonic and Sir Simon Rattle), Bruckner’s Te Deum (Chicago Symphony Orchestra and Riccardo Muti), Kronthal in Lortzing’s Der Wildschütz (Semperoper Dresden), and Tom in The Rakes Progress (Finnish National Opera).

Derek Welton Bass-baritone

Derek Welton has performed in concert across Europe, North America, Asia and Australasia. Opera house-debuts in recent years have included Count Dominick in Arabella at the Semperoper, Dresden. For Hamburg State Opera he created the role of Regolo in Beat Furrer’s La bianca notte under Simone Young. In the 2016/17 season he makes his role debut as Wotan in Das Rheingold with Deutsche Oper Berlin, conducted by Donald Runnicles. Concert repertoire includes Tippett’s A Child of our Time (Leipzig Gewandhaus Orchestra) and Martinů’s The Epic of Gilgamesh (Czech Philharmonic).

Recordings include a solo CD of Vaughan Williams with Iain Burnside, as Creonte on Pinchgut Live’s CD of Haydn’s L’anima del filosofo and on Christian Thielemann DVDs of Parsifal and Richard Strauss’s Arabella.

Derek Welton is a graduate of the University of Melbourne and London’s Guildhall School of Music and Drama.

ABOUT THE ARTISTS

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ENGAGE CHALLENGE EXCITE SURPRISE REFLECT

Photograph © Tony McDonough

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CELLAR DOOR • RESTAURANT • ART GALLERYCaves Road (Cnr Tom Cullity Drive), Cowaramup WA

Open Daily 10am - 5pm

Join the Vasse Felix Club to enjoy a host of unique member benefits including online ordering, access to special events and more. Sign up on our website www.vassefelix.com.au

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 vision is to touch souls and enrich lives through music. Each year the Orchestra entertains and inspires the people of Western Australia through its concert performances, regional tours, innovative

education and community programs, and its artistic partnerships with West Australian Opera and West Australian Ballet.

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

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

waso.com.au

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WEST AUSTRALIAN SYMPHONY ORCHESTRA

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WEST AUSTRALIAN SYMPHONY ORCHESTRA WASO ON STAGE TONIGHT

VIOLINLaurence JacksonConcertmasterGraeme NorrisAssoc ConcertmasterSemra Lee-Smith Assistant ConcertmasterRebecca GlorieA/Principal 1st ViolinZak Rowntree*Principal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenBeth HebertJane JohnstonSunmi JungChristina KatsimbardisEllie LawrenceAkiko MiyazawaMelanie PearnKen PeelerGraham PyattLouise SandercockJolanta SchenkJane SerrangeliKathryn ShinnickJacek SlawomirskiKate SullivanBao Di TangCerys ToobyDavid Yeh

VIOLAAlex BroganKierstan ArkleysmithNik BabicBenjamin CaddyKatherine Corecig^Alison HallRachael KirkAllan McLeanHelen TuckeyAaron Wyatt^

CELLORod McGrath Chair partnered by Tokyo Gas

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

DOUBLE BASSAndrew Sinclair*Louise ElaertsChristine ReitzensteinAndrew TaitMark ToobyPhillip Waldron^

FLUTEAndrew Nicholson Mary-Anne Blades

PICCOLOMichael Waye

OBOEPeter Facer Liz CheeAnnabelle FaridGuest Assoc Principal

COR ANGLAISLeanne Glover

CLARINETAllan Meyer Lorna Cook

BASS CLARINETAlexander Millier

BASSOONJane Kircher-Lindner Chair partnered by Sue & Ron Wooller

Adam Mikulicz

CONTRABASSOONChloe Turner

HORNDavid EvansRobert Gladstones Principal 3rd HornJulia BrookeFrancesco Lo Surdo

TRUMPETBrent GrapesEvan Cromie Peter Miller

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONBrian MaloneyPrincipal PercussionChiron Meller A/Assoc Principal Percussion and Timpani

HARPBronwyn Wallis^

CHAMBER ORGANStewart Smith^

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

PrincipalAssociate PrincipalGuest Musician^

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WASO CHORUS

Formed in 1988, the WASO Chorus brings together auditioned singers who volunteer their time and talents to perform under the WASO banner, led by Chorus Director Christopher van Tuinen and Vocal Coach Andrew Foote. In 2016 the Chorus will perform at Symphony in the City and throughout the WASO season with acclaimed conductors Asher Fisch, Stephen Layton and Paul Dyer.

For more information visit waso.com.au

SOPRANOValerie Bannan Lisa BarrettMarian Birtwistle Anna BörnerAlinta Carroll Penelope Colgan Clara ConnorCate Creedon Erika Dietrich Ciara Donegan Ceridwen Dumergue Bronwyn ElliottNike Titlola EtimDavina FarinolaJoanna FawcettLindsay FosterLouise Gillett Kath Goodman Pauline Handford Diane HawkinsBlanche Holzman Michelle John Emma Lambert Ginny Luff Gemma Mullaney Elysia MurphyRochelle Rabel Fiona Robson Jane RoyleSarah Shneier Gosia Slawomirski Magdalena Todea Margo Warburton Nicole Zago

ALTOMarian Agombar Lisa Barz Daniela Birch Patsy Brown Imogen Castledine Sue Coleson Catherine DunnSusanna Fleck Dianne Graves Louise Hayes Victoria Hogg Jill Jones Shew-lee Lee Kate LewisDiana Maccallum Tina McDonaldLyn Mills Margot Morgan Lynne Naylor Philomena Nulsen Deborah Pearson Deborah Piesse Liz Rombawa Neb Ryland Louise Sutton Claire Taylor Olga WardMoira Westmore Jacquie Wright

TENORJohn BeamishAllan Griffiths Peter Handford David Lancaster Patrick Melling Donald Moore John Moreton John Murphy Andrew Paterson Jay Reso Christopher Ryland Stephen Turley Brad Wake

BASSJustin AudcentMichael Berkeley-Hill Charlie BondJames Devenish Ken Gasmier Stephen HastingsTony King Benjamin Lee Tony MarrionPeter Ormond Glenn Rogers Steve Sherwood Christopher Smith Mark Wiklund Andrew Wong

Christopher van TuinenChorus Director

Andrew FooteVocal Coach

Lea HaywardAccompanist

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Christopher Van TuinenChorus Director

Christopher graduated with a B.Mus from the Victorian College of the Arts in 2001. In 2005 he completed a Masters in Conducting at the VCA. Experienced in both vocal and instrumental music he was awarded the John Williams Conducting Scholarship for 2004-5. He also holds a B.A. from the University of Queensland, an LLB from Q.U.T. and an A.Mus.A from the AMEB. In 2005 year he was nominated by the Musical Theatre Guild for Best Music Direction. In 2006 he received a Green Room Award nomination in the ‘Best Conductor’ category.

In 2007 Chris was appointed as the inaugural Conducting Fellowship at the Australian Ballet. During 2008 & 2009 he was a member of the Young Artists program as a Conductor with Opera Australia. Chris has worked with Orchestra Victoria, AOBO and the QSO. Chris has also conducted WASO, is Conductor of UWACS, Musical Director of Fremantle Chamber Orchestra and Co-Artistic Director of Lost and Found Opera. As a pianist and conductor he recently recorded Poulenc’s La Voix Humaine and The Emperor of Atlantis for ABC Classic FM.

Andrew FooteChorus Vocal Coach

Helpmann Award-winner Andrew Foote is one of the most experienced singers and teachers of voice in Australia. For more than 30 years he has been a regular guest artist for Western Australian arts companies, a national broadcast artist for ABC Classic FM, a freelance opera principal artist performing throughout Australia with Opera Australia, OzOpera and West Australian Opera, a regular recitalist and oratorio soloist, and more recently as an opera director. In his professional concert and operatic career, Andrew has performed more than 30 operatic roles for professional companies throughout Australia - including his acclaimed Ned Keene in Peter Grimes for which he received a 2010 Helpmann Award. His soloist and concert repertoire, including recordings for ABC Classic FM, have consistently drawn superb accolades. Andrew is Head of Vocal Studies at the University of Western Australia School of Music.

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YOUR CONCERT EXPERIENCE

PRINTED PROGRAMS Please share or download our free printed programs to help us be environmentally responsible. WASO’s programs can be downloaded from our website waso.com.au

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 SEATSPlease 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.

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

Join us on Facebook facebook.com/WestAustralianSymphonyOrchestra

Follow us on Twitter twitter.com/_WASO_

Tag your photos #WASO on Instagram instagram.com/_waso_

Watch us on YouTube youtube.com/WestAustSymOrchestra

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

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

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

CONNECT WITH WASO

LISTEN TO WASOABC Classic FM

This performance is being recorded for broadcast on Wednesday 7 September at 1pm (or 11am online) on ABC Classic FM. For further details visit abc.net.au/classic

720 ABC PERTHTune in to 720 ABC Perth on Friday morning at 6.15am when Prue Ashurst joins James Lush to provide the latest on classical music and WASO’s upcoming concerts.

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THE HOME OF THE WEST AUSTRALIAN SYMPHONY ORCHESTRAPerth Concert Hall is renowned for having one of the finest acoustics in the southern hemisphere. The concert hall is the home and serves as the primary performance venue for the West Australian Symphony Orchestra (WASO), and hosts a number of diverse performances and events all year round.

FOOD & BEVERAGESPlease visit the Perth Concert Hall website perthconcerthall.com.au for full 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 foyer across from

box office• Wardle Room – western side of bar• Terrace Level Corner Bar – one water

station on either side of the bar near windows

• Lower Gallery level• 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 Perth Concert Hall is equipped to assist people with disabilities:• A universal accessible toilet is available on

the ground floor (Level 1)• A hearing induction loop operates in

rows N6:35 to X6:35 in the stalls area

WASO BOX OFFICE AT PERTH CONCERT HALLYou can now buy WASO tickets and subscriptions, exchange tickets and 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.

PERTH CONCERT HALL

CONNECT WITH PERTH CONCERT HALL

Join us on Facebook facebook.com/perthconcerthallwa

Follow us on Twitter twitter.com/perthconcerthal

Follow us on Instagram instagram.com/perthconcerthall

Visit perthconcerthall.com.au For concert information.

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Louise McKay In Conversation and RecitalSunday 23 October, 2pm – 4pm McAppion Theatre, Aquinas College

Spend an afternoon with WASO’s Associate Principal Cello Louise McKay.

It’s often quoted that 10,000 hours of practice are required to achieve mastery in any field, but musicians never stop learning and striving to perfect their artistry. The annual Friends of WASO Scholarship invests in the development of your Orchestra’s musicians, and is directly supported by ticket sales to our Patrons & Friends events.

Louise was the recipient of this year’s Scholarship, and has returned from her trip to Berlin ready to share stories from her experiences overseas and her musical career. Complementing her work with WASO, Louise is an active chamber musician and soloist and will perform a selection of beautiful works for solo cello. Don’t miss your chance to hear from one of our talented musicians in an intimate setting.

Tickets are $45 for Patrons & Friends ($55 for guests) including wine and refreshments and can be purchased by calling the WASO Box Office on 9326 0000.

Associate Principal Cello Chair is partnered by Penrhos College.

PATRONS & FRIENDS EVENT

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1800 1900 2000

MAGNUS LINDBERG1958

Born in 1958, Helsinki, Finland

WOLFGANG AMADEUS MOZART

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

Mozart's Requiem1791

Ravel's Le Tombeau de Couperin1914

Magnus Lindberg's EXPO2009

MAURICE RAVEL

1875 – 1937Born in 1875, Ciboure, FranceDied in 1937, Paris, France

TIMELINE OF COMPOSERS & WORKS

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Magnus Lindberg Born 1958

EXPO

Magnus Lindberg is part of a brilliant generation of composers nurtured by Finland’s fierce commitment to universal education and access to the arts. His body of work includes several large-scale orchestral pieces notable for their richness of sound, expressive flexibility and sophisticated design.

EXPO is a 10-minute concert overture, composed in 2009 to celebrate Alan Gilbert’s appointment as Music Director of the New York Philharmonic, and Lindberg’s own appointment as that orchestra’s Marie-Josée Kravis Composer in Residence.

It is a tour de force of orchestration, showing off the full range of colour, volume and agility for which the orchestra is renowned, through numerous changes of speed, dynamics and texture. There are also momentary evocations of several other composers’ works, and some use of musical ‘code’.

EXPO begins with the crack of a whip, releasing a febrile energy of string figurations that stress the centrality of G (for Gilbert). These are answered by luminous ‘chorales’, from the winds, which again dissolve into energetic figurations with flashes of varying colour as soloists and sections take their brief turns.

A more extended chorale, just before the halfway point, contains, according to Thomas May, musical spellings of the names of Gilbert, the orchestra’s Executive Director Zarin Mehta, and Director of Artistic Planning Matías Tarnopolsky. This material, too, is fragmented and reworked to form the basis for the work’s unpredictable but exhilarating trajectory. The piece reaches its conclusion after urgent passagework glittering with the sound of flutes and piccolo, but while forceful is in no way triumphalist.

© Gordon Kerry 2016

First performance: 16 September 2009. Alan Gilbert, conductor.Instrumentation: two flutes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, large battery of percussion, harp, strings.Most recent WASO performance: 20-21 April 2012. Paul Daniel, conductor.

ABOUT THE MUSIC

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Penrhos College is proud to support the West Australian Symphony Orchestra

www.penrhos.wa.edu.au

Maurice Ravel (1875–1937)

Le Tombeau de Couperin

Prélude Forlane Menuet Rigaudon

The French critic André Suarès, writing in 1925, stressed that ‘nothing could be more objective than the art of Ravel, or more deliberately intended to be so. If music is capable of painting an object without first revealing the painter’s feeling towards it, then Ravel’s music achieves this more than any other. We have to go back to the 18th century, to the divertissements of Couperin and Rameau, to encounter a similar inclination.’

In Le Tombeau de Couperin it is Ravel himself who takes us back to the 18th century. The music isn’t a pastiche, however, but an anachronistic tribute that proclaims Ravel’s affinity with the French Baroque masters in his conception of music as diversion, his taste for ‘artifice’, and his preference for emotionally disengaged dance forms.

In his title Ravel revived the 17th-century French literary and musical tradition of the tombeau (literally ‘tomb’ or ‘tombstone’) – originally poetry written to commemorate a mentor or colleague. The earliest musical tombeaux were by lutenists, but the genre was quickly adopted by French harpsichordists: Louis Couperin and D’Anglebert both commemorated their teacher Chambonnières with tombeaux for the harpsichord, while in the next generation François Couperin (1668–1733) honoured the tradition with his Apothéoses of Corelli and Lully.

Ravel’s tombeau was conceived towards the end of 1914, when the composer wrote to Lucien Garban (of Durand publishers): ‘I’m beginning two series of piano pieces: first, a French suite – no, it’s not what you think – the Marseillaise doesn’t come into it at all, but there’ll be a forlane and a jig; not a tango though…’

The sketches for the ‘French suite’, largely completed, were set aside on the outbreak of World War I, and it was not until 1917 that they emerged as Le Tombeau de Couperin – Ravel’s last work for solo piano, each of its six movements dedicated to the memory of a friend who had died in the war. The work’s musical tribute is cast more broadly: ‘…not so much,’ said Ravel, ‘to Couperin himself as to 18th-century French music in general.’

ABOUT THE MUSIC

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Ravel makes much of the contrast between woodwinds and strings, often passing the melodies between the two sections, but the winds are given prominence from the very beginning, with a breathless succession of rapidly articulated notes for the oboe. The orchestration takes advantage, too, of the enhanced capabilities of Erard’s double-action harp, and the feeling of perpetual motion in the Prélude is brought to a close with ravishing trills swept up in a harp glissando. The trumpet (reserved for subtle effect in Ravel’s orchestration) adds brilliance to the exuberant opening of the final movement (a vigorous Provençal Rigaudon), balancing the prominence of woodwind and strings in the preceding movements.

Thus transformed, Le Tombeau de Couperin has been claimed by many to surpass the original in its ingenuity and variety – a tribute also to its composer’s infallible ear for instrumental colour.

Yvonne Frindle ©1999/2012

First performance of orchestral version: 28 February 1920. Pasdeloup Orchestra conducted by Rhené-Baton. First WASO performance: 18 September 1974. Carlo Bagnoli, conductor.Most recent WASO performance: 8-9 October 2004. Sachio Fujioka, conductor.Instrumentation: two flutes (one doubling piccolo), two oboes (one doubling cor anglais), two clarinets, two bassoons, two horns, one trumpet, harp, strings.

Ravel prepared for the composition of Le Tombeau by transcribing a forlane from François Couperin’s Concerts royaux. The buoyant rhythms and refrain structure of his own Forlane reveal their origins in the vigorous 16th-century Italian dance as heard through 18th-century French ears. But the melody and acid harmonies are all Ravel’s. Similarly, the flowing Menuet is more like Ravel’s own Menuet antique than any by Couperin, for all the antique mood established by its modal harmonies and classically balanced phrases.

It was the concept of the French Baroque suite – each dance with its specified character and set tempo – rather than its musical style that emerged in Le Tombeau. And the apparent contradiction of a suite of dances dedicated to the memory of fallen comrades is perfectly resolved, although the muted gracefulness of the music suggests serenity, even resignation, rather than melancholy.

Shortly after Marguerite Long gave the first performance in 1919, Ravel orchestrated four of the movements – Prélude, Forlane, Menuet and Rigaudon – omitting the Fugue and the pianistic Toccata that had concluded the original suite. The scoring is light – pairs of winds (including piccolo and cor anglais), two horns, trumpet, harp and strings – preserving the translucence, simplicity and restrained mood of the original.

Double-action harp – harp patented in 1810 by Sébastian Erard in which each of the seven strings can be raised or lowered by a semitone thus allowing all 12 notes of the chromatic scale to be played Glissando – a continuous slide of adjacent notes either upwards or downwardsModal – older type of tonality, outside of the more common major and minor, which has a medieval or folk-music feelTrill – a very rapid alternation of two notes

Glossary

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Wolfgang Amadeus Mozart (1756 – 1791)

Requiem Mass, K626 [Completed by Franz Süssmayr]

Haydn said that Mozart’s fame would be secure if he had written nothing but the Requiem, but it is a problematical work which Mozart did not live to complete and whose origins are surrounded by mystery. Mozart, mortally ill while composing it, chose the key of D minor – one associated with tragic drama in works such as Don Giovanni; and with tenderness and pathos as well, as in the Piano Concerto in D minor.

The terrifying drive of the Dies irae; the powerful rhythmic bite of the Rex tremendae with its contrasting ‘Salva me’; the Confutatis – all these are painted with the dramatic intensity of a composer who believed he was writing his own Requiem. The messenger who had delivered a commission from an anonymous patron had become in Mozart’s mind an emissary of death. We now know that he was a servant of Count Walsegg zu Stuppach, who liked to pass off music by professional composers as his own. So great was Mozart’s emotional involvement with the music of the Requiem that his anxious doctor had to take the manuscript from his hands. Hence the power and directness of those sections which are undoubtedly from his pen.

Mozart’s Requiem also contains much music of great tenderness, and of a consoling pity. This music seems to express Mozart’s acceptance of the transcendent, the world beyond life and death. We find it also in the opera The Magic Flute, and in the Masonic music Mozart was composing at the same time as the Requiem.

Mozart’s instrumentation reflects the two facets of the music: fierce, with trumpets and drums in the sterner sections, but coloured elsewhere by the mild and liquid tones of basset horns. Flutes, oboes and horns are banished (though whether this was Mozart’s intention for the whole work is uncertain).

Mozart’s Requiem is a kind of summation of its models and counterparts in the music of contemporaries and predecessors. Haydn’s admiration was surely a tribute to the Requiem’s successful uniting of different styles and forms. Like Mozart’s unfinished Great Mass in C minor (K427), his Requiem is a cantata mass in the sense that the Sequence (Dies irae) is divided up into separate choral and solo ensemble movements. In the earlier Mass, each movement was developed on a massive scale, whether in enormous fugues or in Italianate chamber music arias – so much so that Mozart may have abandoned it precisely because he felt the result lacked stylistic unity. In the Requiem, on the other hand, choral and solo movements are brought into balance with each other, and the solo writing has lost all traces of virtuosity for its own sake.

ABOUT THE MUSIC

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The trombones are used in inappropriate places and with a lack of restraint, but the tenor trombone solo in the Tuba mirum is undoubtedly Mozart’s. The extent of Süssmayr’s contribution has always been a matter of controversy, and scholars incline to the view that it was less than used to be thought. Nevertheless, Mozart’s Requiem is with us in a form partly determined by Süssmayr, and in that form it has remained, ever since the early 19th century, one of his most admired and loved works.

Abridged from a note © David Garrett

First performance of complete work: 2 January 1793, Vienna. The Introit and Kyrie were probably performed at a memorial service for Mozart in Vienna on 10 December 1791.First WASO performance: 22-23 September 1962. Frank Callaway, conductor.Most recent WASO performance: 29-30 May 2009. Paul Daniel, conductor; Penelope Mills (soprano), Fiona Campbell (mezzo-soprano), James Egglestone (tenor), Paul Whelan (bass).Instrumentation: mixed chorus and four vocal soloists, two basset horns, two bassoons, two trumpets, three trombones, timpani, organ, strings.

In many respects the Requiem is backward-looking, with Baroque elements, signs of the tremendous impact on Mozart of his study of the music of Bach and Handel, and also of his familiarity with works by less celebrated Austrian musicians.

Mozart’s Requiem, then, is a treasure of artistic heritage, but it is a flawed masterpiece in that it is incomplete. The manuscript shows that Mozart had completed the Introitus and Kyrie in full score. Other sections are half-finished, vocal parts written in full, instrumental parts sometimes complete, sometimes only sketched. These are: the Sequence as far as bar eight of the Lacrimosa; the Domine Jesu Christe and Hostias. There is no proof of any Mozart in the ending of the Lacrimosa, the Sanctus, Benedictus and Agnus Dei.

Mozart’s widow was naturally anxious to collect the composition fee, and after other musicians had declined the task of completion gave it to Franz Xavier Süssmayr, Mozart’s pupil, who had assisted him with many late works. The chief criticisms of Süssmayr’s completion concern the instrumentation and the filling out of inner parts. Some of the part-writing and distribution is inept; above all, scoring the entire work for the same instrumental palette is monotonous and often heavy.

Aria – a song for solo voice Baroque – the period of music and art history from about 1600 to 1750. Handel, Purcell and J.S. Bach are the most famous Baroque composers.Fugue – a contrapuntal style of composition in which a short melody is sounded by one voice or part and subsequently taken up by others.

Glossary

25

TEXT & TRANSLATION

Introit (Chorus and soprano solo) Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus Deus in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Kyrie (Chorus) Kyrie eleison. Christe eleison. Kyrie eleison.

Sequence: Dies irae (Chorus) Dies irae, dies illa, Solvet saeclum in favilla, Teste David cum Sibylla,

Quantus tremor est futurus, Quando judex est venturus, Cuncta stricte discussurus!

Tuba mirum (Solo quartet) Tuba mirum spargens sonum Per sepulcra regionum, Coget omnes ante thronum.

Mors stupebit et natura Cum resurget creatura Judicanti responsura.

Liber scriptus proferetur In quo totum continetur Unde mundus judicetur.

Judex ergo cum sedebit Quidquid latet apparebit: Nil inultum remanebit.

Quid sum miser tunc dicturus, Quem patronum rogaturus, Cum vix justus sit securus?

Introit (Chorus and soprano solo) Grant them eternal rest, O Lord, and may light perpetual shine upon them. To you, O God, praise is given in Zion, and prayer shall go up to you in Jerusalem. Give ear to my supplication, to you shall all flesh come. Grant them eternal rest, O Lord, and may light perpetual shine upon them.

Kyrie (Chorus) Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.

Sequence: Dies irae (Chorus) The Day of Wrath, that day shall dissolve the world in ashes, as David and the Sibyl testify.

What trembling shall there be when the Judge shall come who shall thresh out all thoroughly!

Tuba mirum (solo quartet) The trumpet, scattering a wondrous sound through the tombs of all lands, shall drive all unto the throne.

Death and nature shall be astounded when all creation shall rise again to answer the judge.

A written book shall be brought forth in which shall be contained all for which the world shall be judged.

And therefore when the Judge shall sit, whatsoever is hidden shall be manifest: and nothing shall remain unavenged.

What shall I say in my misery? Whom shall I ask to be my advocate, When scarcely the righteous may be without fear?

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Rex tremendae (Chorus) Rex tremendae majestatis, Qui salvandos salvas gratis; Salva me, fons pietatis.

Recordare (Solo quartet) Recordare, Jesu pie, Quod sum causa tuae viae Ne me perdas illa die.

Quaerens me sedisti lassus Redemisti crucem passus; Tantus labor non sit cassus.

Juste judex ultionis, Donum fac remissionis Ante diem rationis.

Ingemisco tamquam reus: Culpa rubet vultus meus. Supplicanti parce, Deus.

Qui Mariam absolvisti Et latronem exaudisti, Mihi quoque spem dedisti.

Preces meae non sunt dignae, Sed tu, bonus, fac benigne, Ne perenni cremer igne.

Inter oves locum praesta Et ab haedis me sequestra, Statuens in parte dextra.

Confutatis (Chorus) Confutatis maledictis, Flammis acribus addictis, voca me cum benedictis.

Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis.

Rex tremendae (Chorus) King of awful majesty, you who freely save the redeemed; save me, O Fount of Pity.

Recordare (Solo quartet) Remember, merciful Jesus, that I am the reason for your journey, let me not be lost on that day.

Seeking me, you sat weary. You redeemed me, suffering the Cross: let not such labour have been in vain.

O just Judge of Vengeance, give the gift of redemption before the day of reckoning.

I groan as one guilty; my face blushes at my sin. Spare the supplicant, O God.

You who absolved Mary and heard the prayer of the thief, you have also given hope to me.

My prayers are not worthy, but you, O good one, show mercy, lest I burn in everlasting fire.

Give me a place among the sheep, and separate me from the goats, setting me on the right hand.

Confutatis (Chorus) When the damned are confounded and consigned to sharp flames, call me with the blessed.

I pray, kneeling in supplication, a heart as contrite as ashes, take my ending into your care.

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Lacrimosa (Chorus) Lacrimosa dies illa Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus. Pie Jesu Domine: Dona eis requiem. Amen.

Offertorium Domine Jesu Christe (Chorus and solo quartet) Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu; libera eas de ore leonis, ne absorbeat eas Tartarus, ne cadant in obscurum. Sed signifer sanctus Michael repraesentet eas in lucem sanctam. Quam olim Abrahae promisisti, et semini ejus.

Hostias (Chorus) Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis, quarum hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti, et semini ejus.

Sanctus (Chorus) Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

Benedictus (Solo quartet and chorus) Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Lacrimosa (Chorus) That day is one of weeping on which shall rise again from the ashes guilty humankind, to be judged. Therefore spare this one, O God. Merciful Lord Jesus: Grant them rest. Amen.

Offertorium Domine Jesu Christe (Chorus and solo quartet) O Lord Jesus Christ, King of glory, deliver the souls of all the departed faithful from the torments of Hell, and from the deep pit; deliver them from the mouth of the lion; that Hell may not swallow them up, and that they may not fall into darkness. But may the holy standard-bearer Michael bring them into the holy light; which thou didst promise of old to Abraham and his seed.

Hostias (Chorus) We offer unto you, O Lord, sacrifices and prayers of praise. Receive them on behalf of those souls whom we commemorate today. Make them, O Lord, to cross over from death to life, as once you promised to Abraham and his seed.

Sanctus (Chorus) Holy, holy, holy, Lord God of Hosts. Heaven and earth are full of your glory. Hosanna in the highest.

Benedictus (Solo quartet and chorus) Blessed is the one who comes in the name of the Lord. Hosanna in the highest.

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Agnus Dei (Chorus) Agnus Dei qui tollis peccata mundi; dona eis requiem sempiternam.

Communio (Soprano solo and chorus) Lux aeterna luceat eis Domine, cum sanctis tuis in aeternum quia pius es. Requiem aeternam dona eis Domine, et lux perpetua luceat eis. Cum sanctis tuis in aeternum: quia pius es.

Agnus Dei (Chorus) Lamb of God, you who take away the sins of the world, give them eternal rest.

Communio (Soprano solo and chorus) Let everlasting light shine on them, O Lord, with your saints for ever: for you are good. Grant them eternal rest, O Lord, and let light perpetual shine upon them, with your saints forever; for you are good.

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To help your sonsucceed we teach an

extra subject.

♥Aquinas College is a keynote partner of the West Australian Symphony Orchestra.

This partnership is used to encourage boys in their pursuit of musical excellence.

Aquinas College is a Catholic School for boys in the Edmund Rice tradition. Mt Henry Road, Salter Point, WA.Tel: 9450 0600 Email: development@aquinas.wa.edu.au www. a q u i n a s . w a . e d u . a u

The best he can be.

Kylie LiangAssociate Principal 2nd Violin

When did music first come into your life? I’ve been told that at two or three years old I would wake my Mum up early in the morning by singing all the songs she’d ever taught me. I’d then demand that she teach me more, and she had no choice but to oblige.

What is the best thing about being a musician in WASO? I love getting the chance, with each rehearsal and performance, to make music alongside such talented musicians. I get an immense sense of pride and excitement through recreating works that prolific composers bent their minds to hundreds of years ago. The immediate sensory stimulation of the surround sound experience brings you into the moments of the music like nothing else can. Feeling that every person plays a vital role in creating those feelings and that we can bring those emotions and ideas to an audience is quite thrilling.

What are your favourite orchestral works to perform or listen to? I feel a bit clichéd saying it, but I love almost all of Mozart’s works. To me, his compositional structures walk a delicate line between being new, exciting, and natural while exuding a sense of pure joy. It is difficult, but if I had to name a few favourite pieces they would be: Prokofiev’s Fifth Symphony, for its stimulating and unpredictability and many emotions, Rachmaninov’s Second Symphony and, after performing it with WASO recently, Stravinsky’s The Rite of Spring.

Where was your last holiday destination? I spent last Christmas in Broome with my partner Brandon. The entire town had emptied for the holidays - almost every store and restaurant had closed - so we had the place to ourselves. There’s nothing like walking (or riding camels) up and down a beautiful, empty stretch of coastline to make you feel relaxed and rejuvenated.

MEET THE MUSICIAN

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WASO PHILANTHROPYPhilanthropy Partner

WASO’s 2016 International Tour - your gift will be matched!Earlier this year we launched our Touring WASO Campaign to help cover costs for regional and international tours in 2016. We would like to thank everyone who has given to this campaign, in particular our Chairman, Janet Holmes à Court AC, and Patron Jean Arkley for their generous support.

With preparations for our exciting international tour now fully underway, we need to raise the final $50,000 by October this year. We are delighted to let you know that from today, every dollar you donate will be matched by a WASO Board contribution of $50,000. This means that your $50 becomes $100, or your $500 becomes $1,000. No matter the size, every gift makes a difference and we would love you to be involved.

Touring internationally enables WASO to foster its international networks and make connections that can result in bringing international world artists back to Perth and into our very own Perth Concert Hall.

Touring also has significant artistic benefits, but it is also a costly affair. Our international tour will cost nearly $1 million. Did you know, for example, that when we tour a cellist, we have to book two seats? One for the musician and one for the instrument itself! Flying the entire Orchestra to China and back costs $158,220 including visas and transaction fees, and accommodation costs are around the same amount again. The total production costs alone weigh in at $254,000.

Since 2014, WASO has been developing a cross cultural partnership with the China Philharmonic Orchestra, which

has involved the exchange of musicians between our two organisations. Our invitation to perform in Beijing and Shanghai in October this year was a result of this program and this international tour – our first one in ten years - will be a rare chance to continue enhancing WASO’s international reputation.

We are also extremely proud that while we are in China, our Education Chamber Orchestra (EChO) will present two Education programs at a school in Beijing.

We invite you to join us on our touring journey.

Please help us raise the final $50,000 needed for our international tour by making a gift towards our Touring WASO Campaign. You can donate online at waso.com.au, via EFT (BSB 306 057, ACC 0466609, putting your name and ‘donation’ in the transaction description), or by contacting Jane Clare on 9326 0014 or janec@waso.com.au, or Sarah Tompkin on 9326 0017 or tompkins@waso.com.au.

All donations over $2 are fully tax deductible. Thank you for your support.

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OUR SUPPORTERS

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

Symphony CircleRecognising Patrons who have made a provision in their Will to the OrchestraMr John BonnyDr G Campbell-EvansDeirdre CarlinAnita & James Clayton Dr Michael FlacksJudith Gedero Robyn GlindemannGwenyth GreenwoodEmi & Warren JonesRachael Kirk & Tim WhiteWolfgang Lehmkuhl Deborah MarshTosi Nottage in memory of Edgar NottageNigel & Dr Heather RogersGavin Toovey & Jaehan LeeSheila Wileman Sagitte Yom-Tov FundAnonymous (31)

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

Estates WASO is extremely grateful for the bequests received from Estates Rachel Mabel ChapmanJudy Sienkiewicz Mrs Roslyn WarrickAnonymous (3)

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

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

Reach OutSupporting our Education & Community Engagement programsJohn Albright & Susan Lorimer – purchase of the EChO Double BassJean ArkleyRon & Penny CrittallKen EvansFeilman FoundationThe James Galvin FoundationRobyn GlindemannBarrie & Jude LepleyMrs MorrellSimon Lee FoundationThe Stan Perron Charitable FoundationJean & Peter StokesTrish Williams – Strategic InteractionsAnonymous (1)

If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Jane Clare, Fundraising and Philanthropy Manager, on 9326 0014 or email janec@waso.com.au.

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

All donations over $2 are fully tax deductible.

Philanthropic partnerships come in all shapes and sizes

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

Principal Conductor’s CircleGifts $20,000+Janet Holmes à Court ACPatricia NewJudy Sienkiewicz (dec.)

Impresario PatronGifts $10,000 - $19,999John Albright & Susan Lorimer Gay & Bob Branchi Gavin BunningTony & 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 DobsonTim & Lexie ElliottBridget Faye AM Gilbert GeorgeWarwick Hemsley & Melissa ParkeDr Patricia KailisKelly FamilyAlison KennedyKeith & Gaye Kessell Dr Ronny Low & Dr Emma RichardsonBryant & Louise Macfie Robert MayPaula & John Phillips Peter & Jean Stokes

Richard Tarala & Lyn Beazley AORos ThomsonAlan WhithamSue & Ron WoollerAnonymous (5)

Virtuoso PatronGifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AMDavid & Suzanne Biddles Peter & Marjorie BirdAlan & Anne BlanckenseeSally BurtonDr G Campbell-EvansProf Jonathan Carapetis & Prof Sue SkullMark Coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda SavageRichard FaragoRobyn Glindemann Annette & Vincent GoerkeBrian & Romola HaggertyJacoba Hohnen & Ted SamsonSylvia & Wally HyamsEleanor JohnMichael & Dale Kitney Mrs MorrellJane & Jock MorrisonAnne NolanTim Pavy & Cathy ColeMelanie & Paul ShannonGail & Tony Sutherland Gene TilbrookM & H TuiteStan & Valerie VicichIan WatsonJoyce Westrip OAMAndrew & Marie YunckenAnonymous (1)

Principal PatronGifts $1,000 - $2,499Ron & Sue AdamsCaroline Allen & Sandy DunnPrue Ashurst in memory of Eoin CameronMargaret Atkins Dan & Gail BamBetty BarkerNoelle BeasleyTony & Mary Beeley Kevin Blake Matthew J C Blampey Namy BodinnerPeter & Eve BolandMr John BonnyDr & Mrs P BreidahlJean Brodie-Hall AMJames & Gay BrownMarilyn & Ian BurtonPeter & Sue Clifton Arthur & Nerina CoopesHon June Craig AM Gay & John Cruickshank Lesley & Peter DaviesJulian Dowse Bev EastMegan EdwardsLorraine EllardDane Etheridge & Brooke FowelsAnnette FinnDon & Marie Forrest E & EA FraunschielDr Andrew GardnerRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Deidre Greenfeld Grussgott Family TrustDavid & Valerie Gulland

Annual Giving

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Richard B Hammond Pauline & Peter HandfordDr Penny Herbert in memory of Dunstan HerbertMichael HollingdaleHelen Hollingshead John & Katrina HopkinsSue HovellJim & Freda Irenic Lilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill Kean Noelle & Anthony Keller AMNelly KleynStephanie & John Kobelke In memory of Eileen HayesIrving Lane Paul LeeMeg LewisRosalind Lilley Teresa & Jemima LovelandGraham & Muriel Mahony Gregg & Sue MarshmanBetty & Con Michael AOMrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Hon Justice S R Moncrieff Valmae & Geoff MorrisVal & Barry NeubeckerDelys & Alan NewmanDr P J NobleJohn OvertonRon & Philippa PackerMichael & Lesley PageAthena PatonRosemary PeekAdrian & Ruth PhelpsCharmian Phillips in memory of Colin CraftPamela PlattAndrew & Suzanne PoliThomas & Diana Potter Alison & John PriceBarry & Dot PriceDr Leon Prindiville

Chester ReeveJoan ReylandJohn & Alison RiggMs Elizabeth Sachse & Dr Lance RisbeyLeigh RobinsonNigel & Dr Heather RogersGerry & Maurice Rousset OAMRoger Sandercock Dr R & J SchwengerMargaret & Roger SearesEve Shannon-Cullity Glenice ShephardJulian & Noreen Sher Laurel & Ross SmithPAI Smith & DA HarryMichael Snell & Vicki StewartThe Ambient FoundationRuth ThomasGavin Toovey & Jaehan LeeMary Townsend James & Rosemary TrotterDr Robert TurnbullMaggie VenerysAdrienne & Max Walters Diana WarnockWatering ConceptsAnn Whyntie Ian Williams AO & Jean WilliamsJim & Gill WilliamsMargaret WilsonJudith Wilton & David TurnerHilary & Peter Winterton AMAnonymous (26)

Tutti PatronGifts $500 - $999Geoff & Joan AireyIan Apps Catherine BagsterMerle I BardwellBernard & Jackie Barnwell Shirley Barraclough Mrs Berwine Barrett-LennardColin BeckettPamela M Bennet

Michael & Nadia Berkeley-Hill John & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirSusy BogleElaine BondsDiane & Ron BowyerLucia BuralliAnn Butcher & Dean R Kubank Michelle CandyNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeFred & Angela ChaneyDr Sarah CherianDr Anne ChesterLyn & Harvey Coates AOAgatha & Alex Cohen AOHelen CookBrian Cresswell Gina & Neil DavidsonProfessor Wayne Iwan Lee Davies FRSB Jop & Hanneke DelfosJudy Dolan Rai & Erika DolinschekSimon & Pamela DouglasMrs G EwenJoan GagliardiJennifer & Stephen GardinerGeorge GavranicElaine GimsonIsobel Glencross Alan Harvey & Dr Paulien de BoerEric & Elizabeth HeenanJohn and Sue HuanChristopher, Julie, Rosemary & Bronwyn HudsonMr John Hylton-Davies JP, VJPeter Ingram Cynthia JeePeter S JonesWarren & Emi JonesB M KentDorothy KingstonUlrich & Gloria Kunzmann

OUR SUPPORTERS

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John Kusinski & Annie MotherwayTrevor & Ane Marie Lacy Louis & Miriam LandauMartin & Ruth LevitMegan LoweMary Ellen in memory of KerensaGeoff MasseyJennifer & Arthur McCombJames Meneghello & Mabel ChewS B Monger-HayAndré & Barbara MorkelDr Peter MossPhuong NguyenMarianne NilssonDr Walter Ong & Graeme MarshallMarjan Oxley Graham & Hildegarde Pennefather

Bev Penny Alpha & Richard Pilpel OAMAnn RawlinsonJames & Nicola Ridsdill-SmithChris & Serge Rtshiladze Carole SextonThe Sherwood FamilyPaul & Margaret SkerrittHendrik SmitDr L Sparrow & FamilyPeggy & Tom Stacy Eleanor SteinhardtIn Memoriam of Mr Andrew David StewartLisa & Andrew TelfordRuth E ThornPatricia TurnerS R VogtAnne Watson

Joy WearnePatricia WestonDr Chris & Mrs Vimala WhitakerB M WilcoxGeoff WilkinsonViolette William Janet WilliamsDr Robyn Yeo & Ms Cyn JohnsonChris ZiatisAnonymous (23)

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

35Cellar Door Open 10am to 5pm Daily • Call (08) 9755 6220 Visit www.pierro.com.au

WEST AUSTRALIAN SYMPHONY ORCHESTRA

VIOLINLaurence JacksonConcertmasterGraeme NorrisAssoc Concertmaster Semra Lee-Smith Assistant Concertmaster Rebecca GlorieA/Principal 1st ViolinZak RowntreePrincipal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenStephanie DeanBeth HebertChristina KatsimbardisEllie LawrenceShaun Lee-Chen*Akiko Miyazawa Anna O’HaganMelanie PearnKen PeelerGraham Pyatt Louise SandercockJolanta SchenkJane SerrangeliJacek SlawomirskiKate SullivanBao Di TangCerys ToobyDavid Yeh

VIOLAAlex BroganAssoc PrincipalKierstan ArkleysmithNik BabicBenjamin CaddyAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLORod McGrath PrincipalChair partnered by Tokyo Gas

Louise McKayAssoc PrincipalChair partnered by Penrhos College

Shigeru KomatsuOliver McAslan Nicholas MetcalfeEve Silver* Fotis SkordasTim SouthXiaole Wu

DOUBLE BASSAndrew Sinclair* PrincipalJoan Wright Assoc PrincipalLouise ElaertsChristine ReitzensteinAndrew TaitMark Tooby

FLUTEAndrew Nicholson PrincipalMary-Anne Blades Assoc Principal

PICCOLOMichael Waye Principal

OBOEPeter FacerPrincipalLiz CheeAssoc Principal

COR ANGLAISLeanne GloverPrincipal

CLARINETAllan Meyer PrincipalLorna Cook

BASS CLARINETAlexander Millier Principal

BASSOONJane Kircher-Lindner PrincipalChair partnered by Ron & Sue Wooller

Adam Mikulicz Assoc Principal

CONTRABASSOONChloe Turner Principal

HORNDavid Evans PrincipalSharn McIverAssoc PrincipalRobert Gladstones Principal 3rdJulia BrookeFrancesco Lo Surdo

TRUMPETBrent GrapesPrincipalEvan Cromie Assoc PrincipalPeter Miller

TROMBONEJoshua Davis PrincipalLiam O’MalleyAssoc Principal

BASS TROMBONEPhilip Holdsworth Principal

TUBACameron Brook Principal

TIMPANIAlex Timcke Principal

PERCUSSIONBrian Maloney PrincipalTroy Greatz Assoc Principal

HARPSarah Bowman Principal

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

CONDUCTOR LAUREATE Vladimir Verbitsky

CHORUS DIRECTOR Christopher van Tuinen

PRINCIPAL CONDUCTORAsher FischPartnered by Wesfarmers Arts

CHORUS VOCAL COACH Andrew Foote

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WEST AUSTRALIAN SYMPHONY ORCHESTRA

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

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

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

EXECUTIVECraig Whitehead Chief Executive Rebecca Smith Executive AssistantAnthony PickburnExecutive Manager, Human ResourcesNarelle CoghillHuman Resources AssistantSvetlana Williams Payroll Officer

ARTISTIC PLANNINGEvan Kennea Executive Manager, Artistic PlanningAlan Tyrrell Program ManagerNatalie De Biasi Program Coordinator

ORCHESTRAL MANAGEMENTKeith McGowan Executive Manager, Orchestral ManagementJenna BostonOrchestral Operations ManagerDavid Cotgreave Production & Technical ManagerAlistair CoxOrchestral ManagerBreanna Evangelista Orchestral CoordinatorWee Ming Khoo Music Librarian

COMMUNITY ENGAGEMENTCassandra Lake Executive Manager, Community EngagementFiona Taylor Education CoordinatorLily Protter Community Engagement Assistant

BUSINESS SERVICESPeter FreemantleChief Financial OfficerAndrew Chew Systems AdministratorAlex Spartalis IT SupportAngela Miller AccountantSushila BhudiaAccounts OfficerRenu Kara Accounts Assistant

CORPORATE DEVELOPMENTMarina WoodhouseExecutive Manager, Corporate DevelopmentJamie Parkin Corporate Partnerships ManagerCliona Hayes Corporate Partnerships CoordinatorGinny LuffCorporate Partnerships & Events Coordinator

MARKETINGKelli Carnachan Executive Manager, MarketingNancy Hackett Marketing ManagerMarc MissiaenRelationship Marketing ManagerLuke PownallPublic Relations ManagerKirsty ChisholmMarketing CoordinatorZoe LawrenceMarketing OfficerLily ProtterMarketing Assistant

PHILANTHROPY Alecia BenzieExecutive Manager, PhilanthropyJane Clare Fundraising & Philanthropy ManagerSarah Tompkin Planned Giving ManagerMegan Lo Surdo Philanthropy & Events Coordinator

PERTH CONCERT HALLBrendon Ellmer General ManagerLorraine Rice Deputy General ManagerBrad Matthews Operations ManagerPenelope Briffa Events ManagerPaul Richardson Presentations CoordinatorBruce Gaw Maintenance OfficerNancy Hackett Marketing ManagerRyan Sandilands Marketing AssistantSarah Salleo Reception & AdministrationJosie AitchisonTim ChandlerVanessa WoolleyTicketing Client Account ManagersEleanor AitchisonAlana ArnoldCheryl ButlerLeticia CannellMary-Louise CarboneHelen GortmansEmily KennedyTalei LouieRebekah RyanKaitlin TinkerBeverley TrolioCustomer Service and Sales Representatives

37

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2016 CORPORATE PARTNERS

PARTNER OF EXCELLENCE

SYMPHONY PARTNER CONCERTO PARTNER

OVERTURE PARTNERS

SONATA 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.

Booklet Sponsors page.indd 1 29/08/2016 11:51 AM

2016 CORPORATE PARTNERS

38

Francesco Lo Surdo, French Horn

BRON

WYN

ROGE

RS.C

OM

WES

F138

9A

1389_WESF - Arts Sponsorship Campaign 2016 - WASO_Program Ad_210x148mm_V3_UPDATED.indd 1 26/07/16 1:54 PM

BOOK NOW

ALCOHOL.THINK AGAIN MASTERS SERIES

Call 9326 0000 quoting 1538 or visit waso.com.auTickets from $30*

Asher Fisch conductorJean-Yves Thibaudet piano

Featuring: SAINT-SAENS Piano Concerto No.5 Egyptian

MAHLER Symphony No.5

ASHER FISCH & WASO

TOUR DE FORCE

2016 INTERNATIONAL TOUR FAREWELL CONCERTS FEATURING MAHLER’S MIGHTY FIFTH SYMPHONY

FRI 30 SEPT & SAT 1 OCT 7.30PMPerth Concert Hall

Asher Fisch appears courtesy of Wesfarmers Arts. *A one-off handling fee of $5.50 per transaction applies to all purchases. An additional fee of $4.40 per transaction applies for delivery via Registered Post.