asher fisch & the sibelius zukerman triod35ivtiultdflj.cloudfront.net/res/concert programs for...

PROGRAMFriday 28 & Saturday 29 April 2017, 7.30pmPerth Concert Hall

SIBELIUSasher fisch& the

zukermantrio

Frankie Lo Surdo, French Horn

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It was a bit of a surprise when programming these Masters Series concerts to discover that these performances are only the third time WASO has programmed Beethoven’s Triple Concerto in over 30 years. The Berg Violin Concerto similarly has enjoyed few outings over the last three decades, despite being one of the few 12-tone works that has a secure place in the repertoire. But then again, one is always discovering corners of the repertoire that are somehow overlooked or neglected.

The headline work on tonight’s concert, Beethoven’s Triple Concerto, was already in place and the soloists engaged (the wonderful Zukerman Trio) when Maestro Fisch and I started discussing what else should be in the program. It was Asher’s idea to ask Pinchas Zukerman to also perform the Berg Concerto – and to our delight (and, to be honest, slight surprise!) he readily agreed. It’s always a joy to perform with Pinchas Zukerman, and a

delight to welcome his Trio to Perth for their WASO debut.

We hope you enjoy these concerts and are surprised and delighted to experience some lesser-performed gems of the repertoire.

Evan Kennea Executive Manager, Artistic Planning

1800 1900

Beethoven's Triple Concerto1808

Beethoven's Egmont Overture1810

Berg's Violin Concerto1936

ALBAN BERG

1885 – 1935Born in 1885, Vienna, AustriaDied in 1935, Vienna, Austria

LUDWIG VAN BEETHOVEN

1770 – 1827Born in 1770, Bonn, GermanyDied in 1827, Vienna, Austria

WELCOME

TIMELINE OF COMPOSERS & WORKS

Frankie Lo Surdo, French Horn

1389_WESF - Arts Sponsorship Campaign 2016 - WASO_Program Ad_210x148mm_V2.indd 1 20/07/16 2:21 PMWASO Masters02 2017.indd 3 19/04/2017 4:49 pm

2017 UPCOMING CONCERTS

BOOK NOW CALL 9326 0000 VISIT WASO.COM.AUA 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.

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POPS SERIES

SWING ON THISFRI 16 & SAT 17 JUNE 8PM Perth Concert Hall

Stars of Australia’s screen and stage will bring the house down with their modern and audacious take on all-time swing classics from Sinatra to Bublé, and well-swung interpretations of hits from Oasis, John Farnham and The Proclaimers.

Michael Falzon vocalist (pictured) Luke Kennedy vocalist (pictured) Rob Mills vocalist (pictured) Ben Mingay vocalist (pictured) Vanessa Scammell conductorPresented with Good Egg Creative and Asia Theatricals

MACA LIMITED CLASSICS SERIES

DEBUSSY, STRAUSS & ELGAR PASSIONS & CONTRASTSFRI 9 & SAT 10 JUNE 7.30PM Perth Concert Hall

Hailed by the New York Chronicle as “the king of his instrument”, Berlin Philharmonic Principal Horn Stefan Dohr makes his WASO debut with Strauss’ blazing Second Horn Concerto. Elgar’s Second Symphony, with its astonishing orchestral colours and sheer power, is one of the twentieth-century’s greatest works.

DEBUSSY Printemps – Symphonic Suite STRAUSS, R. Horn Concerto No.2 ELGAR Symphony No.2

Johannes Debus conductor Stefan Dohr horn (pictured)

MASTERS SERIES

STRAVINSKY’S FIREBIRDFRI 2 & SAT 3 JUNE 7.30PM Perth Concert Hall

Japanese pianist Ayako Uehara is the first woman to have won the prestigious Tchaikovsky International Piano Competition. She makes her WASO debut with Bartók’s Piano Concerto No.3, which sits perfectly alongside Sibelius’ multi-faceted, expressive tone poem and Stravinsky’s richly folkloric ballet suite.

SIBELIUS En SagaBARTOK Piano Concerto No.3DEBUSSY Prélude à ‘L’après-midi d’un faune’STRAVINSKY The Firebird – Suite [1945 version]

Martyn Brabbins conductor Ayako Uehara piano (pictured)

WASO Masters02 2017.indd 4 19/04/2017 4:49 pm

ASHER FISCH & THE ZUKERMAN TRIO

MASTERS SERIES

BEETHOVEN Egmont: Overture (8 mins)

BERG Violin Concerto To the Memory of an Angel (22 mins)

Andante – Allegretto

Allegro – Adagio

Interval (25 mins)

BEETHOVEN Concerto for violin, cello and piano (34 mins)

Allegro

Largo –

Rondo alla Polacca

Asher Fisch conductor Pinchas Zukerman violin Amanda Forsyth cello Angela Cheng pianoAsher Fisch appears courtesy of Wesfarmers Arts

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

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Harmony Music visit to Castlereagh School A fantastic WASO String Quartet performed for staff and students at Castlereagh School on 9 February as part of our Harmony Music Program. Castlereagh was the inaugural school to be involved in this program, so it was great to be back to visit staff and students who love hearing WASO performances. The musicians introduced the students to the string family and performed a mixture of classical and popular pieces including the Harry Potter Suite, Fireside and Birdsong, excerpts from from The Four Seasons and The Cheerful Cha Cha.

A highlight was when the musicians visited students in their classrooms after the performance to give them a closer look at the instruments, and where possible, have-a-go playing on student sized instruments themselves. This brought laughter and delight, as students tried touching the bow and making sounds on the violin and viola.

Harmony Music is supported by Mitsubishi Corporation. WASO's Community Outreach Program is supported by Act-Belong-Commit.

EChO - Live via satellite!As part of a remarkably busy start to the year for EChO, our Education Chamber Orchestra ‘travelled’ almost 3500km in one day - all without leaving Perth!

In a first for our Regional Arts Programs (ReAP), EChO with presenter Libby Hammer performed ‘live’ for students at Nullagine Primary School, Port Hedland Primary School and Baler Primary School in South Hedland via state-of-the-art video conferencing infrastructure at the School of Isolated and Distance Education (SIDE) in Leederville.The high-definition video conferencing facilities alongside enhanced broadband services at public schools across the Pilbara Education Region supports increased access to educational resources and programs anywhere, at any time.

The opportunity to grow the suite of programs presented through ReAP allows WASO to continue to build relationships with schools across the region, and for schools to access programs not usually available to them:

"We are so lucky to have had the chance to be involved ... when the children touched the screen … let me tell you it was very special to see their faces when they realised it was real time!!!!"

Teacher, Baler Primary School South Hedland

ReAP is supported by Department of Education and Pilbara Cities Education Projects.

WASO IN THE COMMUNITY

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ASHER FISCHPrincipal Conductor & Artistic Adviser

A renowned conductor in both the operatic and symphonic worlds, Asher Fisch is especially celebrated for his interpretative command of core German and Italian repertoire of the Romantic and post-Romantic era. He conducts a wide variety of repertoire from Gluck to contemporary works by living composers. 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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ABOUT THE ARTISTS

Pinchas ZukermanViolin

Pinchas Zukerman is equally renowned as a violinist, violist, conductor, pedagogue and chamber musician. His 2016-2017 season, his eighth as Principal Guest Conductor of London’s Royal Philharmonic Orchestra and second as Artist-in-Association with the Adelaide Symphony Orchestra, includes over 100 concerts worldwide. In January 2017 he served as Artistic Director of the New Jersey Symphony’s Winter Festival. Other appearances (as either guest conductor and/or soloist) include the Cleveland Orchestra, Boston, Pittsburgh and Montreal Symphonies, Berlin and Israel Philharmonics, Camerata Salzburg, Korean Chamber Orchestra and Tokyo Philharmonic Orchestra.

Pinchas Zukerman is devoted to the next generation of musicians and has introduced innovative teaching programs in London and Israel. He chairs the Pinchas Zukerman Performance Program at the Manhattan School of Music, where he has pioneered the use of distance-learning technology in the arts. As Music Director of Canada’s National Arts Centre Orchestra (1999-2015), he established the NAC Institute for Orchestra Studies and the Summer Music Institute encompassing the Young Artists, Conductors and Composers Programs.

Born in Tel Aviv in 1948, Pinchas Zukerman arrived in America in 1962 where he studied at Juilliard with Ivan Galamian. His discography contains over 100 titles and has earned him two Grammy awards and 21 nominations. His complete recordings for Deutsche Grammophon and Philips were released in July 2016, in a 22-disc set spanning Baroque, Classical and Romantic repertoire. Other recent releases include Brahms’ Double Concerto with the National Arts Centre Orchestra and Amanda Forsyth, recorded live at Ottawa’s Southam Hall.

Zukerman plays the ‘Dushkin’ Guarnerius del Gesù violin of 1742.

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Amanda ForsythCello

Principal Cello of Canada’s National Arts Centre Orchestra from 1999 to 2015, Amanda Forsyth has established an international reputation as soloist and chamber musician. She has appeared with such orchestras as the Royal Philharmonic Orchestra, Orchestre Radio de France, English Chamber Orchestra, Dallas Symphony and Moscow Virtuosi. In 2014 she was invited for her first homecoming tour of South Africa performing Malcolm Forsyth’s Elektra Rising among other repertoire.

A founding member of the Zukerman Chamber Players, Amanda Forsyth has visited much of Europe and the Middle East. As cellist of the Zukerman Trio she has performed throughout Europe, Asia and the US. Recordings include Schubert’s Trout Quintet with the Zukerman Chamber Players and Yefim Bronfman and Brahms’ Double Concerto with Pinchas Zukerman and the National Arts Centre Orchestra.

She performs on a rare 1699 cello by Carlo Giuseppe Testore.

Angela ChengPiano

A Gold Medalist of the Arthur Rubinstein International Piano Masters Competition, Angela Cheng was the first Canadian to win the Montreal International Piano Competition. Other awards include the Medal of Excellence for outstanding interpretations of Mozart from the Mozarteum in Salzburg.

Angela Cheng has appeared with virtually every Canadian orchestra, as well as the Israel Philharmonic and US orchestras such as the Buffalo Philharmonic, Houston Symphony and Saint Louis Symphony. In 2012 she made her Carnegie Hall debut with the Edmonton Symphony and debuted at the Salzburg Festival in recital with Pinchas Zukerman. In 2009 Angela Cheng toured Europe and China as a member of the Zukerman Chamber Players. Subsequent tours covered the US, Europe, Asia and South America, including major festivals. Angela Cheng’s recordings include Clara Schumann’s Concerto in A Minor, Mozart concertos and recital discs.

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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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VIOLINLaurence JacksonConcertmasterLena Zeliszewska^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 Challen Stephanie DeanBeth HebertJane Johnston°Sunmi JungChristina KatsimbardisEllie LawrenceShaun Lee-Chen*Akiko MiyazawaLucas O’Brien°Melanie PearnKen PeelerLouise SandercockJolanta SchenkJane SerrangeliKathryn Shinnick°Jacek SlawomirskiKate SullivanBao Di TangCerys ToobySusannah Williams°David Yeh

VIOLAAlex BroganA/Principal ViolaKierstan ArkleysmithNik BabicChair partnered by Lesley & Peter DaviesBenjamin CaddyAlison HallRachael KirkAllan McLeanElliot O’BrienHelen Tuckey

CELLORod McGrath Chair partnered by Tokyo Gas

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

DOUBLE BASSAndrew Sinclair*Joan Wright Louise ElaertsChristine ReitzensteinAndrew TaitMark Tooby

FLUTEAndrew Nicholson Mary-Anne Blades

PICCOLOMichael Waye

OBOEPeter Facer Elizabeth Chee

COR ANGLAISLeanne GloverAnnabelle Farid^

CLARINETAllan Meyer Lorna Cook

BASS CLARINETAlexander Millier

BASSOONJane Kircher-LindnerAdam MikuliczA/Principal BassoonChair partnered by Sue & Ron Wooller

Colin Forbes-Abrams°

CONTRABASSOONChloe Turner

ALTO SAXOPHONEMatthew Styles^

HORNDavid EvansJulian Leslie°Robert Gladstones Principal 3rd HornJulia BrookeFrancesco Lo Surdo

TRUMPETBrent GrapesEvan CromieMatthew Dempsey°Peter Miller

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONBrian MaloneyChair partnered by Stott Hoare

Chiron Meller°Assoc Principal Percussion and Timpani

HARPSarah Bowman

PRINCIPAL CONDUCTORAsher FischPartnered by Wesfarmers Arts

ASSISTANT CONDUCTOR Elena Schwarz

CHORUS DIRECTOR Christopher van Tuinen

CHORUS VOCAL COACH Andrew Foote

CONDUCTOR LAUREATE Vladimir Verbitsky

YOUR ORCHESTRA

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

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

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12 *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.

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

DEBUSSY, STRAUSS & ELGAR


DEBUSSY Printemps - Symphonic Suite STRAUSS, R. Horn Concerto No.2 ELGAR Symphony No.2

PASSIONS & CONTRASTS

FRI 9 & SAT 10 JUNE 7.30PMPERTH CONCERT HALL

Johannes Debus conductor Stefan Dohr horn

The glorious tones of superstar Stefan Dohr, Principal Horn of the Berlin Philharmonic, in his debut performance with WASO.


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. For further details visit abc.net.au/classic

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

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

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

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

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

ACCESSIBILITY • A universal accessible toilet is available on

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

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

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

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

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

YOUR CONCERT EXPERIENCE

13 *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.

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

DEBUSSY, STRAUSS & ELGAR


DEBUSSY Printemps - Symphonic Suite STRAUSS, R. Horn Concerto No.2 ELGAR Symphony No.2

PASSIONS & CONTRASTS

FRI 9 & SAT 10 JUNE 7.30PMPERTH CONCERT HALL

Johannes Debus conductor Stefan Dohr horn

The glorious tones of superstar Stefan Dohr, Principal Horn of the Berlin Philharmonic, in his debut performance with WASO.


Ludwig van Beethoven (1770 – 1827)

Egmont, Op.84: Overture

When new music was required for a revival of Goethe’s drama Egmont at the Burgtheater in Vienna in 1810, Beethoven wrote not just an overture but nine incidental movements – his major contribution to the dramatic stage after his opera, Fidelio. Like Fidelio, Egmont is a drama of political oppression and the struggle for liberty. Although Beethoven wrote warmly to Goethe of ‘this wonderful Egmont’ it was clearly the political aspect that inspired him rather than any human drama such as in Coriolan. Egmont, historical hero of the Low Countries’ deliverance from French invasion in the 16th century, subsequently leads the people in resistance to Spanish domination, resistance which ends in his own tragedy and ultimate death at the instigation of his enemy, the Spanish Duke of Alba. For Beethoven it is the principle of liberation and martyrdom that fires his genius rather than any depth of individual character as portrayed by Goethe.

A portentous introduction presages impending doom. The overture’s stately sarabande rhythm is possibly intended to represent the implacable Spanish duke. The main allegro theme evokes the Flemish drive for liberty, but the Spanish theme reappears in a codetta where the death of Egmont by public execution is portrayed over sustained soft chords.

The flame of open uprising is kindled by the hero’s death. Within a few bars the music swells into a powerful outburst as the ‘Victory Symphony’ (which ends the drama as well as the overture) graphically portrays a nation in revolt.

© Anthony Cane

First performance: 15 June 1810, Burgtheater, Vienna.First WASO performance: 1 November 1938; Malcolm Sargent, conductor.Most recent WASO performance: 23-24 March 2012; Oleg Caetani, conductor.

Instrumentation: two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, strings.

ABOUT THE MUSIC

Allegro – fast and lively.Codetta – a small coda, i.e. a concluding section added to the basic structure of a piece or movement to emphasise the sense of finality.Sarabande – stately Spanish dance in triple time, often with an emphasis on the second beat of the bar.

Glossary

SCHUMANN Genoveva: Overturefeatured in Asher Fisch Conducts Schubert’s The GreatFri 18 & Sat 19 August, 2017

YOU MAY ALSO ENJOY

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Alban Berg (1885 – 1935)

Violin Concerto To the Memory of an Angel

Andante – Allegretto Allegro – Adagio

Alban Berg’s Violin Concerto is one of the most compelling demonstrations of the lyrical and emotional potential inherent in 12-tone technique. It transcends its style and period, and speaks directly to the heart of the listener.

In 1935, Berg was in dire financial straits, trying to complete his opera Lulu in the midst of the rise of Nazism and the consequent banning of the works of Arnold Schoenberg and his pupils. Louis Krasner, an American violinist studying in Europe, had fallen in love with the music of Schoenberg and his pupils Berg and Webern – the music of the so-called Second Viennese School. He asked for a concerto from Berg, believing him to be the most lyrical of the 12-tone composers. Friends counselled Krasner not to get his hopes up, knowing that Berg had recently knocked back a commission for a string quartet from the Library of Congress. But Krasner persisted.

Stimulus for the work soon arrived, however on 22 April 1935, 18-year-old daughter of the architect Walter Gropius and Alma Maher, Manon Gropius passed away. Alma was the widow of Gustav Mahler, a composer of great importance to Schoenberg and his ‘school’, and Berg was particularly close to the young Manon, loving her almost as a daughter. In response to the news of Manon’s untimely passing, Berg was grief-stricken, and ideas for the work began to crystallise.

It acquired an underlying poetic idea: it would commemorate Manon’s life. Berg asked Alma for permission to dedicate what he now called his ‘Requiem for an Angel’ to Mutzi (Manon’s nickname). He began writing feverishly, completing the work on 31 August. The work was premiered at the Barcelona International Society for Contemporary Music Festival in April 1936, with Krasner as soloist (Hermann Scherchen conducting). But Berg did not live to see the premiere. He had died of blood poisoning on Christmas Eve 1935. Ironically, the work proved also to be a requiem for him.

Berg’s concerto owes much of its appeal, not just to its palpable grief and consolatory radiance, but to a musical language which re-incorporates the music of the immediate past within Schoenberg’s 12-tone system. There are references here that traditional listeners can respond to on an intuitive level. The concerto is based on a tone row which, in keeping with Schoenberg’s system, sets out all 12 notes of the chromatic scale in an order which will remain unique to the piece, but harks back to tradition in its outlining of common chords. Berg’s harmonies, such as those near the start, can sound Brahmsian at times.

ABOUT THE MUSIC

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Nor did it escape Berg’s attention that the last four notes of his row form a whole-tone sequence. The discovery that these four notes are identical to the first four notes of J.S. Bach’s chorale ‘Es ist genug’ (It is enough) from the cantata O Ewigkeit, du Donnerwort, BWV 60, was therefore a particularly fruitful one.

The work is introduced with a poignant sequence made up of the open fifths of the violin. It is one of the masterstrokes of this work that Berg makes such an expressive virtue of this ‘given’ feature. The Andante is in ternary form. Then, with a varied repetition of Brahmsian chordal material, we move into the Allegretto, where there are two Trios and a parody of a waltz before the horn’s bittersweet quotation of a folk tune, ‘Ein Vogel auf’m Zwetschgenbaum’, which is answered by a celestially high violin. The movement comes to an almost indecisive end with a dissonant F sharp added to ‘tonic’ G minor chords.

Out of Part II’s brutally rhythmic Allegro, clearly intended to represent the catastrophe of Manon’s death, Bach’s chorale theme eventually emerges. The words of the original chorale speak to the point: ‘It is enough! Lord, when it pleases Thee relieve me of my yoke!’ There are a number of variations. Then, as we draw toward the close, the folk song reappears. There is a brief closing reference to the Bach chorale melody, and arpeggiated open fifths bring the music full circle to a poignant close.

Gordon Kalton Williams Symphony Australia © 1997/2007

First performance: 19 April 1936, Barcelona. Hermann Scherchen, conductor; Louis Krasner, soloist.First WASO performance: 14-15 May 1976. David Measham, conductor; Wanda Wiłkomirska, soloist.Most recent WASO performance: 28-29 November 2008. Johannes Fritzsch, conductor; Antje Weithaas, soloist.

Instrumentation: two flutes (both doubling piccolo), two oboes (second doubling cor anglais), three clarinets (third doubling alto saxophone), bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, two trombones, tuba, timpani, percussion, harp, strings.

Arpeggiated – manner in which the notes of a chord are played one after the other and not simultaneously.Ternary form – a musical structure consisting of three parts, where the third part is the same as the first (A – B – A).Tonic chord – the main note in a key, and the chord built on this note; in the key of G major, G is the tonic. Most music tends to come back to the tonic at the end. In atonal music there is no true tonal centre, and so no tonic.Trio – in a minuet or scherzo, the trio is the middle section of the movement; the minuet or scherzo is performed on either side of the trio.Twelve-note (or 12-tone) music – compositional technique devised by Arnold Schoenberg during the early years of the 20th century and employed by his pupils Berg and Webern, often referred to collectively as the Second Viennese School. The 12-tone method rejects the principles of the conventional key/tonal system and places equal importance on all 12 notes of the chromatic scale. These are placed in a particular order by the composer and comprise a tone row (or series), which forms the basis of the composition.Whole tone scale – scale consisting of a different set of pitches from the major scale, with an equal distance (i.e. a tone) between each note. This produces a rather static effect, with less tension and release than is inherent in major or minor scales.

Glossary

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Ludwig van Beethoven (1770 – 1827)

Concerto in C for piano, violin and cello, Op.56

Allegro Largo – Rondo alla Polacca

In August 1804, Beethoven wrote to the Leipzig publishers Breitkopf and Härtel offering them ‘something of a novelty’, this concerto for piano, violin, cello and orchestra. One may wonder how novel this work may have been in the 18th century when unusual combinations were often brought together in the sinfonia concertante form. Stranger combinations were written by people known to Beethoven – Leopold Kozeluch once wrote a sinfonia concertante for piano, mandolin, trumpet and bass, and Beethoven’s teacher Albrechtsberger wrote two concertos for jew’s harp and mandora! Beethoven’s concerto was no more outrageous than a combined orchestral piece and the standard ensemble of piano trio.

Sinfonie concertanti were meant to be melodic and virtuosic (indeed they were meant to bring together groups of virtuosos), with a dose of bravura, a minimum of symphonic argument, and even less soul-searching. Beethoven’s work lacks the symphonic argument we normally associate with him and may explain why he designated the work ‘Grand concerto concertant’ (a description that appears on the instrumental parts), avoiding any mention of anything ‘symphonic’ since such a word was coming to mean, to the composer of the Eroica, a substantial degree of elaborate argument.

But the Triple Concerto defies ‘concertante’ convention in its tendency to seriousness rather than showiness, and particularly in its second movement, which, though arguably little more than an intermezzo, penetrates to a touching depth.

Beethoven wrote this concerto for the Archduke Rudolph, who had in his private orchestra an excellent violinist by the name of Ferdinand August Seidler, and as principal cellist Anton Kraft, who had been Haydn’s cellist at Eszterháza. The existence of such a group of fine players no doubt influenced Beethoven’s decision to write a work incorporating a piano trio, but that was also a medium in which he had won early success, and to which he was later to return in, for example, the Archduke Trio, also dedicated to Rudolph.

Rudolph was no mean pianist. He eventually got the Emperor Concerto under his fingers, although it is the cello which has the lion’s share of the work in this concerto. But it was really to compensate for the solo cello’s disadvantages in being heard above the ensemble that the cello is assigned the principal melodic role in this concerto. It is often set in the treble register where its voice will be most penetrating.

ABOUT THE MUSIC

Archduke Rudolph

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We could read into the march-like tempo of the first movement a reminder of the Napoleonic era. Beethoven was an early admirer of the French general, but Napoleon proclaimed himself Emperor in May 1804, midway through this work’s composition. Though we know Beethoven was infuriated by this action (he tore up the dedication on the title page of the Eroica Symphony), it is possible that Beethoven’s utter repudiation of Napoleon did not take place until the actual December coronation.

The work begins softly, gradually building in volume – a crescendo effect popular with the Mannheim school of composers. Following this build-up, there is a new, sunny theme in the violins. At the end of the exposition, the cello enters – first (as in the other movements) against reiterated middle Cs in the violins and slightly discordant touches in the violas, a finely pitched effect. The orchestra foreshadows a new impassioned theme but the cello immediately takes it over and up into its higher, most eloquent register. Much of the development and the rest of the movement has a chamber music quality, as it is the soloists who develop the material.

It has been suggested that it was the success of the concise 28-bar second movement of the newly completed Waldstein Sonata which prompted Beethoven to do something similar in this work. At any rate, the five-minute Largo perfectly balances the 18 or so minutes of the first movement. Beethoven here introduces an idyllic melody which paves the way for the spirited polonaise final movement.

It is perhaps strange that at a time when many composers were churning out piano trios, no one followed Beethoven’s lead with this piece. They must have known how difficult a feat he achieved. Certainly there was no multi-soloist concerto to equal it until Brahms’ Double Concerto of 1887, and even then, it was not surpassed.

G.K. Williams © Symphony Australia

First performance: First public performance April 1808, Leipzig; the soloists were, according to a review in the Allgemeine musikalische Zeitung, ‘Mad. Müller, Herr Matthäi, and Herr Dozzauer’.Last WASO performance: 13 September 2003. Jean-Bernard Pommier, conductor/piano; Daniel Kossov, violin; Rod McGrath, cello.

Instrumentation: flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, strings.

Exposition/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.Mandora – type of lute.Polonaise – Polish dance in triple time and of a stately character.Sinfonia concertante (‘symphonie concertante’ in French) – type of concerto for multiple soloists that flourished during the late 18th century, and was particularly associated with Paris. Despite the title, the genre more closely resembled a concerto than a symphony.

Glossary

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Graeme Norris A/Assistant Concertmaster

Do you come from a musical family? My mother’s side of the family was quite musical with my great-grandfather being a violinist and my grandfather and uncle playing piano. My mother was a percussionist and music teacher and my sister is a singer. My father always used to say that we all played something, but he specialised in playing the CDs.

What musical path did you take before starting with WASO? Most of my study was done in Melbourne and Sydney with occasional study trips to Europe. Professionally, I started full-time with the Adelaide Symphony Orchestra in 2006, then moved in 2010 to Kuala Lumpur to play with the Malaysian Philharmonic Orchestra before joining WASO at the start of 2015. I’m especially thankful for my detour to Malaysia because apart from some great musical and travel experiences, it’s where I met my wife, Ana.

What are you most looking forward to in the upcoming 2017 season? I’ve never played Mahler’s Sixth Symphony before, so for me, Masters 6 (and the surrounding weeks with Asher) will be a highlight. The Orchestra always works extremely hard when Asher is in town but the quality is always high and the concerts can be incredible.

If you could program your own concert what would you play? There’s far too much good music to narrow it down to one concert, but I get excited anytime I see we’re playing a large Strauss tone-poem like Ein Heldenleben or a Mahler symphony. On the other end of the scale, a Mozart piano concerto with a soloist like Mitsuko Uchida can be heavenly!

What is your secret non-music related talent? It might be stretching the definition of talent a bit but I enjoy photography, especially when travelling. Ana and I are pretty fussy about coffee (we met in a café) so I’m always working on getting the perfect shot of espresso at home. Also, given that we have three cats at home, I think coming to a concert with no cat hair on my suit is a bit of a talent!

MEET THE MUSICIAN

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Paul Rissmann LectureTuesday 20 June 2017, 6-8pm John Inverarity Music & Drama Centre, Hale School

The second instalment in our Judy Sienkiewicz Lecture Series will be presented by award winning British educationalist, composer and presenter Paul Rissmann, following the Annual General Meeting of WASO’s Patrons & Friends on Tues 20 June. Paul joins us as artist in residence for WASO’s Education Week as part of an extensive Australian tour that will see him present a number of his acclaimed programs for children and young people. Paul’s programs will spark imaginations through composition, illustration and the written word. We are delighted that he has time to share his career experiences and talk about the life-changing power of music in this special event for WASO’s Patrons & Friends.

This is an amazing opportunity to be involved in a discussion with one of the world’s leading music education specialists in an intimate setting. Tickets will be $20 for Patrons & Friends ($25 for guests), and include a glass of wine. Bookings are now open through the WASO Box Office on 9326 0000.

WASO PHILANTHROPY

WASO & Wagner Campaign We invite you to be part of WASO’s most exciting artistic project to date by joining our WASO & Wagner campaign today. WASO & Wagner presents a once-in-a-lifetime opportunity for West Australians to join a thrilling journey of discovery through Wagner’s music, as well as the composers Wagner influenced and those who inspired him.

WASO & Wagner will see WASO and world-renowned Wagner conductor Asher Fisch joined by some of the finest artists in the world to deliver an innovative program of music, lectures and events inspired by the seminal composer. This two-year project across the 2017 and 2018 orchestral seasons will explore how Wagner’s work transformed the art form of classical music forever, and include two concert performances of Tristan und Isolde in 2018. We invite you to also be transformed!

WASO & Wagner is an expensive undertaking for the company as the scale of Wagner productions incur significant costs, and we are seeking your support to help fund this bold artistic project. We ask you to join us on this extraordinary musical journey through a two-year donation. For further details or to arrange your gift, please contact Sarah Tompkin on (08) 9326 0017 or [email protected].

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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 be a part of this community, to meet our musicians and to know you have helped your Orchestra to touch souls and enrich lives through music. Together we can do amazing things.

Symphony CircleRecognising Patrons who have made a provision in their Will to the OrchestraMs Davilia BlecklyMr John BonnyDr G Campbell-EvansDeirdre CarlinAnita & James Clayton Dr Michael FlacksJudith Gedero Robyn GlindemannGwenyth GreenwoodThe Guy FamilyEmi & Warren Jones Colin & Jo KingRachael Kirk & Tim WhitePaul LeeWolfgang Lehmkuhl Deborah MarshTosi Nottage in memory of Edgar NottageNigel & Dr Heather RogersGavin Toovey & Jaehan LeeSheila Wileman Sagitte Yom-Tov FundAnonymous (31)

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

Estates WASO is extremely grateful for the bequests received from Estates Rachel Mabel ChapmanMrs Roslyn WarrickJudy Sienkiewicz Anonymous (4)

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

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

Reach OutSupporting our Education & Community Engagement programsInstrument purchasesJohn Albright & Susan Lorimer – purchase of the EChO Double BassJean & Peter Stokes - Cello & Tuba

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

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

Crescendo Giving CircleAOT Consulting Pty LtdJean ArkleyKaylene CousinsEuroz Charitable FoundationMadeleine King MP, Federal Member for BrandRosalind LilleyPamela PittDeborah & Miles ProtterValerie VicichThe Spivakovsky Jubilee

Philanthropic partnerships come in all shapes and sizes

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 9326 0017 or email [email protected].

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

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

Impresario PatronGifts $10,000 - $19,999Gay & Bob Branchi Gavin BunningPeter & Lesley Davies (Orchestral Chair Partners - Tutti Viola)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 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 Wooller (Orchestral Chair Partners - Principal Bassoon)Anonymous (4)

Virtuoso PatronGifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AMTony & Mary Beeley David & Suzanne Biddles Peter & Marjorie BirdAlan & Anne BlanckenseeSally BurtonDr G Campbell-EvansProf Jonathan Carapetis & Prof Sue SkullMark Coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda SavageRichard FaragoRobyn Glindemann Annette & Vincent GoerkeBrian & Romola HaggertySue Hovell Sylvia & Wally HyamsEleanor John Michael & Dale Kitney Mrs MorrellJane & Jock MorrisonAnne NolanTim Pavy & Cathy ColeDr Lance Risbey & Ms Elizabeth SachseMelanie & Paul ShannonGail & Tony Sutherland Gene TilbrookM & H TuiteStan & Valerie VicichIan WatsonJoyce Westrip OAMAndrew & Marie YunckenAnonymous (2)

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

Betty BarkerNoelle BeasleyMichael & Nadia Berkeley-Hill Kevin Blake Matthew J C Blampey Namy BodinnerSusy BoglePeter & Eve BolandDr & Mrs P BreidahlJean Brodie-Hall AMJames & Gay BrownMarilyn & Ian BurtonDr Anne ChesterPeter & Sue Clifton David CookeArthur & Nerina CoopesHon June Craig AM Gay & John Cruickshank Lesley & Peter DaviesRai & Erika DolinschekJulian Dowse Bev EastMegan EdwardsLorraine EllardDane Etheridge & Brooke FowlesAnnette FinnP & J FisherDon & Marie Forrest E & EA FraunschielDr Andrew GardnerRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Deidre Greenfeld Grussgott Family TrustRichard B Hammond Pauline & Peter HandfordDr Penny Herbert in memory of Dunstan HerbertJacoba Hohnen & Stuart CookseyMichael HollingdaleHelen Hollingshead John & Katrina HopkinsJ & S HuanJim & Freda Irenic Cynthia Jee

Annual Giving

OUR SUPPORTERS

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Lilian & Roger JenningsAnthony Kane in memory of Jane Leahy-KaneBill Kean Noelle & Anthony Keller AMStephanie & John Kobelke In memory of Eileen HayesIrving Lane Natasha LanglandsMeg LewisRosalind Lilley Teresa & Jemima LovelandGraham & Muriel Mahony Gregg & Sue MarshmanBetty & Con Michael AOMrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Hon Justice S R Moncrieff Valmae & Geoff MorrisVal & Barry NeubeckerDelys & Alan NewmanDr P J NobleJohn OvertonRon & Philippa PackerMichael & Lesley PageAthena PatonRosemary PeekCharmian Phillips in memory of Colin CraftPamela PlattThomas & Diana Potter Alison & John PriceBarry & Dot PriceDr Leon Prindiville Chester ReeveJoan ReylandJohn & Alison RiggLeigh RobinsonNigel & Dr Heather RogersGerry & Maurice Rousset OAMRoger Sandercock Dr R & J SchwengerMargaret & Roger SearesEve Shannon-Cullity Glenice ShephardJulian & Noreen Sher Laurel & Ross SmithPAI Smith & DA HarryMichael Snell & Vicki StewartGeoff and Christine Soutar

Ruth ThomasGavin Toovey & Jaehan LeeMary Townsend James & Rosemary TrotterDr Robert TurnbullMaggie VenerysAdrienne & Max Walters Diana WarnockWatering ConceptsDai and Anne WilliamsIan Williams AO & Jean WilliamsJim & Gill WilliamsMargaret WilsonJudith Wilton & David TurnerHilary & Peter Winterton AMAnonymous (27)

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

Mrs G EwenMaxine & Bill Farrell AMJoan GagliardiJennifer & Stephen GardinerGeorge GavranicElaine GimsonIsobel Glencross Pitsamai & Kevin GreenDavid & Valerie GullandAlan Harvey & Dr Paulien de BoerEric & Elizabeth HeenanJohn HillChristopher, Julie, Rosemary & Bronwyn HudsonMr John Hylton-Davies JP, VJPeter Ingram Peter S JonesWarren & Emi JonesB M KentDorothy KingstonNelly KleynUlrich & Gloria Kunzmann John Kusinski & Annie MotherwayTrevor & Ane Marie Lacy Louis & Miriam LandauMartin & Ruth LevitAnn LewisMegan LoweKen & Yoko LucasMary Ellen in memory of KerensaGeoff MasseyJennifer & Arthur McCombJames Meneghello & Mabel ChewS B Monger-HayAndré & Barbara MorkelDr Peter MossPhuong NguyenMarianne NilssonPeter O’SullivanDr Walter Ong & Graeme MarshallMarjan Oxley Graham & Hildegarde PennefatherBev Penny Adrian & Ruth PhelpsAlpha & Richard Pilpel OAMAnn RawlinsonJames & Nicola Ridsdill-SmithPaul RobertsChris & Serge Rtshiladze Her Excellency the Hon. Kerry Sanderson, AC

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

S R VogtMargaret WallaceJohn & Nita WalsheAnne Watson Joy WearnePatricia WestonDr Chris & Mrs Vimala WhitakerB M WilcoxGeoff WilkinsonViolette William Janet Williams

Dr Robyn Yeo & Ms Cyn Johnson Chris ZiatisAnonymous (25)

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

OUR SUPPORTERS

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


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

EXECUTIVECraig Whitehead Chief Executive Megan Lo SurdoExecutive AssistantAnthony PickburnHuman Resources ManagerNarelle CoghillHuman Resources CoordinatorJulie Read Payroll Administrator

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

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

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

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

CORPORATE DEVELOPMENTMarina WoodhouseExecutive Manager, Corporate DevelopmentJamie Parkin Corporate Partnerships ManagerGinny LuffCorporate Partnerships & Events Coordinator

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

PHILANTHROPY Alecia BenzieExecutive Manager, PhilanthropySarah TompkinActing Executive Manager, PhilanthropyEmily Kennedy Philanthropy & Events Coordinator

PERTH CONCERT HALLBrendon EllmerGeneral ManagerLorraine RiceDeputy General ManagerBrad MatthewsOperations ManagerPenelope BriffaEvents ManagerPaul RichardsonPresentations CoordinatorBruce GawMaintenance OfficerRyan SandilandsMarketing CoordinatorDharshini MurugiahMarketing AssistantSarah Salleo Reception & AdministrationJosie AitchisonTalei LouieVanessa WoolleyTicketing Client Account ManagersEleanor AitchisonAlana ArnoldCheryl ButlerLeticia CannellMary-Louise CarboneHelen GortmansKaitlin TinkerBeverley TrolioCustomer Service and Sales Representatives

WASO programs are printed by Advance Press www.advancepress.com.au who are proud to be ‘Green Stamp Accredited’. This certification acknowledges Advance Press'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 [email protected]

ADMINISTRATION

25Cellar Door Open 10am to 5pm Daily • Call (08) 9755 6220 Visit www.pierro.com.au


2017 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

26

Penrhos College is proud to support the West Australian Symphony Orchestra

www.penrhos.wa.edu.au

Inspiring girls to become extraordinary women

WASO-2017.indd 1 17/03/2017 11:25:32 AMWASO Masters02 2017.indd 26 19/04/2017 4:49 pm

SONATA PARTNERS

PARTNER OF EXCELLENCE

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

Penrhos College is proud to support the West Australian Symphony Orchestra

www.penrhos.wa.edu.au

Inspiring girls to become extraordinary women

WASO-2017.indd 1 17/03/2017 11:25:32 AMWASO Masters02 2017.indd 27 19/04/2017 4:49 pm

TICKETS FROM $29/$32*9326 0000WASO.COM.AU

S T R A V I N S K Y ’ S

SIBELIUS En SagaBARTOK Piano Concerto No.3^DEBUSSY Prélude à ‘L’après-midi d’un faune’STRAVINSKY The Firebird – Suite [1945 version]

Martyn Brabbins conductorAyako Uehara piano^

THURS 1 JUNE 11AMFRI 2 & SAT 3 JUNE 7.30PM Perth Concert Hall

F I R E B I R D

II R DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD

^Evening concerts only. *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.

Firebird_Print_ProgramAd.indd 1 14/3/17 2:16 pmWASO Masters02 2017.indd 28 19/04/2017 4:49 pm

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