Transcript
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PROGRAMMORNING SYMPHONY SERIES

Thursday 20 April 2017, 11am

MACA LIMITED CLASSICS SERIES

Friday 21 & Saturday 22 April 2017, 7.30pmPerth Concert Hall

ASHER FISCHconducts

SIBELIUS

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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

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

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Our 2017 Classics season got off to a very exciting start with guest conductor Daniel Cohen taking the Orchestra through a fast-paced Beethoven Symphony 7 in March. This week, we are delighted to say that “Asher’s Back”, as we welcome back our Principal Conductor Asher Fisch for two weeks of intensive work and exciting concerts.

These Classics and Morning Symphony concerts feature our esteemed Concertmaster, Laurence Jackson, in rare Perth performances of Stravinsky’s Violin Concerto. This is the first time that Laurence has performed this neoclassic gem. WASO gave the first Perth performance of this concerto in 1971, the year of Stravinsky’s death.

We think another performance is well overdue as we last played it 35 years ago, in 1982!

Our most recent performance of Sibelius' Symphony No.2 was in 2012, but these concerts are the first in which Asher Fisch conducts a Sibelius symphony with WASO, and we are intrigued and excited to experience his interpretation of the music of this great master.

So – familiar composers and some much loved music and yet this is in some ways a concert of “firsts”. We hope that you enjoy them and, like us, are excited that “Asher’s Back.”

Evan Kennea Executive Manager, Artistic Planning

1800 1900

Mozart's Symphony No.291774

JEAN SIBELIUS

1865 – 1957Born in 1865, Hämeenlinna, FinlandDied in 1957, Järvenppää, Finland

IGOR STRAVINSKY

1882 – 1971Born in 1882, Oranienbaum, RussiaDied in 1971, New York, USA

Sibelius' Symphony No.21902

Stravinsky's Violin Concerto1931

WOLFGANG AMADEUS MOZART

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

WELCOME

TIMELINE OF COMPOSERS & WORKS

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2017 UPCOMING CONCERTS

BOOK NOW CALL 9326 0000 VISIT WASO.COM.AU*A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $6.60 applies to phone and mail bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

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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)

MASTERS SERIES

ASHER FISCH & THE ZUKERMAN TRIOFRI 28 & SAT 29 APR 7.30PM Perth Concert Hall

Superstar violinist Pinchas Zukerman returns to WASO with his charismatic trio to perform Beethoven’s delightful Triple Concerto. As a special treat, Zukerman also performs Berg’s nostalgic Violin Concerto. Conducted by Asher Fisch.

BEETHOVEN Egmont: Overture BERG Violin Concerto To the Memory of an Angel BEETHOVEN Concerto for violin, cello and piano (Triple Concerto)

Asher Fisch conductor Pinchas Zukerman violin (pictured) Amanda Forsyth cello (pictured) Angela Cheng piano (pictured)Asher Fisch appears courtesy of Wesfarmers Arts

MORNING SYMPHONY SERIES

STRAVINSKY’S FIREBIRDTHURS 1 JUNE 11AM Perth Concert Hall

Stravinsky’s richly folkloric ballet suite The Firebird is preceded by Sibelius’ expressive tone poem and Debussy’s languid and impressionistic Prélude in a program full of stunning orchestral colour and dazzling instrumental virtuosity.

SIBELIUS En Saga DEBUSSY Prélude à ‘L’après-midi d’un faune’ STRAVINSKY The Firebird – Suite [1945 version]

Martyn Brabbins conductor (pictured)

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ASHER FISCH CONDUCTS SIBELIUSMORNING SYMPHONY SERIES

STRAVINSKY Violin Concerto (22 mins)

Toccata

Aria I

Aria II

Capriccio

SIBELIUS Symphony No.2 (44 mins)

Allegretto

Tempo andante, ma rubato

Vivacissimo –

Allegro moderato

Asher Fisch conductor Laurence Jackson violinAsher Fisch appears courtesy of Wesfarmers Arts

Wesfarmers Arts Pre-concert TalksFind out more about the music in the concert with this week’s speaker, Brendon Pearn. The Pre-concert Talk take place at 9.40am in the Auditorium.

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ASHER FISCH CONDUCTS SIBELIUSMACA LIMITED CLASSICS SERIES

MOZART Symphony No.29 (23 mins)

Allegro moderato

Andante

Menuetto and Trio

Allegro con spirito

STRAVINSKY Violin Concerto (22 mins)

Toccata

Aria I

Aria II

Capriccio

Interval (25 mins)

SIBELIUS Symphony No.2 (44 mins)

Allegretto

Tempo andante, ma rubato

Vivacissimo –

Allegro moderato

Asher Fisch conductor Laurence Jackson violinAsher Fisch appears courtesy of Wesfarmers Arts

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

Wesfarmers Arts Meet the Musician TalksEnjoy a conversation with WASO’s Concertmaster Laurence Jackson post-concert Saturday night 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.

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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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.

waso.com.au

WEST AUSTRALIAN SYMPHONY ORCHESTRA

CONNECT WITH WASOfacebook.com/ WestAustralianSymphonyOrchestra

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instagram.com/_waso_

youtube.com/WestAustSymOrchestra

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

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VIOLINLaurence JacksonConcertmasterLena Zeliszewska^Guest Assoc ConcertmasterSemra Lee-Smith A/Assoc ConcertmasterGraeme NorrisA/Assistant Concertmaster Rebecca GlorieA/Principal 1st ViolinZak Rowntree*Principal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenStephanie DeanSara Duhig^Beth HebertJane Johnston°Sunmi JungChristina KatsimbardisEllie LawrenceEliza McCracken^Andrea Mendham^Lucas O’Brien°Ken PeelerLouise SandercockJolanta SchenkJane SerrangeliKathryn Shinnick°Jacek SlawomirskiKate SullivanBao Di TangCerys ToobySusannah Williams°Shaun Lee-Chen*Akiko MiyazawaMelanie PearnDavid Yeh

VIOLAAlex BroganA/Principal ViolaKierstan ArkleysmithBenjamin CaddyAlison HallRachael KirkKathryn McKay^Allan McLeanElliot O’BrienKatherine Potter^Helen TuckeyAaron Wyatt^Nik BabicChair partnered by Lesley & Peter Davies

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 Elizabeth Browning^Louise ElaertsChristine ReitzensteinAndrew TaitMark Tooby

FLUTEAndrew Nicholson Mary-Anne Blades

PICCOLOGeorgia Lane^

OBOEPeter Facer Elizabeth Chee

COR ANGLAISLeanne Glover

CLARINETAndrew Seymour^ Catherine Cahill^

BASS CLARINETAlexander Millier

BASSOONAdam MikuliczA/Principal BassoonChair partnered by Sue & Ron Wooller

Colin Forbes-Abrams°Jane Kircher-Lindner

CONTRABASSOONChloe Turner

HORNDavid EvansDeborah Hart^Robert Gladstones Principal 3rd HornJulia BrookeFrancesco Lo Surdo

TRUMPETBrent GrapesMatthew Dempsey°Peter MillerEvan Cromie

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONChiron Meller°Assoc Principal Percussion and TimpaniBrian MaloneyChair partnered by Stott Hoare

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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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 studying 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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11 *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

MACA LIMITED CLASSICS SERIES

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.

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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

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ABOUT THE ARTIST

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Laurence JacksonViolin

Laurence commenced as Concertmaster of WASO in January 2016.

Since making his Royal Festival Hall debut in 1990, Laurence has forged a highly successful career as a soloist, chamber musician and concertmaster, appearing with the BBC Scottish Symphony Orchestra as well as directing the Guildhall Strings, Calgary Festival Orchestra and the Birmingham Contemporary Music Group. He is regularly invited to guest lead orchestras in both the UK and abroad, including the London Philharmonic, Philharmonia, Royal Scottish National Orchestra, BBC Philharmonic, Trondheim Symphony Orchestra and Bergen Philharmonic. Guest leading in the 2014/15 season included the West Australian Symphony Orchestra and the San Francisco Ballet.

In 2006, he accepted the position of Concertmaster of the City of Birmingham Symphony Orchestra (CBSO), with whom he has appeared as soloist in the Dvořák, Bruch, Brahms' Double and Nielsen concertos, as well as several performances of Vaughan-Williams' The Lark Ascending.

Between 1994 to 2006, Laurence was leader of the Maggini Quartet, with whom he regularly toured throughout the USA, Canada and Europe to much critical acclaim. Worldwide sales of their recordings for their Naxos English Music series have exceeded 100,000 discs. With the Magginis, Laurence recorded some 23 discs and most notably won the Gramophone Chamber Music Award

of 2001, the 2002 Cannes Classical Award, the Diapason d’Or of the Year in France and CHOC award for Le Monde de la Musique (Elgar quartet and piano quintet with Peter Donohoe). They were also nominated for Grammy Awards in both 2004 and 2005 and the Classical Brit Awards Ensemble/Orchestral Album 2002.

As well as his numerous award-winning recordings with the Maggini Quartet, he has recorded the John Jeffreys Violin Concerto (Meridian) and the Frank Martin Violin Sonata (ASV) with Iain Burnside (piano). With the pianist Ashley Wass, Laurence has recorded two discs for Naxos of the complete repertoire for violin and piano by Sir Arnold Bax and both discs have received wide critical acclaim throughout the musical press.

Laurence is an Honorary Fellow of both Brunel University, London and Canterbury Christ Church University and he was awarded a fellowship of the Royal Academy of Music in 2013.

Laurence plays a violin made by J. B. Vuillaume, circa 1850.

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ABOUT THE ARTIST

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

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

the end of the performance

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

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

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

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

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

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

LISTEN TO WASOThis performance is being recorded for broadcast on ABC Classic FM on Saturday 29 April at 2pm (or 12pm online). 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

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Wolfgang Amadeus Mozart (1756 – 1791)

Symphony No.29 in A, K201

Allegro moderato Andante Menuetto and Trio Allegro con spirito

Eighteenth-century composers used simple musical materials, sometimes little more than tags, and it could be said of some of Mozart’s early symphonies that they are conventional in just this way. The symphony then was not the dominant genre that Haydn and Beethoven were to make it – many symphonies of the 1770s may not have been listened to very carefully, but they made a good festive noise. Mozart’s Symphony in A of 1774 is his first which is by common consent not only worth listening to closely, but a masterpiece from start to finish.

Right from the start something arresting is happening: while the violins have a strongly rhythmic theme proceeding in upward sequences and marked at each step with a falling octave, the lower parts are proceeding gently, glidingly, in long notes – a rising bass. Instead of a loud attention-getter, Mozart begins with what Jens-Peter Larsen calls a fusion of symphonic and chamber-musical styles, the fusion explored by Haydn in his symphonies of the same period.

Many of Haydn’s slow movements show the same telling though economical use of wind instruments against muted strings

as Mozart does in his stately but intimate slow movement, where the pace increases with the triplet figures which dominate the development. Staying in the mind from the Minuet are the humour of the loud restarts on unexpected notes, and of the comic tailpiece for the winds. The Trio, mostly in sustained notes, contrasts with the angular rhythms of the Minuet.

The finale is made up entirely of formulaic ‘scraps’, but brilliantly organised to combine noise, excitement and musical interest. No trumpets, but the horns reach dizzying heights by the end.

Adapted from a note by David Garrett © 2003

First performance: This symphony was completed in Salzburg on 6 April 1774, but no record exists of its first performance.First WASO performance: 7 January 1956, Festival of Perth. John Farnsworth Hall, conductor.Most recent WASO performance: 7 and 8 September 2006; Alexander Shelley, conductor.

Instrumentation: two oboes, two horns, strings.

ABOUT THE MUSIC

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.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.Triplet – group of three notes played in the time of two.

Glossary

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Igor Stravinsky(1882 – 1971)

Violin Concerto in D

ToccataAria IAria IICapriccio

A number of significant violin concertos were composed in close succession in the decade preceding the Second World War. Following Stravinsky’s single Violin Concerto in D of 1931, several prominent composers, including Szymanowski, Berg, Prokofiev, Schoenberg, Hindemith, Bartók, Barber, Britten and Walton, contributed important works to the genre. Stravinsky composed two concertante works during the 1920s for his own instrument, the piano, but writing a major solo work for the violin, an instrument he didn’t play, proved to be a more foreign undertaking.

Stravinsky was initially hesitant to embark upon writing an extended composition for the violin. It was Willy Strecker, head of the Schott music publishing house, who proposed the idea of a concerto to the composer. Stravinsky’s uncharacteristically cautious response was countered by Paul Hindemith, who was a noted solo violist as well as composer. He suggested that the lack of direct physical connection to the violin could be turned into a constructive advantage, as Stravinsky could avoid the pitfalls of an easy reliance upon ‘routine technique’ and approach the instrument from a fresh perspective. The composer was perhaps excessively guarded, for he had already written brilliantly and evocatively for the violin in a solo capacity in The Soldier’s Tale of 1918, a dramatic work in which the violin occupies a leading role.

The Polish-born American violinist Samuel Dushkin, who had been entrusted with the planned concerto’s premiere, first met the composer at Strecker’s house in Wiesbaden in 1930. Stravinsky famously expressed on several occasions reservations concerning the attitude and superficial approach of many touring solo virtuosi. Fortunately, Dushkin was a highly cultured musician and a professional relationship with Stravinsky quickly flourished. They collaborated closely on the playability and technical effectiveness of the violin part. Dushkin purposefully set aside periods throughout 1931 to be close to Stravinsky in France, where the Russian-born composer was based for most of the interwar years.

Exhibiting the virtuosity of the violinist in an overtly individualistic fashion was an approach that did not interest Stravinsky. There is no cadenza for the soloist to luxuriate in, and the score’s technical difficulties are the result of musical considerations rather than demonstrative ones. The soloist operates mostly in close dialogue and tight interplay with the orchestra rather than in opposition to it. The premiere took place in Berlin on 23 October

ABOUT THE MUSIC

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1931, with Dushkin as the soloist and the composer conducting the Berlin Radio Orchestra. Unfortunately, the orchestra played poorly and critics differed over the work’s merits. Despite this, Dushkin and Stravinsky received invitations to perform the Violin Concerto in several European countries.

The concerto is unusual in possessing four movements rather than three, with two song-like movements placed centrally. Each movement commences with a widely spaced chord that is striking for its sonority as well as harmony. This critical chord was jotted down by the composer whilst having lunch with Dushkin at a restaurant. The violinist immediately replied that it was impossible to play due to the abnormally wide stretch. However, later, with violin in hand, he was surprised to find that it was not only possible but idiomatic and peculiarly resonant. This chord became, to use the composer’s own term, the ‘passport’ for the concerto, and it recurs like a signal throughout.

The Violin Concerto acknowledges Bach as a model in several respects. All movements possess Bach-like titles, and the two driving outer movements abound in Baroque-style figuration. The opening Toccata propels forward incessantly in the manner of one of Bach’s lively keyboard inventions. The emotional core of the work is found in the Aria II, with the orchestra (predominantly strings) providing a dark harmonic underpinning to the intensely expressive melodic line of the violin. The energetic finale contains a short interlocking and ornamental duo between the soloist

and concertmaster that is indebted to Bach’s Double Violin Concerto, a work that Stravinsky professed admiration for. Traces of Stravinsky’s earlier rustic and almost percussive treatment of the violin, as found in The Soldier’s Tale, come to the fore in the concerto’s rhythmic closing pages.

James Cuddeford © 2017

First performance: 23 October 1931. Samuel Dushkin soloist, composer conducting.First WASO performance: 7-8 May 1971. Tibor Paul, conductor; Dénes Zsigmondy, soloist. Most recent WASO performance: 1-2 October 1982. Leif Segerstam, conductor; Hannele Segerstam, soloist.

Instrumentation: piccolo, two flutes, two oboes, cor anglais, two clarinets, E flat clarinet, three bassoons (third doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, bass drum, strings.

Cadenza – a showy passage by a solo instrument, usually towards the end of a concerto movement. Originally, cadenzas were improvised by the soloist to show off their brilliant technique.Toccata – from the Italian toccare (‘to touch’). A virtuosic keyboard piece in free form, designed to display the player’s fingerwork and technique.

Glossary

BERG Violin Concerto To the Memory of an Angelfeatured in Asher Fisch & the Zukerman TrioFri 28 & Sat 29 April

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Samuel Dushkin & Igor Stravinsky

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Jean Sibelius (1865 – 1957)

Symphony No.2 in D, Op.43

AllegrettoTempo andante, ma rubatoVivacissimo –Allegro moderato

Sibelius, like Brahms, came relatively late to writing symphonies, producing his First at the age of 33 and premiering it in 1899. Like Brahms, though, Sibelius had accrued considerable experience in writing for orchestra. The 1890s saw the composition of works like Kullervo, En saga, movements which later became the Karelia suite and the original version of the Lemminkäinen Suite, which depicts heroic tales from the Finnish mythological cycle, the Kalevala.

What all these works have in common, of course, is their preoccupation with the myths and legends of Finland, which remained until 1917 a satellite of Imperial Russia. As a member of the Swedish-speaking minority in Finland, Sibelius hadn’t given much thought to the traditional mythology of the Finns until his engagement in 1890 to Aino Järnefelt, whose family were very pro-Finnish. At the time he was studying in Vienna, where the music of Anton Bruckner made a deep impact on him. While Sibelius’ enthusiasm for Bruckner cooled over the years, the influence of the Austrian composer – particularly his ability to structure large-scale symphonic movements – remained crucial.

Sibelius’ nationalist music was related to a growing political consciousness: by 1899 the Russians were actively discriminating against Finns and suppressing their language. The work we know as Finlandia was banned by the Russians and had to be performed under the politically inoffensive title of ‘Prelude’, though no Finn in the audience was unaware of the work’s significance. Sibelius’ enterprise in the 1890s, then, was to create a Finnish musical language out of the drama of its legends, the typical modal patterns of its folksong (though he never quoted actual folk tunes) and the rhythmic imprint of its verse, and to blend these elements with the contemporary idioms of Bruckner, Liszt and Tchaikovsky.

ABOUT THE MUSIC

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Sibelius always denied that the Second Symphony, which appeared in 1902, had any extra-musical significance. The journey it enacts from darkness to light relates it to works of ‘absolute’ music such as certain Beethoven symphonies, but commentators – particularly in Finland – have often argued for its having an implicit program of national liberation. The audiences at its premiere performances certainly thought so: the concerts were sold out, the audiences ecstatic and the composer acclaimed as a national hero.

Its first movement seems to evoke the pastoral landscapes of Finland, shot through with a sense of incipient grief. During its course the symphony passes through often fragmentary stages of deep melancholy and conflict before emerging in the final movement with one of Sibelius’ most stirring and memorable tunes.

In fact, Sibelius began writing music which ended up in the symphony while holidaying in Italy, leading some writers to comment on the more than usually warm textures that he draws from a modestly constituted orchestra. From his correspondence we know he was contemplating at least two projects: a set of tone-poems called Festivals and a single-movement work – inspired perhaps by Richard Strauss, whom Sibelius had recently met – on the story of Don Juan. Out of the sketches for these works, Sibelius fashioned some of his most memorable gestures: the sinister start of the second movement, with its soft pizzicato opening, horn calls and bassoon solo, was originally to have evoked the figure of Death arriving at Don Juan’s castle.

The work may be a document of national liberation, but it is also about the process of unifying and reconciling diverse, often fragmentary, musical gestures, so that the expansive melody of the finale seems the inevitable outcome of all that went before. Five years later, Sibelius would have his much reported meeting with Mahler where he advocated a ‘severity of style and the profound logic that creates an inner connection between all the motifs’. Mahler’s response, ‘No, the symphony must be like the world and embrace everything’, missed the point. In their different ways, they were saying the same thing.

Gordon Kerry © 2003

First performance: 8 March 1902, Helsinki; composer conducting.First WASO performance: 16 August 1947; Joseph Post, conductor.Most recent WASO performance: 20/21 April 2012; Paul Daniel, conductor.

Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, strings.

Pizzicato – plucking, rather than bowing, the strings.

Glossary

SIBELIUS En Sagafeatured in Stravinsky’s FirebirdThurs 1, Fri 2 & Sat 3 June

YOU MAY ALSO ENJOY

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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. 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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Your donation to the orchestra 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 Rachael 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 PittThe Spivakovsky Jubilee Valerie Vicich

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.

Philanthropic partnerships come in all shapes and sizes

OUR SUPPORTERS

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

Principal Conductor’s CircleGifts $20,000+Janet Holmes à Court ACPatricia New

Impresario PatronGifts $10,000 - $19,999John Albright & Susan Lorimer Gay & Bob Branchi Gavin BunningPeter & Lesley Davies (Orchestral Chair Partners - Tutti Viola)Tony & Gwenyth Lennon Margaret & Rod Marston Joshua & Pamela PittTrish Williams – Strategic InteractionsSue & Ron Wooller (Orchestral Chair Partners - Principal Bassoon)

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 WhithamAnonymous (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 (26)

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

OUR SUPPORTERS

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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 (26)

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

OUR SUPPORTERS

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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 GortmansRebekah RyanKaitlin 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

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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

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