Asher Fisch Plays Schumann

MORNING SERIES Thu 29 August 2019, 11am Perth Concert Hall Schumann & Strauss

MASTERS SERIES Fri 30 & Sat 31 August 2019, 7.30pm Perth Concert Hall West Australian Symphony Orchestra and Wesfarmers Arts, creating the spark that sets off a lifelong love of music.

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

West Australian MORNING SYMPHONY SERIES Symphony Orchestra Asher Fisch Plays Schumann and Wesfarmers Arts, SCHUMANN Piano Concerto (31 mins) creating the spark Allegro affettuoso that sets off a lifelong (Andantino grazioso) – Allegro vivace love of music. STRAUSS, R. Death and Transfiguration (23 mins)

Nikolaj Szeps-Znaider conductor Asher Fisch piano Asher Fisch appears courtesy of Wesfarmers Arts

Wesfarmers Arts Pre-concert Talk Find out more about the music in the concert with this week’s speaker, William Yeoman (see page 19 for his biography). The Pre-concert Talk will take place at 9.40am in the Auditorium.

Listen to WASO This performance is recorded for broadcast on ABC Classic on Friday, 6 September at 8pm AWST (or 6pm online). For further details visit abc.net.au/classic

Shigeru Komatsu – WASO Cello

3 MASTERS SERIES Schumann & Strauss

MENDELSSOHN Ruy Blas: Overture (8 mins)

SCHUMANN Piano Concerto (31 mins) Allegro affettuoso Intermezzo (Andantino grazioso) – Allegro vivace

Interval (25 mins)

STRAUSS, R. (19 mins)

STRAUSS, R. Death and Transfiguration (23 mins)

Nikolaj Szeps-Znaider conductor Asher Fisch piano Asher Fisch appears courtesy of Wesfarmers Arts

Wesfarmers Arts Pre-concert Talk Find out more about the music in the concert with this week’s speaker, William Yeoman (see page 19 for his biography). The Pre-concert Talk will take place at 6.45pm in the Terrace Level Foyer.

Listen to WASO This performance is recorded for broadcast on ABC Classic on Friday, 6 September at 8pm AWST (or 6pm online). For further details visit abc.net.au/classic

4 2019 Upcoming Concerts

SPECIAL EVENT Star Wars: The Empire Strikes Back - In Concert Fri 6 Sept 7.30pm & Sat 7 Sept 1.30pm & 7.30pm Riverside Theatre, Perth Convention and Exhibition Centre Experience the complete Star Wars film on the giant screen with John Williams’ epic score played live by WASO. Han Solo (Harrison Ford) and Princess Leia (Carrie Fisher) are captured by Darth Vader, and Luke Skywalker (Mark Hamill) journeys to the mysterious, marshy planet of Dagobah. A stunning revelation – and a seeming life-or-death duel with Darth Vader – await. Benjamin Northey conductor This performance includes subtitles on the screen. Rating: PG contains some violent scenes. Presentation licensed by Disney Concerts in association with TICKETS 20th Century Fox, Lucasfilm, and Warner/Chappell Music. © 2019 & TM FROM $51* LUCASFILM LTD. ALL RIGHTS RESERVED.

WASO CHORUS SINGS Vespers Sun 22 Sept 2pm St Mary’s Cathedral Separated into two parts, the evening Vespers and the morning Matins, this sublime work is drenched in rich harmonies that will profoundly resonate in the magnificent acoustics of St Mary’s Cathedral. RACHMANINOV Vespers (All-Night Vigil)

Andrew Foote conductor WASO Chorus TICKETS Courtney Pitman mezzo $30* Tom Buckmaster tenor

MASTERS SERIES Symphonie Fantastique Fri 4 & Sat 5 Oct 7.30pm Perth Concert Hall Two dream-filled French works frame a world premiere conducted by one of the stars of the new generation, Fabien Gabel. Berlioz’s radical masterpiece Symphonie fantastique is full of passions, dreams and phantoms. SCHMITT Rêves JAMES LEDGER Concerto (WORLD PREMIERE) BERLIOZ Symphonie fantastique Photo: Bettina Stoess Photo: Fabien Gabel conductor Brett Dean viola (pictured) TICKETS James Ledger’s Viola Concerto was commissioned for the West Australian FROM $33* Symphony Orchestra by Geoff Stearn.

BOOK NOW – 9326 0000 – waso.com.au

Asher Fisch appears courtesy of Wesfarmers Arts.

*A one-off handling fee of $6.60 per transaction applies to all web, phone and mail bookings. A fee of $3.85 applies to over the counter bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post. 5 West Australian Symphony Orchestra

From the centre of Perth to the furthest WASO Chorus, to create exceptional corners of our State, every year since 1928, performances for hundreds of thousands we set hearts racing with extraordinary of people each year. music and exhilarating performances for all West Australians to share. Our Orchestra is led by Principal Conductor and Artistic Adviser West Australian Symphony Orchestra Asher Fisch. Israeli-born, Fisch is an (WASO) is a for-purpose not-for-profit internationally renowned conductor company that thrives on the enthusiasm, in both the operatic and symphonic passion and support of our entire repertoire, and is a frequent guest at the community. We harness this energy world’s great opera houses including La to create events and programs across Scala, the Bayerische Staatsoper and the the State to stimulate learning and Metropolitan Opera in New York. participation in a vibrant cultural life. We are proud to call Perth Concert Hall We are both fierce advocates for our home. great classical musical heritage and passionate leaders in the commissioning and performance of new music by leading Australian and international Connect With WASO composers. Every year we mobilise and waso.com.au nurture a new generation of young and emerging artists to help secure a bright facebook.com/ future for music in Australia. WASymphonyOrchestra

We create the spark that sets off a lifelong twitter.com/WASymphony love of music because we believe it has the power to touch the soul and enrich lives. instagram.com/ Our resident company of full-time wasymphonyorchestra professional musicians are the beating youtube.com/ heart of our organisation. The Orchestra WestAustSymOrchestra plays a central role in the vibrancy of our creative state, and they are also Stay up to date and sign-up to our supported by hundreds of visiting SymphonE-news at waso.com.au artists, alongside the volunteers of the

6 WASO On Stage

VIOLIN VIOLA Laurence Jackson Daniel Schmitt Andrew Nicholson Brent Grapes Concertmaster Alex Brogan • Anonymous Jenna Smith Riley Skevington^ Kierstan Arkleysmith Mary-Anne Blades Fletcher Cox° Guest Assoc Nik Babic Concertmaster PICCOLO George Batey^ Semra Lee-Smith Michael Waye Joshua Davis A/Assoc Concertmaster Benjamin Caddy • Pamela & Josh Pitt • Dr Ken Evans and Dr Rachael Kirk Glenda Campbell-Evans Graeme Norris A/Assistant Concertmaster Allan McLean Liam O’Malley Rebecca Glorie Elliot O’Brien Sarah Young^ A/Principal 1st Liz Chee BASS TROMBONE Katherine Potter^ A/Principal Oboe Zak Rowntree* Helen Tuckey Philip Holdsworth Principal 2nd Violin Kylie Liang CELLO TUBA • Penrhos College Leanne Glover Cameron Brook Assoc Principal 2nd Violin Rod McGrath • Sam & Leanne Walsh • Peter & Jean Stokes • Tokyo Gas Stephanie Dean • Marc & Nadia Geary Eve Silver* Amy Furfaro^ Melinda Forsythe° Allan Meyer Alex Timcke Geoffrey Bourgault Alexandra Isted Shigeru Komatsu du Coudray^ PERCUSSION Jane Johnston° Oliver McAslan Lorna Cook Brian Maloney Sunmi Jung Nicholas Metcalfe Fotis Skordas Francois Combemorel Christina Katsimbardis BASS CLARINET Assoc Principal Tim South Ellie Lawrence Alexander Millier Percussion & Timpani Sera Lee^ Xiao Le Wu Paul Tanner^ Andrea Mendham° HARP Akiko Miyazawa Jane Kircher-Lindner Andrew Sinclair* Yi-Yun Loei^ Lucas O’Brien Adam Mikulicz John Keene Catherine Ashley^ Melanie Pearn Elizabeth Browning^ Ken Peeler Louise Elaerts Chloe Turner Louise Sandercock Christine Reitzenstein Jolanta Schenk HORN Andrew Tait • Section partnered by Jane Serrangeli Phillip Waldron^ Margaret & Rod Marston Kathryn Shinnick David Evans Bao Di Tang Robert Gladstones Teresa Vinci° Principal 3rd Horn •Chair partnered by Susannah Williams^ Julia Brooke *Instruments used by these David Yeh Julian Leslie^ musicians are on loan from Francesco Lo Surdo Janet Holmes à Court AC.

Principal Associate Principal Assistant Principal Contract Musician˚ Guest Musician^

7 EY PRESENTS – A Release Creative Production Disco Wonderland A Night at Studio 54

Fri 8 & Sat 9 November 8pm Perth Concert Hall

Kate Ceberano Nathaniel Willemse ...and more

Tickets from $49* – 9326 0000 – waso.com.au

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

EY PRESENTS – A Release Creative Production Asher Fisch Principal Conductor & Soloist

A renowned conductor in both the Disco Wonderland operatic and symphonic worlds, Asher Fisch is especially celebrated for his interpretative command of core German and Italian repertoire of the Romantic A Night at Studio 54 and post-Romantic era. He conducts a wide variety of repertoire from Gluck to contemporary works by living composers. Fri 8 & Sat 9 November 8pm Since 2014, Asher Fisch has been

the Principal Conductor and Artistic Gonz Chris Photo: Perth Concert Hall Advisor of the West Australian Symphony Orchestra (WASO). His former posts Chicago, San Francisco Opera, Teatro include Principal Guest Conductor of alla Scala, Royal Opera House at Covent Kate Ceberano the Seattle Opera (2007-2013), Music Garden, and Semperoper Dresden. Fisch Director of the New Israeli Opera (1998- is also a regular guest conductor at leading Nathaniel Willemse 2008), and Music Director of the Wiener American symphony orchestras including ...and more Volksoper (1995-2000). In 2019, Fisch those of Boston, Chicago, Cleveland, won Helpmann Awards for Best Individual New York, and Philadelphia. In Europe he Classical Music Performance and Best has appeared at the Berlin Philharmonic, Symphony Orchestra Concert for WASO’s Munich Philharmonic, London Symphony production of Tristan und Isolde. Orchestra, Leipzig Gewandhaus Orchestra, and the Orchestre National de France, Highlights of Asher Fisch’s 2018-19 among others. season include guest engagements with the Düsseldorf Philharmonic, Sydney Asher Fisch’s recent recordings include Symphony, Teatro Massimo Orchestra in tenor Stuart Skelton’s first solo album, Palermo, Boston Symphony Orchestra at recorded with WASO and released on Tanglewood, and the Cleveland Orchestra ABC Classics in 2018, and a recording of at the Blossom Festival. Guest opera Ravel’s L’heure espagnole with the Munich engagements include Il Trovatore, Otello, Radio Orchestra, which won Limelight Die Fliegende Holländer, and Andrea Magazine’s Opera Recording of the Year Chénier at the Bayerische Staatsoper, in 2017. In 2016, he recorded the complete and Hansel und Gretel at the Brahms with WASO, released Semperoper Dresden, Tannhäuser at the on ABC Classics to great acclaim. His Tokyo National Theater, and Cristof Loy’s recording of Wagner’s Ring Cycle with new production of at the Teatro the Seattle Opera was released on the Real in Madrid. Avie label in 2014. His first completeRing , with the State Opera of South Australia, Born in , Fisch began his won ten Helpmann Awards, including career as Daniel Barenboim’s assistant and best opera and best music direction. Fisch kappellmeister at the Berlin Staatsoper. is also an accomplished pianist and has Tickets from $49* – 9326 0000 – waso.com.au He has built his versatile repertoire at recorded a solo disc of Wagner piano the major opera houses such as the transcriptions for the Melba label. Metropolitan Opera, Lyric Opera of Asher Fisch appears courtesy of Wesfarmers Arts.

*A one-off handling fee of $6.60 per transaction applies to all web, phone and mail bookings. A fee of $3.85 applies to over the counter bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post. 9 About The Artist

Nikolaj Szeps-Znaider Conductor

Copenhagen-born, Nikolaj Szeps-Znaider is both an acclaimed violinist and conductor. He won first prize at the Carl Nielsen International Music Competition in 1992. In 1997 he became a First prize winner of the Queen Elisabeth Music Competition in Brussels. He is now president of the Carl Nielsen competition. Photo: Lars Gundersen Photo: Recent performances as soloist have seen Nikolaj Szeps-Znaider perform Nikolaj Szeps-Znaider is Music Director- in North America with the Brussels Designate (from 2020) of the Orchestre Philharmonic and Stéphane Denève, and National de Lyon. He has been Principal play Elgar’s concerto with Denève and Guest Conductor of the Mariinsky The Philadelphia Orchestra. His future Orchestra and Swedish Chamber appearances as violinist include a recital Orchestra. He conducts the LSO Chamber at the Pierre Boulez Saal in Berlin. Orchestra in wind concertos of Mozart in October and will lead at Nikolaj Szeps-Znaider has a particularly the Semperoper, Dresden. strong relationship with the London Symphony Orchestra as conductor and Nikolaj Szeps-Znaider plays the Guarneris soloist. He has recorded the complete ‘del Gesù’ violin, built in 1741, on extended Mozart violin concertos, directed from the loan to him by The Royal Danish Theater violin, with the LSO. His discography also through the generosity of the VELUX includes two recordings of the Nielsen Foundations, the Villum Fonden and the Violin Concerto ( Knud Højgaard Foundation. Previously and Alan Gilbert, 2015, and an earlier played by Fritz Kreisler, the violin is known recording with the London Philharmonic as the ‘Ex-Kreisler Guarnerius’. and Lawrence Foster.)

10 About The Music

Felix Mendelssohn (1809 -1847) Ruy Blas: Overture, Op.95 In 1839 the Leipzig Theatrical Pension Fund, which was mounting a charity performance of Victor Hugo’s play Ruy Blas, approached Mendelssohn to compose an overture and music for a song which occurs in the drama. Mendelssohn accepted, then read the play for the first time. He was appalled, finding Hugo’s work ‘detestable’. The play is set in 17th-century Spain. The Under the circumstances, it would be ‘iron-minded’ minister, Don Salluste, the unwise to look for correlations between Queen’s lover, intrigues to avenge himself the play and the music. And yet, this for her neglect of him by advancing his overture is a dramatically conceived lackey Ruy Blas to high state office, so that piece, with an introduction full of ominous he may win the Queen’s affection, and she portent, an unsettled first subject, be ‘disgraced by the exposure of her lowly a violent transition to a singing cello passion’. Ruy Blas, secretly in love with the theme, and a third assertive and finally Queen, saves her honour by assassinating triumphant theme which brings the Don Salluste, then poisons himself. overture to a close. Mendelssohn wrote the song, and Abridged from a note © David Garrett excused himself from composing the overture, pleading pressure of time. The First performance: 11 March 1839, Leipzig. committee expressed the hope that he First WASO performance: 17 July 1945. might compose the overture for the next Malcolm Sargent, conductor. year’s performance. Whether intentional Most recent WASO performance: 22-23 or not, this was a very effective gambit: September 1972. Elyakum Shapirra, conductor. Mendelssohn immediately set to work, and completed the overture in two days! Instrumentation: two each of , , and ; four horns, two He never overcame his distaste for the , three ; timpani; strings. play, and always referred to this piece as ‘the Overture to the Pension Fund’.

Glossary

Overture – this term has two quite distinct meanings. It refers to an instrumental composition acting as an introduction to an opera or other stage work; it also refers to a standalone orchestral work with a descriptive title which the music illustrates in some way. These two genres are often referred to as the dramatic overture and the concert overture respectively. Subject – a principal theme, or group of themes, on which a composition is based.

11 About The Music

Robert Schumann (1810 -1856) Piano Concerto in A minor, Op.54 Allegro affettuoso Intermezzo (Andantino grazioso) – Allegro vivace Following their wedding in September 1840, composer Robert Schumann and Clara Wieck, a prominent piano virtuoso, set up house in Leipzig. The couple soon had children, and finding money to support a growing family was a constant worry. Clara had no intention Spring Symphony, and moved his family of abandoning her successful musical life. to Dresden. From there he undertook She took pride in earning money from her a tour to Russia with Clara that left him performances; she also helped popularise exhausted and ill, triggering a severe Robert’s piano works by including them nervous breakdown. He sought therapy in her concert programs. Robert revered by studying the works of Bach and writing his wife’s extraordinary musicianship, fugues. Taking a break from counterpoint but his pride struggled with the greater exercises, he added two movements – a fame accorded Clara, especially when final rondo and a connecting Intermezzo they travelled on concert tours together. – to the reworked Phantasie, and thus Though a respected music journalist and created his Concerto for Piano and an acclaimed composer of piano works, Orchestra. songs and chamber music, he had yet to write the symphonies and large-scale Ferdinand Hiller, a conductor to whom works that would later enhance his artistic Robert dedicated the concerto (hoping reputation. to heal a rift in their friendship), led the premiere in his Dresden subscription A piano concerto by Robert that Clara concert of 4 December 1845 with Clara could perform would thus serve several as soloist. But the true dedicatee is purposes. Before marrying, Robert had Clara, for whom Robert characterised experimented with various ideas for piano his devotion in the opening movement’s concertos, none of which evolved beyond tempo indication of Allegro affettuoso, sketches. But during the newlyweds’ the Phantasie’s original title. Clara took first year, he completed aPhantasie for pleasure in the results; she had long Piano and Orchestra, conceived and wanted a more brilliant vehicle for display orchestrated during 16 days in May 1841. of her virtuosity than the Phantasie. Felix A private performance led to the first of Mendelssohn, the Schumanns’ great several revisions, but Robert could not find friend, who expressed highest regard a publisher for his single-movement work. for Clara’s playing and supported (with He set it aside for four years, during occasional private misgivings) Schumann’s which time he wrote more chamber work as a composer, organised and music (including his popular Piano conducted the Leipzig premiere on New Quintet and Piano Quartet) as well as the Year’s Day 1846. Thereafter, the concerto

12 was performed in important cities, often the , ornamented expansively by with Robert conducting; it remained a the piano. As the conversation fades, central work in Clara’s repertoire, and clarinets and bassoons recall the opening is a lasting testament to the couple’s movement’s three-note motif, first in A remarkable personal and artistic minor, then in A major. Without pause, the partnership, cut short by Robert’s death at piano seizes the major motif and launches age 46 in the Endenich asylum, where he into a robust, triple-metre rondo marked recalled, in a letter to Clara, the concerto Allegro vivace, driven by the soloist’s ‘that you played so splendidly’. extensive bravura passagework. The third- movement theme (itself a transformation With an abrupt, chromatic cascade of of the primary first-movement theme, chords, the soloist’s opening entrance subtly strengthening the concerto’s commands immediate attention, structural unity) surfaces buoyantly heralding the oboe’s statement of the through harmonic sequences that build to primary theme, echoed by the piano. an exhilarating conclusion. The theme’s three-note descending motif dominates deliberations between the Samuel C. Dixon © 2003 orchestra and soloist. The opening key of First performance: 4 December 1845, Dresden. A minor yields, via the second theme, to Ferdinand Hiller, conductor; Clara Schumann, triumphant C major, then to an expressive soloist. reverie in A flat major, showcasing the First WASO performance: 24 June 1944. Ernest piano accompanied by radiant strings and J. Roberts, conductor; Trixie Shephard, soloist. plaintive woodwind. A return to earlier debates interrupts this dream, restores Most recent WASO performance: 18-19 August 2017. Asher Fisch, conductor; Jayson Gillham, the opening theme and launches the soloist. soloist into an extended cadenza, capped by a quick coda that ends emphatically. Instrumentation: solo piano; two each of flutes, oboes, clarinets and bassoons; two horns and The second-movement Intermezzo two trumpets; timpani; strings. (Andantino grazioso) hosts a more congenial but equally passionate dialogue. Short musical ideas are exchanged politely YOU MAY ALSO ENJOY between soloist and orchestra, but as PROKOFIEV Piano Concerto No.1 they warm to their topic, an eloquent Featured in Organ Symphony contrasting theme sings out richly from Fri 15 & Sat 16 November 2019

Glossary

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. Chromatic – use of notes that are not part of the key. Coda – a concluding section added to the basic structure of a piece or movement to emphasise the sense of finality. Counterpoint/contrapuntal – two or more independent lines of music or melodies that are played at the same time and make musical ‘sense’ when combined. Music which uses counterpoint is said to be ‘contrapuntal’. Fugue – a contrapuntal style of composition in which a short melody is sounded by one voice or part and subsequently taken up by others. Intermezzo – a light, reasonably short movement which goes in between two weightier ones. Rondo – a musical form where a main idea (refrain) alternates with a series of musical episodes. Classical composers often wrote the final movement of their symphonic works in rondo form.

13 About The Music

Richard Strauss (1864 – 1949) Don Juan, Op.20 Don Juan arrived like a bolt out of the blue when it was premiered in Weimar in 1889. Up until that time appeared to be heading down a reasonably conventional career path, with works that were tinged with progressive tendencies (such as the ‘symphonic fantasy’ Aus Italien) but still mostly within the bounds of conservative concert culture (that is to say, he had written serenades, concertos Strauss wrote Don Juan in a flurry of and symphonies). But with Don Juan, activity in the spring and summer of 1888, Strauss nailed his colours firmly to the during which time he turned 24. Don Juan mast of outré composers such as Berlioz, was inspired by the verse drama of the Liszt and Wagner. This is all the more same name by Austro-Hungarian poet surprising since Strauss had grown up Nicolaus Lenau. In fact, the frontispiece in a household with very straight-laced of the published orchestral score includes musical tastes – his father, Franz, was one three specially selected quotations of the most celebrated horn players of from Lenau’s poem. Swaggering the time and an outspoken opponent of sexual adventurer Don Juan has been Wagner’s music. By aligning himself with an archetype in European literature the radical trio of composers listed above, since the early 17th century. He is well Richard Strauss was breaking with the known to musical audiences through his father and declaring his own identity. If characterisation in the Mozart-Da Ponte the scenario wasn’t oedipal enough, how opera Don Giovanni. The events that fitting it is that the work that should mark befall him vary from one telling of the tale the rupture was Don Juan, which takes to another, but they invariably involve as its narrative the sexual adventures of a serial seductions and a trail of destruction. young, virile hero.

14 Strauss’ tone poem opens with a As the foregoing suggests, Strauss’ scurrying figure played by the entire Don Juan traces a story. But enjoyment orchestra which leads without a break of the tone poem is not contingent upon into an energetic theme announced by the following the narrative step by step. . Here is Strauss’ representation of Simply relish the untrammelled brio, the indefatigable lover. Various episodes brilliant orchestration and profound follow – ‘love scenes’ all – in which the imagination of a fresh, young talent. objects of Don Juan’s desire are signalled Richard Strauss had arrived. by a solo violin, in the first instance, Robert Gibson © 2014 and a solo oboe, in the second. These contrasting episodes are interspersed First performance: 11 November 1889, Weimar. with the return of the opening theme Composer conducting. as the protagonist moves ‘onward and First WASO performance: 2-3 October 1964. upward to ever new conquests’ (to John Farnsworth Hall, conductor. quote Lenau). A significant new theme Most recent WASO performance: 9 September – which bursts forth on the four horns in 2017. Asher Fisch, conductor. unison – is further associated with the sexually adventurous hero. However, in Instrumentation: three flutes (one doubling piccolo), two oboes and cor anglais, two keeping with most versions of the Don clarinets, two bassoons and contrabassoon; four Juan narrative, things do not end well for horns, three trumpets, three trombones and the protagonist. Tired of life, he thrusts tuba; timpani and percussion; harp; strings. himself on the sword of an opponent. Robbed of vitality, Don Juan falls lifeless to the ground. YOU MAY ALSO ENJOY BERLIOZ Symphonie fantastique Featured in Symphonie Fantastique Thu 3, Fri 4 & Sat 5 October 2019

Glossary

Tone poem – a programmatic work (that is, one based on a literary, pictorial or other extra-musical idea) for orchestra, usually in a single movement.

15 About The Music

Richard Strauss (1864 – 1949) Tod und Verklärung (Death and Transfiguration), Op.24 On his deathbed, Strauss famously remarked to his daughter-in-law that he ‘heard so much music’. She offered him manuscript paper but he replied that he had ‘composed it 60 years before in Tod und Verklärung. This is just like that.’ In 1888, however, Strauss was 24 years old and in perfect health. His career was beginning to take wing, and as a relatively recent convert to the ideals First, we hear the man’s ‘irregular of the ‘New German’ school of music – breathing’ and heartbeat, softly sounded represented by Liszt, Wagner and their in strings and timpani. The harp introduces followers – Strauss largely abandoned two motifs, a dipping melody from high the classicising, Brahmsian aesthetic on the flute and a risingchromatic figure which had been drilled into him by his from the oboe, perhaps representing father, horn player and composer Franz the man regaining consciousness. The Strauss. Following Liszt, Strauss explored breathing music returns, followed by frankly descriptive music in his Aus a melody, consisting of a rising octave Italien, and embarked on a series of tone and stepwise descent, which presages poems such as Don Juan and , the music’s later depiction of the man’s in which his music embodied the events memories of childhood and youth. and characters in literary works of Lenau and Shakespeare respectively. In these The immobile opening section is shattered and following works in the genre Strauss by music of sudden agony that introduces honed a musical idiom that enabled a new urgent theme and reaches a him to write music of great scenic and forceful climax. There follows a series psychological immediacy in the great of reminiscences, with development series of operas that he began, with of some of the themes heard in the opening section. It’s not hard to imagine , at around the time of Tod und the dying man remembering childhood, Verklärung. But he did so by modifying the ‘symphonic’ principles of thematic love, physical vigour; but increasingly a contrast, key relationships and motivic baleful syncopated figure, based on the development that had sustained both irregular breathing of the start, seeks to Brahms’ symphonies and the ‘endless interrupt these reveries. The suffering melody’ of Wagner. man refuses to bow to the pain, insisting on the ‘memory’ themes in the face of the The program, or narrative structure, of assault of pain. He is rewarded by three Tod und Verklärung was Strauss’ own. He statements of the theme representing explained to a friend that the work depicts the Ideal: a simple upward-moving major ‘the dying hours of a man who had striven melody brightened by the harmonic towards the highest idealistic aims, step from the tonic to a major chord one maybe indeed those of an artist’. degree higher.

16 The third statement combines with one great beauty as it does so. In one of his of the heroic themes from earlier, but last major utterances, ‘Im Abendrot’ (at even here at what would be the climax of dusk) from the , Strauss a symphonic movement, the resolution quotes the ‘Ideal’ theme when the singer, is withheld and the music sinks back to watching the unbearably beautiful sunset earth. The fast agonised music returns; with her partner of many years, asks, ‘Is brutal rhythms and a sudden upward rush this, perhaps, death?’ of string and woodwind figures tell us © Gordon Kerry 2014 that the man has died. From the depths of the orchestra, the tam-tam (the only First performance: 21 June 1890. Composer percussion in this score) sounds softly. conducting. The music, based on the ‘childhood’ First WASO performance: 26 June 1948. theme, very gradually billows like cloud, Eugene Goossens, conductor. finally reaching a stratospheric high Most recent WASO performance: 7-8 March G in the violins. The finalcoda is an 2014. Asher Fisch, conductor. ecstatic rhapsody on the ‘Ideal’ motif, passing through different keys and Instrumentation: three flutes, two oboes and cor anglais, two clarinets and bass clarinet, two colours. Unlike its first appearances, the bassoons and contrabassoon; four horns, three motif here reaches a climax, but then trumpets, three trombones and tuba; timpani gradually fades away. Strauss has been and percussion; two harps; strings. criticised for failing to depict this blissful moment convincingly, but he himself fully understood that the Ideal can only be YOU MAY ALSO ENJOY ‘gloriously achieved in everlasting space’; MUSSORGSKY arr. RIMSKY such a thing ‘could not be achieved here KORSAKOV Night on Bald below’. Like poets who have fallen silent Mountain throughout the ages when asked to put Featured in Organ Symphony the ineffable into words, Strauss’ music Fri 15 & Sat 16 November 2019 points the way, and produces a work of

Glossary

Chromatic – use of notes that are not part of the key. Coda – a concluding section added to the basic structure of a piece or movement to emphasise the sense of finality. Major/minor – types of key. Very generally, music in major keys tends to sound brighter (e.g. Twinkle, twinkle little star), whereas minor keys have a more sombre, melancholy feel (e.g. Greensleeves). Motif – a short, distinctive melodic or rhythmic figure, often part of or derived from a theme. In dramatic or descriptive music, motifs may be associated with people, places or ideas. Octave – interval between two notes separated by a distance of 12 semitones, for example, from middle C on the piano to the C immediately above or below. The aural effect is that of one note duplicated by another that sounds the same, but at a higher or lower pitch. Syncopated/syncopation – displacement of the regular beat, thus accenting beats which are conventionally weak and vice versa. Tone poem – a programmatic work (that is, one based on a literary, pictorial or other extra-musical idea) for orchestra, usually in a single movement. Tonic – the main note in a key, and the chord built on this note; in the key of G major, G is the tonic.

17 9 3 2 6 0 0 0 0 waso.com.au Symphonie Fantastique Phantoms, passions and love-sick fantasies.

SCHMITT Rêves JAMES LEDGER Viola Concerto (WORLD PREMIERE) BERLIOZ Symphonie fantastique

Fabien Gabel conductor Brett Dean viola

Fri 4 & Sat 5 October 7.30pm Perth Concert Hall Tickets from $33*

*A one-off handling fee of $6.60 per transaction applies to all web, phone and mail bookings. A fee of $3.85 applies to over the counter bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post. 9 3 2 6 0 0 0 0 waso.com.au About The Speaker

William Yeoman Pre-concert Speaker

William Yeoman is senior arts writer at The West Australian newspaper. A keen Symphonie classical guitarist, he is also a regular contributor to Gramophone and Limelight classical music magazines. A former literary editor at the West Australian, William is Fantastique currently director of Perth Festival Writers Week. Phantoms, passions and love-sick fantasies.

SCHMITT Rêves JAMES LEDGER Viola Concerto Timeline of Composers & Works (WORLD PREMIERE)

BERLIOZ Symphonie fantastique ROBERT SCHUMANN 1810 – 1856 Born in Zwickau, Germany Fabien Gabel conductor Died in Endenich, near Bonn, Germany Brett Dean viola Mendelssohn's Ruy Blas – Overture, Op.95 1839

Schumann's Piano Concerto in A minor, Op.54 1845

RICHARD STRAUSS 1864 – 1949 Born in Munich, Gemany Died in Garmisch-Partenkirchen, Germany

FELIX MENDELSSOHN 1809 – 1847 Born in Hamburg, Germany Died in Leipzig, Germany Strauss' Don Juan, Op.20 Fri 4 & Sat 5 October 7.30pm 1889 Perth Concert Hall Strauss' Tod und Verklärung (Death and Transfiguration), Tickets from $33* Op.24 1890

1800 1825 1850 1875 1900 1925 1950

*A one-off handling fee of $6.60 per transaction applies to all web, phone and mail bookings. A fee of $3.85 applies to over the counter bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post. 19 9 3 2 6 0 0 0 0 waso.com.au

WASO Chorus Sings: Vespers A sublime work drenched in rich harmonies.

Sunday 22 September 2pm St Mary’s Cathedral, Perth

T i c k e t s $ 3 0 *

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

UWA Conservatorium of Music Proud Tertiary Education Partner of the West Australian Symphony Orchestra. As one of Australia’s leading music programs, in one of the world’s leading universities, we create the future leaders of the Arts community. music.uwa.edu.au

CRICOS Provider Code: 00126G UWA DCS 214978716 9 3 2 6 0 0 0 0 waso.com.au Your Concert Experience WASO Chorus Sings: FOR THE ENJOYMENT OF ALL When to applaud? Musicians love applause. Audience members normally applaud: Vespers • When the conductor walks onto the stage • After the completion of each piece and A sublime work drenched in at the end of the performance rich harmonies. When you need to cough, try to do it discreetly. Cough lozenges are available Sunday 22 September 2pm from the WASO Ticket Collection Desk before each performance and at the St Mary’s Cathedral, Perth interval. ACCESSIBILITY T i c k e t s $ 3 0 * Hearing aids that are incorrectly adjusted may disturb other patrons, please be • A universal accessible toilet is available mindful of those around you. on the ground floor (Level 1). • The Sennheiser MobileConnect Mobile phones and other electronic Personal Hearing Assistance system devices need to be switched off or is available for every seat in the

*A one-off handling fee of $6.60 per transaction applies to all web, phone and mail silenced throughout the performance. auditorium. Visit perthconcerthall.com. bookings. A fee of $3.85 applies to over the counter bookings. An additional fee of au/your-visit/accessibility/ for further $4.40 per transaction applies for delivery via Registered Post. Photography, sound and video information. recordings are permitted prior to the start of the performance. WASO BOX OFFICE Latecomers and patrons who leave the Buy your WASO tickets and subscriptions, auditorium will be seated only after the exchange tickets, or make a donation completion of a work. at the Box Office on the ground floor (Level 1) prior to each performance and at Moving to empty seats. Please do not interval. Tickets for other performances move to empty seats prior to the at Perth Concert Hall will be available for performance as this may affect seating for purchase only at interval. Please note that latecomers when they are admitted 30 minutes prior to performance, the Box during a suitable break. Office will only be available for sales to that night's performance. FOOD & BEVERAGES Foyer bars are open for drinks and coffee The Box Office is open Monday to two hours before, during interval and after Friday, 9am to 5pm, and contactable on the concert. To save time we recommend 9326 0000. you pre-order your interval drinks. FIRST AID There are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance.

21

Meet The Musician

Shigeru Komatsu Cello

What is your first musical memory? My parents bought some picture books which came with LP records when I was three. One of the books was about a cellist in an orchestra, who wasn’t the best. The story included Beethoven’s Sixth Symphony, and quite a few cello solos. I’m reminded of the story every time I play Beethoven 6. When did you join WASO? In 1987, after playing in the ABC Sinfonia in Sydney for 19 months. How do you enjoy spending time with What is your favourite concert of all time? your family? The Brahms Festival with Maestro My two sons, who are at university, play Fisch. I wish Brahms wrote State League Basketball on Sunday. My more symphonies, but in the wife and I enjoy the watching these games, meantime I feel we are lucky to be able to but I only see Sebastian’s under 20s game perform these four. Maybe four is more through the small screen of my video than enough after all? camera. I am the video man for his team. You are great at drawing. What inspires you? Where was your last overseas visit? I am not great at drawing, but I went on a concert tour to Japan with my I normally draw on our cello part during our cello quartet “I Cellisti” in July this year. rehearsals. Of course this never happens We were looked after very well, even our during rehearsals with Maestro Fisch! I cellos had their own seats on the plane. just try to make long, hard rehearsals a bit We played 5 concerts, and all five were more enjoyable. packed. Especially the 1250-seat Concert Do you have a favourite piece of artwork? Hall in Tokyo, which was great. I like different styles but Norman Rockwell’s I am most proud of… work is my favourite. To be part of this amazing orchestra WASO. What is your daily routine? I feel so lucky to perform great orchestral On weekdays, I wake up at 4;30 am, clean pieces with top conductors, and to play the house, prepare my two son’s lunch, concertos with international soloists. then go to Bold Park pool for swim. On the weekends, I go to the beach to swim with stingers, stingrays, turtles, sea-lions and of course sharks, followed by a nice cold shower. Three times a week I also go to the Gym before the rehearsal. I practice cello really hard in my dreams!

23 WASO Community Engagement

Crescendo students enjoy afternoon tea with the Governor of Western Australia On Sunday 19 May, the Year 5 students in our Crescendo Program, were invited by The Honourable Kim Beazley AC Governor of Western Australia to visit Government House for afternoon tea and a tour. Students attended a rehearsal in the magnificent Government House Ballroom as part of the ‘Music on the Terrace’ series before walking across to the House where they were met at the Musicus Joins the Choir’ at the Perth door by The Governor and his wife Ms Concert Hall as part of Education Susie Annus. They performed “Gently Week+. Students listened to music from the River” in 3-part harmony in the Music around the world performed by WASO Room, followed by afternoon tea and a and a children’s choir and enjoyed the tour of the house. This was the first time story about the musical mouse who finds our students from North Parmelia Primary himself in the concert hall. School and Medina Primary School have WASO is currently teaching 364 Pre- performed as a combined choir. Everyone primary to Year 5 students across 30 was impressed with their musicianship, classes per week in our El Sistema respect and behaviour on the day. inspired free music education program In addition to this special trip to in Kwinana. Government House, 420 students, Crescendo is proudly supported by Crown Resorts teachers and parents from our Foundation, Packer Family Foundation, Tianqi Lithium Australia, Feilman Foundation, The Stan Perron Charitable Crescendo Program attended the Foundation, Bunning Family, Euroz Charitable Foundation, Primary School Concert ‘Maximus The Department of Education Instrumental Music School Services and Crescendo Giving Circle.

ABC Radio Tune in to ABC Radio Great Southern on Wednesday mornings at 10.45am when WASO’s Executive Manager, Community Engagement, Cassandra Lake joins Gianni Di Giovanni to share stories about classical music and composers. Listen via the ABC Listen app.

24 WASO Philanthropy

Let’s be Friends!

Did you know that by making a donation of $40 or more, you become a WASO Friend? A WASO Friend donation means: 1) You have made an important tax- deductible gift supporting your Orchestra to continue to experience inspiring and joyful concerts year round 2) You receive our printed Encore newsletter to Patrons & Friends three times a year, keeping you up WASO Friends donating $40 or more to date with all the Orchestra’s latest are an important part of WASO’s developments philanthropic community and your support is highly valued. 3) You receive special invites to a range of exclusive events each year, where Let’s be friends! you can meet other music-lovers who Make your donation with your 2020 support WASO through a gift and get subscription, at the WASO Box Office or to know the WASO’s musicians online at waso.com.au/support-us Patrons & Friends Event

Andrew Nicholson & Ali Bodycoat at The Ellington Monday 28 October | 6pm The Ellington Jazz Club For all Patrons, Friends & Bequestors It's back! Join us for an incredible evening of jazz with WASO’s Principal Flute, Andrew Nicholson and renowned Perth jazz vocalist, Ali Bodycoat, as they interpret the music of Michel LeGrand. Held in the atmospheric surrounds of platter to share. Please book through the Perth’s beloved jazz club, The Ellington, WASO Box Office on 9326 0000. this will be a special, one-night only All proceeds from the evening support event. Don’t miss out! the Friends of WASO Scholarship, Tickets are $60 seated or $40 standing allowing WASO musicians to engage in and include a glass of wine and antipasto professional development opportunities.

25 Our Supporters

Philanthropic partnerships come in all shapes and sizes Whatever the shape or size, your donation helps WASO make a difference and we thank you for your support. WASO’s philanthropy program continues to grow, supporting our vision now and into the future. It is an exciting time to be a part of this community, to meet our musicians and to know you have helped your Orchestra to touch souls and enrich lives through music. Together we can do amazing things. Endowment Fund for Chairman’s Circle Education & Community the Orchestra Supporting excellence Engagement Fund Major Donations: Richard Goyder AO & Janine Goyder Jean Arkley Tom & Jean Arkley Jean Arkley David & Suzanne Biddles Bendat Family Foundation Bob & Gay Branchi Annette Cottee Janet Holmes à Court AC Janet Holmes à Court AC Megan & Arthur Criddle Minderoo Foundation Rod & Margaret Marston* Penny & Ron Crittall Sagitte Yom-Tov Fund John Rodgers Robyn Glindemann Leanne & Sam Walsh* Journey Recruitment Estates: Rosalind Lilley Rachel Mabel Chapman The 2019 WASO Eveline Read Malcolm Hood Song Book Ruth Stratton Paul Lee We are grateful to those In memory of Robert & Joan Street Anna Nottage in memory of Edgar Gwen Treasure Nottage who have supported new works commissioned for the Margaret Wood Wendy Scanlon Anonymous (3) Judy Sienkiewicz Orchestra by WASO for 2019 Mrs Roslyn Warrick and beyond Trusts & Foundations Anonymous (7) Janet Holmes à Court AC McCusker Charitable Foundation Prue Ashurst Simon Lee Foundation Symphony Circle In memory of Mary Rodoreda The James Galvin Foundation Thank you to all our Geoff Stearn Bequestors: Anonymous (1) Crescendo Ms Davilia Bleckly Trusts & Foundations Mr John Bonny Group Commission Crown Resorts Foundation Dr G Campbell-Evans Supporting a new work by Packer Family Foundation Deirdre Carlin Iain Grandage to be premiered Feilman Foundation Anita & James Clayton as part of WASO’s 2019 Stan Perron Charitable Foundation S & J Dale Season, in honour of Bunning Family Lesley & Peter Davies Professor David Tunley Euroz Charitable Foundation Dr Michael Flacks Prue Ashurst Crescendo Giving Circle Judith Gedero Mark Coughlan Robyn Glindemann AOT Consulting Pty Ltd Jean Harvey Jean Arkley Gwenyth Greenwood Evan Kennea & The Guy Family Prue Ashurst Emily Green-Armytage Gay & Robert Branchi Emy & Warren Jones Peter Leunig Barbara Joseph Dr S Cherian Sara Macliver Kaylene Cousins Colin & Jo King Cyrus Meher-Homji Rachael Kirk & Tim White Madeleine King MP, Federal John Meyer Member for Brand Wolfgang Lehmkuhl Margaret & Roger Seares Deborah Marsh LeMessurier Charitable Trust Peggy & Tom Stacy Rosalind Lilley Lesley R. McKay & Murray R. David Symons McKay C M Lommers Suzanne Nash Mrs Morrell Instrument Fund G & I Nicholas Paula Phillips John Albright & Susan Lorimer Nigel & Dr Heather Rogers Pamela Pitt Peter Ingram Deborah & Miles Protter Jacinta Sirr Deborah Marsh Ruth Stratton Dr Lance Risbey Margaret & Rod Marston Ruth & Neville Thorn John Rodgers Peggy & Tom Stacy Gavin Toovey & Jaehan Lee Rosalin Sadler in memory of Agatha van der Schaaf Jean & Peter Stokes Joyce Durbin Sadler Sheila Wileman In memory of Robert & Joan Street Sagitte Yom-Tov Fund Ruth E Thorn Anonymous (40) Reto Vogel Alan Whitham Mary Ann Wright Anonymous (4)

26 Our Supporters

Annual Giving 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 Virtuoso Patron Ian & Marilyn Burton Circle Gifts $2,500 - $4,999 Constance Chapman Dr Anne Chester Gifts $20,000+ Dr Fred Affleck AO & Mrs Margaret Affleck Peter & Sue Clifton Janet Holmes à Court AC Bob & Kim Collins Jean Arkley in memory of Neil Archibald & Alan R Dodge AM David & Suzanne Biddles Hon June Craig AM Tom Arkley Kelly & Andrew Diong Dr Glenda Campbell-Evans & Peter & Marjorie Bird Prof Jonathan Carapetis & Rai & Erika Dolinschek Dr Ken Evans* Simon Douglas Patricia New Prof Sue Skull Maree Creighton & Kevin Davis Bev East Joshua & Pamela Pitt* Lorraine Ellard Peter & Jean Stokes* Lesley & Peter Davies Stephen Davis & Linda Savage Don & Marie Forrest Impresario Patron The Giorgetta Charity Fund Brooke Fowles & Dane Etheridge Gifts $10,000 - $19,999 Peter Ingram Dr Andrew Gardner Jim & Freda Irenic George Gavranic Gay & Bob Branchi Roger & Ann Gillbanks Gavin Bunning Eleanor John & Finn Barrett Michael & Dale Kitney Robyn Glindemann Prof Rachel & Jannette Gray Rev Dr John Cardell-Oliver Stephanie & the late John Kobelke Maryllis & Paul Green-Armytage Marc & Nadia Geary* Francis Landels Deidre Greenfeld Gilbert George The late Dorothy Lee Rosalind Lilley Rosemary Grigg & Peter Flanigan Tony & Gwenyth Lennon Mrs Morrell Grussgott Trust Alan Whitham Anne Nolan Richard B Hammond Trish Williams Pamela Platt Pauline & Peter Handford Anonymous (1) Thomas & Diana Potter Dr & Mrs H Hansen-Knarhoi Maestro Patron Melanie & Paul Shannon Robin Harben Gifts $5,000 - $9,999 In memory of Judith Sienkiewicz In memory of Eileen Hayes Michael Snell & Vicki Stewart John & Christine Hedges Prue Ashurst in memory of Brian Stewart Dr Penny Herbert in memory of Eoin Cameron Gail & Tony Sutherland Dunstan Herbert Bill Bloking Michael & Helen Tuite Dallas Hickman & Alex Hickman Ian & Elizabeth Constable Stan & Valerie Vicich Michael Hollingdale Mark Coughlan & Dr Pei-Yin Hsu Andrew & Marie Yuncken Helen Hollingshead Bridget Faye AM Anonymous (1) Dr K and Mr J Hopkins OAM Brian & Romola Haggerty Judith Hugo Warwick Hemsley Principal Patron P & M James Mr & Mrs Hill Gifts $1,000 - $2,499 Roger Jennings in memory of Sue Hovell Caroline Allen & Sandy Dunn Lilian Jennings Dr Patricia Kailis Margaret Atkins Emy & Warren Jones Keith & Gaye Kessell Betty Barker Anthony Kane in memory of Dr Ronny Low & Noelle Beasley Jane Leahy-Kane Dr Emma Richardson Colin and Sarah Beckett Bill Kean Dr Richard & Patricia Lyon Tony & Mary Beeley David Keast & Victoria Mizen Bryant & Louise Macfie Kevin Blake Noelle & Anthony Keller AM Paula & John Phillips Matthew J C Blampey Ulrich & Gloria Kunzmann G. J. Seach Namy Bodinner Irving Lane Richard Tarala & Lyn Beazley AO Cathy Bolt in memory of Tony Bolt Dr Sunny & Ann Lee Ros Thomson K & C Bond Ann Lewis Gene Tilbrook & Anne Seghezzi Dr & Mrs P Breidahl Ian & Judith Lunt Joyce Westrip OAM Jean Brodie-Hall Denise Main Anonymous (5) Elizabeth & James Brown Graham & Muriel Mahony

27 Our Supporters

David Turner & Judith Wilton Jop & Hanneke Delfos Dr Tony Mander & Christopher Tyler Devenish in memory of Ms Loretta Byrd Maggie Venerys Bruce Devenish Gregg & Sue Marshman Geoff & Sandra Wackett Lawrence Easton Betty & Con Michael AO Adrienne & Max Walters AM Maxine & Bill Farrell AM Tony & Gillian Milne Watering Concepts Dr Jenny & Terry Fay Mrs Carolyn Milton-Smith in Ian Watson Tony & Sue Field loving memory of Emeritus Joy Wearne Susan & Gavin Fielding AM Prof John Milton-Smith Dr Deb Weir Eléonore Fuchter Hon Justice S R Moncrieff Alan Westle in memory of Jean Joan Gagliardi Geoffrey & Valmae Morris Patricia Weston Jennifer & Stephen Gardiner Jane & Jock Morrison Dr Chris & Mrs Vimala Whitaker Isobel Glencross Dr Peter Moss Dai and Anne Williams Allan & Jane Green Lyn Murray Janet Williams Pitsamai & Kevin Green Val & Barry Neubecker Mrs Jean & Mr Ian Williams AO Dr Roland Häehnel Family Nilant Jim & Gill Williams Dr Dana Halmagiu Marianne Nilsson Hilary & Peter Winterton AM J & G Hamory Dr Phillip and Mrs Erlene Noble Fred & Caroline Witting Paul & Barbara Harris Dr Walter Ong & Graeme Marshall Sara Wordsworth Alan Harvey & Dr Paulien de Boer John Overton Anonymous (25) Elizabeth & Eric Heenan Robyn Owens Rosemary Howarth Ron & Philippa Packer Tutti Patron Cynthia Jee Michael & Lesley Page Gifts $500 - $999 Lynn & Michael Jensen Athena Paton Anne Acton Diane Johnson Rosemary Peek Geoff & Joan Airey Joy Kay Charmian Phillips in memory of Kim Anderson & Paul Holmes Frances Keeley Colin Craft Catherine Bagster Evan Kennea & Barry & Dot Price Bernard & Jackie Barnwell Emily Green-Armytage Dr Leon Prindiville Shirley Barraclough B M Kent Tony & Val Ramshaw Berwine Barrett-Lennard Dorothy Kingston James & Nicola Ridsdill-Smith Michael & Nadia Berkeley-Hill Nelly Kleyn John & Alison Rigg John & Sue Bird in memory of John Kusinski & Ann Motherway Dr Lance Risbey & Penny Bird Trevor & Ane Marie Lacy Ms Elizabeth Sachse Davilia Bleckly Martin & Ruth Levit Will Riseborough Margaret Bloch Megan Lowe Paul Roberts John & Debbie Borshoff Mary Ellen in memory of Bryan & Jan Rodgers E & G Bourgault in memory of Kerensa Gerry & Maurice Rousset OAM Betty Sagar Oliver & Sophie Mark Roger Sandercock Diane & Ron Bowyer Geoffrey Massey The Hon. Kerry Sanderson, AC Ann Butcher & Dean R Kubank Pam Mathews & Dr Mark Brogan Dr R & J Schwenger Adrienne & Phillip Buttrose Jennifer McComb Robyn & Ted Sharp Maria Caesar Kathleen McGregor Glenice Shephard Michelle Candy Gaye & John McMath Elisabeth & David Smith R & R Cant S. McWhirter Helen Smith OAM Nanette Carnachan Patricia Murphy Laurel & Ross Smith Claire Chambers & Phuong Nguyen Paul Smith & Denham Harry Dr Andrea Shoebridge G & I Nicholas Geoff & Chris Soutar Fred & Angela Chaney Jim & Wendy O’Neill David Stevenson Tim & Claire Chapman Brian & Diana Osler Iain Summerlin Grant & Catherine Chappelle Marjan Oxley Ruth Thomas in memory of Jason and Su-Lyn Chong Bev Penny Ken & Hazel Rowley Lyn & Harvey Coates AO Adrian & Ruth Phelps Clare Thompson & Brad Power Alex Cohen AO & Richard & Sharon Prince Ruth E Thorn Agatha van der Schaaf W. J. Quadrio Gavin Toovey & Jaehan Lee Chris Colton Rosie Reeman Mary Townsend Natalie Cullity Leigh Robinson & Deborah Gellé James & Rosemary Trotter Gina & Neil Davidson Nigel & Dr Heather Rogers

28 Our Supporters

Chris & Serge Rtshiladze Lisa & Andrew Telford Pari Willis-Jones Julian & Noreen Sher Loma Toohey Margaret Wood The Sherwood Family Dr Robert Turnbull Alison Woodman In memory of Judith Sienkiewicz Jan Turner Andrew Yeates Paul & Margaret Skerritt Margaret Wallace Chris & Kathy Ziatis Hendrik Smit John & Nita Walshe Anonymous (26) Dr Louise Sparrow Doris Walton John & Elizabeth Spoor Diana and the late Bill Warnock Friend Peggy & Tom Stacy Anne Watson Gifts $40 - $499 Eleanor Steinhardt Margaret Whitter Thank you to all our Friends In Memoriam of Mr Andrew Barbara Wilcox who support WASO through David Stewart Geoff Wilkinson their gift. Ruth Stratton Violette William Yuko Takahashi Sally Willis * Orchestral Chair Partnership

If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Alecia Benzie, Executive Manager, Philanthropy & Corporate, on 9326 0020 or email [email protected] WASO Philanthropy brochures are available from the WASO Programs and Information Desk located in the main foyer of Perth Concert Hall, or you can visit waso.com.au All donations over $2 are fully tax deductible. 2019 Corporate Partners

PLATINUM PARTNERS

SYMPHONY PARTNER CONCERTO PARTNERS

OVERTURE PARTNERS

SONATA PARTNERS

KEYNOTE PARTNERS

AQUINAS COLLEGE

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.

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

30 Celebrating our centenary

BP Australia’s business has evolved over time, but our values and core purpose have remained the same. We deliver energy for heat, power and transportation; and we do it with safety, respect, excellence, courage and one team, at the fore. For 100 years we have looked to the future, adapted to the world’s ever-changing needs and met challenges head on. We don’t just produce energy, we keep advancing it.

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2020 Season Have you got your brochure yet? Subscriptions on sale now | waso.com.au