WASO's Summer Classics (Pdf)

SE_SummerClassic_A5_ProgramCover_v2.indd 1 20/12/19 9:54 am West Australian Symphony Orchestra and Wesfarmers Arts, creating the spark that sets off a lifelong love of music.

Julia Brooke – WASO Horn 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.

SPECIAL EVENT West Australian WASO’s Summer Classics

Symphony Orchestra BERLIOZ Roman Carnival – Overture (9 mins) and Wesfarmers Arts, VIVALDI The Four Seasons: Summer (10 mins) creating the spark Allegro non molto that sets off a lifelong Adagio - Presto love of music. Presto GERSHWIN Porgy and Bess – A Symphonic Picture (16 mins)

Interval (25 mins)

DE FALLA The Three-Cornered Hat – Suite No.2 (12 mins) Seguidillas (The Neighbours’ Dance) Farruca (The Miller’s Dance) Jota (Final Dance) PIAZZOLLA Milonga del Àngel (7 mins)

PIAZZOLLA Adiós Nonino (5 mins)

RAVEL Boléro (16 mins)

Benjamin Northey conductor Laurence Jackson violin James Crabb accordion

Julia Brooke – WASO Horn

3 2019 Upcoming Concerts

Absolute Beethoven Thu 5 March, 11am Fri 6 & Sat 7 March, 7.30pm Perth Concert Hall Of all Beethoven’s symphonies, his seventh is the most thrilling. More than 200 years since its premiere, its driving momentum pulses with red-blooded vitality. Beethoven’s powerful overture sets the scene for Absolute Jest, John Adams’ witty and playful take on the ecstatic energy of Beethoven’s music, performed here with the Australian String Quartet (Evening concerts only). BEETHOVEN Coriolan Overture JOHN ADAMS Absolute Jest (Evening concerts only) BEETHOVEN Symphony No.7 TICKETS Ludovic Morlot conductor FROM $30* Australian String Quartet (Evening concerts only) Dances with Daphnis Thu 12 March, 11am Fri 13 & Sat 14 March, 7.30pm Perth Concert Hall The sun rises on Debussy’s daydreaming faun as acclaimed French conductor Ludovic Morlot returns to WASO with this blissful program. Music of high spirits and delicious melodies culminates in Ravel’s irresistible depiction of lovers at daybreak that will dance into your heart. DEBUSSY Prélude à l’après-midi d’un faune LISZT Piano Concerto No.2 (Evening concerts only) POULENC Les biches – Suite RAVEL Daphnis et Chloé – Suite No.2 TICKETS Ludovic Morlot conductor FROM $30* Jayson Gillham piano (Evening concerts only)

MSWA MASTERS SERIES Asher Fisch, Mozart and Bruckner Fri 20 & Sat 21 March, 7.30pm Perth Concert Hall We begin with Mozart’s much-loved Sinfonia Concertante for violin and viola. Together WASO Concertmaster Laurence Jackson and Principal Viola Daniel Schmitt will reveal this magical work’s beauty, poetry and brilliance. Bruckner’s seventh is an emotional odyssey. In the hands of maestro Asher Fisch, this ‘wall of sound’ symphony will astonish you with an unmatched richness and raw power. MOZART Sinfonia Concertante BRUCKNER Symphony No.7

Asher Fisch conductor violin TICKETS Laurence Jackson FROM $30* Daniel Schmitt viola

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. 4 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

5 WASO On Stage

VIOLIN VIOLA PICCOLO TRUMPET Laurence Jackson Alex Brogan Michael Waye Brent Grapes Concertmaster A/Principal Viola • Pamela & Josh Pitt • Anonymous Benjamin Caddy Jenna Smith Semra Lee-Smith OBOE A/Assoc Concertmaster A/Assoc Principal Viola Zoe McGivern^ Graeme Norris Kierstan Arkleysmith Liz Chee A/Principal Oboe Peter Miller A/Assistant Concertmaster Nik Babic Stephanie Nicholls^ Rebecca Glorie Alison Hall TROMBONE A/Principal 1st Violin Rachael Kirk COR ANGLAIS Joshua Davis • Dr Ken Evans and Zak Rowntree* Allan McLean Principal 2nd Violin Leanne Glover Dr Glenda Campbell-Evans • Sam & Leanne Walsh Kylie Liang Elliot O’Brien Liam O’Malley • Penrhos College Katherine Potter^ CLARINET Assoc Principal 2nd Violin BASS TROMBONE Helen Tuckey Allan Meyer Kate Sullivan Philip Holdsworth Assistant Principal CELLO Lorna Cook 2nd Violin TUBA Rod McGrath BASS CLARINET Sarah Blackman • Tokyo Gas Cameron Brook Alexander Millier • Peter & Jean Stokes Fleur Challen Eve Silver* Stephanie Dean Oliver McAslan BASSOON TIMPANI • Marc & Nadia Geary Sacha McCulloch^ Jane Kircher-Lindner Alex Timcke Beth Hebert Fotis Skordas Adam Mikulicz Alexandra Isted Tim South PERCUSSION Sunmi Jung Catherine Tabi^ CONTRABASSOON Francois Combemorel Christina Katsimbardis Chloe Turner Assoc Principal Emma Vanderwal^ Percussion & Timpani Ellie Lawrence SAXOPHONE Amanda Dean^ Akiko Miyazawa DOUBLE BASS Matthew Styles^ Robyn Gray^ Lucas O’Brien John Keene Jazmin Ealden^ Thomas Robertson^ Melanie Pearn Elizabeth Browning^ Erin Royer^ Paul Tanner Ken Peeler Christine Reitzenstein Louise Sandercock Andrew Tait HORN HARP Jolanta Schenk Mark Tooby ★★Margaret & Rod Marston William Nichols^ Jane Serrangeli Phillip Waldron^ David Evans Catherine Ashley^ Jože Rošer Kathryn Shinnick FLUTE Bao Di Tang Robert Gladstones KEYBOARDS Andrew Nicholson Principal 3rd Horn Cerys Tooby • Anonymous Graeme Gilling^ David Yeh Mary-Anne Blades Francesco Lo Surdo • Anonymous

★★Section partnered by •Chair partnered by *Instruments used by these musicians are on loan from Janet Holmes à Court AC.

Principal Associate Principal Assistant Principal Contract Musician˚ Guest Musician^

6 About The Artists

Benjamin Northey James Crabb Conductor Accordion

Since returning to Australia from Europe, James Crabb was born in Dundee, Benjamin Northey has rapidly emerged Scotland in 1967 and started playing the as one of the nation’s leading musical accordion at the age of four. He studied figures. He is currently the Principal at the Royal Danish Academy of Music Resident Conductor of the Melbourne in Copenhagen with classical accordion Symphony Orchestra and was appointed pioneer Mogens Ellegaard from 1985-92. Chief Conductor of the Christchurch During his studies he received scholarships Symphony Orchestra in 2015. from The Countess of Munster Musical Trust, Martin Musical Scholarship Fund, Internationally, he has conducted Tillett Trust and Sir James Caird Trust. He the London Philharmonic Orchestra, gave over 150 performances for the Live Mozarteum Orchestra Salzburg, Hong Music Now series. Kong Philharmonic, National Symphony Orchestra of Colombia and the Southbank James Crabb’s acclaimed London debut Sinfonia of London. in the Park Lane Group series at the Purcell Room in 1992 catapulted him He has conducted L’elisir d’amore, The Tales to the international concert platform. of Hoffmann and La sonnambula for SOSA Since then, he has performed worldwide, and Turandot, Don Giovanni, Carmen and pioneering the classical accordion. He has Cosi fan tutte for Opera Australia. appeared at festivals including Edinburgh, Recent engagements have included the London Proms, Belfast, Lucerne, returns to all the major Australian Sydney Millennium, Cheltenham, orchestras, the LPO HKPO, the NZSO, La Aldeburgh, Kuhmo, Brisbane Biennale, bohème for Opera Australia and Sweeney ISCM World Music Days and the Todd for Victorian Opera and New Zealand Gulbenkian Foundation’s Nordic Days. Opera. Limelight Magazine named him jamescrabb.com Australian Artist of the Year in 2018. benjaminnorthey.com

7 About The Artists

Laurence Jackson Violin

After studying at The Royal Academy of Music in London, Laurence joined the Maggini Quartet in 1993 with whom he toured all over the world and made numerous recordings, winning the 2001 Gramophone Award for Chamber Music, 2002 Cannes Classical Awards as well as two Grammy Award nominations. Laurence was appointed concertmaster of the City of Birmingham Symphony Orchestra (CBSO) in 2006, touring in various programmes, both as director extensively and making many recordings, and director/soloist. Laurence is an including the solo in Strauss’ Ein Honorary Fellow of both Brunel University, Heldenleben. With the CBSO he has London and Canterbury University and appeared as soloist many times, performing was awarded a fellowship of the Royal concertos by Dvorˇák, Bruch, Nielsen, and Academy of Music in 2013. Laurence plays Brahms and has also directed the orchestra a violin by J. B. Vuillaume, circa 1850.

Proudly orchestrating WASO’s mobility and removal needs for over 40 years.

HOME | CORPORATE | COMMERCIAL grace.com.au

Grace WASO Ad 010218.indd 1 01/02/18 11:23:50 AM About The Music

Hector Berlioz (1803–1869) Roman Carnival – Overture, Op.9 As a recipient of the Prix de Rome, Berlioz in the early 1830s spent some time in Italy, a setting which would figure in several of his subsequent works, including Harold in Italy and his opera Benvenuto Cellini, based on the memoirs of the 16th-century Florentine goldsmith of the title. Berlioz, whose route to a compositional career had been a somewhat unconventional one, had hoped that Benvenuto Cellini might The overture begins with a whirlwind bolster his career in Paris, but it was a saltarello, taken from the scene in the resounding failure and managed only opera which presents the carnival. After three performances during its premiere a pause, the cor anglais plays a melody run in 1838. which in the opera Benvenuto sings to his beloved Teresa. It is repeated by the Not one to waste a good tune, however, strings and then makes way for another Berlioz recycled some of its music for bustling Allegro. Towards the end the the present concert overture (not to be saltarello returns, dominating the overture confused with the overture to the opera until its tempestuous end. itself). Berlioz himself conducted the first performance of the Carnaval romain, © Symphony Services International on 3 February 1844 in Paris’ Salle Herz. First WASO performance: 16 August 1951, It was an immediate success with the Bernard Heinze conducting. audience demanding an encore, despite Most recent: 13-15 November 2014, the fact that the piece had received only Marko Letonja conducting. a single rehearsal that morning (and without any woodwind players, who had Instrumentation: two flutes (one doubling piccolo), oboe and cor anglais, two clarinets, two bassoons; been called up on National Guard duty four horns, two trumpets and two cornets, three during the day and had to read their trombones; timpani and percussion; strings. parts at sight that evening).

Proudly orchestrating WASO’s mobility Glossary and removal needs for over 40 years. Saltarello – a sprightly Italian dance involving jumping.

HOME | CORPORATE | COMMERCIAL grace.com.au 9

Grace WASO Ad 010218.indd 1 01/02/18 11:23:50 AM Antonio Vivaldi (1678–1741) The Four Seasons: Concerto in G minor, RV 315, L’estate (Summer) Allegro non molto Adagio – Presto Presto Although ordained a priest, Vivaldi spent his adult life as a composer and violinist. His works included some 500 concertos as well as many operas, instrumental sonatas and a large body of sacred music. French composers had a tradition of He pioneered the solo concerto and music imitating nature, but Vivaldi was also experimented with violin technique, one of the first Italian composers to developing methods like position shifts, the experiment in this vein. Vivaldi’s rhetoric use of mutes and pizzicato to create new exquisitely depicts the seasons’ progress, sounds and effects, often with specifically described also in sonnets (possibly written illustrative intent. by him) which he affixed to the score. Venice in Vivaldi’s time maintained a rich Summer’s first movement embodies and elaborate cultural life. A particular a sense of heat-struck lassitude with feature of the city was the establishment only the intrepid cuckoo and turtle- of a number of orphanages for girls that dove calling, as the shepherd fears the doubled as music academies. In 1703, encroaching storm. This apprehension the year he was ordained, Vivaldi began is carried over into the unquiet slow teaching at one such orphanage, the movement, before the storm arrives in all Ospedale della Pietà. On the available its fury in the finale. evidence, the students were very fine players indeed. Abridged from a note by Gordon Kerry © 2005/2010 First WASO performance: 2-3 December 1988, The Four Seasons forms part of Il cimento Thomas conducting, Ashley Arbuckle violin dell’armonia e dell’inventione (The Contest (‘Summer’). of Harmony and Invention), Opus 8, published in 1725. The Four Seasons is a Most recent: 1–2 May 2015, Paul Dyer conducting, Shaun Lee-Chen violin. frankly programmatic work. Instrumentation: continuo and strings.

Glossary Pizzicato – plucking, rather than bowing, the strings.

10 About The Music

George Gershwin (1898–1937) arr. Robert Russell Bennett (1894-1981) Porgy and Bess – A Symphonic Picture In 1926 George Gershwin read Porgy, a novel by Southern writer DuBose Heyward, and next morning wrote to DuBose and his writer-dramatist wife Dorothy suggesting they turn Porgy into a ‘folk-opera’. Only by summer 1934 was Broadway’s over- committed favourite able to spend six weeks with the Heywards in Charleston, Hammerstein musicals, his arrangements South Carolina. They fleshed out DuBose’s for the 1955 film version ofOklahoma! tale of a poor black cripple who trundled earning him an Academy Award. His around Charleston’s cobblestone streets in a Symphonic Picture of Porgy and Bess, goat-driven cart. Based on the real-life saga commissioned by conductor Fritz Reiner, of Sammy Smalls, Porgy relates the story of opens with the sparkling introduction to ‘that old wreck’, as Heyward called him, and Act I, which is followed by some of the a sometime cocaine addict, Bess, set in a opera’s most memorable songs, including black communal tenement, Catfish Row, a ‘Summertime’, ‘I got plenty o’ nuttin’’, short distance from Charleston’s wharves. ‘Bess, you is my woman now’, ‘There’s a boat that’s leavin’ soon for New York’, ‘It George drafted his wordsmith brother ain’t necessarily so’, and ‘Oh Lawd, I’m on Ira to help the Heywards with the my way’. libretto, but all the songs and most of the orchestrations were his own. Porgy and Adapted from a note by Vincent Plush © 2003 Bess opened in Boston on 30 September Only WASO performance: 23 February 1985, 1935 and moved to Broadway a few days David Measham conducting. later, where it ran for 124 performances. Instrumentation: two flutes and piccolo, two In a career spanning more than five oboes and cor anglais, two clarinets and bass decades, Robert Russell Bennett arranged clarinet, two bassoons; two alto saxophones and tenor saxophone; four horns, three trumpets, more than 300 Broadway shows. He three trombones and tuba; timpani and orchestrated seven of the Rodgers and percussion; two harps; strings.

11 Manuel de Falla (1876–1846) The Three-Cornered Hat: Suite No.2 Seguidillas (The Neighbours’ Dance) Farruca (The Miller’s Dance) Jota (Final Dance) Falla’s ballet The Three-Cornered Hat, based on the novel El corregidor y la molinera (The Governor and the Miller’s Wife) by Pedro de Alarcón, is a manifestation of Spanish humour, biting and ironic. The plot is simple: the miller’s attractive young wife is being pursued by the An earlier version of the work was pompous old magistrate (the corregidor), performed as a pantomime in Madrid in whose amorous designs are eventually 1917; Falla revised it for Sergei Diaghilev, confounded by the miller. The second suite whose Ballets Russes presented El begins, as does Part II of the ballet, with a sombrero de tres picos (The Three- seguidillas, as the townspeople celebrate Cornered Hat’) in London in 1919, with St John’s night. The miller then dances a sets and costumes by Picasso and vigorous farruca, before being arrested choreography by Massine. so that the corregidor can get at his wife. © Symphony Services International But the doddering old fool ends up in the First WASO performance: 3-4 October 1952, millstream. He hangs up his clothes and Juan José Castro (‘suite’) three-cornered hat to dry off and the miller, having escaped, returns and puts on the Most recent: 23-24 February 2001, Nicolae Moldoveanu (‘selections from suites 1 & 2’) corregidor’s clothes. The corregidor ends up in the miller’s clothes and is promptly Instrumentation: two flutes and two piccolos, ‘re-arrested’. All is eventually sorted out, but two oboes and cor anglais, two clarinets, two the corregidor is tossed in a blanket as the bassoons; four horns, three trumpets, three trombones and tuba; timpani and percussion; townspeople dance an exhilarating jota. harp, celesta, piano and strings.

Glossary Seguidillas – a dance from southern Spain characterised by phrases beginning on upbeats, and the use of florid decoration on the weak beats of the bar. Farruca – a type of flamenco dance. Jota – a fast Spanish dance song in triple time, made up of four-bar phrases repeated in a strict order, and using only two chords.

12 About The Music

Astor Piazzolla Milonga del Ángel (the milonga is a kind of (1921–1992) forerunner of the tango) belongs to a series of five ‘angel’ pieces written at various times Milonga del Ángel by Piazzolla upon his return to Argentina after studying in Paris (he complemented this In 1954 Astor Piazzolla won a scholarship with an equivalent set of diablo pieces). The to study with the legendary Nadia first,Tango del Ángel, dates from 1957 and Boulanger in Paris. He was by this stage was used as incidental music in a 1962 play of acknowledged as a great composer of the same name by Alberto Rodríguez Muñoz. tangos and performer on the bandoneón For this production Piazzolla also provided (concertina) in his native Buenos Aires Milonga del Ángel (Dance of the Angel) and (though, incidentally, he spent many of his Muerte del Ángel (Death of the Angel). The earliest years in New York) and had already play concerns an angel who, having come studied with Argentinian composer Alberto down to heal the souls of a Buenos Aires Ginastera. But Piazzolla, like Gershwin, slum neighbourhood, is slain in a knife fight. yearned to be a serious composer and played down the importance of tango at © Symphony Services International first. Boulanger, however, showed her usual perspicacity. Hearing Piazzolla play tango Adiós Nonino on the bandoneón she famously said ‘Astor, your classical pieces are well written, but Adiós Nonino is Piazzolla’s farewell to his the true Piazzolla is here, never leave it father, Vicente, known to the family as behind,’ echoing Ravel’s advice to Gershwin ‘Nonino’. In the 1950s, while he was studying that there was nothing he could teach the with Nadia Boulanger in Paris, Astor had American. written a chirpy little tango as a tribute to his father. Hearing news of his father’s death in Piazzolla took Boulanger’s advice, but at the October 1959, Piazzolla improvised a haunting same time his interest in ‘classical’ music elegy, a kind of sequel to his original tribute. allowed him to enrich his tango composition ‘His sighs were terrible,’ his first wife Dede and move freely between popular and Wolff said later, recalling the scene in their ‘serious’ musical worlds. He composed for kitchen in New York. ‘I had never seen him cry Rostropovich, the Kronos Quartet and Gidon like that, or indeed cry in any way.’ Kremer among others, and maintained an interest in ‘classical’ genres. Today, Adiós Nonino is possibly Piazzolla’s most famous piece. ‘Perhaps I was Despite Piazzolla’s distinguished career, surrounded by angels,’ he recalled in 1980. ‘I tango was originally far from high art, was able to write the finest tune I have ever and while its origins are complex it was written. I don’t know if I shall ever do better. the music of the porteños and porteñas – I doubt it.’ He made at least 20 different inhabitants of the slum port areas of Buenos versions of the tune which he said had ‘a Aires – in the early 20th century which is very intimate feel, even funereal’. At one the root of Piazzolla’s art. (And, we might time, he joked it was being touted as the note, plenty of traditionalists believed that official national anthem of Argentina and Piazzolla had ruined tango by developing it the singer-composer-poet Eladia Blazquez into a ‘classical’ genre as he did.) Piazzolla added words to it. forged a style uniquely his own, often referred to these days as nuevo tango, Vincent Plush © 2003 which initially met with resistance but has Most recent WASO performances: 9–10 May since received the critical and popular 2008, Kristjan Järvi conducting. Carel Kraayenhof acclaim it richly deserves. bandoneón.

13 Maurice Ravel (1875–1937) Boléro Ravel was joking when he described Boléro as a ‘masterpiece without any music in it’, so was very annoyed when the piece became one of his best-known works. In fact it came about when he was asked by the Russian dancer Ida Rubinstein in 1928 to orchestrate parts of Albéniz’s Iberia for a ballet with a ‘Spanish’ character. As it turned out, the rights to Albéniz’s music were not available, so Ravel Ravel had, by no means idly, suggested composed his Boléro, based on an 18th- Boléro could accompany a story where century Spanish dance-form which is passion is contrasted by the mechanised characterised by a moderate tempo and environment of a factory. Nijinska, three beats to a bar. It has ‘no music’ in that however, had the dancer in an empty a simple theme is reiterated over and over cafe, dancing alone on a table as the room again, embodied in different orchestral gradually fills with men overcome, as colours each time, including that marvellous Michael J. Puri notes, ‘by their lust for her’ moment where it appears in three keys which they express through ever more simultaneously. The work has been used frenetic dance. and abused in various films but it remains Gordon Kerry © 2007/12 a masterpiece after all, its inexorable tread building massive tension which is released First WASO performance: 16 August 1951, explosively in the final bars. Bernard Heinze conducting. The music’s erotic charge of constraint Most recent: May 2018, Rory MacDonald conducting. and release mirrors the scenario for Rubinstein’s ballet, choreographed by Bronislava Nijinska (Nijinsky’s sister).

14 Your Concert Experience

FOR THE ENJOYMENT OF ALL When to applaud? Musicians love applause. Audience members normally applaud: • 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 do it discreetly. Cough lozenges are available from the WASO Ticket Collection Desk before each performance and at the interval. FIRST AID Hearing aids that are incorrectly adjusted may disturb other patrons, please be There are St John Ambulance officers mindful of those around you. present at every concert so please speak to them if you require any first aid assistance. Mobile phones and other electronic devices need to be switched off or ACCESSIBILITY silenced throughout the performance. • A universal accessible toilet is available on the ground floor (Level 1). Photography, sound and video • The Sennheiser MobileConnect recordings are permitted prior to the start Personal Hearing Assistance system of the performance. is available for every seat in the Latecomers and patrons who leave the auditorium. Visit perthconcerthall.com. auditorium will be seated only after the au/your-visit/accessibility/ for further completion of a work. information. Moving to empty seats. Please do not WASO BOX OFFICE move to empty seats prior to the Buy your WASO tickets and subscriptions, performance as this may affect seating for exchange tickets, or make a donation latecomers when they are admitted at the Box Office on the ground floor during a suitable break. (Level 1) prior to each performance and at interval. Tickets for other performances FOOD & BEVERAGES at Perth Concert Hall will be available for You are now able to take your drinks to purchase only at interval. Please note that your seat. 30 minutes prior to performance, the Box Office will only be available for sales to Foyer bars are open for drinks and coffee that night's performance. two hours before, during interval and after the concert. To save time we recommend The Box Office is open Monday to you pre-order your interval drinks. Friday, 9am to 5pm, and contactable on 9326 0000.

15 16 WASO Philanthropy

17 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 Crescendo the Orchestra Richard Goyder AO & Janine Goyder Trusts & Foundations Jean Arkley Major Donations Crown Resorts Foundation Bob & Gay Branchi Packer Family Foundation Tom & Jean Arkley Janet Holmes à Court AC Bendat Family Foundation Feilman Foundation Torsten & Mona Ketelsen Stan Perron Charitable Foundation Janet Holmes à Court AC Rod & Margaret Marston* Minderoo Foundation Bunning Family John Rodgers Euroz Charitable Foundation Sagitte Yom-Tov Fund Leanne & Sam Walsh* Estates Crescendo Giving Circle Lee Bickford The WASO Song Book AOT Consulting Pty Ltd Rachel Mabel Chapman Janet Holmes à Court AC Jean Arkley Malcolm Hood Prue Ashurst Prue Ashurst Paul Lee In memory of Mary Rodoreda Gay & Robert Branchi Anna Nottage in memory of Edgar Geoff Stearn S Cherian Nottage Anonymous (1) Brenda Cohen Wendy Scanlon Kaylene Cousins Judy Sienkiewicz Instrument Fund Megan & Arthur Criddle Mrs Roslyn Warrick John Albright & Susan Lorimer Madeleine King MP, Anonymous (7) Peter Ingram Federal Member for Brand Deborah Marsh LeMessurier Charitable Trust Symphony Circle Margaret & Rod Marston Rosalind Lilley Ms Davilia Bleckly Peggy & Tom Stacy Lommers Engineering Pty Ltd Mr John Bonny Jean & Peter Stokes Louise & Bryant Macfie Dr G Campbell-Evans Mrs Morrell Deirdre Carlin Education & Community G & I Nicholas Anita & James Clayton Engagement Pamela Pitt S & J Dale The Sheena Prince Memorial Fund Lesley & Peter Davies Trusts & Foundations Deborah & Miles Protter Dr Michael Flacks McCusker Charitable Foundation Dr Lance Risbey Judith Gedero Simon Lee Foundation John Rodgers Robyn Glindemann The James Galvin Foundation Tony Rudd Gwenyth Greenwood Education & Community Rosalin Sadler in memory of Joyce The Guy Family Engagement Fund Durbin Sadler Angus Holmes Jean Arkley In memory of Robert & Joan Street Emy & Warren Jones David & Suzanne Biddles Ruth E Thorn Barbara Joseph Annette Cottee Reto Vogel Colin & Jo King Penny & Ron Crittall WA Massed Choir Festival Rachael Kirk & Tim White Robyn Glindemann Alan Whitham Wolfgang Lehmkuhl Journey Recruitment Mary Ann Wright Deborah Marsh Rosalind Lilley Anonymous (3) Lesley R. McKay & Murray R. Eveline Read McKay Ruth Stratton Suzanne Nash In memory of Robert & Joan Street Paula Phillips Gwen Treasure Nigel & Dr Heather Rogers Margaret Wood Jacinta Sirr Anonymous (3) Ruth Stratton Ruth & Neville Thorn Gavin Toovey & Jaehan Lee Agatha van der Schaaf Sheila Wileman Sagitte Yom-Tov Fund Anonymous (40)

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

19 Our Supporters

Gregg & Sue Marshman John & Nita Walshe Natalie Cullity Betty & Con Michael AO Adrienne & Max Walters AM Gina & Neil Davidson Tony & Gillian Milne Diana & the late Bill Warnock Hanneke & Jop Delfos Mrs Carolyn Milton-Smith in Watering Concepts Daphne Devenish in memory of loving memory of Emeritus Ian Watson Bruce Devenish Prof John Milton-Smith Joy Wearne Lawrence Easton Hon Justice S R Moncrieff Dr Deb Weir Christine Eilon Geoffrey & Valmae Morris Alan Westle in memory of Jean Maxine & Bill Farrell AM Jane & Jock Morrison Patricia Weston Dr Jenny & Terry Fay Dr Peter & Mrs Patricia Moss Dr Chris & Mrs Vimala Whitaker Susan & Gavin Fielding AM Lyn Murray Barbara Wilcox Eléonore Fuchter Val & Barry Neubecker Dai & Anne Williams Joan Gagliardi Family Nilant Janet Williams Jennifer & Stephen Gardiner Marianne Nilsson Mrs Jean & Mr Ian Williams AO Dr Rhona Giles Dr Phillip & Mrs Erlene Noble Jim & Gill Williams Isobel Glencross Dr Walter Ong & Hilary & Peter Winterton AM Allan & Jane Green Graeme Marshall Fred & Caroline Witting Pitsamai & Kevin Green Robyn Owens Margaret Wood Dr Roland Haehnel Ron & Philippa Packer Sara Wordsworth Dr Dana Halmagiu Michael & Lesley Page Anonymous (26) Ann Hammer Athena Paton J & G Hamory Rosemary Peek Tutti Patron Dr Rosalind Hampton Charmian Phillips in memory of Gifts $500 - $999 Paul & Barbara Harris Colin Craft Anne Acton Alan Harvey & Dr Paulien de Boer Barry & Dot Price Geoff & Joan Airey Elizabeth & Eric Heenan Dr Leon Prindiville Kim Anderson & Paul Holmes Rosemary Howarth Tony & Val Ramshaw Catherine Bagster Cynthia Jee James & Nicola Ridsdill-Smith Bernard & Jackie Barnwell Lynn & Michael Jensen John & Alison Rigg Shirley Barraclough Diane Johnson Dr Lance Risbey Berwine Barrett-Lennard Joy Kay Will Riseborough Alecia Benzie Frances Keeley Paul & Christine Roberts Michael & Nadia Berkeley-Hill Evan Kennea & Bryan & Jan Rodgers John & Sue Bird in memory of Emily Green-Armytage Gerry & Maurice Rousset OAM Penny Bird B M Kent Roger Sandercock Davilia Bleckly Dorothy Kingston The Hon. Kerry Sanderson, AC Margaret Bloch Nelly Kleyn Dr R & J Schwenger John & Debbie Borshoff John Kusinski & Ann Motherway Robyn & Ted Sharp E & G Bourgault in memory of Trevor & Ane Marie Lacy Glenice Shephard Betty Sagar Louis & Miriam Landau Helen Smith OAM Diane & Ron Bowyer Mi Kyung Lee & Colin Binns Laurel & Ross Smith Ann Butcher & Dean R Kubank Martin & Ruth Levit Paul Smith & Denham Harry Adrienne & Phillip Buttrose Mary Ellen in memory of Kerensa Geoff & Chris Soutar Maria Caesar Oliver & Sophie Mark David Stevenson Michelle Candy Geoffrey Massey Iain Summerlin R & R Cant Pam Mathews & Dr Mark Brogan Stephen & Janet Thackray Nanette Carnachan Jennifer McComb Ruth Thomas in memory of Philip & Frances Chadwick Kathleen McGregor Ken & Hazel Rowley Claire Chambers & Gaye & John McMath Clare Thompson & Brad Power Dr Andrea Shoebridge S. McWhirter Ruth E Thorn Fred & Angela Chaney Patricia Murphy Gavin Toovey & Jaehan Lee Tim & Claire Chapman Phuong Nguyen Mary Townsend Grant & Catherine Chappelle G & I Nicholas James & Rosemary Trotter Jason & Su-Lyn Chong Marjan Oxley David Turner & Judith Wilton Lyn & Harvey Coates AO Bev Penny Christopher Tyler Alex Cohen AO & Adrian & Ruth Phelps Maggie Venerys Agatha van der Schaaf Richard & Sharon Prince Geoff & Sandra Wackett Chris & Swee See Colton W. J. Quadrio

20 Our Supporters

Rosie Reeman In Memoriam of Mr Andrew Sally Willis Leigh Robinson & Deborah Gellé David Stewart Pari Willis-Jones Nigel & Dr Heather Rogers Yuko Takahashi Alison Woodman Lisa & Andrew Telford Chris & Serge Rtshiladze Andrew Yeates Margaret & Roger Seares Loma Toohey Chris & Kathy Ziatis Julian & Noreen Sher Dr Robert Turnbull The Sherwood Family Jan Turner Anonymous (24) In memory of Judith Sienkiewicz Patrica Turner Friend Paul & Margaret Skerritt Michael & Gwenda Upton Eric & Virginia Skipworth Margaret Wallace Gifts $40 - $499 Hendrik Smit Doris Walton Thank you to all our Friends Dr Louise Sparrow Anne Watson who support WASO through John & Elizabeth Spoor Margaret Whitter their gift. Peggy & Tom Stacy Geoff Wilkinson Eleanor Steinhardt Violette William * Orchestral Chair Partnership

If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Jacinta Sirr-Williams, Philanthropy & Annual Giving Manager, on 9326 0014 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. MSWA MASTERS SERIES Absolute PLATINUM PARTNERS SYMPHONY PARTNER Beethoven CONCERTO PARTNERS OVERTURE PARTNERS with the Australian String Quartet

SONATA PARTNERS

KEYNOTE PARTNERS

AQUINAS COLLEGE

ORCHESTRA SUPPORTERS

MEDIA PARTNERS SUPPORTING MUSIC & WELLBEING

FUNDING PARTNER SUPPORTED BY

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

M1_A5_SeatDrop/PressAd.indd 1 28/1/20 8:49 am MSWA MASTERS SERIES Absolute PLATINUM PARTNERS SYMPHONY PARTNER Beethoven CONCERTO PARTNERS OVERTURE PARTNERS with the Australian String Quartet