CarminaBurana_A5_ProgramCover.indd 1 10/9/20 4:48 pm 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. Carmina Burana

West Australian BERNSTEIN : Overture (5 mins) Symphony Orchestra GRIEG Peer Gynt: Suite No.1 (15 mins) and Wesfarmers Arts, Morning – Mood (Allegretto pastorale) creating the spark The Death of Åse (Andante doloroso) Anitra’s Dance (Tempo di Mazurka) that sets off a lifelong In the Hall of the Mountain King (Alla marcia e molto marcato) love of music. Interval (25 mins)

ORFF Carmina burana (63 mins) Fortuna imperatrix mundi (Fortune, Empress of the World) Part I Primo vere (In Springtime) Auf dem anger (On the Meadow) Part II In taberna (In the Tavern) Part III Cour d’amours (The Court of Love) Blanziflor et Helena (Blanziflor and Helena) Fortuna imperatrix mundi

Jessica Gethin conductor Amy Manford soprano Perry Joyce tenor James Clayton baritone WASO Chorus Members of the UWA Symphonic Chorus

Wesfarmers Arts Pre-concert Talk Find out more about the music in the concert with this week’s speaker, Prue Ashurst (see page 32 for her biography). The Pre-concert Talk will take place on Thursday, Friday and Saturday at 6.45pm and Sunday at 4.15pm in the Terrace Level Foyer.

Listen to WASO This performance is recorded for broadcast on ABC Classic on 10 October 2020 at 1pm AWST (or 10am online). For further details visit abc.net.au/classic

Julia Brooke – WASO Horn

3 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

4 WASO On Stage

VIOLIN VIOLA PICCOLO TRUMPET Laurence Jackson Alex Brogan Michael Waye Brent Grapes Concertmaster Benjamin Caddy • Pamela & Josh Pitt • Anonymous Jenna Smith Semra Lee-Smith Kierstan Arkleysmith OBOE A/Assoc Concertmaster Nik Babic Peter Miller Graeme Norris Liz Chee A/Assistant Alison Hall A/Principal Oboe TROMBONE Concertmaster Rachael Kirk Annabelle Farid° Joshua Davis Rebecca Glorie Mirjana Kojic^ • Dr Ken Evans and A/Principal 1st Violin Katie McKay^ COR ANGLAIS Dr Glenda Campbell-Evans Leanne Glover Liam O’Malley Zak Rowntree* Allan McLean • Sam & Leanne Walsh Principal 2nd Violin Elliot O’Brien BASS TROMBONE Kylie Liang Helen Tuckey CLARINET Philip Holdsworth Assoc Principal 2nd Violin Allan Meyer Kate Sullivan CELLO Geoff Bourgault TUBA Assistant Principal 2nd Rod McGrath Violin du Coudray^ Cameron Brook • Tokyo Gas • Peter & Jean Stokes Sarah Blackman Eve Silver* Lorna Cook Fleur Challen Oliver McAslan BASS CLARINET TIMPANI Stephanie Dean Sacha McCulloch^ Alexander Millier Alex Timcke Beth Hebert Nicholas Metcalfe Alexandra Isted BASSOON PERCUSSION Anna Sarcich^ Brian Maloney Jane Johnston^ Fotis Skordas Jane Kircher-Lindner Sunmi Jung Francois Combemorel Tim South Adam Mikulicz Assoc Principal Christina Katsimbardis Emma Vanderwal^ Percussion & Timpani Ellie Lawrence CONTRABASSOON DOUBLE BASS Chloe Turner Kathryn Lee • Stelios Jewellers Akiko Miyazawa Andrew Sinclair* Lucas O’Brien John Keene HORN Elizabeth Browning^ ★★Section partnered by Melanie Pearn Margaret & Rod Marston Louise Elaerts Ken Peeler David Evans Christine Reitzenstein Louise Sandercock Robert Gladstones Jolanta Schenk Andrew Tait Principal 3rd Horn Jane Serrangeli Mark Tooby Sarah Brien^ Bao Di Tang FLUTE Julia Brooke Cerys Tooby Andrew Nicholson Francesco Lo Surdo Teresa Vinci^ • Anonymous David Yeh Mary-Anne Blades • 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^

5 About The Artists

Jessica Gethin Amy Manford Conductor Soprano

Australian conductor Jessica Gethin Australian/American soprano, Amy Manford has gained widespread attention for her most recently performed the role of ‘Christine stellar musicianship and vibrant energy, Daaé’ in ’s original reviewers citing her performances as production of The Phantom of the Opera on conducted with ‘goose-bump inducing the West End. artistry… refined, charismatic, and Prior to her West End debut, Amy had exhilarating’. Gliding seamlessly performed internationally as a soloist with the between core symphonic, to ballet, London Handel, London Cello and the Perth opera, film and contemporary. Jessica’s Symphony Orchestra. She has also sung at international roster includes guest iconic venues such as the Seoul Arts Center in conducting engagements throughout the South Korea and at Buckingham Palace for the United States, Asia, Australia and New Prince of Wales. She was especially honoured Zealand, with collaborations including to sing the Australian Anthem for HRH Prince the Dallas Opera, Symphony Harry and Ms. Meghan Markle for the 2018 Orchestra, Malaysian Philharmonic Anzac Day Memorial Service in London. Orchestra, Perth Symphony, Symphony Orchestra, West Australian In 2017, Amy graduated with a Master Ballet, Auckland Philharmonic and of Performance from the prestigious Macao Orchestra. Listed in Limelight Royal College of Music where she Australia’s Top Twenty Australian Artists was lucky enough to perform numerous title for 2017, further accolades include winning roles with their International Opera School. the 2015 Brian Stacey Emerging Australian Before moving to London, Amy graduated Conductor Award and Australian Financial with a Bachelor of Music at The West Review’s 100 Most Influential Women, a Australian Academy of Performing Arts in Churchill Fellowship and named finalist in her hometown, Perth. the WA of the Year Awards, Jessica held the position of Chief Conductor of the A diverse performer, Amy also has a unique Perth Symphony from 2011-2019, as well history in rhythmic gymnastics and pole as Inaugural Fellow at the Hart Institute of vaulting, winning gold medals at the Australian Women Conductors with the Dallas Opera. National Championships in both fields.

6 About The Artists

Perry Joyce James Clayton Tenor Baritone

Perry is a singer, composer, conductor, Praised for his vocal phrasing and colour, and educator who is actively involved James is one the most versatile singers to in the Perth classical music scene. In emerge from Australia in recent years. 2018 he was nominated in the West His 2018/2019 performances included Australian Young Achiever Awards for his Marcello (La bohème), Escamillo achievements in music and community (Carmen), Leporello (Don Giovanni), outreach. As a soloist Perry has performed The Forrester (The Cunning Little Vixen), with the West Australian Symphony Germont (La traviata), Judge Turpin Orchestra (Beethoven’s Choral Fantasy, (Sweeney Todd) and the title role in 2018), West Australian Opera, and many Macbeth in West Australian Opera, The ensembles around Perth including as Forrester in Adelaide and Peter (Hansel a member of St George’s Cathedral and Gretel) in Melbourne. Consort. In 2014 Perry founded the West Australian Young Voices (WAYV) and has James made his debut as established and conducted many choirs Baron Douphol in La traviata – in Handa since. In 2018 Perry was Chorus Master Opera on Harbour – and his for West Australian Opera’s production of Japanese debut as Don Alfonso in Cosi Don Giovanni and in 2019 was awarded fan tutte for Biwako Hall. a Bendat Scholarship to study abroad. Perry has also won many awards for Concert appearances include Messiah his compositions including the Sydney and Le damnation du Faust, Haydn’s Mass Symphony’s Young Composers Award, in Time of War, Puccini’s Messa di Gloria, the Gondwana Voices Young Composers Mozart’s Mass in C Minor, Beethoven’s Award, and the 2012 Paula and David Symphony No. 9 and Verdi’s Requiem for Tunley Award. the major Australasian orchestras. © Patrick Togher Artists’ Management 2020

7 WASO Chorus

The WASO Chorus was formed in 1988 and consists of around 100 volunteer choristers who represent the finest form of community music making, bringing together singers from all walks of life. They regularly feature in the WASO annual concert season, and are directed by Andrew Foote. The Chorus has built an international reputation for its high standards and diverse range of repertoire. While its main role is to perform with the West Australian Symphony Orchestra the Chorus also maintains a profile of solo concerts, tours and community engagements. The Chorus sings with the finest conductors and soloists including Asher Fisch, Simone Young, Stephen Layton and Paul Daniel. Recent highlights have included Poulenc’s Stabat Mater, Mahler’s Second Symphony and Verdi’s Requiem. Last year the Chorus performed at the Denmark Festival of Voice and in 2018 toured China with performances of Orff’s Carmina burana.

Andrew Foote Lea Hayward Chorus Director Accompanist

SOPRANO ALTO TENOR BASS Imogen Bale Janet Baxter David Collings Justin Audcent Valerie Bannan Llewela Benn Allan Griffiths Michael Berkeley-Hill Anna Börner Patsy Brown Nick Fielding Charlie Bond Alinta Carroll Sue Coleson Matthew Flood Paul Brayshaw Jesse Chester- Jeanette Collins John Murphy Bertel Bulten Browne Catherine Dunn Andrew Paterson Thomas Filmer Penelope Colgan Kaye Fairbairn Jay Reso Ken Gasmier Clara Connor Jenny Fay Christopher Ryland Mark Gummer Charmaine de Witt Susanna Fleck Simon Taylor Stephen Hastings Ceridwen Dumergue Dianne Graves Arthur Tideswell Benjamin Lee Bronwyn Elliott Louise Hayes Stephen Turley Andrew Lynch Davina Farinola Mathilda Joubert Tony Marrion Marion Funke Kate Lewis Peter Ormond Kath Goodman Diana MacCallum Jim Rhoads Ro Gorell Robyn Main Mark Richardson Diane Hawkins Lynne Naylor Steve Sherwood Sue Hingston Deborah Pearson Chris Smith Michelle John Deborah Piesse Mark Wiklund Elena Mavrofridis Neb Ryland Andrew Wong Brooke McKnight Louise Sutton Elysia Murphy Olga Ward Sheila Price Moira Westmore Lucy Sheppard Jacquie Wright Sarah Shneier Kate Sugars Carol Unkovich Alicia Walter Margo Warburton

8 Members of the UWA Symphonic Chorus

SOPRANO ALTO TENOR BASS Elyse Bedford-Thomas Adele Cole Wilson Kang Thomas Allan Caitlin Collom Lydia Gardiner Tim Chang Georgia Crowe Claire Lane Will Leyland Tabitha Gallucio Kira O’Dell David Woods Gabriela Golestani Martina Veneracion Rachael Liu Elizabeth Millet Lucinda Nicholls Cassandra Palermo Abigail Radford

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9

COVIDsafe halfA5 Ad.indd 1 24/9/20 10:11 am About The Music

Leonard Bernstein But one thing was always clear. The (1918-1990) show contained some of Bernstein’s most exhilarating music. ‘Lenny’ seems to have Candide: Overture torn ahead of all his collaborators, music ‘The greatest piece of slap-dash ever gushing forth. If ever there was a case of written,’ said Lillian Hellman of Candide, ‘first the music and then the words’, this the 1759 novel by Voltaire that formed was it. As Andrew Porter says in the DGG the basis of her and Leonard Bernstein’s liner notes: ‘It was as if Candide music musical of the same name. And bubbled into Bernstein’s fertile brain and Bernstein’s overture captures that – a then waited to discover its just verbal perfect opening to a light-hearted night expression.’ out at the theatre. Light-hearted? That is something that we could believe Candide, the hero, endures wars, from hearing the tearaway overture. The famines, shipwrecks and earthquakes, opening flourish is never heard after the all the while adhering to the increasingly curtain rises, but in other respects the ridiculous philosophy of his teacher, Dr overture is a modern-day version of a Pangloss, an advocate of the Leibniz-ian 19th-century pot-pourri overture with philosophy that ‘all is for the best…in this the fleetness of Mozart’s overture to best of all possible worlds’. Marriage of Figaro. We hear within the space of four minutes: the battle music In 1954, Hellman and Bernstein latched for the invasion of ‘Westphalia’; and then, onto Voltaire’s satire as a means to for second subject, music from the duet, criticise President Dwight Eisenhower’s ‘Oh Happy We’. All this is recapitulated ‘complacent’ America – which meant and followed by the refrain from that Candide was meant to carry a lot of Cunegonde’s aria ‘Glitter and be Gay.’ But freight. At one stage Bernstein conceived the listener barely has time to stop and the work as a ‘big three-act opera with take note. chorus and ballet’. By the end of 1954 he saw nothing wrong with being a Whatever the continuing debate over composer of musicals. (The next year he the merits and final form ofCandide would entertain plans for a piece to be (the show), Leonard Bernstein’s volcanic called East Side Story.) musical inspiration has given our concert platform one of its most effective and Over the years since its 1956 premiere, effervescent concert-openers. Candide saw many writers try their Gordon Kalton Williams hand at knocking the piece into some Symphony Australia © 2006 sort of final shape; versions teetered between opera and musical, until Bernstein’s comprehensively operatic Deutsche Grammophon version of 1989, his last recording. Some have felt that the success of the Original Cast Album should have been a clue: the work was a musical.

10 About The Music

Edvard Grieg (1843-1907) Peer Gynt: Suite No.1, Op.46 Morning – Mood (Allegretto pastorale) The Death of Åse (Andante doloroso) Anitra’s Dance (Tempo di Mazurka) In the Hall of the Mountain King (Alla marcia e molto marcato) Edvard Grieg was fascinated by the literature of his native land, and many of his greatest compositions were inspired by Norwegian drama and poetry. In 1874 Ibsen asked Grieg to write music to Nevertheless, Grieg finds in this mad accompany a staging of a revised version journey the stuff of musical sublimity, of his dramatic poem Peer Gynt, which with each section of the First Suite premiered in Oslo in 1876. a jewel in the crown of orchestral Although the score for the incidental repertoire. Morning – Mood brings us music comprises 26 numbers, Grieg’s sunrise over the Norwegian fjords; Åse’s Peer Gynt music is known to most Death marks a poignant tribute to Peer’s listeners largely through the two four- mother; Anitra’s Dance is a Saharan movement suites he produced in 1888 travelogue; while the frenzied tone and and 1893 respectively (the score for the grotesquerie of the immortal In the Hall incidental music remained unpublished of the Mountain King depict the hostile until after his death). The immediacy and trolls baying for Peer’s blood. melodic charm of the items Grieg chose © Martin Buzacott 2005 for the suites have made them some of the best-known pieces in the classical repertoire. Ibsen’s satire concerns the adventures of the eponymous Peer, an anti-hero with enough character defects – chief of which are recklessness and ego – to keep him perpetually on the brink of disaster. His escapades across various nations and emotional landscapes take him to Mountain Kingdoms, Bedouin camps and other exotic destinations, but nothing, it seems, can make him come to any form of self-realisation.

11 About The Music

Carl Orff (1895-1982) Carmina burana Fortuna imperatrix mundi (Fortune, Empress of the World) Part I Primo vere (In Springtime) Auf dem anger (On the Meadow) Part II In taberna (In the Tavern) Part III Cour d’amours (The Court of Love) Blanziflor et Helena (Blanziflor and Helena) Fortuna imperatrix mundi In 1803 a large collection of medieval poetry was discovered in the abbey of Orff was born in 1895 into a military Benediktbeuern in Bavaria. Its 320 poems, family with intellectual and artistic written on parchment and illustrated interests and studied music from an early with illuminated capital letters, represent age including, significantly, research into an anthology of styles and languages non-European music. His early opera including medieval Latin, Old French and Gisei, for instance, is based on Japanese Middle High German. It seems that the N oˉ h drama. In 1917 he enlisted in the collection was compiled for the Bishop German army, but was wounded and of Seckau in 13th-century Austria. The invalided out. The 1920s saw the gradual Bishop must have been quite worldly development of the music-education as the collection includes songs of theories for which, apart from Carmina springtime and love as well as drinking burana, he is best remembered today. songs. In the mid-1930s the collection Orff’s own compositions during the 1920s came to the attention of Carl Orff who show an increasing interest in the use of later remarked: percussion often with piano (influenced Fortune smiled on me when she put partly by Stravinsky’s Les Noces), into my hands a Würzburg second- harmony which is essentially diatonic but hand books catalogue, in which I avoids the goal-directed feel of traditional found a title that exercised on me an tonal music, and rhythm characterised attraction of magical force: Carmina by the ‘Stravinsky-like’ use of repeated burana: Latin and German songs and figurations. These musical techniques poems of a 13th-century manuscript reached their first realisation in 1931’s from Benediktbeuern, edited by J.A. Carmina Catulli, settings of one of the Schmeller. great Roman poets. Carmina burana followed a few years later, and was first Orff spoke more truly than he knew: performed in Frankfurt in 1937. certainly Carmina burana (Songs of Beuern) would make his fortune, at least artistically. But its success put much of his subsequent in the shade.

12 1937 was of course a time when Hitler The ‘O Fortuna’ chorus bookends the and the Nazis were doing their utmost whole work with its mighty choral and to win the hearts and minds of Germany. orchestral forces and implacable rhythms. Carmina burana comes perilously close to The body of the work, which uses 23 of the kind of music favoured by the regime; the published poems, is divided into three the cheerfully hedonistic poetry (‘I am the main sections. The first, ‘Springtime’ and Abbot of Cockaigne’) similarly reflects ‘On the Meadow’, uses the conventional the growing anti-clericalism in 1930s genres of pastoral poetry: spring returns, Germany. the sun warms the earth, forests awaken, and a young person’s thoughts turn to For this reason we need to take with love. But not before a brief spell ‘In the a grain of salt Orff’s assertion that the Tavern’, a male-dominated environment work never got a good review in Nazi in which Orff creates a number of Germany. Generally critics praised the memorable characters. None more so, if work in language redolent of much Nazi only musically, than the Roasting Swan, propaganda, noting its ‘radiant strength- a high tenor whose lament is for the filled life-joy’. loss of his whiteness as much as for his Wherever it has been performed, imminent consumption. Finally ‘The Court Carmina burana retains its ability to of Love’ takes up the erotic threads of evoke what Alex Ross calls ‘primitive, ‘Spring’, contrasting delicacy and robust unreflective enthusiasm’. And that’s humour before the soaring soprano solo partly because of the texts. Orff of ‘Dulcissime’ and ecstatic chorus to described reading the collection: ‘Blanziflor and Helena’. The ecstasy will, of course, be swept away by Fate, so the On opening it I immediately found, on the music returns to ‘O Fortuna’. As Michael front page, the long-famous picture of Steinberg has noted, one wouldn’t guess ‘Fortune and her wheel’ and under it the from the music that the last line of the lines O fortuna/velut luna/statu variabilis poetry is ‘mecum omnes plangite’ (come, … Picture and words seized hold of me weep with me). … a new work, a stage work with singing and dancing choruses, simply following Gordon Kerry © 2006 the illustrations and texts, at once came Originally designed for the stage, Carmina into my mind. burana was first performed by the Frankfurt Opera under the direction of Bertil Wetzelsberger on 8 June 1937. The West Australian Symphony Orchestra first performed it in October 1968 under Frank Callaway.

13 Text & Translation

FORTUNA IMPERATRIX MUNDI FORTUNE, EMPRESS OF THE WORLD 1. Chorus O Fortuna, O Fortune, velut Luna changeable statu variabilis, as the moon, semper crescis you are always either waxing aut decrescis; or waning. vita detestabilis Detestable life nunc obdurat at one moment thwarts et tunc curat and at another mockingly ludo mentis aciem, indulges the mind’s desire, egestatem, melting away both potestatem poverty and power, dissolvit ut glaciem. like ice. Sors immanis Vain, et inanis, monstrous Fate, rota tu volubilis, you turning wheel, status malus, you can, when you will, vana salus destroy bad circumstances semper dissolubilis, and delusive success alike. obumbrata Veiled et velata and shadowy, michi quoque niteris; you attack me too; nunc per ludum now at your whim dorsum nudum I bare my back fero tui sceleris. under your assault. Sors salutis You, Fate, who dispose health et virtutis and strength, michi nunc contraria, are now against me; est affectus my desires et defectus and my weakness semper in angaria. are in constant slavery. Hac in hora At this hour sine mora without delay corde pulsum tangite; let all pluck the string; quod per sortem since Fate sternit fortem, crushes the strong man mecum omnes plangite! everyone weep with me! 2. Chorus Fortune plango vulnera I lament Fortune’s blows stillantibus ocellis, with weeping eyes, quod sua michi munera for she aggressively extorts subtrahit rebellis. tribute from me; Verum est, quod legitur sometimes she offers fronte capillata, a rich harvest, sed plerumque sequitur but usually she provides Occasio calvata. a lean supply. In Fortune solio Once I sat high up sederam elatus, on Fortune’s throne, prosperitatis vario garlanded with all flore coronatus; the blooms of prosperity; Quicquid enim florui indeed I was in the bloom felix et beatus, of blessed happiness, nunc a summo corrui but now I have tumbled from my eminence, gloria privatus. robbed of my glory.

14 Fortune rota volvitur: Fortune’s wheel turns: descendo minoratus; I am cut down and fall; alter in altum tollitur; another is raised to the heights; nimis exaltatus the king sits at the peak, rex sedet in vertice too much exalted – caveat ruinam! let him beware of ruin, nam sub axe legimus for under the axle we read Hecubam reginam. the name of Queen Hecuba. PRIMO VERE SPRINGTIME 3. Semichorus Veris leta facies The smiling face of spring mundo propinatur, is granted to the world, hiemalis acies keen winter is now defeated victa iam fugatur, and chased away. in vestitu vario Phoebus reigns Phebus principatur, in colourful robes, nemorum dulcisono honoured in the sweet-sounding que cantu celebratur. song of the woods. Flore fusus gremio Lying once more in Flora’s lap, Phebus novo more Phoebus laughs; risum dat, hoc vario surrounded by iam stipata flore. many-coloured flowers Zephyrus nectareo Zephyrus breathes spirans in odore; the fragrance of their nectar; certatim pro bravio let us hasten to love curramus in amore. and compete for its price. Cytharizat cantico The sweet nightingale dulcis Philomena, strikes up her song, flore rident vario the radiant meadows smile prata iam serena, with many-coloured flowers, salit cetus avium the birds dart about silve per amena, the pleasant woods, chorus promit virginum the chorus of dancing maidens iam gaudia millena. now brings delights in thousands. 4. Baritone solo Omnia sol temperat The bright, keen sun purus et subtilis, tempers everything; nova mundo reserat returning April facies Aprilis, discloses her face to the world; ad Amorem properat men’s hearts animus herilis, hasten to love, et iocundis imperat and the boyish god rules deus puerilis. over the amiable. Rerum tanta novitas This great renewal in solemni vere and the power et veris auctoritas of festive spring iubet nos gaudere, bid us rejoice; vias prebet solitas, spring brings back the well-known ways, et in tuo vere and in spring fides est et probitas it is good and loyal tuum retinere. to hold fast to your lover.

15 Text & Translation

Ama me fideliter! Love me faithfully, fidem meam nota: see the faithfulness de corde totaliter of my whole heart et ex mente tota and my whole mind. sum presentialiter I am with you absens in remota, even when I am far away. quisquis amat taliter, Whoever loves like that volvitur in rota. is tortured on the wheel. 5. Chorus Ecce gratum Behold, welcome et optatum and longed-for Ver reducit gaudia; spring brings delight back, purpuratum the meadows glow floret pratum, with rich flowers, Sol serenat omnia. the sun makes all things bright. Iamiam cedant tristia! Now sorrow flees! Estas redit, Summer returns, nunc recedit and harsh winter Hyemis sevitia. withdraws. Iam liquescit Now hail, snow, et decrescit and the rest grando nix et cetera; melt away; bruma fugit, winter flees, et iam sugit and now spring Ver Estatis ubera; sucks the breast of summer; illi mens est misera sad is the heart of him qui nec vivit, who neither enjoys life nec lascivit nor frolics sub Estatis dextera. under the hand of summer. Gloriantur Those who seek et letantur to take advantage in melle dulcedinis. of Cupid’s prize Qui conantur, glory ut utantur and rejoice premio Cupidinis; in the honey of sweetness; simus iussu Cypridis let us, at the command of Cyprian Venus, gloriantes glory et letantes and rejoice pares esse Paridis. to be the equals of Paris. UF DEM ANGER ON THE MEADOW 6. Dance (Orchestra) 7. Chorus Floret silva nobilis, The noble forest blooms floribus et foliis. with flowers and leaves. Ubi est antiquus meus amicus? Where is he who was my lover? Hinc equitavit, He has ridden away. eia, quis me amabit? Alas, who will love me? Floret silva undique, Everywhere the forest blooms, nah mime gesellen ist mir wê. I am longing for my lover. Gruonet der walt allenthalben, The wood is green all over, wâ ist min geselle alse lange? where is my lover this long time? Der ist geriten hinnen, He has ridden away. o wî, wer sol mich minnen? Alas, who will love me?

16 8. Soprano solo and chorus Chramer, gip die varwe mir, Hawker, give me the rouge die min wengel roete, to make my cheeks red, da mit ich die jungen man so that I can invite the young men an ir dank der minnenliebe noete. to welcome love. Seht mich an, Look at me, jungen man! young men! lat mich iu gevallen. Let me please you! Minnet, tugentliche man, Gallant men, love minnecliche frouwen! lovely women! minne tuot iu hoch gemuot Love puts you in high spirits unde lat iuch in hohen eren schouwen. and does you great credit. Seht mich an… Look at me… Wol dir, Werlt, daz du bist Hail, world, also freudenriche! so rich in joys! ich will dir sin undertan I will always be subject to you durch din liebe immer sicherliche. through love of you. Seht mich an… Look at me… 9a. Reie [Round Dance] (Orchestra) 9b. Chorus Swaz hie gat umbe, Here, all in a circle, daz sint allez megede, are maidens die wellent an man who are all after a man alle disen sumer gan! this summer. 9c. Semichorus Chume, chum, geselle min, Come, come, my love, ih enbite harte din. I implore you. Suzer rosenvarwer munt, Sweet rosy mouth, chum uñ mache mich gesunt. come and make me whole. Swaz hie gat umbe… Here, all in a circle… 10. Chorus Were diu werlt alle min If all the world were mine von deme mere unze an den Rin, from the sea to the Rhine, des wolt ih mih darben, I would give it up daz diu chünegin von Engellant to have the Queen of England lege an minen armen. Hei! lying in my arms. Hey! IN TABERNA IN THE TAVERN 11. Baritone solo Estuans interius Boiling inside ira vehementi with violent rage, in amaritudine I talk bitterly loquor mee menti: to myself; factus de materia, made of matter, cinis elementi, ash of the elements, similis sum folio, I am like a leaf de quo ludunt venti. that the winds play with.

17 Text & Translation

Cum sit enim proprium For, while it is the mark viro sapienti of the wise man supra petram ponere to build his foundation sedem fundamenti, on rock, stultus ego comparor I, a fool, am like fluvio labenti, a gliding river, sub eodem tramite which never keeps nunquam permanenti. to the same course. Feror ego veluti I am carried along sine nauta navis, like a ship without a helmsman, ut per vias aeris as a bird is carried aimlessly vaga fertur avis, through the ways of the air; non me tenent vincula, No fetters hold me, non me tenet clavis, no key holds me; quero mihi similes I seek others like myself, et adiungor pravis. and I join up with the wicked. Mihi cordis gravitas Heaviness of heart res videtur gravis; Seems to me a grievous thing; iocus est amabilis merriment is delightful dulciorque favis; and sweeter than honeycombs; quicquid Venus imperat, whatever Venus commands labor est suavis, is sweet labour, que nunquam in cordibus and never dwells habitat ignavis. in spiritless hearts. Via lata gradior I travel the broad path more iuventutis, In manner of youth, implicor et vitiis I am entangled in vice immemor virtutis, And forgetful of virtue. voluptatis avidus Greedier for pleasure magis quam salutis, Than for welfare, mortuus in anima Dead in soul, curam gero cutis. I look after my body. 12. Tenor solo and male chorus Olim lacus colueram, Once I lived in the lakes, olim pulcher extiteram, once I was beautiful, dum cignus ego fueram. when I was a swan. Miser, miser! Woe, woe is me! modo niger Now I am black et ustus fortiter! and roasted through! Girat, regirat garcifer; The cook turns me about on the spit; me rogus urit fortiter; the fire roasts me through; propinat me nunc dapifer. now the waiter prepares me. Miser, miser… Woe, woe is me… Nunc in scutella iaceo Now I lie on the salver, et volitare nequeo, and I cannot fly; dentes frendentes video: I see gnashing teeth that would masticate me. Miser, miser… Woe, woe is me…

18 13. Baritone solo and male chorus Ego sum abbas Cucaniensis, I am the Abbot of Cockaigne, et consilium meum est cum bibulis, and my associates are drinkers, et in secta Decii voluntas mea est and my adherence is to the sect of Decius, et qui mane me quesierit in taberna, and whoever meets me in the tavern over dice post vesperam nudus egredietur, in the morning et sic denudatus veste clamabit: will go out naked by the end of the evening, and stripped of his clothes will cry:

Wafna, wafna! Wafna, wafna! quid fecisti sors turpissima? what have you done, evil fate? Nostre vite gaudia You have stolen away abstulisti omnia! all the joys of my life! 14. Male chorus In taberna quando sumus, When we are in the tavern non curamus quid sit humus, we take no thought for the grave, sed ad ludum properamus, but rush to the gaming-tables, cui semper insudamus. over which we always sweat. Quid agatur in taberna, If you want to know ubi nummus est pincerna, what happens in the tavern, hoc est opus ut queratur, where it is money that brings the wine, si quid loquar, audiatur. then listen to what I say. Quidam ludunt, quidam bibunt, Some gamble, some drink, quidam indiscrete vivunt. some just let themselves go. Sed in ludo qui morantur, Of those who spend their time gambling, ex his quidam denudantur, some lose their clothes, quidam ibi vestiuntur, others gain them, quidam saccis induuntur. others put on sackcloth. Ibi nullus timet mortem There no one fears death: sed pro Baccho mittunt sortem. they throw the dice for Bacchus. Primo pro nummata vini, First they throw for the wine bill, ex hac bibunt libertini; from which the libertines drink. semel bibunt pro captivis Once more they drink to prisoners, post hec bibunt ter pro vivis, then three times to the living, quater pro Christianis cunctis, four times for all Christians, quinquies pro fidelibus defunctis, five times for the faithful departed, sexies pro sororibus vanis, six times for the boastful sisters, septies pro militibus silvanis. seven times for forest soldiers. Octies pro fratribus perversis, Eight times for sinful brothers, nonies pro monachis dispersis, nine times for scattered monks, decies pro navigantibus, ten times for the seafaring, undecies pro discortantibus, eleven times for the quarrelling, duodecies pro penitentibus, twelve times for the penitent, tredecies pro iter agentibus. thirteen times for travellers. Tam pro papa quam pro rege They all drink without restraint bibunt omnes sine lege. for the Pope just as for the King. Bibit hera, bibit herus, The mistress drinks, the master drinks, Bibit miles, bibit clerus, the soldier drinks, the cleric drinks, bibit ille, bibit illa, this man drinks, that woman drinks, bibit servus cum ancilla, the servant drinks with the maid, bibit velox, bibit piger, the active man drinks, the lazy man drinks bibit albus, bibit niger, the white man drinks, the black man drinks, bibit constans, bibit vagus, the settled man drinks, the wanderer drinks, bibit rudis, bibit magus. the ignorant man drinks, the scholar drinks.

19 Text & Translation

Bibit pauper et egrotus, The poor man and the sick man drink, bibit exul et ignotus, the unknown man and the exile drink, bibit puer, bibit canus, the boy drinks, the old man drinks, bibit presul et decanus, the leader and the deacon drink, bibit soror, bibit frater, the sister drinks, the brother drinks, bibit anus, bibit mater, the old woman drinks, the mother drinks, bibit iste, bibit ille, this woman drinks, that man drinks, bibunt centum, bibunt mille. hundreds drink, thousands drink. Parum sexcente nummate Six hundred coins do not durant, cum immoderate last long enough, where all bibunt omnes sine meta, drink without limit of restraint, quamvis bibant mente leta; though they may drink with happy hearts; sic nos rodunt omnes gentes, thus everyone disparages us, et sic erimus egentes. and thus we shall be destitute. Qui nos rodunt confundantur Let those who disparage us be confounded, et cum iustis non scribantur. and their names be not inscribed with those of the just. Io io! Io io!

COUR D’AMOURS THE COURT OF LOVE 15. Soprano solo and children’s chorus Amor volat undique; Love flies everywhere, captus est libidine. seized by desire. Iuvenes, iuvencule Young men and girls coniunguntur merito. are rightly joined together. Siqua sine socio, A girl without a man caret omni gaudio, lacks all delight; tenet noctis infima deepest night sub intimo holds her inmost cordis in custodia: heart enchained: fit res amarissima. such a thing is indeed bitter. 16. Baritone solo Dies, nox et omnia Day, night, and all things michi sunt contraria, are against me, virginum colloquia and the sound of girls’ voices me fay planszer, makes me weep, oy suvenz suspirer, and, alas, makes me often sigh, plu me fay temer. and even makes me fear. O sodales, ludite, O friends, amuse yourselves; vos qui scitis dicite, you who know, speak on. michi mesto parcite, spare me in my grief; grand ey dolur, great is my sorrow. attamen consulite But yet reflect, per voster honur. by your honour. Tua pulchra facies Your lovely face me fay planszer milies, and my heart pectus habet glacies make me weep a thousand tears; a remender, I should be cured statim vivus fierem and brought to life again per un baser. by one kiss.

20 17. Soprano solo Stetit puella There stood a girl rufa tunica: in a red tunic; si quis eam tetigit, if anyone touched the tunic tunica crepuit. Eia. it rustled. Eia. Stetit puella There stood a girl tamquam rosula; like a little rose; facie splenduit, her face was radiant, os eius floruit. Eia. and her mouth bloomed. Eia. 18. Baritone solo and chorus Circa mea pectora My heart is filled multa sunt suspiria with many sighs de tua pulchritudine, which give me grievous pain que me ledunt misere. because of your beauty. Manda liet, manda liet, Manda liet, manda liet, min geselle chumet niet! my love does not come. Tui lucent oculi Your eyes shine sicut solis radii, like rays of the sun, sicut splendor fulguris as the brilliance of lightning lucem donat tenebris. gives light to the dark night. Manda liet… Manda liet… Vellet deus, vellent dii, May the gods quod mente proposui: approve my resolve ut eius virginea to undo the bonds reserassem vincula. of her virginity. Manda liet… Manda liet… 19. Male semichorus Si puer cum puellula If a boy is with a young girl moraretur in cellula, in a little room, felix coniunctio. that is a happy union. Amore suscrescente, Love wells up pariter e medio as restraint is banished avulso procul tedio, far from them, fit ludus ineffabilis and inexpressible pleasure comes over membris, lacertis, labiis. their limbs, their arms, their lips. 20. Double chorus Veni, veni, veni venias, Come, come, come, ne me mori facias, do not make me die, hyrca, hyrce, hyrca, hyrce, nazaza, trillirivos… nazaza, trillirivos… Pulchra tibi facies, Your beautiful face, oculorum acies, the look of your eyes, capillorum series, the braids of your hair, o quam clara species! o how glorious you look! Rosa rubicundior, Redder than the rose, lilio candidior, whiter than the lily, omnibus formosior, more beautiful than all the rest, semper in te glorior! I glory in you unceasingly!

21 Text & Translation

21. Soprano solo In trutina mentis dubia Opposite courses hang in the balance fluctuant contraria of my wavering mind; lascivus amor et pudicitia. wanton love and chastity. Sed eligo quod video, But I choose what I see collum iugo prebeo; and bend my neck to the yoke – ad iugum tamen suave transeo. to the sweet yoke I submit. 22. Soprano and Baritone solos Chorus and Children’s chorus Tempus est iocundum The season is pleasant, o virgines, o maidens; modo congaudete rejoice together, vos iuvenes. you young men. Oh, oh, oh, O, o, o, totus floreo! I bloom all over Iam amore virginali with love for a maiden; totus ardeo, it is a new, novus amor est new love quo pereo! that I die of. Mea me confortat Complying promissio, soothes me, mea me deportat refusing negatio. casts me down. Oh, oh, oh… O, o, o, I bloom all over… Tempore brumali In winter time vir patiens, a man is passive, animo vernali the breath of spring lasciviens. arouses his desires. Oh, oh, oh… O, o, o, I bloom all over… Mea mecum ludit My virginity virginitas, teases me, mea me detrudit my innocence simplicitas. defeats me. Oh, oh, oh… O, o, o, I bloom all over, etc. Veni, domicella, Come with joy, cum gaudio, my mistress, veni, veni, pulchra come, come, my beautiful one, iam pereo. for I am dying. Oh, oh, oh… O, o, o, I bloom all over… 23. Soprano solo Dulcissime, ah, Sweetest boy, totam tibi subdo me! I give myself to you utterly.

22 BLANZIFLOR ET HELENA BLANZIFLOR AND HELENA 24. Chorus Ave formosissima Hail, most beautiful one, gemma pretiosa, precious jewel; ave decus virginum, hail, pride of maidens, virgo gloriosa, glorious maiden; ave mundi luminar, hail, light of the world; ave mundi rosa, hail, rose of the world, Blanziflor et Helena, Blanziflor and Helena, Venus generosa! noble Venus.

FORTUNA IMPERATRIX MUNDI FORTUNE, EMPRESS OF THE WORLD 25. Chorus O Fortuna, O Fortune, velut Luna changeable statu variabilis, as the moon, semper crescis you are always either waxing aut decrescis; or waning. vita detestabilis Detestable life nunc obdurat at one moment thwarts et tunc curat and at another mockingly ludo mentis aciem, indulges the mind’s desire, egestatem, melting away both potestatem poverty and power, dissolvit ut glaciem. like ice. Sors immanis Vain, et inanis, monstrous Fate, rota tu volubilis, you turning wheel, status malus, you can, when you will, vana salus destroy bad circumstances semper dissolubilis, and delusive success alike. obumbrata Veiled et velata and shadowy, michi quoque niteris; you attack me too; nunc per ludum now at your whim dorsum nudum I bare my back fero tui sceleris. under your assault. Sors salutis You, Fate, who dispose health et virtutis and strength, michi nunc contraria, are now against me; est affectus my desires et defectus and my weakness semper in angaria. are in constant slavery. Hac in hora At this hour sine mora without delay corde pulsum tangite; let all pluck the string; quod per sortem since Fate sternit fortem, crushes the strong man mecum omnes plangite! everyone weep with me!

The text by Carl Orff fromCarmina Burana is reproduced by permission of Hal Leonard Australia, exclusive agent for Schott Music Ltd of Mainz.

23 Meet The Musician

Brian Maloney Principal Percussion

How and where did your musical journey begin? I began studying drums when I was 10 years old. I first started out playing in my school concert band, and from there began studying privately and eventually auditioned for a local youth orchestra where I fell in love with orchestral music. Can you remember your first WASO concert? It was a program under the baton of When no one’s around, what music do Alexander Lazarev that had Tchaikovsky you listen to? Symphony No.1, which is an amazing As a professional musician, and piece. It was my first time playing that especially as a percussionist, I try to particular Tchaikovsky symphony and to listen to as many different genres of play it under a Russian conductor was an music as possible. I’ve got literally experience I’ll never forget. thousands of songs on my playlist What do you love most about being a ranging from heavy metal to progressive professional musician? jazz to hip hop, and it changes daily. I think the greatest joy of being a You’ve recently been appointed Chair musician comes from our ability to of Percussion at UWA. In your opinion, change peoples’ lives for the better, what is the most important concept to whether it’s over the course of a night, a teach to your students? year, or even a fleeting moment. If I can I think the concept of developing a provide some sort of solace or reprieve strong work ethic is easily one of the even for just one person in the audience most important things you can instil in I’ve done my job well. a student. Talent accomplishes nothing What are your favourite percussion without hard work and dedication, and instruments to play? that’s a lesson that is transferable into That’s a tough question. In a way, any field of study. being section principal means it’s my How does it feel to be back performing job to love all the various percussion with an audience? instruments equally, so I tend to love Quite simply, it’s amazing. I am so whichever instruments I’m playing that privileged to be here in WA and to play week the most. That being said, there’s in an orchestra of this calibre. It really nothing better than playing the climactic makes me grateful for where I’m at in cymbal crash in a Mahler symphony! life, and where Western Australia is in relation to the current global climate. How would you describe tonight’s concert in one sentence? Epic... beautifully epic.

24 WASO Community Engagement

WASO’s Community Engagement team have been delighted to be back in the community! In August, we delivered Music for the Ages performances in Aged Care residences and our Hospital Orchestra Project was also back in action at Perth Children’s Hospital. It was a Meet the Strings morning – WASO musicians visited children on the wards followed by a Meet the String Quartet performance in the auditorium that was broadcast out to the wards on Starlight TV. In September, we welcomed guests from disability support agencies to a special performance at Perth Concert Hall as part of our Connect program. We also visited four Education Support Schools with our Harmony Music program, to share music with students in the comfort of their school environment. Our musicians shared stories about life as a musician and introduced students to the instruments of the orchestra. ‘We had a great time... thank you thank you wonderful magical music’ Disability Support Worker regarding the Connect Chamber Concert The Year 1 teacher had been playing ‘Thank you so so much for the quartet orchestral Spring music in the classroom visiting us. The performance was amazing as part of the Seasons curriculum and she and such a joy to see our residents out in believes that the student related to this. As the sunshine enjoying the music.’ I said on Friday, we never know how your Kim Hughes, Brightwater Onslow Gardens visits are going affect our students and this is just a perfect example.' 'Thought I'd relay a story about one of our Teacher, Harmony Music Participant School Year 1 students. This young boy spent most of the incursion lying peacefully on the mat We are looking forward to reaching more and being peaceful for any length of time communities through our renewed calendar for this child is challenging. of Community Outreach events in 2020. Harmony Music is supported by Mitsubishi Corporation. WASO’s Community Outreach Program is proudly supported by Act-Belong-Commit.

25 WASO Philanthropy

Thank You to our Patrons & Friends We wish to thank our philanthropic community for their essential support in 2020. You have helped ensure WASO will continue to provide inspiring and joyful orchestral music for all West Australians. As a not-for-profit, charitable organisation we are extremely proud to be supported by many individuals who each year renew their gift to our Annual Giving fund. Your Orchestra would be a very different one without this ongoing support. On behalf of WASO, and all its staff This year we were especially humbled and musicians, thank you for helping us by the support shown by those who continue to touch souls and enrich lives donated their concert tickets or made through music. an annual gift during our COVID-19 shutdown period.

26 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. Honorary Patron Paula Phillips Education & Community Jan & Bryan Rodgers Janet Holmes à Court AC Engagement Fund Nigel & Dr Heather Rogers Jean Arkley Endowment Fund for Jacinta Sirr-Williams Annette Cottee Ruth Stratton Penny & Ron Crittall the Orchestra Ruth & Neville Thorn Robyn Glindemann Major Donations Gavin Toovey & Jaehan Lee Journey Recruitment Tom & Jean Arkley Agatha van der Schaaf Deborah & Miles Protter Bendat Family Foundation Sheila Wileman Eveline Read Janet Holmes à Court AC Sagitte Yom-Tov Fund Dr Carol Warren Minderoo Foundation Anonymous (40) Anonymous (1) Sagitte Yom-Tov Fund Estates Chairman’s Circle Crescendo Lee Bickford Supporting excellence Trusts & Foundations Rachel Mabel Chapman Richard Goyder AO & Janine Goyder Crown Resorts Foundation Malcolm Hood Jean Arkley Packer Family Foundation Clive Knight Janet Holmes à Court AC Feilman Foundation Paul Lee Torsten & Mona Ketelsen Stan Perron Charitable Foundation Anna Nottage in memory Tony & Gwenyth Lennon Bunning Family of Edgar Nottage Rod & Margaret Marston* Wendy Scanlon John Rodgers Crescendo Giving Circle Jean Arkley Judy Sienkiewicz Leanne & Sam Walsh* Prue Ashurst Mrs Roslyn Warrick David & Suzanne Biddles Anonymous (7) The 2020 WASO S Cherian Song Book Brenda Cohen Symphony Circle Supporting new works commissioned Thank you to all our Bequestors Kaylene Cousins for the Orchestra for 2020 and beyond Megan & Arthur Criddle Julian Agafonoff & David Escott Janet Holmes à Court AC Kevin ‘Joe’ Blake Euroz Charitable Foundation Prue Ashurst Sue & Clive Hovell Ms Davilia Bleckly In memory of Mary Rodoreda Mr John Bonny Madeleine King MP, Federal Geoff Stearn Member for Brand Dr G Campbell-Evans Anonymous (1) Deirdre Carlin LeMessurier Charitable Trust Anita & James Clayton Instrument Fund Rosalind Lilley S & J Dale Lommers Engineering Pty Ltd John Albright & Susan Lorimer Louise & Bryant Macfie Lesley & Peter Davies Peter Ingram Dr Michael Flacks Mrs Morrell Deborah Marsh Judith Nash John Foster Margaret & Rod Marston Judith Gedero G & I Nicholas Peggy & Tom Stacy Pamela Pitt Robyn Glindemann Jean & Peter Stokes Gwenyth Greenwood The Sheena Prince Memorial Fund The Guy Family Education & Community Dr Lance Risbey Angus Holmes Engagement Tony Rudd Emy & Warren Jones Rosalin Sadler in memory of Joyce Supporting our nationally Barbara Joseph Durbin Sadler recognised Education & Community In memory of Robert & Joan Street Colin & Jo King Engagement programs Rachael Kirk & Tim White Ruth E Thorn Wolfgang Lehmkuhl Trusts & Foundations Reto Vogel Bendat Family Foundation Deborah Marsh WA Massed Choir Festival McCusker Charitable Foundation Lesley R. McKay & Murray R. McKay Alan Whitham Simon Lee Foundation Suzanne Nash Mary Ann Wright Anonymous (3)

27 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 Dr John Woodall Andrew & Marie Yuncken Circle Anonymous (6) Anonymous (3) Gifts $20,000+ Virtuoso Patron Principal Patron Janet Holmes à Court AC Gifts $2,500 - $4,999 Gifts $1,000 - $2,499 Jean Arkley in memory Dr Fred Affleck AO & Mrs Caroline Allen & Sandy Dunn of Tom Arkley Margaret Affleck Margaret Atkins Dr Glenda Campbell-Evans & Neil Archibald & Alan R Dodge AM Stuart Anderson Dr Ken Evans* Tony & Mary Beeley Catherine Bagster Patricia New David & Suzanne Biddles Betty Barker Joshua & Pamela Pitt* Peter & Marjorie Bird Matthew J C Blampey Peter & Jean Stokes* Prof Jonathan Carapetis & Prof Namy Bodinner Impresario Patron Sue Skull Cathy Bolt in memory Gifts $10,000 - $19,999 Kim & Bob Collins of Tony Bolt Ian & Elizabeth Constable K & C Bond Gay & Bob Branchi Lesley & Peter Davies John & Debbie Borshoff Gavin Bunning Stephen Davis & Linda Savage Sue Boyd Prof Rachel & Dr Andrew Gardner Rev Dr John Cardell-Oliver Dr & Mrs P Breidahl Gilbert George Gray Laraine Brindle Brian & Romola Haggerty Maryllis & Paul Green-Armytage Elizabeth & James Brown Meg O’Neill & Vicky Hayes Danuta Julia Ian & Marilyn Burton Alan Whitham Kay Giorgetta Adrienne & Phillip Buttrose Trish Williams Dr Penny Herbert in memory of Stewart Candlish & Bianca Panizza Dunstan Herbert Wright Burt Foundation Michelle Candy Peter Ingram Anonymous (2) David Castillo & Marian Magee Jim & Freda Irenic Claire Chambers & Maestro Patron Roger Jennings in memory of Dr Andrea Shoebridge Gifts $5,000 - $9,999 Lilian Jennings Fred & Angela Chaney Prue Ashurst in memory Eleanor John & Finn Barrett Constance Chapman of Eoin Cameron Michael & Dale Kitney Dr Peter Chauvel Ruth Bailey Francis Landels Dr Anne Chester Dr John Blott Barrie & Jude Le Pley Anthea Cheney Lady Jean Brodie-Hall Tony & Gillian Milne Dr Keryn Christiansen Maree Creighton & Kevin Davis Mrs Morrell Peter & Sue Clifton Bridget Faye AM Val & Barry Neubecker John Collins Dr John Gladstones Anne Nolan Dr David Cooke Warwick Hemsley Robyn Owens Hon June Craig AM Dale & Greg Higham John Overton Dr Megan Davies Sue Hovell Pamela Platt Monique De Vianna Margaret & Peter James Thomas & Diana Potter Kelly & Andrew Diong Keith & Gaye Kessell Roger Sandercock Rai & Erika Dolinschek Dr Ronny Low & Melanie & Paul Shannon Simon Douglas Dr Emma Richardson Glenice Shephard Prof Robert Durand Bryant & Louise Macfie Elisabeth & David Smith Bev East Paula & John Phillips Michael Snell & Vicki Stewart Lorraine Ellard G. J. Seach Brian Stewart Dr Jenny & Terry Fay Geoff Stearn Gail & Tony Sutherland Tony & Sue Field Ros Thomson Tessa Tieleman Gilly Flower Gene Tilbrook & Anne Seghezzi Agatha van der Schaaf Don & Marie Forrest Michael & Helen Tuite Stan & Valerie Vicich Toni Frank Joyce Westrip OAM Fred & Caroline Witting Eléonore Fuchter

28 Our Supporters

Robyn Glindemann Mr & Mrs Geoffrey Morris James & Rosemary Trotter Roger & Ann Gillbanks Jane & Jock Morrison Christopher Tyler Deidre Greenfeld Dr & Mrs Peter Moss Yvonne Varey Grussgott Trust Patricia Murphy Karen Venard Ann Hammer Lyn Murray Maggie Venerys Richard B Hammond Judith Nash Geoff & Sandra Wackett Nick Handran Smith & Family Nilant Rita Wager Elizabeth Allan Marianne Nilsson John & Nita Walshe Pauline & Peter Handford Dr Walter Ong & Adrienne & Max Walters AM Peter Hansen Graeme Marshall Diana & the late Bill Warnock Dr & Mrs H Hansen-Knarhoi Michael & Lesley Page Ian Watson Julie Harris Rosemary Peek Joy Wearne Paul & Barbara Harris Charmian Phillips in memory Frederick Wehr Vanessa Harvey of Colin Craft Dr Deb Weir Rev Bill Hawley & Beth & Walter Pidgeon Alan Westle in memory of Jean Dr Rev Georgina Hawley Richard & Sharon Prince Moira Westmore John & Christine Hedges Dr Leon Prindiville Dr Chris & Mrs Vimala Whitaker Elizabeth & Eric Heenan Tony & Val Ramshaw Barbara Wilcox Dallas Hickman & Alex Hickman Rev Philip Raymont Dai & Anne Williams Dr John & Patricia Hill Prof Ian Reid & Mrs Jean & Mr Ian Williams AO Helen Hollingshead Dr Gale MacLachlan Jim & Gill Williams Dr Keith Holt James & Nicola Ridsdill-Smith Simon & Alison Williams Dr K & Mr J Hopkins OAM John & Alison Rigg Judith Wilton & David Turner Rosemary Howarth Dr Lance Risbey Hilary & Peter Winterton AM Judith Hugo Will Riseborough Kin Yung Jan & Walter Hunter Paul & Christine Roberts Anonymous (32) Richard Isted Wayne Robinson Cynthia Jee Bryan & Jan Rodgers Tutti Patron Diane Johnson Gerry & Maurice Rousset OAM Gifts $500 - $999 Emy & Warren Jones Dr J B & Mrs A Rowlands Anne Acton Anthony Kane in memory Stephanie Rusyn in memory Kim Anderson & Paul Holmes of Jane Leahy-Kane of John Kobelke Kenneth & Judith Arkwright Bill Kean Robin & Anne Salter Arron Arntzen David Keast & Victoria Mizen Robyn & Ted Sharp Rebe Atlas Noelle & Anthony Keller AM Anne Sibbel Phillip & Mary Bairstow Ulrich & Gloria Kunzmann In memory of Judith Sienkiewicz Steven & Joanne Baitz Irving Lane Laurel & Ross Smith Barrie Baker Dr Sunny & Ann Lee PAI Smith & DA Harry Bernard & Jackie Barnwell Ruth & Malcolm Leske Geoff & Chris Soutar Shirley Barraclough Martin & Ruth Levit Malca & Graham Spencer-Laitt Lisa & Glenn Barrett Ann Lewis David Stevenson Berwine Barrett-Lennard Ian & Judith Lunt Donald & Laurel Stewart Peter Bath Dr Seamus MacDonald Iain Summerlin Noelle Beasley Graham & Muriel Mahony Richard Tarala & Lyn Beazley AO Colin & Sarah Beckett Denise Main Janet & the late Stephen Thackray Alecia Benzie Dr Tony Mander & Ruth Thomas in memory Ross Benzie Ms Loretta Byrd of Ken & Hazel Rowley Ingrid Berchem Gregg & Sue Marshman Clare Thompson & Brad Power Michael & Nadia Berkeley-Hill Geoffrey Massey Jillian Thompson Ann Beveridge Pam Mathews & Dr Mark Brogan Peter & Jane Thompson in Eric Bew Judith McGuinness memory of Mrs Freda Stimson Eileen Bibby Betty & Con Michael AO Mike Thomson & Rae Robinson Minnie Biggs Mrs Carolyn Milton-Smith in Ruth E Thorn Lea Bingemann loving memory of Emeritus Prof Gavin Toovey & Jaehan Lee John & Sue Bird in memory of John Milton-Smith Mary Townsend Penny Bird Hon Justice S R Moncrieff Tracey Family Jane Blanckensee Elizabeth Moran Gwen Treasure Davilia Bleckly

29 Our Supporters

Margaret Bloch Dudley Gager Dr Marie Martin E & G Bourgault in memory Joan Gagliardi Diana McArthur of Betty Sagar Jennifer & Stephen Gardiner Don & Moira McKinley Diane & Ron Bowyer George Gavranic Donna & Peter Millington Judith Brown Neville & Jane Gibbs Patricia & Kevin Morgan Christine Burson Dr Rhona Giles Louis Mostert David & Pat Bussard Beth Gow Margaret & Bruce Murdoch Ann Butcher & Dean R Kubank Prof Lelia Green G & I Nicholas Kevin Button & Susie Lim Pitsamai & Kevin Green Phuong Nguyen Maria Caesar Gwenyth Greenwood Mary O’Hara R & R Cant Nola Gregory Marjan Oxley Dr Charlene Caspersz & Bob & Jenny Greig Valetta Parr Dr Rob Will Sonia Grinceri & Paula Watt Heather Passmore S Barea Castillo Barbara Haddy Dr John Pearce Philip & Frances Chadwick Dr Roland Haehnel Bev Penny Renate Chandler Michael & Helen Hawkins Prof Suvendi Perera Tim & Claire Chapman Shona Hall Adrian & Ruth Phelps Grant & Catherine Chappelle Jean Hamory Anne Pickard Jason & Su-Lyn Chong Rosalind Hampton & David Dodd Deborah & David Piesse Diane Christensen Alan Harvey & Dr Paulien de Boer Frank & Valda Pitman Roger Clarnette Theresa Harvey Julienne Prendergast Mark Clifton Siew-Mung Ho Alan & June Prouse Lyn & Harvey Coates AO Deidre Hodby Laura Raiter Shirley Cohen Dr Annette Holland Michael Ratcliffe Chris & Swee See Colton Ida Holt Eveline Read Dr Christopher Cook & Alfred Huis Rosie Reeman Ms Elise Chong Lorna Hurst Graeme Reynolds & Norah & Roger Cooper Lesley Parker-Reynolds Leif Jamvold Nancy Cotterell Kim & Annemarie Riseborough John Jarvis Glenn Coughlan Alison Robins Pru Cowan Elinor Jenkins Leigh Robinson & Deborah Gellé Penny & Ron Crittall Lynn & Michael Jensen Nigel & Dr Heather Rogers Gina & Neil Davidson Tim Johnson & Nat Shulman Chris & Serge Rtshiladze Brett Davies Sally Johnston Thelma Same Gary & Judith Davis Leah Joseph Veronica Sass-Nielsen Hanneke & Jop Delfos Dr Susan Joubert Elizabeth Scott Alma Della Marta Kevin & Elissa Karlson Margaret & Roger Seares Elizabeth Dempsey-Lees Dr Ursula Kees Maureen Sellick Daphne Devenish in memory B M Kent Sarah Seymour & Evan Eble of Bruce Devenish Kerry Kerr The Sherwood Family Jilyan Dingle Patricia King Rory & Susan Shiner Patricia Done Leonie Kirke Graham Simpson Beth Duncan Dr Elena Krylova Paul & Margaret Skerritt Camron Dyer John Kusinski & Ann Motherway Eric & Virginia Skipworth Christine Eilon Darryl & Jacky Lacey Hendrik Smit Patricia Elder Trevor & Ane Marie Lacy Helen Smith OAM Pamela Eldred Louis & Miriam Landau Kevin Smith Maxine & Bill Farrell AM Joelle Larsen Margaret & John Solosy Susan & Gavin Fielding AM Mi Kyung Lee & Colin Binns Dr Louise Sparrow Sue and Paul Fisher Dr Hoh Peng Lee Cisca Spencer Owen & Judy Fletcher Dr Oon Teik Lee John & Elizabeth Spoor Mr & Mrs J & J Forgan Ruth Lilly Mark Stacey Archa Fox & Charlie Bond Dr George Lipton Peggy & Tom Stacy John & Margaret Freeman Beverley Lockley Eleanor Steinhardt Margaret Furphy Dr John Male Alan & Jan Stewart Rony Gabbay Dennis & Maureen McKay Lois Stout Margaret Gadsdon Oliver & Sophie Mark Ruth Stratton

30 Doll Syminton Bernardus Van Deijl Karen Wood Anthony Taylor Marilyn Van Heemst Margaret Wood Lisa & Andrew Telford Rae & Murray Wackett Alison Woodman Ralph Ten Seldam Claire Walkley Andrew Yeates Amanda & Desmond Thompson Doris Walton Edward Young Ivan & Jeanette Thompson Janet Wallis Dr Susan Young Dianne Thomson Alex Waterhouse Chris & Kathy Ziatis Janice Tiller Anne Watson Maxim Zuvela Loma Toohey Barry Watson Anonymous (33) Joan Travis Patricia Weston Gordorn Trewern Barbara Wheatley Friend Prof David Tunley Margaret Whitter Gifts $40 - $499 Heather & Jim Tunmore Violette Thank you to all our Friends Dr Robert Turnbull Sally Willis who support WASO through Patrica Turner Pari Willis-Jones their gift. Michael & Gwenda Upton Rowena Withers * 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.

WINERY, POTTERY & GALLERY OPEN 7 DAYS 08 9755 3300 HAPPS.COM.AU 31 About The Speaker

Prue Ashurst Pre-concert Speaker

Prue is a graduate from the University In 2013 the Rotary Foundation named of Western Australia with a Masters in her a Paul Harris Fellow for her lifetime Music Performance (Choral Conducting) work in music education. In 2016 she and Bachelor degrees of Music Education co-commissioned RIFT by the acclaimed and Performance. Having taught at British composer Anna Clyne for the Churchlands SHS, Perth Modern and Cabrillo Festival of Contemporary Music Penrhos College, Prue’s school choirs in California and in 2018 was a guest pre- have sung in Geneva, London, Singapore rehearsal speaker for this festival. In 2019 and Wales. She is now in demand as a Prue returned to ABC Perth radio as a choral conductor, educator, adjudicator regular guest with Gillian O’Shaughnessy and guest speaker. She has conducted and was Commissioning Patron of for the Perth Festival, WA Opera, UWA Paul Stanhope’s I Am Martuwarra for Choral Society, WASO Chorus, PUCS Gondwana Choirs World Choral Festival and the Gondwana Choirs. For 14 years at the Sydney Opera House. Prue is the Prue has been a regular presenter on current President of WASO’s Patrons & ABC 720 with the late Eoin Cameron. Friends Committee.

To help your son succeed we teach an extra subject. Aquinas College is a keynote of the West Australian Symphony Orchestra. ♥ This partnership is used to encourage boys in their pursuit of musical excellence. Aquinas College is a Catholic School for boys in the Edmund Rice tradition. Mt Henry Road, Salter Point, WA. Tel: 9450 0600 Email: [email protected] www.aquinas.wa.edu.au

32 The best he can be. 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 To help your son Latecomers and patrons who leave the auditorium. Visit perthconcerthall.com. succeed we teach an auditorium will be seated only after the au/your-visit/accessibility/ for further extra subject. completion of a work. information. WASO BOX OFFICE Aquinas College is a keynote Moving to empty seats. Please do not move to empty seats prior to the partner of the West Australian Buy your WASO tickets and subscriptions, performance as this may affect seating for exchange tickets, or make a donation Symphony Orchestra. ♥ latecomers when they are admitted at the Box Office on the ground floor This partnership is used to during a suitable break. (Level 1) prior to each performance and at encourage boys in their pursuit interval. Tickets for other performances FOOD & BEVERAGES of musical excellence. at Perth Concert Hall will be available for You are now able to take your drinks to purchase only at interval. Please note that Aquinas College is a your seat. 30 minutes prior to performance, the Box Office will only be available for sales to Catholic School for boys Foyer bars are open for drinks and coffee that night's performance. in the Edmund Rice tradition. two hours before, during interval and after Mt Henry Road, Salter Point, WA. the concert. To save time we recommend The Box Office is open Monday to Tel: 9450 0600 Email: you pre-order your interval drinks. Friday, 9am to 5pm, and contactable on [email protected] 9326 0000. www.aquinas.wa.edu.au

The best he can be. 33 2020 Corporate Partners

PLATINUM PARTNERS

CONCERTO PARTNERS

OVERTURE PARTNERS SONATA PARTNERS

KEYNOTE PARTNERS

AQUINAS COLLEGE

ORCHESTRA SUPPORTERS

MEDIA PARTNERS

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.

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

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CorporatePartnersTable_2020_A5_v4.indd 1 22/9/20 2:12 pm 2020 Corporate Partners

PLATINUM PARTNERS

CONCERTO PARTNERS

OVERTURE PARTNERS SONATA PARTNERS MACA HAS BEEN PARTNERING WITH WEST AUSTRALIAN SYMPHONY ORCHESTRA SINCE 2014 KEYNOTE PARTNERS We are excited to continue our support towards their mission to touch souls and enrich lives AQUINAS COLLEGE through music.

Over the last 10 years MACA has raised ORCHESTRA SUPPORTERS more than $12 million for various charity and community groups in support of the performing arts, cancer research, medical care, mental health and Aboriginal youth in remote communities across Western Australia. We pride ourselves on being a MEDIA PARTNERS leader in the community supporting a wide range of initiatives.

MACA is an integrated services contractor specialising in:

FUNDING PARTNER SUPPORTED BY • Mining

The West Australian Symphony Orchestra • Crushing is assisted by the Australian Government through the Australia Council, its arts • Civil Construction funding and advisory body. • Infrastructure • Mineral Processing Equipment To share in our vision and discuss the many opportunities extended through corporate partnerships please contact Corporate Development on 08 9326 0004.

www.maca.net.au

CorporatePartnersTable_2020_A5_v4.indd 1 22/9/20 2:12 pm

Dvořák’s Symphony No.8 Joyful and bewitching