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Home , Carl Maria von Weber, Taras Bulba (rhapsody)

MORNING SERIES Thursday 29 April 2021, 11.00am Perth Concert Hall

MASTERS SERIES Saturday 1 May 2021, 7.30pm Perth Concert Hall

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MORNING SYMPHONY SERIES Symphonic Stories

Wolfgang Amadeus MOZART Symphony No.35 Haffner (17 mins) Allegro con spirito Andante Menuetto – Trio Finale (Presto)

Bedřich SMETANA Má Vlast: Vltava (The Moldau) (11 mins)

Leoš JANÁČEK (23 mins) The Death of Andriy The Death of Ostap The Prophecy and Death of Taras Bulba

Johannes Fritzsch conductor

Wesfarmers Arts Pre-concert Talk Find out more about the music in the concert with this week’s speaker Rosalind Appleby (see page 25 for her biography). The Pre-concert Talk will take place at 9.40am in the Main Auditorium.

3 MASTERS SERIES Symphonic Stories

Wolfgang Amadeus MOZART Symphony No.35 Haffner (17 mins) Allegro con spirito Andante Menuetto – Trio Finale (Presto)

Carl Maria von No.1 (18 mins) Allegro Adagio ma non troppo Rondo (Allegretto)

Interval (25 mins)

Bedřich SMETANA Má Vlast: Vltava (The Moldau) (11 mins)

Leoš JANÁČEK Taras Bulba (23 mins) The Death of Andriy The Death of Ostap The Prophecy and Death of Taras Bulba

Johannes Fritzsch conductor Ashley Smith clarinet

Wesfarmers Arts Pre-concert Talk Find out more about the music in the concert with this week’s speaker, Rosalind Appleby (see page 25 for her biography). The Pre-concert Talk will take place at 6.45pm in the Terrace Level Foyer.

Wesfarmers Arts Meet the Artist Join tonight’s guest artists, Johannes Fritzsch and Ashley Smith, for a post-concert interview. This will take place immediately following the Saturday evening performance in the Terrace Level Foyer.

Listen to WASO This performance is recorded for broadcast on ABC Classic. For further details visit abc.net.au/classic

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6 WASO On Stage

VIOLIN PICCOLO Laurence Jackson Daniel Schmitt Michael Waye Joshua Davis Concertmaster Alex Brogan • Pamela & Josh Pitt • Dr Ken Evans and Dr Glenda Campbell-Evans Riley Skevington Kierstan Arkleysmith Assoc Concertmaster Liam O’Malley Nik Babic Liz Chee Semra Lee-Smith TROMBONE Assistant Concertmaster Benjamin Caddy A/Principal Oboe Zak Rowntree* Alison Hall Annabelle Farid° Philip Holdsworth Rachael Kirk Principal 2nd Violin Akiko Miyazawa Allan McLean A/Assoc Principal Leanne Glover Cameron Brook Elliot O’Brien • Sam & Leanne Walsh • Peter & Jean Stokes 2nd Violin Kathy Potter^ Sarah Blackman Helen Tuckey CLARINET Fleur Challen Allan Meyer Alex Timcke Stephanie Dean CELLO Geoffrey Bourgault PERCUSSION Amy Furfaro^ Rod McGrath du Coudray^ Rebecca Glorie • Tokyo Gas Brian Maloney Beth Hebert Eve Silver* BASS CLARINET Francois Combemorel Assoc Principal Alexandra Isted Melinda Forsythe^ Alexander Millier Shigeru Komatsu Percussion & Timpani Jane Johnston^ Paul Tanner^ Sunmi Jung Oliver McAslan Nicholas Metcalfe Jane Kircher-Lindner HARP Christina Katsimbardis Adam Mikulicz Ellie Lawrence Anna Sarcich^ Yi-Yun Loei^ Sera Lee^ Fotis Skordas Tim South ORGAN Jasmine Middleton^ Chloe Turner Stewart Smith^ Lucas O’Brien DOUBLE BASS • Stelios Jewellers Melanie Pearn Andrew Sinclair* Louise Sandercock John Keene ★ Section partnered by Margaret & Rod Marston Jolanta Schenk Sarah Clare^ David Evans Jane Serrangeli Louise Elaerts Bao Di Tang Robert Gladstones Christine Reitzenstein Principal 3rd Horn Cerys Tooby Mark Tooby Julia Brooke Teresa Vinci^ Phil Waldron^ Francesco Lo Surdo Susannah Williams^ Arianne Rooney^ David Yeh Andrew Nicholson • Anonymous Brent Grapes Mary-Anne Blades • Anonymous • Anonymous Jenna Smith Peter Miller ★ 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^

7 COVIDsafe A5 Ad.indd 1 11/2/21 2:58 pm About The Artists

Johannes Fritzsch Ashley Smith Conductor Clarinet Johannes Fritzsch was appointed Principal Described as “Incandescent... a masterly Conductor and Artistic Adviser of the display of skill and insight... as an Queensland Symphony Orchestra in apologist for contemporary music- February 2021, having previously served making, you would search hard to find as their Chief Conductor (2008-2014). this young clarinettist's equal” (The Since 2018, Johannes has held the position Age), clarinettist Ashley William Smith of Principal Guest Conductor of the appears internationally as a soloist, Tasmanian Symphony Orchestra. chamber musician and director. He has From 2006-2013 he was Chief Conductor been recognised by a Music Council of and Artistic Director of the Oper Graz, Australia Freedman Fellowship, an ABC Grazer Philharmonisches Orchester Symphony International Young Performer (Austria). Prior to his appointment in Award, a Churchill Fellowship, and an Graz, Johannes held the position of Chief APRA Performance of the Year (Skipworth Conductor and Artistic Director of the with the West Staatsoper Nürnberg. He regularly conducts Australian Symphony Orchestra). the major Australasian as well as leading productions for Opera Australia, Notable engagements include Opera Queensland, West Australian Opera performances for the and State Opera of South Australia. Society of the Lincoln Centre, Chamber In January 2015, Johannes was appointed Music Northwest, the Kennedy Centre Adjunct Professor, The Conservatorium of and the Beijing Modern Music Festival. Music, School of Creative Arts and Media Ashley is a Senior Lecturer and Chair at the University of Tasmania. In June 2019, of Woodwind and Contemporary he joined the Queensland Conservatorium, Performance at the University of Western Griffith University as Professor of Opera Australia Conservatorium of Music. and Orchestral Studies. A graduate of Yale University, the In 2017, the Tasmanian Symphony Orchestra University of Western Australia, and invited him to design and lead the newly a Fellow of the Australian National founded Australian Academy. Academy of Music, Ashley was awarded In 2021, he conducts the Auckland the highest honours as the most Philharmonia and the Sydney, Melbourne, outstanding performance graduate of Queensland, Tasmanian and West each institution. In 2020 he was awarded Australian Symphony Orchestras. a Doctor of Musical Arts from UWA. © Patrick Togher Artists’ Management 2021 9

COVIDsafe A5 Ad.indd 1 11/2/21 2:58 pm About The Music

Wolfgang Amadeus Mozart (1756-1791) Symphony No.35 in D, K.385 Haffner Allegro con spirito Andante Menuetto – Trio Finale (Presto)

This symphony, the first Mozart completed after moving from to in 1781, shows the confidence and richness of the opera he had composed for the previous year, Idomeneo, transferred to a grand piece for orchestra his score by adding and to alone. It is called the ‘Haffner’ Symphony the first and last movements, and deleting because the music was composed for the march and the first minuet. It was festivities in Salzburg associated with the common for elaborate multi-movement ennoblement of Mozarts’ friend Siegmund to be ‘reduced’ to three or Haffner the Younger. four movement in this way. When in 1782 he received his father’s In Mozart’s case, at least, there is little request for some new music appropriate distinction between ‘symphonic’ writing to the occasion, Wolfgang Mozart was and the grand festive style of his most preoccupied with the production of his ambitious serenades. opera The Abduction from the Seraglio, The first movement of theHaffner and his marriage to Constanze Weber. Symphony, an imposing call to attention, But he somehow found time to compose begins with the kind of striking gesture festive music in six movements, including which would make a talkative audience two minuets and a march. This was the sit up and pay attention. Mozart asked standard form of an orchestral . for it to be played ‘with great fire’. It turns (Mozart had already in 1776 composed out that these two leaps of an octave such a serenade for wedding festivities followed by a rhythmic flourish are the in the Haffner family – thatHaffner main substance of the first movement. As Serenade, K250, is an entirely different in many of the first movements of Haydn, piece.) which we know Mozart was studying at the time, there is no contrasting second Later in the same year, 1782, when theme, yet the tonal drama of the form is planning one of his ‘academies’ or not any the less for that. subscription concerts in Vienna, Mozart asked his father to return to him from The grace of the Andante has been Salzburg the ‘Haffner music’. When he related by many commentators to received it, he wrote back, ‘I was quite its serenade origins, but this is an surprised by the new Haffner symphony, unnecessary explanation: a symphony, for I had forgotten every single note of it; in Vienna’s concert life at this time, was it must certainly be very effective.’ For the not expected to be the main work of the concert on 22 March 1783 Mozart adapted evening. Mozart’s own performance of a

10 piano concerto would have taken a higher place. Relaxation was just what was needed after an unusually tightly-written first movement with so much imitative counterpoint. The Menuetto is grand without being pompous – this is certainly a minuet which asks to be listened to, not merely background music for dancing. The delicate subtleties of the Trio, then, will not be overlooked by the audience. In the Finale we are in the world of . Mozart had been exploring how to write opera in a new way in The Abduction from the Seraglio, and there are reminders of that here, especially of the blustering triumphant rage of Osmin, the overseer of the harem. But Mozart smiles, laughs, and is serious all at once. In this Finale, which he said should go ‘as fast as possible’, he takes the quicksilver patter of Italian musical comedy and hands it back to the Italians, enriched. It is no accident that the final bars suggest (to modern ears) Rossini, who as a teenager 20 years after the composition of this symphony was so mad about Mozart (and Haydn) that his friends called him ‘the little German’. David Garrett © 1999 First performance of the opera: 22 March 1783, Vienna. First WASO performance: 7 July 1978. Peter Eros, conductor. Most recent WASO performance: 13 July 2002. Matthias Bamert, conductor. Instrumentation: two each of flutes, , clarinets and ; two horns, two ; timpani and strings.

Glossary

Counterpoint – two or more lines of music or melodies that are played at the same time.

11 About The Music

Carl Maria von Weber (1786-1826) Clarinet Concerto No.1 in , Op.73 Allegro Adagio ma non troppo Rondo (Allegretto)

Much of the clarinet repertoire owes its existence to exceptional collaborations between composers and virtuoso players. Carl Stamitz wrote for Beer, Mozart for Anton Stadler, Spohr for Simon Hermstedt and Brahms for Richard Mühlfeld. that Weber was soon commissioned For Carl Maria von Weber, the clarinettist to write two full-scale for was who, following Baermann. a spell in the Prussian Guards regiment Of the two clarinet concertos (No.1 in F band, abandoned his military career and minor, Op.73 and No.2 in E flat, Op.74), it found his way to Munich, the Bavarian is the first that is most often performed capital, where he obtained the position of today, and was reputedly Baermann’s principal clarinet in the court orchestra of personal favourite. Weber completed it King Maximilian I. in May 1811 and Baermann gave the first It was here, in 1811, that Weber performance on 13 June, at a concert encountered Baermann for the second given by Friedrich Kauffmann, the time. (The pair had met in Darmstadt piano maker. The concertos were – Baermann on tour, Weber on the not published, however, until 1822, when run after dodgy financial dealings had Weber’s reputation (enhanced by the resulted in his expulsion from Stuttgart.) success of Der Freischütz) was sufficient The composer was shortly to embark on to boost confidence in the then youngest a concert tour of his own, and invited of wind instruments. On the other hand, Baermann to perform at his farewell it was Baermann’s artistry earlier on that concert. The evening was a success, and helped to convince the musical public of helped cement their friendship. Weber’s worth. The composer himself praised Baermann’s ‘complete evenness The two musicians continued working of tone from top to bottom and divinely together in Munich, where the tasteful phrasing’. The former was enterprising Weber was arranging a something of a novelty for, while most royal audience for his music. Knowing other clarinettists were playing five- or Baermann’s outstanding ability as a player six-key instruments, Baermann had the and his position with the court orchestra, Berlin firm Griesling & Scholt make him a Weber composed the for ten-key boxwood clarinet. clarinet and orchestra in E flat, Op.26, which received its premiere in the This innovation not only facilitated presence of the King on 5 April. Such was Baermann’s naturally agile technical the royal approbation on this occasion command, but resulted in the fluent

12 delivery of notes throughout the range An instant of exceptional elegance occurs that Weber had noted. In response, with his use of chorale-like horns to Weber’s clarinet writing placed the accompany the clarinet after the virtuosic instrument at the very edge of virtuosity, minore episode. Within the solo part, and presents formidable challenges even Weber contrasts the poignancy of the today. At the same time, the Concerto upper register, used in the outer sections, in F minor shows Weber as one of the with fiery ascents from chalumeau to first musicians of the Romantic period altissimo register in the animated middle to perceive and liberate the dramatic section. potential of the clarinet as a solo The work concludes with an ebullient instrument. Rondo in the tonic major. The rondo The orchestral introduction of the Allegro theme, heard four times in all, has establishes the sombre yet lyrical mood the manner of a capricious jaunt. Yet, that pervades much of this operatic first embedded in the abundance of wit and movement. The soloist’s initial entry, in bravura, there is a moment of bittersweet the upper register, is marked con duolo anguish, providing a link not only with (with grief), and is typical of the minor-key material from the earlier movements, pathos by a composer with such a gift for but with Weber’s natural inclination to dramatic writing. operatic lyricism. Throughout the movement, Weber Ingrid Pearson © 1997 uses the clarinet’s entire range, but is First performance: 13 June 1811, Heinrich particularly effective in his handling of the Baermann soloist. natural cantabile qualities of the upper First WASO performance: 12 December 1949. register. Opportunities for clarinet bravura Rudolf Pakarek, conductor. increase as the movement progresses. In fact, most performances include a Most recent WASO performance: 13 October virtuoso interpolation just before the 2012. Michael Collins soloist, OttoTausk conductor. cadenza by Baermann himself. Instrumentation: two each of flutes, oboes and In the Adagio ma non troppo, Weber bassoons; three horns, two trumpets; timpani combines the clarinet with other wind and strings. instruments, exploiting the instrument’s enormous potential for timbral versatility.

Glossary

Cantabile – in a singing style. Cadenza – a virtuoso passage by a solo instrument, usually towards the end of a concerto movement. Originally, cadenzas were improvised by the soloist to show off their brilliant technique. Tonic – the main note in a key, and the chord built on this note; most music tends to come back to the tonic at the end.

13 About The Music

Bedřich Smetana (1824–1884) My Country: Vltava The tone poem depicting Bohemia’s greatest river, the Vltava (known in German as Moldau), is the second of the six spiritually and, to an extent musically, integrated movements making up Smetana’s orchestral masterpiece, the symphonic cycle My Country (Má vlast). Composed between 1872 and 1880 in patriotic celebration of the nation’s countryside, history and legend, it was intended to assert Czech identity within a medieval past, climaxing the river’s the Austro-Hungarian Empire. Today, it journey, and combining with a 15th- symbolises the finer feelings of patriotism century Hussite battle hymn to end the for people the world over. cycle in a grand apotheosis affirming the ‘Vltava’ depicts the course of the river Czech people’s golden future. through the countryside, by means of a Anthony Cane © 2008 rondo-like structure in which a pulsing theme first heard in E minor recurs First performance: 4 April 1875. Adolf Čech and grows and will eventually achieve conducting. grandeur in E major. In passing episodes, First WASO performance: 7 June 1969. the river encounters a hunt, a village Thomas Mayer, conductor. festival and a moonlight dance of water Most recent WASO performance: 16 November nymphs. Challenged by the turbulent 2013. Michał Dworzyński, conductor. Rapids of St John, the river emerges Instrumentation: three flutes (doubling piccolo), broader, its spirits proudly lifted as it two each of oboes, clarinets and bassoons; four surges forth to meet its – at horns, two trumpets, three and tuba; Vyšehrad, dominating the right bank as it timpani, percussion, harp and strings. enters Prague, the legendary High Castle of Bohemia’s first royal dynasty; then on through the Golden City and beyond. The resounding, foursquare ‘Vyšehrad’ motto with which the Vltava is greeted to Prague comes from the first movement of My Country. It is the musical and spiritual linchpin of the cycle, evoking glories of

Glossary

Tone poem – another term for ‘’. A programmatic work for orchestra, usually in a single movement.

14 About The Music

Leoš Janáček (1854-1928) Taras Bulba: Rhapsody for Orchestra The Death of Andriy The Death of Ostap The Prophecy and Death of Taras Bulba

In March 1915 the authorities closed down Janáček’s Russian Circle in the Moravian capital, . Its promotion of Russian language and culture, with undertones of pan-Slavism, could be subversive in wartime. Janáček himself was listed as ‘politically suspect’. for its Prague premiere (under Václav It was scarcely a coincidence that Talich, 1924) – though in each case its Janáček now returned to a Russian success was immediate. literary classic, ’s Taras In selecting three grim but pivotal scenes Bulba, which he had read (in Russian) and from Gogol’s story, Janá ek seizes on thoughtfully annotated ten years earlier, č the self-sacrifice that transcends human as the basis for a composition which feeling. Taking his two dearly-loved sons he determined would be his ‘musical on campaign against the Poles, Taras testament’. Its theme would be, as he Bulba is forced to execute the younger, later wrote, ‘prophecy and presentiment Andriy, for treason in loving a Polish of the victory of the Slavs’, with Cossack nobleman’s daughter and fighting with the chief Taras Bulba ‘champion of the fight besieged enemy against his own people. against their enemies’. Gogol’s tale of He is forced to watch helplessly the final, heroic people fighting for freedom and public agonies of his captured elder son, independence mirrored the wartime Ostap, stoical under Polish torture until, dreams of Janá ek and many of his č in extremis, he cries for his father and is compatriots for their own Moravian, comforted by a ringing ‘I hear thee!’ from Czech and Slovak peoples. In their fellow- among the hushed crowd. His ruthless Slavs from mother Russia lay the great exploits are ended by his own eventual hope for liberation from Austro-Hungarian capture, yet Taras Bulba ignores the domination. flames consuming the tree to which he Janáček’s composition hastened slowly, is nailed and all the while exhorts his probably because no such pro-Russian troops to safety through a daring feat work could expect a performance while of horsemanship. In his death agony, the war lasted. Begun in 1915, it was the Cossack leader’s prophetic vision not completed until Good Friday of comes in words that Janáček quoted as 1918. But instead of welcoming the new his inspiration: ‘No flames, no torture of Czechoslovak Republic after the war, this world, will ever break the spirit of the Taras Bulba had to wait three years for its Russian people.’ first performance in Brno (under František Neumann, 1921) and a further three years

15 No matter, when Janáček later spoke expansively of the ‘victory of the Slavs’, that the Poles, too, were Slavs! Nor was the agnostic Janáček much concerned with Gogol’s central theme of the people’s defence of their holy Orthodox Church against an expansionist Western church in Poland. The inclusion of organ and bells in Janáček’s large orchestra, however, suggests a prayerful Polish populace in the siege of the opening movement and exaltation in the Cossack’s prophetic vision. A tender oboe melody evokes the bliss with which Andriy discovers his beloved amidst the siege, and it is in the scream of a high clarinet that the dying Ostap cries out for his father. Janáček has the Poles dance a wild Mazur to celebrate the capture of Ostap, and a Crakowiak on the building of his father’s funeral pyre. In this, his most grandiose and colourful orchestral work, Janáček achieves a richness and variety of expression that speaks eloquently to a wider international audience than just his fellow Slavs. Anthony Cane © 2003 First performance: 9 October 1921, Brno, Czech Republic. František Neumann conducting, 1921. First WASO performance: 1 September 1995. Vernon Handley, conductor. Most recent WASO performance: 25 July 2009. Jakub Hrůša, conductor. Instrumentation: three each of flutes (doubling piccolo), oboes (doubling cor anglaise), clarinets (doubling bass clarinet) and bassoons (doubling contra bassoon); four horns, three trumpets, three trombones and tuba; timpani, percussion, harp, organ and strings.

16 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 cold drinks purchase only at interval. Please note that to 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.

17 Meet The Musician

Adam Milkulicz Assoc Principal Bassoon

How have you prepared for Symphonic Stories? The last movement of the Haffner symphony is actually an audition test piece for bassoon as it's particularly difficult with its fast articulation, and the fact that it is difficult to play clearly because of its register and key. With this in mind I've been practicing my double tonguing (a technique used in wind playing for fast articulation) and playing though the last movement slowly with a If you had to choose any other instrument metronome. to play in the orchestra, what would it be? Probably an instrument that doesn't have What do you enjoy most about your a reed! What I love about the bassoon in chosen career path? orchestra/ensemble is the variety of roles I think bringing the masterpieces we we play. We are constantly switching play to life is incredible. I consider these between bass, middle and melodic lines, monumental works to be the height of often within the same phrase. One of the human creativity in recent times, and things that I miss out on being a bassoonist I feel privileged to be a part of them. though is a wealth of chamber and solo Sometimes it feels like I am a brush repertoire, so maybe cello or viola. stroke in a Monet painting or a character ambling the cobbled street of a Dickens When no one’s watching, what music do novel. you listen to? Anything and everything from pop to What is the most challenging thing about jazz to country to American minimalism. playing the bassoon? Depends on my mood and what I'm doing. Reeds are a constant challenge to us My Spotify generated playlists are pretty playing oboe, clarinet and bassoon. Every eclectic. time we pick up our instrument it feels slightly different as every reed vibrates in If I wasn’t a musician, I would be… its own unique way. Even the same reed When I'm not playing bassoon, I like to vibrates differently from day to day as it design and make clothes so perhaps ages and the humidity and temperature something like that or something else varies. The quest for finding or making visual. It would be nice to do something the perfect reed is a time consuming, that didn't only exist in time where you tedious and humbling pursuit. It takes my could properly stand back and observe innermost zen to confront the task! your work; recordings are often deceiving.

18 WASO Community Engagement

ATAR 2021 WASO’s Education and Community Engagement team is delighted to begin our 2021 Schools’ Season with our ATAR Western Art Music Designated Works concerts. On Thursday 18 February WASO welcomed over 350 Year 11-12 students from seventeen schools across Perth to John Inverarity Music & Drama Centre, Hale School across two performances of the ATAR Western Art Music Designated Works. One of our most important education The 2021 program consisted of Haydn programs, the reaction to this years’ ATAR Symphony No.101 mvt I&II, Mozart performances is perhaps best summed Symphony No.41, mvt I and Bach up in just one response from feedback Concerto for Two Violins in D minor received: from the compulsory genres of Concerto (Year 11) and Symphony (Year 12). The An invaluable opportunity for our students, performances presented both key excerpt it makes all the difference to their study of analysis and full performances, with not only the works but across the course. additional information and discussion As always, an excellent concert and very around the cultural and historical context relevant to the ATAR course. supported by both a written resource and Our sincere thanks to staff and parents in-performance with presenter/conductor who facilitated student attendance at this Peter Moore OAM. event. The two performances featured WASO's Assistant Concertmaster, Semra Lee-Smith and Principal 2nd Violin, Zak Rowntree. Both performed to great acclaim and not only helped to illustrate key compositional concepts, but also provided incredible inspiration to students around performance preparation and presentation.

19 WASO Philanthropy

WASO’s Annual Giving Fund This year we invite you to become, or renew as, a WASO Patron by making Donations remain vital for WASO to a donation to our Annual Giving fund. present inspiring and joyful concerts and Those who give $500 or above in a year continue to powerfully impact the lives are acknowledged as WASO Patrons and of so many people in Western Australia. enjoy opportunities to experience the In particular, donations to our Annual Orchestra from different perspectives – Giving fund are essential to the daily not just from the auditorium – through operations of the Orchestra in helping to invitations to exclusive Patron events, cover our core operating costs. getting to know our musicians and fellow As a not-for-profit, charitable organisation, music lovers. we are extremely proud to be supported by many individuals who each year renew Want to join our community their gift to our Annual Giving fund. Your and become a WASO Patron? Orchestra would be a very different one without this ongoing support. If you wish to become a Patron, renew for 2021 or increase your current Gifts to WASO’s Annual Giving fund gift, please call 9326 0000 or email support our ability to achieve artistic [email protected]. excellence, secure the finest guest conductors and soloists, present It is also quick and easy to make a donation a diverse program of Education & online at waso.com.au/support-us or you Community Engagement activities across can make a donation at the Box Office WA and work in partnership with the with your ticket purchase. All donations opera and ballet companies. over $2 are fully tax deductible. Photo: Rebecca Mansell Rebecca Photo:

20 Our Supporters

Thank you for making WASO the organisation it is today. The financial support of passionate individuals is essential to maintaining a State Orchestra in Western Australia for future generations. Thanks to you, WASO's philanthropy program continues to grow, supporting our vision now and into the future. Together we can achieve remarkable things - thank you for your invaluable support.

Honorary Patron Jacinta Sirr-Williams Education & Community Susan Stitt Janet Holmes à Court AC Engagement Fund Ruth Stratton Jean Arkley Endowment Fund for Ruth & Neville Thorn Annette Cottee Gavin Toovey & Jaehan Lee Penny & Ron Crittall the Orchestra Agatha van der Schaaf Major Donations Sheila Wileman Robyn Glindemann Tom & Jean Arkley Sagitte Yom-Tov Fund Journey Recruitment Bendat Family Foundation Anonymous (39) Deborah & Miles Protter Janet Holmes à Court AC Eveline Read Minderoo Foundation Chairman’s Circle Dr Carol Warren Sagitte Yom-Tov Fund Supporting excellence Anonymous (1) Richard Goyder AO & Janine Goyder Estates Jean Arkley Crescendo Lee Bickford Janet Holmes à Court AC Trusts & Foundations Rachel Mabel Chapman Torsten & Mona Ketelsen Crown Resorts Foundation Malcolm Hood Tony & Gwenyth Lennon Clive Knight Rod & Margaret Marston* Packer Family Foundation Paul Lee John Rodgers Feilman Foundation Anna Nottage in memory of Leanne & Sam Walsh* Stan Perron Charitable Foundation Edgar Nottage Bunning Family Wendy Scanlon The 2021 WASO Song Crescendo Giving Circle Judy Sienkiewicz Book Jean Arkley Mrs Roslyn Warrick Supporting new works Prue Ashurst Anonymous (7) commissioned for the Orchestra for David & Suzanne Biddles 2021 and beyond S Cherian Symphony Circle Janet Holmes à Court AC Thank you to all our Bequestors Brenda Cohen Prue Ashurst Kaylene Cousins Julian Agafonoff & David Escott In memory of Mary Rodoreda Kevin 'Joe' Blake Geoff Stearn Megan & Arthur Criddle at the APS Ms Davilia Bleckly Anonymous (1) Foundation Mr John Bonny Euroz Charitable Foundation Dr G Campbell-Evans Instrument Fund Sue & Clive Hovell Deirdre Carlin John Albright & Susan Lorimer Madeleine King MP, Federal Dr Anne Chester –EChO Double Bass and set of Member for Brand Anita & James Clayton Trumpets LeMessurier Charitable Trust S & J Dale Peter Ingram – Piccolo Rosalind Lilley Lesley & Peter Davies Deborah Marsh – Conductor’s Lommers Engineering Pty Ltd Dr Michael Flacks Podium and Cor Anglais John Foster Margaret & Rod Marston – Bass Louise & Bryant Macfie Judith Gedero Clarinet Mrs Morrell Robyn Glindemann Peggy & Tom Stacy – Cor Anglais Judith Nash Gwenyth Greenwood and Piccolo G & I Nicholas The Guy Family Jean & Peter Stokes – Cello, Tuba, Pamela Pitt Angus Holmes Trombone, Bass Trombone, The Sheena Prince Memorial Fund Emy & Warren Jones Wooden Trumpet, & Dr Lance Risbey Barbara Joseph Music Score Folders Tony Rudd Colin & Jo King Education & Community Rosalin Sadler in memory of Joyce Rachael Kirk & Tim White Durbin Sadler Wolfgang Lehmkuhl Engagement In memory of Robert & Joan Street Dr Mary Ellen MacDonald Supporting our nationally Deborah Marsh recognised Education & Community Ruth E Thorn Lesley R. McKay & Murray R. McKay Engagement programs Reto Vogel Suzanne Nash Trusts & Foundations WA Massed Choir Festival Paula Phillips Bendat Family Foundation Alan Whitham Jan & Bryan Rodgers McCusker Charitable Foundation Mary Ann Wright Nigel & Dr Heather Rogers Simon Lee Foundation Anonymous (3)

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

22 Prof Robert Durand Dr Seamus MacDonald Richard Tarala & Lyn Beazley AO Bev East Graham & Muriel Mahony Janet & the late Stephen Thackray Lorraine Ellard Denise Main Ruth Thomas in memory of Dr Jenny & Terry Fay Dr Tony Mander & Ms Loretta Byrd Ken & Hazel Rowley Tony & Sue Field Gregg & Sue Marshman Clare Thompson & Brad Power Gilly Flower Geoffrey Massey Jillian Thompson Don & Marie Forrest Pam Mathews & Dr Mark Brogan Peter & Jane Thompson in Toni Frank Judith McGuinness memory of Mrs Freda Stimson Eléonore Fuchter Betty & Con Michael AO Mike Thomson & Rae Robinson George Gavranic Don & Moira McKinley Ruth E Thorn Robyn Glindemann Mrs Carolyn Milton-Smith in Gavin Toovey & Jaehan Lee Neville & Jane Gibbs loving memory of Emeritus Prof Mary Townsend Prof Lelia Green John Milton-Smith Tracey Family Pitsamai & Kevin Green Hon Justice S R Moncrieff Gwen Treasure Deidre Greenfeld Elizabeth Moran James & Rosemary Trotter Grussgott Trust Mr & Mrs Geoffrey Morris Christopher Tyler Ann Hammer Dr & Mrs Peter Moss Bernardus Van Deijl Richard B Hammond Patricia Murphy Yvonne Varey Nick Handran Smith & Lyn Murray Karen Venard Elizabeth Allan Judith Nash Maggie Venerys Pauline & Peter Handford Family Nilant Geoff & Sandra Wackett Peter Hansen Marianne Nilsson Rita Wager Dr & Mrs H Hansen-Knarhoi Jim & Wendy O'Neill Adrienne & Max Walters AM Julie Harris Dr Walter Ong & Graeme Marshall Diana & the late Bill Warnock Paul & Barbara Harris Ron Packer Ian Watson Vanessa Harvey Tim Pavy & Kathy Cole Joy Wearne Rev Bill Hawley & Dr Rev Rosemary Peek Alan Westle in memory of Jean Georgina Hawley Charmian Phillips in memory of Moira Westmore In Memory of Eileen Hayes Colin Craft Dr Chris & Mrs Vimala Whitaker John & Christine Hedges Beth & Walter Pidgeon Barbara Wilcox Elizabeth & Eric Heenan Italo Pizzale Dai & Anne Williams Dallas Hickman & Alex Hickman Pamela Platt Mrs Jean & Mr Ian Williams AO Dr John & Patricia Hill Richard & Sharon Prince Jim & Gill Williams Helen Hollingshead Dr Leon Prindiville Simon & Alison Williams Dr Keith Holt Tony & Val Ramshaw Judith Wilton & David Turner Dr K & Mr J Hopkins OAM Rev Philip Raymont Hilary & Peter Winterton AM Rosemary Howarth Prof Ian Reid & Dr Gale Margaret Wood Judith Hugo MacLachlan Kin Yung Jan & Walter Hunter James & Nicola Ridsdill-Smith Anonymous (32) Richard Isted John & Alison Rigg Cynthia Jee Dr Lance Risbey Tutti Patron Diane Johnson Will Riseborough Gifts $500 - $999 Emy & Warren Jones Paul & Christine Roberts Anne Acton Anthony Kane in memory of Wayne Robinson Kim Anderson & Paul Holmes Jane Leahy-Kane Bryan & Jan Rodgers Kenneth & Judith Arkwright Bill Kean Gerry & Maurice Rousset OAM Arron Arntzen David Keast & Victoria Mizen Dr J B & Mrs A Rowlands Rebe Atlas Noelle & Anthony Keller AM Robin & Anne Salter Phillip & Mary Bairstow Patricia King Robyn & Ted Sharp Steven & Joanne Baitz Nelly Kleyn Anne Sibbel Barrie Baker Ulrich & Gloria Kunzmann In memory of Judith Christine Baker Trevor & Ane Marie Lacy Sienkiewicz Shane Baker Irving Lane Laurel & Ross Smith Bernard & Jackie Barnwell Dr Sunny & Ann Lee PAI Smith & DA Harry Shirley Barraclough Dr Oon Teik Lee Geoff & Chris Soutar Lisa & Glenn Barrett Ruth & Malcolm Leske Malca & Graham Spencer-Laitt Berwine Barrett-Lennard Martin & Ruth Levit David Stevenson Peter Bath Ann Lewis Donald & Laurel Stewart Noelle Beasley Dr Rebecca Meegan-Lowe & Ruth Stratton Ingrid Berchem Richard Lowe Iain Summerlin Michael & Nadia Berkeley-Hill Ian & Judith Lunt Elizabeth Syme Ann Beveridge

23 Our Supporters

Eric Bew Maxine & Bill Farrell AM Beverley Lockley Eileen Bibby Susan & Gavin Fielding AM Mary Ellen in memory of Kerensa Minnie Biggs Sue & Paul Fisher Dr John Male Lea Bingemann Owen & Judy Fletcher Oliver & Sophie Mark John & Sue Bird in memory of Mr & Mrs J & J Forgan Dr Marie Martin Penny Bird Archa Fox & Charlie Bond David Maynier Jane Blanckensee John & Margaret Freeman Diana McArthur Davilia Bleckly Margaret Furphy John McDonald E & G Bourgault in memory of Rony Gabbay Dennis & Maureen McKay Betty Sagar Margaret Gadsdon Donna & Peter Millington Diane & Ron Bowyer Jennifer & Stephen Gardiner Patricia & Kevin Morgan Judith Brown Dr Rhona Giles Louis Mostert Christine Burson Beth Gow Margaret & Bruce Murdoch David & Pat Bussard Anne Gray Michael Murphy Ann Butcher & Dean R Kubank Gwenyth Greenwood G & I Nicholas Jennifer Butement Nola Gregory Phuong Nguyen Kevin Button & Susie Lim Bob & Jenny Greig Mary O'Hara Maria Caesar Sonia Grinceri & Paula Watt Marjan Oxley R & R Cant Barbara Haddy Valetta Parr Nanette Carnachan Dr Roland Haehnel Heather Passmore Joan Carney Michael & Helen Hawkins Dr John Pearce Dr Charlene Caspersz & Shona Hall Bev Penny Dr Rob Will Jean Hamory Prof Suvendi Perera S Barea Castillo Rosalind Hampton & Anne Pickard Philip & Frances Chadwick David Dodd Deborah & David Piesse Renate Chandler Alan Harvey & Dr Paulien de Boer Frank & Valda Pitman Tim & Claire Chapman Theresa Harvey Julienne Prendergast Grant & Catherine Chappelle Siew-Mung Ho Alan & June Prouse Diane Christensen Deidre Hodby Laura Raiter Roger Clarnette Dr Annette Holland Eveline Read Mark Clifton Ida Holt Graeme Reynolds & Lesley Shirley Cohen Alfred Huis Parker-Reynolds Chris & Swee See Colton Lorna Hurst Shirley Ridgwell Dr Christopher Cook & Leif Jamvold Kim & Annemarie Riseborough Ms Elise Chong John Jarvis Alison Robins Norah & Roger Cooper Elinor Jenkins Leigh Robinson & Deborah Gellé Nancy Cotterell Lynn & Michael Jensen Nigel & Dr Heather Rogers Glenn Coughlan Tim Johnson & Nat Shulman Chris & Serge Rtshiladze Pru Cowan Sally Johnston Thelma Same Penny & Ron Crittall Leah Joseph Veronica Sass-Nielsen Natalie Hall Cullity Dr Susan Joubert Esther Schenberg Keith & Suzanne Cundale Kevin & Elissa Karlson Elizabeth Scott Brett Davies Dr Ursula Kees Margaret & Roger Seares Gary & Judith Davis B M Kent Maureen Sellick Hanneke & Jop Delfos Kerry Kerr Sarah Seymour & Evan Eble Alma Della Marta Leonie Kirke The Sherwood Family Ray & June Delmenico Dr Elena Krylova Rory & Susan Shiner Elizabeth Dempsey-Lees John Kusinski & Ann Motherway Graham Simpson Daphne Devenish in memory of Darryl & Jacky Lacey Paul & Margaret Skerritt Bruce Devenish Yvonne Lamble Hendrik Smit Jilyan Dingle Louis & Miriam Landau Helen Smith OAM Patricia & Roy Done Joelle Larsen Kevin Smith Beth Duncan Dr Hoh Peng Lee Margaret & John Solosy Camron Dyer Rosalind Lilley Dr Louise Sparrow Christine Eilon Dr Warren Lilleyman Cisca Spencer Patricia Elder Ruth Lilly John & Elizabeth Spoor Pamela Eldred Dr George Lipton Mark Stacey

24 Peggy & Tom Stacy Michael & Gwenda Upton Sara Wordsworth Alan & Jan Stewart Marilyn Van Heemst Andrew Yeates Lois & Robert Stout Rae & Murray Wackett Edward Young Doll Syminton Claire Walkley Dr Susan Young Anthony Taylor Janet Wallis Chris & Kathy Ziatis Lisa & Andrew Telford Alex Waterhouse Maxim Zuvela Ralph Ten Seldam Barry Watson Anonymous (32) Amanda & Desmond Thompson Patricia Weston Ivan & Jeanette Thompson Barbara Wheatley Dianne Thomson Margaret Whitter Friend Janice Tiller Violette William Gifts $40 - $499 Loma Toohey Sally Willis Thank you to all our Friends Joan Travis Pari Willis-Jones who support WASO through Gordorn Trewern Rowena Withers their gift. Prof David Tunley Karen Wood Heather & Jim Tunmore Elizabeth Woods * Orchestral Chair Partnership Dr Robert Turnbull Alison Woodman

If you are interested in becoming a Patron or learning more about WASO Philanthropy please call 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.

About The Speaker

Rosalind Appleby Pre-concert Speaker

Rosalind Appleby is a Perth-based arts composers, completing the missing journalist, author and speaker. She uses jigsaw pieces in Australia’s music words to champion, document and history. critique the arts. She is co-managing Appleby advocates for the arts editor of Western Australia’s premiere through her lectures, author talks, arts magazine Seesaw Magazine artist interviews, pre-concert talks and and has regularly contributed to school seminars. She has presented The Australian, Limelight Magazine, The at the Perth Writers Festival (2013, Australian Book Review, The Guardian, 2018, 2019) and at the national Women Opera magazine (London) and was in the Creative Arts Conference music critic for The West Australian for (2017) in Canberra. For several years 16 years. From 2012-2018 she operated she produced and broadcast the the blog Noted providing insights into experimental program Difficult Listening the Perth arts scene. for RTRFM. She has been interviewed Appleby’s book Women of Note by Andrew Ford on The Music Show and (Fremantle Press, 2012) reveals startling for programs on 3MBS, 2MBS, Radio discoveries about Australian women Fremantle and RTRFM.

25 2021 Corporate Partners

PLATINUM PARTNERS ACCESS PARTNER SYMPHONY PARTNER

CONCERTO PARTNERS PARTNERS

SONATA PARTNERS

MASTERS SERIES Friday 18 & Saturday 19 KEYNOTE PARTNERS June, 7.30pm Perth Concert Hall

ORCHESTRA SUPPORTERS

MEDIA PARTNERS

FUNDING PARTNERS SUPPORTING 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 0020.

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CorporatePartnersTable_2021_A5_v1.indd 1 4/2/21 12:46 pm M3_A5_SeatDrop/ProgramAd.indd 1 22/3/21 3:53 pm 2021 Corporate Partners

PLATINUM PARTNERS ACCESS PARTNER SYMPHONY PARTNER

CONCERTO PARTNERS OVERTURE PARTNERS

SONATA PARTNERS

MASTERS SERIES Friday 18 & Saturday 19 KEYNOTE PARTNERS June, 7.30pm Perth Concert Hall

ORCHESTRA SUPPORTERS

MEDIA PARTNERS

FUNDING PARTNERS SUPPORTING BY waso.com.au

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 0020.

CorporatePartnersTable_2021_A5_v1.indd 1 4/2/21 12:46 pm M3_A5_SeatDrop/ProgramAd.indd 1 22/3/21 3:53 pm West Australian Symphony Orchestra and Wesfarmers Arts, creating the spark that sets off a lifelong love of music.

Shigeru Komatsu – WASO Cello