2019 the Art of Orchestration (Pdf 4.6 MB )

MORNING SYMPHONY SERIES Thursday 21 November 2019, 11am Perth Concert Hall

MASTERS SERIES Friday 22 November & Saturday 23 November 2019, 7.30pm Perth Concert Hall

M8_ArtofOrchestration_A5_ProgramCover_v2.indd 1 6/11/19 2:58 pm West Australian Symphony Orchestra and Wesfarmers Arts, creating the spark that sets off a lifelong love of music.

Shigeru Komatsu – WASO Cello 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.

MORNING SYMPHONY SERIES The Art of Orchestration

BACH, J.S. orch. STOKOWSKI Toccata and Fugue in D minor

RAVEL Alborada del gracioso

MUSSORGSKY orch. RAVEL Pictures at an Exhibition Promenade – 1. Gnomus (Gnome) Promenade – 2. Il vecchio castello (The Old Castle) Promenade – 3. Tuileries. Dispute d’enfants après jeux (Tuileries. Children quarrelling after play) 4. Bydło (Oxen) Promenade – 5. Ballet of the Unhatched Chicks 6. ‘Samuel’ Goldenberg und ‘Schmuÿle’ 7. Limoges. Le marché. La grande nouvelle (Limoges Market. The Big News) – 8. Catacombæ. Sepulcrum romanum (Catacombs. A Roman Sepulchre) – Con mortuis in lingua mortua (With the Dead in a Dead Language) 9. The Hut on Hen’s Legs. Baba Yaga – 10. The Great Gate of Kiev

Asher Fisch conductor

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

3 MASTERS SERIES Discovery Concert: The Art of Orchestration

BACH, J.S. Toccata and Fugue in D minor

BACH, J.S. orch. STOKOWSKI Toccata and Fugue in D minor

STRAUSS, R. Morgen!

STRAUSS, R. Ich wollt’ ein Sträusslein binden

STRAUSS, R. An die Nacht

STRAUSS, R. Freundliche Vision

STRAUSS, R. Cäcilie

Interval (25 mins)

MUSSORGSKY orch. RAVEL Pictures at an Exhibition

Asher Fisch conductor/presenter Siobhan Stagg soprano Joseph Nolan organ Asher Fisch appears courtesy of Wesfarmers Arts

4 2019 Upcoming Concerts

MACA LIMITED CLASSICS SERIES Verdi’s Requiem Fri 29 & Sat 30 Nov 7.30pm Perth Concert Hall Operatic in its earth-shaking intensity, Verdi’s great sacred masterpiece is staggeringly beautiful, dramatically exhilarating and heartfelt in its outpouring of human grief and devotion. VERDI Requiem

Asher Fisch conductor (pictured) Siobhan Stagg soprano (2019 WASO Artist in Association) Stefanie Irányi mezzo soprano Paul O’Neill tenor Warwick Fyfe baritone WASO Chorus St George’s Cathedral Consort Tasmanian Symphony Orchestra Chorus TICKETS FROM $33*

BP AUSTRALIA PRESENTS Hooray for Hollywood Fri 6 Dec 7.30pm Perth Concert Hall Welcome to your essential Hollywood Walk of Fame concert experience with the silver screen’s most indelible themes writ large for the mainstage. Relive the movie moments that made you laugh, cry, shiver and swoon with some of the greatest soundtracks of all time including Casablanca, Breakfast at Tiffany’s, Gone with the Wind, James Bond, Sunset Boulevard and more. Benjamin Northey conductor TICKETS FROM $45*

Lotterywest Christmas Symphony Sat 14 Dec 7pm Langley Park, Perth Celebrate the silly season with the City of Perth’s biggest Christmas and classical music spectacular with a magical fireworks-filled finale under the stars. Featuring more than 150 performers on stage including the West Australian Symphony Orchestra, WASO Chorus and special guests including the one and only, Santa, this is the perfect way to get you into the spirit for summer.

FREE

BOOK NOW – 9326 0000 – waso.com.au

Asher Fisch appears courtesy of Wesfarmers Arts. Christmas Symphony is proudly supported by City of Perth. Under 30 years tickets are proudly supported by MSWA. *A one-off handling fee of $6.60 per transaction applies to all web, phone and mail bookings. A fee of $3.85 applies to over the counter bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post. 5 West Australian Symphony Orchestra

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

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

6 WASO On Stage

VIOLIN VIOLA PICCOLO TROMBONE Laurence Jackson Alex Brogan Michael Waye Joshua Davis Concertmaster A/Principal Viola • Pamela & Josh Pitt • Dr Ken Evans and Semra Lee-Smith Benjamin Caddy Dr Glenda Campbell-Evans A/Assoc Concertmaster A/Associate Principal Viola OBOE Liam O’Malley Graeme Norris Kierstan Arkleysmith Liz Chee Matthew Walker^ A/Principal Oboe A/Assistant Concertmaster Nik Babic Annabelle Farid° BASS TROMBONE Zak Rowntree* George Batey^ Samuel Parry^ Philip Holdsworth Principal 2nd Violin Katherine Drake^ Kylie Liang • Penrhos College Alison Hall COR ANGLAIS TUBA Assoc Principal 2nd Violin Rachael Kirk Leanne Glover Cameron Brook Stephanie Dean Mirjana Kojic^ • Sam & Leanne Walsh • Peter & Jean Stokes • Marc & Nadia Geary Elliot O’Brien CLARINET TIMPANI Sara Duhig^ Helen Tuckey Alex Timcke Beth Hebert Allan Meyer Catherine Cahill^ Alexandra Isted CELLO PERCUSSION Lorna Cook Jane Johnston° Rod McGrath Brian Maloney • Tokyo Gas Sunmi Jung Melinda Forsythe° BASS CLARINET Francois Combemorel Christina Katsimbardis Assoc Principal Peter Grayling^ Alexander Millier Sera Lee^ Percussion & Timpani Shigeru Komatsu Andrea Mendham° BASSOON Robyn Gray^ Oliver McAslan Akiko Miyazawa Jane Kircher-Lindner Tegan LeBrun^ Nicholas Metcalfe Lucas O’Brien Adam Mikulicz Thomas Robertson^ Anna Sarcich^ Melanie Pearn Peter Moore^ Paul Tanner^ Tim South Ken Peeler Jonathan Tooby^ CONTRABASSOON HARP Louise Sandercock Chloe Turner Melina van Leeuwen^ Jolanta Schenk DOUBLE BASS Julie Kim^ Jane Serrangeli Andrew Sinclair* HORN ★★Section partnered by CELESTE Kathryn Shinnick John Keene Margaret & Rod Marston Graeme Gilling^ Bao Di Tang Sarah Clare^ David Evans Cerys Tooby Louise Elaerts Robert Gladstones SAXOPHONE Teresa Vinci° Christine Reitzenstein Principal 3rd Horn Matthew Styles^ Susannah Williams^ Andrew Tait Sarah Brien^ David Yeh Mark Tooby Julia Brooke Deborah Hart^ FLUTE Francesco Lo Surdo Andrew Nicholson • Anonymous ★★ Section partnered by TRUMPET •Chair partnered by Mary-Anne Blades Brent Grapes *Instruments used by these • Anonymous • Anonymous musicians are on loan from Andrew Freeman^ Jenna Smith Janet Holmes à Court AC. Peter Miller Benjamin Noonan^ Principal Associate Principal Assistant Principal Contract Musician˚ Guest Musician^

7 About The Artists

Asher Fisch Principal Conductor & Artistic Adviser

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

8 Siobhan Stagg Joseph Nolan Soprano Organ

Mildura-born Siobhan Stagg is Hailed by BBC Radio 3 Record Review WASO’s ‘Artist in Association’ for for his ‘miraculous playing’; and by 2019. Recent career highlights have Gramophone for his ‘towering technique, included Pelléas et Mélisande at Opéra vivid virtuosity and inspired interpretative de Dijon, Brett Dean’s arrangement intensity’ Joseph Nolan is recognised as of Debussy’s Ariettes oubliées with one of the world’s leading organists. the Orchestre National de Lyon, and A recording artist for award-winning UK Pamina in The Magic Flute at the label, Signum records, Joseph has recorded Deutsche Oper, Berlin, as well as her ten disks on the world’s most famous organs US debut at Lyric Opera of Chicago attaining innumerable five star reviews in Massenet’s Cendrillon. A soloist at and Editor’s Choice awards from Limelight the Deutsche Oper Berlin since 2013- Magazine, Gramophone and BBC Music 14, her roles have also included Gilda Magazine. Notably, Gramophone named (Rigoletto), Adele (Die Fledermaus), Nolan’s final disc in his complete Widor Sophie (Der Rosenkavalier), Marguerite cycle as a Critic’s Choice for 2017. de Valois (Les Huguenots) and the Woodbird and Woglinde (The Ring). Joseph is also in much demand as a Elsewhere she has sung Cordelia concerto and solo organist performing with (Reimann’s Lear, Hamburg State the Sydney Symphony Orchestra at Sydney Opera), and the title role in Luigi Opera House, WASO at Perth Concert Hall Rossi’s Orpheus (Royal Opera House), and the Malaysian Philharmonic at Petronas among others. Concert platform Concert Hall. 2020 will see Joseph making highlights include Brahms’ A German his concerto debut with the QSO at QPAC. Requiem (in Berlin with Thielemann and Leipzig with Blomstedt) and The French Government awarded Joseph Zemlinsky’s Lyric Symphony (BBC the title of Chevalier des Arts et des Proms with Simone Young). Lettres for services to French music. The University of Western Australia awarded Joseph their prestigious higher doctorate, The Doctor of Letters, in 2018.

9 About The Music

Johann Sebastian Bach (1685 – 1750) Toccata and Fugue in D minor, BWV 565 Symphonic transcription by Leopold Stokowski (1882-1977) Toccata: Adagio (Improvisato) – Allegro Fugue: Moderato In 1981 musicologist Peter Williams ruffled feathers by suggesting that Bach’s most famous organ work wasn’t by Bach. And possibly not for the organ. Since then, various theories about its authorship and instrumentation have come and gone, scarcely have imagined. Such extremes including that it was for violin (the patterns of dynamics and colour suffuse Leopold in the fugue subject where the theme Stokowski’s orchestration of the piece, bounces off a repeated A on every second which is a perfect showpiece for orchestra. semiquaver are very violinistic). Stokowski avoids the mistakes that organist- Scholar Jonathan B. Hall argues that composers make in over-blending orchestral the work was composed for organ, by sound. He allows different sections to shine Bach student Cornelius Heinrich Dretzel – especially the strings – but uses forceful in Nuremberg. At least one other work orchestral tuttis to evoke the sound of a attributed to Bach has been shown to be massive instrument in a vast space. by Dretzel, but the point about the D minor Toccata and Fugue is how un-Bachian it © Gordon Kerry 2019 is: as Hall notes, it is unlike Bach literally to First performance: February 1926. The Philadelphia repeat his opening gesture or use piled- Orchestra conducted by Stokowski. Recorded on up chords for purely sonic effect; the 6 April 1927. counterpoint is dramatic but somewhat First WASO performance: 6 February 1975. basic, the fugue effectively giving up for a David Measham, conductor. return to the toccata material at the end. Most recent WASO performance: 11 February 1984. Measham, conductor. Williams referred to the way the ‘Gothic Instrumentation: four flutes (two doubling piccolo), organists from [Albert] Schweitzer to three oboes and cor anglais, three clarinets and [Helmut] Walcha’ had approached the piece bass clarinet, three bassoons and contrabassoon; in the early- to mid-20th century, playing it six horns, three trumpets, four trombones and tuba; on gargantuan instruments that Bach can timpani; two harps; celesta; strings. Glossary Chord – several notes (usually three or more) played simultaneously. Counterpoint – two or more independent lines of music or melodies that are played at the same time and make musical ‘sense’ when combined. Music which uses counterpoint is said to be ‘contrapuntal’. Much music of the Baroque era is contrapuntal in style. Fugue – a contrapuntal style of composition in which a short melody is sounded by one voice or part and subsequently taken up by others. Semiquaver – a very rapid note, which has half the time value of a quaver. Toccata – from the Italian toccare (to touch). A virtuosic keyboard piece in free form, designed to display the player’s fingerwork and technique. Transcription – transcribing a piece of music from one medium to another. It can refer to arranging a piece to be played on a different instrument (as in this case, i.e. arranging a piece originally written for organ for symphony orchestra).

10 Richard Strauss (1864 – 1949) Morgen!, Op.27 TrV 170, No.4 Ich wollt’ ein Sträusslein binden, Op.68 TrV 235,No.2 An die Nacht, Op.68 TrV 235, No.1 Freundliche Vision, Op.48 TrV 202, No.1 Cäcilie, Op.27 TrV 170, No.2 In certain arias by Mozart, Strauss once wrote, ‘Eros himself sings in Mozart’s melody; Love in its most beautiful, purest form speaks to our feelings…’. Both composers married singers for whom they wrote some of their most memorable Strauss’ single most famous song, work; the comparison between the two Morgen!, sets a text by John Henry composers’ lifelong love for the soprano Mackay (1864–1933), a Scot who lived voice has often been made but is no in Germany from early childhood and less valid for that. Like Mozart’s, Strauss’ devoted himself to anarchist politics, writing for the solo voice in opera and experimental verse and up-front song is often more than slightly erotic, homosexuality at a time when none of the and his choice of texts in his 200-odd above was exactly tolerated. Morgen! is a Lieder bears this out. fairly conventional lyric dealing with the promise of lovers being reunited. Strauss In 1894 Strauss married the singer Pauline wrote the Op.27 set in 1894 as a wedding de Ahna, whose voice was clearly the present for Pauline, orchestrating ideal for Strauss, regardless of the Morgen! in 1897. His setting is an early intended performer of any given song. masterpiece, beginning with the orchestra He described Pauline as ‘the model (or piano) before the singer enters in mid- interpreter of my songs. Her performance sentence. The violin solo represents the is distinguished in equal measure by the bliss of the united lovers, but as this is still most subtle penetration of the poetic in the future, Strauss likewise ends the content, impeccable taste in shaping the song on a note of erotic expectation. melody, refinement and grace.’ He also praised ‘her excellent breathing technique [and] completely even tone and pathetic interpretation… What a shame that she turned too early to the wonderful career of an excellent, model housewife and mother!’

11 Strauss wrote no songs between 1906 Until they fell out, Strauss set a few and 1916, when he started working with poems by Otto Bierbaum (1865–1910), soprano Elisabeth Schumann. For her he which Norman Del Mar describes as composed the six songs, Op.68 to poems ‘of themselves often lightweight, [but] by Clemens Brentano (1778-1842), though able to touch a vein of gold in Strauss’ Schumann seems never to have performed lyrical make up. Composed in 1900 but the whole set. The poet, who ‘wandered orchestrated in 1918, Freundliche Vision about the countryside with a guitar on his depicts the gentle scene of lovers, in a back like a medieval minstrel’ collecting kind of serene ecstasy, on their way to folk poetry, helped compile the anthology spending their lives together blissfully in a Des Knaben Wunderhorn on which Strauss cool white house in a green wood. and Mahler drew extensively. A poem Another of the Brentano songs, Ich wollt’ like An die Nacht captures a number of ein Sträusslein binden (I wanted to make the favourite motifs of Romanticism – the a bouquet) is – apart from the joke value ‘holy’ nocturnal scene, the namecheck of of the title for its composer – much more a pagan god (Bjelbog, a Slavic god of light in the tradition of the Romantic love-song. whose spear plunges into the earth), and In this poem, the singer wants to make erotic passion somehow linked to images a bouquet for his lover but it’s getting of wounds and wedding feasts. Many years late and he can’t find any flowers. Finally, after composing them, Strauss, having through his tears he spies one bloom but, finished his operaDie Liebe der Danae as often happens in German verse, the in 1940, ‘relaxed’, according to Michael flower begs not to be picked. For want Kennedy, by orchestrating five of the of a flower, boy loses girl. Strauss’ music Brentano songs. has a delicate irony with its use of what In the poem by Heinrich Hart (1855–1906), Del Mar calls ‘mock pathetic chromatic Cäcilie admonishes her lover that if only harmonies and tearful episodes’. he knew how she suffered he could © Gordon Kerry 2019 come to her. Strauss responds with turbulent, yearning music. This song is one of the Op.27 set composed shortly before the Strausses’ wedding in 1894 and orchestrated three years later.

Glossary Arias – a song for solo voice. Chromatic – use of notes that are not part of the key. Harmony/harmonies – the chords in a piece of music and how they are arranged. Lieder – German for ‘songs’, but more specifically a style of song popular in the early 19th century, with a particularly expressive vocal line and the piano accompaniment as equal partner in the music.

12 Maurice Ravel (1875–1937) Alborada del gracioso It’s somewhat ironic that, whilst Spanish composers such as Turina and Falla travelled to Paris to perfect their compositional skills, French composers had long been intoxicated with the rhythms and folk melodies of Spain. Maurice Ravel, whose ‘Spanishness’ astonished even Andalusian composer Manuel de Falla, in fact visited Spain on only a few occasions. However from his Basque mother he inherited a passion There are a number of specific genres for the music in general and for the in Spanish folk music which bear the habanera in particular. Ravel was a master name ‘Alborada’ (literally ‘dawn song’), orchestrator whose skilful manipulation of but Ravel was perhaps thinking more of colour and texture places him among the the romantic medieval idea of a farewell finest composers in this vein. serenade sung by a lover, as he rides away from his beloved at dawn. The complete Alborada del gracioso was originally title, ‘Morning Song of the Jester’, aptly written for piano, as part of a five- suggests the music’s volatile nature, by movement set entitled Miroirs which turns melancholy, playful and extravagant. appeared in 1905. The piece is a powerful evocation of a guitar, being played by Adapted from a note by Elliott Gyger a virtuoso in the Spanish tradition. The © Symphony Australia timbres featured in Ravel’s orchestration First performance: 17 May 1919, Paris. Pasdeloup (made in 1918) make the guitar references Orchestra conducted by Rhené-Baton. explicit, with much use of harp, and First WASO performance: 15-16 March 1973. string pizzicato and harmonics, as well Vaughan Hanly, conductor. Most recent WASO performance: 26-28 as an extensive percussion section (with November 2015. Asher Fisch, conductor. particularly prominent parts for side drum and castanets). Instrumentation: three flutes (third doubling piccolo), two oboes and cor anglais, two clarinets, two bassoons and contrabassoon; four horns, two trumpets, three trombones and tuba; timpani and percussion; two harps; strings.

Glossary Habanera – Cuban dance, precursor of the tango. Most famous example is ‘L’Amour est un oiseau rebelle’ in Bizet’s opera Carmen. Harmonics – high, flute-like sounds produced by lightly touching, instead of pressing down firmly, the string with the fingers of the left hand.

13 About The Music

Modest Mussorgsky (1839 – 1881) orchestrated by Maurice Ravel (1875–1937) Pictures at an Exhibition Promenade – 1. Gnomus (Gnome) Promenade – 2. Il vecchio castello (The Old Castle) Promenade – 3. Tuileries. Dispute d’enfants après jeux (Tuileries. Children quarrelling after play) 4. Bydło (Oxen) Ravel didn’t have access to Mussorgsky’s Promenade – original music from 1874 – only the 1886 5. Ballet of the Unhatched Chicks edition by Rimsky-Korsakov, compromised 6. ‘Samuel’ Goldenberg und ‘Schmuÿle’ by misreadings and errors – but he aimed for 7. Limoges. Le marché. La grande nouvelle fidelity to Mussorgsky’s style, sublimating his (Limoges Market. The Big News) – own. It’s no accident that his orchestration 8. Catacombæ. Sepulcrum romanum was praised for not sounding like his ballet (Catacombs. A Roman Sepulchre) – Daphnis. Similarly, and despite Koussevitzky’s Con mortuis in lingua mortua (With the instructions, Ravel avoided the showy Dead in a Dead Language) glamour of, say, Scheherazade. 9. The Hut on Hen’s Legs. Baba Yaga – 10. The Great Gate of Kiev The exhibition of the title was a memorial in honour of Mussorgsky’s friend, the architect Mussorgsky’s Pictures at an Exhibition and artist Viktor Hartmann, who had died in is piano music but it has inspired more 1873, at the age of 39. As an architect he was orchestrations and arrangements than notoriously bad at constructing ‘ordinary, possibly any other piece of music. And everyday things’ but, given palaces or it was one of these – Ravel’s brilliant ‘fantastic’ structures, his artist’s imagination orchestration from 1922 – that brought was capable of astonishing creativity. this remarkable music to widespread public attention decades before it entered From hundreds of drawings and the piano recital repertoire. watercolours, Mussorgsky chose ten – some showcasing Hartmann’s imagination, others Mussorgsky never intended to orchestrate reflecting his travels. His music places the Pictures at an Exhibition, and yet many listener at the exhibition itself, promenading musicians have felt that this vivid music from picture to picture in ‘Russian style’ with called for orchestral colours. Among a lopsided alternation of five- and six-beat them were conductors Henry Wood (who groupings. (Mussorgsky said his own ‘profile’ withdrew his 1915 effort after Ravel’s was could be seen in these Promenades.) Then, published) and Leopold Stokowski, as well pausing before each artwork, he takes us into as Serge Koussevitzky, whose instructions its world. to Ravel were that the orchestration be in the style of Rimsky-Korsakov, the Several of the movements reveal one composer who, surprisingly, didn’t Mussorgsky’s fascination with speech attempt the task. rhythms and his gift for characterisation. The Tuileries movement, for example, is a

14 fond depiction of shrieking children in the inspired by Hartmann’s painting of the Paris palace gardens, although these Parisian catacombs: Catacombs. A Roman Sepulchre children seem to be calling for their nanny and With the Dead in a Dead Language. Cue in Russian: ‘Nianya! Nianya!’ Gossiping gloomy brass sounds and an introspective women populate the Limoges Market. evocation of the Promenade theme in a minor key, which Ravel gives to the oboes and cor Later, in ‘Samuel’ Goldenberg und ‘Schmuÿle’, anglais against a background of shivering Mussorgsky unites two portraits of Polish high strings. Jews in a timeless narrative: the poor Schmuÿle begging from the rich Samuel The final pair of pictures brings the music (Yiddish and German variants of the same to a climax: a fantastical clock in the form name). Samuel appears first – assertive and of Baba Yaga’s hut and a competition powerful – with (in Ravel’s orchestration) full entry for a grand city gate. Unlike Western strings. Then, in a stroke of genius, Ravel witches, Baba Yaga travels in a mortar casts a stuttering trumpet as Schmuÿle. propelled by a pestle – her broomstick is for sweeping over her tracks – and her Even more memorable is Ravel’s decision music is terrifying and inexorable. to give the troubadour in front of The Old Castle a saxophone to play. Gestures The Great Gate of Kiev conveys an ‘old heroic such as these have become so intimately Russia’ with a Russian Orthodox chant (‘As associated with Mussorgsky’s music they you are baptised in Christ’), which Ravel seem inevitable and it’s no surprise that gives to clarinets and bassoons in imitation of Ravel’s orchestration remains the best- Russian reed organs. This is interrupted by a known of the many that have been made. characteristically Russian peal of bells, which Ravel gives to everyone except the tubular It’s not without its flaws, though. InBydło bells and glockenspiel – these are held in (Oxen), Ravel’s reliance on Rimsky’s edition reserve for the Promenade theme as it rings resulted in a striking departure from out one last time. Mussorgsky’s original, which begins with heavy, thundering chords in the piano’s Yvonne Frindle © 2019 bass. What we hear instead is a gradual First performance: 22 October 1922, Paris. Serge crescendo, emerging from the muted Koussevitzky, conductor. sound of bassoons, tuba, cellos and First WASO performance: March 1967. Thomas basses: entirely ‘wrong’ but an ingenious Mayer, conductor. representation of the approach and Most recent WASO performance: June 2015. passing of a Polish ox-drawn wagon. Eugene Tzigane, conductor. The ponderous Bydło is followed by Instrumentation: three flutes (two doubling chirping flutes, fluttering violintrills , and piccolo), three oboes (one doubling cor anglais), the staccato tapping of chicks at their two clarinets, bass clarinet, two bassoons and contrabassoon; alto saxophone; four horns, three shells for Mussorgsky’s imaginary Ballet trumpets, three trombones and tuba; timpani and of the Unhatched Chicks. Then, in another percussion; two harps and celesta; strings. swift change of mood, a pair of movements

Glossary Chord – several notes (usually three or more) played simultaneously. Crescendo – getting louder. Minor – type of key. Very generally, music in major keys tends to sound brighter (e.g. Twinkle, twinkle little star), whereas minor keys have a more sombre, melancholy feel (Greensleeves). Russian Orthodox chant – a type of plainchant, the traditional music of the Russian Orthodox church. Staccato – short, detached notes. Trill – a very rapid alternation of two notes.

15 Text & Translation

Morgen! Tomorrow! Und morgen wird die Sonne wieder scheinen, And tomorrow the sun will shine again, und auf dem Wege, den ich gehen werde, and on the road I shall travel wird uns, die Glücklichen, sie wieder einen it will unite us happy ones again, inmitten dieser sonnenatmenden Erde… in the midst of this sunbreathing earth… Und zu dem Strand, dem weiten, And we shall go down to the wide, wave-blue wogenblauen, shore, werden wir still und langsam niedersteigen, quietly and slowly; stumm werden wir uns in die Augen in silence we shall look into each other’s schauen, eyes und auf uns sinkt des Glückes stummes and the hushed silence of happiness will Schweigen… settle on us… John Henry Mackay (1864-1933) Translation: Natalie Shea Symphony Australia © 2004

Ich wollt’ ein Sträusslein binden I wanted to make a bouquet Ich wollt ein Sträusslein binden, I wanted to make a bouquet, Da kam die dunkle Nacht, but dark night came. Kein Blümlein war zu finden, There was not a flower to be seen, Sonst hätt ich dir’s gebracht. otherwise I would have brought you one. Da flossen von den Wangen Then from my cheeks flowed Mir Tränen in den Klee, tears, falling on the clover. Ein Blümlein aufgegangen Now I saw a little flower Ich nun im Garten seh. that had blossomed in the garden. Das wollte ich dir brechen I wanted to pick it for you Wohl in dem dunklen Klee, there in the dark clover, Doch fing es an zu sprechen: but it began to speak: »Ach, tue mir nicht weh! ‘Ah, don’t hurt me! Sei freundlich im Herzen, ‘Be kind-hearted, Betracht dein eigen Leid, think of your own suffering, Und lasse mich in Schmerzen and let me not die in pain Nicht sterben vor der Zeit!« before my time!’ Und hätt’s nicht so gesprochen, And if it hadn’t spoken so, Im Garten ganz allein, all alone in the garden, So hätt ich dir’s gebrochen, I would have picked it for you, Nun aber darf’s nicht sein. but now that may not be. Mein Schatz ist ausgeblieben, My dear one hasn’t come, Ich bin so ganz allein. I am so utterly alone. Im Lieben wohnt Betrüben, In love dwells grief; Und kann nicht anders sein. that is how it must be. Clemens Brentano (1778-1842) Translation: Natalie Shea Symphony Australia © 2004

16 An die Nacht To the Night Heilige Nacht! Heilige Nacht! Holy night! Holy Night! Sterngeschlossner Himmelsfrieden! Star-enclosed sky-peace! Alles, was das Licht geschieden ist verbunden, Everything that light divided is connected; Alle Wunden bluten süss im Abendrot. All wounds bleed sweetly in evening’s red glow.

Bjelbogs Speer, Bjelbogs Speer Bjelbog’s spear, Bjelbog’s spear Sinkt ins Herz der trunknen Erde, Sinks into the heart of the drunken Earth, Die mit seliger Gebärde eine Rose Which, with a blissful gesture, throws a rose In dem Schosse dunkler Lüste niedertaucht. In the womb of dark desires. Heilige Nacht! Züchtige Braut, züchtige Braut! Holy night! Demure bride, demure bride! Deine süsse Schmach verhülle, Hide your sweet shame, Wenn des Hochzeitsbechers Fülle sich When the wedding goblet’s fullness is ergiesset; poured out; Also fliesset in die brünstige Nacht der Tag! Thus flows, into the lustful night, day! Clemens Brentano (1778-1842) Translation: John Glenn Paton LiederNet Archive

Freundliche Vision Friendly Vision Nicht im Schlafe hab’ ich das geträumt, It was not in sleep that I dreamt it, hell am Tage sah ich’s schön vor mir. It was in the broad daylight that I saw it before me; Eine Wiese voller Margeriten; a meadow full of daisies; tief ein weisses Haus in grünen Büschen; a white house deep in green bushes; Götterbilder leuchten aus dem Laube. images of deities shine in the foliage. Und ich geh’ mit einer, die mich lieb hat, And I walk with one who loves me, ruhigen Gemütes in die Kühle calmly into the coolness of dieses weissen Hauses, in den Frieden, this white house, into the peace, der voll Schönheit wartet, dass wir kommen. That in all its beauty, awaits our coming. Und ich geh’ mit einer, die mich lieb hat, And I walk with one who loves me, in den Frieden voll Schönheit. into the peace, in all its beauty. Otto Julius Bierbaum (1865-1910) Translation: Brian Long Symphony Services International © 2018

17 Text & Translation

Cäcilie Cäcilie Wenn du es wüsstest, If you knew, Was träumen heisst von brennenden Küssen, what it means to dream of burning kisses, Von Wandern und Ruhen mit der Geliebten, of roaming and resting with your beloved, Aug in Auge, eye to eye, Und kosend und plaudernd, and caressing and chatting, Wenn du es wüsstest, If you knew, Du neigtest dein Herz! You would bow your heart! Wenn du es wüsstest, If you knew, Was bangen heisst in einsamen Nächten, what it means to long in lonely nights, Umschauert vom Sturm, da niemand tröstet during a storm, when no one comforts Milden Mundes die kampfmüde Seele, your battle-weary soul with a gentle mouth, Wenn du es wüsstest, If you knew, Du kämst zu mir. you would come to me. Wenn du es wüsstest, If you knew, Was leben heisst, umhaucht von der what it means to live, surrounded by the Gottheit divine’s Weltschaffendem Atem, world-creating breath, Zu schweben empor, lichtgetragen, To float upward, carried by light, Zu seligen Höhn, to blissful heights, Wenn du es wüsstest, If you knew, Du lebtest mit mir! you would live with me! Heinrich Hart (1855-1906) Translation: Brian Long Symphony Services International © 2018

18 About The Speaker

Ashley Smith Pre-concert Speaker

Clarinettist Ashley William Smith is Center, Chamber Music Northwest, the an internationally recognised clarinet Kennedy Center, the Beijing Modern soloist, recitalist, and chamber musician. Music Festival, and IRCAM. As a soloist Ashley is a laureate of several the and director he has performed alongside industry’s most prestigious prizes several international and Australian including the APRA Performance of the orchestras. Most notably, his performance Year, the Music Council of Australia of Lachlan Skipworth’s Clarinet Concerto Freedman Fellowship, an ABC Symphony with the West Australian Symphony International Young Performer Award, Orchestra was awarded the APRA 2015 and a Churchill Fellowship. Performance of the Year. Ashley has performed throughout Ashley is an Assistant Professor at the Australia, the USA, Europe and Asia in University of Western Australia where he performances with Bang on a Can, the is the Head of Winds and Contemporary Chamber Music Society of the Lincoln Performance.

SE_Hollywood_PressAd_A6_v2_mono.indd 1 12/11/19 9:43 am 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. ACCESSIBILITY Hearing aids that are incorrectly adjusted may disturb other patrons, please be • A universal accessible toilet is available mindful of those around you. on the ground floor (Level 1). • The Sennheiser MobileConnect Mobile phones and other electronic Personal Hearing Assistance system devices need to be switched off or is available for every seat in the silenced throughout the performance. auditorium. Visit perthconcerthall.com. au/your-visit/accessibility/ for further Photography, sound and video information. recordings are permitted prior to the start of the performance. WASO BOX OFFICE Latecomers and patrons who leave the Buy your WASO tickets and subscriptions, auditorium will be seated only after the exchange tickets, or make a donation completion of a work. at the Box Office on the ground floor (Level 1) prior to each performance and at Moving to empty seats. Please do not interval. Tickets for other performances move to empty seats prior to the at Perth Concert Hall will be available for performance as this may affect seating for purchase only at interval. Please note that latecomers when they are admitted 30 minutes prior to performance, the Box during a suitable break. Office will only be available for sales to that night's performance. FOOD & BEVERAGES You are now able to take your drinks to The Box Office is open Monday to your seat. Friday, 9am to 5pm, and contactable on 9326 0000. Foyer bars are open for drinks and coffee two hours before, during interval and after the concert. To save time we recommend you pre-order your interval drinks. FIRST AID There are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance.

20 WASO-2019.indd 2 3/05/2019 9:45:21 AM Meet The Musician

Jane Kircher-Lindner Principal Bassoon

You enjoy playing chamber music, who are your favourite chamber composers? Playing chamber music is fantastic fun and is such a refreshing change from the enormity of playing in a symphony orchestra. The composers I gravitate towards are the ones who loved the bassoon and who wrote fantastic bassoon parts. Mozart is always a winner – whether it’s his large wind serenades, or his quintet for piano and winds, or even his sonata for bassoon and cello - it’s all perfect and a real delight to play. of Oz for our Symphonic Fantasy concert, You teach bassoon at WAAPA and UWA, and sight reading a Haydn Symphony as what in your opinion is the most important part of our Discovery Concert. My favourite concept to teach your students? symphony this year has been Brahms’ Helping them to understand and release Second Symphony with Asher Fisch. That tension, both mentally and physically. felt like a concert with perfect chemistry Tension is the enemy of inspiring and energy between the orchestra and performance and great playing. conductor. It can be really stressful performing to an Where was your last holiday destination? audience, and almost everyone (student and Holidays nowadays (with two young kids) are professional alike) has struggled with this to quite a different affair from what they used some degree. Mental stress often manifests to be pre-children. The last place we went as physical tension, and nothing works well was to Dunsborough, staying at a friend’s FREE on a wind instrument when we’re tense or caravan near the beach. EVENT stressed: we DON’T want shallow breathing, You are an avid baker, what was the last tight lips and tense fingers. I try and teach thing to come out of your oven? ways of quietening the mental chatter that A mulberry and apple cake – as I write this often fills our minds when playing (‘am I going it’s spring and the local mulberry trees are to get this hard run….is that high note going laden with beautiful fruit. The kids and I to come out….will this note be too loud?’). know all the mulberry trees in the area that Audiences would be astounded if they could overhang onto the footpath, and we take see the thoughts running through our heads great delight in picking a few handfuls as we when playing! go on our walks. Name some highlights of your career to My baking style has evolved considerably date? since having kids too! Gone are the It sounds like such a cliché but it’s true – this long relaxing afternoons spent baking is such a hard question to answer! We play something elaborate. Nowadays it’s mostly so many amazing concerts, and each one quick, easy and (mostly) nutritious, and if has moments that are etched in my memory. it can go in the freezer to be whipped out when required for school lunchboxes, all This year I’ve loved playing in the Chamber the better. Mind you, I still do the odd bit Music Festival (playing Mozart of course), of late night baking after a long day when I dressing up as Dorothy from The Wizard REALLY need a good sugar fix...

SE_ChristmasSymphony_A6_ProgramAd_colour.indd 1 7/11/19 2:30 pm Your local guide to Perth

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SE_ChristmasSymphony_A6_ProgramAd_colour.indd 1 7/11/19 2:30 pm WASO Community Engagement

EChO Wrap EChO 2019 saw an action-packed season full of singing, dancing and a whole lot of fun which included Kids’ Concerts in Perth and Kwinana, performances in 4 schools, and at Perth Children’s Hospital as part of our Hospital Orchestra Project. The first week of EChO coincided with the 2019 Regional Tour, this gave us a wonderful opportunity to welcome new musicians to the EChO family and all the fun that comes with this incredible ensemble. This week also saw the launch of a brand new show, Professor Stanley’s Two of our favourite shows, these Symphonic Spinfest with the inimitable wrapped up the first week and continued Lee Stanley which featured a Chocolate into our second and third week where we Wheel, 7 mystery envelopes and a giant visited Quinns Beach PS and St Marys’ red love heart! Of course there was plenty AGS Junior School and performed Kids’ of musical learning as well, with students Concerts back at the Wardle Room, at our Crescendo schools, Medina PS and before wrapping up at EChO Kwinana. North Parmelia PS, learning all about key EChO will return in 2020 with Paul orchestral genre, famous composers from Rissmann joining EChO11 in August and our Haydn to Khachaturian, and some of the original EChO (celebrating an amazing 25 most iconic orchestral repertoire. Years in 2020!) heading back into schools Just as exciting was the return of Captain and Kids’ Concerts later in the year. Dynamics and the Supersonic Symphony and For more details, visit www.waso.com.au an extended version of March Along with EChO in Schools is supported by Stott Hoare. EChO with the wonderful Libby Hammer.

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

24 WASO Philanthropy

Annual Giving Annual Giving makes a powerful difference to WASO’s ability to continue to present inspiring and joyful concerts to so many people across WA. Your donation, whatever the size, counts! As a not-for-profit, charitable organisation, we are extremely proud to be supported by many individuals like you, who each year renew their gift to Annual Giving. Your Orchestra would be a very different one without this ongoing support. Want to join our community and become a WASO Patron? This year we invite you to become, or renew as, a WASO Patron by making a If you wish to become a Patron, renew donation to our Annual Giving fund. Those for 2019 or increase or your current gift, who give $500 or above in a year are please contact Jacinta Sirr on 9326 0014 acknowledged as WASO Patrons and enjoy or [email protected]. It is also quick opportunities to experience the Orchestra and easy to make a donation online at from different perspectives – not just from waso.com.au/supportus or you can make the auditorium – through invitations to a donation at the Box Office with your exclusive Patron events, getting to know ticket purchase. All donations over $2 are our musicians and fellow music lovers. fully tax deductible. Patrons & Friends Event Patrons & Friends Christmas Party Thursday 12 December | 4.30pm Perth Concert Hall For all Patrons, Friends & Bequestors Join us at the Perth Concert Hall one final time for 2019, celebrating another wonderful year of music alongside WASO musicians and staff. Watch your Orchestra rehearse for Lotterywest Christmas Symphony before enjoying a buffet BBQ dinner and a glass of beautiful Margaret River wine. All proceeds from Patrons & Friends events go directly towards the Friends Tickets are $50 for Patrons & Friends ($55 of WASO Scholarship, providing for guests) and are available from the professional development opportunities WASO Box Office on 08 9326 0000. for WASO musicians.

25 Our Supporters

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

26 Our Supporters

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

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

27 Our Supporters

Gregg & Sue Marshman Adrienne & Max Walters AM Daphne Devenish in memory of Betty & Con Michael AO Diana & the late Bill Warnock Bruce Devenish Tony & Gillian Milne Watering Concepts Lawrence Easton Mrs Carolyn Milton-Smith in Ian Watson Maxine & Bill Farrell AM loving memory of Emeritus Joy Wearne Dr Jenny & Terry Fay Prof John Milton-Smith Dr Deb Weir Susan & Gavin Fielding AM Hon Justice S R Moncrieff Alan Westle in memory of Jean Eléonore Fuchter Geoffrey & Valmae Morris Patricia Weston Joan Gagliardi Jane & Jock Morrison Dr Chris & Mrs Vimala Whitaker Jennifer & Stephen Gardiner Dr Peter Moss Dai & Anne Williams Isobel Glencross Lyn Murray Janet Williams Allan & Jane Green Val & Barry Neubecker Mrs Jean & Mr Ian Williams AO Pitsamai & Kevin Green Family Nilant Jim & Gill Williams Dr Roland Haehnel Marianne Nilsson Hilary & Peter Winterton AM Dr Dana Halmagiu Dr Phillip & Mrs Erlene Noble Fred & Caroline Witting Ann Hammer Dr Walter Ong & Graeme Marshall Margaret Wood J & G Hamory Robyn Owens Sara Wordsworth Dr Rosalind Hampton Ron & Philippa Packer Anonymous (27) Paul & Barbara Harris Michael & Lesley Page Alan Harvey & Dr Paulien de Boer Athena Paton Tutti Patron Elizabeth & Eric Heenan Rosemary Peek Gifts $500 - $999 Rosemary Howarth Charmian Phillips in memory of Geoff & Joan Airey Cynthia Jee Colin Craft Kim Anderson & Paul Holmes Lynn & Michael Jensen Barry & Dot Price Catherine Bagster Diane Johnson Dr Leon Prindiville Bernard & Jackie Barnwell Joy Kay Tony & Val Ramshaw Shirley Barraclough Frances Keeley James & Nicola Ridsdill-Smith Berwine Barrett-Lennard Evan Kennea & John & Alison Rigg Alecia Benzie Emily Green-Armytage Dr Lance Risbey Michael & Nadia Berkeley-Hill B M Kent Will Riseborough John & Sue Bird in memory of Dorothy Kingston Paul & Christine Roberts Penny Bird Nelly Kleyn Bryan & Jan Rodgers Davilia Bleckly John Kusinski & Ann Motherway Gerry & Maurice Rousset OAM Margaret Bloch Trevor & Ane Marie Lacy Roger Sandercock John & Debbie Borshoff Louis & Miriam Landau The Hon. Kerry Sanderson, AC E & G Bourgault in memory of Mi Kyung Lee & Colin Binns Dr R & J Schwenger Betty Sagar Martin & Ruth Levit Robyn & Ted Sharp Diane & Ron Bowyer Mary Ellen in memory of Kerensa Glenice Shephard Ann Butcher & Dean R Kubank Oliver & Sophie Mark Helen Smith OAM Adrienne & Phillip Buttrose Geoffrey Massey Laurel & Ross Smith Maria Caesar Pam Mathews & Dr Mark Brogan Paul Smith & Denham Harry Michelle Candy Jennifer McComb Geoff & Chris Soutar R & R Cant Kathleen McGregor David Stevenson Nanette Carnachan Gaye & John McMath Iain Summerlin Philip & Frances Chadwick S. McWhirter Stephen & Janet Thackray Claire Chambers & Patricia Murphy Ruth Thomas in memory of Dr Andrea Shoebridge Phuong Nguyen Ken & Hazel Rowley Fred & Angela Chaney G & I Nicholas Clare Thompson & Brad Power Tim & Claire Chapman Marjan Oxley Ruth E Thorn Grant & Catherine Chappelle Bev Penny Gavin Toovey & Jaehan Lee Jason & Su-Lyn Chong Adrian & Ruth Phelps Mary Townsend Lyn & Harvey Coates AO Richard & Sharon Prince James & Rosemary Trotter Alex Cohen AO & W. J. Quadrio David Turner & Judith Wilton Agatha van der Schaaf Rosie Reeman Christopher Tyler Chris & Swee See Colton Leigh Robinson & Deborah Gellé Maggie Venerys Natalie Cullity Nigel & Dr Heather Rogers Geoff & Sandra Wackett Gina & Neil Davidson Chris & Serge Rtshiladze John & Nita Walshe Jop & Hanneke Delfos Margaret & Roger Seares

28 Our Supporters

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

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

PROUD SPONSOR OF WASO AND CATERING PARTNER AT PERTH CONCERT HALL

WWW.HEYDERSHEARS.COM.AU 2019 Corporate Partners

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OVERTURE PARTNERS

SONATA PARTNERS

KEYNOTE PARTNERS

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FUNDING PARTNERS

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

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

CorporatePartnersTable_2019_A5_v3.indd 1 29/10/19 11:04 am 2019 Corporate Partners