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WEST AUSTRALIAN SYMPHONY ORCHESTRA
Morning Symphony Series
Thursday 14 March 2013, 11am
Perth Concert Hall
Chevron Australia Masters Series
Friday 15 & Saturday 16 March 2013, 7.30pm
Perth Concert Hall
GALA SEASON OPENING
Inspiring
minds with
music
In the hands of a child,
a musical instrument can
inspire delight, imagination
and a world of possibility.
That is why Chevron Australia
is proud to support WASO On
the Road, bringing music to
children across Perth and
the Pilbara.
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Upcoming
concerts
HEADING HERE
International Recital Series
Orla Boylan in Recital
Monday 18 March, 7.30pm
Government House Ballroom
Photo: Feargal Phillips
SIBELIUS Selected songs
WAGNER Wesendonck Lieder
STRAUSS, R. Selected songs
BARBER Selected songs
TCHAIKOVSKY Eugene Onegin, Act I: Letter Scene
Orla Boylan, soprano (pictured)
Paul Daniel, piano
Tickets $50*
Stott + Hoare Presents
Piers Lane Plays Rachmaninov
Friday 22 & Saturday 23 March, 7.30pm
Perth Concert Hall
Photo: Eric Richmond
WAGNER Tannhaüser: Overture & Venusberg Music
RACHMANINOV Rhapsody on a Theme of Paganini
DVORAK Symphony No.7
Paul Daniel, conductor
Piers Lane, piano (pictured)
Tickets from $30*
Kids’ Concerts
Friday 5 & Saturday 6 April, 9.45am & 11.15am
South Perth Civic Centre
Crash, bang, tweet, hum, listen, dance, sing!
Prance around and try out instruments in a lively performance
with WASO’s 15 piece Education Chamber Orchestra (EChO).
Suitable for up to 8 year olds.
Tickets $12*
*Transaction fees may apply.
Book Now
Call 9326 0000 or visit waso.com.au
9326 0000 | waso.com.au
3
PROGRAM
Morning Symphony Series
Tchaikovsky’s PathEtique
JOHN ADAMS Slonimsky’s Earbox (14 mins)
TCHAIKOVSKY Symphony No.6 Pathétique (45 mins)
Adagio – Allegro non troppo
Allegro con gracia
Allegro molto vivace
Finale: (Adagio lamentoso – Andante)
Paul Daniel, conductor
Chevron Australia Masters Series
Tchaikovsky’s PathEtique
Gala Season Opening
JOHN ADAMS Slonimsky’s Earbox (14 mins)
STRAUSS, R. Four Last Songs (25 mins)
Frühling (Spring)
September
Beim Schlafengehen (On Going to Sleep)
Im Abendrot (In Sunset’s Glow)
Interval (20 mins)
TCHAIKOVSKY Symphony No.6 Pathétique (45 mins)
Adagio – Allegro non troppo
Allegro con gracia
Allegro molto vivace
Finale: (Adagio lamentoso – Andante)
Paul Daniel, conductor
Orla Boylan, soprano
Paul Daniel appears courtesy of Wesfarmers Arts.
Series Partner
4
waso.com.au | 9326 0000
WELCOME
Tonight, we can hear the last great
masterpieces of Tchaikovsky and Richard
Strauss side by side. Strauss knew he
was saying goodbye to a long life lived
comfortably and confidently, but crushed
by the cultural and social destruction of
the Second World War. His last four great
orchestral songs are a gentle and heartrending farewell to a lost world, music that
he knew he would not live to hear.
Tchaikovsky was not bidding farewell to
life, no matter how many myths have
surrounded his sudden death only nine days
after the premiere of his Sixth Symphony.
He had learned to live with the crushing
pessimism of his troubled, discordant life:
the horrors of his fake marriage, to hide his
forbidden sexuality were many years behind
him, and he was now hugely popular and
accepted at court.
But of course, Tchaikovsky’s final
masterpiece doesn’t turn to blazing
optimism as symphonies were supposed to:
where Strauss turns desperate pessimism
into the sunshine of eternity, Tchaikovsky
begins and ends in the bleakest darkness.
Where Strauss resigns himself to a calm
acceptance of death, Tchaikovsky writes
his whole discordant life into his turbulent
score. It begins and ends in darkness, but
the elegance of the quirky waltz and the
madcap celebrations of the Scherzo are
no empty interludes.
To make a rousing start to a rousing 2013
season, we begin with a total contrast to
the farewells of Tchaikovsky and Strauss:
John Adams’ virtuoso fireworks are
inspired by the eccentric and brilliant
Nicolas Slonimsky, who was born only a
year after the premiere of the Pathétique,
in the same city, and died happily on
another continent 101 years later.
Paul Daniel
Principal Conductor & Artistic Adviser
Your Orchestra is back! We have looked forward to this new
season for a long time: planning concerts starts many years in
advance. Now, the 2013 concerts are ready, and we can add the
final and most important ingredient: you, our loyal audience.
We hope you recognise yourselves in the programmes of this
exciting new season: every one is a mixture of the music we all
love, played in the hall that brings so much warmth to the music
we all share. Thank you for joining us in 2013: we look forward
to an exciting season together!
Paul Daniel
Principal Conductor & Artistic Adviser
9326 0000 | waso.com.au
5
Pick up a 2013 concert
diary from the WASO desk
to ensure you don’t miss
out on future concerts.
MAKING THE MOST
OF YOUR TIME WITH US
Free Pre-concert Talks
Find out more about the music in this concert with this week’s speaker, James Ledger. Pre-concert
talks take place at 9.40am in the auditorium on Thursday morning and 6.45pm in the Terrace Level
foyer on Friday and Saturday nights. Meet the Artist
Meet the artist Orla Boylan post-concert Friday night on the Terrace Level of the Perth Concert Hall.
Food & Beverages
First Aid At Morning Symphony concerts enjoy a free tea
or coffee prior to the start of the concert, and
then stay afterwards for a $17.30 Chef’s Country
Luncheon Buffet (bookings essential through
WASO). Plus collect your complimentary copy
of The West Australian newspaper.
There is St. John Ambulance officers present
at every concert so please speak to them if
you require any first aid assistance.
At Masters Series concerts foyer bars are
open for drinks and coffee two hours before,
during interval and afterwards. To save time we
recommend you pre-order your interval drinks.
WASO Recordings
Continue to experience WASO in your own
home! A variety of WASO CDs and DVDs are
available for purchase at the Encore Gift Shop
in the foyer tonight.
CONNECT WITH WASO
Tune in to 720 ABC Perth for
breakfast on Friday mornings
when Prue Ashurst joins
Eoin Cameron to provide the
latest on classical music and
WASO’s upcoming concerts.
WASO Webcasts
E-News
WASO will be streaming this
concert live on Saturday 16
March, thanks to iiNet. For more
details and to watch webcasts
on demand visit waso.com.au
Stay up to date with the
activities of your Orchestra
by subscribing to SymphonEnews. Go to waso.com.au to
join our mailing list.
Feedback
This performance is being
recorded for broadcast at
1pm, Saturday 16 March on
ABC Classic FM. For further
details please refer to limelight
magazine or abc.net.au/classic
youtube.com/
WestAustSymOrchestra
CONCERT Playlists
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Listen to music featured in
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WASO
NEWS
HEADING HERE
ASSISTANT
CONDUCTOR
APPOINTED
A new initiative launched by the
Orchestra this year to support
emerging West Australian
conductors, has resulted in the
appointment of our first Assistant
Conductor, Christopher Dragon.
Christopher will gain invaluable
experience by working with WASO’s
musicians and staff, Principal
Conductor Paul Daniel and other
guest artists throughout 2013.
This new program is supported
by the Simon Lee Foundation and
Symphony Services International.
FAREWELL TIM WHITE
This week we bid farewell to
percussionist Tim White who is leaving
the Orchestra after almost three
decades as WASO’s ‘Crasher-andBanger’. Tim joined WASO in 1985
and says he feels “very lucky to have
been part of the wonderful WASO
family over this time.” Tim will take up
a teaching position at the Western
Australian Academy of Performing
Arts, and he’ll continue exploring the
world of percussion with WAAPA’s
Defying Gravity percussion ensemble.
We wish Tim well in all his future
adventures and we thank him for his
outstanding commitment and service
to WASO.
WASO AND WA
JOIN FORCES YO
Christopher Dragon Photo: Nik Babic
On the closing nig
ht of the 2013 Pe
rth
International Ar
ts Festival, 37 m
usicians
from the West Au
stralian Youth Or
chestra
joined WASO on
stage at the Perth
Concert
Hall to perform
a stage setting of
Bartok’s
opera Duke Blue
beard’s Castle, an
d ballet
suite The Woode
n Prince. The co
llaboration
provided a wond
erful opportunit
y for WASO
and WAYO musici
ans to combine
forces to
perform two of
Bartok’s magnif
icent pieces.
9326 0000 | waso.com.au
7
biographies
Paul Daniel
Conductor
Paul Daniel became Principal Conductor
and Artistic Adviser of WASO in 2009.
In 2013 he takes up the positions of
Music Director of the Orchestre National
Bordeaux Aquitaine and Principal
Conductor and Artistic Director of the
Royal Philharmonic Orchestra of Galicia.
He has appeared as a guest conductor with
major orchestras and opera companies
throughout the world as well as holding
several permanent positions. From 1997
to 2005 he was Music Director of English
National Opera; from 1990 to 1997 he
was Music Director of Opera North
and Principal Conductor of the English
Northern Philharmonia; and from 1987
to 1990 he was Music Director of Opera
Factory. Operatic guest engagements
have included the Royal Opera House
Covent Garden, La Monnaie in Brussels,
the Bayerische Staatsoper, Munich and the
Metropolitan Opera in New York.
Paul Daniel’s orchestral engagements
have included performances with the
Philharmonia, London Philharmonic, the
Orchestra of the Age of Enlightenment
(with whom he recorded Elijah for Decca),
City of Birmingham Symphony Orchestra,
Academy of Ancient Music, Orchestre
de Paris, Gürzenich-Orchester Köln,
Leipzig Gewandhaus, Netherlands Radio
Philharmonic, Tampere Philharmonic,
Cleveland Orchestra, Milwaukee Symphony,
New York Philharmonic, and the Los Angeles
Philharmonic.
Paul Daniel appears courtesy of Wesfarmers Arts.
8
waso.com.au | 9326 0000
Recent and future operatic plans include
Lucrezia Borgia and The Marriage of Figaro
for English National Opera, Gloriana for
Covent Garden, a new commission by Judith
Weir for the Bregenz Festival and Covent
Garden, Lulu for La Monnaie in Brussels, a
double bill of L’Enfant et les Sortilleges and
Der Zwerg for Opéra National de Paris, Les
Troyens for the Deutsche Oper Berlin, A
Village Romeo and Juliet for Oper Frankfurt,
The Turn of the Screw for Zurich Opera
and a concert performance of Pelléas
et Melisande at the Bolshoi. Orchestral
engagements, apart from his concerts
with WASO, Orchestre National Bordeaux
Acquitaine and Real Filharmonia de Galicia,
include concerts with the BBC Philharmonic,
Royal Philharmonic, Mozarteumorchester
Salzburg, Hamburg Symphony, Munich
Rundfunkorchester, Tapiola Sinfonietta,
Australian National Academy of Music,
National Youth Orchestra of Great Britain
and at the Bregenz Festival.
His many recordings include the hugely
successful CD of Elgar’s Third Symphony
on Naxos.
In February 1998 Paul Daniel received an
Olivier Award for outstanding achievement
in opera, and was awarded the CBE in the
2000 New Year’s Honours list.
Photo: Feargal Phillips
9326 0000 | waso.com.au
9
biographIES
Orla Boylan
Soprano
Heralding a move to the dramatic
repertoire of Wagner and Strauss, Orla
Boylan made her role debut last season as
Senta in The Flying Dutchman for English
National Opera and as Chrysothemis in
Elektra for West Australian Opera. She has
also appeared as Sieglinde (Die Walküre)
with English National Opera and Opéra
national du Rhin; as the Overseer in Elektra
at the Salzburg Festival; and as Elisabeth
(Tannhäuser) for Teatro Comunale di
Bologna. A series of title roles in Arabella,
Ariadne auf Naxos and most notably
the British stage premiere of Die Liebe
der Danae for Garsington Opera under
Elgar Howarth established Orla Boylan
as a respected interpreter of Strauss’
repertoire.
Earlier in her career, following her
breakthrough performance as Tatyana
in Nikolaus Lehnhoff’s production of
Eugene Onegin in Baden-Baden and Paris,
she made her name with the heroines of
the Slavonic repertoire. Her acclaimed
interpretations of Janáček’s Jenůfa
and Káťa Kabanová have taken her to
Deutsche Oper Berlin, Hamburg State
Opera, Cologne Opera, Lyon Opera and
Glyndebourne Festival Opera. The recent
additions to her repertoire of Tchaikovsky’s
Iolanta for Opera Holland Park and Lisa
(Pique Dame) for Komische Oper Berlin and
Opera North have met with equal success.
Photo: Feargal Phillips
10
waso.com.au | 9326 0000
Concert appearances include Britten’s
War Requiem at the Perth International
Arts Festival, Mahler’s Symphony No.8 with
the Gürzenich Orchestra Cologne, scenes
from Wozzeck with the Royal Liverpool
Philharmonic, and Four Last Songs which
she has performed with the Hallé, Giuseppe
Verdi Symphony Orchestra of Milan,
and the St Gallen Symphony Orchestra.
Upcoming engagements include War
Requiem with the Auckland Philharmonia
Orchestra, and roles as Gutrune
(Götterdämmerung) for Opera North and
Senta for NBR New Zealand Opera.
In 2007 Orla Boylan won a Helpmann
Award for her performance of Procne at
the Perth International Arts Festival in the
world premiere of Richard Mills’ The Love
of the Nightingale.
INTERNATIONAL RECITAL SERIES
HEADING
HERE
THIS
MONDAY!
Monday 18 March, 7.30pm
Government House Ballroom
Orla Boylan, soprano
Paul Daniel, piano
Tickets $50* Reserved Seating
“I’m honoured to play for
Orla Boylan once again –
a great international soprano
singing her favourite songs.
A rare and unmissable treat!”
PAUL DANIEL,
WASO PRINCIPAL CONDUCTOR
Book Now
Call
9326 0000
Visit waso.com.au
9326 0000 | waso.com.au
Paul Daniel appears courtesy of Wesfarmers Arts. *Transaction fees may apply.
11
West Australian
Symphony Orchestra
Principal Conductor
Paul Daniel
Partnered by
Wesfarmers Arts
Conductor Laureate
Vladimir Verbitsky
Chorus Director
Marilyn Phillips
Concertmaster
Giulio Plotino
Meet the Musician
Fotis SkorDas, Cello
How long have you been performing
with WASO and what have been your
highlights?
I have been with the Orchestra for nearly
25 years and started when both the
symphony and the arts orchestra where
amalgamated. Due to the influx of new
blood the average age of the orchestra
was unusually young. In around 1997-98
Lynn Harrell came to perform Elgar’s
Cello Concerto. I was excited to be able
to play one of the best known works of
the repertoire with one of the most highly
regarded cellists of our time. The concert
went beyond my expectations and I still
regard it as the pinnacle of my career. Your family originate from Greece –
were you born there or have you always
lived in Australia?
Both my parents were immigrants from
Greece and they met in Adelaide where
I was born. My mother’s side of the
family were very musical: she played the
Spanish guitar and all her siblings played
instruments.
12
waso.com.au | 9326 0000
How did you find
yourself playing
the cello?
At school I was
asked to pick an
instrument
I would like to play, and after demonstrations
of the violin, viola and cello were given I chose
the cello because it was the biggest! (I was
nine years old, big is beautiful at that age).
In hindsight I made the right choice. Today the Orchestra are performing a WASO
premiere, John Adams’ Slonimsky’s Earbox.
Do you enjoy performing new works?
In my view new works are enjoyed more if
you have a good technical grasp of them,
that’s why my practise regime is more
intensive whenever I’m dealing with new or
contemporary music. This includes listening
to recordings, if any, and studying the
score to highlight difficult passages. I start
to physically practise the piece at least a
month or more before the performance date.
With some music it takes days of repetition
to make sure that I am comfortable and
proficient with the music before the downbeat
of the first rehearsal. On Stage Today
VIOLIN
Giulio Plotino
Concertmaster
Margaret Blades
Assoc Concertmaster
Semra Lee-Smith
Assistant Concertmaster
Graham Pyatt
A/Principal 1st Violin
Zak Rowntree
A/Principal 2nd Violin
Kylie Liang
A/Assoc Principal 2nd Violin
Sarah Blackman
Fleur Challen
Stephanie Dean
Sara Duhig^
Adeline Fong^
Beth Hebert
Akiko Miyazawa
Anna O’Hagan
Kathleen O’Hagan^
Ken Peeler
Brendon Richards
Louise Sandercock
Jolanta Schenk
Jane Serrangeli
Ellie Shalley
Jacek Slawomirski
Bao Di Tang
Cerys Tooby
Teresa Vinci^
Andrea White^
Susanah Williams^
David Yeh
VIOLA
Giovanni Pasini
Berian Evans
Kierstan Arkleysmith
Nik Babic
Sally Boud^
Alex Brogan
Ben Caddy^
Katherine Drake
Alison Hall
Rachael Kirk
Allan McLean
CELLO
Rod McGrath
Louise McKay
Melinda Gourlay^
Oliver McAslan
Guenevere Measham^
Anna Sarchich^
Fotis Skordas
Jon Tooby^
Xiao Le Wu
DOUBLE BASS
Andrew Rootes
Joan Wright
Elizabeth Browning^
Christine Reitzenstein
Louise Ross
Andrew Tait
Mark Tooby
FLUTE
Andrew Nicholson
Chair partnered by Apache
Mary-Anne Blades
Diane Riddell^
Michael Waye
Principal Piccolo
OBOE
Leanne Glover
HORN
David Evans
Robert Gladstones
Principal 3rd
Jessica Armstrong^
Francesco Lo Surdo
Wendy Tait ^
TRUMPET
Brent Grapes^
A/Principal
Evan Cromie
Breanna Evangelista^
Daniel Henderson^
TROMBONE
Joshua Davis
Liam O’Malley
Philip Holdsworth
Principal Bass Trombone
TUBA
Cameron Brook
TIMPANI
Alex Timcke
PERCUSSION
Troy Greatz
A/Principal
A/Pricipal
Principal Cor Anglais
Robyn Gray^
Tim White
A/Assoc Principal
HARP
Ben Opie
Stephanie Nicholls
Sarah Bowman
CLARINET
KEYBOARDS
Allan Meyer
Catherine Cahill^
Lorna Cook
Alexander Millier
Graeme Gilling^
Adam Pinto^
Principal Bass Clarinet
Chair partnered by Alessandrino
Property Group
BASSOON
Jane Kircher-Lindner
Adam Mikulicz
Linda Charteris^
Principal
Associate Principal
Guest Musician^
9326 0000 | waso.com.au
13
TIMELINE OF COMPOSERS
AND WORKS
14
waso.com.au | 9326 0000
program notes
John Adams
(b. 1947)
Slonimsky’s Earbox
Adams’ music has always maintained a
loving relationship with that of the past,
in which respect he resembles Stravinsky,
to whom, in part, he pays homage in
Slonimsky’s Earbox. In early Stravinsky,
as in certain other Russian composers,
melody and harmony are derived from
modes – scales that are neither major nor
minor, but have a unique character arising
from the pattern of intervals between the
notes, which in turn inflects the music. Folk
music grows out of such scales, but modes
can also by created ‘synthetically’, as was
the octatonic scale, which 19th-century
Russian composers used freely.
Russian-born Nicolas Slonimsky was a
major figure in 20th-century American
music as composer, generous advocate
of colleagues’ work, and author and
editor of scholarly and popular books and
articles about music. Among his writings
is The Thesaurus of Scales and Melodic
Patterns (1947), which Adams admires as
‘an exhaustive compendium’. Slonimsky’s
Earbox, composed in 1996, celebrates
Slonimsky’s ‘wit and hyperenergetic
personality’ (‘earbox’ is the sort of word
he might have invented) and also his
thesaurus, a major influence on Adams’
melodic invention.
In addition to the early Stravinsky’s use
of both traditional and ‘synthetic’ modes,
Adams also loves and emulates ‘the
exploding first few moments’ and ‘brilliant
eruption of colours, shapes and sounds’
in The Song of Nightingale, a symphonic
poem that Stravinsky composed in 1916-17
out of material from an earlier ‘lyric tale’.
Stravinsky inspires Adams to brilliant
orchestral colour, angular and energetic
motifs and moments of poised, humming
stillness.
Gordon Kerry © 2013
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STRAVINSKY Symphony
s
ent
vem
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Three
Glossary
Symphonic Poem Music which is inspired by and suggests a non-musical idea, such as a story or
a particular scene. Frequently such a work has a descriptive title.
Motif A short, distinctive melodic or rhythmic figure, often part of or derived from a theme.
Photo: Lambert Orkis
9326 0000 | waso.com.au
15
PROGRAM NOTES
Richard Strauss
(1864-1949)
Four Last Songs
(Vier letzte Lieder)
Frühling (Spring)
September
Beim Schlafengehen (On Going to Sleep)
Im Abendrot (In Sunset’s Glow)
In his biography of Richard Strauss, Michael
Kennedy remarks that the Four Last Songs
‘are the music of old age and wisdom and
serenity, of death and transfiguration’.
Like Mozart, whom he adored, Strauss
maintained a life-long love of the soprano
voice, particularly that of Pauline, the wife
to whom he was devoted for more than 50
years. In opera and song, and even here in
these valedictory works, he wrote music
of erotic intensity for it, and in that regard
they may be seen as a final flowering of
German Romanticism. Just as 19th-century
figures like Novalis and Wagner conflated
eroticism and extinction, here the texts of
Hesse and Eichendorff identify the end of
life and love with the peaceful embrace of
night, dreams and death.
Kennedy reminds us, however, that the
works were not conceived as Strauss’
farewell, and that no-one knows if the
composer intended them as a song-cycle in
the strict sense of the term.
16
waso.com.au | 9326 0000
They were published posthumously as his
Four Last Songs, and seized upon by the
great Norwegian soprano Kirsten Flagstad
(pictured page 18) who disingenuously
let it be known that she was Strauss’
ideal interpreter. Flagstad gave the first
performance with Wilhelm Furtwängler at
London’s Royal Albert Hall in 1950, after
which they taken up by Sena Jurinac with
Fritz Busch, and Lisa della Casa with Karl
Böhm. In these performances the order
of the first three songs was reversed from
that which Strauss’ publisher Ernst Roth
had arbitrarily devised, and which we hear
most commonly today.
Frühling (Spring)
Words by Hermann Hesse
In placing this song at the beginning of the set, Roth sets up a satisfying arc for the cycle
as a whole. Here Hesse’s poem deals with anticipation – specifically that of the poet at the
approach of spring – using many of the well-worn tropes of Romantic poetry such as the
imagery of trees, blue skies and birdsong. There is also an echo of eroticism in the blissful
trembling of the final lines.
Im dämmrigen Grüften
Träumte ich lang
Von deinen Bäumen und blauen Lüften,
Von deinem Duft und Vogelgesang.
In darkling caverns
long have I dreamed
of your trees and blue skies,
your fragrance and bird-songs.
Nun liegst du erschlossen
In Gleiss und Zier
Von Licht übergossen
Wie ein Wunder vor mir.
Now you lie before me
in shining splendour
glowing with light –
a miracle.
Du kennst mich wieder,
Du lockest mich zart,
es zittert durch all meine Glieder
Deine selige Gegenwart.
You greet me again,
tempting me gently. My whole being trembles
with the bliss of your presence.
September
Words by Hermann Hesse
In September spring is of course long past and the anticipation felt by the poet is
transformed into a yearning for rest. Both the poem’s imagery and the musical setting,
however, represent this as something to be savoured – the falling of golden leaves causes
the summer to smile even as it dies, and the music is full of finely detailed activity. In the
final moments of the song, Strauss may be remembering his father, as Franz Strauss’
instrument, the horn, has the last word.
Der Garten trauert,
Kühl sinkt in die Blumen der Regen.
Der Sommer schauert
Still seinem Ende entgegen.
The garden mourns.
Cool rain sinks on the flowers;
the summer shudders
as he quietly nears his end.
Golden tropft Blatt um Blatt
Nieder vom hohen Akazienbaum.
Sommer lächelt erstaunt und matt
In den sterbenden Gartentraum.
One by one, the golden leaves
fall slowly from the tall acacia tree.
Wondering and weary, the summer smiles
on the dying garden-dream.
Lange noch bei den Rosen
Bleibt er stehen, sehnt sich nach Ruh.
Langsam tut er die
Müdegewordenen Augen zu.
Yearning for rest
he lingers long by the roses
before he slowly closes
his wide, tired eyes.
9326 0000 | waso.com.au
17
PROGRAM NOTES
Beim Schlafengehen (On Going to Sleep)
Words by Hermann Hesse
Yearning for rest is also the theme of Beim Schlafengehen where Hesse further explores
the Romantic wish to be free from the bonds of consciousness. Strauss responds with one
of his most celebrated inspirations: the violin solo which ecstatically rises to imitate the
soul’s soaring into ‘the magic circle of night’.
Nun der Tag mich müd gemacht,
Soll mein sehnliches Verlangen
Freundlich die gestirnte Nacht
Wie ein müdes Kind empfangen.
Now the day has made me tired,
may the starry night receive
all my fervent longing
like a weary child.
Hände lasst von allem Tun,
Stirn vergiss du alles Denken,
Alle meine Sinne nun
Wollen sich in Schlummer senken.
Leave your doing, O my hands,
brow, forget your thinking!
All my senses yearn for rest
and would sink into slumber.
Und die Seele unbewacht
Will in freien Flügen schweben,
Um im Zauberkreis der Nacht
Tief und tausendfach zu leben.
Freed from all bonds
my soul would like to soar
so that it may live deeply and a thousandfold
in the magic circle of night.
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ORLA BOYLAN
IN RECITAL
Mon 18 Mar, 7.3
0pm
Government Ho
use Ballroom
STRAUSS Sele
cted songs
Beethoven’s
Pastoral Sy
mphony
Fri 11 & Sat 12
Oct, 7.30pm
Perth Concert
Hall
BERLIOZ Les nu
its d’été
18
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Im Abendrot (In Sunset’s Glow)
Words by Joseph von Eichendorff
Strauss set this poem by the great 19th-century poet Eichendorff before the Hesse settings,
but it forms a fitting end to the set, and to Strauss’ career. Here the implicit is made plain:
that these songs are all in some way about his love for Pauline. The scene is sunset, where
an old couple stop to rest after a long and eventful life together amid the splendours of
nature. The trilling larks remind us of the promise of spring in the birdsong of Frühling, and
as the poet asks whether ‘this’ (and Strauss altered the text from ‘that’) might be death, we
hear a reminiscence of the ‘idealism’ theme from Death and Transfiguration. As Norman Del
Mar puts it, ‘Only the memory of Pauline’s voice could be his companion on these farewell
excursions through the music to which his life had been dedicated.’
Wir sind durch Not und Freude
Gegangen Hand in Hand,
Vom Wandern ruhn wir
Nun überm stillen Land.
Through grief and joy together
we have walked, hand in hand.
Now let us rest from the journey
high above the quiet land.
Rings sich die Täler neigen,
Es dunkelt schon die Luft,
Zwei Lerchen nur noch steigen
Nachträumend in den Duft.
Around us the valleys are slumbering
and darkness veils the sky.
Only two larks are still soaring
and dreaming as they fly.
Tritt her und lass sie schwirren,
Bald ist es Schlafenszeit,
Dass wir uns nicht verirren
In dieser Einsamkeit.
Come close and let them flutter,
soon it is time to sleep
lest we should go astray
in this dark solitude.
O weiter, stiller Friede!
So tief im Abendrot.
Wie sind wir wandermüde –
Ist dies etwa der Tod?
O peace, so wide and silent,
deep in the sunset glow!
How weary we are with wandering –
can this, perchance, be death?
Gordon Kerry © 2001
© COPYRIGHT 1950 BY BOOSEY & CO. LTD. This text is reproduced by permission of Hal Leonard Australia exclusive
agent for Boosey and Hawkes Music Publishers Ltd of London.
The text by Hermann Hesse for Frühling, September and Beim Schlafengehen from Four Last Songs (Vier letzte
Lieder) by Richard Strauss is reproduced by permission of Hal Leonard Australia exclusive agent for Boosey & Hawkes
Music Publishers Ltd. of London.
Translations by Hedwig Roediger, ABC/Symphony Australia © 1986
WASO last performed this work on 4 and 5 September 2009 with soloist Christine Brewer and conductor Asher Fisch.
9326 0000 | waso.com.au
19
PROGRAM NOTES
Peter Ilyich
Tchaikovsky
(1840-1893)
Symphony No.6 in B minor,
Op.74, Pathétique
Adagio – Allegro non troppo
Allegro con grazia
Allegro molto vivace
Finale (Adagio lamentoso – Andante)
The original audience for the Sixth
Symphony was uncomprehending and
ambivalent. Tchaikovsky had expected this,
writing to his nephew and the dedicatee,
‘Bob’ Davidov, that he wouldn’t be surprised
if the symphony were ‘torn to pieces’, even
though he considered it his best and most
sincere work. The critic Hermann Laroche
suggested that audiences who ‘did not get
to the core’ of the symphony would ‘in the
end, come to love it’. As it turned out, it
took them only 12 days. In the intervening
period its composer had died, and for
the second performance, in a memorial
concert, it was promoted with Tchaikovsky’s
subtitle: Pathétique (or Pateticheskaia
Simfoniia – ‘impassioned symphony’ – as he
had conceived it in Russian). The symphony
was declared a masterpiece.
The myth of the-Pathétique-as-suicidenote (not to mention Tchaikovsky’s ‘suicide’
itself) has been more or less debunked in
the past two decades. There are no grounds
for doubting that Tchaikovsky died from
post-choleric complications; the ‘court of
honour’ theory has been undermined; and
his social, financial and artistic situation
all speak against any other motivation for
suicide, even if he continued to be troubled
by his homosexuality. The Sixth Symphony,
specifically, seems to have been a source of
immense pride, satisfaction and joy to him.
20 waso.com.au | 9326 0000
And shortly after its premiere he’s reported
to have said ‘I feel I shall live a long time.’
He was wrong. His audience, now
in mourning and seeking ‘portents’,
immediately heard the Sixth Symphony in
a new way. New significance was given to
the appearance in the first movement of an
Orthodox burial chant, ‘Repose the Soul’ –
a hymn sung only when someone has died –
and to the otherworldly, dying character
of the adagio finale.
Even if the symphony is not a suicide
note, there is a programmatic and
semi-autobiographical underpinning to
the symphony that is the source of its
unusual form and turbulent emotions.
Tchaikovsky admitted the existence of a
program but was cagey about the details,
perhaps because it reflected his romantic
feelings for Davidov. The closest we have
is a sketched scenario, devised originally
for an abandoned symphony in E flat but
appearing to correspond with much of the
Sixth Symphony:
Following is essence of plan for a
symphony Life! First movement – all
impulse, confidence, thirst for activity.
Must be short (Finale death – result of
collapse). Second movement love; third
disappointment; fourth ends with a dying
away (also short).
There are aspects of this program and the
Sixth Symphony that suggest suffering,
but for Tchaikovsky the composition of
the symphony was a cathartic experience
rather than an expression of current
sufferings. He himself wrote: ‘Anyone
who believes that the creative person is
capable of expressing what he feels out of
a momentary effect aided by the means
of art is mistaken. Melancholy as well as
joyous feelings can always be expressive
only out of the Retrospective.’
In its art this is Tchaikovsky’s most
innovative symphony. He dares to conclude
with a brooding slow movement and
uses boldly dramatic gestures to give the
music its emotional impulse. The ‘limping’
elegance of the second-movement
waltz would have been less surprising, to
Russians at least – its five-beat metre was
a part of a tradition that was embraced by
Borodin, Rimsky-Korsakov and Mussorgsky
(in his Pictures at an Exhibition), and later
Rachmaninoff (in The Isle of the Dead).
In the Sixth Symphony Tchaikovsky comes
to terms with his professed inadequacies in
structural matters. His solution in the first
movement was to extend the exposition
section, so well suited to his melodic gifts,
and to compress the development section in
which he felt his skills inadequate. The music
begins in the depths with the dark colour of
the bassoon and yet somehow Tchaikovsky
sustains a downward trajectory, or the
impression of one, for the whole work.
In the third movement the idea of
‘disappointment’ is replaced by something
more malevolent. In purely musical terms
it conflates two musical figures – feverish
tarantella triplets and a spiky march –
but the juxtapositions and incursions
into each other’s thematic territory
create a disturbing sense of antagonism.
The movement’s applause-provoking
conclusion could be triumphant, or it could
be the crash of self-delusion.
The finale may not fit the formula
established by Tchaikovsky’s classical
predecessors, but within the emotional
journey of the symphony its stark sense of
tragedy provides an inevitable conclusion
– all the more powerful for the grace and
jauntiness of the preceding movements.
Yvonne Frindle © 2008
WASO last performed this work on 31 July and 1 August
2009, conducted by Simone Young.
If you like this work you
may also enjoy
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RESPIGHI Pines of Rom
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t,
Sep
Fri 6 & Sat 7
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BRAHMS Symphony No
Glossary
Adagio Slowly
Metre The way in which we experience musical time as organised in a hierarchy of bars, beats and
subdivisions of the beat (usually indicated in musical notation as a ‘time signature’). March time for
example is commonly indicated as 4/4: four beats to the bar, or quadruple metre; waltz time is 3/4:
three beats to the bar, or triple metre. Both these metres are ‘simple’, in that the individual beats
subdivide into twos. In ‘compound’ metres the beat subdivides into threes, giving a characteristic
lilting or skipping effect.
9326 0000 | waso.com.au
21
Meet the Instrument
THE Oboe
The oboe is a double reed member of the
woodwind family. Developed in the mid17th century from early instrument the
shawm, the Baroque oboe was embraced by
composers such as Vivaldi, Telemann and
Handel, inspiring them to create concertos
for the new and improved instrument.
Favourite orchestral oboe works
include Prokofiev’s Peter and the Wolf,
Tchaikovsky’s Swan Lake, and Mussorgsky’s
Pictures at an Exhibition: Ballet of the
Unhatched Chicks.
© Symphony Services International
The oboe as we know it today developed
in 19th-century Europe, and the cities of
Paris and Vienna in particular gained a
reputation for their oboe-making tradition.
The body of the present-day oboe is
predominantly made out of African
Blackwood and the keys usually of
silver alloy. The oboe has a double reed
constructed of two pieces of cane tied
together. Sound is created as the air
vibrates between the two reeds into the
instrument’s body. The size and shape
of the reed in relation to the player’s
technique and style of playing have a
dramatic effect on the quality of the
eventual sound, so as a result oboists
customise or make their own reeds.
The coned bore of the oboe, in comparison
to the cylindrical bore of other woodwind
instruments such as the flute, aids its
audible dominance over other instruments.
This is why it is used to tune the orchestra,
as its penetrating timbre enables it to
be heard clearly by other members of
the orchestra.
The range of the oboe:
22
waso.com.au | 9326 0000
1.Reed
2.Staple
3.Key
4.Bell
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23
Private Giving
Program
Welcome to 2013
From the Private
Giving Team
Thank you for joining us. We are delighted
to welcome you. So much planning goes
into each season, sometimes years in
advance, and it is always a pleasure
to finally be able to present it to you,
our audience. We hope you enjoy the
performance.
Music is part of all of our lives. Life
without music is, almost, unimaginable.
WASO seeks to touch souls and enrich
lives through music… for as many West
Australians as possible. To be relevant, to
build our audiences and to reach people
who don’t have the opportunity to visit
the Perth Concert Hall, WASO has a busy
and growing Community and Education
program that presents music to many
thousands of people, in many different
and sometimes surprising ways, outside
the hall.
We are also committed to the creation
of new music. Last year we created a
campaign to bring together a community
of people to commission a new piece of
work. With the support of our Chairman
Janet Holmes à Court AC, who matched
The Private Giving Team: Sarah Gallinagh,
Alecia Benzie and Jane Clare.
the $15,000 raised by the community,
our Making Music Together campaign
successfully raised $30,000. We look
forward to announcing the composer soon.
Our concerts in the Perth Concert Hall,
our music programs outside the hall and
our commitment to new music cannot
happen without the ongoing support of
our community of Patrons. Philanthropy
at WASO helps us to build a strong, vibrant
Orchestra for this state and to bring joy
to many thousands of people.
We invite you to join us as a Patron in 2013.
Private Giving Partner
Can’t attend a concert? Donate your ticket
Demand for great seats at WASO performances is high. If you cannot attend a
concert, please consider donating your ticket for resale. We will send you a tax
deductible receipt and you will be giving the opportunity for another music lover to
see the performance. To donate your tickets, please contact the WASO Box Office at
9326 0000. Tickets must be received by the WASO Box Office at least two business
days prior to the performance. Please post your tickets to WASO, PO Box 3041
East Perth WA 6892.
Note: Only applies to tickets sold by WASO. Transaction fees are not eligible for inclusion in the donation.
24 waso.com.au | 9326 0000
OUR SUPPORTERS
Your attendance helps sustain the Orchestra and we thank you for your commitment.
We are also very grateful to our corporate supporters who make a significant
contribution to WASO, and of course for government funding which is critical.
However, these three sources of income are simply not enough to cover the ongoing
costs of the Orchestra and increasingly it is our Patrons that enable us to continue
to achieve our vision ...to touch souls and enrich lives through music.
There are many ways you can be involved and your support is deeply appreciated.
Endowment Fund
for the Orchestra
The Endowment fund
includes major donations
from individuals and
bequests. The income
earned is used for the
benefit of the Orchestra.
Tom & Jean Arkley
Janet Holmes à Court AC
Estates
WASO is extremely
grateful for the bequests
received from the
Estates of the following
benefactors:
Mrs Roslyn Warrick
Symphony Circle
Recognises Patrons who
have made a provision in
their will to the Orchestra.
Anita Clayton
Judith Gedero
Wolfgang Lehmkuhl
Tosi Nottage
(in memory Edgar Nottage)
Judy Sienkiewicz
Sheila Wileman
Anonymous (13)
The WASO Song Book
New works commissioned
for the orchestra by
WASO. We gratefully
acknowledge the support
of the following individuals
who have commissioned
new music performed in
2010 and 2011.
Janet Holmes à Court AC
Peter Dawson
Geoff Stearn
Anonymous (1)
Making Music
Together
The Making Music
Together campaign raised
$30,000 to fund an
original composition by an
acclaimed composer. Many
thanks to Janet Holmes à
Court AC, founding patron
of the WASO Song Book,
who generously matched
$15,000 raised by the
community. We thank
the following Patrons for
their donation:
Catherine Bagster
(in memory of Christine
Bagster)
Bernard Barnwell
Tony & Mary Beeley
Glenda Campbell-Evans
Deirdre Chell
Robyn Glindemann
Myles Harmer and Alison
Bunker
Prof. Louis Landau AO
Rosalind Lilley
Gregg & Sue Marshman
Margaret & Rod Marston
Nancy & Brian Murphy
Lance Risbey
Geoff Stearn
Diana Warnock
Ann Whyntie
Trish Williams
Anonymous (1)
Reach Out
Recognises Patrons who
support our community
engagement and education
programs.
Prue Ashurst
Andrew & Nicola Forrest
Barrie & Jude Lepley
McCusker Charitable
Foundation
Galvin Family Foundation
Stradivari Circle
Recognises patrons
who have made a special
contribution or donated
substantial amounts over
a number of years to the
Orchestra.
Dr Peter R Dawson
The Taylor Family
9326 0000 | waso.com.au
25
OUR SUPPORTERS
Annual Giving
We thank the following Patrons for their generous contribution to WASO in the last twelve
months through WASO’s Annual Giving progam.
Principal
Conductor’s Circle
Gifts $20,000+
Janet Holmes à Court AC
Jill Mulheron
Brian & Nancy Murphy
Patricia New
Simon Lee Foundation
Impresario Patron
Gifts $10,000 - $19,999
Gay & Bob Branchi
Tony & Gwenyth Lennon
Joshua & Pamela Pitt
Maestro Patron
Gifts $5,000 - $9,999
Jean Arkley
(in memory of Tom Arkley)
William Bloking
Bridget Faye AM
Gilbert George
Dr Patricia Kailis
Margaret & Rod Marston
Robert May & Daniel Lee
Shing Kong
Spinifex Trust
Peter & Jean Stokes
Anonymous (4)
Virtuoso Patron
Gifts $2,500 - $4,999
Prof Fred &
Mrs Margaret Affleck
William Carr
Neil Archibald &
Alan R Dodge AM
Sally Burton
Mark Coughlan &
Dr Pei-Yin Hsu
Stephen Davis
Robyn Glindemann
26 waso.com.au | 9326 0000
Keith & Gaye Kessell
Michael & Dale Kitney
Bryant Macfie
Mrs Morrell
Dr W B Muston
John & Paula Phillips
Elizabeth Sachse &
Dr Lance Risbey
Ros Thomson
Tuite Family Foundation
Joyce Westrip OAM
Ken & Jan Williams
Sue & Ron Wooller
Andrew & Marie Yuncken
Anonymous (12)
Principal Patron
Gifts $1000 - $2,499
Gail Archer SC & Patrick
O’Neal
Margaret Atkins OAM
Colin & Eve Beckett
Tony & Mary Beeley
David & Suzanne Biddles
Kevin Blake
Matthew J C Blampey
Mr John Bonny
Mrs Debbie Borshoff
Dr & Mrs P Breidahl
Jean Brodie-Hall AM
Marilyn & Ian Burton
Dr G Campbell-Evans
Dr S L Cooke
Arthur & Nerina Coopes
Hon June Craig AM
Gay & John Cruickshank
Norman & Denia Daffen
Frances Davies
Rai & Erika Dolinschek
Julian Dowse
Tim & Lexie Elliott
Don & Marie Forrest
Dr Andrew Gardner
Elaine Gimson
Graham & Barbara Goulden
Jannette Gray
Joe & Deidre Greenfeld
Jacqui Grove
David and Valerie Gulland
Richard B Hammond
Warwick Hemsley
Michael & Liz Hollingdale
Jim & Freda Irenic
Lilian & Roger Jennings
Bruce & Jane Keay
Anthony & Noelle Keller
Bill Kean
Dr Rob Kirk &
Sarah Gallinagh
Stephanie & John Kobelke
Gloria & Ulrich Kunzmann
Irving Lane
Ledge Finance Limited
Rosalind Lilley
Graham & Muriel Mahony
Gregg & Sue Marshman
Betty and Con Michael AO
Hon Justice S R Moncrieff
Jane and Jock Morrison
Val & Barry Neubecker
Dr Phil & Erlene Noble
John Overton
Michael & Lesley Page
Tim Pavy
Pamela Platt
Andrew & Suzanne Poli
Alison & John Price
Chester Reeve
John & Alison Rigg
Nigel & Dr Heather Rogers
Maurice & Gerry Rousset
Roger Sandercock
Eve Shannon-Cullity
Julian & Noreen Sher
Anne & Frank Sibbel
Judy Sienkiewicz
Dr Paul Smith &
Denham Harry
Richard Tarala &
Lyn Beazley AO
Gene Tilbrook
Mary Townsend
Dr Robert Turnbull
Maggie Venerys
Stan & Valerie Vicich
Watering Concepts
Ian Watson
Ann Whyntie
Freddi Wilkinson
Jean & Ian Williams AO
Trish Williams – Strategic
Interactions
Dr Peter Winterton
Anonymous (14)
Tutti Patron
Gifts $500 - $999
Geoff & Joan Airey
Catherine Bagster
Merle I Bardwell
Bernard & Jackie Barnwell
Shirley Barraclough
P M Bennet
Michael & Nadia BerkeleyHill
Robert & Judith Bower
Dr Vin & Diane Brennan
Kay Brice
James & Gay Brown
C & K Brownlie
Gavin Bunning
Ann Butcher & Dean R
Kubank
Nanette Carnachan
Lyn & Harvey Coates AO
Agatha & Alex Cohen AO
Brian Cresswell
Gina & Neil Davidson
Lesley & Peter Davies
Jop & Hanneke Delfos
Lorraine Ellard
Mrs G. Ewen
Annette Finn
George Gavranic
Isobel Glencross
Yi & Jieqi Gong
Prof Des Gurry
Pauline & Peter Handford
Douglas M & Regina Hansen
Michael Harding
Prof Alan Harvey &
Dr Paulien de Boer
Richard Hatch
Dr David & Annie Haultain
Dr Penny Herbert
(in memory of Dunstan
Herbert)
Helen Hollingshead
John Isherwood
Cynthia Jee
Catherine and Bernth
Johansson
B. M. Kent
Trevor & Ane Marie Lacy
Paul Lee
Dr Mary Ellen MacDonald
and Michael Pauly
Mrs Carolyn Milton-Smith
(in memory of Emeritus Prof.
John Milton-Smith)
S.B. Monger-Hay
Dr Peter Moss
Lynne Naylor
(in memory of Paul F Naylor)
Marjan Oxley
Bev Penny
Marilyn Phillips & Prof Alan
Bittles
Alpha & Richard Pilpel OAM
Sheila Pinch
Trevor & Fay Pitcher
Thomas & Diana Potter
Clarissa Repton
James & Nicola RidsdillSmith
Dr R & J Schwenger
Margaret & Roger Seares
Judith E Shaw
Laurel & Ross Smith
Michael Snell & Vicki Stewart
Peggy & Tom Stacy
Tony & Gail Sutherland
Elizabeth Syme
Harvey Tijou
Mrs Joan Tonkin MBE JP
S R Vogt
Adrienne & Max Walters
Judith Wilton & David Turner
Diana Warnock
Anne Watson
Dr Chris & Mrs Vimala
Whitaker
Violette William
Janet Williams
Patricia Wong
Yalambi Farm Stud
Anonymous (9)
If you are interested in becoming a Patron or learning more about our Private Giving
Program, please contact Sarah Gallinagh, Annual Giving & Bequest Coordinator on
(08) 9326 0075 or email gallinaghs@waso.com.au
Private Giving brochures are also available from the WASO Programs desk located in the
main foyer of the Perth Concert Hall or visit waso.com.au
All donations are fully tax deductible.
9326 0000 | waso.com.au
27
West Australian Symphony Orchestra
THE COMPANY
PRINCIPAL
CONDUCTOR
Paul Daniel
CONDUCTOR
LAUREATE
Vladimir Verbitsky
CHORUS
DIRECTOR
Marilyn Phillips
CONCERTMASTER
Giulio Plotino
VIOLIN
Margaret Blades
VIOLA
Giovanni Pasini
FLUTE
Andrew Nicholson
HORN
David Evans
Berian Evans
Chair partnered by
Apache
Robert Gladstones
Kierstan
Arkleysmith
Nik Babic
Alex Brogan
Katherine Drake
Alison Hall
Rachael Kirk
Allan McLean
Helen Tuckey
Mary-Anne Blades
Partnered by
Wesfarmers Arts
Associate
Concertmaster
Semra Lee-Smith
Assistant
Concertmaster
Graham Pyatt
A/Principal 1st Violin
Zak Rowntree
A/Principal 2nd Violin
Kylie Liang
A/Assoc Principal
2nd Violin
Sarah Blackman
Fleur Challen
Stephanie Dean
Rebecca Glorie
Beth Hebert
Shaun Lee-Chen*
Akiko Miyazawa
Anna O’Hagan
Melanie Pearn
Ken Peeler
Brendon Richards
Louise Sandercock
Jolanta Schenk
Jane Serrangeli
Ellie Shalley
Jacek Slawomirski
Bao Di Tang
Cerys Tooby
David Yeh
Principal
Assoc Principal
CELLO
Rod McGrath
Principal
Louise McKay
Assoc Principal
Shigeru Komatsu
Oliver McAslan
Nicholas Metcalfe
Eve Silver*
Fotis Skordas
Tim South
Xiao Le Wu
DOUBLE BASS
Andrew Rootes*
Principal
Joan Wright
Assoc Principal
Christine
Reitzenstein
Louise Ross
Andrew Tait
Mark Tooby
Principal
Assoc Principal
PICCOLO
Michael Waye
Principal
OBOE
Benjamin Opie
A/Assoc Principal
Stephanie Nicholls
COR ANGLAIS
Leanne Glover
Principal
CLARINET
Allan Meyer
Principal
Lorna Cook
BASS CLARINET
Alexander Millier
Principal
Chair partnered by
Alessandrino Property
Group
Principal
Principal 3rd
Francesco Lo Surdo
TRUMPET
Brent Grapes
A/Principal
Evan Cromie
Assoc Principal
Peter Miller
TROMBONE
Joshua Davis
Principal
Liam O’Malley
Assoc Principal
BASS TROMBONE
Philip Holdsworth
Principal
TUBA
Cameron Brook
Principal
TIMPANI
Alex Timcke
Principal
BASSOON
Jane Kircher-Lindner
PERCUSSION
Troy Greatz
Adam Mikulicz
Tim White
Principal
Assoc Principal
A/Principal
HARP
Sarah Bowman
Principal
*Instruments used by
these musicians are on
loan from Janet Holmes
à Court AC.
28 waso.com.au | 9326 0000
Board of Directors
Janet Holmes à Court AC
Chairman
Bill Bloking
Mark Coughlan
Jeff Dowling
Keith Kessell
Barrie Lepley
Deputy Chairman
Anne Nolan
Julian Sher
Executive
Craig Whitehead
Chief Executive
Sarah Afentopoulos
Orchestral
Management
Keith McGowan
Executive Manager,
Orchestral Management
John Chaplin
Orchestral Operations
Manager
Katherine Corecig
Music Library Assistant
David Cotgreave
Production & Technical
Manager
Alistair Cox
Orchestra Manager
Wee Ming Khoo
Music Librarian
Human Resources Manager
Megan Lo Surdo Executive
Administration Officer
Noel Rhind
Ellen Wisdom
Business Services
Peter Freemantle
Human Resources Advisor
Artistic Planning
Evan Kennea
Executive Manager,
Artistic Planning
Stephen McAllan
Artist Liaison/Chorus
Administrator
Claire Stokes
Program Manager
Alan Tyrrell
Program Manager
Community
Engagement
Cassandra Lake
Community Engagement
Manager
Orchestral Operations
Coordinator
Executive Manager,
Business Services
Daniela Antulov
Payroll Administrator
Angela Miller
Accountant
Svetlana Williams
Accounts Officer
Corporate
Development
Marina Woodhouse
Executive Manager, Corporate
Development
Private Giving
Alecia Benzie
Executive Manager,
Private Giving
Jane Clare
Fundraising & Philanthropy
Officer
Sarah Gallinagh
Annual Giving & Bequests
Coordinator
Marketing
Kelli Carnachan
Executive Manager, Marketing
Kirsty Chisholm
Digital Marketing Coordinator
Jessica Holmes
Graphic Designer
Paula Schibeci
Public Relations Manager
Lisa Westcott
Marketing Manager
Annie Loo
Marketing Assistant
Sava Papos
Customer Service Manager
Josie Aitchison
Beverley Trolio
Customer Service
Coordinators
Margaret Daws
Vicki Prince
Debbie Silvester
Robyn Westbrook
Customer Service Officers
Sharmini Poulsen
Corporate Partnerships
Manager
Susan Brannigan
Corporate Development
Coordinator
Perth Concert Hall
Aeg Ogden (Perth) Pty Ltd.
Andrew Bolt
General Manager
Aeg Ogden (Perth) Pty Ltd
Rodney M Phillips
Perth Concert Hall is managed by
AEG Ogden (Perth) Pty Ltd Venue
Manager for the Department of
Culture & The Arts, authorised
as Agent for the Perth Theatre
Trust for the Trust venues.
Helen Stewart
Miranda Lancaster-Allen
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any means, electronic or mechanical, including photocopy, recording or any information storage
or retrieval system, without permission in writing from the publisher. Whilst every effort has been
made to ensure the accuracy of statements in this publication we cannot accept responsibility
for errors or omissions, or for matters arising from clerical or printers’ error. Every effort has
been made to secure permission for copyright material prior to printing. Please address all
correspondence to the Executive Manager, Marketing, West Australian Symphony Orchestra,
PO Box 3041, East Perth. WA 6892. Email waso@waso.com.au
Deputy General Managers
Penelope Briffa
Event Coordinator
Chief Executive
The Perth Theatre Trust
Dr. Saliba Sassine
Chairman
9326 0000 | waso.com.au 29
Friends of WASO
Join us for behindthe-scenes events
with our musicians.
WASO in Rehearsal
Each year, many events
are held especially for our
community of Patrons and
Friends, offering unique
access to our Orchestra.
Would you like to see how
an orchestral rehearsal
is run? Attend WASO
rehearsals and get a ‘behind
the scenes’ insight into the
Orchestra. You will have the
chance to mingle informally
with players and guest
artists over morning tea at
the Perth Concert Hall.
WASO in Rehearsal One
Piers Lane Plays
Rachmaninov
10am, Friday 22 March
WASO in Rehearsal Two
Mozart’s Last Symphonies
10am, Friday 3 May
WASO in Rehearsal Three
Simone Young Conducts
10am, Friday 2 August
WASO in Rehearsal Four
Strauss and Ravel
10am, Friday 18 October
POURING
PURE GOLD
AS AN ENCORE
The Perth Mint offers visitors the
opportunity to experience a score
of unique golden attractions and is
proud to support the West Australian
Symphony Orchestra.
310 Hay Street, East Perth WA. Open 7 days
Telephone 1300 366 520
30 waso.com.au
| 9326 0000
www.perthmint.com.au/visit
Tickets are $25 for Patrons
and Friends, and $30 for
guests, including a lovely
morning tea with the
musicians.
To book for these events
please call the WASO Box
Office on 9326 0000.
All income raised from
events supports the Friends
of WASO Scholarship. To
contact Friends of WASO
email friendsofwaso@waso.
com.au
2013
CORPORATE PARTNERS
Platinum Partners
Symphony Partners
Concerto Partners
Overture Partners
SONATA Partners
Keynote Partners
ORCHESTRA Supporters
Margaret River Wine Partners
Cape Mentelle Vineyards, Clairault Wines, Hamelin Bay Wines, Happs Wines, Howard Park Wines, Hutton Wines, Juniper Estate,
Leeuwin Estate, Moss Wood, Pierro Margaret River Vineyards, Stella Bella Wines, UMAMU Estate, Vasse Felix.
Media Partners
Funding Partners
The West Australian Symphony Orchestra is assisted
by the Australian Government through the Australia
Council, its arts funding and advisory body.
9326 0000 | waso.com.au
31
Buy all 3 concerts for $135*
or purchase single tickets
for $50* each. Reserved Seating.
oy l a n
Orl a B m
|
O
N
p
A
, 7.30
SOPR
M arc h
y 18
Monda iel, piano
an
Paul D
PIANIST
Denis Kozhukhin
Monday 17 June, 7.30pm
C E LL I
S
M on d a T | Al b an
y
G
A s h e r 9 S e p t e m b e e r h a r dt
Fisch,
r, 7.30
pm
piano
Experience the magnificent
Government House
Ballroom in a new series
of world-class soloists in
intimate recitals.
INTRODUCING
OUR NEW 2013
INTERNATIONAL
RECITAL SERIES
Book Now
Call
9326 0000
Visit waso.com.au
Paul Daniel appears courtesy of Wesfarmers Arts. *Transaction fees may apply.