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PROGRAM
MACA LIMITED CLASSICS SERIES
Friday 18 & Saturday 19 March 7.30pm
Perth Concert Hall
ASHER FISCH CONDUCTS
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WELCOME
Wagner, Schumann &
Strauss
To some music-lovers, the Romantic era of
music was a time when composers wrote
with incredible technical freedom, feverishly
dashing off one expression-drenched
symphonic work after another, always
pushing the boundaries of instrumental
virtuosity and obsessively seeking new
orchestral sounds and colours. There
is some truth in this of course, but as
David Garrett points out in his program
notes, “Schumann belonged to the first
generation of composers who wrote in full
awareness and sometimes in awe of what
their great predecessors had done.” This
awareness makes much of the music of
the Romantic period endlessly fascinating,
as one senses at times an almighty tussle
between a composers competing desires to
both build upon great inherited traditions
and destroy (or at least) subvert them.
Three of the most revered German Romantic
composers – Schumann, Wagner and Strauss
– each played a major role in freeing music
from its Classical-era structures and traditions,
propelling music into new eras, inventing
new forms and creating and revelling in new
orchestral sounds and colours.
Wagner’s Tannhäuser Overture and
Schumann’s Symphony No. 2 both commence
with a brooding intensity, and take their
time to build momentum. Wagner’s overture
utilises his “wandering harmonies”, where
the music seems not to settle for a period
into any familiar key or suggest its ultimate
destination. This delaying of harmonic
gratification is one of the hallmarks of his (and
to an extent) Strauss’s music.
In Also sprach Zarathustra, Strauss
abandoned what he felt to be the restrictive
classical form, building instead a new
structure that took the shape of a great,
one-movement symphonic work. Strauss’s
musical language is a post-Wagnerian
romanticism, where psychological and
emotional depth are combined with (or
perhaps revealed by) brilliantly crafted
and sometimes extravagant music with
an apparently inexhaustible wealth of
instrumental colour and virtuosity.
Our Principal Conductor Asher Fisch is a
master at conducting the music of these
three great composers, and so tonight I am
sure you will experience Wagner, Schumann
& Strauss in all the substantial glory.
Evan Kennea
Executive Manager, Artistic Planning
WELCOME
From the Minister
From the Lord Mayor
It is my great pleasure to welcome you to
the opening Classic Series concert of the
West Australian Symphony Orchestra’s
2016 season.
This year the West Australian Symphony
Orchestra continues to bring outstanding
performances to the people of Perth. It
is my pleasure to welcome you to this
exceptional venue, Perth Concert Hall, for a
wonderful performance to mark the launch
of WASO’s 2016 Classics Series.
This year WASO will once again delight
audiences with a diverse range of works,
performed at the Perth Concert Hall. It
is inspiring to see WASO working closely
with both the City of Perth and the State
Government to activate this iconic venue.
Tonight we celebrate the return of
Principal Conductor Asher Fisch, who
will lead his talented Orchestra into some
of his favourite territory. With works by
German composers Strauss, Wagner and
Schumann, audiences and musicians will
embark on a wonderful journey together.
This concert provides a great introduction
to what is sure to be a fantastic season.
Hon John Day MLA
Minister for Culture and the Arts
4
When Strauss conducted the first
performance of his Also sprach Zarathustra,
no one - least of all himself - could have
imagined that the opening 2 minutes
would become known worldwide as the
music for all things to do with space travel!
Beyond tonight’s performance, the exciting
works of WASO’s 2016 Season await you
and I encourage you to join us for what
promises to be a captivating season of
classical performances.
Lisa-M. Scaffidi
The Right Honourable the Lord Mayor,
City Of Perth
Photo: Chris Gonz
From the WASO Chairman
On behalf of the West Australian
Symphony Orchestra, I’m delighted to
welcome you to Strauss – Zarathustra,
our opening MACA Limited Classics Series
concert for the 2016 season.
Tonight is a significant occasion. We are
thrilled to welcome Laurence Jackson
as the Orchestra’s new Concertmaster,
and we are filled with anticipation as we
welcome back Maestro Asher Fisch for his
third year as WASO’s Principal Conductor
and Artistic Advisor.
We are grateful for the ongoing support of
Wesfarmers Arts, who are not only WASO’s
Principal Partner but who also support
Asher’s position. Their assistance contributes
significantly towards our vision to touch
souls and enrich lives through music.
Thank you to each and every one of you
for joining us tonight. Together we have an
exciting year of music-making ahead.
Janet Holmes à Court AC
WASO Chairman
From WASO’s Principal
Conductor & Artistic Adviser
The first two years of my tenure saw
the orchestra and I establish a solid
understanding of how we make music
together.
Building on this foundation, in 2016 I am
excited to welcome our new Concertmaster
Laurence Jackson. The Concertmaster
is a pivotal position in any symphonic
orchestra. As guest conductors come and
go, the concertmaster provides consistent
leadership, maintaining the highest level of
artistic execution across the season.
Laurence is a fabulous violinist, one
of the best concertmasters I have ever
encountered and I know he will help us all
rise to even greater artistic heights into the
future. We wish him luck in his new job,
and joy in his new life in Perth.
Asher Fisch
Principal Conductor & Artistic Adviser
Asher Fisch appears courtesy of Wesfarmers Arts
5
2016 UPCOMING CONCERTS
BAROQUE SERIES
ASHER FISCH CONDUCTS
BACH’S ST JOHN PASSION
Photo: Rhydian Lewis
WED 23 MAR 7.30PM Perth Concert Hall
TICKETS FROM $30*
Bach’s St John Passion is a towering masterpiece, a moving and
dramatic recounting of Christ’s betrayal, capture, trial and death.
BACH, J.S. St John Passion
Asher Fisch conductor
Paul McMahon tenor (Evangelist)
Andrew Foote baritone (Jesus)
Andrew Collis bass-baritone (Pilate)
Sara Macliver soprano (pictured)
Sally-Anne Russell mezzo soprano
Richard Butler tenor
St George’s Cathedral Consort
Asher Fisch appears courtesy of Wesfarmers Arts
ALCOHOL.THINK AGAIN MASTERS SERIES
ASHER FISCH CONDUCTS RESURRECTION
FRI 1 & SAT 2 APR 7.30PM Perth Concert Hall
To hear Mahler’s Resurrection Symphony performed live is quite simply
an overwhelming experience.
MAHLER Symphony No.2 Resurrection
Asher Fisch conductor (pictured)
Kiandra Howarth soprano
Fiona Campbell mezzo soprano
WASO Chorus
UWA Symphonic Chorus
Asher Fisch appears courtesy of Wesfarmers Arts
TICKETS FROM $45*
MACA LIMITED CLASSICS SERIES
MENDELSSOHN’S VIOLIN CONCERTO
FRI 22 & SAT 23 APR 7.30PM Perth Concert Hall
Photo: Nik Babic
WASO’s new Concertmaster Laurence Jackson performs Mendelssohn’s
much-loved Violin Concerto, full of heart-melting melodies.
TICKETS FROM $30*
WEBER Euryanthe: Overture
MENDELSSOHN Violin Concerto in E minor
DVORAK Symphony No.6
Johannes Fritzsch conductor
Laurence Jackson violin (pictured)
BOOK NOW CALL 9326 0000 VISIT WASO.COM.AU
*A handling fee of $5.50 per transaction applies all purchases. An additional fee of $3.20 per transaction applies
for delivery via Registered Post. All ticket/item prices include GST if applicable, quoted in Australian Dollars.
6
MACA LIMITED CLASSICS SERIES
ASHER FISCH CONDUCTS
STRAUSS - ZARATHUSTRA
WAGNER Tannhäuser: Overture (14 mins)
SCHUMANN Symphony No.2 (34 mins)
Sostenuto assai – Allegro, ma non troppo
Scherzo (Allegro vivace)
Adagio espressivo
Allegro molto vivace
Interval (25 mins)
STRAUSS, R. Also sprach Zarathustra (32 mins)
Introduction: Sunrise –
Of the Back-worlds-men –
Of the Great Longing –
Of Joys and Passions –
The Funeral Song –
Of Science –
The Convalescent –
The Dance Song –
Night Wanderer’s Song
Asher Fisch conductor
Pre-concert Talks
Find out more about the music in the concert with this week’s speaker, Marilyn Phillips. Pre-concert Talks take place
at 6.45pm in the Terrace Level Foyer.
Pre-concert Talks are supported by Wesfarmers Arts
7
Damien Beaumont
WASO IN THE COMMUNITY
Crescendo delivers weekly music lessons to
all Pre-primary, Year 1 and Year 2 students at
Medina Primary School and North Parmelia
Primary School. 2015 ended with an open
class at each school for parents and supporters
of the program. Guests were amazed at how
much the students had learnt, their attention
in class and their enthusiasm for the program.
It was a great way to finish off the year and
give the children certificates to recognise all
their achievements.
Onslow Kids Music Education
(OKME!) Program
Free Music Education
programs
At the heart of WASO’s Community
Outreach portfolio are free music education
programs; Crescendo, our El Sistemainspired Music Education Program, and
Onslow Kids Music Education (OK ME!).
Both in their second full year year of delivery,
WASO remain the only major performing
arts company in the State working with
Principals and school communities to deliver
education programs in this way.
Onslow Kids Music Education Program
(OK ME!) continues at Onslow Primary
School in the far North-West of WA.
Teaching artists visit the school for one
week each term teaching music through
ensemble playing utilising percussion
instruments, instrument making and
building. Students have formed a
percussion ensemble and perform regularly
at school events. 2015 culminated in
a public performance at the Shire of
Ashburton Christmas Festivities.
Photo: Kate Furgeson
Photo: Nik Babic
Crescendo is supported by Feilman Foundation and
Stan Perron Foundation.
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ASHER FISCH CONDUCTS
BACH’S
ST JOHN
PASSION
Principal Conductor Asher Fisch directs
an exceptional cast of soloists, the
St George’s Cathedral Consort and
WASO in a rare Perth performance
of this extraordinary work.
Asher Fisch conductor
Paul McMahon tenor (Evangelist)
Andrew Foote baritone (Jesus)
Andrew Collis bass-baritone (Pilate)
Sara Macliver soprano
Sally-Anne Russell mezzo soprano
Richard Butler tenor
St George’s Cathedral Consort
WED 23 MARCH 7.30PM
Perth Concert Hall
ONE NIGHT ONLY!
BOOK
NOW
Tickets from $30*
Call 9326 0000
quoting 1538
or visit waso.com.au
Asher Fisch appears courtesy of Wesfarmers Arts.
*A handling fee of $5.50 per transaction applies all purchases. An additional fee of $3.20 per transaction applies
for delivery via Registered Post. All ticket/item prices include GST if applicable, quoted in Australian Dollars.
ABOUT THE ARTIST
Asher Fisch
Principal Conductor &
Artistic Adviser
A seasoned conductor in both the operatic
and symphonic worlds, Mr. Fisch is
especially celebrated for his interpretative
command of core German and Italian
repertoire of the Romantic and postRomantic era. He conducts a wide variety
of repertoire from Gluck to contemporary
works by living composers.
Mr. Fisch has long maintained enduring ties
to the Bayerische Staatsoper (Munich) and
in the 2015-16 season conducts five titles
including Werther and Manon Lescaut. He
also returns to the Teatro Regio di Torino
to conduct Carmen. Guest symphony
orchestra engagements this season include
the Staatskapelle Dresden, Münchner
Rundfunkorchester, Badische Staatskapelle
Karlsruhe, Melbourne Symphony, Nashville
Symphony (debut), Milwaukee Symphony,
and Minnesota Orchestra.
Born in Israel, Mr. Fisch began his
conducting career as Daniel Barenboim’s
assistant and kappellmeister at the Berlin
Staatsoper.
Photo: Kate Furgeson
Asher Fisch took up the position of
Principal Conductor and Artistic Adviser of
the West Australian Symphony Orchestra
in 2014. In 2015 he extended his initial
three-year contract through to the end of
the 2019 season. His former posts include
Principal Guest Conductor of the Seattle
Opera (2007-2013), Music Director of the
New Israeli Opera (1998-2008), and the
Wiener Volksoper (1995-2000).
He has built his versatile repertoire at the
major opera houses such as Metropolitan
Opera, Lyric Opera of Chicago, San
Francisco Opera, Teatro alla Scala, Covent
Garden, and Semperoper Dresden. Mr. Fisch
is also a regular guest conductor at leading
American symphony orchestras including
those of Boston, Chicago, Cleveland,
New York, and Philadelphia. In Europe he
has appeared at the Berlin Philharmonic,
Munich Philharmonic, London Symphony
Orchestra, Leipzig Gewandhaus Orchestra,
and Orchestre National de France, among
others.
In 2015 Mr. Fisch’s 2013 recording of
Wagner’s Ring Cycle with the Seattle
Opera was released on the Avie label.
His first Ring Cycle recording, with the
State Opera of South Australia, won ten
Helpmann Awards, including best opera
and best music direction. Mr. Fisch is also an
accomplished pianist and released his first
solo disc of Wagner piano transcriptions in
2012.
Asher Fisch appears courtesy of Wesfarmers Arts
11
Photo: Emma Van Dordrecht
WEST AUSTRALIAN
SYMPHONY ORCHESTRA
The West Australian Symphony
Orchestra (WASO) is Western Australia’s
largest and busiest performing arts
organisation. With a reputation for
excellence, engagement and innovation,
WASO’s resident company of full-time,
professional musicians plays a central role
in creating a culturally vibrant Western
Australia. WASO is a not for profit
company, funded through government,
ticket revenue and the generous support
of the community through corporate and
philanthropic partnerships.
WASO’s vision is to touch souls and
enrich lives through music. Each year the
Orchestra entertains and inspires the people
of Western Australia through its concert
performances, regional tours, innovative
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education and community programs, and
its artistic partnerships with West Australian
Opera and West Australian Ballet.
The Orchestra is led by Principal Conductor
and Artistic Adviser Asher Fisch. The
Israeli-born conductor is widely acclaimed
for his command of the Romantic German
repertoire and is a frequent guest at the
world’s great opera houses.
Each year the Orchestra performs over 175
concerts with some of the world’s most
talented conductors and soloists to an
audience in excess of 190,000. An integral
part of the Orchestra is the WASO Chorus, a
highly skilled ensemble of auditioned singers
who volunteer their time and talent.
waso.com.au
WASO ON STAGE TONIGHT
VIOLIN
CELLO
CONTRABASSOON
Laurence Jackson
Rod McGrath
Louise McKay
Chloe Turner
David Evans
Robert Gladstones
A/Principal 1st Violin
Shigeru Komatsu
Oliver McAslan
Nicholas Metcalfe
Eve Silver
Fotis Skordas
Tim South
Xiao Le Wu
Zak Rowntree*
DOUBLE BASS
Concertmaster
Rebecca Chan^
Guest Assoc Concertmaster
Graeme Norris
Assoc Concertmaster
Semra Lee-Smith
Assistant Concertmaster
Rebecca Glorie
Principal 2nd Violin
Kylie Liang
Assoc Principal 2nd Violin
Sarah Blackman
Fleur Challen
Beth Hebert
Jane Johnston
Sunmi Jung
Christina Katsimbardis
Ellie Lawrence
Shaun Lee-Chen*
Akiko Miyazawa
Melanie Pearn
Ken Peeler
Graham Pyatt
Jolanta Schenk
Jane Serrangeli
Kathryn Shinnick
Jacek Slawomirski
Kate Sullivan
Bao Di Tang
Cerys Tooby
Susannah Williams^
David Yeh
VIOLA
Alex Brogan
Kierstan Arkleysmith
Nik Babic
Benjamin Caddy
Katherine Drake^
Alison Hall
Rachael Kirk
Katie McKay^
Allan McLean
Elliot O’Brien^
Helen Tuckey
Chair partnered by Penrhos College
HORN
Principal 3rd Horn
Jessica Armstrong^
Julia Brooke
Doree Dixon^
Francesco Lo Surdo
TRUMPET
Andrew Sinclair*
Joan Wright
Elizabeth Browning^
Louise Elaerts
Christine Reitzenstein
Andrew Tait
Mark Tooby
Brent Grapes
Evan Cromie
Mike Kirgan^
Peter Miller
FLUTE
BASS TROMBONE
Andrew Nicholson
Mary-Anne Blades
Georgia Lane^
PICCOLO
Michael Waye
OBOE
Peter Facer
Rachel Curkpatrick^
Stephanie Nicholls^
COR ANGLAIS
Leanne Glover
CLARINET
Allan Meyer
Catherine Cahill^
Lorna Cook
BASS CLARINET
Alexander Millier
BASSOON
TROMBONE
Joshua Davis
Liam O’Malley
Philip Holdsworth
TUBA
Cameron Brook
Ed Diefes^
TIMPANI
Alex Timcke
PERCUSSION
Brian Maloney
Principal Percussion
Troy Greatz
Assoc Principal Percussion
and Timpani
Robyn Gray^
HARP
Bronwyn Wallis^
Catherine Ashley^
ORGAN
Jonathan Bradley^
Jane Kircher-Lindner
Chair partnered by Sue & Ron Wooller
Adam Mikulicz
Peter Moore^
Principal
Associate Principal
Guest Musician^
*Instruments used by these musicians are on loan from Janet Holmes à Court AC.
13
YOUR CONCERT EXPERIENCE
PRINTED PROGRAMS
Please share or download our free printed
programs to help us be environmentally
responsible. WASO’s programs can be
downloaded from our website waso.com.au
FEEDBACK ABOUT THIS CONCERT
Please send your feedback to PO BOX 3041,
East Perth WA 6892, call 9326 0000, email
waso@waso.com.au or leave us a message
on Facebook or Twitter.
FOR THE ENJOYMENT OF ALL
When to applaud? Musicians love applause.
Audience members normally applaud:
• When the concertmaster (violin) walks
onto the stage
• When the conductor walks onto the stage
• After the completion of each piece and
at the end of the performance
LISTEN TO WASO
ABC Classic FM
This performance is being recorded
for broadcast at 1pm on Wednesday
16 March on ABC Classic FM. For
further details visit abc.net.au/classic
When you need to cough, try to muffle
or bury your cough in a handkerchief
or during a louder section of the music.
Cough lozenges are available from the
WASO Ticket Collection Desk before each
performance and at the interval.
Hearing aids that are incorrectly adjusted
may disturb other patrons, please be
mindful of those around you.
Mobile phones and other electronic
devices need to be switched off throughout
the performance.
Photography, sound and video
recordings are not permitted.
Latecomers and patrons who leave the
auditorium will be seated only after the
completion of a work.
CONNECT
WITH WASO
Join us on Facebook
facebook.com/
WestAustralianSymphonyOrchestra
Follow us on Twitter
twitter.com/_WASO_
Tag your photos #WASO
on Instagram
instagram.com/_waso_
Watch us on YouTube
youtube.com/WestAustSymOrchestra
E-News
Stay up to date and sign-up to our
SymphonE-news at waso.com.au
WASO On The Go
Download WASO’s free app
on iTunes or Google Play.
Visit waso.com.au
For concert information and to listen
to concert playlists.
14
PERTH CONCERT HALL
THE HOME OF THE WEST AUSTRALIAN
SYMPHONY ORCHESTRA
Perth Concert Hall is renowned for having
one of the finest acoustics in the southern
hemisphere. The concert hall is the home
and serves as the primary performance venue
for the West Australian Symphony Orchestra
(WASO), and hosts a number of diverse
performances and events all year round.
FOOD & BEVERAGES
Please visit the Perth Concert Hall
website perthconcerthall.com.au for
full information on food and beverage
offerings at the venue.
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.
FREE WATER STATIONS
Free water stations are set up at the Corner
Bar on Terrace Level near the western
window and in the Wardle Room, ground
floor near the southern window.
FIRST AID
There are St John Ambulance officers
present at every concert so please speak to
them if you require any first aid assistance
ACCESSIBILITY
Perth Concert Hall is equipped to assist
people with disabilities:
• A universal accessible toilet is available on
the ground floor (Level 1)
• A hearing induction loop operates in
rows N6:35 to X6:35 in the stalls area
WASO BOX OFFICE AT
PERTH CONCERT HALL
You can now buy WASO tickets and
subscriptions, exchange tickets and make a
donation at the Box Office on the ground
floor (Level 1) prior to each performance
and at interval.
Tickets for other performances at Perth
Concert Hall will be available for purchase
only at interval.
The Box Office is open Monday to Friday,
9am to 5pm, and contactable on
9326 0000.
DONATE YOUR TICKET
Can’t attend a concert? Contact the WASO
Box Office on 9326 0000 to donate your
ticket for re-sale and you will receive a tax
deductible receipt.
CONNECT WITH
PERTH CONCERT HALL
Join us on Facebook
facebook.com/perthconcerthallwa
Follow us on Twitter
twitter.com/perthconcerthal
Visit perthconcerthall.com.au
For concert information.
15
PATRONS & FRIENDS EVENT
Meet the Chief Executive
Monday 9 May, 6pm-7.30pm
Perth Concert Hall Corner Stage
St George’s Terrace Level
Following the 2016 Patrons & Friends
General Meeting, join us over a glass of
wine and cheese and enjoy a short recital
by previous recipients of the Friends of
WASO Scholarship, before WASO’s Chief
Executive Craig Whitehead presents
a fascinating lecture: ‘Do Symphony
Orchestras have a Future?’.
PROUD SPONSOR OF WASO
AND CATERING PARTNER
AT PERTH CONCERT HALL
WWW.HEYDERSHEARS.COM.AU
16
In late 2015 Craig was invited to deliver
the prestigious Callaway Lecture at the
University of Western Australia, which
was so well received that we asked
him to share his insights with the wider
WASO community. This is sure to be
a thought-provoking and inspiring
evening, considering the challenges and
opportunities that orchestras face in a fastchanging world.
To book, please call the Box Office on
9326 0000. Tickets are $15 for Patrons
& Friends ($20 for guests).
TIMELINE OF COMPOSERS & WORKS
ROBERT SCHUMANN
1810 – 1856
Born in 1810, Zwickau, Germany
Died in 1856, Endenich, Germany
RICHARD WAGNER
1813 – 1883
Born in 1813, Leipzig, Germany
Died in 1883, Venice, Italy
Wagner's Tannhäuser: Overture
1845
Schumann's Symphony No.2
1846
RICHARD STRAUSS
1864 – 1949
Born in 1864, Munich, Germany
Died in 1949, Garmisch-Partenkirchen, Germany
Strauss' Also sprach Zarathustra
1896
1800
1900
17
ABOUT THE MUSIC
Richard Wagner
(1813 – 1883)
Tannhäuser: Overture
(Dresden version, 1845)
Tannhäuser dates from Wagner’s time as
Second Kapellmeister in Dresden (184349). In his previous opera, The Flying
Dutchman, Wagner had already established
redemption as one of his lifelong themes.
Tannhäuser continues the idea of a woman
sacrificing herself for the man she loves.
Love and death may be opera’s two
defining poles. Tannhäuser depicts
furthermore a tussle between carnality
and spiritual love. The curtain rises on the
minstrel Tannhäuser in the Venusberg, the
legendary haunt of the goddess of love.
Sated with the Venusberg’s delights, he
wants to return to the everyday world.
Once there, he rediscovers his former love,
Elisabeth, and tries to win her back in a
song contest. He is expected, however, to
seek repentance for his sins but is refused
forgiveness by the Pope. But all is not lost.
At the last, Elisabeth dies and in dying
intercedes for him. News is brought of the
Pope’s staff in Rome bursting into leaf,
signifying Tannhäuser’s salvation.
When he began Tannhäuser, Wagner
had not yet conceived his revolutionary
theory of music drama. The version of
Tannhäuser premiered in Dresden was still
basically a traditional ‘number opera’ with
discrete arias, ensembles, and choruses.
Its overture was in a closed form and could
stand alone as a musical item.
Wagner revised Tannhäuser for Paris in
1861. By that time he had composed
the highly chromatic and anguished
Tristan und Isolde, and the ‘Paris’ version
benefits from Wagner’s advanced harmonic
language. It is as if he was being lured to
evermore sensual depictions of love.
Gordon Kalton Williams © 2012
First performance: 19 October 1845, Dresden;
Wagner conducting.
First WASO performance: 2 November 1938.
Malcolm Sargent, conductor.
Most recent WASO performance (Overture and
Venusberg Music): 22 & 23 March 2013. Paul Daniel,
conductor.
Instrumentation: three flutes (third doubling
piccolo), two oboes, two clarinets, two bassoons,
four horns, three trumpets, three trombones, tuba,
timpani, percussion and strings.
YOU MAY ALSO ENJOY
WAGNER Lohengrin: Prelude to Act III
featured in Asher Fisch & WASO:
Stuart Skelton Sings Wagner
Fri 25 & Sat 26 November
Glossary
Chromatic – use of notes which are not part of the key
Music drama – term coined by Wagner to describe his later operas in which he sought to integrate the musical,
dramatic and visual elements
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Supporting WASO and the local community
Proudly sponsored by
19
ABOUT THE MUSIC
Robert Schumann
(1810 – 1856)
Symphony No.2 in C, Op.61
Sostenuto assai – Allegro, ma non troppo
Scherzo (Allegro vivace)
Adagio espressivo
Allegro molto vivace
Schumann’s Second Symphony begins
with a motto theme. This may or may not
be a reference to the identical opening of
Haydn’s Symphony No.104. Schumann’s
use of his motto to unify the symphony,
making it return in three of the four
movements, also recalls Beethoven,
especially the Fifth Symphony. Schumann
belonged to the first generation of
composers who wrote in full awareness
and sometimes in awe of what their great
predecessors had done. Any symphony
composed in Germany in 1845 was written
for audiences for whom Haydn, Mozart,
and especially Beethoven provided the
models of what a symphony should be.
Mendelssohn, who conducted the
first performances of Schumann’s first
two symphonies, had done much to
create this awareness of past music.
The Second Symphony pays tribute to
Mendelssohn, with whom Schumann had
an exceptionally close artistic collaboration.
But to their first critics, Schumann’s
symphonies did not seem Classical enough,
nor were their novelties convincing. Even a
sympathetic colleague, Moritz Hauptmann,
found the First Symphony ‘somewhat
curious, but always musical’.
Curiousness is just what makes Schumann’s
Second Symphony original. Even as the
motto is being stated – not with Haydn’s
clarity, but with ‘mysteriously muted
solemnity’ – another ominous theme is
outlined by the strings.
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This begins a movement Schumann
described as of a ‘very moody and
unruly character’. The symphony, written
with great difficulty and, according to
Schumann himself, documenting in music
his recovery from serious illness, demands
to be ‘read’, or rather heard, for its
sub-text: a record of a changing mental
state, from despair, through healing, to
redemption.
Between Schumann’s First Symphony
(1841) and the Second, begun in
late 1845, came his serious nervous
breakdown, marked by depression and
lapses of memory. He finished the Piano
Concerto for his wife, Clara, but both
Schumanns saw in this symphony the
sign of his full recovery and a return
of confidence to attempt large-scale
orchestral works. In a burst of creativity,
the symphony was drafted in piano score
in December 1845, but Schumann had to
put the orchestration aside when he had
an attack of ringing and clicking in the
ears. Mendelssohn conducted the premiere
on 5 November 1846, but Schumann
made many changes, including adding the
trombones, before the second performance
11 days later.
Schumann did indeed master his materials,
and created a new kind of Romantic
symphony inside a Classical scaffolding.
This has been increasingly recognised,
against those who find in Schumann’s
devices – such as mottos – simplistic
attempts at thematic unity, and in
the poetic element, with its wealth of
references and associations, parentheses
rather than the ‘real’ thread of the music.
The struggle of the first movement is a real
one: from the slow introduction with its
germinal themes the music seems almost
with difficulty to gear itself up to begin a
fast movement ‘but not too fast’, and the
development section is very long – the
working-out is not straightforward. The
victory is not yet won, in spite of the return
of the motto.
The Scherzo is the most explicit tribute
to Mendelssohn of many in Schumann’s
first two symphonies. Much in the brilliant
non-stop dashing of the strings sounds
Mendelssohnian, as do some of the
wind interventions. But this is no ‘fairy
scherzo’. The music is restless and, as
Michael Steinberg notices, ‘a layer of
melancholy underlies the jocularity.’
Schumann’s dialogue with Mendelssohn
continues in the slow movement; but
here Schumann seems to be saying, ‘I am
not Mendelssohn.’ The movement starts
in C minor, but ends in E flat major; it
is full of felicitous scoring, for the wind
soloists in particular, and has always
escaped critical strictures.
Especially after Beethoven’s Ninth
Symphony, the finale had become a
challenge to composers. Given Schumann’s
‘program’ in this symphony, he was
seeking an expression of victory over dark,
disturbing forces. This movement falls into
two parts, the second so substantial it
has struck some as a ‘finale in the finale’.
After a series of pauses, Schumann quotes
Beethoven’s song cycle To the Distant
Beloved. This reference was to Clara; it
leads to a long and exultant conclusion,
in which the opening motto is gradually
reintroduced, shedding the mystery in which
it was first heard, and affirming the light.
Abridged from a note by David Garrett © 2005
First performance: 5 November 1846, Leipzig. Felix
Mendelssohn, conductor.
First WASO performance: 22 & 23 September 1972.
Elyakum Shapirra, conductor.
Most recent WASO performance: 24 & 25 June
1994. Isaiah Jackson, conductor.
Instrumentation: two flutes, two oboes, two
clarinets, two bassoons, two horns, two trumpets,
three trombones, timpani and strings.
YOU MAY ALSO ENJOY
SCHUBERT Symphony No.4 Tragic
featured in
Asher Fisch Conducts Schubert & Bartók
Fri 19 & Sat 20 August
Glossary
Development section – in sonata form, in which the first movements of most symphonies of the Classical period
are structured, the main themes are introduced in the exposition; in the development section these themes are
explored according to key relationships; finally, the themes are restated and resolved in the recapitulation.
Fairy scherzo – light, whimsical style of string and woodwind writing typified by Mendelssohn’s Octet and
Overture to A Midsummer Night’s Dream.
Motto – a motif which dominates a piece of music and recurs regularly.
21
ABOUT THE MUSIC
Richard Strauss
(1864 – 1949)
Also sprach Zarathustra (Thus Spake
Zarathustra) – Symphonic poem, Op.30
Introduction: Sunrise –
Of the Back-worlds-men –
Of the Great Longing –
Of Joys and Passions –
The Funeral Song –
Of Science –
The Convalescent –
The Dance Song –
Night Wanderer’s Song
In 1891-92 the usually robust Strauss
suffered a period of serious illness. In
the summer of 1892 he took leave of his
duties at the Weimar Opera and travelled
extensively through Italy, Greece and
Egypt, soaking up the sun, but more
importantly enjoying the awesome physical
remains of the ancient pagan civilisations.
It was at this time that he began to think
about a musical response to some of the
ideas of the German philosopher Friedrich
Nietzsche, particularly those expressed in
his poem Also sprach Zarathustra (Thus
spake Zoroaster), though the work’s
composition had to wait until 1896.
Zoroaster (as he was known to the ancient
Greeks) was a Persian prophet living in
the sixth century BCE who taught that
the universe, and humankind in particular,
is subject to the eternal struggle of two
gods, represented by light and darkness;
his religion survives among the Parsees
of modern India. Nietzsche’s relationship
to Zoroastrian ideas is fairly loose, and as
Norman Del Mar puts it, he used these ‘as
a prop on which to clothe his own ideas on
the purpose and destiny of mankind’.
22
The most famous – indeed, notorious – of
these is the idea of the Übermensch or
Superman. While Nietzsche (and, it must
be admitted, the younger Strauss) were
disdainful of Christianity’s compassion
for weakness, it is drawing a long bow
to make Nietzsche responsible for the
atrocities of Nazism. Indeed, Nietzsche
scholar Joachim Köhler argues that Also
sprach Zarathustra, with its celebration
of the individual will, partly grew out
of the poet’s freeing himself from the
dominating personality of the composer
Richard Wagner. And Wagner’s widow,
Cosima, writing to her son-in-law Houston
Stewart Chamberlain (whose racist ideas
definitely did influence Hitler), condemned
Nietzsche’s book for its ‘Jewishness’.
Strauss’ work is, as he said, ‘freely after
Fr. Nietzsche’ which afforded him ‘much
aesthetic enjoyment’ rather than any
profound philosophical conversion. Strauss
takes some of the chapter headings of
the poem as the defining images for each
section of his tone-poem. It begins with
the famous invocation to the sun, with
low rumbling accompanying the trumpets’
simple C-G-C theme (which in much of
Strauss represents primeval nature).
The increasing blaze of full chords
establishes C major as one pole of the
work (and as Del Mar notes, the sound of
the organ at the end of the section adds
a liturgical note). Of the Back-worlds-men
depicts humanity in its primitive, or rather
naïve, state (in B minor, significantly – B
being the other tonal pole of the piece).
Strauss includes those who profess
Christianity in this category, quoting a
fragment of the plainchant for the Credo
to underline his point, but the movement
still reaches a gorgeous climax for multi
divided strings.
Of the Great Longing is a depiction of
humanity’s search for something beyond
mere superstition, but Strauss’ music
dramatises the conflict between nature
(the trumpet theme) and humanity’s
tendency to create dogma with more
hints of plainchant and the unresolved
conflict between the keys of C and B. A
new chromatic motif leads into Of Joys
and Passions with a theme that Strauss
described as ‘A flat (brass: dark blue)’.
Actually the section tends to be in C minor,
linking it to the idea of nature, whereas the
following Funeral Song is in B minor, and
therefore linked to the idea of man.
Of Science is based on a deeply-voiced
fugue that Strauss described as ‘spinechilling’ and Del Mar regards as having
a ‘strangely mysterious quality’ despite
its dour timbre. In The Convalescent,
Nietzsche describes Zoroaster’s spiritual and
physical collapse, after which he emerges
as the Superman.
The Dance Song of the Superman is, like
the ‘Dance of Seven Veils’ in Salome,
a Viennese waltz – a Straussian joke,
perhaps. Here poet and composer part
company: Strauss’ Zoroaster displays
none of the triumphalism that Nietzsche’s
does, and the work closes with a
mysterious and tranquil Night Wanderer’s
Song in which the keys of nature and
man still quietly contend.
After the final rehearsal for the premiere,
Strauss, with characteristic modesty, wrote
to his wife: ‘Zarathustra is glorious … of all
my pieces, the most perfect in form, the
richest in content and the most individual
in character … I’m a fine fellow after all,
and feel just a little pleased with myself.’
Gordon Kerry © 2004
First performance: 27 November 1896, Frankfurt.
Richard Strauss, conductor.
First WASO performance: 1 & 2 August 1969.
Thomas Mayer, conductor.
Most recent WASO performance: 4 & 5 September
2009. Asher Fisch, conductor.
Instrumentation: piccolo, three flutes (third doubling
second piccolo), three oboes, cor anglais, two
clarinets, bass clarinet, E flat clarinet, three bassoons,
contrabassoon, six horns, four trumpets, three
trombones, two tubas, timpani, percussion, two harps,
organ and strings.
YOU MAY ALSO ENJOY
BERLIOZ Symphonie Fantastique
featured in
Asher Fisch Conducts Symphonie Fantastique
Fri 18 July & Sat 19 November
Glossary
Chromatic – use of notes that are not part of the key
Fugue – a contrapuntal style of composition in which a short melody is sounded by one voice or part and
subsequently taken up by others
Tone–poem (or symphonic poem) – a programmatic work for orchestra, usually in a single movement
23
24
MEET THE MUSICIAN
Robert Gladstones
Principal 3rd Horn
Do you come from a musical family?
Yes! Mum was a piano teacher, accompanist
and examiner, my dad was a keen choral singer.
They met through the UWA Choral Society.
My partner Lucie plays horn in the Metropolitan
Symphony Orchestra (METSO). My daughter
Hannah is completing post graduate studies
on bassoon in Germany and working part
time with the Hamburg Philharmonic. My
younger daughter Zoe has a music degree in
double bass but is now pursuing nursing. My
step-daughter Natalie plays horn and step-son
Nicholas plays trumpet and are both in the
GATE Music program at Churchlands SHS.
Even our cats like music and like sitting in
when I am teaching!
These concerts open our 2016 subscription
series, how did you spend your summer?
We drove across the Nullarbor! While
over east my step-son attended the Scout
Jamboree, I was guest 3rd Horn with the
Australian Opera and Ballet Orchestra in
the Australian Opera’s Gala New Year’s Eve
concert, I ran a weekend Horn workshop in
Canberra and we visited friends and found
some time to relax! We also got to go car
shopping after my freshly serviced vehicle
decided to suffer terminal engine failure
250km west of Ceduna on the way over, not
on the itinerary.
What are you looking forward to most
in this 2016 season?
I think Beethoven Symphony No.3 with
Simone Young has to be my top pick but the
Rite of Spring, Mahler’s Second, Bruckner’s
Ninth and Zarathustra are up there! Not
strictly WASO but performing the Rosetti
Double Horn Concerto in April alongside
my colleague Frankie Lo Surdo with the
Fremantle Chamber Orchestra will be fun!
What is your most memorable
experience as a performer?
An impossible question to answer... So many
memories over my 30 years in the profession.
So many fine soloists and conductors. So
many great works of music. Sometimes the
simplest things are just as memorable as
the big concerts. Performing a simple trio
with two Year 5 students in their school’s
Performing Arts Festival and being so proud
of how well they played is just as memorable
to me as last year’s Brahms Festival.
What disasters have happened during
concerts in the Horn section?
There have been a few, no names! During a
performance of Bruckner’s Fourth Symphony
some years ago a young colleague was tipping
the water out of her horn during a particularly
quiet passage when her mouthpiece went
flying and landed very noisily on the stage and
continued to circle around. She showed great
dignity in getting up and descending the steps,
while wearing VERY high heels, to retrieve her
mouthpiece and return just in time to play her
next entry. No one showed any emotion or
reaction until the end of the performance.
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26
WASO PHILANTHROPY
Philanthropy Partner
Donations can give those who may not
have had it otherwise, the opportunity to
discover what WASO and the experience
of live classical music might mean to
them. Ongoing philanthropic support is
critical and helps build a strong and vibrant
Orchestra that produces beautiful music for
many thousands of people at Perth Concert
Hall, in schools, hospitals and communities
across Western Australia.
Your Experience. Your
Donation. Your Orchestra.
When asked the question, you most likely
already know why you love WASO.
It might be because you enjoy the feeling
of being emotionally moved, uplifted or
inspired by live performances; it might be
because concerts offer you the chance to
spend time with your friends and family; or
maybe you enjoy the peace and calm that
music can bring.
Perhaps you love WASO because you,
like us, believe in the life-changing
musical opportunities we offer children,
young and emerging artists, and regional
communities. It might be all of these
wonderful things.
This year we invite you to become, or renew
as, a WASO Patron by making a donation
to our 2016 Annual Giving campaign.
Those who give $500 or more in a year
(including regular monthly donations of $42
or more) are recognised as Patrons and enjoy
opportunities to experience the Orchestra
from different perspectives – not just from
the auditorium – through invitations to
exclusive Patron-only events, getting to know
our musicians and receiving regular updates.
Need more information or want to join
our community?
If you wish to become a Patron, increase or
renew your gift, please contact Jane Clare on
9326 0014 or janec@waso.com.au. It is also
quick and easy to make a donation online at
waso.com.au or you can make a donation at
the Box Office with your ticket purchases.
All donations over $2 are fully tax deductible.
27
OUR SUPPORTERS
Philanthropic partnerships come in all shapes and sizes
Whatever the shape or size, you are helping 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 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.
Symphony Circle
Recognising Patrons who
have made a provision in
their Will to the Orchestra
Endowment Fund for
the Orchestra
This fund includes major
donations and bequests
Mr John Bonny
Dr G Campbell-Evans
Anita & James Clayton
Robyn Glindemann
Judith Gedero
Wolfgang Lehmkuhl
Deborah Marsh
Tosi Nottage in memory of
Edgar Nottage
Nigel & Dr Heather Rogers
Gavin Toovey & Jaehan Lee
Sheila Wileman
Anonymous (17)
Tom & Jean Arkley
Janet Holmes à Court AC
Sagitte Yom-Tov Fund
Estates
The WASO Song Book
WASO is extremely
grateful for the bequests
received from Estates
Rachel Mabel Chapman
Judy Sienkiewicz
Mrs Roslyn Warrick
Anonymous (1)
Excellence Circle
Supporting excellence
across all we do
Jean Arkley
Bob & Gay Branchi
Janet Holmes à Court AC
Torsten & Mona Ketelsen
Andrew Marsden
Michael Utsler
We are grateful to those
who have supported new
works commissioned for
the Orchestra by WASO
Janet Holmes à Court AC
Peter Dawson
Geoff Stearn
Anonymous (2)
Reach Out
Supporting our Education
& Community Engagement
programs
John Albright & Susan Lorimer –
purchase of the EChO Double Bass
Jean Arkley
Prue Ashurst
Creative Partnerships Australia
Ron & Penny Crittall
Ken Evans
Feilman Foundation
The James Galvin Foundation
Robyn Glindemann
Ken Johnson
Barrie & Jude Lepley
Minderoo Foundation
Mrs Morrell
Lynn Murray
Joan Reyland
John & Alison Rigg
Simon Lee Foundation
The Stan Perron Charitable
Foundation
Jean & Peter Stokes
Trish Williams – Strategic
Interactions
Anonymous (1)
If you are interested in becoming a Patron or learning more about WASO Philanthropy
please contact Jane Clare, Fundraising and Philanthropy Manager, on 9326 0014
or email janec@waso.com.au.
WASO Philanthropy brochures are available from the WASO Programs & 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.
28
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
Circle
Gifts $20,000+
Janet Holmes à Court AC
Patricia New
Judy Sienkiewicz (dec.)
Impresario Patron
Gifts $10,000 - $19,999
John Albright & Susan Lorimer
Gay & Bob Branchi
Gavin Bunning
Tony & Gwenyth Lennon
Margaret & Rod Marston
Joshua & Pamela Pitt
Trish Williams – Strategic
Interactions
Maestro Patron
Gifts $5,000 - $9,999
Jean Arkley in memory
of Tom Arkley
Bill Bloking
Dr Roland & Therese Brand
Ian & Elizabeth Constable
Moira & John Dobson
Tim & Lexie Elliott
Bridget Faye AM
Gilbert George
Dr Patricia Kailis
Keith & Gaye Kessell
Dr Ronny Low &
Dr Emma Richardson
Bryant & Louise Macfie
Robert May
Paula & John Phillips
Peter & Jean Stokes
Richard Tarala & Lyn Beazley AO
Sue & Ron Wooller
Anonymous (5)
Virtuoso Patron
Gifts $2,500 - $4,999
Prof Fred & Mrs Margaret Affleck
Neil Archibald & Alan R Dodge AM
Peter & Marjorie Bird
Alan & Anne Blanckensee
Sally Burton
Dr G Campbell-Evans
Mark Coughlan & Dr Pei-Yin Hsu
Stephen Davis & Linda Savage
Richard Farago
Robyn Glindemann
Annette & Vincent Goerke
Jacoba Hohnen & Ted Samson
Sylvia & Wally Hyams
Mrs Morrell
Jane & Jock Morrison
Anne Nolan
Tim Pavy & Cathy Cole
Gail & Tony Sutherland
Ros Thomson
M & H Tuite
Stan & Valerie Vicich
Ian Watson
Joyce Westrip OAM
Alan Whitham
Andrew & Marie Yuncken
Anonymous (1)
Principal Patron
Gifts $1,000 - $2,499
Ron & Sue Adams
Caroline Allen & Sandy Dunn
Prue Ashurst
Margaret Atkins
Betty Barker
Tony & Mary Beeley
David & Suzanne Biddles
Kevin Blake
Matthew J C Blampey
Namy Bodinner
Peter & Eve Boland
Mr John Bonny
John & Debbie Borshoff
Dr & Mrs P Breidahl
Jean Brodie-Hall AM
Marilyn & Ian Burton
Prof Jonathan Carapetis &
Prof Sue Skull
Peter & Sue Clifton
Helen Cook
Arthur & Nerina Coopes
Hon June Craig AM
Gay & John Cruickshank
Lesley & Peter Davies
Julian Dowse
Bev East
Lorraine Ellard
Annette Finn
Don & Marie Forrest
Erich & Liz Fraunschiel
Dr Andrew Gardner
Roger & Ann Gillbanks
Graham & Barbara Goulden
Jannette Gray
Sandra Gray
Deidre Greenfeld
Grussgott Family Trust
David & Valerie Gulland
Brian & Romola Haggerty
Richard B Hammond
Pauline & Peter Handford
Warwick Hemsley & Melissa Parke
Dr Penny Herbert in memory
of Dunstan Herbert
29
OUR SUPPORTERS
Michael & Liz Hollingdale
Helen Hollingshead
John & Katrina Hopkins
Sue Hovell
Jim & Freda Irenic
Lilian & Roger Jennings
Anthony Kane & Jane Leahy-Kane
Bill Kean
Noelle & Anthony Keller AM
Michael & Dale Kitney
Nelly Kleyn
Stephanie & John Kobelke
Irving Lane
Paul Lee
Meg Lewis
Rosalind Lilley
Teresa & Jemima Loveland
Graham & Muriel Mahony
Gregg & Sue Marshman
Betty & Con Michael AO
Hon Justice S R Moncrieff
Valmae & Geoff Morris
Val & Barry Neubecker
Delys & Alan Newman
Dr Phillip & Mrs Erlene Noble
John Overton
Ron & Philippa Packer
Michael & Lesley Page
Athena Paton
Adrian & Ruth Phelps
Charmian Phillips in memory
of Colin Craft
Pamela Platt
Andrew & Suzanne Poli
Thomas & Diana Potter
Alison & John Price
Barry & Dot Price
Dr Leon Prindiville
Chester Reeve
Joan Reyland
John & Alison Rigg
Ms Elizabeth Sachse
& Dr Lance Risbey
30
Nigel & Dr Heather Rogers
Gerry & Maurice Rousset OAM
Roger Sandercock
Dr R & J Schwenger
Margaret & Roger Seares
Melanie & Paul Shannon
Eve Shannon-Cullity
Glenice Shephard
Julian & Noreen Sher
Laurel & Ross Smith
Paul Smith
Michael Snell & Vicki Stewart
Anna Sweetingham
Lisa & Andrew Telford
The Ambient Foundation
Ruth Thomas
Gene Tilbrook
Gavin Toovey & Jaehan Lee
Mary Townsend
James & Rosemary Trotter
Dr Robert Turnbull
Maggie Venerys
Adrienne & Max Walters
Diana Warnock
Watering Concepts
Patricia Weston
Ann Whyntie
Jean & Ian Williams AO
Jim & Gill Williams
Margaret Wilson
Judith Wilton & David Turner
Hilary & Peter Winterton AM
Anonymous (21)
Tutti Patron
Gifts $500 - $999
Geoff & Joan Airey
Catherine Bagster
Merle I Bardwell
Bernard & Jackie Barnwell
Shirley Barraclough
Mrs Berwine Barrett-Lennard
Colin Beckett
Pamela M Bennet
Michael & Nadia Berkeley-Hill
John & Sue Bird in memory
of Penny Bird
Dermot & Jennifer Blackweir
Susy Bogle
Elaine Bonds
Diane & Ron Bowyer
Elizabeth & James Brown
Lucia Buralli
Ann Butcher & Dean R Kubank
Michelle Candy
Nanette Carnachan
Claire Chambers &
Dr Andrea Shoebridge
Fred & Angela Chaney
Dr Anne Chester
Lyn & Harvey Coates AO
Agatha & Alex Cohen AO
Brian Cresswell
Gina & Neil Davidson
Jop & Hanneke Delfos
Judy Dolan
Rai & Erika Dolinschek
Simon & Pamela Douglas
Mrs G Ewen
Joan Gagliardi
George Gavranic
Elaine Gimson
Isobel Glencross
Douglas & Regina Hansen
Alan Harvey & Dr Paulien de Boer
Eric & Elizabeth Heenan
John and Sue Huan
Christopher, Julie &
Rosemary Hudson
Mr John Hylton-Davies JP, VJ
Peter Ingram
Cynthia Jee
Peter S Jones
B M Kent
Dorothy Kingston
Ulrich & Gloria Kunzmann
John Kusinski &
Annie Motherway
Trevor & Ane Marie Lacy
Louis & Miriam Landau
Martin & Ruth Levit
Megan Lowe
Mary Ellen in memory
of Kerensa
Jennifer & Arthur McComb
Mrs Carolyn Milton-Smith in
loving memory of Emeritus
Prof John Milton-Smith
S B Monger-Hay
Dr Peter Moss
Marianne Nilsson
Marjan Oxley
Graham & Hildegarde Pennefather
Bev Penny
Alpha & Richard Pilpel OAM
Ann Rawlinson
Clarissa Repton
James & Nicola Ridsdill-Smith
Leigh Robinson
Chris & Serge Rtshiladze
Judith E Shaw
The Sherwood Family
Paul & Margaret Skerritt
Hendrik Smit
L Sparrow & Family
Peggy & Tom Stacy
Eleanor Steinhardt
Ruth E Thorn
Patricia Turner
S R Vogt
Anne Watson
Joy Wearne
Dr & Mrs Chris Whitaker
Violette William
Janet Williams
Dr Robyn Yeo
Chris Ziatis
Anonymous (20)
Friend
Gifts $40 - $499
Thank you to all our
Friends who support
WASO through their gift.
31
WEST AUSTRALIAN
SYMPHONY ORCHESTRA
PRINCIPAL CONDUCTOR
Asher Fisch
Partnered by Wesfarmers Arts
CONDUCTOR LAUREATE Vladimir Verbitsky
CHORUS DIRECTOR Christopher van Tuinen
CHORUS VOCAL COACH Andrew Foote
VIOLIN
Laurence Jackson
VIOLA
Alex Brogan
Graeme Norris
Concertmaster
Associate Concertmaster
Semra Lee-Smith
Assistant Concertmaster
Rebecca Glorie
A/Principal 1st Violin
Zak Rowntree
Principal 2nd Violin
Kylie Liang
Assoc Principal 2nd Violin
Sarah Blackman
Fleur Challen
Stephanie Dean
Beth Hebert
Ellie Lawrence
Shaun Lee-Chen*
Akiko Miyazawa
Anna O’Hagan
Melanie Pearn
Ken Peeler
Graham Pyatt
Louise Sandercock
Jolanta Schenk
Jane Serrangeli
Jacek Slawomirski
Bao Di Tang
Cerys Tooby
David Yeh
Assoc Principal
FLUTE
Andrew Nicholson
Principal
HORN
David Evans
Kierstan Arkleysmith
Nik Babic
Benjamin Caddy
Alison Hall
Rachael Kirk
Allan McLean
Helen Tuckey
Mary-Anne Blades
Sharn McIver
CELLO
Rod McGrath
Principal
Assoc Principal
Evan Cromie
Louise McKay
COR ANGLAIS
Leanne Glover
Peter Miller
Principal
Assoc Principal
Chair partnered
by Penrhos College
PICCOLO
Michael Waye
Principal
OBOE
Peter Facer
Elizabeth Chee
Principal
Shigeru Komatsu
Oliver McAslan
Nicholas Metcalfe
Eve Silver*
Fotis Skordas
Tim South
Xiao Le Wu
CLARINET
Allan Meyer
DOUBLE BASS
Andrew Sinclair*
BASSOON
Jane Kircher-Lindner
Joan Wright
Chair partnered by
Ron & Sue Wooller
Principal
Assoc Principal
Louise Elaerts
Christine Reitzenstein
Andrew Tait
Mark Tooby
*Instruments used by these musicians are on loan
from Janet Holmes à Court AC.
32
Assoc Principal
Principal
Lorna Cook
BASS CLARINET
Alexander Millier
Principal
Principal
Adam Mikulicz
Assoc Principal
CONTRABASSOON
Chloe Turner
Principal
Principal
Assoc Principal
Robert Gladstones
Principal 3rd
Julia Brooke
Francesco Lo Surdo
TRUMPET
Brent Grapes
Principal
Assoc Principal
TROMBONE
Joshua Davis
Principal
Liam O’Malley
Assoc Principal
BASS TROMBONE
Philip Holdsworth
Principal
TUBA
Cameron Brook
Principal
TIMPANI
Alex Timcke
Principal
PERCUSSION
Brian Maloney
Principal
Troy Greatz
Assoc Principal
HARP
Sarah Bowman
Principal
BOARD OF DIRECTORS
Janet Holmes à Court AC
ORCHESTRAL MANAGEMENT
Keith McGowan
MARKETING
Nancy Hackett
Jenna Boston
Kirsty Chisholm
David Cotgreave
Marc Missiaen
Alistair Cox
Luke Pownall
Breanna Evangelista
Zoe Lawrence
Wee Ming Khoo
Lily Protter
Rebecca Smith
BUSINESS SERVICES
Peter Freemantle
PERTH CONCERT HALL
Brendon Ellmer
Anthony Pickburn
Andrew Chew
Lorraine Rice
Alex Spartalis
Brad Matthews
Angela Miller
Penelope Briffa
Sushila Bhudia
Paul Richardson
Renu Kara
Bruce Gaw
Chairman
Anne Nolan
Mark Coughlan
Keith Kessell
Barrie Lepley
Deputy Chairman
Paul Shannon
Julian Sher
Michael Utsler
EXECUTIVE
Craig Whitehead
Chief Executive
Executive Assistant
Executive Manager,
Human Resources
Narelle Coghill
Human Resources Assistant
Svetlana Williams
Payroll Officer
ARTISTIC PLANNING
Evan Kennea
Executive Manager,
Artistic Planning
Alan Tyrrell
Program Manager
Natalie De Biasi
Program Coordinator
Maya Kraj-Krajewski
Artist Liaison/Chorus Administrator
COMMUNITY
ENGAGEMENT
Cassandra Lake
Executive Manager,
Community Engagement
Fiona Taylor
Executive Manager,
Orchestral Management
Orchestral Operations Manager
Production & Technical Manager
Orchestral Manager
Orchestral Coordinator
Music Librarian
Chief Financial Officer
Systems Administrator
IT Support
Accountant
Accounts Officer
Accounts Assistant
PHILANTHROPY
Alecia Benzie
Executive Manager, Philanthropy
Jane Clare
Fundraising & Philanthropy
Manager
Sarah Tompkin
Planned Giving Manager
Megan Lo Surdo
Philanthropy & Events Coordinator
CORPORATE DEVELOPMENT
Marina Woodhouse
Education Coordinator
Executive Manager,
Corporate Development
Lily Protter
Jamie Parkin
Community Engagement Assistant
Corporate Partnerships Manager
Cliona Hayes
Corporate Partnerships
Coordinator
Ginny Luff
Corporate Partnerships & Events
Coordinator
WASO programs are printed by Pilpel Print www.pilpel.com.au
who are proud to be ‘Green Stamp Accredited’.
This certification acknowledges Pilpel Print’s commitment to
minimising environmental impacts associated with producing
printed material.
Acting Executive Manager,
Marketing
Marketing Coordinator
Relationship Marketing Manager
Public Relations Manager
Marketing Officer
Marketing Assistant
General Manager
Deputy General Manager
Operations Coordinator
Events Manager
Presentations Coordinator
Maintenance Officer
Ryan Sandilands
Acting Marketing Manager
Krista Tanuwibawa
Acting Marketing Assistant
Sarah Salleo
Reception & Administration
Josie Aitchison
Tim Chandler
Vanessa Woolley
Ticketing Client Account Managers
Alana Arnold
Cheryl Butler
Leticia Cannell
Mary-Louise Carbone
Wendy Cooper
Helen Gortmans
Emily Kennedy
Talei Louie
Rebekah Ryan
Beverley Trolio
Customer Service and
Sales Representatives
All rights reserved, no part of this publication may be reproduced or transmitted in any form or by 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
33
2016 CORPORATE PARTNERS
We encourage you to support these partners for generously supporting your Orchestra
PARTNER OF EXCELLENCE
PLATINUM PARTNERS
SYMPHONY PARTNER
CONCERTO PARTNER
OVERTURE PARTNERS
SONATA PARTNERS
KEYNOTE PARTNERS
ORCHESTRA SUPPORTERS
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.
To share in our vision and discuss the many opportunities available through corporate partnerships please contact
Corporate Development on 08 9326 0004.
34
Photo: Caitlin Worthington Design: BronWYnrogers.CoM WesF1341
ALCOHOL.THINK AGAIN MASTERS SERIES
Friday 1 & Saturday 2 April 7.30pm
Perth Concert Hall
MAHLER Symphony No.2 Resurrection
Asher Fisch conductor
Kiandra Howarth soprano
Fiona Campbell mezzo soprano
WASO Chorus
UWA Symphonic Chorus
BOOK
NOW
Tickets from $45*
Call 9326 0000 quoting 1538 or visit waso.com.au
Asher Fisch appears courtesy of Wesfarmers Arts.
*A handling fee of $5.50 per transaction applies to all purchases. An additional fee of $3.20 per transaction applies for
delivery via Registered Post. All ticket/item prices include GST if applicable, quoted in Australian Dollars.