Morning syMphony sEriEsThursday 19 March 11amMACA LiMiTED CLAssiCs sEriEsFriday 20 & Saturday 21 March 7.30pmperth Concert hall

PROGRAM

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Infrastructure, Drainage and Structural Concrete

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MACA values its position in the community as a proud sponsor of the Ride To Conquer Cancer and the West Australian Symphony Orchestra.

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WelcOMe

Vienna and New York; operetta and musical. Our exploration of the lighter side of the classical scene in the late 19th century capital of the Habsburg Empire and the early 20th century capital of the new world gives me special joy. While Vienna was still producing the finest in classical music, what was really ‘rocking’ in the musical scene was the operetta. And, unfortunately, besides one or two popular operettas and the New Year’s concert tradition, this fantastic music is too rarely heard in our concert halls. In the first half of our program we are presenting three of the greatest composers of the genre: Strauss, Lehár and Kálmán. The works, both instrumental and vocal, are all influenced by the juicy Hungarian and Gypsy music, exotic imports from just down the Danube River.

The American lighter music in the first decades of the 20th century was mostly influenced by African American music – Jazz and the Blues. The American answer to the Viennese operetta was the musical, and in the second half of our program we are playing a musical overture and three of the most popular musical songs composed by the greatest composer of that style: George Gershwin.

The most fitting work to close our program is Gershwin’s celebrated Rhapsody in Blue. We are performing it in the full symphonic version and – in the spirit of the early days of jazz and the big band – without a conductor. I will take over the solo part and WASO’s wonderful musicians will all be swinging along. Enjoy!

Asher Fisch Principal Conductor & Artistic Adviser

Asher Fisch appears courtesy of Wesfarmers Arts

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Established in 2002 MACA delivers a range of solutions tailored to your business:

• Mining• Drill & Blast• Crushing & Screening• Materials Handling & Haulage• Civil Works

With more than 1,200 experienced professionals MACAoperates nationally across:• Metals and minerals including Iron Ore, Nickel, Gold and Copper• Civil infrastructure including Bulk Earthworks, Roads, Mining

Infrastructure, Drainage and Structural Concrete

The MACA business is built on long term relationships withour clients, through safe and dependable delivery of theirprojects and objectives.

MACA values its position in the community as a proud sponsor of the Ride To Conquer Cancer and the West Australian Symphony Orchestra.

We CareWe are FlexibleWe Deliver

WelcOMe

From the MinisterIt is my great pleasure to welcome you to the opening morning Series and Classics Series concerts of the West Australian Symphony Orchestra’s 2015 season.

This year WASO will once again delight audiences with a diverse range of works, performed at their new home, the Perth Concert Hall. It is wonderful to see WASO working closely with both the City of Perth and the State Government to activate this significant venue.

2015 will be Asher Fisch’s second year as Principal Conductor. Rhapsody in Blue will see him play alongside the orchestra as he and mezzo soprano Stefanie Irányi perform a selection of favourites by George Gershwin.

These concerts provide a great introduction to what is sure to be a fantastic season. I hope you enjoy them.

Hon John Day MLA Minister for Planning; Culture and the Arts

From the Lord MayorIt is with great pleasure I welcome you to Rhapsody in Blue, the first concert in the 2015 Classics and morning Symphony Series.

This jazz-influenced composition has remained a favourite since its premiere in 1924. A nostalgic and energised piece, it has often been interpreted as a musical portrait of New York City and will be heard amongst other well-known and much loved compositions of Gershwin and Strauss.

This evening we welcome mezzo soprano Stefanie Irányi to accompany a selection of Gershwin songs and arias from Viennese Operetta. Her beautiful voice is a delight.

2015 is an exciting year for WASO as we welcome back maestro Asher Fisch for his second year as WASO’s Principal Conductor and Artistic Adviser.

I do hope you enjoy this special performance and more from the 2015 Classics and morning Symphony Series.

Lisa-M. Scaffidi The Right Honourable the Lord Mayor, City Of Perth

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From the WASO ChairmanOn behalf of the West Australian Symphony Orchestra, I’m delighted to welcome you to Rhapsody in Blue, our opening morning Symphony Series and mACA Limited Classics Series concerts for the 2015 season.

Tonight marks an exciting occasion, not only as we welcome back maestro Asher Fisch for his second year as WASO’s Principal Conductor and Artistic Adviser, but also as we celebrate a new era for WASO in our new home, the Perth Concert Hall.

After more than 40 years of performing in this magnificent venue, we are delighted to finally call it our home. The Perth Concert Hall is considered one of Australia’s finest music venues, with its exceptional acoustic.

It is a privilege to hear our Orchestra perform here week after week. There is a tremendous amount of potential for this venue, and we are looking forward to working towards achieving our vision to create a vibrant cultural hub in the city.

I would like to acknowledge the ongoing support of Wesfarmers Arts, who are not only WASO’s Principal Partner but who also support Asher’s position. Their assistance is vital in enabling us to continue to strive 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. We look forward to welcoming you into our new home for many more concerts throughout 2015.

Janet Holmes à Court AC WASO Chairman

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Pre-concert TalkFind out more about the music in the concert with this week’s speaker, William Yeoman. The pre-concert talk takes place at 9.40am in the auditorium on Thursday morning.

The pre-concert talk is supported by Wesfarmers Arts

Morning syMphony sEriEs

RhAPsOdy in Blue

STRAUSS, J. Jr Zigeunerbaron [Gypsy Baron]: Overture (8 mins)

KALMAN Die Czardasfürstin: In den Bergen (3 mins)

STRAUSS, J. Jr Zigeunerbaron: Einzugsmarsch (3 mins)

LEHAR Giuditta: meine Lippen sie küssen so heiss (4 mins)

STRAUSS, J. Jr Éljen a Magyar! (3 mins)

GERSHWIN ‘The man I Love’ (4 mins)

GERSHWIN Rhapsody in Blue (15 mins)

Asher Fisch conductor/piano Stefanie Irányi mezzo soprano

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Pre-concert TalksFind out more about the music in the concert with this week’s speaker, William Yeoman. Pre-concert talks take place at 6.45pm in the Terrace Level Foyer.

Meet the ArtistsEnjoy a post-concert on stage conversation with WASO’s Executive manager of Artistic Planning Evan Kennea, Principal Conductor, Asher Fisch and Stefanie Irányi in the auditorium.

Pre-concert Talks and meet the Artists are supported by Wesfarmers Arts

Meet the WASO Musicians post-concertJoin our musicians after the concert on the Terrace Level. Bar service will be available at the Corner Bar, along with music entertainment from The Russell Holmes Trio.

MACA LiMiTED CLAssiCs sEriEs

RhAPsOdy in Blue

STRAUSS, J. Jr Zigeunerbaron [Gypsy Baron]: Overture (8 mins)

KALMAN Die Czardasfürstin: In den Bergen (3 mins)

STRAUSS, J. Jr Zigeunerbaron: Einzugsmarsch (3 mins)

LEHAR Zigeunerliebe: Hör ich Cymbalklänge (4 mins)

STRAUSS, J. Jr Éljen a Magyar! (3 mins)

HEUBERGER arr. KOCHMANN Der Opernball: Overture (7 mins)

LEHAR Giuditta: meine Lippen sie küssen so heiss (4 mins)

interval (25 mins)

GERSHWIN arr. MCBRIDE Girl Crazy: Overture (7 mins)

GERSHWIN ‘I Got Rhythm’ (3 mins)

GERSHWIN ‘Someone to Watch Over me’ (3 mins)

GERSHWIN ‘The man I Love’ (4 mins)

GERSHWIN Rhapsody in Blue (15 mins)

Asher Fisch conductor/piano Stefanie Irányi mezzo soprano

uPcOMinG cOnceRTs

Book Now cAll 9326 0000 visiT waso.com.au OR ticketek.com.au*Transaction fees may apply.

ALCohoL.ThinK AgAin MAsTErs sEriEs

mischa maisky in concertFri 27 & Sat 28 March 7.30pm Perth Concert Hall

Acclaimed for his intensity and passion, mischa maisky is quite simply one of the greatest cellists of our time. Don’t miss an unforgettable performance of Bloch and Strauss in his first ever Perth concerts.

BEETHOVEN Leonore Overture No.3 BLOCH Schelomo – Hebraic Rhapsody STRAUSS, R. Don Quixote

Asher Fisch conductor Mischa Maisky cello (pictured)Asher Fisch appears courtesy of Wesfarmers Arts

tickets from $30*

MACA LiMiTED CLAssiCs sEriEs

ravishing rachmaninov Fri 17 & Sat 18 April 7.30pm Perth Concert Hall

Rachmaninov’s Second is a richly romantic, mysterious and beautiful symphony. Borodin’s famous Polovtsian Dances feature driving rhythms and exotic melodies. Conductor Diego matheuz brings his trademark energy to these orchestral showpieces.

CARTER Holiday Overture AUSTRALIAN PREMIERE BORODIN Prince Igor, Act II: Polovtsian Dances RACHMANINOV Symphony No.2

Diego Matheuz conductor (pictured)

tickets from $30*

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Morning syMphony sEriEs

ravishing rachmaninovThurs 16 April 11am Perth Concert Hall

Rachmaninov’s melodic genius is revealed in his passionate Second Symphony. The dynamic young Venezuelan conductor Diego matheuz brings his trademark energy to this great orchestral showpiece.

RACHMANINOV Symphony No.2

Diego Matheuz conductor (pictured)tickets

from $27*

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WAsO in The cOMMuniTy

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masterclass with Karen Gomyo and Charis macFarlane

Sophia Sherring

WASO Education for Kindergarten – Year 12 students in 2015WASO is proud to offer an Education program that complements the curriculum, improves social and emotional wellbeing and encourages participation in, and appreciation of, live music and music making in a variety of settings.

WASO Education kicked off in 2015 with a sold-out WACE Designated Works concert. In the final year of the 2013-15 School Curriculum and Standards Authority Designated Works List, WASO performed an exciting variety of works across Year 11 and 12 areas of study, presenting chamber music and choral works for the first time alongside symphony and concerto. The WACE concert included discussion of historical and cultural perspectives, as well as analysis of key compositional concepts, and was presented by the highly regarded and well-loved conductor and educator, Peter moore.

WASO loves sharing music with people across the state. With a commitment to visiting regional and remote locations, WASO on the Road will continue to see small ensembles present school performances

and workshops, as well as free community concerts. WASO on the Road – Pilbara, supported by Chevron, sees us return to Karratha, Dampier, Roebourne and Onslow in may this year, and our second WASO on the Road tour supported by Water Corporation will see us travel to Geraldton in September to present a multi-arts program in partnership with The Literature Centre.

EChO in Schools continues in 2015 with a view to finding new ways to reach audiences and making it easier for school communities to experience the joy of live music. These interactive performances are an exciting extension of our EChO Kids’ Cushion Concerts (including have-a-go and musician Q&A sessions) and are a really special opportunity for WASO musicians to interact with young people (and educators!) in their school.

With Primary School Concerts, Open Rehearsals, morning Symphony and Backstage Pass and an always-developing suite of special events including our inaugural Education Week in June, we are looking forward to working with students and educators from Kindergarten to Year 12 across the state through an ever-growing menu of programs that support and encourage young people’s participation in, and appreciation of live music and music-making.

yOuR WAsO eXPeRience

PLEASE SHARE OR DOWNLOADHelp us to be environmentally responsible by sharing your printed programs. You can also read WASO’s programs on your computer or mobile device by visiting waso.com.au

WHEN TO APPLAUDmusicians love applause. As a guide, audience members normally applaud:•Whentheconductororsoloistwalksonto

the stage • Afterthecompletionofeachpieceand

at the end of the performance

WHEN YOU NEED TO COUGHPlease try to muffle your cough in a handkerchief during a louder section of the music. Cough lozenges are available from the WASO Customer Service Desk before each performance and at the interval.

TOILETSmale and female toilets are located on each of the four foyer levels of Perth Concert Hall. The largest number of toilets are available on the ground floor of the venue, with further toilets on the Terrace Level, Lower Gallery and upper Gallery levels. A universal accessible toilet is available on the ground floor of the venue.

FIRST AIDThere are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance.

FEEDBACK 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.

WASO ON 720 ABC PERTHTune in to 720 ABC Perth on Friday mornings when Prue Ashurst joins Eoin Cameron to provide the latest on classical music and WASO’s upcoming concerts.

WASO ON ABC CLASSIC FMThis performance is being recorded for delayed broadcast on ABC Classic Fm. For further details visit abc.net.au/classic

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Visit waso.com.au For concert information and to listen to concert playlists.

cOnnecT WiTh WAsO

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PeRTh cOnceRT hAll

Perth Concert Hall – Under WASO Management!The beginning of 2015 marked a major milestone for both WASO and the Perth Concert Hall: WASO took over the management of Perth Concert Hall on 1 January 2015 for an initial 12 month term. During this transition year, WASO will begin planning for a full relocation to the Perth Concert Hall and start developing the strategy to make Perth Concert Hall a vibrant, exciting venue, hosting a broad range of classical and contemporary music and events.

WASO has set up a separate not-for-profit entity, WA Venues & Events Pty Ltd, as a sister company to WASO Pty Ltd and the venue management company for Perth Concert Hall.

Key staff appointments include Brendon Ellmer as the new General manager, and Lorraine Rice as the Deputy General manager. Brendon has spent the last six years as General manager of the State Theatre Centre of Western Australia, where Lorraine worked with him as the venue’s Operations manager.

Brendon Ellmer & Lorraine Rice

What changes will you see during 2015?The new management team is looking to bring more concerts and events, new hirers and new audiences into the venue, turning Perth Concert Hall into a hub of activity. While this will be a gradual process, you may have already noticed a number of other changes:

•Theteamhaveusedthequietertimeafter New Year’s Eve to give the venue a thorough “New Year’s clean”, do some interior painting and perform minor repairs and maintenance work.

•Lightinginthefoyerareashasbeenre-focused to provide greater ambience and showcase architectural features.

•LeadingWesternAustraliancateringconsultancy service Heyder & Shears have been awarded the food and beverage contract and are revitalising the food and beverage options with new menus and a greater choice of small meals and snacks.

•Inanefforttogivepatronsbetteruseofthefoyer spaces and improve audience traffic flow, the venue and WASO are testing different locations for talks, buffets and bars.

The team is keen to hear any feedback or suggestions you may have – feel free to speak to any usher or member of the Front-of-House team or contact us at info@perthconcerthall.com.au.

Join us on Facebook facebook.com/perthconcerthallwa

Follow us on Twitter twitter.com/perthconcerthal

Visit perthconcerthall.com.au

cOnnecT WiTh PeRTh cOnceRT hAll

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ABOuT The ARTisTs

Asher FischPrincipal Conductor

Asher Fisch’s first season with the WASO included a range of classical repertoire, as well as a West Australian first; Beethoven’s nine symphonies performed over two weekends. A seasoned conductor in both the operatic and symphonic worlds, he is known best for his interpretative command of German and Italian repertoire of the Romantic and post-Romantic era, in particular Wagner, Brahms, Strauss and Verdi. He is currently Principal Guest Conductor of the Seattle Opera, where he conducted its quadrennial Wagner Ring cycle in 2013, and his former posts include music Director of the New Israeli Opera (1998-2008) and the Vienna Volksoper (1995-2000). He first worked with WASO in 1999.

He has long maintained strong ties to the Bavarian State Opera, and in the 2013-14 season conducted a new production by martin Kušej of The Force of Destiny, plus revival performances of Parsifal, Salome, Ariadne auf Naxos, La bohème and Turandot. Other highlights of the 2013-14 season included concerts with the munich Philharmonic; Stuttgart Radio Symphony Orchestra; National Orchestra of Belgium; Aarhus Symphony Orchestra

(Denmark); a tour in Italy with the Orchestra della Toscana; and a visit to the melbourne Festival in October 2013, where he conducted an all-Wagner program with the melbourne Symphony Orchestra. He conducted the State Opera of South Australia’s Wagner Ring cycle in 2005, which won ten Helpmann Awards.

Asher Fisch began his conducting career as Daniel Barenboim’s assistant and kapellmeister at the Berlin State Opera. He is an accomplished pianist and released his first solo disc of Wagner piano transcriptions in 2012.

Asher Fisch appears courtesy of Wesfarmers Arts.

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To help your sonsucceed we teach an

extra subject.

♥Aquinas College is a keynote partner of the West Australian Symphony Orchestra.

This partnership is used to encourage boys in their pursuit of musical excellence.

Aquinas College is a Catholic School for boys in the Edmund Rice tradition. Mt Henry Road, Salter Point, WA.Tel: 9450 0600 Email: development@aquinas.wa.edu.au www. a q u i n a s . w a . e d u . a u

The best he can be.

Stefanie Irányimezzo soprano

Stefanie Irányi has appeared as a guest at the Konzerthaus and musikverein in Vienna; the Herkulessaal in munich; Suntory Hall in Tokyo; and the Théâtre des Champs-Elysées in Paris. In addition to her performances with WASO, she appears this season with the Nuremberg Symphony Orchestra in Verdi’s Requiem; munich Bach Choir in Bach’s Christmas Oratorio; Orchestra Sinfonica di milano Giuseppe Verdi in Beethoven’s Symphony No. 9; and L’Orfeo Baroque Orchestra in Bach’s St Matthew Passion.

Her recordings include a solo CD called Lamenti, featuring arias from operas by Hasse, Haydn and Handel.

Stefanie grew up in the Chiemgau area of Bavaria and studied in munich at the Hochschule für musik und Theater.

WAsO On sTAGe TOdAy

PrincipalAssociate PrincipalGuest musician^

VIOLINLaurence JacksonGuest ConcertmasterGraeme NorrisAssociate ConcertmasterSemra Lee-Smith Assistant ConcertmasterZak RowntreePrincipal 2nd ViolinKylie Liang Assistant Principal 2nd ViolinSarah BlackmanFleur ChallenStephanie DeanSara Duhig^Rebecca GlorieBeth HebertAlexandra IstedEliza mcCracken^Andrea mendham^Akiko miyazawaKen PeelerElena PhatakGraham PyattLouise SandercockJolanta SchenkJane SerrangeliKathryn ShinnickJacek SlawomirskiBao Di TangCerys ToobyTeresa Vinci^Susannah Williams^David Yeh

VIOLACaleb WrightAlex BroganKierstan ArkleysmithNik BabicGeorge Batey^Kathy Corecig^Katherine DrakeAlison HallRachael KirkAllan mcLeanHelen Tuckey

CELLORod McGrath Louise McKayChair partnered by Penrhos CollegeShigeru KomatsuOliver mcAslan Nicholas metcalfeEve Silver*Fotis SkordasTim SouthXiao Le Wu

DOUBLE BASSAndrew Rootes*Elizabeth Browning^Christine ReitzensteinLouise RossAndrew Taitmark ToobyPhilip Waldron^

FLUTEAndrew Nicholson Chair partnered by ApacheGeorgia Lane^

PICCOLOMichael Waye

OBOEPeter Facer Elizabeth Chee

COR ANGLAISLeanne Glover

CLARINETAllan Meyer Lorna Cook

BASS CLARINETAlexander Millier Chair partnered by Altegra Property Group

BASSOONJane Kircher-Lindner Chair partnered by Sue & Ron Wooller

Adam Mikulicz

CONTRABASSOONChloe Turner

HORNDavid EvansSharn McIverRobert Gladstones Principal 3rdJulia Brooke Francesco Lo Surdo

TRUMPETBrent GrapesEvan Cromie Peter miller

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONJoel Bass^Amanda Dean^Paul Tanner^

HARPSarah Bowman

PIANO/CELESTEAdam Pinto^

DRUM KITDaniel Susnjar^

*Instruments used by these musicians are on loan from Janet Holmes à Court AC.

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MeeT The MusiciAn

Julia BrookeHorn

When did you realize that you wanted to become a professional musician? From a young age I thought about a career in music, mainly because both my parents are professional musicians and so classical music has always been a big part of my life. However, it wasn’t until I actually started practicing properly, at around age 17, that things started getting serious!

Do you have a shortlist of works or composers that you love to play the most? As a horn player I will happily say all the symphonies by mahler, but in particular Numbers 3, 4 and 9. Also Stravinsky’s The Rite of Spring is one of my favourite works. I was fortunate enough to play in Wagner’s Ring Cycle in melbourne in 2013, and there are so many wonderful moments in that. On a smaller scale, the Serenade for Tenor, Horn and Strings by Benjamin Britten is beautiful and challenging to play, and truly sublime to listen to.

How would you describe tonight’s concert in one sentence? Vienna New Year’s concert meets Broadway.

What is your favourite concert of all time?There are so many! Playing Shostakovich’s 10th Symphony at the BBC Proms in 2010 with the Australian Youth Orchestra is definitely up there. Although technically not a concert each performance of Das Rheingold (particularly the opening) during the Ring Cycle was very exhilarating and something that I will not forget for a long time.

What do you love the most about working and living in Perth?

The high standard of the Orchestra makes it exciting to come to work, and they are a pretty nice bunch of people too! I like the cultural scene in Perth, it seems to be always growing, and that’s a very special thing to be a part of. Great places for coffee both near work and home help too!

I really love … researching all the dog breeds I plan on owning in the near future, good coffee, swimming (most recently open-water swimming – a slight worry for my parents) and the occasional glass of Pierro Chardonnay.

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WAsO neWs

China Symphony Cultural Exchange Project launched in PerthWASO has embarked on an exciting new cross cultural partnership with the China Philharmonic Orchestra (CPO) and Australia China Business Council (Western Australia) (ACBC WA).

The partnership, which was launched at the ACBC WA’s Chinese New Year Dinner at Crown Perth on Wednesday night, will see the three organisations work together on an exchange project that will foster cultural awareness and share expertise between professional orchestral musicians in China and Australia.

Delegates from the CPO, including the President, Vice President and Concert master, travelled to Perth for the announcement and to work with the management and players of WASO.

The partnership commenced in December last year with three musicians from WASO travelling to China for a week of rehearsals and performances with the CPO. This visit marked the official launch of the program in China.

A number of visits have already been scheduled for musicians and management staff from both orchestras to travel and spend time with their counterparts, sharing knowledge and experiences.

WASO Chairman Janet Holmes à Court AC said the partnership with the CPO will be one of the most significant relationships that any western orchestra has in China.

“The most important element of the partnership is the people to people interaction that will be fostered by the program between musicians, management, and most importantly, the broader community. There will be an extensive community engagement program alongside this orchestral one.”

“This program of activities, undertaken by WASO musicians in Beijing, and the CPO musicians in Perth, will provide performances in schools, children’s hospitals, as well as master classes at the Beijing Conservatory of music and The university of Western Australia. This will touch many more lives than just those who attend the concerts in Beijing and Perth, and foster a greater understanding of each other’s culture, which will form the glue that binds our two economically dependent countries into the future,”said Janet Holmes à Court AC.

The initial phase of the project has been made possible with funding from both the Australian and West Australian Governments and support from WASO corporate partner Singapore Airlines.

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WASO musicians in rehearsal with the CPO in China last year

TiMeline Of cOMPOseRs & WORks

1900 2000

EMMERICH KALMAN

1882 – 1953Born in Siófok, HungaryDied in Paris

Gershwin's Rhapsody in Blue1924

FRANZ LEHAR

1870 – 1948Born in Komáron, Hungary Died in Bad Ischl, Austria

GEORGE GERSHWIN

1898 – 1937Born in Brooklyn, New YorkDied in Hollywood, California

JOHAN STRAUSS II

1825 – 1899Born in Vienna, AustriaDied in Vienna, Austria

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Johann Strauss II(1825 – 1899)

Emmerich Kálmán (1882 – 1953)

Franz Lehár(1870 – 1948)

George Gershwin (1898 – 1937)

This is a concert of classical music influenced by music outside the classical mainstream. It begins with music from Vienna that was inspired by the folk music of Hungary (including gypsy music), and ends with songs and an orchestral work of George Gershwin who began his career in the jazz-inflected environs of Tin Pan Alley and Broadway before crossing into the concert hall. music from Johann Strauss II’s operetta*, The Gypsy Baron, begins the program.

Johann Strauss II’s nickname, ‘the Waltz King’, pays tribute not only to the popularity of the music that he wrote in this form, but to its level of sophistication. But Strauss also wrote for the theatrical stage. Since he was the best-loved Viennese composer of his day it was natural that Vienna’s theatrical producers would turn to him after the 1860s when they wanted something home-grown to counteract the popularity and expense of Offenbach’s French imports.

The Gypsy Baron concerns Sándor Barinkay who, upon returning to Temesvár in Hungary, experiences difficulties claiming his ancestral lands. The Royal Commissioner doubts the legality of his marriage to the gypsy girl Sáffi (a marriage which made him a gypsy baron). But when he returns a hero from war with Spain, his lands and Sáffi are restored to him.

The plot is quite complicated but excerpts in today’s concert, even the brief Entry march, testify to the tunefulness of Strauss’ score. The overture is a richly orchestrated pot-pourri including foretastes of Sáffi’s ‘Habet acht’ and the sparkling Treasure Waltz.

Strauss was no stranger to Hungarian influences by the time he wrote The Gypsy Baron (1885). He had earlier written the polka Éljen a Magyar! which translates as ‘Long live the Hungarians’.

The efforts of Vienna’s producers to counteract the ‘intrusion’ of Offenbach must have paid off because Viennese operetta became a genre in its own right. This concert pays homage to two of its greatest exponents, Emmerich Kálmán and Franz Lehár.

Kálmán was actually born in Hungary, but the success in Vienna of his first operetta, The Gay Hussars, led him to settle there. His Countess Maritza and The Gypsy Princess (Die Csárdársfürstin) became leading examples of post-World War I Viennese operetta.

ABOuT The Music

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Johann Strauss II

In the end she decides to return to her fiancé and the life already mapped out for her. The plot gave Lehár many opportunities for Hungarian colour. ‘Hör’ ich Cymbalklänge’ (I Hear the Sounds of the Cimbalom) sings the heroine, referring to the traditional Eastern European folk instrument. Giuditta was Lehár’s last and most ambitious work, his closest to opera. Bereft of her lover in scene 4, Giuditta is a nightclub singer whose charms prove irresistible to her customers: ‘Meine Lippen, sie küssen so heiss’ (my Lips, They Kiss so Hotly).

Both are still often performed. Hitler loved Kálmán’s music and offered him honorary Aryan status if he would come back to Austria after the Anschluss (the family had fled to France), but the day after a Nazi emissary visited, according to Kálmán’s daughter, ‘we got on a ship out of Genoa … and made for the [united] States’. There Kálmán briefly tried his hand writing musicals.

Kálmán’s The Gypsy Princess concerns Prince Edwin von und zu Lippert-Weylersheim whose parents oppose his love for the Budapest cabaret singer, Sylva. Obstacles are only removed when Edwin’s mother reveals that she too, was once a cabaret singer. The score wonderfully evokes Austro-Hungary with its swirling waltz melodies and fiery Hungarian dances. ‘In den Bergen’ (In the mountains is my homeland) is sung by Sylva at the beginning of Act I.

The other great composer of Viennese operetta, Franz Lehár, was also born in Hungary. A posting as a military bandmaster brought him to Vienna. There he achieved success with waltzes (Asklepios and Gold und Silber) and the operetta Der Rastelbinder. In 1905 he was asked to set The merry Widow, a libretto originally intended for Richard Heuberger. Its success was the greatest in operetta history.

After the First World War, Lehár’s style seemed old hat compared to popular music coming in from America, but a revival of Zigeunerliebe in Salzburg in 1921 began a highly successful association with the tenor Richard Tauber. Giuditta, with Tauber in a leading role, was produced at Vienna’s Staatsoper in 1934 and relayed by 120 radio stations. 

Zigeunerliebe is possibly Lehár’s most Hungarian operetta. It is about a girl who, though betrothed, dreams of running away with a gypsy violin player.

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Emmerich Kálmán

Franz Lehár

Brooklyn-born George Gershwin began learning music on the piano bought for his brother, Ira. But he completed his schooling in a more gruelling environment – Tin Pan Alley, the name given to New York’s music publishing houses. From Tin Pan Alley, George quickly moved to the Broadway musical stage, another realm which demanded well-written music quickly.

George composed his first full-length musical, La La Lucille, in 1919, the year before a recording by Al Jolson made his song ‘Swanee’ one of the all-time great hits. The 1920s saw Gershwin write pieces that have entered the orchestral repertoire – Rhapsody in Blue, the Concerto in F and An American in Paris. But he didn’t stray far from the Broadway musical stage.

Girl Crazy opened at the Alvin Theatre, New York on 14 October 1930. The pit orchestra included Benny Goodman, Gene Krupa, Glenn miller and Jimmy Dorsey. The show made a star of Ginger Rogers who sang ‘Embraceable You’, and ‘I Got Rhythm’ was sung by a young Ethel merman. George had apparently begun the song by writing the ingeniously syncopated* melody first and expecting Ira to come up with lyrics. Ira finally decided that the strongest effect was created by leaving most of the lines unrhymed.

many of the Gershwins’ shows, such as Girl Crazy, had frivolous storylines, but Gershwin songs do not need a show’s dramatic setting to make their impact; they have a life of their own. ‘The Man I Love’ was originally written for Lady, Be Good. It has developed multiple lives in the interpretations of popular singers and instrumentalists, the most famous version probably being that of Billie Holliday.

‘Someone to Watch Over Me’ originally appeared in the musical Oh, Kay! (1926). George originally conceived the song as an up-tempo jazz number, but Ira persuaded him to make it a ballad and that’s how it has stayed.

Strange as it may now seem, Gershwin always agonised over being considered a ‘serious’ composer. He began taking harmony lessons with Edward Kilenyi in 1915, and composed a lullaby for string quartet in the same year as ‘Swanee’. He was a little nervous when band-leader Paul Whiteman commissioned him to write a piano concerto in 1924, but Whiteman convinced Gershwin that he truly had the talent to write the piece (in less than a month!) and told him that he could delegate the orchestration to Ferde Grofé, the band’s arranger. The concert took place at New York’s Aeolian Hall on 12 February 1924, with people like Jascha Heifetz and Rachmaninov in the audience. Rhapsody in Blue was such a success that Gershwin was soon writing other orchestral works (with his own orchestration!).

ABOuT The Music

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George Gershwin

Operetta A light-hearted theatrical work involving spoken dialogue and musical numbers.

Syncopated Accents where you don’t expect them, especially as against the prevailing beat.

Glossary

Rhapsody in Blue falls clearly into the three-movement fast-slow-fast pattern standard for classical piano concertos, but has a popular feel in the cast of its melodies and the odd blues inflection. The work is almost profoundly American. Gershwin himself heard it as ‘a sort of musical kaleidoscope of America – of our vast melting-pot, of our unduplicated national pep, of our blues, our metropolitan madness’.

Gordon Kalton Williams

Symphony Services International © 2001/2015

Gershwin himself was the soloist in the first performance of Rhapsody in Blue at the Aeolian Hall in 1924. The West Australian Symphony Orchestra first performed it on 17 July 1955 with conductor John Farnsworth Hall and pianist Louise D’Arcy. WASO last performed this work on 13 November, 2011, performed and directed by Bramwell Tovey.

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TRAnslATiOns

Emmerich Kálmán(1882-1953)

Die Csárdásfürstin (The Gypsy Princess): Heia, Heia (Entrance Song)

Heia, heia,In den Bergen ist mein Heimatland!Oheia, oheia!Hoch dort oben meine Wiege stand,Dort wo scheu blüht das Edelweiss,Dort wo rings um glitzern Schnee und Eis.Heia, oheia,Schlagen Herzen wild und heiss!

Hey there,My homeland is in the mountains!Oh hey there!There, high above, was my cradle,There where the edelweiss shyly blooms,There where snow and ice glisten all around.Hey ho,Hearts beat wild and hot!

Wenn ein Siebenbürger mädelSich in dich verliebt,Nicht zum spielen, nicht zum scherzenSie ihr Herz dir gibt.Willst du dir die Zeit vertreibenSuch’ ein and’res Schätzelein.Bist du mein, musst mein du bleiben,musst mir deine Seel verschreiben,muss ich Himmel dir und Hölle sein!Olala! So bin ich gebaut.Olala! Auf dem Tanz!Kuss’ mich, ach, kuss’ mich,Denn wer am besten küssen, küssen kann,Nur der wird mein mann!

If a girl from TransylvaniaFalls in love with you,It’s not playing, it’s not joking,She gives you her heart.If you just want to kill time,Seek another sweetheart.If you are mine, you must remain mine,You must commit your soul to me,I will be heaven and hell to you!La la! This is how I’m made.La la! To the dance!Kiss me, ah, kiss me;For the one who is best at kissing,Only he shall be my husband!

Translation © Katherine Kemp

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Franz Lehár (1870-1948)

Zigeunerliebe (Gypsy Love): Hör’ ich Cymbalklänge

Hör’ ich Cymbalklänge,Wird ums Herz mir enge,Süsses Land der muttersprache,Heimatland!Seufz’ nach deinen Wäldern,Nach den gold’nen Feldern,Sehne mich nach dir,mein süsses ungàrland!

When I hear the sound of the cimbalom,It makes my heart contract;Sweet land of my mother tongue,Homeland!I sigh for your forests,For your golden fields,I long for you,My sweet Hungary!

Ziehst du weit hinaus,Gehst die Welt du aus,Überall ist’s schön und dochAm schönsten ist’s zu-haus!Hör’ ich Cymbalklänge …

If you travel far,Wide across the world,Everything is beautifulAnd yet home is the most beautiful!When I hear the sound of the cimbalom …

macht nichts! Hol’s der Teufel!macht nichts! Ohne zweifelKann der mensch nicht immer traurig sein!Liebt mein Schatz mich nimmer,Find’t man And’re immer,Schad’ um jede Träne, die ich wein’!

Doesn’t matter! Curse it!Doesn’t matter! Without a doubtPeople can’t always be sad!If my sweetheart never loves me,One always finds another,Shame on every tear that I cry!

Will nicht ohne Küsse leben, nein, nein!Keine Stunde ohne Liebsten sein!Jaj, jaj, hol’s der Teufel!Jaj, jaj ohne Zweifel,Immer kann der mensch nicht traurig sein!Will nicht ohne Küsse leben …

Don’t want to without kisses, no, no!Don’t want to be without a lover for an hour!Yes, yes, curse it!Yes, yes, without a doubtPeople can’t always be sad!Don’t want to live without kisses …

Translation © Katherine Kemp

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TRAnslATiOns

Franz Lehár(1870-1948)

Giuditta (Judith): meine Lippen, sie küssen so heiss

Ich weiss es selber nicht,Warum man gleich von Liebe spricht,Wenn man in meiner Nähe ist,In meine Augen schaut und meine Hände küsst.Ich weiss es selber nicht,Warum man von dem Zauber spricht.Denn keine widersteht,Wenn sie mich sieht, wenn sie an mir vorüber geht.Doch wenn das rote Licht erglüht,Zur mitternächt’gen Stund’und alle lauschen meinem Lied,Dann wird mir klar der Grund.

I really don’t knowWhy men immediately talk of love,As soon as they’re near me,Why they gaze into my eyes and kiss my hands.I really don’t knowWhy men talk about magic.None can resist,When they see me, when they pass me.But when the red light glows,At the midnight hour,And everyone listens to my song,Then the reason becomes clear.

meine Lippen, sie küssen so heiss,meine Glieder sind schmiegsam und weiss.In den Sternen, da steht es geschrieben,Du sollst küssen, du sollst lieben.meine Füsse, sie schweben dahin,meine Augen, sie locken und glühn.und ich tanz’ wie im Rausch,Denn ich weiss,meine Lippen, sie küssen so heiss.

My lips kiss so hotly,My limbs are pliant and white.It is written in the stars,You should kiss, you should love.My feet, they float along,My eyes, they beckon and glow.And I dance as though I’m intoxicated,Because I know,My lips kiss so hotly.

In meinen Adern drin,Da läuft das Blut der Tänzerin,Denn meine schöne mutter warDes Tanzes Königin im gold’nen Alcazar.

In my veins runs the blood of a dancer;My mother wasQueen of the Dance in golden Alcazar.

Sie war so wunderschön,Ich hab’ sie oft im Traum geseh’n.Schlug sie das TambourinSo wild im Tanz,Da sah man alle Augen glüh’n.Sie ist in mir aufs Neu’ erwacht,Ich hab’ das gleiche Los.Ich tanz’ wie sie um mitternachtund fühl’ das Eine bloss:meine Lippen sie küssen so heiss …

She was so marvellous,I have often seen her in dreams.She struck the tambourineSo wildly in her dance,That everyone’s eyes lit up.Her spirit wakes in me again,I have the same destiny.I dance like her at midnightAnd know just one thing:My lips kiss so hotly …

Translation © Katherine Kemp

The French horn – or horn, as it is now more commonly referred to – is a brass instrument consisting of around twelve feet of tubing wound into a coil expanding into a flared bell.

It is a descendant of the natural horn, on which notes were produced solely by means of variations in lip tension and air pressure. Crooks, or extra lengths of tubing, could be inserted to alter the harmonic series (the notes obtainable naturally from the instrument) and pitch was manipulated by means of ‘hand-stopping’, or inserting the hand into the bell.

Modern horns have three or four valves which render the instrument fully chromatic. As the 19th century progressed the demands placed on symphony orchestras from increasingly harmonically complex music by composers such as Wagner led to the widespread adoption of the valve horn.

The use of four horns is standard in today’s orchestral line-up, with horns 1 and 3 playing the higher parts and horns 2 and 4 the lower parts. This interlocked scoring reflects the historical deployment of two pairs of high and low horns, each pair in a different key.

Double and triple tonguing are possible on the horn, however flutter tonguing can be tricky. Other techniques or special effects include cuivré, which calls for a loud, brassy timbre produced by a more forceful attack, and ‘bells up’, which instructs the player to lift the bell of the horn into the air.

The horn’s hunting origins and heroic qualities have long been exploited by composers, and in addition to famous concertos by Mozart and Richard Strauss, favourite works and orchestral solos include Schumann’s Adagio and Allegro and Concertstück for four horns and orchestra, Strauss’ Till Eulenspiegel’s Merry Pranks, and Weber’s Der Freischütz.

The British horn virtuoso Dennis Brain (1921-1957) was the inspiration behind works by several composers, including Hindemith, Britten and Malcolm Arnold.

© Symphony Services International

MEET THE INSTRUMENT THE FRENCH HORN

1. Mouthpiece2. 3 valve levers3. 3 rotary valves4. Bell

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The French horn – or horn, as it is now more commonly referred to – is a brass instrument consisting of around twelve feet of tubing wound into a coil expanding into a flared bell.

It is a descendant of the natural horn, on which notes were produced solely by means of variations in lip tension and air pressure. Crooks, or extra lengths of tubing, could be inserted to alter the harmonic series (the notes obtainable naturally from the instrument) and pitch was manipulated by means of ‘hand-stopping’, or inserting the hand into the bell.

Modern horns have three or four valves which render the instrument fully chromatic. As the 19th century progressed the demands placed on symphony orchestras from increasingly harmonically complex music by composers such as Wagner led to the widespread adoption of the valve horn.

The use of four horns is standard in today’s orchestral line-up, with horns 1 and 3 playing the higher parts and horns 2 and 4 the lower parts. This interlocked scoring reflects the historical deployment of two pairs of high and low horns, each pair in a different key.

Double and triple tonguing are possible on the horn, however flutter tonguing can be tricky. Other techniques or special effects include cuivré, which calls for a loud, brassy timbre produced by a more forceful attack, and ‘bells up’, which instructs the player to lift the bell of the horn into the air.

The horn’s hunting origins and heroic qualities have long been exploited by composers, and in addition to famous concertos by Mozart and Richard Strauss, favourite works and orchestral solos include Schumann’s Adagio and Allegro and Concertstück for four horns and orchestra, Strauss’ Till Eulenspiegel’s Merry Pranks, and Weber’s Der Freischütz.

The British horn virtuoso Dennis Brain (1921-1957) was the inspiration behind works by several composers, including Hindemith, Britten and Malcolm Arnold.

© Symphony Services International

MEET THE INSTRUMENT THE FRENCH HORN

1. Mouthpiece2. 3 valve levers3. 3 rotary valves4. Bell

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WASO Excellence CircleWASO strives to be excellent across all of its performances and programs, whether on stage at our magnificent Perth Concert Hall, or at a school in Kwinana. To do this, we engage the finest performers, artists and educators and our wonderful WASO musicians are led by Principal Conductor, Asher Fisch.

Behind the scenes they are supported by a hard-working team that constantly seeks to engage audiences and create new opportunities to help touch souls and enrich lives through music. We work to innovate, to inspire, to be audacious. We strive to be excellent in all we do.

We are supported in this goal by our philanthropic partners who form what we are calling the WASO Excellence Circle. These supporters help make programs such as the Brahms Festival possible, as well as extending our community programs across Western Australia.

We sincerely thank our Excellence Circle partners for joining us on this exciting journey.

To learn more about our Excellence Circle, please contact Alecia Benzie, Executive manager, Philanthropy on 9326 0020 or benziea@waso.com.au.

WAsO PhilAnThROPy Philanthropy Partner

Annual Giving It Starts with YouWASO is a charitable organisation that relies on the support of donations and bequests.

The impact of supporting your Orchestra is powerful and far-reaching. Donations, no matter how small or large they might be, are vital for WASO to continue growing, educating and positively changing the lives of so many people in Western Australia.

We invite you to become a WASO Patron this year by making a donation to our Annual Giving campaign. WASO Patrons enjoy opportunities to experience WASO from different perspectives – not just from the auditorium – being invited to exclusive events, getting to know our musicians and receiving regular updates.

If you wish to find out more, become a Patron, increase or renew your gift, please contact Jane on 9326 0014 or clarej@waso.com.au. You can also find out more or donate at waso.com.au. All donations over $2 are fully tax deductible.

When we say we could not do what we do without you, we mean it.

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OuR suPPORTeRs

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 Circlerecognising patrons who have made a provision in their Will to the orchestra

mr John BonnyAnita & James Clayton Judith Gedero Wolfgang Lehmkuhl Tosi Nottage in memory of Edgar NottageNigel & Dr Heather RogersJudy SienkiewiczSheila Wileman Anonymous (16)

Estates WAso is extremely grateful for bequests received from Estatesmrs Roslyn Warrick

Rachel mabel Chapman

Endowment Fund for the Orchestra This fund includes major donations and bequestsTom & Jean ArkleyJanet Holmes à Court ACSagitte Yom-Tov Fund

Excellence Circlesupporting excellence across all we doJean ArkleyBob & Gay BranchiJanet Holmes à Court ACTorsten and mona KetelsenAndrew marsden

The WASO Song BookWe are grateful to those who have supported new works commissioned for the orchestra by WAsoJanet Holmes à Court ACPeter DawsonGeoff StearnAnonymous (2)

If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Jane Clare, Fundraising and Philanthropy manager, on 08 9326 0014 or email clarej@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.

Philanthropic partnerships come in all shapes and sizes

Reach Outsupporting our Education & Community Engagement programs

Prue Ashurst Creative Partnerships AustraliaFeilman Family FoundationThe James Galvin FoundationRobyn GlindemannBarrie & Jude Lepleymathie FamilymcCusker Charitable Foundationminderoo FoundationJohn & Alison RiggSimon Lee FoundationThe Stan Perron Charitable Foundation

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OuR suPPORTeRs

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 Brian & Nancy murphy Patricia New

Impresario PatronGifts $10,000 - $19,999

Gay & Bob Branchi Tony & Gwenyth Lennon Joshua & Pamela Pitt

Maestro Patron Gifts $5,000 - $9,999Jean Arkley in memory of Tom ArkleyBill Bloking Gavin BunningIan & Elizabeth Constablemoira & John DobsonBridget Faye Am Gilbert George & AssociatesDr Patricia KailisDr Ronny Low & Dr Emma RichardsBryant macfie margaret & Rod marston Robert mayJill mulheronSpinifex Trust Peter & Jean Stokes Richard Tarala & Lyn Beazley AOTrish Williams – Strategic InteractionsSue & Ron WoollerAnonymous (5)

Virtuoso Patron Gifts $2,500 - $4,999Prof Fred & mrs margaret AffleckNeil Archibald & Alan R Dodge AmSally BurtonDon Conroymark Coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda SavageTim & Lexie ElliottRobyn Glindemann Jacoba Hohnen & Ted SamsonSylvia & Wally HyamsKeith & Gaye Kessell michael & Dale Kitney mrs morrellJane & Jock morrisonAnne NolanJohn & Paula Phillips ms Elizabeth Sachse & Dr Lance Risbey Dr R & J Schwenger Judy SienkiewiczRos Thomsonm & H TuiteJoyce Westrip OAmAlan WhithamAndrew & marie Yuncken

Principal Patron

Gifts $1000 - $2,499Ron & Sue AdamsJohn Albright & Susan Lorimermargaret Atkins OAm Tony & mary Beeley Suzanne & David Biddles Peter & marjorie BirdKevin Blake matthew J C Blampey Alan & Anne BlanckenseeNamy Bodinnermr John Bonnymrs Debbie Borshoff Jean Brodie-Hall Ammarilyn & Ian BurtonDr G Campbell-EvansProf Jonathan Carapetis & Prof Sue SkullPeter & Sue Clifton Arthur & Nerina CoopesHon June Craig Am Gay & John Cruickshank Norman & Denia Daffen Lesley & Peter DaviesRussell & Susan Dixonmargaret DobsonJulian Dowse Lorraine EllardDon & marie Forrest Dr Andrew GardnerGeorge GavranicRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Sandra GrayDeidre Greenfeld David & Valerie GullandBrian & Romola Haggerty

Annual Giving

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Richard B Hammond Pauline & Peter Handfordmichael Hardingmichael & Liz HollingdaleJohn & Katrina HopkinsJim & Freda Irenic Lilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill Kean Anthony & Noelle Keller Dorothy KingstonDr Rob Kirk & Sarah Gallinagh Nelly KleynStephanie & John Kobelke ulrich & Gloria Kunzmann Louis & miriam LandauIrving Lane Paul LeeRosalind Lilley Graham & muriel mahony Gregg & Sue marshmanmervyn matthewsJennifer & Arthur mcCombBetty & Con michael AOVicki mizenHon Justice S R moncrieff S B monger-HayLynn murrayVal & Barry NeubeckerDr Phillip & mrs Erlene NobleJohn OvertonThe Family of Hilary OwensRon & Philippa Packermichael & Lesley PageAthena PatonAssociate Prof Tim PavyAlan Pedersen in memory of Hilary OwensCharmian Phillips in memory of Colin CraftPamela PlattAndrew & Suzanne PoliThomas & Diana Potter

Dr Leon Prindiville Chester ReeveJoan ReylandJohn & Alison RiggNigel & Dr Heather Rogersmaurice & Gerry RoussetRoger Sandercock margaret & Roger Searesmelanie & Paul ShannonEve Shannon-Cullity Julian & Noreen Sher Laurel & Ross SmithDr Paul Smith & Denham Harry michael Snell & Vicki StewartGail & Tony SutherlandAnna SweetinghamLisa & Andrew Telford Gene Tilbrookmary Townsend James & Rosemary TrotterDr Robert Turnbullmaggie VenerysStan & Valerie VicichWatering ConceptsIan WatsonAnn WhyntieJean & Ian Williams AOJim & Gill WilliamsHilary & Peter Winterton AmYalambi Farm StudAnonymous (25)Tutti PatronGifts $500 - $999Geoff & Joan Airey Catherine Bagstermerle I BardwellBernard & Jackie Barnwell Shirley Barraclough Colin BeckettP m Bennetmichael & Nadia Berkeley-HillJohn & Sue Bird in memory

of Penny BirdDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerDr & mrs P BreidahlElizabeth & James BrownAnn Butcher & Dean R KubankNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeDr Anne ChesterLyn & Harvey Coates AOAgatha & Alex Cohen AOHelen CookBrian Cresswell Gina & Neil Davidson Frances DaviesJop & Hanneke DelfosRai & Erika Dolinschekmrs G EwenFarghaly FamilyAnnette Finn Jim & Pamela FlahertyJoan GagliardiPat GallaherElaine GimsonIsobel Glencross Jacqui GroveDouglas m & Regina HansenProf Alan Harvey & Dr Paulien de BoerRichard Hatch Dr Penny Herbert in memory of Dunstan HerbertHelen Hollingshead Peter Ingram John IsherwoodCynthia JeePeter S JonesB m KentIn memory of Dr Brenton Knott Trevor & Ane marie Lacy meg LewisTeresa & Jemima Loveland

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megan Lowemary Ellen in memory of Kerensa mrs Carolyn milton-Smith in loving memory of Emeritus Prof John milton-Smith Dr Peter mossmarianne Nilssonmarjan Oxley Graham & Hildegarde PennefatherBev Penny Adrian & Ruth PhelpsRichard & Alpha Pilpel OAmSheila PinchAlison & John PriceAnn Rawlinson

Clarissa ReptonJames & Nicola Ridsdill-SmithLeigh RobinsonChris & Serge RtshiladzeJudith E ShawThe Sherwood FamilyHendrik SmitLouise Sparrow & FamilyPeggy & Tom Stacy Ruth E ThornDr Julian TodresS R VogtAdrienne & max Walters Diana WarnockAnne Watson Joy Wearne

Dr Chris & mrs Vimala WhitakerViolette William Janet WilliamsJudith Wilton & David TurnerPatricia WongAnonymous (20)FriendsGifts $40 - $499Thank you to all our Friends who support WASO through their gift.

OuR suPPORTeRs

Rod McGrath & Brilliant BrittenSunday 12 April, 2pm Perth Institute of Contemporary Arts (PICA), Perth Cultural Centre

Principal Cello Rod mcGrath will treat Patrons & Friends to a wonderful rendition of a Benjamin Britten’s first cello suite, complete with an explanation of its complicated musical structure and Britten’s compositional techniques.

This suite is full of Britten’s trademark qualities of fabulous musical ideas, wonderful structure and incredible knowledge of what the cello is capable of. The whole piece could represent two friends journeying through life. Are our two characters friends at the end? You decide!” – Rod mcGrath

PATROns & fRiends evenT

Tickets for this event are $45 for Patrons & Friends ($55 for guests) and include a glass of wine and light refreshments.

To book call the WASO Box Office on 9326 0000.

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WASO.COm.Au | 08 9326 0000*Transaction fees may apply.Asher Fisch appears courtesy of Wesfarmers Arts

Call 9326 0000 quoting 1258 Visit waso.com.au or ticketek.com.au

BOOK NOW

Tickets from $30*

BEETHOVEN Leonore Overture No.3BLOCH Schelomo – Hebraic Rhapsody

STRAUSS, R. Don Quixote

Asher Fisch conductorMischa Maisky cello

Fri 27 & Sat 28 Mar 7.30pmPerth Concert Hall

IN CONCERT

Don’t miss this legendary cellist in his first ever Perth performances with WASO!

ALCOHOL.THINK AGAIN MASTERS SERIES

M2_Mischa_Miasky_Program_Ad.indd 1 13/03/2015 4:21 pm

WesT AusTRAliAn syMPhOny ORchesTRA

VIOLINGraeme Norris Associate Concertmaster Semra Lee-Smith Assistant Concertmaster Zak RowntreePrincipal 2nd ViolinKylie Liang Assistant Principal 2nd ViolinSarah BlackmanFleur Challen Shaun Lee-Chen*Stephanie DeanRebecca GlorieBeth HebertAkiko miyazawa Anna O’Haganmelanie PearnKen PeelerGraham Pyatt Louise SandercockJolanta SchenkJane SerrangeliEllie ShalleyJacek SlawomirskiBao Di Tang Cerys ToobyDavid Yeh

VIOLACaleb WrightPrincipalAlex BroganAssociate PrincipalKierstan ArkleysmithNik BabicKatherine DrakeAlison HallRachael KirkAllan mcLeanHelen Tuckey

CELLORod mcGrath PrincipalLouise mcKayAssoc Principal Chair partnered by penrhos College

Shigeru KomatsuOliver mcAslan Nicholas metcalfeEve Silver* Fotis SkordasTim SouthXiao Le Wu

DOUBLE BASSAndrew Rootes* PrincipalJoan Wright Assoc PrincipalChristine ReitzensteinLouise RossAndrew Taitmark Tooby

FLUTEAndrew Nicholson PrincipalChair partnered by Apache

mary-Anne Blades Assoc Principal

PICCOLOmichael Waye Principal

OBOEPeter FacerPrincipalElizabeth CheeAssoc Principal

COR ANGLAISLeanne GloverPrincipal

CLARINETAllan meyer PrincipalLorna Cook

BASS CLARINETAlexander millier PrincipalChair partnered by Altegra property group

BASSOONJane Kircher-Lindner PrincipalChair partnered by ron & sue Wooller

Adam mikulicz Assoc Principal

CONTRABASSOONChloe Turner Principal

HORNDavid Evans PrincipalSharn mcIverAssoc Principal Robert Gladstones Principal 3rdJulia Brooke Francesco Lo Surdo

TRUMPETBrent GrapesPrincipalEvan Cromie Assoc PrincipalPeter miller

TROMBONEJoshua Davis PrincipalLiam O’malleyAssoc Principal

BASS TROMBONEPhilip Holdsworth Principal

TUBACameron Brook Principal

TIMPANIAlex Timcke Principal

PERCUSSIONTroy Greatz Assoc Principal

HARPSarah Bowman Principal

ASSISTANT CONDUCTOR Christopher Dragon

CONDUCTOR LAUREATE Vladimir Verbitsky

CHORUS DIRECTOR Christopher van Tuinen

PRINCIPAL CONDUCTORAsher FischPartnered by Wesfarmers Arts CHORUS VOCAL COACH Andrew Foote

*Instruments used by these musicians are on loan from Janet Holmes à Court AC.

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BOARD OF DIRECTORSJanet Holmes à Court AC Chairmanmark CoughlanKeith KessellBarrie Lepley Deputy ChairmanAnne NolanPaul ShannonJulian Shermichael utsler

ExECUTIVECraig Whitehead Chief Executive Claire Burlinson Executive AssistantEllen Wisdom Executive Manager, Human ResourcesRachael Taylor Human Resources AssistantSvetlana Williams Payroll Officer

ARTISTIC PLANNINGEvan Kennea Executive Manager, Artistic PlanningClaire Stokes Program ManagerAlan Tyrrell Program Managermaya Kraj-Krajewski Artist Liaison/Chorus Administrator

COMMUNITY ENGAGEMENTCassandra Lake Executive Manager, Community EngagementFiona Taylor Education Coordinator

Gemma mcDonald Community Development Coordinator

ORCHESTRAL MANAGEMENTKeith mcGowan Executive Manager, Orchestral ManagementRichie Burton Orchestral Operations ManagerDavid Cotgreave Production & Technical ManagerAlistair Cox Orchestral ManagerBreanna Evangelista Orchestra Management AssistantWee ming Khoo Music Librarian

Noel Rhind Orchestral Operations Coordinator

BUSINESS SERVICESPeter Freemantle Chief Financial OfficerAndrew Chew Systems AdministratorAngela miller AccountantSushila Bhudia Accounts Officer

CORPORATE DEVELOPMENTmarina Woodhouse Executive Manager, Corporate DevelopmentLuci Steinhardt Corporate Partnerships ExecutiveCliona Hayes Corporate Partnerships CoordinatorGinny Luff Corporate Partnerships & Events Coordinator

PHILANTHROPY Alecia Benzie Executive Manager, PhilanthropyJosie Aitchison Customer Service & Philanthropy Coordinator

Jane Clare Fundraising & Philanthropy Manager

MARKETINGKelli Carnachan Executive Manager, MarketingKirsty Chisholm Marketing CoordinatorNancy Hackett Marketing ManagerGina Beers Graphic Designermarc missiaen Relationship Marketing ManagerPaula Schibeci Public Relations ManagerZoe Lawrence Marketing OfficerCourtney Walsh Marketing AssistantSava Papos Customer Service ManagerJosie Aitchison Customer Service & Philanthropy Coordinator Beverley Trolio Customer Service Coordinator

Alana Arnoldmargaret Daws Vicki Prince Robyn Westbrook Customer Service Officers

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.

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

PERTH CONCERT HALLBrendon Ellmer General ManagerLorraine Rice Deputy General ManagerPeter Robins Technical ManagerPaul Richardson Assistant Technical Manager

Penelope Briffa Events ManagerLauranne Swinnen Accounts AssistantBruce Gaw Maintenance OfficerNancy Hackett Marketing Manager

perthconcerthall.com.au 08 9231 9900

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WASO.COm.Au | 08 9326 0000WASO.COM.AU | 08 9326 0000WASO.COM.AU | 08 9326 0000

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

2015 CORPORATE PARTNERSWe encourage you to support these partners for generously supporting your Orchestra

PARTNERS OF EXCELLENCE

CONCERTO PARTNERS

OVERTURE PARTNERS

SONATA 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.

KEYNOTE PARTNERS

PLATINUM PARTNERS

School of Music | Tertiary Education Partner

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R A V I S H I N G

*Transaction fees may apply

Call 9326 0000 quoting 1258 Visit waso.com.au or ticketek.com.au

BOOK NOW

Tickets from $30*

MACA LIMITED CLASSICS SERIES

Be swept away by Rachmaninov’s passionate and romantic Second Symphony.

Fri 17 & Sat 18 Apr 7.30pmPerth Concert Hall

Be swept away by Rachmaninov’s passionate and romantic Second Symphony.

CARTER Holiday OvertureBORODIN Prince Igor,

Act Ⅱ: Polovtsian DancesRACHMANINOV Symphony No.2

Diego Matheuz conductor

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