ALCOHOL. THINK AGAIN MASTERS SERIESFriday 26 & Saturday 27 September 7.30pmPerth Concert Hall

STEPHEN HOUGH PLAYS BEETHOVEN

2

Save the drama for the stage.Avoid excess

alcohol.

To stay at low risk, have no more than two standard drinks on any day. To find out more, visit alcoholthinkagain.com.au

waso.com.au | 08 9326 0000

3

Call 9326 0000 visit waso.com.au or ticketek.com.auBook Now

*Transaction fees may apply.

Tickets $45* or both concert for only $85.50*

Tickets from $27*

Tickets from $30*

MORNING SYMPHONY SERIES

Mozart’s Clarinet ConcertoThursday 9 october 11amPerth Concert Hall

MoZART Clarinet Concerto RACHMANINoV Symphonic Dances

Michael Stern conductor Michael Collins clarinet (pictured)

CLASSICS SERIES

Mozart’s Clarinet ConcertoFri 10 & Sat 11 october 7.30pmPerth Concert Hall

CARL VINE Concerto for Orchestra WORLD PREMIERE MoZART Clarinet Concerto RACHMANINoV Symphonic Dances

Michael Stern conductor Michael Collins clarinet (pictured)

SINGAPORE AIRLINES PRESENTS

LATITUDE NEw MUSIC FESTIVALCoLD HEAT

wednesday 1 october 8pmAstor Theatre

Baldur Brönnimann conductor (pictured) Ashley Smith clarinet

FEARFUL SYMMETRIES

Saturday 4 october 8pmAstor Theatre

Baldur Brönnimann conductor (pictured) Matt Styles saxophone

Visit waso.com.au for the full program.

waso.com.au | 08 9326 0000

4

welcome

This program is in many ways a journey from Beethoven’s wartime Fifth Piano Concerto to the apocalypses of the waltz and its era in Ravel’s La Valse. This journey is illustrated by the travel imagery and reminiscences in Debussy’s three orchestral “Images”.

The “Emperor” nickname for Beethoven’s Fifth Piano Concerto is unfortunate: he must have been fed up with emperors, having lived through a long period of bloody wars in Europe and writing his concerto while Napoleon’s army fired artillery shells at Vienna, his home city.  It is also not extrovertly heroic, despite its key of E flat. The only heroic aspect is the concerto’s grand and symphonic design, even going several steps beyond his Fourth Piano Concerto. This was part of Beethoven’s compositional thinking at the time and pieces like his Fifth and Sixth Symphony, written around the same period, testify for the exploration and magnitude of his works leading up to the Fifth Piano Concerto. 

For the ears at the time, Beethoven’s music was very new, but the Fifth Piano Concerto is a work that served as a model for many later concertos, especially in its idealistic struggle to go beyond the formal boundaries. It stands for the ideas and optimism of a period that came to a deadly end just before Maurice Ravel wrote his La Valse.

La Valse is much more than the story of the birth and the decay of the waltz. It’s about a time when Vienna was the capital of the world and about its glory and its downfall. At the beginning of the piece, the waltz rhythm is turned into a deadly machine building up to a climax that leads to the waltz’s obliteration and destruction:  It’s the end of an era that started in Beethoven’s Vienna and ended on the battlefields of World War 1.

Baldur Brönnimann Conductor

Phot

o: J

ulie

ta S

child

knec

ht

waso.com.au | 08 9326 0000

5

Program

ALCOHOL.THINK AGAIN MASTERS SERIES

Stephen Hough Plays Beethoven

BEETHoVEN Piano Concerto No.5 Emperor (38 mins)

Allegro Adagio un poco mosso – Rondo (Allegro)

INTERVAL (20 mins)

DEBUSSY Images (35 mins)

Gigues Ibéria Rondes de printemps

RAVEL La Valse (13 mins)

Baldur Brönnimann conductor Stephen Hough piano

Pre-concert TalkFind out more about the music in the concert with this week’s speaker Tim White. Pre-concert talks take place at 6.45pm in the Terrace Level foyer on Friday and Saturday nights.

Pre-concert talks are supported by Wesfarmers Arts

Meet the ArtistMeet Stephen Hough post-concert Saturday night in the Terrace Level foyer.

Meet the Artist is supported by Wesfarmers Arts

waso.com.au | 08 9326 0000

6

FooD & BEVERAgESFoyer 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 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.

wASo RECoRDINgSContinue to experience WASO in your own home! A variety of WASO CDs are available for purchase at the Encore gift shop in the foyer at interval and post-concert.

Making The Most of Your Visit

E-NEwSStay up to date with the activities of your Orchestra by subscribing to SymphonE-news. Go to waso.com.au to join our mailing list.

SoCIAL MEDIA

FEEDBACkWe would love to hear from you! Please send your feedback to PO Box 3041, East Perth WA 6892, send an email to waso@waso.com.au,call 9326 0000, or leave us a message on Facebook or Twitter.

Connect with wASo

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

This performance is being recorded for delayed broadcast on ABC Classic FM. For further details please refer to abc.net.au/classic

CoNCERT PLAYLISTSListen to music featured in 2014 concerts at waso.com.au

wASo wEBCASTSWASO will be streaming four concerts live and on demand in 2014, thanks to iiNet. For more details visit waso.com.au

Concert Etiquette Tips

wHEN To APPLAUD?At most classical concerts audience members refrain from clapping between movements of a piece, but we encourage you to show your appreciation as you wish and if you are unsure, simply follow your fellow audience members.

wHAT IF I NEED To CoUgH?If 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 Customer Service Desk before each performance and at the interval.

waso.com.au | 08 9326 0000

7

wASo News

wASo on the Road Tour

Photo: Waso on The Road musicians perform for students via video conferencing technology at the Pilbara Education Regional Office.

PILBARAOn Monday 8 September, WASO embarked on the year’s first 5-day WASO on the Road Tour to the Pilbara (WOTR). A brass quintet made up of two trumpets, a trombone, tuba, and a horn presented six free in school performances and three community concerts in Karratha, Roebourne, Onslow and Dampier plus a workshop with the band at Karratha Senior High School.

In an exciting development this tour WASO was also able to link up to the Port Hedland School of the Air through the Pilbara Educational Regional Office, to broadcast a series of live video performances to children living and doing their schooling in remote parts of Western Australia including South Hedland and Cassia Primary Schools, Yandeyarra Remote Community School and 22 sites across the East and West Pilbara. After the performance children were able to ask questions of the musicians and interact with them in real time allowing WASO to reach even more of the community thanks to the wonders of technology.

Michael Jennings, Principal at the Port Hedland School of the Air later thanked WASO saying “the well-considered incorporation of classical and contemporary pieces made the performance relevant, educative and extremely enjoyable to all attendees.”

ALBANYAfter the success of our recent visit to Albany with the full orchestra as part of the Beethoven Festival, WASO returned to the community in mid-September to present its second WASO on the Road Tour visiting the coastal town along with Denmark and Jerramungup.

On this tour a string quartet took centre stage to run workshops with the Albany Youth Orchestra and music students at Albany Primary School, and to present two free community concerts and five in school performances that reached students from six schools.

Peter Moore also conducted the Albany string community in a full rehearsal as they prepare for their part in the upcoming ANZAC Centenary Concert. A highlight of the tour was an interactive performance visit to with the students of Spencer Park Special Education Support Centre.

“It was an absolutely fabulous night and a magnificent performance by a dedicated and professional group who obviously enjoyed bringing enjoyment to others. I don’t often take part in standing ovations but could not help myself this time. Please keep coming back”. Graham Foster, Chief ExecutiveCity of Albany

WASO on the Road Pilbara is supported by Chevron.WASO on the Road Albany is supported by Water Corporation.

waso.com.au | 08 9326 0000

8

Biographies

Baldur BrönnimannConductor

Baldur Brönnimann is the new Principal Conductor of the Orquestra Sinfónica do Porto Casa da Música from January 2015, following a long-standing relationship with the orchestra during which he has collaborated with artists and composers such as Luca Francesconi, Jonathan Harvey, Håkan Hardenberger, John Adams, Kaija Saariaho and Thomas Adès.

In the 2014-15 season he appears as guest conductor to the BBC Symphony Orchestra, Klangforum Wien, Helsinki Philharmonic Orchestra, Copenhagen Philharmonic, Philharmonia Orchestra and Strasbourg Philharmonic Orchestra, among others. He debuts this season with the Gothenburg Symphony Orchestra, Orchestre National Bordeaux Aquitaine and Brussels Philharmonic.

Born in Switzerland, Baldur Brönnimann trained at the City of Basel Music Academy and at the Royal Northern College of Music in Manchester. He is Artistic Director of Norway’s contemporary music ensemble BIT20 and was previously Music Director of the National Symphony Orchestra of Colombia.

Stephen HoughPiano

Stephen Hough combines a distinguished career as a concert pianist with those of a composer and a writer. He was the first classical performer to be awarded a MacArthur Fellowship, and was appointed CBE in the 2014 New Year Honours. In the 2013/14 season he undertook a residency with the BBC Philharmonic, and he was the BBC Symphony Orchestra’s Artist in Focus throughout the 2012/13 season.

Stephen Hough’s career was launched when he won first prize at the 1983 Naumburg International Piano Competition in New York, and he has since performed with many of the world’s major orchestras. He is a regular guest at festivals such as Salzburg, Mostly Mozart, Tanglewood, Edinburgh and the BBC Proms, where he has made over twenty concerto appearances. A celebrated writer, he has been published by The Guardian, The Times and The Telegraph, where he is the author of a popular cultural blog.

Phot

o: J

ulie

ta S

child

knec

ht

waso.com.au | 08 9326 0000*Transaction fees may apply.

Call 9326 0000 quoting 1086 Visit waso.com.au or ticketek.com.au

BOOK NOW

Tickets from $30*

MOZART Clarinet ConcertoRACHMANINOV Symphonic Dances

Michael Stern conductorMichael Collins clarinet

Thur 9 Oct, 11amFri 10 & Sat 11 Oct, 7.30pmPerth Concert Hall

CLARINET CONCERTO

“ The audience was held spellbound by Collins’ superb solo work…”

Classical Voice of North Carolina

*Transaction fees may apply.

Call 9326 0000 quoting 1086 Visit waso.com.au or ticketek.com.au

BOOK NOW

Tickets from $30*

MOZART Clarinet ConcertoRACHMANINOV Symphonic Dances

Michael Stern conductorMichael Collins clarinet

Thur 9 Oct, 11amFri 10 & Sat 11 Oct, 7.30pmPerth Concert Hall

CLARINET CONCERTO

“ The audience was held spellbound by Collins’ superb solo work…”

Classical Voice of North Carolina

10

wASo on Stage Tonight

PrincipalAssociate PrincipalGuest Musician^

VIoLINgraeme NorrisGuest ConcertmasterSemra Lee-Smith A/Associate Concertmastergraham Pyatt A/Assistant ConcertmasterShaun Lee-ChenA/Principal 1st ViolinZak RowntreePrincipal 2nd ViolinKylie Liang A/Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenSarah Duhig^Beth HerbertAlexandra IstedSunmi JungAndrea Mendham^Akiko MiyazawaLucas O’BrienKathleen O’Hagan^Melanie PearnKen PeelerKathryn Shinnick^Jolanta SchenkJane SerrangeliEllie ShalleyJacek SlawomirskiBao Di TangCerys ToobyTeresa VinciDavid Yeh

VIoLASally BoudGuest PrincipalAlex BroganA/Assoc PrincipalKierstan ArkleysmithNik BabicGeorge Batey^Katherine DrakeAlison HallRachael KirkAllan McLeanHelen TuckeyAaron Wyatt^

CELLoRod Mcgrath Louise McKayShigeru KomatsuOliver McAslan Nicholas MetcalfeEve SilverFotis SkordasTim SouthXiao Le Wu

DoUBLE BASSAndrew RootesElizabeth Browning^Sarah Clare^Christine ReitzensteinAndrew TaitMark ToobyPhil Waldron^

FLUTEAndrew Nicholson Chair partnered by Apache.

Mary-Anne Blades Diane Riddell^

PICCoLoMichael waye

oBoEPeter FacerElizabeth CheeStephanie Nicholls^

CoR ANgLAISLeanne glover

CLARINETAllan Meyer Lorna CookCatherine Cahill^

BASS CLARINETAlexander Millier Chair partnered by Altegra Property Group.

BASSooNAdam MikuliczA/PrincipalLinda Charteris^Colin Forbes-Abrams

CoNTRABASSooNChloe Turner

HoRNDavid EvansSharn McIverJulia BrookeFrancesco Lo SurdoBrendan Parravacini

TRUMPETBrent grapesEvan Cromie Breanna Evangelista^Tim Keenihan^

TRoMBoNEJoshua Davis Liam O’Malley

BASS TRoMBoNEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIoNTroy Greatz Joel Bass^Amanda Dean^Robyn Gray^Paul Tanner^

HARPCatherine Ashley^Bronwyn Wallis^

CELESTEGraeme Gilling^

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

waso.com.au | 08 9326 0000waso.com.au | 08 9326 0000

11

Meet the Musician

Mark ToobyDouble Bass

 what initially inspired you to play the Double Bass?My brother Jon and his friend Tom Woods (now a successful conductor) started playing the cello at the age of six. A year later Tom’s sister and I thought it would be cool to take up the largest stringed instrument. Amazingly we all became professional musicians.

How long have you been performing with wASo and what have been your highlights?I have been in WASO for 24 years now and there have been many highlights, including performing Shostakovich’s Symphony No.11 with Maestro Alexander Lazarev and Mahler’s Third Symphony with Vladimir Verbitsky back in 1991.

Another highlight for me has been writing educational programs with Lee Stanley. Together we have created EChO the Gecko’s Sea Adventure and have just completed EChO the Gecko’s Outback Adventure. I get tremendous satisfaction out of introducing music to children of all ages.

what (or who) has been your greatest inspiration? Knut Guettler (Professor at Oslo University in Norway) and Kevin Rundell (Principal Bass London Philharmonic Orchestra). Both are amazing players who have taught me so much.

what is the most challenging thing about playing the double bass?Getting it in a car! Although I love the sound of the double bass it really is a ridiculous instrument to play, also an expensive one. I still love it though.

Do you have any advice for students interested in pursuing a career as a double bass player? Take up the flute!

Did you always imagine you would have a musical career, or did you ever have something else in mind?It was furthest from my mind when I was younger and it wasn’t until university when I thought how fantastic it would be to play music for a living. I love water and particularly the sea so marine biology was always something I would love to do.  

waso.com.au | 08 9326 0000

WESF1132_WASO_AD_148x 210mm_MONO_INK350%_FA_REV12APRIL.indd 1 12/04/12 2:11 PM

13

Timeline of Composers & works

1800 1900 2000

Beethoven's Piano Concerto No.51811

Debussy's Images

1905 Ð 1913

LUDWIG VAN BEETHOVEN

1770 Ð 1827Born in Bonn, GermanyDied in Vienna, Austria

MAURICE RAVEL

1875 Ð 1937Born in Ciboure, FranceDied in Paris, France

CLAUDE DEBUSSY

1862 Ð 1918Born in Saint-Germain-en-laye, FranceDied in Paris, France

Ravel's La Valse1920

WESF1132_WASO_AD_148x 210mm_MONO_INK350%_FA_REV12APRIL.indd 1 12/04/12 2:11 PM

waso.com.au | 08 9326 0000

14

Program Notes

Ludwig van Beethoven(1770-1827)

Piano Concerto No.5 in E flat, Op.73 EmperorAllegro Adagio un poco mosso – Rondo (Allegro)

In May 1809 Napoleon’s armies occupied Vienna for the second time and with considerable violence. Beethoven took shelter with his brother Carl and his wife Johanna and to protect his failing hearing spent the bombardment of 11 and 12 May with pillows over his ears in the cellar.

Despite his misery, Beethoven managed to work. He composed the Op.70 piano trios and three piano sonatas including Op.81a, Das Lebewohl (Les Adieux) which reflects Beethoven’s sorrow at seeing his patron Archduke Rudolf leaving Vienna, as did so many of the aristocracy during the invasion. He also composed the String Quartet Op.74, popularly known as the Harp Quartet, and completed the Fifth Piano Concerto (also dedicated to Rudolf). Curiously, most of these are in the key of E flat – the key of The Magic Flute and other music where Mozart sought to create a sense of solemnity, and one that Beethoven used at his most Promethean in works like the Eroica Symphony. These works don’t bear any obvious resemblance to one another: the transcendent serenity of the Harp Quartet seems miles away from the high style of the outer movements of the concerto. But all of these works break new ground in some way.

waso.com.au | 08 9326 0000

By this time Beethoven’s deafness made it impossible for him to perform with an orchestra, so the concerto’s first performance in Leipzig in 1811 was given by a young organist, Friedrich Schneider. At the Viennese premiere in 1812, Carl Czerny was soloist. Given the political circumstances, it is hardly surprising that the concerto is, in Alfred Einstein’s word, the ‘apotheosis of the military concept’ in Beethoven’s music. Biographer Maynard Solomon quotes Einstein as saying that the audience ‘expected a first movement in four-four time of a military character; and they reacted with unmixed pleasure when Beethoven not only fulfilled but far surpassed their expectations’.

In the Fifth Concerto, Beethoven solved the problem of how to exploit the soloist’s virtuosity without downgrading the role of the orchestra, while constructing the kind of musical argument and drama which was so crucial to the Classical style.

waso.com.au | 08 9326 0000

15

Chord Three or more notes played together.

Trills A very rapid alternation of two notes.

glossary

LISZT Piano Concerto No.1 featured in Piers Lane Plays Liszt Fri 17 & Sat 18 October

IF YoU LIkE THIS woRk YoU MAY ALSo ENJoY

This is achieved partly through masterstrokes like the very opening gesture: a single chord is sounded by the orchestra, to which the piano responds in such flamboyant style, creating a sense of uncertainty about how and when the orchestra will rejoin the music, and what form the actual thematic material will take.

A standard practice in much Classical music was to get louder and more agitated in the lead-up to a point of structural significance, but Beethoven made those moments even more dramatic. The overwhelming impression left by the first movement of the Fifth Concerto is of ceremonial grandeur and pomp – hence the nickname (not authorised by Beethoven) of ‘Emperor’. But the movement’s massive scale is made possible by the frequent contrast of the ‘military’, with its characteristic march rhythms, and the reflective. Beethoven prepares the movement’s climactic moments with what scholar William Kinderman calls ‘the withdrawal of the music into a mysterious stillness’. To prepare the moment of recapitulation, where the opening material returns, Beethoven allows the music to become rarified and serene: a passage of ever-quieter scales and trills gives way to a pastoral dialogue between the winds and the bell-tones of the piano.

The short Adagio movement, rightly described as dreamlike by one writer, is in B major, which in terms of Classical tonal logic is a fair way away from the ‘home’ key of E flat. And its mood couldn’t be further from the military episodes, despite its material being dominated by the scales and trills that featured in the first movement.

A justly celebrated instance of ‘the withdrawal of the music into a mysterious stillness’ occurs at the transition from the slow movement into the finale. The transition is almost imperceptible – Beethoven changes a note here or there to subtly change the direction of the music as it seems to fade, and the piano begins ruminating on a common chord which will ultimately flower as the final movement’s bounding theme, which again is contrasted with moments of deep calm. Whatever the misery in which Beethoven wrote this work, or its immediate political context, it turns out to be another ode to joy.

Gordon Kerry © 2003

WASO last performed this work on the 26 & 27 March 2010, performed by François-Frédéric Guy and conducted by Paul Daniel.

waso.com.au | 08 9326 0000

16

Many people first came to know Ricoh through our printers and copiers – products that spearheaded office automation and provided significant gains in productivity. Today, we’re still improving work-life through our range of managed business services across IT, Workflow and Print. To find out more call 9347 0444 today and speak to your local team or visit ricoh.com.au

Change the way you work.

Providing clever business solutions has always been central to what we do.

Ricoh Australia is a proud supporter of the West Australian Symphony Orchestra.

waso.com.au | 08 9326 0000

The Perth Mint offers visitors a score of unique golden attractions and is proud to support the West Australian Symphony Orchestra.

310 Hay Street, East Perth WA. Open 7 daysTelephone 1300 366 520www.perthmint.com.au/visit

POURING PURE GOLD FOR AN ENCORE

17

Program Notes

Claude Debussy (1862-1918)

Images for orchestraGigues Ibéria Rondes de printemps

Three of Debussy’s four orchestral works are triptychs. The amount of connection between the movements within each work varies: La Mer has been described as almost symphonic; Nocturnes abruptly contrasts meditations on the basic idea of the title.

Images is less unified. The three parts were written over a period of eight years and first performed as separate pieces. Indeed, they are published as separate scores, ‘Images pour orchestre’ appearing as a subtitle. The extra-musical intention of Images, to evoke three different European countries (England, Spain and France), suggests diversity and even eclecticism.

However, Images is more than a set of musical postcards. The orchestration outdoes any of Debussy’s earlier scoring in sophistication and brilliance, but mostly the resources are deployed with subtlety and understatement. Even the rousing climaxes fail to raise the roof; Debussy prefers to remain objective. Almost incredibly, the music was originally conceived for two pianos.

Gigues, published first, was actually the last Image to be composed, reaching completion in 1913. It is Debussy’s portrait of England, a country he visited several times, and lays claim to being one of his strangest, yet most utterly characteristic, achievements. Its paradox is indicated by its original title – ‘Gigues tristes’ (sad jigs).

The basic material is the well-known English tune ‘The Keel Row’, but presented in distorted and truncated form. The other main element is a melancholy, folk-like tune for the sweet but rare oboe d’amore. At first the music moves in fits and starts, until the introduction of the second half of the ‘Keel Row’ seems to signal an escape from gloom. But this is abruptly halted by an icy blast which descends from the piccolos through the entire woodwind section, leaving the stage to the oboe d’amore and reminiscences of the opening.

Ibéria comes from a long tradition of French composers’ evocations of Spain. Debussy only ever visited Spain for one afternoon. However, even Manuel de Falla, Spain’s most eminent composer of the time, regarded Ibéria as the best example of a French work on a Hispanic subject. It is the longest of the Images, and is itself subdivided into three movements. ‘Par les rues et par les chemins’ (Along the streets and pathways) is in a spirited dance tempo.

Many people first came to know Ricoh through our printers and copiers – products that spearheaded office automation and provided significant gains in productivity. Today, we’re still improving work-life through our range of managed business services across IT, Workflow and Print. To find out more call 9347 0444 today and speak to your local team or visit ricoh.com.au

Change the way you work.

Providing clever business solutions has always been central to what we do.

Ricoh Australia is a proud supporter of the West Australian Symphony Orchestra.

waso.com.au | 08 9326 0000

18

‘Les parfums de la nuit’ (The perfumes of the night), longer than either Gigues or Rondes de printemps, is a sensual Spanish nocturne, enriched by harps and much-divided strings. The finale, ‘Le matin d’un jour de fête’ (Morning of a festival day), follows without a break; Debussy was particularly proud of the transition from night to morning, effected with the sound of distant bells. This is Debussy at his most ‘realistic’, giving us a festive jumble of sounds and images.

Rondes de printemps (Spring Rounds) is based on the idea of a festival parade, but in a restrained and coherent way. The score is headed by Tuscan lyrics, but the piece’s locale is indicated by a French folksong, ‘Nous n’irons plus au bois’ (We’ll go to the woods no more). After a subdued opening, the tempo quickens and a solo oboe presents phrases of the folksong (in the unusual time signature of 15/8). This builds to a climactic phrase for the strings, which is to recur throughout (the rondo of the title?). There are contrasting episodes, many suggesting ‘Nous n’irons’, but the music keeps returning to the dance-like tempo and A major tonality of the string phrase.

Images is a problematic work for concert programmers. All three together is potential overkill, a surfeit of consummate orchestral pictorialism. However, there are justifications for considering the set as a single work: parallel moments of sonority; the frequent use of solo double-reed timbres. The three Images together also form a satisfying whole, with the flamboyant trilogy of Ibéria complemented by the other, subtler panels; the patriotic Debussy expressing, perhaps, the well-adjusted French national character, in comparison with English morbidity and Spanish vulgarity!

Elliott Gyger © 1996/2006

WASO last performed this work on 21 & 22 April 2006, conducted by Paul Daniel.

Tonality The key of a piece, where the music is considered to be governed or organized with respect to a single key.

glossary

RACHMANINOV Symphonic Dances featured in Mozart’s Clarinet Concerto Thurs 09, Fri 10 & Sat 11 October

IF YoU LIkE THIS woRk YoU MAY ALSo ENJoY

waso.com.au | 08 9326 0000

19

Crescendo Getting louder (literally, ‘growing’)

glossary

Program Notes

Maurice Ravel(1875-1937)

La Valse – poème chorégraphique

La Valse is a tribute to ‘An Imperial Court, around 1855’, a court in which the Strausses are kings. Ravel imagined the music as ‘a sort of apotheosis of the Viennese waltz’, associated in his mind with ‘the impression of a fantastic, fatal whirling’. The effect is achieved through a simple device: the crescendo. In this respect it is similar to Bolero, but instead of one long overwhelming crescendo, La Valse offers two.

The music begins with a grumble – Ravel’s scenario describes eddying clouds that part from time to time, offering fleeting glimpses of waltzing couples. The mists disperse to reveal a brilliantly lit ballroom and a whirling crowd as the music embarks on a chain of waltzes.

The fantastic melodic invention is matched by scintillating orchestral effects. But the potential of Ravel’s huge orchestra is kept in reserve – we are overwhelmed by its exquisite colours before we are overwhelmed by its power. By the time Ravel brings on his second crescendo, we are completely intoxicated.

Not all were intoxicated, however. Sergei Diaghilev of the Ballets Russes, offered this music for a ballet, rejected it as too symphonic and lacking in choreographic variety. He said it wasn’t a ballet but ‘the portrait of a ballet’. In doing so he lost the friendship of the composer who had created Daphnis et Chloé for his company. La Valse reached the ballet stage in the end, but the music was first performed in the concert hall and it is there that its exhilarating momentum and surging climaxes continue to sweep us away.

Abridged from a note by Yvonne Frindle © 2005

WASO last performed this work on 4 & 5 December 2009, conducted by Paul Daniel.

LISZT Hungarian Rhapsody No.2 featured in Piers Lane Plays Liszt Fri 17 & Sat 18 October

IF YoU LIkE THIS woRk YoU MAY ALSo ENJoY

waso.com.au | 08 9326 0000

CONO8854 WASO ADVERT 2011 vs1.indd 1 12/05/11 12:45 PM

21

Meet the InstruMent the oBoe

The oboe is a double reed member of the woodwind family. Developed in the mid-17th century from early instrument the shawm, the Baroque oboe was embraced by composers such as Vivaldi, Telemann and Handel, inspiring them to create concertos for the new and improved instrument.

The oboe as we know it today developed in 19th-century Europe, and the cities of Paris and Vienna in particular gained a reputation for their oboe-making tradition.

The body of the present-day oboe is predominantly made out of African Blackwood and the keys usually of silver alloy. The oboe has a double reed constructed of two pieces of cane tied together. Sound is created as the air vibrates between the two reeds into the instrument’s body. The size and shape of the reed in relation to the player’s technique and style of playing have a dramatic effect on the quality of the eventual sound, so as a result oboists customise or make their own reeds.

The coned bore of the oboe, in comparison to the cylindrical bore of other woodwind instruments such as the flute, aids its audible dominance over other instruments. This is why it is used to tune the orchestra, as its penetrating timbre enables it to be heard clearly by other members of the orchestra.

Favourite orchestral oboe works include Prokofiev’s Peter and the Wolf, Tchaikovsky’s Swan Lake, and Mussorgsky’s Pictures at an Exhibition: Ballet of the Unhatched Chicks.

© Symphony Services International

The range of the oboe:

1. Reed2. Staple3. Key4. Bell

Meet the Instruments.indd 10 2/04/14 12:08 PMCONO8854 WASO ADVERT 2011 vs1.indd 1 12/05/11 12:45 PM

waso.com.au | 08 9326 0000

22

waso.com.au | 08 9326 0000

chevronaustralia.com

In the hands of a child,

a musical instrument can

inspire delight, imagination

and a world of possibility.

That is why Chevron Australia

is proud to support WASO On

the Road, bringing music to

children across Perth and

the Pilbara.

Inspiring minds with music

CHEVRON, the CHEVRON Hallmark and HUMAN ENERGY are registered trademarks of Chevron

Intellectual Property LLC. ©2014 Chevron Australia Pty Ltd. All rights reserved. ABU111200291.

23

Leaving a Legacy Help the Music Play onWASO is a charitable organisation that relies on support through donations and bequests.

A bequest is a special gift which we preserve as your legacy. It is a wonderful opportunity to ensure that WASO remains a part of the lives of future generations of Western Australians, underpinning our vision to touch souls and enrich lives through music.

Monies received from bequests to WASO are invested and preserved in the Endowment Fund for the Orchestra and the income earned, less inflation, is used to support WASO’s activities and programs. This means that your money lives on forever, providing funds for the development of young artists, the commissioning of new works, education programs and regional touring.

For further information about leaving a bequest to WASO, please contact Alecia Benzie, Executive Manager Philanthropy, on 9326 0020 or benziea@waso.com.au. All enquiries will be treated in confidence.

wASo Philanthropy Philanthropy Partner

Patrons & Friends Christmas PartyThursday 11 December, 4.30pm, Perth Concert Hall

Our annual Patrons & Friends Christmas Party is always great fun and a lovely opportunity to celebrate a year of wonderful music together. Watch an hour of WASO's final rehearsal for 2014’s Symphony in the City and then join WASO musicians for a stand up light dinner and drinks.

Tickets are $45 for Patrons & Friends ($55 for guests).

All proceeds raised support the Friends of WASO Scholarship.

To book please call the WASO Box Office on 9326 0000.

waso.com.au | 08 9326 0000

24

waso.com.au | 08 9326 0000

our Supporters

Your attendance helps sustain the Orchestra and we thank you for your commitment. We are also very grateful to our corporate supporters who make a significant contribution to WASO, and of course for government funding which is critical.

However, these three sources of income are simply not enough to cover the ongoing costs of the Orchestra and increasingly it is our Patrons that enable us to continue to achieve our vision to touch souls and enrich lives through music.

There are many ways you can be involved and your support is deeply appreciated.

Endowment Fund for the orchestra The Endowment fund includes major donations from individuals and bequests. The income earned is used for the benefit of the orchestra.Tom & Jean ArkleyJanet Holmes à Court ACSagitte Yom-Tov Fund

Estates wASo is extremely grateful for the bequests received from the Estates of the following benefactors: Mrs Roslyn Warrick

Symphony CircleRecognises Patrons who have made a provision in their will to the orchestra.John Bonny Anita and James ClaytonJudith GederoWolfgang LehmkuhlTosi Nottage in memory Edgar NottageJudy SienkiewiczSheila WilemanAnonymous (16)

The wASo Song BookNew works commissioned for the orchestra by wASo. we gratefully acknowledge the support of the following individuals who have commissioned new music performed since 2010.Janet Holmes à Court ACPeter DawsonGeoff StearnAnonymous (1)

Reach outRecognises Patrons who support our Education and Community Engagement programs.Prue Ashurst Creative Partnerships AustraliaThe James Galvin FoundationRobyn GlindemannBarrie & Jude LepleyMathie FamilyMcCusker Charitable FoundationMinderoo FoundationJohn & Alison RiggSimon Lee Foundation

Beethoven CirclewASo acknowledges Patrons who are generously supporting our Beethoven Festival.Jean Arkley in memory of Tom Arkley Bob & Gay BranchiJanet Holmes à Court AC in memory of her motherTorsten & Mona KetelsenTony & Gwenyth LennonJoshua & Pamela Pitt

waso.com.au | 08 9326 0000

25

our Supporters

Annual givingWe thank the following Patrons for their generous contribution to WASO in the last twelve months through WASO’s Annual Giving Program.

Principal Conductor’s Circle gifts $20,000+Janet Holmes à Court ACJill MulheronBrian & Nancy MurphyPatricia NewAnonymous (1)

Impresario Patrongifts $10,000 - $19,999Gay & Bob BranchiTony & Gwenyth LennonJoshua & Pamela PittAnonymous (1)

Maestro Patron gifts $5,000 - $9,999Jean Arkley in memory of Tom ArkleyBill BlokingIan & Elizabeth ConstableMoira & John DobsonBridget Faye AMGilbert George & AssociatesDr Patricia KailisMargaret & Rod MarstonRobert May Spinifex TrustPeter & Jean StokesTrish Williams – Strategic InteractionsSue & Ron WoollerAnonymous (2)

Virtuoso Patron gifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R. Dodge AMPeter & Marjorie BirdSally BurtonDon ConroyMark Coughlan & Dr Pei-Yin HsuStephen DavisTim & Lexie ElliottRobyn GlindemannSylvia & Wally HyamsKeith & Gaye KessellMichael & Dale KitneyBryant MacfieMrs MorrellAnne NolanRon & Philippa PackerJohn & Paula PhillipsMs Elizabeth Sachse & Dr Lance RisbeyJudy Sienkiewicz Ros ThomsonM. & H. TuiteAndrew & Marie YunckenAnonymous (1)

Principal Patrongifts $1000 - $2,499Margaret Atkins OAMColin & Eve BeckettTony & Mary BeeleySuzanne & David BiddlesJohn & Sue Bird in memory of Penny BirdKevin BlakeMatthew J.C. BlampeyAlan & Anne BlanckenseeMr John BonnyMrs Debbie BorshoffJean Brodie-Hall AMGavin BunningAnn Butcher & Dean R. KubankDr G Campbell-EvansProf. Jonathan Carapetis & Prof. Sue SkillArthur & Nerina CoopesHon June Craig AMGay & John CruickshankNorman & Denia DaffenRussell & Susan DixonMargaret DobsonJulian DowseDon & Marie ForrestDr Andrew GardnerRoger & Ann GillbanksGraham & Barbara GouldenJannette GraySandra GrayJoe & Deidre GreenfeldDavid & Valerie GullandBrian & Romola HaggertyRichard B. Hammond

waso.com.au | 08 9326 0000

26

Pauline & Peter HandfordMichael HardingShigeki & Hinako HiranoMichael & Liz HollingdaleJohn & Katrina HopkinsJim & Freda IrenicCynthia JeeLilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill KeanAnthony & Noelle KellerDorothy KingstonDr Rob Kirk & Sarah GallinaghNelly KleynStephanie & John KobelkeUlrich & Gloria KunzmannIrving LanePaul LeeRosalind LilleyGraham & Muriel MahonyGregg & Sue MarshmanMervyn MatthewsJennifer & Arthur McCombBetty & Con Michael AOVicki MizenHon Justice S.R. MoncrieffJane & Jock MorrisonLynn MurrayVal & Barry NeubeckerDr Phillip & Mrs Erlene NobleJohn OvertonThe Family of Hilary OwensMichael & Lesley PageAthena PatonAssociate Prof. Tim PavyAlan Pedersen in memory of Hilary OwensCharmian Phillips in memory of Colin Craft

Pamela PlattAndrew & Suzanne PoliThomas & Diana PotterDr Leon PrindivilleChester ReeveJohn & Alison RiggNigel & Dr Heather RogersMaurice & Gerry RoussetRoger SandercockDr R. & J. SchwengerMargaret & Roger SearesPaula & Melanie ShannonEve Shannon-CullityJulian & Noreen SherLaurel & Ross SmithDr Paul Smith & Denham HarryMichael Snell & Vicki StewartGail & Tony SutherlandAnna SweetinghamRichard Tarala & Lyn Beazley AOGene TilbrookMary TownsendDr Robert TurnbullMaggie VenerysStan & Valerie VicichWatering ConceptsIan WatsonJoyce Westrip OAMAlan WhithamAnn WhyntieJean & Ian Williams AOJim & Gill WilliamsDr Peter WintertonAnonymous (18)

Tutti Patrongifts $500 - $999Geoff & Joan AireyCatherine BagsterMerle I. Bardwell

Betty BarkerBernard & Jackie BarnwellShirley BarracloughP.M. BennetMichael & Nadia Berkeley-HillElaine BondsDiane & Ron BowyerElizabeth & James BrownMarilyn & Ian BurtonNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeDr Anne ChesterLyn & Harvey Coates AOAgatha & Alex Cohen AOHelen CookBrian CresswellGina & Neil DavidsonFrances DaviesLesley & Peter DaviesJop & Hanneke DelfosRai & Erika DolinschekLorraine EllardMrs G. EwenThe Farghaly FamilyAnnette FinnJim & Pamela FlahertyJoan GagliardiPat GallaherGeorge GavranicElaine GimsonIsobel GlencrossJacqui GroveDouglas M & Regina HansenProf Alan Harvey & Dr Paulien de BoerRichard HatchDr Penny Herbert in memory of Dunstan HerbertHelen Hollingshead

our Supporters

waso.com.au | 08 9326 0000

27

If you are interested in becoming a Patron or learning more about wASo Philanthropy please contact Jane Clare, Fundraising and Philanthropy Coordinator, on 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 the Perth Concert Hall or you can visit waso.com.au.

All donations over $2 are fully tax deductible.

John IsherwoodPeter S. JonesB.M. Kent In memory of Dr Brenton KnottTrevor & Ane Marie LacyTeresa & Jemima LovelandMegan LoweDr Mary Ellen MacDonaldMrs Carolyn Milton-Smith in loving memory of Emeritus Prof. John Milton-SmithS.B. Monger-HayDr Peter MossMarianne NilssonMarjan OxleyGraham & Hildegarde PennefatherBev PennyAdrian & Ruth PhelpsAlpha & Richard Pilpel OAMSheila PinchAlison & John PriceAnn RawlinsonClarissa ReptonJames & Nicola Ridsdill-SmithLeigh RobinsonJudith E. ShawThe Sherwood FamilyHendrick SmitLouise Sparrow & Family

Peggy & Tom StacyRuth E. ThornDr Julian TodresS.R. VogtAdrienne & Max WaltersDiana WarnockAnne WatsonJoy WearneDr Chris & Mrs Vimala WhitakerViolette WilliamJanet WilliamsJudith Wilton & David TurnerPatricia WongYalambi Farm StudAnonymous (21)

Friendsgifts $40 - $499Thank you to all our Friends who support WASO through their gift.

our Supporters

As we celebrate our tenth year of annual giving, we are extremely proud to be supported by the following Patrons who have supported us since 2005:

Fred & Margaret AffleckSally BurtonBrian CresswellGerty EwenAnnette FinnDavid & Valerie Gulland Janet Holmes à Court ACB.M. Kent Bryant MacfiePeter & Patricia Moss Jill MulheronJohn OvertonHeather RogersJudith SienkiewiczDavid Turner & Judith Wilton Andrew & Marie Yuncken

We would like thank them for their invaluable ongoing support.

waso.com.au | 08 9326 0000

28

waso.com.au | 08 9326 0000

west Australian Symphony orchestra

VIoLINSemra Lee-Smith Assistant Concertmaster Graham Pyatt Principal 1st ViolinZak RowntreePrincipal 2nd ViolinKylie Liang Assistant Principal 2nd ViolinSarah BlackmanFleur ChallenErin ChenStephanie DeanRebecca GlorieBeth HebertAlexandra IstedSunmi JungShaun Lee-Chen*Akiko Miyazawa Lucas O’BrienAnna O’HaganMelanie PearnKen PeelerLouise SandercockJolanta SchenkJane SerrangeliEllie ShalleyJacek SlawomirskiBao Di Tang Cerys ToobyTeresa VinciDavid Yeh

VIoLACaleb Wright PrincipalKierstan ArkleysmithNik BabicAlex BroganKatherine DrakeAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLoRod McGrath PrincipalLouise McKayAssoc PrincipalShigeru 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 Colin Forbes-Abrams

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

PERCUSSIoNRobyn GrayPrincipalTroy Greatz Assoc Principal

HARPSarah Bowman Principal

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

ASSISTANT CoNDUCToRChristopher Dragon

CHoRUS DIRECToRChristopher van Tuinen

CHoRUS VoCAL CoACHAndrew Foote

Principal ConductorAsher FischPartnered by Wesfarmers Arts

Conductor Laureate Vladimir Verbitsky

waso.com.au | 08 9326 0000

29

BoARD oF DIRECToRSJanet Holmes à Court AC ChairmanMark CoughlanKeith KessellBarrie Lepley Deputy ChairmanAnne NolanPaul ShannonJulian Sher Michael Utsler

ExECUTIVECraig Whitehead Chief Executive Claire Burlington Executive AssistantEllen Wisdom Executive Manager, Human ResourcesRachel Taylor Human Resources Assistant

ARTISTIC PLANNINgEvan Kennea Executive Manager, Artistic PlanningMaya Kraj-Krajewski Artist Liaison/Chorus AdministratorClaire Stokes Program ManagerAlan Tyrrell Program Manager

CoMMUNITY ENgAgEMENTCassandra Lake Executive Manager, Community EngagementFiona Taylor Education CoordinatorGemma McDonald Community Development Coordinator

oRCHESTRAL MANAgEMENTKeith McGowan Executive Manager, Orchestral ManagementRichie Burton Orchestral Operations ManagerDavid Cotgreave Production & Technical ManagerBreanna Evangelista Orchestra Management Assistant Alistair Cox Orchestral ManagerWee Ming Khoo Music LibrarianNoel Rhind Orchestral Operations Coordinator

BUSINESS SERVICESPeter Freemantle Chief Financial OfficerAndrew Chew Systems AdministratorAngela Miller AccountantSvetlana Williams Payroll OfficerSushila BhudiaAccounts Officer

CoRPoRATE DEVELoPMENT Marina WoodhouseExecutive Manager, Corporate DevelopmentPhilippa Bradshaw Corporate Partnerships ExecutiveLuci Steinhardt Corporate Partnerships ExecutiveGinny LuffCorporate Partnerships & Events Coordinator

PHILANTHRoPY Alecia Benzie Executive Manager, Philanthropy Josie AitchisonCustomer Service & Philanthropy CoordinatorJane Clare Fundraising & Philanthropy Coordinator

MARkETINgKelli Carnachan Executive Manager, MarketingKirsty Chisholm Marketing CoordinatorNancy Hackett Marketing ManagerGina Beers Graphic DesignerMarc Missiaen Relationship Marketing ManagerPaula Schibeci Public Relations ManagerAmanda LimMarketing AssistantSava Papos Customer Service ManagerJosie AitchisonCustomer Service & Philanthropy Coordinator Beverley Trolio Customer Service CoordinatorAlana ArnoldMargaret Daws Vicki Prince Debbie SilvesterRobyn WestbrookCustomer Service Officers

Perth Concert Hall AEg ogden (Perth) Pty LtdPerth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues.

Andrew Bolt General ManagerHelen StewartDeputy General ManagerPeter RobinsTechnical Manager Paul RichardsonAssistant Technical ManagerPenelope Briffa Event Coordinator

AEg ogden (Perth) Pty LtdRodney M Phillips Chief Executive

The Perth Theatre TrustThe Hon. Mr Peter Blaxell Chairman

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

waso.com.au | 08 9326 0000

31

waso.com.au | 08 9326 0000waso.com.au | 08 9326 0000

1

FUNDING PARTNERS

EDUCATION PARTNERS

ORCHESTRA SUPPORTERS

MEDIA PARTNERS

KEYNOTE PARTNERS

PLATINUM PARTNERS

CONCERTO PARTNERS

OVERTURE PARTNERS

SONATA PARTNERS

MARGARET RIVER WINE PARTNERS

School of Music | Tertiary Education Partner

Aravina Estate, Edwards Wines, Howard Park Wines, Leeuwin Estate, Moss Wood, Pierro Margaret River Vineyards, Vasse Felix.

2014 Corporate Partners

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

WASO Program Corporate Sponsors 2014 JUNE.indd 1 25/06/14 2:27 PM

SUBSCRIBE NOW GET THE BEST SEATS AND SAVE UPTO 20%

CALL WASO 9326 0000 VISIT WASO.COM.AU

2015*

MASTERS* MISCHA MAISKYTCHAIKOVSKY SARAH CHANGDVORAK BEETHOVEN FAURE’S REQUIEM MOZART MAHLER’S TITAN

ALCOHOL.THINK AGAIN

2015 Season - M_C_MORN_FAM_A5 Adverts.indd 2 17/09/2014 10:05 am