ALCOHOL.THINK AGAIN MASTERS SERIESFriday 30 & Saturday 31 May 7.30pmPerth Concert Hall

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Maca liMited presents

Rossini’s Stabat Mater

Fri 6 & Sat 7 June 7.30pmPerth Concert Hall

PUCCINI I crisantemi [The Chrysanthemums] HAYDN Symphony No.26 Lamentatione RoSSINI Stabat Mater

Asher Fisch conductor Rachelle Durkin soprano (pictured)

Jacqueline Dark mezzo soprano

To be confirmed tenor Daniel Sumegi bass wASo Chorus

Asher Fisch appears courtesy of Wesfarmers Arts.

Tickets from $30*

alcOHOl.tHinK aGain Masters series

Asher Fisch Conducts Mahler 9

Fri 13 & Sat 14 June 7.30pmPerth Concert Hall

MAHLER Symphony No.9

Asher Fisch conductor (pictured)

Asher Fisch appears courtesy of Wesfarmers Arts

Tickets from $30*

The WASO Chorus is supported by Lotterywest

Book Now: Call Ticketek 1300 795 012 | Visit ticketek.com.au

special eVent

The Lord of the Rings: The Two Towers Music by Howard Shore

Fri 20 & Sat 21 June 7.30pm Riverside Theatre, Perth Convention & Exhibition Centre

200 musicians including WASO and the WASO Chorus perform Howard Shore’s award-winning score live as the entire film plays on the huge screen.

The WASO Chorus is supported bt Lotterywest.

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welcome

Sacred and Secular

The architecture of tonight’s program is based on this bipolar exploration, sacred and secular, from the church to the market square. Whilst the first part of the concert follows the divinity and infinity of the spiritual world, the second part of it shows the reality of the earthly secular life. These two polarities have always ruled our world and will do so until the end.

In the first half, it is my biggest pleasure to present my fellow Estonian composer Erkki-Sven Tüür’s brand new piece called De Profundis, a 15 minute voyage from darkness to light. Erkki-Sven Tüür has his own very unique sound world, and his way of orchestration is more than remarkable, hinting strongly at his rock music background. I thank the West Australian Symphony Orchestra for their participation in this co-commission that includes four orchestras, the other three being the Estonian National Symphony Orchestra, the Helsinki Philharmonic Orchestra and the Netherlands Radio Philharmonic Orchestra.

Erkki-Sven Tüür’s De Profundis is an almost ideal match to Johannes Brahms’s Four Serious Songs, respectfully orchestrated by Detlev Glanert. With the help of his own preludes, Mr Glanert has managed to create a powerful and rich unity.

The second half of the concert welcomes Petrouchka, one of Igor Stravinsky’s most beloved pieces. In it we hear the best “mass scenes” in the history of music, where Stravinsky takes us on an almost cinematographic journey into St Petersburg city life, zooming in on different crowds at the Shrove Tuesday market, and where the balagan of the theatre inside the theatre turns into a tragic love triangle with no happy ending.

Even though the compositions in the first part of the concert speak about the sacred world, death and enlightment, and Petrouschka talks of an earthly world, I would like to stress that the leading idea behind this concert is love. Love of God, love of fellow man, love of true romance. Like the words of the fourth Brahms’ song tell us, “die Liebe ist ide grösste unter ihnen”.

olari Elts Conductor

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Program

alcOHOl.tHinK aGain Masters series

Stravinsky’s Petrushka

ERkkI-SVEN TUUR De Profundis AUSTRALIAN PREMIERE (18 mins)

BRAHMS/DETLEV GLANERT Four Preludes and Serious Songs (25 mins)

Prelude: AgitatoNo. 1 Denn es gehet dem Menschen Prelude: AndanteNo. 2 Ich wandte michPrelude: Quasi allegrettoNo.3 O Tod, wie bitter bist duPrelude: AdagioNo. 4 Wenn ich mit Menschen und mit Engelszungen redete Postlude: Andante

INTERVAL (25 mins)

STRAVINSkY Petrushka [1947 version] (34 mins)

The Shrovetide Fair – Legerdemain scene – Russian DancePetrushka’s RoomThe Blackamoor’s Room – Dance of the Ballerina – Valse – PetrushkaThe Shrovetide Fair – Dance of the Wet-nurses – The Peasant and the Bear – The Jovial Merchant with Two Gypsy Girls – Dance of the Grooms – The Maskers – The Fight, and Death of Petrushka

olari Elts conductor Daniel Sumegi bass

De Profundis was commissioned by the Helsinki Philharmonic Orchestra, Estonian National Symphony Orchestra and the West Australian Symphony Orchestra.

Pre-concert TalkFind out more about the music in the concert with this week’s speaker, Brendon Pearn. Pre-concert talks take place at 6.45pm in the Terrace Level foyer.

Pre-Concert Talks are supported by Wesfarmers Arts.

Meet the MusicianMeet WASO’s Principal Timpani, Alex Timcke, post-concert Saturday night in the Terrace Level foyer.

Meet the Musician is supported by Alessandrino Property Group

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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.

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A New Era for the wASo Chorus

2014 marks the start of a new era for the WASO Chorus with the appointment of a new leadership team to guide the Chorus into the future. Christopher van Tuinen has been appointed as Chorus Director and Andrew Foote has been appointed to the new position of Vocal Coach.

Christopher is currently the Program Manager, Classical Music at the Perth International Arts Festival, as well as Conductor of the University of Western Australia Choral Society, Musical Director of the Fremantle Chamber Orchestra and Artistic Director of Lost and Found Opera.

The WASO Chorus have an exciting season ahead with concerts ranging from Beethoven’s Ninth to the second instalment of Lord of the Rings. When asked for his pick of the season Christopher found it an almost impossible choice.

“The Rossini will be beautiful and the Messiah is inspired but I think if you have to choose it would be Beethoven 9.”

Chorus rehearsals for Rossini’s Stabat Mater began in late March and this concert will be the first time Principal Conductor Asher Fisch will work with the full WASO Chorus.

The WASO Chorus is supported by Lotterywest.

Thank you to our volunteers

In recognition of National Volunteer Week (12-18 May), we would like thank all our valued volunteers who give so much of their precious time to enable us to achieve our vision to touch souls and enrich lives through music.

We have many dedicated individuals who assist us in a variety of ways from handing out programs at performances, helping with mail outs in the office, assisting in the WASO Library, and being part of the Patrons and Friends Committee, to giving their time and talent as members of the WASO Chorus.

WASO is the largest and busiest performing arts organisation in Western Australia and we couldn’t do what we do without our enthusiastic volunteers. Thank you!

wASo News

WASO Chorus in rehearsal

Volunteers Nelson & Julie Mews and Val & Barry Neubecker

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Biography

olari EltsConductor

Olari Elts’ passion for distinctive programming has earned him much praise on the international music scene. In November 2013 he conducted the world premiere of De Profundis with the Helsinki Philharmonic Orchestra; his performances with the West Australian Symphony Orchestra mark the Australian premiere of the work, composed by fellow Estonian Erkki-Sven Tüür.

In 2013/14 he appears with the BBC National Orchestra of Wales; Munich Chamber Orchestra; Orchestre National de Lyon; Orchestre National Bordeaux Aquitaine; Royal Danish Orchestra; Tapiola Sinfonietta; Beethoven Orchester Bonn; Seattle Symphony; and the Malaysian Philharmonic Orchestra. Last season’s highlights include Haydn’s Te Deum with the City of Birmingham Symphony Orchestra and the Accademia Nazionale di Santa Cecilia, and two concerts with the North German Radio Symphony Orchestra.

Olari Elts is currently Principal Guest Conductor of the Helsinki Philharmonic Orchestra and the Estonian National Symphony Orchestra, and the founder and artistic director of his contemporary music ensemble, NYYD Ensemble.

Daniel SumegiBass Baritone

Daniel Sumegi is one of Australia’s leading singers, with a 26-year international career encompassing some 100 operatic roles. He has sung at many of the world’s major opera houses and continues to expand his repertoire with new music and standard classics – in 2014 alone adding four new roles and two symphonic/choral works.

Recently seen in Melbourne’s Der Ring des Nibelungen, he appears in 2014 at Los Angeles Opera (Billy Budd), Opera Australia (Rigoletto, Eugene Onegin), West Australian Opera (The Magic Flute), Victorian Opera (Norma), Hong Kong Opera (Salome) and in recital in Auckland and Sydney. In 2015, he will take part in the world premiere of The Manchurian Candidate for Minnesota Opera; in future seasons, he returns to Opera Australia, Seattle Opera, Los Angeles Opera and the Metropolitan Opera, New York.

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CONduCTS

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

Book Now

Tickets from $30*

ALCOHOL.THINK AGAIN MASTERS SERIES

Fri 13 & Sat 14 June 7.30pmPerth Concert Hall

Heartbreakingly beautiful and darkly reflective – an unforgettable musical experience.

Asher Fisch appears courtesy of Wesfarmers Arts. *Transaction fees may apply.

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wASo on Stage Tonight

PrincipalAssociate PrincipalGuest Musician^

VIoLINPaul wrightConcertmasterSemra Lee-Smith A/Associate ConcertmasterGraham Pyatt A/Assistant ConcertmasterAkiko MiyazawaA/Principal 1st ViolinZak RowntreeA/Principal 2nd ViolinKylie Liang A/Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenErin ChenSara Duhig^Adeline Fong^Beth HerbertAlexandra IstedSunmi JungLawrence Lee^Shaun Lee-ChenAndrea Mendham^Lucas O’BrienMelanie PearnKen PeelerJolanta SchenkJane SerrangeliEllie ShalleyJacek SlawomirskiBao Di TangCerys ToobyTeresa VinciDavid Yeh

VIoLAPaul McMillan Guest PrincipalAlex BroganA/Assoc PrincipalKierstan ArkleysmithNik BabicSally Boud^Alison HallRachael KirkKathryn McKay^Allan McLeanHelen TuckeyAaron Wyatt^

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

DoUBLE BASSAndrew RootesJoan Wright Elizabeth Browning^Christine ReitzensteinLouise RossAndrew TaitMark Tooby

FLUTEAndrew Nicholson Chair partnered by Apache.

Mary-Anne Blades

PICCoLoMichael waye

oBoELeanne GloverA/PrincipalStephanie Nicholls

CoR ANGLAISLiz Chee

CLARINETAllan Meyer Lorna Cook

BASS CLARINETPhilip Everall^

BASSooNAdam MikuliczA/PrincipalColin Forbes-Abrams

CoNTRABASSooNChloe Turner

HoRNDavid EvansSharn McIverJulia Brooke Dorée DixonFrancesco Lo SurdoWendy Tait^

TRUMPETBrent GrapesEvan Cromie Peter Miller

TRoMBoNEJoshua Davis Liam O’Malley

BASS TRoMBoNEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIoNRobyn GrayTroy GreatzPaul Tanner^

HARPSarah Bowman

PIANo/CELESTEGraeme Gilling^Adam Pinto^

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Meet the Musician

Chloe TurnerContrabassoon

what’s your earliest memory of music?My earliest memory of music is Mr. Whippy, and I have loved music and ice cream ever since!

what do you enjoy the most about your chosen career path?There are so many things l love about my job, but my favourite has to be the adrenaline rush you feel after a concert has gone really well! I love the split second between the last note and the start of the applause when you know you’ve done a good job.

what is the most challenging thing about playing the Bassoon?The bassoon and contrabassoon present many challenges! The biggest challenge is definitely reeds (but I’ll spare you the gory details).

Describe a typical work week.Each work week obviously begins with choosing fabulous outfits!

On a more serious note, I prepare my part to the best of my ability by listening to recordings and reading scores. I practise and spend hours making reeds weeks in advance for the upcoming repertoire and even then they can fail me, creating a last minute panic to find a solution: as the show must go on. My work load varies week to week depending on repertoire and whether I am playing bassoon or contrabassoon. One week can range from playing a few notes in one piece to playing many in every piece.

what other jobs would you do if you were not a professional musician? My childhood dream was to work with animals, horses mostly. If I were to change career paths I think I would stick with a creative field. I could see myself owning a retro/vintage boutique shop.

what inspires you?Many things inspire me in music. I’ve learnt from incredible teachers whose instruction and wise words always encourage me to perform to the best of my ability. My talented past and present colleagues are also a huge source of constant inspiration. Finally, I am passionately driven to demonstrate the endless capabilities of the contrabassoon. It is a largely unknown instrument whose lyrical character inspires me to show people that it extends further then just playing long, low notes and counting rests!

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Timeline of Composers & works

1825 1850 1875 1900 1925 1950

ROMANTIC PERIOD

Tchaikovsky's Symphony No.4

Brahms' Academic Festival Overture

Johannes Brahms

EARLY ROMANTIC PERIOD Elgar's Introduction and Allegro

Richard Strauss

Pyotr Ilyich Tchaikovsky

Strauss' Till Eulenspiegel

Edward Elgar

1800 1900 2000 2100 2200 2300 2400

Stravinsky's Petrushka1911

Brahms' Four Serious Songs1896

JOHANNES BRAHMS

1833 Ð 1897

IGOR STRAVINSKY

1882 Ð 1971

ERKKI-SVEN TUUR1959

Glanert's Four Preludes and Serious Songs2005

Tuur's De Profundis2013

Stravinsky's Petrushka revision1947

DETLEV GLANERT1960

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Program Notes

Erkki-Sven Tüür (born 1959)

De Profundis AUSTRALIAN PREMIERE

Estonian composer Erkki-Sven Tüür studied percussion and flute at the Tallinn Music School and composition at the Estonian Academy of Music, where he later taught. His professional music career began as founder and leader of the progressive rock group In Spe, which he left during the 1980s to concentrate on composition. He has since written eight symphonies, several concertos and a large body of chamber music, and his works have been performed at the Vienna Musikverein, Leipzig Gewandhaus, Salle Pleyel, Royal Albert Hall, Carnegie Hall and Suntory Hall.

Born on the island of Hiiumaa, Tüür still lives in Estonia but nonetheless rejects the notion of a distinctive Estonian ‘voice’, stressing that as a composer his style, whilst possibly influenced by his homeland in a very general way, is ‘not restricted by national boundaries’. His music encompasses a wide range of influences, from Gregorian chant to 12-tone techniques to jazz and rock.

In recent years Tüür has used the term ‘vectorial method’ to describe his compositional technique; by this he means that the entire work is built around a source code defined in terms of the intervallic contour, or directional shape, of the notes.

His 2013 work De Profundis (the title refers to Psalm 130, ‘Out of the depths I have cried to You, O Lord’) is based on the source code 1.3.2, representing the intervals minor second, minor third, major second. The composer describes the piece as ‘a silent prayer that gathers strength as it grows gradually, becomes increasingly intense and, having reached its culmination, evaporates into resplendent heights’.

Symphony Services International © 2014

De Profundis was commissioned by the Helsinki Philharmonic Orchestra, Estonian National Symphony Orchestra, West Australian Symphony Orchestra, and the Netherlands broadcasting companies TROS, AVRO and NTR for the Netherlands Radio Philharmonic in De Vrijdag van Vredenburg.

The world premiere was given by the Helsinki Philharmonic Orchestra conducted by Olari Elts at the Helsinki Music Centre on 1 November 2013. This is the Australian premiere.

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Concerto A work for solo instrument and orchestra, most commonly in three movements.

Intervals The distance in pitch between two notes. If the first note is lower in pitch than the second, the interval is said to be ‘rising’; if the first note is higher in pitch than the second, the interval is said to be ‘falling’.

Glossary

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Program Notes

Detlev Glanert(born 1960)

Four Preludes and Serious Songs for bass baritone and orchestra after Four Serious Songs, Op.121 by Johannes Brahms (1833-1897)

Prelude: AgitatoNo. 1 Denn es gehet dem Menschen Prelude: AndanteNo. 2 Ich wandte michPrelude: Quasi allegrettoNo.3 O Tod, wie bitter bist duPrelude: AdagioNo. 4 Wenn ich mit Menschen und mit Engelszungen redete Postlude: Andante

Brahms was contemplating his own impending death when he selected the ‘violent scriptures’ that form the text of his four last songs. After working at them for only a week, he performed his settings for gathered friends on 7 May 1896 (his 63rd birthday), describing them as ‘a gift to myself, since no one else will want them’. The desolate depths they plumbed would make them, Brahms observed, ‘virtually unpublishable’. Nevertheless, he did send the songs to his publisher, though with the warning: ‘They’re the very opposite of fun. In fact, so disturbing and godless that the church police could ban them for blasphemy, if the words weren’t all from the Bible.’

In the year after Oscar Wilde’s The Importance of Being Earnest, perhaps there was a hint of whimsy in Brahms’ calling them ‘ernste Gesänge’ (the sense only loosely captured in the usual English designation ‘serious songs’)? Brahms’ choice of words clearly marks out the songs as a last testament.

In the first song, since all humankind is formed ‘from dust, and will return to dust’, Brahms perceives no greater ultimate meaning ‘than to be happy in [his] work’. Despite this, he only fleetingly recollects the fulsome warmth or bittersweet nostalgia of recent masterpieces like the Clarinet Quintet. Here his late trend toward concision verges on aphorism; his question ‘What next?’ is rhetorical in any case, but he has no further need to be long-winded.

In the second – and bleakest – song, having considered ‘all those under the sun who suffer injustice’, he weighs up the merits of the three mortal states. Brahms judges ‘the dead who had already died’ better off than the living. But more fortunate than both are the unborn, who have never witnessed ‘the evil that is done under the sun’.

The impending death of Brahms’ lifelong friend Clara Schumann (she died, not unexpectedly, on 20 May) lent the third song added poignancy. The next time the composer played it after her death, a witness recalled: ‘Large tears coursed down Brahms’ cheeks, as he mouthed the last words with choked breath.’ Brahms later told one of Clara’s daughters that the song was ‘a sacrifice’ to her mother’s memory.

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Romanticism A complex artistic, literary, and intellectual movement that originated in the second half of the 18th century in Western Europe, and gained strength during the Industrial Revolution. It was partly a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalisation of nature, and was embodied most strongly in the visual arts, music, and literature. In music the Romantic Period is from approximately 1830 – 1910.

Motives A short, distinctive melodic or rhythmic figure, often part of or derived from a theme

Glossary

ROSSINI Stabat Mater featured in Rossini’s Stabat Mater Fri 2 & Sat 3 May

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Paradoxically, he had sketched the last song much earlier – the only one with words from the New Testament, on the mysterious power of love to drown out momentarily the louder voices of despair. So its note of optimism is not really an endpoint, more an induction into Brahms’ increasingly nihilistic meditations. Significantly, when he was begged for a repeat after giving the whole set again on Pentecost Sunday, Brahms brought the encore to an end after performing only the first three songs.

Detlev Glanert’s fascination with the understated – and unstated – in these songs prompted him to clothe them in orchestrations, and frame them with preludes (and a postlude) in a style that echoes Brahms’ own German Requiem. A former student of the late Hans Werner Henze, Glanert is best known for his operas and works for large orchestras. Rather than turning his back on what is, for many contemporary composers, the uncomfortable lingering reality, Glanert has repeatedly embraced in his work the ‘living reality’ of German Romanticism’s ongoing impact on today’s music.

Brahms himself envisaged an orchestration of the songs, and even produced a page of sketches toward it. As to Glanert’s preludes:

Nearly all the material comes from Brahms and I tried to use it and transform it like a stylistic muscle… the music starts in his world, sliding slowly into our world, and then falling back again. For example the very beginning of the first prelude is a backwards version of the end of the first song, transformed into a melancholic expression, then developed up to a harsh 12-tone chord for an angry outburst, then travelling back to Brahms’ first song by a different route. In the third prelude I transformed some of his motives into angry waltz music, referring to the Hamburg Baroque tradition of the Totentanz (death dance) which Brahms knew very well and actively collected. In this way I could enter a play of motivations and consequences between Brahms’ music and my own. The best way to gain an understanding of what I tried to do in the Preludes is to have in mind the texts of the preceding and following song.

© Graeme Skinner 2014

The first performance of Four Preludes and Serious Songs was given in 2005 by Dietrich Henschel and the Deutsches Symphonie-Orchester Berlin conducted by Kent Nagano. This is the first performance by the West Australian Symphony Orchestra.

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Program Notes

Igor Stravinsky(1882-1971)

Petrushka: Burlesque in four (1947 version)

The Shrovetide Fair – Legerdemain scene – Russian DancePetrushka’s RoomThe Blackamoor’s Room – Dance of the Ballerina – Valse – PetrushkaThe Shrovetide Fair – Dance of the Wet-nurses – The Peasant and the Bear – The Jovial Merchantwith Two Gypsy Girls – Dance of the Grooms – The Maskers – The Fight, and Death of Petrushka

Petrushka, the second of Stravinsky’s ballets for Sergei Diaghilev’s Ballets Russes, began life as a ‘burlesque’ for piano and orchestra called Petrushka’s Cry. Stravinsky later wrote:

I had wanted to refresh myself by composing an orchestral piece in which the piano would play the most important part … In composing the music, I had in mind the distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios.

Stravinsky, writing in later life, no doubt used the term ‘diabolical’, with its suggestion of ‘doubleness’, advisedly: much of Petrushka’s harmony, notably in the inner tableaux, makes use of parallel black- and white-note figures to create a spiky bitonality.

‘As a piece of musical architecture, Petrushka’s Cry is’, according to Stephen Walsh, ‘unremarkable’, but Diaghilev saw its balletic potential and asked artist Alexandre Benois to draft a scenario based on the Russian version of the puppet known in English as Mr Punch.

There is no Judy, however, as the story is in fact derived from the commedia dell’arte tradition with its masked, stock characters: Petrushka, a puppet with human emotions, is in love with the Ballerina, who is more attracted to the Moor. What transpired was a work in four tableaux (articulated by circus-ring drum rolls) of which the second is the original Petrushka’s Cry.

The first presents the Shrovetide Fair in music that immediately announces how much its composer has matured in the short time since The Firebird. In a gesture that looks forward to works as different as The Rite of Spring and Dumbarton Oaks, Stravinsky creates scintillating, active textures that are nonetheless harmonically static, and cuts seemingly randomly between them to depict the bustle of the fair. Some of the music is derived from street cries and songs of St Petersburg: two organ-grinders in the first tableau ‘duel’ with songs sent to Stravinsky by his friend, Andrey Rimsky-Korsakov. After establishing this busy scene, Stravinsky focuses on the figure of the Charlatan, or Showman, who brings his puppets to life with the sound of the flute. Their ‘Russian Dance’ was taken from sketches for the work that would become The Rite of Spring.

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Arpeggio A musical gesture in which the notes of a chord are ‘spread’, or played one after the other instead of simultaneously. It nearly always starts at the bottom of the chord.

Bitonality Using two different keys at the same time.

Glossary

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

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The second tableau is set in Petrushka’s darkly furnished cell, into which the puppet falls as if kicked. After his characteristic black and white motif for clarinets, swarming figurations featuring the piano indicate Petrushka’s helplessness and fury at the Ballerina’s preference for the dashing Moor. She enters the room and is frightened by his manic attempts to win her over and leaves.

Things comes to a head in the third tableau, where the Moor seduces the Ballerina, who has come to his lavish room, in an agile waltz featuring flute and trumpet. Petrushka appears and attacks the Moor but is overpowered and flees.

The final tableau returns us to the Shrovetide Fair, and another charming mosaic of character dances, including that of the Wet-Nurses, based on a further St Petersburg street-song, and an appearance by a peasant with a bear. This is suddenly interrupted as Petrushka, still fleeing the Moor, appears and runs across the stage with the Moor chasing him, and the Ballerina following.

The Moor kills Petrushka with his blade. In the appalled silence the Charlatan shakes the body to show the crowd that it is a puppet, but Petrushka’s ghost appears above the stage.

In moving to the USA, Stravinsky found that copyright law gave no protection to his European works, so in 1947 he revised several scores to republish and copyright them, and took the opportunity in Petrushka to produce a work for slightly smaller forces than the 1911 original.

Gordon Kerry © 2013

Choreographed by Mikhail Fokine, Petrushka was first performed by the Ballets Russes at the Théâtre du Châtelet, Paris on 13 June 1911 in a performance conducted by Pierre Monteux. The title roles were taken by Vaslav Nijinsky (Petrushka), Tamara Karsavina (the Ballerina) and Alexander Orlov (the Moor).

The work was first heard in concert on 1 March 1914, again conducted by Monteux, and with Alfredo Casella at the piano.

WASO first performed it in August 1962 under the direction of John Farnsworth Hall. WASO last performed this work on 11 & 12 September 2009, conducted by Paul Daniel.

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Four Serious Songs

IDenn es gehet dem Menschen wie dem Vieh;wie dies stirbt, so stirbt er auch;und haben alle einerlei Odem;und der Mensch hat nichts mehr denn das Vieh:denn es ist alles eitel.

Es fährt alles an einen Ort;es ist alles von Staub gemacht,und wird wieder zu Staub.Wer weiss, ob der Geist des Menschenaufwärts fahre,und der Odem des Viehesunterwärts under die Erde fahre?

Darum sahe ich, dass nichts bessers ist,denn dass der Mensch fröhlich sei in seiner Arbeit,denn das ist sein Teil.Denn wer will ihn dahin bringen, dass er sehe,was nach ihm geschehen wird?

Ecclesiastes 3:19-22

IIIch wandte mich und sahe analle, die Unrecht leiden unter der Sonne;und siehe, da waren Tränen derer,die Unrecht litten und hatten keinen Tröster;und die ihnen Unrecht tätenwaren zu mächtig,dass sie keinen Tröster haben konnten.

Da lobte ich die Toten,die schon gestorben warenmehr als die Lebendigen,die noch das Leben hatten;und der noch nicht ist, ist besser, als alle beide,und des Bösen nicht inne wird,das unter der Sonne geschieht.

Ecclesiastes 4:1-3

For humankind is subject to the same fate as the beasts:the one dies just like the other,and both breathe the same air,and humans have no advantage over the beasts,for everything is meaningless.

All go to the same place;all are made from dustand will return to dust.Who knows if the human spiritrises upwards,and the spirit of the beastsgoes down into the earth?

So I saw that there is nothing better for mortalsthan to be happy in their work,for that is their lot.For who can bring them to seewhat will happen after them?

Again I looked, and sawall those under the sun who suffer injustice;and behold, those who were suffering injusticewept, and there was no-one to comfort them,and those who inflicted the injustice on themwere too powerful,so that there was no-one to comfort them.

Then I envied the dead,who had already died,more than the living,who were still alive.But better off than both are those not yet born,who have not yet tasted the evilthat is done under the sun.

Text & Translation

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IIIO Tod, wie bitter bist du,wenn an dich gedenket ein Mensch,der gute Tage und genug hatund ohne Sorge lebet;und dem es wohl geht in allen Dingenund noch wohl essen mag!O Tod, wie bitter bist du.

O Tod, wie wohl tust du dem Dürftigen,der da schwach und alt ist,der in allen Sorgen steckt,und nichts Bessers zu hoffen,noch zu erwarten hat!O Tod, wie wohl tust du!

Ecclesiasticus (Sirach) 41:1-2

IVWenn ich mit Menschenund mit Engelszungen redete,und hätte der Liebe nicht,so wär’ ich ein tönend Erz,oder eine klingende Schelle.Und wenn ich weissagen könnte,und wüsste alle Geheimnisse und alle Erkenntnis,und hätte allen Glauben, also dass ich Berge versetzte,und hätte der Liebe nicht,so wäre ich nichts.Und wenn ich alle meine Habe den Armen gäbe,und liesse meinen Leib brennen,Und hätte der Liebe nicht,So wäre mir’s nichts nütze.

Wir sehen jetzt durch einen Spiegelin einem dunkeln Worte;dann aber von Angesicht zu Angesichte.Jetzt erkenne ich’s stückweise,dann aber werd ich’s erkennen,gleich wie ich erkennet bin.Nun aber bleibet Glaube, Hoffnung, Liebe, diese drei;aber die Liebe ist die grösseste unter ihnen.

1 Corinthians 13:1-3, 12-13

English translation © Natalie Shea

O Death, how bitter it isto think of youin the midst of a happy, prosperousand trouble-free life,when all is going well and there is food on the table!O Death, how bitter you are.

O Death, how kind you are to those living in misery,who are weak and oldand burdened with all kinds of troublesand have nothing better to hope for,nothing better awaiting them!O Death, how kind you are!

If I knew all the languages on earthand could speak the speech of the angelsand did not have love,then I would be a sounding gongor a clanging cymbal.And if I had the power of prophesy,and knew all secrets and all knowledge,and had utter faith, enough to move mountains,and did not have love,I would be nothing.And if I gave everything I owned to the poor,and gave up my body to be burned,and did not have love,I would gain nothing from it.

Now, we see only dimly,as if looking through a clouded glass,but on that day, we shall see face to face.Now, my understanding is partial,but then, I shall understand fully,just as I shall be fully known.Meanwhile, these three things remain: faith, hope and love,but the greatest of these is love.

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Meet the InstrumentMeet the Instrument

The ViolaThe viola is the alto member of the violin family and possesses a warm, dark tone compared to the lighter, more brilliant soprano sound of the violin. It is pitched a perfect fifth lower than the violin and an octave higher than the cello. The Viola primarily uses the alto clef, but also treble clef.

The viola came into being in northern Italy around the early 16th century, and since then has undergone many changes. Historically, it was an ‘instrument of the middle’, and was used to cover both the alto and tenor registers. Because of this violas historically and today, vary greatly in size.

The viola has a similar range to the human voice and acoustically blends well with other instruments.

Before 1740 the viola was seldom treated as a soloist, however this started to change during the lifetime of Haydn, Mozart and Beethoven, and greater equality in part-writing and increased technical demands can be observed in the chamber music written during this period. By the 20th century, the presence of such outstanding players as Lionel Tertis and William Primrose, and composer/players including Paul Hindemith and Brett Dean, broadened the viola repertoire, realising the instrument’s potential of tone and technique.

Symphony Services International © 2011.

Pitches of the four open strings on a viola:

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1 Bow 2 Scroll 3 Tuning Pegs 4 Fingerboard 5 Strings 6 Bridge 7 F-holes 8 Finetuners 9 Chin Rest

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From sick children in hospitals, to children with special educational needs and people living in remote regional communities, we believe everyone has the right to experience the joy of music.

WASO’s Giving Catalogue contains 25 items and experiences directly connected to our Education and Community Engagement programs, and you can support these vital programs by choosing to donate towards your favourite(s).

By donating

• $10 you can give a middle school student the opportunity to attend a Morning Symphony concert.

• $75 you can give a parent or carer of a sick child a night out at a WASO concert.

• $250 you can provide a presenter for a free community concert.

• $1,500 you will enable our Education Coordinator to hold a workshop in a regional area.

You can see the full choice of giving possibilities at waso.com.au/giving_catalogue, or you can contact Jane on 9326 0014 or clarej@waso.com.au to find out more.

Choose your favourites item(s) and experience(s) as gifts for your music-loving friends and family and we will send you gift certificates. You will also receive a tax deductible receipt for your donation.

wASo Philanthropy

Can you imagine your life without music?

Philanthropy Partner

Patrons and Friends Event

Meet the orchestral ArrangerJoshua Davis, Principal Trombone & 2013 Friends of WASO Scholarship recipient

Sunday 29 June 2pm Llew Woodford Function Centre, Penrhos College

Join Principal Trombone Joshua Davis as he takes us on a multi-media tour of orchestral arranging, and showcases the impact the Friends of WASO Scholarship has had on his work. See Joshua in action as he creates an arrangement before your eyes using the latest technology.

Tickets are $40 for Patrons & Friends ($50 for guests) and include beautiful Margaret River wines and canapés after Joshua’s talk. Call the wASo Box office to book on 9326 0000.

waso.com.au | 08 9326 0000

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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.Anita 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 Andrew & Nicola ForrestThe James Galvin FoundationRobyn GlindemannBarrie & Jude LepleyMcCusker Charitable FoundationSimon 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

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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 ConstableBridget Faye AMGilbert George & AssociatesDr Patricia KailisMargaret & Rod MarstonRobert May Spinifex TrustPeter & Jean StokesSue & Ron WoollerAnonymous (1)

Virtuoso Patron Gifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AMSally 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 TuiteTrish Williams – Strategic InteractionsAndrew & 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 BlampeyMr John BonnyMrs Debbie BorshoffJean Brodie-Hall AMGavin BunningAnn Butcher & Dean R KubankDr G Campbell-EvansArthur & Nerina CoopesHon June Craig AMGay & John CruickshankNorman & Denia DaffenRussell & Susan DixonMargaret DobsonJulian DowseDon & Marie ForrestDr Andrew GardnerRoger & Ann GillbanksGraham & Barbara GouldenJannette GraySandra GrayJoe & Deidre GreenfeldPenelope GrosjeanDavid & Valerie GullandBrian & Romola HaggertyRichard B Hammond

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Pauline & Peter HandfordMichael HardingShigeki & Hinako HiranoMichael & Liz HollingdaleJim & Freda IrenicCynthia JeeLilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill KeanAnthony & Noelle KellerDorothy KingstonDr Rob Kirk & Sarah GallinaghStephanie & 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 Phil & 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 PoliDr Leon PrindivilleChester ReeveJohn & Alison RiggNigel & Dr Heather RogersMaurice & Gerry RoussetRoger SandercockDr R & J SchwengerMargaret & Roger SearesEve Shannon-CullityJulian & Noreen SherLaurel & Ross SmithDr Paul Smith & Denham HarryGail & Tony SutherlandRichard Tarala & Lyn Beazley AOGene TilbrookMary TownsendDr Robert TurnbullMaggie VenerysStan & Valerie VicichWatering ConceptsIan WatsonJoyce Westrip OAMAlan WhithamJean & Ian Williams AODr Peter WintertonAnonymous (16)

Tutti PatronGifts $500 - $999Geoff & Joan AireyCatherine BagsterMerle I BardwellBetty BarkerBernard & Jackie Barnwell

Shirley BarracloughP M BennetMichael & Nadia Berkeley-HillElaine BondsDiane & Ron BowyerElizabeth & James BrownC & K BrownlieMarilyn & 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 GagliardiGeorge GavranicElaine GimsonIsobel GlencrossJacqui GroveDouglas M & Regina HansenProf Alan Harvey & Dr Paulien de BoerRichard HatchDr Penny Herbert in memory of Dunstan HerbertHelen Hollingshead

our Supporters

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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 IsherwoodB. M. Kent In memory of Dr Brenton KnottTrevor & Ane Marie LacyMegan LoweDr M. E. MacDonald & Mr Michael PaulyMrs 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 PinchThomas & Diana PotterAlison & John PriceClarissa ReptonJames & Nicola Ridsdill-SmithLeigh RobinsonJudith E ShawHendrick SmitMichael Snell & Vicki StewartPeggy & Tom Stacy

Dr Julian TodresS R VogtAdrienne & Max WaltersDiana WarnockAnne WatsonJoy WearneDr Chris & Mrs Vimala WhitakerAnn WhyntieViolette WilliamJanet WilliamsJudith Wilton & David TurnerPatricia WongYalambi Farm StudAnonymous (14)

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

our Supporters

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waso.com.au | 08 9326 0000

west Australian Symphony orchestra

VIoLINSemra Lee-Smith A/Associate Concertmaster Graham Pyatt A/Assistant ConcertmasterRebecca Glorie A/Principal 1st ViolinZak RowntreeA/Principal 2nd ViolinKylie Liang A/Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenErin ChenStephanie DeanBeth HebertAlexandra IstedSunmi JungShaun Lee-Chen*Akiko MiyazawaLucas O’BrienAnna O’HaganMelanie PearnKen PeelerLouise SandercockJolanta SchenkJane SerrangeliEllie ShalleyJacek SlawomirskiBao Di Tang Cerys ToobyDavid Yeh

VIoLAPaul McMillan Guest 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

oBoEElizabeth CheeStephanie Nicholls

CoR ANGLAISLeanne GloverPrincipal

CLARINETAllan Meyer PrincipalLorna Cook

BASS CLARINETAlexander Millier Principalchair partnered by alessandrino property Group

BASSooNJane Kircher-Lindner PrincipalAdam Mikulicz Assoc Principal Colin Forbes-Abrams

CoNTRABASSooNChloe Turner Principal

HoRNDavid Evans PrincipalRobert Gladstones Principal 3rdJulia Brooke Francesco Lo Surdo

TRUMPETBrent GrapesA/PrincipalEvan Cromie Assoc PrincipalPeter Miller

TRoMBoNEJoshua Davis PrincipalLiam O’MalleyAssoc Principal

BASS TRoMBoNEPhilip Holdsworth Principal

TUBACameron Brook Principal

TIMPANIAlex Timcke Principal

PERCUSSIoNRobyn GrayPrincipalTroy Greatz

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

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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

BoARD oF DIRECToRSJanet Holmes à Court AC ChairmanBill BlokingMark CoughlanJeff DowlingKeith KessellBarrie Lepley Deputy ChairmanAnne NolanPaul ShannonJulian Sher

ExECUTIVECraig Whitehead Chief Executive Ellen Wisdom Executive Manager, Human ResourcesHannah North Executive 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 EngagementHannah Clemen Education Coordinator

oRCHESTRAL MANAGEMENTKeith McGowan Executive Manager, Orchestral ManagementRichie Burton Orchestral Operations ManagerDavid Cotgreave Production & Technical ManagerAlistair Cox Orchestra 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 Simon LodgeExecutive Manager, Corporate DevelopmentSharmini Poulsen Corporate Partnerships ManagerLuci Steinhardt Corporate Partnerships ExecutiveGinny LuffEvents Coordinator

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

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

waso.com.au | 08 9326 0000

*Transaction fees may apply.

Two award-winning programs at Perth Concert Hall for 5 to 10 year olds.

Tickets $25* OR purchase 2 concerts for $47.50

The Family Series concerts sold out in 2013.

Beethoven Lives UpstairsSun 27 July 2014, 1pm & 3pm

Maximus Musicus Visits the OrchestraSun 2 November 2014, 1pm & 3pm

BOOK NOW Call 9326 0000 or visit waso.com.au

Classics 3 Program_Cover.indd 2 8/04/14 4:01 PM

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

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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 Corp Sponsors 2014 MAY.indd 29 23/05/14 9:04 AM

Asher Fisch appears courtesy of Wesfarmers Arts. The WASO Chorus is supported by Lotterywest.

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

Book Now

PUCCINI I crisantemi [The Chrysanthemums] HAYDN Symphony No.26 Lamentatione RoSSINI Stabat Mater

Asher Fisch conductor Rachelle Durkin soprano Jacqueline Dark mezzo soprano To be confirmed tenor Daniel Sumegi bass wASo Chorus

Fri 6 & Sat 7 June, 7.30pmPerth Concert Hall

A profound and powerful choral masterpiece featuring the WASO Chorus and a stellar cast of international soloists.

MACA LIMITED PrESENTS

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