PROGRAMMORNING SYMPHONY SERIES Thursday 16 March 2017, 11am

MACA LIMITED CLASSICS SERIESFriday 17 & Saturday 18 March 2017, 7.30pmPerth Concert Hall

Beethoven 7 Program Cover.indd 1 6/1/17 2:46 pm

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MASTERS SERIES

ASHER FISCH & THE ZUKERMAN TRIOFRI 28 & SAT 29 APRIL 7.30PM Perth Concert Hall

Renowned violinist Pinchas Zukerman returns to WASO with his charismatic trio to perform Beethoven’s delightful Triple Concerto. As a special treat, Zukerman performs Berg’s nostalgic Violin Concerto. Conducted by Asher Fisch.

BEETHOVEN Egmont: Overture BERG Violin Concerto To the Memory of an Angel BEETHOVEN Concerto for violin, cello and piano (Triple Concerto)

Asher Fisch conductor Pinchas Zukerman violin (pictured) Amanda Forsyth cello (pictured) Angela Cheng piano (pictured)Asher Fisch appears courtesy of Wesfarmers Arts

MORNING SYMPHONY SERIES

ASHER FISCH CONDUCTS SIBELIUSTHURS 20 APRIL 11AM Perth Concert Hall

Sibelius’ Second Symphony is a stirring masterpiece that evokes the expansive, glacial landscape of Finland. WASO’s Concertmaster Laurence Jackson takes centre stage for a rare Perth performance of Stravinsky’s sparkling Violin Concerto.

STRAVINSKY Violin Concerto SIBELIUS Symphony No.2

Asher Fisch conductor (pictured) Laurence Jackson violinAsher Fisch appears courtesy of Wesfarmers Arts

MACA LIMITED CLASSICS SERIES

ASHER FISCH CONDUCTS SIBELIUSFRI 21 & SAT 22 APRIL 7.30PM Perth Concert Hall

WASO’s Concertmaster, Laurence Jackson, takes centre stage for a rare Perth performance of Stravinsky’s Violin Concerto. Sibelius’ stirring Second Symphony evokes the expansive, glacial landscape of Finland in this concert conducted by Principal Conductor Asher Fisch.

MOZART Symphony No.29 STRAVINSKY Violin Concerto SIBELIUS Symphony No.2

Asher Fisch conductor Laurence Jackson violin (pictured)Asher Fisch appears courtesy of Wesfarmers Arts

TICKETS FROM $32*

TICKETS FROM $32*

TICKETS FROM $29*

From the MinisterIt is my great pleasure to welcome you to the opening MACA Limited Classics Series concert of the West Australian Symphony Orchestra’s 2017 season.

This year, WASO will once again enchant audiences with an exciting range of concerts performed at Perth Concert Hall. It is inspiring to see WASO breathing life into this iconic venue, in partnership with the City of Perth and the State Government.

Tonight we begin with a powerhouse crowd-pleaser, Beethoven’s Symphony No.7. We welcome young violinist Yu-Chien (Benny) Tseng who is making his debut with WASO, and Israeli conductor Daniel Cohen who will lead this exciting program.

This concert provides a great introduction to what is sure to be a fantastic season. I hope you enjoy it.

John Day Minister for Culture and the Arts

From the WASO Chairman On behalf of the West Australian Symphony Orchestra, I’m delighted to welcome you to Beethoven 7.

This year marks 20 years of support from Principal Partner Wesfarmers Arts. We recognise the extraordinary contribution that Wesfarmers Arts makes to the arts community of WA, and we are thrilled to celebrate this continuing partnership.

Under the guidance of Maestro Asher Fisch, our Orchestra is in exceptional form. We had an outstanding tour to Abu Dhabi and China late last year, and in 2017 we welcome back Asher for his fourth year as WASO’s Principal Conductor and Artistic Advisor.

Thank you for joining us tonight. Together we have an exciting year of music-making ahead.

Janet Holmes à Court AC WASO Chairman

WELCOME

This program is a celebration of true, red blooded romantics.

We begin with the iconic love story of Romeo and Juliet, as imagined in music by the 28 year old Tchaikovsky. Suffering from writer’s block while working on his second opera, he felt tired and uninspired. Spurred on by good friend Balakirev, however, he was encouraged to delve into Shakespeare’s tragedy and produce a musical fantasy of unforgettable tenderness and unmatched dramatic power.

Our journey with the romantics continues with the Scottish Fantasy of Bruch, who brought to life simple Scottish folk melodies, using them to paint a picture of his hero and finding his place in nature, steeped in his old folk traditions.

The program culminates in Beethoven’s Seventh Symphony. Perfectly capturing the zeitgeist of turbulent, post-Napoleonic Vienna, the Symphony radiates pure joy and heroic grandeur. One can almost imagine its premiere – Beethoven himself on the podium, frantically gesturing his way through his monumental score, conducting a pick-up orchestra of some of the finest musicians in Vienna (Spohr, Salieri, Hummel, Meyerbeer, even Dragonetti); the audience at once sensing that a great utterance has been stated and a timeless masterpiece born!

We hope you enjoy with us this great romantic journey.

Daniel Cohen Conductor

1800 1900

LUDWIG VAN BEETHOVEN

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

MAX BRUCH

1838 – 1920Born in 1838, Cologne, GermanyDied in 1920, Berlin, Germany

Beethoven's Symphony No.71813

Bruch's Scottish Fantasy1881

PETER ILYICH TCHAIKOVSKY

1840 – 1893Born in 1840, Votkinsk, RussiaDied in 1893, St Petersburg, Russia

Tchaikovsky's Romeo and Juliet Fantasy Overture1870

WELCOME

TIMELINE OF COMPOSERS & WORKS

BEETHOVEN 7MORNING SYMPHONY SERIES

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TCHAIKOVSKY Romeo and Juliet - Fantasy Overture (21 mins)

BEETHOVEN Symphony No.7 (36 mins)

Poco sostenuto – Vivace

Allegretto

Presto

Allegro con brio

Daniel Cohen conductor

Wesfarmers Arts Pre-concert TalksFind out more about the music in this concert with this week’s speaker, Claire Stokes. The Pre-concert Talk takes place at 9.40am in the Auditorium.

BEETHOVEN 7MACA LIMITED CLASSICS SERIES

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TCHAIKOVSKY Romeo and Juliet - Fantasy Overture (21 mins)

BRUCH Scottish Fantasy (28 mins)

Introduction (Grave – Adagio cantabile)

Allegro

Andante sostenuto

Finale (Allegro guerriero)

Interval (25 mins)

BEETHOVEN Symphony No.7 (36 mins)

Poco sostenuto – Vivace

Allegretto

Presto

Allegro con brio

Daniel Cohen conductor Yu-Chien (Benny) Tseng violin

Wesfarmers Arts Pre-concert TalksFind out more about the music in the concert with this week’s speaker, Claire Stokes. Pre-concert Talks take place at 6.45pm in the Terrace Level Foyer.

Assistant Conductor Elena SchwarzThis year WASO welcomes Elena Schwarz as Assistant Conductor, a split role between WASO and TSO. Elena is a Swiss-Australian conductor and she will be mentored by WASO Principal Conductor Asher Fisch and TSO Chief Conductor Marko Letonja.

Elena studied at the Geneva University of Music in the class of Laurent Gay, subsequently specialising in contemporary performance with Arturo Tamayo at the Conservatorio della Svizzera Italiana. Elena has participated in conducting courses with Asher Fisch, Christopher Seaman, Johannes Fritzsch and Giordano Bellincampi. She was awarded first prize at the “Princess Astrid” competition with the Trondheim Symphony Orchestra (Norway) and the second prize at the 2015 Jorma Panula competition in Vaasa (Finland).

At WASO, Elena’s position will be funded through the Simon Lee Foundation, which aspires to build an alumni body of young artists in WA that can connect, create and support each other.

WASO IN THE COMMUNITY

ATAR 2017The 2017 ATAR Western Art Music Designated Works performances were held on Wednesday 15 February at the John Inverarity Music & Drama Centre, Hale School.

Two performances were presented to a combined audience of over 520 students and staff from 29 schools, including 6 new schools. This was not only our largest audience, but also the largest orchestra for an ATAR performance with 80 musicians on stage.

The 2017 program consisted of Berlioz's Symphonie fantastique Mvt 4 and 5, and Ravel's Piano Concerto in G from compulsory genres of Symphony (Year 11) and Concerto (Year 12). The performances covered key excerpt analysis, with additional information and discussion around the cultural and historical context supported by both a written resource and in-performance with presenter/conductor Peter Moore OAM.

In another first, each performance featured a young and emerging artist as soloist in the concerto. Adrian Soares (3rd year, UWA School of Music) and Alexander Chua (Honours, UWA Mathematics) performed to great acclaim and helped to illustrate key compositional concepts and provided incredible inspiration to students around performance preparation and presentation. Recognition and thanks must go to their teachers, Assistant Professor Graeme Gilling and Mark Coughlan respectively.

The reaction to this year's ATAR performances is perhaps best summed up in just one response from feedback received:

"An invaluable opportunity that they would not get otherwise - makes all the difference to their study of not only the works but the course and western art music in general."

Our sincere thanks to staff and parents who facilitated student attendance at this event.

Presented in partnership with Hale School.

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ABOUT THE ARTISTS

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Daniel CohenConductor

Daniel Cohen is currently in his second year as Kapellmeister at the Deutsche Oper Berlin. Productions he conducted there earlier this year include Così fan tutte and Don Giovanni. Other recent highlights were G.F.Haas’ new opera Morgen und Abend. He has also conducted the New Israeli Opera, the Canadian Opera Company, at the Teatro Massimo di Palermo, and at the Festival della Valle d’Itria where he gave the Italian premiere of D’Avalos’ Maria di Venosa.

Daniel Cohen was Music Director of the Jersey Chamber Orchestra from 2008 until 2016. He first came to international attention when he won First Prizes at the Admont International Conducting Competition and the Aviv Competitions. In 2015 he made debut appearances with the Helsinki Philharmonic and Berlin Staatskapelle. This year he also conducts the Dresden Philharmonic and RTÉ National Symphony Orchestra (Ireland).

Yu-Chien (Benny) TsengViolin

In 2015, Yu-Chien (Benny) Tseng won both First Prize in the inaugural Singapore International Violin Competition and Second Prize in the International Tchaikovsky Competition (no First Prize was given).

Yu-Chien Tseng began violin at the age of five. By six, he was playing with the Taipei Symphony Orchestra. He studied in his native Taiwan before relocating to Philadelphia to study at the Curtis Institute with Ida Kavafian and Aaron Rosand.

Orchestras with which he has performed include The Philhadelphia Orchestra and National Orchestra of Belgium. He recently appeared with the Mariinsky Orchestra in Munich under Valery Gergiev. Tseng has recorded music by Franck, Ravel, Debussy and Sarasate. January saw the release of Reverie, a recital CD with pianist Rohan De Silva.

Tseng plays the Guarneri del Gesù 1732 Ex ‘Castelbarco-Tarisio’, on loan from the Chi-Mei Culture Foundation, Taiwan.

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The West Australian Symphony Orchestra (WASO) is Western Australia’s largest and busiest performing arts organisation. With a reputation for excellence, engagement and innovation, WASO’s resident company of full-time, professional musicians plays a central role in creating a culturally vibrant Western Australia. WASO is a not for profit company, funded through government, ticket revenue and the generous support of the community through corporate and philanthropic partnerships.

WASO’s mission is to touch souls and enrich lives through music. Each year the Orchestra entertains and inspires the people of Western Australia through its concert performances, regional tours, innovative education and community programs, and its artistic partnerships with West Australian Opera and West Australian Ballet.

The Orchestra is led by Principal Conductor and Artistic Adviser Asher Fisch. The Israeli-born conductor is widely acclaimed for his command of the Romantic German repertoire and is a frequent guest at the world’s great opera houses.

Each year the Orchestra performs over 175 concerts with some of the world’s most talented conductors and soloists to an audience in excess of 190,000. An integral part of the Orchestra is the WASO Chorus, a highly skilled ensemble of auditioned singers who volunteer their time and talent.

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WEST AUSTRALIAN SYMPHONY ORCHESTRA

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VIOLINLaurence JacksonConcertmasterSemra Lee-Smith A/Assoc ConcertmasterGraeme NorrisA/Assistant Concertmaster Rebecca GlorieA/Principal 1st ViolinZak Rowntree*Principal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenStephanie DeanBeth HebertJane Johnston°Sunmi JungChristina KatsimbardisEllie LawrenceLucas O’Brien°Ken PeelerLouise SandercockJolanta SchenkJane SerrangeliKathryn Shinnick°Jacek SlawomirskiKate SullivanBao Di TangCerys ToobySusannah Williams°David YehShaun Lee-Chen*Akiko MiyazawaMelanie Pearn

VIOLAAlex BroganA/Principal ViolaKierstan ArkleysmithNik BabicChair partnered by Lesley & Peter DaviesGeorge Batey^Benjamin CaddyAlison HallRachael KirkKathryn McKay^Allan McLeanElliot O’Brien^Katherine Potter^Helen Tuckey

CELLORod McGrath Chair partnered by Tokyo Gas

Louise McKayChair partnered by Penrhos College Shigeru KomatsuOliver McAslan Nicholas MetcalfeEve Silver*Fotis SkordasTim SouthXiao Le Wu

DOUBLE BASSAndrew Sinclair*Joan Wright Elizabeth Browning^Sarah Clare^Louise ElaertsChristine ReitzensteinMark ToobyAndrew Tait

FLUTEMary-Anne Blades Diane Riddell^Andrew Nicholson

PICCOLOMichael Waye

OBOEPeter Facer Elizabeth Chee

COR ANGLAISLeanne Glover

CLARINETAllan Meyer Lorna Cook

BASS CLARINETAlexander Millier

BASSOONAdam MikuliczA/Principal BassoonChair partnered by Sue & Ron Wooller

Colin Forbes-Abrams°Jane Kircher-Lindner

CONTRABASSOONChloe Turner

HORNDavid EvansDeborah Hart^Robert Gladstones Principal 3rd HornJulia BrookeFrancesco Lo Surdo

TRUMPETMatthew Dempsey°Peter MillerBrent Grapes Evan Cromie

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONBrian MaloneyChair partnered by Stott Hoare

Chiron Meller°Troy Greatz

HARPSarah Bowman

PRINCIPAL CONDUCTORAsher FischPartnered by Wesfarmers Arts

ASSISTANT CONDUCTOR Elena Schwarz

CHORUS DIRECTOR Christopher van Tuinen

CHORUS VOCAL COACH Andrew Foote

CONDUCTOR LAUREATE Vladimir Verbitsky

YOUR ORCHESTRA

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

PrincipalAssociate PrincipalGuest Musician^Grey: Permanent member of WASO not appearing in this concertContract Playerº

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Asher Fisch appears courtesy of Wesfarmers Arts. *A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $6.60 applies to phone and mail bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

TICKETS FROM $32*BOOK NOW

ASHER FISCHconducts

SIBELIUS

THURS 20 APR 11AM

FRI 21 & SAT 22 APR 7.30PMPerth Concert Hall

MOZART Symphony No.29STRAVINSKY Violin ConcertoSIBELIUS Symphony No.2

Asher Fisch conductorLaurence Jackson violin

9326 0000WASO.COM.AU

MORNING SYMPHONY SERIES

MACA LIMITED CLASSICS SERIES

FOR THE ENJOYMENT OF ALLWhen to applaud? Musicians love applause. Audience members normally applaud:• When the concertmaster (violin) walks onto

the stage • When the conductor walks onto the stage • After the completion of each piece and at

the end of the performance

When you need to cough, try to muffle or bury your cough in a handkerchief or during a louder section of the music. Cough lozenges are available from the WASO Ticket Collection Desk before each performance and at the interval.

Hearing aids that are incorrectly adjusted may disturb other patrons, please be mindful of those around you.

Mobile phones and other electronic devices need to be switched off throughout the performance.

Photography, sound and video recordings are permitted prior to the start of the performance.

Latecomers and patrons who leave the auditorium will be seated only after the completion of a work.

Moving to empty seats. Please do not move to empty seats prior to the performance as this may affect seating for latecomers when they are admitted during a suitable break.

LISTEN TO WASOThis performance is being recorded for broadcast on ABC Classic FM on Sunday 26 March at 12pm (or 9am online). For further details visit abc.net.au/classic

720 ABC PERTHTune in to 720 ABC Perth on Friday morning at 6.15am when Fiona Campbell joins Peter Bell to provide the latest on classical music and WASO’s upcoming concerts.

FOOD & BEVERAGESVisit perthconcerthall.com.au for information on food and beverage offerings at the venue.Foyer bars are open for drinks and coffee two hours before, during interval and after the concert. To save time we recommend you pre-order your interval drinks.

FREE WATER STATIONS• Level 1 Ground Floor across from box office• Wardle Room – western side of bar• Terrace Level Corner Bar – one water

station on either side of the bar• Lower & Upper Gallery level

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

ACCESSIBILITY • A universal accessible toilet is available on

the ground floor (Level 1)• The Sennheiser MobileConnect Personal

Hearing Assistance system is available for every seat in the auditorium. Visit perthconcerthall.com.au/your-visit/accessibility/ for further information.

WASO BOX OFFICEBuy your WASO tickets and subscriptions, exchange tickets, or make a donation at the Box Office on the ground floor (Level 1) prior to each performance and at interval. Tickets for other performances at Perth Concert Hall will be available for purchase only at interval.

The Box Office is open Monday to Friday, 9am to 5pm, and contactable on 9326 0000.

DONATE YOUR TICKETCan’t attend a concert? Contact the WASO Box Office on 9326 0000 to donate your ticket for re-sale and you will receive a tax deductible receipt.

YOUR CONCERT EXPERIENCE

13Asher Fisch appears courtesy of Wesfarmers Arts. *A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $6.60 applies to phone and mail bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

TICKETS FROM $32*BOOK NOW

ASHER FISCHconducts

SIBELIUS

THURS 20 APR 11AM

FRI 21 & SAT 22 APR 7.30PMPerth Concert Hall

MOZART Symphony No.29STRAVINSKY Violin ConcertoSIBELIUS Symphony No.2

Asher Fisch conductorLaurence Jackson violin

9326 0000WASO.COM.AU

MORNING SYMPHONY SERIES

MACA LIMITED CLASSICS SERIES

MEET THE MUSICIAN

Andrew SinclairDouble Bass

What (or who) made you want to learn to play the double bass? I was fortunate to be in a school with a fantastic music program. When asked who wanted to play an instrument I shot up my hand thinking I would get something cool like drums or saxophone. The music teacher took one look at the tall thin streak of a boy and said “you’ve got big hands, you can play the double bass. By the way, how big is your parent’s car?” As they drove a station wagon, the deal was struck. 

Can you remember your first WASO concert?My first concert with WASO was Mahler's Sixth Symphony with Simone Young in 2006. I was seated next to the famous hammer blow which I can still feel pounding my back to this day. Nothing like first impressions! We are playing that Symphony later this year with Asher Fisch and I plan to sit as far away from the hammer as possible this time. 

Has anything odd ever happened to you during a WASO performance? I broke my bow! That may not sound amazing, but I’ve never heard of another bass player ever snapping their precious stick simply by playing. Too much red cordial I guess. That’s the great thing about live performance though, you never know what might happen. 

Speaking about bows, you hold yours differently to your colleagues. Why?There are two different ways of holding the bass bow and two different bows. The French bow is held overhand like the cellos and the German is held underhand. I play the German method. All orchestras in Vienna and Germany only play this style. If you turned up at the airport with a French bow, immigration would consider it a weapon and have it destroyed - just kidding!

What do you feel makes a successful performance?There is a collective energy that is produced when all the musicians on stage play with commitment and passion. The audience sense this and respond. For me, that’s what makes a successful performance.

What inspires you?People inspire me. Whether they are world famous soloists or someone in the orchestra who does something memorable to the music. A well placed timpani strike or amazing flute cadenza - it doesn’t matter. As long as there is awareness and generosity in the execution. 

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Peter Ilyich Tchaikovsky (1840 – 1893)

Romeo and Juliet – Fantasy Overture

The doomed youthful passion of Romeo and Juliet had a strong appeal for Tchaikovsky. Shakespeare’s young hero and heroine, whose families, Montagues and Capulets respectively, are implacable enemies, have become in the popular imagination the representative type of star-crossed lovers. Many other great composers (Bellini, Gounod, Berlioz and Prokofiev among them) have been inspired to make music for the young lovers’ story.

Composed in 1869, the Romeo and Juliet overture is Tchaikovsky’s supreme early orchestral achievement. He subsequently revised the work twice, and the final form, with the title ‘fantasy-overture’, was achieved in 1880.

The music begins with a hymn-like introduction suggesting Friar Laurence’s cell, then Capulets and Montagues feud in a fiery passage, giving way to the love scene. There are two melodies here memorable even by Tchaikovsky’s standards. The development of the overture amplifies the lovers’ music, struggling with the brawls and Friar Laurence’s music. A furious climax may be the death of Tybalt at the hand of Romeo, but the love music dominates the ending, turning gradually to lament and tragic despair.

Tchaikovsky toyed with the idea of writing an opera based on Romeo and Juliet. Among the sketches found after his death was a love-duet for singers, in which Romeo sings the words ‘Oh tarry, night of ecstasy! Oh night of love, stretch thy dark veil over us!’ to a musical phrase which also appears in his fantasy overture.

Although his interest in this project waned, his enthusiasm for Shakespeare endured and he composed a further two overtures on Shakespearean subjects: The Tempest (1873) and Hamlet (1888).

© Symphony Australia

First performance: 16 March 1870, Moscow. Nikolai Rubenstein, conductor.First WASO performance: 17 May 1947. Warwick Braithwaite, conductor.Most recent WASO performance: 19-20 March 2010. Paul Daniel, conductor.Instrumentation: two flutes, piccolo, two oboes, cor anglais, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp, strings.

ABOUT THE MUSIC

YOU MAY ALSO ENJOY

TCHAIKOVSKY Manfred Symphonyfeatured in Verbitsky & WASO: 30th Anniversary Celebration Thurs 6, Fri 7 & Sat 8 July

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Max Bruch (1838 – 1920)

Scottish Fantasy for violin and orchestra, Op.46

Introduction (Grave – Adagio cantabile) Allegro – Andante sostenuto Finale (Allegro guerriero)

Had you been singing in a British or German choir (or even a Colonial one) in the 19th century, you would have recognised instantly the name of Max Bruch. Today you might still sing his works occasionally in one of the larger choirs; but it is more likely that you will associate his name with three works for soloist and orchestra: his Kol nidrei for cello, the Violin Concerto No.1, and the Scottish Fantasy.

Bruch began his musical studies as a pianist. His precocious talent was recognised very early on by musicians such as Ignaz Moscheles. Later, as well as holding several music director posts in Germany, Bruch spent three years (1880-83) in England, as conductor of the Liverpool Philharmonic Society.

The Scottish Fantasy was written during the winter of 1879, a year before his departure for Britain. Perhaps he was influenced by the contemporary German fascination for the stories of Ossian, or by Mendelssohn’s ‘Scottish’ works – the Third Symphony and the Hebrides Overture.

One source asserts that Bruch was influenced by the German translations of Sir Walter Scott; another that he had acquired the folk anthology The Scots Musical Museum, compiled by James Johnson and Robert Burns. Bruch said in an interview in the early 1900s:

A good folk tune is more valuable than 200 created works of art. I would never have come to anything in this world if I had not, since my 24th year, studied the folk music of all nations with seriousness, perseverance and unending interest. Perhaps he had been examining British folk music in preparation for his new post in Liverpool.

Bruch dedicated the Scottish Fantasy to Pablo de Sarasate, but the premiere was given by Joseph Joachim, who advised Bruch during the writing of the work, in Liverpool in 1881. The influence of both violinists can be sensed in the frenzy of the Allegro guerriero (war-like Allegro) finale.

ABOUT THE MUSIC

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Originally entitled ‘Fantasie in E flat, for violin with orchestra and harp; using Scotch folksongs freely’, the Scottish Fantasy uses four traditional Scottish melodies. A reviewer of the Heifetz recording of the 1960s commented:

…such melodies may be present if the Hapsburg whispers of the score are parted and a careful scrutiny made of the features. To all intents and purposes however, this is a highly Germanic piece, a virtuoso concerto.

The violin soloist leads in the orchestra with the tune ‘Auld Rob Morris’, played in the manner of a funeral march, evolving into a lyrical Adagio cantabile. ‘The Dusty Miller’, a dance tune, is the musical basis of the Allegro second movement, with its bagpipe-like drones. With virtuosic intent, the orchestra and the soloist share the theme, tossing it back and forth with abandon. Sitting further from the home key, the middle section of this movement sounds questioning; but the spirit of the opening brushes any concerns away, returning with the brighter-sounding brass joining the fun of the drone. Before the conclusion of this orchestral skirl, the flute and the violin break into unison song.

In the Andante sostenuto, once more following straight on from the previous movement, the violin indulges in a resigned confession, sighing, ‘I’m a’ doun for a lack o’ Johnnie’. The tune is taken up by the orchestra.

The last movement, by complete contrast, bellows with pride. It is based on two themes, the first a Scottish-sounding tune that is an original work of Bruch, played by the harp and elaborated upon by the violin. The second is the battle song ‘Scots wha’ hae wi’ Wallace bled’, which is played by the orchestra and then by the violin, using triple stopping and other virtuosic techniques. ‘Auld Rob Morris’ returns briefly before the orchestra has its last fling.

Jillian Harding © Symphony Australia

First performance: 22 February 1881, Liverpool, England. Composer conducting; Joseph Joachim, soloist.First WASO performance: 14 August 1970. Thomas Mayer, conductor; Brian Hanly, soloist.Most recent WASO performance: 30-31 March 2001. András Ligeti, conductor; Jun Yi Ma, soloist.Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp, strings.

Triple stopping – bowing three or more strings at the same time.

Glossary

MOZART Violin Concerto No.3 featured in Asher Fisch Conducts Mahler 6Fri 25 & Sat 26 August

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Ludwig van Beethoven (1770 – 1827)

Symphony No.7 in A, Op.92

Poco sostenuto – Vivace Allegretto Presto Allegro con brio

Five years after the premieres of the Fifth and Sixth Symphonies, Beethoven introduced the Seventh, together with ‘battle symphony’ Wellington’s Victory, Op.91, on 8 December 1813. The occasion was a concert in Vienna’s University Hall to raise money for Austrian soldiers recently wounded helping to expel Napoleon’s army from Germany. Beethoven wrote an open letter of thanks to eminent colleagues who generously condescended to play under his direction, including Hummel, Meyerbeer, Spohr and Salieri:

It was a rare assembly of first-class musicians, each impelled not only by craft but also patriotic fervour to benefit the Fatherland, without concern for rank or precedence … Had I not composed the music myself, I would have been as happy as Mr Hummel to take my place at the drum!

The third-last symphony is a kind of mirror image of the Third. The Napoleonic Third is spacious and heroic (in E flat, a minor third above C), the Seventh (in A major, a minor third below C) all energy and bluster, animated by sheer rhythmic propulsion. Wagner labelled it ‘the apotheosis of the dance’, though so intense is Beethoven’s focus on distinctive rhythms that it often leaves conventional dance far behind.

That Beethoven might have been drunk, deaf, or daft when he composed it were all possibilities reportedly considered by his colleagues. Weber is supposed to have said ‘ripe for the madhouse’, and another wondered later whether ‘in the last period, he succumbed to a kind of insanity, that his assertive contrasts, vehement expressiveness, and sheer insistence, rankle so?’.

Beethoven composed the Seventh during two high summers – sketching it in 1811 and finishing it in 1812 – while, on doctor’s orders, visiting a succession of picturesque Czech health resorts. In August 1812, he reported to his pupil, Archduke Rudolph: ‘In Teplitz I heard the military band play four times a day – the only musical report to offer you. Otherwise, I spent a good deal of time with Goethe.’

Goethe wrote to his wife that he had seldom met a ‘more focused, fervent artist’, though to a musical friend he added: ‘But he is completely uncontrollable … although because of his loss of hearing he can be excused, and pitied. As it is, he is naturally laconic, doubly so because of his misfortune.’

ABOUT THE MUSIC

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Meanwhile, Beethoven boasted he gave his senior a lesson in egalitarianism. Strolling through the spa gardens, they saw a crowd form as the imperial family walked by. Goethe, by far the more eminent of the pair and a seasoned courtier, removed his hat and was ignored. But Beethoven, ‘hat firmly on my head … pushed through the crowd, Archduke Rudolph doffed his hat, and the Empress herself came to greet me’.

Resonances of an idealised Teplitz military band and Beethoven’s egalitarian spirit can be heard especially in the minor-key Allegretto, whose simple, solemn tune and straightforward treatment struck such a popular chord that it was regularly excerpted by real bands for use as a funeral march. He introduces another disarmingly simple tune in the middle of the scherzo’s trio, according to one of Beethoven’s clerical friends, borrowed from a hymn traditionally sung by pilgrims to the shrine at Mariazell.

During the Second World War, the Seventh was one of the Beethoven works enlisted to help boost patriotic fervour here in Australia. Bernard Heinze conducted performances and radio broadcasts of it with orchestras around the country as part of a nationwide Beethoven Festival.

Reaching Perth in winter 1944, its effect on audience morale was electric, as the West Australian reviewer noted: ‘Even the desolate anti-climax of a late bus, and frigid lower extremities, was mitigated by the persistence in one’s pulse and brain of the finale. Professor Heinze had whirled his forces up-to-time through these tremendous Olympian transports, ending … on a note of high exhilaration.’

Graeme Skinner © 2014

First performance: 8 December 1813, Vienna; composer conducting.First WASO performance: 8 July 1944; Bernard Heinze, conductor.Most recent WASO performance: 29 August 2014; Asher Fisch, conductor.Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, strings.

Scherzo – literally, a joke; the term generally refers to a movement [the third in this symphony] in a fast, light triple time which may involve whimsical, startling or playful elements.Trio – in a minuet or scherzo, the trio is the middle section of the movement; the minuet or scherzo is performed on either side of the trio.

Glossary

DVORAK Symphony No.7featured in Louis Lortie Plays ChopinFri 30 June & Sat 1 July

YOU MAY ALSO ENJOY

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The impact of supporting your Orchestra is powerful and far-reaching.

Thank you for your ongoing support!

This year we invite you to become, or continue as, a Patron by making a donation to WASO in 2017. WASO Patrons enjoy opportunities to experience the Orchestra from different perspectives – not just from the auditorium – through invitations to exclusive Patron-only events, getting to know our musicians and receiving regular updates.

If you wish to become a Patron, renew or increase your gift, please contact Sarah Tompkin on 9326 0017 or tompkins@waso.com.au. It is also quick and easy to make a donation online at waso.com.au or you can make a donation at the WASO Box Office with your ticket purchases.

All donations over $2 are fully tax deductible.

WASO PHILANTHROPY

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Whatever the shape or size, you are helping WASO make a difference and we thank you for your support. WASO’s philanthropy program continues to grow, supporting our vision now and into the future. It is an exciting time be a part of this community, to meet our musicians and to know you have helped your Orchestra to touch souls and enrich lives through music. Together we can do amazing things.

Symphony CircleRecognising Patrons who have made a provision in their Will to the OrchestraMs Davilia BlecklyMr John BonnyDr G Campbell-EvansDeirdre CarlinAnita & James Clayton Dr Michael FlacksJudith Gedero Robyn GlindemannGwenyth GreenwoodThe Guy FamilyEmi & Warren Jones Rachael Kirk & Tim WhitePaul LeeWolfgang Lehmkuhl Deborah MarshTosi Nottage in memory of Edgar NottageNigel & Dr Heather RogersGavin Toovey & Jaehan LeeSheila Wileman Sagitte Yom-Tov FundAnonymous (31)

Endowment Fund for the OrchestraThis fund includes major donations and bequests Tom & Jean ArkleyJanet Holmes à Court ACMinderoo FoundationSagitte Yom-Tov Fund

Estates WASO is extremely grateful for the bequests received from Estates Rachel Mabel ChapmanMrs Roslyn WarrickJudy Sienkiewicz Anonymous (3)

Excellence CircleSupporting excellence across all we doJean ArkleyBob & Gay BranchiJanet Holmes à Court ACDr Patricia KailisTorsten & Mona KetelsenRod & Margaret MarstonMichael UtslerLeanne & Sam Walsh

The WASO Song BookWe are grateful to those who have supported new works commissioned for the OrchestraJanet Holmes à Court ACPeter DawsonGeoff Stearn

Reach OutSupporting our Education & Community Engagement programsInstrument purchasesJohn Albright & Susan Lorimer – purchase of the EChO Double BassJean & Peter Stokes - Cello & Tuba

Jean ArkleyRon & Penny CrittallRobyn GlindemannBarrie & Jude LepleyMrs MorrellAnonymous (1)

Trusts & FoundationsCrown Resorts Foundation & Packer Family FoundationThe James Galvin FoundationSimon Lee FoundationThe Stan Perron Charitable Foundation

Crescendo Giving CircleAOT Consulting Pty LtdKaylene CousinsEuroz Charitable FoundationMadeleine King MP, Federal Member for BrandRosalind LilleyPamela PittValerie VicichThe Spivakovsky Jubilee

If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Sarah Tompkin, Fundraising and Philanthropy Manager, on 9326 0017 or email tompkins@waso.com.au.

WASO Philanthropy brochures are available from the WASO Programs & Information Desk located in the main foyer of Perth Concert Hall, or you can visit waso.com.au.

All donations over $2 are fully tax deductible.

Philanthropic partnerships come in all shapes and sizes

OUR SUPPORTERS

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We are proud to acknowledge the following Patrons for their generous contribution to WASO in the last twelve months through our Annual Giving program.

Principal Conductor’s CircleGifts $20,000+Janet Holmes à Court ACPatricia New

Impresario PatronGifts $10,000 - $19,999John Albright & Susan Lorimer Gay & Bob Branchi Gavin BunningPeter & Lesley Davies (Orchestral Chair Partners - Tutti Viola)Tony & Gwenyth Lennon Margaret & Rod Marston Joshua & Pamela PittTrish Williams – Strategic InteractionsSue & Ron Wooller (Orchestral Chair Partners - Principal Bassoon)

Maestro Patron Gifts $5,000 - $9,999Jean Arkley in memory of Tom ArkleyBill Bloking Dr Roland & Therese BrandIan & Elizabeth ConstableMoira & John DobsonTim & Lexie ElliottBridget Faye AM Gilbert GeorgeWarwick Hemsley & Melissa ParkeDr Patricia KailisKelly FamilyAlison KennedyKeith & Gaye Kessell Dr Ronny Low & Dr Emma RichardsonBryant & Louise Macfie Robert MayPaula & John Phillips Peter & Jean Stokes Richard Tarala & Lyn Beazley AORos ThomsonAlan WhithamAnonymous (4)

Virtuoso PatronGifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AMTony & Mary Beeley David & Suzanne Biddles Peter & Marjorie BirdAlan & Anne BlanckenseeSally BurtonDr G Campbell-EvansProf Jonathan Carapetis & Prof Sue SkullMark Coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda SavageRichard FaragoRobyn Glindemann Annette & Vincent GoerkeBrian & Romola HaggertySue Hovell Sylvia & Wally HyamsEleanor John Michael & Dale Kitney Mrs MorrellJane & Jock MorrisonAnne NolanTim Pavy & Cathy ColeDr Lance Risbey & Ms Elizabeth SachseMelanie & Paul ShannonGail & Tony Sutherland Gene TilbrookM & H TuiteStan & Valerie VicichIan WatsonJoyce Westrip OAMAndrew & Marie YunckenAnonymous (2)

Principal PatronGifts $1,000 - $2,499Ron & Sue AdamsCaroline Allen & Sandy DunnPrue Ashurst in memory of Eoin CameronMargaret Atkins Dan & Gail Bam

Betty BarkerNoelle BeasleyMichael & Nadia Berkeley-Hill Kevin Blake Matthew J C Blampey Namy BodinnerSusy BoglePeter & Eve BolandDr & Mrs P BreidahlJean Brodie-Hall AMJames & Gay BrownMarilyn & Ian BurtonDr Anne ChesterPeter & Sue Clifton David CookeArthur & Nerina CoopesHon June Craig AM Gay & John Cruickshank Lesley & Peter DaviesRai & Erika DolinschekJulian Dowse Bev EastMegan EdwardsLorraine EllardDane Etheridge & Brooke FowlesAnnette FinnP & J FisherDon & Marie Forrest E & EA FraunschielDr Andrew GardnerRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Deidre Greenfeld Grussgott Family TrustRichard B Hammond Pauline & Peter HandfordDr Penny Herbert in memory of Dunstan HerbertJacoba Hohnen & Stuart CookseyMichael HollingdaleHelen Hollingshead John & Katrina HopkinsJ & S HuanJim & Freda Irenic Cynthia Jee

Annual Giving

OUR SUPPORTERS

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Lilian & Roger JenningsAnthony Kane in memory of Jane Leahy-KaneBill Kean Noelle & Anthony Keller AMStephanie & John Kobelke In memory of Eileen HayesIrving Lane Natasha LanglandsMeg LewisRosalind Lilley Teresa & Jemima LovelandGraham & Muriel Mahony Gregg & Sue MarshmanBetty & Con Michael AOMrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Hon Justice S R Moncrieff Valmae & Geoff MorrisVal & Barry NeubeckerDelys & Alan NewmanDr P J NobleJohn OvertonRon & Philippa PackerMichael & Lesley PageAthena PatonRosemary PeekCharmian Phillips in memory of Colin CraftPamela PlattThomas & Diana Potter Alison & John PriceBarry & Dot PriceDr Leon Prindiville Chester ReeveJoan ReylandJohn & Alison RiggLeigh RobinsonNigel & Dr Heather RogersGerry & Maurice Rousset OAMRoger Sandercock Dr R & J SchwengerMargaret & Roger SearesEve Shannon-Cullity Glenice ShephardJulian & Noreen Sher Laurel & Ross SmithPAI Smith & DA HarryMichael Snell & Vicki StewartGeoff and Christine Soutar

Ruth ThomasGavin Toovey & Jaehan LeeMary Townsend James & Rosemary TrotterDr Robert TurnbullMaggie VenerysAdrienne & Max Walters Diana WarnockWatering ConceptsDai and Anne WilliamsIan Williams AO & Jean WilliamsJim & Gill WilliamsMargaret WilsonJudith Wilton & David TurnerHilary & Peter Winterton AMAnonymous (26)

Tutti PatronGifts $500 - $999Geoff & Joan Airey Ian AppsCatherine BagsterBernard & Jackie Barnwell Shirley Barraclough Mrs Berwine Barrett-LennardColin BeckettPamela M BennetJohn & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerAlison Bunker & Myles HarmerLucia BuralliAnn Butcher & Dean R Kubank Michelle CandyNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeFred & Angela ChaneyDr Sarah CherianLyn & Harvey Coates AOAgatha & Alex Cohen AOHelen CookBrian CresswellGina & Neil DavidsonProfessor Wayne Iwan Lee Davies FRSB Jop & Hanneke DelfosJudy Dolan Simon & Pamela Douglas

Mrs G EwenMaxine & Bill Farrell AMJoan GagliardiJennifer & Stephen GardinerGeorge GavranicElaine GimsonIsobel Glencross Pitsamai & Kevin GreenDavid & Valerie GullandAlan Harvey & Dr Paulien de BoerEric & Elizabeth HeenanJohn HillChristopher, Julie, Rosemary & Bronwyn HudsonMr John Hylton-Davies JP, VJPeter Ingram Peter S JonesWarren & Emi JonesB M KentDorothy KingstonNelly KleynUlrich & Gloria Kunzmann John Kusinski & Annie MotherwayTrevor & Ane Marie Lacy Louis & Miriam LandauMartin & Ruth LevitAnn LewisMegan LoweKen & Yoko LucasMary Ellen in memory of KerensaGeoff MasseyJennifer & Arthur McCombJames Meneghello & Mabel ChewS B Monger-HayAndré & Barbara MorkelDr Peter MossPhuong NguyenMarianne NilssonPeter O’SullivanDr Walter Ong & Graeme MarshallMarjan Oxley Graham & Hildegarde PennefatherBev Penny Adrian & Ruth PhelpsAlpha & Richard Pilpel OAMAnn RawlinsonJames & Nicola Ridsdill-SmithPaul RobertsChris & Serge Rtshiladze Her Excellency the Hon. Kerry Sanderson, AC

OUR SUPPORTERS

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Carole SextonThe Sherwood FamilyPaul & Margaret SkerrittHendrik SmitDr L Sparrow & FamilyPeggy & Tom Stacy Eleanor SteinhardtIn Memoriam of Mr Andrew David StewartLisa & Andrew TelfordRuth E Thorn

Patricia TurnerS R VogtMargaret WallaceJohn & Nita WalsheAnne Watson Joy WearnePatricia WestonDr Chris & Mrs Vimala WhitakerB M WilcoxGeoff Wilkinson

Violette William Janet WilliamsDr Robyn Yeo & Ms Cyn Johnson Chris ZiatisAnonymous (26)

FriendGifts $40 - $499Thank you to all our Friends who support WASO through

OUR SUPPORTERS

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BOARD OF DIRECTORSJanet Holmes à Court AC ChairmanAnne NolanMark CoughlanKeith KessellBarrie Lepley Deputy ChairmanPaul ShannonJulian SherMichael Utsler

EXECUTIVECraig Whitehead Chief Executive Anthony PickburnHuman Resources ManagerNarelle CoghillHuman Resources CoordinatorJulie Read Payroll Administrator

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PERTH CONCERT HALLBrendon EllmerGeneral ManagerLorraine RiceDeputy General ManagerBrad MatthewsOperations ManagerPenelope BriffaEvents ManagerPaul RichardsonPresentations CoordinatorBruce GawMaintenance OfficerRyan SandilandsMarketing CoordinatorDharshini MurugiahMarketing AssistantSarah Salleo Reception & AdministrationJosie AitchisonTalei LouieVanessa WoolleyTicketing Client Account ManagersEleanor AitchisonAlana ArnoldCheryl ButlerLeticia CannellMary-Louise CarboneHelen GortmansEmily KennedyRebekah RyanKaitlin TrolioBeverley TrolioCustomer Service and Sales Representatives

WASO programs are printed by Advance Press www.advancepress.com.au who are proud to be ‘Green Stamp Accredited’. This certification acknowledges Advance Press'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

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We encourage you to support these partners for generously supporting your Orchestra

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

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asher fisch& the

FRI 28 & SAT 29 APR 7.30PMPerth Concert Hall

BEETHOVEN Egmont: Overture

BERG Violin Concerto To the Memory of an Angel

BEETHOVEN Concerto for violin, cello and piano (Triple Concerto)

Asher Fisch conductor

Pinchas Zukerman violin

Amanda Forsyth cello

Angela Cheng piano

zukermantrio

Asher Fisch appears courtesy of Wesfarmers Arts. *A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $6.60 applies to phone and mail bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

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