MORNING SYMPHONY SERIESThursday 2 July 11amMACA LIMITED CLASSICS SERIESFriday 3 & Saturday 4 July 7.30pmPerth Concert Hall

PROGRAM

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

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

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

Infrastructure, Drainage and Structural Concrete

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

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

We CareWe are FlexibleWe Deliver

Welcome

Tonight we welcome back to WASO our Conductor Laureate Vladimir Verbitsky to conduct a program of music that is filled with drama and passion and that holds a special place in his heart and his homeland.

Throughout his short life time Kalinnikov created some real masterpieces and his First Symphony takes a very special position among them. His amazing melodic talent and outstanding mastery of composition is embodied in this rarely performed symphony. It is very easy to hear the influences of other great Russian composers Tchaikovsky and Rachmaninov who both supported the young composer.

The central works in tonight’s concert both feature the cello and WASO’s own Principal Cellist, Rod McGrath. Written in only two movements Saint-Saëns’ Second Cello Concerto makes strenuous demands on the soloist’s virtuosity, especially in the fiendishly difficult cadenza and finale.

While the concerto is filled with musical energy for the soloist and the orchestra, Rachmaninov’s Vocalise explores the deep and melancholic capabilities of the cello.

Following this weekend’s performances Rod McGrath will be joining the Australian World Orchestra in Sydney after being personally invited by esteemed conductor Sir Simon Rattle to lead the cello section in their next performances.

Our Classics Series concerts open with Tchaikovsky’s symphonic interpretation of the tragic tale of Francesca da Rimini, a beauty who was immortalised in Dante’s epic poem Divine Comedy. Tchaikovsky knows how to set a romantic tale to music better than most and this work is filled with sweeping melodies and passion that inevitably ends in a dramatic and chilling conclusion.

Alan Tyrrell Program Manager

WASO.COM.Au | 08 9326 0000

| 3

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

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

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

Infrastructure, Drainage and Structural Concrete

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

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

We CareWe are FlexibleWe Deliver

4 |

WASO.COM.Au | 08 9326 0000

Pre-concert TalkFind out more about the music in the concert with this week’s speaker, Alan Lourens. The pre-concert talk takes place at 9.40am in the auditorium.

The Pre-concert Talk is supported by Wesfarmers Arts

Morning syMphony sEriEs

THe RomANTIc cello

SAINT-SAENS Cello Concerto No.2 (17 mins) Allegro moderato e maestoso – Andante sostenuto (Le double plus lent) Allegro non troppo – Cadenza – Mouvement du premier morceau

KALINNIKOV Symphony No.1 (35 mins) Allegro moderato Andante commodamente Scherzo: Allegro non troppo – Moderato assai Finale: Allegro moderato

Vladimir Verbitsky conductor Rod McGrath cello

| 5

WASO.COM.Au | 08 9326 0000

Pre-concert TalkFind out more about the music in the concert with this week’s speaker, Alan Lourens. Pre-concert Talks take place at 6.45pm in the Terrace Level Foyer.

The Pre-concert Talks are supported by Wesfarmers Arts

MACA LiMiTED CLAssiCs sEriEs

THe RomANTIc cello

TCHAIKOVSKY Francesca da Rimini (24 mins)

SAINT-SAENS Cello Concerto No.2 (17 mins) Allegro moderato e maestoso – Andante sostenuto (Le double plus lent) Allegro non troppo – Cadenza – Mouvement du premier morceau

RACHMANINOV Vocalise (6 mins)

interval (25 mins)

KALINNIKOV Symphony No.1 (35 mins) Allegro moderato Andante commodamente Scherzo: Allegro non troppo – Moderato assai Finale: Allegro moderato

Vladimir Verbitsky conductor Rod McGrath cello

UPcomING coNceRTS

Book Now cAll 9326 0000 vISIT waso.com.au oR ticketek.com.au*Transaction fees may apply.

tickets from $50*

MACA LiMiTED CLAssiCs sEriEs

Diana Doherty Plays mozartFri 31 Jul & Sat 1 Aug 7.30pm Perth Concert Hall

Australia’s favourite oboist, Diana Doherty, joins WASO to perform Mozart’s enchanting Oboe Concerto, followed by Elgar’s majestic final symphony.

HAYDN Symphony No.22 The Philosopher MOZART Oboe Concerto in C Major ELGAR elab. ANTHONY PAYNE Symphony No.3

Nicholas Carter conductor Diana Doherty oboe (pictured)

tickets from $30*

ALCohoL.ThinK AgAin MAsTErs sEriEs

simone Young conducts fauré’s requiemFri 7 & Sat 8 August 7.30pm Perth Concert Hall

Fauré’s intimate and consoling choral masterpiece is the finale of this program of sublime French music. Conductor Simone Young’s superb musicianship will make this an evening to remember.

FAURE Pavane POULENC Les Animaux modèles – Suite FAURE Requiem

Simone Young conductor (pictured) Siobhan Stagg soprano Douglas McNicol baritone WASO ChorusSimone Young appears courtesy of Lepley Properties

tickets from $45*

Phot

o by

Kla

us L

efeb

vre

Josh Pyke with wasoFri 24 July 8pm Perth Concert Hall

ARIA Award-winning singer/songwriter Josh Pyke joins forces with WASO for one night only. Described as a modern-day storyteller, Josh Pyke’s unique and intelligent lyrics weave warm melodies that place him in a league of his own. Don’t miss this chance to hear hits like ‘Leeward Side’, ‘The Lighthouse Song’ and ‘Middle of the Hill’ like you’ve never heard before.

| 7

WASO.COM.Au | 08 9326 0000

WASo IN THe commUNITY

Inspiring Kwinana Students Through MusicAs the new school year started, so did WASO’s El Sistema-inspired Music Education program. After a successful 8-week pilot program in three Kwinana primary schools in Term 4, 2014, WASO has begun its first full year of teaching, introducing a new group of Pre-Primary students and welcoming back the Year 1 students.

With nearly 200 students participating from Medina Primary School, North Parmelia Primary School and Kwinana Christian School there is already a lot of excitement from students, teachers and parents. Vocal lessons are held once a week at the schools with two WASO Teaching Artists who teach students music basics such as tempo (fast and slow) and pitch (high and low) through a variety of songs and movement games. And as Kwinana is quite culturally diverse the songs are often in the different languages spoken by students.

Open Rehearsals WASO Education will share three very special Open Rehearsals with students this year, all featuring world-class artists performing as part of the Masters and Classics programs. 

Open Rehearsals are a unique opportunity for school students to see the Orchestra in work-mode as they place the final touches to the concert program. An informal pre-concert talk with one of WASO’s musicians gives students an insiders view into the program being rehearsed, and what life on-stage is all about.

The opportunity to see WASO “behind the scenes” working with incredible artists and conductors, including Principal Conductor Asher Fisch with Mischa Maisky and Ingrid Fliter and visiting conductor Nicholas Carter with Diana Doherty, is one that is not only inspirational, but brings the music – and the musicians – to life.

YoUR WASo eXPeRIeNce

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

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

the stage • Afterthecompletionofeachpieceand

at the end of the performance

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

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

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

FEEDBACK Please send your feedback to PO Box 3041, East Perth WA 6892, call 9326 0000, email waso@waso.com.au or leave us a message on Facebook or Twitter.

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

WASO ON ABC CLASSIC FMThis performance is being recorded for broadcast at 1pm on Saturday 11 July on ABC Classic FM. For further details visit abc.net.au/classic

Join us on Facebook facebook.com/WestAustralianSymphonyOrchestra

Follow us on Twitter twitter.com/_WASO_

Tag your photos #WASO on Instagram instagram.com/_waso_

Watch us on YouTube youtube.com/WestAustSymOrchestra

E-News Stay up to date and sign-up to our SymphonE-news at waso.com.au

WASO On The Go Download WASO’s free app on iTunes or Google Play.

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

coNNecT WITH WASo

8 |

WASO.COM.Au | 08 9326 0000

PeRTH coNceRT HAll

Join us on Facebook facebook.com/perthconcerthallwa

Follow us on Twitter twitter.com/perthconcerthal

Visit perthconcerthall.com.au

Tag your photos #perthconcerthall instagram.com/perthconcerthall

coNNecT WITH PeRTH coNceRT HAll

Did you know …Since Perth Concert Hall opened its doors on Australia Day, 1973, the venue has hosted thousands of concerts and events and welcomed hundreds of thousands of visitors. But even if you have been to Perth Concert Hall numerous times, you might not know these interesting facts:

• The land on which Perth Concert Hall is now situated used to be part of the Government domain, and was used as a vegetable garden and site of old stables.

• Perth Concert Hall was designed by Howlett and Bailey Architects, who had also designed Council House ten years earlier.

•An acoustics consultant, Dr. Harold Marshall, “… used a computer in a remarkable study to predict before the hall was built, how well people will hear in every one of the … seats”. In the early 1970s, the use of a computer for such a purpose was indeed remarkable!

•White concrete was specially imported from Japan to be used in the majority of exposed surfaces of the building. The concrete was given a timber-grain effect using New Zealand Oregon timber. The white concrete was similar to traditional building materials like sandstone and limestone in that it achieved comparable qualities of light and shadow.

• The wildflower mural, still on display in the ground floor foyer, and just temporarily covered for WASO’s Community Support Month, was created by Melbourne potter and artist Tom Sanders. Many of Sanders’ sculptures and ceramic works are now held by the Powerhouse Museum and National Gallery of Australia.

• The opening of Perth Concert Hall on 26 January 1973 also marked the 21st anniversary of the Festival of Perth. The event was televised and featured WASO and the South Australian Symphony Orchestra, as well as a midnight to dawn ball attended by nearly 1,700 guests.

Sources: http://inherit.stateheritage.wa.gov.au/Public/Content/PdfLoader.aspx?id=6b5fdacc-69ff-4aa2-9c4e-047919911f5f&type=assessment

https://australianpottery.wordpress.com/2011/05/14/known-potter-44-tom-sanders/

| 9

WASO.COM.Au | 08 9326 0000

10 |

WASO.COM.Au | 08 9326 0000

ENGAGE CHALLENGE EXCITE SURPRISE REFLECT

Photograph © Tony McDonough

Level 1, 620 Newcastle St.Leederville WA 6007Post O� ce Box 850 Mount Lawley WA 6929Email: sales@futurelogic.com.au

*To claim your FREE IT Audit and report, please contact sales with the code “WASO”.

Enquiries 08 9471 6500Facsimile 08 9463 6013www.futurelogic.com.au

• Managed IT Services• Service Desk• Technology Consulting• IT Auditing• Remote and On-site Services• Back Up Disaster Recovery• Project Management• Network/System Maintenance• Cloud & VoIP Solutions• Integrated Network Design• Strategic IT Planning

Providing Specialist IT Services to the West Australian Symphony Orchestra and

Your Business Today.

Are you ge ng the most out of your IT?

IT Audit and ReportValued at $2,720 FREE!

Contact us today*

We are your IT Department providing IT services and solutions, including:

AboUT THe ARTISTS

Vladimir Verbitsky Conductor Laureate

Russian-born Vladimir Verbitsky is a graduate of the Leningrad Conservatory, where he studied piano and conducting. Following graduation he studied with Yevgeny Mravinsky, Chief Conductor of the Leningrad Philharmonic Orchestra.

He regularly conducts the major orchestras in Russia, and has been Chief Conductor and Music Director of the Voronezh Philharmonic since 1972. He has also held the position of Chief Conductor of the Slovak Philharmonic, Chief Conductor of the Saratov Philharmonic, Music Director of Orchestra Victoria and Guest Conductor of the uSSR State Symphony Orchestra. He has conducted world premieres of works by Russian, Australian and New Zealand composers.

In 2012 he marked the 25th Anniversary of his association with the West Australian Symphony Orchestra with two gala concerts. Engagements in 2014-2015 include concerts in Moscow, Saint Petersburg, Taipei, Switzerland, France, Israel, Belarus, Singapore and the united States.

Rod McGrathPrincipal Cello

Rod McGrath took up the cello at the relatively late age of 12, then went on to study at the Royal Academy of Music in London and was made Principal Cello of the Academy’s symphony orchestra in his first term, the first time this had happened in the Academy’s history. During his third year at the Academy Rod joined the London Philharmonic Orchestra as number two cello. Four years later Rod joined the London Symphony Orchestra (LSO) as Co-Principal, where he stayed for 20 years. During his time in London he not only worked with most of the world’s leading conductors and soloists but also played in contemporary music ensembles with Irvine Arditti and was a founding member of the Rossetti Ensemble. Rod became Principal Cello of WASO in 1997 and plays on a Duke cello (c.1750) loaned to him by Chris and June Johnson of Cambridge, England.

| 11

WASO.COM.Au | 08 9326 0000

WASo oN STAGe TodAY

PrincipalAssociate PrincipalGuest Musician^

VIOLINGraeme JenningsGuest ConcertmasterSemra Lee-Smith Assistant ConcertmasterZak RowntreePrincipal 2nd ViolinAkiko MiyazawaAssoc Principal 2nd ViolinSarah BlackmanFleur ChallenStephanie DeanRebecca GlorieBeth HebertAlexandra IstedJane Johnston^Sunmi Jung^Christina KatsimbardisJi Won Kim^Shaun Lee-Chen*Andrea Mendham^Ken PeelerElena PhatakGraham PyattJane SerrangeliEllie ShalleyKathryn ShinnickJacek SlawomirskiBao Di TangCerys ToobyTeresa Vinci^Susannah Williams^David Yeh

VIOLACaleb WrightAlex BroganKierstan ArkleysmithNik BabicBen Caddy^Katherine Corecig^Katherine DrakeAlison HallRachael KirkAllan McLeanAaron Wyatt^

CELLOLouise McKayChair partnered by Penrhos CollegeMelinda Forsythe^Shigeru KomatsuOliver McAslanNicholas MetcalfeFotis SkordasTim SouthJon Tooby^Xiao Le Wu

DOUBLE BASSAndrew Sinclair*Joan Wright Elizabeth Browning^Christine ReitzensteinLouise RossAndrew TaitMark Tooby

FLUTEAndrew NicholsonChair partnered by Quadrant Energy

Mary-Anne Blades

PICCOLOMichael Waye

OBOEPeter Facer Elizabeth Chee

CLARINETAllan MeyerCatherine Cahill^Lorna Cook

BASSOONJane Kircher-LindnerChair partnered by Sue & Ron Wooller

Adam Mikulicz

CONTRABASSOONChloe Turner

HORNDave EvansSharn McIverRob Gladstones3rd Principal HornJulia BrookeFrancesco Lo Surdo

TRUMPETBrent GrapesChair partnered by ConocoPhillips

Evan CromieBreanna Evangelista^Peter Miller

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

PERCUSSIONTroy GreatzA/Principal PercussionRichard GleesonJoel Bass^Robyn Gray^

HARPSarah Bowman

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

12 |

WASO.COM.Au | 08 9326 0000

meeT THe mUSIcIAN

Peter FacerPrincipal Oboe

What path did you take before starting with WASO?My undergraduate degree is actually in musicology, rather than performance. It turns out that I’m even geekier than you first thought. As a postgrad I then studied the oboe in the uK and Germany, and also did lots of freelance work with various orchestras and ensembles in Europe. Then I accidentally boarded the wrong plane and here I am. I meant to go to Perth in Scotland. 

Has it been an easy adjusting to life in Perth? The language barrier is the hardest. To me, flip-flops will never be thongs. Also, in the southern hemisphere it’s customary to hold the oboe the other way up. That took a while to get used to. 

What are your highlights from the 2015 Season so far?I thought Mischa Maisky was sensational, and Vivaldi’s Quattro Formaggi was delicious!

If you could program your own concert what would you play and who would be the conductor? The first half would be The Rite of Spring and the second half would be a concert performance of Sweeney Todd with Leonard Bernstein at the helm. So let’s grab Emma Thompson and jump in a time machine and make this happen!

What challenges you?I’m not very good at catching, catching balls that is. I’m quite good at catching colds.

On the oboe? I’m not very good at flutter-tonguing; it makes my eyes wobble. 

What was the first album you owned?Spice, by the Spice Girls. It was very formative.

| 13

WASO.COM.Au | 08 9326 0000

Ali, Andrew & Friends at The EllingtonTuesday 8 & Wednesday 9 September 5.30pm for 6.00pm, The Ellington Jazz Club

WASO’s Principal Flute Andrew Nicholson and singer Ali Bodycoat bring their friends together for a musical sojourn from the world of contemporary to classic jazz at The Ellington Jazz Club – one of Perth’s most exciting live music venues!

Embracing classical and jazz perspectives, Ali and Andrew will perform with a trio from the cream of Perth’s jazz musicians and will also be joined by one or two special guest WASO musicians.

Tickets are $60 for cabaret-style table seating and $40 for standing, and include a drink on arrival and tasty tapas bites from a shared platter.

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

Chair of Principal Flute, Andrew Nicholson, is partnered by Quadrant Energy.

14 |

WASO.COM.Au | 08 9326 0000

PATRoNS & FRIeNdS eveNT

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

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

POURING PURE GOLD FOR AN ENCORE

TImelINe oF comPoSeRS & WoRkS

1825 1850 1875 1900 1925 1950 1975

VASILY SERGEYEVICH KALINNIKOV

1866 – 1901Born in Voina, Oryol District, RussiaDied in Yalta, Crimea

Saint-Saëns' Cello Concerto No.2 in D minor, Op.1191873

CAMILLE SAINT-SAËNS

1835 – 1921Born in Paris, FranceDied in Algiers, Algeria

Tchaikovsky's Francesca da Rimini - Fantasia after Dante, Op.321877

PETER ILYICH TCHAIKOVSKY

1840 – 1893Born in Vyatka Province, RussiaDied in Saint Petersburg, Russia

SERGEI RACHMANINOV

1873 – 1943Born Semyonovo, RussiaDied Beverly Hills, USA

Rachmaninov's Vocalise, Op.34, No.131916

Kalinnikov's Symphony No.1 in G minor1897

| 15

WASO.COM.Au | 08 9326 0000

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

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

POURING PURE GOLD FOR AN ENCORE

Peter Ilyich Tchaikovsky (1840 – 1893)

Francesca da Rimini – Fantasia after Dante, Op.32

In his Commedia, Dante Alighieri’s powerfully imagined journey through Hell, Purgatory and finally Heaven, figures from myth, scripture and history take time out from their particular punishment (or bliss) to tell the poet their story.

In the second circle of Hell, the souls of the lustful are tossed around like a ‘flock of starlings’ in an unceasing gale. Francesca, a young bride, tells Dante how, when she and her crippled husband’s beautiful younger brother Paolo were reading the story of Lancelot and Guinevere one day, they were overwhelmed by the story and fell into each other’s arms. Her husband found them making love and as he tried to kill Paolo, Francesca interposed herself. Both were killed, and their punishment is that they should never be separated.

In 1876 Tchaikovsky considered composing a ‘Wagnerian’ opera on the Francesca and Paolo story, but decided instead to turn it into a symphonic poem. A baleful introduction represents the motto inscribed above the gates of hell (‘Abandon hope, all who enter here’) complemented by the cries of the damned. The infernal wind with its hysterical energy is graphically treated with a series of sequences and crescendos, rising and falling.

A solo clarinet, (perhaps the voice of Francesca) introduces the long central section. Here, Tchaikovsky said, she ‘tells her story’ in the symphonic development of her lyrical and beautiful theme. As in Tristan, however, the erotic idyll is brutally shattered, and the music returns us to the unrelenting wind, demonic braying from the brass and crushing chords from the full orchestra.

Gordon Kerry © 2014

The first performance of Francesca da Rimini was given in Moscow on 9 March 1877 under conductor Nikolai Rubinstein. The West Australian Symphony Orchestra first performed it on 2 September 1973 with conductor Bernard Heinze. WASO last performed this work on 14 November, 2008, conducted by Arvo Volmer.

AboUT THe mUSIc

Symphonic poem A programmatic work for orchestra, usually in a single movement.

Crescendo Getting louder (literally, ‘growing’).

Glossary

YoU mAY AlSo

eNJoY

TCHAIKOVSKY Symphony No.5 featured in Asher Fisch Conducts Tchaikovsky Fri 4 & Sat 5 September

16 |

WASO.COM.Au | 08 9326 0000

Camille Saint-Saëns (1835 – 1921)

Cello Concerto No.2 in D minor, Op.119I Allegro moderato e maestoso – Andante

sostenuto (Le double plus lent)II Allegro non troppo – Cadenza –

Mouvement du premier morceau

The short, inspired burst of work Saint-Saëns expended composing his First Cello Concerto was one of the best investments he ever made. From its 1873 Paris premiere onward, the compact, debonair concerto was one of a handful of his pieces that took on a life of its own, not only during the remaining half-century of his own long and active career, but well into the 1900s, so that, even long after this Second Cello Concerto was added to his enormous oeuvre, the First remained the only one most people had either heard, or heard of. The Dutch-born Gerard Vollmar gave its first Australian performance on Christmas Day 1897 in Sydney, and after calls for the ‘clever’ and ‘novel’ work to be repeated, there were further outings in 1898 and 1899. A decade before settling in Adelaide in 1891, Vollmar spent three concert seasons playing in Britain, when another Dutch cellist, Joseph Hollman (1852-1927) was a rising star. In December 1880, at the Crystal Palace, Hollman had given the First Concerto its inaugural London performance, only confirming Saint-Saëns’s standing reputation there already as England’s favourite French composer.

Having been introduced by a friend they both admired, Gabriel Fauré, Hollman and Saint-Saëns developed a long and fruitful – if prickly – musical partnership, in which Hollman’s Stradivarius cello (known as ‘Madame Hollman’) was an essential third member.

From the 1890s they regularly toured together playing classical chamber music in duo and trios. And in 1902-03, it was for the Hollmans – cellist and cello – that the almost 70-year-old Saint-Saëns composed this Second Concerto. Later still, there was a third double-concerto-like work premiered by Hollman, La Muse et le poète, Op.132, written while Saint-Saëns was holidaying in Egypt in 1910, that cast Hollman’s cello as the poet and Eugène Ysaÿe’s violin as the muse.

Saint-Saëns gave what he hoped would be his last public performance as a pianist and conductor in 1913. But events called him out of retirement again, and he and Hollman ended up spending much of 1915 and 1916 touring again raising money for war charities. By then, another shorter cello piece had effectively upstaged anything else either of them had done. In 1906 Hollman recorded Saint-Saëns’s Le Cygne (from Carnival of the Animals) for the Victor Talking Machine Company (you can still hear it on YouTube), and because of its runaway sales, they were called on to play it as an encore everywhere they went.

| 17

WASO.COM.Au | 08 9326 0000

Tutti All the instruments of the orchestra playing at the same time.

Cadenza A showy passage by a solo instrument, usually towards the end of a concerto movement. Originally, cadenzas were improvised by the soloist to show off their brilliant technique.

Appassionato Passionate.

Molto allegro Very fast.

Glossary

YoU mAY AlSo

eNJoY

SAINT-SAENS Piano Concerto No.2featured in Tchaikovsky’s Winter Dreams Fri 2 & Sat 3 October

Having just done so again in Paris in October 1916, at a soiree for General Pau, Saint-Saëns admitted that Hollman ‘always plays better and better, it’s amazing’. (Like the musicians, Pau had also been called out of retirement, briefly to command the French army in Alsace, but then memorably on a French fundraising tour of Australia where, in Perth in November 1918, he was overwhelmed by the generosity of local schools donating to destitute French children.)

Having retained the concerto form’s standard three-movement layout in the first three of his five piano concertos, Saint-Saëns broke away from it radically in his First Cello Concerto, subsuming three shorter than usual sections together into a single movement. Then in the Fourth Piano Concerto and this Second Cello Concerto he experimented with compact two-movement designs that nevertheless retain formal features both of their three-movement predecessors and the extended single-movement layout of his symphonic poems, like Le Rouet d’Omphale (Omphale’s Spinning Wheel).

The Second Cello Concerto opens powerfully with the soloist entering and taking the lead after the briefest six-bar orchestral unison tutti. Even the surging orchestral fortes are so lightly scored and carefully dovetailed that the soloist sings out clearly in its high tenor register.

An early reprise leads prematurely into what shapes up to be a strenuous developmental episode, only for the momentum suddenly to evaporate, as orchestra and soloist are becalmed in an extended slow section from which the movement never again manages to extricate itself. Already, the second movement’s nervous opening indicates we are launching into a sort of scherzo-finale. The soloist’s gossamer passage work steadily intensifies towards its long cadenza, at the final moment of which trumpets softly pre-signal the climactic D major transformation of the work’s opening music, and a final appassionato solo into the molto allegro close.

© Graeme Skinner 2015

The only previous performances of Saint-Saëns’s Second Cello Concerto by the West Australian Symphony Orchestra took place in 1998 with conductor Christopher Hogwood and soloist Steven Isserlis.

AboUT THe mUSIc

18 |

WASO.COM.Au | 08 9326 0000

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

Glossary

Sergei Rachmaninov (1873 – 1943)

Vocalise, Op.34, No.14

‘I understand now why God allowed me to live to the age of 70: it was so that I should have the chance to hear His greatest creation – Nezhdanova.’ Such was George Bernard Shaw’s praise for Antonina Nezhdanova (1873-1950) and her soprano voice. Perhaps an even more eloquent tribute to Nezhdanova is the music created for her by contemporary composers: operatic roles such as Parasya in Mussorgsky’s Sorochintsky Fair or the title character in Rachmaninov’s Francesca da Rimini (from which she subsequently withdrew), not to mention of course his most famous song, Vocalise.

Rachmaninov’s achievements in composing operas, choral music and songs were overshadowed by the enormous popularity of his solo piano pieces and orchestral works, in particular the symphonies and piano concertos. It is not surprising that the most popular song he ever wrote was essentially instrumental. His Vocalise is the last in a set of 14 songs, Op.34 (1912-15), the other 13 being settings of poems by some of the greatest Russian Romantics. Despite his elegant and effective responses to these texts, the final ‘song without words’ has eclipsed them all with its enduring appeal. Without syllabic constraints, Rachmaninov’s considerable melodic imagination is free to roam where it will.

By the time he came to compose the Op.34 songs, he was well into his mature creative period, producing vocal music of particular beauty, with simple yet striking accompaniments for the piano. The Vocalise is no exception, as the melody, built out of a small and easily-identified motif, spins itself out in endless variation over the course of the piece.

Adapted from an annotation by Drew Crawford

Symphony Australia © 1998

Rachmaninov dedicated Vocalise to Antonina Nezhdanova, who gave the first performance in Moscow in 1916 in an arrangement by Rachmaninov for voice and orchestra, conducted by Serge Koussevitzky. Tonight’s orchestral version was prepared by Rachmaninov in 1919, and first performed by the West Australian Symphony Orchestra on 26 January 1975 under conductor Verdon Williams. WASO last performed this work on 12 December, 2009 conducted by Guy Noble and performed by Rod McGrath.

| 19

WASO.COM.Au | 08 9326 0000

Vasily Sergeyevich Kalinnikov(1866 - 1901)

Symphony No.1 in G minor Allegro moderato Andante commodamente Scherzo: Allegro non troppo – Moderato assai Finale: Allegro moderato

Puccini’s La bohème romanticised the myth of the starving artist, but the all-too-brief life and career of Vasily Kalinnikov demonstrates the horrid reality of what can happen when artistic talent is not matched by financial security. The son of a minor police official, Kalinnikov grew up in the Oryol District of Russia but the family was so poor that the child prodigy suffered from cold and hunger, growing into adulthood with a blazing musical talent and a weakened physical constitution.

Everyone acknowledged the young multi-instrumentalist’s talent, whether as bassoonist, percussionist, violinist or composer, and ways were found to get him a seminary education and then entry to the Moscow Philharmonic Society Music School, but poverty and ill-health dogged him wherever he went. During the 1880s he was accepted without hesitation into the famed Moscow Conservatory but couldn’t afford the fees and had to abandon his studies, Tchaikovsky finding him a position in 1892 as the Musical Director of Moscow’s Malïy Theatre. He then took on a similar, additional role at the Italian Theatre but only months into the job had to abandon it, as tuberculosis began to exert its grip.

Still in his twenties, the ailing Kalinnikov moved to the warmer climate of Yalta in the Crimea, where he composed two symphonies, incidental music for Alexey Tolstoy’s play Tsar Boris, a string quartet and a couple of minor tone poems, but his life was hellish and doomed. When Rachmaninov visited him, Kalinnikov was living in such deprivation that the famous composer arranged publication of several of his works, but it all came too late. Kalinnikov died two days short of his 35th birthday, his new publisher noting that his premature death had increased the value of his small output tenfold, and duly paying Kalinnikov’s widow a handsome sum for the music left behind.

Kalinnikov had a rare gift for melody and much of his orchestral writing has been compared with the sumptuous textures of his supporter Tchaikovsky. In terms of one melody after another, however, nothing compares with his First Symphony. While it earned him very little, it was a much-admired work during the final years of Kalinnikov’s life. Composed in 1894-5, it was premiered in Kiev in 1897 and subsequently performed in Moscow, Vienna and Berlin.

AboUT THe mUSIc

20 |

WASO.COM.Au | 08 9326 0000

Tone Poem Another term for ‘symphonic poem’

Ostinato A brief fragment or phrase which is repeated persistently through a section of music.

Scherzo Literally, a joke; the term generally refers to a movement in a fast, light triple time, which may involve whimsical, startling or playful elements.

Glossary

YoU mAY AlSo

eNJoY

TCHAIKOVSKY Symphony No.1 Winter Dreamsfeatured in Tchaikovsky’s Winter DreamsFri 2 & Sat 3 October

An immediately engaging work, the Symphony No.1 is built on a cyclical form, its main recurring themes imprinting themselves on the memory. And none does so more than the very Russian-sounding opening theme of the first movement, stated first on unison strings and contrasted with more bustling secondary material initially introduced on the horns. With its soaring melodies and colourful orchestration, the spirit of Tchaikovsky is never far away. Increasingly celebratory as it proceeds, driving through tremendous climaxes, the first movement reaches a dramatic conclusion, the main theme now firmly established – and destined to recur.

The slow movement opens hypnotically, the harp and violin providing a kind of ostinato over which oboe and cor anglais weave a sublime melody, taken over by richly scored strings and other wind instruments. This is Russian sentimentalism at its finest – both shamelessly melodic yet painfully sad.

The Scherzo on the other hand is a jolly folk-dance, with chirruping winds and tripping strings, contrasted by an elegiac trio that provides moments of respite. After repeated alternations of mood, the bustling scherzo theme proper reasserts itself, with its scurrying strings, brass punctuations and swirling wind figurations ushering in a triumphant conclusion.

The finale opens immediately with a restatement of the first movement’s main theme, but then that instantly recognisable tune disappears as the vibrant and energetic actual finale theme emerges. One by one, though, the finale works its way back through the themes from the previous three movements, buoyant in mood and rushing from one climax to another, with massive tunes in the brass, and orchestral tuttis filled with sound and fury. By the blazing conclusion, you feel like you know the symphony so well – there are few easier works to appreciate on a first hearing, and it begs the question of just what its unfortunate composer might have achieved had he lived longer.

© Martin Buzacott

Kalinnikov’s First Symphony was given its first performance on 20 February 1897 in Kiev by the Russian Music Society Orchestra conducted by Alexander Vinogradsky. The West Australian Symphony Orchestra first performed it on 15 May 1943 under conductor Percy Code.

| 21

WASO.COM.Au | 08 9326 0000

The violoncello, commonly abbreviated as the cello, is the second largest member of the violin family. The modern cello is tuned in fi fths, with C2 (two octaves below middle C) being its lowest string, followed by G, D, and A. Various special techniques are possible, including double stops (playing two notes at the same time), spiccato (allowing the bow to rebound off the strings), and vibrato (a small pulsation in pitch created by a rocking motion in the left hand).

The early history of the cello is diffi cult to trace, since it was made in a variety of sizes and known by many different names, but the earliest known evidence of its existence dates back to the mid-16th century. Early performers played with the cello resting directly on the fl oor or by supporting it solely with the legs. The endpin was adopted nearly universally by the late 19th century as a means to support the instrument and provide cellists with greater comfort. Originally the strings were made of sheep gut, but by the early 18th century these started to be replaced by wire-wound string, allowing for greater volume of sound and better intonation. Around the same time, Stradivari had established a body length of 75-76 cm, which has served as the standard ever since.

The expressive capabilities of the cello have been frequently used in both ensemble and solo settings. Pablo Casals (1876-1973) is widely credited for making J.S. Bach’s Cello Suites a part of the regular repertory. Other favourite works for the cello include Schumann’s Concerto in

A minor, Saint-Saëns’ Concerto No.1 in A minor, Rachmaninov’s Sonata for Cello and Piano in G minor and Elgar’s Concerto for Cello in E minor.

© Symphony Services International

The pitches of the open stringson a cello:

C G D A

1. Scroll2. Tuning pegs3. Fingerboard4. Strings5. Bridge6. F-holes7. Finetuners8. Tailpiece 9. Endpin10. Bow

1

6

2

7

3

8

4

9

5

10

MEET THE INSTRUMENTTHE CELLO

22 |

WASO.COM.Au | 08 9326 0000

The violoncello, commonly abbreviated as the cello, is the second largest member of the violin family. The modern cello is tuned in fi fths, with C2 (two octaves below middle C) being its lowest string, followed by G, D, and A. Various special techniques are possible, including double stops (playing two notes at the same time), spiccato (allowing the bow to rebound off the strings), and vibrato (a small pulsation in pitch created by a rocking motion in the left hand).

The early history of the cello is diffi cult to trace, since it was made in a variety of sizes and known by many different names, but the earliest known evidence of its existence dates back to the mid-16th century. Early performers played with the cello resting directly on the fl oor or by supporting it solely with the legs. The endpin was adopted nearly universally by the late 19th century as a means to support the instrument and provide cellists with greater comfort. Originally the strings were made of sheep gut, but by the early 18th century these started to be replaced by wire-wound string, allowing for greater volume of sound and better intonation. Around the same time, Stradivari had established a body length of 75-76 cm, which has served as the standard ever since.

The expressive capabilities of the cello have been frequently used in both ensemble and solo settings. Pablo Casals (1876-1973) is widely credited for making J.S. Bach’s Cello Suites a part of the regular repertory. Other favourite works for the cello include Schumann’s Concerto in

A minor, Saint-Saëns’ Concerto No.1 in A minor, Rachmaninov’s Sonata for Cello and Piano in G minor and Elgar’s Concerto for Cello in E minor.

© Symphony Services International

The pitches of the open stringson a cello:

C G D A

1. Scroll2. Tuning pegs3. Fingerboard4. Strings5. Bridge6. F-holes7. Finetuners8. Tailpiece 9. Endpin10. Bow

1

6

2

7

3

8

4

9

5

10

MEET THE INSTRUMENTTHE CELLO

We would like to thank everyone who has made a donation to WASO in 2015.

As a not-for-profit organisation, WASO exists through the support of government funding, ticket sales, corporate support and philanthropic partnerships. Community donations are increasingly vital in helping keep alive what we do.

What you see today at Perth Concert Hall is one part of the WASO story. As well as supporting our main stage concerts, your donations also enable WASO to continue producing beautiful music for thousands of Western Australians in schools, hospitals and in regional communities across the state.

Thank you for being part of a community that believes in WASO’s vision to touch souls an enrich lives through music, in our musicians and in our commitment to inspirational performances.

If you are interested in learning more about WASO Philanthropy or wish to make a donation, please contact Jane on 9326 0014 or clarej@waso.com.au, or visit waso.com.au.

WASo PHIlANTHRoPY Philanthropy Partner

| 23

WASO.COM.Au | 08 9326 0000

oUR SUPPoRTeRS

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

Symphony Circlerecognising patrons who have made a provision in their Will to the orchestra Mr John BonnyDr G Campbell-EvansAnita & James Clayton Judith Gedero Wolfgang Lehmkuhl Tosi Nottage in memory of Edgar NottageNigel & Dr Heather RogersJudy SienkiewiczSheila Wileman Anonymous (16)

Estates WAso is extremely grateful for bequests received from EstatesMrs Roslyn WarrickRachel Mabel Chapman

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

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

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

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

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

All donations over $2 are fully tax deductible.

Philanthropic partnerships come in all shapes and sizes

Reach Outsupporting our Education & Community Engagement programsJean ArkleyPrue Ashurst Creative Partnerships AustraliaRon & Penny CrittallKen EvansFeilman Family FoundationThe James Galvin FoundationRobyn GlindemannKen JohnsonBarrie & Jude LepleyMathie FamilyMcCusker Charitable FoundationMinderoo FoundationMrs MorrellJoan ReylandJohn & Alison RiggSimon Lee FoundationThe Stan Perron Charitable FoundationJean & Peter Stokes Trish Williams - Stragegic InteractionsAnonymous (1)

24 |

WASO.COM.Au | 08 9326 0000

oUR SUPPoRTeRS

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

Principal Conductor’s Circle Gifts $20,000+Janet Holmes à Court ACBrian & Nancy Murphy Patricia New

Impresario PatronGifts $10,000 - $19,999Gay & Bob Branchi Tony & Gwenyth LennonMargaret & Rod Marston Joshua & Pamela Pitt

Maestro Patron Gifts $5,000 - $9,999Jean Arkley in memory of Tom ArkleyBill Bloking Gavin BunningIan & Elizabeth ConstableMoira & John DobsonBridget Faye AM Gilbert George & AssociatesDr Patricia KailisKeith & Gaye Kessell Dr Ronny Low & Dr Emma RichardsBryant Macfie Robert MayJill MulheronPaula & John PhillipsJudy SienkiewiczSpinifex Trust Peter & Jean Stokes Richard Tarala & Lyn Beazley AO

Trish Williams – Strategic InteractionsSue & Ron WoollerAnonymous (5)

Virtuoso Patron Gifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AMPeter & Marjorie BirdAlan & Anne BlanckenseeSally BurtonDon ConroyMark Coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda SavageTim & Lexie ElliottRobyn GlindemannAnnette & Vincent Goerke Jacoba Hohnen & Ted SamsonSylvia & Wally HyamsMrs MorrellJane & Jock MorrisonAnne NolanMs Elizabeth Sachse & Dr Lance Risbey Dr R & J Schwenger Ros ThomsonM & H TuiteJoyce Westrip OAMAlan WhithamAndrew & Marie YunckenAnonymous (1)

Principal PatronGifts $1000 - $2,499Ron & Sue AdamsJohn Albright & Susan LorimerCaroline Allen & Sandy DunnMargaret Atkins Tony & Mary Beeley Suzanne & David Biddles Kevin Blake Matthew J C Blampey Namy BodinnerMr John BonnyJohn & Debbie Borshoff Jean Brodie-Hall AMMarilyn & Ian BurtonDr G Campbell-EvansProf Jonathan Carapetis & Prof Sue SkullPeter & Sue CliftonHelen Cook Arthur & Nerina CoopesHon June Craig AM Gay & John Cruickshank Norman & Denia Daffen Lesley & Peter DaviesRussell & Susan DixonMargaret DobsonJulian Dowse Bev EastLorraine EllardRichard FaragoDon & Marie Forrest Dr Andrew GardnerGeorge GavranicRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Sandra Gray

Annual Giving

| 25

WASO.COM.Au | 08 9326 0000

Deidre Greenfeld David & Valerie GullandBrian & Romola HaggertyRichard B Hammond Pauline & Peter HandfordMichael HardingMichael & Liz HollingdaleJohn & Katrina HopkinsSue HovellJim & Freda Irenic Lilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill Kean Anthony & Noelle Keller Michael & Dale Kitney Nelly KleynStephanie & John Kobelke ulrich & Gloria Kunzmann Louis & Miriam LandauIrving Lane Paul LeeMeg LewisRosalind Lilley Graham & Muriel Mahony Gregg & Sue MarshmanMervyn MatthewsJennifer & Arthur McCombBetty & Con Michael AOVicki MizenHon Justice S R Moncrieff S B Monger-HayValmae & Geoff MorrisLynn MurrayVal & Barry NeubeckerDr Phillip & Mrs Erlene NobleJohn OvertonThe Family of Hilary OwensRon & Philippa PackerMichael & Lesley PageAthena PatonTim Pavy & Cathy ColeAlan Pedersen in memory of Hilary Owens

Charmian Phillips in memory of Colin CraftPamela PlattAndrew & Suzanne PoliThomas & Diana PotterAlison & John PriceBarry & Dot Price Dr Leon Prindiville Chester ReeveJoan ReylandJohn & Alison RiggNigel & Dr Heather RogersMaurice & Gerry RoussetRoger Sandercock Margaret & Roger SearesMelanie & Paul ShannonEve Shannon-Cullity Julian & Noreen Sher Laurel & Ross SmithDr Paul Smith & Denham Harry Michael Snell & Vicki StewartGail & Tony SutherlandAnna SweetinghamLisa & Andrew Telford The Ambient FoundationRuth ThomasGene TilbrookMary Townsend James & Rosemary TrotterDr Robert TurnbullMaggie VenerysStan & Valerie VicichAdrienne & Max Walters Watering ConceptsIan WatsonPatricia WestonAnn WhyntieJean & Ian Williams AOJim & Gill WilliamsJudith Wilton & David TurnerHilary & Peter Winterton AMAnonymous (27)

Tutti PatronGifts $500 - $999Geoff & Joan Airey Catherine BagsterMerle I BardwellBernard & Jackie Barnwell Shirley Barraclough Berwine Barrett-LennardColin BeckettP M BennetMichael & Nadia Berkeley-HillJohn & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerDr & Mrs P BreidahlElizabeth & James BrownAnn Butcher & Dean R KubankLucia BuralliMichelle CandyNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeDr Anne ChesterLyn & Harvey Coates AOAgatha & Alex Cohen AOBrian Cresswell Gina & Neil Davidson Frances DaviesJop & Hanneke DelfosRai & Erika DolinschekMrs G EwenFarghaly FamilyAnnette Finn Jim & Pamela FlahertyJoan GagliardiPat GallaherElaine GimsonIsobel Glencross Jacqui GroveDouglas M & Regina HansenAlan Harvey & Dr Paulien de BoerRichard Hatch

oUR SUPPoRTeRS

26 |

WASO.COM.Au | 08 9326 0000

Dr Penny Herbert in memory of Dunstan HerbertHelen Hollingshead Mr John Hylton-Davies JP, VJPeter Ingram Cynthia JeePeter S JonesB M KentDorothy KingstonIn memory of Dr Brenton Knott Trevor & Ane Marie Lacy Teresa & Jemima LovelandMegan LoweMary Ellen in memory of Kerensa Mrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Dr Peter MossMarianne Nilsson

Marjan Oxley Graham & Hildegarde PennefatherBev Penny Adrian & Ruth PhelpsRichard & Alpha Pilpel OAMSheila PinchAnn RawlinsonClarissa ReptonJames & Nicola Ridsdill-SmithLeigh RobinsonChris & Serge RtshiladzeJudith E ShawThe Sherwood FamilyHendrik SmitLouise Sparrow & FamilyPeggy & Tom Stacy Ruth E ThornDr Julian Todres

Patrcia TurnerS R VogtDiana WarnockAnne Watson Joy WearneDr Chris & Mrs Vimala WhitakerViolette William Janet WilliamsPatricia WongAnonymous (21)

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

| 27

WASO.COM.Au | 08 9326 0000

To help your sonsucceed we teach an

extra subject.

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

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

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

The best he can be.

WeST AUSTRAlIAN SYmPHoNY oRcHeSTRA

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

VIOLACaleb WrightPrincipalAlex BroganAssoc PrincipalKierstan ArkleysmithNik BabicKatherine DrakeAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLORod McGrath PrincipalLouise McKayAssoc Principal Chair partnered by penrhos College

Shigeru KomatsuOliver McAslan Nicholas MetcalfeEve Silver* Fotis SkordasTim SouthXiao Le Wu

DOUBLE BASSAndrew Sinclair* PrincipalJoan Wright Assoc PrincipalChristine ReitzensteinLouise RossAndrew TaitMark Tooby

FLUTEAndrew Nicholson PrincipalChair partnered by Quadrant Energy

Mary-Anne Blades Assoc Principal

PICCOLOMichael Waye Principal

OBOEPeter FacerPrincipalElizabeth CheeAssoc Principal

COR ANGLAISLeanne GloverPrincipal

CLARINETAllan Meyer PrincipalLorna Cook

BASS CLARINETAlexander Millier PrincipalChair partnered by Altegra property group

BASSOONJane Kircher-Lindner PrincipalChair partnered by ron & sue Wooller

Adam Mikulicz Assoc Principal

CONTRABASSOONChloe Turner Principal

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

TRUMPETBrent GrapesPrincipalChair partnered by Conocophillips

Evan Cromie Assoc PrincipalPeter Miller

TROMBONEJoshua Davis PrincipalLiam O’MalleyAssoc Principal

BASS TROMBONEPhilip Holdsworth Principal

TUBACameron Brook Principal

TIMPANIAlex Timcke Principal

PERCUSSIONTroy Greatz A/Principal

HARPSarah Bowman Principal

ASSISTANT CONDUCTOR Christopher Dragon

CONDUCTOR LAUREATE Vladimir Verbitsky

CHORUS DIRECTOR Christopher van Tuinen

PRINCIPAL CONDUCTORAsher FischPartnered by Wesfarmers Arts CHORUS VOCAL COACH Andrew Foote

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

28 |

WASO.COM.Au | 08 9326 0000

WASO programs are printed by Pilpel Print www.pilpel.com.au who are proud to be ‘Green Stamp Accredited’. This certification acknowledges Pilpel Print’s commitment to minimising environmental impacts associated with producing printed material.

All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing from the publisher. Whilst every effort has been made to ensure the accuracy of statements in this publication we cannot accept responsibility for errors or omissions, or for matters arising from clerical or printers’ error. Every effort has been made to secure permission for copyright material prior to printing. Please address all correspondence to the Executive Manager, Marketing, West Australian Symphony Orchestra, PO Box 3041, East Perth. WA 6892. Email waso@waso.com.au

PERTH CONCERT HALLBrendon Ellmer General ManagerLorraine Rice Deputy General ManagerPaul Richardson Assistant Technical ManagerPenelope Briffa Events ManagerBruce Gaw Maintenance OfficerNancy Hackett Marketing Manager

Ryan Sandilands Marketing AssistantSimon Keen Customer Relationship & Operations ManagerMegan Lo Surdo Reception & AdministrationSarah Salleo Reception & Administration

perthconcerthall.com.au 08 9231 9900

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

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

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

COMMUNITY ENGAGEMENTCassandra Lake Executive Manager, Community EngagementFiona Taylor Education Coordinator

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

BUSINESS SERVICESPeter Freemantle Chief Financial OfficerAndrew Chew Systems AdministratorAlex Spartalis IT SupportAngela Miller AccountantSushila Bhudia Accounts OfficerRenu Kara Accounts Assistant

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

Jane Clare Fundraising & Philanthropy Manager

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

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

Alana ArnoldLeticia CannellMargaret Daws Vicki Prince Robyn Westbrook Customer Service Officers

| 29

WASO.COM.Au | 08 9326 0000

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

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

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

PARTNERS OF EXCELLENCE

CONCERTO PARTNERS

OVERTURE PARTNERS

SONATA PARTNERS

ORCHESTRA SUPPORTERS

MEDIA PARTNERS

FUNDING PARTNERS

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

KEYNOTE PARTNERS

PLATINUM PARTNERS

School of Music | Tertiary Education Partner

30 |

WASO.COM.Au | 08 9326 0000

Phot

o: C

aitl

in W

orth

ingt

on D

esig

n: B

ronW

Ynro

gers

.CoM

W

esF1

341

1341_WESF - Arts Sponsorship Campaign 2014 - WASO_Program Ad_210x148mm_V2_FA.indd 1 16/02/15 1:16 PM

Mozart’s enchanting Oboe Concerto and Elgar’s majestic final symphony.

HAYDN Symphony No.22 The PhilosopherMOZART Oboe Concerto in C Major

ELGAR elab. ANTHONY PAYNE Symphony No.3

Nicholas Carter conductorDiana Doherty oboe

Fri 31 Jul & Sat 1 Aug 7.30pmPerth Concert Hall

*Transaction fees may apply

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

BOOK NOW

Tickets from $30*

MACA LIMITED CLASSICS SERIES

6 C6_Diana Doherty_Ad.indd 1 22/05/2015 3:42 pm