MACA LIMITED PRESENTSFriday 6 & Saturday 7 June 7.30pmPerth Concert Hall

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Call 9326 0000 or visit waso.com.auBook Now*Transaction fees may apply.

Tickets from $30*

ALCOHOL.THINK AGAIN MASTERS SERIES

Asher Fisch Conducts Mahler 9

Fri 13 & Sat 14 June 7.30pmPerth Concert Hall

Mahler’s Ninth is heartbreakingly beautiful and darkly reflective - an unforgettable musical experience.

MAHLER Symphony No.9

Asher Fisch conductor (pictured)

Asher Fisch appears courtesy of Wesfarmers Arts

MACA LIMITEd pRESENTS

Harold in Italy

Thurs 26 June 11am Fri 27 & Sat 28 June 7.30pm Perth Concert Hall

BIZET L’Arlésienne – Suite No.1 FAURE Pelléas et Mélisande (Evening concerts only) VAUGHAN wILLIAMS Suite for Viola and Orchestra: Prelude & Galop (Evening concerts only) BERLIoZ Harold in Italy

Vladimir Verbitsky conductor Maxim Rysanov viola (pictured)

Tickets from $30*

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

SpECIAL EVENT

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

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

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

The WASO Chorus is supported by Lotterywest.

waso.com.au | 08 9326 0000

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welcome

Mourning in music is the idea that unifies the three works in tonight’s program. And unlike in reality, where grief over the dead is associated with pain and desolation, music finds a way to distract the beautiful and sublime out of the sadness. Haydn, the father of classicism, turns in his symphony nicknamed “Lamentations” to the mid-18th century cultural phenomenon called Sturm und Drang – an early manifestation of romantic pouring of emotions in literature and music. A minor key is naturally chosen for the work, the stormy opening bars, where the strings in the orchestra seem to be fighting over the inner rhythm, set up the stormy atmosphere.  This is more a proclamation against death, a desperate fight for life. The post death consolation comes in the beautiful second movement, where the oboe and second violin play a choral over which the first violins play an ornamented line and the bass provides the slow march like background.

When Puccini composed his elegy Crisantemi for the deceased Duke Amadeo of Savoy he turned to music from his early master work Manon Lescaut. Puccini was a master in finding beauty in every dramatic situation his opera libretti handed him, and this work, originally scored for a string quartet but usually played by a string orchestra, is such a fine example of his art.

Rossini also composed mostly operas, and the most well-known of his opera are light hearted, comedies. Even when he turns to write a serious work like his Stabat Mater, he cannot put aside his buffo style all together. This is precisely what makes this oratorio such a compelling work. Through the tears of the crying mother Maria we can always detect a little smile, in the tenor aria or the big quartet for the soloists. The Chorus unaccompanied movement and the final fugue provide the more serious moments in the score. For me personally this is Rossini’s greatest achievement, and it is hard to understand why it has not established itself as one of the main works of the liturgical repertory.

Asher Fisch Principal ConductorAsher Fisch appears courtesy of Wesfarmers Arts.

waso.com.au | 08 9326 0000

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Program

MACA LIMITEd pRESENTS

Rossini’s Stabat Mater

PUCCINI Chrysanthemums (8 mins)

HAYDN Symphony No.26 Lamentatione (17 mins)

Allegro assai con spirito Adagio Menuet and Trio

INTERVAL (25 mins)

RoSSINI Stabat Mater (62 mins)

1. Introduction. Stabat mater dolorosa 2. Cujus animam gementem 3. Quis est homo, qui non fleret 4. Pro peccatis suæ gentis 5. Eia Mater, fons amoris 6. Sancta Mater, istud agas 7. Fac, ut portem Christi mortem 8. Inflammatus et accensus 9. Quando corpus morietur 10. Amen

Asher Fisch conductor Rachelle Durkin soprano Jacqueline Dark mezzo soprano John Longmuir tenor Daniel Sumegi bass wASo Chorus

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

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

Pre-Concert Talks are supported by Wesfarmers Arts.

Meet the ArtistMeet tonights soloist Rachelle Durkin post-concert Saturday night in the Terrace Level foyer.

Meet the Artist is supported by Wesfarmers Arts.

waso.com.au | 08 9326 0000

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FooD & BEVERAGESFoyer bars are open for drinks and coffee two hours before, during interval and after the concert. To save time we recommend you pre-order your interval drinks. Free water stations are set up at the corner bar on Terrace Level near the western window and in the Wardle Room, ground floor near the southern window.

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

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

Making The Most of Your Visit

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

SoCIAL MEDIA

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

Connect with wASo

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

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

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

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

Concert Etiquette Tips

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

wHAT IF I NEED To CoUGH?If you need to cough, try to muffle or bury your cough in a handkerchief or during a louder section of the music. Cough lozenges are available from the WASO Customer Service Desk before each performance and at the interval.

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Thank you to our volunteers

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

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

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

wASo News

Volunteers Nelson & Julie Mews and Val & Barry Neubecker

Early Career Residency with wASo

Young Western Australian composer Lachlan Skipworth recently completed an Early Career Residency with WASO, supported by the Australia Council. The result of the residency was the composition and recording of three brand new works for symphony orchestra, including a Clarinet Concerto composed for young Western Australian clarinettist Ashley Smith. The Concerto will also get a World Premiere by WASO and Smith on 1 October this year in the Latitude New Music Festival. Skipworth’s recorded works were conducted by WASO’s Assistant Conductor Christopher Dragon and may appear on the airwaves soon, on ABC Classic FM. Skipworth was a participant in WASO’s Composition Project in 2012 and has composed works for orchestras and ensembles around Australia.

waso.com.au | 08 9326 0000

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Biographies

Asher Fisch Conductor

Asher Fisch’s first season with the West Australian Symphony Orchestra includes a range of contemporary and classical repertoire, as well as a West Australian first; Beethoven’s nine symphonies performed over two weekends in August.

A seasoned conductor in both the operatic and symphonic worlds, he is known best for his interpretative command of German and Italian repertoire of the Romantic and post-Romantic era, in particular Wagner, Brahms, Strauss and Verdi. He is currently Principal Guest Conductor of the Seattle Opera, where he conducted its quadrennial Wagner Ring cycle in 2013, and his former posts include Music Director of the New Israeli Opera (1998-2008) and the Vienna Volksoper (1995-2000). He first worked with WASO in 1999.

He has long maintained strong ties to the Bavarian State Opera, and in the 2013-14 season conducts a new production by Martin Kušej of The Force of Destiny, plus revival performances of Parsifal, Salome, Ariadne auf Naxos, La bohème and Turandot.

Other highlights of the 2013-14 season include concerts with the Munich Philharmonic; Stuttgart Radio Symphony Orchestra; National Orchestra of Belgium; Aarhus Symphony Orchestra (Denmark); a tour in Italy with the Orchestra della Toscana; and a visit to the Melbourne Festival in October 2013, where he conducted an all-Wagner program with the Melbourne Symphony Orchestra. He conducted the State Opera of South Australia’s Wagner Ring cycle in 2005, which won ten Helpmann Awards.

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

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waso.com.au | 08 9326 0000

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Jacqueline DarkMezzo Soprano

After time as a Principal Artist for the Wiener Staatsoper, Jacqueline Dark returned to Australia and has become one of the best-loved and most prolific artists at Opera Australia

Her roles for the national company have included the title role and Tisbe in Cenerentola (for which she won a Green Room Award), Suzuki (Madama Butterfly), Rosmira (Partenope) and many others. She has sung Dorabella (Cosi fan tutte) and The Composer (Ariadne auf Naxos) for Victorian Opera and Suzuki for Opera Queensland.

In 2012, Jacqueline Dark sang Herodias in Opera Australia’s new production of Salome and won the Green Room Award for Outstanding Principal Female in Opera (Donna Elvira in Don Giovanni). Her 2013/2014 OA schedule includes Emilia in Otello, Donna Elvira, Lady Billows in Albert Herring and Fricka in Der Ring des Nibelungen; later this year, she sings Herodias for Opera Hong Kong.patricktogher.com/jacqueline-dark/

Rachelle Durkin Soprano

New York-based Australian soprano Rachelle Durkin sings regularly with major opera houses and concert organizations throughout the world.

A distinguished oratorio artist, she has appeared with the Metropolitan Opera Orchestra, the Hong Kong Philharmonic Orchestra and the Sydney, Melbourne, Adelaide, Queensland, Tasmanian and West Australian Symphony Orchestras.

Most recently, she has sung Gilda in Spain and Adelaide, Konstanze in Hawaii, Lucia for Chautauqua Opera, the title role in Alcina in Sydney and Melbourne, Angelica (Orlando), Donna Anna, Countess Almaviva, Tytania, Fiordiligi, Eurydice and Violetta in Sydney, Amina, Musetta, the Four Heroines (The Tales of Hoffmann) and Kumudha (A Flowering Tree) in Perth and has appeared at the Metropolitan Opera as Norina, Frasquita and Miss Schlesen in Satyagraha.

In 2014, Rachelle Durkin sings Adina (L’elisir d’amore) and Norina (Don Pasquale) for Opera Australia and appears as Lisa (La Sonnambula) and Clorinda (Cenerentola) at the Metropolitan Opera, New York.patricktogher.com/rachelle-durkin/

waso.com.au | 08 9326 0000

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Daniel SumegiBass Baritone

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

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

John LongmuirTenor

Scottish-born John Longmuir studied at the Australian Opera Studio where he graduated with Merit in 2008. In 2009, he moved to Europe where performance highlights included Handel’s Israel in Egypt with the Berliner Cappella and Fauré’s La Naissance de Venus at the Konzerthaus.

His awards include the Herald-Sun Aria, the inaugural Joan Sutherland and Richard Bonynge Bel Canto Award and the McDonald’s Operatic Aria,

John’s many roles for Opera Australia have included Count Almaviva in The Barber of Seville, Camille in The Merry Widow, Italian Singer in Capriccio, Tamino in The Magic Flute, Fenton in Falstaff and Mayor Upfold in Albert Herring.

Recent engagements include Ernesto in Don Pasquale in Tokyo and Grimoaldo in Rodelinda in Sydney conducted by Richard Bonynge. In 2014, he sings Ernesto, Don Ottavio in Don Giovanni and Narciso in Il Turco in Italia for Opera Australia.patricktogher.com/john-longmuir/

Biographies

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waso.com.au | 08 9326 0000

CONduCTS

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

Book Now

Tickets from $30*

ALCOHOL.THINK AGAIN MASTERS SERIES

Fri 13 & Sat 14 June 7.30pmPerth Concert Hall

Heartbreakingly beautiful and darkly reflective – an unforgettable musical experience.

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

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wASo on Stage Tonight

PrincipalAssociate PrincipalGuest Musician^

VIoLINkirsty HiltonGuest ConcertmasterSemra Lee-Smith A/Associate ConcertmasterGraham Pyatt A/Assistant ConcertmasterAkiko MiyazawaA/Principal 1st ViolinZak RowntreeA/Principal 2nd ViolinKylie Liang A/Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenErin ChenBeth HerbertAlexandra IstedSunmi JungShaun Lee-ChenAndrea Mendham^Lucas O’BrienMelanie PearnKen PeelerJolanta SchenkJane SerrangeliEllie ShalleyKathryn Shinnick^Jacek SlawomirskiBao Di TangCerys ToobyTeresa VinciDavid Yeh

VIoLAPaul McMillan Guest PrincipalKierstan ArkleysmithNik BabicAlex BroganKatherine DrakeAlison HallRachael KirkKathryn McKay^Allan McLeanHelen Tuckey

CELLoRod McGrath Louise McKayShigeru KomatsuOliver McAslan Eve SilverFotis SkordasTim SouthXiao Le Wu

DoUBLE BASSAndrew RootesJoan Wright Sarah Clare^Christine ReitzensteinLouise RossMark Tooby

FLUTEAndrew Nicholson Chair partnered by Apache.

Mary-Anne Blades

oBoELeanne GloverA/PrincipalLiz Chee

CLARINETAllan Meyer Lorna Cook

BASSooNAdam MikuliczA/Principal Colin Forbes-Abrams

CoNTRABASSooNChloe Turner

HoRNDavid EvansSharn McIverJulia Brooke Francesco Lo Surdo

TRUMPETBrent GrapesEvan Cromie Peter Miller

TRoMBoNEJoshua Davis Liam O’Malley

BASS TRoMBoNEPhilip Holdsworth

TIMPANITroy Greatz

HARPSICHoRDStewart Smith^

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Meet the Musician

Louise SandercockViolin

How long have you been performing with wASo and what have been your highlights? I have been working with the Orchestra now for over 25 years during which time I have witnessed many memorable performances from soloists and have worked with a whole range of conductors alike. A more recent highlight would have to be the visit late last year from world renowned violinist/violist Pinchas Zukerman. I was totally impressed with both his magnificent playing as well as the very positive and happy rapport he established with all in the Orchestra.

In 2012 you received the Friends of wASo scholarship. How did this scholarship benefit your musical and personal development?I am most grateful indeed to the Friends of WASO for the scholarship I received in 2012. It has been invaluable.

Over the many years I have now been with the Orchestra I have held an ongoing interest with more specific aspects of violin technique. As I am someone who works most effectively with some sort of goal in mind I decided in the same year to take up the project of seeking to qualify for a Fellowship of Music (F.Mus)

Going to Europe was a dream never followed through in my younger years. Very fortunately through local violinist Rupert Guenther I made contact with a previous Austrian teacher of his own who subsequently offered a hearty invitation to attend several summer courses. Taking up the project in 2012 of completing an F.Mus was a huge challenge, the programme for which I worked rigorously on also whilst away. Overall the project involved a very large amount of additional solitary practice as well

as many practice recital run-through’s, which also involved committing a very substantial part of the program to memory.

As a cumulative result, which has involved some very significant changes just in the last couple of years to my own technique, I am happy to report I feel I am playing far better than when I started in the Orchestra... and it is far easier..!

what do you enjoy most about your career? In addition to playing, I also enjoy teaching. Teaching is something I am interested in becoming more involved with in the future. I think it is a great thing in itself to aim to pass something of value on to another.

I love… anything to do with water. Physical fitness has always been important to me. In the past I used to kayak very regularly and particularly enjoyed white water paddling. In more recent years, though, I have made a welcome return to the local swimming pool and I train with a squad as often as I am able to.

what have you learnt as time has gone by? It is never too late to make changes and improvements to one’s playing, and contrary to what some may be inclined to think, the passing of time presents the opportunity to continue building upon one’s skill set for the future.

waso.com.au | 08 9326 0000

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wASo Chorus

Christopher van TuinenChorus DirectorAndrew FooteVocal CoachLea HaywardAccompanistMaya kraj-krajewskiChorus Administrator

SoPRANoMarian AgombarValerie BannanCatherine BaptyLisa BarrettMarian BirtwistleAnnie BurkeKathryn BuselichAlinta CarollSophie ChapmanPenelope ColganClara ConnorRebecca CooperCate CreedonLisa DaffenCeridwen DumergueBronwyn ElliottJoanna FawcettAmanda FimmelLouise GillettKath GoodmanLesley GoodwinPauline Handford

Heather HannanDiane HawkinsRuth HendersonVictoria HoggBlanche HolzmanMichelle JohnKatherin LangdonGinny LuffCiara McCaugheyMarie McKinnonGemma McNameeHayley MitchelmoreGemma MullaneyElysia MurphyPhilomena NulsenRochelle RabelNatalia RobayoFiona RobsonSarah ShneierJulie SummersClaire TaylorMagdalena TodeaMargaret WarburtonVeronique WillingNicole Zago

ALToLisa BarzLlewela BennJo BennettDaniela BirchPatsy BrownSue Coleson

Jeanette CollinsCatherine DunnJulie DurantKaye FairbairnJenny FaySusanna FleckDianne GravesAnne HattenKate HillGaylene KelsoShew-Lee LeeDiana MacCallumChrissie MavrofridisSarah McLellanLyn MillsMargot MorganLynne NaylorDeborah PearsonDeborah PiesseLiz RombawaNeb RylandLouise SuttonOlga WardMoira WestmoreJacquie Wright

TENoRJohn BeamishPeter ClayIan GordonAllan GriffithsPeter HandfordDon Moore

John MurphyRey Rombawa, JrChris RylandKim Sebbage

BASSJustin AudcentRoger BlazeyJames DevenishKen GasmierBarry GoddardBrian KentBenjamin LeeAndrew LynchTony MarrionBenjamin MartisPeter OrmondViv ReadSteve SherwoodChris SmithDonald WilsonAndrew Wong

wASo CHoRUSA passionate and dedicated ensemble of auditioned volunteer singers, the WASO Chorus is a vital part of Perth’s musical community. The Chorus regularly features in WASO’s annual concert season and has performed with some of the world’s greatest conductors including Asher Fisch, Simone Young, Vladimir Ashkenazy and Richard Hickox. In addition to experiencing the joy of making music at the highest level, members of the Chorus are also increasingly involved in WASO’s Community Engagement activities, including the Hospital Orchestra Project and Harmony Music.

For more information on the Chorus and how to join, visit waso.com.au/about/chorusWASO Chorus is supported by Lotterywest.

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Biographies

Christopher van TuinenChorus Director

Christopher graduated with a Bachelor of Music from the Victorian College of the Arts (VCA) in 2001. In 2005 he completed a Masters in Conducting at the VCA. Experienced in both vocal and instrumental music he was awarded the John Williams Conducting Scholarship for 2004-5. He also holds a Bachelor of Arts from the University of Queensland, a Bachelor of Laws from Queensland University of Technology and an Associate Diploma in Music from the Australian Music Examinations Board. In 2006 he received a Green Room Award nomination in the ‘Best Conductor’ category.

During 2008 and 2009 he was a member of the Young Artists program as a Conductor with Opera Australia and in 2007 he was appointed as the inaugural Conducting Fellow at the Australian Ballet. He has worked with WASO, Orchestra Victoria, Australian Opera and Ballet Orchestra and the Queensland Symphony Orchestra. In addition to his work as Chorus Director for WASO, Christopher is also Conductor of The University of Western Australia Choral Society, Musical Director of Fremantle Chamber Orchestra and Artistic Director of Lost and Found Opera.

Andrew FooteChorus Vocal Coach

Helpmann Award-winner Andrew Foote is one of the most experienced singers and teachers of voice in Australia. For more than 30 years he has been a regular guest artist for Western Australian arts companies, a national broadcast artist for ABC Classic FM, a freelance opera principal artist performing throughout Australia with Opera Australia, OzOpera and West Australian Opera, a regular recitalist and oratorio soloist, and more recently as an opera director.

In his professional concert and operatic career, Andrew has performed more than 30 operatic roles for professional companies throughout Australia - including his acclaimed Ned Keene in Peter Grimes for which he received a 2010 Helpmann Award.  His soloist and concert repertoire, including recordings for ABC Classic FM, have consistently drawn superb accolades. 

After an 11 year break from teaching, Andrew Foote has been appointed Head of Voice at the University of Western Australia School of Music. He re-joins UWA with a renewed enthusiasm and commitment to educating the next generation in the art of concert repertoire and ensemble singing.

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Timeline of Composers & works

1700 1750 1800 1850 1900 1950 2000

GIACOMO PUCCINI

1858 – 1924

JOSEPH HAYDN

1732 – 1809

Puccini's Chrysanthemums1890

Rossini's Stabat Mater1842

Haydn's Symphony No.261766

GIOACHINO ROSSINI

1792 – 1868

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Program Notes

Giacomo Puccini(1858-1924)

Chrysanthemums

Tonight’s concert opens with a work named after a flower which in some countries is traditionally associated with funerals and grief. Chrysanthemums (Crisantemi) was conceived as a memorial for a triply-important personage: Prince Amadeo of Savoy, Duke of Aosta and King of Spain, a friend of Puccini’s who died in 1890.

Puccini wrote little chamber music and much of it remains unpublished. He declared that he wrote Chrysanthemums in one night, but its fine workmanship belies such claims. The work is a rare treasure in Puccini’s output: an instrumental piece that approaches the inspiration of his operas. It unfolds in one elegiac movement for string quartet, and can also be performed by small string orchestra, as it will be in this concert.

waso.com.au | 08 9326 0000

SCHUBERT Quartettsatz featured in Brahms’ Clarinet Quintet Fri 19 & Sun 21 September

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Chamber Music music performed by a small ensemble, with one player per instrumental part, e.g. a string quartet.

Glossary

Early audiences were impressed by Puccini’s brief foray into the string quartet. Puccini was also quite impressed with himself, and snuck some recycled chrysanthemums into his 1893 opera Manon Lescaut. Opera buffs will recognise their surprise appearance at two key moments: as Manon and Des Grieux converse at a prison window, and in the death scene.

Anna Goldsworthy © 2003

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Program Notes

Joseph Haydn(1732-1809)

Symphony No.26 in D minor, LamentationeAllegro assai con spirito Adagio Menuet and Trio

Haydn famously remarked in old age that the periods of isolation at his employer’s court in the palace of Eszterháza ‘forced him to be original’, and the symphonies of the mid-1760s and early 1770s bear this out. Many of these pieces display highly emotive and dramatic effects, so, borrowing a term from a slightly later trend in German literature, many scholars refer to them as the Sturm und Drang (‘Storm and Stress’) works.

In the case of this D minor symphony, Haydn’s dramatic intent is quite clearly linked to a religious purpose. It was probably composed as early as 1766 for performance during Holy Week. (Somewhat confusingly, the work later gained the nickname of ‘Christmas Symphony’, despite Passio et Lamentatione appearing on one of the oldest manuscripts.) To that end, Haydn used plainchant as melodic material; however, he turns this ancient material to very modern dramatic purpose, creating an immediate urgency by the use of syncopations cutting across the beat.

SCHUBERT Symphony in B minor Unfinished featured in Schubert & Schumann Fri 8 & Sat 9 August

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Plainchant The traditional music of the Christian church, still performed in many monasteries and convents. It is unaccompanied singing of a unison melody with no sense of any regular rhythm or pattern of strong and weak beats. Gregorian chant is the best-known type

Counterpoint Two or more lines of music or melodies that are played at the same time.

Glossary

The second movement reminds us of some of Bach’s chorale preludes, as the main melody is given in melancholy counterpoint against an austere accompaniment. There could of course be no conventional finale in a work written for this time in the liturgical calendar. Even less conventionally, though, Haydn ends with a substantial dance movement. But there is little joy here – the minor key predominates and with it bare or dissonant intervals; the phrases are short and breathless; the scoring is mainly sparse almost to the point of coldness. The movement itself ends on a note of quiet exhaustion.

Abridged from a note by Gordon Kerry © 2003

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Program Notes

Gioachino Rossini(1792-1868)

Stabat Mater1. Introduction. Stabat mater dolorosa 2. Cujus animam gementem 3. Quis est homo, qui non fleret 4. Pro peccatis suæ gentis 5. Eia Mater, fons amoris 6. Sancta Mater, istud agas 7. Fac, ut portem Christi mortem 8. Inflammatus et accensus 9. Quando corpus morietur 10. Amen

Rachelle Durkin sopranoJacqueline Dark mezzo-sopranoJohn Longmuir tenorDaniel Sumegi basswASo Chorus

The Stabat Mater Text‘Sorrowfully his Mother stood, weeping, at the foot of the Cross, where her Son was hanging.’ Thus begins the Stabat Mater, a 13th-century religious poem attributed to Jacopone da Todi, an Italian lawyer who after his wife’s death became a lay member of the Franciscan order. It takes its inspiration from a verse in John’s Gospel (25:19) ‘At the cross stood the Mother of Jesus’, and refers to Simeon’s prophecy, made to Mary (Luke 2:35) ‘and a sword shall pierce your heart’.

The Stabat Mater was not originally intended for liturgical use, but inspired many composers in works for church and concert hall. Polyphonic a cappella settings from the medieval and Renaissance periods include Stabat Maters by Josquin, Palestrina, and Lassus. More than a hundred settings were composed between 1700 and 1883. In addition to the influential version by Pergolesi (1736), there exist notable settings by Haydn (1767), Dvořák (1876-77), Verdi (one of his last compositions, 1898), Szymanowski (1925-26) and Poulenc (1950).

Rossini’s Stabat MaterRossini’s operas made him the most famous and popular composer of the day. Thirty-nine in all, they include such delightful comic operas as The Barber of Seville. After the 1829 premiere of his serious opera Guillaume Tell, Rossini baffled everybody by retiring from composing for over 20 years. This ‘great renunciation’ was only partly due to ill health; Rossini recovered and enjoyed a new fame for his wit, his love of good food, and the galaxy of talent attending his Saturday evening receptions. His composing silence was broken only once, and against his wishes.

The Stabat Mater was commissioned by a Spanish clergyman called Varela, during Rossini’s visit to Madrid in 1831. Not wanting to invite comparison with Pergolesi’s Stabat Mater, a reluctant Rossini agreed on condition that the music was exclusively for Varela and should never be published. On his return to Paris, Rossini wrote six numbers, then fell victim to a severe (or was it a diplomatic?) attack of lumbago. Having completed No.1 and Nos 5-9, Rossini had the remainder composed by the conductor of the Théâtre Italien, Tadolini. In exchange for the work, Varela sent Rossini a gold snuffbox with eight large diamonds.

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A cappella Sung without instrumental accompaniment.

Contrapuntal Of, relating to, or incorporating counterpoint.

Glossary

HANDEL Messiah featured in Handel’s Messiah Fri 5 & Sat 6 December

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In 1837 Varela died, and his heirs sold the Stabat Mater to a French publisher. During the prolonged lawsuit initiated by Rossini, he completed his setting, replacing Tadolini’s numbers. Rossini won his case, but the publicity made it impossible to avoid performance and publication. There was intense interest in the breaking of Rossini’s silence, and the Stabat Mater’s first performance, in Paris’ Théâtre Italien on 7 January 1842, was a triumph. The soloists included the soprano Grisi, the tenor Mario, and the bass Tamburini, three of the most celebrated singers of the day, and the Journal des Débats declared that, since Haydn’s Creation was first heard in Paris, no musical event had so impressed or moved the public. To German poet Heinrich Heine, an expatriate in Paris, the theatre that night seemed like the vestibule of heaven.

Received opinion on Rossini’s Stabat Mater points to its supposedly operatic style, with the composer being either exonerated or condemned for this. Some numbers are indeed like arias in Rossini operas, notably the second soprano’s ‘Fac ut portem’. Rossini’s admired model, Pergolesi, had been criticised by Padre Martini for writing a Stabat Mater too like his opera La serva padrona. The Stabat Mater is so vivid in its images of witnessed suffering that it seems to invite an emotional, heartfelt setting. Rossini’s setting may seem naive: for example, in the theatricality of the quartet ‘Sancta Mater’. Passages may shock some listeners by their sheer hedonism. But that is not all, as is confirmed when the Stabat Mater is compared with two other sacred works of Rossini’s. It stands midway between the early Messa di Gloria, full of showy vocal display as well as elaborate fugal and contrapuntal writing, and the Petite messe solennelle of Rossini’s last

years, one of his most serious compositions. Despite a whiff of humorous ambivalence, this late Mass often breathes the atmosphere of the church at worship.

The Stabat Mater has two remarkable a cappella sections – ‘Eia Mater’ for bass and chorus, and ‘Quando corpus morietur’ for the solo quartet – in which Rossini pays imaginative tribute to old church music. The quartet was admired by Verdi and Wagner. The final fugal Amen is bold and impressive. These numbers balance the fresh, Pergolesi-inspired melodiousness of some of the other sections. With the exception of the fugue, Rossini’s replacements for Tadolini’s contributions (Nos.2-4) are simpler, more melodic, more soloistic.

The ‘Cujus animam’, set as a march for the tenor, has been unfairly dismissed by organ-loft pedants. We can hardly imagine how Mario sang it at the first performance, but strenuous heroics complete with a stentorian high D flat is surely not what Rossini intended. The march may have been suggested by the image of a sword piercing Mary’s heart. Soldiers witnessed the crucifixion, and one pierced Jesus’ side with a spear – could it be the centurion Rossini imagined here? His mature inspiration in the Stabat Mater deserves to be closely considered, rather than just enjoying it in spite of misgivings.

David Garrett © 2001/2014

WASO last performed this work on 24 & 25 July 1987, conducted by Georg Tintner.

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1. INTRoDUCTIoN – CHoRUS AND QUARTETStabat Mater dolorosajuxta crucem lacrimosadum pendebat Filius.

The sorrowful Mother stood Weeping, by the crossWhere her Son was hanging.

2. ARIA (TENoR)Cujus animam gementem,contristatam et dolentem,pertransivit gladius.

Her weeping heartFull of anguish and sorrowA sword had pierced.

O quam tristis et afflictafuit illa benedictaMater unigeniti!

Oh how sad and desolateWas that holy MotherOf the only begotten Son!

Quae moerebat et dolebat,et tremebat cum videbatnati poenas inclyti.

She grieved and she sufferedAnd trembled as she witnessedThe pains of her glorious Son.

3. DUET (SoPRANo I AND II)Quis est homo qui non fleretChristi Matrem si videretin tanto supplicio?

What man would not weepIf he saw the Mother of ChristIn such deep suffering?

Quis non posset contristaripiam matrem contemplaridolentem cum Filio?

Who could fail to be movedWatching that sweet MotherGrieving for her Son?

4. ARIA (BASS)Pro peccatis suae gentisvidit Jesum in tormentiset flagellis subditum.

For the sins of His peopleShe saw Jesus being torturedAnd subjected to scourging!

Vidit suum dulcem natummoriendo desolatumdum emisit spiritum.

She watched her own beloved SonDeserted as He diedAs he breathed His last.

5. CHoRUS AND RECITATIVE (BASS)Eia Mater, fons amoris, me sentire vim dolorisfac, ut tecum lugeam.

O Mother, source of love,Let me feel the strength of this sorrowSo that I may mourn with thee.

Fac, ut ardeat cor meum in amando Christum Deum,ut sibi complaceam.

Make my heart blazeWith love for Christ the LordSo that I may please Him!

Text & Translation

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6. QUARTETSancta mater, istud agas,crucifixi fige plagascordi meo valide.

Holy Mother, do this for me:Stamp the wounds of thy crucified SonFirmly in my heart.

Tui nati vulnerati,tam dignati pro me pati,poenas mecum divide.

Share with me the anguishOf thy Son who deigned to sufferWounds and so much pain for me.

Fac me vere tecum flere,crucifixo condolere,donec ego vixero.

Let me weep sincerely with theeAnd join mine to thy tearsIs my fervent wish.

Juxta crucem tecum stare,te libenter sociarein planctu desidero.

To stand by the cross with theeAnd join mine to thy tearsIs my fervent wish.

Virgo, virginum praeclara,mihi jam non sis amara,fac me tecum plangere.

O Virgin, the greatest of all virgins,Do not be unkind to me now;Allow me to weep with thee.

7. CAVATINA (SoPRANo II)Fac, ut portem Christi mortempassionis fac consortem,et plagas recolere.

Let me suffer with Christ in His death,Let me share the torments with HimAnd meditate on his wounds.

Fac me plagis vulnerari,cruce hac inebriari,ob amorem Filii.

Let His wounds be inflicted on meAnd through His cross, let me be filledWith love for the Son.

8. ARIA (SoPRANo I) AND CHoRUSInflammatus et accensusper te, Virgo, sim defensusin die judicii.

So fired and ablazeMay I be protected by thee, O Virgin,On the day of judgment.

Fac me cruce custodirimorte Christi praemuniriconfoveri gratia.

Let me be guarded by the Cross,Strengthened by the death of Christ,Sheltered by His grace.

9. QUARTETQuando corpus morietur,fac, ut animae doneturparadisi gloria.

Grant that when my body diesThe glory of HeavenMay be given to my spirit.

10. CHoRUSAmen.In sempiterna saecula.Amen.

Amen.World without end.Amen.

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Meet the InstruMent the Bassoon

A member of the double reed family of woodwind instruments, the bassoon is built in four joints, and exists in two versions: the German or ‘Heckel’ system, and the French or ‘Buffet’ system, with differences in the construction of the bore and keys. When played, the bassoon is held diagonally across the body, and must be supported by a neck strap or harness due to its considerable weight.

The early history of the bassoon is obscure, but the dulcian is generally considered to be its precursor, and was used in Renaissance and Baroque music until its eventual abandonment by the beginning of the 18th century. The 19th-century German performer, teacher and composer Carl Almenraeder improved the design of the bassoon to enhance its intonation and response as well as expand its range to four octaves.

The bassoon is an agile instrument, and those who play it employ a variety of techniques to highlight its capabilities. It is capable of a dry staccato that is used as a form of musical humour, while its upper register produces a reedy, plaintive sound. New techniques that developed in the 20th century include pitch-bending (adjusting the embouchure to slide up or down to a nearby note) and flutter tonguing (rapidly rolling the tip of the tongue to produce a growling effect).

Early works for the bassoon include 39 concertos written by Vivaldi, outnumbering those he wrote for any other instrument except the violin. Other pieces that feature the bassoon include Tchaikovsky’s Symphony No.4, Prokofiev’s Peter and the Wolf, Dukas’ The Sorcerer’s Apprentice, and the opening passage of Stravinsky’s The Rite of Spring, which exploits the eerie quality of its upper register.

Clare Krier Symphony Services International © 2012

The pitch range of the bassoon:

Key: 1 Bell 2 Crook 3 Double reed

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Meet the Instruments.indd 8 2/04/14 12:08 PM

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Proud sPonsor of wAso

apachecorp.com/Australia

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WASO is a charitable organisation that increasingly depends on the inspiring generosity of its Patrons to be at the cultural heart of Western Australia. Annual donations underpin our ability to sustain the level of excellence for which we consistently strive.

As we celebrate our tenth year of annual giving, it is an exciting time to be a part of our musical journey and we invite you to support WASO and help us raise $500,000 by becoming a Patron. All donations over $2 are tax deductible and your gift will be tax deductible this financial year if it reaches us by 30 June.

We are extremely proud to be supported by the following Patrons who, for each of the last nine years, have renewed their gift to our annual giving campaign:

Fred & Margaret Affleck Sally BurtonBrian CresswellGerty EwenAnnette FinnDavid & Valerie Gulland

Janet Holmes à Court ACBarbara KentKent MacfiePeter & Patricia Moss Jill MulheronJohn Overton

Heather RogersJudith SienkiewiczDavid Turner & Judith Wilton Andrew & Marie Yuncken

We would like thank them for their invaluable ongoing support.

To learn more please call Jane Clare on 9326 0014 or email clarej@waso.com.au. It is also quick and easy to log in and make a donation online by going to waso.com.au and clicking the red Make a Donation button.

wASo Philanthropy

Annual Giving

Philanthropy Partner

Patrons & Friends Event

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

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

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

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

waso.com.au | 08 9326 0000

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waso.com.au | 08 9326 0000

our Supporters

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

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

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

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

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

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

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

Reach outRecognises Patrons who support our Education and Community Engagement programs.Prue Ashurst Andrew & Nicola ForrestThe James Galvin FoundationRobyn GlindemannBarrie & Jude LepleyMcCusker Charitable FoundationSimon Lee Foundation

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

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our Supporters

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

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

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

Maestro Patron Gifts $5,000 - $9,999Jean Arkley in memory of Tom ArkleyBill BlokingIan & Elizabeth ConstableBridget Faye AMGilbert George & AssociatesDr Patricia KailisMargaret & Rod MarstonRobert May Spinifex TrustPeter & Jean StokesSue & Ron WoollerAnonymous (1)

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

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

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

Pamela PlattAndrew & Suzanne PoliDr Leon PrindivilleChester ReeveJohn & Alison RiggNigel & Dr Heather RogersMaurice & Gerry RoussetRoger SandercockDr R & J SchwengerMargaret & Roger SearesEve Shannon-CullityJulian & Noreen SherLaurel & Ross SmithDr Paul Smith & Denham HarryGail & Tony SutherlandRichard Tarala & Lyn Beazley AOGene TilbrookMary TownsendDr Robert TurnbullMaggie VenerysStan & Valerie VicichWatering ConceptsIan WatsonJoyce Westrip OAMAlan WhithamAnn WhyntieJean & Ian Williams AODr Peter WintertonAnonymous (17)

Tutti PatronGifts $500 - $999Geoff & Joan AireyCatherine BagsterMerle I BardwellBetty Barker

Bernard & Jackie BarnwellShirley BarracloughP M BennetMichael & Nadia Berkeley-HillElaine BondsDiane & Ron BowyerElizabeth & James BrownC & K BrownlieMarilyn & Ian BurtonNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeDr Anne ChesterLyn & Harvey Coates AOAgatha & Alex Cohen AOHelen CookBrian CresswellGina & Neil DavidsonFrances DaviesLesley & Peter DaviesJop & Hanneke DelfosRai & Erika DolinschekLorraine EllardMrs G. EwenThe Farghaly FamilyAnnette FinnJim & Pamela FlahertyJoan GagliardiPat GallaherGeorge GavranicElaine GimsonIsobel GlencrossJacqui GroveDouglas M & Regina HansenProf Alan Harvey & Dr Paulien de BoerRichard Hatch

our Supporters

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

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

All donations over $2 are fully tax deductible.

Dr Penny Herbert in memory of Dunstan HerbertHelen HollingsheadJohn IsherwoodB. M. Kent Nelly KleynIn memory of Dr Brenton KnottTrevor & Ane Marie LacyMegan LoweDr M. E. MacDonald & Mr Michael PaulyMrs Carolyn Milton-Smith in loving memory of Emeritus Prof. John Milton-SmithS.B. Monger-HayDr Peter MossMarianne NilssonMarjan OxleyGraham & Hildegarde PennefatherBev PennyAdrian & Ruth PhelpsAlpha & Richard Pilpel OAMSheila PinchThomas & Diana PotterAlison & John PriceClarissa ReptonJames & Nicola Ridsdill-SmithLeigh RobinsonJudith E Shaw

Hendrick SmitMichael Snell & Vicki StewartPeggy & Tom StacyDr Julian TodresS R VogtAdrienne & Max WaltersDiana WarnockAnne WatsonJoy WearneDr Chris & Mrs Vimala WhitakerViolette WilliamJanet WilliamsJudith Wilton & David TurnerPatricia WongYalambi Farm StudAnonymous (16)

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

our Supporters

waso.com.au | 08 9326 0000

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waso.com.au | 08 9326 0000

west Australian Symphony orchestra

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

VIoLAPaul McMillan Guest PrincipalKierstan ArkleysmithNik BabicAlex BroganKatherine DrakeAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLoRod McGrath PrincipalLouise McKayAssoc PrincipalShigeru KomatsuOliver McAslan Nicholas MetcalfeEve Silver* Fotis SkordasTim SouthXiao Le Wu

DoUBLE BASSAndrew Rootes* PrincipalJoan Wright Assoc PrincipalChristine ReitzensteinLouise RossAndrew TaitMark Tooby

FLUTEAndrew Nicholson PrincipalChair partnered by Apache

Mary-Anne Blades Assoc Principal

PICCoLoMichael Waye Principal

oBoEElizabeth CheeStephanie Nicholls

CoR ANGLAISLeanne GloverPrincipal

CLARINETAllan Meyer PrincipalLorna Cook

BASS CLARINETAlexander Millier PrincipalChair partnered by Alessandrino property Group

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

CoNTRABASSooNChloe Turner Principal

HoRNDavid Evans PrincipalRobert Gladstones Principal 3rdJulia Brooke Francesco Lo Surdo

TRUMPETBrent GrapesA/PrincipalEvan Cromie Assoc PrincipalPeter Miller

TRoMBoNEJoshua Davis PrincipalLiam O’MalleyAssoc Principal

BASS TRoMBoNEPhilip Holdsworth Principal

TUBACameron Brook Principal

TIMPANIAlex Timcke Principal

PERCUSSIoNRobyn GrayPrincipalTroy Greatz

HARPSarah Bowman Principal

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

ASSISTANT CoNDUCToRChristopher Dragon

CHoRUS DIRECToRChristopher van Tuinen

CHoRUS VoCAL CoACHAndrew Foote

Principal ConductorAsher FischPartnered by Wesfarmers Arts

Conductor Laureate Vladimir Verbitsky

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

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

AEG ogden (Perth) Pty LtdRodney M Phillips Chief Executive

The Perth Theatre TrustThe Hon. Mr Peter Blaxell Chairman

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

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

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

ExECUTIVECraig Whitehead Chief Executive Ellen Wisdom Executive Manager, Human ResourcesAna Vargas Executive Assistant

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

CoMMUNITY ENGAGEMENTCassandra Lake Executive Manager, Community EngagementHannah Clemen Education Coordinator

oRCHESTRAL MANAGEMENTKeith McGowan Executive Manager, Orchestral ManagementRichie Burton Orchestral Operations ManagerDavid Cotgreave Production & Technical ManagerAlistair Cox Orchestra ManagerWee Ming Khoo Music LibrarianNoel Rhind Orchestral Operations Coordinator

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

CoRPoRATE DEVELoPMENT Marina WoodhouseExecutive Manager, Corporate DevelopmentSimon Lodge Executive Manager, Corporate DevelopmentSharmini Poulsen Corporate Partnerships ManagerLuci Steinhardt Corporate Partnerships ExecutiveGinny LuffEvents Coordinator

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

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

waso.com.au | 08 9326 0000

Fresh water thinking is music to our ears.Music has the power to inspire and unite us. So we are pleased to support WASO in spreading the joy of classical music to schools and communities across WA.

Proudly supporting cultural events that connect communities.

WATER10282_148x210.indd 1 24/10/13 4:50 PM

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Fresh water thinking is music to our ears.Music has the power to inspire and unite us. So we are pleased to support WASO in spreading the joy of classical music to schools and communities across WA.

Proudly supporting cultural events that connect communities.

WATER10282_148x210.indd 1 24/10/13 4:50 PM

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

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Funding Partners

eduCatiOn Partners

OrCHestra suPPOrters

Media Partners

KeYnOte Partners

PlatinuM Partners

COnCertO Partners

Overture Partners

sOnata Partners

Margaret river Wine Partners

School of Music | Tertiary Education Partner

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

2014 Corporate Partners

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

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

Book Now Ticketek Call 1300 795 012 or visit ticketek.com.au

The Cook,

The Chef & WASo

Featuring Maggie Beer & Simon Bryant

Fri 18 July 8pm Riverside Theatre, Perth Convention & Exhibition Centre

A rare opportunity to see Maggie and Simon cook on stage accompanied by a smorgasbord of their classical favourites performed live by WASO.

Kitchen appliances for The Cook, The Chef & WASO supplied by Kitchen Headquarters.

EY PRESENTS

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