PROGRAMMORNING SYMPHONY SERIESThursday 19 November 11amALCOHOL.THINK AGAIN MASTERS SERIESFriday 20 & Saturday 21 November 7.30pmPerth Concert Hall

Mahler’s Titan

M8 - Beethoven Mahler_Program Cover 2015.indd 1 2/10/2015 3:13 pm

WELCOME

This weekend we are delighted to bring together again our Principal Conductor Asher Fisch and pianist Ingrid Fliter. They last worked together in Perth in 2013 and have developed a wonderful artistic rapport. We are also delighted to welcome Principal Trombone, Liu Shuchang and Tutti Horn, Jiang Feng from the China Philharmonic Orchestra in Beijing who will be performing with WASO as part of our ongoing cultural exchange program.

Beethoven’s First Piano Concerto (well, actually his Second, this one was just published first) is his most classical and conventional - his musical language and style still bearing the hallmarks of his predecessors Haydn and Mozart. His development sections, however, reveal a composer of great imagination who is eager to push stylistic norms and accepted boundaries. This concerto, with its classical poise, moments of mystery and good humour is a wonderful vehicle for Ingrid Filter’s crystalline touch and exquisite musicianship.

“A symphony should be like the world,” Mahler told Jean Sibelius in 1907. “It must contain everything.” Even with this First Symphony, Mahler seems to be expressing a whole world’s worth of emotion. The breathtaking opening reveals a sense of almost primal awakening, a coming into consciousness and an expression of love and nature that few other composers have captured. Mahler conducted the premiere of his First Symphony in 1889, but to a very mixed reception. In response to the bad reviews it received, Mahler heavily revised the work and completely omitted the original second movement Blumine. However, this weekend Maestro Fisch has decided to include this beautiful serenade-like movement as a stand alone work to open our evening concerts.

Beethoven and Mahler may have been in their “green years” when these works were written, but even in the relatively early stages of their careers there was no sign of inexperience or lack of confidence. I hope you enjoy your journey through these two “firsts” by two musical titans.

Alan Tyrrell Program Manager

WASO.COM.AU | 08 9326 0000

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Pre-concert TalkFind out more about the music in the concert with this week’s speaker Phil Robertson. The pre-concert talk takes place at 9.40am in the auditorium on Thursday morning.

The Pre-concert Talk is supported by Wesfarmers Arts

MORNING SYMPHONY SERIES

MAHLER’S TITAN

MAHLER Symphony No.1 (56 mins)Langsam, schleppend – Im Anfang sehr gemächlich (Slow, dragging – Very comfortably)Kräftig bewegt, doch nicht zu schnell (Forcefully, yet not too fast)Feierlich und gemessen, ohne zu schleppen (Solemn and measured, without dragging)Stürmisch bewegt (Stormily)

Asher Fisch conductorAsher Fisch appears courtesy of Wesfarmers Arts

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Pre-concert TalksFind out more about the music in the concert with this week’s speaker, Phil Robertson. Pre-concert talks take place at 6.45pm in the Terrace Level Foyer.

The Pre-concert Talks are supported by Wesfarmers Arts

ALCOHOL.THINK AGAIN MASTERS SERIES

BEETHOVEN & MAHLER

MAHLER Blumine (7 mins)

BEETHOVEN Piano Concerto No.1 (37 mins) Allegro con brio Largo Rondo (Allegro)

Interval (25 mins)

MAHLER Symphony No.1 (56 mins) Langsam, schleppend – Im Anfang sehr gemächlich (Slow, dragging – Very comfortably)Kräftig bewegt, doch nicht zu schnell (Forcefully, yet not too fast)Feierlich und gemessen, ohne zu schleppen (Solemn and measured, without dragging)Stürmisch bewegt (Stormily)

Asher Fisch conductor Ingrid Fliter pianoAsher Fisch appears courtesy of Wesfarmers Arts Ingrid Fliter appears courtesy of Singapore Airlines

UPCOMING CONCERTS

BOOK NOW CALL 9326 0000 VISIT WASO.COM.AU OR TICKETEK.COM.AU*Transaction fees may apply.

CITY OF PERTH

Symphony in the CitySat 12 December 7.30pm Langley Park, Perth

This spectacular free outdoor concert will feature classical and movie favourites performed by the Orchestra and WASO Chorus led by Principal Conductor Asher Fisch.

Asher Fisch conductorStephen Curry presenter

Andrew Nicholson fluteAndrew Sinclair double bassWASO Chorus

Asher Fisch appears courtesy of Wesfarmers Arts

FREE EVENT

EY PRESENTS

James Morrison & WASO A Journey Through JazzThurs 3 & Fri 4 December 8pm Perth Concert Hall

WASO, talented young vocalist Hetty Kate and Australia’s favourite trumpet player, James Morrison perform the greatest jazz hits made famous by Louis Armstrong, Ella Fitzgerald, Benny Goodman, Duke Ellington and many more.

Benjamin Northey conductor James Morrison trumpet (pictured) Hetty Kate vocals

MACA LIMITED CLASSICS SERIES

RAVEL’S BOLERO Thu 26, Fri 27 & Sat 28 November 7.30pm Perth Concert Hall

Ravel’s mesmerising Bolero features in this dazzling Spanish-inspired program led by Principal Conductor Asher Fisch. Be swept away by the infectious rhythms and sultry melodies of Spain in this intoxicating concert.

TURINA Danzas fantásticas RAVEL Alborada del gracioso VILLA-LOBOS Chôros No.10 Rasga o coração FALLA Nights in the Gardens of Spain RAVEL Bolero

Asher Fisch conductor (pictured) Ingrid Fliter piano WASO ChorusAsher Fisch appears courtesy of Wesfarmers Arts Ingrid Fliter appears courtesy of Singapore Airlines

TICKETS FROM $30*

TICKETS FROM $50*

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WASO IN THE COMMUNITY

Harmony Music visit to Koorana Educational Support CentreWASO musicians visited Koorana Education Support Centre, as part of our Harmony Music program. Musicians introduced students to a variety of classical music including Orlando Gibbons’ The Silver Swan and ‘Pastorale’ from Handel’s Messiah. “The Paperbag Princess” story came to life, with moments being played on the violin, to create an atmosphere of Princes and fire breathing dragons. A highlight was the interactive nature of the visit - students had a go playing nursery rhymes on student-sized instruments and drew how the music made them feel.

The visit received wonderful feedback from their teacher: “The students thoroughly enjoyed having the musicians from WASO come and perform at their school. It is wonderful to see the musicians share their enthusiasm as they lead the students through a journey of classical pieces…. it is enjoyable to see our students being mesmerized by the sounds and their infectious smiles.”

Harmony Music is supported by Mitsubishi Corporation

This Harmony Music visit was kindly supported by Patron Robyn Glindemann

WASO on the Road – The Sound of Picture BooksWASO on the Road travelled to Geraldton at the end of September for a week of amazing performances.

WASO partnered with The Literature Centre to present The Sound of Picture Books to over 2,300 children and community members. The 50-minute workshop brought story books to life through a journey of sound, imagery and words. Matt Ottley’s (illustrator/composer) original score was performed by a WASO string quintet and Yamaha pianist Alf Demasi, while author Danny Parker narrated his text as Matt’s beautiful illustrations were projected on a large screen.

In addition to these school performances, the WASO quintet also performed a very special concert at Nazareth House nursing home, and performed a surprise ‘pop up’ concert at the local Dome café.

While we would like to thank everyone for their support and engagement, a very special thank you goes to Geraldton Grammar School – our wonderful hosts for the week.

WASO on the Road - Geraldton was supported by Creative Partnerships +1, Water Corporation, Yamaha and Double the Fun campaign donors

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:• When the conductor or soloist walks onto

the stage • After the completion of each piece and

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.

HEARING AIDSPlease note that incorrectly adjusted hearing aids may disturb other patrons.

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 delayed broadcast on ABC Classic FM. For further details visit abc.net.au/classic

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PERTH CONCERT HALL

WASO Box Office now at Perth Concert HallOn 9 November 2015, the WASO Customer Service and Box Office team moved from their Hay Street office to WASO’s performance home, Perth Concert Hall. Now you are able to purchase your WASO tickets and tickets to any other events and performances at Perth Concert Hall from the box office at Perth Concert Hall. The box office will operate Monday to Friday, 9am to 5pm and 90 minutes prior to performances in the Ground Floor (Level 1) Foyer.

You are able to purchase concert tickets, subscriptions, exchange tickets, book Patrons & Friends events and make donations at the new WASO Box Office location at Perth Concert Hall. The contact phone number has not changed: WASO’s friendly customer service team will continue to take your WASO bookings over the phone on (08) 9326 0000, or you can book directly on the WASO website at waso.com.au. If you wish to book tickets to non-WASO events at Perth Concert Hall, please call the box office on (08) 9231 9999, or book on the Perth Concert Hall website perthconcerthall.com.au.

Due to the larger volume of concert sales that the new, combined WASO and Perth Concert Hall box office team will handle, the team has also expanded. Led by Customer Relations and Operations Manager Simon Keen, the team includes Ticketing Client Account Managers Josie Aitchison and Vanessa Woolley, Customer Service Supervisors Christina Ballico and Julie Wood, and Customer Service and Sales Representatives Alana Arnold, Leticia Cannell, Margaret Daws, Helen Gortmans, Talei Louie, Vicki Prince, Krista Tanuwibawa, Bev Trolio, Emily Wallis and Robyn Westbrook. Please stop by and say hi to the team in their new home!

Limited number of car parking bays available for lease!

There are a very limited number of car parking bays available for lease in Perth Concert Hall’s secure car park (access via St Georges Terrace) at a cost of $360 ex GST per month. The bays are accessible Monday-Friday 6am to 6pm. Please contact Deputy General Manager Lorraine Rice on ricel@perthconcerthall.com.au for more information.

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Visit perthconcerthall.com.au

CONNECT WITH PERTH CONCERT HALL

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ABOUT THE ARTISTS

Asher FischPrincipal Conductor

Asher Fisch’s first season with the WASO included a range of classical repertoire, as well as a West Australian first; Beethoven’s nine symphonies performed over two weekends. 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 conducted 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 included 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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Ingrid FliterPiano

Ingrid Fliter has established a reputation as one of the preeminent interpreters of Chopin; her two all-Chopin albums on EMI Classics were named ‘Editor’s Choice’ in Gramophone and Classic FM magazines.

Her engagements in the 2015-16 season includes performances with the Amsterdam Sinfonietta; Royal Philharmonic Orchestra; Hungarian National Philharmonic Orchestra; Copenhagen Philharmonic Orchestra; Malmö Symphony Orchestra; Basque National Orchestra; and recitals in London at the Southbank Centre’s International Piano Series. She previously appeared with the West Australian Symphony Orchestra in 2013, performing Chopin’s Piano Concerto No.2.

Born in Buenos Aires, Ingrid Fliter studied in Argentina with Elizabeth Westerkamp and in Europe with Vitaly Margulis, Carlo Bruno, Franco Scala and Boris Petrushansky. She has also worked with and been mentored by Zoltán Kocsis, Louis Lortie, Alexander Lonquich and Alfred Brendel. In 2006 she was awarded the Gilmore Artist Award, one of only a handful of pianists to have received this honour. Ingrid Fliter appears courtesy of Singapore Airlines

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MASTERS SERIES8 CONCERTS

ALCOHOL.THINK AGAIN

ASHER FISCHTHE PLANETSBEHZOD ABDURAIMOV THE RITE OF SPRINGSTUART SKELTONMAHLER’S RESURRECTION JEAN-YVES THIBAUDET SIMONE YOUNG

Asher Fisch appears courtesy of Wesfarmers Arts

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MASTERS SERIES8 CONCERTS

ALCOHOL.THINK AGAIN

ASHER FISCHTHE PLANETSBEHZOD ABDURAIMOV THE RITE OF SPRINGSTUART SKELTONMAHLER’S RESURRECTION JEAN-YVES THIBAUDET SIMONE YOUNG

Asher Fisch appears courtesy of Wesfarmers Arts

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

WASO ON STAGE TODAY

VIOLINWilma SmithGuest ConcertmasterGraeme NorrisAssoc ConcertmasterSemra Lee-Smith Assistant Concertmaster Ji Won Kim Principal 1st Violin Zak Rowntree*Principal 2nd ViolinAkiko MiyazawaAssoc Principal 2nd ViolinKylie LiangAssistant Principal 2nd ViolinRachael Aquilina^Sarah BlackmanFleur ChallenStephanie DeanSara DuhigJohn Ford^Rebecca GlorieBeth HebertJane Johnston^Sunmi Jung^Christina KatsimbardisEllie LawrenceMelanie PearnElena PhatakGraham PyattLouise SandercockJolanta SchenkJane SerrangeliJacek SlawomirskiBao Di TangCerys ToobyDavid Yeh

VIOLACaleb WrightAlex BroganKierstan ArkleysmithNik BabicBenjamin CaddyKatherine DrakeAlison HallRachael KirkAllan McLeanHelen TuckeyAaron Wyatt^

CELLORod McGrath Louise McKayChair partnered by Penrhos College Jessica Brittain^Shigeru KomatsuOliver McAslan Nicholas MetcalfeAnna Sarcich^Fotis SkordasTim South

DOUBLE BASSAndrew Sinclair*Joan Wright Elizabeth Browning^Louise ElaertsChristine ReitzensteinAndrew TaitMark Tooby

FLUTEAndrew Nicholson Chair partnered by Quadrant Energy

Mary-Anne Blades Georgia Lane^

PICCOLOMichael Waye

OBOEPeter Facer Elizabeth CheeStephanie Nicholls^

COR ANGLAISLeanne Glover

CLARINETAllan Meyer Catherine Cahill^Lorna Cook

BASS CLARINETAlexander Millier

BASSOONJane Kircher-Lindner Chair partnered by Sue & Ron Wooller

Adam Mikulicz

CONTRABASSOONChloe Turner

HORNDavid EvansSharn McIverRobert Gladstones Principal 3rdJulia BrookeDoree Dixon^Feng Jiang^^Geoff Lierse^Francesco Lo Surdo

TRUMPETBrent GrapesChair partnered by ConocoPhillips

Evan Cromie Mark Bain^Brody Linke^Peter Miller

TROMBONEJoshua Davis Liam O’MalleyShuchang Liu^^

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONKirk EtheridgeGuest PrincipalTroy Greatz A/Principal PercussionJoel Bass^Paul Tanner^

HARPSarah Bowman

PrincipalAssociate PrincipalGuest Musician^Guest Musician from China Philharmonic Orchestra^^

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ABOUT THE MUSIC

Gustav Mahler(1860-1911)

Blumine: Symphonic movement (originally Andante from Symphony No.1)

Mahler’s decision to call his First Symphony a ‘Symphonic Poem in Two Parts’ immediately signalled that this was not ‘absolute music’ but had some literary pretensions. After the first performance in Budapest in 1889, friends persuaded Mahler to give the work a program ‘to make it easier to understand’; in its second and third performances he gave the movements explicit titles, and nicknamed the symphony Titan in reference to a novel by Jean-Paul Richter. The five-movement work thus became a narrative of ‘Endless Spring’, ‘Blumine’ (with a sense of ‘flowering’) and ‘In full sail’, and, in the second part (Commedia humana), ‘Funeral March’ and ‘Dall’inferno’. It thus conformed to a notion of the work as the story of a Romantic hero, whom we can identify with Mahler himself.

Blumine, the original second movement, was discarded by Mahler after its third performance. The symphony as a whole contains much ‘recycled’ material, and Blumine appears to have been lifted from some incidental music that Mahler had written in 1884 for Scheffel’s play The Trumpeter of Säkkingen. The trumpet melody seems to represent the play’s hero, Werner, serenading his beloved Margareta from across the Rhine.

One Budapest critic instinctively noted that in the alternation of trumpet and oboe ‘it is not hard to recognise the lovers exchanging their tender feelings in the silence of night’.

Conductor Bruno Walter recounts how he saved the score of Blumine when Mahler was burning a lot of old manuscripts, but it remained unperformed for 70 years until Benjamin Britten conducted it in 1967 with the New Philharmonia Orchestra. Why Mahler chose to discard it is a mystery. It may be that in the context of the work’s overall mood - which is frequently ironic and angst-ridden - Blumine is simply too beautiful.

Abridged from Gordon Kerry Symphony Australia ©2002

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Ludwig van Beethoven (1770 – 1827)

Piano Concerto No.1 in C, Op.15 Allegro con brio Largo Rondo (Allegro)

When Beethoven first performed this concerto in Prague in 1798, it had a demoralising effect on his peers. ‘Beethoven’s magnificent playing and particularly daring flights of his improvisation moved me strangely,’ the Czech pianist and composer Václav Jan Tomášek wrote subsequently. ‘Indeed I felt so humbled that I did not touch my own piano for several days afterwards.’

Given an impact like that, together with the fact that Beethoven himself thought highly enough of the concerto to write out three different cadenzas for it, it’s surprising that he described it to a publisher as ‘not one of my best compositions of that type’. (He’d said a similar thing about his first concerto, now known as No.2. Evidently the young Beethoven had a lot to learn about stimulating a publisher’s interest and negotiating a fee!) In any case, despite having been composed after the B flat concerto, this C major work was the first to be published and hence bears the title of ‘No.1’.

In fact Beethoven had performed both of his first two concertos on that visit to Prague in 1798, playing this one on the first night and ‘No.2’ on the second. This C major concerto calls for a slightly larger orchestra than its predecessor, employing clarinets, trumpets and timpani, and while they are used quite sparingly, they bring with them a greater expressive range within the orchestra.

Where the opening movement of the B flat work uses up to nine themes, here in the opening to the C major work this is reduced to a rather more manageable four. Again there is a lengthy orchestral ritornello. Indeed we hear the second subject, in the comparatively distant key of E flat, before the soloist enters. When at last we do hear the piano, it’s with an entirely new idea which makes only a fleeting appearance in the concerto as a whole.

ABOUT THE MUSIC

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Cadenza A virtuoso 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.

Ritornello A passage for full orchestra, often with a distinctive dance-like rhythm, which recurs, interleaving with passages for the soloist or a small group of solo instruments.

Coda A concluding section added to the basic structure of a piece or movement to emphasise the sense of finality.

Glossary

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BEETHOVEN Piano Concerto No.3 featured in Heroic BeethovenFri 29 & Sat 30 July 2016

This opening movement is laid out on a grand scale and calls for extreme virtuosity from the soloist. It’s in movements like this that we gain some idea of just what a good pianist Beethoven himself must have been. It and the Largo which follows were singled out for particular praise when the work was reviewed in the Allgemeine musikalische Zeitung in 1800.

The Largo moves into the key of A flat with a glorious melody which generates great richness of tone throughout the orchestra. There is an inherently ‘poetic’ feeling in the rapt stillness of this movement and it’s filled with subtle lyrical invention, ending with a coda in which the piano weaves in and out of the clarinets.

Then Beethoven repeats the formula not only of his ‘Second’ Concerto but also of those of Mozart in finishing with a boisterous Rondo. Its ‘scherzando’ nature is characterised by an almost vulgar main theme on piano and then a series of folk-like dance episodes, as if the listener is transported into some local holiday celebration.

© Martin Buzacott

There is uncertainty over exactly when the Piano Concerto No.1 was first performed. It is generally held that Beethoven premiered it on a visit to Prague in 1798 when it was programmed in the first of two concerts he gave in the Konviktsaal. However some reports suggest that Beethoven could have performed it as early as March 1795 at the Burgtheater, during the first concert he gave as a composer-virtuoso in Vienna.

The West Australian Symphony Orchestra first performed it on 26 August 1941 with pianist Trixie Shephard and conductor Clive Douglas. WASO last performed this work on 22 March, 2003, performed by Michael Roll and conducted by Tuomas Ollila.

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Gustav Mahler (1860 – 1911)

Symphony No.1 in D Langsam, schleppend – Im Anfang sehr gemächlich (Slow, dragging – Very comfortably)Kräftig bewegt, doch nicht zu schnell (Forcefully, yet not too fast)Feierlich und gemessen, ohne zu schleppen (Solemn and measured, without dragging)Stürmisch bewegt (Stormily)

Drawing on music written some years earlier, Mahler composed the bulk of his First Symphony in just six weeks in 1888 whilst juggling the conducting of opera rehearsals and performances at the Leipzig City Theatre. By contemporary standards, the completed symphony was massive: employing a large orchestra, it was nearly an hour long and in five movements. Mahler conducted the premiere the following year in Budapest, heading it ‘A Symphonic Poem in Two Sections’ and including a detailed program. The Hungarian audience was divided, with some hailing it as a masterpiece, but with the majority of the public being mystified, or worse, offended.

In response, Mahler locked his manuscript away, only returning to it in 1893. ‘As a whole, everything has become more slender and transparent,’ he wrote to Richard Strauss about the revision, successfully performed in Hamburg in 1893. Strauss himself programmed it in Weimar, but there, wrote Mahler, it was received ‘with furious opposition by some and wholehearted approval by others’.

One of the major criticisms was that the program of the symphony, adapted from Jean Paul Richter’s novel Titan, was ‘confused and unintelligible’.

Mahler himself said that he had in mind only a generalised concept of ‘a powerfully heroic individual, his life and suffering, struggles and defeat at the hands of Fate’. As he would do in subsequent symphonies, Mahler took the criticism to heart and when the next performance occurred in 1896, it bore no program and was labelled simply ‘Symphony in D major’. The original second movement, Blumine, was dropped, turning it into the four-movement work familiar today, but even then the symphony failed to capture the imagination of its audience. For years afterwards Mahler lamented the work’s ‘cold effect on the listener’. And yet for all the apparent coldness which its first audiences attributed to it, Mahler himself loved this symphony and it has now become one of his most popular. Even today, the originality of its conception can be striking.

Right from the outset, the score gives a clear indication of the work’s intentions. Over a suspended note, the composer writes the direction ‘Like a sound of nature’ and soon we hear a cuckoo’s call which will permeate the movement as a whole.

ABOUT THE MUSIC

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As the original program stated, it’s intended to depict ‘Spring without end … the awakening of nature in the early morning’. It need hardly be stated how revolutionary this ‘natural’ approach to composition would have sounded back in 1889. But this was a naturalistic revolution which was sweeping not just music but theatre and literature at the time. Mahler adapted the aesthetic to music, and in doing so created a new kind of symphonic form. In it, the inconsistencies, the expansive structures, and the clash between the sublime and the facile that so characterise everyday existence found a musical form, as the tight classical structures of sonata form were exploded, quite literally, with instruments now going beyond the frame and playing offstage.

Each of the work’s four movements has its own take on this revolutionary aesthetic. In the now-customary second movement (played third tonight), it’s Mahler’s employment of the ländler – not the refined waltz that we have come to expect but a much cruder and more authentic kind of peasant dance.

The slow movement is the first of Mahler’s famous funeral marches, but set to a children’s nursery tune – Bruder Martin in German, Frère Jacques in French. Its inspiration was a woodcut entitled The Huntsman’s Funeral Procession in which animals follow a dead man’s coffin.

Mahler’s take on the children’s illustration begins on a solo double bass and is later interrupted by crude street music. It’s the sound of everyday life, but with fantasy and grotesquerie thrown in for an intensely unsettling effect.

And then there is one of the most famous transitions in all Mahler, with the Funeral March giving way to the shocking, shrieking, almost despairing final movement. But this ends in triumph, with the radiant key of D major gradually taking over for a conclusion of deep beauty and emotion.

Abridged from a note by Martin Buzacott © 2003

The West Australian Symphony Orchestra first performed the four-movement version of Mahler’s First Symphony in 1966 under the direction of Thomas Mayer, WASO last performed this work on 19 September 2009, in the same program they performed Blumine as a stand-alone work conducted by Paul Daniel.

Sonata form A term conceived in the 19th century to describe the way most Classical composers structured some movements of a symphonic work or a sonata. It involves the exposition or presentation of themes or subjects: the first subject is in the tonic or home key, the second in a contrasting key. The resulting tension between keys is intensified in the development, where recognisable melodic and rhythmic aspects of the themes are manipulated as the music moves further and further away from the ultimate goal of the home key. Tension is resolved at the recapitulation where both subjects are fully restated in the tonic. There is sometimes a coda (literally, ‘tail’) to enhance the sense of finality.

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MAHLER Symphony No.2 Resurrection featured in ResurrectionFri 1 & Sat 2 April 2016

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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

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MEET THE INSTRUMENTTHE CELLO

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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

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

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2

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3

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MEET THE INSTRUMENTTHE CELLO

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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

MEET THE MUSICIANFAREWELL KATHIE

Kathie DrakeViola

Tonight we farewell one of WASO’s kindest and most talented musicians as Kathie Drake retires after an incredible career. Kathie has brought so much happiness to the Orchestra and especially to the viola section. We wish Kathie a very happy retirement.

When and where did your musical journey begin?I think my musical journey began before I was born, as my Dad played clarinet and saxophone in dance bands for many years before he was married, my Mum was a very good amateur pianist and my older sister is an amazing pianist, so there was always music. I started the violin aged 7 and I remember my first orchestral experience was playing the New World Symphony with the Victorian Junior Symphony Orchestra when I was 13.

Do you have a most memorable concert? Over the WASO years there have been some standout performances: The St John Passion many years ago in which the wonderful Peter Schreier conducted the whole thing, sang the Evangelist spine-chillingly brilliantly and at the last minute also sang the tenor arias was an amazing musical experience for me.

Frank Peter Zimmermann playing the Beethoven Violin Concerto sublimely, Lyn Harrell performing the Elgar Cello Concerto with such deep power, Simone Young’s Turangalîla-symphonie was a revelation and our Beethoven Festival last year with Asher Fisch was quite an adrenaline rush.

Perhaps my most memorable concert was when I was playing in the Zurich Chamber Orchestra and my hero, Martha Argerich played two Beethoven piano concertos with us at the Menuhin Festival in Gstaad. It was thrilling music making.

What is the best thing about being a musician in WASO?Hmm… The baking roster for every pit season? The wide range of repertoire that WASO plays, including opera, which I love? Really, I have to say the fantastic colleagues with whom I’ve been privileged to make music with. And particularly, I am so happy to have shared my playing with the dedicated, amusingly idiosyncratic and totally lovable members of the viola section.

With your new-found freedom, what are your grand plans? Well, I start the Cambridge course to teach English as a second language in February and I want to help migrants here. Maybe, if I really love it, I’ll go to some other country for a while and teach there. I can also enroll in language courses and not miss half the lessons because of our changing schedule.

My partner Dave and I will be taking off in our 4WD ute more often to explore this fabulous country of ours: next year for two months we’ll be in the Kimberley which we both love.

I hope to get to many more of the theatre performances Perth has to offer: even if I come to WASO concerts regularly, I’ll still have so many free nights!

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The musicians you see on stage tonight are one part of a community of people that make a WASO concert happen. In addition to our wonderful musicians and volunteer choristers, there are teams at Perth Concert Hall and in the WASO office that you might not see so often.

The other group that makes it all possible is you! Your Orchestra would be a very different one without ongoing support through donations. When we say we couldn’t do it without you, we really do mean it and we invite you, our WASO community, to continue on our musical journey with us.

If you wish to make a donation to support the Orchestra please complete and return the form in your concert program, contact Jane Clare on 9326 0014 or janec@waso.com.au, or go to waso.com.au. You can also make a donation at the Box Office or with your ticket purchases.

All donations over $2 are fully tax deductible.

WASO PHILANTHROPY Philanthropy Partner

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1Principal Conductor

2Chorus Directors

1Chorus Accompanist

80Choristers

6Removalists

8Backstage Staff

90Orchestral Musicians

Perth Concert Hall Front of House Staff

19 1Soloist

2Security Guards

42WASO Administration Staff

6WASO Volunteers

13Perth Concert Hall Administration Staff

2St John’sAmbulance Volunteers

Please consider joining a community that believes in WASO’s vision & commitment to inspirational performances by making a donation.

HOW MANY PEOPLE DOES IT TAKE

TO MAKE WASO’S CONCERT RAVEL’S BOLERO HAPPEN?

1Principal Conductor

2Chorus Directors

1Chorus Accompanist

80Choristers

6Removalists

8Backstage Staff

90Orchestral Musicians

Perth Concert Hall Front of House Staff

191Soloist

2Security Guards

42WASO Administration Staff

6WASO Volunteers

13Perth Concert Hall Administration Staff

2St John’sAmbulance Volunteers

Please consider joining a community that believes in WASO’s vision & commitment to inspirational performances by making a donation.

HOW MANY PEOPLE DOES IT TAKE

TO MAKE WASO’S CONCERT RAVEL’S BOLERO HAPPEN?

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 SienkiewiczGavin Toovey & Jaehan LeeSheila Wileman Anonymous (17)

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 MarsdenMike Utsler

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 janec@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 FoundationThe James Galvin FoundationRobyn GlindemannKen JohnsonBarrie & Jude LepleyMathie FamilyMcCusker Charitable FoundationMinderoo FoundationMrs MorrellLynn MurrayJoan ReylandJohn & Alison RiggSimon Lee FoundationThe Stan Perron Charitable FoundationJean & Peter Stokes Trish Williams - Strategic InteractionsAnonymous (1)

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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 ACPatricia NewJudy Sienkiewicz (dec.)

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

Maestro Patron Gifts $5,000 - $9,999John Albright & Susan LorimerJean Arkley in memory of Tom ArkleyBill Bloking Dr Roland & Therese BrandGavin BunningIan & Elizabeth ConstableMoira & John DobsonTim & Lexie ElliottBridget Faye AM Gilbert GeorgeDr Patricia KailisKeith & Gaye Kessell Dr Ronny Low & Dr Emma RichardsonBryant Macfie Robert MayJill MulheronPaula & John PhillipsPeter & Jean Stokes

Richard Tarala & Lyn Beazley AOTrish 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 BurtonDr G Campbell-EvansMark Coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda SavageRichard FaragoRobyn GlindemannAnnette & Vincent Goerke Jacoba Hohnen & Ted SamsonSylvia & Wally HyamsMrs MorrellJane & Jock MorrisonAnne NolanTim Pavy & Cathy ColeGail & Tony SutherlandRos ThomsonM & H TuiteJoyce Westrip OAMAlan WhithamAndrew & Marie YunckenAnonymous (1)

Principal PatronGifts $1000 - $2,499Ron & Sue AdamsCaroline Allen & Sandy DunnPrue AshurstMargaret Atkins Tony & Mary Beeley David & Suzanne Biddles Kevin Blake Matthew J C Blampey Namy BodinnerPeter & Eve BolandMr John BonnyJohn & Debbie Borshoff Dr & Mrs P BreidahlJean Brodie-Hall AMMarilyn & Ian BurtonProf Jonathan Carapetis & Prof Sue SkullPeter & Sue CliftonHelen Cook Arthur & Nerina CoopesHon June Craig AM Gay & John Cruickshank Lesley & Peter DaviesJulian Dowse Bev EastLorraine EllardAnnette FinnDon & Marie Forrest Erich & Liz FraunschielDr Andrew GardnerRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Sandra GrayDeidre Greenfeld David & Valerie Gulland

Annual Giving

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Brian & Romola HaggertyRichard B Hammond Pauline & Peter HandfordWarwick Hemsley & Melissa ParkeDr Penny Herbert in memory of Dunstan HerbertMichael & Liz HollingdaleHelen HollingsheadJohn & Katrina HopkinsSue HovellJim & Freda Irenic Lilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill Kean Noelle & Anthony Keller AM Michael & Dale Kitney Nelly KleynStephanie & John Kobelke Irving Lane Paul LeeMeg LewisRosalind Lilley Teresa & Jemima LovelandGraham & Muriel Mahony Gregg & Sue MarshmanJennifer & Arthur McCombBetty & Con Michael AOHon Justice S R Moncrieff Valmae & Geoff MorrisVal & Barry NeubeckerDelys & Alan NewmanDr Phillip & Mrs Erlene NobleJohn OvertonRon & Philippa PackerMichael & Lesley PageAthena PatonAdrian & Ruth PhelpsCharmian Phillips in memory of Colin CraftPamela PlattAndrew & Suzanne PoliThomas & Diana Potter

Alison & John PriceBarry & Dot Price Dr Leon Prindiville Chester ReeveJoan ReylandJohn & Alison RiggMs Elizabeth Sachse & Dr Lance RisbeyNigel & Dr Heather RogersMaurice & Gerry RoussetRoger Sandercock Dr R & J Schwenger Margaret & Roger SearesMelanie & Paul ShannonEve Shannon-Cullity Glenice ShephardJulian & Noreen Sher Laurel & Ross SmithPaul Smith Michael Snell & Vicki StewartAnna SweetinghamLisa & Andrew Telford The Ambient FoundationRuth ThomasGene TilbrookGavin Toovey & Jaehan LeeMary Townsend James & Rosemary TrotterDr Robert TurnbullMaggie VenerysStan & Valerie VicichAdrienne & Max Walters Watering ConceptsIan WatsonPatricia WestonAnn WhyntieJean & Ian Williams AOJim & Gill WilliamsMargaret WilsonJudith Wilton & David TurnerHilary & Peter Winterton AMAnonymous (20)

Tutti PatronGifts $500 - $999Geoff & Joan Airey Catherine BagsterMerle I BardwellBernard & Jackie Barnwell Shirley Barraclough Berwine Barrett-LennardColin BeckettPamela M BennetMichael & Nadia Berkeley-HillJohn & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerElizabeth & James BrownLucia BuralliAnn Butcher & Dean R KubankMichelle CandyNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeFred & Angela ChaneyDr Anne ChesterLyn & Harvey Coates AOAgatha & Alex Cohen AOBrian Cresswell Gina & Neil Davidson Jop & Hanneke DelfosRai & Erika DolinschekSimon & Pamela DouglasMrs G EwenJoan GagliardiGeorge GavranicElaine GimsonIsobel Glencross Douglas M & Regina HansenAlan Harvey & Dr Paulien de BoerEric & Elizabeth HeenanJohn & Sue HuanChristopher, Julie & Rosemary HudsonMr John Hylton-Davies JP, VJ

OUR SUPPORTERS

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Peter Ingram Cynthia JeePeter S JonesB M KentDorothy KingstonUlrich & Gloria KunzmanJohn Kusinski & Annie MotherwayTrevor & Ane Marie Lacy Louis & Miriam LandauMartin & Ruth LevitMegan LoweMary Ellen in memory of Kerensa Mrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith S B Monger-HayDr Peter Moss

Marianne Nilsson Graham & Hildegarde PennefatherBev Penny Alpha & Richard Pilpel OAMAnn RawlinsonClarissa ReptonJames & Nicola Ridsdill-SmithLeigh RobinsonChris & Serge RtshiladzeJudith E ShawThe Sherwood FamilyPaul & Margaret SherrittHendrik SmitL Sparrow & FamilyPeggy & Tom Stacy Eleanor SteinhardtRuth E Thorn

Patricia TurnerS R VogtDiana WarnockAnne Watson Joy WearneDr & Mrs Chris WhitakerViolette William Janet WilliamsDr Robyn YeoChris ZiatisAnonymous (20)

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

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UWA School of Music Proud Tertiary Education Partner of the West Australian Symphony Orchestra.

As one of Australia’s leading music programs, in one of the world’s leading universities, we create the future leaders of the Arts community.

music.uwa.edu.au UNIPRINT 123901

Pursue impossible

WEST AUSTRALIAN SYMPHONY ORCHESTRA

VIOLINGraeme Norris Associate Concertmaster Semra Lee-Smith Assistant Concertmaster Zak Rowntree*Principal 2nd ViolinAkiko Miyazawa Assoc Principal 2nd ViolinKylie Liang Assistant Principal 2nd ViolinSarah BlackmanFleur Challen Shaun Lee-Chen*Stephanie DeanRebecca GlorieBeth HebertAnna O’HaganEllie LawrenceMelanie PearnKen PeelerGraham Pyatt Louise SandercockJolanta SchenkJane SerrangeliJacek 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 ElaertsAndrew TaitMark Tooby

FLUTEAndrew Nicholson PrincipalChair partnered by Quadrant Energy

Mary-Anne Blades Assoc Principal

PICCOLOMichael Waye Principal

OBOEPeter FacerPrincipalLiz CheeAssoc Principal

COR ANGLAISLeanne GloverPrincipal

CLARINETAllan Meyer PrincipalLorna Cook

BASS CLARINETAlexander Millier Principal

BASSOONJane Kircher-Lindner PrincipalChair partnered by Ron & Sue Wooller

Adam Mikulicz Assoc Principal

CONTRABASSOONChloe Turner Principal

HORNDavid Evans PrincipalSharn McIverAssoc Principal Robert Gladstones Principal 3rd HornJulia 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.

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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 ManagerBrad Matthews Operations CoordinatorPenelope Briffa Events ManagerBruce Gaw Maintenance OfficerNancy Hackett Marketing ManagerRyan Sandilands Marketing Assistant

Megan Lo Surdo Sarah Salleo Reception & AdministrationSimon KeenCustomer Relations and Operations ManagerJosie AitchisonVanessa WoolleyTicketing Client Account ManagersChristina BallicoJulie WoodCustomer Service SupervisorsAlana ArnoldLeticia CannellMargaret DawsHelen Gortmans

Talei LouieVicki PrinceKrista TanuwibawaBeverley TrolioEmily WallisRobyn WestbrookCustomer Service and Sales Representatives

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

EXECUTIVECraig Whitehead Chief Executive Rebecca Smith Executive AssistantAnthony Pickburn Executive Manager, Human ResourcesNarelle Coghill Human Resources AssistantSvetlana Williams Payroll Officer

ARTISTIC PLANNINGEvan Kennea Executive Manager, Artistic PlanningAlan Tyrrell Program ManagerNatalie De Biasi Program CoordinatorMaya Kraj-Krajewski Artist Liaison/Chorus Administrator

COMMUNITY ENGAGEMENTCassandra Lake Executive Manager, Community EngagementFiona Taylor Education CoordinatorLily Protter Community Engagement Assistant

ORCHESTRAL MANAGEMENTKeith McGowan Executive Manager, Orchestral ManagementJenna Boston Orchestral Operations ManagerDavid Cotgreave Production & Technical ManagerAlistair Cox Orchestral ManagerBreanna Evangelista Orchestral CoordinatorWee 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, PhilanthropyJane Clare Fundraising & Philanthropy ManagerMegan Lo Surdo Philanthropy Coordinator

CORPORATE DEVELOPMENTMarina Woodhouse Executive Manager, Corporate DevelopmentCliona 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 ManagerLuke Pownall Public Relations ManagerZoe Lawrence Marketing OfficerLily Protter Marketing AssistantRebekah Ryan Outbound Sales Team Leader

perthconcerthall.com.au Reception: 08 9231 9900 Box Office: 08 9231 9999

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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

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

BOOK NOW

Tickets from $50*

MACA LIMITED CLASSICS SERIES

TURINA Danzas fantásticas RAVEL Alborada del gracioso VILLA-LOBOS Chôros No.10 Rasga o coração FALLA Nights in the Gardens of Spain RAVEL BoleroAsher Fisch conductor Ingrid Fliter piano WASO Chorus

Ravel’s mesmerising Bolero features in this dazzling

Spanish-inspired program.

Thurs 26, Fri 27 & Sat 28 Nov 7.30pmPerth Concert Hall

*Transaction fees may apply.Asher Fisch appears courtesy of Westfarmers Arts.Ingrid Fliter appears courtesy of Singapore Airlines.

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