ALCOHOL.THINK AGAIN MASTERS SERIESFri 5 Dec 7.30pm & Sat 6 Dec 2pmPerth Concert Hall

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Save the drama for the stage.Avoid excess

alcohol.

To stay at low risk, have no more than two standard drinks on any day. To find out more, visit alcoholthinkagain.com.au

Welcome

Handel’s Messiah is many things for many people, but first and foremost it is a work of extraordinary musical architecture. Bursting at the seams with infectious dance rhythms; full of noble and monumental sentiment; and displaying at all times a vivid and imaginative approach to dramatic word-painting, Handel’s great oratorio has remained a watershed work in the history of western music. It is a piece that I first encountered as a young boy chorister and since then I’ve enjoyed numerous opportunities to explore the piece from many different perspectives - as a choral singer, soloist, keyboard continuo player and then as a conductor. The score of Messiah is never very far from my suitcase, as this great work tends to crop up in my diary with considerable regularity - like a recurring leitmotif, and always evoking the memories of past performances in beautiful and inspiring cities and venues.

It is a piece which, for me, never loses its magic. There is something so thrilling about the pacing and forward thrust of the work; an inexorable sense of tension slowly building and leading the listener towards those life-affirming final choruses.

The almost unbearable spite and hatred portrayed by the chorus in ‘He trusted in God’; the stillness and reassuring warmth of ‘I know that my Redeemer liveth’; and of course the unforgettable soaring vocal arches of ‘For the Lord God omnipotent reigneth’ that eventually emerge from the fast and furious fanfares of the iconic ‘Hallelujah’ chorus. Here is a work that, like all great works of art, never grows old. It was written during an extraordinarily condensed period of creative activity but its universal appeal will only continue to grow as more and more people come to discover the magic of Handel’s Messiah. It is a very great pleasure for me to come to Perth and share my love of this timeless masterpiece with you all.

Mathew Halls Conductor

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After the event, Transperth ferries run until 12.15am and additional train services will run on all lines.

CALL 9326 0000

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Bring a picnic and join an audience of thousands for WASO’s spectacular annual concert under the stars.

FREE EVENT

SAT 13 DEC 7.30PM LANGLEY PARK, PERTH

Symphony in the City and the WASO Chorus are supported by Lotterywest.

CITY OF PERTH

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Program

ALCOHOL.THINK AGAIN MASTERS SERIES

Handel’s Messiah

HANDEL Messiah (125 mins)

The duration of this performance is 2 hours 25 mins including a 20 minute interval.

Matthew Halls conductor Siobhan Stagg soprano Christopher Field countertenor Richard Butler tenor Christopher Purves bass WASO Chorus

The WASO Chorus is supported by Lotterywest

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Pre-concert TalksFind out more about the music in the concert with this week’s speaker Prue Ashurst, Pre-concert talks take place at 6.45pm in the Terrace Level foyer on Friday and Saturday nights.

Pre-concert Talks are supported by Wesfarmers ArtsAfter the event, Transperth ferries run until 12.15am and additional train services will run on all lines.

CALL 9326 0000

VISIT WASO.COM.AU

Bring a picnic and join an audience of thousands for WASO’s spectacular annual concert under the stars.

FREE EVENT

SAT 13 DEC 7.30PM LANGLEY PARK, PERTH

Symphony in the City and the WASO Chorus are supported by Lotterywest.

CITY OF PERTH

PRESEN

TER EDDIE PERFECT

SITC - A5 Program Advert Mono.indd 1 1/12/2014 4:00 pm

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.

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 WASO concerts at waso.com.au

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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WASO News

Spotlight on Hospital Orchestra Project

“It was a fabulous opportunity for the children at PMH to get to experience interacting with WASO... It was particularly exciting for my son Zaine to see, hear and have a go at the instruments of the orchestra. It was certainly a highlight of his stay in hospital. We live in regional WA and so like children in many of these areas, he had never seen most of these instruments. Exposure to the arts and in particular music is really lacking in regional WA. Most children never see the majority of instruments found in an orchestra and certainly rarely get an opportunity to learn to play them.“ Tania O’Brien, parent.

As part of WASO’s extensive Community Engagement program, WASO musicians have the wonderful opportunity to share their love of music with young children and their families thorough our Hospital Orchestra Project (HOP) at Princess Margaret Hospital for Children.

This year WASO musicians spent mornings visiting children and families in their wards and performing in Outpatients, EChO played a fun jazz inspired program, our string musicians presented a fun program that included the opportunity for children in the audience to conduct the ensemble, and we engaged them in music making through involvement in a percussion workshop, and a creative music making workshop. Our annual Christmas Concert in December is a highlight of the WASO calendar. Members of the WASO Chorus join our musicians to present a Christmas inspired program with sing-alongs, and much fun to be had by all.

The Hospital Orchestra Project Christmas concert is supported by John Holland and Perth Airport.

Thanks also to the School of Special Educational Needs: Medical and Mental Health and Starlight Children’s Foundation.

Thomas Konieczek

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Biographies

Mathew HallsConductor

Matthew Halls succeeded Helmuth Rilling as Artistic Director of the Oregon Bach Festival in 2013, and his inaugural festival included performances of Verdi’s Requiem, the Monteverdi Vespers and his own reconstruction of Bach’s St Mark Passion. Next year under his leadership the Oregon Bach Festival will launch the Berwick Academy for Historically Informed Performance, a new national training programme for advanced students.

Recent and upcoming North American engagements include appearances with the Toronto Symphony Orchestra, National Symphony Orchestra, The Cleveland Orchestra, Houston Symphony, Indianapolis Symphony Orchestra, Los Angeles Chamber Orchestra, National Arts Centre Orchestra, The Philadelphia Orchestra and the Seattle Symphony. He has appeared in Europe with the BBC Scottish Symphony Orchestra, Bergen Philharmonic Orchestra, Bremen Philharmonic Orchestra, Frankfurt Radio Symphony Orchestra, Iceland Symphony Orchestra, Musica Viva, Royal Northern Sinfonia, RTÉ National Symphony Orchestra, Tonkünstler Orchestra, Salzburg Mozarteum Orchestra and Concentus Musicus Wien at the Internationale Barocktage Stift Melk. This season’s Australian appearances include performances of Handel’s Messiah with the Melbourne, Adelaide and West Australian Symphony Orchestras.

An established opera conductor, he has appeared at the Aalto-Musiktheater Essen, Händel-Festspiele Halle, Salzburg Landestheater and Central City Opera Colorado. His association with the Dutch National Opera and Bavarian State Opera have included productions of Verdi’s Luisa Miller, Britten’s Peter Grimes and Bellini’s Norma.

Matthew Halls was educated at Oxford University, where he subsequently taught for five years. Following his time in Oxford, he has held positions as Artistic Director of the King’s Consort and the Retrospect Ensemble.

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Siobhan StaggSoprano

Siobhan Stagg performed the roles of Pamina (Die Zauberflöte für Kinder) and Konstanze (Die Entführung aus dem Serail für Kinder) in the 2013 Salzburg Festival’s Young Singers Project. She then joined the Deutsche Oper Berlin, where her roles have included Pamina and First Lady; Woglinde (Das Rheingold); Waldvogel (Siegfried); Heavenly Voice (Don Carlo); and Frasquita (Carmen). She also sang Sophie (Werther) at the Berlin Philharmonie with Donald Runnicles and Cordelia (Lear) at the Hamburg State Opera with Simone Young (available on DVD). 

Siobhan Stagg graduated from the Wales International Academy of Voice in Cardiff, having previously studied in Melbourne and on scholarship in Italy, New York and Austria. She has won the Stuart Burrows International Voice Award, Australian International Opera Award, Mietta Song Competition, Italian Opera Foundation Award, and was a Dame Nellie Melba Opera Trust Scholar. Her debut album Hymne à l’amour has been released on Move records.

Christopher FieldCountertenor

Christopher Field is a graduate from the University of Melbourne and continued postgraduate studies at The Royal Academy of Music, London, where he obtained the DipRAM in Opera.

Roles with Opera Australia have included Tolomeo in Handel’s Giulio Cesare and Armindo in Partenope. He made his debut with the Komische Oper Berlin as Arkane in Handel’s Teseo and debuted also with the Dresden Semperoper as Nireno in Handel’s Giulio Cesare. In 2012, he was engaged for the first complete performance of Stockhausen’s Mittwoch aus Licht (at the Birmingham Opera Company).

Christopher has worked as soloist in concert in Europe and Australia including his debut with the City of Birmingham Symphony Orchestra in Stravinsky’s Threni and A Sermon, A Narrative and A Prayer and with Musik Fabrik, Cologne on Ferneyhough’s Finis Terrae. He was a member of the acclaimed contemporary music ensemble EXAUDI and currently holds the position of Vicar Choral at St Paul’s Cathedral, London.

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Richard ButlerTenor

Richard Butler was principal soloist for the 2013 Gramophone award-winning recording of A New Venetian Coronation, 1595 with the Gabrieli Consort. In Europe he has performed solo roles in a Purcell program at the Concertgebouw in Amsterdam and in Monteverdi’s Vespers at the Berlin Philharmonie. More recently, he toured Europe in Handel›s Acis and Galatea and performed in Blow’s Venus and Adonis at Wigmore Hall.

Locally, he performed with the Australian Brandenburg Orchestra in their production of Monteverdi’s L’Orfeo, as well as their ‘Mozart the Great’ and 25th Anniversary concert series. Other Australian appearances include principal tenor for Monteverdi’s Vespers at St Mary’s Cathedral in Sydney and St George’s Cathedral in Perth; the title role in the Australian premiere of Caccini’s La liberazione di Ruggiero in Sydney; and the Evangelist in Bach’s St John Passion for the Sydney University Graduate Choir.

Christopher PurvesBass

Christopher Purves has developed a highly successful career on both the operatic and concert stages, with highlights in 2014/15 including the Australian premiere of The Perfect American at the Brisbane Festival; Handel’s Messiah with the National Symphony Orchestra and the Melbourne, Adelaide and West Australian Symphony Orchestras; the title role in Gianni Schicchi at Opera North; St John Passion at the Concertgebouw, Amsterdam; St Matthew Passion with the Academy of Ancient Music; Pelléas and Mélisande at Welsh National Opera; and the title role in Handel’s Saul at Glyndebourne Festival Opera.

Previous appearances on the concert platform include Beethoven’s Symphony No.9 with the Orchestra of the Age of Enlightenment; Handel’s Aci, Galatea e Polifemo and Acis and Galatea with the Gabrieli Consort; and Handel’s Alexander’s Feast and Haydn’s Nelson Mass with the Scottish Chamber Orchestra.

Christopher Purves’ debut solo CD, Handel’s Finest Arias for Base Voice, was released in 2012.

Biographies

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WASO Chorus

Christopher van TuinenChorus Director

Andrew FooteVocal Coach

Lea HaywardAccompanist

SOPRANOValerie BannanCatherine BaptyAnna BörnerAnnie BurkeKathryn BuselichAlinta CarrollSophie ChapmanPenelope ColganClara ConnorCate CreedonCeridwen DumergueBronwyn ElliottFay FarahJoanna FawcettLindsay FosterLouise GillettKath GoodmanPauline HandfordDiane HawkinsRuth Henderson

Blanche HolzmanMichelle JohnGinny LuffCiara McCaugheyGemma MullaneyElysia MurphyStephanie ParkinsonRochelle RabelFiona RobsonSarah ShneierMagdalena TodeaMargo WarburtonVeronique WillingNicole Zago

ALTOMarian AgombarLiew BennJo BennettDaniela BirchPatsy BrownSue ColesonJeanette CollinsCatherine DunnJulie DurantKaye FairbairnSusanna FleckDi GravesVictoria Hogg

Jill JonesGaylene KelsoShew-Lee LeeDiana MacCallumLyn MillsElysia MurphyLynne NaylorPhilomena NulsenDeborah PearsonLiz RombawaLouise SuttonClaire TaylorOlga WardMoira WestmoreJacquie Wright

TENORJohn BeamishMichael ChampionIan GordonAllan GriffithsPeter HandfordDavid LancasterDon MooreJohn MurphyAndrew PatersonRey Rombawa, JRMalcolm VernonTed Yan

BASSJustin AudcentMichael Berkeley-HillAllan DaviesJames DevenishHubert DurandJake GardnerKen GasmierStephen HastingsBrian KentTony KingBenjamin LeeAndrew LynchTony MarrionBenjamin MartisPeter OrmondViv ReadJim RhoadsLee RhodesSteve SherwoodChris SmithRay ThorneloeRobert TurnbullMark WiklundAndrew Wong

WASO CHORUSFormed in 1988, the WASO Chorus brings together auditioned singers who volunteer their time and talents to perform under the WASO banner in a variety of programs and concert settings. Led by Chorus Director Christopher van Tuinen and Vocal Coach Andrew Foote, this passionate and enthusiastic group has performed with acclaimed conductors including Asher Fisch, Simone Young, Vladimir Ashkenazy and Richard Hickox.

For more information on the Chorus and how to join, visit waso.com.au/about/chorusThe WASO 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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WASO On Stage

PrincipalAssociate PrincipalGuest Musician^

viOLiNPaul Wright Guest Concertmaster

Semra Lee-Smith A/Associate Concertmaster

graham Pyatt A/Assistant Concertmaster

Shaun Lee-Chen*Acting Principal 1st Violin

Zak RowntreePrincipal 2nd Violin

Kylie Liang A/Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenBeth HerbertAlexandra IstedAkiko MiyazawaLucas O’BrienJolanta SchenkJane Serrangeli

viOLAAlex BroganNik BabicKatherine DrakeAlison HallAllan McLean

CELLORod Mcgrath Louise McKayOliver McAslan Xiao Le Wu

DOUBLE BASSAndrew Rootes*Joan Wright

OBOEElizabeth CheeLeanne gloverPrincipal Cor Anglais

BASSOONAdam MikuliczA/PrincipalChair partnered by Sue & Ron Wooller

TRUMPETBrent grapesPeter Miller

TiMPANiAlex Timcke

ORgANJonathan Bradley^

HARPSiCHORDStewart Smith^

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

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Meet the Musician

Xiao Le WuCello

What is your first memory of the cello?My first cello memory was seeing my cousin playing one when I was about five years old. He was kind enough to let me have a go and I have not stopped playing since.

Have you played with any other orchestras?Yes, I was playing with Shanghai Symphony Orchestra, the Australian Opera and Ballet Orchestra (AOBO) and the Malaysian Philharmonic Orchestra before I joined WASO in 2003.

What were your highlights from WASO’s 2014 season? The 2014 season has been a very exciting season for all of us; I have to say performing all Beethoven’s nine symphonies in two weeks under our new Principal Conductor Asher Fisch was the most memorable experience for me.

What are you most looking forward to in the upcoming 2015 season?The 2015 season is going to be an amazing season, there are many world class musicians coming to perform with WASO, such as Pinchas Zukerman, Garrick Ohlsson and Sarah Chang. As a cellist I cannot wait to hear Mischa Maisky perform with WASO. He is one of my favourite cellists in the world and we are very lucky that his first ever Perth performance will be with WASO.

if you could program your own concert, what would you play and who would be the conductor? Unfortunately I was born a little too late, but to play the Mahler symphonies under Herbert von Karajan would be my dream concert.

What other jobs would you like to do if you were not a professional musician?It’s an interesting question and I was just talking about this recently with one of my colleagues. Having been surrounded by music from such an early age I can’t really see past it. I do already love teaching my students so I would probably teach the cello. However if it had to be something away from music perhaps it would be teaching Chinese.

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WESF1132_WASO_AD_148x 210mm_MONO_INK350%_FA_REV12APRIL.indd 1 12/04/12 2:11 PM

george Frideric Handel(1685-1759)

Messiah: An oratorio (HWV 56) Words selected from the Holy Bible by Charles Jennens (1700-1773)

In the town of Chester one November morning in 1741, a schoolboy observed a portly gentleman with a pronounced German accent smoking a pipe at the Exchange Coffeehouse. For the 15-year-old Charles Burney, later England’s great music historian, it was his first sighting of George Frideric Handel, at 56 the embattled erstwhile dean of London’s cut-throat opera world, and recently purveyor of a new and peculiarly English type of oratorio. Burney watched Handel ‘narrowly’ throughout his stay in Chester, while he waited until better weather allowed him to embark from Ellesmere Port for Dublin. Even thus stranded, Handel was probably happy merely to be away from London. Opera, his chief activity for 30 years, had brought him a share of commercial unhappiness recently, as a fickle public, following even more fickle patrons, effectively edged his previously successful company out of the market. By leaving London, Handel was denying the city the premiere of his new oratorio, Messiah, and the English capital would have to live down ever after the indignity of knowing that Dublin, instead, had been vouchsafed the first performance of the work that would come to be recognised as Handel’s magnum opus. Even Messiah’s librettist, Charles Jennens, was in the dark over Handel’s plans for it. Not until December did Jennens belatedly discover that Handel had finished setting his ‘Scripture Collection’, admitting: ‘It was some mortification to me to hear that instead of performing it here he was gone into Ireland with it.’

Handel first turned his hand to oratorio in Rome. His La Resurrezione (1708) was a typically Roman product, a type of sacred music drama originally designed to fill in the gaps caused in public entertainment by the Church’s ban on opera performances on certain days of the ecclesiastical calendar. Thus, on Easter Day 1708, Resurrezione’s brilliantly costumed cast, including Mary Magdalene, the disciple John, and Lucifer, enacted human and heavenly responses to Christ’s rising-from-the-dead, in a series of declamatory recitatives broken up by arias, often overlaid with brilliant instrumental obbligati. Following this musical schema, but now adapted to English taste – and the English tongue – Handel’s sacred oratorios had recently reached a peak of perfection in Israel in Egypt (1738), a retelling of the Exodus story that further expanded the form’s musical resources with its sequences of vivid, fugal and anthemic choruses.

With this achievement only recently behind him, Handel arrived in Dublin on 18 November 1741. He discovered no shortage of talented local musicians, choosing the best of them, the violinist Matthew Dubourg, Master of the State Music, to lead his orchestra. Most of the chorus singers

Program Notes

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belonged to the choirs of Dublin’s two cathedrals, St Patrick’s and Christ Church, to the disapproval initially of St Patrick’s Dean, the redoubtable Jonathan Swift. Sixteen years on from Gulliver’s Travels, the erratic septuagenarian (who admitted to knowing ‘music no more than an ass’) inveighed against his choir-men for frequenting Handel’s ‘club of fiddlers’ in Fishamble Street, and threatened punishment ‘according to the flagitious aggravations of their respective disobedience, rebellion, perfidy and ingratitude’. Some diplomatic gesture must have ensued, for Swift’s choristers sang for Handel again a few days later, and for the rest of his stay. And even Swift eventually conceded that Handel was ‘a German, and a Genius!’.

Possibly an attraction for the choir-men, and cause of Swift’s earlier disquiet, was Handel’s exotic entourage, centred on his soprano, Signora Avoglio, prima donna at the Messiah premiere. By coincidence, the popular actor Susanna Cibber, sister of composer Thomas Arne, was also in town fleeing London and the scandal of her failed marriage, and created such a favourable impression when she sang first for Handel in March, that he engaged her for Messiah, too.

A public rehearsal on 9 April heightened anticipation of the premiere on the thirteenth, of which the Dublin Journal commented:

The best Judges allowed it to be the most finished piece of Musick. Words are wanting to express the exquisite Delight it afforded to the admiring crowded Audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestick and moving Words, conspired to transport and charm the ravished Heart and Ear.

Handel was, as it transpired, wise to introduce Messiah first in Dublin. In London

in 1743, it was ‘indifferently relish’d’ (as one eyewitness put it), drawing criticism from zealots who objected to biblical texts being given over to ‘base actors’. Further public animosity arose from the work being based on the person of Christ, rather than, as in Handel’s previous oratorios, on Old-Testament personalities like Esther and Saul.

In this, Jennens may well have drawn inspiration from Handel’s earlier Lutheran Brockes Passion, or La Resurrezione. However, his Messiah libretto was far more sweeping in scope, a scriptural survey of the entire Christian salvation history, from prophesies of Christ’s birth extracted from Jewish scriptures in Part 1 (hence its continuing popularity at Christmas), through reflections on Christ’s Passion and Resurrection in Part 2, to the Last Judgement and second coming in the third and final part.

Handel was keen to avert the potentially damaging (if today scarcely credible) charges of blasphemy that Messiah could earn him, and initially advertised the work in London not under its incendiary title, but blandly as ‘A NEW SACRED ORATORIO’. Nevertheless, Messiah also confused Londoners in that its absence of plot or recognisable named characters seemed deliberately un-dramatic. For once the story inhered only in the successive sentiments, from grave to jubilant, expressed in the words of each number, so perfectly mirrored in its music. Still, Londoners remained wary of Messiah until the early 1750s, and the establishment of annual Foundling Hospital performances, to benefit the society for Maintenance and Education of Exposed and Deserted young Children. According to the late 18th-century music historian John Hawkins, it was only then that ‘a change of sentiment in the public began to manifest itself; the Messiah was received with universal applause’.

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Handel completed the full score of the work in three weeks in August-September 1741, a less extraordinary feat then than it sounds today, and typical of the speed at which Handel and his contemporaries composed. He was assisted, moreover, by a few notable instances of self-borrowing. Handel mined the scores of several blatantly erotic Italian cantatas he’d composed 30 years earlier to produce the triumphal last judgement duet-and-chorus, ‘O death, where is thy sting’, and four more of the new work’s breeziest and most distinctive choruses, ‘And he shall purify’, ‘All we like sheep’, ‘His yoke is easy’, and the great ‘For unto us a child is born’.

Yet even at the premiere, ‘divine inspiration’ was invoked, a Mr Whyte in the Dublin Journal suspecting none but the great messiah himself could ‘raise [Handel’s] soul to so sublime a Theme’. If so, Handel was not beyond seeking earthly second opinions, and responded to the vicissitudes of performing the work by making countless alterations to it over the years. Even in Dublin, he tampered with the score, cutting the second half of the bass aria ‘Why do the nations’, and, to give his seven soloists there (not the now usual four) more to do, recast his solo setting of ‘How beautiful are the feet’ as a duet and chorus. Handel’s own flexibility not only confirms Jennens’ description of Messiah as a ‘collection’, but renders ridiculous any search for a definitive version. Yet modern performances can

still provide historically accurate insights into the stages in the work’s evolution, whether based on the original 1741 score, or the particular variants heard in, say, the 1742 Dublin first performance or the 1743 London premiere.

Dubourg’s small Dublin orchestra of strings, with trumpets and drums (added only as Messiah approaches its celestial conclusion), plus the chorus and soloists, numbered barely 50. Back in London, however, Handel expanded his forces, first adding oboes and bassoons, later even horns, and swelling strings and chorus considerably. By the end of his life, performances with several hundred participants were becoming the norm.

As to the effect of the Dublin premiere on the work’s first audience of 700, Edward Synge, the upright bishop of Elphin judiciously summed up:

They Seem’d indeed throughly engag’d frome one End to the other. And, to their Great Honour, tho’ the Young & Gay of both Sexes were present in Great Numbers, their Behaviour was uniformly Grave & Decent, which Show’d that they were not only pleas’d but affected with the Performance. Many, I hope, were instructed by it, and had proper Sentiments inspir’d in a Stronger Manner on their Minds.

Abridged from a note by Graeme Skinner © 2008

WASO last performed this work on 27 & 28 November, 2009, conducted by Nicholas Kraemer.

Oratorio A substantial work for singers and orchestra based on a religious text.

Recitatives Music in which the singer follows speech-like rhythms rather than having a sense of a regular metre.

Arias Movements for solo or duo voices as opposed to full chorus. The melodic, lyrical, and often virtuoso, characteristics of the aria stand in contrast to the recitative.

Obbligati Literally, ‘obligatory’: an instrument or part that must not be omitted. By extension, a prominent accompanying melody.

Cantatas A musical composition, often using a sacred text, comprising recitatives, arias, and choruses.

glossary

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Messiah a Sacred Oratorio by George Frederic Handel The words selected from Holy Scripture by Charles Jennens

Part the FirstSinfonyComfort ye (Accompagnato: Tenor)Ev’ry valley (Song: Tenor)And the glory of the Lord (Chorus)Thus saith the Lord (Accompagnato: Bass)But who may abide (Song: Countertenor)And He shall purify (Chorus) Behold, a virgin shall conceive (Recit.: Countertenor)O thou that tellest (Song: Countertenor and Chorus)For behold, darkness (Accompagnato: Bass)The people that walked in darkness (Song: Bass)For unto us a child is born (Chorus)Pifa There were shepherds abiding in the field (Recit.: Soprano)And lo, the angel of the Lord (Accompagnato: Soprano)And the angel said unto them (Recit.: Soprano)And suddenly there was with the angel (Accompagnato: Soprano)Glory to God (Chorus)Rejoice greatly (Song: Soprano)Then shall the eyes of the blind (Recit.: Countertenor)He shall feed his flock (Duet: Countertenor and Soprano)His yoke is easy (Chorus)

Interval 20 minutes

Part the SecondBehold the Lamb of God (Chorus)He was despised (Song: Countertenor)Surely He hath borne our griefs (Chorus)And with His stripes (Chorus)All we, like sheep (Chorus)All they that see Him (Accompagnato: Tenor)He trusted in God (Chorus)Thy rebuke hath broken His heart (Accompagnato: Tenor)Behold and see (Song: Tenor)He was cut off (Accompagnato: Soprano)But Thou didst not leave (Song: Soprano)The Lord gave the word (Chorus)How beautiful are the feet (Song: Soprano)Why do the nations (Song: Bass)Let us break their bonds (Chorus)He that dwelleth in heaven (Recit.: Tenor)Thou shalt break them (Song: Tenor)Hallelujah (Chorus)

There will be a short pause between Parts II and III, during which patrons are asked to remain in the auditorium.

Part the ThirdI know that my Redeemer liveth (Song: Soprano)Since by man came death (Chorus)Behold, I tell you a mystery (Accompagnato: Bass)The trumpet shall sound (Song: Bass)If God be for us (Song: Soprano)Worthy is the Lamb (Chorus)Amen (Chorus)

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PART THE FiRSTProphecy of Christ’s appearance on earth; the nativity.

SinfonyComfort ye (Isaiah 40:1-3) [Accompagnato:] TenorEv’ry valley (Isaiah 40:4) Song: Tenor

Comfort ye, comfort ye my people,saith your God;speak ye comfortably to Jerusalem,and cry unto her,that her warfare is accomplish’d,that her iniquity is pardon’d.The voice of him that crieth in the wilderness,prepare ye the way of the Lord,make straight in the desert a highway for our God.

Ev’ry valley shall be exalted,and ev’ry mountain and hill made low,the crooked straight, and the rough places plain.

And the glory of the Lord (Isaiah 40:5) Chorus

And the glory of the Lord shall be revealed,and all flesh shall see it together;for the mouth of the Lord hath spoken it.

Thus saith the Lord (Haggai 2:6-7; [Malachi] 3:1) Accompagnato: Bass

Thus saith the Lord, the Lord of Hosts;Yet once a little while,and I will shake the heav’ns and the earth;the sea and the dry land;And I will shake all nations;and the desire of all nations shall come.The Lord, whom you seek, shall suddenly come to His temple,even the Messenger of the Covenant, whom ye delight in:behold, He shall come, saith the Lord of Hosts.

But who may abide (Malachi 3:2) Song: Countertenor

But who may abide the day of His coming?and who shall stand when He appeareth?For He is like a refiner’s fire.

And He shall purify (Malachi 3:3) Chorus

And He shall purify the sons of Levi,that they may offer unto the Lord an offering in righteousness.

Behold, a virgin shall conceive (Isaiah 7:14; Matthew 1:23) Recit.: CountertenorO thou that tellest (Isaiah 40:9 and 60:1) Song: Countertenor, and Chorus

Behold, a virgin shall conceive, and bear a son,and shall call His name Emmanuel,‘God with us’.

O thou that tellest good tidings to Zion,get thee up into the high mountain;O thou that tellest good tidings to Jerusalem,lift up thy voice with strength;lift it up, be not afraid,say unto the cities of Judah,Behold your God.O thou that tellest good tidings to Zion,arise, shine, for thy light is come,and the glory of the Lord is risen upon thee.

For behold, darkness (Isaiah 60:2-3) Accompagnato: BassThe people that walked in darkness (Isaiah 9:2) Song: Bass

For behold, darkness shall cover the earth,and gross darkness the people:but the Lord shall arise upon thee,and His glory shall be seen upon thee.And the Gentiles shall come to thy light,and kings to the brightness of thy rising.

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The people that walked in darkness have seen a great light;and they that dwell in the land of the shadow of death,upon them hath the light shined.

For unto us a child is born (Isaiah 9:6) Chorus

For unto us a child is born,unto us a son is given;and the government shall be upon His shoulder;and His name shall be called Wonderful, Counsellor,The Mighty God,The Everlasting Father,The Prince of Peace.

Pifa (Pastoral Symphony)

There were shepherds abiding in the field (Luke 2:8) Recit.: SopranoAnd lo, the angel of the Lord (Luke 2:9) Accompagnato: SopranoAnd the angel said unto them (Luke 2:10-11) Recit.: SopranoAnd suddenly, there was with the angel (Luke 2:13) Accompagnato: Sopranoglory to god (Luke 2:14) Chorus

And there were shepherds abiding in the field,keeping watch over their flock by night.

And lo, the angel of the Lord came upon them,and the glory of the Lord shone round about them,and they were sore afraid.

And the angel said unto them,Fear not: for behold, I bring you good tidings of great joy,which shall be to all people.For unto you is born this day, in the city of David,a Saviour, which is Christ the Lord.

And suddenly there was with the angela multitude of the heav’nly host,praising God, and saying …

‘Glory to God in the highest,and peace on earth,goodwill towards men.’

Rejoice greatly (Zechariah 9:9-10) Song: Soprano

Rejoice greatly, O daughter of Zion,shout, O daughter of Jerusalem;behold thy King cometh unto thee.He is the righteous Saviour;And He shall speak peace unto the heathen.

Then shall the eyes of the blind (Isaiah 35:5-6) Recit.: Countertenor He shall feed his flock (Isaiah 40:11; Matthew 11:28-29) Duet: Countertenor and Soprano

Then shall the eyes of the blind be open’d,And the ears of the deaf unstopped;then shall the lame man leap as a hart,and the tongue of the dumb shall sing.

He shall feed His flock like a shepherd:and He shall gather the lambs with His arm,and carry them in His bosom,and gently lead those that are with young.Come unto Him all ye that labour, come unto Him, that are heavy laden, and He will give you rest.Take His yoke upon you, and learn of Him;for He is meek and lowly of heart:and ye shall find rest unto your souls.

His yoke is easy (Matthew 11:30) Chorus

His yoke is easy, His burthen is light.

(Interval 20 minutes)

PART THE SECONDThe death, resurrection and ascension of Christ; the spreading of the Gospel.

Behold the Lamb of god (John 1:29) Chorus

Behold the Lamb of God,that taketh away the sin of the world.

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He was despised (Isaiah 53:3 and 50:6) Song: Countertenor

He was despised and rejected of men,a man of sorrows, and acquainted with grief.He gave His back to the smiters,and His cheeks to them that plucked off the hair:He hid not His face from shame and spitting.

Surely He hath borne our griefs (Isaiah 53:4-5) ChorusAnd with His stripes we are healed (Isaiah 53:5) ChorusAll we, like sheep (Isaiah 53:6) Chorus

Surely He hath borne our griefsand carried our sorrows:He was wounded for our transgressions,He was bruised for our iniquities;the chastisement of our peace was upon Him.

And with His stripes we are healed.

All we, like sheep, have gone astray,we have turned ev’ry one to his own way;and the Lord hath laid on Himthe iniquity of us all.

All they that see Him (Psalm 22:7 – Book of Common Prayer) Accompagnato: TenorHe trusted in god (Psalm 22:8 – BCP) Chorus

All they that see Him laugh Him to scorn;they shoot out their lips,and shake their heads, saying:

He trusted in God that He would deliver him:let Him deliver Him, if He delight in Him.

Thy rebuke hath broken His heart (Psalm 69:21 – BCP) Accompagnato: Tenor Behold and see (Lamentations 1:12) Song: Tenor He was cut off (Isaiah 53:8) Accompagnato: SopranoBut Thou didst not leave (Psalm 16:10) Song: Soprano

Thy rebuke hath broken His heart;He is full of heaviness.He looked for some to have pity on Him,but there was no man,neither found He any to comfort Him.

Behold, and see, if there be any sorrowlike unto His sorrow!

He was cut off out of the land of the living;for the transgression of Thy people was He stricken.

But Thou didst not leave His soul in Hell,nor didst Thou suffer Thy Holy One to see corruption.

The Lord gave the word (Psalm 68:11 – BCP) Chorus

The Lord gave the word:great was the company of the preachers.

How beautiful are the feet (Isaiah 52:7-9) Song: Soprano

How beautiful are the feet of themthat preach the gospel of peace,and bring glad tidings of good things.

Why do the nations (Psalm 2:1-2 – BCP) Song: BassLet us break their bonds (Psalm 2:3) Chorus He that dwelleth in heaven (Psalm 2:4 – BCP) Recit.: TenorThou shalt break them (Psalm 2:9) Song: Tenor

Why do the nations so furiously rage together:why do the people imagine a vain thing?The kings of the earth rise up,and the rulers take counsels togetheragainst the Lord and against His anointed.

Let us break their bonds asunder,and cast away their yokes from us.

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He that dwelleth in heaven shall laugh them to scorn;the Lord shall have them in derision.

Thou shalt break them with a rod of iron;Thou shalt dash them in pieces like a potter’s vessel.

Hallelujah (Revelations 19:6; 11:15; 19:16) Chorus

Hallelujah,for the Lord God Omnipotent reigneth,Hallelujah!The Kingdom of this worldis become the Kingdom of our Lordand of his Christ;and he shall reign forever and ever,King of Kings,and Lord of Lords,Hallelujah!

(There will be a short pause between Parts II and III, during which patrons are asked to remain in the auditorium).

PART THE THiRDVictory over Death.

i know that my Redeemer liveth (Job 19:25-26; 1 Corinthians 15:20) Song: Soprano

I know that my Redeemer liveth,and that He shall stand at the latter dayupon the earth.And tho’ worms destroy this body,yet in my flesh shall I see God.For now is Christ risen from the dead,the first fruits of them that sleep.

Since by man came death (1 Corinthians 15:21-22) Chorus

Since by man came death,by man came also the resurrection of the dead.For as in Adam all die,even so in Christ shall all be made alive.

Behold, i tell you a mystery (1 Corinthians 15:51-52) Accompagnato: BassThe trumpet shall sound (1 Corinthians 15:52-54) Song: Bass

Behold, I tell you a mystery:We shall not all sleep,but we shall all be chang’d,in a moment,in the twinkling of an eye,at the last trumpet.

The trumpet shall sound,and the dead shall be rais’d incorruptible,and we shall be chang’d.

if god be for us (Romans 18:31, 33-34) Song: Soprano

If God be for us,who can be against us?Who shall lay anything to the charge of God’s elect?It is God that justifieth:Who is he that condemneth?It is Christ that died, yea, rather that is risen again;who is at the right hand of God,who makes intercession for us.

Worthy is the Lamb (Revelation 5:12-13) ChorusAmen

Worthy is the Lamb that was slain,and hath redeemed us to God by His blood,to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing.Blessing and honour, glory and power be unto Himthat sitteth upon the throne,and unto the Lamb,for ever and ever.

Amen.

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Meet the InstruMent the VIolIn

The violin is the smallest and highest-pitched member of the string family, and constitutes the orchestra’s largest group. Its four-octave range, agility and musical versatility have accorded it pre-eminent position within the orchestra over the last three hundred years.

The violin as we know it today was developed in 16th-century Italy, and the city of Cremona in particular gained a reputation for its violin-making tradition. Famous instrument-making dynasties from this time include the Guarneri and Stradivari families, whose violins are highly sought after today, sometimes fetching millions of dollars at auction.

Violinists use a variety of techniques to create different sounds, including drawing the bow across the strings (arco), plucking strings with the fingers (pizzicato), or striking strings with the wooden part of the bow (col legno). Multiple stops allow the violinist to play several notes at the same time.

Many composers have sought to capitalise on the violin’s wide dynamic range and unrivalled expressive capabilities, and popular orchestral violin works include: Beethoven Romances in G and F; Massenet’s Meditation from Thaïs; Vaughan Williams’ The Lark Ascending; Lalo’s Symphonie espagnole; Saint-Saëns Introduction and Rondo Capriccioso; Chausson’s Poème.

© Symphony Services International.

1. Bow2. scroll3. tuning Pegs4. Fingerboard5. strings6. Bridge7. F-holes8. Finetuners9. Chin rest

Pitches of the four open strings on a violin:

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

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WASO Philanthropy Philanthropy Partner

What does WASO’s vision to touch souls and enrich lives through music mean to you?

Having spent most of our lives working and without music, WASO has opened up a whole new universe. A world of beauty and order, of joy and sadness, of exhilaration and moderation. We commend WASO for its part in providing musical encouragement to young people. They are receiving a benefit which we unfortunately never had. Jean & Peter Stokes – WASO Patrons

WASO’s commitment to premiere, encourage and support Australian music and young local musicians in Perth and throughout WA certainly enriches many lives. This state is lucky to have such a wonderful organisation working towards bringing exciting new music into our world here on the west coast. Courtney Walsh – WASO Marketing Intern

What is important to me is that they [WASO] reach out to the community. They travel and give free community concerts, visit hospitals and go to schools. I want to inspire kids to not just sit in front of the TV and play PlayStation, but learn how to express themselves… and that is easiest through music. Alban gerhardt – Cellist

I recently spent time reassuring some of our Rusty Orchestra musicians who were nervous about playing alongside professionals. When I asked one lady how she was enjoying it, she replied that it was the best thing she had ever done in her life. It was such a wonderful thing to see her and all the other ‘Rusties’ buzzing with excitement after the concert. Rob gladstones – WASO Principal 3rd Horn

I meet people here in Perth who tell us, ‘We feel we get the same quality here as we do when we go to London and New York, and we are so happy that we can hear such high levels of music-making in our home town.’ For me, that’s the reward for all the work that we are doing. We can really communicate with everybody – with experienced concert-goers, newbies, older people, anybody. Asher Fisch – WASO Principal Conductor & Artistic Adviser

In order to touch souls and enrich lives, we need your support. Your tax deductible donation will help us continue to achieve our vision.

To let us know what WASO’s vision means to you, or to make a donation, please contact Jane Clare on 9326 0014 or clarej@waso.com.au. Thank you for your support.

Asher Fisch appears courtesy of Wesfarmers Arts

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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.John BonnyAnita & James ClaytonJudith GederoWolfgang LehmkuhlTosi Nottage in memory Edgar NottageNigel & Dr Heather RogersJudy 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 Creative Partnerships AustraliaThe James Galvin FoundationRobyn GlindemannBarrie & Jude LepleyMathie FamilyMcCusker Charitable FoundationMinderoo FoundationJohn & Alison RiggSimon Lee Foundation

Beethoven CircleWASO acknowledges Patrons who generously supported 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 ACBrian & Nancy MurphyPatricia NewAnonymous (1)

impresario Patrongifts $10,000 - $19,999Gay & Bob BranchiTony & Gwenyth LennonJoshua & Pamela Pitt

Maestro Patron gifts $5,000 - $9,999Jean Arkley in memory of Tom ArkleyBill BlokingGavin BunningIan & Elizabeth ConstableMoira & John DobsonBridget Faye AMGilbert George & AssociatesDr Patricia KailisMargaret & Rod MarstonRobert May Jill MulheronSpinifex TrustPeter & Jean StokesTrish Williams – Strategic InteractionsSue & Ron WoollerAnonymous (5)

virtuoso Patron gifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R. Dodge AMSally BurtonDon ConroyMark Coughlan & Dr Pei-Yin HsuStephen Davis & Linda SavageTim & Lexie ElliottRobyn GlindemannJacoba Hohnen & Ted SamsonSylvia & Wally HyamsKeith & Gaye KessellMichael & Dale KitneyBryant MacfieMrs MorrellJane & Jock MorrisonAnne NolanJohn & Paula PhillipsMs Elizabeth Sachse & Dr Lance RisbeyJudy Sienkiewicz Ros ThomsonM. & H. TuiteJoyce Westrip OAMAndrew & Marie Yuncken

Principal Patrongifts $1000 - $2,499Ron & Sue AdamsMargaret Atkins OAMTony & Mary BeeleySuzanne & David BiddlesPeter & Marjorie BirdKevin BlakeMatthew J.C. BlampeyAlan & Anne BlanckenseeNamy BodinnerMr John BonnyMrs Debbie BorshoffDr & Mrs P. BreidahlJean Brodie-Hall AMMarilyn & Ian BurtonAnn Butcher & Dean R. KubankDr G. Campbell-EvansProf Jonathan Carapetis & Prof Sue SkullPeter & Sue CliftonArthur & Nerina CoopesHon June Craig AMGay & John CruickshankNorman & Denia DaffenLesley & Peter DaviesRussell & Susan DixonMargaret DobsonJulian DowseLorraine EllardDon & Marie ForrestDr Andrew GardnerGeorge GavranicRoger & Ann Gillbanks

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Graham & Barbara GouldenJannette GraySandra GrayDeidre GreenfeldDavid & Valerie GullandBrian & Romola HaggertyRichard B. HammondPauline & Peter HandfordMichael HardingShigeki & Hinako HiranoMichael & Liz HollingdaleJohn & Katrina HopkinsJim & Freda IrenicLilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill KeanAnthony & Noelle KellerDorothy KingstonDr Rob Kirk & Sarah GallinaghNelly KleynStephanie & John KobelkeUlrich & Gloria KunzmannLouis & Miriam LandauIrving LanePaul LeeRosalind LilleyGraham & Muriel MahonyGregg & Sue MarshmanMervyn MatthewsJennifer & Arthur McCombBetty & Con Michael AOVicki MizenHon Justice S.R. MoncrieffS.B. Monger-HayLynn MurrayVal & Barry NeubeckerDr Phillip & Mrs Erlene NobleJohn OvertonThe Family of Hilary Owens

Ron & Philippa PackerMichael & Lesley PageAthena PatonAssociate Prof. Tim PavyAlan Pedersen in memory of Hilary OwensCharmian Phillips in memory of Colin CraftPamela PlattAndrew & Suzanne PoliThomas & Diana PotterDr Leon PrindivilleChester ReeveJohn & Alison RiggNigel & Dr Heather RogersMaurice & Gerry RoussetRoger SandercockDr R. & J. SchwengerMargaret & Roger SearesPaula & Melanie ShannonEve Shannon-CullityJulian & Noreen SherLaurel & Ross SmithDr Paul Smith & Denham HarryMichael Snell & Vicki StewartGail & Tony SutherlandAnna SweetinghamRichard Tarala & Lyn Beazley AOGene TilbrookMary TownsendJames & Rosemary TrotterDr Robert TurnbullMaggie VenerysStan & Valerie VicichWatering ConceptsIan WatsonAlan WhithamAnn WhyntieJean & Ian Williams AO

Jim & Gill WilliamsDr Peter WintertonAnonymous (25)

Tutti Patrongifts $500 - $999Geoff & Joan AireyCatherine BagsterMerle I. BardwellBernard & Jackie BarnwellShirley BarracloughP.M. BennetMichael & Nadia Berkeley-HillJohn & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerElizabeth & James BrownNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeDr Anne ChesterLyn & Harvey Coates AOAgatha & Alex Cohen AOHelen CookBrian CresswellGina & Neil DavidsonFrances DaviesJop & Hanneke DelfosRai & Erika DolinschekMrs G. EwenThe Farghaly FamilyAnnette FinnJim & Pamela FlahertyJoan GagliardiPat GallaherElaine GimsonIsobel GlencrossJacqui GroveDouglas M & Regina Hansen

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.

Prof Alan Harvey & Dr Paulien de BoerRichard HatchDr Penny Herbert in memory of Dunstan HerbertHelen HollingsheadPeter IngramJohn IsherwoodCynthia JeePeter S. JonesB.M. Kent In memory of Dr Brenton KnottTrevor & Ane Marie LacyMeg LewisTeresa & Jemima LovelandMegan LoweDr Mary Ellen MacDonaldMrs Carolyn Milton-Smith in loving memory of Emeritus Prof. John Milton-SmithDr Peter MossMarianne NilssonMarjan OxleyGraham & Hildegarde PennefatherBev PennyAdrian & Ruth PhelpsAlpha & Richard Pilpel OAMSheila PinchAlison & John PriceAnn RawlinsonClarissa Repton

James & Nicola Ridsdill-SmithLeigh RobinsonJudith E. ShawThe Sherwood FamilyHendrick SmitLouise Sparrow & FamilyPeggy & Tom StacyRuth E. ThornDr Julian TodresS.R. VogtAdrienne & Max WaltersDiana WarnockAnne WatsonJoy WearneDr Chris & Mrs Vimala WhitakerViolette WilliamJanet WilliamsJudith Wilton & David TurnerPatricia WongYalambi Farm StudAnonymous (19)

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

Our Supporters

As we celebrate our tenth year of annual giving, we are extremely proud to be supported by the following Patrons who have supported us since 2005:

Fred & Margaret AffleckSally BurtonBrian CresswellGerty EwenAnnette FinnDavid & Valerie Gulland Janet Holmes à Court ACB.M. Kent Bryant MacfiePeter & Patricia Moss Jill MulheronJohn OvertonHeather RogersJudy SienkiewiczDavid Turner & Judith Wilton Andrew & Marie Yuncken

We would like thank them for their invaluable ongoing support.

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West Australian Symphony Orchestra

viOLiNSemra Lee-Smith A/Assoc Concertmaster Graham Pyatt A/Asst 1st ViolinShaun Lee-Chen*A/Principal 1st ViolinZak RowntreePrincipal 2nd ViolinKylie Liang A/Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenErin ChenStephanie DeanRebecca GlorieBeth HebertAlexandra IstedSunmi JungAkiko Miyazawa Lucas O’BrienAnna O’HaganMelanie PearnKen PeelerLouise SandercockJolanta SchenkJane SerrangeliEllie ShalleyJacek SlawomirskiBao Di Tang Cerys ToobyDavid Yeh

viOLAAlex BroganAssociate PrincipalKierstan ArkleysmithNik BabicKatherine 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

OBOEPeter FacerPrincipalElizabeth CheeAssoc Principal

COR ANgLAiSLeanne GloverPrincipal

CLARiNETAllan Meyer PrincipalLorna Cook

BASS CLARiNETAlexander Millier PrincipalChair partnered by Altegra Property Group

BASSOONJane Kircher-Lindner PrincipalChair partnered by Ron & Sue Wooller

Adam Mikulicz Assoc Principal Colin Forbes-Abrams

CONTRABASSOONChloe Turner Principal

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

TRUMPETBrent GrapesPrincipalEvan Cromie Assoc PrincipalPeter Miller

TROMBONEJoshua Davis PrincipalLiam O’MalleyAssoc Principal

BASS TROMBONEPhilip Holdsworth Principal

TUBACameron Brook Principal

TiMPANiAlex Timcke Principal

PERCUSSiONTroy Greatz Assoc Principal

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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BOARD OF DiRECTORSJanet Holmes à Court AC ChairmanMark CoughlanKeith KessellBarrie Lepley Deputy ChairmanAnne NolanPaul ShannonJulian Sher Michael Utsler

EXECUTivECraig Whitehead Chief Executive Claire Burlinson Executive AssistantEllen Wisdom Executive Manager, Human ResourcesRachel Taylor Human Resources 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 EngagementFiona Taylor Education CoordinatorGemma McDonald Community Development Coordinator

ORCHESTRAL MANAgEMENTKeith McGowan Executive Manager, Orchestral ManagementRichie Burton Orchestral Operations ManagerDavid Cotgreave Production & Technical ManagerAlistair Cox Orchestral ManagerBreanna Evangelista Orchestra Management Assistant Wee 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 DevelopmentLuci Steinhardt Corporate Partnerships ExecutiveCliona Hayes Corporate Partnerships CoordinatorGinny LuffCorporate Partnerships & Events Coordinator

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

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

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

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waso.com.au | 08 9326 0000

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waso.com.au | 08 9326 0000

www.m2digital.com.au1800 802 822

Is your IT in a bit of a heap?Let WASO look after the music, let M2 Digital look after your IT

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

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FUNDING PARTNERS

EDUCATION PARTNERS

ORCHESTRA SUPPORTERS

MEDIA PARTNERS

KEYNOTE PARTNERS

PLATINUM PARTNERS

CONCERTO PARTNERS

OVERTURE PARTNERS

SONATA PARTNERS

MARGARET RIVER WINE PARTNERS

School of Music | Tertiary Education Partner

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

2014 Corporate Partners

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

WASO Program Corporate Sponsors 2014 NOV.indd 1 31/10/2014 11:05 am

WEST AUSTRALIAN SYMPHONY ORCHESTRA

2015* WASO CONCERTS NOW ON SALE!

SYMPHONIC SORCERY: THE MUSIC OF HARRY POTTERSun 1 Nov 1pm & 3pm Perth Concert Hall

Suitable for 5–12 year olds

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Sun 28 Jun 1pm & 3pm Perth Concert Hall

Suitable for 5–12 year olds

Thu 3 & Fri 4 Dec 8pm Perth Concert Hall

EY PRESENTS

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THE MUSIC OF JAMES BOND FEATURING KATE CEBERANO Fri 10 & Sat 11 Apr 8pm Perth Concert Hall

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CARMINA BURANAFri 19 & Sat 20 Jun 7.30pm

VIVALDI’S FOUR SEASONS Fri 1 & Sat 2 May 7.30pm

RAVEL’S BOLEROThu 26, Fri 27 & Sat 28 Nov 7.30pm

CLASSICAL HIGHLIGHTS

BOOK NOW CALL 9326 0000 quoting 1086 VISIT waso.com.au

Sarah Chang appears courtesy of Mitsubishi Corporation Transaction fees may apply.

JAMES MORRISON & WASO A JOURNEY THROUGH JAZZ

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