Thursday 9 October 11amFriday 10 & Saturday 11 October 7.30pmPerth Concert Hall

CLARINET CONCERTO

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FAMILY CONCERT

Maximus Musicus Visits the orchestra

Sun 2 November 1pm & 3pmPerth Concert Hall

The enchanting tale of a mouse who finds himself in a concert hall. Featuring music by Ravel, Beethoven, Copland and more.

Suitable for 5 - 10 year olds.

Brett kelly conductor Stephen Curry narrator

MACA LIMITED pREsENTs MORNING sYMpHONY CONCERT

Romeo & Juliet

Thurs 13 November 11amPerth Concert Hall

BERLIoZ Roman Carnival PRokoFIEV Romeo and Juliet (excerpts)

Marko Letonja conductor

kIDS’ CUSHIoN CoNCERTS

Fri 24 october 9.45am & 11.15am Midland Town Hall

Sat 25 october 9.45am & 11.15am Joondalup Reception Centre

WASO’s energetic 15-piece EChO ensemble, featuring one of each instrument of the Orchestra, is joined by an enthusiastic presenter who leads the audience in sing-alongs, dancing and music-making.

Suitable for children aged 0 - 6 years.

EChO Kids’ Cushion Concerts are supported by Commonwealth Bank.

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waso.com.au | 08 9326 0000The WASO Chorus is supported by Lotterywest. *Transaction fees may apply.

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Fri 5 Dec 7.30pmSat 6 Dec 2pmPerth Concert Hall

ALCOHOL.THINK AGAIN MASTERS SERIES

Join an outstanding cast, the WASO Chorus and acclaimed conductor Matthew Halls for a powerful Messiah soaring heavenwards!

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welcome

In every era, there have been composers who elevated their art to stand apart from the rest. The singular genius in truly great music is in the individuality of its creator, and in every such case the music they wrote shares a most important quality: it could have been written by no one else.

In these concerts, we have on the program two such original voices in Wolfgang Amadeus Mozart and Sergei Rachmaninov, in two of their finest creations. And bringing them together on this wonderful program lends a sense of poignant finality. Mozart’s incomparable Clarinet Concerto from 1791 was his last instrumental work, written just before he died and published posthumously; similarly, Rachmaninov published no other music after his astonishing Symphonic Dances was premiered in 1941, and he died two years later. In both works, then, we are hearing these great musicians at the height of their powers, bringing to bear all their experience and insight into their most profound, beautiful, and thrilling music.

Mozart was much influenced by the great clarinettist Anton Stadler, who also inspired him to write the glorious Clarinet Quintet, among other works. It would be wrong I think to argue that Mozart forged new paths in music – he is not the pioneer that was Beethoven, Berlioz, Wagner, or Stravinsky, to name only a few. Of course, we cannot know what would have been had Mozart lived to see his 35th birthday. Nevertheless, he helped to define all music that followed him, writing music that on the surface was not so different from that of his Classical era contemporaries. But in many cases, their music has faded, and Mozart endures. Simply put, he did it better – more profoundly, more skilfully, and more beautifully, lifting the Classical ideal to its highest point, even as it was poised to slip into the Romanticism of the 19th century. Making this valedictory concerto even more special for us is the

extraordinary artistry of Michael Collins. With him, the sublime suspension of time in this perfect work promises to be pure magic.

Rachmaninov also etched his personal signature into music of his time as one century tumbled into the next. He may not have set out to define the Romanticism of his time, but the Romanticism of the early 20th century came to be defined through him. His Symphonic Dances is a suite of three dances, lush, energetic, and extraordinarily colourful. His treatment of the sonic possibilities of the orchestra is a treatise in imagination, right down to the marvellous saxophone solo which mournfully carries a nostalgic breeze from 19th century Russia into the first movement — glorious stuff.

The entire program is virtuoso music, which includes a world premiere by Carl Vine, who’s brilliant and colourful Concerto for Orchestra has its first performances on this weekend. Helping a new piece of music take its first steps in the world is always an honour and a thrilling responsibility. Between the great musicians of WASO and such a wonderful composer as Carl Vine, and I am thrilled to be back in Perth and have the chance to work with Australia’s best.

Michael Stern Conductor

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Program

MORNING sYMpHONY sERIEs

Mozart’s Clarinet Concerto

MoZART Clarinet Concerto (28 mins)

Allegro Adagio Rondo (Allegro)

RACHMANINoV Symphonic Dances (35 mins)

Non Allegro Andante con moto (Tempo di valse) Lento assai – Allegro vivace

Michael Stern conductor Michael Collins clarinet

Pre-concert TalkFind out more about the music in the concert with this week’s speaker Ashley Smith. Pre-concert talks take place at 9.40am in the auditorium on Thursday morning.

Pre-concert talks are supported by Wesfarmers Arts.

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Program

CLAssICs sERIEs

Mozart’s Clarinet Concerto

CARL VINE Concerto for Orchestra WORLD PREMIERE (21 mins)

MoZART Clarinet Concerto (28 mins)

Allegro Adagio Rondo (Allegro)

INTERVAL (25 mins)

RACHMANINoV Symphonic Dances (35 mins)

Non Allegro Andante con moto (Tempo di valse) Lento assai – Allegro vivace

Michael Stern conductor Michael Collins clarinet

Carl Vine’s Concerto for Orchestra was commissioned by Geoff Stearn for the West Australia Symphony Orchestra.

Pre-concert TalkFind out more about the music in the concert with this week’s speaker Ashley Smith. 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 Arts.

Meet the ArtistsMeet conductor Michael Stern & composer Carl Vine post-concert Friday and Saturday nights in the Terrace Level foyer.

Meet the Artists is supported by Wesfarmers Arts.

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

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

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

Making The Most of Your Visit

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

SoCIAL MEDIA

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

Connect with wASo

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

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

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

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

Concert Etiquette Tips

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

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

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wASo News

wASo on the Road Tour

PILBARAOn Monday 8 September, WASO embarked on the year’s first 5-day WASO on the Road Tour to the Pilbara (WOTR) with support of Chevron. A brass quintet made up of two trumpets, a trombone, tuba, and a horn presented six free in-school performances and three community concerts in Karratha, Roebourne, Onslow and Dampier plus a workshop with the band at Karratha Senior High School.

ALBANYAfter the success of our recent visit to Albany with the full orchestra as part of the Beethoven Festival, WASO returned to the community in mid-September to present its second WASO on the Road Tour visiting the coastal town along with Denmark and Jerramungup.

On this tour, made possible by the support of Water Corporation, a string quartet took centre stage to run workshops with the Albany Youth Orchestra and music students at Albany Primary School, and to present two free community concerts and five in-school performances that reached students from six schools.

WASO on the Road Pilbara is supported by Chevron.WASO on the Road Albany is supported by Water Corporation.

Photo: WASO on The Road musicians perform for students via video conferencing technology at the Pilbara Education Regional Office.

Commission celebrates Carl Vine’s 60th birthday

As part of tonight’s program, we are delighted to unveil a new work by Australian composer Carl Vine, his Concerto for Orchestra. These world premiere performances celebrate Carl’s 60th birthday. WASO commissioned Carl’s Concerto in 2012 following a donation by Patron Geoff Stearn. Geoff has been a generous Patron since 2010, commissioning four works for WASO. 

Carl Vine first rose to prominence as a composer of music for classical dance and has since emerged as a major orchestral composer with seven symphonies and ten concertos heading the catalogue. In the 2014 Queen's Birthday Honours List for Australia, Carl was appointed an Officer (AO) of The Order Of Australia for distinguished service to the performing arts.

Carl’s connection to WASO goes back to his grandfather Lambert Green, who was a clarinettist with the 6WF Radio Band, the precursor to WASO. Lambert is pictured below, second from the left, in this photo that was taken almost 100 years ago.

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JOHN HOLLAND’S HOSPITAL ORCHESTRA At John Holland we are committed to supporting our community. With the Hospital Orchestra Project, John Holland is helping bring music to the children at Princess Margaret Hospital through concerts and ward visits.

JOHN HOLLAND’S NEXT VISIT TO PRINCESS MARGARET HOSPITAL WILL BE IN AUGUST 2013.

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Biographies

Michael SternConductor

Michael Stern is in his eighth season as Music Director of the Kansas City Symphony. He and the orchestra have partnered with Reference Recordings for an ongoing series of highly praised CDs, including their latest release, Miraculous Metamorphoses, with music of Prokofiev, Bartók and Hindemith. He also serves as the founding Artistic Director and Principal Conductor of IRIS Orchestra in Germantown, Tennessee.

Previous appointments include Chief Conductor of Germany’s Saarbrücken Radio Symphony Orchestra (the first American chief conductor in the orchestra’s history); Permanent Guest Conductor of the Orchestre National de Lyon; and Principal Guest Conductor of the Orchestre national de Lille. He has guest conducted major orchestras throughout North America, Europe, Israel and Asia.

Michael Stern received his music degree from the Curtis Institute of Music in Philadelphia, and is a 1981 graduate of Harvard University, where he earned a degree in American History.

Michael CollinsClarinet

Michael Collins’ virtuosity and musicianship have earned him recognition as one of today’s most distinguished artists and a leading exponent of his instrument. He has given world and local premieres of John Adams’ Gnarly Buttons, Elliott Carter’s Clarinet Concerto, Brett Dean’s Ariel’s Music, Elena Kats-Chernin’s Ornamental Air and Mark-Anthony Turnage’s Riffs and Refrains.

In great demand as a chamber musician, Michael Collins performs with musical colleagues such as the Belcea and Takács quartets, Martha Argerich, Stephen Hough, Mikhail Pletnev, Lars Vogt, Joshua Bell and Steven Isserlis. His ensemble, London Winds, celebrated its twenty-fifth anniversary in 2013 and maintains a busy diary with engagements at the BBC Proms, Aldeburgh Festival, Edinburgh Festival, City of London Festival, Cheltenham Music Festival and Bath Mozartfest.

In recent seasons Michael Collins has become increasingly highly regarded as a conductor, and in September 2010 took the position of Principal Conductor of the City of London Sinfonia.

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wASo on Stage Tonight

PrincipalAssociate PrincipalGuest Musician^

VIoLINwilma SmithGuest ConcertmasterSemra Lee-Smith A/Associate Concertmastergraham Pyatt A/Assistant ConcertmasterShaun Lee-ChenA/Principal 1st ViolinZak RowntreeA/Principal 2nd ViolinSarah BlackmanFleur ChallenDorothy Ford^John Ford^Beth HerbertAlexandra IstedSunmi JungAndrea Mendham^Akiko MiyazawaLucas O’BrienKathleen O’Hagan^Melanie PearnKen PeelerLouise SandercockJolanta SchenkJane SerrangeliEllie ShalleyKathryn Shinnick^Jacek SlawomirskiBao Di TangCerys ToobyTeresa VinciDavid Yeh

VIoLAPaul McMillan Guest PrincipalAlex BroganA/Assoc PrincipalKierstan ArkleysmithGeorge Batey^Kathy Corecig^Katherine DrakeAlison HallRachael KirkAllan McLeanHelen TuckeyAaron Wyatt^

CELLoRod Mcgrath Louise McKayShigeru KomatsuOliver McAslan Nicholas MetcalfeEve SilverFotis SkordasTim SouthJon Tooby^

DoUBLE BASSAndrew RootesLibby Browning^Sarah Clare^Andrew TaitMark ToobyGiovanni Vinci^Phil Waldron^

FLUTEAndrew Nicholson Chair partnered by Apache

Mary-Anne Blades

PICCoLoMichael waye

oBoEPeter FacerElizabeth CheePrincipal

CoR ANgLAISLeanne Glover

CLARINETAllan Meyer Lorna Cook

BASS CLARINETAlexander Millier Chair partnered by Altegra Property Group

BASSooNAdam MikuliczA/PrincipalChair partnered by Ron & Sue WoollerColin Forbes-Abrams

CoNTRABASSooNChloe Turner

ALTo SAxoPHoNEMatt Styles^

HoRNDavid EvansSharn McIverJulia BrookeFrancesco Lo SurdoBrendan Parravacini

TRUMPETBrent grapesTim Keenihan^ Peter Miller

TRoMBoNEJoshua Davis Liam O’Malley

BASS TRoMBoNEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIoNTroy Greatz Joel Bass^Amanda Dean^Robyn Gray^Paul Tanner^

HARPSarah Bowman

PIANo/CELESTEGraeme Gilling^

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Meet the Musician

graham PyattActing Assistant Concertmaster

what’s your earliest memory of playing music?One of my earliest recollections is playing violin for a troupe of Morris dancers around Leicestershire and having to wear a white smock and felt hat. Don’t ask me to explain Morris dancing, I don’t understand it either.

Do you have a shortlist of works or composers that you love to play the most?Brahms is a joy to play, there’s always something new to find in his writing and I’m looking forward to playing all his big works next year in the Brahms Festival. Mahler because he pushes the boundaries of orchestral playing like nobody else and like all the great composers he has a real understanding of the instruments he writes for.

Have you played in any other orchestras other than wASo?I spent fifteen years in the Royal Philharmonic Orchestra, London. It was a very intense period of touring, recordings and concerts.

Do you have a most memorable conductor’s comment?Rehearsals can be very tedious at times and a well-known (and knighted) English conductor once said in the middle of a boring rehearsal, “I don’t mind you looking at your watches, but I do object to you shaking them to check they are still working”.

what is the best advice you’ve received during your career?During one of my violin lessons at the Royal College of Music I was trying to play a challenging passage and was contorting myself in the process. My teacher warned me that my career would be shortened if I didn’t make posture a priority and although I wasn’t good at taking advice at the time, somehow the comment has always stuck with me.

what do you love the most about working and living in Perth?Work/life balance is good here in Perth. Since the first day I arrived here over twenty years ago I knew this is where I wanted to be. 

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Timeline of Composers & works

1700 1800 1900 2000 2100 2200 2300

Rachmaninov's Symphonic Dances1940

Mozart's Clarinet Concerto1791

WOLFGANG AMADEUS MOZART

1756 Ð 1791Born in Salzburg, Austria.Died in Vienna, Austria.

Carl Vine's Concerto for Orchestra2014

SERGEI RACHMANINOV

1873 Ð 1943Born in Semyonov, Russia.Died in California, USA.

CARL VINE1954

Born in Perth, Australia.

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Program Notes

Carl Vine(born 1954)

Concerto for Orchestra WORLD PREMIERE

Concertos for orchestra are a uniquely 20th-century phenomenon, evolving from the Baroque model of the concerto grosso and the ensuing sinfonia concertante. They generally feature multiple solo instruments and alternating focus on contrasting instrumental families. More than 70 have been composed since Hindemith’s landmark work of 1925, including eight by Alan Hovhaness and five by Robin Holloway. None have been as successful as Bartók’s remarkable work of 1943.

I have used this opportunity to feature every instrument in the orchestra in one way or another. Although classical concertos follow the symphonic fashion of incorporating sonata form, I have deliberately chosen to mutate the form beyond recognition, eliminating the precepts of primary and secondary themes, and the very notion of exposition-development-recapitulation.

In place of these traditional formulae I have used a process developed in my piano trio (The Village, 2014): a broad family of musical ‘elements’ evolve organically through a chain of episodes to create a complex web of melodies and harmonies that are related but not identical.

This network of ideas is tied together by strong lateral bonds but remains fluid and flexible, creating a series of fleeting glimpses – what Prokofiev called ‘visions fugitives’ – or abstract patterns glimpsed in the half-light or imagined behind clouds.

Concerto for Orchestra is dedicated to Geoff Stearn.

© Carl Vine, 2014

Concerto for Orchestra was commissioned by Geoff Stearn for the West Australian Symphony Orchestra.

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concerto grosso A form of Baroque music in which the musical material is passed between a small group of soloists and full orchestra. This is in contrast to the concerto which features a single solo instrument with the melody line, accompanied by the orchestra.

sinfonia concertante An 18th-century style of symphony where one or more instruments have solo parts.

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.

glossary

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Program Notes

wolfgang Amadeus Mozart(1756-1791)

Clarinet Concerto in A, K622Allegro Adagio Rondo (Allegro)

My thanks to you, brave virtuoso! I have never before heard the like of what you contrived with your instrument. Never should I have thought that a clarinet could be capable of imitating the human voice as it was imitated by you. Indeed, your instrument has so soft and so lovely a tone that no one with a heart can resist it … Johann Friedrich Schink (1784)

The ‘brave virtuoso’ was the clarinettist Anton Stadler (1753-1812), whom Schink had heard in a performance of four movements from Mozart’s Serenade in B flat, K361 (the ‘Gran Partita’).

Stadler probably first met Mozart in Vienna in 1781. As well as their musical association, both were members of the Masonic order. Another Mason was Theodor Lotz, instrument-maker to the Viennese court. Lotz and Stadler collaborated on a new version of the clarinet. Instead of the lower written range finishing with E below middle C, the addition of more key-work extended this to a full octave below middle C. Mozart soon exploited the advantages of the extra four notes in pieces for Stadler’s new instrument, the basset clarinet.

Of the works Mozart wrote for Stadler, the Clarinet Concerto in A, K622 is arguably the most important. Stadler gave its premiere at Prague’s National Theatre on 16 October 1791. Over the next four years he performed the work in Berlin, Warsaw, Vilnius, Riga, St Petersburg, Lübeck, Hamburg and Hanover. Stadler’s last documented performance of the work was in 1804. Sadly, this is also the last known use of Mozart’s own manuscript, which subsequently disappeared.

After Stadler’s death, the basset clarinet all but faded into obscurity, with subsequent 19th-century performances of the concerto being given on the ordinary clarinet in A. In the late 20th century, the basset clarinet was revived in historically informed models, to give timbral authority; at the same time attempts were made to re-establish ‘the score’.

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However, the Concerto continues to be played, as in the first published versions, on the ordinary clarinet in A. Using essentially the same score as first appeared around 1801, this evening’s performance has something of a contemporary textual authority. We are indeed fortunate that someone, possibly Mozart’s publisher Johann André, had access to the original manuscript and had transcribed a version for clarinet in A, making the concerto available for generations of performers. No less a figure than English clarinettist Gervase de Peyer claimed to be able to ‘do things with the A clarinet that I cannot do with the basset … these things add more to the overall performance than the few extra notes at the bottom’.

In the Concerto, Mozart balances the clarinet’s mellifluous timbre with subtle colours of flutes, bassoon and horns, in addition to the regular string section. The opening orchestral exposition of the Allegro establishes the elegant, singing nature of the first movement. The soloist’s initial entry is cast in the clarinet’s operatic upper register. Throughout this movement Mozart displays his intimate knowledge of the clarinet’s registral and dynamic flexibility, utilising its complete compass in a manner truly sublime.

The structural simplicity of the Adagio contrasts Mozart’s timbral innovation. He bathes the solo line in a variety of textures. In particular, the French horns’ lower tessitura complements the movement’s wistful and somewhat introspective character. The Rondo ebulliently blends sonata and rondo forms, and the clarinet line abounds with wit and exuberance.

Despite Mozart’s untimely death on 5 December 1791, soon after the Concerto’s premiere, this final monument to his favourite wind instrument provides a fitting testimony to the vitality and sheer genius of his musical gifts.

In the words of the Concerto’s first critic, writing in 1802:

Good execution of this concerto will bestow honour and admiration upon every able clarinettist as it will bestow pleasure upon every listener whatever his sensibilities.

Ingrid E. Pearson © 2010

WASO last performed this work on 11 &12 March 2011, performed by Paul Dean and conducted by Paul Daniel.

basset clarinet A variant of the clarinet, with an extended downwards range, allowing it to play an extra four notes in the lower, or ‘chalumeau’, register of the instrument. Mozart was especially fond of this sound, writing his Clarinet Concerto (K622) and Clarinet Quintet (K581) for Stadler and his basset clarinet, as well as giving it an obbligato part in his opera La clemenza di Tito. The basset clarinet was revived with modern keywork in 1951. Not to be confused with the basset horn.

timbre (timbral) the distinctive sound quality or ‘colour’ produced by an instrument or a voice, or by particular combinations of instruments and voices

glossary

MOZART Oboe Concerto in C Major featured in Diana Doherty Plays Mozart Fri 31 July & Sat 1 Aug 2015

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Program Notes

Sergei Rachmaninov (1873-1943)

Symphonic Dances, Op.45Non Allegro Andante con moto (Tempo di valse) Lento assai – Allegro vivace

After Rachmaninov left Russia in 1917, the seizure of his Russian income by the Soviets meant he had to earn a living as a performing musician and so he set about establishing his career as a concert pianist. Although famous for interpreting his own music, he had never been called upon to perform music by other composers in public, and now, at the age of 44, he began building up a soloist’s repertoire. This left little time for composition, and he wrote no original work for another nine years. Then the urge to compose began to reassert itself. A fitful procession of ‘Indian summer’ pieces emerged between 1926 and 1940, many of which are now regarded as among his finest compositions. But at the time most of these works met with indifference from audiences and hostility from critics. His success as a pianist far outstripped that of his music.

Among the first fruits of his period in the West were the Fourth Piano Concerto (1926) and the Variations on a theme of Corelli (1931). Neither was successful. The public and critical acclaim for his Rhapsody on a theme of Paganini (1934) gave him the confidence to write his Third Symphony (1936), to which, in the composer’s words, ‘audiences and critics responded sourly’. This indifference to his music sapped his confidence once again.

The orchestral style Rachmaninov cultivated in his later years was marked by great clarity of texture, a freer and more independent approach to brass and woodwind writing, and a tendency to express ideas more concisely than in his earlier large-scale pieces. Harmonically and rhythmically, his music of the 1930s bears the influence of Prokofiev and Stravinsky, but very much on Rachmaninov’s own terms. His melodies still move, on the whole, in stepwise fashion, in the manner of Russian Orthodox chant, and although he clothes his melodies in lighter textures, he is not ashamed to write tunes that could be called ‘vintage Rachmaninov’.

The result was too ‘modern’ and lean-sounding for audiences who wanted him to keep rewriting the Second Piano Concerto, and too conservative for critics, whose twin gods were Stravinsky and Schoenberg. Collectively, the Symphonic Dances represent perhaps the richest results of Rachmaninov’s new approach to the orchestra. They were also his last original composition.

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The idea of a score for a programmatic ballet had been at the back of Rachmaninov’s mind since 1915, and when Michel Fokine successfully choreographed the Paganini Rhapsody in 1939 the opportunity presented itself again. He wrote the Dances the following year, giving the three movements the titles Midday, Twilight and Midnight respectively. At this point the work was called Fantastic Dances. Fokine was enthusiastic about the music but non-committal about its balletic possibilities. His death a short time later cooled Rachmaninov’s interest in the ballet idea. He deleted his descriptive titles, substituted the word ‘Symphonic’ for ‘Fantastic’, and dedicated the triptych to his favourite orchestra, the Philadelphia, and its chief conductor Eugene Ormandy.

It is a work full of enigmas which Rachmaninov, surely one of the most secretive of composers, does nothing to clarify. In the coda of the first movement, for example, there is a transformation from minor to major of a prominent theme from his first symphony, which at that time Rachmaninov thought he had destroyed (it was reconstructed from orchestral parts after his death). The premiere of that work in 1897 had been such a fiasco that Rachmaninov could not compose at all for another three years. The reference in this new piece had a meaning that was entirely private.

There is also the curious paradox that the word ‘dance’, with its suggestion of life-enhancing, joyous activity, is here put at the service of a work that is essentially concerned – for all its vigour and sinew – with endings, with a chromaticism that darkens the colour of every musical step. The sense of foreboding and finality is particularly strong in the second movement, with its evocations of a spectral ballroom, and in the bell-tolling and chant-intoning that pervade the finale. Here the extensive use of the Dies irae (Day of Wrath) theme from the Mass for the Dead (a regular source for Rachmaninov) and the curious inscription ‘Alliluya’, written in the score above the last motif in the work to be derived from Orthodox chant, suggest the most final of endings mingled with a sense of thanksgiving.

Abridged from a note by Phillip Sametz © 1999

WASO last performed this work on14 & 14 May 2009, conducted by Paul Daniel.

Chromaticism In tonal music, the use of foreign notes and harmonies that do not belong to the key, together with a tendency to frequent modulation to other keys. The impression is one of harmonic richness and while chromaticism has been used as an expressive effect since the 16th century, it is most strongly associated with the Romantic style of the 19th century.

glossary

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Meet the InstruMent the troMBone

The trombone is a member of the brass family. It has a predominantly cylindrical bore, and is characterised by a slide that the player uses to extend the length of the tubing, thereby lowering the pitch. The slide is based on seven positions that lower the pitch progressively by semitones, with first position (slide fully retracted) being the highest, and seventh position (slide fully extended) being the lowest. For trombones with an F attachment, it is possible to engage an extra length of tubing that lowers the basic pitch of the instrument by the interval of a perfect fourth. Trombones have been made in a variety of sizes, from piccolo to contrabass, but the most commonly encountered types today are the tenor and bass trombone.

Scholars are unsure exactly when and where the trombone first appeared, but its earliest known description appears in a late 15th-century fresco by Filippino Lippi. The early trombone was known by a variety of names, including ‘posaune’ in German-speaking countries, ‘saquebot’ in French, and ‘sackbut’ in English. The trombone was used primarily in church music and small ensembles, and did not become a part of the orchestra until the late 18th century.

Composers have recognised the expressive

capabilities of the trombone as a solo instrument, and have featured it in some notable orchestral solos including the Tuba mirum of Mozart’s Requiem, Mahler’s Symphony No.3, Sibelius’ Symphony No.7 and Bartók’s The Miraculous Mandarin. By the 20th century, jazz trombonists such as J.J. Johnson and Tommy Dorsey had become particularly influential in technical developments of trombone performance, such as irregular attacks, microtones, and glissandos. These can be heard on albums such as The Eminent J.J. Johnson and The Trombone Master.

Clare Krier. Symphony Services International © 2012.

The pitch range of the trombone:

1 Tuning slide 2 Mouthpiece 3 Bell 4 Main slide / outer slide 5 Water key

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3

4

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we are nearly there! Please join us in celebrating ten years of wASo Annual giving by helping raise $500,000.

2014 is the tenth year of our Annual Giving program and over that time it has grown to become the foundation of WASO’s Philanthropy program with donations from individuals vital to the day-to-day running of your Orchestra. Thank you to the many wASo Patrons and Friends who have contributed to this important campaign this year.

To ensure we continue to achieve our vision to touch souls and enrich lives through music, this year we aim to raise $500,000 through our Annual Giving campaign. We are nearly there! We have raised $450,000 but we still need your support to reach our goal of $500,000.

we invite you to support wASo this year and make a donation to our Annual giving campaign.

WASO Philanthropy information and donation forms are available at the Programs and Information desk. To learn more about supporting WASO and regular giving options, please contact Jane Clare, Fundraising and Philanthropy Coordinator, on 9326 0014 or clarej@waso.com.au. You can also donate online at waso.com.au.

Every donation helps, no matter the size. All donations over $2 are tax deductible.

Thank you. Amazing things can happen through philanthropy.

wASo Philanthropy Philanthropy Partner

Patrons & Friends EventwASo in Rehearsal Three Friday 17 October, 10am, Perth Concert Hall Piers Lane Plays Liszt

The program being rehearsed features three of Liszt’s most popular works, including the ground-breaking symphonic poem Les Préludes. There will be a pre-rehearsal talk commencing at 9.30am.

Tickets are $25 for Patrons & Friends ($30 for guests) and include a lovely morning tea with the musicians. To book, call the WASO Box Office on 9362 0000.World Artist Piers Lane appears courtesy of Japan Australia LNG (MIMI) Pty Ltd.

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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 Bonny Anita and James ClaytonJudith GederoWolfgang LehmkuhlTosi Nottage in memory Edgar NottageJudy SienkiewiczSheila WilemanAnonymous (16)

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

Reach outRecognises Patrons who support our Education and Community Engagement programs.Prue Ashurst 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 PittAnonymous (1)

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 Wooller

Anonymous (2)Virtuoso Patron gifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R. Dodge AMPeter & Marjorie BirdSally BurtonDon ConroyMark Coughlan & Dr Pei-Yin HsuStephen DavisTim & Lexie ElliottRobyn GlindemannSylvia & Wally HyamsKeith & Gaye KessellMichael & Dale KitneyBryant MacfieMrs MorrellAnne NolanRon & Philippa PackerJohn & Paula PhillipsMs Elizabeth Sachse & Dr Lance RisbeyJudy Sienkiewicz Ros ThomsonM. & H. TuiteJoyce Westrip OAMAndrew & Marie YunckenAnonymous (1)

Principal Patrongifts $1000 - $2,499Margaret Atkins OAMColin & Eve Beckett

Tony & Mary BeeleySuzanne & David BiddlesJohn & Sue Bird in memory of Penny BirdKevin BlakeMatthew J.C. BlampeyAlan & Anne BlanckenseeMr John BonnyMrs Debbie BorshoffDr & Mrs P. BreidahlJean Brodie-Hall AMAnn Butcher & Dean R. KubankDr G Campbell-EvansProf. Jonathan Carapetis & Prof. Sue SkullArthur & Nerina CoopesHon June Craig AMGay & John CruickshankNorman & Denia DaffenLesley & Peter DaviesRussell & Susan DixonMargaret DobsonJulian DowseDon & Marie ForrestDr Andrew GardnerRoger & Ann GillbanksGraham & Barbara GouldenJannette GraySandra GrayDeidre GreenfeldDavid & Valerie GullandBrian & Romola HaggertyRichard B. HammondPauline & Peter HandfordMichael HardingShigeki & Hinako Hirano

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Michael & Liz HollingdaleJohn & Katrina HopkinsJim & Freda IrenicCynthia JeeLilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill KeanAnthony & Noelle KellerDorothy KingstonDr Rob Kirk & Sarah GallinaghNelly KleynStephanie & John KobelkeUlrich & Gloria KunzmannIrving LanePaul LeeRosalind LilleyMegan LoweGraham & Muriel MahonyGregg & Sue MarshmanMervyn MatthewsJennifer & Arthur McCombBetty & Con Michael AOVicki MizenHon Justice S.R. MoncrieffJane & Jock MorrisonLynn MurrayVal & Barry NeubeckerDr Phillip & Mrs Erlene NobleJohn OvertonThe Family of Hilary OwensMichael & Lesley PageAthena PatonAssociate Prof. Tim PavyAlan Pedersen in memory of Hilary OwensCharmian Phillips in memory of Colin CraftPamela PlattAndrew & Suzanne Poli

Thomas & 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 TownsendDr Robert TurnbullMaggie VenerysStan & Valerie VicichWatering ConceptsIan WatsonAlan WhithamAnn WhyntieJean & Ian Williams AOJim & Gill WilliamsDr Peter WintertonAnonymous (18)

Tutti Patrongifts $500 - $999Geoff & Joan AireyCatherine BagsterMerle I. BardwellBetty BarkerBernard & Jackie BarnwellShirley Barraclough

P.M. BennetMichael & Nadia Berkeley-HillDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerElizabeth & James BrownMarilyn & Ian BurtonNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeDr Anne ChesterLyn & Harvey Coates AOAgatha & Alex Cohen AOHelen CookBrian CresswellGina & Neil DavidsonFrances DaviesJop & Hanneke DelfosRai & Erika DolinschekLorraine EllardMrs G. EwenThe Farghaly FamilyAnnette FinnJim & Pamela FlahertyJoan GagliardiPat GallaherGeorge GavranicElaine GimsonIsobel GlencrossJacqui GroveDouglas M & Regina HansenProf Alan Harvey & Dr Paulien de BoerRichard HatchDr Penny Herbert in memory of Dunstan HerbertHelen HollingsheadJohn IsherwoodPeter S. JonesB.M. Kent

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.

In memory of Dr Brenton KnottTrevor & Ane Marie LacyMeg LewisTeresa & Jemima LovelandDr Mary Ellen MacDonaldMrs Carolyn Milton-Smith in loving memory of Emeritus Prof. John Milton-SmithS.B. Monger-HayDr Peter MossMarianne NilssonMarjan OxleyGraham & Hildegarde PennefatherBev PennyAdrian & Ruth PhelpsAlpha & Richard Pilpel OAMSheila PinchAlison & John PriceAnn RawlinsonClarissa ReptonJames & Nicola Ridsdill-SmithLeigh RobinsonJudith E. ShawThe Sherwood FamilyHendrick SmitLouise Sparrow & FamilyPeggy & Tom StacyRuth E. ThornDr Julian TodresS.R. Vogt

Adrienne & Max WaltersDiana WarnockAnne WatsonJoy WearneDr Chris & Mrs Vimala WhitakerViolette WilliamJanet WilliamsJudith Wilton & David TurnerPatricia WongYalambi Farm StudAnonymous (22)

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 RogersJudith SienkiewiczDavid Turner & Judith Wilton Andrew & Marie Yuncken

We would like thank them for their invaluable ongoing support.

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waso.com.au | 08 9326 0000

west Australian Symphony orchestra

VIoLINSemra Lee-Smith A/Associate Concertmaster Graham Pyatt A/Assistant ConcertmasterShaun Lee-Chen*A/Principal 1st ViolinZak RowntreeA/Associate 2nd ViolinKylie Liang Assistant Principal 2nd ViolinSarah BlackmanFleur ChallenStephanie DeanRebecca GlorieBeth HebertAlexandra IstedSunmi JungAkiko Miyazawa Lucas O’BrienAnna O’HaganMelanie PearnKen PeelerLouise SandercockJolanta SchenkJane SerrangeliEllie ShalleyJacek SlawomirskiBao Di Tang Cerys ToobyTeresa VinciDavid Yeh

VIoLAAlex BroganA/Associate 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 SurdoBrendon 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 Burlington 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 DevelopmentCliona Hays Corporate Partnerships CoordinatorLuci Steinhardt Corporate Partnerships ExecutiveGinny 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 ManagerAmanda LimMarketing 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 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 AUG.indd 1 15/08/14 12:32 PM

Piers Lane appears courtesy of Japan Australia LNG (MIMI) Pty Ltd. *Transaction fees may apply

LISZTPIERS LANE PLAYS

LISZTPIERS LANE PLAYS

ALCOHOL.THINK AGAIN MASTERS SERIES

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

BOOK NOW

Tickets from $30*

BRAHMS Hungarian Dance No.1 LISZT Les Préludes JOHN ADAMS The Chairman Dances DVORAK Carnival Overture LISZT Hungarian Rhapsody No.2 LISZT Piano Concerto No.1

Andrew Grams conductor Piers Lane piano

Fri 17 & Sat 18 Oct 7.30pmPerth Concert Hall

Don’t miss dazzling pianist Piers Lane return to WASO in Liszt’s rapturously virtuosic First Piano Concerto!

M7 Program Ads.indd 1 30/07/14 1:00 PM