TchaikovskySimone Lamsma

Plays

PROGRAMMORNING SYMPHONY SERIES Thursday 30 June 11am

MACA LIMITED CLASSICS SERIESFriday 1 & Saturday 2 July 7.30pmPerth Concert Hall

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WELCOME

Each time I hear any of the three works on this program, I remember certain activities from earlier in my life that are forever linked to each one; removing my father’s LP from its sleeve and carefully lowering the needle onto its surface in order to listen to Grieg’s Peer Gynt Suite playing the first entrance of the solo line of the Tchaikovsky Violin Concerto for my entrance auditions at conservatories around the US leaning over the railing of a first-tier box in the concert hall at the Kennedy Center during a rehearsal of the National Symphony Orchestra and being amazed at this awesome orchestral work with a super-cool title: The Enigma Variations...

Tchaikovsky’s Violin Concerto is a favourite of all because of the left-hand pyrotechnics needed in the first and last movements as well as the melancholic melodies in the second that are so very full of soul. Our soloist, Simone Lamsma, has in spades all the technical and musical skills needed for this beast of a concerto!

Grieg’s incidental music for the play Peer Gynt evokes different scenes: a woodland setting in the early morning (used to great effect in movies, commercials and cartoons) the depth of feeling a son experiences at the death of his mother, a sensuous dance by a lovely girl, and the creepy-crawly feeling of being stalked and eventually chased by trolls. Boo!

The idea Elgar had one evening at home while improvising on his piano was a brilliant one; take this melody that flowed from his fingers and put it through the prisms of friends’ individual personalities. “Who does that remind you of?” he asked his wife while improvising. What was created is a set of variations on an original theme that shows Elgar’s take on the characteristics of people in his life. It’s a novel idea that propelled Elgar into the international limelight and secured his place in history as one of the great composers of the 20th century.

I’m so glad you’ve joined us and I hope you enjoy our concert.

Andrew Grams Conductor

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MORNING SYMPHONY SERIES

SIMONE LAMSMA PLAYS TCHAIKOVSKY

Pre-concert TalkFind out more about the music in the concert with this week’s speaker, Lachlan Skipworth. The Pre-concert Talk takes place at 9.40am in the Auditorium.

The Pre-concert Talk is supported by Wesfarmers Arts

GRIEG Peer Gynt: Suite No.1 (13 mins) Morning – Mood (Allegretto pastorale)The Death of Åse (Andante doloroso)Anitra’s Dance (Tempo di Mazurka)In the Hall of the Mountain King (Alla marcia e molto marcato)

TCHAIKOVSKY Violin Concerto (34 mins) Allegro moderato – Moderato assai Canzonetta (Andante)Finale (Allegro vivacissimo)

Andrew Grams conductor Simone Lamsma violin

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MACA LIMITED CLASSICS SERIES

SIMONE LAMSMA PLAYS TCHAIKOVSKY

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

Meet the ArtistEnjoy a conversation with Simone Lamsma post-concert Saturday night in the Terrace Level Foyer.

Pre-concert Talks and Meet the Artist are supported by Wesfarmers Arts

GRIEG Peer Gynt: Suite No.1 (13 mins) Morning – Mood (Allegretto pastorale)The Death of Åse (Andante doloroso)Anitra’s Dance (Tempo di Mazurka)In the Hall of the Mountain King (Alla marcia e molto marcato)

TCHAIKOVSKY Violin Concerto (34 mins) Allegro moderato – Moderato assai Canzonetta (Andante)Finale (Allegro vivacissimo)

Interval (25 mins)

ELGAR Enigma Variations (29 mins)I (C.A.E.) – Caroline Alice Elgar, the composer’s wifeII (H.D.S.-P) – Hew David Steuart-Powell, pianist in Elgar’s trioIII (R.B.T.) – Richard Baxter Townshend, authorIV (W.M.B.) – William Meath Baker, nicknamed ‘the Squire’V (R.P.A.) – Richard Penrose Arnold, son of Matthew ArnoldVI (Ysobel) – Isabel Fitton, viola playerVII (Troyte) – Arthur Troyte Griffith, architectVIII (W.N.) – Winifred NorburyIX (Nimrod) – August Johannes Jaeger, reader for the publisher Novello & CoX (Dorabella) Intermezzo – Dora Penny, later Mrs Richard PowellXI (G.R.S.) – Dr G.R. Sinclair, organist of Hereford CathedralXII (B.G.N.) – Basil G. Nevinson, cellist in Elgar’s trioXIII (***) Romanza – Lady Mary Lygon, later TrefusisXIV (E.D.U.) Finale – Elgar himself (‘Edu’ being his nickname)

Andrew Grams conductor Simone Lamsma violin

2016 UPCOMING CONCERTS

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MORNING SYMPHONY SERIES

HEROIC BEETHOVENTHURS 28 JULY 11AM Perth Concert Hall

A revolutionary work, Beethoven’s Eroica Symphony announced the composer’s resolve to overcome adversity.

BRETT DEAN Testament BEETHOVEN Symphony No.3 Eroica

Simone Young conductor (pictured)

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MACA LIMITED CLASSICS SERIES

HEROIC BEETHOVENFRI 29 & SAT 30 JULY 7.30PM Perth Concert Hall

A revolutionary work, Beethoven’s Eroica Symphony announced the composer’s resolve to overcome adversity and his Third Piano Concerto explores dramatic and expressive worlds.

BRETT DEAN Testament BEETHOVEN Piano Concerto No.3 BEETHOVEN Symphony No. 3 Eroica

Simone Young conductor Javier Perianes piano (pictured)

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ALCOHOL.THINK AGAIN MASTERS SERIES

THE PLANETS & THE RITE OF SPRINGFRI 5 & SAT 6 AUG 7.30PM Perth Concert Hall

Gustav Holst’s The Planets is a brilliantly entertaining astrological and musical journey, while the revolutionary The Rite of Spring remains one of the pinnacles of twentieth-century music.

HOLST The Planets STRAVINSKY The Rite of Spring

Simone Young conductor (pictured) WASO Chorus

TICKETS FROM $28*

TICKETS FROM $30*

TICKETS FROM $30*

BOOK NOW CALL 9326 0000 VISIT WASO.COM.AU*A handling fee of $5.50 per transaction applies all purchases. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

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WASO IN THE COMMUNITY

Composition Project Alumni SuccessIt is with pleasure that WASO Education and Community Engagement recognises 2015 Composition Project participant, Michael Grebla on his acceptance to New England Conservatory of Music in Boston, where he will complete a Masters in Music (Composition) on full scholarship. Principal Percussion, Brian Maloney who was part of the chamber ensemble and mentor for the 2016 Composition Project is an alumni of the New England Conservatory of Music, and has provided a great deal of support to Michael in the lead up to his departure.

Michael’s Composition Project work, ‘Euler’s Music’ was a cornerstone to his applications, with experience in writing for symphonic ensembles considered an essential attribute for post graduate study in the United States. His unique experience through the Composition Project was highly regarded by panels, particularly mentoring provided by James Ledger, alongside the opportunity to discuss, develop and workshop his composition with WASO musicians in both instrumental and ensemble contexts.

In addition to his studies in Engineering and Composition, Michael founded and continues to run a comprehensive music program as the Director of Music at St

George’s College targeted at engaging the local community and providing performance opportunities for emerging artists. Selected as a 2016 Sir John Monash Scholarship recipient and with the aim of establishing himself as an active professional composer and producer of cultural events, Michael hopes to make a significant contribution to establishing Australia as a cultural centre for the region.

WASO congratulates Michael, and looks forward to his continued connection with our programs.

The Composition Project is supported by the James Galvin Family Foundation and Hale School

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FRI 29 & SAT 30 JULY 7.30PMPerth Concert Hall

Simone Young & WASO reveal Beethoven’s genius.

Simone Young conductorJavier Perianes piano

BRETT DEAN Testament BEETHOVEN Piano Concerto No.3 BEETHOVEN Symphony No.3 Eroica

MACA LIMITED CLASSICS SERIES

BOOK NOW Call 9326 0000 or visit waso.com.auTickets from $30*

*A handling fee of $5.50 per transaction applies all purchases. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

Andrew GramsConductor

Andrew Grams is Music Director of the Elgin Symphony Orchestra, Illinois. Born in Maryland, USA, Andrew Grams began studying violin when he was eight years old. He received a Bachelor’s degree from The Juilliard School in 1999 and was a member of the New York City Ballet Orchestra (acting Associate Principal Second Violin, 2002 and 2004).

In 2003 Andrew Grams received a conducting degree from Philadelphia’s Curtis Institute of Music. He was Assistant Conductor of the Cleveland Orchestra (2004-07) serving under Franz Welser-Möst.

Andrew Grams has conducted orchestras in the US such as the Chicago Symphony and Philadelphia Orchestra. Overseas he has conducted the Orchestre National de France, Beethoven Orchestra Bonn, City of Birmingham Symphony Orchestra (to name a few). Recent appearances have included the Orquestra Simfònica de Barcelona and an all-American program with the Toronto Symphony.

Simone LamsmaViolin

Dutch violinist Simone Lamsma has appeared with orchestras such as the Concertgebouw, BBC Philharmonic, and Chicago Symphony, and recently the Quebec Symphony and Szczecin Philharmonic (Poland). She has performed with the Hong Kong Philharmonic on tour under Jaap van Zweden. In March, at short notice, she gave the French premiere of Michael van der Aa’s new concerto with the Orchestre National de Lyon under Olari Elts.

Possessing a repertoire of over 60 concertos, Simone Lamsma is also a keen recitalist. A CD with pianist Robert Kulek has recently been released.

Simone Lamsma began studying violin at age five and moved to the UK at age 11 to study at the Menuhin School. She made her debut with the North Netherlands Orchestra performing Paganini’s Violin Concerto No.1. Simone Lamsma plays the ‘Mlynarski’ Stradivarius (1718) on loan to her from an anonymous benefactor.

ABOUT THE ARTISTS

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WEST AUSTRALIAN SYMPHONY ORCHESTRA

The West Australian Symphony Orchestra (WASO) is Western Australia’s largest and busiest performing arts organisation. With a reputation for excellence, engagement and innovation, WASO’s resident company of full-time, professional musicians plays a central role in creating a culturally vibrant Western Australia. WASO is a not for profit company, funded through government, ticket revenue and the generous support of the community through corporate and philanthropic partnerships.

WASO’s vision is to touch souls and enrich lives through music. Each year the Orchestra entertains and inspires the people of Western Australia through its concert performances, regional tours, innovative

education and community programs, and its artistic partnerships with West Australian Opera and West Australian Ballet.

The Orchestra is led by Principal Conductor and Artistic Adviser Asher Fisch. The Israeli-born conductor is widely acclaimed for his command of the Romantic German repertoire and is a frequent guest at the world’s great opera houses.

Each year the Orchestra performs over 175 concerts with some of the world’s most talented conductors and soloists to an audience in excess of 190,000. An integral part of the Orchestra is the WASO Chorus, a highly skilled ensemble of auditioned singers who volunteer their time and talent.

waso.com.au

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WASO ON STAGE TONIGHT

VIOLINLaurence JacksonConcertmasterGraeme NorrisAssoc ConcertmasterSemra Lee-Smith Assistant ConcertmasterRebecca GlorieA/Principal 1st ViolinZak Rowntree*Principal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenBeth HebertJane JohnstonSunmi JungChristina KatsimbardisEllie LawrenceShaun Lee-Chen*Akiko MiyazawaMelanie PearnKen PeelerGraham PyattLouise SandercockJolanta SchenkJane SerrangeliKathryn ShinnickJacek SlawomirskiKate SullivanBao Di TangCerys ToobySusannah Williams^David Yeh

VIOLAAlex BroganSally Boud^Guest Assoc PrincipalKierstan ArkleysmithNik BabicBenjamin CaddyKatherine Corecig^Alison HallRachael KirkKathryn McKay^Allan McLeanHelen Tuckey

CELLOLouise McKayChair partnered by Penrhos College Shigeru KomatsuOliver McAslan Nicholas MetcalfeEve Silver*Fotis SkordasTim SouthJon Tooby^Xiao Le Wu

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

FLUTEAndrew Nicholson Mary-Anne Blades

PICCOLOMichael Waye

OBOEElizabeth CheeAnnabelle FaridGuest Assoc PrincipalLeanne GloverPrincipal Cor Anglais

CLARINETAllan Meyer Lorna Cook

BASS CLARINETAlexander Millier

BASSOONJane Kircher-Lindner Chair partnered by Sue & Ron Wooller

Adam Mikulicz

CONTRABASSOONChloe Turner

HORNDavid EvansDeborah Hart^Francesco Lo SurdoHeather Thompson^

TRUMPETBrent GrapesEvan Cromie Peter Miller

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONBrian MaloneyChiron MellerRobyn Gray^

ORGANAlessandro Pittorino^

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

PrincipalAssociate PrincipalGuest Musician^

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YOUR CONCERT EXPERIENCE

PRINTED PROGRAMS Please share or download our free printed programs to help us be environmentally responsible. WASO’s programs can be downloaded from our website waso.com.au

FOR THE ENJOYMENT OF ALLWhen to applaud? Musicians love applause. Audience members normally applaud:• When the concertmaster (violin) walks onto

the stage • When the conductor walks onto the stage • After the completion of each piece and at

the end of the performance

When 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 Ticket Collection Desk before each performance and at the interval.

Hearing aids that are incorrectly adjusted may disturb other patrons, please be mindful of those around you.

Mobile phones and other electronic devices need to be switched off throughout the performance.

Photography, sound and video recordings are permitted prior to the start of the performance.

Latecomers and patrons who leave the auditorium will be seated only after the completion of a work.

MOVING TO EMPTY SEATSPlease do not move to empty seats prior to the performance as this may affect seating for latecomers when they are admitted during a suitable break.

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

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CONNECT WITH WASO

LISTEN TO WASOABC Classic FM

This performance is being recorded for broadcast on Friday 22 July, 1pm (or 11am online) on ABC Classic FM. For further details visit abc.net.au/classic

720 ABC PERTHTune in to 720 ABC Perth on Friday morning at 6.15am when Prue Ashurst joins James Lush to provide the latest on classical music and WASO’s upcoming concerts.

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THE HOME OF THE WEST AUSTRALIAN SYMPHONY ORCHESTRAPerth Concert Hall is renowned for having one of the finest acoustics in the southern hemisphere. The concert hall is the home and serves as the primary performance venue for the West Australian Symphony Orchestra (WASO), and hosts a number of diverse performances and events all year round.

FOOD & BEVERAGESPlease visit the Perth Concert Hall website perthconcerthall.com.au for full information on food and beverage offerings at the venue.

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

ACCESSIBILITY Perth Concert Hall is equipped to assist people with disabilities:• A universal accessible toilet is available on

the ground floor (Level 1)• A hearing induction loop operates in

rows N6:35 to X6:35 in the stalls area

WASO BOX OFFICE AT PERTH CONCERT HALLYou can now buy WASO tickets and subscriptions, exchange tickets and make a donation at the Box Office on the ground floor (Level 1) prior to each performance and at interval.

Tickets for other performances at Perth Concert Hall will be available for purchase only at interval.

The Box Office is open Monday to Friday, 9am to 5pm, and contactable on 9326 0000.

DONATE YOUR TICKETCan’t attend a concert? Contact the WASO Box Office on 9326 0000 to donate your ticket for re-sale and you will receive a tax deductible receipt.

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Visit perthconcerthall.com.au For concert information.

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PATRONS & FRIENDS EVENTS

10K Musical Quiz NightFriday 28 October, 7.30pm, Perth Concert Hall Wardle Room

Brush up on your musical trivia in readiness for this quiz night with a difference. Tickets are $50 per head and include a provision of wine, non-alcoholic drinks and light food for each table.

Patrons & Friends Christmas PartyThursday 8 December, 4.30pm, Perth Concert Hall

Watch an hour of rehearsal with guest conductor Guy Noble, before mingling with WASO musicians over a light dinner and drinks. Tickets are $45 for Patrons & Friends ($55 for guests).

Tickets for these events can be purchased by calling the WASO Box Office on 9326 0000. All proceeds support the Friends of WASO Scholarship, providing professional development opportunities for WASO musicians.

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ENGAGE CHALLENGE EXCITE SURPRISE REFLECT

Photograph © Tony McDonough

TIMELINE OF COMPOSERS & WORKS

1900

PETER ILYICH TCHAIKOVSKY

1840 – 1893Born in 1840, Votkinsk, RussiaDied in 1893, St Petersburg, Russia

Grieg's Peer Gynt Suite No.11876

Tchaikovsky's Violin Concerto1878

Elgar's Enigma Variations1899

EDWARD ELGAR

1857 – 1934Born in 1857, Worcestershire, EnglandDied in 1934, Worcestershire, England

EDVARD GRIEG

1843 – 1907Born in 1843, Bergen, NorwayDied in 1907, Bergen, Norway

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Edvard Grieg (1843 – 1907)

Peer Gynt: Suite No.1, Op.46

Morning – Mood (Allegretto pastorale) The Death of Åse (Andante doloroso) Anitra’s Dance (Tempo di Mazurka) In the Hall of the Mountain King (Alla marcia e molto marcato)

Edvard Grieg was fascinated by the literature of his native land, and many of his greatest compositions were inspired by Norwegian drama and poetry. In 1874 Ibsen asked Grieg to write music to accompany a staging of a revised version of his dramatic poem Peer Gynt, which premiered in Oslo in 1876.

Although the score for the incidental music comprises 26 numbers, Grieg’s Peer Gynt music is known to most listeners largely through the two four-movement suites he produced in 1888 and 1893 respectively (the score for the incidental music remained unpublished until after his death). The immediacy and melodic charm of the items Grieg chose for the suites have made them some of the best-known pieces in the classical repertoire.

Ibsen’s satire concerns the adventures of the eponymous Peer, an anti-hero with enough character defects – chief of which are recklessness and ego – to keep him perpetually on the brink of disaster. His escapades across various nations and emotional landscapes take him to Mountain Kingdoms, Bedouin camps and other exotic destinations, but nothing, it seems, can make him come to any form of self-realisation.

Nevertheless, Grieg finds in this mad journey the stuff of musical sublimity, with each section of the First Suite a jewel in the crown of orchestral repertoire. Morning – Mood brings us sunrise over the Norwegian fjords; Åse’s Death marks a poignant tribute to Peer’s mother; Anitra’s Dance is a Saharan travelogue; while the frenzied tone and grotesquerie of the immortal In the Hall of the Mountain King depict the hostile trolls baying for Peer’s blood.

© Martin Buzacott 2005

First performance of incidental music: 24 February 1876, Christiana (now Oslo). Grieg, conductor.First WASO performance of Suite No.1: 12 June 1945. Ernest MacMillan, conductor.Most recent WASO performance: 29 March 2003. Tuomas Ollila, conductor.Instrumentation: two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings.

ABOUT THE MUSIC

YOU MAY ALSO ENJOYHOLST The Planetsfeatured in The Planets & The Rite of SpringFri 5 & Sat 6 August

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Peter Ilyich Tchaikovsky (1840 - 1893)

Violin Concerto in D, Op.35

Allegro moderato – Moderato assai Canzonetta (Andante)Finale (Allegro vivacissimo)

It was the winter of 1877, and Tchaikovsky was in love. He wrote to his brother Modest about the ‘unimaginable force’ of the passion that had developed; its object was a young violinist and student at the Moscow Conservatory, Josef Kotek. Tchaikovsky had known ‘this wonderful youth’ for about six years. In 1876 Kotek had also acted as a go-between for Tchaikovsky and his new patron, Nadezhda von Meck, who eschewed any face-to-face contact with the composer. Kotek was a devoted and affectionate but platonic friend to Tchaikovsky, but predictably enough, soon became besotted with a fellow (female) student.

The composer’s ardour cooled quickly, and within three weeks of discovering Kotek’s new relationship, Tchaikovsky had made his fateful proposal to Antonina Milyukova, a former Conservatory student who had fallen in love with him. They married two months later, and as the depth of their cultural and personal differences quickly became clear, Tchaikovsky left his wife two months after that. Milyukova, incidentally, was not the deranged harpy that histories (or myth) have made of her.

Her mental health degenerated only many years after Tchaikovsky’s death (and a subsequent happy relationship which produced children) and she never spoke ill of Tchaikovsky during his life or after his death. He for his part realised that he had treated her abominably, and saw to it that she was financially secure for the rest of her life.

Kotek and Tchaikovsky remained friends, however, and the Violin Concerto seems to have grown out of a promise that the composer made to write a piece for one of Kotek’s upcoming concerts. ‘We spoke,’ Tchaikovsky told his brother, ‘of the piece he ordered me to write … He repeated over and over that he would get angry if I didn’t write this piece.’ While Kotek was not, ultimately, the dedicatee or first performer of the work, he was of enormous help to Tchaikovsky in playing through sections of the piece as the composer finished them.

ABOUT THE MUSIC

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The work was initially dedicated to the virtuoso Leopold Auer, who thought it far too difficult and refused to play it. In 1881 Adolf Brodsky gave the premiere in Vienna, where that city’s most feared critic, Eduard Hanslick, tore the piece to shreds:

The violin is no longer played; it is pulled, torn, drubbed… We see plainly the savage vulgar faces, we hear curses, we smell vodka … Tchaikovsky’s Violin Concerto gives us for the first time the notion that there can be music that stinks to the ear.

Hanslick, like many a music critic, made a bad call; Tchaikovsky had written one of the best loved works of the concerto repertoire.

Gordon Kerry © 2003

First performance: 4 December 1881, Vienna. Hans Richter, conductor; Adolf Brodsky, soloist.First WASO performance: 1 June 1946. Walter Susskind, conductor; Vaughan Hanly, soloist.Most recent WASO performance: 10 August 2013. Paul Daniel, conductor; Baiba Skride, soloist.Instrumentation: two flutes, two oboes, two

After leaving his wife, Tchaikovsky, accompanied by one or other of his brothers (and at one point Kotek himself), travelled extensively in western Europe. Tchaikovsky worked on the Violin Concerto in Switzerland in early 1878, not long after completing the Fourth Symphony and the opera Eugene Onegin. Commentators are generally agreed that both of those works reflect Tchaikovsky’s emotional reactions to the traumatic events of his marriage, though the composer himself was careful, in a letter to Mme von Meck, to point out that one could only depict such states in retrospect. In any event, it seems likely that, apart from honouring a promise to Kotek, Tchaikovsky found the conventions of the violin concerto offered a way of writing a large-scale work without the personal investment of the opera and symphony.

Like the great concertos of Beethoven and Brahms, Tchaikovsky’s is in D major and in three substantial movements. The first develops two characteristic themes within a tracery of brilliant virtuoso writing for the violin, and like Mendelssohn in his concerto, Tchaikovsky places the solo cadenza before the recapitulation of the opening material. As in the slow movement of the Fourth Symphony, the central Canzonetta works its magic by the deceptively simple repetition of its material. The work concludes with a bravura, ‘Slavic’ Finale which is interrupted only by a motif for solo oboe which for one writer recalls, nostalgically, a moment in the ‘Letter Scene’ from Onegin (which itself parallels the relationship between Tchaikovsky and Antonina).

YOU MAY ALSO ENJOYMOZART Violin Concerto No.4featured in Asher Fisch & WASO: Baiba Skride plays MozartFri 26 & Sat 27 August

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Edward Elgar (1857 – 1934)

Variations on an Original Theme, Op.36 Enigma

I (C.A.E.) – Caroline Alice Elgar, the composer’s wifeII (H.D.S.-P) – Hew David Steuart-Powell, pianist in Elgar’s trioIII (R.B.T.) – Richard Baxter Townshend, authorIV (W.M.B.) – William Meath Baker, nicknamed ‘the Squire’V (R.P.A.) – Richard Penrose Arnold, son of Matthew ArnoldVI (Ysobel) – Isabel Fitton, viola playerVII (Troyte) – Arthur Troyte Griffith, architectVIII (W.N.) – Winifred NorburyIX (Nimrod) – August Johannes Jaeger, reader for the publisher Novello & CoX (Dorabella) Intermezzo – Dora Penny, later Mrs Richard PowellXI (G.R.S.) – Dr G.R. Sinclair, organist of Hereford CathedralXII (B.G.N.) – Basil G. Nevinson, cellist in Elgar’s trioXIII (***) Romanza – Lady Mary Lygon, later TrefusisXIV (E.D.U.) Finale – Elgar himself (‘Edu’ being his nickname)

In middle age, Elgar loathed having to earn the bulk of his income as a humble rural music teacher. Despite his obvious talent as a composer, his career during his 20s and 30s had been a series of disappointments. He had gravitated towards London, but Elgar and the big city never got on. And so, at a time when Schoenberg was emerging in Austria and Debussy was writing his Nocturnes in France, poor Elgar found himself back in his native Malvern region, eking out a living as best he could.

He took in students, made instrumental arrangements, played in an occasional performance and continually threatened to give away music altogether.

But one evening in October 1898, Elgar began to doodle at the piano. Chancing upon a brief theme that pleased him, he started imagining his friends confronting the same theme, or he would try to catch another’s character in a variation. This harmless bit of fun would single-handedly turn around the composer’s career and by February 1899 the work had grown into what would become one of England’s greatest orchestral masterpieces, Elgar’s Variations on an Original Theme, Op.36.

Where the word ‘Theme’ should have appeared in the score, however, Elgar wrote ‘Enigma’. He stated that the theme was a variation on a well-known tune which he refused to identify. It’s a conundrum which has occupied concertgoers and scholars alike ever since. Elgar himself rejected suggestions of God Save the King and Auld Lang Syne. Other suggestions have included Rule, Britannia!, an extract from Wagner’s Parsifal, and even Ta-ra-ra-boom-de-ay.

ABOUT THE MUSIC

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Apparently the idea for this particular variation came when Elgar was going through one of his regular slumps. Jaeger took Elgar on a long walk during which he said that whenever Beethoven was troubled by the turbulent life of a creative artist, he simply poured his frustrations into still more beautiful compositions. In memory of that conversation, Elgar made those opening bars of Nimrod quote the slow movement from Beethoven’s Pathétique Sonata.

Variation 10 depicts a young woman called Dora Penny, whose soubriquet ‘Dorabella’ comes from Mozart’s opera Così fan tutte. And then Variation 11 goes beyond the human species, depicting the organist G.R. Sinclair’s bulldog Dan, falling down the steep bank of the river Wye, paddling upstream, coming to land and then barking.

The cello features prominently in Variation 12 – a tribute to cellist Basil Nevinson. Mendelssohn’s Calm Sea and Prosperous Voyage is quoted in Variation 13, thought by some to depict Lady Mary Lygon’s departure by ship to Australia. Finally we hear ‘E.D.U.’ where the composer depicts himself (his wife’s nickname for him was Edoo) cocking a snook at all those who said he’d never make it as a composer.

Abridged from an annotation © Martin Buzacott

First performance: 19 June 1899, London. Hans Richter, conductor.First WASO performance: 26 July 1947. E.J. Roberts, conductor.Most recent WASO performance: 31 July 2010. Simone Young, conductor.Instrumentation: two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, organ (optional), and strings.

Michael Kennedy has proposed that it could be Elgar himself, with the famous motif on which the entire work is based capturing the natural speech rhythm of the name ‘Edward Elgar’. Elgar went to his grave without revealing the truth and nobody has come up with the definitive answer.

The second enigma was the identity of the characters depicted within each variation, who were identified at first only by their initials in the score. This enigma has proved much easier to solve.

Variation 1 depicts Elgar’s wife, Caroline Alice (‘Carice’). The second variation brings the first hint of actual imitation. Pianist H.D. Steuart-Powell was one of Elgar’s chamber music collaborators, who characteristically played a diatonic run over the keyboard as a warm-up. Variation 3 depicts the ham actor R.B. Townshend whose drastic variation in vocal pitch is mocked here.

The Cotswold squire W. Meath Baker is the subject of Variation 4, while the mixture of seriousness and wit displayed by the poet Matthew Arnold’s son Richard is captured in the fifth variation. The next two variations parody the technical inadequacies of Elgar’s chamber music acquaintances. Violist Isabel Fitton (Variation 6) had trouble performing music where the strings had to be crossed, while Arthur Troyte Griffith (Variation 7) was a pianist whose vigorous style sounded more like drumming! Poor Winifred Norbury is actually represented in Variation 8 by a musical depiction of her country house, ‘Sherridge’.

The most famous variation of course is Nimrod (No.9). Nimrod (the ‘mighty hunter before the Lord’ of Genesis chapter 10) was Elgar’s publisher, A.J. Jaeger (German for ‘hunter’).

Diatonic – music which conforms to a key, without discordant notes

Glossary

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MEET THE MUSICIAN

Benjamin CaddyViola

Do you remember the first orchestral work you heard? I was apparently a very poorly behaved baby, especially during the night. It was with great relief that my parents found I would fall asleep if they played late Romantic opera on the stereo, so although I have no recollection of it, I guess this was my first introduction to orchestral music.

What are your highlights from 2016 so far? Also sprach Zarathustra has been the clear highlight for me so far, as Strauss is one of my favourite composers. I am also really looking forward to playing Verklärte Nacht later in the year - it’s at the top of the list of things I have always wanted to play.

Did you always imagine you would have a musical career, or did you ever have something else in mind? When I was in my early teens I wanted to be a marine biologist. Even as late as last year I was considering pursuing a career in environmental management, but was lucky enough to win a job at WASO. I couldn’t be happier!

How do you like to spend your time outside WASO? I teach quite a few students, and that takes up quite a lot of time. If the surf is good you will find me at Trigg Point some mornings, I’m also trying to learn Mandarin.

Do you have any advice for students interested in pursuing a career as an orchestral musician?Find yourself an exceptional teacher, not just a good one. If you have to travel interstate or overseas to find an amazing teacher then do it, it’s worth it in the long run! Also make sure your teacher focuses on your technical ability, in my experience students who only focus on pieces rather than technique may struggle to win a job later on.

Try to audition for a casual position in an orchestra, not only for the audition experience but to see for yourself how professional orchestras work.

Do you have a favourite viola joke? What do you do when a violist comes to your door?

Hand him the money, take the pizza and close the door.

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WASO PHILANTHROPYPhilanthropy Partner

How would you like to see ‘your’ instrument on stage?The Orchestra is planning to purchase a cello and a German style C tuba in 2016 and we invite you to support this initiative.

We are looking for a new cello to be played in our award-winning Education Chamber Orchestra (EChO), which brings fun, interactive and engaging performances to metropolitan schools and regional areas in WA.

The cello will be heard alongside the beautiful new double bass that was generously purchased for EChO’s 21st birthday by Patrons Susan Lorimer and John Albright. Susan and John donated through Shell’s workplace giving program, where every dollar they gave was matched by the company – meaning their gift had double the impact!

The C tuba, a kind of ‘big brother’ to the F tuba, is needed for much of this year’s repertoire and beyond. The instrument is being made by Rudolf Meinl in Bavaria, an artisan firm marrying the best of traditional handcraft techniques with computer test equipment to refine and develop their instruments.

Patrons purchasing or contributing to help cover the costs of one of these instruments will be offered the opportunity to ‘meet’ the instruments and their players. Just imagine seeing ‘your’ very own instrument on stage at Perth Concert Hall or travelling around Western Australia!

If you are interested in supporting on of these instruments, please call Planned Giving Manager, Sarah Tompkin, on 9326 0017 or tompkins@waso.com.au.

WASO Double Bass and luthier Andrew Tait making the new EChO double bass.

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OUR SUPPORTERS

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

Symphony CircleRecognising Patrons who have made a provision in their Will to the OrchestraMr John BonnyDr G Campbell-EvansDeirdre CarlinAnita & James Clayton Judith Gedero Robyn GlindemannGwenyth GreenwoodRachael Kirk & Tim WhiteWolfgang Lehmkuhl Deborah MarshTosi Nottage in memory of Edgar NottageNigel & Dr Heather RogersGavin Toovey & Jaehan LeeSheila Wileman Sagitte Yom-Tov FundAnonymous (27)

Endowment Fund for the OrchestraThis fund includes major donations and bequests Tom & Jean ArkleyJanet Holmes à Court ACSagitte Yom-Tov Fund

Estates WASO is extremely grateful for the bequests received from Estates Rachel Mabel ChapmanJudy Sienkiewicz Mrs Roslyn WarrickAnonymous (3)

Excellence CircleSupporting excellence across all we doJean ArkleyBob & Gay BranchiJanet Holmes à Court ACDr Patricia KailisTorsten & Mona KetelsenMichael Utsler

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

Reach OutSupporting our Education & Community Engagement programsJohn Albright & Susan Lorimer – purchase of the EChO Double BassJean ArkleyPrue Ashurst Creative Partnerships AustraliaRon & Penny CrittallKen EvansFeilman FoundationThe James Galvin FoundationRobyn GlindemannKen JohnsonBarrie & Jude LepleyMinderoo FoundationMrs MorrellLynn MurrayJoan ReylandJohn & Alison RiggSimon Lee FoundationThe Stan Perron Charitable FoundationJean & Peter StokesTrish Williams – Strategic InteractionsAnonymous (1)

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

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

All donations over $2 are fully tax deductible.

Philanthropic partnerships come in all shapes and sizes

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

Principal Conductor’s CircleGifts $20,000+Janet Holmes à Court ACPatricia NewJudy Sienkiewicz (dec.)

Impresario PatronGifts $10,000 - $19,999John Albright & Susan Lorimer Gay & Bob Branchi Gavin BunningTony & Gwenyth Lennon Margaret & Rod Marston Joshua & Pamela PittTrish Williams – Strategic Interactions

Maestro Patron Gifts $5,000 - $9,999Jean Arkley in memory of Tom ArkleyBill Bloking Dr Roland & Therese BrandIan & Elizabeth ConstableMoira & John DobsonTim & Lexie ElliottBridget Faye AM Gilbert GeorgeWarwick Hemsley & Melissa ParkeDr Patricia KailisAlison KennedyKeith & Gaye Kessell Dr Ronny Low & Dr Emma RichardsonBryant & Louise Macfie Robert MayPaula & John Phillips Peter & Jean Stokes

Richard Tarala & Lyn Beazley AOSue & Ron WoollerAnonymous (5)

Virtuoso PatronGifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AMPeter & Marjorie BirdAlan & Anne BlanckenseeSally BurtonDr G Campbell-EvansProf Jonathan Carapetis & Prof Sue SkullMark Coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda SavageRichard FaragoRobyn Glindemann Annette & Vincent GoerkeBrian & Romola HaggertyJacoba Hohnen & Ted SamsonSylvia & Wally HyamsEleanor JohnMichael & Dale Kitney Mrs MorrellJane & Jock MorrisonAnne NolanTim Pavy & Cathy ColeGail & Tony Sutherland Ros ThomsonGene TilbrookM & H TuiteStan & Valerie VicichIan WatsonJoyce Westrip OAMAlan WhithamAndrew & Marie YunckenAnonymous (1)

Principal PatronGifts $1,000 - $2,499Ron & Sue AdamsCaroline Allen & Sandy DunnPrue AshurstMargaret Atkins Dan & Gail BamBetty BarkerNoelle BeasleyTony & Mary Beeley David & Suzanne Biddles Kevin Blake Matthew J C Blampey Namy BodinnerPeter & Eve BolandMr John BonnyJohn & Debbie Borshoff Dr & Mrs P BreidahlJean Brodie-Hall AMJames & Gay BrownMarilyn & Ian BurtonPeter & Sue Clifton Helen CookArthur & Nerina CoopesHon June Craig AM Gay & John Cruickshank Lesley & Peter DaviesJulian Dowse Bev EastMegan EdwardsLorraine EllardAnnette FinnDon & Marie Forrest E & EA FraunschielDr Andrew GardnerRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Deidre Greenfeld

Annual Giving

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Grussgott Family TrustDavid & Valerie GullandRichard B Hammond Pauline & Peter HandfordDr Penny Herbert in memory of Dunstan HerbertMichael HollingdaleHelen Hollingshead John & Katrina HopkinsSue HovellJim & Freda Irenic Lilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill Kean Noelle & Anthony Keller AMNelly KleynStephanie & John Kobelke Irving Lane Paul LeeMeg LewisRosalind Lilley Teresa & Jemima LovelandGraham & Muriel Mahony Gregg & Sue MarshmanBetty & Con Michael AOMrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Hon Justice S R Moncrieff Valmae & Geoff MorrisVal & Barry NeubeckerDelys & Alan NewmanDr P J NobleJohn OvertonRon & Philippa PackerMichael & Lesley PageAthena PatonRosemary PeekAdrian & Ruth PhelpsCharmian Phillips in memory of Colin CraftPamela PlattAndrew & Suzanne PoliThomas & Diana Potter Alison & John PriceBarry & Dot Price

Dr Leon Prindiville Chester ReeveJoan ReylandJohn & Alison RiggMs Elizabeth Sachse & Dr Lance RisbeyLeigh RobinsonNigel & Dr Heather RogersGerry & Maurice Rousset OAMRoger Sandercock Dr R & J SchwengerMargaret & Roger SearesMelanie & Paul ShannonEve Shannon-Cullity Glenice ShephardJulian & Noreen Sher Laurel & Ross SmithPaul SmithMichael Snell & Vicki StewartThe Ambient FoundationRuth ThomasGene TilbrookGavin Toovey & Jaehan LeeMary Townsend James & Rosemary TrotterDr Robert TurnbullMaggie VenerysAdrienne & Max Walters Diana WarnockWatering ConceptsAnn Whyntie Ian Williams AO & Jean WilliamsJim & Gill WilliamsMargaret WilsonJudith Wilton & David TurnerHilary & Peter Winterton AMAnonymous (25)

Tutti PatronGifts $500 - $999Geoff & Joan AireyIan Apps Catherine BagsterMerle I BardwellBernard & Jackie Barnwell

Shirley Barraclough Mrs Berwine Barrett-LennardColin BeckettPamela M BennetMichael & Nadia Berkeley-Hill John & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirSusy BogleElaine BondsDiane & Ron BowyerLucia BuralliAnn Butcher & Dean R Kubank Michelle CandyNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeFred & Angela ChaneyDr Sarah CherianDr Anne ChesterLyn & Harvey Coates AOAgatha & Alex Cohen AOBrian Cresswell Gina & Neil DavidsonProfessor Wayne Iwan Lee Davies FRSB Jop & Hanneke DelfosJudy Dolan Rai & Erika DolinschekSimon & Pamela DouglasMrs G EwenJoan GagliardiJennifer & Stephen GardinerGeorge GavranicElaine GimsonIsobel Glencross Alan Harvey & Dr Paulien de BoerEric & Elizabeth HeenanJohn and Sue HuanJulie, Christopher, Rosemary & Bronwyn HudsonMr John Hylton-Davies JP, VJPeter Ingram Cynthia JeePeter S JonesB M Kent

OUR SUPPORTERS

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To help your sonsucceed we teach an

extra subject.

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

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

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

The best he can be.

Dorothy KingstonUlrich & Gloria Kunzmann John Kusinski & Annie MotherwayTrevor & Ane Marie Lacy Louis & Miriam LandauMartin & Ruth LevitMegan LoweMary Ellen in memory of KerensaJennifer & Arthur McCombJames Meneghello & Mabel ChewS B Monger-HayDr Peter MossPhuong NguyenMarianne NilssonDr Walter Ong & Graeme MarshallMarjan Oxley Graham & Hildegarde Pennefather

Bev Penny Alpha & Richard Pilpel OAMAnn RawlinsonClarissa ReptonJames & Nicola Ridsdill-SmithChris & Serge Rtshiladze Carole SextonThe Sherwood FamilyPaul & Margaret SkerrittHendrik SmitDr L Sparrow & FamilyPeggy & Tom Stacy Eleanor SteinhardtIn Memoriam of Mr Andrew David StewartLisa & Andrew TelfordRuth E ThornPatricia TurnerS R Vogt

Anne Watson Joy WearnePatricia WestonDr Chris & Mrs Vimala WhitakerB M WilcoxGeoff WilkinsonViolette William Janet WilliamsDr Robyn Yeo & Ms Cyn JohnsonChris ZiatisAnonymous (23)

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

27

To help your sonsucceed we teach an

extra subject.

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

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

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

The best he can be.

WEST AUSTRALIAN SYMPHONY ORCHESTRA

VIOLINLaurence JacksonConcertmasterGraeme NorrisAssoc Concertmaster Semra Lee-Smith Assistant Concertmaster Rebecca GlorieA/Principal 1st ViolinZak RowntreePrincipal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenStephanie DeanBeth HebertChristina KatsimbardisEllie LawrenceShaun Lee-Chen*Akiko Miyazawa Anna O’HaganMelanie PearnKen PeelerGraham Pyatt Louise SandercockJolanta SchenkJane SerrangeliJacek SlawomirskiKate SullivanBao Di TangCerys ToobyDavid Yeh

VIOLAAlex BroganAssoc PrincipalKierstan ArkleysmithNik BabicBenjamin CaddyAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLORod McGrath PrincipalLouise McKayAssoc PrincipalChair partnered by Penrhos College

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

DOUBLE BASSAndrew Sinclair* PrincipalJoan Wright Assoc PrincipalLouise ElaertsChristine ReitzensteinAndrew TaitMark Tooby

FLUTEAndrew Nicholson PrincipalMary-Anne Blades Assoc Principal

PICCOLOMichael Waye Principal

OBOEPeter FacerPrincipalElizabeth CheeAssoc Principal

COR ANGLAISLeanne GloverPrincipal

CLARINETAllan Meyer PrincipalLorna Cook

BASS CLARINETAlexander Millier Principal

BASSOONJane Kircher-Lindner PrincipalChair partnered by Ron & Sue Wooller

Adam Mikulicz Assoc Principal

CONTRABASSOONChloe Turner Principal

HORNDavid Evans PrincipalSharn McIverAssoc PrincipalRobert Gladstones Principal 3rdJulia BrookeFrancesco Lo Surdo

TRUMPETBrent GrapesPrincipalEvan Cromie Assoc PrincipalPeter Miller

TROMBONEJoshua Davis PrincipalLiam O’MalleyAssoc Principal

BASS TROMBONEPhilip Holdsworth Principal

TUBACameron Brook Principal

TIMPANIAlex Timcke Principal

PERCUSSIONBrian Maloney PrincipalTroy Greatz Assoc Principal

HARPSarah Bowman Principal

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

CONDUCTOR LAUREATE Vladimir Verbitsky

CHORUS DIRECTOR Christopher van Tuinen

PRINCIPAL CONDUCTORAsher FischPartnered by Wesfarmers Arts

CHORUS VOCAL COACH Andrew Foote

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WEST AUSTRALIAN SYMPHONY ORCHESTRA

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

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

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

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

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

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

ORCHESTRAL MANAGEMENTKeith McGowan Executive Manager, Orchestral ManagementJenna BostonOrchestral Operations ManagerDavid Cotgreave Production & Technical ManagerAlistair CoxOrchestral ManagerBreanna Evangelista Orchestral CoordinatorWee Ming Khoo Music Librarian

BUSINESS SERVICESPeter FreemantleChief Financial OfficerAndrew Chew Systems AdministratorAlex Spartalis IT SupportAngela Miller AccountantSushila BhudiaAccounts OfficerRenu Kara Accounts Assistant

PHILANTHROPY Alecia BenzieExecutive Manager, PhilanthropyJane Clare Fundraising & Philanthropy ManagerSarah Tompkin Planned Giving ManagerMegan Lo Surdo Philanthropy & Events Coordinator

CORPORATE DEVELOPMENTMarina WoodhouseExecutive Manager, Corporate DevelopmentJamie Parkin Corporate Partnerships ManagerCliona Hayes Corporate Partnerships CoordinatorGinny LuffCorporate Partnerships & Events Coordinator

MARKETINGNancy Hackett Acting Marketing ManagerMarc MissiaenRelationship Marketing ManagerLuke PownallPublic Relations ManagerKirsty ChisholmMarketing CoordinatorZoe LawrenceMarketing OfficerLily ProtterMarketing Assistant

PERTH CONCERT HALLBrendon Ellmer General ManagerLorraine Rice Deputy General ManagerBrad Matthews Operations ManagerPenelope Briffa Events ManagerPaul Richardson Presentations CoordinatorBruce Gaw Maintenance OfficerRyan Sandilands Acting Marketing ManagerAnnie Loo Acting Marketing Assistant Sarah Salleo Reception & AdministrationJosie AitchisonTim ChandlerVanessa WoolleyTicketing Client Account ManagersEleanor AitchisonAlana ArnoldCheryl ButlerLeticia CannellMary-Louise CarboneWendy Cooper Helen GortmansEmily KennedyTalei LouieRebekah RyanKaitlin TinkerBeverley TrolioCustomer Service and Sales Representatives

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2016 CORPORATE PARTNERS

PARTNER OF EXCELLENCE

SYMPHONY PARTNER CONCERTO PARTNER

OVERTURE PARTNERS SONATA PARTNERS

KEYNOTE PARTNERS

PLATINUM PARTNERS

ORCHESTRA SUPPORTERS

MEDIA PARTNERS

FUNDING PARTNERS

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

We encourage you to support these partners for generously supporting your Orchestra

To share in our vision and discuss the many opportunities available through corporate partnerships please contact Marina Woodhouse, Executive Manager, Corporate Development on 08 9326 0004 or email woodhousem@waso.com.au.

Booklet Sponsors page.indd 1 4/03/2016 12:20 PM

2016 CORPORATE PARTNERS

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*A one-off handling fee of $5.50 per transaction applies to all purchases. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

Call 9326 0000 or visit waso.com.auTickets from $49*BOOK NOW

POPS SERIES

FRI 4 NOV 7.30PM SUN 6 NOV 2PM MATINEE

Perth Concert Hall

Guy Noble conductorMary Carewe vocals

Join WASO and British singing sensation Mary Carewe as they

perform timeless hits from stage and screen classics such as Cabaret,

Les Misérables, The Sound of Music, Chicago and many more!