S T R A V I N S K Y ’ S

F I R E B I R D

PROGRAMMORNING SYMPHONY SERIES Thursday 1 June 2017, 11am

MASTERS SERIESFriday 2 & Saturday 3 June 2017, 7.30pmPerth Concert Hall

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It is fascinating to consider how music evolved in the 20th Century. Following a long period of so-called dominance by wonderful German masters - Bach, Haydn, Mozart, Brahms, Wagner - suddenly we find that the masters of the 20th Century were distinctly not German! The program I am conducting with WASO showcases the quality and variety of music that emerged from Russia, France, Hungary and Finland.

Folk music has always been a strong influence on classical composers, and in the output of Béla Bartók the indigenous music of both Hungary and Romania was particularly important.

For both Bartók and Igor Stravinsky, the rhythmic element of music became absolutely central to their creative thinking. Both these composers, and Claude Debussy were also innovative in their writing for orchestra, creating worlds of sound never before heard. Jean Sibelius was steeped in the folk traditions and legends of his native Finland, and was one of the great storytellers in all music!

A program of great diversity, both inspiring and beautiful.

Martyn Brabbins Conductor

1850 1875 1900 1925 1950 1975

Debussy's Prélude à ‘L’après-midi d’un faune’1894

IGOR STRAVINSKY

1882 – 1971Born 1882, Oranienbaum, RussiaDied 1971, New York, USA

Sibelius' En Saga1893

Stravinsky's Firebird Suite1945

Bartók's Piano Concerto No.31946

BELA BARTOK

1881 – 1945Born in 1881, Nagyszentmiklós, HungaryDied in 1945, New York, USA

CLAUDE DEBUSSY

1862 – 1918Born 1862, St Germain-en-Laye, FranceDied 1918, Paris, France

JEAN SIBELIUS

1865 – 1957Born in 1865, Hämeenlinna, FinlandDied in 1957, Järvenpää, Finland

WELCOME

TIMELINE OF COMPOSERS & WORKS

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1341_WESF - Arts Sponsorship Campaign 2014 - WASO_Program Ad_210x148mm_V2_FA.indd 1 16/02/15 1:16 PM

STRAVINSKY’S FIREBIRDMORNING SYMPHONY SERIES

SIBELIUS En Saga (17 mins)

DEBUSSY Prélude à ‘L’après-midi d’un faune’ (10 mins)

STRAVINSKY The Firebird – Suite [1945 version] (29 mins)

Introduction – Prelude, Dance of the Firebird and VariationPantomime IPas de deux (The Firebird and Ivan Tsarevitch)Pantomime IIScherzo (Dance of the Princesses)Pantomime IIIRound Dance of the Princesses (Khorovod) Infernal Dance Berceuse (The Firebird)Final hymn

Martyn Brabbins conductor

Wesfarmers Arts Pre-concert TalksFind out more about the music in the concert with this week’s speaker, Tim White. The Pre-concert Talk takes place at 9.40am in the Auditorium.

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STRAVINSKY’S FIREBIRDMASTERS SERIES

SIBELIUS En Saga (17 mins)

BARTOK Piano Concerto No.3 (23 mins)

AllegrettoAdagio religiosoAllegro vivace

Interval (25 mins)

DEBUSSY Prélude à ‘L’après-midi d’un faune’ (10 mins)

STRAVINSKY The Firebird – Suite [1945 version] (29 mins)

Introduction – Prelude, Dance of the Firebird and VariationPantomime IPas de deux (The Firebird and Ivan Tsarevitch)Pantomime IIScherzo (Dance of the Princesses)Pantomime IIIRound Dance of the Princesses (Khorovod) Infernal Dance Berceuse (The Firebird)Final hymn

Martyn Brabbins conductor Ayako Uehara piano

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

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2017 UPCOMING CONCERTS

BOOK NOW CALL 9326 0000 VISIT WASO.COM.AU*A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $6.60 applies to phone and mail bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

MASTERS SERIES

VERBITSKY & WASO: 30TH ANNIVERSARYFRI 7 & SAT 8 JULY 7.30PM Perth Concert Hall

WASO’s Conductor Laureate, Russian-born Vladimir Verbitsky leads WASO in two dramatic Russian masterpieces: joined by the WASO Chorus for Rachmaninov’s massive choral symphony The Bells followed by Tchaikovsky’s powerful Manfred Symphony.

RACHMANINOV The BellsTCHAIKOVSKY Manfred Symphony

Vladimir Verbitsky conductor Antoinette Halloran soprano Bradley Daley tenor Warwick Fyfe bass WASO Chorus (pictured) Symphonic Chorus of UWA

FAMILY SERIES

THE BEAT OF YOUR FEETSUN 25 JUNE 11AM & 1PM Perth Concert Hall

Award-winning British composer and music educator Paul Rissmann joins WASO for an interactive musical adventure based on the book Stan and Mabel by Jason Chapman. We follow a music-loving dog and cat on a journey to find the Greatest Orchestra in the World through an exciting mix of music, illustrated projections and audience participation. Perfect for ages 2-6.

Paul Rissmann presenter/composer Benjamin Northey conductor

MORNING SYMPHONY SERIES

VERBITSKY & WASO: 30TH ANNIVERSARYTHURS 6 JULY 11AM Perth Concert Hall

To celebrate much-loved conductor Vladimir Verbitsky’s 30 years with WASO, he leads the Orchestra in a performance of Tchaikovsky’s Manfred Symphony, a dramatic work that takes us through mountains, encounters with Alpine fairies and a brush with mortality.

TCHAIKOVSKY Manfred Symphony

Vladimir Verbitsky conductor

TICKETS FROM $46*

TICKETS FROM $29*

TICKETS FROM $28*

WASO IN THE COMMUNITY

WASO ON THE ROAD – KARIJINI EXPERIENCEThe first WASO on the Road for the year saw a string quartet comprising Zak Rowntree, Ellie Lawrence, Ben Caddy and Rod McGrath spend five sensational days in some of the most beautiful and remote locations WA has to offer as part of the 2017 Karijini Experience.

The Karijini Experience, presented by Nintirri Centre Tom Price, is an annual cultural event held on the traditional lands of the Banyjima people, and is a celebration of environmental protection, connection and culture through music, songs, story, image and physical activities connecting people to the landscape and its people.

WASO performances included Opera in the Gorge held in Kalamina Gorge alongside Wilarra Ensemble with pianist Adam Pinto, and Culinary Experience held under the stars on Karijini Airstrip with Mark Atkins (didjeridu). Rounding out the week were a Kids’ Cushion Concert, and performance and have-a-go session for young people attending Camp Kurlungka, an on-Country children’s cultural camp hosted by IBN Corporation.

WASO on the Road also saw the inaugural performances for our brand new “EChO Cello”. This instrument was gifted to WASO’s Instrument Fund through the generosity of Patrons Peter and Jean Stokes to support EChO Kids’ Cushion Concerts, Education touring and In-School performances. This beautiful instrument was crafted by Andrew Tait, who is a member of WASO’s Double Bass section as well as an internationally renowned luthier.

Our sincere thanks to everyone involved for an incredible week.

Musicians Rod McGrath, Zak Rowntree, Ellie Lawrence and Ben Caddy at Perth Concert Hall. Artwork pictured: Great Sandy Desert, Kunawarritji, artists country neat Balgo. By Nora Wompi. 2007, The Wesfarmers Collection, Perth

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8 *A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $6.60 applies to phone and mail bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

TICKETS FROM $32*BOOK NOW 9326 0000WASO.COM.AU

DEBUSSY, STRAUSS & ELGAR

MACA LIMITED CLASSICS SERIES

DEBUSSY Printemps - Symphonic Suite STRAUSS, R. Horn Concerto No.2 ELGAR Symphony No.2

PASSIONS & CONTRASTS

FRI 9 & SAT 10 JUNE 7.30PMPERTH CONCERT HALL

Johannes Debus conductor Stefan Dohr horn

The glorious tones of superstar Stefan Dohr, Principal Horn of the Berlin Philharmonic, in his debut performance with WASO.

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Martyn BrabbinsConductor

Martyn Brabbins is Music Director of English National Opera. He has had a busy opera career since early days at the Kirov and more recently La Scala, the Bavarian State Opera, and regularly in Lyon, Amsterdam, Frankfurt and Antwerp. He appears at the BBC Proms and with most of the leading British orchestras, and regularly conducts international orchestras such as Amsterdam’s Concertgebouw, the Tokyo Metropolitan, and Deutsches Sinfonieorchester Berlin this season.

Brabbins has conducted hundreds of world premieres and recorded over 120 CDs to date, including operas by Korngold, Harrison Birtwistle and Jonathan Harvey.

He has been Associate Principal Conductor of the BBC Scottish Symphony Orchestra, Principal Guest of the Royal Flemish Philharmonic, Chief Conductor of the Nagoya Philharmonic and Artistic Director of the Cheltenham Festival. In 2016 he became a Visiting Professor at the Royal College of Music.

Ayako UeharaPiano

Born in Takamatsu, Japan, Ayako Uehara won first prize in the 12th International Tchaikovsky Competition in Moscow, 2002. She won People’s Choice in the Sydney International Piano Competition, 2000.

Ayako Uehara has appeared with orchestras such as the London Symphony, BBC Philharmonic, Vienna Tonkünstlerorchester, Orchestre de la Suisse Romande, and Russian National Orchestra. Conductors with whom she has worked include Frühbeck de Burgos, Noseda, Kristjan Järvi, Pletnev, Maazel and Janowski. She regularly tours Japan in recital and has appeared there with the Berlin Radio Symphony Orchestra and Janowski and the New Japan Philharmonic with Ozawa. In 2013, she toured Japan with the Dresden Philharmonic and Michael Sanderling.

She has given recitals at Wigmore Hall (London) and in Italy, at Poland’s International Chopin Festival, and the Dubrovnik Festival. Among her recordings is her own arrangement of The Nutcracker.

ABOUT THE ARTISTS

9 *A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $6.60 applies to phone and mail bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.

TICKETS FROM $32*BOOK NOW 9326 0000WASO.COM.AU

DEBUSSY, STRAUSS & ELGAR

MACA LIMITED CLASSICS SERIES

DEBUSSY Printemps - Symphonic Suite STRAUSS, R. Horn Concerto No.2 ELGAR Symphony No.2

PASSIONS & CONTRASTS

FRI 9 & SAT 10 JUNE 7.30PMPERTH CONCERT HALL

Johannes Debus conductor Stefan Dohr horn

The glorious tones of superstar Stefan Dohr, Principal Horn of the Berlin Philharmonic, in his debut performance with WASO.

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 mission 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.

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WEST AUSTRALIAN SYMPHONY ORCHESTRA

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VIOLINLaurence JacksonConcertmasterSemra Lee-Smith A/Assoc ConcertmasterGraeme NorrisA/Assistant ConcertmasterRebecca GlorieA/Principal 1st ViolinZak Rowntree*Principal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenStephanie DeanBeth HebertJane Johnston°Sunmi JungChristina KatsimbardisEllie LawrenceEliza McCracken^Andrea Mendham^Lucas O’Brien°Ken PeelerLouise SandercockJolanta SchenkJane SerrangeliKathryn Shinnick°Jacek SlawomirskiKate SullivanBao Di TangCerys ToobyTeresa Vinci^Susannah Williams°Shaun Lee-Chen*Akiko MiyazawaMelanie PearnDavid Yeh

VIOLAAlex BroganA/Principal ViolaKierstan ArkleysmithNik BabicChair partnered by Lesley & Peter DaviesBenjamin CaddyNicole Greentree^Alison HallRachael KirkAllan McLeanElliot O’BrienKatherine PotterHelen Tuckey

CELLORod McGrath Chair partnered by Tokyo Gas

Louise McKayChair partnered by Penrhos College Shigeru KomatsuOliver McAslan Nicholas MetcalfeEve Silver*Fotis SkordasTim SouthXiao Le Wu

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

FLUTEAndrew Nicholson Mary-Anne Blades

PICCOLOGeorgia Lane^Michael Waye

OBOEPeter Facer Elizabeth Chee

COR ANGLAISLeanne Glover

CLARINETAllan Meyer Lorna Cook

BASS CLARINETAlexander Millier

BASSOONAdam MikuliczA/Principal BassoonChair partnered by Sue & Ron Wooller

Colin Forbes-Abrams°Jane Kircher-Lindner

CONTRABASSOONChloe Turner

HORNDavid EvansJulian LeslieºRobert Gladstones Principal 3rd HornJulia BrookeFrancesco Lo Surdo

TRUMPETBrent GrapesAdam Hawksworth^Peter MillerEvan CromieMatthew Dempsey°

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONBrian MaloneyChair partnered by Stott Hoare

Chiron Meller°Assoc Principal Percussion and TimpaniRobyn Gray^

HARPSarah Bowman Catherine Ashley^

PIANOGraeme Gilling^

PRINCIPAL CONDUCTORAsher FischPartnered by Wesfarmers Arts

ASSISTANT CONDUCTOR Elena Schwarz

CHORUS DIRECTOR Christopher van Tuinen

CHORUS VOCAL COACH Andrew Foote

CONDUCTOR LAUREATE Vladimir Verbitsky

YOUR ORCHESTRA

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

PrincipalAssociate PrincipalGuest Musician^Grey: Permanent member of WASO not appearing in this concertContract Playerº

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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 seats. Please 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.

LISTEN TO WASOThis performance is being recorded for broadcast 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 Fiona Campbell joins Peter Bell to provide the latest on classical music and WASO’s upcoming concerts.

FOOD & BEVERAGESVisit perthconcerthall.com.au for 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 STATIONS• Level 1 Ground Floor across from box office• Wardle Room – western side of bar• Terrace Level Corner Bar – one water

station on either side of the bar• Lower & Upper Gallery level

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

ACCESSIBILITY • A universal accessible toilet is available on

the ground floor (Level 1)• The Sennheiser MobileConnect Personal

Hearing Assistance system is available for every seat in the auditorium. Visit perthconcerthall.com.au/your-visit/accessibility/ for further information.

WASO BOX OFFICEBuy your WASO tickets and subscriptions, exchange tickets, or 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.

YOUR CONCERT EXPERIENCE

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Jean Sibelius (1865 – 1957)

En Saga (A Saga) – Tone-Poem, Op.9 (1892, revised 1902)

Premiered in 1893, En Saga became one of Sibelius’ most enduring successes: it helped make his name in his native Finland and a decade later became important to his success in Europe, when Busoni invited him to conduct it in Berlin. Fanciful theories have been put forward about the work’s alleged hidden meaning: that it is intended to evoke the work of the ‘Gaelic bard’ Ossian or that it refers to an episode in the Finnish national epic the Kalevala. Five decades after its premiere, Sibelius told his secretary: ‘En Saga is the expression of a state of mind. I had undergone a number of painful experiences at the time and in no other work have I revealed myself so completely. It is for this reason that I find all literary explanations quite alien.’

En Saga has the high colour and romantic rhetoric from which Sibelius would turn away in time, but it is as masterly in design as any of the more mature tone poems. Sibelius revised the work for the Berlin performances in 1902. In this version (performed in this concert) the signature Sibelian pedal points are longer, the themes more uniformly narrow in their range of melodic movement, the transitions between sections far smoother, and the orchestral palette more refined.

The unusual absence of timpani is common to both versions and, like the ‘original’ En Saga, the revised one ends as the piece seems to move inexorably back into the world of legend from which it came.

Abridged from a note by Phillip Sametz © 2008

First performance: 16 February 1893, Orchestra of the Helsinki Philharmonic Society, composer conducting. Revised version premiered by Robert Kajanus in Helsinki on 2 November 1902.First WASO performance: 20 August 1955, Fremantle. John Farnsworth Hall, conductor.Most recent WASO performance: 16 August 1957, Perth. Farnsworth Hall.

Instrumentation: two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, percussion, strings.

ABOUT THE MUSIC

DVORAK The Water Goblinfeatured in Louis Lortie Plays ChopinFri 30 June & Sat 1 July

YOU MAY ALSO ENJOY

Pedal point – a low-pitched note played for a long time while the harmonies change above it.Tone-poem – a programmatic work (that is, one based on a literary, pictorial or other extra-musical idea) for orchestra, usually in a single movement.

Glossary

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Béla Bartók (1881 – 1945)

Concerto No.3 for piano and orchestra

AllegrettoAdagio religiosoAllegro vivace

In 1945 the Musical Times ran an obituary of Béla Bartók, saying that his death in New York at the end of September deprives 20th-century music of one of its greatest masters. In depth and range his influence can be compared only with that of Schoenberg and Stravinsky, but it was more secret than theirs and far less apparent. Bartók’s music has never become widely or thoroughly known; it has never been a battle-cry; which has at least saved it from the grosser forms of misunderstanding.

Bartók and his wife Ditta had taken refuge from Nazism in the United States in 1940. The composer was well aware of, and distressed by, political developments in Europe, not only on his own account, but on that of the ethnic groups of eastern Europe whose music he had done so much to document and preserve and which had been such a great influence on his own work. His New York agent had promised him great opportunities as a performer, composer and ethnomusicologist, but most of these, sadly, failed to materialise, and Bartók, for whatever reason, turned down a number of teaching positions. The Bartóks’ financial situation was precarious, and matters became much worse when Béla’s health suddenly worsened in 1942.

He made what was to be his last public concert appearance in January 1943, performing the Concerto for Two Pianos and Percussion (which he had transcribed from the more familiar Sonata for Two Pianos and Percussion) with Ditta as the other piano soloist.

To its credit, the American Society of Composers, Authors and Publishers paid for Bartók’s medical expenses, and he was able to spend three summers recuperating in upstate New York and at a sanatorium in North Carolina where he wrote a number of his late masterpieces.

Much of Bartók’s music, particularly later works, shows a fondness for symmetrical or ‘arch’ forms, and viewing his output as a whole it is tempting to see it the same way: the late works often evoke the same worlds as his early-period music in their seemingly simple and highly lyrical manners, contrasting with the more acerbic and rhythmically complex middle-period pieces. The late Concerto for Orchestra goes so far as to quote Bartók’s early opera, Bluebeard’s Castle.

ABOUT THE MUSIC

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The Third Piano Concerto is the last piece that Bartók completed, but despite being written in the full knowledge of his having leukemia it sounds nothing like the last work of a dying man. Written for Ditta to perform, its relative simplicity reflects, in part, the fact that she was not the virtuoso that her husband had been. Seen, however, in the context of other works from this period – the Concerto for Orchestra and the unfinished Viola Concerto, for instance – the work is a document of the resilience of a human spirit, and in that respect might be compared with late Beethoven.

The first movement begins with a long-breathed melody given out by the piano, reminiscent of the folk melodies that Bartók assiduously collected in the rural regions of Hungary and various former Yugoslav republics, and the orchestration has a finely etched lucidity. Beethoven is evoked explicitly in the extended second movement – the marking ‘religioso’ and the formal scheme of the work relate to the ‘Holy song of thanksgiving to the godhead from a convalescent’ from Beethoven’s String Quartet Op.132. The finale dances to the uninhibited rhythms of folk music, insisting that life goes on.

Bartók’s music, like Mozart’s, experienced a surge in popularity shortly after his death. As the Musical Times concluded:

It is indeed a tragedy for music that Bartók should die in the midst of this new period, his creative powers going from strength to strength, and just as he was making some contact with audiences.

Gordon Kerry © 2003

First performance: 8 February 1946, Philadelphia. Eugene Ormandy, conductor; György Sándor, soloist.First WASO performance: 20 January 1962. John Hopkins, conductor; Fou Ts’ong, soloist.Most recent WASO performance: 7-8 May 2004. Luke Dollman, conductor; Paavali Jumppanen, soloist.

Instrumentation: two flutes (second doubling piccolo), two oboes (second doubling cor anglais), two clarinets (second doubling bass clarinet), two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, strings.

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Claude Debussy (1862 – 1918)

Prélude à ‘L’après-midi d’un faune’

Stéphane Mallarmé’s 1876 eclogue L’après-midi d’un faune is a monument of symbolist poetry, reflecting in its sumptuous but fragmentary language the erotic fantasies of a drowsy faun – a mythical half-man, half-goat – on a hot, languid, Sicilian afternoon. Running like a thread through the imagery of fruit and flowers and naked nymphs are references to music, specifically to the syrinx, or flute fashioned from reeds by the god Pan. One such reference, to the syrinx’s ‘sonorous, airy, monotonous line’, would become the kernel of Debussy’s musical rendering of the poem.

The first, repeated phrase of the solo flute arabesque with which the piece begins has rightly been described as a founding moment in modern music. Its chromatic line traces and retraces the ambiguous interval of the tritone: it is in no clearly discernible key, as is shown by the varied ways in which it is harmonised on its subsequent reappearances. The second half of the melody provides more ‘conventional’ motifs that are taken up by the orchestra.

Mallarmé’s poem rhymes, but otherwise avoids traditional forms or a narrative line; similarly, Debussy’s piece avoids the goal-directed development and tonal architecture that informs 19th-century symphonism. Musical events, like the vivid splashes of colour that first answer the flute, are there for the immediate pleasure they give;

climaxes are approached by simple repetition of motifs; the most extended melody is a richly scored, Massenet-like tune at the work’s midpoint, accompanied by rocking ostinatos.

The faun’s dream is overcome by sleep and the ‘proud silence of noon’, and the piece ends with the flute fading to nothingness.

Abridged from a note by Gordon Kerry © 2013

First performance: 22 December 1894, Paris. Gustave Doret, conductor.First WASO performance: 23 and 25 July 1949. Henry Krips, conductor.Most recent WASO performance: 7-8 June 2013. Yan Pascal Tortelier, conductor.

Instrumentation: three flutes, two oboes, cor anglais, two clarinets, two bassoons, four horns, two harps, percussion, strings.

ABOUT THE MUSIC

DEBUSSY Printemps – Symphonic Suite featured in Debussy, Strauss & Elgar; Passions & Contrasts Fri 9 & Sat 10 June

YOU MAY ALSO ENJOY

Chromatic – refers to notes which are not part of the key.Tritone – a particular interval of three tones which has an unstable and perhaps disturbing feel. In the Middle Ages it was nicknamed ‘the Devil in music’.

Glossary

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Igor Stravinsky (1882 – 1971)

The Firebird – Suite (1945)

Introduction – Prelude, Dance of the Firebird and VariationPantomime IPas de deux (The Firebird and Ivan Tsarevitch)Pantomime IIScherzo (Dance of the Princesses)Pantomime IIIRound Dance of the Princesses (Khorovod) Infernal Dance Berceuse (The Firebird)Final hymn

The Russian fairy-tale world was irresistibly exotic to European audiences in the early 20th century, so for the 1910 Paris season of the Ballets Russes, artistic director Sergei Diaghilev commissioned Anatoly Liadov to compose a score to Mikhail Fokine’s scenario and choreography.

When Liadov failed to deliver, Diaghilev turned to the 28-year-old Stravinsky. The ballet would be the largest single piece composed by Stravinsky to date, and would require what the composer in retrospect derided as ‘descriptive’ music, composed to a scenario not of his choosing, and with a deadline that was frighteningly close. But such things concentrate the mind wonderfully, and in The Firebird, Stravinsky emerges as a major composer of the 20th century, while bringing to a radiant close the Russian Romantic tradition.

In 1919, Stravinsky created a suite which would be attractive to concert promoters in its brevity and smaller orchestration. So it proved, but US copyright law meant that he had no legal rights over his work in the country to which he emigrated at the start of World War II. In 1945 he revisited the 1919 Suite, extending it so that he could re-copyright the work.

Fokine’s original scenario for the ballet brings together characters from three strands of Russian folklore: the Firebird – a phoenix; Kashchei the Deathless, a demon attended by monsters, who abducts maidens and turns knights to stone; and Ivan Tsarevich, who personifies a nationalist, indeed imperial, heroism. Stravinsky, in later life, made no secret of his dislike for Fokine and his scenario, in the latter case because of what Stravinsky regarded as dramatic ‘padding’ that obliged him to write the dance equivalent of recitatives – ‘pantomimes’. The 1945 revision allowed the composer to reintroduce enough such narrative material as to make the work viable on stage.

ABOUT THE MUSIC

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The story begins in the enchanted forest that surrounds Kashchei’s castle. The Introduction begins in the sepulchral depths of the orchestra, rising to fluttering wind figurations and a fragmentary, plaintive oboe solo. The Firebird’s dance, as she enters pursued by Ivan Tsarevich, is a spritely waltz clothed in brilliant orchestral colour that dissolves into scurrying flute textures as Ivan captures her (Pantomime I). The Firebird begs for her freedom in a slow dance (Pas de deux) whose main melody is first heard in the violas and bassoon, and promises to come to his aid should he ever require it; as a token of her promise she gives him a plume from her tail. Moving deeper into the forest, Ivan finds himself in the garden of Kashchei’s castle. Thirteen princesses appear (Pantomime II) and play a game with golden apples (Scherzo); Ivan, enchanted by the thirteenth princess’s beauty, reveals his presence (Pantomime III) and they all perform a stately round-dance (Khorovod) to a Russian folk-tune.

Kashchei’s monsters appear, capturing Ivan as Kashchei arrives. The monsters attempt to turn Ivan to stone in the face of the princesses’ pleas for mercy. Ivan summons the Firebird, who casts a spell on the monsters. An exhilarating Infernal Dance to acrobatic trumpet calls, woodwind trills and clattering xylophones, follows.

The Firebird dances a Berceuse, or lullaby, putting Kashchei and the monsters into a magic sleep and telling Ivan that he must destroy the egg in which Kashchei keeps his soul. As Kashchei awakes, Ivan does so, thus destroying the evil demon and plunging his world into profound darkness. In the single-movement finale, a long-breathed melody passed from solo horn through the full orchestra announces the destruction of evil and the reawakening of the knights whom Kashchei had turned to stone. Ivan, naturally, marries the thirteenth princess in music of great ecstasy.

Gordon Kerry © 2009/13

First performance: 25 June 1910, Paris. Gabriel Pierné, conductor. Choreographer Mikhail Fokine danced the role of Ivan Tsarevich; Tamara Karsavina was the Firebird.First WASO performance: 29 June 1946. Eugene Goossens, conductor.Most recent WASO performance: 9-10 November 2012. Michael Stern, conductor.

Instrumentation: two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, harp, piano, timpani, percussion, strings.

Recitative – in opera, a style of singing which follows speech-like rhythms and advances the dialogue quickly, fast-forwarding the action, as opposed to arias and set numbers such as duets, trios, etc. and choruses, which reflect on the emotion or import of the action.

Glossary

RIMSKY-KORSAKOV Scheherazadefeatured in Karin Schaupp Plays Rodrigo Fri 6 & Sat 7 October

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Cameron BrookPrincipal Tuba

How did you find yourself playing the tuba?When I was 12 my parents insisted that I learn a musical instrument. I wasn’t happy about that so I decided to be as difficult as possible and choose the most cumbersome instrument that was available at school. To my surprise I soon enjoyed the tuba, and because relatively few people chose it I had doors open for me much easier than if I played a popular instrument like flute or clarinet.

When did you join WASO and where did you play before then?My first professional work was 3 weeks with the Melbourne Symphony Orchestra just after finishing Year 12. I moved to Melbourne to study for 4 years, during this time I played occasionally with the MSO. In 1983 I moved back to Sydney, where I was lucky enough to get a few months work with the SSO before joining WASO later that year.

What do you think a symphony concert will look and sound like 50 years from now? I don’t think there will be much change to “traditional” concerts like this one, but orchestras also do a lot of other activities. I expect those other areas of orchestral work will evolve in ways that we haven’t thought of yet. Developments in technology will make it possible for us to reach a wider audience, and for people to experience our music in new formats. Our challenge will be to ensure that these advances continue to deliver a quality experience.

If you had to choose any other instrument to play in the orchestra, what would it be? My first thought would be cello with its warmth and huge range of expressive possibilities, but I’m so used to being an individual voice that I’d probably choose bass trombone.

If I wasn’t a musician, I would be…an industrial designer or an architect. I love good design and enjoy working with my hands. I’ve been owner/builder on a couple of house renovations, and if I hadn’t studied music after school my plan was to study industrial design at university.

I am most proud of…the development of WASO during my time in the orchestra. When I joined the orchestra it was part of the ABC and had 65 players. Behind the scenes we now have a completely different management that is working very well, and onstage the orchestra has grown both in size and the quality of our performances.

MEET THE MUSICIAN

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Paul Rissmann Presentation and Q&ATuesday 20 June 2017, 6-8pm Perth Concert Hall, Corner Stage

The second instalment in our Judy Sienkiewicz Lecture Series will be presented by award winning British educationalist, composer and presenter Paul Rissmann, following the Annual General Meeting of WASO’s Patrons & Friends on Tues 20 June. Paul joins us as artist in residence for WASO’s Education Week as part of an extensive Australian tour that will see him present a number of his acclaimed programs for children and young people. Paul’s programs will spark imaginations through composition, illustration and the written word. We are delighted that he has time to share his career experiences and talk about the life-changing power of music in this special event for WASO’s Patrons & Friends.

The evening will include the opportunity to join the conversation and pose questions to Paul and our Executive Manager of Community Engagement, Cassandra Lake. Tickets will be $20 for Patrons & Friends ($25 for guests), and include a glass of wine. Bookings are now open through the WASO Box Office on 9326 0000.

WASO PHILANTHROPY

Community Support MonthWASO delivers an extensive and far-reaching portfolio of Education & Community Engagement programs that address issues of geographical, financial and physical disadvantage. We are nationally recognised for the quality and breadth of these activities and in 2016 we reached nearly 40,000 participants state wide. Most of these programs are delivered free of charge to the participants and enable us to fulfil our mission to touch souls and enrich lives through music.

Throughout June we celebrate and showcase our deep connection and commitment to the community of Western Australia through Community Support Month. We do believe in the life-changing power of these musical experiences and June is when we ask you to join us on the journey and become a part of this incredible community who share our commitment to improved access to music experiences.

Through your contribution, you will enable us to give the best possible opportunities to the schools and communities in which we work, and expand our programs to reach even more Western Australians. Ongoing philanthropic support is paramount in building a strong and vibrant Orchestra that can continue to produce live music events not only at Perth Concert Hall, but also for children in hospitals, for students with Special Educational Needs in the comfort of their school environment, or for regional students and communities across the vast state of Western Australia.

Please join us this Community Support Month and make your gift before 30 June by contacting Jacinta Sirr on 9326 0014 or sirrj@waso.com.au, via EFT (BSB 306057, ACC 0166609) or by making an online donation via waso.com.au/supportus. All donations over $2 are fully tax deductible.

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Whatever the shape or size, your donation helps 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 OrchestraMs Davilia BlecklyMr John BonnyDr G Campbell-EvansDeirdre CarlinAnita & James Clayton Dr Michael FlacksJudith Gedero Robyn GlindemannGwenyth GreenwoodThe Guy FamilyEmi & Warren Jones Colin & Jo KingRachael Kirk & Tim WhitePaul LeeWolfgang Lehmkuhl Deborah MarshTosi Nottage in memory of Edgar NottageNigel & Dr Heather RogersGavin Toovey & Jaehan LeeSheila Wileman Sagitte Yom-Tov FundAnonymous (31)

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

Estates WASO is extremely grateful for the bequests received from Estates Rachel Mabel ChapmanMrs Roslyn WarrickJudy Sienkiewicz Anonymous (4)

Excellence CircleSupporting excellence across all we doJean ArkleyBob & Gay BranchiJanet Holmes à Court ACDr Patricia KailisTorsten & Mona KetelsenRod & Margaret MarstonMichael UtslerLeanne & Sam Walsh

The WASO Song BookWe are grateful to those who have supported new works commissioned for the OrchestraJanet Holmes à Court ACPeter DawsonGeoff Stearn

Reach OutSupporting our Education & Community Engagement programsJean ArkleyRon & Penny CrittallRobyn GlindemannBarrie & Jude LepleyMrs MorrellAnonymous (1)

Instrument purchasesJohn Albright & Susan Lorimer – purchase of the EChO Double BassJean & Peter Stokes - Cello & Tuba

Trusts & FoundationsCrown Resorts Foundation & Packer Family FoundationThe Ionian Club Perth '81The James Galvin FoundationSimon Lee Foundation

Crescendo Giving CircleAOT Consulting Pty LtdJean ArkleyKaylene CousinsEuroz Charitable FoundationMadeleine King MP, Federal Member for BrandRosalind LilleyPamela PittDeborah & Miles ProtterThe Spivakovsky Jubilee Valerie Vicich

Philanthropic partnerships come in all shapes and sizes

OUR SUPPORTERS

If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Sarah Tompkin, Acting Executive Manager, Philanthropy, on 9326 0017 or email tompkins@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.

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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 ACJohn Albright & Susan Lorimer Patricia New

Impresario PatronGifts $10,000 - $19,999Gay & Bob Branchi Gavin BunningPeter & Lesley Davies (Orchestral Chair Partners - Tutti Viola)Tony & 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 KailisKelly FamilyAlison KennedyKeith & Gaye Kessell Dr Ronny Low & Dr Emma RichardsonBryant & Louise Macfie Robert MayPaula & John Phillips Peter & Jean Stokes Richard Tarala & Lyn Beazley AORos ThomsonAlan WhithamSue & Ron Wooller (Orchestral Chair Partners - Principal Bassoon)Anonymous (4)

Virtuoso PatronGifts $2,500 - $4,999Dr Fred AO & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AMTony & Mary Beeley David & Suzanne Biddles Peter & 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 HaggertySue Hovell Sylvia & Wally HyamsJim & Freda Irenic Eleanor John Michael & Dale Kitney Irving Lane Mrs MorrellJane & Jock MorrisonAnne NolanTim Pavy & Cathy ColeDr Lance Risbey & Ms Elizabeth SachseMelanie & Paul ShannonGail & Tony Sutherland Gene TilbrookM & H TuiteStan & Valerie VicichIan WatsonJoyce Westrip OAMAndrew & Marie YunckenAnonymous (2)

Principal PatronGifts $1,000 - $2,499Ron & Sue AdamsCaroline Allen & Sandy DunnPrue Ashurst in memory of Eoin Cameron

Margaret Atkins Dan & Gail BamBetty BarkerNoelle BeasleyMichael & Nadia Berkeley-Hill Kevin Blake Matthew J C Blampey Namy BodinnerSusy BoglePeter & Eve BolandDr & Mrs P BreidahlJean Brodie-Hall AMJames & Gay BrownMarilyn & Ian BurtonDr Anne ChesterPeter & Sue Clifton David CookeArthur & Nerina CoopesHon June Craig AM Gay & John Cruickshank Lesley & Peter DaviesRai & Erika DolinschekJulian Dowse Bev EastMegan EdwardsLorraine EllardDane Etheridge & Brooke FowlesAnnette FinnP & J FisherDon & Marie Forrest E & EA FraunschielDr Andrew GardnerRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Deidre Greenfeld Grussgott Family TrustRichard B Hammond Pauline & Peter HandfordIn memory of Eileen HayesDr Penny Herbert in memory of Dunstan HerbertJacoba Hohnen & Stuart CookseyMichael HollingdaleHelen Hollingshead John & Katrina Hopkins

Annual Giving

OUR SUPPORTERS

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J & S HuanCynthia JeeLilian & Roger JenningsAnthony Kane in memory of Jane Leahy-KaneBill Kean Noelle & Anthony Keller AMStephanie & John Kobelke Natasha LanglandsMeg 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 MorrisLyn MurrayVal & Barry NeubeckerDelys & Alan NewmanDr Phil & Mrs Erlene NobleJohn OvertonRon & Philippa PackerMichael & Lesley PageAthena PatonRosemary PeekCharmian Phillips in memory of Colin CraftPamela PlattThomas & Diana Potter Alison & John PriceBarry & Dot PriceDr Leon Prindiville Chester ReeveJoan ReylandJohn & Alison RiggLeigh RobinsonNigel & Dr Heather RogersGerry & Maurice Rousset OAMRoger Sandercock Dr R & J SchwengerMargaret & Roger SearesEve Shannon-Cullity Glenice ShephardJulian & Noreen Sher Laurel & Ross SmithPAI Smith & DA HarryMichael Snell & Vicki Stewart

Geoff and Christine SoutarRuth ThomasGavin Toovey & Jaehan LeeMary Townsend James & Rosemary TrotterDr Robert TurnbullMaggie VenerysAdrienne & Max Walters Diana WarnockWatering ConceptsDai and Anne WilliamsIan Williams AO & Jean WilliamsJim & Gill WilliamsMargaret WilsonJudith Wilton & David TurnerHilary & Peter Winterton AMAnonymous (27)

Tutti PatronGifts $500 - $999Geoff & Joan Airey Ian AppsCatherine BagsterBernard & Jackie Barnwell Shirley Barraclough Mrs Berwine Barrett-LennardColin BeckettPamela M BennetJohn & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerAlison Bunker & Myles HarmerLucia BuralliAnn Butcher & Dean R Kubank Michelle CandyNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeFred & Angela ChaneyDr Sarah CherianLyn & Harvey Coates AOAgatha & Alex Cohen AOHelen CookBrian CresswellGina & Neil DavidsonProfessor Wayne Iwan Lee Davies FRSB Jop & Hanneke DelfosJudy Dolan

Simon & Pamela DouglasMrs G EwenMaxine & Bill Farrell AMJoan GagliardiJennifer & Stephen GardinerGeorge GavranicElaine GimsonIsobel Glencross Pitsamai & Kevin GreenDavid & Valerie GullandAlan Harvey & Dr Paulien de BoerEric & Elizabeth HeenanJohn HillChristopher, Julie, Rosemary & Bronwyn HudsonMr John Hylton-Davies JP, VJPeter Ingram Peter S JonesWarren & Emi JonesB M KentDorothy KingstonNelly KleynUlrich & Gloria Kunzmann John Kusinski & Annie MotherwayTrevor & Ane Marie Lacy Louis & Miriam LandauMartin & Ruth LevitAnn LewisMegan LoweKen & Yoko LucasMary Ellen in memory of KerensaGeoff MasseyJennifer & Arthur McCombJames Meneghello & Mabel ChewS B Monger-HayAndré & Barbara MorkelDr Peter MossPhuong NguyenMarianne NilssonPeter O’SullivanDr Walter Ong & Graeme MarshallMarjan Oxley Graham & Hildegarde PennefatherBev Penny Adrian & Ruth PhelpsAlpha & Richard Pilpel OAMAnn RawlinsonJames & Nicola Ridsdill-SmithPaul RobertsChris & Serge Rtshiladze

OUR SUPPORTERS

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Her Excellency the Hon. Kerry Sanderson, ACCarole SextonThe Sherwood FamilyPaul & Margaret SkerrittHendrik SmitDr L Sparrow & FamilyPeggy & Tom Stacy Eleanor SteinhardtIn Memoriam of Mr Andrew David StewartLisa & Andrew Telford

Ruth E ThornPatricia TurnerS R VogtMargaret WallaceJohn & Nita WalsheAnne Watson Joy WearnePatricia WestonDr Chris & Mrs Vimala WhitakerB M WilcoxGeoff Wilkinson

Violette William Janet WilliamsDr Robyn Yeo & Ms Cyn Johnson Chris ZiatisAnonymous (25)

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

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.

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

EXECUTIVECraig Whitehead Chief Executive Megan Lo SurdoExecutive AssistantAnthony PickburnHuman Resources ManagerNarelle CoghillHuman Resources CoordinatorJulie Read Payroll Administrator

ARTISTIC PLANNINGEvan Kennea Executive Manager, Artistic PlanningAlan Tyrrell Program ManagerNatalie De Biasi Program Coordinator

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

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

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

CORPORATE DEVELOPMENTMarina WoodhouseExecutive Manager, Corporate DevelopmentJamie Parkin Corporate Partnerships ManagerGinny LuffCorporate Partnerships Coordinator

Gosia Blasiak Corporate Partnerships & Events Coordinator

MARKETINGMarc Missiaen Executive Manager, MarketingKirsty Chisholm Marketing ManagerLuke AndersonDigital Marketing ManagerLuke PownallPublic Relations ManagerCliona HayesMarketing CoordinatorImogen ArnoldGraphic Designer

PHILANTHROPY Alecia BenzieExecutive Manager, PhilanthropySarah TompkinActing Executive Manager, PhilanthropyJacinta SirrPhilanthropy & Annual Giving ManagerEmily Kennedy Philanthropy & Events Coordinator

PERTH CONCERT HALLBrendon EllmerGeneral ManagerLorraine RiceDeputy General ManagerBrad MatthewsOperations ManagerPenelope BriffaEvents ManagerPaul RichardsonPresentations CoordinatorBruce GawMaintenance OfficerRyan SandilandsMarketing CoordinatorDharshini MurugiahMarketing AssistantSarah Salleo Reception & AdministrationJosie AitchisonTalei LouieVanessa WoolleyTicketing Client Account ManagersEleanor AitchisonAlana ArnoldCheryl ButlerLeticia CannellMary-Louise CarboneHelen GortmansKaitlin TinkerBeverley TrolioCustomer Service and Sales Representatives

WASO programs are printed by Advance Press www.advancepress.com.au who are proud to be ‘Green Stamp Accredited’. This certification acknowledges Advance Press'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

ADMINISTRATION

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2017 CORPORATE PARTNERS

SONATA PARTNERS

PARTNER OF EXCELLENCE

COLL EGEAQUINAS

CONCERTO PARTNERS

OVERTURE 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 Corporate Development on 08 9326 0004

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Proud sponsor of west australian

symphony orchestra

SAL0834_A5_WASO_Prog.indd 1 10/11/2016 3:39 pm

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