PROGRAM

MACA LIMITED CLASSICS SERIES

Friday 6 & Saturday 7 October 2017, 7.30pmPerth Concert Hall

KARIN SCHAUPP PLAYS RODRIGO

It is such a great thrill and honour for me to return to my hometown to conduct the West Australian Symphony Orchestra in such an exhilarating program for my subscription concert debut.

All three pieces in tonight’s program showcase the colourful use of orchestration with Rimsky-Korsakov being the master, having influenced both Ravel and Rodrigo. The work Scheherazade epitomizes his mastery, clearly conveying why he was the man who literally wrote the book on orchestration. Although Rimsky-Korsakov never set an exact narrative to each of the movements, the titles of each (which he later erased) along with his palette of

colours is enough to clearly depict the exotic storytelling of the character Scheherazade.

Not only is this work one of my favourite orchestral pieces it has a personal connection as it was one of the first clarinet excerpts I studied with my previous clarinet teacher, Principal Clarinet of WASO, Allan Meyer.

As WASO’s former Assistant Conductor, I have grown with this Orchestra and wouldn’t be where I am today without its continuous support. Thank you for sharing part of this momentous occasion with me and I hope you enjoy our concert!

Christopher Dragon Conductor

1840 1850 1860 1870 1880 1890 1900 1910 1920 1930 1940 1950 1960 1970 1980 1990 2000 2010

Rodrigo's Concierto de Aranjuez for guitar and orchestra1940

Rimsky-Korsakov's Scheherazade - Symphonic Suite, Op.351888

Ravel's Pavane pour une infante défunte 1911

JOAQUIN RODRIGO

1901 – 1999Born in Sagunto, SpainDied in Madrid, Spain

NIKOLAI RIMSKY-KORSAKOV

1844 – 1908Born in Tikhvin, RussiaDied in Saint Petersburg, Russia

MAURICE RAVEL

1875 – 1937Born in Ciboure, FranceDied in Paris, France

WELCOME

TIMELINE OF COMPOSERS & WORKS

2017 UPCOMING CONCERTS

EY PRESENTS

MEGAN WASHINGTON WITH WASO FRI 27 OCTOBER 8PM Perth Concert Hall

Two-time ARIA Award winner and multi-platinum selling artist Megan Washington joins WASO for an exclusive preview of her new album Sugardoom (scheduled for release in 2018) together with favourites from her repertoire. Don’t miss one of the defining Australian female singer-songwriters of our age in this special concert.

Megan Washington vocals (pictured) Benjamin Northey conductor

FAMILY CONCERT

LAH-LAH AND BUZZ MEET WASOSUN 5 NOVEMBER 11AM & 1PMPerth Concert Hall

Popular stars of ABC KIDS Lah-Lah and Buzz present an educational and interactive musical show with lots of singing and dancing! Meet some new instrument friends as Buzz and Lah-Lah introduce Lola the Dancing Double Bass to the fascinating families of the orchestra in a fun and engaging concert perfect for 3-7 year olds with all the action on a big screen!

Lah-Lah and Buzz (pictured) Jon Tooby conductor

TICKETS $28*

TICKETS FROM $39*

BOOK NOW CALL 9326 0000 VISIT WASO.COM.AUAsher Fisch appears courtesy of Wesfarmers Arts.

*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. A fee of $3.85 applies to all over the counter bookings.An additional fee of $4.40 per transaction applies for delivery via Registered Post.

MASTERS SERIES

RACHMANINOV'S 2ND PIANO CONCERTOFRI 24 & SAT 25 NOVEMBER 7.30PM Perth Concert Hall

Rachmaninov’s Second Piano Concerto is a ravishing masterpiece, overflowing with lush, rich melodies that live long in the memory. Experience pianist Alexander Gavrylyuk, acclaimed worldwide for thrilling performances of this ever-popular concerto.

Asher Fisch conductor Alexander Gavrylyuk piano (pictured)

TICKETS FROM $32*

KARIN SCHAUPP PLAYS RODRIGO

RAVEL Pavane pour une infante défunte (6 mins)

RODRIGO Concierto de Aranjuez for guitar and orchestra (22 mins)

Allegro con spirito

Adagio

Allegro gentile

Interval (25 mins)

RIMSKY-KORSAKOV Scheherazade (45 mins)

Largo e maestoso – Lento – Allegro non troppo (The Sea and Sinbad’s Ship)

Lento (The Story of the Kalender Prince)

Andantino quasi allegretto (The Young Prince and the Young Princess)

Allegro molto – Vivo – Allegro non troppo e maestoso – Lento (Festival at Baghdad – The Sea – The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior – Conclusion)

Christopher Dragon conductor Karin Schaupp guitar

Wesfarmers Arts Pre-concert TalkFind out more about the music in the concert with this week’s speaker, Yvonne Frindle. The Pre-concert Talk takes place at 6:45pm in the Terrace Level Foyer.

MACA LIMITED CLASSICS SERIES

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Jump Jam JiggleFirst launched during Education Week 2016, we were excited to welcome families to join us in September for Jump, Jam, Jiggle!

Presented in partnership with AWESOME Arts as part of the 2017 AWESOME International Arts Festival, these interactive workshops were hands-on musical adventures into space inspired by the music of Holst’s The Planets.

Led by workshop presenter Kate Page alongside an EChO9 ensemble, children (and their grownups!) explored the sounds a spaceship might make, created and performed junk percussion, used voices to create sound effects and to listen, move and groove to some of the most iconic orchestral repertoire written. At the conclusion of the program, everyone stayed to meet the musicians and try our have-a-go instruments to learn more about our orchestra and the people who play in it.

EChO - In Community and in Schools EChO, WASO’s 15-piece Education Chamber Orchestra spent two weeks in July presenting Kids’ Cushion Concerts and EChO in Schools performances.

Kids’ Cushion Concerts saw capacity audiences at 9 performances across the Wardle Room, South Perth Civic Centre and Midland Town Hall. Then, it was back to school for the start of Term 3, visiting Penrhos College Junior School, St Mary’s AGS Junior School and a day trip to Busselton for a first-ever visit to St Mary MacKillop College.

During this fun fortnight, EChO musicians were joined by Libby Hammer who took us on a brand-new journey to “Meet the Orchestra” (and shared her incredible superpower that listening to Wagner allows her to fly through the air!) and Lee Stanley, who was joined by Echo the Gecko and Stella the Alien - a beautiful new puppet who was the star of the show in ‘Echo, the First Gecko in Space’.

Our thanks to everyone involved, and to our wonderful audiences - we look forward to seeing you again in 2018!

EChO Kids’ Cushion Concerts are supported by Water Corporation.

WASO IN THE COMMUNITY

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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 JacksonConcertmasterLisa ObertGuest Assoc ConcertmasterSemra Lee-Smith A/Assoc ConcertmasterGraeme NorrisA/Assistant ConcertmasterRebecca GlorieA/Principal 1st ViolinZak Rowntree*Principal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinSarah BlackmanStephanie DeanBeth HebertAlexandra IstedJane Johnston°Sunmi JungChristina KatsimbardisEllie LawrenceEliza McCracken Lucas O’Brien°Melanie PearnKen PeelerLouise SandercockJolanta SchenkJane SerrangeliKathryn Shinnick°Jacek SlawomirskiKate SullivanBao Di TangCerys ToobyDavid Yeh

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

CELLOLouise McKayChair partnered by Penrhos College Shigeru KomatsuOliver McAslan Nicholas MetcalfeAnna SarcichEve Silver*Fotis SkordasTim SouthXiao Le Wu

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

FLUTEAndrew Nicholson Mary-Anne Blades

PICCOLOMichael Waye

OBOENicola BellGuest PrincipalElizabeth Chee

COR ANGLAISLeanne Glover

CLARINETAllan Meyer

BASS CLARINETAlexander Millier

BASSOONAdam MikuliczA/PrincipalChair partnered by Sue & Ron Wooller

Colin Forbes-Abrams°

HORNDavid EvansJulian LeslieRobert Gladstones Principal 3rd HornDorée Dixon^Francesco Lo Surdo

TRUMPETBrent GrapesPeter Miller

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIChiron Meller°Assoc Principal Percussion and Timpani

PERCUSSIONBrian MaloneyChair partnered by Stott HoareJoel Bass^Amanda Dean^Robyn Gray^Paul Tanner^

HARPSarah Bowman

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

PrincipalAssociate PrincipalGuest Musician^Contract Playerº

ON STAGE TONIGHT

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

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

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Christopher DragonWest Australian Christopher Dragon is currently the Associate Conductor of the Colorado Symphony Orchestra. He was appointed from over 200 candidates and was immediately extended in the position. For three years Christopher previously held the position of Assistant Conductor with the West Australian Symphony Orchestra, which provided him with mentorship by Principal Conductor Asher Fisch.

Christopher regularly returns to Australia to work with various orchestras and has conducted the West Australian, Melbourne and Adelaide Symphony Orchestras. At 25, he made his debut at the Sydney Opera House conducting the Sydney Symphony Orchestra with Australian singer/songwriter Josh Pyke, which was released on CD and won an ARIA the following year. Other progressive collaborations include Ben Folds, Dianne Reeves, Wynton Marsalis and the Jazz at Lincoln Center Orchestra.

Christopher was a member of the Symphony Services International Conductor Program and has studied with numerous distinguished conductors including Leonid Grin, Fabio Luisi, Paavo Jarvi and Neeme Jarvi.

Phot

o: N

ik B

abic

Karin SchauppKarin Schaupp’s playing has been hailed by the German press as “so perfect, so complete, that it seems like a miracle”. Winning prestigious international prizes in Italy and Spain in her teens, Karin is today sought after internationally as a recitalist, soloist and festival guest, making countless television and radio appearances.

Karin has released six best-selling solo CDs as well as various award-winning ensemble and orchestral albums, including Mosaic (2015), the first ever CD dedicated to guitar concertos by Australian composers, and three albums with Australian songstress Katie Noonan. For her recordings, Karin has received an ARIA award and many ARIA nominations.

Performance highlights include performing as soloist with the London Philharmonic Orchestra, some 150 performances of Lotte’s Gift, performances at World Expo (Japan) and Hong Kong Arts Festival, and an International Concert Season tour with Pavel Steidl for Musica Viva Australia.

ABOUT THE ARTISTS

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Proudly orchestrating WASO’s mobility and removal needs for over 35 years.

WASO 2014 2.indd 1 22/10/2014 11:09:00 AM

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

*A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $3.85 applies to over the counter bookings.

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.

RAVEL Ma Mère L’Oye (Mother Goose) – SuiteSAINT-SAENS Cello Concerto No.1VAUGHAN WILLIAMS Symphony No.5

Douglas Boyd conductorLi-Wei Qin cello

FRENCHCONNECTIONSFRI 13 & SAT 14 OCTOBER 7.30PMPerth Concert Hall “Mr. Qin has… a

meltingly beautiful tone, flawless centered intonation and an ironclad technique.” - New York Times

Sunmi JungViolin

How and where did your musical journey begin?My father was a violinist and conductor in Korea. When I was seven years old, I was influenced by him to start learning violin. I went to Germany to learn more after graduating with a bachelor degree in Yonsei University, Korea. Düsseldorf Musikhochschule in Germany was the best place for me. I was also very lucky to have a great teacher, Andreas Krecher in there. He was an inspiration to me, especially for the Chamber music. So, I have grown my dream as a professional chamber orchestra player.

When did you join WASO and where did you play before then?Fortunately, I had a lot of opportunities to play in Orchestras when I was in Germany. I worked at Duisburger Philharmoniker and Bielefeld Philharmonic Orchestra as a casual player during my study. After completing my exams and Chamber music degree, I joined Beethoven Orchestra in Bonn as a tutti violin. Within my career in Germany, I’ve learned many repertories and met lots of great musicians. After marriage, I moved to Perth due to my husband’s new job. I have been working for WASO since 2013.

What has been the biggest highlight from your time at WASO so far? Every Master Series concert is my biggest highlight at WASO. It is always very exciting to play with an eminent conductor and soloist in the world. With them, I’m learning how to love classical music! However, the most fruitful concerts for me are the Family Series concerts. For the first time in my little son’s life, he watched a concert and told me how he is proud of my job.

Do you have a shortlist of works or composers that you love to play the most?I really like to play Beethoven symphonies. A few years ago, WASO played all of Beethoven symphonies as a ‘Beethoven Festival’. I really enjoyed it. And also I love to play Brahms and Mahler.

What’s your favourite city in the world?My favourite city is Bonn, Germany, where I lived before. It’s a small city but well-balanced city between the nature and historic culture. I really want to visit Bonn again later with my family.

What’s the essential item you must take on a flight with you?Recently, I bought noise cancelling earphones. It’s fantastic! I have no idea about the advanced technologies, but it makes me very comfortable and relaxed during the flight. That’s my ‘must take’ item.

MEET THE MUSICIAN

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

*A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $3.85 applies to over the counter bookings.

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.

RAVEL Ma Mère L’Oye (Mother Goose) – SuiteSAINT-SAENS Cello Concerto No.1VAUGHAN WILLIAMS Symphony No.5

Douglas Boyd conductorLi-Wei Qin cello

FRENCHCONNECTIONSFRI 13 & SAT 14 OCTOBER 7.30PMPerth Concert Hall “Mr. Qin has… a

meltingly beautiful tone, flawless centered intonation and an ironclad technique.” - New York Times

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 on Saturday 14 October at 12pm (or 9am online). For further details visit abc.net.au/classic

ABC RADIO PERTHTune in to ABC Radio Perth on Friday morning at 6.15am when Peter Bell provides 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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Maurice Ravel (1875–1937)

Pavane pour une infante défunte (Pavane for a dead princess)

Some people’s experience of Ravel’s music stops with this Pavane pour une infant défunte and Boléro. We may agree with the composer that this is a pity, but need not be too influenced by his later remarks about the Pavane (‘rather poor form’, ‘an inconclusive and conventional work’…). It was, after all, the piece which first won Ravel wide recognition, in its original version for piano solo (1899). In that form it looks easy to play but isn’t, and most musicians feel that Ravel improved it greatly by orchestrating it in 1910.

Many fanciful interpretations have been given of this piece, seemingly based more on the title than on the music. The idea persists that it is about a dead child, even though the Spanish title Infanta refers to a princess of royal blood, of whatever age, who will not inherit the throne. One critic thought the piece could be an illustration of the 16th-century Spanish painter Velasquez’s Portrait of a Young Girl. Others have imagined a stately dance in front of the bier of a princess (an old Spanish court custom). But according to Ravel, he let himself be led into writing the (French) title ‘because of the pleasure I got from the assonance of the words’.

The ancient dance form of the pavane was much cultivated in 16th-century Spain. Its adoption by Ravel therefore evokes a sense of time long past, and reflects his interest in stylised dance rhythms.

Abridged from a note © David Garrett

First performance: 25 December 1911 (orchestral version), Paris. Alfredo Casella, conductor.First WASO performance: 22 & 24 October 1949, Henry Krips conducting.Most recent WASO performance: 25-26 November 2011; Paul Daniel, conductor.

Instrumentation: two flutes, oboe, two clarinets, two bassoons, two horns, harp, strings.

ABOUT THE MUSIC

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Joaquín Rodrigo (1901–1999)

Concierto de Aranjuez for guitar and orchestra

Allegro con spiritoAdagioAllegro gentile

The cliché is that the best Spanish music was written by French composers, but in 1939 a Spanish composer living in Paris wrote the most instantly recognisable Spanish work of the 20th century – and its single most popular concerto.

Blinded by diphtheria at the age of three, Joaquín Rodrigo showed an early and impressive talent for music as pianist and composer. After study at the Conservatory in Valencia he travelled to Paris where he studied with Paul Dukas from 1927, and then, after marrying the Turkish pianist Victoria Kamhi in 1933, returned to Paris, and remained an expatriate until the end of the Spanish Civil War, returning in 1939. The Concierto de Aranjuez had its first performance in Barcelona in 1940, and it made Rodrigo’s name.

The piece takes its title from the summer palace of Spain’s Bourbon Kings, built by Philip II in the 16th century near Madrid, but given an extensive Baroque makeover in the 18th. For Rodrigo it became a mental image of an idealised Spain, evoking ‘the fragrance of magnolias, the singing of birds and the gushing of fountains’. The work is neo-Baroque in form, suffused with a handful of the thousands of demotic dance-songs of Spanish folk music.

The first movement quickly establishes two things: Rodrigo’s essentially conservative but lively musical language and his mastery of orchestral colour and balance. The guitar’s strumming sets up the simple rhythmic engine of alternating 3/4 and 6/8 patterns derived from the fandango. Rodrigo is careful never to let the delicate timbre of the guitar become submerged in orchestral sounds: at first, for instance, the guitar is accompanied by a light woodwind texture, and even in larger tutti passages, he leaves gaps through which the guitar can be heard.

The central Adagio, nearly as long as the outer movements combined, has taken on a life of its own in a great many incarnations. The beautiful melody sung by the cor anglais has been ‘covered’ by performers as diverse as Miles Davis, Fairuz, Demis Roussos and the Grimethorpe Colliery Band. Its deep melancholy led to a legend that it represented Rodrigo’s response to the destruction of Guernica as immortalised in Picasso’s painting, but Victoria Kamhi maintained that its origins were in the death of their first child.

ABOUT THE MUSIC

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In any event, it is based on an Andalusian lament sung during processions in Holy Week; it is sometimes used to set the Mourner’s Kaddish in some Sephardic synagogues.

The third movement returns to the genial world of the first, though with a rather more aristocratic edge in the heraldic writing for brass. Here again, contrasting dance rhythms – this time 2/4 alternating with 3/4 – power the music along.

The composer liked to describe his work generally as neocasticista or ‘faithful to a tradition’; on his 90th birthday he was ennobled as Marquis of the Gardens of Aranjuez.

Gordon Kerry © 2010

First performance: 9 November 1940, Barcelona. Barcelona Philhamonic Orchestra, Regina Sáinz de la Maza, soloist.First WASO performance: 1 June 1976. Gerald Krug, conductor; Narciso Yepes, soloist.Most recent WASO performance: 3-4 June 2011. Stefan Asbury, conductor; Slava Grigoryan, soloist.

Instrumentation: solo guitar, two flutes (one doubling piccolo), two oboes (one doubling cor anglais), two clarinets, two bassoons, two horns, two trumpets, strings.

2/4 and 3/4 – two/three (crotchet) beats to the bar. 6/8 – time signature with two beats to the bar, each of which can be sub-divided into three (one-and-a, two-and-a…).Tutti – all the instruments of the orchestra playing at the same time.

Glossary

Palace of ARANJUEZThe royal palace of Aranjuez was the favoured residence of the Bourbon kings of Spain. It is an elegant cream and terracotta coloured building, especially graced by its extensive landscaped gardens, whose avenues are lined with tall trees, and dotted with fountains drawing on the river alongside. Hidden in the gardens is the charming Casa del labrador (farmer’s house), a kind of Spanish version of Versailles’ Petit Trianon. Here kings and queens liked to sport in a well-groomed but natural setting.

Aranjuez is especially linked with the Spanish art and music of the rococo. Here Domenico Scarlatti lived and worked in the mid-18th century, presumably composing at Aranjuez many of his harpsichord sonatas, and perhaps absorbing folk songs from the farmers of the surrounding countryside. The artist Megs, Goya’s teacher, was brought to Aranjuez from Italy as artist-in-residence, adorning the palace with canvasses and painting its ceilings. In the 20th century, the painter Rusiñol lived at Aranjuez and explored the colours and patterns of its gardens. Now Rodrigo has made its name even more famous than that of Philip II’s massive, forbidding monastery-palace, the Escorial. If that 16th-century palace could be said to stand for Spain’s religious and imperial destiny, her tragic sense of life, Aranjuez in the Spanish consciousness could represent a lighter, playful enjoyment of beauty, not without a wistful longing for past simplicities.

© David Garrett

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Nikolai Rimsky-Korsakov (1844–1908)

Scheherazade - Symphonic Suite, Op.35

Largo e maestoso – Lento – Allegro non troppo (The Sea and Sinbad’s Ship)Lento (The Story of the Kalender Prince)Andantino quasi allegretto (The Young Prince and the Young Princess)Allegro molto – Vivo – Allegro non troppo e maestoso – Lento (Festival at Baghdad – The Sea – The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior – Conclusion)

[Quote] The Sultan Shahriyar, convinced of the duplicity and infidelity of all women, had vowed to slay each of his wives after the first night. The Sultana Scheherazade, however, saved her life by the expedient of recounting to the Sultan a succession of tales over a period of a thousand and one nights. Overcome by curiosity, the Sultan postponed from day to day the execution of his wife, and ended by renouncing altogether his sanguinary resolution.

Rimsky-Korsakov conceived the idea of a symphonic suite based on episodes from Scheherazade in winter 1887–88, while he and Glazunov were engrossed in the completion of Borodin’s unfinished opera Prince Igor. The following summer he completed the suite – ‘a kaleidoscope of fairytale images and designs of Oriental character’.

‘All I had desired,’ he later wrote in My Musical Life, ‘was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative describing a motley succession of fantastic happenings and not merely four pieces played one after the other and composed on the basis of themes common to all the four movements.’

Rimsky-Korsakov considered Scheherazade one of those works in which ‘my orchestration had reached a considerable degree of virtuosity and bright sonority without Wagner’s influence, within the limits of the usual make-up of Glinka’s orchestra’. So formidable is his instinct, that with surprisingly modest forces (adding to the traditional orchestra only piccolo, cor anglais, harp and percussion) Rimsky-Korsakov can convince his listeners of the raging of a storm at sea, the exuberance of a festival, and the exotic colour of the Orient.

As if repeating in music Scheherazade’s feat of narrative woven from poetry and folk tales, Rimsky-Korsakov drew on isolated episodes from The Thousand and One Nights for his suite. At first he gave the four movements titles drawn from these narratives. But he soon withdrew the headings, which, he said, were intended to ‘direct but slightly the listener’s fancy on the path which my own imagination had travelled, and to leave more minute and particular conceptions to the will and mood of each’.

ABOUT THE MUSIC

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According to the composer, it is futile to seek in Scheherazade leading motifs that are consistently linked with the same poetic ideas and conceptions. Instead, these apparent leitmotifs were ‘nothing but purely musical material…for symphonic development’. The motifs unify all the movements of the suite, appearing in different musical guises so that the ‘themes correspond each time to different images, actions and pictures’. The ominous octaves representing the stern Sultan in the opening, for example, appear in the tale of the Kalender Prince, although Shahriyar plays no part in that narrative. And the muted fanfare of the second movement returns in the otherwise unconnected depiction of the foundering ship.

Rimsky-Korsakov did admit, however, that one of his motifs was quite specific, attached not to any of the stories, but to the storyteller: ‘The unifying thread consisted of the brief introductions to the first, second and fourth movements and the intermezzo in movement three, written for violin solo and delineating Scheherazade herself as telling her wondrous tales to the stern Sultan.’ It is this idea – an intricately winding violin theme supported only by the harp – which soothes the thunderous opening and embarks upon the first tale: the sea and Sinbad’s ship. For Rimsky-Korsakov, who was synaesthesic, the choice of E major for the billowing cello figures can have been no accident: his ears ‘saw’ it as dark blue.

A cajoling melody played by solo bassoon represents a Kalender (or ‘beggar’) Prince in the second movement. The similarity between the two main themes of the third movement (for violin and then flute and clarinet) suggests that the Young Prince and Princess are perfectly matched in temperament and character.

An agitated transformation of the Sultan’s theme, in dialogue with Scheherazade’s theme, prefaces the final tale. The fourth movement combines the Festival in Baghdad and the tale of the shipwreck. Triangle and tambourines accompany the lively cross-rhythms of the carnival; and the mood builds in intensity before all is swamped by the return of the sea theme from the first movement. But after the fury of the shipwreck, it is Scheherazade who has the last word. Her spinning violin solo emerges in gentle triumph over the Sultan’s bloodthirsty resolution.

Yvonne Frindle ©1998/2009

First performance: 3 November 1888, St Petersburg; composer conducting.First WASO performance: 21 & 23 May 1949, Henry Krips conducting.Most recent WASO performance: 1 September 2012, Robert Spano conducting.

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

Intermezzo – a short, connecting piece of music or movement.Motif/leitmotif – a short, distinctive melodic or rhythmic figure, often part of or derived from a theme. The term ‘leitmotif’ (or Leitmotiv in German) is associated particularly with the later operas of Wagner, in which recurring motifs represent characters, emotions, places or ideas.Octave – interval between two notes separated by a distance of 12 semitones, for example, from middle C on the piano to the C immediately above or below. The aural effect is that of one note duplicated by another that sounds the same, but at a higher or lower pitch.Synaesthesia/synaesthesic – a psychological phenomenon where a stimulus to one of the physical senses produces a sensation in another sense, for example, a particular musical pitch inducing the visualisation of a particular colour.

Glossary

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Orchestral Partnerships Supporting a Chair in the Orchestra

Patrons who feel a close connection to WASO’s commitment to excellence and community engagement are invited to support a Chair in the Orchestra. This is a unique way to develop a closer relationship with the Orchestra and the musician you are supporting.

Funding a WASO musician supports the salaries of our orchestral players and plays a critical role in underwriting those costs. Government funding no longer fully covers orchestral salaries and ticket income, whilst substantial, is not enough to cover all expenditure. Funding that supports salaries, such as this Orchestral Partnerships program, enables us to utilise other sources

of funding to seek excellence in all our programs and to build our community engagement and education programs.

These partnerships often last for many years and can be deeply gratifying experiences for both patrons and musicians. For further details or to arrange your gift, please contact Jacinta Sirr on (08) 9326 0014 or sirrj@waso.com.au.

WASO PHILANTHROPY

Did you know that all ticket sales from our Patrons and Friends events support the Friends of WASO Scholarship? We hold an exciting series of events throughout the year and all proceeds are directed towards the Scholarship fund. There are two remaining for 2017 – come join us!

Meet the Percussion SectionSunday 15 October 2017 | 2:00 – 4:00pm Perth Concert Hall Stage

Join us when we venture onto the Perth Concert Hall stage to meet the members and instruments of the self-proclaimed ‘noisy section’ of the Orchestra!

The afternoon will include a raffle, afternoon tea and light refreshments.

Tickets are $45 for Patrons & Friends ($55 for guests). To book, please call the WASO Box Office on 9326 0000.

Patrons & Friends Christmas PartyThursday 14 December | 4:30 – 7:30pm Perth Concert Hall

The Patrons & Friends Christmas Party tradition will continue this year on Thursday 14 December! Gather to celebrate the musical year that was and mingle with WASO musicians over a relaxed dinner and drinks after watching the final WASO rehearsal of 2017.

Tickets are $45 for Patrons & Friends ($55 for guests). To book, please call the WASO Box Office on 9326 0000.

PATRONS & FRIENDS EVENTS

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OUR SUPPORTERS

Symphony CircleRecognising Patrons who have made a provision in their Will to the OrchestraMs Davilia BlecklyMr John BonnyDr G Campbell-EvansDeirdre CarlinAnita & James Clayton S & J DaleDr Michael FlacksJudith Gedero Robyn GlindemannGwenyth GreenwoodThe Guy FamilyLiz HarrisonEmi & Warren Jones Colin & Jo KingRachael Kirk & Tim WhitePaul LeeWolfgang Lehmkuhl Deborah MarshSuzanne NashTosi Nottage in memory of Edgar NottageNigel & Dr Heather RogersGavin Toovey & Jaehan LeeSheila Wileman Sagitte Yom-Tov FundAnonymous (30)

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 (5)

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

WASO & WagnerDr & Mrs P BreidahlConstance ChapmanStephen Davis & Linda SavageLorraine EllardGwenyth GreenwoodMr M HawkinsDr Penny Herbert in memory of Dunstan HerbertDr John MeyerJohn OvertonJoshua & Pamela PittThe Richard Wagner Society of WAJoyce Westrip OAMAnonymous (2)

The WASO Song BookWe are grateful to those who have supported new works commissioned for the OrchestraJanet Holmes à Court ACPeter DawsonJude and Barrie LepleyGeoff StearnAnonymous (1)

Instrument FundJohn Albright & Susan Lorimer - EChO Double BassDeborah Marsh - Cor AnglaisPeggy & Tom Stacy - Cor AnglaisJean & Peter Stokes - Cello & Tuba

Reach OutSupporting our Education & Community Engagement programsJean ArkleyRon & Penny CrittallAnn DarbyRobyn GlindemannBarrie & Jude LepleyRosalind LilleyPeter & Jean StokesRuth StrattonAnonymous (1)

Crescendo Giving CircleAOT Consulting Pty LtdJean ArkleyKaylene CousinsMadeleine King MP, Federal Member for BrandRosalind LilleyMrs MorrellPamela PittDeborah & Miles ProtterDr Lance RisbeyThe Spivakovsky Jubilee Valerie VicichAnonymous (1)

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

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 to 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.

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 12 months through our Annual Giving program.

Principal Conductor’s CircleGifts $20,000+Janet Holmes à Court ACJohn Albright & Susan Lorimer Patricia NewPeter & Jean Stokes

Impresario PatronGifts $10,000 - $19,999Gay & Bob Branchi Gavin BunningPeter & Lesley Davies* Tony & Gwenyth Lennon Margaret & Rod Marston Joshua & Pamela PittTrish Williams

Maestro Patron Gifts $5,000 - $9,999Jean Arkley in memory of Tom ArkleyBill Bloking Dr Roland & Therese BrandIan & Elizabeth ConstableMoira & John Dobson Tim & Lexie ElliottBridget Faye AM E & EA FraunschielGilbert GeorgeDr Patricia KailisAlison KennedyKeith & Gaye Kessell Dr Ronny Low & Dr Emma RichardsonBryant & Louise Macfie Robert MayPaula & John PhillipsRichard Tarala & Lyn Beazley AORos ThomsonAlan WhithamSue & Ron Wooller* Anonymous (2)

Virtuoso PatronGifts $2,500 - $4,999Dr Fred Affleck AO & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AM

Tony & Mary Beeley David & Suzanne Biddles Peter & Marjorie BirdAlan & Anne BlanckenseeDr G Campbell-EvansProf Jonathan Carapetis & Prof Sue SkullRev Dr John and Prof Rachel Cardell-OliverMark Coughlan & Dr Pei-Yin HsuDiane CoxonStephen Davis & Linda SavageBev EastRichard FaragoRobyn Glindemann Brian & Romola HaggertyWarwick Hemsley & Melissa ParkeSue Hovell Sylvia & Wally HyamsJim & Freda Irenic Eleanor John & Finn BarrettMichael & Dale Kitney Stephanie & John Kobelke Dr Richard & Patricia LyonMrs MorrellAnne NolanTim Pavy & Cathy ColeDr Lance Risbey & Ms Elizabeth SachseG. J. SeachMelanie & Paul ShannonGail & Tony Sutherland Gene TilbrookMichael & Helen TuiteStan & Valerie VicichJoyce Westrip OAMAndrew & Marie YunckenAnonymous (2)

Principal PatronGifts $1,000 - $2,499Caroline Allen & Sandy DunnPrue Ashurst in memory of Eoin CameronMargaret Atkins Betty BarkerNoelle BeasleyColin and Sarah Beckett

Kevin Blake Matthew J C Blampey Namy BodinnerSusy BoglePeter & Eve BolandDr & Mrs P BreidahlJean Brodie-Hall AMMarilyn & Ian BurtonDr Anne ChesterPeter & Sue Clifton David CookeArthur & Nerina CoopesHon June Craig AMMaree Creighton & Kevin Davis Brian CresswellGay & John Cruickshank Rai & Erika DolinschekPamela Joy Douglas & Simon DouglasJulian Dowse Megan EdwardsLorraine EllardDane Etheridge & Brooke FowlesAnnette FinnP & J FisherDon & Marie Forrest Dr Andrew GardnerGeorge GavranicRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Deidre Greenfeld Grussgott Family TrustRichard B Hammond Pauline & Peter HandfordDr Harry Hansen-KnarhoiIn memory of Eileen HayesDr Penny Herbert in memory of Dunstan HerbertJacoba Hohnen & Stuart CookseyMichael HollingdaleHelen Hollingshead John & Katrina HopkinsJ & S HuanJudith HugoCynthia JeeLilian & Roger JenningsWarren & Emi Jones

Annual Giving

OUR SUPPORTERS

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Anthony Kane in memory of Jane Leahy-KaneBill Kean David Keast & Victoria MizenNoelle & Anthony Keller AMKelly FamilyIrving LaneAnn LewisMeg LewisTeresa & Jemima LovelandGraham & Muriel Mahony Gregg & Sue MarshmanS. McWhirter Betty & Con Michael AOMrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Hon Justice S R Moncrieff Geoffrey & Valmae MorrisJane & Jock MorrisonLyn MurrayVal & Barry NeubeckerDelys & Alan NewmanMarianne NilssonDr Phil and Mrs Erlene NobleJohn OvertonRon & Philippa PackerMichael & Lesley PageAthena PatonRosemary PeekCharmian Phillips in memory of Colin CraftPamela PlattThomas & Diana Potter Barry & Dot PriceDr Leon Prindiville Joan ReylandJohn & Alison RiggBryan & Jan RodgersNigel & Dr Heather Rogers Gerry & Maurice Rousset OAMRoger Sandercock Dr R & J SchwengerMargaret & Roger SearesGlenice ShephardJulian & Noreen Sher Laurel & Ross SmithPaul Smith & Denham HarryMichael Snell & Vicki Stewart Geoff and Christine SoutarRuth ThomasGavin Toovey & Jaehan LeeMary Townsend

James & Rosemary TrotterMaggie VenerysAdrienne & Max Walters AM Watering ConceptsIan WatsonDr Chris & Mrs Vimala WhitakerDai and Anne WilliamsIan Williams AO & Jean WilliamsJim & Gill WilliamsJudith Wilton & David TurnerHilary & Peter Winterton AMSara WordsworthIn memory of youth concerts at the Capital Theatre in the 1950s Anonymous (21)

Tutti PatronGifts $500 - $999Geoff & Joan Airey Catherine BagsterBernard & Jackie Barnwell Shirley Barraclough Mrs Berwine Barrett-LennardPamela M BennetMichael & Nadia Berkeley-Hill John & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerJames & Gay BrownAlison 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 Mrs G EwenIn memory of Arbutus Beaver FalatkoMaxine & Bill Farrell AM

Gavin & Susan FieldingJoan GagliardiJennifer & Stephen GardinerElaine GimsonIsobel Glencross Pitsamai & Kevin GreenDavid & Valerie GullandPaul & Barbara HarrisAlan Harvey & Dr Paulien de BoerEric & Elizabeth HeenanRosemary HowarthChristopher, Julie, Rosemary & Bronwyn HudsonPeter Ingram Peter S JonesB M KentDorothy KingstonNelly KleynUlrich & Gloria Kunzmann John Kusinski & Annie MotherwayTrevor & Ane Marie Lacy Louis & Miriam LandauPaul LeeMartin & Ruth LevitMegan LoweThe Lucas FamilyIan and Judith LuntMary Ellen in memory of KerensaGeoff MasseyJennifer & Arthur McCombJames Meneghello & Mabel ChewTony & Gillian MilneS B Monger-HayAndré & Barbara MorkelDr Peter MossPhuong NguyenPeter O’SullivanDr Walter Ong & Graeme MarshallMarjan Oxley Bev Penny Adrian & Ruth PhelpsAlpha & Richard Pilpel OAMDr Brad PowerAlison & John PriceTony & Val RamshawRosie ReemanJames & Nicola Ridsdill-SmithPaul RobertsLeigh RobinsonChris & Serge Rtshiladze Her Excellency the Hon. Kerry Sanderson, ACCarole Sexton

OUR SUPPORTERS

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The Sherwood FamilyIn memory of Judith SienkiewiczJacinta SirrPaul & Margaret SkerrittHendrik SmitDr L Sparrow & FamilyPeggy & Tom Stacy Eleanor SteinhardtIn Memoriam of Mr Andrew David StewartLisa & Andrew TelfordRhondda TilbrookRuth E Thorn

Gwen TreasureDr Robert TurnbullPatricia TurnerS R VogtMargaret WallaceJohn & Nita WalsheDiana WarnockAnne Watson Joy WearnePatricia WestonMargaret WhitterMrs Barbara WilcoxGeoff Wilkinson

Violette William Janet WilliamsChris ZiatisAnonymous (24)

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

*Orchestral Chair Partnership

OUR SUPPORTERS

If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Alecia Benzie, Executive Manager, Philanthropy, on (08) 9326 0020 or email benziea@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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THE LEEUWIN ESTATE CONCERT SERIES

www.leeuwinestate.com.au

25^Evening concerts only. Asher Fisch appears courtesy of Wesfarmers Arts. *A one-off handling fee of $5.50 per transaction applies to all purchases on our website. A fee of $3.85 applies to over the counter bookings. 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 $29/$32*BOOK NOW 9326 0000WASO.COM.AU

ASHER FISCH CONDUCTS SCHUMANN

Friday 17 & Saturday 18 November 7.30pm

Thursday 16 November 11amMORNING SYMPHONY SERIES

MACA LIMITED CLASSICS SERIES

SZYMANOWSKI Concert Overture PAUL STANHOPE Trombone Concerto^ WORLD PREMIERE SCHUMANN Symphony No.4

Asher Fisch conductorJoshua Davis trombone^

Perth Concert Hall

2017 CORPORATE PARTNERS2017 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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Frankie Lo Surdo, French Horn

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1389_WESF - Arts Sponsorship Campaign 2016 - WASO_Program Ad_210x148mm_V2.indd 1 20/07/16 2:21 PM

MACA Limited

Classics Series

Asher Fisch appears courtesy of Wesfarmers Arts.

Get the best seats & save 20% Subscribe Now – 08 9326 0000 – waso.com.au

or book at Perth Concert Hall

Beethoven 9 – Dvorák’s New World – Mozart's 39th Symphony – Tchaikovsky 4Prokofiev 5 – Grieg’s Piano Concerto – Dvorák’s Cello Concerto – Bernstein 100�

2018 SEASON

Classical music’s ‘greatest hits’ with Australian and international soloists.

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