PROGRAMMORNING SYMPHONY SERIESThursday 15 October 11amALCOHOL.THINK AGAIN MASTERS SERIESFriday 16 & Saturday 17 October 7.30pmPerth Concert Hall

WELCOME

It is a great honor to be back in Perth working with the fabulous WASO! One thing that will be obvious to this week’s audience will be how WASO will be divided into different types of ensembles. The opening fanfares by Copland and Tower will showcase the brass and percussion sections; the Bernstein Serenade will focus on the strings, percussion and harp; and Dvořák’s New World Symphony will bring the entire orchestra onstage. 

Copland’s Fanfare for the Common Man was written on commission from the Cincinnati Symphony during World War II. The Orchestra’s Music Director, Eugene Goosens, commissioned eighteen different fanfares from American composers to open each of their orchestral concerts. (As an interesting note, Goosens had already done a similar project with British Composers during World War I). This is one of the most popular works in the symphonic repertoire and it has been used in countless settings outside of the concert hall. My personal favorite is the Emerson, Lake and Palmer arrangement!

Joan Tower’s Fanfare for the Uncommon Woman was written in 1986 as part of the Houston Symphony’s Fanfare Project. It was intended as a companion piece to the Copland and it utilizes the same brass instrumentation, with a few additions in the percussion section. 

From the start, Leonard Bernstein’s career was difficult to define. He was a conductor, a pianist, a composer, a TV personality, a writer. At various times, those interests took center stage, sometimes at the expense of others. As a composer, he was equally at home in the concert hall and in musical theater. His Serenade for Violin premiered in 1954, at a time when he was completely consumed by the composition of the musical Candide. The work was inspired by Plato’s philosophical text, Symposium. 

Dvořák was born in Bohemia and eventually became his homeland’s foremost composer. His fame spread through Europe and eventually across the Atlantic, where he was offered the directorship of a new music school in New York. The job came very well compensated and with plenty of free time for composing. The New World Symphony was composed during the American chapter in his life. He was fascinated by Negro spirituals and Native American music and did extensive research on the matter, even spending time with a Native American tribe. Some of these ideas he actually included in his more famous works.

I hope you enjoy this wonderfully varied concert.

Giancarlo Guerrero Conductor

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Pre-concert TalkFind out more about the music in the concert with this week’s speaker, Margaret Pride. The pre-concert talk takes place at 9.40am in the auditorium on Thursday morning.

The Pre-concert Talk is supported by Wesfarmers Arts

MORNING SYMPHONY SERIES

DVORAK’S NEW WORLD

COPLAND Fanfare for the Common Man (3 mins)

JOAN TOWER Fanfare for the Uncommon Woman (3 mins)

DVORAK Symphony No.9 From the New World (40 mins) Adagio – Allegro molto Largo Scherzo (Molto vivace) Allegro con fuoco

Giancarlo Guerrero conductor

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

The Pre-concert Talk is supported by Wesfarmers Arts

Meet the MusiciansEnjoy a post-concert conversation with Julia Brooke, horn & Francesco Lo Surdo, horn post-concert Saturday night in the Terrace Level Foyer.

ALCOHOL.THINK AGAIN MASTERS SERIES

DVORAK’S NEW WORLD

COPLAND Fanfare for the Common Man (3 mins)

JOAN TOWER Fanfare for the Uncommon Woman (3 mins)

BERNSTEIN Serenade (After Plato’s Symposium) (30 mins) I Phaedrus: Pausanias (Lento – Allegro) II Aristophanes (Allegretto) III Eryximachus (Presto) IV Agathon (Adagio) V Socrates: Alcibiades (Molto tenuto – Allegro molto vivace)

Interval (25 mins)

DVORAK Symphony No.9 From the New World (40 mins)Adagio – Allegro moltoLargoScherzo (Molto vivace)Allegro con fuoco

Giancarlo Guerrero conductor Jennifer Koh violin

UPCOMING CONCERTS

BOOK NOW CALL 9326 0000 VISIT WASO.COM.AU OR TICKETEK.COM.AU*Transaction fees may apply.

ALCOHOL.THINK AGAIN MASTERS SERIES

Beethoven & Mahler Fri 20 & Sat 21 November 7.30pm Perth Concert Hall

This concert features masterpieces by two musical titans. Beethoven’s Piano Concerto No.1 is the jubilant creation of a youthful genius. Mahler’s astonishingly original First Symphony forever changed symphonic music.

BEETHOVEN Piano Concerto No.1 MAHLER Symphony No.1 Titan

Asher Fisch conductor Ingrid Fliter piano (pictured)Asher Fisch appears courtesy of Wesfarmers Arts Ingrid Fliter appears courtesy of Singapore Airlines

MORNING SYMPHONY SERIES

Mahler’s TitanThurs 19 November 11am Perth Concert Hall

Mahler’s First is a spectacular symphonic journey which traverses a vast and varied musical landscape before concluding in a blaze of triumphant, transcendent ecstasy.

MAHLER Symphony No.1 Titan

Asher Fisch conductor (pictured)Asher Fisch appears courtesy of Wesfarmers Arts

Back to the Future Live in ConcertFri 13 & Sat 14 November 8pm Riverside Theatre, Perth Convention & Exhibition Centre

The West Australian Symphony Orchestra celebrates the 30th anniversary of Back to the Future with live performances of the musical score set to the film on the big screen! Take a trip back to 1985/1955 and join Marty McFly and ‘Doc’ Emmet Brown for their adventures in Robert Zemeckis’ classic, time-travelling comedy, Back to the Future.

Book at ticketek.com.au

TICKETS FROM $30*

TICKETS FROM $27*

Phot

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WASO IN THE COMMUNITY

Backstage Pass ProgramHedland Senior High School Special Arts Program Tour coinciding with the final weekend of the 2015 Brahms Festival provided us a very special opportunity to add our first “Regional School Backstage Pass” event to the Education calendar.

17 students and 2 staff were welcomed with a mini-tour of Perth Concert Hall, before the excitement of being backstage as the Orchestra arrived. Francesco Lo Surdo (Horn) and Alistair Cox (Orchestra Manager) shared an insight about life on and behind stage with the students who were amazed to learn how much goes into the preparation for performances.

Moving to the unique perspective of the choir stalls to enjoy the evening performance, the students were engaged as the musicians moved on stage – many with instruments they had not seen before – and went away with an even greater interest in the opportunities working across the arts can bring.

EChO Kids’ Cushion ConcertsThe October school holidays were full of wiggling, jiggling, dancing, clapping and singing as our EChO Kids’ Cushion Concerts visited stages across Perth.

Presenting a variety of shows with two of our favourite presenters (with some special guest appearances as well) in Fremantle, Midland and at the Wardle Room, these 50-minute musical adventures are designed especially for our 0 – 6 year old audience members!

A fabulous way to ‘meet the orchestra’, EChO featured one of each instrument of the orchestra performing well-known tunes, light classical music and some new surprises. Many kids also had the chance to have-a-go on our child-sized instruments.

For full details on 2016 EChO Kids’ Cushion Concerts and to purchase tickets visit waso.com.au from Wednesday 25 November 2015.

YOUR WASO EXPERIENCE

PLEASE SHARE OR DOWNLOADHelp us to be environmentally responsible by sharing your printed programs. You can also read WASO’s programs on your computer or mobile device by visiting waso.com.au

WHEN TO APPLAUDMusicians love applause. As a guide, audience members normally applaud:• When the conductor or soloist walks onto

the stage • After the completion of each piece and

at the end of the performance

WHEN YOU NEED TO COUGHPlease try to muffle your cough in a handkerchief during a louder section of the music. Cough lozenges are available from the WASO Customer Service Desk before each performance and at the interval.

HEARING AIDSPlease note that incorrectly adjusted hearing aids may disturb other patrons.

TOILETSMale and female toilets are located on each of the four foyer levels of Perth Concert Hall. The largest number of toilets are available on the ground floor of the venue, with further toilets on the Terrace Level, Lower Gallery and Upper Gallery levels. A universal accessible toilet is available on the ground floor of the venue.

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

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

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

WASO ON ABC CLASSIC FMThis performance is being recorded for delayed broadcast on ABC Classic FM. For further details visit abc.net.au/classic

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CONNECT WITH WASO

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PERTH CONCERT HALL

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New Artworks in the Terrace Level FoyerThere is a new set of artworks on display in the Terrace Level foyer, which has generously been loaned to Perth Concert Hall from the Wesfarmers Collection.

Wesfarmers has collected Australian art for over three decades. From General Manager John Bennison’s first acquisition in 1977 of a pastoral scene by the Australian impressionist Elioth Gruner, Wesfarmers’ purpose has been to accentuate the value of art in the workplace and encourage an understanding of the importance to society of supporting creative thinking and artistic vision.

The Wesfarmers Collection comprises paintings, photographs, works on paper and sculpture by leading Australian artists from the colonial period through to contemporary times. In recent years, the scope of the collection has expanded to include work by leading New Zealand artists and a greater emphasis placed on representing the rich diversity of contemporary Australian indigenous art.

The collection is shared with the community through an active loan and exhibition program – as you can see at Perth Concert Hall at the moment.

The artworks currently on display follow a loose “landscape” theme and include works by Paddy Carlton, John Firth-Smith, Lloyd Rees, Mandy Martin, Minnie Lumai and Guan Wei.

Limited number of car parking bays available for lease!

There are a very limited number of car parking bays available for lease in Perth Concert Hall’s secure car park (access via St Georges Terrace) at a cost of $360 ex GST per month. The bays are accessible Monday-Friday 6am to 6pm. Please contact Deputy General Manager Lorraine Rice on ricel@perthconcerthall.com.au for more information.

Join us on Facebook facebook.com/perthconcerthallwa

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Visit perthconcerthall.com.au

CONNECT WITH PERTH CONCERT HALL

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MASTERS SERIES8 CONCERTS

ALCOHOL.THINK AGAIN

ASHER FISCHTHE PLANETSBEHZOD ABDURAIMOV THE RITE OF SPRINGSTUART SKELTONMAHLER’S RESURRECTION JEAN-YVES THIBAUDET SIMONE YOUNG

Asher Fisch appears courtesy of Wesfarmers Arts

Phot

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rank

ABOUT THE ARTISTS

Giancarlo GuerreroConductor

Giancarlo Guerrero is the Music Director of the Nashville Symphony and Principal Guest Conductor of The Cleveland Orchestra’s Miami residency. He has led the Nashville Symphony to several Grammy wins in recent years, including Best Orchestral Performance in 2011.

In the 2015-16 season he makes debuts with the Pittsburgh Symphony Orchestra, Copenhagen Philharmonic, NDR Hannover, Deutsche Radio Philharmonie and Bilbao Symphony Orchestra. He returns to the Cincinnati, Detroit, Indianapolis and West Australian Symphony Orchestras, Malaysian Philharmonic Orchestra and the Eugene Symphony.

Together with composer Aaron Jay Kernis, he recently developed and guided the creation of the Nashville Symphony’s Composer Lab & Workshop initiative to further foster and promote new American orchestral music. In 2008 he gave the Australian premiere of Osvaldo Golijov’s opera Ainadamar at the Adelaide Festival.

Giancarlo Guerrero was previously Music Director of the Eugene Symphony (2002-2009) and Associate Conductor of the Minnesota Orchestra (1999-2004).

Jennifer KohViolin

Jennifer Koh is known for her commanding performances, delivered with dazzling virtuosity and technical assurance. She has been heard with leading orchestras worldwide, and appears frequently as a recitalist. In 2015-16, she partners with pianist Shai Wosner for Bridge to Beethoven, a recital series comprising Beethoven’s complete violin sonatas paired with new works by Anthony Cheung, Vijay Iyer and Andrew Norman. Bridge to Beethoven will be presented this season at the Aspen and Ravinia festivals, as well as in New York, Boston and San Francisco.

Her orchestral highlights include debuts with the Minnesota Orchestra and Pittsburgh Symphony Orchestra, and performances with the Buffalo Philharmonic Orchestra and Milwaukee Symphony Orchestra. She recently gave the world premiere of Anna Clyne’s violin concerto The Seamstress with the Princeton Symphony Orchestra.

Jennifer Koh is Artistic Director of MusicBridge, a non-profit organisation she founded to foster and promote collaborations between artists of diverse disciplines and styles.

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MASTERS SERIES8 CONCERTS

ALCOHOL.THINK AGAIN

ASHER FISCHTHE PLANETSBEHZOD ABDURAIMOV THE RITE OF SPRINGSTUART SKELTONMAHLER’S RESURRECTION JEAN-YVES THIBAUDET SIMONE YOUNG

Asher Fisch appears courtesy of Wesfarmers Arts

WASO ON STAGE TODAY

PrincipalAssociate PrincipalGuest Musician^

VIOLINAlan Smith^Guest ConcertmasterGraeme NorrisAssoc ConcertmasterSemra Lee-Smith Assistant Concertmaster Ji Won Kim Principal 1st ViolinZak Rowntree*Principal 2nd ViolinAkiko MiyazawaAssoc Principal 2nd ViolinKylie Liang Assistant Principal 2nd ViolinSarah BlackmanFleur ChallenSara DuhigRebecca GlorieBeth HebertSunmi Jung^Christina KatsimbardisEllie LawrenceMelanie PearnKen PeelerElena PhatakGraham PyattLouise SandercockJolanta SchenkJane SerrangeliKathryn ShinnickJacek SlawomirskiKate SullivanBao Di TangCerys ToobyDavid Yeh

VIOLACaleb WrightAlex BroganKierstan ArkleysmithNik BabicSally Boud^Ben CaddyKatherine DrakeAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLORod McGrath Louise McKayChair partnered by Penrhos College Melinda Forsythe^Shigeru KomatsuOliver McAslan Nicholas MetcalfeFotis SkordasTim SouthXiao Le Wu

DOUBLE BASSAndrew Sinclair*Joan Wright Elizabeth Browning^Sarah Clare^Louise ElaertsChristine ReitzensteinMark Tooby

FLUTEAndrew NicholsonChair partnered by Quadrant Energy

PICCOLOMichael Waye

OBOEPeter Facer Elizabeth Chee

COR ANGLAISLeanne Glover

CLARINETAllan Meyer Lorna Cook

BASS CLARINETAlexander Millier

BASSOONAdam Mikulicz

CONTRABASSOONChloe Turner

HORNDavid EvansRobert Gladstones Principal 3rd HornJulia BrookeFrancesco Lo Surdo

TRUMPETBrent GrapesChair partnered by ConocoPhillips

Evan Cromie Brody Linke^Peter Miller

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONBrian Maloney^Guest Principal PercussionTroy Greatz A/Principal PercussionRichard GleesonAssoc Principal Percussion and TimpaniJoel Bass^Robyn Gray^

HARPSarah Bowman

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

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MEET THE MUSICIAN

Leanne GloverPrincipal Cor Anglais

What’s your earliest memory of playing music? My earliest memory of playing music is at my grandmother’s house annoying my sister who was having one of our first music lessons. I remember being in trouble for getting in the way all the time and wanting a go!

If you had to choose any other instrument to play in the orchestra, what would it be? It’s a toss-up between cello and horn. I would love to be able to play unaccompanied Bach suites on the cello, that would be just heaven. But equally I would love to play some of those heroic soaring lines in the big symphonies that the horns revel in. I can’t decide.

What has been your musical highlight in 2015?My musical highlight of 2015 would have to be the Brahms Festival, but I also loved hearing Diana Doherty play the Mozart Oboe Concerto. She is such a fabulous oboist, very inspiring. Also playing Sibelius’s The Swan of Tuonela was right up there in a personal fulfilment kind of way.

What WASO concert are you most looking forward to in 2016? I am especially looking forward to the Bach’s St John Passion with Asher Fisch next year. I love Baroque music and this is full of wonderful oboe moments! (Of course it’s all about the oboe).

If you could invite five people from any period in history to dinner, who would you choose and why? The five people I would invite would be Mozart, (I think he would have been an outrageous dining member) Meryl Streep, (because who wouldn’t want to meet her), Elvis Presley (on the proviso that he sings a bit after the dinner), my mum (who passed away last year and I would love to see her again) and Mark Zuckerberg for interesting conversation and so that he could pay for the dinner!

What would you serve them? I would serve them beautiful fresh WA oysters first (because I love them) and then I think I’d settle for a lovely backyard barbecue with fantastic wine in my own garden on a classic Perth summers evening. Perfect!

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Patrons & Friends Christmas PartyThurs 10 December, 4.30pm, Perth Concert Hall

Principal Conductor Asher Fisch will join WASO Patrons & Friends, staff and musicians to celebrate another wonderful year of music-making.

Experience Asher Fisch conduct an hour of rehearsal before mingling with WASO musicians over a light dinner and drinks.

Tickets are $45 for Patrons & Friends ($55 for guests).Please note that this is event is no longer being held at ABC Studios.

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

If you would like to make a donation to become a Patron or a Friend and attend this event, please contact Jane on 9326 0014 or janec@waso.com.au, or go to waso.com.au.

PATRONS & FRIENDS EVENT

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TIMELINE OF COMPOSERS & WORKS

1850 1900 1950 2000

Copland's Fanfare for the Common Man1942

Dvořák's Symphony No.9 in E minor, B.178 (Op.95) From the New World1893

JOAN TOWERb.1938

Born in New Rochelle, NY

Tower's Fanfare for the Uncommon Woman1986

ANTONÍN DVOŘÁK

1841 – 1904Born in Nelahozeves, Czech RepublicDied in Prague, Czech Republic

AARON COPLAND

1900 – 1990Born in Brooklyn, NYDied in North Tarrytown, NY

LEONARD BERNSTIEN

1918 – 1990Born in Lawrence, MADied in New York City, NY

Bernstien's Seranade for Violin and String Orchestra1954

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Aaron Copland (1900 -1990)

Fanfare for the Common Man (1942)

The Fanfare for the Common Man is Aaron Copland’s greatest hit, a fact the composer attributed to its name. Joan Tower has given the same reason for the status of her Fanfare for the Uncommon Woman: ‘It’s the title that’s making that piece go.’ Tower has since written four more fanfares dedicated to ‘women who take risks and who are adventurous.’

Despite – or perhaps because of – its popularity and popular resonances, Copland’s Fanfare is seldom performed in formal concert programs. It is better known from television, movies, radio, sport, even politics. And yet the work began life in a subscription concert.

In August 1942, Eugene Goossens, conductor of the Cincinatti Symphony Orchestra, invited Copland and more than a dozen other composers to write short patriotic fanfares for brass and percussion as ‘stirring and significant contributions to the war effort’. Most of the composers – who included Walter Piston, Darius Milhaud, Virgil Thomson and Morton Gould – wrote fanfares for Freedom, Liberty, Paratroopers, and the Signal Corps, among others.

Copland considered a number of options including the Spirit of Democracy and Our Heroes, but settled on the Common Man because ‘it was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.’

The three-minute fanfare is a demonstration of simplicity and strength. Copland, afraid that new music was confounding its audiences, felt that it was ‘worth the effort to see if I couldn’t say what I had to say in the simplest possible terms’. The result in this instance is a universal musical language based on compelling rhythms, modal harmonies and open textures. Copland’s Fanfare begins in the percussion, a measured and purposeful introduction to the rising trumpet tune, which is gradually amplified through staggered entries from the other brass instruments and layers of harmony. The music conjures up a spirit of pioneering resolve and an egalitarian character that belies the apparent discrimination of its title (bestowed before the age of feminist sensitivity).

ABOUT THE MUSIC

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Modal as well as major and minor, there are several other, older, types of tonality, which have a medieval or folk-music feel. Imagine a piano keyboard: playing just the white notes from C to C will give you a major scale, but playing the white notes from D to D will give you the Dorian mode, or Tone 1. Start your white-note scale on other pitches, and you will hear other modes

Meters how many beats are in each bar, e.g. three like a waltz (1-2-3, 1-2-3), or four like ‘Baa baa black sheep’ (1-2-3-4, 1-2-3-4)

Trills a very rapid alternation of two notes

Glossary

Joan Tower (b.1938)

Fanfare for the Uncommon Woman (1986)

Joan Tower’s Fanfare for the Uncommon Woman is in many ways a response to the Fanfare for the Common Man. The choice of title is an obvious reference, and Tower adopts nearly identical instrumentation: four horns, three trumpets, three trombones, tuba, timpani and two percussionists. The strength of the music, its brevity and its uplifting character provide other parallels with Copland’s Fanfare.

But for all its deference to Copland, Tower’s Fanfare is as personal and distinctive as you’d expect from music 44 years younger. It is more intricate, contrapuntal and detailed and, unlike the Copland, it features rapidly changing metres and many fast-moving notes for the brass and percussion. It begins with bass drum and timpani, bringing to mind the Copland, but it almost immediately takes its own course. The expected ascending tune in the trumpets is presented in a series of filigree trills above sustained horns – more expectant than majestic; less muscular and more effervescent.

Nobility enters with the trombones, while the horns paint what has been described as a Copland-esque ‘open sky’ mood. The music becomes increasingly agitated and more rhythmically complex as it builds to a climax and the abruptly triumphant conclusion.

Yvonne Frindle © 2000

Copland’s Fanfare for the Common Man was first performed in 1943, by the Cincinatti Symphony Orchestra with Eugene Goossens conducting. The date chosen was 12 March – income tax time and therefore an ideal opportunity to honour the common man. The West Australian Symphony Orchestra first performed the Fanfare on 8 December 1968. WASO last performed this work on 4 November 2000, conducted by Marin Alsop.

Joan Tower’s Fanfare for the Uncommon Woman was premiered in 1987 by the Houston Symphony Orchestra under the direction of Hans Vonk. The West Australian Symphony Orchestra first performed it in November 2000 with Marin Alsop.

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Leonard Bernstein (1918-1990)

Serenade [after Plato’s Symposium] for solo violin, strings, harp and percussionI Phaedrus: Pausanias (Lento – Allegro)II Aristophanes (Allegretto)III Eryximachus (Presto)IV Agathon (Adagio)V Socrates: Alcibiades (Molto tenuto – Allegro molto vivace)

In early June 1954, Leonard Bernstein moved his family into a rented home on Martha’s Vineyard, the fashionable summer retreat off the Massachusetts coast. He had just completed the score for Elia Kazan’s film On the Waterfront and his two summer projects were the composition of Candide and a violin concerto for Isaac Stern. With ‘all cylinders burning’, Candide emerged slowly, but the concerto was finished by early September when Bernstein left for Venice. For the 12 September premiere at the Teatro Fenice, Stern was the soloist, with Bernstein conducting the Israel Philharmonic Orchestra.

Bernstein’s ‘violin concerto’ was commissioned by the Koussevitzky Foundation. With the dedication ‘to the beloved memory of Serge and Natalie Koussevitzky’, it perpetuates the legacy of the legendary conductor of the Boston Symphony, Serge Koussevitzky, who had been Bernstein’s mentor in Boston and Tanglewood. With characteristic quirkiness, Bernstein chose not to burden his new work with the weighty designation of ‘concerto’; instead, he decided to call it a ‘serenade’, recalling the Italian sera, or ‘evening piece’, with its emphasis on courtship, mating rituals and flirtatious expression of love.

Indeed, preparing for this work, Bernstein had re-read Plato’s Symposium, the ancient dialogue between guests at an imaginary Greek banquet that had impressed him during his student years at Harvard. In essence, the Serenade becomes an essay-discussion in praise of love, surely the singular guiding principle of Bernstein’s own life, private and professional, and, by extension, his love for humankind. The solo violin is the host, the commentator who provokes debate between the guests at Plato’s party. The music itself, while it follows no literal program, is, like the dialogue, ‘a series of related statements in praise of love, and generally follows the Platonic form through the succession of speakers at a banquet’.

Bernstein further explains that ‘the “relatedness” of the movements does not depend on common thematic material, but rather on a system whereby each movement evolves out of elements in the preceding one’.

ABOUT THE MUSIC

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In his Serenade, with all its titular implications of light-hearted frivolity, Bernstein re-examines the lofty notion of the ‘violin concerto’ by its unusual five-part form and by toying with more than a hint of jazz, particularly in the last section of the work. ‘I hope it will not be taken as anachronistic Greek party-music,’ he explained, somewhat ruefully, ‘but rather as the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner-party.’ No doubt he foresaw the reaction of critics in the mid-1950s when anything that contained hints of jazz was definitely not to be taken seriously.

Sixty years later, Bernstein’s Serenade remains one of the few musical scores inspired by a discussion of philosophy. Although still infrequently played, it has endeared itself to listeners and commentators as one of the most characteristic works of its multi-dimensional creator, the prime purveyor in music of the optimistic spirit of humanism.

© Vincent Plush

Bernstein described each of the movements as follows:

Phaedrus: Pausanias – Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love. (Fugato, begun by the solo violin.) Pausanias continues by describing the duality of lover and beloved. This is expressed in a classical sonata-allegro, based on the material of the opening fugato.

Aristophanes – Aristophanes does not play the role of clown in this dialogue, but instead that of the bedtime story-teller, invoking the fairy-tale mythology of love.

Eryximachus – The physician speaks of bodily harmony as a scientific model for the workings of love-patterns. This is an extremely short fugato scherzo, born of a blend of mystery and humour.

Agathon – Perhaps the most moving speech of the dialogue, Agathon’s panegyric embraces all aspects of love’s powers, charms and functions. This movement is a simple three-part song.

Socrates: Alcibiades – Socrates describes his visit to the seer Diotima, quoting her speech on the demonology of love. This is a slow introduction of greater weight than any of the preceding movements, and serves as a highly developed reprise of the middle section of the Agathon movement, thus suggesting a hidden sonata-form. The famous interruption by Alcibiades and his band of drunken revellers ushers in the Allegro, which is an extended Rondo ranging in spirit from agitation through jig-like dance music to joyful celebration.

The West Australian Symphony Orchestra’s only previous performances of Bernstein’s Serenade took place in August 2008 with conductor Tomáš Netopil and soloist James Ehnes.

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FALLA Nights is the Garden of Spain featured in Ravel’s Bolero Thu 26, Fri 27 & Sat 28 November

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Antonín Dvořák (1841-1904)

Symphony No.9 in E minor, B.178 (Op.95) From the New WorldAdagio – Allegro moltoLargoScherzo (Molto vivace)Allegro con fuoco

Dvořák composed his ninth, and last, symphony in New York between January and May 1893. As his secretary, Josef Kovařík, was about to deliver the score to the conductor of the first performance, Anton Seidl, Dvořák suddenly wrote on the title page, ‘From the New World’. That expression had been used in a welcome speech following his arrival in New York the previous September. Kovařík said the inscription was just ‘the Master’s little joke’; but the ‘joke’ has, ever since, begged the question: how American is the New World Symphony?

Dvořák could have written his ‘New World’ inscription, as in the welcome speech, in English. By writing it in Czech he was seen to be addressing the work, like a picture postcard, to his compatriots back in Europe. At the same time he challenged listeners to identify depictions of America or elements of American music. Either way, the composer was seen to be meeting the desire of his employer, music patron Jeannette Thurber, for music which might be identified as American.

Mrs Thurber had persuaded Dvořák to become director of her National Conservatory of Music in New York. Besides teaching students from a wide spectrum of society, he found he was expected to show Americans how to create a national music.

So, controversially and perhaps naively, in a country which had not forgotten the Civil War, the egalitarian Dvořák told Americans they would find their future music in their roots, whether native or immigrant, and in particular the songs of the African Americans.

From his familiarity with gypsies in Europe, Dvořák had famously composed a set of Gypsy Melodies (including ‘Songs my mother taught me’), and was thus receptive when introduced soon after his arrival to the songs of the African Americans – the sorrow songs and spiritual songs of the plantation. As a devout man of humble rural origins, he responded to the pathos and religious fervour of the poor.

He told the New York Herald that the two middle movements of his new symphony were inspired by Longfellow’s epic poem The Song of Hiawatha, a work he had long ago read in Czech and which Mrs Thurber was now suggesting for an opera. The famous slow movement, he said, was inspired by Hiawatha’s wooing of Minnehaha and the Scherzo by dancing at the wedding feast.

ABOUT THE MUSIC

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Scherzo literally, a joke; the term generally refers to a movement in a fast, light triple time which may involve whimsical, startling or playful elementsLargo very slow and broad

Coda a concluding section added to the basic structure of a piece or movement to emphasise the sense of finality

Cadence a series of chords which gives a sense of the end of a piece or phrase

Glossary

Without using Native American melodies, he claimed to have given the Scherzo ‘the local colour of Indian music’ – an effect probably limited to repetitive rhythms and primitive harmonies.

As music, the New World Symphony is entirely characteristic of its composer (the ‘simple Czech musician’ he liked to style himself) and owes nothing to any specific ‘borrowings’ from the indigenous or African American musics Dvořák encountered in the New World. The ersatz-spiritual Goin’ home was actually arranged from Dvořák’s Largo movement by one of his students, not the other way around.

Strong non-musical impressions of America doubtless crowded the composer’s mind as he worked on the symphony. The surging flow and changing moods of the outer movements perhaps reflect the frenetic bustle of New York. The vast, desolate prairies Dvořák found ‘sad unto despair’, and this may be felt to underpin the deep yearning of the Largo (together with the composer’s own homesickness for his native Bohemia). As if to emphasise his personal longing for home, Dvořák uses a Czech dance as the central trio section of the third movement.

Musical ideas recur in the New World Symphony to link the symphonic structure. The two main themes of the first movement are recalled in festive mood in the Largo, at the brassy climax of the famous melody first stated by the cor anglais. They figure again in the coda of the Scherzo, the first theme (somewhat disguised) also making three appearances earlier in the movement. The main themes of both middle movements recur in the development section of the finale, and the main themes of all three preceding movements are reviewed in the final coda. There, a brief dialogue between the themes of the first and last movements is cut short by a conventional cadence, spiced by unexpected wind colouring in the last chord of all.

Abridged from an annotation © Anthony Cane

Dvořák’s New World Symphony was premiered on 16 December 1893 in Carnegie Hall. The West Australian Symphony Orchestra first performed it on 28 October 1939 under Malcolm Sargent. WASO last performed this work on 13 October 2012, conducted by Otto Tausk.

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

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

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

© Symphony Services International

The pitch range of the trombone:

1. Tuning slide2. Mouthpiece3. Bell4. Main slide / outer slide5. Water key

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MEET THE INSTRUMENTTHE TROMBONE

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

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

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

© Symphony Services International

The pitch range of the trombone:

1. Tuning slide2. Mouthpiece3. Bell4. Main slide / outer slide5. Water key

12

3

4

5

MEET THE INSTRUMENTTHE TROMBONE

Annual GivingWe are sure you would agree that this year we have had many wonderful and exhilarating concerts at Perth Concert Hall, matched by a diverse program of Education and Community Engagement activities stretching right across this vast state of ours.

We are all looking forward to the exciting 2016 season with Principal Conductor Asher Fisch at the helm. The Orchestra continues to achieve new artistic heights and our ongoing commitment to our broader community ensures we will continue to live and breathe our vision to touch souls and enrich lives through music.

The impact of supporting your Orchestra is powerful and far-reaching. Donations, no matter how small or large they might be, are vital for WASO to continue growing, educating and positively changing the lives of so many people in Western Australia.

We invite you to become a WASO Patron by making a donation to our Annual Giving program. WASO Patrons enjoy opportunities to experience WASO from different perspectives – not just from the auditorium – being invited to exclusive events, getting to know our musicians and receiving regular updates.

WASO PHILANTHROPY Philanthropy Partner

Why give to WASO?

Join a community that believes in:

• WASO’s vision, musicians and commitment to inspirational performances.

• Life-changing and accessible musical opportunities for children, young and emerging artists and communities across WA.

If you wish to find out more, become a Patron, increase or renew your gift, please contact Jane Clare on 9326 0014 or janec@waso.com.au. You can also find out more or donate at waso.com.au. All donations over $2 are fully tax deductible.

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OUR SUPPORTERS

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

Symphony CircleRecognising Patrons who have made a provision in their Will to the Orchestra Mr John BonnyDr G Campbell-EvansAnita & James Clayton Judith Gedero Wolfgang Lehmkuhl Tosi Nottage in memory of Edgar NottageNigel & Dr Heather RogersJudy SienkiewiczSheila Wileman Anonymous (17)

Estates WASO is extremely grateful for bequests received from EstatesMrs Roslyn WarrickRachel Mabel Chapman

Endowment Fund for the Orchestra This fund includes major donations and bequestsTom & Jean ArkleyJanet Holmes à Court ACSagitte Yom-Tov Fund

Excellence CircleSupporting excellence across all we doJean ArkleyBob & Gay BranchiJanet Holmes à Court ACTorsten and Mona KetelsenAndrew Marsden

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

If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Jane Clare, Fundraising and Philanthropy Manager, on 08 9326 0014 or email janec@waso.com.au.

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

All donations over $2 are fully tax deductible.

Philanthropic partnerships come in all shapes and sizes

Reach OutSupporting our Education & Community Engagement programsJean ArkleyPrue Ashurst Creative Partnerships AustraliaRon & Penny CrittallKen EvansFeilman Family FoundationThe James Galvin FoundationRobyn GlindemannKen JohnsonBarrie & Jude LepleyMathie FamilyMcCusker Charitable FoundationMinderoo FoundationMrs MorrellLynn MurrayJoan ReylandJohn & Alison RiggSimon Lee FoundationThe Stan Perron Charitable FoundationJean & Peter Stokes Trish Williams - Strategic InteractionsAnonymous (1)

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OUR SUPPORTERS

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 Circle Gifts $20,000+Janet Holmes à Court ACBrian & Nancy Murphy Patricia NewJudy Sienkiewicz (dec.)

Impresario PatronGifts $10,000 - $19,999Gay & Bob Branchi Tony & Gwenyth LennonMargaret & Rod Marston Joshua & Pamela Pitt

Maestro Patron Gifts $5,000 - $9,999John Albright & Susan LorimerJean Arkley in memory of Tom ArkleyBill Bloking Dr Roland & Therese BrandGavin BunningIan & Elizabeth ConstableMoira & John DobsonBridget Faye AM Gilbert GeorgeDr Patricia KailisKeith & Gaye Kessell Dr Ronny Low & Dr Emma RichardsonBryant Macfie Robert MayJill MulheronPaula & John PhillipsPeter & Jean Stokes Richard Tarala & Lyn Beazley AO

Trish Williams – Strategic InteractionsSue & Ron WoollerAnonymous (5)

Virtuoso Patron Gifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AMPeter & Marjorie BirdAlan & Anne BlanckenseeSally BurtonDr G Campbell-EvansMark Coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda SavageTim & Lexie ElliottRobyn GlindemannAnnette & Vincent Goerke Jacoba Hohnen & Ted SamsonSylvia & Wally HyamsMrs MorrellJane & Jock MorrisonAnne NolanTim Pavy & Cathy ColeDr R & J Schwenger Gail & Tony SutherlandRos ThomsonM & H TuiteJoyce Westrip OAMAlan WhithamAndrew & Marie YunckenAnonymous (1)

Principal PatronGifts $1000 - $2,499Ron & Sue AdamsCaroline Allen & Sandy DunnPrue AshurstMargaret Atkins Tony & Mary Beeley David & Suzanne Biddles Kevin Blake Matthew J C Blampey Namy BodinnerPeter & Eve BolandMr John BonnyJohn & Debbie Borshoff Jean Brodie-Hall AMMarilyn & Ian BurtonProf Jonathan Carapetis & Prof Sue SkullPeter & Sue CliftonHelen Cook Arthur & Nerina CoopesHon June Craig AM Gay & John Cruickshank Lesley & Peter DaviesJulian Dowse Bev EastLorraine EllardRichard FaragoAnnette FinnDon & Marie Forrest Erich & Liz FraunschielDr Andrew GardnerGeorge GavranicRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Sandra GrayDeidre Greenfeld

Annual Giving

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David & Valerie GullandBrian & Romola HaggertyRichard B Hammond Pauline & Peter HandfordWarwick Hemsley & Melissa ParkeDr Penny Herbert in memory of Dunstan HerbertMichael & Liz HollingdaleHelen HollingsheadJohn & Katrina HopkinsSue HovellJim & Freda Irenic Lilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill Kean Noelle & Anthony Keller AM Michael & Dale Kitney Nelly KleynStephanie & John Kobelke Louis & Miriam LandauIrving Lane Paul LeeMeg LewisRosalind Lilley Teresa & Jemima LovelandGraham & Muriel Mahony Gregg & Sue MarshmanJennifer & Arthur McCombBetty & Con Michael AOHon Justice S R Moncrieff S B Monger-HayValmae & Geoff MorrisVal & Barry NeubeckerDelys & Alan NewmanDr Phillip & Mrs Erlene NobleJohn OvertonRon & Philippa PackerMichael & Lesley PageAthena PatonCharmian Phillips in memory of Colin Craft

Pamela PlattAndrew & Suzanne PoliThomas & Diana PotterAlison & John PriceBarry & Dot Price Dr Leon Prindiville Chester ReeveJoan ReylandJohn & Alison RiggMs Elizabeth Sachse & Dr Lance RisbeyNigel & Dr Heather RogersMaurice & Gerry RoussetRoger Sandercock Margaret & Roger SearesMelanie & Paul ShannonEve Shannon-Cullity Glenice ShephardJulian & Noreen Sher Laurel & Ross SmithPaul Smith Michael Snell & Vicki StewartAnna SweetinghamLisa & Andrew Telford The Ambient FoundationRuth ThomasGene TilbrookMary Townsend James & Rosemary TrotterDr Robert TurnbullMaggie VenerysStan & Valerie VicichAdrienne & Max Walters Watering ConceptsIan WatsonPatricia WestonAnn WhyntieJean & Ian Williams AOJim & Gill WilliamsJudith Wilton & David TurnerHilary & Peter Winterton AMAnonymous (24)

Tutti PatronGifts $500 - $999Geoff & Joan Airey Catherine BagsterMerle I BardwellBernard & Jackie Barnwell Shirley Barraclough Berwine Barrett-LennardColin BeckettPamela M BennetMichael & Nadia Berkeley-HillJohn & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerDr & Mrs P BreidahlElizabeth & James BrownAnn Butcher & Dean R KubankLucia BuralliMichelle CandyNanette CarnachanClaire Chambers & Dr Andrea ShoebridgeFred & Angela ChaneyDr Anne ChesterLyn & Harvey Coates AOAgatha & Alex Cohen AOBrian Cresswell Gina & Neil Davidson Jop & Hanneke DelfosRai & Erika DolinschekSimon & Pamela DouglasMrs G EwenJoan GagliardiElaine GimsonIsobel Glencross Douglas M & Regina HansenAlan Harvey & Dr Paulien de BoerEric & Elizabeth HeenanKee HuanChristopher, Julie & Rosemary HudsonMr John Hylton-Davies JP, VJ

OUR SUPPORTERS

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Peter Ingram Cynthia JeePeter S JonesB M KentDorothy KingstonUlrich & Gloria KunzmanJohn Kusinski & Annie MotherwayTrevor & Ane Marie Lacy Martin & Ruth LevitMegan LoweMary Ellen in memory of Kerensa Mrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Dr Peter MossMarianne Nilsson

Marjan Oxley Graham & Hildegarde PennefatherBev Penny Adrian & Ruth PhelpsRichard Pilpel - Pilpel PrintAnn RawlinsonClarissa ReptonJames & Nicola Ridsdill-SmithLeigh RobinsonChris & Serge RtshiladzeJudith E ShawThe Sherwood FamilyHendrik SmitL Sparrow & FamilyPeggy & Tom Stacy Eleanor Steinhardt

Ruth E ThornPatricia TurnerS R VogtDiana WarnockAnne Watson Joy WearneDr & Mrs Chris WhitakerViolette William Janet WilliamsPatricia WongAnonymous (22)

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

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proud WASO physiotherapy partners

experts in diagnosis and managementmusicians, athletes, mums and dads!

west perth : CBD : mosman parkstarphysiowa.com.au

94811003

pictured-Alex Chia-star physiotherapist, musician

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WEST AUSTRALIAN SYMPHONY ORCHESTRA

VIOLINGraeme Norris Associate Concertmaster Semra Lee-Smith Assistant Concertmaster Zak Rowntree*Principal 2nd ViolinAkiko Miyazawa Assoc Principal 2nd ViolinKylie Liang Assistant Principal 2nd ViolinSarah BlackmanFleur Challen Shaun Lee-Chen*Stephanie DeanRebecca GlorieBeth HebertAnna O’HaganEllie LawrenceMelanie PearnKen PeelerGraham Pyatt Louise SandercockJolanta SchenkJane SerrangeliJacek SlawomirskiBao Di Tang Cerys ToobyDavid Yeh

VIOLACaleb WrightPrincipalAlex BroganAssoc PrincipalKierstan ArkleysmithNik BabicKatherine DrakeAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLORod McGrath PrincipalLouise McKayAssoc Principal Chair partnered by Penrhos College

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

DOUBLE BASSAndrew Sinclair* PrincipalJoan Wright Assoc PrincipalChristine ReitzensteinLouise ElaertsAndrew TaitMark Tooby

FLUTEAndrew Nicholson PrincipalChair partnered by Quadrant Energy

Mary-Anne Blades Assoc Principal

PICCOLOMichael Waye Principal

OBOEPeter FacerPrincipalLiz CheeAssoc Principal

COR ANGLAISLeanne GloverPrincipal

CLARINETAllan Meyer PrincipalLorna Cook

BASS CLARINETAlexander Millier Principal

BASSOONJane Kircher-Lindner PrincipalChair partnered by Ron & Sue Wooller

Adam Mikulicz Assoc Principal

CONTRABASSOONChloe Turner Principal

HORNDavid Evans PrincipalSharn McIverAssoc Principal Robert Gladstones Principal 3rd HornJulia Brooke Francesco Lo Surdo

TRUMPETBrent GrapesPrincipalChair partnered by ConocoPhillips

Evan Cromie Assoc PrincipalPeter Miller

TROMBONEJoshua Davis PrincipalLiam O’MalleyAssoc Principal

BASS TROMBONEPhilip Holdsworth Principal

TUBACameron Brook Principal

TIMPANIAlex Timcke Principal

PERCUSSIONTroy Greatz A/Principal

HARPSarah Bowman Principal

ASSISTANT CONDUCTOR Christopher Dragon

CONDUCTOR LAUREATE Vladimir Verbitsky

CHORUS DIRECTOR Christopher van Tuinen

PRINCIPAL CONDUCTORAsher FischPartnered by Wesfarmers Arts CHORUS VOCAL COACH Andrew Foote

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

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

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

PERTH CONCERT HALLBrendon Ellmer General ManagerLorraine Rice Deputy General ManagerBrad Matthews Operations CoordinatorPenelope Briffa Events ManagerBruce Gaw Maintenance OfficerNancy Hackett Marketing Manager

Ryan Sandilands Marketing AssistantSimon Keen Customer Relationship & Operations ManagerMegan Lo Surdo Reception & AdministrationSarah Salleo Reception & AdministrationSushila Bhudia Accounts Officer

perthconcerthall.com.au 08 9231 9900

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

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

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

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

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

BUSINESS SERVICESPeter Freemantle Chief Financial OfficerAndrew Chew Systems AdministratorAlex Spartalis IT SupportAngela Miller AccountantSushila Bhudia Accounts OfficerRenu Kara Accounts Assistant

PHILANTHROPY Alecia Benzie Executive Manager, PhilanthropyJane Clare Fundraising & Philanthropy ManagerMegan Lo Surdo Philanthropy Coordinator

CORPORATE DEVELOPMENTMarina Woodhouse Executive Manager, Corporate DevelopmentLuci Steinhardt Corporate Partnerships ExecutiveCliona Hayes Corporate Partnerships CoordinatorGinny Luff Corporate Partnerships & Events Coordinator

MARKETINGKelli Carnachan Executive Manager, MarketingKirsty Chisholm Marketing CoordinatorNancy Hackett Marketing ManagerGina Beers Graphic DesignerMarc Missiaen Relationship Marketing ManagerZoe Lawrence Marketing OfficerCourtney Walsh Marketing AssistantRebekah Ryan Outbound Sales Team LeaderJosie Aitchison A/Customer Service ManagerBeverley Trolio Customer Service CoordinatorAlana ArnoldLeticia CannellMargaret Daws Vicki Prince Robyn Westbrook Customer Service Officers

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To share in our vision and discuss the many opportunities available through corporate partnerships please contact Corporate Development on 08 9326 0004.

2015 CORPORATE PARTNERSWe encourage you to support these partners for generously supporting your Orchestra

PARTNERS OF EXCELLENCE

CONCERTO PARTNERS

OVERTURE PARTNERS

SONATA 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.

KEYNOTE PARTNERS

PLATINUM PARTNERS

WASO Masters_Classics_2015_Template.indd 32 31/08/2015 9:51 am

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Call 9326 0000 quoting 1258 Visit waso.com.au or ticketek.com.au

BOOK NOW

Tickets from $50*

MACA LIMITED CLASSICS SERIES

TURINA Danzas fantásticas RAVEL Alborada del gracioso VILLA-LOBOS Chôros No.10 Rasga o coração FALLA Nights in the Gardens of Spain RAVEL BoleroAsher Fisch conductor Ingrid Fliter piano WASO Chorus

Ravel’s mesmerising Bolero features in this dazzling

Spanish-inspired program.

Thurs 26, Fri 27 & Sat 28 Nov 7.30pmPerth Concert Hall

*Transaction fees may apply.Asher Fisch appears courtesy of Westfarmers Arts.Ingrid Fliter appears courtesy of Singapore Airlines.