Giulio Plotino, Concertmaster. Pictured age 3, at home with his father in Genova, Italy.

Brahms’ German Requiem 7.30pm, Friday 3 & Saturday 4 August 2012Perth Concert Hall

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3

Concert CalendarClAssICs serIes

Tasmin Little Plays Bruch

7.30pm, Friday 10 & Saturday 11 AugustPerth Concert Hall

BrItten Peter Grimes: PassacagliaBruCh violin Concerto no.1BrAhMs symphony no.4

Paul Daniel, conductorTasmin Little, violin (pictured)

Tickets from $30*

Book with WAso on 9326 0000, waso.com.au, group bookings 9326 0075 or BoCs 9484 1133, bocsticketing.com.au

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lAtItude 1

Horizons

8pm, Wednesday 15 AugustAstor Theatre

esA-PeKKA sAlonen Helix AustrAlIAn PreMIere

MArK-AnthonY turnAGe KaiJAMes ledGer Two MemorialsFrAnK ZAPPA The Perfect Stranger AustrAlIAn PreMIere

FrAnK ZAPPA G-Spot Tornado AustrAlIAn PreMIere

Zappa, FZ, Frank Zappa and the Moustache are marks belonging to the Zappa Family Trust. All Rights Reserved. Used by permission.

Paul Daniel, conductor Louise McKay, cello (pictured)

Tickets from $35*

Paul Daniel, conductor DJ Zeke, turntables (pictured)Andrew Nicholson, flute

Tickets from $35*

lAtItude 2

Boundaries

8pm, Saturday 18 AugustAstor Theatre

JonnY GreenWood Norwegian Wood – suite AustrAlIAn PreMIere

GABrIel ProKoFIev Concerto for turntables AustrAlIAn PreMIere

ellIot CArter Flute Concerto AustrAlIAn PreMIere

MArK-AnthonY turnAGe Hammered Out AustrAlIAn PreMIere

Photo: Brad Serls

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ProgramChevron AustrAlIA MAsters serIes

World Artist PartnerSeries PartnerWASO Chorus Supporter

Brahms’ German Requiem7.30pm, Friday 3 & saturday 4 August

BrAhMs Ein deutsches Requiem [A German requiem] (75 mins)

WolFGAnG rIhM Das Lesen der Schrift [the reading of the script] (17 mins)

Please note that there will not be an interval in this evening’s performance.

Simone Young, conductor WORLD ARTIST Emma Matthews, soprano Albert Dohmen, bass-baritone WASO Chorus

Simone Young appears courtesy of Lepley Properties.

BrAhMs Ein deutsches RequiemI. selig sind, die da leid tragenII. denn alles Fleisch, es ist wie Gras

rIhM Das Lesen der SchriftPiece no.1 (very slow)

BrAhMs Ein deutsches RequiemIII. herr, lehre doch mich

rIhM Das Lesen der SchriftPiece no.2 (very slow)

BrAhMs Ein deutsches RequiemIv. Wie lieblich sind deine Wohnungenv. Ihr habt nun traurigkeit

rIhM Das Lesen der SchriftPiece no.3 (calmly)

BrAhMs Ein deutsches RequiemvI. denn wir haben hier keine bleibende statt

rIhM Das Lesen der SchriftPiece no.4 Consolation (very calmly)

BrAhMs Ein deutsches RequiemvII. selig sind die toten

World-renowned pianist Stephen Hough performs in this exciting concert full of exotic melodies and fascinating stories.

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CLASSICS SERIES

M MEET THE MUSICIAN Tim White, Saturday Post-Concert

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Tickets from $30*

7.30pm, Fri 31 August & Sat 1 SeptemberPerth Concert Hall

BEETHOVEN Fidelio: Overture SAINT-SAENS Piano Concerto No.5 RIMSKY-KORSAKOV Scheherazade

Robert Spano, conductorStephen Hough, piano WORLD ARTIST

7

World-renowned pianist Stephen Hough performs in this exciting concert full of exotic melodies and fascinating stories.

waso.com.au

BOOK NOWWASO 9326 0000Groups 8+ 9326 0075BOCS 9484 1133

CLASSICS SERIES

M MEET THE MUSICIAN Tim White, Saturday Post-Concert

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Tickets from $30*

7.30pm, Fri 31 August & Sat 1 SeptemberPerth Concert Hall

BEETHOVEN Fidelio: Overture SAINT-SAENS Piano Concerto No.5 RIMSKY-KORSAKOV Scheherazade

Robert Spano, conductorStephen Hough, piano WORLD ARTIST

Meet the ArtistCome to the terrace level post-concert Friday night to Meet the Artist, simone Young.

Pre-concert TalksJoin tonight’s speaker Prue Ashurst for a Pre-concert talk on the terrace level of the Perth Concert hall at 6.45pm.

Free Concert ProgramsPick up your free concert program from the Programs and Information desk, or download them from waso.com.au. As part of our ongoing commitment to reducing our environmental footprint we would like to encourage you to share your program with a friend.

WASO Recordings experience WAso in your own home! A variety of WAso Cds and dvds are available for purchase at the encore Gift shop in the foyer tonight.

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First Aid there are st. John Ambulance officers present at every concert so please speak to them if you require any first aid assistance.

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At the concert

Connect with WASO

Watch, Listen, Learn

this performance is being recorded by ABC Classic FM for delayed broadcast. For further details please refer to limelight magazine or at www.abc.net.au/classic

tune in to 720 ABC Perth for breakfast on Friday mornings when Prue Ashurst joins eoin Cameron to provide the latest on classical music and learn more about WAso’s upcoming concerts.

WASO Podcasts Go behind the scenes and deeper into the music. listen to our podcasts at at waso.com.au

Playlistslisten to the complete playlist for our Masters, Classics, Morning symphony and Chamber concerts at waso.com.au

WASO WebcastsWAso will be streaming five concert live and on demand in 2012, thanks to iinet. visit waso.com.au to find out more.

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ERNST & YOUNG PRESENTS

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BOOK NOWWASO 9326 0000Groups 10+ 9326 0075BOCS 9484 1133

7.30pm, Friday 7 September 2pm & 7.30pm, Saturday 8 September

Perth Concert Hall

WASO joins vocal phenomenon, Rajaton performing ABBA Classics – Dancing Queen, Mamma Mia,

Fernando and many more!2pm

MATINEE Perfect for

families!

9

ERNST & YOUNG PRESENTS

waso.com.au

BOOK NOWWASO 9326 0000Groups 10+ 9326 0075BOCS 9484 1133

7.30pm, Friday 7 September 2pm & 7.30pm, Saturday 8 September

Perth Concert Hall

WASO joins vocal phenomenon, Rajaton performing ABBA Classics – Dancing Queen, Mamma Mia,

Fernando and many more!2pm

MATINEE Perfect for

families!

We are delighted to welcome back simone Young to conduct this powerful program. the orchestra is also joined by the 100-strong WAso Chorus, German bass-baritone Albert dohmen and one of Australia’s leading sopranos, emma Matthews.

A German Requiem is not a conventional requiem mass. the traditional liturgical latin text is not employed, Brahms instead created his own based on Martin luther’s translation of the Bible. Brahms finished the work following his own mother’s death and his Requiem focuses on the comfort and consolation for the living, rather than the mourning of the dead.

Contemporary German composer Wolfgang rihm composed his set of interludes with the intention of placing them between the movements of Brahms’ choral masterwork. the interludes were written for orchestra alone and as rihm noted, the music is “touching upon, if not actually depicting, the inner movement of a mourning process step by step”.

In tonight’s program old sounds are juxtaposed with the new, weaving an extraordinary tapestry of orchestral and choral music.

 Claire StokesProgram Manager, Artistic Planning

Brahms’ German Requiem

10

Australian-born simone Young is internationally recognised as one of the leading conductors of her generation. she has been General Manager and Music director of the hamburg state opera and Music director of the Philharmonic state orchestra hamburg since 2005, where she conducts repertoire ranging from Mozart, verdi, Puccini, Wagner and strauss, to hindemith, Britten and henze. she is an acknowledged interpreter of Wagner and strauss operas, and has conducted several complete cycles of Der Ring des Nibelungen at the state operas of vienna and Berlin, and most recently, to great acclaim, in hamburg. her hamburg recordings include the Ring cycle and Mathis der Maler, and symphonies of Bruckner, Brahms and Mahler.

she was Music director of opera Australia from 2001 to 2003, Chief Conductor of the Bergen Philharmonic orchestra from 1999 to 2002 and since 2007 has been Principal Guest Conductor of the Gulbenkian orchestra, lisbon.

she conducts at all the leading opera houses including the vienna staatsoper, opéra national de Paris, royal opera house Covent Garden, Bavarian state opera, Metropolitan opera and los Angeles opera, and collaborates with major orchestras including the vienna, Berlin, new York and london Philharmonic orchestras, staatskapelle dresden and the City of Birmingham symphony.

she was elected to the Akademie der Kuenste in hamburg, nominated Conductor of the Year by Opernwelt magazine and awarded a Professorship at the Musikhochschule in hamburg as well as honorary doctorates from Griffith university, Monash university and unsW. she has been honoured with the Chevalier de l’ordre des Arts et des lettres from France, appointed a Member of the order of Australia in 2004, and has received the Goethe Institute Medal and the sir Bernard heinze Award.

simone Young regularly returns to Australia, this year to work with the sydney symphony and Australian Youth orchestra, and will make her new Zealand debut with new Zealand symphony orchestra.

Simone Young appears courtesy of Lepley Properties.

Simone YoungConductor

Photo: Berthold Fabricius

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Emma MatthewsSoprano

soprano emma Matthews is a highly acclaimed and awarded coloratura soprano equally at home on the opera stage and the concert platform performing with all the major Australian symphony orchestras, Australian Chamber orchestra, orchestre Philharmonique de Monte Carlo, royal opera house Covent Garden, and at the sydney, Melbourne, Adelaide and huntington Festivals.

recent engagements include the title roles in Partenope, Lakmé (also on dvd), Lucia di Lammermoor, The Cunning Little Vixen (royal opera house, Covent Garden), leila (The Pearlfishers), Amina (La Sonnambula), Gilda (Rigoletto) also on dvd, and Philomele (The Love of the Nightingale: Mills) as well as returns to sydney and Melbourne symphonies and the orchestre Philharmonique de Monte Carlo.

this year, emma made her role debut as violetta (La Traviata) for handa opera on sydney harbour and will perform concerts and recitals in Brisbane (with AYo and simone Young) and sydney, and the title role in Lucia di Lammermoor for both opera Australia and West Australian opera.

her solo album of bel canto arias, Emma Matthews in Monte Carlo, has been released by universal/ABC Classics.

Albert DohmenBass-Baritone

Albert dohmen performed in the title role of Berg’s Wozzeck at the 1997 easter and summer salzburg Festivals with the Berlin and vienna Philharmonic orchestras conducted by Claudio Abbado and directed by Peter stein. since then he has worked with such conductors as Zubin Mehta, James Conlon, and Georg solti, among others.

he has established himself as a leading Wotan, having sung this part in Ring cycles at trieste, Geneva, Catania, deutsche oper Berlin, vienna state opera, netherlands opera, Metropolitan opera, and Bayreuth. his repertoire also includes the other major Wagner roles of Amfortas (Parsifal), hans sachs (The Mastersingers of Nuremberg), the dutchman (The Flying Dutchman), Alberich (Das Rheingold) and Kurwenal (Tristan und Isolde), as well as Jochanaan in strauss’ Salome, scarpia (Tosca) and Bluebeard (Bluebeard’s Castle).

his concert engagements have included Beethoven’s ninth symphony with the new York Philharmonic under Kurt Masur, A German Requiem also under Masur at the saint-denis Festival, and Mahler’s symphony no.8 with valery Gergiev and with Christian thielemann.

Photo: Bridget Elliot Photo: Renato Zacchia

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How long have you been playing the violin?I’ve been playing violin for about 25 years.

What is the most exciting thing about performing with WASO in the Perth Concert Hall?the Perth Concert hall is great, we are really lucky to be able to rehearse and perform in such a world-class acoustic. It is especially enjoyable where I sit in the second violins as it’s right in the middle of the orchestra so I can feel the waves of sound through the strings and the breath of the woodwind and brass players. this is one of the reasons I love being an orchestral player.

Does Brahms write in a specific way for the string section?Brahms was a good friend of the great violinist Joseph Joachim, so he knew very well what the violin was capable of. his music seems to echo his motto ‘frei and froh’, which translates as ‘free and happy’.

For me, the music evokes the simple joys of walking in the forest or chatting with friends. that doesn’t mean it’s easy to play, though!

Have you played in any orchestras other than WASO?Yes, I’ve played in several orchestras and chamber orchestras in Japan, and also in Germany: in the Freiburg theater orchestra and German national theater orchestra in Weimar.

Do you have any special preparation on the day of a concert?I usually have an early dinner of ‘mochi’ – a Japanese sticky rice ball that my colleague shigeru Komatsu makes for me – and miso soup! It’s perfect before a performance because it’s not too big but I don’t get hungry during the concert. I try to get on stage before the doors open so I can breathe the atmosphere of the empty hall and practise scales to get ready for the performance.

West Australian Symphony Orchestra

Paul DanielPrincipal ConductorPartnered by Wesfarmers Arts.

Vladimir VerbitskyConductor Laureate

Marilyn PhillipsChorus Director

Giulio PlotinoConcertmaster

Akiko MiyazawaViolin

Meet the Musician

13

ViolinGiulio PlotinoConcertmasterSemra LeeAssistant ConcertmasterJohn Ford Principal 2nd ViolinZak RowntreeAssoc Principal 2nd Violinsarah Blackmanhannah Brockway^sara herriman^Christina Katsimbardis^shaun lee-Chenlena Mackenzie^Akiko Miyazawalucas o’Brien^Anna o’haganKathleen o’hagan^Melanie PearnKen PeelerBrendon richardsJolanta schenkJane serrangeliellie shalleyKathryn shinnick^riley skevington^Jacek slawomirskiBao di tangteresa vinci^Andrea White^

ViolaGiovanni Pasini Berian Evans Kierstan ArkleysmithAlex BroganKatherine Corecig^Katherine drakeAlison hallrachael KirkAllan Mcleanhelen tuckey

CelloRod McGrath Louise McKayshigeru Komatsuoliver McAslan nicholas MetcalfeFotis skordastim southXiao le Wu

Double BassAndrew RootesJoan Wright elizabeth Browning^Christine reitzensteinlouise rossAndrew tait

FluteAndrew Nicholson Mary-Anne Blades Michael Waye Principal Piccolo

OboeLeanne GloverA/PrincipalElizabeth CheeA/Principal Cor Anglais

ClarinetAllan Meyer lorna Cook

BassoonJane Kircher-Lindner Adam Mikulicz Oscar Garrido de la RosaPrincipal Contrabassoon

HornDavid Evans Robert Gladstones Principal 3rdJenna Breen Francesco lo surdo

TrumpetEvan Cromie Peter Miller

TromboneJoshua Davis Liam O’MalleyPhilip Holdsworth Principal Bass Trombone

TubaCameron Brook

TimpaniAlex Timcke

HarpSarah Bowman Yinuo Mu^

OrganAnnette Goerke^

On Stage Tonight

PrincipalAssociate PrincipalGuest Musician^

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Chorus DirectorMarilyn Phillips

Accompanistlea hayward

Language CoachIsabel von Prollius

Soprano val Bannanlisa BarrettMarian BirtwistleAnna BörnerAnnie BurkeKathryn BuselichAlinta Carolllisa daffenCorinne daviesCeridwen dumergueJordan dunneCasey edwardsBronwyn elliottdavina FarinolaMandy Fimmellindsay Fosterlouise Gillettsusanna GilmorePauline handfordheather hannanBlanche holzmanrachel JennerPenelope KimbleGrace KookMaya Kraj-KrajewskiKatherine langdon

Marie McKinnonhayley Mitchelmoreelysia Murphynatalia robayoJill samuelsruth suttonMagda todeaMargo Warburtonnicole Zago

Alto lisa BarzCheryl Bellllewela Benndaniela BirchPatsy Brownsue ColesonJeanette CollinsCatherine dunnJulie durantKaye FairbairnJenny Faysusanna Fleck-hanleydianne GravesAnne hattenJill Jonesserena Kay

shew-lee leediana MacCallumlynne MillsMargot Morganlynne naylordeborah Pearsondeborah Piesseruth rossenneb rylandJulie summerslouise suttonolga WardMoira WestmoreJacquie Wright

Tenor John BeamishPeter ClayMichael ChampionJames Gleesonrod GonzalesAllan GriffithsPeter handfordGuy hoopertim KerinJohn MoretonJohn Murphy

Andrew Patersonross retallickChris ryland

BassJustin AudcentJohn BathMichael Berkeley-hillroger BlazeyAdrian BowenGraham CastledineJames devenishKen Gasmierstephen hastingsAndrew lynchtony MarrionPat MellingPeter ormondviv readJim rhoadssteve sherwooddavid WebsterAndrew Wong

Marilyn PhillipsChorus Director

Marilyn Phillips was born in Wales and studied at the royal Academy of Music, where she was awarded a ralph vaughan Williams scholarship for advanced studies in piano accompaniment. Marilyn was head of Music with West Australian opera for ten years, and was appointed Chorus director of the West Australian symphony orchestra Chorus in January 2006. she continues to work as a vocal coach, and recitalist, with several broadcasts on ABC Classic FM, and has been an invited Artist in residence at sydney Conservatorium of Music. Marilyn is an elected Associate of the royal Academy of Music, and in 2000 was awarded a Centenary Medal for services to Australian opera.

The WASO Chorus is supported by Lotterywest.

WASO Chorus

1515

Program Notes

1800 1850 1900 1950 2000 2050 2100 2150

Brahms' Ein deutsches Requiem

� � � � � � � � � � �

Johannes Brahms

� � � � � � � � � � � � � � � � � � � � � � � � �

Wolfgang Rihm13 March 1952

Rihm's Das Lesen der Schrift

� � � � � � � � � � �

Timeline of composers and works

1616

Johannes Brahms(1833–1897)

Ein deutsches Requiem [A German requiem] op.45 (1868)

Wolfgang Rihm(born 1952)

Das Lesen der Schrift [the reading of the script]: Four Pieces for orchestra (2001/2002)

In a much quoted letter, sent to Clara schumann soon after his mother’s death in 1865, Brahms writes, ‘there is nothing to be altered, nothing to regret for a sensible man; it’s simply a matter of carrying on and keeping one’s head above water’. this stoicism was new for Brahms, now in his early 30s, and coincides, according to scholars like Karl Geiringer, with the arrival of his mature style in the completed version of the German Requiem.

In Geiringer’s view Brahms, ‘under the influence of the majesty of death, underwent a process of purification... with the completion of this work, the composer reached his full creative power’.

In fact the work, which reached its final form in 1866, was the result of some years’ gestation. some of what became the second movement was composed between 1857 and 1859 for a projected d minor symphony, much of whose music went into the Piano Concerto, op.15.

Ein deutsches RequiemI. selig sind, die da leid tragen (Matthew 5:4; Psalm 126:5,6)II. denn alles Fleisch, es ist wie Gras (1 Peter 1:24;  James 5:7; 1 Peter 1:25; Isaiah 35:10) Das Lesen der SchriftPiece no.1 (very slow) Ein deutsches RequiemIII. herr, lehre doch mich (Psalm 39:5-8: Wisdom 3:1) Das Lesen der SchriftPiece no.2 (very slow) 

Ein deutsches RequiemIv. Wie lieblich sind deine Wohnungen (Psalm 84:2, 3, 5)v. Ihr habt nun traurigkeit (John 16:22; ecclesiasticus 51:35; Isaiah 66:13) Das Lesen der SchriftPiece no.3 (calmly) Ein deutsches RequiemvI. denn wir haben hier keine bleibende statt (hebrews 13:14, 1 Corinthians 15:51-2, 54-5; revelation 4: 11) Das Lesen der SchriftPiece no.4 Consolation (very calmly) ein deutsches requiemvII. selig sind die toten (revelation 14:13)

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As early as 1861 Brahms had drafted the text for a four-movement cantata*, but as he worked on it, he instinctively felt the need to expand it to a full-scale oratorio*. three movements were given a semi-private premiere in vienna in december 1867 and were not well received, but the official first performance was on Good Friday 1868 in Bremen’s lutheran Cathedral; there, the work was a triumph (even Brahms’ father said ‘it sounded pretty good’), but at that stage still lacked the fifth movement, with soprano solo, which Brahms soon added as a specific memorial to his late mother.

so far as we know, Brahms held no particular religious beliefs – the name of Jesus Christ is conspicuously absent from the texts chosen by Brahms for his libretto, though parts of it use the words of Jesus reported in the Gospels of Matthew and John. Brahms was, culturally, a north German Protestant, however, and two aspects of lutheranism are especially relevant to this work. A requiem, strictly speaking, is the Catholic Mass for the dead, a liturgy designed to ask for God’s mercy on the departed, which begins with the words Requiem aeternam dona eis, Domine (rest eternal, grant them, o lord).

lutheranism forbids prayer for the dead in the context of the eucharist and other Protestant groups forbid it utterly, on the principle that the ‘righteous souls are in the hand of God’ – that salvation, or otherwise, has already been predestined by him. While sectarian expectations may in some way explain Catholic vienna’s coldness toward the work, Brahms’ ‘requiem’ is not a prayer for the dead, but a ceremony for the comfort of the living.

the second point is the work’s ‘Germanity’. Brahms held conventionally patriotic views and admired Bismarck, who would unite various German territories under Prussian leadership from 1870 (though by that time Brahms was establishing himself as a resident of vienna). But the ‘German’ nature of the ‘requiem’ is linguistic, based as it is on the Bible translation of luther himself; like the King James version in english, luther’s Bible is a founding text of modern literary German and the property and heritage of any German-speaker. Brahms’ ‘requiem’, then, offers its visions of comfort in the euphonious and familiar cadences of luther’s language, selected from the old and new testaments and the Apocrypha.

structurally, the German Requiem is a marvel of interlocking symmetries. the outer movements promise blessing. the first is couched in the warm tones of divided lower strings and long serene vocal lines in setting the Beatitude, ‘Blessed are they that mourn’, with a contrasting central section that depicts the Psalmist’s joyful vision.

Photo: Johannes Brahms, 1868

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the second (All flesh is grass) and sixth (For we have here no abiding city) each begin in a state of trepidation at the impermanence of existence. they hold precariously to repetitive rhythms: a ghostly dance (perhaps a Ländler* or minuet) in the second, with upper strings divided and muted is occasionally punctuated by a baleful horn-call, suggesting the last trumpet sounding in the midst of life. It is thus a perfect image for the text’s reminder of our impermanence. the sixth movement, by contrast, begins, after three spacious chords, with a march as homeless humanity seeks the eternal city ‘yet to come’. optimism dawns in the central parts of both, with the baritone in the sixth announcing Paul’s vision of the final victory over death, and these are followed by a final section affirming God’s perfect will; naturally, for a lutheran work, these depictions of God’s mercy (For the righteous souls are in the hand of God) and wisdom (lord, thou art worthy) are represented by contrapuntal elaboration, as in the music of Bach or handel. ‘lord, thou art worthy’ is a massive double fugue. As the great viennese critic eduard hanslick wrote, ‘the harmonic and contrapuntal* art which Brahms learnt in the school of Bach is inspired by him with the living breath of the present’.

Where the second and sixth movements depict humanity’s fears and ultimate hopes, the tone of the third (lord, let me know mine end) and fifth (Ye now have sorrow) are much more personal and form a complementary pair: the third, introduced by baritone solo, raises and assuages fears of individual extinction, again issuing in a vibrant ‘baroque’ polyphony*, whereas the glorious soprano writing of the fifth promises the intimate comfort of a maternal deity. At the still point, as it were, is the fourth movement’s simple and beautiful vision of bliss for chorus and orchestra, ‘how lovely are thy dwellings’.

scholar nancy thurleen notes that the structure recalls aspects of the Catholic requiem with ‘a framed structure with a common beginning and end (Blessed are…), progressing toward a centre focused on blessedness (the fourth movement) and a type of Dies irae’, the ‘death where is thy sting?’ section in the sixth.

It may thus seem an act of hubris for Wolfgang rihm, possibly the most important German composer of his generation, to have composed four pieces – in his own distinctive language – to be inserted into this carefully balanced structure. We should remember, however, that at the work’s premiere in Bremen, Brahms’ friend Joseph Joachim also played some schumann and Amalie Weiss sang extracts from the St Matthew Passion and Messiah to no ill effect.

Credit: Universal Edition Eric Marinitsch

Photo: Wolfgang Rihm

despite an awesome pedigree – studies with stockhausen and Klaus huber, attendance and later teaching at the darmstadt summer school in the 1970s – rihm’s modernism has never been proscriptive or doctrinaire, and he has described his relationship to the tradition of Western music by saying:

“If there is a tradition to which I feel I belong, then it is this tradition: art as freedom to understand, arising from freedom and obliged to freedom.”

his music has taken freedom very seriously, drawing on a number of different enthusiasms ranging from the rigorous music of the post-Webernian avant-garde to the, as rihm puts it, ‘anarchic’ delights of the music of schumann and here to that of Brahms.

Das Lesen der Schrift (literally, reading the script, or reading the Writing) was composed in 2001-2002 for a smaller orchestra than Brahms requires for the requiem. on the occasion of its premiere by its dedicatees, the Berlin Philharmonic under Kent nagano, in 2002, rihm was interviewed by Jörg Königsdorf, who asked:

doesn’t the intercession of a contemporary composer have the effect of pushing Brahms’ musical language into the distant, historical past?

rihm responded:

No. It’s as if there were four monochrome panels hanging in a Gothic chapel or, somewhat more colourfully, four large canvases by Anselm Kiefer. It was, in fact, Kiefer’s Basle exhibition at the Fondation Beyeler that provided me with some very important ideas and inspiration for the work at hand.

The original idea, however, goes back a long way: das lesen der schrift refers to the process of decoding, gradually becoming aware of textual relationships encapsulated in symbols. It can also be a metaphor of decoding a musical text.

Out of the murmurings of doubt I began moulding pieces of silence, baking bits out of introversion and concealment, and came upon paths leading into the inaccessible – touching upon, if not actually depicting, the inner movement of a mourning process step by step. And in doing so, I altered its form. The four pieces add up to a self-standing composition, of course. They don’t necessarily have to remain bound to this rather daring one-off attempt to respond to – and simultaneously question – the great Brahms ‘Requiem’ from the inside.

Gordon Kerry © 2012

WASO last performed Brahms’ Ein deutsches Requiem on 30 & 31 July 1999, conducted by Tuomas Ollila.

* For an explanation of these words please turn to page 22.

If you like this work you may also enjoy:

Tasmin Little Plays Bruch7.30pm, Friday 10 & Saturday 11 AugustBrAhMs symphony no.4

Mozart & Mahler7.30pm, Friday 24 & Saturday 25 AugustMAhler symphony no.5

Mozart & Strauss7.30pm, Friday 23 & Saturday 24 NovemberstrAuss, r. Alpine Symphony

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1. Chorusselig sind, die da leid tragen,denn sie sollen getröstet werden.die mit tränen säen, werden mit Freuden ernten.sie gehen hin und weinenund tragen edlen samen,und kommen mit Freuden und bringen ihre Garben.

2. Chorusdenn alles Fleisch, es ist wie Gras,und alle herrlichkeit des Menschenwie des Grases Blumen.das Gras ist verdorretund die Blume abgefallen.so seid nun geduldig, lieben Brüder,bis auf die Zukunft des herrn.siehe, ein Ackermann wartetauf die köstliche Frucht der erdeund ist geduldig darüber, bis er empfahe den Morgenregen und Abendregen.so seid geduldig.Aber des herrn Wort bleibet in ewigkeit.die erlöseten des herrn werden wiederkommen und gen Zion kommen mit Jauchzen;Freude, ewige Freude wird über ihrem haupte sein;Freude und Wonne werden sie ergreifen,und schmerz und seufzen wird weg müssen.

3. Solo (Baritone) with Chorusherr, lehre doch mich, dass ein ende mit mir haben mussund mein leben ein Ziel hatund ich davon muss.siehe, meine tage sind einer hand breit vor dir,und mein leben ist wie nichts vor dir.Ach, wie gar nichts sind alle Menschen,die doch so sicher leben.sie gehen daher wie ein schemenund machen ihnen viel vergebliche unruhe;sie sammeln und wissen nicht,wer es kriegen wird.nun, herr, wes soll ich mich trösten?Ich hoffe auf dich.der Gerechten seelen sind in Gottes hand,und keine Qual rühret sie an.

Blessed are they that mourn,for they shall be comforted. (Matthew 5:4)Those who sow in tearsshall reap in joy.Those who go forth weeping,bearing precious seed,shall return with rejoicing,bringing their sheaves with them. (Psalm 126:5-6)

For all flesh is as grass,and all human glorylike the flower of the grass.The grass withers,and the flower falls away. (I Peter 1:24)So be patient, dear brethren,until the coming of the Lord.Behold, the farmer waitsfor the precious fruit of the earth,waits patiently until he receives the early and late rains. Be patient, then. (James 5:7-8)But the word of the Lord endures for ever. (I Peter 1:25)Those ransomed by the Lord shall return,and come to Zion with rejoicing.Everlasting joy shall be upon their heads:they shall obtain joy and gladness,and sorrow and sighing shall flee away. (Isaiah 35:10)

Lord, teach me that there will be an end to me,that my life has an end-pointand that I must leave it.Behold, my days are a hand’s breadth before you,and my life is as nothing before you.Ah, how all people are mere trifles,though they live with such confidence.They are no more than shadowsand give themselves great trouble for nothing:they gather up riches and don’t knowwho will get them. Now, Lord, where shall I seek consolation?My hope is in you. (Psalm 39:4-7)The souls of the righteous are in the hand of God, and there shall no torment touch them. (Wisdom 3:1)

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4. ChorusWie lieblich sind deine Wohnungen, herr Zebaoth!Meine seele verlanget und sehnet sichnach den vorhöfen des herrn;mein leib und seele freuen sichin dem lebendigen Gott.Wohl denen, die in deinem hause wohnen,die loben dich immerdar!

5. Solo (Soprano) with ChorusIhr habt nun traurigkeit;aber ich will euch wiedersehen, und euer herz soll sich freuen,und eure Freude soll niemand von euch nehmen.Ich will euch trösten,wie einen seine Mutter tröstet.sehet mich an:ich habe eine kleine Zeit Mühe und Arbeit gehabtund habe grossen trost funden.

6. Solo (Baritone) with Chorusdenn wir haben hier keine bleibende statt,sondern die zukünftige suchen wir.siehe, ich sage euch ein Geheimnis:Wir werden nicht alle entschlafen,wir werden aber alle verwandelt,und dasselbige plötzlich,in einem Augenblick,zu der Zeit der letzten Posaune.denn es wird die Posaune schallen,und die toten werden auferstehen unverweslich,und wir werden verwandelt werden.dann wird erfüllet werdendas Wort, das geschrieben steht:der tod ist verschlungen in den sieg.tod, wo ist dein stachel!hölle, wo ist dein sieg!herr, du bist würdig, zu nehmen Preis und ehre und Kraft,denn du hast alle dinge erschaffen,und durch deinen Willen haben sie das Wesen und sind geschaffen.

7. Chorusselig sind die toten,die in dem herren sterben von nun an.Ja, der Geist spricht,dass sie ruhen von ihrer Arbeit,denn ihre Werke folgen ihnen nach.

How lovely are your dwellings,O Lord of hosts!My soul longs and yearns forthe courts of the Lord:my flesh and my soul rejoice in the living God.Blessed are they that dwell in your house:they will praise you for ever. (Psalm 84:2, 4)

You are sorrowful now,but I will see you again,and your heart shall rejoice,and no-one shall take your joy away from you. (John 16:22)I will comfort youlike a mother comforts her child. (Isaiah 66:13)Look at me:I had trouble and labour for a short timeand have found great consolation. (Sirach 51:27)

For we have no permanent home here,but we seek the one to come. (Hebrews 13:14)Behold, I tell you a mystery:We shall not all fall asleep,but we shall all be changed,and that will happen suddenly,in an instant,at the time of the last trombone.For the trombone shall sound,and the dead shall rise imperishable,and we shall be changed. (I Corinthians 15:51-52)Then shall be fulfilledthe saying that is written:Death is swallowed up in victory.Death, where is your sting!Hell, where is your victory! (I Corinthians 15: 54-56)Lord, you are worthy to receive praise and honour and power;for you created all things,and by your willthey have being and are created. (Revelation 4:11)

Blessed are the deadwho die in the Lord from this time on:Yes, says the Spirit,they will rest from their labours,for their deeds follow them. (Revelation 14:13)

Translation: Symphony Australia © 2003

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Cantata

A musical composition, often using a sacred text, comprising recitatives, arias, and choruses.

Oratorio

A substantial work for singers and orchestra based on a religious text. An unstaged drama or narrative of Biblical events composed for voices (alternating aria, narrator, recitative, full chorus, etc.) and accompanied by instruments.

Ländler

A folk dance in 3/4 time which was popular in Austria, south Germany, German switzerland and slovenia at the end of the 18th century.

Contrapuntal

of, relating to, or incorporating counterpoint (two or more lines of music or melodies that are played at the same time).

Polyphony

Music with two or more independent melodic parts sounded together.

Source – Symphony Services Australia. This glossary is intended as a quick reference only. For a more comprehensive explanation of terminology it is recommended to refer to a reputable music dictionary.

Glossary

Friends of WASO2012 Friends of WASO Scholarship each year the Patrons and Friends Committee organise a range of lovely events that raise money for the Friends of WAso scholarship. this scholarship is awarded annually to one or more WAso musicians, to be used towards professional development.

We are delighted to announce that this year’s scholarship has been awarded to violinist Louise Sandercock. the $5000 scholarship will be used by louise to attend and participate in two european summer courses in trieste, Italy and st Paul, Austria. Whilst louise is there she will undertake further tuition with Professor helfried Fister as well as perform and observe other performances and lessons during her stay.

Congratulations louise! We look forward to hearing about your travels upon your return. louise will perform a recital for Patrons and Friends later this year.

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Meet the InstrumentThe Violin

Key:1. Bow2. Scroll3. Tuning Pegs4. Fingerboard5. Strings6. Bridge7. F-holes8. Finetuners9. Chin Rest

The violin is the smallest and highest-pitched member of the string family, and constitutes the orchestra’s largest group. Its four-octave range, agility and musical versatility have accorded it pre-eminent position within the orchestra over the last three hundred years.

The violin as we know it today was developed in 16th-century Italy, and the city of Cremona in particular gained a reputation for its violin-making tradition. Famous instrument-making dynasties from this time include the Guarneri and Stradivari families, whose violins are highly sought after today, sometimes fetching millions of dollars at auction. WASO Associate Concertmaster Margaret Blades plays a violin made in 1710 by Giofreddo Cappa, an Italian luthier associated with the Amati family in Cremona.

Violinists use a variety of techniques to create diff erent sounds, including drawing the bow across the strings (arco), plucking strings with the fi ngers (pizzicato), or striking strings with the wooden part of the bow (col legno). Multiple stops allow the violinist to play several notes at the same time.

Many composers have sought to capitalise on the violin’s wide dynamic range and unrivalled expressive capabilities, and popular orchestral violin works include: Beethoven Romances in G and F; Massenet’s Meditation from Thaïs; Vaughan Williams’The Lark Ascending; Lalo’s Symphonie espagnole; Saint-Saëns Introduction and Rondo Capriccioso; Chausson’s Poème.

© Symphony Services International.

Pitches of the four open strings on a violin:

2

6

7

3

8

4

9

5

1

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waso.com.au

BOOK NOWWASO 9326 0000Groups 8+ 9326 0075BOCS 9484 1133

CHEVRON AUSTRALIA MASTERS SERIES

Mahler’s mighty Fifth Symphony follows Mozart’s exquisite Sinfonia Concertante, performed by WASO’s own Giulio Plotino & Giovanni Pasini.

M MEET THE MUSICIANS Giulio Plotino & Giovanni Pasini, Saturday Post-Concert

*Transaction fees may apply.

Tickets from $30*

7.30pm, Fri 24 & Sat 25 AugustPerth Concert Hall

MOZART Sinfonia Concertante K.364 MAHLER Symphony No.5

Paul Daniel, conductorGiulio Plotino, violinGiovanni Pasini, viola

waso.com.au

BOOK NOWWASO 9326 0000Groups 8+ 9326 0075BOCS 9484 1133

CHEVRON AUSTRALIA MASTERS SERIES

Mahler’s mighty Fifth Symphony follows Mozart’s exquisite Sinfonia Concertante, performed by WASO’s own Giulio Plotino & Giovanni Pasini.

M MEET THE MUSICIANS Giulio Plotino & Giovanni Pasini, Saturday Post-Concert

*Transaction fees may apply.

Tickets from $30*

7.30pm, Fri 24 & Sat 25 AugustPerth Concert Hall

MOZART Sinfonia Concertante K.364 MAHLER Symphony No.5

Paul Daniel, conductorGiulio Plotino, violinGiovanni Pasini, viola

Since 2004, the Water Corporation has been the West Australian Symphony Orchestra’s Sound Shell Partner. The Sound Shell is a hollow structure that enables the Orchestra to take its performances outdoors to reach Western Australian audiences of all ages. For more information, visit watercorporation.com.au

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the decision to support an organisation or cause financially is a deeply personal one.

the experience of live orchestral music is enriched by the enthusiastic and committed audience that the West Australian symphony orchestra enjoys. While purchasing tickets is one vital way you can support your orchestra, the cost to present WAso’s 2012 concert season and full range of education and community programs is much greater than income generated from ticket sales. WAso gratefully receives funding from government and generous corporate supporters but this is simply not enough. Increasingly, donations are becoming critical to the day to day running of your orchestra.

We ask you to consider supporting the West Australian symphony orchestra by making a donation.

A donation can help support the average cost per week of a Masters or Classics series concert of $120,000. this may include:

• Freightcostsupto$2,000• Marketingexpensesupto$17,000• Pianotuningupto$1,250• Musichireupto$500• Hiringadditionalplayersupto$36,000forafullorchestraconcert• PerthConcertHallvenuehire$25,000• Conductorsandsoloistsfeesupto$100,000*• Weeklysalarycostsfor82full-timemusicians$135,000

A Masters or Classics program is one component of a WAso week that includes a mix of regional touring, education and community programs and free concerts. to learn more about being involved, please contact Alecia Benzie, executive Manager Private Giving on 9326 0020 or benziea@waso.com.au All enquiries regarding philanthropy are treated in confidence. WAso is a registered charity and tax deductible gift recipient.

Private Giving Program

*upper end costs of Gala events featuring multiple artists and including travel costs.

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Private Giving Program

Private Giving Partner

Your attendance tonight helps sustain the orchestra and we thank you for your commitment. We are also very grateful to our corporate supporters who make a significant contribution to WAso, and of course for government funding which is critical. however, these three sources of income are simply not enough to cover the ongoing costs of the orchestra and increasingly it is our Patrons that enable us to continue to achieve our vision ...to touch souls and enrich lives through music.

there are many ways you can be involved and your support is very much appreciated.

Endowment Fund for the OrchestraThe Endowment Fund includes major donations from individuals and bequests. The income earned is used for the benefit of the Orchestra.

tom & Jean Arkley Janet holmes à Court AC

Symphony CircleRecognises Patrons who have made a gift to WASO in their Will

Anita Clayton Judith Gedero Wolfgang lehmkuhl tosi nottage (in memory edgar nottage) Judy sienkiewicz sheila Wileman Anonymous (13)

The WASO Song BookNew works commissioned for the orchestra by WASO. We gratefully acknowledge the support of the following individuals who have commissioned new music performed in 2010 and 2011:

Janet holmes à Court dr Peter r dawson Geoff stearn Anonymous (1)

Reach OutAndrew & nicola Forrest Barrie & Jude lepley McCusker Charitable Foundation Galvin Family Foundation

Stradivari CircleRecognises Patrons who have made a special contribution or donated substantial amounts over a number of years to the Orchestra.

dr Peter r dawson the taylor Family

All donations are fully tax deductible.

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Principal Conductor’s CircleGifts $20,000+

Janet holmes à Court ACJill MulheronPatricia newAnonymous (1)

Impresario PatronGifts $10,000 – $19,999

Gay & Bob Branchitony & Gwenyth lennonJoshua & Pamela Pitt

Maestro Patron Gifts $5,000 – $9,999

Jean Arkley (in memory of tom Arkley)Mr William BlokingBridget Faye AMGilbert GeorgeInternational Mining servicesdr Patricia Kailissusan & Michael Kiernan Margaret & rod Marstonrobert May & daniel lee shing KongPeter & Jean stokesCatriona Woodall Anonymous (4)

Virtuoso PatronGifts $2,500 – $4,999

Prof Fred & Mrs Margaret AffleckWilliam Carrneil Archibald & Alan dodge AMsally Burton Mark Coughlan & dr Pei Yin hsudr stephen davisMonika dunnetrobyn GlindemannKeith & Gaye Kessell

Michael & dale KitneyBryant MacfieMrs Morrelldr W B Muston John & Paula Phillipselizabeth sachse & dr lance risbeyros thomsontuite Family FoundationJoyce Westrip oAMKen & Jan Williams sue & ron WoollerAndrew & Marie Yuncken Anonymous (2)

Principal PatronGifts $1000 – $2,499

Gail Archer sC & Patrick o’nealMargaret Atkins oAMColin & eve Becketttony & Mary Beeleysuzanne & david Biddles Kevin BlakeMatthew J C BlampeyMr John BonnyMrs debbie Borshoff Paul Brayshaw & hannah rogersJean Brodie-hall AMdr G Campbell-evansdr s l CookeArthur & nerina Coopeshon June Craig AMGay & John Cruickshankrai & erika dolinschekJulian dowsetimothy & lexie elliotdon & Marie Forrestdr Andrew Gardnerelaine GimsonGraham & Barbara GouldenJannette Gray Joe & deidre GreenfeldJacqui Grove

david and valerie Gullandrichard B hammondWarwick hemsleyliz hodgson (in memory of douglas hodgson)sylvia & harry hoffman oAM Michael & liz hollingdalelilian & roger Jennings Bruce & Jane KeayAnthony & noelle Keller Bill Keandr rob Kirk & sarah Gallinaghstephanie & John Kobelke Gloria & ulrich Kunzmannvictor & rachel lane ledge Finance limited Graham & Muriel MahonyGregg & sue MarshmanBetty and Con Michael Aohon Justice s r MoncrieffJane and Jock Morrisonval & Barry neubeckerdr Phil & erlene nobleJohn overtonMichael & lesley PageAssociate Prof. tim PavyPamela PlattAndrew & suzanne PoliAlison & John Pricenigel & Carol rarpChester reeveJohn & Alison riggnigel & dr heather rogersMaurice & Gerry roussetroger sandercockeve shannon-CullityJulian & noreen sherAnne & Frank sibbelJudy sienkiewiczrichard tarala & lyn Beazley AoGene tilbrookMary townsend

We thank the following Patrons for their generous contribution to WASO in the last twelve months through the WASO’s Annual Giving Program:

Private Giving Program continued...

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If you are interested in becoming a Patron or learning more about our Private Giving Program, please contact sarah Gallinagh, donations & Bequest Coordinator on 9326 0075 or email gallinaghs@waso.com.au

Private Giving brochures are available from the WAso Programs & Information desk located in the main foyer of the Perth Concert hall or visit waso.com.au

dr robert turnbullMaggie venerysstan & valerie vicichWatering ConceptsIan WatsonAnn WhyntieFreddi Wilkinson Jean & Ian Williams Aotrish Williams & strategic Interactionsdr Peter Winterton Anonymous (14)

Tutti PatronGifts $500 – $999

Geoff & Joan AireyCatherine BagsterMerle I BardwellJackie & Bernard Barnwell Mrs B Barkershirley Barraclough P M BennetMichael & nadia Berkeley-hillrobert & Judith Bowerdr vin & diane BrennanKay Brice James & Gay BrownC & K BrownlieGavin BunningIan & Marilyn BurtonAnn Butcher & dean r Kubanknanette Carnachanlyn & harvey Coates AoAgatha & Alex Cohen AoMax CollinsBrian Cresswelldr & Mrs neil Cumpstonnorman & denia daffenGina & neil davidsonlesley & Peter davies

Jop & hanneke delfosvera J djulbiclorraine ellardMrs G. ewenAnnette Finn George GavranicMrs Isobel GlencrossYi & Jiegi GongPauline & Peter handforddouglas M & regina hansenMichael hardingProf Alan harvey & dr Paulien de Boerrichard hatchdr david & Annie haultain dr Penny herbert (in memory of dunstan herbert) helen hollingsheadJim & Freda IrenicJohn IsherwoodIt vision Australia Pty ltdCynthia JeeCatherine and Bernth JohanssonB. M. Kenttrevor & Ane Marie lacyPaul leerosalind lilleydr Mary ellen Macdonald and Michael PaulyJohn McKay & Claire BrittainGaye & John McMathMrs Carolyn Milton-smith (in memory of emeritus Prof. John Milton-smith) dr Peter Mosslynne naylor (in memory of Paul F naylor)Bev PennyMarilyn Phillips & Prof Alan BittlesAlpha & richard Pilpel oAM

sheila Pinchtrevor & Fay Pitcherthomas & diana Potter Clarissa reptonJames & nicola ridsdill-smithdr r & J schwenger Margaret & roger searesJudith e shawross smith Peggy & tom stacyGrant sutherland tony & Gail sutherlandharvey tijouMrs Joan tonkin MBe JPs r vogtAdrienne & Max Walters Judith Wilton & david turnerdiana Warnock Anne Watsondr & Mrs Chris Whitakerviolette WilliamJanet Williamssue Williams – humanconnectionPatricia WongYalambi Farm studAnonymous (14)

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The CompanyWest Australian Symphony Orchestra

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

Principal ConductorPaul danielPartnered by Wesfarmers Arts

ConcertmasterGiulio Plotino

Conductor Laureatevladimir verbitsky

Chorus DirectorMarilyn Phillips

ViolinGiulio PlotinoConcertmaster Margaret Blades*Assoc Concertmaster semra lee Assistant ConcertmasterGraham Pyatt A/Principal 1st ViolinJohn Ford Principal 2nd ViolinZak rowntreeAssoc Principal 2nd ViolinKylie liang Assistant Principal 2nd Violinsarah BlackmanFleur Challenstephanie deandorothy FordBeth hebertshaun lee-Chen*Akiko MiyazawaAnna o’haganMelanie PearnKen PeelerBrendon richardslouise sandercockJolanta schenkJane serrangeliellie shalleyJacek slawomirskiBao di tangCerys toobyrebecca Whitedavid Yeh

ViolaGiovanni Pasini PrincipalBerian evans Assoc PrincipalKierstan Arkleysmithnik BabicAlex BroganKatherine drakeAlison hallrachael KirkAllan Mcleanhelen tuckey

Cellorod McGrath Principallouise McKayAssoc Principalshigeru Komatsuoliver McAslan nicholas Metcalfeeve silver* Fotis skordastim southXiao le Wu

Double BassAndrew rootes* PrincipalJoan Wright Assoc PrincipalChristine reitzensteinlouise rossAndrew taitMark tooby

FluteAndrew nicholson PrincipalMary-Anne Blades Assoc Principal

PiccoloMichael Waye Principal

Oboeleanne GloverA/Principal

Cor Anglaiselizabeth CheeA/Principal

ClarinetAllan Meyer Principallorna Cook

Bass ClarinetAlexander Millier PrincipalAlessandrino Property Group Chair of Principal Bass Clarinet

BassoonJane Kircher-lindner PrincipalAdam Mikulicz Assoc Principal

Contrabassoonoscar Garrido de la rosa Principal

Horndavid evans Principalrobert Gladstones Principal 3rdJenna BreenFrancesco lo surdorachel silver

Trumpetdavid elton Principalevan Cromie Assoc PrincipalPeter Miller

TromboneJoshua davis Principalliam o’MalleyAssoc Principal

Bass TrombonePhilip holdsworth Principal

TubaCameron Brook Principal

TimpaniAlex timckePrincipal

Percussiontroy Greatz A/Principal tim White

Harpsarah Bowman Principal

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Perth Concert Hall Aeg Ogden (Perth) Pty Ltd.Perth Concert hall is managed by AeG ogden (Perth) Pty ltd venue Manager for the Perth theatre trust for the trust venues.

Andrew Bolt General Managerhelen stewart Miranda lancaster-AllenDeputy General ManagersPeter robins Technical Manager

Paul richardson Assisant Technical ManagerPenelope Briffa Event Coordinator

Aeg Ogden (Perth) Pty Ltdrodney M Phillips Chief Executive

The Perth Theatre Trustdr. saliba sassine Chairman

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

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

Board of DirectorsJanet holmes à Court AC ChairmanBill BlokingMark CoughlanJeff dowlingKeith KessellAnne nolanBarrie lepley Deputy ChairmanJulian sherBryan taylor

ExecutiveCraig Whitehead Chief Executive sarah Afentopoulos Human Resources ManagerMegan lo surdo Executive Administration Officer

Artistic Planning evan Kennea Executive Manager, Artistic PlanningClaire stokes Program Manager Alan tyrrell Program ManagerPrue Ashurst Education Managerstephen McAllan Artist Liaison/Chorus AdministratorCallum Moncrieff Program Coordinator

Orchestral ManagementKeith McGowan Executive Manager, Orchestral ManagementJohn Chaplin Orchestral Operations Managerdavid Cotgreave Production & Technical ManagerAlistair CoxOrchestra Managernoel rhind Orchestral Operations CoordinatorWee Ming Khoo Music Librarian

Business ServicesPeter Freemantle Executive Manager, Business ServicesAngela Miller Accountantdiane Wilson Business Services Assistantdaniela Antulov Payroll AdministratorAndrew ChewSystems Administrator (Tessitura)

Corporate DevelopmentMarina Woodhouse Corporate Development ManagerAshleigh Perrella Corporate Relations Executivesusan Brannigan Corporate Development Coordinator

Private GivingAlecia Benzie Executive Manager, Private Giving Amy stokes Philanthropy Executivesarah Gallinagh Donations & Bequests Coordinator

Marketing Kelli Carnachan Executive Manager, MarketingPaula schibeci A/Executive Manager, Marketingtonia Kilian Marketing ManagerJessica Bovenkerk Graphic DesignerKirsty Chisholm Digital Marketing Coordinatorliz drewPublic Relations Coordinator hilary McKenna Subscriptions Marketing Coordinator sarah Gallinagh Group Sales Coordinatorsava Papos Customer Service & Sales ManagerJosie Aitchison Beverley trolio Customer Service CoordinatorsMargaret daws vicki Princedebbie silvesterrobyn WestbrookCustomer Service Officersvanessa Costanzo Marketing Assistant

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Corporate Partners

World Artist Partners

Platinum Partners

Symphony in the City Partner Chamber Series PartnerOutdoor Family Concert & Sound Shell Partner

Orchestral Partners

Education & Community Partners

Keynote Partners

Symphony Supporters

Margaret River Wine Partners

Cape Mentelle Vineyards, Clairault Wines, Fraser Gallop Estate, Hamelin Bay Wines, Happs Wines, Howard Park Wines, Hutton Wines, Juniper Estate, Leeuwin Estate, Moss Wood, Pierro Margaret River Vineyards, Stella Bella, UMAMU Estate, Vasse Felix, Wise Wines

Media Partners

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

Funding Partners

To share in our vision and discuss the many opportunities extended through corporate partnerships please contact Corporate Development on 08 9326 0088.