Classics SeriesWesfarmers arts

Margaret Blades, Associate Concertmaster

Pictures at an exhibition

21 & 22 october 2011 | 7.30pmPerth Concert Hall

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Concert Calendar

Book with WasO on 9326 0000, waso.com.au, group bookings (8+ people) 9326 0075 or BOCs 9484 1133, bocsticketing.com.au

WESF1045_WASO_AD_148x 210mm_MONO_INK350%.indd 1 1/03/11 2:22 AM

Chamber Series

Mozart & Mozart

4 november | Friday 2pmSt Mary’s Cathedral

MOZART Horn Quintet K.407 MOZART Quintet for Clarinet and Strings K.581

Allan Meyer, clarinet David Evans, horn

Ernst & Young Contempo Series

the Music oF GeorGe Gershwin

11 november | Friday 7.30pm 13 november | sunday 7.30pmPerth Concert Hall

George Gershwin arguably wrote more hit songs in his short life than any other composer. Remember Strike up the Band? Rhapsody in Blue? Porgy and Bess? An American in Paris? Join Grammy Award-winning conductor Bramwell Tovey as we go on a journey through the very best of Gershwin’s music.

Bramwell Tovey, conductor/piano Tracy Dahl, soprano (pictured)

Jazzwa presents free entertainment in the Wardle Room, post-show Friday & Sunday.

Water Corporation Family Series

bach to the Future

6 november | sunday 3pmPerth Concert Hall

When Corky accidentally combines the ingredients of a magical musical spell, she finds herself on an adventure with some of the world’s most fascinating composers – Bach, Mozart, Beethoven, Dvořák, Shostakovich and more! Join Corky as she attempts to recreate the musical formula that will bring a happy ending to a time travel experiment gone awry. WASO welcomes back the award winning Platypus Theatre Company in this enchanting tale of music throughout the ages.

Warwick Potter, conductor

Suitable 4 - 10 year olds.

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Connect with WASOFacebook

Become a fan of WASO on our Facebook page. You can talk to other fans about all topics WASO and get updates about forthcoming concerts and events. Visit facebook.com/WestAustralianSymphonyOrchestra

TwiTTerIf you want to know even more about the daily life of your Orchestra, follow us on Twitter @_WASO_ for instant updates!

e-NewsStay up to date on everything that is happening at WASO by subscribing to the SymphonE-news. You can subscribe through the WASO homepage.

FeedbackIf you would like to give WASO any feedback please either write (PO BOX 3041, East Perth WA 6892), send an email (waso@waso.com.au) or call 9326 0000.

At the concertPre-coNcerT Talks

WASO and Wesfarmers Arts bring you free Pre-Concert Talks on the Terrace level of the Perth Concert Hall at 6.45pm before every Classics concert. Tonight’s speaker is Sally Kester.

Free coNcerT ProgramsConcert programs are provided free at concerts or can be downloaded from waso.com.au prior to the concert date. 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 recordiNgsContinue to 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.

cough lozeNgesFree cough lozenges are available from the WASO Customer Service Desk in the foyer before each performance and at the interval.

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

beveragesFoyer bars open for drinks and coffee two hours before, during interval and after each WASO performance. To save time we recommend you pre-order your interval drinks.

Watch and Listen

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

waso PodcasTsWASO Podcasts take you behind the scenes and deeper into the music. These are available monthly at waso.com.au.

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 webcasTsWASO is streaming five concerts live and on demand in 2011, thanks to iiNet. Visit waso.com.au to find out more.

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Pictures at an exhibition

WAGNER The Flying Dutchman: Overture (11 mins) SCHUMANN Piano Concerto (31 mins)

Interval (20 mins)

MUSSORGSKY arr. RAVEL Pictures at an Exhibition (32 mins) PLUS BONUS TRACK*

Brad Cohen, conductor Ronald Brautigam, piano (pictured)

*Following a short break after tonight’s concert, join us for a musical treat – the Bonus Track.

Classics SeriesWesfarmers arts

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Imagination and colour fill the Perth Concert Hall in this Classics concert. Beginning in the North Sea on the cursed ship, The Flying Dutchman, we hear the exhilarating overture to Wagner’s opera of the same name. The music is typically Wagnerian – rich orchestration and harmonies, complex textures and the composer’s characteristic ‘leitmotifs’. This overture features motifs representing characters and events in the opera, from the turbulent storm motif at the beginning, to the gentle ballad of Senta, the beloved.

Schumann’s only piano concerto was written for his wife Clara and is suitably passionate. It is also a showpiece, containing great virtuosic passages and a stunning long cadenza in the first movement. Dutch pianist Ronald Brautigam will perform this Romantic masterpiece tonight, after his magnificent performances of Beethoven’s Fourth Piano Concerto with WASO just last week.

After interval we reveal 10 musical pictures in the title piece of the concert, Pictures at an Exhibition. Master orchestrator Ravel worked his magic with Mussorgsky’s colourful depiction of Victor Hartmann’s paintings in 1922. Now an incredibly popular work, we must owe thanks to both composers for this contribution to the orchestral repertoire.

Stay afterwards to hear our Bonus Track, yet another work rich in imagination and colour.

Claire StokesArtistic Program Coordinator

Speed Read

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Brad CohenConductor

Ronald BrautigamPiano

Brad Cohen first came to public attention when, a year after winning the 1994 Leeds Conductors Competition, he conducted the world premiere of Thomas Adès’ Powder Her Face. Since that auspicious beginning he has conducted a wide-ranging repertoire at English National Opera, Opera Australia, Opera North, and opera companies including Lucerne, Angers /Nantes, and the Netherlands Reisopera, and at festivals including Hong Kong, Edinburgh, Cheltenham, Adelaide, Rossini in Wildbad, and Porto.

He has conducted orchestras including the London Philharmonic, Philharmonia, Royal Philharmonic, BBC National Orchestra of Wales and BBC Scottish Symphony Orchestra, Stuttgart Philharmonic, Stavanger Symphony Orchestra, Gelders Orchestra, Monte Carlo Philharmonic, Melbourne Symphony Orchestra, National Symphony Orchestra of Ireland, Royal Liverpool Philharmonic Orchestra, Scottish Chamber Orchestra, and the City of London Sinfonia.

2011 highlights include his debut with New York City Opera conducting The Elixir of Love, a collaboration with Robert Wilson, Bryn Terfel and Rufus Wainwright in Monte Carlo, and an appearance at Dartington International Summer School.

One of Holland’s leading musicians, Ronald Brautigam performs regularly with conductors such as Chailly, Dutoit, Haitink, Herreweghe and Hogwood, among others. Besides his performances on modern instruments he has developed a great passion for the fortepiano and has performed with the Orchestra of the Eighteenth Century, Tafelmusik, Orchestra of the Age of Enlightenment, Hanover Band, Freiburg Baroque Orchestra, Orchestre des Champs-Élysées and Concerto Copenhagen.

His award-winning discography includes recordings of concertos by Shostakovich, Hindemith, Frank Martin and Mendelssohn, as well as the complete piano works of Mozart and Haydn on the fortepiano. Just released is number ten in his acclaimed ongoing 17-disc Beethoven cycle, also on fortepiano.

Ronald Brautigam studied in Amsterdam, London and in the United States with Rudolf Serkin. In September 2011 he took up a new appointment as Professor at the Basel Music Academy.

In 1984 he was awarded the Netherlands Music Prize, the highest music award in his native Holland.

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When did you begin playing viola?

The viola looked so big when I was 9, so my teacher gave me a small violin and I started scratching open strings. I was only allowed to play 4 notes (G, D, A, E), so to alleviate the ear pain at home my dad (composer and organist) used to accompany me with sophisticated chords to make it sound better! After 4 years I had already been seduced by the sound of the viola and switched instruments.

What are your favourite works for viola?

There are several wonderful concertos written in recent years. Among them I love the concertos of Britten and Schnittke, and I have enjoyed performing both. I also love Bartók, of course. When I have the chance to play with piano, I really enjoy Brahms and Schumann.

When you first came to WA you said you “fell in love” with the place. What is it you love most about living here?

One year passed really fast, and I’m looking forward to the warm seasons, which I like so much here in WA. I still love to go to Kings Park and sit on the grass, have coffee in Boucla, dinner with a view at Raffles Hotel, run around Lake Monger and swim in Yanchep. However, what I like most is going up north away from civilization and human kind, have a beach for myself and have a good chat with a dolphin!

Your pick for 2011 was Simone Young Conducts Mahler. What would be your pick for 2012? I’m sorry to be cheeky but I think I’ll pick myself! Mozart’s Sinfonia Concertante is an absolute masterpiece and I can’t wait to play it with our wonderful Concertmaster Giulio Plotino.

Meet the MusicianGiovanni PasiniPrincipal Viola

West Australian Symphony Orchestra

Paul Daniel Principal ConductorPartnered by Wesfarmers Arts

Vladimir Verbitsky Conductor Laureate

Marilyn Phillips Chorus Director

Giulio Plotino Concertmaster

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On Stage Tonight

violiNMargaret BladesAssoc ConcertmasterSemra Lee Assistant ConcertmasterGraham Pyatt Assoc Principal 1st ViolinJohn Ford Principal 2nd ViolinYacht Grot Chair of Principal 2nd Violin

Zak RowntreeAssoc Principal 2nd ViolinKylie Liang Assistant Principal 2nd Violinsarah blackmanFleur challenerin chen^stephanie DeanDorothy Fordbeth hebertshaun Lee-chenLucas o’brien^anna o’haganKathleen o’haganMelanie PearnKen Peelerbrendon richardsLouise sandercockJolanta schenkJane serrangeliellie shalleyJacek slawomirskibao Di tangcerys toobyrebecca whiteDavid Yeh

violaGiovanni Pasini Berian Evans Kierstan arkleysmithnik babicalex broganKatherine corecig^Katherine Drakealison hallrachael Kirkallan McLeanhelen tuckey

celloRod McGrath Louise McKayshigeru Komatsunicholas Metcalfeeve silverFotis skordastim southJon tooby^xiao Le wu

double bassAndrew RootesJoan Wright elizabeth browning^christine reitzensteinLouise rossandrew taitMark tooby

FluTeAndrew Nicholson Mary-Anne Blades Diane riddell^

oboeLeanne GloverA/PrincipalElizabeth CheeA/Assoc Principalstephanie nicholls^

clariNeTAllan Meyer Lorna cookAlexander Millier Principal Bass Clarinet

bassooNJane Kircher-Lindner Adam Mikulicz Simone Walters Principal Contrabassoon

horNDavid Evans Robert Gladstones Principal 3rdDoree Dixon^heath Parkinson^roman Ponomariov^

TrumPeTDavid Elton Evan Cromie Peter Miller

TromboNeJoshua Davis David RobinsA/Assoc PrincipalPhilip Holdsworth Principal Bass Trombone

TubaCameron Brook

TimPaNiAlex Timcke

PercussioNTim White Troy Greatz Joel bass^catherine betts^Paul tanner^

harPSarah Bowman Yinuo Mu^

alTo saXoPhoNeMatthew styles^

celesTeJana Kovar^

PrincipalAssociate Principal ^ Guest Musician

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Subscribe to WASO’s 2012 Classics Series & save up to 20%!

waso.com.au

Classics Series 2012

Eight concerts in the Perth Concert Hall delighting music lovers with a blend of well-loved favourites.

• Organ Spectacular• Beethoven’s Fifth• Tchaikovsky’s Fifth• Ravel’s Piano Concerto

• Tasmin Little Plays Bruch• Arabian Nights• Dvořák’s New World• Mozart & Strauss

Purchase an 8 concert Classics Series Subscription from $330*.*Concession. Single tickets on sale Monday 12 December 2011.

BOOKINGSWASO 9326 0000

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

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The Flying Dutchman tells the story of a sea captain who, living under a curse, is doomed to sail the seas for all eternity or until he is released from his torment through the love and redemptive sacrifice of a pure woman. He anchors his phantom ship in a sheltered cove in Norway and finds in a young woman, Senta, the redeemer he longs for. Senta, too, yearns to liberate the Dutchman and in the closing moments of the opera casts herself into the sea to be united with her beloved in death.

The robust theme announced by the horns at the beginning of the overture is strongly associated with the Dutchman. The turbulent rising and falling waves thrashed out by the strings and the pervasive and unstable diminished seventh harmonies suggest a terrifying ocean voyage. The ocean is tamed, however, with the appearance of one of Senta’s melodies, enunciated by the cor anglais and supported by other woodwinds.

We have moved from the key of D minor to F major and have sailed into harmonically stable waters. But the period of calm is short-lived, for we soon return to D minor and the turbulent themes associated with the accursed protagonist. Thematic contrast appears in the form of the buoyant Norwegian sailors’ song (again in F major and enunciated by the winds) but this, too, is thwarted by the Dutchman and the tempestuous sea. Finally, Senta’s ‘redemption’ theme rings out triumphantly in D major, signifying that peace has come at last to the tragic, long-suffering Dutchman.Abridged from Robert Gibson © 1999WASO last performed this work on 11 December 2010, conducted by Warwick Potter.

Richard Wagner (1813-1883)

If you like this work you may also enjoy…

hoLst’s the PLanets2 December | Friday 7.30pm 3 December | saturday 7.30pmHOLST The Planets

The Flying Dutchman: Overture Subscribe to WASO’s 2012 Classics Series & save up to 20%!

waso.com.au

Classics Series 2012

Eight concerts in the Perth Concert Hall delighting music lovers with a blend of well-loved favourites.

• Organ Spectacular• Beethoven’s Fifth• Tchaikovsky’s Fifth• Ravel’s Piano Concerto

• Tasmin Little Plays Bruch• Arabian Nights• Dvořák’s New World• Mozart & Strauss

Purchase an 8 concert Classics Series Subscription from $330*.*Concession. Single tickets on sale Monday 12 December 2011.

BOOKINGSWASO 9326 0000

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

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Robert Schumann (1810-1856)

Following their wedding in September 1840, composer Robert Schumann and Clara Wieck, a prominent piano virtuoso, set up house in Leipzig. The couple soon had children, and finding money to support a growing family was a constant worry. Clara had no intention of abandoning her successful musical life. She took pride in earning money from her performances; she also helped popularise Robert’s piano works by including them in her concert programs. Robert revered his wife’s extraordinary musicianship, but his pride struggled with the greater fame accorded Clara, especially when they travelled on concert tours together. Though a respected music journalist and an acclaimed composer of piano works, songs and chamber music, he had yet to write the symphonies and large-scale works that would later enhance his artistic reputation.

A piano concerto by Robert that Clara could perform would thus serve several purposes. Before marrying, Robert had experimented with various ideas for piano concertos, none of which evolved beyond sketches. But during the newlyweds’ first year, he completed a Phantasie for Piano and Orchestra, conceived and orchestrated during 16 days in May 1841. A private performance led to the first of several revisions, but Robert could not find a publisher for his single-movement work.

He set it aside for four years, during which time he wrote more chamber music (including his popular Piano Quintet and Piano Quartet) as well as the Spring Symphony, and moved his family to Dresden. From there he undertook a tour to Russia with Clara that left him exhausted and ill, triggering a severe nervous breakdown. He sought therapy by studying the works of Bach and writing fugues. Taking a break from counterpoint* exercises, he added two movements – a final rondo and a connecting Intermezzo – to the reworked Phantasie, and thus created his Concerto for Piano and Orchestra.

Piano Concerto in A minor, Op.54Allegro affettuoso Intermezzo* (Andantino grazioso) – Allegro vivace

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Ferdinand Hiller, a conductor to whom Robert dedicated the concerto (hoping to heal a rift in their friendship), led the premiere in his Dresden subscription concert of 4 December 1845 with Clara as soloist. But the true dedicatee is Clara, for whom Robert characterised his devotion in the opening movement’s tempo indication of Allegro affettuoso, the Phantasie’s original title. Clara took pleasure in the results; she had long wanted a more brilliant vehicle for display of her virtuosity than the Phantasie. Felix Mendelssohn, the Schumanns’ great friend, who expressed highest regard for Clara’s playing and supported (with occasional private misgivings) Schumann’s work as a composer, organised and conducted the Leipzig premiere on New Year’s Day 1846. Thereafter, the concerto was performed in important cities, often with Robert conducting; it remained a central work in Clara’s repertoire, and is a lasting testament to the couple’s remarkable personal and artistic partnership, cut short by Robert’s death at age 46 in the Endenich asylum, where he recalled, in a letter to Clara, the concerto ‘that you played so splendidly’.

With an abrupt, chromatic* cascade of chords, the soloist’s opening entrance commands immediate attention, heralding the oboe’s statement of the primary theme, echoed by the piano. The theme’s three-note descending motif dominates deliberations between the orchestra and soloist. The opening key of A minor yields, via the second theme, to triumphant C major, then to an expressive reverie in A flat major, showcasing the piano accompanied by radiant strings and plaintive woodwind. A return to earlier debates interrupts this dream, restores the opening theme and launches the soloist into an extended cadenza, capped by a quick coda* that ends emphatically.

The second-movement Intermezzo (Andantino grazioso), hosts a more congenial but equally passionate dialogue. Short musical ideas are exchanged politely between soloist and orchestra, but as they warm to their topic, an eloquent contrasting theme sings out richly from the cellos, ornamented expansively by the piano. As the conversation fades, clarinets and bassoons recall the opening movement’s three-note motif, first in A minor, then in A major. Without pause, the piano seizes the major motif and launches into a robust, triple-metre rondo* marked Allegro vivace, driven by the soloist’s extensive bravura passagework. The third-movement theme (itself a transformation of the primary first-movement theme, subtly strengthening the concerto’s structural unity) surfaces buoyantly through harmonic sequences that build to an exhilarating conclusion.Samuel C. Dixon © 2003*For an explanation of these words please turn to page 16.WASO last performed this work on 18 & 19 June 2004 with soloist Andreas Haefliger and conductor Matthias Bamert.

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Modest Mussorgsky (1839-1881)orch. Maurice Ravel

Modest Mussorgsky wrote Pictures at an Exhibition as a set of piano pieces. They were his memorial to a friend, the artist Victor Hartmann, who had died of a heart attack in 1873. Mussorgsky had met Hartmann in 1870, when he had been brought into Mussorgsky’s circle by the critic Vladimir Stasov.

In 1874, Stasov mounted an exhibition of about 400 of Hartmann’s works – paintings, drawings, designs and jewellery. He suggested that Mussorgsky assuage his grief in some sort of memorial, and it was this exhibition which inspired Mussorgsky to produce what became Pictures at an Exhibition, a set of ‘tone-portraits’ based on a selection of Hartmann’s works. It was completed on 26 June 1874.

There have been various orchestrations* of Pictures over the years: Rimsky-Korsakov, Stokowski, and Vladimir Ashkenazy are among those who have tried their hands. It is said that ‘the large number of arrangements…indicates the essentially orchestral nature of Mussorgsky’s [pianism].’

The most famous orchestration*, however, is that of Maurice Ravel in 1922. For Ravel, the act of orchestrating was an important occupation. Certainly, he had an affinity with Mussorgsky’s music and Russian music in general. But Ravel also orchestrated the music of others as a way of engaging with their music the way an interpretative artist does.

Some say that Ravel’s orchestration presents a travel-brochure Russia. His orchestration is spicy, lurid, exotic. ‘His’ Gnome, for example, (brittle xylophone, tart trumpet, eerie string glissandos) is prettier than Mussorgsky’s original. Yet, so assured is Ravel’s orchestration, that one almost believes Pictures at an Exhibition to be his conception to begin with.

Pictures at an ExhibitionPromenade Gnome Promenade The Old Castle Promenade Tuileries – Children quarrelling at play Bydlo Promenade

Ballet of the Unhatched Chickens ‘Samuel’ Goldenburg and ‘Schmuÿle’ Limoges Market Catacombs – Roman sepulchres With the dead in a dead language The Hut on Hen Legs – Baba-Yaga The Great Gate of Kiev

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Pictures at an Exhibition begins with the Promenade, an introduction in a varying 5/4 and 6/4 metre, meant to represent the composer himself wandering around looking at the paintings. What begins as a single line followed by chords in the piano original is presented as a solo trumpet followed by tutti brass and, later, massed strings and winds, providing altered perspectives.

Gnome is inspired by Hartmann’s design for a small gnome-shaped nutcracker.

The Old Castle is based on a watercolour of a troubadour singing before a medieval castle.

The third Promenade has a fuller orchestration, in response to the thicker chords of Mussorgsky’s original. Ravel opts predominantly for winds in Tuileries, based on Hartmann’s watercolour of one corner of the famous French garden.

Bydlo, Polish for ‘cattle’, refers to a drawing of two oxen pulling a heavy cart. Listening to the piano original with its heavy bass chords and opening fortissimo one is reminded of the realist Mussorgsky’s attempts at pantomimic accuracy. Ravel, however, aims for a different effect. His Bydlo begins as a distant forlorn tuba solo which builds with the addition of other instruments before returning to solo tuba – as if the cart has passed on its way.

Ballet of the Unhatched Chickens is based on costume designs for the ballet Trilby. The dancers’ legs stick out from the shells. Ravel’s clacking winds conjure the image of farmyard activity.

‘Samuel’ Goldenburg and ‘Schmuÿle’ is often presented with Stasov’s sanitised title: Two Jews – One Rich, the other Poor, but, according to Richard Taruskin, Mussorgsky’s intention was definitely unflattering, which is backed up by the fact that no Hartmann picture by that name exists. The stuttering muted trumpet solo here is often used as an orchestral audition piece.

Ravel removed a Promenade which originally occurred between ‘Samuel’ Goldenberg and ‘Schmuÿle’ and Limoges Market. In Catacombs Hartmann painted himself and the architect Kenel and a guide with a lantern exploring the Paris catacombs. The orchestration is almost brutally simple.

Catacombs moves into Con mortuis in lingua mortua. We hear a variation of the Promenade theme, with oboes playing against sepulchral-sounding high string tremolos*. Mussorgsky wrote on the piano score: ‘Hartmann’s creative spirit leads me to the place of skulls and calls to them – the skulls begin to glow faintly from within.’

The Hut on Hen Legs refers to a Hartmann design for a clock face in the form of Baba-Yaga, the witch in Russian folk tales, who lives in a hut mounted on the legs of a giant fowl. The Great Gate of Kiev, Hartmann’s architectural design for a commemorative structure, provides the inspiration for a massive blazing finale. Abridged from G.K. WilliamsSymphony Australia © 1999/2001*For an explanation of these words please turn to page 16.WASO last performed this work on 16 & 17 July 2004, conducted by Hiroyuki Iwaki.

Victor Hartmann

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GlossaryIntermezzoA light, reasonably short movement which goes in between two weightier ones.

CounterpointTwo or more lines of music or melodies that are played at the same time.

ChromaticNotes that move up or down in pitch by very small steps.

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

RondoA musical form where a main idea (refrain) alternates with a series of musical episodes.

OrchestrationThe allocation of various notes and melodies to the different instruments and combinations of instruments in the orchestra.

TremoloRepeating the same note many times very quickly, producing a ‘shaking’ sound.

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.

Proud sPonsor of wAso

apachecorp.com/Australia

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Meet the Instrument The French Horn

The French horn – or horn, as it is now more commonly referred to – is a brass instrument consisting of around twelve feet of tubing wound into a coil expanding into a flared bell.

It is a descendant of the natural horn, on which notes were produced solely by means of variations in lip tension and air pressure. Crooks, or extra lengths of tubing, could be inserted to alter the harmonic series (the notes obtainable naturally from the instrument) and pitch was manipulated by means of ‘hand-stopping’, or inserting the hand into the bell.

Modern horns have three or four valves which render the instrument fully chromatic. As the 19th century progressed the demands placed on symphony orchestras from increasingly harmonically complex music by composers such as Wagner led to the widespread adoption of the valve horn.

The use of four horns is standard in today’s orchestral line-up, with horns 1 and 3 playing the higher parts and horns 2 and 4 the lower parts. This interlocked scoring reflects the historical deployment of two pairs of high and low horns, each pair in a different key.

Double and triple tonguing are possible on the horn, however flutter tonguing can be tricky. Other techniques or special effects include cuivré, which calls for a loud, brassy timbre produced by a more forceful attack, and ‘bells up’, which instructs the player to lift the bell of the horn into the air.

The horn’s hunting origins and heroic qualities have long been exploited by composers, and in addition to famous concertos by Mozart and Richard Strauss, favourite works and orchestral solos include Schumann’s Adagio and Allegro and Concertstück for four horns and orchestra, Strauss’ Till Eulenspiegel’s Merry Pranks, and Weber’s Der Freischütz. The British horn virtuoso Dennis Brain (1921-1957) was the inspiration behind works by several composers, including Hindemith, Britten and Malcolm Arnold.© Symphony Services International 2011

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Earlier this year, the West Australian Symphony Orchestra, along with the West Australian Ballet, West Australian Opera and Black Swan State Theatre Company received a generous major gift of Fortescue Metals Group shares from Andrew and Nicola Forrest, providing a boost to each company and demonstrating a unique way of providing philanthropic support.

Each company received a portion of the 650,000 shares from the Forrest family, valued at around $3.7 million. Mr Forrest said he hoped the gift would help Western Australia’s four major performing arts companies to grow and develop: “We are fortunate in Western Australia to have an exciting and dynamic arts community and are delighted to support our local arts companies and help them to continue to bring performing arts of the highest calibre to all West Australians.”

We are proud recipients of this donation. WASO’s Chief Executive Craig Whitehead stated: “Nurturing and supporting local arts companies is essential to maintaining and sustaining a strong and vibrant arts sector here in WA. Together with our colleagues, I am very grateful to Andrew and Nicola Forrest for this generous donation which will assist WASO in developing our private giving program and ensuring financial sustainability, particularly during difficult economic times.”

“Arts companies, like all non-profit organisations, require philanthropic support to be able to continue to be a part of a thriving arts community,” Mr Whitehead explained. “Each of WA’s major performing arts companies rely on income from ticket sales, government funding and corporate support in order to survive. However it is not enough and philanthropic support is becoming increasingly important. The gift made by Andrew and Nicola Forrest will make a real difference to each company’s ability to grow and develop.”

Philanthropic support is critical to WASO and every gift makes a difference. Please consider making a donation to WASO. You will be part of a special community of Patrons who support WASO and help ensure we continue to touch souls and enrich lives through music. To learn more, please contact Alecia Benzie, Executive Manager, Private Giving on 9326 0020 or email benziea@waso.com.au

Philanthropic Support - Sustaining WASO today and in the Future

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West Australian Symphony Orchestra

Private Giving ProgramPrivate 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 deeply 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 arkleyJanet holmes à court ac

sYmPhoNY circleRecognises Patrons who have made a gift to WASO in their Will.Judith Gederotosi nottage ( in memory edgar nottage)Judy sienkiewiczsheila wilemananonymous (12)

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:Dr Peter r DawsonJanet holmes à court acGeoff stearnanonymous (1)

sTradivari circleRecognises Patrons who have made a special contribution or donated substantial amounts over a number of years to WASO.Dr Peter r Dawsonthe taylor Family

All donations are fully tax deductible.

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Private Giving Program continued...We thank the following Patrons for their generous contribution to the 2011 Private Giving program.

PriNciPal coNducTor’s circleGifts $20,000+Janet holmes à court acMccusker charitable FoundationJill MulheronPatricia newanonymous (1)

imPresario PaTroNGifts $10,000 - $19,999tony & Gwenyth LennonJoshua & Pamela Pitt

maesTro PaTroNGifts $5,000 - $9,999Jean arkley (in memory of tom arkley)Mr william blokingGay & bob branchibridget Faye aMGilbert George & associatesinternational Mining servicesDr Patricia Kailissusan & Michael Kiernan Margaret & rod Marston robert May & Daniel Lee shing KongFrank & Doris roda (loving memory of Johann Gustav hamann) Peter & Jean stokescatriona woodall anonymous (4)

virTuoso PaTroNGifts $2,500 - $4,999Prof Fred & Mrs Margaret affleckwilliam carrneil archibald & alan Dodge aMsally burton Mark coughlan & Dr Pei Yin hsuMonika Dunnetrobyn Glindemann Keith & Gaye Kessell

Michael & Dale Kitney bryant MacfieMrs MorrellDr w b Muston John & Paula Phillipsros thomsonM & h tuiteKen & Jan williams sue & ron woollerandrew & Marie Yuncken anonymous (2)

PriNciPal PaTroNGifts $1000 - $2,499Gail 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-evansarthur & nerina coopeshon June craig aMGay & John cruickshankDr stephen Davisrai & erika DolinschekDon & Marie ForrestDr andrew GardnerGraham & barbara GouldenJannette Gray Joe & Deidre GreenfeldJacqui Grove David and Valerie Gullandrichard b hammondwarwick hemsleysylvia & harry hoffman oaM Michael & Liz hollingdaleLilian & roger Jennings anthony & noelle Keller bill Kean

Dr rob Kirk & sarah Gallinaghstephanie & John KobelkeGloria & 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 overtonassociate/Prof. tim PavyPamela Plattandrew & suzanne Polinigel & carol rarpchester reeveJohn & alison riggDr Lance risbeyMaurice & Gerry roussetroger sandercockMargaret & roger seareseve shannon-cullityasher & Fraida shapiroJulian & noreen sheranne & Frank sibbelJudy sienkiewiczGene tilbrookMary townsendDr robert turnbullJohn & Maggie Venerysstan & Valerie Vicichwatering conceptsian watsonJoyce westrip oaMDr heather whiting & richard hatchFreddi wilkinsonJean & ian williams aotrish williams & strategic interactionsDr Peter winterton anonymous (9)

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TuTTi PaTroNGifts $500 - $999Geoff & Joan aireycatherine bagsteremeritus Professor cora baldockMerle i bardwellJackie & bernard barnwell Mrs b barkershirley barraclough P M bennetwinfred bissetPeggy blains & L bourguignonrobert & Judith bowerDr Vin & Diane brennanKay brice James & Gay brownc & K brownlie Gavin bunningann butcher & Dean r Kubanknanette carnachanLyn & harvey coates aoagatha & alex cohen aoMax collinsbrian cresswellDr & Mrs neil cumpstonnorma Denia DaffenGina & neil DavidsonLesley & Peter DaviesJop & hanneke DelfosVera J Djulbicron Dyer (in memory of ivy Dyer)Lorraine ellardtimothy & Lexie elliottMrs G. ewenannette Finn George Gavranicelaine Gimsonisobel GlencrossDr Peter GoodwinPauline & Peter handfordMichael hardingProf alan harvey & Dr Paulien de boer

Dr David & annie haultain Dr Penny herbert (in memory of Dunstan herbert) helen hollingsheadJim & Freda irenicJohn isherwoodit Vision australia Pty Ltdcatherine and bernth Johanssonb. M. Kenttrevor & ane Marie LacyPaul Leerosalind LilleyDr Mary ellen MacDonald and Michael PaulyJohn McKay & claire brittainGaye & John McMathPeter MossLynne naylor (in memory of Paul F naylor)bev PennyMarilyn Phillips & Prof alan bittlesalpha & richard Pilpel oaMsheila Pinchtrevor & Fay Pitcherthomas & Diana Potterclarissa reptonJames & nicola ridsdill-smithaudrey rogersDr r & J schwenger Judith e shawGarnett skuthorpross smith Peggy & tom stacyGrant sutherland tony & Gail sutherlandharvey tijouMrs Joan tonkin Mbe JPs r VogtMax & adrienne walters Judith wilton & David turnerDiana warnock anne watsonDr & Mrs chris whitakerann whyntie Violette william

Janet & David williamssue williams – humanconnectionroma wilsonPatricia wongYalambi Farm studanonymous (11)

If you are interested in becoming a Patron or learning more about our Private Giving Program, please contact Sarah Gallinagh, Donations & Bequests Coordinator on (08) 9326 0075 or email gallinaghs@waso.com.au Private Giving brochures are also available from the Programs & Merchandise desk located in the main foyer of the Perth Concert Hall or visit waso.com.au

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West Australian Symphony Orchestra

The Company

violiNMargaret blades*Assoc Concertmastersemra Lee Assistant ConcertmasterGraham Pyatt assoc A/Principal 1st ViolinJohn Ford Principal 2nd ViolinYacht Grot Chair of Principal 2nd Violin

zak rowntreeAssoc Principal 2nd ViolinKylie Liang Assistant Principal 2nd Violinsarah blackmanFleur challenstephanie DeanDorothy Fordbeth hebertshaun Lee-chen*anna o’haganKathleen 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 Mcaslannicholas Metcalfe eve 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 Glover A/Principalelizabeth chee A/Assoc Principal

clariNeTallan Meyer PrincipalLorna cook

bass clariNeTalexander Millier Principal

bassooNJane Kircher-Lindner Principaladam Mikulicz Assoc Principal

coNTrabassooNsimone walters Principal

horNDavid evans PrincipalMalcolm stewart Assoc Principalrobert Gladstones Principal 3rdrachel silver

TrumPeTDavid elton Principalevan cromie Assoc PrincipalPeter Miller

TromboNeJoshua Davis PrincipalDavid robins A/Assoc Principal

bass TromboNePhilip holdsworth Principal

Tubacameron brook Principal

TimPaNialex timcke Principal

PercussioNtim white Principaltroy Greatz Assoc Principal Percussion & Timpani

harPsarah bowman Principal

PriNciPal coNducTorPaul DanielPartnered by Wesfarmers Arts

coNducTor laureaTe Vladimir Verbitsky

chorus direcTorMarilyn Phillips

coNcerTmasTerGiulio Plotino

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

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board oF direcTorsJanet holmes à court acChairmanbill blokingMark coughlanJeff DowlingKeith Kessellbarrie LepleyJulian sherbryan taylor

eXecuTivecraig whitehead Chief Executive sarah afentopoulos Human Resources Manager Jo nevill Administration & Special Projects Officer amy stokes Executive Assistant

arTisTic PlaNNiNgevan KenneaExecutive Manager, Artistic PlanningKellie wilson Artistic Program ManagerPrue ashurst Education Managerstephen Mcallan Artist Liaison/Chorus Administratorclaire stokes Artistic Program Coordinator

orchesTral maNagemeNTKeith McGowan Executive Manager, Orchestral ManagementJames Foster Orchestral Operations ManagerDavid cotgreave Production & Technical Manageralex Morris Orchestra Managernoel rhind Production Assistantalan tyrrell Music Librarian

busiNess servicesPeter Freemantle Executive Manager, Business Servicesangela Miller AccountantDiane wilson Business Services Assistant

corPoraTe develoPmeNTMelanie roosendaalExecutive Manager, Corporate Development Marina woodhouse Corporate Development Managerashleigh Perrella Corporate Relations Executive susan brannigan Corporate Development Coordinator

PrivaTe giviNg alecia benzie Executive Manager, Private Giving amy stokes Philanthropy Executivesarah Gallinagh Donations & Bequests Coordinator

markeTiNg Kelli carnachan Executive Manager, MarketingPaula schibeci Public Relations Managerwill ainger Graphic Designerhilary McKenna Marketing CoordinatorKirsty chisholm Digital Marketing Coordinatorsarah Gallinagh Group Sales Coordinatorbelinda huggins Customer Service ManagerJosie aitchison beverley trolio Customer Service CoordinatorsLuke butler Margaret Daws Vicki Prince robyn westbrookCustomer Service OfficersVanessa costanzoMarketing Assistant

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, Perth Adelaide Tce. WA 6832. Email waso@waso.com.au

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 Venues.

andrew bolt General Managerhelen stewart/Miranda Lancaster-allenDeputy General 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.

For more information on WASO Corporate Partnerships please contact Melanie Roosendaal, Executive Manager, Corporate Development. Tel: (08) 9326 0088 Email: roosendaalm@waso.com.au

Corporate Partners

media Partners

Partner of excellence

Platinum Partners

series Partners

education & community Partners

world artist Partners

Funding Partners

Cape Mentelle Vineyards, Clairault Wines, Cullen 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, Voyager Estate, Wise Wine, Woodside Valley Estate

symphony supportersComputershare, L7 Solutions, M2 Technology, Mercedes-Benz Diesel Motors Southpoint Star and Westpoint Star, Perth Concert Hall, Pianohaass, RICOH, Skywest Airlines

Allion Legal, Aquinas College, CITIC Pacific Mining, Davis Langdon, Grace Removals, Leighton Contractors, Penrhos College, Perron Group, Placer Management Group, Shell Development (Australia), The Perth Mint

keynote Partners

margaret river wine Partners

orchestral Partners