Masters Series Morning Symphony Series

Morning
Symphony Series
Wagner’s The Ring:
An Orchestral Adventure
11am, Thursday 29 November 2012
Perth Concert Hall
Chevron AuSTrAliA
Masters Series
Rachmaninov & The Ring
7.30pm, Friday 30 November & Saturday 1 December 2012
Perth Concert Hall
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13, on his way to a band concert in Sydney.
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N
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EW
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7.30pm
Sat 8 December
Langley Park,
Perth
Led by Principal Conductor Paul Daniel WASO will perform
highlights from the 2013 season as well as audience
favourites including Tchaikovsky’s explosive 1812 Overture.
Perth’s own Sara Macliver and Fiona Campbell join the
orchestra for Delibes’ exquisite Flower Duet and the
WASO Chorus feature in much-loved works by Borodin
and Verdi.
FURTHER INFORMATION WASO 9326 0000
waso.com.au
morning SymPhony SerieS
Program
Wagner’s The Ring: An Orchestral Adventure
11am, Thursday 29 november
WAgner arr. henK De vlieger The Ring: An Orchestral Adventure (68 mins)
From Das Rheingold:
Prelude – The rhine gold – nibelheim: the smithy – valhalla
From Die Walküre:
The valkyries – The magic Fire
From Siegfried:
Forest murmurs – Siegfried’s Deeds of heroism – Brünnhilde’s Awakening
From Götterdämmerung:
Siegfried and Brünnhilde – Siegfried’s rhine Journey – Siegfried’s Death – Funeral
music – Brünnhilde’s Sacrifice
Paul Daniel, conductor (pictured)
Paul Daniel appears courtesy of Wesfarmers Arts.
4
Chevron AuSTrAliA mASTerS SerieS
Program
Rachmaninov & The Ring
7.30pm, Friday 30 november & Saturday 1 December
rAChmAninov Piano Concerto no.3 (39 mins)
Allegro ma non tanto
Intermezzo (Adagio) –
Finale (Alla breve)
interval (20 mins)
WAgner arr. henK De vlieger The Ring: An Orchestral Adventure* (68 mins)
Paul Daniel, conductor
Garrick Ohlsson, piano WORLD ARTIST
*Movement headings are listed on previous page.
Paul Daniel appears courtesy of Wesfarmers Arts.
Garrick Ohlsson appears courtesy of Mitsubishi Corporation.
Wagner explored the potential of the orchestra to express the power and fragility of the world
like none before him, with hardly a note destined for the concert hall. his herculean effort to
cast his Ring Cycle took half a lifetime. its massive span begins and ends in the flooding waters
of the rhine, and at each twist of the epic drama, the powers of nature return again and again
to overwhelm the gods and the dwarfs, the giants and the humans. The waters engulf, the
fires destroy and cleanse, the earth breaks open, the air is split apart by the cries of the warring
Brünnhilde and her sisters. At each turning point, Wagner sets stage and singers aside and gives
the overwhelming voice of nature to the orchestra.
rachmaninov’s Third Piano Concerto weaves an intensely personal ‘song without words’
from the soloist. Beginning with the quietest spell, the song rises to remarkable emotional
heights. We are honoured to welcome garrick ohlsson to conquer the technical extremes of
rachmaninov’s vision.
Paul Daniel
Principal Conductor & Artistic Adviser
World Artist Partner
5
At the concert
Meet the Artist
Come to the Terrace level post-concert Friday night
to meet the Artist garrick ohlsson.
Pre-concert Talks
Find about more about the music in this concert with
this week’s speaker, Sally Kester. Pre-concert talks
take place at 9.40am in the auditorium on Thursday
morning, and 6.45pm in the Terrace level foyer on
Friday and Saturday evenings.
Free Concert Programs
Pick 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.
Cough Lozenges
Free 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.
Beverages
At morning Symphony concerts enjoy a free tea or
coffee prior to the start of the concert, then stay
afterwards for a $16.80 Chef’s Country luncheon
Buffet (bookings essential).
At Classics Series concerts foyer bars are open for
drinks and coffee two hours before, during interval
and afterwards. To save time we recommend you
pre-order your interval drinks.
Watch, Listen, Learn
Playlists
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
listen to the complete playlist for our masters,
Classics, morning Symphony and Chamber concerts
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 will be streaming five concert live and on
demand in 2012, thanks to iinet. visit waso.com.au
to find out more.
WASO Podcasts
go behind the scenes and deeper into the music.
listen to our podcasts at at waso.com.au
WASO Webcasts
YouTube
See interviews and behind-the-scenes action
at www.youtube.com/WestAustSymorchestra
Connect with WASO
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We would love to hear from you! Please send
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or leave us a message on Facebook or Twitter.
7
INTERNATIONAL
RECITAL
SERIEs 2013
Subscribe to WASO's 2013 International
Recital Series & save up to 10%!
Hear world-class soloists Orla Boylan,
Denis Kozhukhin and Alban Gerhardt up-close
in this new series of intimate recitals at the
Government House Ballroom.
NEW!
Orla Boylan in Recital
7.30pm, Mon 18 March
Denis Kozhukhin in Recital
7.30pm, Mon 17 June
Alban Gerhardt in Recital
7.30pm, Mon 9 September
Purchase a 3 concert International Recital Series Subscription for $135.
Single tickets on sale Monday 10 December 2012.
BOOKINGS
WASO 9326 0000
Subscribe online at
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Paul Daniel
Conductor
Paul Daniel became Principal Conductor
and Artistic Adviser of the West Australian
Symphony orchestra (WASo) in 2009. in
2013 he will take up the positions of music
Director of the orchestre national Bordeaux
Aquitaine and Principal Conductor and
Artistic Director of the royal Philharmonic
orchestra of galicia. he has appeared as a
guest conductor with major orchestras and
opera companies throughout the world as
well as holding several permanent positions.
From 1997 to 2005 he was music Director of
english national opera; from 1990 to 1997
he was music Director of opera north and
Principal Conductor of the english northern
Philharmonia; and from 1987 to 1990 he was
music Director of opera Factory. operatic
guest engagements have included the royal
opera house Covent garden, la monnaie in
Brussels, the Bayerische Staatsoper, munich
and the metropolitan opera in new york.
Paul Daniel’s orchestral engagements
have included performances with the
Philharmonia, london Philharmonic, the
oAe (with whom he recorded Elijah for
Decca), City of Birmingham Symphony
orchestra, Academy of Ancient music,
orchestre de Paris, gürzenich-orchester
Köln, leipzig gewandhaus, netherlands
radio Philharmonic, real Filharmonia
de galicia, orchestre national Bordeaux
Acquitaine, Tampere Philharmonic,
Cleveland orchestra, milwaukee Symphony,
new york Philharmonic, and the los Angeles
Philharmonic.
recent and future operatic plans include
Lucrezia Borgia and The Marriage of Figaro
for english national opera, Gloriana for
Covent garden, a new commission by Judith
Weir for the Bregenz Festival and Covent
garden, Lulu for la monnaie in Brussels, a
double bill of L’Enfant et les Sortilleges and
Der Zwerg for opéra national de Paris, Les
Troyens for the Deutsche oper Berlin, A
Village Romeo and Juliet for oper Frankfurt
and The Turn of the Screw for Zurich opera.
orchestral engagements, apart from his
concerts with WASo, include concerts with
BBC Philharmonic, royal Philharmonic,
orchestre national Bordeaux Acquitaine,
real Filharmonia de galicia, hamburg
Symphony, munich rundfunkorchester,
Tapiola Sinfonietta, Australian national
Academy of music, national youth orchestra
of great Britain and at the Bregenz Festival.
his many recordings include the hugely
successful CD of elgar’s Third Symphony
on naxos. in February 1998 Paul Daniel
received an olivier Award for outstanding
achievement in opera, and was awarded the
CBe in the 2000 new year’s honours list.
Paul Daniel appears courtesy of Wesfarmers Arts.
10
Garrick Ohlsson
Piano
Since his triumph at the 1970 Chopin
international Piano Competition, garrick
ohlsson has established himself worldwide
as a musician of magisterial interpretive
and technical prowess. Although he has
long been regarded as one of the world’s
leading exponents of the music of Chopin,
he commands an enormous repertoire which
ranges over the entire piano literature and
includes more than 80 concertos.
in recent seasons his schedule has featured
programs celebrating the bicentenary
celebrations of the births of Chopin and liszt,
including all-Chopin programs at the ravinia
and Tanglewood Festivals. This culminated
in the release of the documentary, The Art of
Chopin, in which he appeared.
engagements in 2012 have included
Busoni’s rarely performed Piano Concerto
with the european union youth orchestra
and gianandrea noseda at the edinburgh
Festival. other projects this season include
concerts with The Cleveland orchestra;
rachmaninoff’s Third Piano Concerto with the
Chicago Symphony conducted by mark elder;
a performance with the iceland Symphony
orchestra at the Kennedy Center’s nordic
Festival; and an appearance as soloist with
the Boston Symphony orchestra at Carnegie
hall. his current Australian tour includes
performances with the Sydney Symphony and
melbourne Symphony orchestra.
his grammy-winning discography includes
the complete Beethoven Sonatas and a 16disc set of the complete works of Chopin.
recent releases include rachmaninoff’s Piano
Concerto no.3 with the Atlanta Symphony
and robert Spano, the complete Brahms
variations for Solo Piano, and granados’
Goyescas. A disc of the piano music of
Charles griffes will be released later this year.
A student of Claudio Arrau, garrick ohlsson
studied at the Westchester Conservatory
of music and The Juilliard School. his gold
medal win at the Chopin Competition
launched his international career, and he has
since made almost a dozen tours of Poland.
he was awarded the Avery Fisher Prize in 1994.
Garrick Ohlsson appears courtesy of Mitsubishi Corporation.
Photo: Kacper Pempel
11
West Australian
Symphony Orchestra
Paul Daniel
Principal Conductor
Giulio Plotino
Concertmaster
Vladimir Verbitsky
Conductor Laureate
Marilyn Phillips
Chorus Director
Partnered by Wesfarmers Arts.
Meet the
Musician
Sarah Bowman
Principal Harp
i have been playing the harp for 32 years. What is your favourite orchestral work
featuring the harp?
Did you play any other instruments before
moving to the harp?
my favourite orchestral work would have to
be Debussy’s La Mer (The Sea).
i studied the piano, but only for three years. The Ring: An Orchestral Adventure features
four harps – are there many other works that
require as many harps?
How long have you been playing the harp?
How long have you been with WASO and
what has been your greatest moment
performing with the Orchestra?
i have been with WASo for 11 years now. The
greatest moment was this year, performing
A German Requiem with Simone young.
There are not many, but one of the most
famous is Berlioz’ Symphonie fantastique,
which calls for four harps (playing two
different parts). mahler’s Das klagende Lied
calls for even more harps – six in total.
Farewell...
This week we say farewell to four highly valued members of the West Australian Symphony
orchestra. David elton (Principal Trumpet) and rachel Silver (horn) left WASo earlier this year to
take up positions with Sydney Symphony and melbourne Symphony orchestra respectively.
We are delighted to have them back as guest musicians in this week’s concerts. At the end of 2012
John Ford (Principal 2nd violin) and Dorothy Ford (violin) will retire from WASo. Both musicians
have been long serving members of the orchestra with John joining in 1983 and Dorothy in 1991.
We wish John, Dorothy, David and rachel the very best in their future endeavours and thank them
all for their outstanding contribution and commitment to WASo.
12
On Stage Today
Violin
Giulio Plotino
Concertmaster
Margaret Blades
Assoc Concertmaster
Semra Lee
Assistant Concertmaster
Graham Pyatt
A/Principal 1st Violin
John Ford
Principal 2nd Violin
Zak Rowntree
Assoc Principal 2nd Violin
Kylie Liang
Assistant Principal 2nd Violin
hannah Brockway^
Fleur Challen
erin Chen^
Sara Duhig^
Dorothy Ford
Beth hebert
lawrence lee^
Shaun lee-Chen
lena mackenzie^
Akiko miyazawa
Anna o’hagan
Ken Peeler
Brendon richards
louise Sandercock
Jolanta Schenk
Jane Serrangeli
ellie Shalley
Jacek Slawomirski
Bao Di Tang
Andrea White^
David yeh
Viola
Giovanni Pasini
Berian Evans
nik Babic
Sally Boud^
Alex Brogan
Katherine Drake
Alison hall
rachael Kirk
Allan mclean
helen Tuckey
Aaron Wyatt^
Cello
Rod McGrath
Louise McKay
oliver mcAslan
guenevere measham^
nicholas metcalfe
eve Silver
Fotis Skordas
Tim South
Xiao le Wu
Double Bass
Andrew Rootes
Joan Wright
elizabeth Browning^
Tim Dunin^
Christine reitzenstein
louise ross
Andrew Tait
Flute
Andrew Nicholson
Mary-Anne Blades
Diane riddell^
Michael Waye
Principal Piccolo
Oboe
Stella McCracken^
Guest Principal
Elizabeth Chee
A/Assoc Principal
Jay harrison^
Leanne Glover
Principal Cor Anglais
Clarinet
Allan Meyer
geoff Bourgault^
lorna Cook
Alexander Millier
Principal Bass Clarinet
Alessandrino Property Group
Chair of Principal Bass Clarinet
Horn
David Evans
Robert Gladstones
Principal 3rd
Jess Armstrong^
Julia Brooke^
emma gregan^
Francesco lo Surdo
Peter luff^
rachel Silver^
Wendy Tait^
Trumpet
David Elton^
Guest Principal
Evan Cromie
Peter miller
ron Prussing^
Bass Trumpet
Trombone
Joshua Davis
Liam O’Malley
Philip Holdsworth
Principal Bass Trombone
Tuba
Cameron Brook
Timpani
Alex Timcke
Percussion
Troy Greatz
A/Principal
mary Broughton^
louise Devenish^
Tim White
Harp
Sarah Bowman
Jess Fotinos^
yinuo mu^
Bronwyn Wallis^
Bassoon
Jane Kircher-Lindner
Adam Mikulicz
Oscar Garrido de la Rosa
Principal Contrabassoon
Principal
Associate Principal
guest musician^
13
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Program Notes
Timeline of composers and works
15
Sergei Rachmaninov
(1873-1943)
Piano Concerto no.3 in D minor, op.30
Allegro ma non tanto
Intermezzo (Adagio) –
Finale (Alla breve*)
having just completed what is now regarded
as one of the most famously difficult piano
concertos of all time, rachmaninov’s resort
to the use of a ‘dummy’ keyboard as he
worked to master it is, perhaps, darkly ironic.
But that he did, as he sailed the Atlantic to
America for its premiere. his performance
with the new york Symphony and Walter
Damrosch on 28 november 1909 was greeted
enthusiastically, as was a repeat performance
at Carnegie hall the following January with
the new york Philharmonic under gustav
mahler. however, unlike his Second Piano
Concerto, which was taken up by other
pianists immediately, the popularity of the
Third was slow to build. Arguably, it was not
until the young vladimir horowitz made his
european recording debut with the work in
1930 that it found a wider audience.
16
The concerto was written on the cusp
of the so-called ‘modern’ age, the point
at which the maximalist excesses of the
romantic were undercut by a preference for
sparseness, as is notable in many later 20th
century works. As a composer, rachmaninov
was very much aware of the changing trend,
his own turning-point coming directly after
his massive, formally-designed Second
Symphony, completed in 1907. While the
inflections common in many performances
of the Third Concerto often emphasise its
extravagances, many modernising twists are
to be found, especially in the work’s unique
structure.
An example is the treatment of the first
movement’s two main themes, which return
at various places in later movements. The
famous opening melody – about which
commentators often relate Joseph yasser’s
unconvincing attempts to connect it to
the composer’s subconscious recollection
of a liturgical chant – recurs in the second
movement as an impassioned outburst in the
violins, and as a jaunty clarinet waltz. in the
final movement, the cellos reflect on it briefly
as the music winds toward a full restatement
of the second theme, which is also
reincarnated (incognito) as the underlying
motto* of the central scherzando* section.
rachmaninov wrote alternate cadenzas*
for the opening movement, the longer and
more extreme being the original of the two.
in that reading, the mighty restatement of
the main theme in double-octave chords
intensifies the pivotal notion of return, and
muddies an identification of the point of
recapitulation*. The second cadenza* is
shorter and lighter, and its creation could
be seen as a harbinger of the composer’s
uncertainties over the issue of length, which
became increasingly prevalent in his later
years. This topic similarly underscores the
numerous, often disfiguring, cuts that he
made in both performance and recording,
truncations that were assiduously followed
by many subsequent interpreters. These days
the concerto is typically played complete,
save for a couple of the more adventurous
ossias (or alternative passages), which
include variant figurations so demanding
that they are close to impossible (such as
the suggestion of switching to even faster
double-octaves in the closing lines).
With the release of the film Shine in 1996,
the concerto has witnessed even higher
levels of fame (or infamy, depending on one’s
view). While its iconic status now seems
entrenched, it is perhaps worth noting that
rachmaninov’s success as a pianist was
built on ideals novel for the time, including
understatement, an abhorrence of virtuosity,
and faithfulness to the score. A subtle
illustration of this perhaps lies in the closing
moments, where the music returns – in
the style of grieg and Tchaikovsky’s earlier
models – to the lyrical second subject. in this
instance, however, rachmaninov’s tempo
indications do not allow for wallowing
excess; rather, the concerto proceeds to
its conclusion in a forthright and headlong
manner.
Scott Davie © 2012
WASO last performed this work on 29 and 30 August 2008 with
soloist Yefim Bonfman and conductor Eivind Gullberg Jensen.
* For an explanation of these words please turn to page 20.
rather than using a formally-structured
theme as the basis for the second movement,
as he typically did, a short four-note motif
provides the melodic impetus. The writing
is some of his most memorable, and a
high level of craft can be discerned in the
way each iteration is of a differing length,
allowing successive moments of ever-greater
impact to be reached. in the Finale, the
outer portions of the tripartite structure
offer pianists some of the most physically
challenging passages in the repertoire, an
exceptional degree of strength seeming to
be a prerequisite. The second subject – an
ebullient, fast-flowing melody – offers only
momentary respite.
17
Richard Wagner
(1813-1883)
arr. Henk de Vlieger
(born 1953)
The Ring: An Orchestral Adventure
From Das Rheingold:
Prelude – The rhine gold – nibelheim: the smithy – valhalla
From Die Walküre:
The valkyries – The magic Fire
From Siegfried:
Forest murmurs – Siegfried’s Deeds of heroism – Brünnhilde’s Awakening
From Götterdämmerung:
Siegfried and Brünnhilde – Siegfried’s rhine Journey – Siegfried’s Death – Funeral
music – Brünnhilde’s Sacrifice
Considering that Wagner is widely regarded
as the towering genius of 19th-century
music, it is remarkable that he didn’t write
more instrumental music. But his overriding
aim was to elevate the dramatic integrity of
opera. he sought to achieve a new art form
using lessons from the symphonic music
of Beethoven to inform theatrical works
constructed along the lines of classical
greek drama and based on myths which
elevated the german consciousness. his
crowning achievement is the 15-hour opera,
presented over four nights, Der Ring des
Nibelungen, drawn from nordic myths and
the Burgundian Nibelungenlied.
18
Critics have sometimes assumed that
Wagner wasn’t interested in symphonic
music. Wagner had derided Brahms
for concentrating on a musical form
that Wagner considered outmoded the
moment Beethoven introduced voices (and
therefore texts) into his ninth Symphony.
But according to Cosima, Wagner’s wife,
the composer was considering writing
a symphony around the time he was
composing his final opera, Parsifal.
over the years there have been numerous
attempts to create concert works out of
extracts from The Ring. herman Zumpe in
the late 19th century popularised extractable
moments such as The Ride of the Valkyries.
more recently there have been attempts
to render the Ring as a symphony-length
orchestral work. henk de vlieger wrote this
‘Adventure’ in 1991 for edo de Waart and the
netherlands radio Philharmonic orchestra.
What helps these arrangers create a purely
orchestral work is a device that Wagner
invented to aid the drama – the ‘leitmotif’,
a musical phrase or gesture whose changes
plot the development of an associated
character, object or concept throughout the
drama. Considering the length of the Ring,
the system of leitmotifs is an important
mnemonic device. But the leitmotifs also
perform a purely musical function. Their
transformation and interweaving, creating
variety while positing an underlying unity,
allows the development of something like a
liszt-style symphonic poem*.
De vlieger’s ‘ring Adventure’ follows the
broad progress of Wagner’s plot. Three
minutes’ play on e flat harmony at the
beginning portrays the pure environment
of the rhine where the dwarf Alberich,
denied love by the rhinemaidens, steals the
gold that sits on the bottom of the river.
in nibelheim, he forges a ring giving him
power over all the world (you’ll hear anvils!).
Wotan, king of the gods, must pay the giants
Fasolt and Fafner for building valhalla and
steals the ring, incurring Alberich’s curse.
We then follow the course of the ring from
owner to doomed owner. one of Wotan’s
valkyrie daughters courts his anger when she
rescues a flawed human who was intended
to help Wotan evade the curse. Wotan puts
her (Brünnhilde) to sleep surrounded by
magic fire which none but a true hero can
penetrate. That hero is Siegfried, whom
we first encounter in the forest. But, after
waking Brünnhilde, Siegfried travels up the
rhine where he is murdered by hagen who
wants the ring, now in Siegfried’s possession.
Brünnhilde decides to put the world back to
rights through self-sacrifice. She rides her
horse into Siegfried’s funeral pyre. The fire
flares up; valhalla bursts into flames and the
flooding rhine sweeps away hagen, restoring
the golden ring to the river depths.
De vlieger’s intention in this arrangement
was to achieve something like a fourmovement symphony – ‘Siegfried’ is the
slow movement, for example. And De
vlieger wanted the piece to come across as
if perhaps The Ring was conceived in this
form in the first place. he maintains Wagner’s
orchestration (except for wind instruments
occasionally taking vocal lines) and only
occasionally alters a transition to keep
Wagner’s music in the original key.
What you get is not Wagner’s detailed
depiction of downfall caused by denial of
love in the quest for power, but something
which reveals why Wagner’s music works in
the concert hall and perhaps some indication
of what a Wagner symphony might have been
like if he’d lived to write one.
Gordon Kalton Williams © 2012
WASO last performed this work on 27 and 28 July 2001,
conducted by George Pehlivanian.
* For an explanation of these words please turn to page 20.
19
Glossary
Alla breve
Recapitulation
in two beats to the bar, usually in a fairly
energetic tempo.
A return to the opening material of a piece or
a movement.
Motto
Symphonic Poem
A piece of music, most popular in the
late 19th century, that is based on an
extra-musical theme, such as a story or
particular scene, and usually consists of a
single extended movement for a symphony
orchestra. Frequently such a work has a
descriptive title. Also called tone poem.
A theme which recurs, sometimes
transformed, throughout the course of a
composition.
Scherzando
Playfully, in the style of a scherzo.
Cadenza
A virtuoso passage by a solo instrument,
usually towards the end of a concerto
movement. originally, cadenzas were
improvised by the soloist to show off their
brilliant technique.
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.
Friends of WASO
2012 Christmas Party for Patrons, Friends & Musicians
From 4.30pm, Thursday 6 December
Perth Concert hall
Join Paul Daniel and WASo for the last hour of their rehearsal for Symphony in the City before
joining the musicians for a BBQ style dinner on the Terrace of the Perth Concert hall.
This is a wonderful way to celebrate a year of beautiful music making together.
Tickets are $45 for Patrons & Friends and $55 for guests.
To book, please call the WASo Box office on 9326 0000 by close of business
monday 3 December 2012.
20
Meet the Instrument
The Harp
The harp is a multi-stringed instrument
belonging to the general category of
instruments called chordophones. The
earliest known use of the word ‘harpa’ dates
back to the year 600, although these
instruments appeared as early as the third
millennium BCE in the Middle East. Various
types of harps can be found throughout
Africa, Europe, North and South America,
and Asia.
Harps have a triangular shaped outline, and
are made up of three basic components: a
resonator, neck and strings. As the harp
evolved over time, its overall shape changed
to accommodate a fore pillar and longer
strings, which increased the range of the
instrument to its current span of six-and-ahalf octaves. By the 19th century, Sébastien
Erard had perfected the pedal mechanism
of the harp, allowing for all sharps and flats
within its range to be played. The harp is
equipped with seven pedals, each one
affecting one of the notes of the scale.
The player presses a pedal down halfway
to raise the pitch of the note by one
semitone, and further down to raise the note
another semitone. The modern harp found
in most symphony orchestras weighs about
36kg with a height of 1.8 metres.
The harp is featured in many noteworthy
pieces, including Donizetti’s opera Lucia di
Lammermoor, Tchaikovsky’s Swan Lake, and
solo works by Fauré and Roussel. Glissandos
(performed by rapidly drawing a finger up or
down the strings) are a frequently used
effect, and are demonstrated famously in
Debussy’s Prélude à l’après-midi d’un faune.
Generally there are no more than two harps
present on stage, but there are notable
exceptions, including Wagner’s Das
Rheingold, which calls for six harps on-stage
and a seventh off-stage.
Clare Krier
Symphony Services International © 2012
The range of pitches of the harp:
Harp
2
1
3
5
Key:
1 Tuning pegs
2 Neck
3 Column
4 Body
5 Strings
6 Soundboard
7 Pedals
8 Base
4
6
8
7
21
Placing People.
The Placer Management Group are office support specialists in temporary
and permanent placements.
Like the West Australian Symphony Orchestra’s brilliant musicians and staff,
we help companies and candidates reach new heights of excellence and
we’re proud to officially sponsor the West Australian Symphony Orchestra.
PG0022_WASO_mono_Updated.indd
1
1/2/08
4:08:36
To help your son
succeed we teach an
extra subject.
Aquinas College is a keynote
partner of the West Australian
Symphony Orchestra.
This partnership is used to
encourage boys in their pursuit
of musical excellence.
Aquinas College
Mt Henry Road, Salter Point, WA
Tel: 9450 0600 Email:
[email protected]
w w w. a q u i n a s . w a . e d u . a u
♥
The best he can be.
WASO Chorus on Tour
Following their acclaimed performances of Brahms’ A German Requiem with Simone young
and WASo earlier this year, the WASo Chorus has embarked on their first international tour for
performances of this masterpiece with the hong Kong Philharmonic under the baton of maestro
Jaap van Zweden.
80 choristers travelled to hong Kong this week for rehearsals, culminating in two performances
at the hong Kong Cultural Centre on Friday 30 november and Saturday 1 December before
returning to Perth to perform in WASo’s Symphony in the City concert on Saturday 8 December.
‘We are thrilled to be joined by the WASo Chorus, one of Australia’s finest choirs, for these
performances with our music Director Jaap van Zweden. We’re looking forward to welcoming
this exceptional chorus to hong Kong, and collaborating on Brahms’ masterpiece – these
concerts will be a highlight of our first season with maestro van Zweden.’
Raff Wilson, Director of Artistic Planning, Hong Kong Philharmonic
6 PM
WASO Chorus rehearses for Brahms’ A German Requiem.
WASO Chorus is supported by Lotterywest.
23
An Invitation to Make Music Together
our commissioning program, the WASo Song Book, has a new campaign making music
Together which seeks to raise $30,000 from the community to fund an original composition by
an acclaimed composer to be premiered by WASo.
The exciting news is that we are two thirds of the way to meeting our target!
Commissioning a new work is an extremely rewarding experience. you are credited on the
score – forever – as the commissioner of the work. Where possible, you have the opportunity
to meet the composer and perhaps most importantly, you will get the pleasure of knowing you
are supporting the creative minds of contemporary Australia and that you have enabled the
composition of a new work of art that would otherwise not have been able to be created.
As Janet holmes à Court AC said to WASo subscribers, Patrons and Friends after the premiere
of John Tavener’s Ceremonial in 2010, “commissions can be supported in many different ways
for many different reasons. Ten friends can get together to commission a new work for the
eleventh friend’s birthday. A commission can celebrate an anniversary, the birth of a grandchild,
the memory of a loved one or it can be for the simple pleasure of leaving a legacy to your love of
music.”
making music Together asks you to donate $500 or more to achieve this goal. Janet holmes à
Court AC, founding patron of the WASo Song Book, will generously match $15,000 raised by
the community to reach a total of $30,000.
All our making music Together donors will be kept updated on the progress of the commission
and there will be an opportunity to attend a rehearsal of the new work and meet the composer.
it is an enriching and very special way to get closer to your orchestra.
you can donate to our making music Together campaign by going to www.waso.com.au and
clicking on Donate now, which will take you to our make a Donation Page. Alternatively, you can
contact Alecia Benzie, executive manager, Private giving on 9326 0020 or [email protected]
Join us in making music Together!
24
Private Giving Program
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 Orchestra
The Endowment fund includes major
donations from individuals and bequests.
The income earned is used for the benefit
of the Orchestra.
Funds within the Endowment
Tom & Jean Arkley
Janet holmes à Court AC
Estates
WASO is extremely grateful for the
bequests received from the Estates of the
following benefactors:
mrs roslyn Warwick
Symphony Circle
Recognises 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)
Private Giving Partner
The WASO Song Book
New 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 AC
Dr Peter r Dawson
geoff Stearn
Anonymous (1)
Making Music Together
A new campaign seeking to raise $30,000 by
the community to fund a composition to be
premiered by the WASO in 2014. We thank
the following Patrons for their donation:
Catherine Bagster
(in memory of Christine Bagster)
Bernard Barnwell
Tony & mary Beeley
Dr glenda Campbell-evans
Deirde Chell
robyn glindemann
rosalind lilley
greg & Sue marshman
Brian & nancy murphy
lance risbey
geoff Stearn
Diana Warnock
Ann Whyntie
Trish Williams
Anonymous (1)
25
Reach Out
Stradivari Circle
Recognises Patrons who support our
community engagement and education
programs.
Recognises Patrons who have made a special
contribution or donated substantial amounts
over a number of years to the Orchestra.
Prue Ashurst
Andrew & nicola Forrest
Barrie & Jude lepley
mcCusker Charitable Foundation
galvin Family Foundation
Dr Peter r Dawson
The Taylor Family
Annual Giving
We thank the following Patrons for their generous contribution to WASO in the last twelve
months through the WASO’s Annual Giving Program:
Principal Conductor’s
Circle
Gifts $20,000+
Janet holmes à Court AC
Jill mulheron
Patricia new
Anonymous (1)
Impresario Patron
Gifts $10,000 – $19,999
gay & Bob Branchi
Tony & gwenyth lennon
Brian & nancy murphy
Joshua & Pamela Pitt
Maestro Patron
Gifts $5,000 – $9,999
Jean Arkley
(in memory of Tom Arkley)
mr William Bloking
Bridget Faye Am
gilbert george
international mining Services
Dr Patricia Kailis
Susan & michael Kiernan
margaret & rod marston
robert may & Daniel lee Shing
Kong
Peter & Jean Stokes
Catriona Woodall
Anonymous (4)
Virtuoso Patron
Gifts $2,500 – $4,999
Prof Fred & mrs margaret Affleck
William Carr
26
neil Archibald & Alan Dodge Am
Sally Burton
mark Coughlan & Dr Pei yin hsu
Stephen Davis
monika Dunnet
robyn glindemann
Keith & gaye Kessell
michael & Dale Kitney
Bryant macfie
mrs morrell
Dr W B muston
John & Paula Phillips
elizabeth Sachse &
Dr lance risbey
ros Thomson
Tuite Family Foundation
Joyce Westrip oAm
Ken & Jan Williams
Sue & ron Wooller
Andrew & marie yuncken
Anonymous (1)
Principal Patron
Gifts $1000 – $2,499
gail Archer SC & Patrick o’neal
margaret Atkins oAm
Colin & eve Beckett
Tony & mary Beeley
Suzanne & David Biddles
Kevin Blake
matthew J C Blampey
mr John Bonny
mrs Debbie Borshoff
Paul Brayshaw & hannah rogers
Dr & mrs P Breidahl
Jean Brodie-hall Am
marilyn & ian Burton
Dr g Campbell-evans
Dr S l Cooke
Arthur & nerina Coopes
hon June Craig Am
gay & John Cruickshank
Frances Davies
norman & Denia Daffen
rai & erika Dolinschek
Julian Dowse
Timothy & lexie elliot
Don & marie Forrest
Dr Andrew gardner
elaine gimson
graham & Barbara goulden
Jannette gray
Joe & Deidre greenfeld
Jacqui grove
David and valerie gulland
richard B hammond
Warwick hemsley
liz hodgson
(in memory of
Douglas hodgson)
Sylvia & harry hoffman oAm
michael & liz hollingdale
Jim & Freda irenic
lilian & roger Jennings
Bruce & Jane Keay
Anthony & noelle Keller
Bill Kean
Dr rob Kirk & Sarah gallinagh
Stephanie & John Kobelke
gloria & ulrich Kunzmann
victor & rachel lane
ledge Finance limited
rosalind lilley
graham & muriel mahony
gregg & Sue marshman
Betty and Con michael Ao
hon Justice S r moncrieff
Jane and Jock morrison
val & Barry neubecker
Dr Phil & erlene noble
John overton
michael & lesley Page
Tim Pavy
Pamela Platt
Andrew & Suzanne Poli
Alison & John Price
Chester reeve
John & Alison rigg
nigel & Dr heather rogers
maurice & gerry rousset
roger Sandercock
eve Shannon-Cullity
Julian & noreen Sher
Anne & Frank Sibbel
Judy Sienkiewicz
Dr Paul Smith & Denham harry
richard Tarala &
lyn Beazley Ao
gene Tilbrook
mary Townsend
Dr robert Turnbull
maggie venerys
Stan & valerie vicich
Watering Concepts
ian Watson
Ann Whyntie
Freddi Wilkinson
Jean & ian Williams Ao
Trish Williams & Strategic
interactions
Dr Peter Winterton
Anonymous (14)
Tutti Patron
Gifts $500 – $999
geoff & Joan Airey
Catherine Bagster
merle i Bardwell
Jackie & Bernard Barnwell
mrs B Barker
Shirley Barraclough
P m Bennet
michael & nadia Berkeley-hill
robert & Judith Bower
Dr vin & Diane Brennan
Kay Brice
James & gay Brown
C & K Brownlie
gavin Bunning
Ann Butcher & Dean r Kubank
nanette Carnachan
lyn & harvey Coates Ao
Agatha & Alex Cohen Ao
max Collins
Brian Cresswell
Dr & mrs neil Cumpston
gina & neil Davidson
lesley & Peter Davies
Jop & hanneke Delfos
vera J Djulbic
lorraine ellard
mrs g. ewen
Annette Finn
george gavranic
isobel glencross
yi & Jiegi gong
Prof Des gurry
Pauline & Peter handford
Douglas m & regina hansen
michael harding
Prof Alan harvey & Dr Paulien
de Boer
richard hatch
Dr David & Annie haultain
Dr Penny herbert
(in memory of Dunstan herbert)
helen hollingshead
John isherwood
iT vision Australia Pty ltd
Cynthia Jee
Catherine and Bernth Johansson
B. m. Kent
Trevor & Ane marie lacy
Paul lee
Dr mary ellen macDonald
and michael Pauly
mrs Carolyn milton-Smith
(in memory of emeritus Prof.
John milton-Smith)
Dr Peter moss
lynne naylor
(in memory of Paul F naylor)
Bev Penny
marilyn Phillips & Prof Alan
Bittles
Alpha & richard Pilpel oAm
Sheila Pinch
Trevor & Fay Pitcher
Thomas & Diana Potter
Clarissa repton
James & nicola ridsdill-Smith
Dr r & J Schwenger
margaret & roger Seares
Judith e Shaw
laurel & ross Smith
michael Snell & vicki Stewart
Peggy & Tom Stacy
grant Sutherland
Tony & gail Sutherland
elizabeth Syme
harvey Tijou
mrs Joan Tonkin mBe JP
S r vogt
Adrienne & max Walters
Judith Wilton & David Turner
Diana Warnock
Anne Watson
Dr & mrs Chris Whitaker
violette William
Janet Williams
Sue Williams –
humanconnection
Patricia Wong
yalambi Farm Stud
Anonymous (9)
All donations are fully tax deductible.
if you are interested in becoming a Patron or learning more about our Private giving
Program, please contact Alecia Benzie, executive manager, Private giving on 9326 0020
or [email protected] or Sarah gallinagh, Annual giving & Bequest Coordinator on
9326 0075 or email [email protected]
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
27
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you read your Will?
It’s a fact of life circumstances change over time.
Family relationships develop and can change, assets
and liabilities change, even your wishes may change.
As a result Wills may need to be reviewed and updated
to reflect such changes.
Ensure your Will is up to date by calling
us on 08 9324 6080 or
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Chamber
SERIEs 2013
Subscribe to WASO's 2013
Chamber Series & save up to 10%!
NEW VENUES
WASO musicians perform exquisite chamber music from Mozart, Schubert,
Brahms and Tchaikovsky in three enchanting one-hour concerts.
Tchaikovsky & Brahms
2pm, Friday 12 April
Government House Ballroom
Schubert’s Octet
2pm, Friday 30 August
Government House Ballroom
Mozart’s Serenade
2pm, Friday 22 November
Government House Ballroom
2pm, Sunday 14 April
Fremantle Town Hall
2pm, Sunday 1 September
Fremantle Town Hall
2pm, Sunday 24 November
Fremantle Town Hall
Purchase a 3 concert Chamber Series Subscription for $108.
Single tickets on sale Monday 10 December 2012.
BOOKINGS
WASO 9326 0000
Subscribe or renew online at
waso.com.au
West Australian Symphony Orchestra
The Company
Principal Conductor
Concertmaster
Conductor Laureate
Chorus Director
Violin
Viola
Flute
Horn
Concertmaster
Principal
Principal
Principal
Paul Daniel
Partnered by Wesfarmers Arts
giulio Plotino
giulio Plotino
giovanni Pasini
margaret Blades*
Berian evans
Semra lee-Smith
Kierstan Arkleysmith
nik Babic
Alex Brogan
Katherine Drake
Alison hall
rachael Kirk
Allan mclean
helen Tuckey
Assoc Concertmaster
Assistant Concertmaster
graham Pyatt
A/Principal 1st Violin
John Ford
Principal 2nd Violin
Zak rowntree
Assoc Principal 2nd Violin
Kylie liang
Assistant Principal
2nd Violin
Sarah Blackman
Fleur Challen
Stephanie Dean
Dorothy Ford
rebecca glorie
Beth hebert
Shaun lee-Chen*
Akiko miyazawa
Anna o’hagan
melanie Pearn
Ken Peeler
Brendon richards
louise Sandercock
Jolanta Schenk
Jane Serrangeli
ellie Shalley
Jacek Slawomirski
Bao Di Tang
Cerys Tooby
David yeh
Assoc Principal
Cello
rod mcgrath
Principal
louise mcKay
Assoc Principal
Shigeru Komatsu
oliver mcAslan
nicholas metcalfe
eve Silver*
Fotis Skordas
Tim South
Xiao le Wu
Double Bass
Andrew rootes*
Principal
Joan Wright
Assoc Principal
Christine reitzenstein
louise ross
Andrew Tait
mark Tooby
vladimir verbitsky
Andrew nicholson
mary-Anne Blades
Assoc Principal
Piccolo
michael Waye
Principal
Oboe
elizabeth Chee
Assoc Principal
Cor Anglais
leanne glover
Principal
Clarinet
Allan meyer
Principal
lorna Cook
Bass Clarinet
Alexander millier
Principal
Alessandrino Property
Group Chair of Principal
Bass Clarinet
Bassoon
marilyn Phillips
David evans
robert gladstones
Principal 3rd
Francesco lo Surdo
Trumpet
evan Cromie
Assoc Principal
Peter miller
Trombone
Joshua Davis
Principal
liam o’malley
Assoc Principal
Bass Trombone
Philip holdsworth
Principal
Tuba
Cameron Brook
Principal
Timpani
Alex Timcke
Principal
Jane Kircher-lindner
Percussion
Adam mikulicz
A/Principal
Assoc Principal
Tim White
Contrabassoon
Harp
Principal
Principal
Principal
oscar garrido de la rosa
Troy greatz
Sarah Bowman
* Instruments used by these
musicians are on loan from
Janet Holmes à Court AC.
30
Board of Directors
Orchestral Management
Private Giving
Chairman
Executive Manager,
Orchestral Management
Executive Manager, Private Giving
Janet holmes à Court AC
Bill Bloking
mark Coughlan
Jeff Dowling
Keith Kessell
Barrie lepley
Deputy Chairman
Anne nolan
Julian Sher
Bryan Taylor
Executive
Keith mcgowan
John Chaplin
Orchestral Operations Manager
David Cotgreave
Production & Technical Manager
Alistair Cox
Orchestra Manager
noel rhind
Orchestral Operations Coordinator
Wee ming Khoo
Music Librarian
Katherine Corecig
Craig Whitehead
Music Library Assistant
Sarah Afentopoulos
Business Services
ellen Wisdom
Executive Manager,
Business Services
Chief Executive
Human Resources Manager
Human Resources Advisor
megan lo Surdo
Executive Administration Officer
Peter Freemantle
evan Kennea
Executive Manager,
Artistic Planning
Claire Stokes
Program Manager
Alan Tyrrell
Program Manager
Stephen mcAllan
Artist Liaison/Chorus Administrator
Community Engagement
Cassandra lake
Jane Clare
Philanthropy & Fundraising Officer
Sarah gallinagh
Annual Giving & Bequests
Coordinator
Marketing
Kelli Carnachan
Executive Manager, Marketing
Paula Schibeci
Public Relations Manager
lisa Westcott
Marketing Manager
Jessica Bovenkerk
Graphic Designer
Kirsty Chisholm
Digital Marketing Coordinator
Angela miller
hilary mcKenna
Svetlana Williams
Sava Papos
Daniela Antulov
Josie Aitchison
Beverley Trolio
Accountant
Accounts Officer
Artistic Planning
Alecia Benzie
Payroll Administrator
Andrew Chew
Systems Administrator (Tessitura)
Corporate Development
marina Woodhouse
Corporate Development Manager
Subscriptions Marketing Coordinator
Customer Service & Sales Manager
Customer Service Coordinators
margaret Daws
vicki Prince
Debbie Silvester
robyn Westbrook
Ashleigh Perrella
Customer Service Officers
Susan Brannigan
Marketing Assistant
Corporate Relations Executive
vanessa Costanzo
Corporate Development
Coordinator
Community Engagement Manager
Prue Ashurst
Education Manager
Paul richardson
Assisant Technical Manager
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.
Penelope Briffa
Event Coordinator
Aeg Ogden (Perth) Pty Ltd
rodney m Phillips
Chief Executive
Andrew Bolt
The Perth Theatre Trust
helen Stewart
miranda lancaster-Allen
Chairman
General Manager
Deputy General Managers
Peter robins
Technical Manager
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.
Dr. Saliba Sassine
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 [email protected]
31
Corporate Partners
Platinum Partners
Outdoor Family Concert & Sound Shell Partner
World Artist Partners
Symphony in the City Partner
Chamber Series 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
Funding Partners
The West Australian Symphony Orchestra
is assisted by the Australian Government
through the Australia Council, its arts
funding and advisory body.
To share in our vision and discuss the many opportunities extended through corporate partnerships please contact Corporate Development
on 08 9326 0004.
32