Classics Series - Cloudfront.net
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Classics Series - Cloudfront.net
Wesfarmers Arts Classics Series A Night in Vienna 18 & 19 November 2011 | 7.30pm Perth Concert Hall Margaret Blades, Associate Concertmaster Concert Calendar Chevron Australia Masters Series Wesfarmers Arts Classics Series City of Perth Mozart’s Mass Holst’s The Planets Symphony in the City 25 November | Fri 7.30pm 26 November | Sat 7.30pm 2 December | Fri 7.30pm 3 December | Sat 7.30pm 10 December | Sat 7.30pm Perth Concert Hall Perth Concert Hall RAVEL Pavane for a Dead Princess JAMES LEDGER Two Memorials WORLD PREMIERE MOZART Mass in C minor K.427 STRAVINSKY Scherzo Fantastique SHOSTAKOVICH Cello Concerto No. 1 HOLST The Planets Paul Daniel, conductor Alisa Weilerstein, cello WASO Chorus Paul Daniel, conductor (pictured) Sara Macliver, soprano Penelope Mills, soprano Paul McMahon, tenor James Clayton, baritone WASO Chorus Free Event The Esplanade, Perth Principal Conductor Paul Daniel will lead WASO performing favourites such as Beethoven’s Fifth, Carmina Burana: O Fortuna and the music from Star Wars. Don’t miss Tchaikovsky’s explosive 1812 Overture with the Swan Bells and the 7 Field Battery of the Australian Army Reserve Artillery. Paul Daniel, conductor Andrew Horabin, presenter WASO Chorus Meet the artist James Ledger Friday Post-Concert Meet the musician Marilyn Phillips Saturday Post-Concert Photo: Lucio Lecce Book with WASO on 9326 0000, waso.com.au, group bookings (8+ people) 9326 0075 or BOCS 9484 1133, bocsticketing.com.au 3 At the concert Pre-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 Marilyn Phillips. FREE CONCERT Programs Concert 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 Recordings Continue to experience WASO in your own home! A variety of WASO CDs and DVDs are available for purchase at the Encore Giftshop in the foyer tonight. meet the artist Meet the artist Cheryl Barker post-concert Friday night on the Terrace Level. 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 Foyer 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 Podcasts WASO 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 Webcasts WASO is streaming five concerts live and on demand in 2011, thanks to iiNet. Visit waso.com.au to find out more. Connect with WASO Facebook Become a fan of WASO on our Facebook page. Get updates about forthcoming concerts and events. Visit facebook.com/WestAustralianSymphonyOrchestra Twitter If you want to know even more about the daily life of your Orchestra, follow us on Twitter @_WASO_ for instant updates! 4 E-News Stay up to date on everything that is happening at WASO by subscribing to the SymphonE-news. You can subscribe through the WASO homepage. Feedback If you would like to give WASO any feedback please either write (PO BOX 3041, Perth Adelaide Tce WA 6832), send an email ([email protected]) or call 9326 0000. Wesfarmers Arts Classics Series A Night in Vienna MOZART Symphony No.40 (35 mins) Interval (20 mins) STRAUSS, R. Excerpts from Der Rosenkavalier (45 mins) Photo: Keith Saunders Paul Daniel, conductor Cheryl Barker, the Marschallin (pictured) Sara Macliver, Sophie Catherine Carby, Octavian Partner of Excellence World Artist Partner 5 Speed Read Mention Vienna to a musician and elegance and refinement immediately springs to mind; more classical composers have lived in this city than in any other. From Beethoven to Suppé, and Webern to Haydn, Viennese culture has long been shaped by the contribution of its many great classical composers. Tonight’s concert explores the music of two well-loved composers inextricably linked to Vienna: Mozart and Strauss. Mozart’s Symphony No. 40 remains one of the most popular classical symphonies of all time, and one of only two Mozart symphonies composed in a minor key. Tragic, emotional and passionate, it is sculpted with a perfect balance and finesse. Tonight’s performance of excerpts from Strauss’ comic opera Der Rosenkavalier features the aristocratic Marschallin performed by Cheryl Barker, and her very young lover Octavian realised by Catherine Carby. We welcome back Sara Macliver to perform the role of Sophie, the daughter of a wealthy Viennese bourgeois who, against her father’s wishes, falls in love with Octavian. A comedy of errors ensues, reconciled with the help of the Marschallin. Often recognised as Strauss’ finest opera, Der Rosenkavalier is full of memorable melodies and glorious orchestral writing. If only we could spend a week, a month, or a year to explore the essence of this city’s music; A Night in Vienna is but a taste of its exquisite beauty. Kellie Wilson Artistic Program Manager 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. Reaching out to the world in a spirit of adventure More than a century has passed since our predecessors set out to trade with the world, armed only with their courage and a rudimentary map. At Mitsui & Co., this sense of adventure continues to underpin our comprehensive business activities around the globe. It’s a constant interplay of challenge and innovation, arising from the imaginations of individuals and their free exchange of ideas. The spirit of adventure has carried us into the 21st century and will surely take us beyond. At the establishment of the former Mitsui & Co., employees set out to begin trading activities around the world using a map of the kind shown above. (Circa 1876; now held by the Mitsui Bunko Business Archive and Museum of Art.) w w w. m i t s u i . c o . j p / e n 7 Paul Daniel Conductor Paul Daniel became Principal Conductor and Artistic Adviser of the West Australian Symphony Orchestra in Perth in 2009. He has appeared as a guest conductor with major orchestras throughout the world, including the Philharmonia, London Philharmonic, Royal Philharmonic, Orchestra of the Age of Enlightenment with whom he has recorded Elijah for Decca and toured to New York, BBC Symphony Orchestra, Orchestre de Paris, New York Philharmonic, Los Angeles Philharmonic, Cleveland Orchestra, Malaysian Philharmonic, Tonhalle-Orchester Zurich, Netherlands Radio Philharmonic, the Royal Flanders Philharmonic, City of Birmingham Symphony Orchestra, BBC Philharmonic, Hallé Orchestra, Royal Scottish National Orchestra, Bournemouth Symphony Orchestra, the Royal Liverpool Philharmonic, BBC National Orchestra of Wales, the National Youth Orchestra of Great Britain, Orchestre Philharmonique de Radio France, the Orchestre National de Lyon, Gothenburg Symphony Orchestra, Orchestre de la Suisse Romande, Orchestra Sinfonica Giuseppe Verdi di Milano, the Sydney Symphony, the Deutsche Kammerphilharmonie, the Orchestre Philharmonique de Liège, the Real Filharmonia de Galicia, the Vienna Symphony Orchestra, the Essen Philharmonic, the Gürzenich Orchester Köln and the Leipzig Gewandhaus. Paul Daniel was Music Director of English National Opera from 1997 to 2005 and in 2008 he returned to the company for a new production of Lucia di Lammermoor. He was Music Director of Opera Factory from 19871990, and of Opera North from 1990-1997. During his tenure as Principal Conductor of the English Northern Philharmonia, the orchestra of Opera North, he conducted numerous concerts throughout the UK and also took the orchestra to many festivals including the Edinburgh Festival and the Strasbourg Musica Festival. He made many recordings with the English Northern Philharmonia for EMI, Deutsche Grammophon, Chandos and Naxos. Future orchestral engagements, apart from his concerts with West Australian Symphony Orchestra, include concerts with Orchestre National Bordeaux Acquitaine, Hamburg Philharmonic, Tapiola Symphony and the Gurzenich Orchestra Cologne. In February 1998 Paul Daniel received an Olivier Award for outstanding achievement in opera, and in 1999 he received a Gramophone award for his English music series on the Naxos label. He was awarded the CBE in the 2000 New Year’s Honours list. Paul Daniel appears courtesy of Wesfarmers Arts. 8 Cheryl Barker Soprano Cheryl Barker studied in Melbourne with Dame Joan Hammond and in London with David Harper. She appears regularly with Opera Australia, where her roles have included Mimì in the award-winning Baz Luhrmann production of La bohème, Nedda (Pagliacci), Countess (The Marriage of Figaro), Violetta (La traviata), Donna Elvira (Don Giovanni), Tatyana (Eugene Onegin), Giorgetta, Suor Angelica and Lauretta (Il trittico), and the title roles in Madame Butterfly, Tosca, Jenůfa and Arabella (Green Room and Helpmann Awards 2008). She has also performed with Opera Queensland and BTR New Zealand Opera. Recent engagements include concerts with the Sydney Symphony and the Queensland and Tasmanian Symphony Orchestras, and role debuts as Manon Lescaut, Marschallin (Der Rosenkavalier), Countess (Capriccio) and Mariette (Die tote Stadt), with Opera Australia. Her recordings include Puccini Arias, Seduction and Persuasion, Don John of Austria, Great Operatic Arias, Rusalka, The Makropoulos Case, Katya Kabanova and Dyson’s Quo Vadis. Video recordings include Harry Enfield’s Guide to Opera, La bohème, and Madame Butterfly for Opera Australia and with Vlaamse (Flemish) Opera for television broadcast in Belgium and the Netherlands. Cheryl Barker holds an honorary Doctor of Music conferred by the Victorian College of the Arts. Cheryl Barker appears courtesy of Mitsui & Co (Australia) Ltd. and Mitsui E&P Australia Pty. Ltd. Photo: Keith Saunders Internationally, she is noted for her performances of Madame Butterfly, which she has sung in Paris and for English National Opera, Welsh National Opera, Hamburg State Opera, Deutsche Oper Berlin, Netherlands Opera and Houston Grand Opera, for whom she also performed Sarah in the world premiere of Jake Heggie’s The End of the Affair. She has also appeared with the Royal Opera Covent Garden, Scottish Opera, Nationale Reisopera and Opera du Rhin. On the concert platform, she has appeared at the Barbican, Royal Albert Hall, Queen Elizabeth Hall, Wigmore Hall, St John’s Smith Square, and with the Hallé Orchestra. She has sung in the Edinburgh, Spoleto and Melbourne Festivals. 9 Sara Macliver Soprano Sara Macliver is one of Australia’s most popular and versatile artists, and is regarded as one of the leading exponents of Baroque repertoire. She is a regular performer with all the Australian symphony orchestras, the Perth, Melbourne and Sydney Festivals, Pinchgut Opera, Musica Viva, Australian Chamber Orchestra, Australian String Quartet, West Australian Opera and the Australian Brandenburg Orchestra, among others, as well as a number of international companies. Photo: Frances Andrijch Opera roles in recent seasons have included Jonathan in Pinchgut Opera’s performances of Charpentier’s David and Jonathan and Susanna in The Marriage of Figaro with West Australian Opera. In concert she has sung Haydn’s The Creation with the Sydney Symphony and in New Zealand, and Elijah with the Tasmanian Symphony Orchestra. Other performances have included a Haydn program with Steve Davislim for the Australian National Academy of Music, a national tour with the Australian Chamber Orchestra, the New Zealand International Arts Festival, and concerts with the Melbourne Chamber Orchestra, Sydney Symphony and the West Australian, Adelaide, Melbourne and New Zealand Symphony Orchestras. 10 Engagements in 2011 have included a national tour with the Australian String Quartet, Songs of the Auvergne in Auckland, The Creation with the Academy of Ancient Music, and a central role in the contemporary chamber opera Into the Shimmer Heat with Nova Ensemble in Perth. Other highlights include Bach’s Magnificat, Mozart’s Mass in C minor, Fauré’s Requiem and excerpts from Rosenkavalier in Adelaide and Sydney. Sara records for ABC Classics and has over 30 CDs and many awards to her credit. She was awarded an honorary doctorate from the University of Western Australia in recognition of her services to singing. Catherine Carby Mezzo Soprano Australian mezzo-soprano, Catherine Carby, studied at the Canberra School of Music and the Royal College of Music, London. In Australia she has performed with the major opera companies, including Victoria State Opera, Opera Australia, West Australian Opera and Opera Queensland in roles including Mallika (Lakmé), Carmen and Mercedes (Carmen), Rosina (The Barber of Seville),Countess Geschwitz (Lulu), Octavian (Der Rosenkavalier), Smeraldina (The Love for Three Oranges), Orlofsky (Die Fledermaus), and Fenena (Nabucco). In the UK, she has been a finalist in several major competitions – the Kathleen Ferrier Award, Richard Tauber Award and the Young Concert Artists Trust. She has also sung with English National Opera as Kate Pinkerton (Madama Butterfly), Scottish Opera as Octavian, British Youth Opera in the title role of Britten’s Rape of Lucretia (subsequently issued on CD), and Vitige in Flavio and the title role in Muzio Scaevola for the London Handel Festival. St James’s Piccadilly, Berlioz’s L’Enfance du Christ and Bach’s St Matthew Passion at Southwark Cathedral, Albinoni’s Il Nascimento dell’Aurora for Spitalfields Festival, concert performances of The Marriage of Figaro for London Mozart Players, Bach’s Mass in B minor at Exeter Cathedral, and Das Lied von der Erde with the Gardner Chamber Orchestra in Boston. Recent roles with Opera Australia include Romeo (I Capuleti e i Montecchi), Baba the Turk (The Rake’s Progress), for which she won a Helpmann Award, Maddalena (Rigoletto), Cornelia (Giulio Cesare), for which she received a Green Room Award, Ruggiero (Alcina), Donna Elvira (Don Giovanni), Kristina (The Makropulos Affair), Suzuki (Madama Butterfly), Second Lady (Magic Flute), and Auntie (Peter Grimes). This year, before relocating back to the UK, she sang Arsace in Partenope for Opera Australia and Nicklausse in The Tales of Hoffmann for WA Opera. Other international concert and recital engagements have included a Verdi concert for the Hallé Orchestra, a solo recital at 11 West Australian Symphony Orchestra Paul Daniel Principal Conductor Vladimir Verbitsky Conductor Laureate Marilyn Phillips Chorus Director Giulio Plotino Concertmaster Partnered by Wesfarmers Arts Meet the Musician Semra Lee Assistant Concertmaster What initially drew you to the violin? My mother is a violin teacher so I was hearing violin music while in the womb! I guess as small children do, I just wanted to be like Mum and wanted a violin too. When I was three, I was given a tiny 16th size violin and started lessons with my mother. She still has the violin somewhere. What path did you take before joining WASO? My first degree was completed at what used to be known as the WA Conservatorium of Music, studying with Pal Eder. Inspired by him, I started playing in a string quartet and we did some courses with the Australian National Academy of Music, as well as travelling to the UK and Canada. I felt like I had more work to do on my technique so I went to study with Istvan Parkanyi at the Amsterdam Conservatorium. I got a job with the Malaysian Philharmonic Orchestra which held special interest for me as I was born in Malaysia. 12 I was horribly homesick though and when a job came up with WASO, I leapt at the opportunity! I started out as a tutti player, the Assistant Principal 2nd Violin and a couple of years ago I was appointed Assistant Concertmaster. It has been a dream job since I get to work in my hometown close to my family – I have even got my little brother in the orchestra with me! What kind of violin, and bow, do you play at the moment? I play a c.1756 violin made by Joseph Antonio Finolli in Milan and my bow is made by Charles Enel. I searched for a long time for a small violin as I am only 5 feet tall and have small hands! My violin is a 7/8th size instrument which is quite rare and I found it in Melbourne 16 years ago. My parents bought it for me so it is very precious to me. My bow was found for me by my teacher in Amsterdam and it actually has a broken tip which is held together by a pin. On Stage Tonight Violin Giulio Plotino Concertmaster Margaret Blades Assoc Concertmaster Semra Lee Assistant Concertmaster Graham Pyatt Assoc Principal 1st Violin John Ford Principal 2nd Violin Yacht Grot Chair of Principal 2nd Violin Zak Rowntree Assoc Principal 2nd Violin Kylie Liang Assistant Principal 2nd Violin Sarah Blackman Fleur Challen Erin Chen^ Stephanie Dean Dorothy Ford Beth Hebert Christina Katsimbardis^ Tara Murphy^ Anna O’Hagan Kathleen O’Hagan Melanie Pearn Ken Peeler Brendon Richards Louise Sandercock Jolanta Schenk Jane Serrangeli Kathryn Shinnick^ Jacek Slawomirski Bao Di Tang Cerys Tooby Rebecca White David Yeh Viola Giovanni Pasini Berian Evans Kierstan Arkleysmith Nik Babic Alex Brogan Katherine Corecig^ Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey Cello Rod McGrath Louise McKay Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver Fotis Skordas Tim South Xiao Le Wu Double Bass Andrew Rootes Elizabeth Browning^ Sarah Clare^ Christine Reitzenstein Louise Ross Andrew Tait Mark Tooby Flute HORN David Evans Malcolm Stewart Robert Gladstones Principal 3rd Rachel Silver Doree Dixon^ Francesco Lo Surdo Roman Ponomariov^ TRUMPET David Elton Peter Miller Callum G’Froerer^ TROMBONE Joshua Davis David Robins A/Assoc Principal Philip Holdsworth Principal Bass Trombone TUBA Cameron Brook TIMPANI Alex Timcke Andrew Nicholson Mary-Anne Blades Michael Waye Principal Piccolo PERCUSSION OBOE HARP Leanne Glover A/Principal Elizabeth Chee A/Assoc Principal Stephanie Nicholls^ Tim White Amanda Dean^ Paul Tanner^ Alannah Guthrie-Jones^ Yinuo Mu^ CELESTE Graeme Gilling^ CLARINET Allan Meyer Lorna Cook Alexander Millier Principal Bass Clarinet BASSOON Jane Kircher-Lindner Adam Mikulicz Simone Walters Principal Contrabassoon Principal Associate Principal ^ Guest Musician 13 Classics Series 2012 Subscribe to WASO’s 2012 Classics Series & save up to 20%! 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. Giulio Plotino, Concertmaster. Pictured age 3, at home with his father in Genova, Italy. BOOKINGS WASO 9326 0000 waso.com.au 14 It starts with just two hands to craft something special. John Holland and the West Australian Symphony Orchestra, partners of choice. johnholland.com.au 15 Wolfgang Amadeus Mozart (1756-1791) Symphony No.40 in G minor, K.550 Molto allegro Andante Menuetto and Trio (Allegretto) Allegro assai The 25-year-old Mozart arrived in Vienna in 1781, broke and with no prospects. But what he did have on his arrival in Europe’s music capital was his hard-won independence. It was not only independence from his nemesis, the Archbishop of Salzburg, but also from his interfering father Leopold. Soon after arriving, Mozart wrote to his father asking him to stop writing unpleasant and unhelpful letters. Worse than that, he moved in with the Weber family whose daughters offered plenty of amorous interest. When Mozart married Constanze Weber, an increasing estrangement developed between father and son that would last until Leopold’s death in 1787. But Constanze must have been an inspiration to Wolfgang. From their marriage onwards, Mozart turned out masterpiece after masterpiece, enjoying particular success in the fields of opera and piano concerto. 16 And then, for no apparent reason, during the summer of 1788 he turned his attention back to the symphony, composing his three greatest works in the form – now known as numbers 39, 40 and 41 – in the space of little more than six weeks. No one truly knows whom he wrote them for, whether performances were planned, or what his intentions or motivations were. But perhaps it was simply one of those rare instances in which Mozart actually found the time to write what he himself wanted to write, rather than having to satisfy commissions. Much has been written about the suffering which Mozart supposedly endured while he was composing these great symphonies, but he was doing very well financially. In 1787, for instance, he earned three times the salary of the head physician at Vienna’s main hospital. But we know that at the time the Symphony in G minor was composed, Mozart sent twenty letters to friends begging for money. ‘Fate is so hostile to me,’ he wrote to Michael Puchberg, ‘that even when I want to, I cannot make any money.’ Meanwhile, work on the three final symphonies proceeded with astonishing ease. The G minor was only the second of Mozart’s minor-key symphonies. While minor keys were quite rare, Mozart nevertheless had models to follow in the G-minor symphonies of Haydn (No.39, No.83) and J.C. Bach (Op.6 No.6). All, including Mozart’s own, were conceived in the spirit of Sturm und Drang*, the turbulent, pre-revolutionary movement that was sweeping literature at the time. Mozart’s Symphony No.40 is one of the greatest examples of the form, filled with a tempestuous passion which made it appeal to the Romantics more than any of his other symphonies. He wrote two different versions, one without clarinets and one with them. It has been suggested that the clarinets may have been added in April 1791 when an orchestra under Salieri featuring the great clarinettists Johann and Anton Stadler performed an unidentified ‘grand symphony’ by Mozart. In any case, nowadays it tends to be performed with the clarinets – the instrument whose haunting beauty dominated Mozart’s later instrumental works. The violas also get the Andante underway. This slow movement would be serene if it weren’t for the unsettling effects Mozart continually introduces. The minuet is scarcely innocent either. Built out of threebar phrases and again with a pronounced dissonance*, it encloses a trio in G major which provides a kind of ray of sunlight through dark clouds. Agitation returns in the final movement. From an eight-note ascending figure known as a ‘Mannheim rocket’, the movement lurches into life with speed and intensity. Modulations become even more pronounced than in the first movement – before the main theme is done it will have touched all twelve notes. And yet, amidst all the disturbing emotion, there remains that characteristic Mozartian grace and fluency. Only Mozart could achieve so much beauty out of so much apparent pain. Abridged from Martin Buzacott © 2002 *For an explanation of these words please turn to page 23. WASO last performed this work on 12 & 13 March 2004, conducted by Matthias Bamert. G minor was, of course, Mozart’s ‘special’ key in which he poured out his most dramatic emotions. Over a pulsating viola accompaniment, the violins in octaves* state one of the most famous opening themes in all music. It’s no less tragic for being so elegant. Indeed this extraordinary balance between turbulent passion and a refined sense of style gives the symphony its enduring appeal. While there is an authentic major-key second subject*, the distinctive two-quaver one-crotchet rhythm dominates this opening movement. 17 Richard Strauss (1864-1949) Der Rosenkavalier, Op.59 – extracts Act 1 Octavian and the Marschallin, dawn Later the same morning, after Baron Ochs’ departure Act 2 The Faninal residence, the same afternoon: Octavian presents the Silver Rose to Sophie von Faninal Act 3 An Inn, late the same night, after Baron Ochs’ final humiliation Premiered on 26 January 1911 (one hundred years ago), Der Rosenkavalier was the fifth of Richard Strauss’ operas, and the second written in collaboration with librettist, Hugo von Hofmannsthal. The title (The Knight of the Rose) derives from a bit of stage business (purported to be an 18th-century custom, but invented by Hofmannsthal) whereby a knighted emissary presents a silver rose to a woman on behalf of her suitor. That such a custom never existed is not a problem: one of the delights of Hofmannsthal’s libretto is its mixture of fantasy and fact. 18 When it first appeared, Der Rosenkavalier was seen by many critics as a retreat from the atonal* modernism of Strauss’ two immediately previous stage works – Salome and Elektra. Strauss had wanted to write a ‘Mozartian opera’ after Elektra, but Der Rosenkavalier has a sumptuousness which exceeds classicism. Its plot possesses some similarities with The Marriage of Figaro (much of the action derives from a novel Les amours du chevalier de Faublas by Louvet de Couvray, a contemporary of Figaro’s playwright, Beaumarchais), but this ‘comedy for music’ is elevated by character portraiture that has rarely been surpassed in opera. It remains one of Strauss’ most popular, indeed bestloved, works. Set in Vienna in 1740, Der Rosenkavalier tells how the 17-year-old Octavian outwits the bullish Baron Ochs auf Lerchenau in his quest for the hand of the young convent girl, Sophie, daughter of the nouveau-riche Herr von Faninal. But that is not all: it is a story of the magic of love at first sight; of nostalgia, self-sacrifice and the passing of time. Octavian, the ‘Knight’, first lays eyes on Sophie during the presentation of the Rose. Strauss’ orchestra wonderfully expresses the slow-motion intoxication of the moment with its sugar-ice harmonies created by flutes, harp, celeste and solo violins. Octavian must first be given up by his older lover, the Marschallin, Marie-Thérèse, who has known all along, somewhere inside, that one day he would fall for someone his own age, and whose realisation accounts for the change in the first act from amorous enthusiasm to mood of regret, and whose proud surrender is the background for the glorious Trio which climaxes the opera. Strauss’ score retains a Mozartian level of beauty throughout (not even compromised by scenes of raw burlesque such as the stage-managed outwitting of Ochs in the Third Act). The ‘Viennese waltzes’, though anachronistic (such waltzes were not to be heard until the century after the action takes place!), are of such quality that, by this opera alone, Richard Strauss could almost challenge his unrelated namesake for the title of ‘Waltz King’. Tonight’s extracts revolve around the three main characters – the Marschallin, Octavian (sung by a mezzo-soprano) and Sophie. During the orchestral introduction we can imagine the passionate love of Octavian and the Marschallin between the sheets. The curtain rises. There is some minor bickering as when Octavian leaves his sword where Mahomet, the Marschallin’s pageboy, might see it when he brings in her morning chocolate, but the big rift is yet to happen. They are still calling each other ‘Mein Schatz!’ and ‘Mein Bub!’. After the Marschallin’s morning levée, after everyone has left, including Ochs (‘der aufgeblasne, schlechte Kerl’), the Marschallin realises that she is growing older, and she tells Octavian that sooner or later (‘heut oder morgen’) he will leave her for a woman his own age. Vehemently denying it, he leaves in a huff. But Ochs and the Marschallin have arranged for Octavian to present the silver rose to Ochs’ fiancée, Sophie. Almost as if fated, he and Sophie immediately fall in love. After the predatory Ochs has been driven off, Octavian finds himself face to face with the Marschallin who sees immediately that he has transferred his affections. She releases him to love the girl she said he would find ‘heut oder morgen’, and Octavian and Sophie express their disbelief at what has happened so quickly in ‘Ist ein Traum’. The Marschallin takes her leave, but Mahomet comes in one last time to collect the handkerchief she has left behind. G.K. Williams © 2011 *For an explanation of these words please turn to page 23. 19 Glossary Sturm und Drang Storm and Stress: a movement in mid 18th-century German literature, art and music, which prized violent extremes of emotion rather than rational thinking. Octave A particular interval. For example, in the scale ‘do re mi fa so la ti do’, the interval between the first and last ‘do’s is an octave. Subject Melodies which play an important part in the structure of a piece of music. Dissonance A combination of notes which sounds harsh or unpleasant. Atonal Music which does not have any key, so that there is no established relationship between the notes and chords used. 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. 20 Meet the Instrument The Timpani Timpani, or kettledrums, belong to the group of percussion instruments known as membranophones, in which sound is produced by the vibration of a stretched membrane or skin. Timpani consist of a large bowl, usually made of copper, over which is stretched a drumhead of calfskin or plastic. Sound is produced by striking the head with mallets. Pitch is determined by the tension of the head and diameter of the bowl. To this end timpani come in various sizes. In addition, the drumhead may be slackened or tightened in order to alter the pitch of the note produced. On earlier models, pitch could be altered by tightening or loosening the screws around the drum holding the membrane in place; on today’s mechanised instruments tuning may be affected by means of a foot pedal, an innovation which greatly enhanced the timpani’s versatility. This ability to produce notes of definite pitch, allied with its wide dynamic range, renders the timpani among the most indispensable of the orchestra’s percussion instruments. Tone can be varied by altering the striking position (in the centre of the head, close to or on the rim, on the bowl); changing the weight and density of the mallets (soft, medium or hard); and muting the sound produced by covering the head with a section of cloth. However it was Beethoven who assigned a more soloistic function to the timpani, freeing them from their hitherto purely rhythmic function. Haydn’s opening timpani roll on E flat in his Symphony No.103 gave the work its name (‘Drum Roll’). Beethoven launches his Violin Concerto with solo notes from the timpani, and later extended the intervallic range to which timpani were tuned beyond fourths and fifths, employing octaves in his Eighth and Ninth Symphonies. Berlioz is one of numerous composers to utilise the timpani to great dramatic effect, memorably in ‘March to the Scaffold’ from Symphonie fantastique. Symphony Services International © 2011 1. 2. 3. 4. Mallets Head Bowl (or kettle) Tuning pedal k l m n Baroque and Classical orchestras typically included two timpani, tuned in fourths so as to emphasise the tonic and dominant at cadential points in the music. 21 Chamber Series 2012 Subscribe to WASO’s 2012 Chamber Series & save 10%! Join WASO for intimate and inspiring one-hour Friday afternoon chamber concerts in St Mary’s Cathedral. • Mendelssohn & Mustonen 2pm, Fri 30 March • Mozart’s Masterpiece 2pm, Fri 27 July • Best of Baroque 2pm, Fri 26 October Purchase a 3 concert Chamber Series Subscription for $94.50. *Single tickets on sale Monday 12 December 2011. BOOKINGS Enjoy a buffet lunch prior to the concert at the Duxton Hotel’s Grill Restaurant for only $28. To book call 9261 8025 and quote “Chamber Series Concert”. 22 WASO 9326 0000 waso.com.au Buy your WASO raffle tickets today! Your WASO Chorus is going to Hong Kong to perform with the Hong Kong Philharmonic in November 2012! Support this important tour by purchasing a raffle ticket and go into the draw to win some magnificent prizes: 1st Prize 2nd Prize A $7,500 gift voucher to spend on your choice of Kailis Jewellery. Enjoy a Renaissance Tour package for two to see Opera Australia’s La Traviata and tickets to the Sydney Symphony. Dates are from 30 March – 1 April and the prize is valued at $2,300. 3rd Prize You and a friend are invited to enjoy High Tea at The Duxton hotel with Principal Conductor Paul Daniel valued at $910. Raffle tickets are just $30 each and are available from the Programs & Information Desk at most WASO performances in the Perth Concert Hall, from the WASO Box Office or call Amy on 9326 0015 by Friday 25 Nov. 23 A Symphony of Giving An invitation to join WASO’s Private Giving Program WASO’s Patrons individually support the Orchestra and help it to achieve its mission – to touch souls and enrich lives through music. Our Patrons become part of a special community of individuals who together strengthen the Orchestra’s ability to remain the cultural heart of Western Australia. Their contributions support WASO’s artists and vision, and make possible a range of performance, community and education programs that reached over 200,000 Western Australians in 2010. Our live radio broadcasts, webcasts and podcasts reach thousands more. WASO is grateful for the generous support received from government, corporate support and through its box office. However, it is simply not enough. Support from our Patrons is critical to the Orchestra’s ability to sustain its current and future activities both on stage at the Perth Concert Hall and in the community. We all have a role to play and together our Patrons create a symphony of giving by helping to support the Orchestra’s ability to continue to engage, enchant and enthral the audiences of today and tomorrow. Contributions by our patrons are acknowledged in our Masters and Classics series concert programs, in addition to our website, as well as being fully tax deductible. Patrons are also invited to exclusive events throughout the year, bringing them closer to visiting artists and the Orchestra. If you would like to help us share the joy of music and become involved in the life of WASO, please contact: Alecia Benzie – Executive Manager, Private Giving on 9326 0020 or [email protected] Every gift makes a difference. 24 West Australian Symphony Orchestra Private Giving Partner 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 deeply 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. Tom & Jean Arkley Janet Holmes à Court AC SYMPHONY CIRCLE Recognises Patrons who have made a gift to WASO in their Will. Judith Gedero Tosi Nottage ( In memory Edgar Nottage) Judy Sienkiewicz Sheila Wileman Anonymous (12) 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: Dr Peter R Dawson Janet Holmes à Court AC Geoff Stearn Anonymous (1) STRADIVARI CIRCLE Recognises Patrons who have made a special contribution or donated substantial amounts over a number of years to WASO. Dr Peter R Dawson The Taylor Family All donations are fully tax deductible. 25 Private Giving Program continued... We thank the following Patrons for their generous contribution to the 2011 Private Giving program. PRINCIPAL CONDUCTOR’S CIRCLE Gifts $20,000+ Janet Holmes à Court AC McCusker Charitable Foundation Jill Mulheron Patricia New Anonymous (1) IMPRESARIO PATRON Gifts $10,000 - $19,999 Tony & Gwenyth Lennon Joshua & Pamela Pitt MAESTRO PATRON Gifts $5,000 - $9,999 Jean Arkley (In memory of Tom Arkley) Mr William Bloking Gay & Bob Branchi Bridget Faye AM Gilbert George & Associates International Mining Services Dr Patricia Kailis Susan & Michael Kiernan Margaret & Rod Marston Robert May & Daniel Lee Shing Kong Frank & Doris Roda (loving memory of Johann Gustav Hamann) Peter & Jean Stokes Catriona Woodall Anonymous (4) VIRTUOSO PATRON Gifts $2,500 - $4,999 Prof Fred & Mrs Margaret Affleck William Carr Neil Archibald & Alan Dodge AM Sally Burton Mark Coughlan & Dr Pei Yin Hsu Monika Dunnet Robyn Glindemann Keith & Gaye Kessell 26 Michael & Dale Kitney Bryant Macfie Mrs Morrell Dr W B Muston John & Paula Phillips Ros Thomson M & H Tuite Joyce Westrip OAM Ken & Jan Williams Sue & Ron Wooller Andrew & Marie Yuncken Anonymous (2) 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 Jean Brodie-Hall AM Dr G Campbell-Evans Arthur & Nerina Coopes Hon June Craig AM Gay & John Cruickshank Dr Stephen Davis Rai & Erika Dolinschek Julian Dowse Don & Marie Forrest Dr Andrew Gardner Graham & Barbara Goulden Jannette Gray Joe & Deidre Greenfeld Jacqui Grove David and Valerie Gulland Richard B Hammond Warwick Hemsley In memory of Douglas Hodgson Sylvia & Harry Hoffman OAM Michael & Liz Hollingdale Lilian & Roger Jennings Anthony & Noelle Keller Bill Kean Dr Rob Kirk & Sarah Gallinagh Stephanie & John Kobelke Gloria & Ulrich Kunzmann Victor & Rachel Lane Ledge Finance Limited 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 Associate/Prof. Tim Pavy Pamela Platt Andrew & Suzanne Poli Nigel & Carol Rarp Chester Reeve John & Alison Rigg Dr Lance Risbey Maurice & Gerry Rousset Roger Sandercock Margaret & Roger Seares Eve Shannon-Cullity Asher & Fraida Shapiro Julian & Noreen Sher Anne & Frank Sibbel Judy Sienkiewicz Gene Tilbrook Mary Townsend Dr Robert Turnbull John & Maggie Venerys Stan & Valerie Vicich Watering Concepts Ian Watson Freddi Wilkinson Jean & Ian Williams AO Trish Williams & Strategic Interactions Dr Peter Winterton Anonymous (9) TUTTI PATRON Gifts $500 - $999 Geoff & Joan Airey Catherine Bagster Emeritus Professor Cora Baldock Merle I Bardwell Jackie & Bernard Barnwell Mrs B Barker Shirley Barraclough P M Bennet Winfred Bisset Peggy Blain S & L Bourguignon 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 Norman & Denia Daffen Gina & Neil Davidson Lesley & Peter Davies Jop & Hanneke Delfos Vera J Djulbic Ron Dyer (in memory of Ivy Dyer) Lorraine Ellard Timothy & Lexie Elliott Mrs G. Ewen Annette Finn George Gavranic Elaine Gimson Isobel Glencross Dr Peter Goodwin Pauline & Peter Handford 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 Jim & Freda Irenic John Isherwood IT Vision Australia Pty Ltd Catherine and Bernth Johansson B. M. Kent Trevor & Ane Marie Lacy Paul Lee Rosalind Lilley Dr Mary Ellen MacDonald and Michael Pauly John McKay & Claire Brittain Gaye & John McMath 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 Audrey Rogers Dr R & J Schwenger Judith E Shaw Garnett Skuthorp Ross Smith Peggy & Tom Stacy Grant Sutherland Tony & Gail Sutherland 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 Dr Heather Whiting Ann Whyntie Violette William Janet & David Williams Sue Williams – Humanconnection Roma Wilson Patricia Wong Yalambi Farm Stud Anonymous (12) 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 [email protected] 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 27 Proud sPonsor of wAso apachecorp.com/Australia 28 Sat 10 Dec | 7.30pm The Perth Esplanade such as lead WASO performing favourites Principal Conductor Paul Daniel will Wars. Star from c musi the a: O Fortuna and Beethoven’s Fifth, Carmina Buran Swan Bells and the the with ure Overt 1812 sive Don’t miss Tchaikovsky’s explo Reserve Artillery. 7 Field Battery of the Australian Army Pearce, host s | Andrew Horabin, presenter | Greg Paul Daniel, conductor | WASO Choru For further information visit: waso.com.au 29 West Australian Symphony Orchestra The Company Principal Conductor Paul Daniel Partnered by Wesfarmers Arts VIOLIN Margaret Blades* Assoc Concertmaster Semra Lee Assistant Concertmaster Graham Pyatt Assoc A/Principal 1st Violin John Ford Principal 2nd Violin Yacht Grot Chair of Principal 2nd Violin Zak Rowntree Assoc Principal 2nd Violin Kylie Liang Assistant Principal 2nd Violin Sarah Blackman Fleur Challen Stephanie Dean Dorothy Ford Beth Hebert Shaun Lee-Chen* Anna O’Hagan Kathleen O’Hagan Melanie Pearn Ken Peeler Brendon Richards Louise Sandercock Jolanta Schenk Jane Serrangeli Ellie Shalley Jacek Slawomirski Bao Di Tang Cerys Tooby Rebecca White David Yeh 30 Conductor Laureate Chorus Director Concertmaster VIOLA PICCOLO TROMBONE Vladimir Verbitsky Giovanni Pasini Principal Berian Evans Assoc Principal Kierstan Arkleysmith Nik Babic Alex Brogan Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey 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 FLUTE Andrew Nicholson Principal Mary-Anne Blades Assoc Principal Marilyn Phillips Michael Waye Principal OBOE Leanne Glover A/Principal Elizabeth Chee A/Assoc Principal CLARINET Allan Meyer Principal Lorna Cook BASS CLARINET Alexander Millier Principal BASSOON Giulio Plotino Joshua Davis Principal David Robins A/Assoc Principal BASS TROMBONE Philip Holdsworth Principal TUBA Cameron Brook Principal TIMPANI Alex Timcke Principal PERCUSSION Jane Kircher-Lindner Principal Adam Mikulicz Assoc Principal Tim White Principal Troy Greatz Assoc Principal Percussion & Timpani contraBASSOON HARP Simone Walters Principal Sarah Bowman Principal HORN David Evans Principal Malcolm Stewart Assoc Principal Robert Gladstones Principal 3rd Rachel Silver TRUMPET David Elton Principal Evan Cromie Assoc Principal Peter Miller * Instruments used by these musicians are on loan from Janet Holmes à Court, AC. Board of Directors Janet Holmes à Court AC Chairman Bill Bloking Mark Coughlan Jeff Dowling Keith Kessell Barrie Lepley Julian Sher Bryan Taylor Executive Craig Whitehead Chief Executive Sarah Afentopoulos Human Resources Manager Jo Nevill Administration & Special Projects Officer Artistic Planning Evan Kennea Executive Manager, Artistic Planning Kellie Wilson Artistic Program Manager Prue Ashurst Education Manager Stephen McAllan Artist Liaison/Chorus Administrator Claire Stokes Artistic Program Coordinator Orchestral Management Keith McGowan Executive Manager, Orchestral Management David Cotgreave Production & Technical Manager Alex Morris Orchestra Manager Noel Rhind Production Assistant Alan Tyrrell Music Librarian Business Services Peter Freemantle Executive Manager, Business Services Angela Miller Accountant Hilary McKenna Tessitura Project Manager Diane Wilson Business Services Assistant Corporate Development Melanie Roosendaal Executive Manager, Corporate Development Marina Woodhouse Corporate Development Manager Ashleigh Perrella Corporate Relations Executive Susan Brannigan Corporate Development Coordinator PERTH CONCERT HALL AEG OGDEN (PERTH) PTY LTD. Andrew Bolt General Manager Helen Stewart/Miranda Lancaster-Allen Deputy General Manager Penelope Briffa Event Coordinator Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues. Rodney M Phillips Chief Executive AEG OGDEN (PERTH) PTY LTD Private Giving Alecia Benzie Executive Manager, Private Giving Amy Stokes Philanthropy Executive Sarah Gallinagh Donations & Bequests Coordinator Marketing Kelli Carnachan Executive Manager, Marketing Paula Schibeci Public Relations Manager Will Ainger Graphic Designer Tonia Kilian Marketing Coordinator Kirsty Chisholm Digital Marketing Coordinator Sarah Gallinagh Group Sales Coordinator Belinda Huggins Customer Service Manager Josie Aitchison Beverley Trolio Customer Service Coordinators Luke Butler Margaret Daws Vicki Prince Robyn Westbrook Customer Service Officers Vanessa Costanzo Marketing Assistant 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. THE PERTH THEATRE TRUST Dr. Saliba Sassine Chairman 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 [email protected] 31 Corporate Partners Partner of Excellence Platinum Partners Series Partners Education & Community Partners World Artist Partners Orchestral Partners Keynote Partners 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 Symphony Supporters Computershare, L7 Solutions, M2 Technology, Mercedes-Benz Diesel Motors Southpoint Star and Westpoint Star, Perth Concert Hall, Pianohaass, RICOH, Skywest Airlines Margaret River Wine 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 Media Partners Funding Partners For more information on WASO Corporate Partnerships please contact Melanie Roosendaal, Executive Manager, Corporate Development. Tel: (08) 9326 0088 Email: [email protected]
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