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
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Get updates about forthcoming concerts and events.
Visit facebook.com/WestAustralianSymphonyOrchestra
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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
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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]