MORNING SYMPHONY SERIES - Thursday 29 April 2021, 11.00am Perth Concert Hall MASTERS SERIES
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MORNING SYMPHONY SERIES Thursday 29 April 2021, 11.00am Perth Concert Hall MASTERS SERIES Saturday 1 May 2021, 7.30pm Perth Concert Hall
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MORNING SYMPHONY SERIES
Symphonic Stories
Wolfgang Amadeus MOZART Symphony No.35 Haffner (17 mins)
Allegro con spirito
Andante
Menuetto – Trio
Finale (Presto)
Bedřich SMETANA Má Vlast: Vltava (The Moldau) (11 mins)
Leoš JANÁČEK Taras Bulba (23 mins)
The Death of Andriy
The Death of Ostap
The Prophecy and Death of Taras Bulba
Johannes Fritzsch conductor
Wesfarmers Arts Pre-concert Talk
Find out more about the music in the concert with this week’s speaker Rosalind Appleby
(see page 25 for her biography). The Pre-concert Talk will take place at 9.40am in the
Main Auditorium.
3
MASTERS SERIES
Symphonic Stories
Wolfgang Amadeus MOZART Symphony No.35 Haffner (17 mins)
Allegro con spirito
Andante
Menuetto – Trio
Finale (Presto)
Carl Maria von WEBER Clarinet Concerto No.1 (18 mins)
Allegro
Adagio ma non troppo
Rondo (Allegretto)
Interval (25 mins)
Bedřich SMETANA Má Vlast: Vltava (The Moldau) (11 mins)
Leoš JANÁČEK Taras Bulba (23 mins)
The Death of Andriy
The Death of Ostap
The Prophecy and Death of Taras Bulba
Johannes Fritzsch conductor
Ashley Smith clarinet
Wesfarmers Arts Pre-concert Talk
Find out more about the music in the concert with this week’s speaker, Rosalind Appleby (see page
25 for her biography). The Pre-concert Talk will take place at 6.45pm in the Terrace Level Foyer.
Wesfarmers Arts Meet the Artist
Join tonight’s guest artists, Johannes Fritzsch and Ashley Smith, for a post-concert interview. This
will take place immediately following the Saturday evening performance in the Terrace Level Foyer.
Listen to WASO
This performance is recorded for broadcast on ABC Classic. For further details visit abc.net.au/classic
4
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6WASO On Stage
VIOLIN VIOLA PICCOLO TROMBONE
Laurence Jackson Daniel Schmitt Michael Waye Joshua Davis
Concertmaster Alex Brogan • Pamela & Josh Pitt • Dr Ken Evans and
Dr Glenda Campbell-Evans
Riley Skevington Kierstan Arkleysmith
Assoc Concertmaster OBOE Liam O’Malley
Nik Babic Liz Chee
Semra Lee-Smith Benjamin Caddy BASS TROMBONE
Assistant Concertmaster A/Principal Oboe
Zak Rowntree* Alison Hall Annabelle Farid° Philip Holdsworth
Principal 2nd Violin Rachael Kirk
COR ANGLAIS TUBA
Akiko Miyazawa Allan McLean
Leanne Glover Cameron Brook
A/Assoc Principal Elliot O’Brien • Sam & Leanne Walsh • Peter & Jean Stokes
2nd Violin Kathy Potter^
Sarah Blackman Helen Tuckey CLARINET TIMPANI
Fleur Challen Allan Meyer Alex Timcke
Stephanie Dean CELLO Geoffrey Bourgault
Amy Furfaro^ Rod McGrath PERCUSSION
du Coudray^
Rebecca Glorie • Tokyo Gas Brian Maloney
Beth Hebert Eve Silver* BASS CLARINET Francois Combemorel
Alexandra Isted Melinda Forsythe^ Alexander Millier Assoc Principal
Percussion & Timpani
Jane Johnston^ Shigeru Komatsu
Oliver McAslan BASSOON Paul Tanner^
Sunmi Jung Jane Kircher-Lindner HARP
Christina Katsimbardis Nicholas Metcalfe
Anna Sarcich^ Adam Mikulicz Yi-Yun Loei^
Ellie Lawrence
Sera Lee^ Fotis Skordas CONTRABASSOON ORGAN
Jasmine Middleton^ Tim South Chloe Turner
• Stelios Jewellers
Stewart Smith^
Lucas O’Brien DOUBLE BASS
Melanie Pearn Andrew Sinclair* HORN
Louise Sandercock John Keene ★Section partnered by
Margaret & Rod Marston
Jolanta Schenk Sarah Clare^
Jane Serrangeli David Evans
Louise Elaerts
Bao Di Tang Robert Gladstones
Christine Reitzenstein Principal 3rd Horn
Cerys Tooby Mark Tooby Julia Brooke
Teresa Vinci^ Phil Waldron^ Francesco Lo Surdo
Susannah Williams^
FLUTE Arianne Rooney^
David Yeh
Andrew Nicholson TRUMPET
• Anonymous
Mary-Anne Blades Brent Grapes
• Anonymous
• Anonymous
Jenna Smith
Peter Miller ★ Section partnered by
• Chair partnered by
* Instruments used by these
musicians are on loan from
Janet Holmes à Court AC.
Principal
Associate Principal
Assistant Principal
Contract Musician˚
Guest Musician^
7About The Artists
Johannes Fritzsch Ashley Smith
Conductor Clarinet
Johannes Fritzsch was appointed Principal Described as “Incandescent... a masterly
Conductor and Artistic Adviser of the display of skill and insight... as an
Queensland Symphony Orchestra in apologist for contemporary music-
February 2021, having previously served making, you would search hard to find
as their Chief Conductor (2008-2014). this young clarinettist's equal” (The
Since 2018, Johannes has held the position Age), clarinettist Ashley William Smith
of Principal Guest Conductor of the appears internationally as a soloist,
Tasmanian Symphony Orchestra. chamber musician and director. He has
From 2006-2013 he was Chief Conductor been recognised by a Music Council of
and Artistic Director of the Oper Graz, Australia Freedman Fellowship, an ABC
Grazer Philharmonisches Orchester Symphony International Young Performer
(Austria). Prior to his appointment in Award, a Churchill Fellowship, and an
Graz, Johannes held the position of Chief APRA Performance of the Year (Skipworth
Conductor and Artistic Director of the Clarinet Concerto with the West
Staatsoper Nürnberg. He regularly conducts Australian Symphony Orchestra).
the major Australasian orchestras as well
as leading productions for Opera Australia, Notable engagements include
Opera Queensland, West Australian Opera performances for the Chamber Music
and State Opera of South Australia. Society of the Lincoln Centre, Chamber
In January 2015, Johannes was appointed Music Northwest, the Kennedy Centre
Adjunct Professor, The Conservatorium of and the Beijing Modern Music Festival.
Music, School of Creative Arts and Media Ashley is a Senior Lecturer and Chair
at the University of Tasmania. In June 2019, of Woodwind and Contemporary
he joined the Queensland Conservatorium, Performance at the University of Western
Griffith University as Professor of Opera Australia Conservatorium of Music.
and Orchestral Studies.
A graduate of Yale University, the
In 2017, the Tasmanian Symphony Orchestra University of Western Australia, and
invited him to design and lead the newly a Fellow of the Australian National
founded Australian Conducting Academy. Academy of Music, Ashley was awarded
In 2021, he conducts the Auckland the highest honours as the most
Philharmonia and the Sydney, Melbourne, outstanding performance graduate of
Queensland, Tasmanian and West each institution. In 2020 he was awarded
Australian Symphony Orchestras. a Doctor of Musical Arts from UWA.
© Patrick Togher Artists’ Management 2021
9About The Music
Wolfgang Amadeus Mozart
(1756-1791)
Symphony No.35 in D, K.385 Haffner
Allegro con spirito
Andante
Menuetto – Trio
Finale (Presto)
This symphony, the first Mozart
completed after moving from Salzburg to
Vienna in 1781, shows the confidence and
richness of the opera he had composed
for Munich the previous year, Idomeneo,
transferred to a grand piece for orchestra his score by adding flutes and clarinets to
alone. It is called the ‘Haffner’ Symphony the first and last movements, and deleting
because the music was composed for the march and the first minuet. It was
festivities in Salzburg associated with the common for elaborate multi-movement
ennoblement of Mozarts’ friend Siegmund serenades to be ‘reduced’ to three or
Haffner the Younger. four movement symphonies in this way.
When in 1782 he received his father’s In Mozart’s case, at least, there is little
request for some new music appropriate distinction between ‘symphonic’ writing
to the occasion, Wolfgang Mozart was and the grand festive style of his most
preoccupied with the production of his ambitious serenades.
opera The Abduction from the Seraglio, The first movement of the Haffner
and his marriage to Constanze Weber. Symphony, an imposing call to attention,
But he somehow found time to compose begins with the kind of striking gesture
festive music in six movements, including which would make a talkative audience
two minuets and a march. This was the sit up and pay attention. Mozart asked
standard form of an orchestral serenade. for it to be played ‘with great fire’. It turns
(Mozart had already in 1776 composed out that these two leaps of an octave
such a serenade for wedding festivities followed by a rhythmic flourish are the
in the Haffner family – that Haffner main substance of the first movement. As
Serenade, K250, is an entirely different in many of the first movements of Haydn,
piece.) which we know Mozart was studying at
the time, there is no contrasting second
Later in the same year, 1782, when
theme, yet the tonal drama of the form is
planning one of his ‘academies’ or
not any the less for that.
subscription concerts in Vienna, Mozart
asked his father to return to him from The grace of the Andante has been
Salzburg the ‘Haffner music’. When he related by many commentators to
received it, he wrote back, ‘I was quite its serenade origins, but this is an
surprised by the new Haffner symphony, unnecessary explanation: a symphony,
for I had forgotten every single note of it; in Vienna’s concert life at this time, was
it must certainly be very effective.’ For the not expected to be the main work of the
concert on 22 March 1783 Mozart adapted evening. Mozart’s own performance of a
10piano concerto would have taken a higher
place. Relaxation was just what was
needed after an unusually tightly-written
first movement with so much imitative
counterpoint.
The Menuetto is grand without being
pompous – this is certainly a minuet
which asks to be listened to, not merely
background music for dancing. The
delicate subtleties of the Trio, then, will
not be overlooked by the audience.
In the Finale we are in the world of comic
opera. Mozart had been exploring how to
write opera in a new way in The Abduction
from the Seraglio, and there are reminders
of that here, especially of the blustering
triumphant rage of Osmin, the overseer of
the harem. But Mozart smiles, laughs, and
is serious all at once. In this Finale, which
he said should go ‘as fast as possible’,
he takes the quicksilver patter of Italian
musical comedy and hands it back to the
Italians, enriched. It is no accident that
the final bars suggest (to modern ears)
Rossini, who as a teenager 20 years after
the composition of this symphony was so
mad about Mozart (and Haydn) that his
friends called him ‘the little German’.
David Garrett © 1999
First performance of the opera: 22 March 1783,
Vienna.
First WASO performance: 7 July 1978. Peter
Eros, conductor.
Most recent WASO performance: 13 July 2002.
Matthias Bamert, conductor.
Instrumentation: two each of flutes, oboes,
clarinets and bassoons; two horns, two
trumpets; timpani and strings.
Glossary
Counterpoint – two or more lines of music or melodies that are played at the same time.
11About The Music
Carl Maria von Weber
(1786-1826)
Clarinet Concerto No.1 in F minor, Op.73
Allegro
Adagio ma non troppo
Rondo (Allegretto)
Much of the clarinet repertoire owes its
existence to exceptional collaborations
between composers and virtuoso players.
Carl Stamitz wrote for Joseph Beer,
Mozart for Anton Stadler, Spohr for
Simon Hermstedt and Brahms for Richard
Mühlfeld.
that Weber was soon commissioned
For Carl Maria von Weber, the clarinettist to write two full-scale concertos for
was Heinrich Baermann who, following Baermann.
a spell in the Prussian Guards regiment
Of the two clarinet concertos (No.1 in F
band, abandoned his military career and
minor, Op.73 and No.2 in E flat, Op.74), it
found his way to Munich, the Bavarian
is the first that is most often performed
capital, where he obtained the position of
today, and was reputedly Baermann’s
principal clarinet in the court orchestra of
personal favourite. Weber completed it
King Maximilian I.
in May 1811 and Baermann gave the first
It was here, in 1811, that Weber performance on 13 June, at a concert
encountered Baermann for the second given by Friedrich Kauffmann, the
time. (The pair had met in Darmstadt Dresden piano maker. The concertos were
– Baermann on tour, Weber on the not published, however, until 1822, when
run after dodgy financial dealings had Weber’s reputation (enhanced by the
resulted in his expulsion from Stuttgart.) success of Der Freischütz) was sufficient
The composer was shortly to embark on to boost confidence in the then youngest
a concert tour of his own, and invited of wind instruments. On the other hand,
Baermann to perform at his farewell it was Baermann’s artistry earlier on that
concert. The evening was a success, and helped to convince the musical public of
helped cement their friendship. Weber’s worth. The composer himself
praised Baermann’s ‘complete evenness
The two musicians continued working
of tone from top to bottom and divinely
together in Munich, where the
tasteful phrasing’. The former was
enterprising Weber was arranging a
something of a novelty for, while most
royal audience for his music. Knowing
other clarinettists were playing five- or
Baermann’s outstanding ability as a player
six-key instruments, Baermann had the
and his position with the court orchestra,
Berlin firm Griesling & Scholt make him a
Weber composed the Concertino for
ten-key boxwood clarinet.
clarinet and orchestra in E flat, Op.26,
which received its premiere in the This innovation not only facilitated
presence of the King on 5 April. Such was Baermann’s naturally agile technical
the royal approbation on this occasion command, but resulted in the fluent
12delivery of notes throughout the range An instant of exceptional elegance occurs
that Weber had noted. In response, with his use of chorale-like horns to
Weber’s clarinet writing placed the accompany the clarinet after the virtuosic
instrument at the very edge of virtuosity, minore episode. Within the solo part,
and presents formidable challenges even Weber contrasts the poignancy of the
today. At the same time, the Concerto upper register, used in the outer sections,
in F minor shows Weber as one of the with fiery ascents from chalumeau to
first musicians of the Romantic period altissimo register in the animated middle
to perceive and liberate the dramatic section.
potential of the clarinet as a solo
The work concludes with an ebullient
instrument.
Rondo in the tonic major. The rondo
The orchestral introduction of the Allegro theme, heard four times in all, has
establishes the sombre yet lyrical mood the manner of a capricious jaunt. Yet,
that pervades much of this operatic first embedded in the abundance of wit and
movement. The soloist’s initial entry, in bravura, there is a moment of bittersweet
the upper register, is marked con duolo anguish, providing a link not only with
(with grief), and is typical of the minor-key material from the earlier movements,
pathos by a composer with such a gift for but with Weber’s natural inclination to
dramatic writing. operatic lyricism.
Throughout the movement, Weber Ingrid Pearson © 1997
uses the clarinet’s entire range, but is First performance: 13 June 1811, Heinrich
particularly effective in his handling of the Baermann soloist.
natural cantabile qualities of the upper
First WASO performance: 12 December 1949.
register. Opportunities for clarinet bravura Rudolf Pakarek, conductor.
increase as the movement progresses.
In fact, most performances include a Most recent WASO performance: 13 October
2012. Michael Collins soloist, OttoTausk
virtuoso interpolation just before the
conductor.
cadenza by Baermann himself.
Instrumentation: two each of flutes, oboes and
In the Adagio ma non troppo, Weber bassoons; three horns, two trumpets; timpani
combines the clarinet with other wind and strings.
instruments, exploiting the instrument’s
enormous potential for timbral versatility.
Glossary
Cantabile – in a singing style.
Cadenza – a virtuoso passage by a solo instrument, usually towards the end of a concerto movement.
Originally, cadenzas were improvised by the soloist to show off their brilliant technique.
Tonic – the main note in a key, and the chord built on this note; most music tends to come back to the tonic at
the end.
13About The Music
Bedřich Smetana
(1824–1884)
My Country: Vltava
The tone poem depicting Bohemia’s
greatest river, the Vltava (known in
German as Moldau), is the second of
the six spiritually and, to an extent
musically, integrated movements making
up Smetana’s orchestral masterpiece,
the symphonic cycle My Country (Má
vlast). Composed between 1872 and 1880
in patriotic celebration of the nation’s
countryside, history and legend, it was
intended to assert Czech identity within
a medieval past, climaxing the river’s
the Austro-Hungarian Empire. Today, it
journey, and combining with a 15th-
symbolises the finer feelings of patriotism
century Hussite battle hymn to end the
for people the world over.
cycle in a grand apotheosis affirming the
‘Vltava’ depicts the course of the river Czech people’s golden future.
through the countryside, by means of a Anthony Cane © 2008
rondo-like structure in which a pulsing
theme first heard in E minor recurs First performance: 4 April 1875. Adolf Čech
conducting.
and grows and will eventually achieve
grandeur in E major. In passing episodes, First WASO performance: 7 June 1969.
the river encounters a hunt, a village Thomas Mayer, conductor.
festival and a moonlight dance of water Most recent WASO performance: 16 November
nymphs. Challenged by the turbulent 2013. Michał Dworzyński, conductor.
Rapids of St John, the river emerges
Instrumentation: three flutes (doubling piccolo),
broader, its spirits proudly lifted as it two each of oboes, clarinets and bassoons; four
surges forth to meet its destiny – at horns, two trumpets, three trombones and tuba;
Vyšehrad, dominating the right bank as it timpani, percussion, harp and strings.
enters Prague, the legendary High Castle
of Bohemia’s first royal dynasty; then on
through the Golden City and beyond.
The resounding, foursquare ‘Vyšehrad’
motto with which the Vltava is greeted to
Prague comes from the first movement of
My Country. It is the musical and spiritual
linchpin of the cycle, evoking glories of
Glossary
Tone poem – another term for ‘symphonic poem’. A programmatic work for orchestra, usually in a single
movement.
14About The Music
Leoš Janáček
(1854-1928)
Taras Bulba: Rhapsody for Orchestra
The Death of Andriy
The Death of Ostap
The Prophecy and Death of Taras Bulba
In March 1915 the authorities closed down
Janáček’s Russian Circle in the Moravian
capital, Brno. Its promotion of Russian
language and culture, with undertones
of pan-Slavism, could be subversive in
wartime. Janáček himself was listed as
‘politically suspect’.
for its Prague premiere (under Václav
It was scarcely a coincidence that Talich, 1924) – though in each case its
Janáček now returned to a Russian success was immediate.
literary classic, Nikolai Gogol’s Taras
In selecting three grim but pivotal scenes
Bulba, which he had read (in Russian) and
from Gogol’s story, Janáček seizes on
thoughtfully annotated ten years earlier,
the self-sacrifice that transcends human
as the basis for a composition which
feeling. Taking his two dearly-loved sons
he determined would be his ‘musical
on campaign against the Poles, Taras
testament’. Its theme would be, as he
Bulba is forced to execute the younger,
later wrote, ‘prophecy and presentiment
Andriy, for treason in loving a Polish
of the victory of the Slavs’, with Cossack
nobleman’s daughter and fighting with the
chief Taras Bulba ‘champion of the fight
besieged enemy against his own people.
against their enemies’. Gogol’s tale of
He is forced to watch helplessly the final,
heroic people fighting for freedom and
public agonies of his captured elder son,
independence mirrored the wartime
Ostap, stoical under Polish torture until,
dreams of Janáček and many of his
in extremis, he cries for his father and is
compatriots for their own Moravian,
comforted by a ringing ‘I hear thee!’ from
Czech and Slovak peoples. In their fellow-
among the hushed crowd. His ruthless
Slavs from mother Russia lay the great
exploits are ended by his own eventual
hope for liberation from Austro-Hungarian
capture, yet Taras Bulba ignores the
domination.
flames consuming the tree to which he
Janáček’s composition hastened slowly, is nailed and all the while exhorts his
probably because no such pro-Russian troops to safety through a daring feat
work could expect a performance while of horsemanship. In his death agony,
the war lasted. Begun in 1915, it was the Cossack leader’s prophetic vision
not completed until Good Friday of comes in words that Janáček quoted as
1918. But instead of welcoming the new his inspiration: ‘No flames, no torture of
Czechoslovak Republic after the war, this world, will ever break the spirit of the
Taras Bulba had to wait three years for its Russian people.’
first performance in Brno (under František
Neumann, 1921) and a further three years
15No matter, when Janáček later spoke
expansively of the ‘victory of the Slavs’,
that the Poles, too, were Slavs! Nor was
the agnostic Janáček much concerned
with Gogol’s central theme of the people’s
defence of their holy Orthodox Church
against an expansionist Western church
in Poland. The inclusion of organ and bells
in Janáček’s large orchestra, however,
suggests a prayerful Polish populace in
the siege of the opening movement and
exaltation in the Cossack’s prophetic
vision. A tender oboe melody evokes
the bliss with which Andriy discovers his
beloved amidst the siege, and it is in the
scream of a high clarinet that the dying
Ostap cries out for his father. Janáček has
the Poles dance a wild Mazur to celebrate
the capture of Ostap, and a Crakowiak on
the building of his father’s funeral pyre.
In this, his most grandiose and colourful
orchestral work, Janáček achieves a
richness and variety of expression that
speaks eloquently to a wider international
audience than just his fellow Slavs.
Anthony Cane © 2003
First performance: 9 October 1921, Brno, Czech
Republic. František Neumann conducting, 1921.
First WASO performance: 1 September 1995.
Vernon Handley, conductor.
Most recent WASO performance: 25 July 2009.
Jakub Hrůša, conductor.
Instrumentation: three each of flutes (doubling
piccolo), oboes (doubling cor anglaise), clarinets
(doubling bass clarinet) and bassoons (doubling
contra bassoon); four horns, three trumpets,
three trombones and tuba; timpani, percussion,
harp, organ and strings.
16Your Concert Experience
FOR THE ENJOYMENT OF ALL
When to applaud? Musicians love applause.
Audience members normally applaud:
• When the conductor walks onto the stage
• After the completion of each piece and
at the end of the performance
When you need to cough, try to do it
discreetly. Cough lozenges are available
from the WASO Ticket Collection Desk
before each performance and at the
interval.
FIRST AID
Hearing aids that are incorrectly adjusted
may disturb other patrons, please be There are St John Ambulance officers
mindful of those around you. present at every concert so please speak to
them if you require any first aid assistance.
Mobile phones and other electronic
devices need to be switched off or ACCESSIBILITY
silenced throughout the performance. • A universal accessible toilet is available
on the ground floor (Level 1).
Photography, sound and video • The Sennheiser MobileConnect
recordings are permitted prior to the start Personal Hearing Assistance system
of the performance. is available for every seat in the
Latecomers and patrons who leave the auditorium. Visit perthconcerthall.com.
auditorium will be seated only after the au/your-visit/accessibility/ for further
completion of a work. information.
Moving to empty seats. Please do not WASO BOX OFFICE
move to empty seats prior to the Buy your WASO tickets and subscriptions,
performance as this may affect seating for exchange tickets, or make a donation
latecomers when they are admitted at the Box Office on the ground floor
during a suitable break. (Level 1) prior to each performance and at
interval. Tickets for other performances
FOOD & BEVERAGES at Perth Concert Hall will be available for
You are now able to take your cold drinks purchase only at interval. Please note that
to your seat. 30 minutes prior to performance, the Box
Office will only be available for sales to
Foyer bars are open for drinks and coffee
that night's performance.
two hours before, during interval and after
the concert. To save time we recommend The Box Office is open Monday to
you pre-order your interval drinks. Friday, 9am to 5pm, and contactable on
9326 0000.
17Meet The Musician
Adam Milkulicz
Assoc Principal Bassoon
How have you prepared for
Symphonic Stories?
The last movement of the Haffner
symphony is actually an audition test
piece for bassoon as it's particularly
difficult with its fast articulation, and
the fact that it is difficult to play clearly
because of its register and key. With this
in mind I've been practicing my double
tonguing (a technique used in wind
playing for fast articulation) and playing
though the last movement slowly with a If you had to choose any other instrument
metronome. to play in the orchestra, what would it be?
Probably an instrument that doesn't have
What do you enjoy most about your
a reed! What I love about the bassoon in
chosen career path?
orchestra/ensemble is the variety of roles
I think bringing the masterpieces we
we play. We are constantly switching
play to life is incredible. I consider these
between bass, middle and melodic lines,
monumental works to be the height of
often within the same phrase. One of the
human creativity in recent times, and
things that I miss out on being a bassoonist
I feel privileged to be a part of them.
though is a wealth of chamber and solo
Sometimes it feels like I am a brush
repertoire, so maybe cello or viola.
stroke in a Monet painting or a character
ambling the cobbled street of a Dickens When no one’s watching, what music do
novel. you listen to?
Anything and everything from pop to
What is the most challenging thing about
jazz to country to American minimalism.
playing the bassoon?
Depends on my mood and what I'm doing.
Reeds are a constant challenge to us
My Spotify generated playlists are pretty
playing oboe, clarinet and bassoon. Every
eclectic.
time we pick up our instrument it feels
slightly different as every reed vibrates in If I wasn’t a musician, I would be…
its own unique way. Even the same reed When I'm not playing bassoon, I like to
vibrates differently from day to day as it design and make clothes so perhaps
ages and the humidity and temperature something like that or something else
varies. The quest for finding or making visual. It would be nice to do something
the perfect reed is a time consuming, that didn't only exist in time where you
tedious and humbling pursuit. It takes my could properly stand back and observe
innermost zen to confront the task! your work; recordings are often deceiving.
18WASO Community Engagement
ATAR 2021
WASO’s Education and Community
Engagement team is delighted to begin
our 2021 Schools’ Season with our ATAR
Western Art Music Designated Works
concerts.
On Thursday 18 February WASO
welcomed over 350 Year 11-12 students
from seventeen schools across Perth to
John Inverarity Music & Drama Centre,
Hale School across two performances of
the ATAR Western Art Music Designated
Works.
One of our most important education
The 2021 program consisted of Haydn programs, the reaction to this years’ ATAR
Symphony No.101 mvt I&II, Mozart performances is perhaps best summed
Symphony No.41, mvt I and Bach up in just one response from feedback
Concerto for Two Violins in D minor received:
from the compulsory genres of Concerto
(Year 11) and Symphony (Year 12). The An invaluable opportunity for our students,
performances presented both key excerpt it makes all the difference to their study of
analysis and full performances, with not only the works but across the course.
additional information and discussion As always, an excellent concert and very
around the cultural and historical context relevant to the ATAR course.
supported by both a written resource and Our sincere thanks to staff and parents
in-performance with presenter/conductor who facilitated student attendance at this
Peter Moore OAM. event.
The two performances featured
WASO's Assistant Concertmaster,
Semra Lee-Smith and Principal 2nd Violin,
Zak Rowntree. Both performed to great
acclaim and not only helped to illustrate
key compositional concepts, but also
provided incredible inspiration to students
around performance preparation
and presentation.
19WASO Philanthropy
WASO’s Annual Giving Fund This year we invite you to become, or
renew as, a WASO Patron by making
Donations remain vital for WASO to a donation to our Annual Giving fund.
present inspiring and joyful concerts and Those who give $500 or above in a year
continue to powerfully impact the lives are acknowledged as WASO Patrons and
of so many people in Western Australia. enjoy opportunities to experience the
In particular, donations to our Annual
Orchestra from different perspectives –
Giving fund are essential to the daily
not just from the auditorium – through
operations of the Orchestra in helping to
invitations to exclusive Patron events,
cover our core operating costs.
getting to know our musicians and fellow
As a not-for-profit, charitable organisation, music lovers.
we are extremely proud to be supported
by many individuals who each year renew Want to join our community
their gift to our Annual Giving fund. Your and become a WASO Patron?
Orchestra would be a very different one
without this ongoing support. If you wish to become a Patron, renew
for 2021 or increase your current
Gifts to WASO’s Annual Giving fund gift, please call 9326 0000 or email
support our ability to achieve artistic philanthropy@waso.com.au.
excellence, secure the finest guest
conductors and soloists, present It is also quick and easy to make a donation
a diverse program of Education & online at waso.com.au/support-us or you
Community Engagement activities across can make a donation at the Box Office
WA and work in partnership with the with your ticket purchase. All donations
opera and ballet companies. over $2 are fully tax deductible.
Photo: Rebecca Mansell
20Our Supporters
Thank you for making WASO the organisation it is today.
The financial support of passionate individuals is essential to maintaining a State
Orchestra in Western Australia for future generations. Thanks to you, WASO's
philanthropy program continues to grow, supporting our vision now and into the future.
Together we can achieve remarkable things - thank you for your invaluable support.
Honorary Patron Jacinta Sirr-Williams
Susan Stitt
Education & Community
Janet Holmes à Court AC Engagement Fund
Ruth Stratton Jean Arkley
Endowment Fund for Ruth & Neville Thorn
Gavin Toovey & Jaehan Lee
Annette Cottee
the Orchestra Agatha van der Schaaf
Penny & Ron Crittall
Major Donations Sheila Wileman Robyn Glindemann
Tom & Jean Arkley Sagitte Yom-Tov Fund Journey Recruitment
Bendat Family Foundation Anonymous (39) Deborah & Miles Protter
Janet Holmes à Court AC Eveline Read
Minderoo Foundation Chairman’s Circle Dr Carol Warren
Sagitte Yom-Tov Fund Supporting excellence Anonymous (1)
Richard Goyder AO & Janine Goyder
Estates Jean Arkley Crescendo
Lee Bickford Janet Holmes à Court AC Trusts & Foundations
Rachel Mabel Chapman Torsten & Mona Ketelsen Crown Resorts Foundation
Malcolm Hood Tony & Gwenyth Lennon
Clive Knight Rod & Margaret Marston* Packer Family Foundation
Paul Lee John Rodgers Feilman Foundation
Anna Nottage in memory of Leanne & Sam Walsh* Stan Perron Charitable Foundation
Edgar Nottage Bunning Family
Wendy Scanlon The 2021 WASO Song Crescendo Giving Circle
Judy Sienkiewicz Book Jean Arkley
Mrs Roslyn Warrick Supporting new works Prue Ashurst
Anonymous (7) commissioned for the Orchestra for David & Suzanne Biddles
2021 and beyond
Symphony Circle Janet Holmes à Court AC
S Cherian
Thank you to all our Bequestors Brenda Cohen
Prue Ashurst Kaylene Cousins
Julian Agafonoff & David Escott In memory of Mary Rodoreda
Kevin 'Joe' Blake Geoff Stearn Megan & Arthur Criddle at the APS
Ms Davilia Bleckly Anonymous (1) Foundation
Mr John Bonny Euroz Charitable Foundation
Dr G Campbell-Evans Instrument Fund Sue & Clive Hovell
Deirdre Carlin John Albright & Susan Lorimer Madeleine King MP, Federal
Dr Anne Chester –EChO Double Bass and set of Member for Brand
Anita & James Clayton Trumpets LeMessurier Charitable Trust
S & J Dale Peter Ingram – Piccolo Rosalind Lilley
Lesley & Peter Davies Deborah Marsh – Conductor’s Lommers Engineering Pty Ltd
Dr Michael Flacks Podium and Cor Anglais
John Foster Margaret & Rod Marston – Bass Louise & Bryant Macfie
Judith Gedero Clarinet Mrs Morrell
Robyn Glindemann Peggy & Tom Stacy – Cor Anglais Judith Nash
Gwenyth Greenwood and Piccolo G & I Nicholas
The Guy Family Jean & Peter Stokes – Cello, Tuba, Pamela Pitt
Angus Holmes Tenor Trombone, Bass Trombone, The Sheena Prince Memorial Fund
Emy & Warren Jones Wooden Trumpet, French Horn & Dr Lance Risbey
Barbara Joseph Music Score Folders Tony Rudd
Colin & Jo King
Rachael Kirk & Tim White Education & Community Rosalin Sadler in memory of Joyce
Durbin Sadler
Wolfgang Lehmkuhl Engagement In memory of Robert & Joan Street
Dr Mary Ellen MacDonald Supporting our nationally
Deborah Marsh recognised Education & Community Ruth E Thorn
Lesley R. McKay & Murray R. McKay Engagement programs Reto Vogel
Suzanne Nash Trusts & Foundations WA Massed Choir Festival
Paula Phillips Bendat Family Foundation Alan Whitham
Jan & Bryan Rodgers McCusker Charitable Foundation Mary Ann Wright
Nigel & Dr Heather Rogers Simon Lee Foundation Anonymous (3)
21Our Supporters
Annual Giving
We are proud to acknowledge the following Patrons for their generous contribution
to WASO in the last twelve months through our Annual Giving program.
Principal Conductor’s Dr Emma Richardson Tessa Tieleman
Circle Bryant & Louise Macfie Agatha van der Schaaf
Michael & Lesley Page Stan & Valerie Vicich
Gifts $20,000+ Paula & John Phillips John & Nita Walshe
Janet Holmes à Court AC G. J. Seach Fred & Caroline Witting
Jean Arkley in memory of Geoff Stearn Andrew & Marie Yuncken
Tom Arkley Ros Thomson Anonymous (4)
Dr Glenda Campbell-Evans & Gene Tilbrook & Anne Seghezzi
Dr Ken Evans*
Michael & Helen Tuite Principal Patron
Patricia New Gifts $1,000 - $2,499
Dr John Woodall
Joshua & Pamela Pitt* Caroline Allen & Sandy Dunn
Anonymous (6)
Peter & Jean Stokes*
Margaret Atkins
Anonymous (1) Virtuoso Patron Stuart Anderson
Impresario Patron Gifts $2,500 - $4,999 Catherine Bagster
Gifts $10,000 - $19,999 Dr Fred Affleck AO & Moira Bailey
Mrs Margaret Affleck Betty Barker
Gay & Bob Branchi
Neil Archibald & Alan R Dodge AM Sarah & Colin Beckett AO
Gavin Bunning
David & Suzanne Biddles Ross & Alecia Benzie
Prof Rachel & Rev Dr John
Cardell-Oliver Peter & Marjorie Bird Matthew J C Blampey
Gilbert George Dr & Mrs P Breidahl Margaret Bloch
Brian & Romola Haggerty Prof Jonathan Carapetis & Cathy Bolt in memory of Tony Bolt
Prof Sue Skull K & C Bond
Meg O’Neill & Vicky Hayes
Kim & Bob Collins John & Debbie Borshoff
Sue Hovell
Ian & Elizabeth Constable Sue Boyd
Frederick Wehr
Lesley & Peter Davies Laraine Brindle
Alan Whitham
Dr Andrew Gardner Elizabeth & James Brown
Trish Williams
Roger & Ann Gillbanks Adrienne & Phillip Buttrose
Wright Burt Foundation
Jannette Gray Stewart Candlish & Bianca Panizza
Anonymous (2)
Maryllis & Paul Green-Armytage Michelle Candy
Maestro Patron Danuta Julia David Castillo & Marian Magee
Gifts $5,000 - $9,999 Kay Giorgetta Claire Chambers &
Prue Ashurst in memory of Jim & Freda Irenic Dr Andrea Shoebridge
Eoin Cameron Eleanor John & Finn Barrett Fred & Angela Chaney
Ruth Bailey Michael & Dale Kitney Constance Chapman
Tony & Mary Beeley Francis Landels Dr Peter Chauvel
Dr John Blott Barrie & Jude Le Pley Dr Anne Chester
Lady Jean Brodie-Hall Mi Kyung Lee & Colin Binns Anthea Cheney
Maree Creighton & Kevin Davis Tony & Gillian Milne Jason & Su-Lyn Chong
Stephen Davis & Linda Savage Mrs Morrell Dr Keryn Christiansen
Bridget Faye AM Jane & Jock Morrison Peter & Sue Clifton
Dr John Gladstones Val & Barry Neubecker Lyn & Harvey Coates AO
Warwick Hemsley Anne Nolan John Collins
Dr Penny Herbert in memory of Robyn Owens Dr David Cooke
Dunstan Herbert John Overton Hon June Craig AM
Dale & Greg Higham Thomas & Diana Potter Dr Megan Davies
Peter Ingram Roger Sandercock Edwina Davies Ward in memory
Margaret & Peter James Melanie & Paul Shannon of Wanda G Davies
Roger Jennings in memory of Glenice Shephard Monique De Vianna
Lilian Jennings Elisabeth & David Smith Kelly & Andrew Diong
Keith & Gaye Kessell Michael Snell & Vicki Stewart Rai & Erika Dolinschek
Dr Ronny Low & Brian Stewart Simon Douglas
22Prof Robert Durand Dr Seamus MacDonald Richard Tarala & Lyn Beazley AO
Bev East Graham & Muriel Mahony Janet & the late Stephen Thackray
Lorraine Ellard Denise Main Ruth Thomas in memory of
Dr Jenny & Terry Fay Dr Tony Mander & Ms Loretta Byrd Ken & Hazel Rowley
Tony & Sue Field Gregg & Sue Marshman Clare Thompson & Brad Power
Gilly Flower Geoffrey Massey Jillian Thompson
Don & Marie Forrest Pam Mathews & Dr Mark Brogan Peter & Jane Thompson in
Toni Frank Judith McGuinness memory of Mrs Freda Stimson
Eléonore Fuchter Betty & Con Michael AO Mike Thomson & Rae Robinson
George Gavranic Don & Moira McKinley Ruth E Thorn
Robyn Glindemann Mrs Carolyn Milton-Smith in Gavin Toovey & Jaehan Lee
Neville & Jane Gibbs loving memory of Emeritus Prof Mary Townsend
Prof Lelia Green John Milton-Smith Tracey Family
Pitsamai & Kevin Green Hon Justice S R Moncrieff Gwen Treasure
Deidre Greenfeld Elizabeth Moran James & Rosemary Trotter
Grussgott Trust Mr & Mrs Geoffrey Morris Christopher Tyler
Ann Hammer Dr & Mrs Peter Moss Bernardus Van Deijl
Richard B Hammond Patricia Murphy Yvonne Varey
Nick Handran Smith & Lyn Murray Karen Venard
Elizabeth Allan Judith Nash Maggie Venerys
Pauline & Peter Handford Family Nilant Geoff & Sandra Wackett
Peter Hansen Marianne Nilsson Rita Wager
Dr & Mrs H Hansen-Knarhoi Jim & Wendy O'Neill Adrienne & Max Walters AM
Julie Harris Dr Walter Ong & Graeme Marshall Diana & the late Bill Warnock
Paul & Barbara Harris Ron Packer Ian Watson
Vanessa Harvey Tim Pavy & Kathy Cole Joy Wearne
Rev Bill Hawley & Dr Rev Rosemary Peek Alan Westle in memory of Jean
Georgina Hawley Charmian Phillips in memory of Moira Westmore
In Memory of Eileen Hayes Colin Craft Dr Chris & Mrs Vimala Whitaker
John & Christine Hedges Beth & Walter Pidgeon Barbara Wilcox
Elizabeth & Eric Heenan Italo Pizzale Dai & Anne Williams
Dallas Hickman & Alex Hickman Pamela Platt Mrs Jean & Mr Ian Williams AO
Dr John & Patricia Hill Richard & Sharon Prince Jim & Gill Williams
Helen Hollingshead Dr Leon Prindiville Simon & Alison Williams
Dr Keith Holt Tony & Val Ramshaw Judith Wilton & David Turner
Dr K & Mr J Hopkins OAM Rev Philip Raymont Hilary & Peter Winterton AM
Rosemary Howarth Prof Ian Reid & Dr Gale Margaret Wood
Judith Hugo MacLachlan Kin Yung
Jan & Walter Hunter James & Nicola Ridsdill-Smith Anonymous (32)
Richard Isted John & Alison Rigg
Cynthia Jee Dr Lance Risbey Tutti Patron
Diane Johnson Will Riseborough Gifts $500 - $999
Emy & Warren Jones Paul & Christine Roberts Anne Acton
Anthony Kane in memory of Wayne Robinson Kim Anderson & Paul Holmes
Jane Leahy-Kane Bryan & Jan Rodgers Kenneth & Judith Arkwright
Bill Kean Gerry & Maurice Rousset OAM Arron Arntzen
David Keast & Victoria Mizen Dr J B & Mrs A Rowlands Rebe Atlas
Noelle & Anthony Keller AM Robin & Anne Salter Phillip & Mary Bairstow
Patricia King Robyn & Ted Sharp Steven & Joanne Baitz
Nelly Kleyn Anne Sibbel Barrie Baker
Ulrich & Gloria Kunzmann In memory of Judith Christine Baker
Trevor & Ane Marie Lacy Sienkiewicz Shane Baker
Irving Lane Laurel & Ross Smith Bernard & Jackie Barnwell
Dr Sunny & Ann Lee PAI Smith & DA Harry Shirley Barraclough
Dr Oon Teik Lee Geoff & Chris Soutar Lisa & Glenn Barrett
Ruth & Malcolm Leske Malca & Graham Spencer-Laitt Berwine Barrett-Lennard
Martin & Ruth Levit David Stevenson Peter Bath
Ann Lewis Donald & Laurel Stewart Noelle Beasley
Dr Rebecca Meegan-Lowe & Ruth Stratton Ingrid Berchem
Richard Lowe Iain Summerlin Michael & Nadia Berkeley-Hill
Ian & Judith Lunt Elizabeth Syme Ann Beveridge
23Our Supporters
Eric Bew Maxine & Bill Farrell AM Beverley Lockley
Eileen Bibby Susan & Gavin Fielding AM Mary Ellen in memory of Kerensa
Minnie Biggs Sue & Paul Fisher Dr John Male
Lea Bingemann Owen & Judy Fletcher Oliver & Sophie Mark
John & Sue Bird in memory of Mr & Mrs J & J Forgan Dr Marie Martin
Penny Bird Archa Fox & Charlie Bond David Maynier
Jane Blanckensee John & Margaret Freeman Diana McArthur
Davilia Bleckly Margaret Furphy John McDonald
E & G Bourgault in memory of Rony Gabbay Dennis & Maureen McKay
Betty Sagar Margaret Gadsdon Donna & Peter Millington
Diane & Ron Bowyer Jennifer & Stephen Gardiner Patricia & Kevin Morgan
Judith Brown Dr Rhona Giles Louis Mostert
Christine Burson Beth Gow Margaret & Bruce Murdoch
David & Pat Bussard Anne Gray Michael Murphy
Ann Butcher & Dean R Kubank Gwenyth Greenwood G & I Nicholas
Jennifer Butement Nola Gregory Phuong Nguyen
Kevin Button & Susie Lim Bob & Jenny Greig Mary O'Hara
Maria Caesar Sonia Grinceri & Paula Watt Marjan Oxley
R & R Cant Barbara Haddy Valetta Parr
Nanette Carnachan Dr Roland Haehnel Heather Passmore
Joan Carney Michael & Helen Hawkins Dr John Pearce
Dr Charlene Caspersz & Shona Hall Bev Penny
Dr Rob Will Jean Hamory Prof Suvendi Perera
S Barea Castillo Rosalind Hampton & Anne Pickard
Philip & Frances Chadwick David Dodd Deborah & David Piesse
Renate Chandler Alan Harvey & Dr Paulien de Boer Frank & Valda Pitman
Tim & Claire Chapman Theresa Harvey Julienne Prendergast
Grant & Catherine Chappelle Siew-Mung Ho Alan & June Prouse
Diane Christensen Deidre Hodby Laura Raiter
Roger Clarnette Dr Annette Holland Eveline Read
Mark Clifton Ida Holt Graeme Reynolds & Lesley
Shirley Cohen Alfred Huis Parker-Reynolds
Chris & Swee See Colton Lorna Hurst Shirley Ridgwell
Dr Christopher Cook & Leif Jamvold Kim & Annemarie Riseborough
Ms Elise Chong John Jarvis Alison Robins
Norah & Roger Cooper Elinor Jenkins Leigh Robinson & Deborah Gellé
Nancy Cotterell Lynn & Michael Jensen Nigel & Dr Heather Rogers
Glenn Coughlan Tim Johnson & Nat Shulman Chris & Serge Rtshiladze
Pru Cowan Sally Johnston Thelma Same
Penny & Ron Crittall Leah Joseph Veronica Sass-Nielsen
Natalie Hall Cullity Dr Susan Joubert Esther Schenberg
Keith & Suzanne Cundale Kevin & Elissa Karlson Elizabeth Scott
Brett Davies Dr Ursula Kees Margaret & Roger Seares
Gary & Judith Davis B M Kent Maureen Sellick
Hanneke & Jop Delfos Kerry Kerr Sarah Seymour & Evan Eble
Alma Della Marta Leonie Kirke The Sherwood Family
Ray & June Delmenico Dr Elena Krylova Rory & Susan Shiner
Elizabeth Dempsey-Lees John Kusinski & Ann Motherway Graham Simpson
Daphne Devenish in memory of Darryl & Jacky Lacey Paul & Margaret Skerritt
Bruce Devenish Yvonne Lamble Hendrik Smit
Jilyan Dingle Louis & Miriam Landau Helen Smith OAM
Patricia & Roy Done Joelle Larsen Kevin Smith
Beth Duncan Dr Hoh Peng Lee Margaret & John Solosy
Camron Dyer Rosalind Lilley Dr Louise Sparrow
Christine Eilon Dr Warren Lilleyman Cisca Spencer
Patricia Elder Ruth Lilly John & Elizabeth Spoor
Pamela Eldred Dr George Lipton Mark Stacey
24Peggy & Tom Stacy Michael & Gwenda Upton Sara Wordsworth
Alan & Jan Stewart Marilyn Van Heemst Andrew Yeates
Lois & Robert Stout Rae & Murray Wackett Edward Young
Doll Syminton Claire Walkley Dr Susan Young
Anthony Taylor Janet Wallis Chris & Kathy Ziatis
Lisa & Andrew Telford Alex Waterhouse Maxim Zuvela
Ralph Ten Seldam Barry Watson Anonymous (32)
Amanda & Desmond Thompson Patricia Weston
Ivan & Jeanette Thompson Barbara Wheatley
Dianne Thomson Margaret Whitter Friend
Janice Tiller Violette William Gifts $40 - $499
Loma Toohey Sally Willis Thank you to all our Friends
Joan Travis Pari Willis-Jones who support WASO through
Gordorn Trewern Rowena Withers their gift.
Prof David Tunley Karen Wood
Elizabeth Woods * Orchestral Chair Partnership
Heather & Jim Tunmore
Dr Robert Turnbull Alison Woodman
If you are interested in becoming a Patron or learning more about WASO Philanthropy please
call 9326 0014 or email philanthropy@waso.com.au
WASO Philanthropy brochures are available from the WASO Programs and Information Desk
located in the main foyer of Perth Concert Hall, or you can visit waso.com.au
All donations over $2 are fully tax deductible.
About The Speaker
Rosalind Appleby
Pre-concert Speaker
Rosalind Appleby is a Perth-based arts composers, completing the missing
journalist, author and speaker. She uses jigsaw pieces in Australia’s music
words to champion, document and history.
critique the arts. She is co-managing
Appleby advocates for the arts
editor of Western Australia’s premiere
through her lectures, author talks,
arts magazine Seesaw Magazine
artist interviews, pre-concert talks and
and has regularly contributed to
school seminars. She has presented
The Australian, Limelight Magazine, The
at the Perth Writers Festival (2013,
Australian Book Review, The Guardian,
2018, 2019) and at the national Women
Opera magazine (London) and was
in the Creative Arts Conference
music critic for The West Australian for
(2017) in Canberra. For several years
16 years. From 2012-2018 she operated
she produced and broadcast the
the blog Noted providing insights into
experimental program Difficult Listening
the Perth arts scene.
for RTRFM. She has been interviewed
Appleby’s book Women of Note by Andrew Ford on The Music Show and
(Fremantle Press, 2012) reveals startling for programs on 3MBS, 2MBS, Radio
discoveries about Australian women Fremantle and RTRFM.
252021 Corporate Partners
PLATINUM PARTNERS ACCESS PARTNER SYMPHONY PARTNER
CONCERTO PARTNERS OVERTURE PARTNERS
SONATA PARTNERS
KEYNOTE PARTNERS
ORCHESTRA SUPPORTERS
MEDIA PARTNERS
FUNDING PARTNERS SUPPORTING BY
The West Australian Symphony Orchestra
is assisted by the Australian Government
through the Australia Council, its arts
funding and advisory body.
To share in our vision and discuss the many opportunities extended through corporate partnerships please contact
Corporate Development on 08 9326 0020.
26MASTERS SERIES
Friday 18 & Saturday 19
June, 7.30pm
Perth Concert Hall
waso.com.auWest Australian Symphony Orchestra and Wesfarmers Arts, creating the spark that sets off a lifelong love of music. Shigeru Komatsu – WASO Cello
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