Beethoven's Pastoral Symphony

Masters Series

Friday 18 & Saturday 19 June 2021, 7:30pm

Perth Concert Hall

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The West Australian Symphony Orchestra respectfully acknowledges the Traditional Owners, Custodians and Elders of the Indigenous Nations across Western Australia and on whose Lands we work.

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Beethoven’s Pastoral Symphony

Benjamin BRITTEN Variations on a Theme of Frank Bridge (27 mins)

Introduction and Theme
Variation 1: Adagio
Variation 2: March
Variation 3: Romance
Variation 4: Aria Italiana
Variation 5: Bourrée Classique
Variation 6: Wiener Waltzer
Variation 7: Moto perpetuo
Variation 8: Funeral March
Variation 9: Chant
Variation 10: Fugue and Finale

Benjamin BRITTEN Young Person’s Guide to the Orchestra (17 mins)

Theme: Allegro maestoso e largamente
Variation A: Presto. Flutes and Piccolo
Variation B: Lento. Oboes
Variation C: Moderato. Clarinets
Variation D: Allegro alla marcia. Bassoons
Variation E: Brillante: alla polacca. Violins
Variation F: Meno mosso. Violas
Variation G: Lusingando. Cellos
Variation H: Cominciando lento ma poco a poco accel. al Allegro. Double basses
Variation I: Maestoso. Harp
Variation J: L’istesso tempo. Horns
Variation K: Vivace. Trumpets
Variation L: Allegro pomposo. Trombones and Tuba
Variation M: Moderato. Percussion
Fugue: Allegro molto

Interval (25 mins)

Ludwig van BEETHOVEN Symphony No.6 Pastoral (40 mins)

I Awakening of happy feelings on arrival in the country (Allegro ma non troppo)
II Scene by the brook (Andante molto mosso)
III Peasants’ merrymaking (Allegro) –
IV Thunderstorm (Allegro) –
V Shepherd’s song: Thanksgiving after the storm (Allegretto)

Asher Fisch conductor
Iain Grandage

Asher Fisch appears courtesy of Wesfarmers Arts.

Wesfarmers Arts Pre-concert Talk

Find out more about the music in the concert with this week’s speaker, Hugh Lydon. The Pre-concert Talk will take place at 6.45pm in the Terrace Level Foyer.

Listen to WASO

This performance is recorded for broadcast on ABC Classic. For further details visit

Quarantine Chats with Asher Fisch and Alan Tyrrell

Did you know?

Benjamin Britten started composing at the age of 5! He started working with composer Frank Bridge at the age of 11.

Britten was one of the last composers brought up on exclusively live music; his father refused to have a gramophone or, later, a radio in the house.

Variations on a Theme of Frank Bridge is considered to be Britten’s masterpiece that cemented him as a new talent. He was just 24 at the time of composing the work.

Young Person’s Guide to the Orchestra was originally conceived by Britten as a score for a 1946 documentary film, Instruments of the Orchestra. It was quickly appropriated for the concert hall by symphony orchestras for performance, and has become a timeless favourite ever since.

Beethoven began losing his hearing in his mid-20s, and was completely deaf by age 45. His Pastoral Symphony conveys the peace of the countryside, where Beethoven escaped city life after losing his hearing.

Beethoven’s Pastoral Symphony, which shows a lighter, more lyrical side to the composer, was written at the same time and premiered at the same 1808 concert as his famously dark and dramatic Fifth Symphony. WASO performs Beethoven’s Symphony No. 5 in Miracles and Triumphs later this year! Buy tickets to compare the pair.

WASO On Stage


Graeme Jennings^
Guest Concertmaster
Riley Skevington
Assoc Concertmaster
Semra Lee-Smith
Assistant Concertmaster
Graeme Norris
Principal 1st Violin
Zak Rowntree*
Principal 2nd Violin
Kylie Liang
Assoc Principal 2nd Violin

Sarah Blackman
Stephanie Dean
Amy Furfaro^
Rebecca Glorie
Beth Hebert
Will Huxtable^
Alexandra Isted
Sunmi Jung
Christina Katsimbardis
Ellie Lawrence
Jasmine Middleton^
Akiko Miyazawa
Lucas O’Brien
Melanie Pearn
Louise Sandercock
Jolanta Schenk
Jane Serrangeli
Bao Di Tang
Cerys Tooby
Teresa Vinci^
David Yeh

Daniel Schmitt

Alex Brogan

Kierstan Arkleysmith
Nik Babic
Benjamin Caddy
Alison Hall
Rachael Kirk
Mirjana Kojic^
Kathryn McKay^
Elliot O’Brien
Helen Tuckey

Rod McGrath
• Tokyo Gas

Eve Silver*
Shigeru Komatsu
Oliver McAslan
Sacha McCulloch^
Nicholas Metcalfe
Anna Sarcich^
Tim South
Emma Vanderwal^

Andrew Sinclair*
John Keene
Louise Elaerts
Oakley Paul^
Christine Reitzenstein
Andrew Tait
Mark Tooby

Andrew Nicholson

• Anonymous
Mary-Anne Blades
• Anonymous

Michael Waye
• Pamela & Josh Pitt

Liz Chee

Annabelle Farid°

Andrew Nicholson

• Anonymous

Allan Meyer

Lorna Cook

Jane Kircher-Lindner
Adam Mikulicz

★ Margaret & Rod Marston
David Evans
Robert Gladstones

Principal 3rd Horn
Julia Brooke
Francesco Lo Surdo

Brent Grapes

• Anonymous
Peter Miller

Joshua Davis

• Dr Ken Evans & Dr
Glenda Campbell-Evans
Liam O’Malley

Philip Holdsworth

Cameron Brook

• Peter & Jean Stokes

Alex Timcke

Brian Maloney

Francois Combemorel

Assoc Principal
Percussion & Timpani

Robyn Gray^
Tegan LeBrun^
Paul Tanner^

Yi-Yun Loei^


Associate Principal
Assistant Principal
Contract Musicians˚
Guest Musicians^

★ Section partnered by
• Chair partnered by
* Instruments used by these musicians are on loan from Janet Holmes à Court AC.

About the Artists

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Asher Fisch
Principal Conductor & Artistic Adviser

A renowned conductor in both the operatic and symphonic worlds, Asher Fisch is especially celebrated for his interpretative command of core German and Italian repertoire of the Romantic and post-Romantic era. He conducts a wide variety of repertoire from Gluck to contemporary works by living composers. Since 2014, Asher Fisch has been the Principal Conductor and Artistic Adviser of the West Australian Symphony Orchestra (WASO). His former posts include Principal Guest Conductor of the Seattle Opera (2007- 2013), Music Director of the New Israeli Opera (1998-2008), and Music Director of the Wiener Volksoper (1995-2000).

After returning to conduct the Boston Symphony Orchestra at Tanglewood and
the Cleveland Orchestra at the Blossom Festival in August, highlights of Asher Fisch’s 2019-20 season include concerts with the New Zealand Symphony Orchestra and the orchestra of the Teatro Comunale di Bologne. Guest opera engagements include Fidelio and Adriana Lecouvrer at the Teatro Comunale di Bologne, Carmen, Die Zauberflöte, and Parsifal at the Bayerische Staatsoper, Ariadne auf Naxos with the Bayerische Staatsoper at the Hong Kong Arts Festival, and Pagliacci and Schitz at the Israeli Opera.

Highlights of Asher Fisch’s 2018-19 season included guest engagements with the Düsseldorf Philharmonic, Sydney Symphony and Teatro Massimo Orchestra in Palermo. Guest opera engagements included Il Trovatore, Otello, Die Fliegende Holländer, and Andrea Chénier at the Bayerische Staatsoper, Arabella and Hansel und Gretel at the Semperoper Dresden, Tannhäuser at the Tokyo National Theater, and Cristof Loy’s new production of Capriccio at the Teatro Real in Madrid.

Born in Israel, Fisch began his conducting career as Daniel Barenboim’s assistant and kappellmeister at the Berlin Staatsoper. He has built his versatile repertoire at the major opera houses such as the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Teatro alla Scala, Royal Opera House at Covent Garden and Semperoper Dresden. Fisch is also a regular guest conductor at leading American symphony orchestras including those of Boston, Chicago, Cleveland, New York, and Philadelphia. In Europe he has appeared at the Berlin Philharmonic, Munich Philharmonic, London Symphony Orchestra, Leipzig Gewandhaus Orchestra, and the Orchestre National de France, among others.

Asher Fisch’s recent recordings include Wagner’s Tristan und Isolde, recorded live with WASO and featuring Stuart Skelton and Gun-Brit Barkmin. Widely acclaimed, it won Limelight Magazine’s Opera Recording of the Year in 2019. Fisch’s recording of Ravel’s L’heure espagnole with the Munich Radio Orchestra also won Limelight Magazine’s Opera Recording of the Year in 2017. In 2018 Fisch and WASO recorded Bruckner’s Symphony No.8 for WASOLive! and Stuart Skelton’s first solo album for ABC Classics. In 2015, he recorded the complete Brahms symphonies live with WASO for ABC Classics. Asher Fisch’s recording of Wagner’s Ring Cycle with the Seattle Opera was released on the Avie label in 2014 and his first Ring Cycle recording, with the State Opera of South Australia, was released by Melba Recordings.

Asher Fisch appears courtesy of Wesfarmers Arts.

About the Artists

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Iain Grandage

Iain Grandage is one of Australia’s most highly regarded collaborative artists, having won Helpmann Awards for his compositions for Theatre (Cloudstreet, Secret River), for Dance (When Time Stops), for Opera – with Kate Miller-Heidke (The Rabbits), for silent film – with Rahayu Suppangah (Satan Jawa) and as a music director for Meow Meow’s Little Match Girl and Secret River. He has received Victorian Green Room Awards, the prestigious Sidney Myer Performing Arts Award for an Individual, and the APRA/ AMC award for Vocal Work of the Year for his opera based on Tim Winton’s novel The Riders. He has curated the chamber music program for the Adelaide Festival, and been the Artistic Director of the Port Fairy Spring Music Festival since 2016. He has been composer-in-residence with the WA Symphony Orchestra, and has an extensive track record of collaboration with Indigenous artists across the country. He is a UWA graduate, and the proud recipient of an honorary Doctorate from that institution.

In conversation with Iain Grandage

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About the Music

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Benjamin BRITTEN (1913 – 1976)

Variations on a Theme of Frank Bridge, Op.10

Introduction and Theme
Variation 1: Adagio
Variation 2: March
Variation 3: Romance
Variation 4: Aria Italiana
Variation 5: Bourrée Classique
Variation 6: Wiener Waltzer
Variation 7: Moto perpetuo
Variation 8: Funeral March
Variation 9: Chant
Variation 10: Fugue and Finale

Britten’s Bridge Variations were among the first of his works to draw wide attention to a new voice in English music, a fresh gift not just of remarkable technical facility, but of a creative imagination unlike anything previously heard in twentieth century English music; independent both of the folk- song revival and of Elgarian Romanticism.

The work’s success was in no small measure due to Boyd Neel and his orchestra, for whom it was written as an urgent commission when Boyd Neel was asked to play a new English work as a condition of giving a concert at the Salzburg Festival of 1937. Britten completed the Variations in fully worked out sketch form in ten days, and the full score was ready in four weeks. The composer thus gave early notice of an ability which would endear him to artistic managements - he fulfilled his commissions on time. The assurance - indeed the technical brilliance of the work cannot be underestimated, but was not unexpected to those familiar with the young Britten’s previous achievement, both in writing for strings (Simple Symphony, 1934) and in variation form. The choral treatment of Christmas carols A Boy was Born (1934) displays an originality and ingenuity in handling variations greater, if anything, than in the Frank Bridge Variations. Variation form came naturally to Britten, and he preferred it to Sonata structures.

In the choice of theme and the dedication “To F.B. A tribute with affection and admiration” is acknowledged Britten’s debt of gratitude to the composer Frank Bridge (1879-1941), who had first noticed Britten’s talent when he was a boy at Gresham’s School, Norfolk, and continued to encourage and help him during his studies at the Royal College of Music. Britten learnt much from Bridge’s fine craftmanship, and his search for a personal voice, regardless of fashion. The theme of the Variations comes from Bridge’s Idyll No.2 for string quartet. It is first heard played by a solo violin after an introduction where fanfare- like figures act both as a call to attention and an intimation of the harmonic world of the Variations as a whole. The theme is immediately developed by the full strings.

Thereafter, the relationship of the variation to the theme is rarely obvious, though the characteristic of two falling fifths, of which the second includes an intermediate interval of a fourth, is often prominent.

Not only is Britten’s variation technique daringly free, but his parody technique surveys widely contrasting musical outlooks, and is a guide to the elements, many of them European in origin, which were contributing to his new style of English music. The first variation, a violin recitative against chordal harmonies in lower strings, shows the influence of Mahler, a then new element in Britten’s music, which was to remain prominent for many years. In the March of the second variation there is a suggestion of goose- stepping: Britten and many of his artistic contemporaries were preoccupied with the shadow of fascism falling across Europe in the late 1930’s. The pizzicato bass which accompanies the neo-classical melody of the Romance is closely related to Bridge’s theme. Britten’s parody of the coloratura runs and trills of Rossinian opera in Variation 4 is an affectionate one, since he was sympathetically interested in early nineteenth century opera. Perhaps the simple Vivaldian sequences of 5 jibe at the neo-Baroque compositions of the inter-war years; certainly 6 guys the Viennese Waltz, but given the likely first audience, the parody as not intended to go too far! After a Molto perpetuo which displays virtuosity from composer and players at its height, comes a Funeral March whos evocative sonorities, of muffled drums for example, show what surprising sounds can be extracted from the string band. The influence of Mahler is felt here, and in the Chant, while the Fugue most strongly reveals the influence of Frank Bridge’s craftmanship - the most searching contrapuntal exploration leads to a statement of Bridge’s theme, while the fugue continues in the background - finally Bridge’s theme is heard in a fully harmonised setting, imposing a note of serious and meditative intensity which counterbalances the wit and brilliance of much that has gone before.

© David Garrett.


Sonata – (Sonata form) a term conceived in the 19th century to describe the way most Classical composers structured at least the first movement of a symphonic work or a sonata. It involves the exposition or presentation of themes or subjects: the first subject is in the tonic or home key, the second in a contrasting key. The resulting tension between keys is intensified in the development, where recognisable melodic and rhythmic aspects of the themes are manipulated as the music moves further and further away from the ultimate goal of the home key. Tension is resolved at the recapitulation where both subjects are fully restated in the tonic. There is sometimes a coda (literally, ‘tail’) to enhance the sense of finality.

Interval – the distance in pitch between two notes. If the first note is lower in pitch than the second, the interval is said to be ‘rising’; if the first note is higher in pitch than the second, the interval is said to be ‘falling’.

Recitative – music in which the singer follows speech-like rhythms rather than having a sense of a regular metre.

Coloratura – florid, virtuosic vocal writing.

Contrapuntal – a texture in which two or more musical lines or melodies played at the same time (counterpoint). Imitative counterpoint is when the various parts are playing similar or identical melodies one after the other (e.g. canons and fugues) – childhood rounds are the simplest form of imitative counterpoint.

Did you know?

Each variation in the work was a nod by Britten to a specific quality of Frank Bridge’s personality, creating a series of vivid character sketches.

Variation 1: Adagio
“His integrity”

Variation 2: March
“His energy”

Variation 3: Romance
“His charm”

Variation 4: Aria Italiana
“His humour”

Variation 5: Bourrée classique
“His tradition”

Variation 6: Wiener Waltzer
“His enthusiasm”

Variation 7: Moto perpetuo
“His vitality”

Variation 8: Funeral March
“His sympathy”

Variation 9: Chant
“His reverence”

Variation 10: Fugue and Finale
“His skill”

About the Music

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Benjamin BRITTEN (1913 – 1976)

Young Person’s Guide to the Orchestra, Op.34

Theme: Allegro maestoso e largamente
Variation A: Presto. Flutes and Piccolo
Variation B: Lento. Oboes
Variation C: Moderato. Clarinets
Variation D: Allegro alla marcia. Bassoons
Variation E: Brillante: alla polacca. Violins
Variation F: Meno mosso. Violas
Variation G: Lusingando. Cellos
Variation H: Cominciando lento ma poco a poco accel. al Allegro. Double basses
Variation I: Maestoso. Harp
Variation J: L’istesso tempo. Horns
Variation K: Vivace. Trumpets
Variation L: Allegro pomposo. Trombones and Tuba
Variation M: Moderato. Percussion Fugue: Allegro molto


But you are reading, aren’t you? And why? Hans Keller once wrote that music criticism was ‘artistically unnecessary but sociologically inevitable.’ The same could be said of the program note – or any attempt to articulate in words the ephemeral nature of music.

All the same, we like to read about music. We like (or feel the need) to know what’s going on. Which is more or less what Britten’s Young Person’s Guide to the Orchestra is all about. You may know this piece well. For many, it represents their introduction to orchestral music (although not necessarily live orchestral music). Perhaps you, too, sat in the classroom while the orchestra was unfurled before your ears: the whole ensemble, the different sections, the individual instruments... It’s a work that is often performed and recorded with commentary (not unlike the narration of Prokofiev’s Peter and the Wolf, or the poetry that can accompany Saint-Saëns’ Carnival of the Animals). In that context a program note represents the extreme superfluousness at which Keller hinted.

But you’re still reading, aren’t you?

As annotator I feel a little redundant in the knowledge that this evening’s performance of the Young Person’s Guide will take place with commentary. This isn’t a children’s concert, the orchestra isn’t sitting about in colour-coded shirts, but the didactic role of the music will tonight go hand-in-hand with narration from Iain Grandage. Maybe Britten’s alternative title would be more appropriate alongside these other English works: Variations and Fugue on a Theme of Purcell. But we would be wise to remember that Britten himself preferred the jocularity of the original name. Certainly ‘Young Person’s Guide’ is exactly what its name suggests. Commissioned by the British Ministry of Education and the Crown Film Unit the music was intended for a film that would introduce children to the instruments of the orchestra. The film – entitled Instruments of the Orchestra, with a narrative written and spoken by Eric Crozier – was first shown at the Empire Theatre in London in November 1946. But whatever the original conception, the music was heard in the concert hall a month before the film’s premiere and has endured in that context as one of Britten’s most popular works. It is the music’s directness and clarity that ensures not only its success in an educational setting, but its appeal in concert and to all ages. There is much that is obvious in the Young Person’s Guide. Is it necessary to point out the ‘obvious’ – to provide signposts – in music such as this? Perhaps Keller would forgive me a few. If Britten’s preferred title best reflects the function and tone of the music, his alternative suggests a few signposts for the ‘grown-ups’. ‘A Theme of Purcell’, for example: the Rondeau from Purcell’s incidental music to Aphra Behn’s play Abdelazar, or The Moor’s Revenge. Not only does the choice of theme reveal Britten’s feeling of connection with the English musical past, but his treatment of it places the work firmly in its time. The 250th anniversary of Purcell’s death fell in 1945 and Britten (hailed, as were Elgar and Vaughan Williams before him, the ‘greatest English composer since Purcell’) paid homage in his own compositions. The song cycle Holy Sonnets of John Donne revealed Purcell’s influence in structure and word setting, while the finale of Britten’s Second String Quartet is a Chacony modelled on Purcell’s own chaconnes. The attraction of Purcell’s music continued in Young Person’s Guide of the following year.

Since then we have marked the tercentenary of Purcell’s death. But where 1945 prompted composition – Purcell as inspiration – 1995 was the year of Purcell recordings and performances, most of them ‘authentic’ and ‘on original instruments’. There is nothing ‘authentic’ in Britten’s treatment of the Rondeau – nor need there be. It is presented to us in ‘portly orchestral guise’, the full ensemble in all its grandeur. Britten then presents in turn what Crozier called the ‘four teams of players’ – strings, woodwind, brass and percussion – before displaying each individual instrument, from the piccolo to one of the composer’s favourite instruments, the whip. The variations are short and the progression through the spectrum of orchestral colour fast-paced. A grand fugue (in 2/4) then brings the instruments together, each making an entry in the same sequence as the variations. The busy figurations of Britten’s countersubject evoke baroque formulae while avoiding a sense of parody. The triple-time rondeau tune is then woven in with a verve and exuberance that commands, in the words of Peter Evans, ‘breathless admiration’.

© Yvonne Frindle – Symphony Australia

First Performance:
15 October 1946, Liverpool.
Malcolm Sargent, conductor.

First WASO Performance:
17 October 1966.
Thomas Mayer, conductor.

Most recent WASO performance:
Education and Family concerts.
11 & 12 June 2021.
Thaddeus Huang, conductor.

one piccolo, two each of flutes, oboes, clarinets and bassoons; four horns, two trumpets, three trombones, tuba; timpani, percussion, harp and strings.


Chaconne – a piece consisting of continuous variations of a melody over a short, constantly repeated bass pattern or harmonic scheme.

Fugue – a form of counterpoint based on a short melody, the subject, which is first sounded by one voice or instrument alone, then taken up by other voices or instruments one after the other.

Countersubject – a second or subsidiary subject, especially accompanying the subject or its answer in a fugue.

About the Music

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Ludwig van BEETHOVEN (1770 – 1827)

Symphony No.6 in F major Op.68, Pastoral

I Awakening of happy feelings on arrival in the country (Allegro ma non troppo)
II Scene by the brook (Andante molto mosso)
III Peasants’ merrymaking (Allegro) –
IV Thunderstorm (Allegro) –
V Shepherd’s song: Thanksgiving after the storm (Allegretto)

In the summer of 1802 Beethoven, as usual, retired to the country for a vacation. His preferred holiday spot was the village of Heiligenstadt just outside Vienna, but this particular summer saw a major crisis in the composer’s life. After his death, a document was found among his papers: now known as the Heiligenstadt Testament, it is a kind of will written in 1802 and addressed, but never sent to, Beethoven’s brothers. The document describes Beethoven’s anguish on realising that the deterioration of his hearing was incurable. It describes his humiliation at not hearing what others around him took for granted, such as the distant sound of a shepherd’s flute. It reveals how he considered suicide, but only his art held him back. As he famously expressed it in a letter to a friend, Beethoven’s response to this crisis was a resolve to ‘take Fate by the throat’.

The Heiligenstadt Testament was obviously written after the crisis had passed, and in his new frame of mind Beethoven launched into the works of what scholars call his heroic period. The first of the ‘Rasumovsky’ Quartets and the Eroica Symphony each expanded the sheer scale of its genre beyond anything previously imaginable, and in works like the Fifth Symphony Beethoven dramatises a titanic struggle and victory. The anecdote that Beethoven likened the Fifth’s distinctive rhythm to Fate knocking on the door is almost certainly apocryphal, but it is hard not to hear the intense drama of these works without a sense of cosmic conflict being overcome.

Beethoven spent subsequent summers in Heiligenstadt – the Eroica was largely composed there in the summer of 1803 – but in the Pastoral Symphony of 1808 he returns in his music to the scene of his existential crisis. Beethoven once wrote in a notebook of his desire to remain in the country. ‘My unfortunate hearing does not plague me there. It is as if every tree spoke to me in the country: holy! holy! Ecstasy in the woods!’ This might give the impression of the work being a kind of Romantic or pantheist hymn, but that is far from being the case. There is no lone Caspar David Friedrich figure dwarfed by a forbidding forest. In fact, Beethoven’s Sixth is the fulfilment of certain Baroque and Classical conventions; perhaps Haydn’s Creation and Seasons are the immediate begetters of this work. The landscape which the symphony celebrates is peopled and worked.

Beethoven was very precise in describing the symphony as about feeling rather than painting. The first movement expresses feelings of joy at arriving in the country through its seemingly simple, diatonic melody and moments where the harmony seems static but is enlivened by joyously repeated motifs. We may well picture Beethoven sitting alone by a brook in the second movement, enabled by the miracle of art to hear the bird calls. Like Haydn, though – who admitted that his tone-painting of frogs in The Seasons was ‘frenchified trash’ – Beethoven was mistrustful of art imitating nature. The bird calls were an afterthought, and perhaps an ironic one at that.

But the third movement is social as well as pastoral. It is collective humanity which celebrates to the strains of the town band – and that prefigures the use of ‘pop music’ elements in the all-embracing context of the finale of the Ninth Symphony. It is collective humanity which experiences the storm – the last gasp of the figure of Fate who is wrestled to the ground in the works between 1802 and the time of the Pastoral Symphony – and it is the universe at large which gives thanks in the finale. The simple arpeggios of the ‘thanksgiving’ theme may well evoke a shepherd’s artless tune – which Beethoven could no longer hear in reality – but they also reflect, in repose, the striving arpeggios of the Eroica’s main theme. The Pastoral Symphony, then, lays the ghosts that besieged Beethoven in Heiligenstadt in 1802. It allows him to ‘hear’ birds’ calls and shepherd’s flutes, and reduces the fearsome figure of fate to nothing scarier than a thunderstorm. Not surprisingly, Beethoven felt he could leave the symphonic genre for some years after this. When he returned to it, it was with the cosmic dance of the Seventh.

Gordon Kerry © 2008

First performance:
22 December 1808, Vienna.

Most recent WASO performance:
Mandurah Performing Arts Centre.
4 March 2017. Jon Tooby, conductor.

One piccolo, two each of flutes, oboes, clarinets and bassoons; two each of horns, trumpets and trombones; timpani and strings.


Diatonic – music which conforms to a key, without discordant notes.

Motif – a short, distinctive melodic or rhythmic figure, often part of or derived from a theme.

Arpeggio –a musical gesture in which the notes of a chord are ‘spread’, or played one after the other instead of simultaneously. It nearly always starts at the bottom of the chord.


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About WASO

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West Australian Symphony Orchestra (WASO)

is a not-for-profit company that thrives on the enthusiasm, passion and support of our entire community. We harness this energy to create events and programs across the State to stimulate learning and participation in a vibrant cultural life.

We are both fierce advocates for our great classical musical heritage and passionate leaders in the commissioning and performance of new music by leading Australian and international composers. Every year we mobilise and nurture a new generation of young and emerging artists to help secure a bright future for music in Australia.

We create the spark that sets off a lifelong love of music because we believe it has the power to touch the soul and enrich lives.

Our resident company of full-time professional musicians are the beating heart of our organisation. They play a central role in the vibrancy of our creative state, performing to hundreds of thousands of people each year. Our Orchestra is supported by hundreds of visiting artists, alongside the volunteers of the WASO Chorus, to create an exceptional performance at every venue, every time.

We are proud to call Perth Concert Hall home.

Your Concert Experience

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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

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Moving to empty seats. Please do not move to empty seats prior to the performance as this may affect seating for latecomers when they are admitted during a suitable break.

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• A universal accessible toilet is available on the ground floor (Level 1).
• The Sennheiser MobileConnect Personal Hearing Assistance system is available for every seat in the auditorium. Visit for further information.


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Meet the Musician

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Nik Babic

When did you realize that you wanted to become a professional musician? I think I had it on the radar ever since I started playing music. As I made little achievements along the way it became more of a reality and so I naturally progressed into it. I gave myself five years of auditioning at the end of which time, if unsuccessful, I would explore other career paths. Two years into it I got the WASO job so didn’t have to think too hard.

What is the best thing about being a musician in WASO? Our work is quite diverse in terms of the styles of music we get to perform and venues where we get to work. Unlike most other orchestras around the country, we regularly perform with the opera and ballet companies so the repertoire and the way we play is guided by the role of the orchestra in these productions. I love playing in the pit and being part of a larger whole during these seasons. I also love travelling around the state as part of our WASO on the Road series.

What qualities are most important in order to play the viola? There are no particular qualities compared to other musicians, however there is one difference for violas: as the violas are in the geographical centre of the orchestra we don’t have to think too much about playing ahead of the beat. Some of the instruments at the very back have to do that most of the time in order to compensate for the distance. We get to enjoy a true hi-fi surround sound all the time!

Is there anything special about your instrument? I play on a beautiful ‘modern’ (20th century) Italian viola made in 1937 by Orfeo Carletti in the Cremona region near Bologna. In 2007, with assistance from the Friends of WASO scholarship, I travelled to the workshop of the last remaining member of the Carletti family to continue with the luthier tradition and came back with this wonderful instrument.

Do you get nervous before a performance? I used to get very nervous but these days not as much. I think that most musicians go through varying degrees of nervousness in the lead up to a performance. It all stems from our tendency to be perfectionists when it comes to our own playing and the desire to not let the orchestra as a group down.

What’s your favourite thing about WA? I absolutely love the WA landscape and the sheer vastness of it. For someone who spent most of his life in the urban sprawls in Europe and the US these open spaces and the emptiness of it all still feels just amazing.

Community Engagement

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WASO on the Road – Karijini

The Community Engagement & Education team has been on the road recently, with several performances as part of The Karijini Experience.

Joining the festival of culture, food, music and art for the fourth time, WASO’s String Quartet performed three concerts to intimate audiences in the beautiful natural bushland of Karijini National Park.

The touring group comprised of Rebecca Glorie (violin), Cerys Tooby (violin), Rachael Kirk (viola), Fotis Skordas (cello), Alena Tompkins (Executive Manager, Community Engagement & Education) and Tom Rogerson (Production Manager). The group presented three performances, showcasing orchestral music in the unique landscapes of the Pilbara.

The Wombat Stew Community Concert provided an opportunity to introduce families to string instruments. Audiences learnt about the different sounds the instruments can make, and techniques used to create them.

Music in the Gorge saw the quartet present 40 minutes of classical favourites in the Kalamina Gorge. Performers and audiences were welcomed on to Banjima Country by Banjima Native Title Aboriginal Corporation Chair and Elder, Maitland Parker. Tura’s Sonus Ensemble also performed, creating an unforgettable afternoon of music for the audience.

The Art of Everyday Runway Show completed the trio of performances. The Indigenous Fashion Showcase highlighted more than 30 emerging and established First Nations textile artists from across the state. WASO’s String Quartet performed a selection of Elena Kats-Chernin miniatures to accompany runway walks by Indigenous models in Kalamina Gorge.

To conclude their time in Karijini, the musicians, Alena and Tom attended a special Bush Tucker Degustation Dinner on the final night, a first for everyone and a fantastic way to celebrate the tour.

“We were thrilled to take part in this unique festival in this very special place. I’ve come away with many wonderful memories, but one that will remain with me for a long time is performing Peter Sculthorpe’s 11th String Quartet in Kalamina Gorge surrounded by trees, spinifex and rocks, with the sound of birds and waterfalls in the distance.”

– Rachael Kirk.

The Karijini Experience is held on the traditional lands of the Banjima people in Karijini National Park. We respectfully acknowledge the Banjima people, their Elders past, present and emerging and their families. The Banjima people have close associations with Eastern Guruma, Yinhawangka and Nyiyaparli Pilbara language groups, and we thank them all for welcoming us to their Lands. We would also like to thank The Karijini Experience for inviting us to perform once again at this event.

The Heart of Philanthropy at WASO

Meet our Annual Giving Ambassadors

We are delighted to be this year’s WASO Annual Giving Ambassadors. As two of the younger players in our Orchestra, we are amazed by the selfless goodwill and kind hearts of our supporters. In our roles, we look forward to being an active link between our generous supporters and your musicians. We look forward to meeting with you throughout the y ear to share our story and celebrate the very real impact of your support.

Your support is vital to WASO, allowing us to share exhilarating world class performances, enriching more lives in schools and communities, nurturing WA talent and welcoming the next generation of concert goers.

Graeme Norris
Principal 1st Violin

Jenna Smith
Associate Principal Trumpet

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WASO is a not-for-profit company that thrives on the enthusiasm, passion and support from our generous donors. To make a gift* this end of financial year, please call Taui Pinker, Development Manager on (08) 9326 0014 or via

Every gift, of every size, makes a real and positive impact - thank you!

*All gifts $2 and over are tax deductible

Our 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

Janet Holmes à Court AC

Endowment Fund for the Orchestra

Major Donations

Tom & Jean Arkley

Bendat Family Foundation

Janet Holmes à Court AC

Minderoo Foundation

Sagitte Yom-Tov Fund


Lee Bickford

Rachel Mabel Chapman

S & J Dale

Malcolm Hood

Clive Knight

Paul Lee

Anna Nottage in memory of Edgar Nottage

Wendy Scanlon

Judy Sienkiewicz

Mrs Roslyn Warrick

Anonymous (7)

Symphony Circle

Thank you to all our Bequestors

Julian Agafonoff & David Escott

Kevin ‘Joe’ Blake

Ms Davilia Bleckly

Mr John Bonny

Dr G Campbell-Evans

Deirdre Carlin

Dr Anne Chester

Anita & James Clayton

Lesley & Peter Davies

Dr Michael Flacks

John Foster

Judith Gedero

Robyn Glindemann

Gwenyth Greenwood

The Guy Family

Angus Holmes

Emy & Warren Jones

Barbara Joseph

Colin & Jo King

Rachael Kirk & Tim White

Wolfgang Lehmkuhl

Dr Mary Ellen MacDonald

Deborah Marsh

Lesley R. McKay & Murray R. McKay

Suzanne Nash

Paula Phillips

Jan & Bryan Rodgers

Nigel & Dr Heather Rogers

Jacinta Sirr-Williams

Susan Stitt

Ruth Stratton

Ruth & Neville Thorn

Gavin Toovey & Jaehan Lee

Agatha van der Schaaf

Sheila Wileman

Sagitte Yom-Tov Fund

Anonymous (40)

Chairman’s Circle

Supporting excellence

Richard Goyder AO & Janine Goyder

Jean Arkley

Janet Holmes à Court AC

Torsten & Mona Ketelsen

Tony & Gwenyth Lennon

Rod & Margaret Marston*

John Rodgers

Leanne & Sam Walsh*

The 2021 WASO Song Book

Supporting new works commissioned for the Orchestra for 2021 and beyond

Janet Holmes à Court AC

Prue Ashurst

In memory of Mary Rodoreda

Geoff Stearn

Anonymous (1)

Instrument Fund

John Albright & Susan Lorimer –EChO Double

Bass and set of Trumpets

Peter Ingram – Piccolo

Deborah Marsh – Conductor’s Podium and Cor Anglais

Margaret & Rod Marston – Bass Clarinet

Peggy & Tom Stacy – Cor Anglais and Piccolo

Jean & Peter Stokes – Cello, Tuba, Tenor Trombone, Bass Trombone, Wooden Trumpet, French Horn & Music Score Folders

Education & Community Engagement

Supporting our nationally recognised Education & Community Engagement programs

Trusts & Foundations

Bendat Family Foundation

McCusker Charitable Foundation

Simon Lee Foundation

Education & Community Engagement Fund

Jean Arkley

Annette Cottee

Penny & Ron Crittall

Robyn Glindemann

Journey Recruitment

Deborah & Miles Protter

Eveline Read

Dr Carol Warren

Anonymous (1)


Trusts & Foundations

Crown Resorts Foundation

Packer Family Foundation

Feilman Foundation

Stan Perron Charitable Foundation

Bunning Family

Crescendo Giving Circle

Jean Arkley

Prue Ashurst

Ruth Bailey

David & Suzanne Biddles

S Cherian

Brenda Cohen

Kaylene Cousins

Megan & Arthur Criddle at the APS Foundation

Euroz Charitable Foundation

Sue & Clive Hovell

Madeleine King MP, Federal Member for Brand

LeMessurier Charitable Trust

Rosalind Lilley

Lommers Engineering Pty Ltd

Louise & Bryant Macfie

Mrs Morrell

Judith Nash

G & I Nicholas Pamela Pitt

The Sheena Prince Memorial Fund

Dr Lance Risbey

Tony Rudd

Rosalin Sadler in memory of Joyce Durbin Sadler

In memory of Robert & Joan Street

Reto Vogel

WA Massed Choir Festival

Alan Whitham

Mary Ann Wright

Anonymous (3)

Our Supporters

Annual Giving

We are proud to acknowledge the following Patrons for their generous contribution to WASO in the last twelve months through WASO’s Annual Giving program.

Principal Conductor’s Circle

Gifts $20,000+

Janet Holmes à Court AC

Jean Arkley in memory of Tom Arkley

Dr Glenda Campbell-Evans & Dr Ken Evans*

Patricia New

Joshua & Pamela Pitt*

Peter & Jean Stokes*

Anonymous (1)

Impresario Patron

Gifts $10,000 - $19,999

Gay & Bob Branchi

Gavin Bunning

Prof Rachel & Rev Dr John Cardell-Oliver

Gilbert George

Brian & Romola Haggerty

Meg O’Neill & Vicky Hayes

Sue Hovell

Fred & Nicola Wehr

Alan Whitham

Trish Williams

Wright Burt Foundation

Anonymous (2)

Maestro Patron

Gifts $5,000 - $9,999

Prue Ashurst in memory of Eoin Cameron

Ruth Bailey

Tony & Mary Beeley

Dr John Blott

Lady Jean Brodie-Hall

Maree Creighton & Kevin Davis

Stephen Davis & Linda Savage

Bridget Faye AM

Dr John Gladstones

Warwick Hemsley

Dr Penny Herbert in memory of Dunstan Herbert

Dale & Greg Higham

Peter Ingram

Margaret & Peter James

Roger Jennings in memory of Lilian Jennings

Keith & Gaye Kessell

Dr Ronny Low & Dr Emma Richardson

Bryant & Louise Macfie

Michael & Lesley Page

Paula & John Phillips

G. J. Seach

Geoff Stearn

Ros Thomson

Gene Tilbrook & Anne Seghezzi

Michael & Helen Tuite

Dr John Woodall

Anonymous (6)

Virtuoso Patron

Gifts $2,500 - $4,999

Dr Fred Affleck AO & Mrs Margaret Affleck

Neil Archibald & Alan R Dodge AM

David & Suzanne Biddles

Peter & Marjorie Bird

Dr & Mrs P Breidahl

Prof Jonathan Carapetis & Prof Sue Skull

Kim & Bob Collins

Ian & Elizabeth Constable

Lesley & Peter Davies

Dr Andrew Gardner

Roger & Ann Gillbanks

Jannette Gray

Danuta Julia

Kay Giorgetta

Jim & Freda Irenic

Eleanor John & Finn Barrett

Michael & Dale Kitney

Francis Landels

Barrie & Jude Le Pley

Mi Kyung Lee & Colin Binns

Tony & Gillian Milne

Mrs Morrell

Jane & Jock Morrison

Val & Barry Neubecker

Anne Nolan

Robyn Owens

John Overton

Rosemary Peek

Thomas & Diana Potter

Jennifer Rankin

Roger Sandercock

Melanie & Paul Shannon

Glenice Shephard

Elisabeth & David Smith

Michael Snell & Vicki Stewart

Brian Stewart

Tessa Tieleman

Ruth E Thorn

Agatha van der Schaaf

Stan & Valerie Vicich

John & Nita Walshe

Fred & Caroline Witting

Andrew & Marie Yuncken

Anonymous (4)

Principal Patron

Gifts $1,000 - $2,499

Caroline Allen & Sandy Dunn

Margaret Atkins

Stuart Anderson

Catherine Bagster

Moira Bailey

Betty Barker

Sarah & Colin Beckett AO

Ross & Alecia Benzie

Matthew J C Blampey

Margaret Bloch

Cathy Bolt in memory of Tony Bolt

K & C Bond

John & Debbie Borshoff

Sue Boyd

Laraine Brindle

Elizabeth & James Brown

Adrienne & Phillip Buttrose

Stewart Candlish & Bianca Panizza

Michelle Candy

David Castillo & Marian Magee

Claire Chambers & Dr Andrea Shoebridge

Fred & Angela Chaney

Constance Chapman

Dr Peter Chauvel

Dr Anne Chester

Anthea Cheney

Jason & Su-Lyn Chong

Dr Keryn Christiansen

Peter & Sue Clifton

Lyn & Harvey Coates AO

John Collins

Dr David Cooke

Hon June Craig AM

Dr Megan Davies

Edwina Davies Ward in memory of Wanda G


Monique De Vianna

Kelly & Andrew Diong

Rai & Erika Dolinschek

Simon Douglas

Prof Robert Durand

Bev East

Lorraine Ellard

Dr Jenny & Terry Fay

Tony & Sue Field

Gilly Flower

Don & Marie Forrest

Toni Frank

Eléonore Fuchter

George Gavranic

Robyn Glindemann

Neville & Jane Gibbs

Prof Lelia Green

Pitsamai & Kevin Green

Maryllis & Paul Green-Armytage

Deidre Greenfeld

Grussgott Trust

Ann Hammer

Richard B Hammond

Nick Handran Smith & Elizabeth Allan

Pauline & Peter Handford

Peter Hansen

Dr & Mrs H Hansen-Knarhoi

Julie Harris

Paul & Barbara Harris

Vanessa Harvey

Rev Bill Hawley & Dr Rev Georgina Hawley

In Memory of Eileen Hayes

John & Christine Hedges

Elizabeth & Eric Heenan

Dallas Hickman & Alex Hickman

Dr John & Patricia Hill

Helen Hollingshead

Dr Keith Holt

Dr K & Mr J Hopkins OAM

Rosemary Howarth

Judith Hugo

Jan & Walter Hunter

Richard Isted

Cynthia Jee

Diane Johnson

Emy & Warren Jones

Anthony Kane in memory of Jane Leahy-Kane

Bill Kean

David Keast & Victoria Mizen

Noelle & Anthony Keller AM

Patricia King

Nelly Kleyn

Ulrich & Gloria Kunzmann

Trevor & Ane Marie Lacy

Irving Lane

Drs Sunny & Ann Lee

Dr Oon Teik Lee

Ruth & Malcolm Leske

Martin & Ruth Levit

Ann Lewis

Dr Rebecca Meegan-Lowe & Richard Lowe

Ian & Judith Lunt

Dr Seamus MacDonald

Graham & Muriel Mahony

Denise Main

Dr Tony Mander & Ms Loretta Byrd

Gregg & Sue Marshman

Geoffrey Massey

Pam Mathews & Dr Mark Brogan

Judith McGuinness

Betty & Con Michael AO

Don & Moira McKinley

Mrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith

Hon Justice S R Moncrieff

Elizabeth Moran

Mr & Mrs Geoffrey Morris

Dr & Mrs Peter Moss

Patricia Murphy

Lyn Murray

Judith Nash

Family Nilant

Marianne Nilsson

Jim & Wendy O’Neill

Dr Walter Ong & Graeme


Ron Packer

Roger Paterson

Tim Pavy & Kathy Cole

Charmian Phillips in memory of Colin Craft

Beth & Walter Pidgeon

Italo Pizzale

Pamela Platt

Richard & Sharon Prince

Dr Leon Prindiville

Tony & Val Ramshaw

Rev Philip Raymont

Prof Ian Reid & Dr Gale MacLachlan

James & Nicola Ridsdill-Smith

John & Alison Rigg

Dr Lance Risbey

Will Riseborough

Paul & Christine Roberts

Wayne Robinson

Bryan & Jan Rodgers

Gerry & Maurice Rousset


Dr J B & Mrs A Rowlands

Robin & Anne Salter

Robyn & Ted Sharp

Anne Sibbel

In memory of Judith Sienkiewicz

Laurel & Ross Smith

Paul Smith & Denham Harry

Geoff & Chris Soutar

Malca & Graham


David Stevenson

Donald & Laurel Stewart

Ruth Stratton

Iain Summerlin

Elizabeth Syme

Richard Tarala & Lyn Beazley AO

Janet & the late Stephen Thackray

Ruth Thomas in memory of Ken & Hazel Rowley

Clare Thompson & Brad Power

Jillian Thompson

Peter & Jane Thompson in memory of Mrs Freda Stimson

Mike Thomson & Rae Robinson

Gavin Toovey & Jaehan Lee

Mary Townsend

Tracey Family

Gwen Treasure

James & Rosemary Trotter

Christopher Tyler

Bernardus Van Deijl

Yvonne Varey

Karen Venard

Maggie Venerys

Geoff & Sandra Wackett

Rita Wager

Adrienne & Max Walters


Diana & the late Bill Warnock

Ian Watson

Joy Wearne

Alan Westle in memory of Jean

Moira Westmore

Dr Chris & Mrs Vimala


Barbara Wilcox

Dai & Anne Williams

Mrs Jean & Mr Ian Williams AO

Jim & Gill Williams

Simon & Alison Williams

Judith Wilton & David Turner

Hilary & Peter Winterton AM

Margaret Wood

Peter Wreford

Kin Yung

Anonymous (32)

Tutti Patron

Gifts $500 - $999

Anne Acton

Kim Anderson & Paul Holmes

Kenneth & Judith Arkwright

Arron Arntzen

Rebe Atlas

Phillip & Mary Bairstow

Steven & Joanne Baitz

Barrie Baker

Christine Baker

Shane Baker

Bernard & Jackie Barnwell

Vanessa Barrable

Shirley Barraclough

Lisa & Glenn Barrett

Berwine Barrett-Lennard

Peter Bath

Noelle Beasley

Ingrid Berchem

Michael & Nadia


Ann Beveridge

Eric Bew

Eileen Bibby

Minnie Biggs

Lea Bingemann

John & Sue Bird in memory of Penny Bird

Jane Blanckensee

Davilia Bleckly

E & G Bourgault in memory of Betty Sagar

Diane & Ron Bowyer

Judith Brown

Christine Burson

David & Pat Bussard

Ann Butcher & Dean R Kubank

Jennifer Butement

Kevin Button & Susie Lim

Maria Caesar

R & R Cant

Nanette Carnachan

Joan Carney

Dr Charlene Caspersz & Dr Rob Will

S Barea Castillo

Philip & Frances Chadwick

Renate Chandler

Tim & Claire Chapman

Grant & Catherine Chappelle

Diane Christensen

Roger Clarnette

Mark Clifton

Shirley Cohen

Chris & Swee See Colton

Rev Des Cousins

Dr Christopher Cook & Ms Elise Chong

Norah & Roger Cooper

Nancy Cotterell

Glenn Coughlan

Pru Cowan

Carole & John Cox

Penny & Ron Crittall

Natalie Cullity

Keith & Suzanne Cundale

Brett Davies

Gary & Judith Davis

Hanneke & Jop Delfos

Alma Della Marta

Ray & June Delmenico

Elizabeth Dempsey-Lees

Daphne Devenish in memory of Bruce Devenish

Jilyan Dingle

Patricia & Roy Done

Beth Duncan

Camron Dyer

Christine Eilon

Patricia Elder

Pamela Eldred

Maxine & Bill Farrell AM

Susan & Gavin Fielding AM

Sue & Paul Fisher

Owen & Judy Fletcher

Mr & Mrs J & J Forgan

Archa Fox & Charlie Bond

John & Margaret Freeman

Margaret Furphy

Rony Gabbay

Margaret Gadsdon

Jennifer & Stephen


Dr Rhona Giles

Beth Gow

Anne Gray

Gwenyth Greenwood

Nola Gregory

Bob & Jenny Greig

Sonia Grinceri & Paula Watt

Barbara Haddy

Dr Roland Haehnel

Michael & Helen Hawkins

Shona Hall

Jean Hamory

Rosalind Hampton & David Dodd

Alan Harvey & Dr Paulien de Boer

Theresa Harvey

Siew-Mung Ho

Deidre Hodby

Dr Annette Holland

Ida Holt

Alfred Huis

Lorna Hurst

Leif Jamvold

John Jarvis

Elinor Jenkins

Lynn & Michael Jensen

Tim Johnson & Nat Shulman

Sally Johnston

Leah Joseph

Dr Susan Joubert

Kevin & Elissa Karlson

Dr Ursula Kees

B M Kent

Kerry Kerr

Leonie Kirke

Dr Elena Krylova

John Kusinski & Ann Motherway

Darryl & Jacky Lacey

Yvonne Lamble

Louis & Miriam Landau

Joelle Larsen

Dr Hoh Peng Lee

Rosalind Lilley

Dr Warren Lilleyman

Ruth Lilly

Dr George Lipton

Beverley Lockley

Mary Ellen in memory of Kerensa

Robyn Main

Dr John Male

Oliver & Sophie Mark

Dr Marie Martin

David Maynier

Diana McArthur

John McDonald

Dennis & Maureen McKay

Donna & Peter Millington

Patricia & Kevin Morgan

Louis Mostert

Margaret & Bruce


Michael Murphy

G & I Nicholas

Phuong Nguyen

Mary O’Hara

Marjan Oxley

Valetta Parr

Heather Passmore

Dr John Pearce

Bev Penny

Prof Suvendi Perera

Anne Pickard

Deborah & David Piesse

J Pinnow

Frank & Valda Pitman

Julienne Prendergast

Alan & June Prouse

Laura Raiter

Eveline Read

Graeme Reynolds & Lesley Parker-Reynolds

Shirley Ridgwell

Kim & Annemarie


Alison Robins

Leigh Robinson & Deborah Gellé

Nigel & Dr Heather Rogers

Chris & Serge Rtshiladze

Thelma Same

Veronica Sass-Nielsen

Esther Schenberg

Elizabeth Scott

Margaret & Roger Seares

Maureen Sellick

Sarah Seymour & Evan Eble

The Sherwood Family

Rory & Susan Shiner

Graham Simpson

Paul & Margaret Skerritt

Hendrik Smit

Helen Smith OAM

Kevin Smith

Margaret & John Solosy

Dr Louise Sparrow

Cisca Spencer

John & Elizabeth Spoor

Mark Stacey

Peggy & Tom Stacy

Alan & Jan Stewart

Lois & Robert Stout

Doll Syminton

Anthony Taylor

Lisa & Andrew Telford

Ralph Ten Seldam

Amanda & Desmond Thompson

Ivan & Jeanette Thompson

Dianne Thomson

Janice Tiller

Loma Toohey

Joan Travis

Gordorn Trewern

Prof David Tunley

Heather & Jim Tunmore

Dr Robert Turnbull

Michael & Gwenda Upton

Marilyn Van Heemst

Rae & Murray Wackett

Claire Walkley

Janet Wallis

Alex Waterhouse

Barry Watson

Patricia Weston

Barbara Wheatley

Margaret Whitter

Violette William

Sally Willis

Pari Willis-Jones

Rowena Withers

Karen Wood

Elizabeth Woods

Alison Woodman

Sara Wordsworth

Andrew Yeates

Edward Young

Dr Susan Young

Chris & Kathy Ziatis

Maxim Zuvela

Anonymous (34)


Gifts $40 - $499

Thank you to all our Friends who support WASO through their gift.

* Orchestral Chair Partnership

About the Speaker

Hugh Lydon
Pre-concert speaker

Hugh Lydon is a teacher, singer and conductor who is passionate about all aspects of choral music. This love was developed by his training as a chorister in Westminster Cathedral from 1992-1997. Hugh moved to Perth in 2010, having previously studied Music Education at Trinity College Dublin.

Whilst living in WA, he has immersed himself in the choral scene, both as a performer and a teacher. Hugh currently holds the role of Director of the Aquinas College Schola, a choral scholarship program unique within WA where choristers receive nine hours of musical training each week. He is also the founder of the Perth Choral Institute and conducts The Winthrop Singers. Other conducting opportunities have included the WASO Chorus, The Giovanni Consort, Schola Aedis Christi, St George’s Cathedral Consort and John Septimus Roe ACS’ Chapel Choir.

Hugh also regularly examines singing students in preparation for tertiary study.

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Loved the Concert?

A recording of this performance will be broadcast on ABC Classic FM, Saturday 14th August, 1.00pm AWST (11.00am AWST if streaming online).

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2021 Corporate Partners

Principal Partner

Platinum Partners

Access Partner

Symphony Partner

Concerto Partners

Overture Partners

Sonata Partners

Keynote Partners

Orchestra Partners

Media Partners

Funding Partners

Supported By

To share in our vision and discuss the many opportunities extended through corporate partnerships please contact Corporate Development on 08 9326 0020.

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