Masters Series
Friday 18 & Saturday 19 June 2021, 7:30pm
Perth Concert Hall
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.
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 narrator
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 abc.net.au/classic
VIOLIN
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
VIOLA
Daniel Schmitt
Alex Brogan
Kierstan Arkleysmith
Nik Babic
Benjamin Caddy
Alison Hall
Rachael Kirk
Mirjana Kojic^
Kathryn McKay^
Elliot O’Brien
Helen Tuckey
CELLO
Rod McGrath
• Tokyo Gas
Eve Silver*
Shigeru Komatsu
Oliver McAslan
Sacha McCulloch^
Nicholas Metcalfe
Anna Sarcich^
Tim South
Emma Vanderwal^
DOUBLE BASS
Andrew Sinclair*
John Keene
Louise Elaerts
Oakley Paul^
Christine Reitzenstein
Andrew Tait
Mark Tooby
FLUTE
Andrew Nicholson
• Anonymous
Mary-Anne Blades
• Anonymous
PICCOLO
Michael Waye
• Pamela & Josh Pitt
OBOE
Liz Chee
Annabelle Farid°
COR ANGLAIS
Andrew Nicholson
• Anonymous
CLARINET
Allan Meyer
Lorna Cook
BASSOON
Jane Kircher-Lindner
Adam Mikulicz
HORN
★ Margaret & Rod Marston
David Evans
Robert Gladstones
Principal 3rd Horn
Julia Brooke
Francesco Lo Surdo
TRUMPET
Brent Grapes
• Anonymous
Peter Miller
TROMBONE
Joshua Davis
• Dr Ken Evans & Dr
Glenda Campbell-Evans
Liam O’Malley
BASS TROMBONE
Philip Holdsworth
TUBA
Cameron Brook
• Peter & Jean Stokes
TIMPANI
Alex Timcke
PERCUSSION
Brian Maloney
Francois Combemorel
Assoc Principal
Percussion & Timpani
Robyn Gray^
Tegan LeBrun^
Paul Tanner^
HARP
Yi-Yun Loei^
Principal
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.
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.
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.
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.
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”
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
DO NOT READ BELOW
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.
Instrumentation:
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.
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.
Instrumentation:
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.
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.
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.
Hearing aids that are incorrectly adjusted may disturb other patrons, please be mindful of those around you.
Mobile phones and other electronic devices need to be switched off or silenced throughout the performance.
Photography, sound and video recordings are permitted prior to the start of the performance.
Latecomers and patrons who leave the auditorium will be seated only after the completion of a work.
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.
FOOD & BEVERAGES
You are now able to take your cold drinks to your seat.
Foyer bars are open for drinks and coffee two hours before, during interval and after the concert. To save time we recommend you pre-order your interval drinks.
FIRST AID
There are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance.
ACCESSIBILITY
• 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 perthconcerthall.com.au/your-visit/accessibility/ for further information.
WASO BOX OFFICE
Buy your WASO tickets and subscriptions, exchange tickets, or make a donation at the Box Office on the ground floor (Level 1) prior to each performance and at interval. Tickets for other performances at Perth Concert Hall will be available for purchase only at interval. Please note that 30 minutes prior to performance, the Box Office will only be available for sales to that night’s performance.
The Box Office is open Monday to Friday, 9am to 5pm, and contactable on 9326 0000.
Wash your hands
Stay home if you are unwell
Cough or sneeze into your elbow
Check in with the SAFE WA app
Perth Concert Hall is permitted to operate at 100 per cent capacity as part of the Western Australian Government’s easing of COVID-19 restrictions. Please continue to practise good hygiene habits and observe physical distancing where possible.
Nik Babic
Viola
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.
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.
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
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 pinkert@waso.com.au.
Every gift, of every size, makes a real and positive impact - thank you!
*All gifts $2 and over are tax deductible
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
Estates
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)
Crescendo
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)
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
Davies
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
Marshall
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
OAM
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
Spencer-Laitt
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
AM
Diana & the late Bill Warnock
Ian Watson
Joy Wearne
Alan Westle in memory of Jean
Moira Westmore
Dr Chris & Mrs Vimala
Whitaker
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
Berkeley-Hill
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
Gardiner
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
Murdoch
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
Riseborough
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)
Friend
Gifts $40 - $499
Thank you to all our Friends who support WASO through their gift.
* Orchestral Chair Partnership
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.
A recording of this performance will be broadcast on ABC Classic FM, Saturday 14th August, 1.00pm AWST (11.00am AWST if streaming online).
To share in our vision and discuss the many opportunities extended through corporate partnerships please contact Corporate Development on 08 9326 0020.
