Brahms’ German Requiem

MACA Classics Series

Friday 25 & Saturday 26 June 2021, 7:30pm

Perth Concert Hall

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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.

Brahms’ German Requiem

Johannes BRAHMS Ein deutsches Requiem (75 mins)

I. Selig sind, die da Leid tragen
II. Denn alles Fleisch, es ist wie Gras
III. Herr, lehre doch mich
IV. Wie lieblich sind deine Wohnungen
V. Ihr habt nun Traurigkeit
VI. Denn wir haben hier keine bleibende Statt
VII. Selig sind die Toten

Please note that there will not be an interval in this evening’s performance.

Asher Fisch conductor
Elena Perroni
Adrian Tamburini
WASO Chorus

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, Margaret Pride. The Pre-concert Talk will take place at 6.45pm in the Terrace Level Foyer.

Wesfarmers Arts Meet the Artists

Join WASO’s Principal Conductor, Asher Fisch for a post-concert interview.

This will take place immediately following the Friday evening performance in the Terrace Level Foyer.

Listen to WASO

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

Asher Fisch introduces Brahms' German Requiem

WASO On Stage

Emma McGrath^
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
William Huxtable^
Alexandra Isted
Sunmi Jung
Christina Katsimbardis
Ellie Lawrence
Sera Lee^
Andrea Mendham^
Akiko Miyazawa
Lucas O’Brien
Melanie Pearn
Louise Sandercock
Jolanta Schenk
Jane Serrangeli
Bao Di Tang
Cerys Tooby
Teresa Vinci^
David Yeh

Daniel Schmitt
Kierstan Arkleysmith
Nik Babic
Benjamin Caddy
Alison Hall
Rachael Kirk
Mirjana Kojic^
Allan McLean
Elliot O’Brien
Katherine Potter^
Helen Tuckey

Rod McGrath
• Tokyo Gas
Eve Silver*

Melinda Forsythe^
Peter Grayling^
Shigeru Komatsu
Oliver McAslan
Nicholas Metcalfe
Fotis Skordas
Tim South

Andrew Sinclair*
John Keene
Louise Elaerts
Rob Nairn^
Christine Reitzenstein
Andrew Tait
Mark Tooby

Andrew Nicholson

• Anonymous
Mary-Anne Blades
• Anonymous

Michael Waye
• Pamela & Josh Pitt

Annabelle Farid°

Leanne Glover
• Sam & Leanne Walsh

Allan Meyer

Lorna Cook

Jane Kircher-Lindner
Adam Mikulicz

Chloe Turner
Stelios Jewellers

★ Margaret & Rod Marston
David Evans
Robert Gladstones

Principal 3rd Horn
Julia Brooke
Francesco Lo Surdo

Jenna Smith

Peter Miller

Joshua Davis

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

Philip Holdsworth

Cameron Brook

• Peter & Jean Stokes

Alex Timcke

Yi-Yun Loei^

Alessandro Pittorino^


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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Elena Perroni

Praised for her “velvet soprano voice” (Philadelphia Inquirer), Elena Perroni has gained recognition on the international stage. Hailing from Western Australia, Perroni has made regular appearances with the Philadelphia Orchestra in title roles such as Iolanta (Iolanta, Tchikovsky), Rusalka (Rusalka, Dvorak), Tatyana, (Eugene Onegin, Tchaikovsky) and as Berlioz’s Les Nuits d’ete. Perroni made her opera debut with Opera Philadelphia in Charlie Parker’s Yardbird (Schnyder). As Doris Parker, she performed in the first opera to be performed at the legendary Apollo Theatre in New York City before reprising the role at English National Opera in 2017. Debuting in her home country as Mimi (La Boheme, Puccini) with the West Australian Opera in 2018 she then returned the following year as Violetta Valéry in Verdi’s La Traviata. She is the first Australian opera graduate of one of the most prestigious institutes of music, Curtis Institute of Music, where she graduated with the Festorazzi Scholarship for most promising vocalist.

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Adrian Tamburini

Adrian has enjoyed a long and varied career as an opera singer, concert performer, music educator, director and producer. In 2017, Adrian was the winner of Australia’s prestigious singing award, the Australian Opera Awards (YMF, MOST). His singing has featured on cinema releases of opera, international recordings, motion picture soundtracks, radio and television. Since his debut in 1997 he has had a varied career as an operatic soloist (Opera Australia, West Australian Opera, Melbourne Opera, Lost and Found Opera), a concert performer (Melbourne Symphony Orchestra, Zelman Symphony Orchestra, West Australian Symphony Orchestra, Canberra Symphony Orchestra). Over the past few years he has focused on sharing his passion for music by teaching singing and piano to the next generation of musicians. Adrian has had the privilege of working with renowned international conductors and directors and most recently performed in the world premiere of Luke Styles’ symphonic song cycle, No Friend But the Mountains based on the book of the same name by Behrouz Boochani which is to be aired on ABC television this month. In 2021 Adrian is proud to make his debut in productions by Pinchgut Opera and National Opera.

WASO Chorus

The WASO Chorus was formed in 1988 and consists of around 100 volunteer choristers who represent the finest form of community music making, bringing together singers from all walks of life. They regularly feature in the WASO annual concert season, and are directed by Andrew Foote.

The Chorus has built an international reputation for its high standards and diverse range of repertoire. While its main role is to perform with the West Australian Symphony Orchestra, the Chorus also maintains a profile of solo concerts, tours and community engagements.

The Chorus sings with the finest conductors and soloists including Asher Fisch, Simone Young, Stephen Layton and Paul Daniel. Recent highlights have included Poulenc’s Stabat Mater, Mahler’s Second Symphony and Verdi’s Requiem. In 2019 the Chorus performed at the Denmark Festival of Voice and in 2018 toured China with performances of Orff’s Carmina burana.

Andrew Foote
Chorus Director

Lea Hayward

Lisa Barrett
Elyse Belford-Thomas
Anna Börner
Annie Burke
Alinta Carroll
Jesse Chester-Browne
Penelope Colgan
Caitlin Collom
Clara Connor
Charmaine de Witt
Ceridwen Dumergue
Fay Edwards
Bronwyn Elliott
Davina Farinola
Marion Funke
Kath Goodman
Lesley Goodwin
Ro Gorell
Diane Hawkins
Sue Hingston
Deborah Jackson-
Michelle John
Bonnie Keynes
Brooke McKnight
Sheila Price
Jane Royle
Lucy Sheppard
Gosia Slawomirski
Kate Sugars
Carol Unkovich
Alicia Walter
Margo Warburton

Marian Agombar
Janet Baxter
Llewela Benn
Patsy Brown
Sue Coleson
Jeanette Collins
Catherine Dunn
Kaye Fairbairn
Jenny Fay
Susanna Fleck
Dianne Graves
Louise Hayes
Katie Hunt
Jill Jones
Mathilda Joubert
Kate Lewis
Diana MacCallum
Robyn Main
Tina McDonald
Lynne Naylor
Philomena Nulsen
Deborah Pearson
Deborah Piesse
Fiona Robson
Neb Ryland
Rebecca Sheil
Louise Sutton
Olga Ward
Moira Westmore
Jacquie Wright

David Collings
Nick Fielding
Matthew Flood
Allan Griffiths
Julian Jones
John Murphy
Andrew Paterson
Jay Reso
Chris Ryland
Simon Taylor
Arthur Tideswell
Stephen Turley
Malcolm Vernon
Brad Wake

Justin Audcent
Michael Berkeley-Hill
Charlie Bond
Bertel Bulten
Ken Gasmier
Benjamin Lee
Andrew Lynch
Tony Marrion
Peter Ormond
Jim Rhoads
Mark Richardson
Steve Sherwood
Chris Smith
Tim Strahan
Robert Turnbull
Mark Wiklund
Andrew Wong

About the Music

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Johannes Brahms (1833-1897)

Ein deutsches Requiem (A German Requiem)

I. Selig sind, die da Leid tragen (Matthew 5:4;
Psalm 126:5,6)
II. Denn alles Fleisch, es ist wie Gras (1 Peter
1:24; James 5:7; 1 Peter 1:25; Isaiah 35:10)
III. Herr, lehre doch mich (Psalm 39:5-8:
Wisdom 3:1)
IV. Wie lieblich sind deine Wohnungen (Psalm
84:2, 3, 5)
V. Ihr habt nun Traurigkeit (John 16:22;
Ecclesiasticus 51:35; Isaiah 66:13)
VI. Denn wir haben hier keine bleibende Statt
(Hebrews 13:14, 1 Corinthians 15:51-2, 54-5;
Revelation 4: 11)
VII. Selig sind die Toten (Revelation 14:13)

A German Requiem, Brahms’ greatest choral work, is also one of his most personal and revealing compositions. First performed
officially in Bremen Cathedral on Good Friday 1868, it quickly won general acceptance throughout Germany and even further afield. Brahms had ‘arrived’ as a major composer. From then on he was to consolidate his position in public esteem, to the point where none, perhaps, of the great 19th-century composers had such widespread fame and so high a reputation in his own lifetime (except possibly Mendelssohn). Brahms’ fame was already established before he had written any symphonies (his first came out in 1876), and the success of A German Requiem reminds us of the importance of oratorio and choral/orchestral music in 19th-century musicmaking.

The Requiem is Brahms’ largest treatment of man’s attitude to death, a subject which preoccupied him throughout his adult life. Here, more than anywhere else, he lets us see his metaphysical, even religious outlook. As his first venture into large choral forms, the Requiem also shows how thoroughly this largely self-taught composer had steeped himself in the music of the past, emerging as a conservative master of choral idioms.

Tracing the genesis of A German Requiem can begin with its title: ‘A German Requiem, on words from Holy Scripture’. Brahms uses the name Requiem only in a very general sense; this is no liturgical requiem, and has no connection with the forms of worship of any church. Brahms calls it A German Requiem because the words are in German, not because he intended to write especially German music. Brahms chose the words himself from Luther’s translation of the Bible, showing that he knew it well. He had been brought up a Protestant, but lost his faith early, and was not a Christian believer. His admirer Dvořák once exclaimed: ‘Such a great man, such a great soul! And he believes in nothing!’

In spite of this, Brahms’ spiritual life was guided and formed by Biblical perspectives on life and death. The texts which spoke to him most strongly were those counselling contemplation, resignation and patience in the face of death. His thought is mainly pessimistic, but it is a pessimism shot through with gleams of hope – not the Christian hope of redemption and resurrection, but the achievement, through resignation, of eternal bliss. Brahms was deeply sensitive to the meaning of the texts he chose for the Requiem, and it is no accident that Christ is nowhere mentioned in them. Whereas the Catholic requiem mass is concerned at length with what happens after death and the day of judgement, for Brahms the last trumpet (or rather, in German, the last trombone) heralds not judgement, but the resurrection of the last day.

This is as far as Brahms goes, in the Requiem, towards the Christian message of hope. Elsewhere he is concerned mainly with consoling the living, those who have to stay behind, facing bereavement and their own inescapable death. There is no entreaty, no prayer for mercy.

Brahms’ friends quipped that he was happiest when he could sing ‘My joy is in the grave.’ The note he strikes at the beginning and end of the Requiem dominates it: ‘Blessed are they that mourn’ and ‘Blessed are the dead’. Brahms denied that his Requiem applied to any individual; he had the whole of humanity in mind. Nevertheless his own losses counted for much as he shaped the work. In 1856 his friend and mentor Robert Schumann died. The young Brahms had admired him to the point of hero-worship, and it was under the impact of Schumann’s death that he took up the rejected slow movement of the D minor piano concerto (No.1) and reworked it as the dark and implacable saraband which begins the second movement of the Requiem, to the words ‘For all flesh is as grass’. Then in 1865 Brahms’ beloved mother died. He was deeply upset, but this loss can only have contributed an intensification of feeling to a work already well in progress.

The Requiem was completed in the summer of 1866 while Brahms was staying in Switzerland. At this stage, it consisted of six movements only, predominantly dark in colour, and with a single soloist: a baritone. An initial performance in Vienna in 1867 was a failure – it was under-rehearsed, and the scoring was revealed as unsatisfactory, especially in the third movement. Brahms retouched these problem areas before conducting the official first performance in Bremen Cathedral. The baritone was Brahms’ friend Julius Stockhausen, who evidently gave an inspired account of the solo part; choir and orchestra were magnificently prepared, and the result was a triumph.

Brahms seems to have felt that something was still lacking in the overall balance of the work, in spite of the lyrical relief provided by the ‘How lovely are your dwellings’ movement. He added the soprano solo with chorus which, with its explicit reference to the mother comforting her child, is conceived as a memorial to Brahms’ own mother. In this form the work was performed at Leipzig in February 1869, where it had a cold reception. Leipzig – stronghold of the Mendelssohn faction – remained alone in Germany in failing to appreciate the German Requiem.

Brahms can be described as a Protestant composer in spite of his lack of any admitted religiosity. (As conductor of the Gesellschaft der Musikfreunde Choir in Vienna from 1870, he impartially presented Catholic and Protestant church music, concerned only with the intrinsic quality of the music.) His Protestantism appears both in his choice of Biblical texts and in the musical ancestry of his style. When he came to write choral music to German words, the influence of J.S. Bach was paramount. The appearance from 1850 onwards of the annual volumes of the complete edition of Bach’s works was a more important artistic stimulus for Brahms than any other musical event of his time. Brahms claimed that the four-movement cantata he had written around the ‘All flesh is as grass’ movement (the original core of his Requiem) was based on a
Bach chorale. Another influence was the music of the 17th-century German composer Heinrich Schütz. Brahms may have known Schütz’s serene Funeral Music, which has some texts in common with his own Requiem.

Brahms’ deep knowledge of the music of the past served to give discipline and form to the Romantic impulses in his musical style. The richness of A German Requiem lies in ardent Romantic feeling being poured into traditional forms. Unlike Brahms’ unaccompanied motets, his Requiem makes no parade of his contrapuntal learning, and he confines himself throughout to a single choir in four parts only. Generally speaking, when he resorts to fugal writing in this work, it is superbly apt, even in the passage which ends the third movement. This has often been criticised for excessive severity, but it contains a powerful piece of musical symbolism: just as the souls of the righteous are described in the text as being held in the hand of God, so the two separate but concurrent fugues, one in the choir, one in the orchestra, are held together by the mighty D major tonic pedal in the bass of the orchestra.

At the time he composed the Requiem, Brahms’ only large-scale orchestral work was the D minor Piano Concerto, whose scoring had given him great trouble. The orchestration of A German Requiem lacks the subtlety of Brahms’ later symphonic works, and a very few pages even show signs of misjudgment. In particular the double fugue just mentioned can give trouble: an insensitive timpanist in the first Vienna performance played his part in the tonic pedal so loudly that he swamped everything else.

The overall effect of the orchestration is to paint the sombre tones of Brahms’ conception. Like Cherubini before him and Fauré after, he responds to the service for the dead by using violas and lower strings in many places to the exclusion of the violins, and in the first movement he also banishes the bright tones of clarinets and trumpets. Piccolo and harp are used to lighten and vary the texture in a medium-sized Romantic symphony orchestra. The relation of the vocal soloists to the choir is that of a single voice leading the people, a personal voice to which the choir responds by repeating and underlining its utterances.

Brahms was never more personal, nor more true to his nature than in this ambitiously scaled work. For that reason, perhaps, it has remained the litmus test of attitudes to Brahms’ art. The pro-Wagner faction – of which George Bernard Shaw made himself the spokesman in England – could never accept its creative musical conservatism, or, one suspects, the firmly contained emotion with its basis in a longing for religious certainty. For others, and especially those who share some of the troubles of Brahms’ soul, the effect of this masterful meditation on death, dissolved into music by an ultimately lonely man, can be overwhelmingly moving.

David Garrett © 1989

First Performance:
Good Friday 1868, Bremen Cathedral.

Most recent WASO performance:

3-4 August 2012. Simone Young, conductor.


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


Oratorio – a substantial work for singers and orchestra based on a religious text.

Cantata – a work for voices and orchestra consisting of arias, recitatives and choruses.

Contrapuntal – Of, relating to, or incorporating counterpoint (two or more lines of music or melodies that are played at the same time).

Fugal – in the style of a fugue, characterised by imitation between different parts or instruments, which enter one after the other. The Latin word fuga is related to the idea of both ‘fleeing’ and ‘chasing’.

Brahms – A German Requiem

Text & Translation

Translate to English

1. Chorus

Selig sind, die da Leid tragen,
denn sie sollen getröstet werden.
Die mit Tränen säen,
werden mit Freuden ernten.
Sie gehen hin und weinen
und tragen edlen Samen,
und kommen mit Freuden
und bringen ihre Garben.

2. Chorus

Denn alles Fleisch, es ist wie Gras,
und alle Herrlichkeit des Menschen
wie des Grases Blumen.
Das Gras ist verdorret
und die Blume abgefallen.
So seid nun geduldig, lieben Brüder,
bis auf die Zukunft des Herrn.
Siehe, ein Ackermann wartet
auf die köstliche Frucht der Erde
und ist geduldig darüber, bis er empfahe
den Morgenregen und Abendregen.
So seid geduldig.
Aber des Herrn Wort
bleibet in Ewigkeit.
Die Erlöseten des Herrn
werden wiederkommen
und gen Zion kommen mit Jauchzen;
Freude, ewige Freude
wird über ihrem Haupte sein;
Freude und Wonne werden sie ergreifen,
und Schmerz und Seufzen

3. Solo (Baritone) with Chorus
Herr, lehre doch mich,
dass ein Ende mit mir haben muss
und mein Leben ein Ziel hat
und ich davon muss.
Siehe, meine Tage
sind einer Hand breit vor dir,
und mein Leben ist wie nichts vor dir.
Ach, wie gar nichts sind alle Menschen,
die doch so sicher leben.
Sie gehen daher wie ein Schemen
und machen ihnen
viel vergebliche Unruhe;
sie sammeln und wissen nicht,
wer es kriegen wird.
Nun, Herr,
wes soll ich mich trösten?
Ich hoffe auf dich.
Der Gerechten Seelen
sind in Gottes Hand,
und keine Qual rühret sie an.

4. Chorus
Wie lieblich sind deine Wohnungen,
Herr Zebaoth!
Meine Seele verlanget und sehnet sich
nach den Vorhöfen des Herrn;
mein Leib und Seele freuen sich
in dem lebendigen Gott.
Wohl denen,
die in deinem Hause wohnen,
die loben dich immerdar!

5. Solo (Soprano) with Chorus
Ihr habt nun Traurigkeit;
aber ich will euch wiedersehen,
und euer Herz soll sich freuen,
und eure Freude soll niemand
von euch nehmen.
Ich will euch trösten,
wie einen seine Mutter tröstet.
Sehet mich an:
ich habe eine kleine Zeit
Mühe und Arbeit gehabt
und habe grossen Trost funden.

6. Solo (Baritone) with Chorus
Denn wir haben hier keine
bleibende Statt,
sondern die zukünftige suchen wir.
Siehe, ich sage euch ein Geheimnis:
Wir werden nicht alle entschlafen,
wir werden aber alle verwandelt,
und dasselbige plötzlich,
in einem Augenblick,
zu der Zeit der letzten Posaune.
Denn es wird die Posaune schallen,
und die Toten werden
auferstehen unverweslich,
und wir werden verwandelt werden.
Dann wird erfüllet werden
das Wort, das geschrieben steht:
Der Tod ist verschlungen in den Sieg.
Tod, wo ist dein Stachel!
Hölle, wo ist dein Sieg!
Herr, du bist würdig, zu nehmen
Preis und Ehre und Kraft,
denn du hast alle Dinge erschaffen,
und durch deinen Willen
haben sie das Wesen
und sind geschaffen.

7. Chorus
Selig sind die Toten,
die in dem Herren sterben
von nun an.
Ja, der Geist spricht,
dass sie ruhen von ihrer Arbeit,
denn ihre Werke folgen ihnen nach.

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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.

You are now able to take your cold drinks to your seat.

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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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John Keene
Assoc Principal Double Bass

What made you want to learn to play the double bass? I was actually given the double bass in Year 2 as part of a school string program because I was the tallest person in my year group. (I was a tall child as I am now a tall person!) I wasn’t opposed to it, and then loved the instrument the more I learned it. I stayed with it throughout school and it took me into professional life. My first proper instrument was piano and that helped me consolidate my musicianship skills on double bass. When I found I was no longer progressing on piano but progressing much more easily on double bass, I quit piano and focused on double bass (around age 15).

If you had to choose any other instrument to play in the orchestra, what would it be?
It would be between bassoon, french horn, and violin. I love the reedy, characterful tone of the bassoon, the versatility and epic nature of the horn, and the expressiveness and virtuosity of the violin. I learnt french horn for a year in primary school so I would love to pick it back up again - there are so many great orchestral moments and solos, and horn ensemble music sounds so awesome.

What piece of music would you play to convince someone of the power of music?
Adagio for Strings by Samuel Barber. In my opinion, there is no way that anyone alive can’t feel something when they hear this beautiful music! I was privileged to play it recently under Asher Fisch with WASO. It is in my opinion, the most accessible, powerful and stirring piece of music ever written.

Tell us about the experience of being both a player and a conductor?
I love working as a bass player under many different conductors as I can hear their thoughts and understand their approaches to the music and to leading an orchestra, and apply them to my own skills as a conductor. I think the advantage of being a player that conducts is that you know what it’s like on the other side, and so you can understand how to communicate more effectively with the musicians. It also means I have a huge soft spot for the double bass section when I’m up on the podium - but I will still correct their intonation if need be of course!

I really love…

I really dislike… When there is no chocolate at home.

Community Engagement & Education

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Harmony Music

WASO’s Harmony Music is a captivating and deeply rewarding program working in schools with Special Educational Needs departments. Harmony brings the soul stirring music of a WASO concert to students with disabilities in the comfort of their school environment.

Small ensembles perform informal concerts, share stories about life working in an orchestra and introduce students to the instruments of the orchestra through performances of popular repertoire and interactive have-a-go sessions. WASO is proud to have relationships with a number of schools with Special Educational Needs departments, and works to ensure that this program is both enriching and educational for their students. Schools are provided with free educational resources that include information about the families of the orchestra, the musicians performing, a repertoire list, suggested extra listening and age-appropriate activities such as word finds or colouring-in.

In March, we were thrilled to have our first Harmony visit of 2021 to Kensington Secondary School. The students ‘Met the Strings’ through Sunmi Jung (violin), Jane Serrangeli (violin), Kierstan Arkleysmith (viola) and Tim South (cello) and the bright and well-known repertoire they had prepared. Many of the students were visibly excited and got involved in the performance; singing, dancing and clapping along. It was clear to see how much the students and teachers loved the concert and musicians!

“The kids were so engaged and eyes and ears glued for sound. I loved the student who put their hand up at the end to say ‘That was awesome!’ It truly was celestial bliss. We couldn’t have asked for more.”

- Marietta Damos, Teacher in Charge of Music, Leeming Senior High School.

“It is always amazing to watch the students at Kenwick School become so completely immersed in the concert provided by the Harmony Music Program. Our students do not often get the opportunity to interact with live music and to see them become so involved within the safe and secure environment of our school is an amazing sight. Each and every student is able to engage in the performance in their own way, whether that be dancing around in the background, sitting in their own space or getting out of their wheelchairs to lounge on beanbags while listening to the amazing sounds around them. The performance is not just a feast for the ears but a full body experience that reaches each student on so many levels. We are truly grateful for the experiences that the Harmony Music Program provides and really look forward to having our students engage in the program again.”

- Tegan Cardy, Music and Art Specialist, Kenwick School.

Harmony Music is supported by Mitsubishi Corporation.


Together, we can create EXTRAORDINARY MUSIC

We are delighted to be this year’s WASO Annual Giving Ambassadors. As two of the younger players in the 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, and meeting with you throughout the year to celebrate the very real impact of your generosity.

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.

Thank you.

Graeme Norris
Principal 1st Violin

Jenna Smith
Associate Principal Trumpet

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WASO thrives on the enthusiasm, passion and support of 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 Patrons

The ongoing and generous support we receive through Philanthropy is essential to sustaining an Orchestra in Western Australia now, and for future generations.

Through the partnership of our philanthropic community, our vision is nurtured, bringing the joy of music to every corner of our vast and beautiful state.

Together, we are achieving 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

Championing Artistic 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

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

Jean Arkley

Annette Cottee

Penny & Ron Crittall

Robyn Glindemann

Trusts & Foundations

Bendat Family Foundation

McCusker Charitable Foundation

Simon Lee Foundation

Journey Recruitment

Deborah & Miles Protter

Eveline Read

Dr Carol Warren

Anonymous (1)

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)

Trusts & Foundations

Crown Resorts Foundation

Packer Family Foundation

Feilman Foundation

Stan Perron Charitable Foundation

Bunning Family

Annual Giving

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+

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+

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+

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, AO

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+

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

Tom Ridsdill-Smith

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 (33)

Tutti Patron

Gifts $500+

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 (33)


Gifts $40+

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

* Orchestral Chair Partnership

About the Speaker

Dr Margaret Pride OAM
Pre-concert speaker

Dr Margaret Pride OAM is currently the Music Director for Perth Symphonic Chorus, Perth Chamber Singers and the Perth Chamber Choir. She is a former Senior Lecturer at the University of Western Australia and Edith Cowan University. Margaret studied choral music and orchestral conducting for five years in the United States, gaining her Master’s and Performance Doctorate degrees from the prestigious University of Southern California.

Margaret has established herself as a choral specialist and conductor, now presenting over a dozen full concerts annually, including oratorios and cantatas, traditional unaccompanied sacred music, orchestral music and more specialised vocal chamber music. Margaret is a past national and state president of the Australian National Choral Association and was chief inaugurator of the National Youth Choir of Australia. During her stay at the University of Western Australia she established Australia’s first Performing Master’s Degree in Choral Music.

In 2001 Margaret was awarded a Centenary Medal in recognition of her services to choral music in Western Australia, and in 2010 was made an Honorary Life Member of the Australian National Choral Association. In 2015 she was awarded an Order of Australia Medal for services to the Arts, particularly choral music.

Connect with WASO

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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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