Rodrigo's Guitar Concerto

MACA CLASSICS SERIES

Friday 21 & Saturday 22 April 2023, 7.30pm

Perth Concert Hall

West Australian Symphony Orchestra respectfully acknowledges the Traditional Custodians and Elders of Country throughout Western Australia, and the Whadjuk Noongar people on whose lands we work and share music.

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Rodrigo's Guitar Concerto

Joaquín TURINA Danzas fantásticas (16 mins)

Exaltación
Ensueño
Orgía

Joaquín RODRIGO Concierto de Aranjuez (22 mins)

Allegro con spirito
Adagio
Allegro gentile

Interval (25 mins)

Silvestre REVUELTAS La Noche de los Mayas (Night of the Mayas)

Noche de los Mayas (The Night of the Mayas)
Noche de Jaranas (Night of Revelry)
Noche de Yucatán (Night of the Yucatan) -
Noche de encantamiento (Night of Enchantment)

Miguel Harth-Bedoya conductor
Karin Schaupp guitar

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

Wesfarmers Arts Meet the Artist (Friday only)
Join conductor, Miguel Harth-Bedoya for a post-concert interview immediately following the Friday evening performance in the Terrace Level Foyer. Uncover more about the music and hear insights into the performance experience.

Listen to WASO
This performance is recorded for broadcast on ABC Classic. For further details visit abc.net.au/classic

Did you know?

Danzas fantásticas was originally composed for solo piano and later orchestrated, however the orchestral version was the first to be performed.
Joaquin Rodrigo contracted diptheria at age three, the infection resulting in lifelong near-blindnesss. Despite his minimal vision he went on to become a successful pianist and composer and lived to 98 years old.
Rodrigo's guitar concerto is considered one of the most famous classical music works to come from Spain.
On 30 December 1991, Rodrigo was raised to the Spanish nobility by King Juan Carlos I due to the success of his guitar concerto - he was given the title of 'Marquis of the Gardens of Aranjuez'.
In his teenage years, Revueltas played for silent films in a cinema orchestra.
Although the film La noche de los Mayas, from which Revueltas' score is taken, received some appreciative reviews in Mexico, it was largely considered to be a flop.

Karin Schaupp on the Great Guitar Concertos

WASO On Stage

VIOLIN
Laurence Jackson
Concertmaster
Riley Skevington
Assoc Concertmaster
Semra Lee
Assistant Concertmaster
• MACA
Rebecca Glorie
Acting Principal 1st Violin
• Rosalind & Lyndsay Potts
Zak Rowntree*
Principal 2nd Violin
Kylie Liang
Assoc Principal 2nd Violin
Kate Sullivan
Assistant Principal 2nd Violin
Stephanie Dean
Amy Furfaro^
Emma Hunt
William Huxtable^
Alexandra Isted
Jane Johnston^
Sunmi Jung
Christina Katsimbardis
Andrea Mendham
Akiko Miyazawa
Lucas O’Brien
Melanie Pearn
Louise Sandercock
Jolanta Schenk
Jane Serrangeli
• Philip & Frances Chadwick and Jim & Freda Irenic
Luisa Theis^
Cerys Tooby
Teresa Vinci^
Samantha Wickramasinghe

VIOLA
Daniel Schmitt
Kierstan Arkleysmith
Nik Babic
Benjamin Caddy
Kathy Drake^
Aaron Dungey
Alison Hall
Rachael Kirk
Mirjana Kojic^
Elliot O’Brien
Helen Tuckey

CELLO
Rod McGrath
Eve Silver*
Melinda Forsythe^
Shigeru Komatsu
Oliver McAslan
Nicholas Metcalfe
• The Gregg family
Fotis Skordas
• Unnamed
Tim South
Emma Vanderwal^

DOUBLE BASS
Andrew Sinclair*
Robin Brawley
Elizabeth Browning^
Louise Elaerts
Christine Reitzenstein
Mark Tooby
Giovanni Vinci^

FLUTE
Andrew Nicholson
• Unnamed
Mary-Anne Blades
• Unnamed

PICCOLO
Michael Waye
• Pamela & Josh Pitt

OBOE
Liz Chee
Acting Principal
• Ruth E. Thorn and Michael & Helen Tuite
Niamh Dell^

COR ANGLAIS
Jonathan Ryan

CLARINET
Allan Meyer
Catherine Cahill^

BASS CLARINET
Alexander Millier

BASSOON
Jane Kircher-Lindner
• Meg O'Neill, Chase Hayes & Vicky Hayes
Adam Mikulicz
• Meg O'Neill, Chase Hayes & Vicky Hayes

CONTRABASSOON
Chloe Turner
• Stelios Jewellers

HORN
★ Rod & Margaret Marston
David Evans
Eve McEwen
Robert Gladstones
Principal 3rd Horn
Julia Brooke
Francesco Lo Surdo

TRUMPET
Jenna Smith
Acting Principal
• John & Nita Walshe
Sophie Kukulies°
Peter Miller

TROMBONE
Joshua Davis
• Dr Glenda Campbell-Evans & Dr Ken Evans AM
Jeremy Mazurek^

BASS TROMBONE
Liam O’Malley
Assoc Principal Trombone
• Dale & Greg Higham

TUBA
Cameron Brook
• Peter & Jean Stokes

TIMPANI
Alex Timcke

PERCUSSION
Brian Maloney
François Combémorel
Assoc Principal Percussion & Timpani
Joel Bass^
James Chong^
Cara Daly^
Amanda Dean^
Robyn Gray^
Tegan LeBrun^
Mathew Levy^
Steve Richter^
Carissa Soares^
Paul Tanner^

HARP
William Nichols^

KEYBOARD
Emily Green-Armytage^

KEY

Principal
Associate Principal
Assistant Principal
Contract Musician°
Guest Musician^

★ Section supported through the Duet program by
• Chair supported through the Duet program by
* Instruments used by these musicians are on loan from Janet Holmes à Court AC.

About the Artist

Miguel Harth-Bedoya
Conductor

Peruvian conductor Miguel Harth-Bedoya is a master of colour, drawing idiomatic interpretations from a wide range of repertoire in concerts across the globe. Grammy nominated and Emmy Award winning, Harth-Bedoya recently completed tenures as Chief Conductor of the Norwegian Radio Orchestra and as Music Director of the Fort Worth Symphony Orchestra, where he remains Music Director Laureate.

Harth-Bedoya regularly conducts major US orchestras including Chicago, Boston, Cleveland, Philadelphia, New York Philharmonic, and Atlanta, whilst elsewhere maintaining close relationships with the Helsinki Philharmonic, MDR Sinfonieorchester Leipzig, National Orchestra of Spain, New Zealand Symphony, and Sydney Symphony Orchestras. His impressive discography includes a Grammy nomination for Higdon’s opera Cold Mountain and a number of critically-acclaimed albums on Harmonia Mundi, Deutsche Grammophon and Decca.

Passionate about unearthing new South American repertoire, he is the founder and Artistic Director of Caminos Del Inka, a non-profit organization dedicated to researching, performing and preserving the rich musical legacy of South America.

Image credit: Bell Soto

About the Artist

Karin Schaupp
Guitar

Karin Schaupp is one of the most outstanding guitarists on the international scene, her playing hailed by the German press as “so perfect, so complete, that it seems like a miracle”. In her teens she won prestigious international prizes in Italy and Spain, and is today sought after internationally as a recitalist, soloist and festival guest, making countless television and radio appearances. Karin has released six solo CDs and various ensemble and orchestral albums, winning numerous awards, including two ARIAs.

Performance highlights include some 150 performances of “Lotte’s Gift” written for Karin by David Williamson, a concerto with the London Philharmonic Orchestra, a Commonwealth Games Closing Ceremony, World Expo Japan, Goodwill Games Opening Ceremony, and two national tours for Musica Viva Australia.

Karin is Head of Classical Guitar at the Queensland Conservatorium, Griffith University.

Aleksandr Tsiboulski is unable to perform this concert as originally scheduled due to injury. We are grateful to Karin Schaupp for joining us tonight.

Image credit: Cybele Malinowski

About the Music

Joaquín Turina
(1882-1949)

Danzas fantásticas, Op.22

Exaltación
Ensueño
Orgía

Like many Spanish musicians, Turina studied in Paris, travelling there in 1905 to enrol at the Schola Cantorum. In fact, however, he absorbed more of the influence of anti-academic composers like Debussy, and at the urging of his friends, the composers Manuel de Falla and Isaac Albéniz, he began to explore traditional Spanish music as the basis for his own. He returned to Spain in 1914, and in 1930 he was appointed Professor of Composition at the Madrid Conservatory.

The Danzas fantásticas date from 1919. Turina gives each movement a superscription from the novel La orgía by José Más, but insisted that the music merely shared certain moods and feelings with the story, rather than seeking to depict it in sound. Exaltación is headed ‘it seemed as if the figures in that incomparable picture were moving within the calix of a flower’. The dance here is the jota, from Aragon, which is traditionally fast and in triple time, accompanied by singer, guitar and castanets. Turina uses vibrant orchestral colour, but allows for a hint of melancholy.

The inscription of the Ensueño, ‘the strings of the guitar, when sounded, were like the lament of a soul exhausted by the weight of bitterness’, captures the mood of this dance, based on the Basque zortzico with its five-in-a-bar metre.

The final Orgía evokes ‘the fragrance of flowers is mingled with the bouquet of the manzanilla vine, and from the bottom of the slender glasses, filled with incomparable wine, joy rose like incense’. It does so in music based on the farruca, an Andalusian dance associated with flamenco.

© Gordon Kerry 2014

First performance:
February 1920, Madrid. Bartolomé Pérez Casas, conductor.

Most recent WASO performance:
28 November 2015. Asher Fisch, conductor.

Instrumentation:
three flutes (third also piccolo), two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, snare drum, bass drum, cymbals, triangle, chimes, bells, harp, strings.

Glossary

triple time or metre – three beats in each bar. Waltzes are an example of music in triple metre.

five-in-a-bar metre or 5/4 – five beats in a bar: like the rhythm of Mars in Holst’s The Planets, the jazz piece Take Five, and ‘Everything’s Alright’ from Jesus Christ Superstar.

About the Music

Joaquín Rodrigo
(1901-1999)

Concierto de Aranjuez for guitar and orchestra

Allegro con spirito
Adagio
Allegro gentile

The cliché is that the best Spanish music was written by French composers, but in 1939 a Spanish composer living in Paris wrote the most instantly recognisable Spanish work of the 20th century – and its single most popular concerto.

Blinded by diphtheria at the age of three, Joaquín Rodrigo showed an early and impressive talent for music as pianist and composer. After study at the Conservatory in Valencia he travelled to Paris where he studied with Paul Dukas from 1927, and then, after marrying the Turkish pianist Victoria Kamhi in 1933, returned to Paris, and remained an expatriate until the end of the Spanish Civil War, returning in 1939. The Concierto de Aranjuez had its first performance in Barcelona in 1940, and it made Rodrigo’s name.

The piece takes its title from the summer palace of Spain’s Bourbon Kings, built by Philip II in the 16th century near Madrid, but given an extensive Baroque makeover in the 18th. For Rodrigo it became a mental image of an idealised Spain, evoking ‘the fragrance of magnolias, the singing of birds and the gushing of fountains’. The work is neo-Baroque in form, suffused with a handful of the thousands of demotic dance-songs of Spanish folk music.

The first movement quickly establishes two things: Rodrigo’s essentially conservative but lively musical language and his mastery of orchestral colour and balance. The guitar’s strumming sets up the simple rhythmic engine of alternating 3/4 and 6/8 patterns derived from the fandango. Rodrigo is careful never to let the delicate timbre of the guitar become submerged in orchestral sounds: at first, for instance, the guitar is accompanied by a light woodwind texture, and even in larger tutti passages, he leaves gaps through which the guitar can be heard.

The central Adagio, nearly as long as the outer movements combined, has taken on a life of its own in a great many incarnations. The beautiful melody sung by the cor anglais has been ‘covered’ by performers as diverse as Miles Davis, Fairuz, Demis Roussos and the Grimethorpe Colliery Band. Its deep melancholy led to a legend that it represented Rodrigo’s response to the destruction of Guernica as immortalised in Picasso’s painting, but Victoria Kamhi maintained that its origins were in the death of their first child. In any event, it is based on an Andalusian lament sung during processions in Holy Week; it is sometimes used to set the Mourner’s Kaddish in some Sephardic synagogues. The third movement returns to the genial world of the first, though with a rather more aristocratic edge in the heraldic writing for brass. Here again, contrasting dance rhythms – this time 2/4 alternating with 3/4 – power the music along. The composer liked to describe his work generally as neocasticista or ‘faithful to a tradition’; on his 90th birthday he was ennobled as Marquis of the Gardens of Aranjuez.

First Performance:
9 November 1940, Barcelona. Barcelona Philhamonic Orchestra,Regina Sáinz de la Maza, soloist.

First WASO performance:
1 June 1976. Gerald Krug, conductor; Narciso Yepes, soloist.

Most Recent WASO Performance:
7 October 2017. Christopher Dragon conductor; Karin Schaupp, soloist.

Instrumentation:
two flutes (one doubling piccolo), two oboes (one doubling cor anglais), two clarinets, two bassoons, two horns, two trumpets,

Glossary

2/4 and 3/4 – two/three (crotchet) beats to the bar.

6/8 – time signature with two beats to the bar, each of which can be sub-divided into three (one-and-a, two-and-a…).

Tutti – all the instruments of the orchestra playing at the same time.

About the Music

Silvestre Revueltas
(1899-1940)

La Noche de los Mayas (Night of the Mayas) (1939) – suite, arranged by José Ives Limantour (1960)

Noche de los Mayas (The Night of the Mayas): Molto sostenuto
Noche de Jaranas (Night of Revelry): Scherzo
Noche de Yucatán (Night of the Yucatan): Andante espressivo -
Noche de encantamiento (Night of Enchantment): Theme and Variations

Though Carlos Chávez is generally regarded as Mexico’s most important 20th-century composer - ‘Mexico’s Copland’, as he’s sometimes called - visitors to Copland’s New York apartment in the 1930s noticed not only Chavez’s photograph on the wall, but also one of his assistant conductor, Revueltas, also a composer. Copland once characterised Revueltas as being ‘like a modern painter who throws daubs of color on canvas that practically takes your eyes out’. Revueltas’s reputation may well have surpassed Chávez’s, had he not been relegated prematurely to the shadows. Alcoholism played a part in his early death at 40, when instead of attending the premiere of his ballet El renacuajo paseador, on 4 October 1940, he got drunk and ventured out into the cold, contracting the bronchial pneumonia that killed him. At his funeral, the Chilean poet Pablo Neruda read a memorial poem recalling his friend’s ‘volcanic tenderness’, concluding: ‘Now the stars of the Americas are your country/And from this day the limitless earth will be your home’. Yet since then, Revueltas has paradoxically remained, according to biographer Paul Garland, Mexico’s ‘famous unknown composer’.

Born on the last day of 1899, Revueltas’s first taste of music was from the village mariachi band playing waltzes in the plaza. Prodigiously accomplished as a violinist, he entered the Mexican National Conservatorium in his mid teens, where he also began composition studies with Rafael Tello. In 1917, his parents sent him and his brother Fermín (1901-1935), later a noted muralist, to colleges in Texas and Chicago. At home in the early 1920s, both brothers were active in the Estridentistas, a revolutionary artistic group whose members included Diego Rivera, and whose manifestos envisaged ‘a new art, young, enthusiastic, alive ... superimposing our loud spiritual unease upon the forces of regression’. While working as Chavez’s assistant conductor in the early 1930s, Revueltas produced his first major orchestral scores. But by 1935, personal relations between the stridently leftist Revueltas and the politically moderate Chávez had broken down. His two most famous orchestral scores are the Sensemayá (1938), evoking a folk ‘ritual for killing a snake’, and the Homenaje a García Lorca, composed in response to the poet’s execution by Spanish Falangists in August 1936. He was thus the precursor of the much later Homage to Garcia Lorca (1963) by Australia’s Richard Meale.

In his teens, Revueltas had played for silent films in a cinema orchestra. Later, after resigning as Chavez’s assistant in 1936, he returned to work in the burgeoning Mexican film industry as a composer. His first score that year was for Redes (Nets), a government-funded documentary about the exploitation of fisherman, memorable for its cinematography by Paul Shand. Later Redes was arranged as a concert suite by Erich Kleiber. But Revueltas’s best known score was for a B-movie flop, La noche de los Mayas (1939). One of Chano Urueta’s early films, on a script by Antonio Mediz Bolio (1884-1957), it included footage of Mayan ruins in the southern Mexican Yucatan jungle. The plot concerns a city dweller who stumbles on a secluded tribe still living the life of their ancestors. At the film’s climax, they re-enact a grisly Mayan ritual, when, seeking to end a severe drought, they sacrifice one of their young witches to the gods. This orchestral suite, which roughly follows the form of a four-movement symphony, was arranged from Revueltas’s original 1939 score in 1960.

The first movement, Night of the Mayas, opens and closes with a ritual processional dominated by the brass (Molto sostenuto), framing a gentler, pastoral middle section. In the guise of a symphonic scherzo, the second movement Noche de Jaranas is approachable and upbeat, based on the mestizo dance form, Jaranas, and punctuated by interjections from the mariachi, and the sound of the caracol (conch shell). The slow third movement, Night of Yucatán (Andante espressivo) is the real nocturne in this work of ‘Nights’. At its centre, a flute tune is one of Revueltas’s rare direct quotations, a traditional song to the setting sun, the Xtoles (Canto al Sol), ‘Konex konex palexen’, used in the film by the villagers to call up the ancient Mayan spirits. Night of Enchantment, follows without a break. Worked up over layers of perpetual ostinati, the form of what has been described as Mexico’s answer to the Sacrificial Dance in the Rite of Spring is loosely that of theme-and-variations. The energetic percussion adds to the mounting tension as it builds toward the climactic reprise of the opening movement’s brass processional.

First performance:
30 January 1961.

Most recent WASO performance:
9-10 May 2008. Kristian Järvi, conductor.

Instrumentation:
two flutes (both doubling piccolo), two oboes, two clarinets (both doubling E♭ clarinet), bass clarinet, two bassoons, four horns, three trumpets, two trombones, tuba, piano, timpani, eleven percussion (bongos, conga, metal rattle (sonajes), güiro, 2 tom-toms, teponaxtles, bass drum (huehuetl), caracol (conch shell), snare drum, tenor drum, Indian drum, suspended cymbal, tam-tam, xylophone) and strings.

Glossary

Molto sostenuto – very sustained.

Andante espressivo – at a walking pace and expressively.

Ostinato – a brief fragment or phrase which is repeated persistently through a section of music.

About WASO

Engage | Excite | Experience | Educate

From the centre of Perth to the furthest corners of the state, we have provided the soundtrack to life in WA since 1928.

As the State Orchestra, Perth’s first and finest, WASO is the largest employer of performing artists in Western Australia and reaches two million people with musical experiences each year on stage, in our community, and online.

From concert halls to classrooms, hospitals to aged care, we bring joy, inspire learning, and nurture participation in our community, because everybody deserves the opportunity to experience live music. Every year, through community and leading industry partnerships, we engage a new generation of young and emerging artists to help secure a bright future for music in Australia.

We celebrate our rich classical music heritage with great artists from all over the world and commission and perform new repertoire to renew and expand it.

The Orchestra collaborates widely with major arts companies and independent artists, performing opera to ballet, movies to musicals, jazz to rock. We champion the diversity of music in all its forms, with a team of talented and passionate people who create unforgettable experiences for all West Australians to enjoy.

Asher Fisch is Principal Conductor and Artistic Adviser of our Orchestra and we are proud to call Perth Concert Hall home.

Your Concert Experience

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Meet the Musician

Mary-Anne Blades
Associate Principal Flute

Can you remember your first WASO concert?
My first performance with WASO was with the West Australian Opera season of Lucia di Lammermoor by Donizetti. I played the famous “mad scene” at the end of the opera which is a duet for flute and Lucia after she murders her husband. Needless to say, I had an unforgettable start with WASO.

What do you enjoy the most about your chosen career path?
I always hoped to play in a symphony orchestra and with WASO I enjoy the variety of music we play including the classic repertoire, opera, ballet, jazz and pop concerts. I find it inspiring to hear the visiting soloists we have and being directed by different conductors. It is always interesting to learn from them.

If you had to choose any other instrument to play in the orchestra, what would it be?
I actually can’t imagine playing another instrument because my life has been so connected to the flute. The teachers, opportunities, experiences I’ve had from the time I began learning to play the flute have all led me to where I am now.

You have done a lot of teaching throughout you career; why is mentoring the next generation of flautists important to you?
As I have been fortunate to study with incredible teachers, I want to be able to share what I have learnt and pass on knowledge and passion to young players.

What’s your advice for young musicians?
Music is about expression so I would encourage young musicians to find their own voice and believe in themselves. It’s a lifelong study which is both daunting and exciting at the same time.

Where was your last holiday destination?
In January this year I spent a week in Esperance with my family. It was a long drive there but definitely worth it. The beaches around that area are breathtaking.

Community Engagement

Sandra’s star rises beyond Crescendo

After recently graduating from primary school, one of the first participants in WASO’s Crescendo music program was offered the opportunity to shine well beyond her classroom in Kwinana, on the other side of Australia.

Earlier this year, Sandra Hart had the opportunity to fly to Sydney to participate in Short Black Opera’s ‘One Day in January’ program. Sandra is a recent participant of WASO’s Crescendo music education program, having gone through the program over the last few years whilst at Medina Primary School.

In 2022 Professor Deborah Cheetham Fraillon AO, Artistic Director of Short Black Opera visited WASO’s Crescendo schools to facilitate workshops for the students. At one of these workshops, Deborah met Sandra and was immediately struck by Sandra’s musicianship. Deborah offered Sandra a scholarship to attend ‘One Day in January’, and a few months later, after graduating from Medina Primary School and from Crescendo, Sandra flew to Sydney for the program. It was Sandra’s first time out of Western Australia and her first time on a plane.

Across the four days of the program, Sandra had the opportunity to play alongside other scholars, members of the Sydney and Melbourne Symphony Orchestras, and members of Ensemble Dutala, Australia’s first Aboriginal and Torres Strait Islander chamber ensemble. It was a big opportunity for Sandra that started from small beginnings in the classroom, and WASO is thrilled to see Sandra take her experience with the violin to a whole new level.

“WASO is wholly committed to creating accessible pathways for young people to learn and enjoy music. We are proud to have made the connection of Sandra with Deborah possible through our education program. We are also grateful to Short Black Opera for providing this incredible opportunity for Sandra to continue developing her musicianship and be inspired by other First Nations musicians. As Sandra graduates out of our Crescendo music program, we are so proud of all she will continue to achieve.” – Alena Tompkins, WASO Executive Manager, Community Engagement & Education.

As WA’s State orchestra and a RAP organisation, WASO is committed to increasing our understanding of the cultures and histories, stories and songs of First Nations communities. It is through listening, learning and collaborating we are able to create a positive impact. Seeing Sandra embrace this opportunity with both arms signals a positive personal outcome of this work. A project that originated in 2019 from our collaboration on Eumeralla, and realised through WASO’s Crescendo program in 2022, we hope to be able to open more doors like this in the future.

Image: Sandra Hart (centre) with One Day in January participants and mentors.

Philanthropy

Enriching lives, together

The generosity of our donor family enables us to perform the concerts you love and provide engaging opportunities to West Australian community groups.

Our community programs, such as the Hospital Orchestra Project (HOP) and Music for the Ages, provide positive and joyful experiences for those unable to attend concerts at the Perth Concert Hall. Your support empowers us to enrich lives with music.

When you donate to WASO you become a member of our Giving Circles family and enjoy exclusive invitations to events created to bring you closer to your Orchestra.

Join our Giving Circle family by calling the Philanthropy team on (08) 9326 0016, visiting our website, or by making your contribution when purchasing tickets for our exclusive events.

Upcoming Giving Circle Events

Meet the Orchestra

Concertmasters

Tuesday 30 May, 6.00pm, Perth Concert Hall

An evening in conversation with our Concertmasters as they share their career experiences and fascinating artistic insights, while performing some of their favourite repertoire.
Community Engagement & Education Evening

Plus a rehearsal of the Rusty Orchestra

Wednesday 14 June, 4.45pm, Perth Concert Hall

Join us for a behind-the-scenes look at the Rusty Orchestra and a chance to meet our Community Engagement & Education team and learn about the positive and far-reaching impact of our community programs.

Exclusively for Giving Circle Members. Ticket costs may apply.

The significance of philanthropy for the future of WASO cannot be understated: it is a crucial part of our income and provides an inspiring forum for a community of likeminded supporters who are united in their love of this artform.

We are proud to acknowledge our donor family, many of whom give to multiple areas and some who wish to remain unnamed.

Thank you – your generosity sustains and invigorates us.

Patron of Private Giving
Janet Holmes à Court AC

Annual Giving

Recognising gifts received in the last 12 months, which support our inspiring performances and enable us to share music and actuate growth through our education and community programs.

Chairman’s Circle
$25,000+
Jean Arkley in memory of Tom Arkley
Prue Ashurst in memory of Eoin Cameron
Gavin Bunning
Dr Glenda Campbell-Evans & Dr Ken Evans AM
Bridget Faye AM
Richard Goyder AO & Janine Goyder
Janet Holmes à Court AC & Gilbert George
Tony & Gwenyth Lennon
Louise & Bryant Macfie
Rod & Margaret Marston
Meg O’Neill, Chase Hayes & Vicky Hayes
Joshua & Pamela Pitt
Geoff Stearn
Leanne & Sam Walsh
Alan Whitham
Trish Williams

Principal Conductor’s Circle
$10,000+
Gay & Bob Branchi
The Gregg Family
Brian & Romola Haggerty
Dale & Greg Higham
Sue Hovell
Yuko Lucas
Patricia New
Rosalind Potts
Dr Paul Rodoreda, in memory of Mary Rodoreda
Tony Rudd
Rosalin Sadler, in memory of Joyce Durbin Sadler
Peter & Jean Stokes
Ruth Stratton
Michael & Helen Tuite
John & Nita Walshe
Fred & Nicola Wehr
Unnamed (3)

Maestro Circle
$5,000+
David & Suzanne Biddles
Dr John Blott
Dr & Mrs P Breidahl
Lady Jean Brodie-Hall
Stewart Candlish & Bianca Panizza
Prof Rachel & Rev Dr John Cardell-Oliver
Maree Creighton & Kevin Davis
Stephen Davis & Linda Savage
Gilbert George
Roger & Ann Gillbanks
Warwick Hemsley
Jim & Freda Irenic
Margaret & Peter James
Eleanor John & Finn Barrett
Bill Kean
Keith & Gaye Kessell
Barrie & Jude Le Pley
Mrs Morrell
Michael & Lesley Page
Paula & John Phillips
Ros Thomson
Christine Thorpe
Gene Tilbrook & Anne Seghezzi
Reto Vogel
Moira Westmore
Mary Ann Wright
Unnamed (6)

Virtuoso Circle
$2,500+
Dr Fred Affleck AO & Mrs Margaret Affleck
Neil Archibald & Alan R Dodge AM
Lisa & Glenn Barrett
Tony & Mary Beeley
Peter & Marjorie Bird
Professor Anne Burns
Ian & Marilyn Burton
Prof Jonathan Carapetis & Prof Sue Skull
Dr David Cooke
Megan & Arthur Criddle
Gena Culley
Lesley & Peter Davies
Louise Farrell & Eric Isaachsen
Don & Marie Forrest
Robyn Glindeman
Maryllis & Paul Green-Armytage
Theresa & David Harvey
Dr Penny Herbert in memory of Dunstan Herbert
Katie Hill & Timothy Threlfall
Roger Jennings in memory of Lilian Jennings
Michael & Dale Kitney
Francis Landels
Mi Kyung Lee & Colin Binns AO
Sunny & Ann Lee
LeMessurier Charitable Trust
Lommers Engineering Pty Ltd
Roderick MacDuff & Renate Drauz
Oliver & Sophie Mark
Jane & Jock Morrison
Val & Barry Neubecker
Anne Nolan
Rosemary Peek
Kenneth Pettit
Wendy Powles
Jennifer Rankin
Dr Lance Risbey
Wayne Robinson
Anne & Robin Salter
Roger Sandercock
Melanie & Paul Shannon
Elisabeth & David Smith
Michael Snell & Vicki Stewart
Clare Thompson & Dr Brad Power
Peter & Jane Thompson in memory of Mrs Freda Stimson
Ruth E. & Neville Thorn
Mary Townsend
George Van Beek
Stan & Valerie Vicich
Leonard Walker
Fred & Caroline Witting
Andrew & Marie Yuncken
Unnamed (3)

Principal Circle
$1,000+
Moira Bailey
Ruth Bailey
Peter Bath
Sarah & Colin Beckett AO
Ross & Alecia Benzie
Lea Bingemann
Margaret Bloch
E & P Boland
Cathy Bolt in memory of Tony Bolt
K & C Bond
Adrienne & Phillip Buttrose
Joan Carney
Philip & Frances Chadwick
Claire Chambers & Dr Andrea Shoebridge
Grant & Catherine Chappelle
Anthea Cheney
S Cherian
Dr Anne Chester
Jason & Su-Lyn Chong
Keryn & Frank Christiansen
Kenneth Clark
Peter & Sue Clifton
Lyn & Harvey Coates AO
Brenda Cohen
Kim & Bob Collins
Frank Glass
Norah & Roger Cooper
Kaylene Cousins
Hon June Craig AM
Natalie Cullity
Patricia D'Aurizio
Michael & Wendy Davis
Monique De Vianna
Kevin Della Bosca
Kelly & Andrew Diong
Rai & Erika Dolinschek
Sandy Dunn & Caroline Allen
Catherine Dunn & Barrie Heald
Prof Robert Durand
Bev East
Pamela Eldred
Lorraine Ellard & Ron Bad OAM
Kerry & Norbert Fandry
Dr Jenny & Terry Fay
Tony & Sue Field
Susan & Gavin Fielding AM
Gilly Flower
IR & V Freeman
George Gavranic
Neville & Jane Gibbs
The Giorgetta Charity Fund
Dr J S Gladstones AO
CitWA
Dr Anne Gray
Jannette Gray
Pitsamai & Kevin Green
Grussgott Trust
Shona Hall
Richard B Hammond
Pauline & Peter Handford
Dr & Mrs H Hansen-Knarhoi
Rev Bill Hawley & Dr Rev Georgina Hawley
John & Christine Hedges
Elizabeth & Eric Heenan
Barbie Henryon
Dallas & Alex Hickman
Dr John & Patricia Hill
Dr Annette Holland
Helen Hollingshead
Dr K & Mr J Hopkins OAM
Judith Hugo OAM
Lorna & Jonathan Hurst
Peter Ingram
Tim & Diane Johnson
Emy & Warren Jones
Danuta Julia
John & Linda Kember
Patricia King
Leonie Kirke
Ulrich & Gloria Kunzmann
Yvonne Lamble
Irving Lane
Abraham Langford
Ross & Fran Ledger
Dr Oon Teik Lee
Ian & Judith Lunt
Graham & Muriel Mahony
Denise Main
Dr Tony Mander & Ms Loretta Byrd
Dr Walter Ong & Graeme Marshall
Gregg & Sue Marshman
Del & Andrew McGuiness
Judith McGuinness
Betty & Con Michael AO
Mrs Carolyn Milton-Smith in memory of Emeritus Prof John Milton-Smith
Hon Justice S R Moncrieff
Patricia & Kevin Morgan
Mr & Mrs Geoff Morris
Dr & Mrs Peter Moss
Lynn Murray
G & I Nicholas
Marianne Nilsson
Jim & Wendy O'Neill
John Overton
Robyn Owens
John Paterson
Tim Pavy & Cathy Cole
Adrian & Ruth Phelps
Charmian Phillips in memory of Colin Craft
Deborah Piesse
Italo Pizzale
Pamela Platt
Richard & Sharon Prince
The Sheena Prince Memorial Fund
Dr Leon Prindiville
Tony & Val Ramshaw
Eveline Read
James & Nicola Ridsdill-Smith
John & Alison Rigg
Bryan & Jan Rodgers
Nigel & Dr Heather Rogers
Gerry & Maurice Rousset OAM
Stephanie Rusyn in memory of John Kobelke
Margaret & Roger Seares
Robyn & Ted Sharp
Glenice Shephard
Eric Skipworth in memory of Virginia Skipworth
Helen Smith OAM
Nick Handran Smith & Elizabeth Allan
Paul Smith & Denham Harry
Ross & Laurel Smith
Peggy & Tom Stacy
Brian Stewart
Joslyn Summerhayes in memory of Eileen Hayes
Summerlin Audiology
Janet & the late Stephen Thackray
Ruth Thomas in memory of Ken & Hazel Rowley
Rosemary Tomkinson
Loma Toohey
Gavin Toovey & Jaehan Lee
Joan Travis
Gwen Treasure
Clive & Beth Trott in memory of Judith Sienkiewicz
James & Rosemary Trotter
Christopher Tyler
Agatha van der Schaaf
Karen Venard
Maggie Venerys
WA Massed Choir Festival
Geoff & Sandra Wackett
Rita Wager
Adrienne & Max Walters AM
Diana & the late Bill Warnock
Ian Watson
Joy Wearne
Alan Westle in memory of Jean
Dr Chris & Mrs Vimala Whitaker
Dai & Anne Williams
Mrs Jean & Mr Ian Williams AO
Janet Williams
Jim & Gill Williams
Dr Simon & Alison Williams
Sally Willis
Judith Wilton & David Turner
Hilary & Peter Winterton AM
Sara Wordsworth
Peter Wreford
Nancy York
Unnamed (31)

Tutti Circle
$500+
Catherine Bagster
Bernard & Jackie Barnwell
Noelle Beasley
Michael & Nadia Berkeley-Hill
Dr Caroline Bird
John & Sue Bird in memory of Penny Bird
Davilia Bleckly
Archa Fox and Charlie Bond
E & G Bourgault in memory of Betty Sagar
Diane & Ron Bowyer
Claire Brittain OAM & John McKay
Phil Burrows
Christine Burson
Ann Butcher & Dean R Kubank
Jennifer Butement in memory of Margaret Butement
Michelle Candy
R & R Cant
S Barea Castillo
Fred & Angela Chaney
Dr Peter Chauvel
Jill Clarke
John Collins
Annette Cottee
Rev Des Cousins
Carole & John Cox
Penny & Ron Crittall
Gabrielle Dean
Lee Delaney
Hanneke & Jop Delfos
Simon Douglas
Julie Easton
Judith Fagan
Dr Michael Flacks
John Foster
Sue & David Forster
Toni Frank
John & Margaret Freeman
Eléonore Fuchter
Jennifer & Stephen Gardiner
Andrea Gillett
Allan & Jane Green
Dr Barry Green
Gwenyth Greenwood
Rosemary Grigg & Peter Flanigan
Jean Hamory
Paul and Barbara Harris
Peter Harris
Alan Harvey & Dr Paulien de Boer
Vanessa & Ross Harvey
David & Deborah Hayes
Gary & Anne-Marie Haywood
Catherine Henwood
Siew-Mung Ho
Karl Hombergen & Jane Hutton
Rosemary Howarth
Drs Paul & Janis Jansz
John Jarvis
Cynthia Jee
Lynn & Michael Jensen
Michael & Josephine Jones
Dr Ursula Kees
C & V Kennedy
B M Kent
Dr George Lipton
Daniel Logan
Mary Ellen in memory of Kerensa
Marilyn Macey
David Marmont
Geoff Massey
Pam Mathews & Dr Mark Brogan
Cynthia McCumiskey
G and K McGregor
Dennis & Maureen McKay
Lesley & Murray McKay
McPhie Family
Annie Medley
Terence Middleton
Helen Mitchell
A M Moore
Phuong Nguyen
Adam Parker
Dr John Pearce
Alison Piacentini
Eril Reid
Will & Clare Riseborough
Alicia Robinson
Dr J B and
Mrs A Rowlands
Chris & Serge Rtshiladze
The Sherwood Family
Andrew Shoemack
Hendrik Smit
Alison & Neville Sparrow
John & Elizabeth Spoor
Alan & Jan Stewart
Kathryn Stokes OAM
Leon Tang
Ian Taylor
Lisa Telford
Amanda & Desmond Thompson
M Thomson & R Robinson
David & Johanna Thwaites
Tessa Tieleman
Michelle Todd
Judith and Rod Tudball
Heather & Jim Tunmore
In memory of Robyn Van Beek
Barbara Wilcox
Deborah Wiseman
Margaret Wood
Alison Woodman
Michael Young
Dr Susan Young
Chris & Kathy Ziatas
Unnamed (32)

Friends
$40+
873 Members

The Instrument Fund

John Albright & Susan Lorimer – EChO Double Bass and set of Trumpets
Dr Glenda Campbell-Evans & Dr Ken Evans AM – Tenor Trombone
Peter Ingram – Piccolo
Deborah Marsh – Conductor’s Podium and Cor Anglais
Rod & Margaret Marston – Bass Clarinet
Peggy & Tom Stacy – Cor Anglais and Piccolo
Jean & Peter Stokes – Cello, Tuba, Tenor Trombone, Bass Trombone, Wooden Trumpet, French Horn and Music Score Folders

Legacy

We honour those who have made a visionary commitment to safeguard our future, through a capital gift to the Endowment fund or by providing for WASO in their will through the Symphony Circle.

Legacy gifts are preserved within the fund in perpetuity, ensuring a community filled with the beauty of symphonic music for future generations.

Major Gifts
Tom & Jean Arkley
Bendat Family Foundation
Janet Holmes à Court AC
Minderoo Foundation
Rod & Margaret Marston
Sagitte Yom-Tov Fund
In memory of Francis Edward Yeomans

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
Unnamed (49)

The Symphony Circle

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
Stewart Lloyd
Dr Mary Ellen MacDonald
Deborah Marsh
Lesley & Murray McKay
Suzanne Nash
Paul Nendick
Paula Phillips
Jan & Bryan Rodgers
Nigel & Dr Heather Rogers
Peta Saunders
Jacinta Sirr-Williams
Susan Stitt
Ruth Stratton
Ruth & Neville Thorn
Gavin Toovey & Jaehan Lee
Agatha van der Schaaf
George Van Beek
In memory of Robyn Van Beek
Sheila Wileman
Sagitte Yom-Tov Fund
Unnamed (41)

Every effort is made to ensure our Giving List is accurate; however, should you notice an error please contact our Philanthropy team on (08) 9326 0016.

About the Speaker

Ashley Smith
Pre-concert Speaker

Clarinettist Ashley William Smith is an internationally demanded clarinet soloist, recitalist, and chamber musician. Ashley is a laureate of several the industry’s most prestigious prizes including the APRA Performance of the Year, the Music Council of Australia Freedman Fellowship, an ABC Symphony International Young Performer Award, and a Churchill Fellowship.

Ashley has performed throughout Australia, the USA, Europe and Asia in performances with Bang on a Can, the Chamber Music Society of the Lincoln Center, Chamber Music Northwest, the Kennedy Center, the Beijing Modern Music Festival, and IRCAM. As a soloist and director he has performed alongside several international and Australian orchestras. Most notably, his performance of Lachlan Skipworth’s Clarinet Concerto with the West Australian Symphony Orchestra was awarded the APRA 2015 Performance of the Year.

Ashley is an Assistant Professor at the University of Western Australia where he is the Head of Winds and Contemporary Performance.

WASO Recommends

If you enjoyed tonight's concert, we think you'll love:

Dance of Desire

Acclaimed French conductor Fabien Gabel returns to WASO to lead this concert of achingly beautiful music and Parisian passion.

One of Australia’s finest young violinists, Grace Clifford, brings finesse and elegance to Saint-Saëns’ Third Violin Concerto. Roussel’s ballet Bacchus et Ariane depicts the passions of ancient Gods in lavish orchestral colours before Ravel’s La valse provides an earth-shattering climax with a twisted and utterly enthralling finale.

Fri 23 & Sat 24 June 2023, 7.30pm
Perth Concert Hall

BOOK TICKETS NOW

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

Rodrigo's Guitar Concerto

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Rodrigo's Guitar Concerto

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Karin Schaupp on the Great Guitar Concertos

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Miguel Harth-BedoyaConductor

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Miguel Harth-Bedoya
Conductor

Karin Schaupp
Guitar