NextGen: Explore ATAR & More
EDUCATION & COMMUNITY
Friday 2 May 2025, 4.30pm
Heath Ledger Theatre
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.
How to use your Digital Program
You may use this digital program in the Heath Ledger Theatre Auditorium. Please use it respectfully and allow your fellow concert-goers to enjoy their concert experience by following these guidelines:
• Please place your phone on silent.
• Enable Concert Mode at the top of your browser and further dim your screen in your device's settings.
• Taking photos or video? Ensure your camera shutter sound and flash are turned off, then, if the conductor's arm is raised, hold it. If it's relaxed, go for it!
• For more information, see Your Concert Experience.
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NextGen: Explore ATAR & More
Gioachino ROSSINI The Barber of Seville: Overture
Amy BEACH Gaelic Symphony, 1st movement
Joseph HAYDN Trumpet Concerto, 3rd movement
Bedřich SMETANA Má Vlast: Vltava (The Moldau)
Jen Winley conductor
Jen Winley is supported by the Simon Lee Foundation and the JACE Foundation. Presented by WASO in association with Education Tertiary Partner, The University of Western Australia.
Did you know?
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The Overture to The Barber of Seville wasn't originally written for the opera but was recycled from Rossini's earlier works, Aureliano in Palmira and Elisabetta, regina s'Inghilterra.
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Beach's Gaelic Symphony was heavily influenced by Dvořák's Symphony No. 9, as well as Beach's own art song, Dark Is the Night.
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The third movement of Haydn's Trumpet Concerto was used in the Netflix series Squid Game.
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Smetana composed Má Vlast while suffering from severe depression and growing deafness, writing almost all of it in silence.
WASO On Stage
VIOLIN
Laurence Jackson
Concertmaster
Riley Skevington
Assoc Concertmaster
Kylie Liang
Assoc Principal 2nd Violin
Amy Furfaro
Emma Hunt
Christina Katsimbardis
Sera Lee
Akiko Miyazawa
Lucas O’Brien
Louise Sandercock
Jane Serrangeli
Cerys Tooby
Samantha Wickramasinghe
VIOLA
Nik Babic
Rachael Kirk
James Munro
Elliot O’Brien
Helen Tuckey
CELLO
Eve Silver
Shigeru Komatsu
Oliver McAslan
Nicholas Metcalfe
DOUBLE BASS
John Keene
Christine Reitzenstein
Mark Tooby
FLUTE
Andrew Nicholson
OBOE
Stephanie Nicholls°
COR ANGLAIS
Jonathan Ryan
CLARINET
Allan Meyer
BASSOON
Chloe Turner
Acting Assoc Principal Bassoon
CONTRABASSOON
Kina Lin-Wilmoth°
HORN
Eve McEwen
Francesco Lo Surdo
TRUMPET
Darcy O’Malley°
TROMBONE
Joshua Davis
Jeremy Alderson°
TUBA
Chloe Higgins
PERCUSSION
Brian Maloney
François Combémorel
Assoc Principal Percussion & Timpani
HARP
Yi-Yun Loei^
KEY
Principal
Associate Principal
Assistant Principal
Contract Musician°
Guest Musician^
* Instruments used by these musicians are on loan from Janet Holmes à Court AC. We greatly appreciate the support of our musicians’ Duet partners, acknowledged below.
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Creating the Concert

A Note from Jen Winley and Ashley Smith
Welcome to NextGen, WASO's specialised concert for high school music students and their teachers. Here we aim to dig deeper into the world of classical music and share some insights, ideas, information, and skills for you to use right now and into to your future music studies.
2025 is a special year for this project as WASO will be playing alongside the talented musicians of the UWA Conservatorium of Music.
For many music students, and indeed musicians, the idea of analysing musical works is at best, a bore and at worst, cold-sweat inducing. So why do we bother? Can we enjoy listening to music without understanding how it is put together? Of course, we can….
However, in general, we tend to prefer to listen to music that we already understand at some level, even if we aren’t deliberately analysing it. Our ears (and brains) have become accustomed to certain styles, structures, patterns, and sounds, and when we hear a work we inherently understand or are familiar with, our brains light up in recognition of it. Far from the adage that ‘familiarity breeds contempt’, the more familiar we are with a piece of music, the more our brains light up.
Hand in hand with musical analysis is a knowledge of the context in which it was written. If we can listen to a piece with the ears and understanding of someone from that time and place, suddenly we can see the innovations, the emotion, the skills, and a greater meaning behind the work. All of this creates a picture in our mind of how the work functions in time; it changes our assessment from a basic opinion of ‘do I like this piece or not?’ to a much broader appreciation of its value. Therefore, the more you understand a piece of music, the more you are likely to appreciate not only that specific work, but also other works like it.
Our hope is that by the end of this performance, you might have caught some of our enthusiasm for music analysis! You might not be as into it as we are; that’s ok, not many people are… but perhaps you will see the value in it and maybe even enjoy it just a little bit!
Jen and Ash
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About the Artists

Jen Winley
Conductor
Australian conductor Jen Winley was appointed West Australian Symphony Orchestra (WASO)’s inaugural Associate Conductor in 2024, after holding the Assistant Conductor position since 2022. An accomplished percussionist and timpanist, Jen has previously appeared in regular performance with WASO, as well as with the Melbourne Symphony Orchestra (MSO) and Orchestra Victoria. She returned to MSO in 2024 for her first conducting appearance with the orchestra.
Jen made her professional conducting debut in 2020 while participating in WASO’s Emerging Conductors program. She went on to lead the Orchestra in a wide variety of performances, including subscription mainstage concerts, Family, Education and Community Engagement projects, regional tours, films in concert, and contemporary and recording projects. Highlights from her cross-genre projects include conducting WASO in Home Alone in Concert and the world premiere performances of Drapht and WASO: How the West Was Won; a collaboration with Perth hip-hop artist Drapht that culminated in the Orchestra’s first music videos.
Jen recently became a member of an exclusive group of conductors around the world who are approved to conduct Disney in Concert events, going on to conduct WASO in Star Wars: The Force Awakens, Frozen, and Toy Story in Concert. She made a further company debut with West Australian Opera (WAO) as Music Director for Sondheim’s Into the Woods (2023).
Jen is highly focused on innovative programming development for educational and family concerts and has frequently collaborated with acclaimed UK animateur Paul Rissmann, most recently conducting the Queensland Symphony Orchestra in Sounds Like an Orchestra. She has played a key role in in developing several shows in this genre for WASO. Jen spent several years as a classroom educator and continues to enjoy working with young people. She currently oversees the WASO Conducting Fellowship Program, has conducted the Western Australian Youth Orchestra since 2019, and makes her debut with the Melbourne Youth Orchestra in 2025. She will conduct Symphony on the Waterfront in 2025 in her first appearance with the Tasmanian Symphony Orchestra and returns to WAO as Assistant Conductor for their season of Verdi’s Il trovatore.
Jen Winley is supported by the Simon Lee Foundation and the JACE Foundation.
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About the Artists
Ashley Smith
Presenter
Described as ‘Incandescent... a masterly display of skill and insight... as an apologist for contemporary music-making, you would search hard to find this young clarinettist’s equal’ (The Age), clarinettist Ashley William Smith appears internationally as a soloist, chamber musician and director.
He has been recognised by a Music Council of Australia Freedman Fellowship, an ABC Symphony International Young Performer Award, a Churchill Fellowship, and an APRA Performance of the Year (Skipworth Clarinet Concerto with the West Australian Symphony Orchestra).
Notable engagements include performances for the Chamber Music Society of the Lincoln Centre, Chamber Music Northwest, the Kennedy Centre and the Beijing Modern Music Festival.
Ashley is a Senior Lecturer and Chair of Woodwind and Contemporary Performance at the University of Western Australia Conservatorium of Music. A graduate of Yale University, the University of Western Australia (UWA), and a Fellow of the Australian National Academy of Music, Ashley was awarded the highest honours as the most outstanding performance graduate of each institution. In 2020, he was awarded a Doctor of Musical Arts from UWA.
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About the Music

Gioachino ROSSINI
(1792-1868)
The Barber of Seville: Overture
The overture to The Barber of Seville has a fascinating history. During the 19th century, overtures to Italian operas were usually different music from the rest of the opera and served to bring the audience’s attention to the stage. In this case, this overture was used for three very different operas.
First, it was the overture to the 1813 ‘opera seria’, Aureliano in Palmira. It was then reworked for a larger orchestra and used as the overture to the historical opera, Elisabetta, regina d’Inghilterra in 1815, and finally recycled for The Barber of Seville in 1816. To this day, there are several published versions of the overture to The Barber of Seville; some closer to Aureliano version, others to the Elisabetta version, and others a mix of the two.
The Barber of Seville is a comic opera, an ‘opera buffa’, and is regarded by many to be the best of its type. It also has a connection to the Mozart opera, The Marriage of Figaro, with both operas being based on the related plays of the French writer Beaumarchais.
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About the Music

Amy BEACH
(1867-1944)
Gaelic Symphony, 1st movement
Classical music in the United States was essentially European-based until the very late 19th century. There was little sense of an ‘American’ sound, as there was for Germany, France, England and Italy; each with their own idiosyncrasies and links to culture and history. The consensus was one of elitism and snobbery, i.e. the European model must be superior to anything that could be composed by a New World (American) musician.
Although there had been American composers prior to this, the very end of the 19th century saw the beginnings of an American school of composition and the acceptance of American sounds and ideas as being valid (if not yet seen as equal to European).
Most people attribute this to Czech composer Antonín Dvořák. Dvořák was paid to travel to the USA in 1892 and set up the National Conservatory of Music in New York City. Just as he had helped create a Bohemian sound by infusing folk song idioms into traditional classical forms in his native country, he sought to help create an American sound. He stayed for three years, and it was during this time he composed his Symphony No.9 From the New World.
Whilst Dvořák’s influence was positive, it wasn’t the only source of change. The Second New England School (aka ‘The Boston Six’) were a group of American composers who were striving to compose in their own style, not just replicate the European model. Comprised of John Knowles Paine, Arthur Foote, George Chadwick, Amy Beach, Edward McDowell and Horatio Parker; their music was influenced by folk music, First Nations and African-American music, and the music and stories of the immigrants that made up the melting pot of American culture. These elements, however, were not the key factor in the American style and they were at pains to ensure these features were not merely a novelty or gimmick. Whilst they added colour and context to the music, the Second New England School sought to infuse their music with the youthful energy and tenacious spirit of their newer culture.
Beach chose to use Irish Folk tunes as the melodic basis of this symphony. At the time, Irish people were considered a lower class in society. Beach’s recognition of their plight as immigrants to the United States and the use of their traditional music, was to represent a minority. This was in line with her view that American music should be diverse, inclusive, and cosmopolitan. Her view was generally not aligned with those of the upper classes and some of the negative reviews of the symphony may have been due to Anti-Irish sentiment.
The opening of the First Movement represents the harrowing sea crossing of the Gaelic immigrants. In addition to borrowing from her own song, Dark is the Night, she uses the lively, bagpipe-inspired dance tune Conchobhar ua Raghallaigh Cluann (Connor O’Reilly of Clounish) as the closing theme.
Glossary
Cadenza – a showy passage by a solo instrument, usually towards the end of a concerto movement. Originally, cadenzas were improvised by the soloist to show off their brilliant technique.
Arpeggio – the notes of a chord played one after the other instead of at the same time.
Scherzo – literally, a joke; the term generally refers to a movement in a fast, light triple time which may involve whimsical, startling or playful elements.
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About the Music

Joseph HAYDN
(1732-1809)
Trumpet Concerto, 3rd movement
In its most traditional form, as crystallised during the Classical Period, the Concerto is a large-scale work written for orchestra and soloist. It centres on the Classical concept of balance; soloist and orchestra play equal roles, exchanging melodic lines and taking turns in the spotlight. The soloist, however, is undeniably the star. The Concerto gives them an opportunity to showcase their technical prowess and musicality.
A Classical Concerto is usually comprised of three movements:I. Fast. Includes a cadenza near the end of the movement (Concerto-Sonata form)
II. Slow. Lyrical (variety of choices eg. Ternary, Theme and Variations, Rondo form)
III. Fast. Sometimes a cadenza (Quick Rondo or Sonata-Rondo form)
Musician Insights
When performing a Classical era work, like the Haydn Trumpet Concerto, how do you approach playing your
instrument to create a 'Classical sound'?
Jenna Smith, Solo Trumpet: The trumpet is typically thought of as 'loud' or 'brassy' but when it comes to the Classical Era words like 'light' and 'elegant' come to mind. One way to achieve this on the trumpet for Haydn's Trumpet Concerto is to perform on an Eb trumpet. The Eb trumpet has a lighter tone colour compared to the commonly used Bb trumpet. The Eb trumpet is closest in tone colour to the keyed trumpet, which is the instrument Haydn wrote this concerto for. Another way to achieve the 'Classical sound' is to focus on lightness of articulation. Keeping all articulated notes bouncy and sparkly achieves this sound.
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About the Music

Bedřich SMETANA
(1824-1884)
My Country: Vltava
Andante
Allegro marcato
Adagio
Allegro giocoso
The tone poem depicting Bohemia’s greatest river, the Vltava (known in German as Moldau), is the second of the six spiritually and, to an extent musically, integrated movements making up Smetana’s orchestral masterpiece, the symphonic cycle My Country (Má vlast). Composed between 1872 and 1880 in patriotic celebration of the nation’s countryside, history and legend, it was intended to assert Czech identity within the Austro-Hungarian Empire. Today, it symbolises the finer feelings of patriotism for people the world over.
‘Vltava’ depicts the course of the river through the countryside, by means of a rondo-like structure in which a pulsing theme first heard in E minor recurs and grows and will eventually achieve grandeur in E major. In passing episodes, the river encounters a hunt, a village festival and a moonlight dance of water nymphs. Challenged by the turbulent Rapids of St John, the river emerges broader, its spirits proudly lifted as it surges forth to meet its destiny – at Vyšehrad, dominating the right bank as it enters Prague, the legendary High Castle of Bohemia’s first royal dynasty; then on through the Golden City and beyond.
The resounding, foursquare ‘Vyšehrad’ motto with which the Vltava is greeted to Prague comes from the first movement of My Country. It is the musical and spiritual linchpin of the cycle, evoking glories of a medieval past, climaxing the river’s journey, and combining with a 15thcentury Hussite battle hymn to end the cycle in a grand apotheosis affirming the Czech people’s golden future.
Anthony Cane © 2008
First performance:
4 April 1875. Adolf Čech conducting.
First WASO performance:
7 June 1969. Thomas Mayer, conductor.
Most recent WASO performance:
11 & 12 November 2022. Johannes Fritzsch, conductor.
Instrumentation:
three flutes (doubling piccolo), two each of oboes, clarinets and bassoons; four horns, two trumpets, three trombones and tuba; timpani, percussion, harp and strings.
Glossary
Tone poem – another term for ‘symphonic poem’. A programmatic work for orchestra, usually in a single movement.
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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 stages 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.
Asher Fisch is Principal Conductor and Artistic Adviser of our Orchestra. 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.
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Your Concert Experience

Get the best out of your concert experience at Heath Ledger Theatre.
- Explore the music
Be sure to take a quick look at the performance schedule or enjoy a deep dive into the music with your concert program online or in the foyer. - Share with your friends
Snap a selfie from your seat, capture the artist bows and share the experience with friends. Don’t forget to tag us! #wasymphonyorchestra - Clap with enthusiasm
Whether you are welcoming your favourite artist to the stage, or showing appreciation at the end of a piece, we love thunderous applause. Not sure when to clap? Here’s a tip; if the conductor’s arm is raised, hold it. If it’s relaxed, go for it! - Respect those around you
Ensure your mobile phone is on silent and does not disrupt the experience of those around you. If you need to cough or sneeze, please do this into your elbow. - Accessible services available
For information about our services, such as assisted hearing, lifts and accessible toilets, please ask one of our friendly Front of House team members. - Latecomers admitted at a suitable time
If you arrive late or leave your seat during a performance, your auditorium entry will need to wait until a suitable break. - First Aid available
St John First Aid officers are present at every WASO concert. Please notify a team member if you require any first aid assistance. - Box Office is open
Get tickets to your next WASO experience at the Box Office located in the Main Foyer of the State Theatre Centre of WA. The Box Office is open from 10am on the day of performance. Alternatively, you can visit waso.com.au to buy online or book an in-person ticketing appointment by calling (08) 9326 0000.
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Our Supporters
The importance of our giving community is to be valued and congratulated. You are making a difference to what you see on stage - your commitment is a source of constant inspiration for us.
We are proud to acknowledge our donor family, many of whom give to multiple areas and some who wish to remain unnamed.
Thank you.
PATRON OF PRIVATE GIVING
Janet Holmes à Court AC
DUET PARTNERSHIPS
Prue Ashurst
Alexander Millier (Principal Bass Clarinet)
The Baker Family
Kylie Liang (Associate Principal 2nd Violin)
Samantha Wickramasinghe (Violin)
Dr Glenda Campbell-Evans & Dr Ken Evans AM
Joshua Davis (Principal Trombone)
Philip & Frances Chadwick
Jane Serrangeli (Violin)
M & D Forrest and Michelle Todd
Oliver McAslan (Cello)
Future Logic
Benjamin Caddy (Viola)
Maryllis and Paul Green-Armytage
Nik Babic (Viola)
The Gregg Family
Nicholas Metcalfe (Cello)
Brian & Romola Haggerty
Jeremy Garside (Cello)
Dale & Greg Higham
Liam O’Malley (Associate Principal Trombone)
Janet Holmes à Court AC & Gilbert George
John Keene (Associate Principal Double Bass)
Gina Humphries
Helen Tuckey (Viola)
Jim & Freda Irenic
François Combémorel (Associate Principal Percussion & Timpani)
Roger Jennings
James Munro (Viola)
Dale & Michael Kitney
Andrea Mendham (Violin)
MACA
Semra Lee (Assistant Concertmaster)
Rod & Margaret Marston
Horn section
MIMI
Akiko Miyazawa (Violin)
Meg O’Neill, Chase Hayes & Vicky Hayes
Adam Mikulicz (Acting Principal Bassoon)
Joshua & Pamela Pitt
Jonathan Ryan (Principal Cor Anglais)
Rosalind & Lyndsay Potts
Rebecca Glorie (Violin)
Jean & Peter Stokes
Alex Timcke (Principal Timpani)
Ruth E. Thorn and Michael & Helen Tuite
Liz Chee (Acting Principal Oboe)
Leanne & Sam Walsh AO
Allan Meyer (Principal Clarinet)
John & Nita Walshe
Jenna Smith (Principal Trumpet)
Unnamed (5)
Mary-Anne Blades (Associate Principal Flute)
Shigeru Komatsu (Cello)
Louise Sandercock (Violin)
Fotis Skordas (Cello)
GIVING CIRCLE MEMBERS
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+
Prue Ashurst in memory of Eoin Cameron
The Baker Family
Gavin Bunning Family
Dr Glenda Campbell-Evans & Dr Ken Evans AM
Richard Goyder AO & Janine Goyder
The Gregg Family
Jamelia Gubgub & David Wallace
Brian & Romola Haggerty
Janet Holmes à Court AC & Gilbert George
Tony & Gwenyth Lennon
Louise & Bryant Macfie
Rod & Margaret Marston
Dr Lesa Melnyczuk Morgan
Meg O’Neill, Chase Hayes & Vicky Hayes
Joshua & Pamela Pitt
Rosalin Sadler in memory of Joyce Durbin Sadler
Geoff Stearn
Jean & Peter Stokes
Ruth Stratton
Leanne & Sam Walsh AO
Alan Whitham
Principal Conductor’s Circle $10,000+
Gay & Robert Branchi
Catherine Dunn & Barrie Heald
Dr Penny Herbert in memory of Dunstan Herbert
Dale & Greg Higham
Jim & Freda Irenic
Ulrich & Gloria Kunzmann
Ken & Yuko Lucas
Kenneth Pettit
Rosalind & Lyndsay Potts
Dr Paul Rodoreda in memory of Mary Rodoreda
Helen & Roger Sandercock
In memory ofN & S Taylor
Gene Tilbrook & Anne Seghezzi
Michael & Helen Tuite
Reto Vogel
John & Nita Walshe
Fred & Nicola Wehrs
Unnamed (5)
Maestro Circle $5,000+
Jean Arkley in memory of Tom Arkley
David & Suzanne Biddles
Dr John Blott
Stewart Candlish & Bianca Panizza
Prof Rachel & Rev Dr John Cardell-Oliver
Maree Creighton & Kevin Davis
Marie Mills & Anthony Crocker
Gena Culley
Stephen Davis & Linda Savage
Louise Farrell OAM & Eric Isaachsen
Marc Geary
Sue Hovell
Gina Humphries
Margaret & Peter James
Roger Jennings
Eleanor John & Finn Barrett
Bill Kean
Keith & Gaye Kessell
Dale & Michael Kitney
Rosalind Lilley
Mrs Morrell
Michael & Lesley Page
Wayne Robinson
Julia Seabrook in memory of
Lady Jean Brodie-Hall
Ruth E. & Neville Thorn
Sara Wordsworth
Unnamed (8)
Virtuoso Circle $2,500+
Margaret & Dr Fred Affleck AO
Neil Archibald & Alan R Dodge AM
Tony & Mary Beeley
Peter & Marjorie Bird
Professor Anne Burns
Philip & Frances Chadwick
Anthea Cheney
Lesley & Peter Davies
Lorraine Ellard & Ron Bade OAM
M & D Forrest
The Giorgetta Charity Fund
Robyn Glindemann
Maryllis & Paul Green-Armytage
Peter Hansen-Thiim
Warwick Hemsley
Peter Ingram
Diane Johnson in memory of Tim Johnson
Francis Landels
Dr Mi Kyung Lee OAM & Prof Colin Binns AO
Sunny & Ann Lee
LeMessurier Charitable Trust
Roderick MacDuff & Renate Drauz
Oliver & Sophie Mark
Andreas W. Merk
Paul Nendick
Val & Barry Neubecker
Anne Nolan
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Clare Thompson & Dr Brad Power
Peter & Jane Thompson in memory of Mrs Freda Stimson
Michelle Todd in memory of Andrew
Mary Townsend
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Joy Wearne
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Unnamed (5)
Principal Circle $1,000+
Brendan & Sue Adler
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Arron Arntzen
Moira Bailey
Ruth Bailey
Lisa & Glenn Barrett
Ray & Jan Batey
Peter Bath
Noelle Beasley
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Cathy Bolt in memory of Tony Bolt
K & C Bond
Claire Brittain OAM & John McKay
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Joan Carney
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Mr G & Mrs CE Chappelle
S Cherian
Dr Anne Chester
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Kenneth Clark
Jill Clarke
Clayton Utz Foundation
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Lyn & Harvey Coates AO
Brenda Cohen
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Rev Des Cousins
Kaylene Cousins
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Monique De Vianna
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Archa Fox & Charlie Bond
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Andrea Gillett
Frank Glass & Linda Colville
Dr Anne Gray
Jannette Gray
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Richard B Hammon
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Mrs Hansen-Knarhoi in memory of Harry
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Barbie Henryon
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Dr K & Mr J Hopkins OAM
Judith Hugo OAM
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Patricia M King
Leonie Kirke
Tessa La Mela on behalf of Tim Threlfall & Katie Hill
Yvonne Lamble
Irving Lane
Ross & Fran Ledger
Dr Oon Teik Lee
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Lommers Engineering
Pty Ltd
Ian & Judith Lunt
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Dr Tony Mander & Ms Loretta Byrd
Gregg & Sue Marshman
Geoff Massey
Cynthia McCumiskey
Con Michael AO in memory of Betty Michael
Mrs Carolyn Milton-Smith in memory of
Emeritus Prof John Milton-Smith
Patricia & Kevin Morgan
Mr Geoff & Mrs Valmae Morris
Jane & Jock Morrison
Dr & Mrs Peter Moss
Lynn Murray
Phuong N T Nguyen
G & I Nicholas
Marianne Nilsson
Jim & Wendy O’Neill
Dr Walter Ong & Graeme Marshall
Peter & Chris Ormond
John Overton
Robyn Owens
Adam Parker
Athena Paton
Jane Patroni in memory of Sue & John Dale
Tim Pavy & Cathy Cole
Ruth & Adrian Phelps
Charmian Phillips in memory of Colin Craft
Megan & James Phillips in memory of Sheena Prince
Alison Piacentini
Italo Pizzale
Dr Richard & Mrs Sharon Prince
Dr Leon Prindiville
Eveline Read
James & Nicola Ridsdill-Smith
Mark Ritter in memory of Deborah Milton
Bryan & Jan Rodgers
Nigel & Dr Heather Rogers
Gerry & Maurice Rousset OAM
Stephanie Rusyn in memory of John Kobelke
Margaret & Roger Seares
Eric Skipworth in memory of Virginia Skipworth
Dorothy Smith
Helen Smith OAM
Nick Handran Smith & Elizabeth Allan
Paul Smith & Denham Harry
Ross & Laurel Smith
Peggy & Tom Stacy
Alan & Jan Stewart
Brian Stewart
Joslyn Summerhayes in memory of Eileen Hayes
Summerlin Audiology
Leon Tang
Janet & the late Stephen Thackray
Ruth Thomas in memory of Ken & Hazel Rowley
Amanda & Desmond Thompson
Rosemary Tomkinson
James & Rosemary Trotter
Agatha van der Schaaf
Maggie Venerys
Geoff & Sandra Wackett
Jeremy Wade & Tara Mala
Alan Westle in memory of Jean
Moira Westmore
Dr Chris & Mrs Vimala Whitaker
Barbara Wilcox
Dai & Anne Williams
Janet Williams
Jean & Ian Williams AO
Jim & Gill Williams
Dr Simon & Alison Williams
Trish Williams
Judith Wilton & David Turner
Hilary & Peter Winterton AM
Peter Wreford
Mary Ann Wright
Zvi & Carmela Yom-Tov
Nancy York
Don & Leith Young
Unnamed (34)
Tutti Circle $500+
Catherine Bagster
Clare Bannister & Will Riseborough
Bernard & Jackie Barnwell
Michael & Nadia Berkeley-Hill
Dr Caroline Bird & Dr Jim Rhoads
John & Sue Bird in memory of Penny Bird
E & G Bourgault in memory of Betty Sagar
Diane Brennan OAM
Phil Burrows
Christine Burson
Ann Butcher & Dean R Kubank
Jennifer Butement in memory of Margaret Butement
Michelle Candy
R & R Cant
Fred & Angela Chaney
Lynette Clayton
Barry J Cobb
Ian Collins
John Collins
Annette Cottee
Pru Cowan
Carole & John Cox
Ron Crittall in memory of Penny Crittall
Brett Davies
Adrian De Graaf
Lee Delaney
Hanneke & Jop Delfos
Stephen Dennis & Daniel Parker
Simon Douglas
Julie Easton
The Hon. Richard Philip Eaton
Mary Ellen in memory of Kerensa
Stuart Evans
Sue & David Forster
John & Margaret Freeman
Jennifer & Stephen Gardiner
Neville & Jane Gibbs
Gwenyth Greenwood
Rosemary Grigg & Peter Flanigan
Ann Hammer
Paul & Barbara Harris
Peter Harris
Alan Harvey & Dr Paulien de Boer
KR & VJ Harvey
Patricia Hashim
Diana Hastrich
David & Deborah Hayes
Siew-Mung Ho
Elizabeth Hollingdale
Karl Hombergen & Jane Hutton
Jan & Walter Hunter
Lorna & Jonathan Hurst in memory of Barbara Hurst
John Jarvis
Cynthia Jee
Lynn & Michael Jensen
Michael & Josephine Jones
Dr Susan M Joubert
Dr Ursula Kees
Bob Kelliher
C & V Kennedy
B M Kent
Nelly Kleyn
Miriam & Lou Landau
Dr Warren Lilleyman
Mal Macey
Stuart Macklin & Peter Lyle
Robyn Main
David Marmont
Pam Mathews & Dr Mark Brogan
Gaye & John McMath
Terence Middleton
Bruce & Margaret Murdoch
Patricia Murphy
Marjan Oxley
Roger Paterson
Matthew Pearce & Kim Denham
J Pinnow
Jennifer Rankin
Rosie Reeman
Eril Reid
Trevor Ridgwell
Patricia Rigo
Trudy Robins
Geraldine Roxburgh
Chris & Serge Rtshiladze
Allison Selman
Steve & Jane Sherwood
Helen Shilkin-Reinhold
Andrew Shoemack
Jan Sillence
Hendrik Smit
Alison & Neville Sparrow
John & Elizabeth Spoor
Ian & Di Taylor
Lisa Telford
Gavin Toovey
Joan Travis
Clive & Beth Trott in memory of Judith Sienkiewicz
Judith & Rod Tudball
Heather & Jim Tunmore
Diana & the late Bill Warnock
Robyn & Loren White
Deborah Wiseman
Margaret Wood
Alison Woodman
Jacquie Wright
Andrew Yeates
Dr Susan Young
Unnamed (42)
Friends Circle $40+
926 Members
THE INSTRUMENT FUND
John Albright & Susan Lorimer – Education 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
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 and Music Score Folders
LEGACY
Major Gifts
Tom & Jean Arkley
Bendat Family
Foundation
Gavin Bunning Family
Janet Holmes à Court AC
Rod & Margaret Marston
Minderoo Foundation
Minderoo Foundation
Rosalin Sadler
In memory of Bob Tonkinson
In memory of Francis Edward Yeomans
Sagitte Yom-Tov Fund
Estates
Lee Bickford
Rachel Mabel Chapman
S & J Dale
Sandra Gray
Malcolm Hood
Clive Knight
Paul Lee
Tony & Gillian Milne
Anna Nottage in memory of Edgar Nottage
Colleen Rintoul
Claude & Noreen Riordan
Wendy Scanlon
Judy Sienkiewicz
Roslyn Warrick
Unnamed (10)
THE SYMPHONY CIRLCE
Julian Agafonoff & David Escott
Kevin ‘Joe’ Blake
Jon Bonny
Dr G Campbell-Evans
Deirdre Carlin
Phillip & Frances Chadwick
Fleur Challen
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
J.A.M
Roger Jennings in memory of Lilian Jennings
Emy & Warren Jones
Barbara Joseph
Colin & Jo King
Rachael Kirk & Tim White
Jaehan Lee
Wolfgang Lehmkuhl
Stewart Lloyd
Dr Mary Ellen MacDonald
Anne & William MacLeod
Deborah Marsh
Lesley & Murray McKay
Suzanne Nash
Paul Nendick
Paula Phillips
Wayne Robinson
Jan & Bryan Rodgers
Nigel & Dr Heather Rogers
Rosalin Sadler in memory of Joyce Durbin Sadler
Peta Saunders
Jacinta Sirr-Williams
Ross & Laurel Smith
Susan Stitt
Ruth Stratton
Ruth E. & Neville Thorn
Gavin Toovey
George Van Beek
Agatha van der Schaaf
Sheila Wileman
Sagitte Yom-Tov Fund
Unnamed (53)
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.
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