Chamber Series: Rapture
CHAMBER SERIES
Sunday 3 August 2025, 2pm
Government House Ballroom
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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Rapture
Johannes BRAHMS String Sextet No.2 in G, Op.36 (36 mins)
Allegro non troppo
Scherzo. Allegro non troppo — Presto giocoso
Poco Adagio
Poco Allegro
Interval (30 mins)
Elena KATS-CHERNIN String Quartet Miniatures (20 mins)
1. Pink Breasted Robin
2. Second Door on the Left
3. Drinking Song
4. Blue Rose
5. Eliza Aria
6. Slicked Back Tango
7. Russian Rag
8. Grotesk
Arnold SCHOENBERG Chamber Symphony No.1 (21 mins)
Alan Tyrrell presenter
Listen to WASO
This performance is recorded for broadcast Wednesday 24 September, 1pm (AWST) on ABC Classic. Date subject to change. For further details visit abc.net.au/classic
WASO On Stage
About the Music
Johannes BRAHMS
(1833-1897)
String Sextet No.2 in G, Op.36
Brahms' String Sextet No.2 is a significant work in the chamber repertoire and one that marks a transition in the writing style of the composer, from the geniality of his youth to the darker quality that we've come to know in Brahms' mature works. Although it did not have the same initial success as his First Sextet, the Second has since grown in popularity. Known for its technical brilliance and emotional depth, it is now frequently performed by ensembles worldwide.
A Note From the Players
In our brand new Chamber Series, all concerts have been curated from pieces selected by the musicians themselves. Read on to discover which WASO musician selected this work and why.
I chose the Brahms Sextet mainly because it’s one of my favourite chamber works and it is rare for these sorts of works to be performed professionally in our corner of the world. In my mind, this work deserves to be considered amongst the greatest of the genre against favourites such as the Mendelssohn Octet, Schubert Quintets (Trout and String), etc. It has long, soaring melodies, lush harmonies and a masterful use of counterpoint throughout, as well as swapping the primary line constantly amongst the group in a way that is all but impossible to contain in the smaller format of the string quartet.
To me, this work has a powerful dichotomy that permeates the entire piece. On the one hand, it has a strong sense of optimism combined with a real exuberance for life which comes through the most in the first and last movements. Contrasting this is a highly introspective, anxious, at times frustrated, and forceful theme or persona that inhabits the inner movements. When viewed as a whole, to me, this seems like Brahms is trying to communicate a want or desire to focus on the light rather than the darkness, which is all the more significant given the struggle and constant reflection/reworking that characterised his own compositions.
— Lucas O'Brien, Violin
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About the Music
Elena KATS-CHERNIN
(b.1957)
String Quartets including: Pink Breasted Robin, Second Door on the Left, Drinking Song, Blue Rose, Eliza Aria, Slicked Back Tango, Russian Rag and Grotesk
Although not playing a string instrument herself, contemporary Australian composer Elena Kats-Chernin has become known for her unique and vibrant string quartets. Her string quartets often incorporate elements of folk melodies, tango, and other diverse musical styles. Kats-Chernin herself has noted that her works for string quartet are not constructed in the traditional sense of their architecture. Instead, they can be played as single movements or in combination, allowing a flexibility that may appeal to both musicians and listeners.
A Note From the Players
In our brand new Chamber Series, all concerts have been curated from pieces selected by the musicians themselves. Read on to discover which WASO musician selected this work and why.
In 2021, our string quartet was asked to take part in The Karijini Experience, a festival held amongst the beauty of Karijini National Park. The highlight of our time at the festival was accompanying a showcase of Indigenous fashion designers in the stunning Kalamina Gorge.
In our search for suitable music for this event, we came across a delightful collection of short pieces for string quartet by the Australian composer Elena Kats-Chernin. We immediately fell in love with the quirkiness and variety of styles in these works, and they proved to be perfect for the occasion.
We are thrilled to be able to share eight of our favourites with you today.
— Rachael Kirk, Viola
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About the Music
Arnold SCHOENBERG
(1874-1951)
Chamber Symphony No.1
While on vacation in Bavaria in July 1906, Schoenberg finished the Chamber Symphony No.1; a piece that would become known as a turning point in the history of classical music. The Symphony is written as one continuous movement with elements of a full symphony strung together. Many modern critics have considered it a reaction against the monumentality of composers such as Mahler and Strauss.
Its premiere in 1907 was met with a mixed reception. Some audience members, particularly those familiar with his earlier, more traditional compositions, were puzzled or even alienated by the work's modernistic style. Today, the Chamber Symphony No.1 is recognised for its innovative approach to form and harmony, and is one of Schoenberg's most recorded and referenced works.
A Note From the Players
In our brand new Chamber Series, all concerts have been curated from pieces selected by the musicians themselves. Read on to discover which WASO musician selected this work and why.
What draws me most to this piece by Schoenberg is that it is an interesting musical experiment that is so arresting to listen to, because of its uniqueness. It’s possibly one of the last pieces of tonal music written at the transitional period when the Romantic and Modern music eras were colliding historically and musically, and yet it was, in a way, a catalyst for the concept of atonal music. It’s both melodic and non-melodic; harmony ridden (quite intensely) but also atonal at times; passionate in mood but also seriously existential (if that’s the polar answer to Romanticism!).
I chose this piece because it is very enjoyable to play and it is also an intellectual masterpiece that has made its name in history. I conducted this piece with my own orchestra in Sydney almost a decade ago, so am excited to revisit it with my WASO colleagues this year. The work is also one of the few "chamber symphonies" in existence that has held up in history. WASO players are used to playing large orchestral works but this is like a bridge between a full orchestral work and a more reduced chamber setting, allowing each player to contribute very individually to a resultant piece that is much like a full orchestral sound-world.
Schoenberg was trying in this piece to explore how much expression he could derive out of all 12 notes, rather than strictly sticking to a “key” (like C major, D minor for example) in a vast exploration of harmony, melody and tone colour. You can expect at times sweeping and majestic melodies, at others, tender moments of musical interaction between instruments; still at others, brusque and violent stabs and complex rhythmic commotions. You can also expect a wide array of different tone colours as Schoenberg experiments with as many different combinations of instrument groups, chord structures, instrumental techniques, articulations and dynamics as possible.
— John Keene, Rapture Conductor and WASO’s Associate Principal Double Bass
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Meet the Musician
Alexandra Isted
Principal 1st Violin
You’re passionate about chamber music. What is it that draws you to this type of music?
At its peak, playing chamber music is like having a really great conversation with your friends. Everyone has their individual voice and the freedom to choose how to interact with each other, with their own nuances in phrasing and tone. There’s a spontaneity to each performance that makes it engaging for both players and audience members.
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Meet the Musician
Rachael Kirk
Viola
There are seven viola players in your family! What’s one of your favourite family music memories?
There are indeed seven viola players of varying abilities in my extended family including my mum, cousins, nephews and nieces, but, unfortunately (or maybe fortunately!) we’ve never all played together. One of my favourite family music memories is playing Leopold Mozart’s Toy Symphony with my parents, siblings and our various offspring joining in on the toy instruments. A lot of fun was had by all!
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Meet the Musician
Jonathan Ryan
Principal Cor Anglais
Do you have any rituals around how you rehearse?
My rituals entail preparation and flexibility, as we have so many variables as double reed players, particularly changes in humidity, or even air conditioning that affect our instruments and reeds (of course!). Even when not playing, plenty of listening, reed making and mental practice are essential. On rehearsal days, I ensure that I've had enough to eat beforehand, and a banana and cup of tea is a must in the break!
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
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Get tickets to your next WASO experience at the WASO Mobile Box Office located in the Government House Ballroom Foyer. The WASO Mobile Box Office is open 60 minutes before each performance. Alternatively, you can visit waso.com.au to buy online or book an in-person ticketing appointment by calling (08) 9326 0000 (Monday-Friday, 9am-1pm).
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