Chamber Series: Serenade
CHAMBER SERIES
Sunday 14 September 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.
How to use your Digital Program
Serenade
Aaron WYATT Cirrus (5 mins)
Edgar MEYER String Quintet (27 mins)
Movement I
Movement II
Movement III
Movement IV
Interval (30 mins)
Ludwig van BEETHOVEN Septet in E flat, Op.20 (42 mins)
Adagio - Allegro con brio
Adagio cantabile
Tempo di menuetto - Trio
Tema con variazioni. Andante
Scherzo. Allegro molto e vivace - Trio
Andante con moto alla marcia - Presto
Evan Kennea presenter
WASO Serenades the City with the support of City of Perth.
WASO On Stage
About the Music
Aaron WYATT
(b.1982)
Cirrus
Cirrus was inspired by the Melbourne sky on a bright but cold day. It reflects and meditates on the view from the Djerring Trail, a path that winds its way beneath the sky rail near the composer's home. Thin wisps of white dot – a deep azure canvas that stretches off into the distance between a frame of concrete. The suburban trains that periodically roll overhead bring their own rhythm, punctuating the stillness above. Written between lockdowns, during a time of great uncertainty, the work seeks to explore these small glimpses of awe and beauty that exist in the ordinary, and in the interplay between the natural world and our modern existence.
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 what drew the WASO musicians to this piece.
Aaron Wyatt’s Cirrus was written during the uncertain times of Melbourne COVID-19 lockdowns. Despite these circumstances, Aaron’s atmospheric music has an optimistic outlook with some hints of Claude Debussy. A short meditation with its interesting combination of violin, double bass, vibraphone and bass clarinet somehow draws us into a soothing mellifluous soundscape.
— Alexander Millier, Principal Bass Clarinet
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About the Music
Edgar MEYER
(b.1960)
String Quintet
The opening movement of the Quintet is a cross between a theme and variations, and variations on a ground bass. It opens with an AABA theme of approximately 40 seconds, followed by 12 variations and a reprisal of the theme. There is not always strict character differentiation between variations, but sometimes instead there is more of a transformation over the course of a couple of them. The tempo is constant, and the speeding up and slowing down is achieved by metric modulation in such a way that each variation is supposed to be exactly the same duration.
The second movement is earthy and uses ornamental quarter tones in the four higher strings to sometimes create a bluesy effect. The cello starts with the main riff followed by a trio and the 1st violin recaps the cello melody.
The third movement wanders around looking for a melody which is eventually found by the first violin about two-thirds of the way through. This melody ends in the movement's only proper cadence, which is followed by the four upper strings taking the opening figure through all 12 keys and ending up where it started.
The fourth movement involves a good bit of left hand finger wiggling for all. The triplets are essentially measured trills, conceived as an energetic gesture. The opening melody is fiddle derived, and along with the following section where the viola, cello, and bass enter, is syncopated against a strict 4/4.
This quintet was written for and premiered by the Emerson Quartet and myself in 1995 and recorded in 1998.
© Program notes by Edgar Meyer.
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.
Edgar Meyer’s String Quintet brings together his distinctive voice as both a performer and composer, one that seamlessly blends classical tradition with the rhythmic vitality and inventiveness that mark his wide-ranging career. This performance marks the work’s Australian premiere, and I feel especially privileged to share it with you.
My own connection to this piece is deeply personal. Edgar was not only a teacher of mine, but also one of my greatest musical inspirations. His artistry and approach to music-making have profoundly shaped my development as a musician. Over the past year, I have had the opportunity to work closely with him in preparing this Quintet for publication with Boosey & Hawkes, which has given me a unique insight into the depth and character of the music.
What draws me to this work is its sense of conversation; the way each voice is given room to speak, interweave, and surprise. The quintet challenges the players while offering audiences music that is at once fresh, lyrical, and deeply engaging. To perform it here, for the first time in Australia, feels like both a homecoming and a celebration of the musical journey Edgar inspired me to begin.
— Robin Brawley, Double Bass
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About the Music
Ludwig van BEETHOVEN
(1770–1827)
Septet in E flat, Op.20
Ludwig van Beethoven’s charming Septet in E-flat Major was one of his most popular works during his lifetime. It captures the divertimento style that was popular among the aristocracy and middle class of the time. It premiered, along with the First Symphony, at the Burgtheater on April 2 1800, and was so liked that it soon appeared in transcriptions for solo piano, two guitars, piano four-hands, piano quartet, and Beethoven’s own trio arrangement for either clarinet or violin with cello and piano.
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.
The inspiration to play this septet actually came to me and my colleagues during COVID lockdown. It offered a way for us to stay connected, through Beethoven's brilliance in the intimate medium of chamber music. Looking back on that time, we are all the more grateful for the chance to perform it together!
One of Beethoven's earlier works, this septet showcases his unique gift for lyricism as shaped by influences such as Mozart and Haydn. It overflows with memorable singing lines which are expressive without being overwrought. There is a distinct emotional warmth to these lines, sometimes witty and sometimes serene in character, shining through behind their overt beauty. Beethoven uses the natural timbre of each instrument to encourage a conversation between them, all the while retaining utmost classical purity.
— Kylie Liang, Associate Principal 2nd Violin
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Meet the Musician
Giovanni Vinci
Double Bass
Is there anything special about your instrument?
I am incredibly privileged to be playing on a double bass crafted by Gabriel Jacquet-Gand, circa 1875. It has been recently restored by luthier and former WASO double bassist, Andrew Tait. Remarkably, Andrew was alerted to this double bass while it was disassembled in a fishing shed south of Perth. The owner of the double bass, a 93-year-old gentleman remarked to Andrew, “I’ve always wanted to learn the double bass, but I think the opportunity has passed me by!”
The instrument had never been taken apart since it was made; attempted repairs had planks of jarrah fixed from the outside. The double bass retains its original scroll, neck and French pegs, and is of fine craftsmanship of the distinctive ‘Vuillaume Model’. It is a wonderful piece of unique history to have access to and I am forever grateful to my parents for funding this acquisition.
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Meet the Musician
James Munro
Viola
Tell us about your journey to WASO.
For the last 12 years I have been playing in professional symphony orchestras in Guadalajara and Culiacán in Mexico, where I was fortunate to have the opportunity to tour around Mexico and internationally. There I performed Mexican music like Revueltas, Márquez, mariachi and even with Banda groups. Music that is not commonly played in Australia.
Previously, I studied at the Australian National Academy of Music and the Sydney Conservatory of Music. I participated in several Australian Youth Orchestra seasons, including touring to Europe. After studying, I worked as a freelance musician with Melbourne Symphony Orchestra and Orchestra Victoria.
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Meet the Musician
Julia Brooke
Horn
How did you first get into music?
I grew up in a very musical family. Both of my parents are professional musicians (my Dad was a bassoonist in the Sydney Symphony, and mum an opera singer and incredible high school music teacher). Our community was always surrounded by music, and both my sister and I sang and played instruments from a fairly early age.
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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 Government House Ballroom.
- Clap with enthusiasm
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Snap a selfie from your seat, capture the artist bows and share the experience with friends. Don’t forget to tag us! #WASymphonyOrchestra - 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
Access to Government House Ballroom for WASO performances is via the Council House Laneway, which is wheelchair accessible. - 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 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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