PROGRAM

MASTERS SERIES
Friday 10 & Saturday 11 March 2017, 7.30pm
Perth Concert Hall

TRIFONOV PLAYS
TCHAIKOVSKY
 Frankie Lo Surdo, French Horn
BRONWYNROGERS.COM WESF1389A
 WELCOME

It is a great privilege to return to Perth with

such a monumental programme. I am very
much looking forward to working together
with the wonderful musicians of the WASO
and the incomparable Daniil Trifonov. We
are also very happy to open the season
with the world premiere of Lachlan
Skipworth’s new work Spiritus.
The Lemminkäinen Suite by Jean Sibelius
is one of the first orchestral pieces by the
great master and I have a special affinity
to his earlier works. The writing ranges
between the most ethereal writing to the
most brutal, it is a thrilling ride and I hope
you will enjoy tonight’s concert! Daniel Blendulf
Conductor

TIMELINE OF COMPOSERS & WORKS

PETER ILYICH TCHAIKOVSKY

1840 – 1893
Born in 1840, Votkinsk, Russia
Died in 1893, St Petersburg, Russia

JEAN SIBELIUS

1865 – 1957
Born in 1865, Hämeenlinna, Finland
Died in 1957, Järvenpää, Finland LACHLAN SKIPWORTH
1982
Born in 1982, Perth, Australia

Tchaikovsky's Piano Concerto No.1

1875

Sibelius' Four Legends Lachlan Skipworth's Spiritus

1896 2017

1900 2000
 WELCOME
From the Minister
It is my great pleasure to welcome you to
the opening Masters Series concert of the
West Australian Symphony Orchestra’s
2017 season.
This year, WASO will once again enchant
audiences with an exciting range of concerts
performed at Perth Concert Hall. It is
inspiring to see WASO breathing life into
this iconic venue, in partnership with the
City of Perth and the State Government.
Tonight we begin with arguably the finest
young pianist in the world, Daniil Trifonov,
performing Tchaikovsky’s ever-popular
Piano Concerto No.1. We will be treated
to a world premiere by composer Lachlan
Skipworth, and we welcome back Swedish
conductor Daniel Blendulf.
This concert provides a great introduction
to what is sure to be a fantastic season.
I hope you enjoy it.
John Day
Minister for Culture and the Arts
From the WASO Chairman
On behalf of the West Australian
Symphony Orchestra, I’m delighted to
welcome you to Trifonov Plays Tchaikovsky.
This year marks 20 years of support from
Principal Partner Wesfarmers Arts. We
recognise the extraordinary contribution
that Wesfarmers Arts makes to the arts
community of WA, and we are thrilled to
celebrate this continuing partnership.
Under the guidance of Maestro Asher
Fisch, our Orchestra is in exceptional form.
We had an outstanding tour to Abu Dhabi
and China late last year, and in 2017 we
welcome back Asher for his fourth year as
WASO’s Principal Conductor and Artistic
Adviser.
Thank you for joining us tonight. Together
we have an exciting year of music-making
ahead.
Janet Holmes à Court AC
WASO Chairman
 MASTERS SERIES

TRIFONOV PL AYS TCHAIKOVSKY

LACHLAN SKIPWORTH Spiritus WORLD PREMIERE (13 mins)

TCHAIKOVSKY Piano Concerto No.1 (33 mins)
Allegro non troppo e molto maestoso – Allegro con spirito
Andantino semplice – Prestissimo – Andantino semplice
Allegro con fuoco

Interval (25 mins)

SIBELIUS Four Legends from the Kalevala (Lemminkäinen Suite) (59 mins)
Lemminkäinen and the Maidens of Saari
The Swan of Tuonela
Lemminkäinen in Tuonela
Lemminkäinen’s Return

Daniel Blendulf conductor

Daniil Trifonov piano
WASO Composer in Residence Lachlan Skipworth is supported by the Simon Lee Foundation

Wesfarmers Arts Pre-concert Talks

Find out more about the music in the concert with this week’s speaker, Phil Robertson. Pre-concert Talks take
place at 6.45pm in the Terrace Level Foyer.

5
2017 UPCOMING CONCERTS

MORNING SYMPHONY SERIES

BEETHOVEN 7
THURS 16 MAR 11AM Perth Concert Hall
The Romeo and Juliet Fantasy Overture is one of Tchaikovsky’s most
popular works, full of sweeping drama and sublime, passion-drenched
melodies. Beethoven’s Seventh Symphony is a joyous whirlwind of
sound and rhythm.
TCHAIKOVSKY Romeo and Juliet - Fantasy Overture
BEETHOVEN Symphony No.7 TICKETS
FROM $39*
Daniel Cohen conductor (pictured)

MACA LIMITED CLASSICS SERIES

BEETHOVEN 7
FRI 17 & SAT 18 MAR 7.30PM Perth Concert Hall
Beethoven’s Seventh Symphony is a joyous whirlwind of energetic sound
and rhythm culminating in an exhilarating finale. Yu-Chien (Benny) Tseng,
winner of the 2015 Singapore Violin Competition, performs Bruch’s ever
popular Scottish Fantasy.
TCHAIKOVSKY Romeo and Juliet - Fantasy Overture
BRUCH Scottish Fantasy
BEETHOVEN Symphony No.7
TICKETS
Daniel Cohen conductor
FROM $32*
Yu-Chien (Benny) Tseng violin (pictured)

MORNING SYMPHONY SERIES

ASHER FISCH CONDUCTS SIBELIUS

THURS 20 APR 11AM Perth Concert Hall
Sibelius’ Second Symphony is a stirring masterpiece that evokes the
expansive, glacial landscape of Finland. WASO’s
Concertmaster Laurence Jackson takes centre stage
for a rare Perth performance of Stravinsky’s sparkling TICKETS
Violin Concerto. FROM $29*

MACA LIMITED CLASSICS SERIES

ASHER FISCH CONDUCTS SIBELIUS

FRI 21 & SAT 22 APR 7.30PM Perth Concert Hall
WASO’s Concertmaster, Laurence Jackson, takes centre stage for a rare
Perth performance of Stravinsky’s Violin Concerto.
Sibelius’ stirring Second Symphony evokes the
expansive, glacial landscape of Finland in this concert TICKETS
conducted by Principal Conductor Asher Fisch.
FROM $32*
Asher Fisch appears courtesy of Wesfarmers Arts

BOOK NOW CALL 9326 0000 VISIT WASO.COM.AU

*A one-off handling fee of $5.50 per transaction applies to all purchases on our website.
A fee of $6.60 applies to phone and mail bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.
 WASO IN THE COMMUNIT Y
Assistant Conductor
Elena Schwarz
This year WASO welcomes Elena Schwarz
as Assistant Conductor, a split role between
WASO and TSO. Elena is a Swiss-Australian
conductor and she will be mentored by
WASO Principal Conductor Asher Fisch and
TSO Chief Conductor Marko Letonja.
Elena studied at the Geneva University
of Music in the class of Laurent Gay,
subsequently specialising in contemporary
performance with Arturo Tamayo at the
Conservatorio della Svizzera Italiana. Elena
has participated in conducting courses with
Asher Fisch, Christopher Seaman, Johannes
Fritzsch and Giordano Bellincampi. She was
awarded first prize at the “Princess Astrid”
competition with the Trondheim Symphony
Orchestra (Norway) and the second prize
at the 2015 Jorma Panula competition in
Vaasa (Finland).
At WASO, Elena’s position will be funded
through the Simon Lee Foundation, which
aspires to build an alumni body of young
artists in WA that can connect, create and
support each other.
ATAR 2017
The 2017 ATAR Western Art Music Designated
Works performances were held on Wednesday
15 February at the John Inverarity Music &
Drama Centre, Hale School.
Two performances were presented to a
combined audience of over 520 students and
staff from 29 schools, including 6 new schools.
This was not only our largest audience, but also
the largest orchestra for an ATAR performance
with 80 musicians on stage.
The 2017 program consisted of Berlioz's
Symphonie fantastique Mvt 4 and 5, and
Ravel's Piano Concerto in G from compulsory
genres of Symphony (Year 11) and Concerto
(Year 12). The performances covered key
excerpt analysis, with additional information
and discussion around the cultural and
historical context supported by both a written
resource and in-performance with presenter/
conductor Peter Moore OAM.
In another first, each performance featured
a young and emerging artist as soloist in the
concerto. Adrian Soares (3rd year, UWA School
of Music) and Alexander Chua (Honours, UWA
Mathematics) performed to great acclaim and
not only helped to illustrate key compositional
concepts and provided incredible inspiration to
students around performance preparation and
presentation. Recognition and thanks must go
to their teachers, Assistant Professor Graeme
Gilling and Mark Coughlan respectively.
The reaction to this years’ ATAR performances is
perhaps best summed up in just one response
from feedback received:
"An invaluable opportunity that they would
not get otherwise - makes all the difference
to their study of not only the works but the
course and western art music in general."
Our sincere thanks to staff and parents who
facilitated student attendance at this event.
Presented in partnership with Hale School.
7
 ABOUT THE ARTISTS
Photo: Marco Borggreve
Daniel Blendulf
Conductor
Daniel Blendulf is Chief Conductor and
Artistic Advisor of the Dalasinfoniettan. He
regularly conducts other orchestras in his
native Sweden.
Blendulf recently made his US debut with the
Detroit Symphony Orchestra, and previously
conducted the BBC National Orchestra of
Wales, New Zealand Symphony, Malaysian
Philharmonic, and Finnish Radio Symphony
orchestras, as well as WASO.
An advocate for contemporary Swedish
music, he conducted the world premieres
of Britta Byström’s Invisible Cities and, for
Royal Swedish Opera, Anders Eliasson’s
Karolinas sömn. For RSO he has also
conducted Carmen and Don Pasquale. His
latest orchestral recording is of Nielsen’s
Violin Concerto with Cecilia Zilliacus and
the Helsingborg Symphony Orchestra.
Blendulf began his career as a cellist
before winning First Prize at the Swedish
Conducting Competition and graduating
from Stockholm’s Royal College of Music.
In 2014 he won the Herbert Blomstedt
Conducting Prize.
Photo: Dario Acosta
Daniil Trifonov
Piano
Born in Nizhny-Novgorod, Daniil Trifonov
first performed with orchestra at the age
of eight. He studied at Moscow’s Gnessin
School of Music with Tatiana Zelikman.
Since winning the Rubinstein and
Tchaikovsky Competitions, Trifonov
has travelled the world as recitalist and
concerto soloist. His credits include recitals
at Wigmore Hall, the Berlin Philharmonie,
Tokyo’s Opera City, and a host of other
leading venues. He has appeared with the
Vienna Philharmonic, London Symphony
Orchestra, New York Philharmonic, Boston
Symphony, Israel Philharmonic, Orchestre
Philharmonique de Radio France, and
recently, the Los Angeles Philharmonic,
Kansas City Symphony (performing his
own concerto) and Berlin Philharmonic
Orchestra.
Daniil Trifonov signed with Deutsche
Grammophon in February 2013, and his
debut recital on that label (a live concert
at Carnegie Hall) combines Liszt’s B minor
Sonata, with Scriabin’s Sonata No. 2 and
Chopin’s 24 Preludes.
9
 WEST AUSTRALIAN
SYMPHONY ORCHESTRA

The West Australian Symphony Orchestra
(WASO) is Western Australia’s largest and
busiest performing arts organisation. With
a reputation for excellence, engagement
and innovation, WASO’s resident company
of full-time, professional musicians plays a
central role in creating a culturally vibrant
Western Australia. WASO is a not for profit
company, funded through government,
ticket revenue and the generous support
of the community through corporate and
philanthropic partnerships.
WASO’s mission is to touch souls and
enrich lives through music. Each year the
Orchestra entertains and inspires the people
of Western Australia through its concert
performances, regional tours, innovative
education and community programs, and
its artistic partnerships with West Australian
Opera and West Australian Ballet.
The Orchestra is led by Principal Conductor
and Artistic Adviser Asher Fisch. The
Israeli-born conductor is widely acclaimed
for his command of the Romantic German
repertoire and is a frequent guest at the
world’s great opera houses.
Each year the Orchestra performs over 175
concerts with some of the world’s most
talented conductors and soloists to an
audience in excess of 190,000. An integral
part of the Orchestra is the WASO Chorus, a
highly skilled ensemble of auditioned singers
who volunteer their time and talent.
waso.com.au
CONNECT WITH WASO
facebook.com/
WestAustralianSymphonyOrchestra
twitter.com/_WASO_
instagram.com/_waso_
youtube.com/WestAustSymOrchestra
Stay up to date and sign-up to our
SymphonE-news at waso.com.au
Download WASO’s free app on iTunes
or Google Play.

10
 YOUR ORCHESTRA

PRINCIPAL CONDUCTOR ASSISTANT CHORUS CHORUS

CONDUCTOR LAUREATE CONDUCTOR DIRECTOR VOCAL COACH
Asher Fisch Vladimir Verbitsky Elena Schwarz Christopher van Tuinen Andrew Foote
Partnered by
Wesfarmers Arts

VIOLIN VIOLA FLUTE TRUMPET

Laurence Jackson Alex Brogan Andrew Nicholson Brent Grapes
Concertmaster A/Principal Viola Mary-Anne Blades Matthew Dempseyº
Semra Lee-Smith Sally Boud^ Peter Miller
A/Assoc Concertmaster Kierstan Arkleysmith PICCOLO Evan Cromie
Graeme Norris Nik Babic Michael Waye
A/Assistant Concertmaster Chair partnered by TROMBONE
Rebecca Glorie Peter & Lesley Davies OBOE Joshua Davis
A/Principal 1st Violin Benjamin Caddy Peter Facer
Alison Hall Liam O’Malley
Zak Rowntree* Elizabeth Chee
Principal 2nd Violin Rachael Kirk BASS TROMBONE
Kylie Liang Allan McLean COR ANGLAIS Philip Holdsworth
Assoc Principal 2nd Violin Elliot O’Brien^ Leanne Glover
Fleur Challen Katherine Potter^ TUBA
Stephanie Dean Helen Tuckey CLARINET Cameron Brook
Beth Hebert Allan Meyer
Jane Johnston° CELLO Lorna Cook TIMPANI
Sunmi Jung Rod McGrath Alex Timcke
Christina Katsimbardis
Chair partnered by BASS CLARINET
Tokyo Gas
Ellie Lawrence Alexander Millier PERCUSSION
Louise McKay
Eliza McCracken^ Chair partnered by Brian Maloney
Andrea Mendham^ BASSOON Chair partnered by
Penrhos College
Lucas O’Brien° Shigeru Komatsu Adam Mikulicz Stott Hoare

Ken Peeler Oliver McAslan

Chair partnered by Chiron Meller°
Sue & Ron Wooller
Louise Sandercock Nicholas Metcalfe Troy Greatz
Colin Forbes-Abrams° Assoc Principal
Jolanta Schenk Eve Silver* A/Assoc Principal Bassoon Percussion and Timpani
Jane Serrangeli Fotis Skordas Jane Kircher-Lindner
Kathryn Shinnick° Tim South HARP
Jacek Slawomirski Xiao Le Wu CONTRABASSOON Sarah Bowman
Kate Sullivan Chloe Turner
Bao Di Tang DOUBLE BASS PIANO
Cerys Tooby Andrew Sinclair* HORN Graeme Gilling^
Teresa Vinci^ Joan Wright David Evans
Susannah Williams° Elizabeth Browning^ Deborah Hart^ *Instruments used by these
David Yeh Louise Elaerts Robert Gladstones musicians are on loan from
Sarah Blackman Christine Reitzenstein Principal 3rd Horn
Janet Holmes à Court AC.
Shaun Lee-Chen Mark Tooby Julia Brooke
Akiko Miyazawa Phillip Waldron^ Principal
Francesco Lo Surdo Associate Principal
Melanie Pearn Andrew Tait
Guest Musician^
Grey: Permanent member
of WASO not appearing
in this concert
Contract Playerº

11
 YOUR CONCERT EXPERIENCE
FOR THE ENJOYMENT OF ALL
When to applaud? Musicians love applause.
Audience members normally applaud:
• When the concertmaster (violin) walks onto
the stage
• When the conductor walks onto the stage
• After the completion of each piece and at
the end of the performance
When you need to cough, try to muffle or
bury your cough in a handkerchief or during a
louder section of the music. Cough lozenges are
available from the WASO Ticket Collection Desk
before each performance and at the interval.
Hearing aids that are incorrectly adjusted
may disturb other patrons, please be mindful
of those around you.
Mobile phones and other electronic
devices need to be switched off throughout
the performance.
Photography, sound and video
recordings are permitted prior to the start
of the performance.
Latecomers and patrons who leave the
auditorium will be seated only after the
completion of a work.
Moving to empty seats. Please do not
move to empty seats prior to the
performance as this may affect seating for
latecomers when they are admitted during
a suitable break.
LISTEN TO WASO
This performance is being recorded for
broadcast on ABC Classic FM on Sunday
26 March 2pm (or 11am online). For further
details visit abc.net.au/classic
720 ABC PERTH
Tune in to 720 ABC Perth on Friday morning
at 6.15am when Fiona Campbell joins Peter
Bell to provide the latest on classical music
and WASO’s upcoming concerts.
12
FOOD & BEVERAGES
Visit perthconcerthall.com.au for information
on food and beverage offerings at the venue.
Foyer bars are open for drinks and coffee two
hours before, during interval and after the
concert. To save time we recommend
you pre-order your interval drinks.
FREE WATER STATIONS
• Level 1 Ground Floor across from box office
• Wardle Room – western side of bar
• Terrace Level Corner Bar – one water
station on either side of the bar
• Lower & Upper Gallery level
FIRST AID
There are St John Ambulance officers present
at every concert so please speak to them if
you require any first aid assistance
ACCESSIBILITY
• A universal accessible toilet is available on
the ground floor (Level 1)
• The Sennheiser MobileConnect Personal
Hearing Assistance system is available
for every seat in the auditorium. Visit
perthconcerthall.com.au/your-visit/
accessibility/ for further information.
WASO BOX OFFICE
Buy your WASO tickets and subscriptions,
exchange tickets, or make a donation at the
Box Office on the ground floor (Level 1) prior
to each performance and at interval. Tickets
for other performances at Perth Concert Hall
will be available for purchase only at interval.
The Box Office is open Monday to Friday,
9am to 5pm, and contactable on 9326 0000.
DONATE YOUR TICKET
Can’t attend a concert? Contact the WASO
Box Office on 9326 0000 to donate your
ticket for re-sale and you will receive a tax
deductible receipt.
 MEET THE MUSICIAN

Andrew Sinclair
Double Bass
What (or who) made you want to learn
to play the double bass?
I was fortunate to be in a school with a
fantastic music program. When asked who
wanted to play an instrument I shot up my
hand thinking I would get something cool
like drums or saxophone. The music teacher
took one look at the tall thin streak of a boy
and said “you’ve got big hands, you can play
the double bass. By the way, how big is your
parent’s car?” As they drove a station wagon,
the deal was struck. 
Speaking about bows, you hold yours
Can you remember your first WASO differently to your colleagues. Why?
concert? There are two different ways of holding
My first concert with WASO was Mahler's the bass bow and two different bows. The
Sixth Symphony with Simone Young in 2006. French bow is held overhand like the cellos
I was seated next to the famous hammer and the German is held underhand. I play
blow which I can still feel pounding my back the German method. All orchestras in Vienna
to this day. Nothing like first impressions! and Germany only play this style. If you
We are playing that Symphony later this year turned up at the airport with a French bow,
with Asher Fisch and I plan to sit as far away immigration would consider it a weapon and
from the hammer as possible this time.  have it destroyed - just kidding!
Has anything odd ever happened to What do you feel makes a successful
you during a WASO performance?  performance?
I broke my bow! That may not sound There is a collective energy that is produced
amazing, but I’ve never heard of another when all the musicians on stage play with
bass player ever snapping their precious commitment and passion. The audience
stick simply by playing. Too much red cordial sense this and respond. For me, that’s what
I guess. That’s the great thing about live makes a successful performance.
performance though, you never know what
might happen.  What inspires you?
People inspire me. Whether they are
world famous soloists or someone in the
orchestra who does something memorable
to the music. A well placed timpani strike
or amazing flute cadenza - it doesn’t
matter. As long as there is awareness and
generosity in the execution. 

13
PROUD SPONSOR OF WASO
AND CATERING PARTNER
AT PERTH CONCERT HALL

WWW.HEYDERSHEARS.COM.AU

A NIGHT TO REMEMBER
COMO THE TREASURY

Make sure your night with the WA Symphony Orchestra is one to remember at COMO The Treasury.
Begin your evening with indulgent dining at Post, and after an inspiring concert experience come
back to our hotel to spend the night in our sophisticated surrounds.
Visit comohotels.com/thetreasury to learn more, or contact our reservations team by calling 08 6168 7899.
 ABOUT THE MUSIC

Lachlan Skipworth
1982

Spriritus
Dotted throughout our various cultural
histories, depictions of the wind are
imbued with a range of supernatural
connotations. For example, the Latin
word spiritus aligns the ideas of “breeze”
and “breath” with the deeper concepts
of “soul” and “life”. Then there are the
anemoi, the gods of the Four Winds
personified in Greek mythology. Similarly,
Indigenous Australian folklore tells of
a menacing spirit emerging from the
A timpani call heralds the arrival of six
vortex of a spiralling willy-willy. My own
monolithic cluster-chords which sweep
psychological and emotional response to
through menacingly before receding to
the winds of my native Perth informed
reveal a lighter texture of strings dancing
my orchestral work Spiritus, a series of
around melodies in the high woodwinds
episodes evoking the various shapes and
and solo horn. The violas and bassoon then
moods of the Fremantle Doctor, stormy
trace a path through interjections of cello
winter cold fronts, morning Easterlies, and
pizzicato and swirling scalic runs until
late-night zephyrs.
finally, two snare drums wind the tension
Initially, sounds of wind and breath to its fullest amid flurries of strings and
circulate through the orchestra before winds to take the work to its conclusion.
a trumpet motif drifts fleetingly over a Note by Lachlan Skipworth © 2017
slowly shifting harmonic background. A
WASO Composer in Residence Lachlan Skipworth is
long spiralling melody in the cor anglais supported by the Simon Lee Foundation
and solo cello takes us towards the
centre of the work, a nocturne in which a
gently chiming celesta floats above a low
woodwind figure.

Glossary
Motif - a short, distinctive melodic or rhythmic figure, often part of or derived from a theme.
Pizzicato - plucking, rather than bowing, the strings.

15
 ABOUT THE MUSIC

Peter Ilyich Tchaikovsky

(1840 - 1893)

Piano Concerto No.1 in B flat minor, Op.23

Allegro non troppo e molto maestoso –
Allegro con spirito
Andantino semplice – Prestissimo –
Andantino semplice
Allegro con fuoco
If it was fortuitous that Tchaikovsky
succeeded at his first attempt, writing
perhaps the ‘greatest piano concerto of
all time’, then it is remarkable that he
simultaneously created a new Russian
genre. The striking mix of lyricism and
virtuosity in his First Piano Concerto,
Op.23, which was written over six weeks
late in 1874, would later be emulated by
many Russian composers. The concerto
is not Tchaikovsky’s only youthful work to
find a permanent place in the repertoire –
Romeo and Juliet (1869, but later revised)
and Swan Lake (1876) are distinguished
inclusions – but it was the first to receive
an international premiere. The dedicatee of
the concerto, Hans von Bülow, performed
it in Boston, Massachusetts in 1875 to
positive reviews, yet one wonders if the
small band, consisting of only four first
violins, were a match for the music’s
potential. (A critic noted that, after a
missed entry of the trombones in the first
movement, von Bülow cried out ‘the brass
may go to hell!’) Rather, it is likely that the
potential of the new concerto was first
realised in a performance in Moscow by
Sergei Taneyev later that year, following an
apparently mediocre performance given by
Gustav Kross in St Petersburg.
It had been to Anton Rubinstein’s younger
brother, Nikolai – equally as gifted by all
accounts – that Tchaikovsky had turned
within days of the score’s completion,
seeking advice about piano composition
that only a professional could offer.
Instead, and quite notoriously, he savaged
the concerto, devastating its composer
with comments suggesting that, in all,
only a few pages could be salvaged and
that the remainder should be discarded.
There has been speculation ever since
over the reason for Rubinstein’s reaction
– ranging from jealousy to a tempestuous
personality – but the defiant young
Tchaikovsky remained true to his word,
publishing the work exactly as it stood.
Nikolai Rubinstein was soon to recant his
position, however: as well as conducting
the first Moscow performance with
Taneyev, he performed it often as soloist
in the years before his early death.

16
In hindsight, it may have been over the
demanding solo part that he had voiced
concerns, or about sections where piano
textures might be lost beneath the
orchestration. Similarly, it could have been
about structural matters that are still difficult
to explain today, chief of which is the
famous melody that begins the concerto
but which, inexplicably, never returns. In this
opening passage, Tchaikovsky eventually
relented to advice, replacing lightweight
arpeggios that had previously accompanied
the soaring melody with the now-famous
double-octave chords (revised version, 1889).
In terms of structure, it is the brisk, dotted
theme that quietly follows which is the real
first subject in this sonata-form movement.
And here, as if to indicate to the world the
ethnic authenticity of his music, Tchaikovsky
follows in the style of the newly formed
nationalist group of composers (the so-called
kuchka, or ‘Mighty Handful’) by using a
Ukrainian folksong, ‘Oy, kryatshe, kryatshe’.
The simple theme that opens the second
movement typifies Tchaikovsky’s innate
gift for melody, the solo flute conjuring
folk-like affinities. A central section –
originally marked Allegro vivace assai but
later escalated to Prestissimo, no doubt
capitalising on the concerto’s virtuosic
appeal – briefly quotes a café waltz, Il faut
s’amuser, danser et rire, well-known to the
composer’s circle of friends.
And it is to another Ukrainian folksong,
‘Vïdy, vïdy, Ivan’ku’, that Tchaikovsky turns
for the principal theme of the finale, its
dance-like cross-rhythms again evoking
national character. The broadly lyrical
melody that contrasts with this material
twice succeeds in holding back the
momentum, before the concerto arrives
at a seemingly inevitable conclusion: a
forceful octave cadenza traverses the
entire keyboard, and moves headlong
into an apotheosised statement of the
movement’s main lyrical theme. With the
pianist indefatigably leading the entire
orchestra with fortissimo treble chords, it
is a famous and satisfying ending. (And for
more than a few composers who followed,
one that proved irresistible to copy!)
Scott Davie © 2011/2013
First performance: 25 October 1875, Boston. Benjamin
Johnson Lang, conductor; Hans von Bülow, soloist.
First WASO performance: 14 April 1945. William
Cade, conductor; Marshall Sumner, soloist.
Most recent WASO performance: 9-10 March 2012.
Alexander Lazarev, conductor; Behzod Abduraimov, soloist.
Instrumentation: two flutes, two oboes, two
clarinets, two bassoons, four horns, two trumpets,
three trombones, timpani, strings.
YOU MAY ALSO ENJOY
BARTOK Piano Concerto No.3
featured in Stravinsky’s Firebird
Fri 2 & Sat 3 June

Glossary
Allegro vivace assai – very lively and fast
Arpeggio – notes of a chord played in succession
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.
Dotted rhythm – a pattern of alternating long and short notes
Fortissimo – very loud
Prestissimo – as fast as possible
Sonata form – in sonata form, in which the first movements of most symphonies of the Classical period are
structured, the main themes are introduced in the exposition; in the development section these themes are explored
according to key relationships; finally, the themes are restated and resolved in the recapitulation.

17
 ABOUT THE MUSIC

Jean Sibelius
(1865 - 1957)

Four Legends from the Kalevala

(Lemminkäinen Suite), Op.22
Lemminkäinen and the Maidens of Saari
The Swan of Tuonela
Lemminkäinen in Tuonela
Lemminkäinen’s Return
The Sibelius heard most frequently in live
performance and on radio is an orchestral
composer. It seems surprising, then, to find
him writing in 1893:
Music attains its fullest power only
The best known, The Swan of Tuonela, is
when it is motivated by poetic impulse.
a re-casting of the Building of the Boat’s
In other words, when words and music
overture, but all are infused with musical
blend. Then the vague atmosphere music
ideas originally devised for the spectacular
engenders becomes more defined and
adventures of the would-be opera’s hero,
things can be said that not even the most
Väinö. They are souvenirs of a period in
powerful can formulate.
Sibelius’ composing life when vivid and
Under the spell of Wagner’s music varied orchestral colour still meant a
dramas, the young Sibelius had decided great deal to him. Although his orchestral
to fulfil his ambition to create an opera on palette would become more restrained in
a grand scale, The Building of the Boat, the decades to come, he would always
from a legend in the Finnish national epic, hold these pieces in much affection.
the Kalevala. Sibelius was clearly fired by Indeed, towards the end of his life, Sibelius
the Wagnerian possibilities inherent in his remarked that the Legends were worthy to
proposed tale of a young Finnish hero, his stand as one of his symphonies.
amorous adventures, tests of bravery and
The pieces, first performed together in
journeys to the underworld. Following his
1896, concern themselves with the exploits
initial work on the opera, Sibelius visited
of Lemminkäinen, the most famous hero in
Bayreuth, and was overwhelmed by Parsifal
the Kalevala epic, and his journeys to the
and, even more so, by Tristan und Isolde.
enchanted island of Saari (where he sows
Sibelius wrestled with The Building of more than one wild oat) and to Tuonela,
the Boat for more than a year, but finally the land of the dead; his resurrection there,
gave up on the piece. So it was that four aided by his mother’s magic powers; and his
orchestral works – known collectively as the return home. Sibelius is interested primarily
Lemminkäinen Suite (and sometimes as Four in the atmosphere of the original stories,
Legends from the Kalevala) – emerged from and does not follow a detailed program.
the wreckage of the Boat.

18
The influence of Tristan und Isolde is most
clearly evident in the first two legends.
Lemminkäinen and the Maidens of Saari
opens with two gleaming chords, scored for
horns only, that seem to welcome us into
a landscape of legend. A dance-like theme
on the woodwind over a gentle, rustic string
accompaniment is followed by a mood of
passionate brooding. The main melodic
material develops an increasingly intense
energy; this is the most overtly operatic music
in the Legends, like a love duet without
singing. The movement now takes on the
character of a gradual crescendo, with the
rustic dance interwoven with sensuous
developments of Lemminkäinen’s love music.
The work ends quietly and expectantly,
sending the hero on to his next adventure.
Where the first Legend is quite lavishly
orchestrated, The Swan of Tuonela
represents Sibelius’ ability to achieve a
unique sound picture by a distinctive
treatment of relatively modest orchestral
resources. Tuonela is the land of death,
surrounded by black waters on which the
swan glides, singing. Trumpets, clarinets and
flutes are absent. There is a bass clarinet
where there was none in the first Legend.
But it is the cor anglais solo that dominates
everything here. The first and second violins
are frequently divided into four groups
each, which, great writer for strings that
he was, Sibelius employs to indelible effect.
Where other composers of this period
might use multiple string choirs to create an
impression of lusciousness, Sibelius evokes
something cold, ancient and complete.
Glossary
Moto perpetuo – ‘perpetual motion’: passage of music which consists of an apparently never-ending string of fast-
moving notes.
Music drama – term that refers to Wagner’s later operas in which he sought to integrate the musical, dramatic and
visual elements into a complete work of art. It was for these that he built the specially designed festival theatre in the
Bavarian town of Bayreuth.
Lemminkäinen in Tuonela is the most
macabre of the Kalevala episodes Sibelius
chose to illustrate. Setting out to kill the
swan, Lemminkäinen is himself killed, cut
into pieces, and thrown into the black river.
Lemminkäinen’s mother then combs the
river with a rake, gathers up the pieces of
her son’s body and magically sews them
back together.
The suite ends with Lemminkäinen’s
Return, the most vigorous of the four
pieces, and a moto perpetuo of great
drive and rhythmic energy.
Abridged from a note by Phillip Sametz © 2002
First performance: 13 April 1896. Orchestra of the
Helsinki Philharmonic Society, composer conducting.
First WASO performance: The first movement to be
performed by the WASO was ‘Lemminkaïnen’s Return’
on 2-3 July 1954 under Eugene Goossens. This is the
Orchestra’s first performance of the complete suite.
Most recent WASO performance: ‘The Swan of
Tuonela’ on 8-9 May 2015 conducted by Baldur
Brönnimann.
Instrumentation: two piccolos, two flutes, two
oboes, cor anglais, two clarinets, bass clarinet,
two bassoons, four horns, three trumpets, three
trombones, tuba, timpani, percussion, harp, strings.
YOU MAY ALSO ENJOY
SIBELIUS Symphony No.2
featured in Asher Fisch Conducts Sibelius
Fri 21 & Sat 22 April
19
 WASO PHIL ANTHROPY

The impact of supporting your Orchestra is powerful and far-reaching.

Thank you for your ongoing support!

This year we invite you to become, or continue as, a Patron by making a donation to WASO
in 2017. WASO Patrons enjoy opportunities to experience the Orchestra from different
perspectives – not just from the auditorium – through invitations to exclusive Patron-only
events, getting to know our musicians and receiving regular updates.
If you wish to become a Patron, renew or increase your gift, please contact Sarah Tompkin on
9326 0017 or tompkins@waso.com.au. It is also quick and easy to make a donation online at
waso.com.au or you can make a donation at the Box Office with your ticket purchases.
All donations over $2 are fully tax deductible.

20
 OUR SUPPORTERS

Philanthropic partnerships come in all shapes and sizes

Whatever the shape or size, you are helping WASO make a difference and we thank you
for your support. WASO’s philanthropy program continues to grow, supporting our vision
now and into the future. It is an exciting time be a part of this community, to meet our
musicians and to know you have helped your Orchestra to touch souls and enrich lives
through music. Together we can do amazing things.
Symphony Circle Estates Reach Out
Recognising Patrons who have WASO is extremely grateful Supporting our Education
made a provision in their Will for the bequests received & Community Engagement
to the Orchestra from Estates programs
Ms Davilia Bleckly Rachel Mabel Chapman Instrument purchases
Mr John Bonny Mrs Roslyn Warrick John Albright & Susan Lorimer –
Dr G Campbell-Evans Judy Sienkiewicz purchase of the EChO Double Bass
Deirdre Carlin Anonymous (3) Jean & Peter Stokes - Cello & Tuba
Anita & James Clayton
Dr Michael Flacks Excellence Circle Jean Arkley
Judith Gedero Supporting excellence across Ron & Penny Crittall
Robyn Glindemann all we do Robyn Glindemann
Gwenyth Greenwood Jean Arkley Barrie & Jude Lepley
The Guy Family Bob & Gay Branchi Mrs Morrell
Emi & Warren Jones Janet Holmes à Court AC Anonymous (1)
Rachael Kirk & Tim White Dr Patricia Kailis
Paul Lee Torsten & Mona Ketelsen Trusts & Foundations
Wolfgang Lehmkuhl Rod & Margaret Marston Crown Resorts Foundation &
Deborah Marsh Michael Utsler Packer Family Foundation
Tosi Nottage in memory of Leanne & Sam Walsh The James Galvin Foundation
Edgar Nottage Simon Lee Foundation
Nigel & Dr Heather Rogers The WASO Song Book The Stan Perron Charitable
Gavin Toovey & Jaehan Lee Foundation
We are grateful to those
Sheila Wileman
who have supported new
Sagitte Yom-Tov Fund
Anonymous (31)
works commissioned for the Crescendo Giving Circle
Orchestra by WASO AOT Consulting Pty Ltd
Endowment Fund for Janet Holmes à Court AC Kaylene Cousins
Peter Dawson Euroz Charitable Foundation
the Orchestra Geoff Stearn Madeleine King MP, Federal
This fund includes major Member for Brand
donations and bequests Rosalind Lilley
Tom & Jean Arkley Pamela Pitt
Janet Holmes à Court AC Valerie Vicich
Minderoo Foundation The Spivakovsky Jubilee
Sagitte Yom-Tov Fund

If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact
Sarah Tompkin, Fundraising and Philanthropy Manager, on 9326 0017 or email tompkins@waso.com.au.
WASO Philanthropy brochures are available from the WASO Programs & Information Desk located in the
main foyer of Perth Concert Hall, or you can visit waso.com.au.
All donations over $2 are fully tax deductible.

21
 OUR SUPPORTERS

Annual Giving
We are proud to acknowledge the following Patrons for their generous contribution to
WASO in the last twelve months through our Annual Giving program.
Principal Conductor’s Virtuoso Patron Betty Barker
Circle Gifts $2,500 - $4,999 Noelle Beasley
Prof Fred & Mrs Margaret Affleck Michael & Nadia Berkeley-Hill
Gifts $20,000+
Neil Archibald & Alan R Dodge AM Kevin Blake
Janet Holmes à Court AC
Tony & Mary Beeley Matthew J C Blampey
Patricia New
David & Suzanne Biddles Namy Bodinner
Impresario Patron Peter & Marjorie Bird Susy Bogle
Alan & Anne Blanckensee Peter & Eve Boland
Gifts $10,000 - $19,999
Sally Burton Dr & Mrs P Breidahl
John Albright & Susan Lorimer
Dr G Campbell-Evans Jean Brodie-Hall AM
Gay & Bob Branchi
Prof Jonathan Carapetis & James & Gay Brown
Gavin Bunning
Prof Sue Skull Marilyn & Ian Burton
Peter & Lesley Daries (Orchestral
Chair Partners - Tutti Viola) Mark Coughlan & Dr Pei-Yin Hsu Dr Anne Chester
Tony & Gwenyth Lennon Stephen Davis & Linda Savage Peter & Sue Clifton
Margaret & Rod Marston Richard Farago David Cooke
Joshua & Pamela Pitt Robyn Glindemann Arthur & Nerina Coopes
Trish Williams – Strategic Interactions Annette & Vincent Goerke Hon June Craig AM
Ron & Sue Wooller (Orchestral Brian & Romola Haggerty Gay & John Cruickshank
Chair Partners - Principal Bassoon) Sue Hovell Lesley & Peter Davies
Sylvia & Wally Hyams Rai & Erika Dolinschek
Maestro Patron Eleanor John Julian Dowse
Gifts $5,000 - $9,999 Michael & Dale Kitney Bev East
Jean Arkley in memory of Mrs Morrell Megan Edwards
Tom Arkley Jane & Jock Morrison Lorraine Ellard
Bill Bloking Anne Nolan Dane Etheridge & Brooke Fowles
Dr Roland & Therese Brand Tim Pavy & Cathy Cole Annette Finn
Ian & Elizabeth Constable Dr Lance Risbey & P & J Fisher
Moira & John Dobson Ms Elizabeth Sachse Don & Marie Forrest
Tim & Lexie Elliott Melanie & Paul Shannon E & EA Fraunschiel
Bridget Faye AM Gail & Tony Sutherland Dr Andrew Gardner
Gilbert George Gene Tilbrook Roger & Ann Gillbanks
Warwick Hemsley & Melissa Parke M & H Tuite Graham & Barbara Goulden
Dr Patricia Kailis Stan & Valerie Vicich Jannette Gray
Kelly Family Ian Watson Deidre Greenfeld
Alison Kennedy Joyce Westrip OAM Grussgott Family Trust
Keith & Gaye Kessell Andrew & Marie Yuncken Richard B Hammond
Dr Ronny Low & Anonymous (2) Pauline & Peter Handford
Dr Emma Richardson Dr Penny Herbert in memory of
Bryant & Louise Macfie Principal Patron Dunstan Herbert
Robert May Gifts $1,000 - $2,499 Jacoba Hohnen & Stuart Cooksey
Paula & John Phillips Ron & Sue Adams Michael Hollingdale
Peter & Jean Stokes Caroline Allen & Sandy Dunn Helen Hollingshead
Richard Tarala & Lyn Beazley AO Prue Ashurst in memory of John & Katrina Hopkins
Ros Thomson Eoin Cameron J & S Huan
Alan Whitham Margaret Atkins Jim & Freda Irenic
Anonymous (4) Dan & Gail Bam Cynthia Jee

22
 OUR SUPPORTERS
Lilian & Roger Jennings
Anthony Kane in memory of
Jane Leahy-Kane
Bill Kean
Noelle & Anthony Keller AM
Stephanie & John Kobelke
In memory of Eileen Hayes
Irving Lane
Natasha Langlands
Meg Lewis
Rosalind Lilley
Teresa & Jemima Loveland
Graham & Muriel Mahony
Gregg & Sue Marshman
Betty & Con Michael AO
Mrs Carolyn Milton-Smith in
loving memory of Emeritus
Prof John Milton-Smith
Hon Justice S R Moncrieff
Valmae & Geoff Morris
Val & Barry Neubecker
Delys & Alan Newman
Dr P J Noble
John Overton
Ron & Philippa Packer
Michael & Lesley Page
Athena Paton
Rosemary Peek
Charmian Phillips in memory of
Colin Craft
Pamela Platt
Thomas & Diana Potter
Alison & John Price
Barry & Dot Price
Dr Leon Prindiville
Chester Reeve
Joan Reyland
John & Alison Rigg
Leigh Robinson
Nigel & Dr Heather Rogers
Gerry & Maurice Rousset OAM
Roger Sandercock
Dr R & J Schwenger
Margaret & Roger Seares
Eve Shannon-Cullity
Glenice Shephard
Julian & Noreen Sher
Laurel & Ross Smith
PAI Smith & DA Harry
Michael Snell & Vicki Stewart
Geoff and Christine Soutar
Ruth Thomas
Gavin Toovey & Jaehan Lee
Mary Townsend
James & Rosemary Trotter
Dr Robert Turnbull
Maggie Venerys
Adrienne & Max Walters
Diana Warnock
Watering Concepts
Dai and Anne Williams
Ian Williams AO & Jean Williams
Jim & Gill Williams
Margaret Wilson
Judith Wilton & David Turner
Hilary & Peter Winterton AM
Anonymous (26)
Tutti Patron
Gifts $500 - $999
Geoff & Joan Airey
Ian Apps
Catherine Bagster
Bernard & Jackie Barnwell
Shirley Barraclough
Mrs Berwine Barrett-Lennard
Colin Beckett
Pamela M Bennet
John & Sue Bird in memory of
Penny Bird
Dermot & Jennifer Blackweir
Elaine Bonds
Diane & Ron Bowyer
Alison Bunker & Myles Harmer
Lucia Buralli
Ann Butcher & Dean R Kubank
Michelle Candy
Nanette Carnachan
Claire Chambers & Dr Andrea
Shoebridge
Fred & Angela Chaney
Dr Sarah Cherian
Lyn & Harvey Coates AO
Agatha & Alex Cohen AO
Helen Cook
Brian Cresswell
Gina & Neil Davidson
Professor Wayne Iwan
Lee Davies FRSB
Jop & Hanneke Delfos
Judy Dolan
Simon & Pamela Douglas
Mrs G Ewen
Maxine & Bill Farrell AM
Joan Gagliardi
Jennifer & Stephen Gardiner
George Gavranic
Elaine Gimson
Isobel Glencross
Pitsamai & Kevin Green
David & Valerie Gulland
Alan Harvey & Dr Paulien de Boer
Eric & Elizabeth Heenan
John Hill
Christopher, Julie, Rosemary &
Bronwyn Hudson
Mr John Hylton-Davies JP, VJ
Peter Ingram
Peter S Jones
Warren & Emi Jones
B M Kent
Dorothy Kingston
Nelly Kleyn
Ulrich & Gloria Kunzmann
John Kusinski & Annie Motherway
Trevor & Ane Marie Lacy
Louis & Miriam Landau
Martin & Ruth Levit
Anne Lewis
Megan Lowe
Ken & Yoko Lucas
Mary Ellen in memory of Kerensa
Geoff Massey
Jennifer & Arthur McComb
James Meneghello & Mabel Chew
S B Monger-Hay
André & Barbara Morkel
Dr Peter Moss
Phuong Nguyen
Marianne Nilsson
Peter O’Sullivan
Dr Walter Ong & Graeme Marshall
Marjan Oxley
Graham & Hildegarde Pennefather
Bev Penny
Adrian & Ruth Phelps
Alpha & Richard Pilpel OAM
Ann Rawlinson
James & Nicola Ridsdill-Smith
Paul Roberts
Chris & Serge Rtshiladze
Her Excellency the Hon.
Kerry Sanderson, AC
23
 OUR SUPPORTERS

Carole Sexton Patricia Turner Violette William

The Sherwood Family S R Vogt Janet Williams
Paul & Margaret Skerritt Margaret Wallace Dr Robyn Yeo & Ms Cyn Johnson
Hendrik Smit John & Nita Walshe Chris Ziatis
Dr L Sparrow & Family Anne Watson Anonymous (26)
Peggy & Tom Stacy Joy Wearne
Eleanor Steinhardt Patricia Weston Friend
In Memoriam of Dr Chris & Mrs Vimala Whitaker Gifts $40 - $499
Mr Andrew David Stewart B M Wilcox Thank you to all our Friends
Lisa & Andrew Telford Geoff Wilkinson who support WASO through
Ruth E Thorn

24
BOARD OF DIRECTORS COMMUNITY ENGAGEMENT PHILANTHROPY
Janet Holmes à Court AC Cassandra Lake Alecia Benzie
Chairman Executive Manager, Executive Manager, Philanthropy
Anne Nolan Community Engagement Sarah Tompkin
Mark Coughlan Fiona Taylor Planned Giving Manager
Education Coordinator Megan Lo Surdo
Keith Kessell
Lily Protter Philanthropy & Events Coordinator
Barrie Lepley Community Engagement Assistant
Deputy Chairman PERTH CONCERT HALL
Paul Shannon BUSINESS SERVICES Brendon Ellmer
Julian Sher Peter Freemantle General Manager
Michael Utsler
Chief Financial Officer Lorraine Rice
Andrew Chew Deputy General Manager
EXECUTIVE Systems Administrator Brad Matthews
Alex Spartalis Operations Manager
Craig Whitehead
Chief Executive IT Support Penelope Briffa
Angela Miller Events Manager
Anthony Pickburn
Executive Manager, Accountant Paul Richardson
Human Resources Presentations Coordinator
Sushila Bhudia
Narelle Coghill Accounts Officer Bruce Gaw
Human Resources Assistant Maintenance Officer
Renu Kara
Julie Read Accounts Assistant Nancy Hackett
Payroll Administrator Marketing Manager
CORPORATE DEVELOPMENT Ryan Sandilands
ARTISTIC PLANNING Marina Woodhouse Marketing Assistant
Evan Kennea Executive Manager, Sarah Salleo
Executive Manager, Corporate Development Reception & Administration
Artistic Planning Jamie Parkin Josie Aitchison
Alan Tyrrell Corporate Partnerships Manager Tim Chandler
Program Manager Ginny Luff Vanessa Woolley
Natalie De Biasi Corporate Partnerships & Events Ticketing Client Account Managers
Program Coordinator Coordinator
Eleanor Aitchison
ORCHESTRAL MANAGEMENT MARKETING Alana Arnold
Keith McGowan Marc Missiaen Cheryl Butler
Executive Manager, Executive Manager, Marketing
Leticia Cannell
Orchestral Management Kirsty Chisholm
Marketing Manager Mary-Louise Carbone
Jenna Costello
Orchestral Operations Manager Luke Anderson Helen Gortmans
David Cotgreave Digital Marketing Manager Emily Kennedy
Production & Technical Manager Luke Pownall Talei Louie
Alistair Cox Public Relations Manager Rebekah Ryan
Orchestra Manager Cliona Hayes Kaitlin Tinker
Marketing Coordinator
Breanna Evangelista Beverley Trolio
Orchestral Coordinator Imogen Arnold Customer Service and
Graphic Designer Sales Representatives
Wee Ming Khoo
Music Librarian

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25
 2017 CORPORATE PARTNERS
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PARTNERS OF EXCELLENCE

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The West Australian Symphony Orchestra is
assisted by the Australian Government through
the Australia Council, its arts funding and
advisory body.

To share in our vision and discuss the many opportunities available through corporate partnerships please contact
Corporate Development on 08 9326 0004

26
Proud sponsor of
west australian
symphony
orchestra
 ASHER FISCH
conducts
SIBELIUS

MORNING SYMPHONY SERIES

THURS 20 APR 11AM

MACA LIMITED CL ASSICS SERIES

FRI 21 & SAT 22 APR 7.30PM

Perth Concert Hall
MOZART Symphony No.29 Asher Fisch conductor
STRAVINSKY Violin Concerto Laurence Jackson violin
SIBELIUS Symphony No.2

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