Star Wars and Beyond7.30pm, Fri 4 May | 2.00pm & 7.30pm, Sat 5 May 2012Perth Concert Hall

Contempo SeriesERNST & YOUNG PRESENTS

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ERNST & YOUNG PRESENTS

Suitable for 6 to 13 year olds. *Transaction fees may apply.

Tickets $20* Warwick Potter, conductorPhil Doncon, artist (pictured)

WASO is joined on stage by artist Phil Doncon painting his interpretations of popular classics.

3pm, Sun 22 JulyPerth Concert Hall

BOOK NOW WASO 9326 0000 BOCS 9484 1133

Family Concer t

ERNST & YOUNG PRESENTS

*Transaction fees may apply.

BOOK NOW WASO 9326 0000 BOCS 9484 1133

Tickets from $50*

WASO joins vocal phenomenon, Rajaton, to perform ABBA hits Dancing Queen, Mamma Mia, Waterloo and many more!

7.30pm, Fri 7 & Sat 8 Sept | Perth Concert Hall

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ProgramCONTEMPO sEriEs

Ernst & Young Presents

Star Wars and BeyondJOHN WiLLiAMs Olympic FanfareJOHN WiLLiAMs Jaws – suite: The shark ThemeJOHN WiLLiAMs arr. BELL Lost in Space – suiteJOHN WiLLiAMs Jurassic Park: ThemeJOHN WiLLiAMs Memoirs of a Geisha: sayuri’s ThemeJOHN WiLLiAMs JFK – suite: ThemeJOHN WiLLiAMs Harry Potter and the Sorcerer’s Stone – suite: Hedwig’s ThemeJOHN WiLLiAMs Far and Away – suiteJOHN WiLLiAMs Raiders of the Lost Ark: raider’s March

interval

JOHN WiLLiAMs E.T.: Adventures on EarthJOHN WiLLiAMs Close Encounters of the Third Kind: ExcerptsJOHN WiLLiAMs Schindler’s List: ThemeJOHN WiLLiAMs Star Wars: The Phantom Menace – suite: Duel of the FatesJOHN WiLLiAMs Star Wars – suite: Princess Leia’s ThemeJOHN WiLLiAMs Star Wars – suite: imperial MarchJOHN WiLLiAMs Star Wars – suite: Throne room and End Title

Anthony Inglis, conductor & presenter

Presented by arrangement with Raymond Gubbay Ltd.

Darth Vader and the 501st Legion are representatives of the 501st Terror Australis Garrison who operate to raise funds for charities supporting children in need.

Free Concert ProgramsPick up your free concert program from the Programs and information Desk, or download them from waso.com.au. As part of our ongoing commitment to reducing our environmental footprint we would like to encourage you to share your program with a friend.

WASO Recordings Experience WAsO in your own home! A variety of WAsO CDs and DVDs are available for purchase at the Encore Gift shop in the foyer tonight.

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At the concert

Connect with WASO

Watch, Listen, Learn

Many WAsO performances are recorded by ABC Classic FM for delayed broadcast. For further details please refer to limelight magazine or at www.abc.net.au/classic

Tune in to 720 ABC Perth for breakfast on Friday mornings when Prue Ashurst joins Eoin Cameron to provide the latest on classical music and learn more about WAsO’s upcoming concerts.

WASO Podcasts Go behind the scenes and deeper into the music. Listen to our podcasts at at waso.com.au

PlaylistsListen to the complete playlist for our Masters, Classics, Morning symphony and Chamber concerts at waso.com.au

WASO WebcastsWAsO will be streaming five concerts live and on demand in 2012, thanks to iiNet. Visit waso.com.au to find out more.

YouTubesee interviews and behind-the-scenes action at www.youtube.com/WestAustsymOrchestra

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Cough Lozenges Free cough lozenges are available from the WAsO Customer service Desk in the foyer before each performance and at the interval.

First Aid There are st. John Ambulance officers present at every concert so please speak to them if you require any first aid assistance.

Beverages Foyer bars are open for drinks and coffee two hours before, during interval and after each WAsO performance. To save time we recommend you pre-order your interval drinks.

Concert Partner

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Grammy nominated Anthony inglis, the artist who it is said has featured more times at London’s royal Albert Hall than anyone else in the building’s history, has been described in the UK press as “one of Britain’s most popular conductors” (Manchester Evening News). He leads a busy international career, appearing with some of the greatest orchestras in concert halls from Australia to scotland via Japan and The East. For 15 years he was well-known around the world as the conductor of Classical Spectacular and he is currently Music Director of The National symphony Orchestra in London and the Music Consultant/supervisor for Phantom of The Opera at Her Majesty’s Theatre. He returns every year to Australia where he has a close association with the orchestras.

Mr. inglis was educated on a Music scholarship at Marlborough College, and at the royal College of Music where he won many conducting prizes. During his college years he supplemented his student grant conducting West End shows and being on the staff for two of Ken russell’s composer films.

Afterwards he began his career with European orchestras, appearing on BBC Television with the Ulster Orchestra, and making videos with the Philharmonia Orchestra and The Netherlands radio symphony Orchestra. He has also conducted six royal concerts. He was Musical Director and conductor of the Bournemouth symphony Orchestra and Chorus and massed bands of the Coldstream, scots and irish Guards when HM The Queen named the Queen Elizabeth liner in 2010. in 2011 he appeared in the film Sherlock Holmes: A Game of Shadows and musically supervised and conducted the 25th anniversary concert of Phantom of The Opera at The royal Albert Hall which is now available on DVD. The final performance was broadcast live to cinemas around the world.

His studio, TV and concert recordings have been broadcast in the UK, Australia, scandinavia, Europe and The Far East and he has made recent DVD recordings with the Melbourne symphony Orchestra, and two with Katherine Jenkins and the National symphony plus CD recordings with various orchestras around the world. in 2005 he conducted the royal Philharmonic at the largest regular live TV show in Europe called Wetten Dass.

He lives by the banks of the river Thames in Kingston surrey, with his wife and three children.

www.anthonyinglis.com

Anthony InglisConductor & Presenter

ViolinMargaret Blades*Assoc ConcertmasterSemra Lee Assistant ConcertmasterGraham Pyatt A/Principal 1st ViolinJohn Ford Principal 2nd ViolinZak RowntreeAssoc Principal 2nd Violinsarah BlackmanFleur Challenstephanie DeanBeth Hebertsara Herriman^

shaun Lee-Chen*Akiko MiyazawaLucas O’Brien^

Anna O’HaganMelanie PearnKen PeelerBrendon richardsLouise sandercockJolanta schenkEllie shalleyKathryn shinnick^

Jacek slawomirskiBao Di TangCerys Toobysusannah Williams^

rebecca WhiteDavid Yeh

ViolaGiovanni Pasini Berian Evans Kierstan ArkleysmithNik BabicAlex BroganKatherine DrakeAlison Hallrachael KirkAllan McLeanHelen Tuckey

CelloRod McGrath Louise McKayshigeru KomatsuOliver McAslan Nicholas MetcalfeFotis skordasXiao Le Wu

Double BassJoan Wright Elizabeth Browning^

Christine reitzensteinLouise rossAndrew TaitPhillip Waldron

FluteAndrew Nicholson Mary-Anne Blades Michael Waye Principal Piccolo

OboeLeanne GloverA/PrincipalBenjamin OpieA/Assoc PrincipalElizabeth CheeA/Principal Cor Anglais

ClarinetAllan Meyer Lorna CookAlexander Millier Principal Bass ClarinetAlessandrino Property Group Chair of Principal Bass Clarinet

BassoonJane Kircher-Lindner Adam Mikulicz

Oscar Garrido De La RosaPrincipal Contrabassoon

HornDavid Evans Robert Gladstones Principal 3rdJenna Breen Doree Dixon^

Francesco Lo surdorachel silverWendy Tait^

TrumpetMark Fitzpatrick^

Evan Cromie Jenny Coleman^

Tim Keenihan^

Peter Miller

TromboneJoshua Davis David RobinsA/Assoc PrincipalPhilip Holdsworth Principal Bass TromboneDaniel riek^

TubaCameron Brook

TimpaniAlex Timcke

PercussionTroy GreatzA/Principalrobyn Gray^

rebecca Lagos^

Paul Tanner^

Tim White

HarpYinuo Mu^

KeyboardsGraeme Gilling^

On Stage Today

PrincipalAssociate PrincipalGuest Musician^

* Instruments used by these musicians are on loan from Janet Holmes á Court AC.

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Program NotesWhen steven spielberg heard John Williams recording some music for his magical fantasy E.T.: The Extra-Terrestrial (1982), he was so impressed that he invited Williams to play the music to his own liking, and offered to re-edit the film to match the music. The sequence, which follows E.T.’s flight from his government captors to the rescue spaceship, is celebrated as the Adventures on Earth cue.

The annals of cinema history contain few greater expressions of a director’s esteem for a screen composer. Max steiner, sergei Prokofiev and Bernard Herrmann were notable as beneficiaries of similar gestures from directors John Ford, sergei Eisenstein and Orson Welles for their work on The Informer (1935), Alexander Nevsky (1938) and Citizen Kane (1941), respectively.

This careful selection of items from the vast range of Williams’ prodigious output pays tribute to a man who has provided inspiring musical accompaniment to some of the most popular films of all time, and whose name has been linked to those of steven spielberg and George Lucas as his main collaborators, and to richard strauss, richard Wagner, sergei Prokofiev and igor stravinsky as his main musical influences.

The ‘Wagner connection’ refers largely to Williams’ use of leitmotiv, the application of musical ‘tags’ to recurring ideas, attitudes, characters, objects or places in an operatic, symphonic or, now, cinematic narrative. “Max steiner, a pioneer of leitmotiv in film music, happily acknowledged his debt,

saying, ‘if Wagner had lived in this century, he would have been the Number One film composer’. From this concert, it’s easy to see how Williams deserves an honoured place in the Wagner/ steiner tradition.

Olympic Fanfare (1984) Williams, the master of screen fanfares, was the obvious home-town choice to compose the fanfare for the Los Angeles Olympic Games. it’s in strictly-beaten common time, befitting its purpose as music to which athletes can salute, march and punch the air.

Jaws – Suite: The Shark Theme Between the two notes of the opening theme of this blockbuster film about a massive shark lies a semitone, the smallest interval in Western classical music. The theme has become the simplest musical expression of the binary relationship between good and evil, man and nature, modernity and tradition. it appears whenever the shark is ready to strike.

Lost in Space – Suite‘Johnny’ Williams, who led a jazz ensemble in the 1960s, is credited as composer of the score for the first series, and the themes for the first and third series, of this pioneering television space adventure. it illustrates the distance Williams and others have travelled in depicting the outer limits of our universe, from creepy and often comical electronic effects to the lush, classically-derived orchestral scores of today. Both opening themes are incorporated in this suite.

Jurassic Park: Theme On its release, Jurassic Park became the most financially successful film ever, depriving E.T. of its record, and is still among the top twenty earners. The exhilarating theme appears as sam Neill’s paleontologist goggles in awe at the mighty Brachiosaurus on a Caribbean island inhabited by dinosaurs cloned by scientists. This is preceded in the film by a triumphant but menacing theme which becomes associated with the more malign species on the island. in this suite, the themes are played in reverse order.

Memoirs of a Geisha: Sayuri’s ThemeMarred for English-speaking audiences by the cast’s variable diction and for Asian audiences by the casting of Chinese actors in Japanese roles, this film of Arthur Golden’s novel won praise for Australian Dion Beebe’s cinematography and Williams’ evocative score. The theme follows the child Chiyo’s journey to slavery in Kyoto, through her transformation into the celebrated geisha sayuri and, in its saddest form, as sayuri contemplates death.

JFK – Suite: Theme The second of Williams’ three scores for Oliver stone, JFK dramatises Jim Garrison’s investigations into the assassination of John F. Kennedy in 1963. The theme appears on trumpet accompanied by snare drums, on solo horn in the beautiful elegy for the Arlington Cemetery scene, and in the Motorcade sequence, beginning with warnings from bass clarinet and horns, lower-register piano rumblings, martial trumpets, restless snares and swirling strings in crescendo, eventually subsiding into lone snare figures.

Harry Potter and the Sorcerer’s Stone – Suite: Hedwig’s Theme Williams scored the first three of the seven

movie versions of J.K. rowling’s successful Harry Potter novels. ‘Hedwig’s Theme’ opens the first, played on the celeste. it’s the only leitmotiv that continues throughout the movie series. Although Hedwig is Harry’s magnificent snowy owl, this motif most often refers to Harry himself.

Far and Away: Suite Far and Away made a moderate impact at the box office, despite the presence of Tom Cruise and Nicole Kidman playing, respectively, the poor irish crofter and his landlord’s runaway daughter. Williams alternates two levels of ‘irishness’ in his score. The first, played on the soundtrack by The Chieftans (The Fighting Donnellys and Blowing off steam), uses traditional instruments, and the other, more orchestral, setting retains Celtic tonalities, especially in the main theme, introduced in the cue ‘County Galway, 1892’ and reprised in the second half of ‘Joseph and shannon’, all of which appear in this suite.

Raiders of the Lost Ark: Raider’s March Producer George Lucas and director spielberg delved into their childhood memories of cinema matinees and television action shows to deliver a film about an archaeologist’s quest for the mythical lost Ark of the Covenant. The thrilling – and very funny – desert chase scenes must rank among the greatest of all action sequences. Williams’ use of leitmotiv is prominent, including the striking march, with its fanfare theme for indiana Jones.

E.T.: Adventures on Earth Williams has described how, when recording the music for the end reel of the film, synchronising the cues proved elusive despite repeated takes with the orchestra. spielberg’s decision to edit the film around

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the music lent it a kind of rhythm, or ‘rubato’: ‘The last ten minutes, as it builds to the mothership lifting off, gains this kind of rhythmic cohesion because it was edited to the discipline of the music’.

Close Encounters of the Third Kind: Excerpts This story – dubbed ‘E.T. for grown-ups’ – pits scientists against government agents who deny that aliens have been abducting humans for years. The scientists believe the aliens seek contact by sending a five-note musical signal. in a sequence which celebrates the universal power of music, the scientists sound the signal on a synthesizer as the alien scout ships appear. The ships reply and the musical conversation gets more sophisticated as if, in the words of a scientist, ‘they’re trying to teach us a basic tonal vocabulary’. The aliens are represented by one of the simplest scales available, the pentatonic, whereas the disbelieving humans are depicted by high strings at chromatic intervals and deep rumblings in the lower strings and winds.

Schindler’s List: Theme The dramatisation of Oscar schindler’s rescue of more than a thousand Jews from the Holocaust is unforgettable; painful to watch, but impossible to ignore. The main theme is mournful and graceful, first appearing in the scenes of the establishment of the Krakow ghetto.

Star Wars: The Phantom Menace – Suite: Duel of the Fates A long time ago, in a galaxy far, far away . . . With these words began a new era in cinema, with fans waiting 28 years for the six-episode star Wars saga to end (or pause) its run. The series also returned the full orchestral score, performed by none other than the London

symphony Orchestra, to its rightful place in adventure movies.

This suite includes themes which first appeared in Episode i, the fourth in order of production. ‘Duel of the Fates’, representing the clash between the Dark and the Light sides, features two minor mode ostinati and – in the film and the soundtrack – choral declamations from an old Celtic poem.

Star Wars – Suite: Princess Leia’s Theme This is the leitmotiv for the Princess Leia Organa, a principal protagonist of the original trilogy, appearing first in Episode iV when she is captured by Darth Vader. in story sequence, the theme’s first appearance is soon after Leia’s birth, when she is left in the care of Bail Organa and his wife (Episode iii).

Star Wars – Suite: Imperial March This is the leitmotiv for the bad guys. it features a relentless martial rhythm and dark, harsh tonality. in production chronology, the theme first appears in Episode V, in effect leaving Vader without a theme until his second movie. in story terms, a few notes of the theme are first heard during Yoda’s conversation with Obi-Wan towards the end of Episode i.

Star Wars – Suite: The Throne Room and End Title Also called The Force theme, this striking leitmotiv appears in all episodes, beginning (in production chronology) with Episode iV, when Luke gazes on the setting of Tatooine’s two moons. That binary sunset also appears with the theme in Episode iii, when the baby Luke is delivered to his family.

Rod Webb © 2011

Private Giving ProgramHow your donation supports the Orchestra Becoming a Patron of the West Australian symphony Orchestra is a meaningful way in which you can help ensure the continued strength of our Orchestra. WAsO’s community of Patrons individually make financial contributions that have a genuine impact on the scope and quality of performances and activities that the Orchestra are able to provide to the Western Australian community. As music lovers, they contribute to sharing the joy of music with current and future generations and help ensure Western Australians continue to have a world class symphony Orchestra based in their state.

Contributions made through WAsO’s Philanthropy programs support all aspects of the Orchestra’s activities; including performances of all types, community and education programs and special events.

Donations help support:

• FreepublicperformancesbytheOrchestra,includingtheSymphonyintheCityconcert, which attracts approximately 20,000 people every year. • Threewonderfulfamilyconcertseachyearenjoyedbyhundredsofchildren.Manymorechildren delight in our EChO Cushion Concerts across the metro area, from Joondalup to Fremantle. • ThetouringofWASOensemblesintoschoolsandcommunitiesacrossWesternAustralia– enriching the lives of thousands of young Western Australians in all corners of the state. • AWASOchamberensembleperformingintheStarlightTheatreatPrincessMargaret Children’s Hospital six times a year bringing moments of joy to the lives of very ill children, their parents and the staff.

Please help us share the joy of music and become more deeply involved in the life of WAsO. To learn more or to become a patron, please call Alecia Benzie, WAsO’s Executive Manager, Private Giving, on 9326 0020 or email benziea@waso.com.au. Donations are fully tax deductible.

Every gift makes a difference.

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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.

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To share in our vision and discuss the many opportunities extended through corporate partnerships please contact Melanie Roosendaal, Executive Manager Corporate Development on 08 9326 0088 or roosendaalm@waso.com.au