ALCOHOL.THINK AGAIN MASTERS SERIESFri 8 & Sat 9 May 7.30pmPerth Concert Hall

PROGRAM

Welcome

With art music being called “classical”, one often forgets that every piece was once new. In fact, there was a time (roughly before the early 19th century) when most of the music that was performed was new. Hearing a piece for the first time is an essential experience in music. And tonight, we will be premiering a new piece by one of the world’s foremost composers.

Mark-Anthony Turnage has written many works for orchestra, often with a particular flair for the darker and jazzier aspects of the instruments. His “first” trumpet concerto From the Wreckage is a masterpiece and a firm part of the trumpet repertoire, which is reason enough to be really curious about the world premiere of Håkan (his “second” concerto for trumpet) here in Australia.

Håkan, of course, is Håkan Hardenberger, the most important trumpet player over the last decades, and tonight’s soloist. Much of the significant repertoire for trumpet is down to Håkan Hardenberger’s commissioning initiative and restless curiosity. Mark-Anthony Turnage is just one of the many to get inspired by his artistry and musicianship.

Just as for Turnage, the orchestra was also Sibelius’ medium, but in a very different sense. If Mark’s music is urban and often edgy and influenced by pop culture, Sibelius composed inspired by silence and the wide spaces of the north.

He relentlessly worked on his Fifth symphony until he arrived at the final 1919 version - which makes a single, glorious arch to the final, granitic chords.

The unsentimental nature of Sibelius’ Fifth echoes in Turnage’s, as well as in Vaughan Williams’ music. Something timeless and very contemporary. I hope the new trumpet concerto can help people who have heard the Sibelius or the Vaughan Williams works before, to find back to that first hearing - and to that experience that people a hundred years ago had when listening to this music for the first time. It’s this raw and unexpected experience that makes live music great.

Baldur Brönnimann Conductor

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Pictures at an exhibitionFri 5 & Sat 6 June 7.30pm Perth concert Hall

The Third Violin concerto is Mozart at his most elegant and graceful. This exquisite work is followed by Mussorgsky’s much-loved Pictures at an Exhibition, full of life and colour.

DVORAK Serenade in E major for strings MOZART Violin concerto No.3 MUSSORGSKY orch. RAVEL Pictures at an Exhibition

Eugene Tzigane conductor (pictured) Paul Wright violin

tickets from $30*

MORNING SYMPHONY SERIES

Pictures at an exhibitionThurs 4 June 11am Perth concert Hall

The sublime elegance of Mozart’s Third Violin concerto and Mussorgsky’s colourful evocations in Pictures at an Exhibition come together for an exquisite morning concert.

MOZART Violin concerto No.3 MUSSORGSKY orch. RAVEL Pictures at an Exhibition

Eugene Tzigane conductor Paul Wright violin (pictured)

tickets from $27*

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the Lord of the rings: the return of the kingFri 12 & Sat 13 June 7.30pm Riverside Theatre, Perth convention & Exhibition centre

Winner of 11 Academy Awards including Best Music, The Lord of the Rings: The Return of the King is one of the great films of this century. Experience the entire film on a huge screen as over 200 musicians perform Howard Shore’s score live on stage.

Ludwig Wicki conductor Ben Phelps assistant conductor Grace Davidson vocalist West Australian Symphony Orchestra WASO Chorus St George’s Cathedral Choristers

Tickets selling fast! Book at Ticketek ticketek.com.au

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Pre-concert TalksFind out more about the music in the concert with this week’s speaker, callum Moncrieff. Pre-concert talks take place at 6.45pm in the Terrace Level Foyer.

Meet the ArtistsEnjoy a post-concert conversation with Mark-Anthony Turnage, Håkan Hardenberger & Baldur Brönnimann Friday and Saturday night in the Terrace Level Foyer.

Pre-concert Talks and Meet the Artists are supported by Wesfarmers Arts

ALCOHOL.THINK AGAIN MASTERS SERIES

SIbelIUS’ FIFTh SymPhoNy

VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis (15 mins)

MARK-ANTHONY TURNAGE Håkan WoRLD PREMIERE (20 mins) Falak Arietta Chorale Variations

Interval (25 mins)

SIBELIUS The Swan of Tuonela (10 mins)

SIBELIUS Symphony No.5 (31 mins) Tempo molto moderato Andante mosso, quasi allegretto Allegro molto

Baldur Brönnimann conductor Håkan Hardenberger trumpet Håkan was commissioned by Janet Holmes à court Ac and the Making Music Together Patrons for the West Australian Symphony orchestra

PaTRoNS & FRIeNdS eveNT

Pinnacle String QuartetSunday 24 May, 2pm corner Stage, Perth concert Hall (please note change of venue)

WASo musicians Fotis Skordas, cerys Tooby, Rachael Kirk and Rebecca Glorie will perform some beautiful chamber music featuring a wide range of styles including the music of Mozart, a movement of Dvořàk’s glorious American Quartet and maybe even a tango or two!

Tickets are $45 for Patrons & Friends ($55 for guests) and include a glass of wine and light refreshments. To book call the WASo Box office on 9326 0000.

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WaSo IN The commUNITy

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WASO’s OPEN DAYWASo will hold its first ever open Day at Perth concert Hall on Sunday 28 June. This free event will be a chance for the community to explore Perth concert Hall with venue tours, and the whole venue will be buzzing with activities! Have a go at giant games, grab some friends and get your instant photo taken at the Kombi van photo booth, dance the day away at the silent disco or make your own instruments from recyclable materials. Ensembles from WA Youth orchestra and WA Youth Jazz orchestra will entertain you, and talks by WASo musicians and conductors will give you an insider’s perspective. our ticketed Family concert ‘Rhythm in your Rubbish’ will also have performances at 1pm and 3pm during the event.

WASO’s Free Open Day, Perth Concert Hall, Sunday 28 June, 10am – 5pm.

OKME! LESSONS UNDERWAY FOR 2015In March, WASo Teaching Artists, Paul Tanner and Mark cain travelled up to onslow to deliver the first onslow Kids Music Education Program (oKME!) Teaching Pod for 2015. They visit onslow Primary School for one week each term to run music lessons with all students in kindergarten to year 8. Much of 2014 was spent learning rhythm and beats as well as making instruments. This year the Year 7 and 8s have started writing their own pop songs. our next visit is taking place at the end of this month to coincide with the WASo on the Road Tour to the Pilbara.

The onslow Kids Music Education Program is presented in partnership with chevron-operated Wheatstone Project. WASo on the Road’s Pilbara tour is proudly supported by chevron Australia.

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PLEASE SHARE OR DOWNLOADHelp us to be environmentally responsible by sharing your printed programs. You can also read WASo’s programs on your computer or mobile device by visiting waso.com.au

WHEN TO APPLAUDMusicians love applause. As a guide, audience members normally applaud:•Whentheconductororsoloistwalksonto

the stage • Afterthecompletionofeachpiece

when the conductor turns around to the audience and at the end of the performance

WHEN YOU NEED TO COUGHPlease try to muffle your cough in a handkerchief during a louder section of the music. cough lozenges are available from the WASo customer Service Desk before each performance and at the interval.

TOILETSMale and female toilets are located on each of the four foyer levels of Perth concert Hall. The largest number of toilets are available on the ground floor of the venue, with further toilets on the Terrace Level, Lower Gallery and upper Gallery levels. A universal accessible toilet is available on the ground floor of the venue.

FIRST AIDThere are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance.

FEEDBACK Please send your feedback to Po Box 3041, East Perth WA 6892, call 9326 0000, email waso@waso.com.au or leave us a message on Facebook or Twitter.

WASO ON 720 ABC PERTHTune in to 720 ABc Perth on Friday mornings when Prue Ashurst joins Eoin cameron to provide the latest on classical music and WASo’s upcoming concerts.

WASO ON ABC CLASSIC FMThis performance is being recorded for broadcast at 8pm on Monday 11 May on ABc classic FM. For further details visit abc.net.au/classic

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WASO On The Go Download WASo’s free app on iTunes or Google Play.

Visit waso.com.au For concert information and to listen to concert playlists.

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Meet Our UshersWhen you attend concerts at Perth concert Hall, a large team of ushers ensures your visit is as comfortable as possible. Get to know two of our longest-serving ushers a bit better!

GEORGE STALLEYHow long have you been an usher at Perth Concert Hall?I started working at Perth concert Hall in August 1998 and have been here for so long because no one could find a better job – there are lovely patrons, I get to see a wide variety of shows and work with a wonderful team!

Favourite part of the job?I very much enjoy meeting and greeting so many patrons and ensuring they are comfortable.

Your concert highlight?A very recent concert – Rhapsody in Blue with WASo and Asher Fisch.

What do people not know about you?I worked for TAFE for 34 years, finishing my career there as Head of the Hairdressing Department. My wife and I work as puppy raisers with the Association for the Blind, and I also have been volunteering at Princess Margaret Hospital since 2001.

MARGARET PARKINSONHow long have you been an usher at Perth Concert Hall?I’ve worked here for about 16 years. I think it took about 6 months before I was offered a position, and I started doing my first shifts during the Perth International Arts Festival.

Favourite part of the job?I enjoy the music I get to hear, and the patrons and my colleagues are lovely. I say Perth concert Hall is a “big happy box” – people come in grumpy and leave with a huge smile on their faces!

Your concert highlight?Hearing Larry Adler and his harmonica about 8 years ago, l loved him playing Gershwin.

What do people not know about you?I love to travel! In 2010 I backpacked across Europe and the uK for five months, and I only just got back from an expedition to Antarctica – definitely the most amazing place I have visited.

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DVORAK Serenade in E major for stringsMOZART Violin Concerto No.3

MUSSORGSKY orch. RAVEL Pictures at an Exhibition

Eugene Tzigane conductorPaul Wright violin

Fri 5 & Sat 6 June 7.30pmPerth Concert Hall

PICTURES AT AN

EXHIBITION

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Baldur Brönnimann conductor

Baldur Brönnimann is Principal conductor of the orquestra Sinfónica do Porto casa da Música. In the 2014/15 season he returns as guest conductor to the BBc Symphony orchestra, Klangforum Wien, Remix Ensemble, Helsinki Philharmonic orchestra, copenhagen Philharmonic, Philharmonia orchestra and Strasbourg Philharmonic orchestra, amongst others. He debuts with the Gothenburg Symphony orchestra, orchestre National Bordeaux Aquitaine and Brussels Philharmonic.

In 2012 he completed his tenure as Music Director of the National Symphony orchestra of colombia in Bogotá, and in 2011 was appointed Artistic Director of Norway’s contemporary music ensemble BIT20. For many years he has been the conductor of choice for high-profile composer projects, working closely with John Adams, Kaija Saariaho, Sir Harrison Birtwistle, unsuk chin and Thomas Adès.

Born in Switzerland, Baldur Brönnimann trained at the city of Basel Music Academy and at the Royal Northern college of Music in Manchester.

Håkan Hardenberger Trumpet

Håkan Hardenberger is held in high regard as a pioneer of new trumpet works. He has performed with the world’s leading orchestras, including the New York Philharmonic, Boston Symphony orchestra, Vienna Philharmonic orchestra, Swedish Radio Symphony orchestra, London Symphony orchestra, Bavarian Radio Symphony orchestra and NHK Symphony orchestra.

The works written for him include those by Sir Harrison Birtwistle, Hans Werner Henze, Rolf Martinsson, olga Neuwirth, Arvo Pärt, Rolf Wallin, HK Gruber and Mark-Anthony Turnage. Following last season’s premiere of Brett Dean’s trumpet concerto Dramatis personae, he performs the concerto in the 2014/15 season with the Boston, Sydney, New Zealand and BBc Symphony orchestras.

Håkan Hardenberger began studying the trumpet at the age of eight with Bo Nilsson in Malmö, and continued his studies at the Paris conservatoire with Pierre Thibaud and in Los Angeles with Thomas Stevens. He is a professor at the Malmö Academy of Music.

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WaSo oN STaGe ToNIGhT

PrincipalAssociate PrincipalGuest Musician^

VIOLINGraeme NorrisAssoc ConcertmasterSemra Lee-Smith Assistant ConcertmasterZak RowntreePrincipal 2nd ViolinKylie Liang Assistant Principal 2nd ViolinSarah BlackmanFleur challenStephanie DeanRebecca GlorieBeth HebertAlexandra Istedchristina KatsimbardisShaun Lee-chen*Eliza Mccracken^Andrea Mendham^Akiko MiyazawaKathleen o’Hagan^Ken PeelerElena PhatakGraham PyattLouise SandercockJolanta SchenkKathryn ShinnickJacek SlawomirskiBao Di Tangcerys ToobyTeresa Vinci^David Yeh

VIOLACaleb WrightAlex BroganKierstan ArkleysmithNik BabicGeorge Batey^Ben caddy^Katherine DrakeAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLORod McGrath Louise McKaychair partnered by Penrhos collegeMelinda Forsythe^Shigeru Komatsuoliver McAslan Nicholas MetcalfeFotis SkordasTim SouthXiao Le Wu

DOUBLE BASSAndrew Sinclair*Joan Wright christine ReitzensteinLouise RossMark ToobyGiovanni Vinci^ Philip Waldron^

FLUTEMary-Anne Blades

PICCOLOMichael Waye

OBOEPeter Facer

COR ANGLAISLeanne Glover

CLARINETAllan Meyer Lorna cookGeoff Bourgault^

BASS CLARINETAlexander Millier chair partnered by Altegra Property Group

BASSOONJane Kircher-Lindner chair partnered by Sue & Ron Wooller

CONTRABASSOONChloe Turner

HORNDavid EvansSharn McIverRobert Gladstones Principal 3rdJulia BrookeFrancesco Lo Surdo

TRUMPETBrent Grapeschair partnered by conocoPhillips

Evan Cromie Peter Miller

TROMBONEJoshua Davis Liam O’Malley

BASS TROMBONEPhilip Holdsworth

TUBACameron Brook

TIMPANIAlex Timcke

PERCUSSIONTroy Greatz Richard Gleeson

HARPSarah Bowman

*Instruments used by these musicians are on loan from Janet Holmes à court Ac.

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meeT The mUSIcIaN

Rebecca GlorieViolinWhat initially inspired you to play the violin? My sisters and I all started to learn the piano from my mum when we were little. My older sister started learning the violin and to be honest I don’t remember her playing but I really wanted to annoy her and so I also started when I was about eight!

If you had to choose any other instrument to play in the orchestra, what would it be? I would love to play the trumpet. I wanted to learn it when I was at school but my folks didn’t want me to play anything so ‘loud’! For my birthday a few years ago my husband bought me one but I still can’t get a note out of it - I think I’ll stick with violin for now! 

Who are your favourite composers? Hmmm...tough question! I love so many but I feel like I have a real connection with Prokofiev and Shostakovich. I think this has to do with my interest in history and war and the struggles of these composers under the Soviet regime. I really enjoy performing their music regardless of whether it’s solo, chamber or orchestral.

What is your most memorable experience as a performer? I don’t think I have just one memorable one, but in 2005 I attended the Norfolk chamber Festival in connecticut, uSA with my piano trio (who are actually two great mates!). We rehearsed for hours and hours a day, had daily master classes and performed many concerts over a six week period. I was really inspired by the performers and the other students at the course and this experience has stayed with me and still strongly influences my performances.

Musicians are always busy people, what do you do when you have time to relax? Relax??!!?! I’m not sure what that is now I have my two beautiful twin girls. Hanging out with my friends and family is always fun and usually loads of laughs.

I really love… Spending time outdoors with my husband, the girls, and our dog Koosha. I also love to cook and watch TV – thank goodness the girls’ last bottle of the day is during Neighbours so we all sit down and watch it together! (And then I can relax and watch Home and Away!)

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TImelINe oF comPoSeRS & WoRkS

1900 2000

Turnage's Håkan 2015

RALPH VAUGHAN WILLIAMS

1872 – 1958

Born in Down Ampney, EnglandDied in London, England

Vaughan Williams' Fantasia on a theme by Thomas Tallis1910

JEAN SIBELIUS

1865 – 1957

Born in Hämeenlinna, FinlandDied in Järvenpää, Finland

Sibelius' The Swan of Tuonela1896

Sibelius' Symphony No.51919

MARK-ANTHONY TURNAGE1960

Born in Corringham, England

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Ralph Vaughan Williams (1872 – 1958)

Fantasia on a theme by Thomas Tallis

Vaughan Williams decided at an early age that the prevailing state of English music was not his ideal, reasoning that a new yet truly national music must derive from tradition and the past. He looked for these origins in folksongs, and also turned to previous Golden Ages of British composition, notably the Tudor period.

Thomas Tallis (c.1505-1585) was one such ‘Golden’ composer. Around 1567, Tallis wrote a series of eight hymn tunes, one in each of the church modes, for a psalter commissioned by Matthew Parker, the first Anglican Archbishop of canterbury. The theme taken up by Vaughan Williams was the third of these, which Tallis had set to Psalm 2.

The Fantasia is scored for string quartet, a large string orchestra and a small string orchestra. This allows for antiphonal effects such as Tallis regularly used with his choirs, and also promotes an ‘echo’ acoustic. Tallis’ original setting places the melody in the tenor part, a common practice. Vaughan Williams, himself a violist, frequently assigns the tune to the violas or the inner parts. His distinctive parallel chords recall the ‘faux bourdon’ technique as used by Tudor composers.

Despite these references to past times, Vaughan Williams gives Tallis’ theme a thoroughly 20th-century treatment.

Vaughan Williams the violist clearly enjoyed assisting his compositional alter ego, and not just in the solo passages that suggest the forthcoming The Lark Ascending. The love of strings shows even in the final chord, whose already rich resonances would be amplified by a cathedral acoustic, reminding listeners of the Fantasia’s historical as well as literal echoes.

Abridged from an annotation by Katherine Kemp

Symphony Australia © 1998

Vaughan Williams’ Fantasia on a theme by Thomas Tallis was premiered under the baton of the composer in Gloucester Cathedral in September 1910 as part of the Three Choirs Festival. The West Australian Symphony Orchestra first performed it on 5-7 October 1967 under Uri Mayer. WASO last performed this work on 4 and 5 May 2007, conducted by James MacMillan.

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Antiphonal where two or more sections of the orchestra play in turn, as if calling out to each other in a conversation.

Glossary

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DVORAK Serenade in E major for Strings featured in Pictures at an ExhibitionFri 5 & Sat 6 June

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Mark-Anthony Turnage (Born 1960)

Håkan for trumpet and orchestraI. FalakII. AriettaIII. Chorale Variations

Ten years ago Mark-Anthony Turnage wrote a concerto for Håkan Hardenberger, From the Wreckage, a piece that has gone round the world, always with Hardenberger as soloist. It is time for another, quite different in spirit, but similarly blazing with virtuosity.

Turnage names his new first movement after a kind of solo music performed in the Pamir mountains, which stretch from northern Pakistan through a corner of Afghanistan and across eastern Tajikistan. Falak is characterised by melodies of narrow range but acute intensity, and Turnage follows suit in his own way at the slowish outset of this concerto, where, over a drone [based on the interval of a] fourth, the trumpet extends a line that ends with a skid up. This is answered by a counter-melody from the woodwind in 7/8 time, divided as three [beats] plus four, thus establishing a contrast between a melody in variable metre that ends with a pronounced upward gesture and another in sevenfold rhythm that essentially falls, scale-wise.

These two are repeated, and the trumpet, as it grows increasingly excited, begins to fuse them. From here the temperature steadily rises to the point where the music gears up to double speed. The trumpet briefly rests while the brass take centre stage, eventually in boisterous canon, but then the soloist returns and finds a new voice, of soft melody spanning wide intervals.

This music brings relative calm, and the tempo falls back to that of the opening, with the trumpet repeating its entry line, only with different accompaniment. A gradual orchestral accelerando increases the momentum to launch the extraordinary close, where the trumpet plays against cross-beats from a large cowbell and bass drum with slapped lower strings.

The Arietta slow movement features a different style of melody, introduced by middle-register instruments and taken up by the trumpet, with cup mute, over a bed of divided strings and tuned metal percussion. At first offering support and occasional punctuation, the orchestra becomes increasingly vehement, and a blast simultaneously slows the music and leaves the soloist almost speechless – to find a companion, though, in the concertmaster as the movement settles to its close.

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In the Chorale Variations, with a return to the starting tempo of the opening movement, the orchestra begins to pick out a melody that carries a shadow of the trumpet’s first statement. This develops into a chorale, which Turnage then makes the subject for variations. In the first of these, scored initially without strings, the trumpet comes in to decorate the line, its faster speed stimulating the woodwinds. The second variation has the soloist widening the melody by octave displacements; the third transfers the theme to the two orchestral trumpets, playing with straight mutes. orchestral brass are then absent from the fourth variation, which is in triplet rhythm, with the subject played by the violas and the solo trumpet see-sawing in sextuplets as the music accelerates.

The theme turns upside down at the start of the fifth variation, at first on muted trumpets once more, in quick canon with violas plus cor anglais. While the trumpet rests here, the new tempo continues, until the music speeds up again for the hectic sixth variation, where the soloist is accompanied by an orchestra again without strings. These come back emphatically for the seventh variation, the violins drawing the subject up into high octaves, against dizzying work from the soloist, who takes a break once again as the orchestra then goes rampant. This is the moment for a brilliant cadenza, after which the chorale appears one last time, back at the steady speed of the opening and with its phrases exultantly greeted by the soloist. The work ends with an ultimate trumpet song.

© Paul Griffiths

About the composer:

Now one of contemporary music’s most prominent figures, Mark-Anthony Turnage emerged as a distinctive new voice during the 1980s, when he had his first major international success with the opera

, based on Steven Berkoff’s take on the oedipus myth. A diverse range of influences is evident in his music, such as in the pieces Three Screaming Popes (1989), a response to paintings by Velásquez and Francis Bacon; Blood on the Floor (1994-96), written to incorporate the talents of jazz guitarist John Scofield; and his 2011 opera Anna Nicole, based on the life of Anna Nicole Smith.

Turnage’s music has been championed by Sir Simon Rattle, who invited him to become composer in Association at the city of Birmingham Symphony orchestra in 1990. He has also held composer-in-residence positions at the London Philharmonic orchestra and the chicago Symphony orchestra. He is currently a Research Fellow in composition at the Royal college of Music.

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FAURE Pavanefeatured in Fauré’s Requiem Fri 7 & Sat 8 August

Jean Sibelius (1865 – 1957)

The Swan of Tuonela from Four Legends from the Kalevala

We rightly think of Sibelius as a composer who distilled a national musical language from Finnish legend and the austere beauty of Finland’s landscape. As a culture-hero, however, Sibelius was made, not born. The Finnish language possesses a large and ancient literature of poetic cycles dedicated to mythic heroes. The greatest of these was the Kalevala. As part of the Swedish-speaking minority in Finland, Sibelius hadn’t given much thought to the traditional mythology of the Finns until his engagement to Aino Järnefelt, whose family was very pro-Finnish; Järnefelt’s enthusiasm inspired him to start reading its literature.

The results became quickly apparent in early works of Sibelius’ maturity: the 1890s saw the composition of works like the Kullervo Symphony, En saga, the Karelia Suite and the

Four Legends from the Kalevala (also known as the Lemminkäinen Suite). This depicts four incidents in the story of the mythical hero Lemminkäinen, from the Kalevala.

Having seduced all but one of the Island maidens in the first movement, Lemminkäinen is sent on a quest: to kill the swan that floats, singing mournfully, on the river that surrounds Tuonela, the island of the dead. (In the third and fourth movements, Lemminkäinen is mortally wounded and dismembered before he can kill the swan, but is brought back to life by his mother, and returns home.)

The Swan of Tuonela does not seek to enact any specific incident, but depicts the bird in one of the most famous solos for cor anglais ever written. The instrument’s plangency against a halo of divided strings contains unspeakable grief, which is answered in the latter parts of the movement by a sombre but purposeful melody from the orchestra.

Abridged from an annotation by Gordon Kerry © 2011

All four Legends were first performed in April 1896 by the Helsinki Philharmonic under the direction of Sibelius, who later revised the score. The West Australian Symphony Orchestra first performed the fourth and final movement of the suite, Lemminkäinen’s Return, in 1954 under Eugene Goossens. The Orchestra’s first performance of The Swan of Tuonela took place in 1958 with John Farnsworth Hall. WASO last performed this work on 18 November 2010, conducted by Paul Daniel.

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Jean Sibelius (1865 – 1957)

Symphony No.5 in E flat, op.82 Tempo molto moderato Andante mosso, quasi allegretto Allegro molto

The pitiless despair of Sibelius’ Fourth Symphony (1911) puzzled many of its first listeners. The work seemed an unlikely sequel to the gentle radiance of the Third (1907), yet its gaze into the abyss gave way, in the Fifth, to one of Sibelius’ most shining, life-affirming creations. While the Fifth is light to the Fourth’s darkness, a progression from doubt to belief (Sibelius’ admiration for Bruckner should not be forgotten here), it represents no shift in Sibelius’ compositional principles. An economy of orchestral resource, the building-up of musical paragraphs by the development of tiny melodic fragments, the determination to create his own solutions to the problems of harmonic language and symphonic form – these were abiding features of his music from the beginning of his composing life. In fact of all the major composers of the last century he was the most solitary, methodical and purposeful in his stylistic development, taking only fitful interest in the work of his contemporaries.

He wrote the Fifth, one of the most popular of all his works, at a time of great personal difficulty. The Great War had broken out and, as a result, Sibelius had lost access to the revenue from his German publishers.

To earn some regular income he wrote a great number of salon pieces for domestic performance, and had little time for other composing; the Fifth Symphony is his only major work of the war years.

Sibelius himself conducted the symphony’s first performance, at a concert given on 8 December 1915 to mark his 50th birthday. It was a jubilant event, treated almost as a national holiday, but Sibelius was unhappy with the work and revised it twice. In 1916 he joined the first two of the original four movements together, and he made further revisions before it was published in 1919.

The symphony begins quietly on horns and timpani. The theme we hear at this point is soon elaborated into a woodwind cadenza. At its conclusion the strings enter, and we seem to be moving inexorably into the landscape of the music until we come to the vista presented by a great tolling of the brass and the announcement of a jagged syncopated theme on the strings.

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Cadenza A cadenza is an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a free rhythmic style, and often allowing for virtuosic display.

Coda A concluding section added to the basic structure of a piece or movement to emphasise the sense of finality.

Glossary

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eNJoy

DVORAK Symphony No.9 From the New Worldfeatured in Dvořák’s New World Fri 16 & Sat 17 october

Now we have reached the threshold beyond which the heart of the symphony lies. A mysterious, cloudy passage for the strings – over which the bassoon utters a sorrowful version of one of the main themes – leads to a burnished assertion by the trumpets of the very first theme of the symphony, shortly after which the mood changes to one of dancing lightness. Soon the music gathers pace and the strings take up the dance strain with increasing excitement until the brass join in for the final, sudden, invigorating climax.

The second movement is a set of variations not on a theme, but on a rhythmic pattern that Sibelius contrives to behave like a theme. The whole movement is a centre of calm, and even the passionate descending string tune that marks one of the most decisive transformations of the original idea is marked Poco tranquillo. Towards the end of the movement the brass toll out a reminiscence of their earlier, more excitable selves; this leads to a series of cloudy gestures which recall music from the earlier movement. But towards the end the mood changes to one of almost childlike serenity, which is carried through to the short, abbreviated, coda.

The finale throws us into its hurly-burly almost immediately, with a whirlwind passage for the strings leading to one of the best-known of all themes in Sibelius’ music, that in which, as Donald Tovey famously described it, Thor swings his hammer. After some woodwind carolling and a return to the gusty sounds of the movement’s opening, Sibelius prepares us for a return of the swinging horn theme. When this finally reappears, it does so as a chorale that has to struggle through long pedal-points and changes of key before bursting into its sunset glory. These final minutes of the movement contain the richest orchestration of the whole work, but almost before we can register the fact, the symphony ends with six jubilant, adamant chords.

Abridged from an annotation by Phillip Sametz © 1995/2004

The final version of Sibelius’ Fifth Symphony was premiered in Helsinki under the baton of the composer on 24 November 1919. The West Australian Symphony Orchestra first performed it on 26-27 June 1953 under Rudolf Pekarek. WASO last performed this work on 19 and 20 November 2010, conducted by Paul Daniel.

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The viola is the alto member of the violin family and possesses a warm, dark tone compared to the lighter, more brilliant soprano sound of the violin. It is pitched a perfect fifth lower than the violin and an octave higher than the cello. The Viola primarily uses the alto clef, but also treble clef.

The viola came into being in northern Italy around the early 16th century, and since then has undergone many changes. Historically, it was an ‘instrument of the middle’, and was used to cover both the alto and tenor registers. Because of this violas historically and today, vary greatly in size.

The viola has a similar range to the human voice and acoustically blends well with other instruments.

Before 1740 the viola was seldom treated as a soloist, however this started to change during the lifetime of Haydn, Mozart and Beethoven, and greater equality in part-writing and increased technical demands can be observed in the chamber music written during this period. By the 20th century, the presence of such outstanding players as Lionel Tertis and William Primrose, and composer/players including Paul Hindemith and Brett Dean, broadened the viola repertoire, realising the instrument’s potential of tone and technique.

© Symphony Services International

Pitches of the four open strings on a viola:

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1. Bow 2. Scroll 3. Tuning Pegs 4. Fingerboard 5. Strings 6. Bridge 7. F-holes 8. Finetuners 9. Chin Rest

MEET THE INSTRUMENT THE VIOLA

The viola is the alto member of the violin family and possesses a warm, dark tone compared to the lighter, more brilliant soprano sound of the violin. It is pitched a perfect fifth lower than the violin and an octave higher than the cello. The Viola primarily uses the alto clef, but also treble clef.

The viola came into being in northern Italy around the early 16th century, and since then has undergone many changes. Historically, it was an ‘instrument of the middle’, and was used to cover both the alto and tenor registers. Because of this violas historically and today, vary greatly in size.

The viola has a similar range to the human voice and acoustically blends well with other instruments.

Before 1740 the viola was seldom treated as a soloist, however this started to change during the lifetime of Haydn, Mozart and Beethoven, and greater equality in part-writing and increased technical demands can be observed in the chamber music written during this period. By the 20th century, the presence of such outstanding players as Lionel Tertis and William Primrose, and composer/players including Paul Hindemith and Brett Dean, broadened the viola repertoire, realising the instrument’s potential of tone and technique.

© Symphony Services International

Pitches of the four open strings on a viola:

1

2

3

4

5

6

7

8

9

1. Bow 2. Scroll 3. Tuning Pegs 4. Fingerboard 5. Strings 6. Bridge 7. F-holes 8. Finetuners 9. Chin Rest

MEET THE INSTRUMENT THE VIOLA

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WaSo PhIlaNThRoPy Philanthropy Partner

Pass the baton to the next generationWASo is a charitable organisation that relies on the support of donations and bequests.

A bequest is a special gift which we preserve as your legacy. It is a wonderful opportunity to ensure that WASo remains a part of the lives of future generations of Western Australians, underpinning our vision to touch souls and enrich lives through music.

Monies received from bequests to WASo are invested and preserved in the Endowment Fund for the orchestra and the income earned, less inflation, is used to support WASo’s activities and programs. This means that your money lives on forever, providing funds for the development of young artists, the

commissioning of new works, education programs and regional touring.

For further information about leaving a bequest to WASo, please contact Alecia Benzie, Executive Manager Philanthropy, on 9326 0020 or benziea@waso.com.au. All enquiries will be treated in confidence.

We are making music together In 2012 the West Australian Symphony orchestra’s Song Book commissioning Program created Making Music Together, a campaign which sought to raise $30,000 in order to jointly fund a new commission by an acclaimed international composer.

The result is the fabulous trumpet concerto, Håkan, being given its World Premiere by WASo tonight. This commission is a fine example of international relations, as it is a co-commission with other prestigious international orchestras. These collaborations, while taking time to develop, are incredibly important in helping WASo develop and deepen its networks of artists and orchestras internationally, as well as profile the orchestra more broadly.

Many thanks to the following donors for their gift to the Making Music Together campaign:

catherine Bagster in memory of christine BagsterBernard BarnwellTony & Mary BeeleyDr Glenda campbell-EvansDeirdre chellRobyn GlindemannJanet Holmes à court AcMyles Harmer & Alison Bunker

Prof Louis Landau AoRosalind LilleyGregg & Sue MarshmanMargaret & Rod MarstonBrian & Nancy MurphyLance RisbeyGeoff StearnAnonymous (1)

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oUR SUPPoRTeRS

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 CircleRecognising Patrons who have made a provision in their Will to the Orchestra

Mr John BonnyDr G campbell-EvansAnita & James clayton Judith Gedero Wolfgang Lehmkuhl Tosi Nottage in memory of Edgar NottageNigel & Dr Heather RogersJudy SienkiewiczSheila Wileman Anonymous (16)

Estates WASO is extremely grateful for bequests received from EstatesMrs Roslyn WarrickRachel Mabel chapman

Endowment Fund for the Orchestra This fund includes major donations and bequestsTom & Jean ArkleyJanet Holmes à court AcSagitte Yom-Tov Fund

Excellence CircleSupporting excellence across all we doJean ArkleyBob & Gay BranchiJanet Holmes à court AcTorsten and Mona KetelsenAndrew Marsden

The WASO Song BookWe are grateful to those who have supported new works commissioned for the Orchestra by WASOJanet Holmes à court AcPeter DawsonGeoff StearnAnonymous (2)

If you are interested in becoming a Patron or learning more about WASo Philanthropy please contact Jane clare, Fundraising and Philanthropy Manager, on 08 9326 0014 or email clarej@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.

Philanthropic partnerships come in all shapes and sizes

Reach OutSupporting our Education & Community Engagement programs

Jean ArkleyPrue Ashurst creative Partnerships AustraliaRon & Penny crittallKen EvansFeilman Family FoundationThe James Galvin FoundationRobyn GlindemannKen JohnsonBarrie & Jude LepleyMathie FamilyMccusker charitable FoundationMinderoo FoundationMrs MorrellJoan ReylandJohn & Alison RiggSimon Lee FoundationThe Stan Perron charitable FoundationTrish Williams - Stragegic InteractionsAnonymous (1)

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oUR SUPPoRTeRS

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 Circle Gifts $20,000+

Janet Holmes à court Ac Brian & Nancy Murphy Patricia New

Impresario PatronGifts $10,000 - $19,999

Gay & Bob Branchi Tony & Gwenyth Lennon Joshua & Pamela Pitt

Maestro Patron Gifts $5,000 - $9,999Jean Arkley in memory of Tom ArkleyBill Bloking Gavin BunningIan & Elizabeth constableMoira & John DobsonBridget Faye AM Gilbert George & AssociatesDr Patricia KailisDr Ronny Low & Dr Emma RichardsBryant Macfie Margaret & Rod Marston Robert MayJill MulheronSpinifex Trust Peter & Jean Stokes Richard Tarala & Lyn Beazley AoTrish Williams – Strategic InteractionsSue & Ron WoollerAnonymous (5)

Virtuoso Patron Gifts $2,500 - $4,999Prof Fred & Mrs Margaret AffleckNeil Archibald & Alan R Dodge AMSally BurtonDon conroyMark coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda SavageTim & Lexie ElliottRobyn Glindemann Jacoba Hohnen & Ted SamsonSylvia & Wally HyamsKeith & Gaye Kessell Michael & Dale Kitney Mrs MorrellJane & Jock MorrisonAnne NolanJohn & Paula Phillips Ms Elizabeth Sachse & Dr Lance Risbey Dr R & J Schwenger Judy SienkiewiczRos ThomsonM & H TuiteJoyce Westrip oAMAlan WhithamAndrew & Marie Yuncken

Principal PatronGifts $1000 - $2,499Ron & Sue AdamsJohn Albright & Susan LorimerMargaret Atkins Tony & Mary Beeley Suzanne & David Biddles Peter & Marjorie BirdKevin Blake Matthew J c Blampey Alan & Anne BlanckenseeNamy BodinnerMr John BonnyMrs Debbie Borshoff Jean Brodie-Hall AMMarilyn & Ian BurtonDr G campbell-EvansProf Jonathan carapetis & Prof Sue SkullPeter & Sue cliftonHelen cook Arthur & Nerina coopesHon June craig AM Gay & John cruickshank Norman & Denia Daffen Lesley & Peter DaviesRussell & Susan DixonMargaret DobsonJulian Dowse Lorraine EllardRichard FaragoDon & Marie Forrest Dr Andrew GardnerGeorge GavranicRoger & Ann GillbanksGraham & Barbara GouldenJannette Gray Sandra Gray

Annual Giving

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Deidre Greenfeld David & Valerie GullandBrian & Romola HaggertyRichard B Hammond Pauline & Peter HandfordMichael HardingMichael & Liz HollingdaleJohn & Katrina HopkinsSue HovellJim & Freda Irenic Lilian & Roger JenningsAnthony Kane & Jane Leahy-KaneBill Kean Anthony & Noelle Keller Dorothy KingstonNelly KleynStephanie & John Kobelke ulrich & Gloria Kunzmann Louis & Miriam LandauIrving Lane Paul LeeRosalind Lilley Graham & Muriel Mahony Gregg & Sue MarshmanMervyn MatthewsJennifer & Arthur MccombBetty & con Michael AoVicki MizenHon Justice S R Moncrieff S B Monger-HayLynn MurrayVal & Barry NeubeckerDr Phillip & Mrs Erlene NobleJohn overtonThe Family of Hilary owensRon & Philippa PackerMichael & Lesley PageAthena PatonAssociate Prof Tim PavyAlan Pedersen in memory of Hilary owenscharmian Phillips in memory of colin craft

Pamela PlattAndrew & Suzanne PoliThomas & Diana Potter Dr Leon Prindiville chester ReeveJoan ReylandJohn & Alison RiggNigel & Dr Heather RogersMaurice & Gerry RoussetRoger Sandercock Margaret & Roger SearesMelanie & Paul ShannonEve Shannon-cullity Julian & Noreen Sher Laurel & Ross SmithDr Paul Smith & Denham Harry Michael Snell & Vicki StewartGail & Tony SutherlandAnna SweetinghamLisa & Andrew Telford Gene TilbrookMary Townsend James & Rosemary TrotterDr Robert TurnbullMaggie VenerysStan & Valerie VicichWatering conceptsIan WatsonAnn WhyntieJean & Ian Williams AoJim & Gill WilliamsHilary & Peter Winterton AMAnonymous (26)

Tutti PatronGifts $500 - $999Geoff & Joan Airey catherine BagsterMerle I BardwellBernard & Jackie Barnwell Shirley Barraclough colin Beckett

P M BennetMichael & Nadia Berkeley-HillJohn & Sue Bird in memory of Penny BirdDermot & Jennifer BlackweirElaine BondsDiane & Ron BowyerDr & Mrs P BreidahlElizabeth & James BrownAnn Butcher & Dean R KubankNanette carnachanclaire chambers & Dr Andrea ShoebridgeDr Anne chesterLyn & Harvey coates AoAgatha & Alex cohen AoBrian cresswell Gina & Neil Davidson Frances DaviesJop & Hanneke DelfosRai & Erika DolinschekMrs G EwenFarghaly FamilyAnnette Finn Jim & Pamela FlahertyJoan GagliardiPat GallaherElaine GimsonIsobel Glencross Jacqui GroveDouglas M & Regina HansenProf Alan Harvey & Dr Paulien de BoerRichard Hatch Dr Penny Herbert in memory of Dunstan HerbertHelen Hollingshead Peter Ingram cynthia JeePeter S JonesB M KentIn memory of Dr Brenton Knott Trevor & Ane Marie Lacy Meg Lewis

oUR SUPPoRTeRS

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Teresa & Jemima LovelandMegan LoweMary Ellen in memory of Kerensa Mrs carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Dr Peter MossMarianne NilssonMarjan oxley Graham & Hildegarde PennefatherBev Penny Adrian & Ruth PhelpsRichard & Alpha Pilpel oAMSheila PinchAlison & John Price

Ann Rawlinsonclarissa ReptonJames & Nicola Ridsdill-SmithLeigh Robinsonchris & Serge RtshiladzeJudith E ShawThe Sherwood FamilyHendrik SmitLouise Sparrow & FamilyPeggy & Tom Stacy Ruth E ThornDr Julian TodresPatrcia TurnerS R VogtAdrienne & Max Walters Diana Warnock

Anne Watson Joy WearneDr chris & Mrs Vimala WhitakerViolette William Janet WilliamsJudith Wilton & David TurnerPatricia WongAnonymous (21)

FriendsGifts $40 - $499Thank you to all our Friends who support WASo through their gift.

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INCISIVE LEGAL ADVICETHAT CUTS THROUGH THE COMPLEXITY

Proudly suPPorting WAso And the Arts

www.claytonutz.com

WASO_Sponsorship_Ad_148x105_Apr_2015.indd 1 23/04/2015 9:43:55 AM

WeST aUSTRalIaN SymPhoNy oRcheSTRa

VIOLINGraeme Norris Associate Concertmaster Semra Lee-Smith Assistant Concertmaster Zak RowntreePrincipal 2nd ViolinKylie Liang A/Assoc Principal 2nd ViolinAkiko Miyazawa A/Assistant Principal 2nd ViolinSarah BlackmanFleur challen Shaun Lee-chen*Stephanie DeanRebecca GlorieBeth HebertAnna o’HaganMelanie PearnKen PeelerGraham Pyatt Louise SandercockJolanta SchenkJane SerrangeliEllie ShalleyJacek SlawomirskiBao Di Tang cerys ToobyDavid Yeh

VIOLAcaleb WrightPrincipalAlex BroganAssociate PrincipalKierstan ArkleysmithNik BabicKatherine DrakeAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLORod McGrath PrincipalLouise McKayAssoc Principal Chair partnered by Penrhos College

Shigeru Komatsuoliver McAslan Nicholas MetcalfeEve Silver* Fotis SkordasTim SouthXiao Le Wu

DOUBLE BASSAndrew Sinclair* PrincipalJoan Wright Assoc Principalchristine ReitzensteinLouise RossAndrew TaitMark Tooby

FLUTEAndrew Nicholson PrincipalChair partnered by Apache

Mary-Anne Blades Assoc Principal

PICCOLOMichael Waye Principal

OBOEPeter FacerPrincipalElizabeth cheeAssoc Principal

COR ANGLAISLeanne GloverPrincipal

CLARINETAllan Meyer PrincipalLorna cook

BASS CLARINETAlexander Millier PrincipalChair partnered by Altegra Property Group

BASSOONJane Kircher-Lindner PrincipalChair partnered by Ron & Sue Wooller

Adam Mikulicz Assoc Principal

CONTRABASSOONchloe Turner Principal

HORNDavid Evans PrincipalSharn McIverAssoc Principal Robert Gladstones Principal 3rdJulia Brooke Francesco Lo Surdo

TRUMPETBrent GrapesPrincipalChair partnered by ConocoPhillips

Evan cromie Assoc PrincipalPeter Miller

TROMBONEJoshua Davis PrincipalLiam o’MalleyAssoc Principal

BASS TROMBONEPhilip Holdsworth Principal

TUBAcameron Brook Principal

TIMPANIAlex Timcke Principal

PERCUSSIONTroy Greatz A/Principal

HARPSarah Bowman Principal

ASSISTANT CONDUCTOR christopher Dragon

CONDUCTOR LAUREATE Vladimir Verbitsky

CHORUS DIRECTOR christopher van Tuinen

PRINCIPAL CONDUCTORAsher FischPartnered by Wesfarmers Arts CHORUS VOCAL COACH Andrew Foote

*Instruments used by these musicians are on loan from Janet Holmes à court Ac.

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WASo programs are printed by Pilpel Print www.pilpel.com.au who are proud to be ‘Green Stamp Accredited’. This certification acknowledges Pilpel Print’s commitment to minimising environmental impacts associated with producing printed material.

All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing from the publisher. Whilst every effort has been made to ensure the accuracy of statements in this publication we cannot accept responsibility for errors or omissions, or for matters arising from clerical or printers’ error. Every effort has been made to secure permission for copyright material prior to printing. Please address all correspondence to the Executive Manager, Marketing, West Australian Symphony orchestra, Po Box 3041, East Perth. WA 6892. Email waso@waso.com.au

PERTH CONCERT HALLBrendon Ellmer General ManagerLorraine Rice Deputy General ManagerPeter Robins Technical ManagerPaul Richardson Assistant Technical ManagerPenelope Briffa Events Manager

Bruce Gaw Maintenance OfficerNancy Hackett Marketing Manager Ryan Sandilands Marketing AssistantMegan Lo Surdo Reception & AdministrationSarah Salleo Reception & Administration

perthconcerthall.com.au 08 9231 9900

BOARD OF DIRECTORSJanet Holmes à court Ac ChairmanAnne NolanMark coughlanKeith KessellBarrie Lepley Deputy ChairmanPaul ShannonJulian SherMichael utsler

ExECUTIVEcraig Whitehead Chief Executive claire Burlinson Executive AssistantEllen Wisdom Executive Manager, Human ResourcesRachael Taylor Human Resources AssistantNarelle coghill Human Resources AssistantSvetlana Williams Payroll Officer

ARTISTIC PLANNINGEvan Kennea Executive Manager, Artistic Planningclaire Stokes Program ManagerAlan Tyrrell Program ManagerMaya Kraj-Krajewski Artist Liaison/Chorus Administrator

COMMUNITY ENGAGEMENTcassandra Lake Executive Manager, Community Engagement

Fiona Taylor Education CoordinatorGemma McDonald Community Development Coordinator

ORCHESTRAL MANAGEMENTKeith McGowan Executive Manager, Orchestral ManagementRichie Burton Orchestral Operations ManagerDavid cotgreave Production & Technical ManagerAlistair cox Orchestral ManagerBreanna Evangelista Orchestral Management AssistantWee Ming Khoo Music Librarian

Noel Rhind Orchestral Operations Coordinator

BUSINESS SERVICESPeter Freemantle Chief Financial OfficerAndrew chew Systems AdministratorAngela Miller AccountantSushila Bhudia Accounts OfficerRenu Kara Accounts Assistant

PHILANTHROPY Alecia Benzie Executive Manager, PhilanthropyJosie Aitchison Customer Service & Philanthropy Coordinator

Jane clare Fundraising & Philanthropy Manager

CORPORATE DEVELOPMENTMarina Woodhouse Executive Manager, Corporate DevelopmentLuci Steinhardt Corporate Partnerships Executivecliona Hayes Corporate Partnerships CoordinatorGinny Luff Corporate Partnerships & Events Coordinator

MARKETINGKelli carnachan Executive Manager, MarketingKirsty chisholm Marketing CoordinatorNancy Hackett Marketing ManagerGina Beers Graphic DesignerMarc Missiaen Relationship Marketing ManagerPaula Schibeci Public Relations ManagerZoe Lawrence Marketing Officercourtney Walsh Marketing AssistantSava Papos Customer Service ManagerJosie Aitchison Customer Service & Philanthropy Coordinator Beverley Trolio Customer Service Coordinator

Alana ArnoldLeticia cannellMargaret Daws Vicki Prince Robyn Westbrook Customer Service Officers

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WASO.COM.AU | 08 9326 0000WASO.COM.AU | 08 9326 0000

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

2015 CORPORATE PARTNERSWe encourage you to support these partners for generously supporting your Orchestra

PARTNERS OF EXCELLENCE

CONCERTO PARTNERS

OVERTURE PARTNERS

SONATA PARTNERS

ORCHESTRA SUPPORTERS

MEDIA PARTNERS

FUNDING PARTNERS

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

KEYNOTE PARTNERS

PLATINUM PARTNERS

School of Music | Tertiary Education Partner

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1341_WESF - Arts Sponsorship Campaign 2014 - WASO_Program Ad_210x148mm_V2_FA.indd 1 16/02/15 1:16 PM

Fri 19 & Sat 20 June 7.30pmPerth Concert Hall

Mammoth orchestral forces, soloists and chorus bring Orff’s epic blockbuster to life.

VERDI La forza del destino, Act I: Overture

RESPIGHI Ancient Airs and Dances – Suite No.2

ORFF Carmina burana

Daniel Cohen conductorEmma Matthews soprano

Tobias Cole countertenorSamuel Dundas baritone

WASO Chorus

*Transaction fees may apply

Call 9326 0000 quoting 1258 Visit waso.com.au or ticketek.com.au

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MACA LIMITED CLASSICS SERIES