- Mozart’s Masterworks
- WASO On Stage
- About the Artists
- About the Music
- About WASO
- Your Concert Experience
- WASO in the Community
- Philanthropy
- Our Supporters
- About the Speaker
- WASO Recommends
MASTERS SERIES
Friday 11 & Saturday 12 October 2024, 7.30pm
Perth Concert Hall
West Australian Symphony Orchestra respectfully acknowledges the Traditional Custodians and Elders of Country throughout Western Australia, and the Whadjuk Noongar people on whose lands we work and share music.
How to use your Digital Program
You may use this digital program in the Perth Concert Hall Auditorium. Please use it respectfully and allow your fellow concert-goers to enjoy their concert experience by following these guidelines:
• Please enable Concert Mode at the top of your browser and further dim your screen in your device's settings.
• Place your phone on silent and mute all videos.
• Taking photos or video? Ensure your camera shutter sound and flash are turned off, then, if the conductor's arm is raised, hold it. If it's relaxed, go for it!
• For more information, see Your Concert Experience.
Show more...
Mozart’s Masterworks
Jacques IBERT Hommage à Mozart
(14 mins)
Wolfgang Amadeus MOZART Symphony No.31 Paris (16 mins)
Allegro assai
Andante
Allegro
Interval (25 mins)
Wolfgang Amadeus MOZART Requiem (55 mins)
I. Introitus
II. Kyrie
III. Sequentia
IV. Offertorium
V. Sanctus
VI. Benedictus
VII. Agnus Dei
VIII. Communio
Umberto Clerici conductor
Samantha Clarke soprano
Ashlyn Tymms mezzo-soprano
Andrew Goodwin tenor
Adrian Tamburini baritone
WASO Chorus
Wesfarmers Arts Pre-concert Talk
Find out more about the music in the concert with this week’s speaker, Cecilia Sun. The Pre-concert Talk will take place at 6.45pm at the Terrace Level Corner Stage.
Listen to WASO
This performance is recorded for broadcast Saturday 2 November, 1pm (AWST) on ABC Classic. Date subject to change. For further details visit abc.net.au/classic
Did you know?
-
Hommage à Mozart was composed in 1955 to celebrate the bicentennial of Mozart's birth the following year.
-
Mozart composed his first 30 symphonies by the age of 18 and returned to composing symphonies four years later during a tour to Paris, hence the nickname Paris Symphony.
-
This is Mozart's first symphony to use clarinets.
-
The Requiem in D minor was Mozart's final work and was unfinished when he died at age 35.
-
Although originally composed for a unnamed patron who had lost his wife to illness, after Mozart's death, his widow Constanze claimed that throughout Mozart’s last painful days he believed he was writing the Requiem for his own funeral.
-
Many myths surrounded the Requiem and Mozart's passing, including the idea that his death was the result of poisoning by jealous fellow composer Antonio Salieri. This myth eventually inspired Peter Shaffer's play, Amadeus, and the award-winning film of the same name.
WASO On Stage
VIOLIN
Laurence Jackson
Concertmaster
Riley Skevington
Assoc Concertmaster
Semra Lee
Assistant Concertmaster
• MACA
Zak Rowntree*
Principal 2nd Violin
Kylie Liang
Assoc Principal 2nd Violin
• The Baker Family
Kate Sullivan
Assistant Principal 2nd Violin
Sarah Blackman
Stephanie Dean
Amy Furfaro
Rebecca Glorie
• Rosalind & Lyndsay Potts
Beth Hebert
Emma Hunt
• Ulrich & Gloria Kunzmann
William Huxtable
Sunmi Jung
Kathryn Lee
Ryan Lee^
Akiko Miyazawa
• MIMI
Lucas O’Brien
Melanie Pearn
Louise Sandercock
• Unnamed
Jane Serrangeli
• Philip & Frances Chadwick
Jolanta Schenk^
Cerys Tooby
Teresa Vinci°
Samantha Wickramasinghe
• The Baker Family
VIOLA
Daniel Schmitt
Alex Brogan
Kierstan Arkleysmith
Nik Babic
• Maryllis & Paul Green-Armytage
Benjamin Caddy
• Future Logic
Alison Hall
Rachael Kirk
James Munro
• Roger Jennings
Elliot O’Brien
Helen Tuckey
• Gina Humphries
CELLO
Rod McGrath
Isaac Davis
Jeremy Garside
Oliver McAslan
• M & D Forrest and Michelle Todd
Nicholas Metcalfe
• The Gregg Family
Anna Sarcich^
Tim South
DOUBLE BASS
Andrew Sinclair*
John Keene
• Janet Holmes à Court AC & Gilbert George
Robin Brawley
Christine Reitzenstein
Mark Tooby
FLUTE
Mary-Anne Blades
• Unnamed
Peter Havlat^
OBOE
Liz Chee
• Ruth E. Thorn and Michael & Helen Tuite
COR ANGLAIS
Jonathan Ryan
• Joshua & Pamela Pitt
CLARINET
Allan Meyer
• Leanne & Sam Walsh AO
BASS CLARINET
Alexander Millier
BASSOON
Jane Kircher-Lindner
• Meg O’Neill, Chase Hayes & Vicky Hayes
CONTRABASSOON
Chloe Turner
HORN
★ Rod & Margaret Marston
David Evans
Francesco Lo Surdo
TRUMPET
Jenna Smith
• John & Nita Walshe
Koominka°
TROMBONE
Joshua Davis
• Dr Glenda Campbell-Evans & Dr Ken Evans AM
Liam O’Malley
Assoc Principal Trombone
• Dale & Greg Higham
James Littlewood^
TIMPANI
Alex Timcke
• Jean & Peter Stokes
ORGAN
Stewart Smith^
KEY
Principal
Associate Principal
Assistant Principal
Contract Musician°
Guest Musician^
★ Section supported through the Duet program by
• Chair supported through the Duet program by
* Instruments used by these musicians are on loan from Janet Holmes à Court AC.
Show more...
About the Artists
Umberto Clerici
Conductor
After a career spanning more than 20 years as a gifted cello soloist and orchestral musician, Umberto Clerici is widely regarded for his seamless transition to the podium as a now acclaimed conductor. The 2024 season will mark Clerici’s second as Chief Conductor of the Queensland Symphony Orchestra, in addition to being a frequent guest conductor with several leading orchestras.
Umberto began his career as a virtuoso cellist, making his solo debut at the age of 17 performing Haydn’s D Major Cello Concerto in Japan. After years of performing on the stages of the world’s most prestigious concert halls, Umberto took up the position as Principal Cello of the Teatro Regio di Torino, following which he was Principal Cello of the Sydney Symphony Orchestra from 2014 to 2021.
It was in Sydney in 2018 that Umberto made his conducting debut with the Sydney Symphony Orchestra at the Sydney Opera House. Following a swift trajectory of prestigious conducting engagements, Umberto is now in high demand with the major symphony orchestras throughout Australia and New Zealand.
In addition to his role as Chief Conductor of the Queensland Symphony Orchestra, Umberto’s 2024 conducting engagements include returns to the podiums of the Melbourne and West Australian Symphony Orchestras together with a three-week series with the Sydney Symphony for ‘Symphony Hour’ that Umberto himself has expertly curated
Other recent highlights include his debut with the Tasmania Symphony Orchestra and a hugely successful debut in opera conducting Verdi’s Macbeth with Opera Queensland.
Upcoming European conducting engagements include Elgar’s Cello Concerto with Steven Isserlis for the Volksoper Vienna, Orchestra del Teatro Massimo in Palermo and Orchestra Regionale Toscana.
As a cellist, Umberto is beloved by audiences worldwide, having performed internationally as a soloist at New York’s Carnegie Hall, Vienna’s Musicverein, the great Shostakovich Hall of St Petersburg, Auditorium Parco della Musica in Rome, and the Salzburg Festival. He is one of only two Italians to have ever won a prize for cello in the prestigious International Tchaikovsky Competition.
Umberto plays cellos by Matteo Goffriller (made in 1722, Venezia) and Carlo Antonio Testore (made in 1758, Milano).
Show more...
About the Artists
Samantha Clarke
Soprano
Australian/British soprano Samantha Clarke is the winner of the 2019 Guildhall Gold Medal and prize winner in the 2019 Grange International Festival Singing Competition. Samantha studied at the Royal Northern College of Music, as a Sir John Fisher Foundation and Independent Opera Scholar, under the tutelage of Mary Plazas.
In addition to the 2019 Guildhall Gold Medal, Samantha is the recipient of numerous awards, including the Leverhulme Royal Northern College of Music Award, the Dame Eva Turner Award, and the Michael and Joyce Kennedy Award for the singing of Strauss.
Her operatic roles include Violetta, Fiordiligi, Countess, Helena, Donna Elvira, Pamina, Anne Trulove, The Governess and Theodora.
Recent and future engagements include Countess (Le Nozze di Figaro) at Garsington, Fiordiligi (Cosi fan tutte) with the Seiji Ozawa Music Academy in Japan, Cleopatra (Giulio Cesare) and Theodora for Pinchgut Opera, Violetta (La traviata) with Opera Australia and West Australian Opera, and a US tour with the Monteverdi Choir and Orchestra.
Show more...
About the Artists
Ashlyn Tymms
Mezzo Soprano
In 2024, Ashlyn Tymms sang Ježibaba in Rusalka and Dido in Dido and Aeneas for West Australian Opera and Fanny Price in Mansfield Park for New Zealand Opera; she takes the alto solos in Mozart’s Requiem for West Australian Symphony Orchestra, Beethoven’s Symphony No.9 with the Queensland Symphony Orchestra and Bach’s St. John Passion with the Melbourne Symphony Orchestra.
Ashlyn’s 2022 performances included Beethoven Symphony No.9 with the Melbourne Symphony Orchestra and Mahler’s Symphony No.3 with the West Australian Symphony Orchestra. She also made her Sydney Opera House debut in Handel’s Messiah. For West Australian Opera, she has sung Dorabella (Così fan tutte), Santuzza (Cavalleria rusticana), Hansel (Hansel and Gretel) and Flora (La traviata); in 2023, Ashlyn returned to WAO in the title role in Carmen.
International engagements include Rosimonda in Faramondo at the London Handel Festival and Judith in the world premiere of The Two Sisters with Tête à Tête Opera.
© Patrick Togher Artists’ Management 2024
About the Artists
Andrew Goodwin
Tenor
Andrew Goodwin has appeared across Europe, Asia and Australia with the Bolshoi Opera, Gran Theatre Liceu Barcelona, Teatro Real Madrid, La Scala Milan, Opera Australia, Pinchgut Opera, Sydney Chamber Opera, St. Petersburg Philharmonic, Auckland Philharmonia, the New Zealand Symphony Orchestra and all the Australian Symphony Orchestras, Moscow and Melbourne Chamber Orchestras, and in recital at Wigmore Hall, the Oxford Lieder, and many Australian Music Festivals and ensembles.
This year Andrew returns to Adelaide Festival (The Nightingale and other fables), Sydney Philharmonia Choirs (Elijah), Melbourne Bach Choir and the Australian Symphony Orchestras in repertoire ranging from Messiah, Mozart’s Mass in C, Haydn’s Harmony Mass to Beethoven’s 9th Symphony.
Recent engagements have included Handel’s Il Trionfo with Yulia Lezhneva and Dmitry Sinkovsky (Moscow); Beethoven 9 (Brandenburg State Orchestra, Germany); Lysander, A Midsummer Night’s Dream (Adelaide Festival); Diary of one who disappeared and Rape of Lucretia (Sydney Chamber Opera); Nadir, The Pearlfishers (State Opera South Australia); and Artaxerxes title role (Pinchgut Opera).
About the Artists
Adrian Tamburini
Baritone
Opera singer, concert performer, music educator, director and producer, Adrian Tamburini most recently won his second Green Room Award for his performance of Hagen in Wagner’s Götterdämmerung. In 2017, Adrian won Australia’s prestigious singing award, the Australian Opera Awards (YMF, MOST).
His singing has featured on cinema releases of opera, DVD, international recordings, motion picture soundtracks, radio, and television. He has worked with companies such as Opera Australia, Pinchgut Opera, Victorian Opera, West Australian Opera, Melbourne Opera, Lost and Found Opera, Melbourne Symphony Orchestra, Zelman Symphony Orchestra, Sydney University Graduate Choir, Melbourne Bach Choir, West Australian Symphony Orchestra, Canberra Symphony Orchestra and Inventi Ensemble.
Over the past few years, he has focused on sharing his passion for music by teaching the next generation of musicians at Pure Harmony Music Studio in Melbourne. In recent years, Adrian has championed new Australian works and world premieres including Jane Hammond’s The Spare Room, Nicholas Buc’s Origins, Christopher Bowen’s Redfern Oratorio and Luke Styles’ No Friend but the Mountains. Adrian has worked with renowned international conductors and directors but is most proud to have worked with Australians Jessica Cottis, Erin Helyard, Barry Kosky, Bruce Beresford, and John Bell.
About the Artists
WASO Chorus
The WASO Chorus was formed in 1988 and consists of around 120 volunteer choristers who represent the finest form of community music making, bringing together singers from all walks of life. They regularly feature in the WASO annual concert season and are directed by Andrew Foote.
The Chorus has built an international reputation for its high standards and diverse range of repertoire. While its main role is to perform with the West Australian Symphony Orchestra, the Chorus also maintains a profile of solo concerts, tours and community engagements.
The Chorus sings with the finest conductors and soloists including Asher Fisch, Simone Young, Stephen Layton and Paul Daniel. Recent highlights have included Mahler’s Eighth Symphony, Britten’s War Requiem and Verdi’s Requiem. In 2019, the Chorus performed at the Denmark Festival of Voice and in 2018 toured China with performances of Orff’s Carmina burana.
In 2020, they performed two Gala events on the Kalbarri Skywalk. In 2023, the Chorus was invited to Hobart to perform Brahms’ German Requiem with the Tasmanian Symphony Orchestra (TSO), the TSO Chorus, Sydney Philharmonia Choirs and members of the public, conducted by Simon Halsey.
Andrew Foote Gladys Chua
Chorus Director
Répétiteur
SOPRANO
Lisa Barrett
Anna Börner
Caitlin Collom
Clara Connor
Rachel Doulton
Kathie Drake
Ceridwen Dumergue
Sophie Dwyer
Fay Edwards
Bronwyn Elliott
Davina Farinola
Ro Gorell
Kylie Grima
Diane Hawkins
Michelle John
Gillian King
Claire McGlew
Natasha Meyers
Elysia Murphy
Sue Nightingale Hingston
Lucy Sheppard
Sarah Shneier
Kate Sugars
Rebecca Thorne
Catherine Wade
Alicia Walter
Genevieve Walsh Cappi
Margo Warburton
Charmaine de Witt
ALTO
Marian Agombar
Llewela Benn
Helen Brown
Patsy Brown
Sue Coleson
Catherine Dunn
Kaye Fairbairn
Jenny Fay
Susanna Fleck
Louise Hayes
Mathilda Joubert
Emma Lejonberg
Kate Lewis
Tina McDonald
Lynne Naylor
Deborah Pearson
Deborah Piesse
Fiona Robson
Neb Ryland
Louise Sutton
Olga Ward
Moira Westmore
Jacquie Wright
TENOR
Chris Bedding
David Collings
Nick Fielding
Allan Griffiths
Alan Harvey
John Murphy
Andrew Paterson
Christopher Ryland
Sim Taylor
Arthur Tideswell
Stephen Turley
Malcolm Vernon
Brad Wake
BASS
Michael Berkeley-Hill
Charlie Bond
Paul Brayshaw
Bertel Bulten
Ken Gasmier
Brad Hilton
Brendon Jones
François Joubert
Francis Joseph
Eric Lim
Tony Marrion
Patrick Melling
Peter Ormond
Jim Rhoads
Mark Richardson
Stace Rogers
Steve Sherwood
Christopher Smith
Tim Strahan
Frank Sverha
Andy Tuckey
Robert Turnbull
Michael Whitby
Andrew Wong
Andrew Foote’s Final Bow
WASO Chorus Director, Andrew Foote, says farewell after eleven years with the Chorus.
With the performances of Mozart’s Masterworks at Perth Concert Hall, Associate Professor Andrew Foote takes his final bow as WASO Chorus Director after six years in the role. A Helpmann Award-winner, Andrew is one of the most experienced singers and teachers of voice in Australia, and began his engagement with the Chorus over a decade ago as WASO Chorus Vocal Coach before being appointed to the Director role in 2019.
“Eleven years ago, I began working with previous Director Chris van Tuinen and the WASO team to leverage the skills and strength of the Chorus,” said Andrew. “In the last six years we consolidated these efforts, worked hard to refine our sound, survived some of the weirdest weekly online rehearsals during the COVID lockdown period, and performed some of the most sublime and spine-tingling moments for our audiences.”
Evan Kennea (WASO Executive Manager, Artistic Planning) said:
“Dr Andrew Foote has made an incredible contribution to WASO during his six-year tenure as Chorus Director and preceding five years as the WASO Chorus Vocal Coach. Apart from his obvious gifts as a singer, vocal coach and artistic leader, Andrew is quite simply one of the most generous and caring of colleagues. His passion for the artform is infectious and his desire for constant improvement is a testament to the consummate professional he is.”
Under Andrew’s directorship the WASO Chorus has been able to navigate the challenges of COVID-19 and flourish in a post-pandemic world – presenting a number of world and WA premieres, and performing in venues across the country.
Chorus members expressed great appreciation for Andrew’s devotion to the group’s development, saying “As a singer himself, Andrew has provided valuable vocal training. We are all now better singers thanks to his dedication.”
Andrew’s time as Director will be fondly remembered by the choristers, with members listing the outdoor concerts on the Kalbarri Skywalk, Britten’s War Requiem, and Andrew’s arrangement for chorus and organ of Cherubini’s Requiem as some of their favourite performances.
Andrew steps down with immense gratitude for over a decade of collaboration with the musicians of the Orchestra, his administrative colleagues at WASO, and great pride in the work that his choristers have done. Reminiscing on his time as Chorus Director, he said;
“It’s time to pass the baton to the next Director to take it to the next level. I’m thrilled to have a successor who will provide a very different style, but demand the same levels of excellence we have all demanded for the past eleven years.
Thank you to every chorister, whether current or past, who has been a volunteer member of this wonderful Chorus. Keep sharing the gift of symphonic choral music with our audience.”
Perth-based conductor, teacher and singer, Hugh Lydon, has been appointed to the position of WASO Chorus Director and commences in the role in October 2024.
About the Music
Jacques Ibert
(1890-1962)Hommage à Mozart (Rondo)
Ibert was something of an outsider in French music, despite an illustrious career that included the Directorship of the Paris Opera and Opéra-Comique from 1955. Astoundingly, he had won the Prix de Rome in 1919 immediately after four years of active service as a nurse and stretcher-bearer in World War I. Controversially, given his outsider status, he was named Director of the Académie de France in Rome from 1937 (a post he nominally held until 1960), but, when his music was banned by the Vichy Government, spent much of World War II in Switzerland and rural France, only returning to Paris in 1944.
Ibert was a natural neo-classicist, so ideal for this tribute piece, the Hommage à Mozart, which was commissioned by Radio France for the 1956 bicentenary of Mozart’s birth. Like Prokofiev’s Classical Symphony, Ibert’s piece does not quote any recognisable music by Mozart – or anyone else – nor indeed does Ibert restrict himself to the ‘Classical’ harmony or the scoring available to an 18th-century orchestra. But the work is very much in the spirit of Mozart and his contemporaries: the bustling main rondo theme falls at first into regular phrases articulated by terse gestures in the lower parts. But Ibert’s famous sensitivity to and love for wind instruments soon surfaces, with solo lines for flute, in particular, that set off more strenuous passages of contrapuntal writing, and heraldic brass writing near the work’s centre. The piece never takes itself too seriously for long as the rondo theme frequently returns to remind us of the levity of the situation.
© Gordon Kerry 2018
First performance:
1956. Eugène Bigot, conductor.First WASO performance:
9-10 August 2024. Umberto Clerici, conductor.Instrumentation:
two each of flutes, oboes, clarinets, bassoons; horns, trumpets; timpani and strings.
Rondo – a musical form where a main idea (refrain) alternates with a series of musical episodes. Classical composers often wrote the final movement of their symphonic works in rondo form.
Contrapuntal – a texture in which two or more musical lines or melodies played at the same time (counterpoint). Imitative counterpoint is when the various parts are playing similar or identical melodies one after the other (e.g. canons and fugues) – childhood rounds are the simplest form of imitative counterpoint.
Show more...
Wolfgang Amadeus Mozart
(1756-1791)
Symphony No.31 in D, K.297 Paris
Allegro assai
Andante
Allegro
Mozart’s return to Paris in 1778, years after his first visit as a child prodigy, was not a happy one. His mother, who had travelled with him, died in Paris, and he had the difficult task of telling his father. His hopes for a brilliant salaried position outside Salzburg did not materialise, and his music was not very much appreciated by the Parisian public. Mozart responded by disparaging French taste and judgement in his letters to his father. His comments on the likely reception of the symphony he had written for Paris reveal how far he had tailored his writing to the audience as he assessed it:
‘I can answer for its pleasing the few intelligent French people who may be there – and as for the stupid ones, I shall not consider it a great misfortune if they are not pleased. I still hope, however, that even asses will find something in it to admire – and moreover, I have been careful not to neglect le premier coup d’archet [the first stroke of the bow] and that is quite sufficient. What a fuss the oxen here make of this trick! The devil take me if I can see any difference! They all begin together, just as they do in other places. It is really too much of a joke.’
The ‘first stroke of the bow’, of which the French were so proud, is exploited by Mozart in a way which verges on parody. At the same time, he was obviously excited at the possibility of writing for the large and efficient orchestra of the Concert Spirituel, whose impresario Le Gros had commissioned the symphony. The wind section included clarinets, making their first appearance in a Mozart symphony. The Parisian public expected strong contrasts of loud and soft, and Mozart provides plenty of these in the brilliant first movement, as well as orchestral build-ups (crescendos) which show the influence
of the then-famous composers based in Mannheim. The French taste for elegance is catered for in the subsidiary passages, which also feature dialogues between string and wind instruments, much enjoyed in Paris, as the craze there for concertante symphonies with wind instruments shows. Mozart, it seems, realised he must provide the audience with plenty of variety and effects.
Concert promoter Le Gros thought the slow movement was too long and contained too many modulations, but this attitude is hard to understand, and the original movement, which Mozart defended in a letter to his father, is almost always played in preference to the substitute composed at Le Gros’ request. Clarinets, trumpets and drums are omitted in the song-like, tender Andante.
The last movement again shows Mozart aware of the Parisian style – the cuts and alterations in the manuscript of this symphony show how much extra work this awareness imposed on him. Here he made a stunning effect, which he describes:
‘Since I had heard that all the final allegros here begin just like the first one – with
all the instruments at once and usually in unison – I began with only the first and second violins, playing very softly for just eight bars and a loud forte immediately afterwards. Just as I had expected, when they heard the soft beginning, the audience went: “Sh-hh…” Then came the forte…For them, hearing the forte and clapping their hands were practically the same thing. So after the symphony, out of pure joy I went right to the Palais Royal, ate a large ice, said the rosary I had promised, and went home.’
© David Garrett 1988
First performance:
12 June 1778, Paris.First WASO performance:
14 September 1940. Sir Thomas Beecham, conductor.
Most recent WASO performance:
6-7 May 2016. Laurence Jackson, director.Instrumentation:
two each of flutes, oboes, clarinets, bassoons; horns, trumpets; timpani and strings.
About the Music
Wolfgang Amadeus Mozart
(1756-1791)
Requiem Mass, K626
[Completed by Franz Süssmayr]
Haydn said that Mozart’s fame would be secure if he had written nothing but the Requiem, but it is a problematical work which Mozart did not live to complete and whose origins are surrounded by mystery. Mozart, mortally ill while composing it, chose the key of D minor – one associated with tragic drama in works such as Don Giovanni; and with tenderness and pathos as well, as in the Piano Concerto in D minor. The terrifying drive of the Dies irae; the powerful rhythmic bite of the Rex tremendae with its contrasting ‘Salva me’; the Confutatis – all these are painted with the dramatic intensity of a composer who believed he was writing his own Requiem. The messenger who had delivered a commission from an anonymous patron had become in Mozart’s mind an emissary of death. We now know that he was a servant of Count Walsegg zu Stuppach, who liked to pass off music by professional composers as his own. So great was Mozart’s emotional involvement with the music of the Requiem that his anxious doctor had to take the manuscript from his hands. Hence the power and directness of those sections which are undoubtedly from his pen.
Mozart’s Requiem also contains much music of great tenderness, and of a consoling pity. This music seems to express Mozart’s acceptance of the transcendent, the world beyond life and death. We find it also in the opera The Magic Flute, and in the Masonic music Mozart was composing at the same time as the Requiem. Mozart’s instrumentation reflects the two facets of the music: fierce, with trumpets and drums in the sterner sections, but coloured elsewhere by the mild and liquid tones of basset horns. Flutes, oboes and horns are banished (though whether this was Mozart’s intention for the whole work is uncertain).
Mozart’s Requiem is a kind of summation of its models and counterparts in the music of contemporaries and predecessors. Haydn’s admiration was surely a tribute to the Requiem’s successful uniting of different styles and forms. Like Mozart’s unfinished Great Mass in C minor (K427), his Requiem is a cantata mass in the sense that the Sequence (Dies irae) is divided up into separate choral and solo ensemble movements. In the earlier Mass, each movement was developed on a massive scale, whether in enormous fugues or in Italianate chamber music arias – so much so that Mozart may have abandoned it precisely because he felt the result lacked stylistic unity. In the Requiem, on the other hand, choral and solo movements are brought into balance with each other, and the solo writing has lost all traces
of virtuosity for its own sake. In many respects the Requiem is backward-looking, with Baroque elements, signs of the tremendous impact on Mozart of his study of the music of Bach and Handel, and also of his familiarity with works by less celebrated Austrian musicians.
Mozart’s Requiem, then, is a treasure of artistic heritage, but it is a flawed masterpiece in that it is incomplete. The manuscript shows that Mozart had completed the Introitus and Kyrie in full score. Other sections are half-finished, vocal parts written in full, instrumental parts sometimes complete, sometimes only sketched. These are: the Sequence as far as bar eight of the Lacrimosa; the Domine Jesu Christe and Hostias. There is no proof of any Mozart in the ending of the Lacrimosa, the Sanctus, Benedictus or Agnus Dei.
Mozart’s widow was naturally anxious to collect the composition fee, and after other musicians had declined the task of completion gave it to Franz Xavier Süssmayr, Mozart’s pupil, who had assisted him with many late works. The chief criticisms of Süssmayr’s completion concern the instrumentation and the filling out of inner parts. Some of the part-writing and distribution is inept; above all, scoring the entire work for the same instrumental palette is monotonous and often heavy. The trombones are used in inappropriate places and with a lack of restraint, but the tenor trombone solo in the Tuba mirum is undoubtedly Mozart’s. The extent of Süssmayr’s contribution has always been a matter of controversy, and scholars incline to the view that it was less than used to be thought.
Nevertheless, Mozart’s Requiem is with us in a form partly determined by Süssmayr, and in that form it has remained, ever since the early 19th century, one of his most admired and loved works.
Abridged from a note © David Garrett
First performance of the complete work:
2 January 1793, Vienna. The Introit and Kyrie were probably performed at a memorial service for Mozart in Vienna on 10 December 1791.First WASO performance:
22-23 September 1962. Frank Callaway, conductor.
Most recent WASO performance:
2-3 September 2016. Asher Fisch, conductor. Sara Macliver (soprano), Stefanie Irányi (mezzo-soprano), Steve Davislim (tenor), Derek Welton (bass).Instrumentation:
mixed chorus and four vocal soloists, two basset horns, two bassoons; two trumpets, three trombones, timpani, organ, strings.
Glossary
Aria – a song for solo voice.
Baroque – the period of music and art history from about 1600 to 1750. Handel, Purcell and J.S. Bach are the most famous Baroque composers.
Fugue – a contrapuntal style of composition in which a short melody is sounded by one voice or part and subsequently taken up by others.
Show more...
Text & Translation
Latin
English
Introitus (Chorus and soprano solo)
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Te decet hymnus Deus in Sion,
et tibi reddetur votum in Jerusalem.
Exaudi orationem meam,
ad te omnis caro veniet.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Kyrie(Chorus)
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Sequence
Sequence
Dies irae (Chorus) Quantus tremor est futurus, Mors stupebit et natura Liber scriptus proferetur Judex ergo cum sedebit Quid sum miser tunc dicturus, Quaerens me sedisti lassus Juste judex ultionis, Ingemisco tamquam reus: Qui Mariam absolvisti Preces meae non sunt dignae, Inter oves locum praesta
Dies irae, dies illa,
Solvet saeclum in favilla,
Teste David cum Sibylla,
Quando judex est venturus,
Cuncta stricte discussurus!
Tuba mirum (Solo quartet)
Tuba mirum spargens sonum
Per sepulcra regionum,
Coget omnes ante thronum.
Cum resurget creatura
Judicanti responsura.
In quo totum continetur
Unde mundus judicetur.
Quidquid latet apparebit:
Nil inultum remanebit.
Quem patronum rogaturus,
Cum vix justus sit securus?
Rex tremendae (Chorus)
Rex tremendae majestatis,
Qui salvandos salvas gratis;
Salva me, fons pietatis.
Recordare (Solo quartet)
Recordare, Jesu pie,
Quod sum causa tuae viae
Ne me perdas illa die.
Redemisti crucem passus;
Tantus labor non sit cassus.
Donum fac remissionis
Ante diem rationis.
Culpa rubet vultus meus.
Supplicanti parce, Deus.
Et latronem exaudisti,
Mihi quoque spem dedisti.
Sed tu, bonus, fac benigne,
Ne perenni cremer igne.
Et ab haedis me sequestra,
Statuens in parte dextra.
Confutatis (Chorus) Oro supplex et acclinis, Lacrimosa
Confutatis maledictis,
Flammis acribus addictis,
voca me cum benedictis.
Cor contritum quasi cinis,
Gere curam mei finis.
Lacrimosa dies illa
Qua resurget ex favilla
Judicandus homo reus.
Huic ergo parce, Deus.
Pie Jesu Domine:
Dona eis requiem. Amen.
Introitus (Chorus and soprano solo)
Grant them eternal rest, O Lord,
and may light perpetual shine upon them.
To you, O God, praise is given in Zion,
and prayer shall go up to you in Jerusalem.
Give ear to my supplication,
to you shall all flesh come.
Grant them eternal rest, O Lord,
and may light perpetual shine upon them.
Kyrie(Chorus)
Lord, have mercy upon us.
Christ, have mercy upon us.
Lord, have mercy upon us.
Sequence
Dies irae (Chorus)
The Day of Wrath, that day
shall dissolve the world in ashes,
as David and the Sibyl testify.
What trembling shall there be
when the Judge shall come
who shall thresh out all thoroughly!
Tuba mirum (Solo quartet)
The trumpet, scattering a wondrous
sound through the tombs of all lands,
shall drive all unto the throne.
Death and nature shall be astounded
when all creation shall rise again
to answer the judge.
A written book shall be brought forth
in which shall be contained all
for which the world shall be judged.
And therefore when the Judge shall sit,
whatsoever is hidden shall be manifest:
and nothing shall remain unavenged.
What shall I say in my misery?
Whom shall I ask to be my advocate,
When scarcely the righteous may be without fear?
Rex tremendae (Chorus)
King of awful majesty,
you who freely save the redeemed;
save me, O Fount of Pity.
Recordare (Solo quartet)
Remember, merciful Jesus,
that I am the reason for your journey,
let me not be lost on that day.
Seeking me, you sat weary.
You redeemed me, suffering the Cross:
let not such labour have been in vain.
O just Judge of Vengeance,
give the gift of redemption
before the day of reckoning.
I groan as one guilty;
my face blushes at my sin.
Spare the supplicant, O God.
You who absolved Mary
and heard the prayer of the thief,
you have also given hope to me.
My prayers are not worthy,
but you, O good one, show mercy,
lest I burn in everlasting fire.
Give me a place among the sheep,
and separate me from the goats,
setting me on the right hand.
Confutatis (Chorus)
When the damned are confounded
and consigned to sharp flames,
call me with the blessed.
I pray, kneeling in supplication, Lacrimosa
a heart as contrite as ashes,
take my ending into your care.
That day is one of weeping
on which shall rise again from the ashes
guilty humankind, to be judged.
Therefore spare this one, O God.
Merciful Lord Jesus:
Grant them rest. Amen.
Latin
English
Offertorium
Dominae Jesu Christe (Chorus and solo quartet)
Domine Jesu Christe, Rex gloriae,
libera animas omnium fidelium
defunctorum de poenis inferni,
et de profundo lacu;
libera eas de ore leonis,
ne absorbeat eas Tartarus,
ne cadant in obscurum.
Sed signifer sanctus Michael
repraesentet eas in lucem sanctam.
Quam olim Abrahae promisisti,
et semini ejus.
Hostias(Chorus)
Hostias et preces tibi, Domine,
laudis offerimus.
Tu suscipe pro animabus illis,
quarum hodie memoriam facimus.
Fac eas, Domine,
de morte transire ad vitam.
Quam olim Abrahae promisisti,
et semini ejus.
Sanctus (Chorus)
Sanctus, sanctus, sanctus,
Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis.
Benedictus (Solo quartet)
Benedictus qui venit in nomine Domini.
Hosanna in excelsis.
Agnus Dei (Chorus)
Agnus Dei
qui tollis peccata mundi;
dona eis requiem sempiternam.
Communio (Soprano solo and chorus)
Lux aeterna luceat eis Domine,
cum sanctis tuis in aeternum
quia pius es.
Requiem aeternam dona eis Domine,
et lux perpetua luceat eis.
Cum sanctis tuis in aeternum:
quia pius es.
Offertorium
Dominae Jesu Christe (Chorus and solo quartet)
O Lord Jesus Christ, King of glory,
deliver the souls of all the departed faithful
from the torments of Hell,
and from the deep pit;
deliver them from the mouth of the lion;
that Hell may not swallow them up,
and that they may not fall into darkness.
But may the holy standard-bearer Michael
bring them into the holy light;
which thou didst promise of old to Abraham
and his seed.
Hostias(Chorus)
We offer unto you, O Lord,
sacrifices and prayers of praise.
Receive them on behalf of those souls
whom we commemorate today.
Make them, O Lord,
to cross over from death to life,
as once you promised to Abraham
and his seed.
Sanctus (Chorus)
Holy, holy, holy,
Lord God of Hosts.
Heaven and earth are full of your glory.
Hosanna in the highest.
Benedictus (Solo quartet)
Blessed is the one who comes in the name of the Lord.
Hosanna in the highest.
Agnus Dei (Chorus)
Lamb of God,
you who take away the sins of the world,
give them eternal rest.
Communio (Soprano solo and chorus)
Let everlasting light shine on them,
O Lord, with your saints for ever:
for you are good.
Grant them eternal rest, O Lord,
and let light perpetual shine upon them,
with your saints forever;
for you are good.
Principal 1st Violin
Meet the Musician – Alexandra Isted
When did you realise you wanted to become a professional musician?
There actually wasn’t a lightbulb moment for me. Ever since I was a teenager it has always felt like I’ve been chasing my goal to be the best violinist I can possibly be. That has really been what has brought me from one thing to the next.
What has been your most memorable moment with WASO to date?
Hard to pick one, but probably when we did Tristan und Isolde in 2018.
You’re passionate about chamber music. What is it that draws you to this type of music?
At its peak, playing chamber music is like having a really great conversation with your friends. Everyone has their individual voice and the freedom to choose how to interact with each other, with their own nuances in phrasing and tone. There’s a spontaneity to each performance that makes it engaging for both players and audience.
You’ve recorded soundtracks for major franchises such as Star Wars and Harry Potter. How does the recording experience differ from performing live on stage?
When I lived in London, I was lucky to freelance with the London Symphony Orchestra and do some recording sessions at Abbey Road Studios. Of course, it’s really exciting, but you get booked for a session and go in there not knowing what you’re about to record and you have to sight-read it, so it can be pretty terrifying to open up the folder and see some John Williams on the stand because his music is often fiendishly difficult to play (even if you’ve practiced it).
The recording process is done in small patches, which is very much a stop and start process, so much so that people will often bring a book to read during the gaps between checking patches. It’s very different from when we perform soundtracks live with the movie which requires lots of stamina and constant focus.
Is there a special story behind your violin?
My violin actually turns 100 years old this year! It’s an Australian instrument by Charles Clarke that was made in Sydney in 1924.
Tell us about one of your non-musical hobbies.
I’ve always enjoyed drawing and painting. Over the last few years I’ve done a few oil paintings and one large drawing, but this year I haven’t had much time, so I’ve kept a small sketchbook instead.
About WASO
Engage | Excite | Experience | Educate
From the centre of Perth to the furthest corners of the state, we have provided the soundtrack to life in WA since 1928.
As the State Orchestra, Perth’s first and finest, WASO is the largest employer of performing artists in Western Australia and reaches two million people with musical experiences each year on stage, in our community, and online.
From concert halls to classrooms, hospitals to aged care, we bring joy, inspire learning, and nurture participation in our community, because everybody deserves the opportunity to experience live music. Every year, through community and leading industry partnerships, we engage a new generation of young and emerging artists to help secure a bright future for music in Australia.
We celebrate our rich classical music heritage with great artists from all over the world and commission and perform new repertoire to renew and expand it.
The Orchestra collaborates widely with major arts companies and independent artists, performing opera to ballet, movies to musicals, jazz to rock. We champion the diversity of music in all its forms, with a team of talented and passionate people who create unforgettable experiences for all West Australians to enjoy.
Asher Fisch is Principal Conductor and Artistic Adviser of our Orchestra and we are proud to call Perth Concert Hall home.
Show more...
Your Concert Experience
Get the best out of your concert.
- Explore the music
Be sure to take a quick look at the performance schedule or enjoy a deep dive into the music with your concert program online or in the foyer. - Share with your friends
Snap a selfie from your seat, capture the artist bows and share the experience with friends. Don’t forget to tag us! #wasymphonyorchestra - Clap with enthusiasm
Whether you are welcoming your favourite artist to the stage, or showing appreciation at the end of a piece, we love thunderous applause. Not sure when to clap? Here’s a tip; if the conductor’s arm is raised, hold it. If it’s relaxed, go for it! - Respect those around you
Ensure your mobile phone is on silent and does not disrupt the experience of those around you. If you need to cough or sneeze, please do this into your elbow. Cough lozenges are available from the Information
Desk located on Level 1. Masks are welcome but not required. - Accessible services available
For information about our services such as assisted listening and accessible toilets please search “Perth Concert Hall Access” online. - Latecomers admitted at a suitable time
If you arrive late or leave your seat during a performance, your auditorium entry will need to wait until a suitable break. - Drinks and nibbles
The Wardle Kitchen is open for casual dining, serving delicious hot meals before each performance, while our Grab and Go stations offer quick bites such as sushi and sandwiches. Bars are available on the first two levels, and you are welcome to bring your cold drink into the auditorium. - First Aid available
St John First Aid officers are present at every WASO concert. Please notify a Perth Concert Hall team member if you require any first aid assistance. - Box Office is open
Get tickets to your next WASO experience at the Box Office located on the ground floor (Level 1). Our Box Office is open one hour prior to each performance, and during interval, or you can email us anytime at boxoffice@waso.com.au. You can also visit us Mon-Fri 9am-5pm.
Show more...
WASO in the Community
In our WASO aged care programs, small ensembles from our orchestra venture out into the wider Perth area to retirement homes and aged care facilities to provide entertaining and heart-warming concerts to their residents.
In April, two small ensembles – a string quartet and quintet – visited over 1200 aged care residents across twenty-eight homes in Perth.
A highlight for staff at one retirement home was watching the residents’ faces as they listened to the music, with one staff member saying “This concert was a pleasure to listen to. The experience was food for the soul.”
Visit our website to discover more about our WASO in the Community programs.
Show more...
Philanthropy
Join the WASO family
The transformative nature of music is yet to be matched. It can heal, it can unite, and it can inspire. It can do this and so much more all without a single word being uttered. It’s unsurprising then that it’s woven into the fabric of our celebrations and stories, providing the backdrop for countless moments in our lives.
That is why WASO is committed to empowering, enriching, and elevating the lives of all West Australians through the universal language of music. The donations we receive enable your Orchestra to continue to inspire and connect our community through its beauty.
Join us in shaping our performances by contributing to the concerts you love so that together we may continue to change lives through music.
For more information or to pledge your support, please call the Philanthropy team on (08) 9326 0016 or visit our website.
Show more...
Our Supporters
The importance of our giving community is to be valued and congratulated. You are making a difference to what you see on stage - your commitment is a source of constant inspiration for us.
We are proud to acknowledge our donor family, many of whom give to multiple areas and some who wish to remain unnamed.
Thank you.
Patron of Private Giving
Janet Holmes à Court AC
Recognising gifts received in the last 12 months, which support our inspiring performances and enable us to share music and actuate growth through our education and community programs.
Annual Giving
Chairman’s Circle
$25,000+
Prue Ashurst in memory
of Eoin Cameron
The Baker Family
Gavin Bunning Family
Dr Glenda Campbell-Evans
& Dr Ken Evans AM
Richard Goyder AO &
Janine Goyder
The Gregg Family
Jamelia Gubgub &
David Wallace
Janet Holmes à Court AC
& Gilbert George
Tony & Gwenyth Lennon
Louise & Bryant Macfie
Rod & Margaret Marston
Meg O’Neill, Chase Hayes
& Vicky Hayes
Joshua & Pamela Pitt
Rosalin Sadler in memory
of Joyce Durbin Sadler
Geoff Stearn
Jean & Peter Stokes
Ruth Stratton
Leanne & Sam Walsh AO
Alan Whitham
Trish Williams
Principal Conductor’s Circle
$10,000+
Gay & Robert Branchi
Catherine Dunn &
Barrie Heald
Brian & Romola Haggerty
Dale & Greg Higham
Jim & Freda Irenic
Ulrich & Gloria Kunzmann
Ken & Yuko Lucas
Kenneth Pettit
Rosalind & Lyndsay Potts
Dr Paul Rodoreda in
memory of
Mary Rodoreda
Helen & Roger Sandercock
Gene Tilbrook &
Anne Seghezzi
Michael & Helen Tuite
John & Nita Walshe
Fred & Nicola Wehr
Unnamed (6)
Maestro Circle
$5,000+
Jean Arkley in memory of
Tom Arkley
Bend-tech Group
David & Suzanne Biddles
Dr John Blott
Stewart Candlish &
Bianca Panizza
Prof Rachel & Rev Dr
John Cardell-Oliver
Maree Creighton &
Kevin Davis
Stephen Davis &
Linda Savage
Louise Farrell OAM &
Eric Isaachsen
Bridget Faye AM
Marc Geary
Warwick Hemsley
Dr Penny Herbert in
memory of
Dunstan Herbert
Sue Hovell
Gena Culley
Margaret & Peter James
Eleanor John &
Finn Barrett
Bill Kean
Keith & Gaye Kessell
Dale & Michael Kitney
Rosalind Lilley
Marie Mills &
Anthony Crocker
Mrs Morrell
Michael & Lesley Page
Paula Phillips
Wayne Robinson
Ruth E. & Neville Thorn
Reto Vogel
Unnamed (7)
Virtuoso Circle Principal Circle
$2,500+
Margaret &
Dr Fred Affleck AO
Neil Archibald &
Alan R Dodge AM
Tony & Mary Beeley
Peter & Marjorie Bird
Professor Anne Burns
Prof Jonathan Carapetis
& Prof Sue Skull
Philip & Frances Chadwick
Anthea Cheney
Lesley & Peter Davies
Lorraine Ellard &
Ron Bade OAM
M & D Forrest
The Giorgetta Charity Fund
Robyn Glindemann
Maryllis &
Paul Green-Armytage
Peter Ingram
Roger Jennings
Francis Landels
Sunny & Ann Lee
Dr Mi Kyung Lee OAM &
Prof Colin Binns AO
LeMessurier Charitable
Trust
Roderick MacDuff &
Renate Drauz
Oliver & Sophie Mark
Paul Nendick
Val & Barry Neubecker
Anne Nolan
John Paterson
Rosemary Peek
Thomas & Diana Potter
Wendy Powles
Dr Lance Risbey
Anne & Robin Salter
Melanie & Paul Shannon
Elisabeth & David Smith
Michael Snell OAM &
Vicki Stewart
Clare Thompson &
Dr Brad Power
Peter & Jane Thompson
in memory of
Mrs Freda Stimson
Michelle Todd in memory
of Andrew
Mary Townsend
George Van Beek
Stan & Valerie Vicich
Leonard Walker
Joy Wearne
Fred & Caroline Witting
Sara Wordsworth
Andrew & Marie Yuncken
Unnamed (3)
$1,000+
Brendan & Sue Adler
Suzanne Maree Ardagh AM
Arron Arntzen
Moira Bailey
Ruth Bailey
Lisa & Glenn Barrett
Peter Bath
Noelle Beasley
Sarah & Colin Beckett AO
Ross & Alecia Benzie
Lea Bingemann
Margaret Bloch
E & P Boland
Cathy Bolt in memory of
Tony Bolt
K & C Bond
Archa Fox & Charlie Bond
Claire Brittain OAM &
John McKay
Ian & Marilyn Burton
Adrienne &
Phillip Buttrose
Joan Carney
David Castillo &
Marian Magee
Mr G & Mrs CE Chappelle
S Cherian
Dr Anne Chester
Jason & Su-Lyn Chong
Keryn &
Frank Christiansen
Kenneth Clark
Jill Clarke
Peter & Sue Clifton
Lyn & Harvey Coates AO
Brenda Cohen
Dr David Cooke
Norah & Roger Cooper
Kaylene Cousins
Megan & Arthur Criddle
Michael & Wendy Davis
Kevin Della Bosca
Kelly & Andrew Diong
Rai & Erika Dolinschek
Caroline Allen &
Sandy Dunn
Prof Robert Durand
Bev East
Pamela Eldred
Kerry & Norbert Fandry
OAM
Dr Jenny & Terry Fay
Susan & Gavin Fielding AM
Eléonore Fuchter &
Lothar Konle
Clayton Utz Foundation
George Gavranic
Andrea Gillett
Gilly Flower
Dr J S Gladstones AO
CitWA
Dr Anne Gray
Jannette Gray
Pitsamai & Kevin Green
Grussgott Trust
Shona Hall
Richard B Hammond
Pauline & Peter Handford
Max Hansen
Peter Hansen-Thiim
Dr & Mrs H Hansen-Knarhoi
Julie Harris
Rev Bill Hawley &
Dr Rev Georgina Hawley
John & Christine Hedges
Elizabeth & Eric Heenan KC
Barbie Henryon
Dallas & Alex Hickman
Dr John & Patricia Hill
Helen Hollingshead
Dr K & Mr J Hopkins OAM
Judith Hugo OAM
Judith & John Huppatz
Diane Johnson in
memory of Tim Johnson
Emy & Warren Jones
Danuta Julia
Patricia M King
Leonie Kirke
Nelly Kleyn
Tessa La Mela on behalf of
Tim Threlfall & Katie Hill
Yvonne Lamble
Irving Lane
Ross & Fran Ledger
Dr Oon Teik Lee
Ruth & Malcolm Leske
Lommers Engineering
Pty Ltd
Ian & Judith Lunt
Graham & Muriel Mahony
Denise Main
Dr Tony Mander &
Ms Loretta Byrd
Dr Walter Ong &
Graeme Marshall
Gregg & Sue Marshman
Geoff Massey
Andreas W. Merk
Con Michael AO in
memory of Betty Michael
Mrs Carolyn Milton-Smith
in memory of Emeritus Prof
John Milton-Smith
Dr Lesa Melnyczuk Morgan
Mr Geoff &
Mrs Valmae Morris
Jane & Jock Morrison
Dr & Mrs Peter Moss
Lynn Murray
Phuong N T Nguyen
G & I Nicholas
Marianne Nilsson
Jim & Wendy O’Neill
Peter & Chris Ormond
Robyn Owens
Adam Parker
Jane Patroni in memory
of Sue & John Dale
Tim Pavy & Cathy Cole
Ruth & Adrian Phelps
Charmian Phillips in
memory of Colin Craft
Alison Piacentini
Deborah Piesse
Italo Pizzale
Dr Richard &
Mrs Sharon Prince
Megan & James Phillips:
in memory of
Sheena Prince
Dr Leon Prindiville
Eveline Read
James &
Nicola Ridsdill-Smith
Mark Ritter in memory of
Deborah Milton
Bryan & Jan Rodgers
Nigel & Dr Heather Rogers
Gerry & Maurice Rousset
OAM
Stephanie Rusyn in
memory of John Kobelke
Margaret & Roger Seares
Glenice Shephard
Eric Skipworth in memory
of Virginia Skipworth
Dorothy Smith
Helen Smith OAM
Nick Handran Smith &
Elizabeth Allan
Paul Smith & Denham Harry
Ross & Laurel Smith
Peggy & Tom Stacy
Alan & Jan Stewart
Brian Stewart
Joslyn Summerhayes in
Memory of Eileen Hayes
Summerlin Audiology
Janet & the late
Stephen Thackray
Ruth Thomas in memory
of Ken & Hazel Rowley
Rosemary Tomkinson
James & Rosemary Trotter
Christopher Tyler
Agatha van der Schaaf
Maggie Venerys
Geoff & Sandra Wackett
Jeremy Wade & Tara Mala
Adrienne & Max Walters AM
Alan Westle in memory
of Jean
Moira Westmore
PJ & NB Wheeler-Hart
Dr Chris &
Mrs Vimala Whitaker
Dai & Anne Williams
Jean & Ian Williams AO
Janet Williams
Jim & Gill Williams
Dr Simon &
Alison Williams
Judith Wilton &
David Turner
Hilary & Peter Winterton
AM
Peter Wreford
Mary Ann Wright
Zvi & Carmela Yom-Tov
Nancy York
Don & Leith Young
Unnamed (36)
Tutti Circle
$500+
Catherine Bagster
Bernard &
Jackie Barnwell
Michael &
Nadia Berkeley-Hill
Dr Caroline Bird &
Dr Jim Rhoads
John & Sue Bird in
memory of Penny Bird
Ms Davilia Bleckly
E & G Bourgault in
memory of Betty Sagar
Diane Brennan OAM
Phil Burrows
Christine Burson
Ann Butcher &
Dean R Kubank
Jennifer Butement in
memory of
Margaret Butement
Michelle Candy
R & R Cant
Fred & Angela Chaney
Lynette Clayton
Barry J Cobb
Penelope Colgan
John Collins
Annette Cottee
Rev Des Cousins
Carole & John Cox
Ron Crittall in memory of
Penny Crittall
Brett Davies
Adrian De Graaf
Lee Delaney
Hanneke & Jop Delfos
Stephen Dennis &
Daniel Parker
Simon Douglas
Julie Easton
The Hon. Richard Philip
Eaton
Stuart Evans
Sue & David Forster
John &
Margaret Freeman
Jennifer &
Stephen Gardiner
Neville & Jane Gibbs
Frank Glass &
Linda Colville
Dr Barry Green
Gwenyth Greenwood
Rosemary Grigg &
Peter Flanigan
Ann Hammer
Paul & Barbara Harris
Peter Harris
Alan Harvey &
Dr Paulien de Boer
KR & VJ Harvey
Patricia Hashim
Diana Hastrich
David & Deborah Hayes
Siew-Mung Ho
Karl Hombergen &
Jane Hutton
Jan & Walter Hunter
Lorna & Jonathan Hurst
in memory of
Barbara Hurst
Drs Paul & Janis Jansz
John Jarvis
Cynthia Jee
Lynn & Michael Jensen
Michael &
Josephine Jones
Dr Susan M Joubert
Dr Ursula Kees
Bob Kelliher
C & V Kennedy
B M Kent
Miriam & Lou Landau
Dr Warren Lilleyman
Mary Ellen in memory of
Kerensa
Mal Macey
Stuart Macklin & Peter Lyle
Robyn Main
David Marmont
Pam Mathews &
Dr Mark Brogan
Cynthia McCumiskey
G & K McGregor
Gaye & John McMath
Annie Medley
Terence Middleton
Patricia & Kevin Morgan
Bruce &
Margaret Murdoch
Patricia Murphy
John Overton
Marjan Oxley
Roger Paterson
Matthew Pearce &
Kim Denham
J Pinnow
Jennifer Rankin
Rosie Reeman
Eril Reid
Patricia Rigo
Kim & Annemarie
Riseborough
Clare Bannister &
Will Riseborough
Trudy Robins
Geraldine Roxburgh
Chris & Serge Rtshiladze
Allison Selman
Steve & Jane Sherwood
Helen Shilkin-Reinhold
Andrew Shoemack
Jan Sillence
Hendrik Smit
Alison & Neville Sparrow
John & Elizabeth Spoor
Leon Tang
Ian & Di Taylor
Lisa Telford
Amanda &
Desmond Thompson
Gavin Toovey
Joan Travis
Clive & Beth Trott in
memory of
Judith Sienkiewicz
Judith & Rod Tudball
Heather & Jim Tunmore
Robyn & Loren White
Barbara Wilcox
Deborah Wiseman
Margaret Wood
Jacquie Wright
Andrew Yeates
Michael Young
Dr Susan Young
Unnamed (41)
Friends Circle
$40+
1,033 Members
The Instrument Fund
John Albright & Susan Lorimer – EChO Double Bass and set of Trumpets
Dr Glenda Campbell-Evans & Dr Ken Evans AM – Tenor Trombone
Peter Ingram – Piccolo
Deborah Marsh – Conductor’s Podium and Cor Anglais
Margaret & Rod Marston – Bass Clarinet
Peggy & Tom Stacy – Cor Anglais and Piccolo
Jean & Peter Stokes – Cello, Tuba, Tenor Trombone, Bass Trombone, Wooden Trumpet, French Horn and
Music Score Folders
Legacy
We honour those who have made a visionary commitment to safeguard our future, through a capital gift to the Endowment fund or by providing for WASO in their will through the Symphony Circle.
Legacy gifts are preserved within the fund in perpetuity, ensuring a community filled with the beauty of symphonic music for future generations.
Major Gifts
Tom & Jean Arkley
Bendat Family
Foundation
Gavin Bunning Family
Janet Holmes à Court AC
Minderoo Foundation
Rod & Margaret Marston
Rosalin Sadler
Sagitte Yom-Tov Fund
In memory of Francis
Edward Yeomans
Estates
Lee Bickford
Rachel Mabel Chapman
S & J Dale
Malcolm Hood
Clive Knight
Paul Lee
Tony & Gillian Milne
Anna Nottage in memory
of Edgar Nottage
Wendy Scanlon
Judy Sienkiewicz
Roslyn Warrick
Unnamed (7)
The Symphony Circle
Julian Agafonoff &
David Escott
Kevin ‘Joe’ Blake
Davilia Bleckly
Jon Bonny
Dr G Campbell-Evans
Deirdre Carlin
Phillip & Frances
Chadwick
Fleur Challen
Dr Anne Chester
Anita & James Clayton
Lesley & Peter Davies
Dr Michael Flacks
John Foster
Judith Gedero
Robyn Glindemann
Gwenyth Greenwood
The Guy Family
Angus Holmes
J.A.M
Roger Jennings in
memory of
Lilian Jennings
Emy & Warren Jones
Barbara Joseph
Colin & Jo King
Rachael Kirk & Tim White
Jaehan Lee
Wolfgang Lehmkuhl
Stewart Lloyd
Dr Mary Ellen MacDonald
Anne & William MacLeod
Deborah Marsh
Lesley & Murray McKay
Suzanne Nash
Paul Nendick
Paula Phillips
Wayne Robinson
Jan & Bryan Rodgers
Nigel &
Dr Heather Rogers
Rosalin Sadler in memory
of Joyce Durbin Sadler
Ross & Laurel Smith
Peta Saunders
Jacinta Sirr-Williams
Susan Stitt
Ruth Stratton
Ruth E. & Neville Thorn
Gavin Toovey
George Van Beek in
memory of
Robyn Van Beek
Agatha van der Schaaf
Sheila Wileman
Sagitte Yom-Tov Fund
Unnamed (53)
Every effort is made to ensure our Giving List is accurate; however, should you notice an error please contact our Philanthropy team on (08) 9326 0016.
Show more...
2024 Trusts and Foundations
Lead Partner of Crescendo
Crescendo / Hospital Orchestra Project
First Nations Creative Collaborations / Composition Project
Associate Conductor Program
About the Speaker
Dr Cecilia Sun
Pre-concert Speaker
Dr. Cecilia Sun is a senior lecturer at the University of Western Australia Conservatorium of Music. A pianist as well as a musicologist, she holds doctoral degrees in both from the Eastman School of Music and UCLA. As a performer, she specialises in historical pianos and the performance practices of the 18th and 19th centuries. She is currently co-artistic director of UWA’s Irwin Street Collective, which is focused on the research and performance of historically informed repertoire. Other areas of scholarly interest include experimental music, women in music, and music and politics.
Show more...
Connect with WASO
WASO Recommends
If you enjoyed tonight's concert, we think you'll love:
Brahms' Splendour
Multi-award-winning German-Korean violinist Clara-Jumi Kang makes her WASO debut with Brahms’ glorious Violin Concerto in an irresistible explosion of sound. Following a remarkable reception in 2022, Maestro Vasily Petrenko returns to conduct Brahms’ Second Symphony, a masterpiece bursting with colour and sweeping lyricism. Immerse yourself in an evening celebrating the moving and inspiring music of Brahms.
Fri 22 & Sat 23 November, 7.30pm
Perth Concert Hall
BOOK TICKETS NOW
2024 Corporate Partners
Principal Partner
Lead Partners
Government Partners
Major Partners
Supporting Partners
Beverage Partners
To share in our vision and discuss the many opportunities extended through corporate partnerships please contact Corporate Development on 08 9326 0020.