
Chamber Series - Resonance
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Program & Repertoire
Dmitri SHOSTAKOVICH arr. Rudolf BARSHAI Chamber Symphony, Op.110a
Interval (25 mins)
Wolfgang Amadeus MOZART Serenade No.10 Gran Partita, K.361/370a
Listen to WASO
This performance is recorded for broadcast Sunday 28 June, 1pm (AWST) on ABC Classic. Date subject to change. For further details visit abc.net.au/classic.
Did You Know?
Dmitri Shostakovich’s Chamber Symphony (Op. 110a) is an arrangement of his String Quartet No.8. Shostakovich composed the original Quartet in an astonishingly rapid three-day burst (July 12–14, 1960) in Gohrisch, Germany.
Mozart's Gran Partita contains one of the most famous moments in cinematic music history. In the 1984 film Amadeus, a bitter Antonio Salieri listens to the opening of the 3rd movement (Adagio) and famously declares, "It seemed to me that I was hearing the voice of God."
WASO On Stage
KEY:
Principal
Associate Principal
Assistant Principal
Contract Musician°
Guest Musician^
*Instruments used by these musicians are on loan from Janet Holmes à Court AC.
We greatly appreciate the support of our musicians’ Duet partners, acknowledged below.
VIOLIN
Riley Skevington Associate Concertmaster
Stephanie Dean
Rebecca Glorie
Beth Hebert
Andrea Mendham
Cerys Tooby
Samantha Wickramasinghe
VIOLA
Rachael Kirk
James Munro
CELLO
Jeremy Garside
Nicholas Metcalfe
DOUBLE BASS
Andrew Sinclair*
CONDUCTOR
John Keene, conductor
OBOE
Liz Chee
Jonathan Ryan Principal Cor Anglais
CLARINET
Allan Meyer
Som Howie
BASSET HORN
Alexander Millier Principal Bass Clarinet
Geoff Borgault^
BASSOON
Jane Kircher-Linder
Chloe Turner Principal Contrabasoon
HORN
David Evans
Eve McEwen
Robert Gladstones Principal 3rd Horn
Julia Brooke
DOUBLE BASS
Giovanni Vinci
About the Music
A Note from the Players
In our Chamber Series, all concerts have been curated from pieces selected by the musicians themselves. Read on to discover what drew the WASO musicians to this piece.

Chamber Symphony Op.110a
Shostakovich’s Chamber Symphony is a work that was composed in dedication to the victims of fascism and war. This piece offers the listeners a powerful and somewhat hypnotic reflection on war and the fear, violence, and heartbreak it inflicted. Shostakovich used his own initials D-S-C-H (D, E-flat, C, B) to create a musical signature which returns throughout the work. This signature allowed him to express his individual persona and musings in a time when free speech was stifled.
This piece is a personal favourite of mine due to its intense ability to transport the listener directly into the emotional reality of those who suffered. It captures their raw fear, anger, apprehension, and heartbreak, bridging the gap between the past and present.
The Chamber Symphony unfolds in five continuous movements, beginning by immersing the listeners into a haunting and desolate quietness and introducing the mournful D-S-C-H. The silence is shattered by an explosion of panic which launches the strings into a wild and wailing ‘dance of death’ to capture the relentless terror of total control. The music morphs into ghostly macabre waltz, warping the main theme into a bitter nod towards Shostakovich’s own tragic reality. From this, the strings are led into heavy chords depicting the terrifying sound of a fist hammering on the door late at night, creating a feeling of the impending doom. Finally, the piece circles back to the feeling of despair from the beginning with a final lament, leaving its listeners with a powerful feeling of grief and reflection.
— Andrea Mendham, Tutti Violin

Serenade in B flat, K.361/370a Gran Partita
I first played the Gran Partita at the Sydney Conservatorium of Music as a student back in 2017 (the recording of which is still on YouTube!) and thought that it was strange that Mozart was a composer included on the roster of the con’s wind ensemble. But upon playing it, I was so enamoured by the writing, both for the double bass itself and also for the other instruments. I also remember feeling a profound sense of grandeur as we moved through one of the most unique and elegantly composed works by Mozart. Enter the WASO chamber series - I couldn’t resist requesting this to be programmed! I’m thrilled that I am able to now be conducting the work today.
What makes this piece unique is both the length (50 minutes is long even for Mozart, for a “serenade”, and for wind chamber music up until this point in history) and how Mozart writes for winds (and double bass). Each player contributes equally with melody and meaningful rhythmic support, and the way Mozart intertwines the instruments is crafty and exhilarating. Another interesting feature in this work is the inclusion of basset horns, an older style clarinet that sits in range between a bass clarinet and an A clarinet. Especially notable is the beautiful Adagio which was made famous in the movie Amadeus.
— John Keene, Associate Principal Double Bass, Conductor for Gran Partita

About WASO
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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.
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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.
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